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82 TWENTY FIVE LUSK, SAN FRANCI SCO CCS ARCHITECTURE By Sarah Amelar 88 EAR L:S GOURMET GRUB, LOS ANGELES fREELANDBUCK By Russell For tmeyer
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COMMUNITY FEEDBACK , CONTRIBUTIONS, AND COMMENTARY FROM OUR READERS ARCHITEC TURAlRECORD.COM
( READER PHOTOS ]
[COMMENTSANDLETTERS ] While a student at Columbia, 1 worked on the original presentation model for Battery Park City at the old Cooper Eckstut office at Rockefeller Center over winter bæak. It was a great ìntroduction to New York , and it's great to see the project fully built. By the way, the other model we were working on at t he same t Îme was for the redevelopment of the Port Authority. Still waiting tor that one!
-Alex Lamis , partner, Robert A.M. Stern Architects The urban planning within the encJave may have been okay, but- not to put too fine a point on it-where was the architecture in a11 of this? The buildings in Battery Park City are universally bland. Cesar Pelli's winter garden is a cJumsy collision of unresolved geometries that looks like an afterthought. But worst of all, the West Side Highway e仔ectively separates this place 仕om the city. It is a ghetto, albeit a wealthy one. 一Anonymous
Funny t hing is, when I'm in Battery Park City, 1 always exp ect to hear muzak playing in the background, even on the sidewalks. lt's shoppingmall design retooled for bland habitation .
-Anonymous
[ CORRECTIONS ] In the article "High'Performance Concrete Gets a Makeover" [RECORD, May 2011 ], we reported that six years ago the Carpinteria. Californiabased manulacturer Forms+Surlaces determined that ultra-high-performance concrete (UHPC) was not at that time available lor commercial applications. The article should have noted that Ductal, a UHPC developed by Lalarge, has been commercially available since 2000 The article "Investments in Public Architecture Pay 011 for the City" [RECORD, September 20111 should have listed Lee H. Skolnick Architecture + Design Partnership, in addition to 1100 Architec t. as the designer 01 the Queens Central Li brary Children's Discovery Center. In our story "Making Waves in the Skyline" [RECORD, September 20111 , the photo on page 9B was shot by James Ewing.
For l11e Battery Park City has literally b ecome the fulfi11ment of a dream. 1 worked at Cooper Eckstut on the l11aster plan in 1980-81, and became so invested in imagining what this a ll might become that 1 would dreal11 ofit at nigh t. The reality is r emarkably similar to what 1 co勾ured， though on the whole 1 do wish t he architecture was better. Despite a11 ofthe protestations listed above , it is in my mind a fine , urbane en vironl11ent that 1 am sure over t ime will develop character and patina. Perhaps the relative tranquillity is offensive to some, but it can also be a welcome respite from and complement to the a司jacent bustle ofLower Manhattan. Alvar Aalto said t hat it takes 30 to 40 years for buildings to adapt and prove their worth to the point that they really become architecture_BPC , though far from perfect, is on its way; given t une , car飞 the right ar chitectural tweaks, linkages, and broader public usage , it will become an integra l and cherished part ofNew York. David N. Fixler
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Construction has begun,on the final piece of New York's Battery Park City, completing a 32-year-old master plan.
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The Apple of Our Eye
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I'M WRITING this letter on an iMac. 1just got off a call on my iPhone 4 1 stíll have a beloved old MacBook, but I'm cheating on it wíth an íPad 2. This is not a paid testimonia1. Like a lot of people connected to the design world , l'm merelya devoted member ofthe cult of Apple. The sad news at summer's end that Steve ]obs was resigning as the company's CEO felt like a watershed moment for our culture. It got me thinking, too, about]obs's complicated l-elationship to architecture Not long ago, 1 visited an architect's studio, a pr istine white 10ft with long rows ofwork tables topped by a battalion of gorgeous iMacs. What other b 1'a nd of compute1' could such an office possibly e l1lploy? The fï1'l1l is known fo1' se1'e ne, c1'isply detailed l1linimalist buildings; natu1'ally, the p 1'i ncipal a1'chitect is a devotee of Apple. He's sOl1leone who would deeply appreciate products so beautifully designed that they express exactly what they do, nothing D1ore. The idea behind Apple isn't that f01'11l follows function , but that each object is the ultil1late integration ofboth. Or as Yeats might well have put it. had he beheld an iPod, "How can we know the dance1' f1'o m the dance?" Yet t he 1'e is, as you know, a flaw in that seeming perfection, at least fo1' the field of architecture. For yea1's , Macs had to be adapted to run some ofthe top software architects use_ As much as practitioners might like the beauty and artful operation of Apple's computers, many have opted to equip thei1' offices with PCs. (The iPad, on the other hand, is turning up more and mo1'e at cJient l1leetings and building sites.) We can't forget that]obs has been a notable architectural patron. He cOl1l missioned Peter Bohlin, the 2010 AIA Gold Medalist, to create Apple's retail stores, including the stunning iconic glass cube for the New York flagship on Fifth Avenue. ]obs has been fascinated by design at least since his days as a college dropout. In a COHll1lenCement add1'ess at Stanford in 2005, Jobs, wh o grew up as a working-class k id , talked about the influence of a callig1'a phy class he'd audited at Reed College. He learned about typeface and later would carefully consider the fonts for the first Mac. He dreamed of encasing Apple 1 in blonde koa wood. W hen he sta1't ed the company NeXT, he got the celeb1'a ted gl-aph ic designe1' Paul Rand to create the logo. At Apple, he has regulariy haunted the studio of his chief designe1', Jonathan Ive. But some of]obs's decisions about a 1'chitecture have been controversia l. He h ired Bohlin to design a 6 ,OOO-square-foot house for his family-but wanted to build it on the site of his 14-bedroom onetime bach elo1' pad, a 1926 mansion in Woodside , Califo1'nia, by a 1'c hitect GEO耶 Washi吨ton Smith, the godfather ofSpan灿 Colonial R凹阳1 P1'ese1'vatíonísts we1'e out1'aged that he was eager to tea1' ít down. AfteI a long legal tug-of-war, during which Jobs let the house badly deteriorate , he was a llowed to demolísh it last Feb1'ua1'Y[RECORD, Apri12011J.
And h ís latest ar chítectural adventure， 仕le desígn of a gígantic new doughnut-shaped headquarters for Apple , is a lready drawing D1ixed 1'evíews. At the Cupertíno, Calífornía , city councíl meetíng wihe1'e he unveiled the scheme last]une, the ferociously secretive ]obs di曲't even mention the name of the arch出ct-though the Foster + Partners logo was on the drawings. In the Los Angeles Times , c1'itic Ch1'istopher Hawthorne called the 2.8 l1lillion-square-foot building fo1' 12 ,000 Apple employees "dogged ly old-fashíoned," akin to the 20th-centuly corporate office parks t hat tu1'ned away 企om u rban vitality 1 can imagine the conversations between ]obs and Norman Foster, the Lord ofthe Ring. Steve would love hea1'ing about Foste1" s ea1'l y mentor, the genius innovator Buckminster Fuller, who was a hero , too , ofStewart Brand, the guru behind the 1960s 讥斤tOle Eanh Catalog. In that same Stanford speech , ]obs cited B1'a nd's "bible." It was, he said, "sort oflike Google in paperback form , 35 years before Google came along It was idealístíc, and ove1'f1owing with neat tools and great notion s." Neat tools , g1'e at notíons-those símple words could be ]obs's legacy While Apple fanatics everywhere fret about the company's future without hím, a1'chitects especially can appreciate the Jobs ethos: How a design looks is inseparable from how it works.
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ARCHITECTυRAl
RECORD
OCTOBER 2011
25
NEWS IN PERSPECTIVE BY JAN-CARlOS KUCHAREK WES HIGH lI GHTS
[ GRAND OPENING ]
• Housing Solutions on View at Haiti Expo
Curtain Up on Viñoly's Controversial Arts Center
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IT HAS BEEN eîght years in the making, come in more than $15.8 million over budget, and been mired in litigation throughout its construction, but Rafael Viñoly's $44.3 million arts center in Colchester, England, finally opened its door s on September 25. The "Golden Banana," as it has been dubbed by the townspeople, is a 41 ,OOO-square.foot copper-and. aluminum-clad facility built fo1' the arts organization Firstsit巳 The Colchester council hopes the center will raise the profile of this provincial town with Roman 1'o ots , located jllst 60 miles outside ofLondOl1. Stemming from a 2003 invited competition organized by the Royal Institute ofBritish Architects, the project brief called for a multîstory building on a tight site adjacent to a bus station. In a controversîal move, Vîñoly submitted four schemes, two of whîch were not on the competîtion site. His Golden Banana proposal , housing all ofFirstsite's gallerîes and outreach f l1 nctions in a single cr escent-shaped volllme on open parkland to the east of the original site, caught the judges' imagination and won. Instea.d of designing a multilevel building that wOl1ld have required deep foundations-plus a f l111-scale archaeological dig to protect possible Roman remainsVîñoly developed a sîngle-story approach. "There was simply 110 money in the budget for [archaeological] works, so the project would have stalled at the outset," explaîned the architect. "Our one-story proposal was a 'light touch' . . . The building sits on curved concrete rîng beams over site fill, with any Roman remains preserved beneath, untouched."
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Viewa slide show 0" our website.
• Revitalizing Toronto's Waterfr口nt
• Ban to the Rescue in New Zealand , Japan DAllY UPDATES archrecord.com/news twitter.com/archrecord
LEFT: Dubbed the Golden Banana. the 41,OOO-square-foot bulldlnq Is clad In copper and aluminum. BELOW: A wide corridor cuts throuqh the curved , slnqlestory arts center. After construction started, in 2006, problems beset the pr句ect. The fiendishly complex geometry ofthe curved steel structure and huge cantilevered entrance canopy proved too much for contractOI Banner Holdings. Beams had to be reengineered on.site because of unacceptable deflections , and parts of the standing seam roof and guttering details failed. Instead of opening in 2007, the buîldîng was a leaking derelict shell by 2008. A year later, the contractor was kicked offthe project, embroiled in legal claims and counterι:laîms for budgetary overruns; these are ongoîng. The clîent managed to secllre additîonal fundîng and completed the building with a different contrac tor, four years late and with a budget that had risen considerably from the original $28.5 million. There is no den抖 ng， though , that the building is dramaticits horn-shaped golden curve contrasts with the Roman town's orthogonal urban grain, and its stepped section, reminiscent of Wrîght's Taliesin West, allows daylight deep înto the gallerîes. Unfortunately, Viñoly's grand gesture-the building's sweeping, single volllme-has been divided up awkwardly into lecture hall, gallery spaces, education rooms , and "destination" restaurant, all
"ashamed ofît," He also took linked bya wide corridor. It is interesting to note that the single exception to Viñoly's 6 percent fee claîm, even on the cost ovenun largest wall, on the south side, leans out at an angle of about 15 (Russell says the archîtect's fee degrees, which makes it less than amounted to about $1.58 million.) conducive to easily hanging artVîñoly, meanwhîle, has stayed work. As a result, the building's busy in Brîtain. His 25-strong London offîce îs working on a $316 bold, glintîng exterior might be considered more su ccessful than million, 37.story "Walkie Talkie" tower în London's historic core. its internal spaces Borough councillor Paul Smit h , And on the banks of the Thames who has supported the scheme River, work is proceeding on h îs $8.7 billion master plan for the throughout its long gestation, says the town has "come round" to 1930s Battersea Power Station. the new arts facility, adding that it The pr.句 ect is a beast-a 10 is "projected to b 1'ing in 1'evenlles million.square-foot mixed-use of over $3.2 million a year to the development with 2 mîllîon city." Colcheste1' member of square feet of office space, near甘 3,500 new apartments, and Parliament Bob Russell, however , called it "the ‘ golden blunder: commercial and leisure facilities. which disfigures and disgraces my The first phase is due to be com. hometown ," and declared himself pleted in 2016. •
26
ARCHITECTURAL RECORD
OCTOBER 2011
NEWS IN PERSPECTIVE BY DAVID HILL
[ EVENTS ]
Chicago Opens Its Doors
。 Viewa slide show 0" our websile.
has never been open to the public. Similarly. Frank Lloyd Wright￥ 1915 Prairie-style Emil Bach House. in Rogers Park. is ra rely open to visitors. Some sites, says Bouma. have more cultural than arιhitectural significance. For instance, the family-owned Fish Keg restaurant in Rogers Park is a simple brickand-formstone storefront with all imposing neon s ign , but it's been servmg 仕ied fish. shrimp , and c hicken to loyal customers for 60
years. Hungry Open House Chicago participants will be able to sample t he restaurant's homemade potato salad "Our model is a liu:le different from some of the other Open House events," says Bouma. "Even though architecture is a big part of it. we're not givi ng it top billing. We want to highlig ht some of Chic吨。's neighborhoods , notjust downtown. And we want people to see how build ings contribute to the commu nities." _
Cities around the world have Ia unched open house events ω a way to engage the public In architecture and design. S10ven阳's Chamber ofA何'hltec饵， an advocacy organizatlon. has taken the idea a step further, hosting an ol'en hoω'e featuring more than 100 sites throughout thecountη.
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FOR LOVERS ofthe history of architectur吧. there's no better U.S. city than C]licago. with its stunning collection oflandmark buildings by Louis SuLl ivan. Oaniel Burn ham. Frank Lloyd Wright. Ludwig Mies van der Rohe. and others. For years. t he Chicago Architect Ul'e Foundation (CAF) has offered guided tours-on foot and by boat-ofthe city's architectural gems. But. surprisingly. there's never been an annual Open House weekend in the Windy City. That's about to change. Following in the footsteps of a growing number of cities around the world-including London , Melbourne. Barcelona. Oublin. Toronto. New York. and OenverChicago willlaunch its own Open House weekend October 15 and 16. Sponsored by the CAF. Open House Chicago offers architecture b uffs the chance to see. 仕eeof charge. more than 100 sites. including m any t hat are normally ofNimit s to the public. "One of ollr goals." says managing director Bastiaan Bouma. "is to reino'oduce the city to its own residents." Although some buildings and sites are well known-the Newberry Library (Henry lves Cobb. 1893). Tribune Tower (Howe lls & H∞d， 1925). the Inla nd Steel building (Skidmore. Owings & Merrill. 1958)-otbers may be unfamiliar even to longtime Ch icagoans. For example. the original. 14-story "Sears Tower" (Nimmons & Fellows), in the North Lawndale neighborhood. dates to 1906 and was once part ofthe catalog store's sprawling headquarters. The 1925 Park Castle apartment, in West Ridge. designed by]ens E. ]ensen. featllres a Moorish-style base ment swim m ing pool. A private. elevated 2.5-acre park designed by landscape architect Al仕ed Caldwell. part of the 70-stolγ Lake Point Tower residential building.
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Project BAM/PFA Location Berkeley Architect Diller Scofidio + Renfro (DS+R) Two years after a $200 million Toyo Ito proposal was sCl'apped, DS+R has unveiled its design ofa facility for the UC Berkeley Art Museum and the Pacific Film Archive (BAM/PFA). The pared-down , $90 million pr吗ect calls for construction of a new, zinc-clad s仕ucture and the repurposing ofa 1939 printing plant. Completion is slated for late 2015.
Project Aspen Art Museum Location Aspen Architect Shigeru Ban Architects With $46 million in funding secllred, construction will begin in eady 2012 on the new Aspen Art Museum. Shigeru Ban's design featllres a "woven" exterior screen encompassin g a mllltilevel strllctllre with ample glazing. The 30,OOO-square-toot tacility will contain 12, 500 square feet of exhibition space - triple the a1110unt in the contemporalγart mllseum's cu町ent 32-year-old home. It also will featllre a classroom, shop, café, and rooftop garden.
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Project Parkland Hospital Location Dalias Architect HDR , Corgan Construction is under way on the 2.1 million-sqllare fOot Parkland Hospital, designed by HDR and Corgan Associates. Featuring a series of glass-clad r ectilinear strllcrures in a parklike setting, the massive camplls includes 862 private patient beds and 27 operating rooms. It is located near stops for the city's light r ail and C0111111uter raillines. The facilitywill replace t he existing Parkland Hospital, where President John F Kennedy was taken after his fatal shooting in 1963.
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A Quiet Addition to Ronchamp Chapel
Calatrava Pulls Out of Denver Airport Expansion project
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Blg_.1ump for A B I The Architectural Billings Index leapt to 51.4 in August, up from July's 45.1 (a score above 50 denotes a billlngs Increase). The inquiries score also rose, to 56.9, following 53.7 the month prlor. Although many firms still struggle, AIA chlef economist Kermit Baker says, "It's possible we've reached the bottom of the down cyde."
Designed by Renzo Piano, the conU'oversial new visitor s' center and convent at Le Corbusi町's Notre Dame du Haut, ill Ronchamp, France, opened in September. Piano inserted t he restrained glass.alld-concrete sU'uctures illtO the side of a grassy slope leading up to 出e chapel, so as not to detract from 由e 1954 masterpiece-a concern among project opponents. Piano is sympat hetic to his critics. "Le Corbusier made one of the most beautiful places ofmeditation in the world," he says. "Ifa different architect had been hired. 1would probably be worried. so 1can understand."
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Sant iago Calatrava has stepped down 企omthe Denver International Airport expansion project. In a letter obtained by the Denver Post, Calatrava's wife and business manager , Robertina, cited "financial constraillts , unnecessary time delays, and deep divisions" among the a rchitect 's design team , the client, and Parsolls 1)'ansporation Group. Calatrava's ambitious $650 million scheme for the site was unveiled last summer.
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ARC I-I ITECTURAL RECORD Announces the Winners and the Runners-up of the
L NAP IN
20 门 COC I(TAI I( S I( ~TC~ CONT~ST
Because of the enthusiastic response to the cocktail napkin sketch contest initiated a year ago, RE;: CORD decided to do it again-not so much to encourage downing martinis as to honor the impulse t。 draw in a digital age. This year the jury of editors evaluated more than 1,200 napkins from nearly 400 entrants. With so many submissions, RE;: CORD decided to seled winners according two categoriesprofessional architeds and nonprofessionals (architedural students , designers , and others). WINNER , PRO I=ESSIONAL
WINNER , NONPRO I= ESSIONAL
ZELJKO TONCIC. ARCHITECT. RIZVI ARCH ITECTS吁 BOSTON CASA MILA. BARCELONA
AMANDA D. PROSSUI . M.ARCH . 2010 ; TOPEKA NOTRE DAME DU HAUT. RO NCHA MP. FRANCE
The prize f.or t he best-in-show cocktail napkin sketch by a professional goes to Ze ljko Toncic for his d rawing of Antonio Gaud j's Casa Milà , in Barce lona. The jury found it to be q uirkily evocative of the 1 91。 landmark. Toncic, who has practiced for 33 years , says he has sket ched t he b uilding before but this was the first time he de alt with the difficult medium of the cocktail napkin. "The paper is so soft and absorbs ink readily t hat maintaining control is tricky," he notes. "1 was t rying t。 capture the e ssence of t he structure wit hout going into extreme de tail."
The winni ng cocktail napkin ske tch by a nonprofessional was d rawn by Amanda Prosser, who received her M.Arch. from Kansas State University. W ith jo bs in architecture so scarce , she curre ntly works for a life insurance firm. The jury found Prosser's sketch of No t re Dame du I-Iaut, Le Corbusier's famous chape l at Roncha mp , I=rance (1954), to exhibit a st artli ng economy and e legance of line. (A number 。f contestants submitted sketche s of Ronchamp, which can be seen 。n the web.) When Prosser visite d Ronchamp as a student , she d rew the building in a sketchbook with her eyes closed. "Back in To pe ka , 1 decided to see if 1could do it on a cocktail napkin with an extra-fine black ballpoint pel1," she says. "1did it again without ope ning my eyes."
RUNN I::RS-UP, PROFESSIONAL
RUNNERS-UP, NONPROFESSIONAL
:习罐罐如 TONV COSTlõLLO. ARCI..IITIõCT. COSTlõLLO. ASSOCIATlõS; 问 U NC I Iõ. IN DIANA AN ENGLl S," MEDIEVAL LANDSCAPE
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KVLE REIS. PLANNlõR. COOPER CARRV; ATLANTA NOLLI MAP WIT ," SUBURBAN SPRAWL
SCOTT GROVIõ. CREATIVIõ DIRlõCTOR, SMIT,". ASSOCIATES ARC ,"ITECTS ROC，"ESTE日， N EWYORK
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COOPlõR. ROBlõRTSON & PARTNlõRS; NlõW VORK CITV TRINITY C ," URC ,". NlõW VORK CITY
BRODIE STEP'"lõNS, GENlõRAL COUNSEL. PERKINS. WILL SAN i=RANCISCO LEi= TY O'DOUL BRIDGE. SAN i=RANCISCO
Contestants were asked to submit sketches on a s-inch..square cocktail napkin , a stipulation that many blithely ignored. But RECORO'Sjury stuck by the rules-with one exception: a tiny, delicate model of a church by Scott Grove (an adist) in which the cocktail napkin was made to act like balsa wood. RECORO created an "hors de concour" (out of the running) award. We couldn't resist i t. By sponsoring a contest for an arguably anachronistic art form in a digital age, RlõCORO supports the conviction that architects still draw to think -and to remembe r works of architecture and urbanism they have visited. Yes , it's true that manysubmis剖。ns were not the fast , direct, effortless gestures we associate with a cocktail napkin sketch per se. As the two winners a nd six runne r s-up demonstrate ,
these sketches took some time and eff。时， especially when executed on a small square of flimsy white paper. While keeping the true nature of the napkin sketch in mind, we allowed fastidiously worked -over entries to be considered. After all, it is for the sake of drawing, which seems alive and well
GREGORV L. KLOSOWSK I. ARC ," ITlõCT. I;:LLlPSIS A.D; ALAMEDA. CALli= ORNIA OAKLAND CAT," WRAL.OAKLAND
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COMMENTARY ALEXANDRA LANGE OCTOBER 2011 ARCHITECTURAL RECORD
The World of Online Interiors
A critical comparison of up-and-coming online design and decoratin g magazines.
34
ARCHITECTURAL RECORD
OCTOBER 2011
HOUSE OF THE MONTH INGRID SPENCER ARCH ITECT ROBERT GURNEY DESIGNS A SIMPLE Ll GHT-FILLED CU B IFORM HOUSE IN BETHESDA, MARYLAND.
1. The north elevation of the cubic
house brinqs to mind Adolf Loos's Villa Müller In Praque (1930) in its simplicity and austerity of detail. A charcoal'qray qround'faced block clads the structure, while the front door is mahoqany. 2. A double-heiqht window wall on the south elevation allows livinq spaces inside to become part of a landscaped 。pen"air "roon、
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3. In order to qive privacy to the interlor, Gumey desiqned narrow rectillnear wlndows on the slde walls, such as the L'shaped one on the west elevation of the qround floor.
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house has a large basement and an 1,100-square-foot roof deck sur faced in ipé wood and edged by concrete-block parapet walls that a仔brd gli l11pses of Bethesda's grow. ing skyline. A steel staircase on the east elevation provides access to the deck f1'ol11 the second floor. Gumey's client, whose office is two blocks away, often holds bu siness meetings on the roof, or invites contacts from his fmancial services firm to dinner. Mostl予 though , the house is for the family "We're very informal," he says Inside the house, spaces are bright and open , with walnut
Viewdrawings and additional photos on our website
floors , white walls, and stainless steel countertops as the main fìnishes. Th e four children (with one on the way) spend most of their time outside or in t he basement, which contains one bedroom, a playroom, a media rool11, and a laundry. Other than a small office area, t he ground 1100r is devoted to public spaces, including an open kitchen. while bedrooms are on the second floor. "Not one part ofthis house goes unused ," says Gurney. His client agrees, and adds, "lt's a house of its time, and it's completely a ret1ec. tion ofme." .
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ARCHITECT ROBERT GURNEY and his client, a young entrepreneur with a large fam ily, shocked the residents ofthe ìEdgemoor section ofBethesda, Maryland, with the house they created . It was not because ofthe design's Modemist roots , alt hough the house is decidedly unlike the Colonial. and Craftsman.style ones nearby The surprise comes 企omits size. At just 2, 200 square feet , t he house is dwarfed by its stately, overscaled neighbors. "Most ofthe new houses in the neighborhood are being built to the maximum size allowed by t he zonin忌" says Gumey. "This was a different approach- wit h more outdoor space and a t hird less area for the house t han what had been there." The client desired a totally efficient design for his 60.by.lSO. foot property, which Gumey found in an understated cube. The elegance of the simple box startles in its lack of excess. Ch盯coal.gray ground.faced concrete block clads the wood仕ame house, with rect. angular and square windows of varγing sizes punched out to cap' ture views, control sunlight, and a仔ord privacy to interior spaces. Although small, the two.story
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UNIVERSITY OF NAPLES METRO STATION Naples, Italy Karim Ras1hid IN AN EFFORT to update its meu'o system, the city of Naples, 1tal予 has created a dozen art stations ove r the last decade, guided by Italian art critic Ac hille Bonito Oliva. The stations are filled with a range of contempora ry works by loca1 artists and internationa1 icons 1ike Joseph Kosuth and Sol LeWitt. 1n 2004 , they inv ited New York City-based artist and industrial designer Karim Rashid to bring his psychede1ic sensibility t o the University of Naples stop
Working with the Mi1an firm Atelier Mendini, Rashid developed a scheme for the station integrating a textural mix of slick materials-from DuPont and 1ta lian manufacturers Progetto Ven-oand SITI Groupincluding: Corian, tile , marble , polished stain1ess steel , and glass or quartz printed with Rashid.designed patterns. Now riders discover a new world be1owground, where t hey are embraced by the so位 nature and sU'iking palette of the space, says Rashid. "1 wanted to use the concepulal descent that takes place when entering the subway as a physical and mental transition for visitors." Going from the open Neoclassical
p1aza into t he subterranean station, commuters move from grayscale to Oz.like color. Floors in kaleidoscopic patterns and brilliant hue s of blue , red, pink, and green intersect with highly reflective stainless steel ceilings and walls. But the color is not purely aestheric. "Accent co1ors along hallways guide peop1e to the p1atforms below," says Rashid. And platfonn color s indicate the direction of incoming u'ains. Iconic touches like tile murals of Dante Aligh ieri and Beatrice on staircases orient commuters toward exits, he exp1ains. "A person is in the station on average for three to four minutes. And in that time 1 want to communicate a p1ace that stimulates, inspires, and exudes energy," Rashid says.
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TSVETNOY CENTRAL MARKET Moscow Llfschutz Davldson Sandllands THERE I S A MISCONCEPTlON among many designers that the top tloor of a department store may as well be Siberia. Retailers tend to banish offices up there, fal 仇'om quick-selling items like cosmetics and handbags on lower f1oors. After more than a decade designing upper-level hospitality and retail spaces like the OXO Tower Restaurant for Harvey Nichols in Londo l1 and a dining/food hall emporium for Milan's La Rinascente [RECORD, February 2009, page 121J, architecture firm Lifschutz Davidson Sandilands (LDS) sees opportunity in the heights. "Most architects don't understand that the retailer constantly changes what happens on the t1oor," says Paul Sandilands, a director at t he London-based firm. "In most of the great buildings in the world, the ceilings are the most spect acular ." LDS put this experience to work for the Tsvetnoy Cenu'al Market, a lush food hall on
the top two floors of a new department store in Moscow (designed by Russian firm Project Meganom). The designers applied a shimmerin g expanse of2,600 mirrored and hammered stainless steel panels in a geometric pattenl Oll the fifth- and sixth-t1 oor ceilings. The textured surface creates a distorted ref1ection of sh oppers and rainbow-colored food displays that can be seen 仕om the ground t100r e丑trance， enticing visitors to travel up. To achieve the effect they wanted , t he LDS team specified a light-colored floor and configured cracks between the ceiling panels to express the building's structural grid, which adds c1arity to the organization of the space. "You can end up with ref1ections ofref1ections ofreflections," says Sandilands. Lights mounted on columns ftll the gaps between the panels with a warm glow. Ceiling cutouts also have pairs of metal-halide lamps, chosen for their crisp light. "We d id a lot of3-D computer modeling to make sure it all worked, but t her e is a degree of chance here , and as it turned out, it alllooks pretty spectacular," says Sandiland s.
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LOTTE MAGIC GARDEN Seoul Moss & Lam FUSING ART AND ARCHITECTURE, fine artists Edward Lam and Deborah Moss frequently collaborate with architects, interior designers, and other clients to make custom , r ichly detailed works of art - many of t hem for international restaurants, hotels, and established retailers such as Sofïtel and Louis Vuitton. When cornmissioned by the South Korean department store Lotte to fill a central atrium in its Seoul emporium, t he pa此ners and founders ofthe Toronto-based design studio created a dazzling seven-stOIγ 1l10bile made of reflective gold and silver butterflies, crystals, and g lass beads. The atrium, Lam explains, brings light and air down into spaces that are frequently dense with customers. "At the same time, you're losing a lot of [impo1't ant] ground for retail," he adds. This is pa1'ticularly t1'ue on the main floor , whe1'e the mo1'e showy labels-jewel1'Y, pe1'furne , and othe1' high-end iterns -a1'e located to attract shoppers. "So the client asked us to come up with ideas to put somethillg sculptural there," says Lam. They wanted a piece that would both complernent the expansive space and enhance a sense ofluxury in t hat area. The scheme
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ofthe project team fastened each 1110duleω the metal skeleton before they raised the glitte1'ing mobile to the full height of its new home. The work is Moss & Lam's second of its kind for Lotte. In 2009, the duo created "Pisces," a cascade of chrome fish , 190 feet high, that occupies the atrium of t he company's Busan store. The artists' website lists the 1110bile as the world's largest. "Whatwe've 叫oyed about this work is the fme line between craftsmanship and fabrication ," Lam says. "It is a hybrid and an a1't piece, which is 1'e ally what we'1'e a丘缸"
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born ofthis marriage ofart and commerce consists of2 ,600 100-foot-long wires ofbrass mesh and polycarbonate, suspended f1'o m a copper framework that hangs frOI11 t he ceiling. Installing the piece was no small feat. The artists and thei1' c1'e w shipped the l11any components to South Korea in discrete boxes 仕om their Toronto studio, wher e the duo's work is fabricated. "As we designed them," Lam says, "there were ve1'y quick 1'e assembly points." He cites a tight construction schedule- a mere two weeks- as a 仇lrther challenge. When the pieces a 1'r ived at the site, membe1's
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"Wow! These are beautiful," was the unanimous
reaction to this year's winning interiors when editors reviewed the selections.τ'hey a1so share a common 由read when studied coUectively. Like a barometer of the times, each project retlects the pragmatic rea1ities of 21st-century design. In every case, the architects address exacting programs and budgets by s严lcing divergent styles 缸ld eras, in often surprising ways, with innovative materia1s and technologies. Our picks ar哩 modestin scope, yet big on ideas, and include: two futuristic insta11ations - 0时， a series ofbold metal forms , the other, a structura1 tour de force coated in plaster-juxtaposed with historic icons; plus an exciting mix of commercia1 ente甲白白 (andone sturu由19 residence) expertlyαafted within aging or unremarkable s位uctures.ηlOugh曲J1 and wonderfuUy effective, all seven represent the best of interior architecture today. - Linda Lentz
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ALBRECHTSBURG MEISSEN
I MIE ISSEN , GERMANY I GERHARDS & GLÜCKER
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ABOVE: Dayllght fllters through the archedstone windows of the middle room on the castle's second lev剖， where exhibits include a long shiplike vitrine dubbed "New Li ving in Old Walls."
TOP RIGHT: A carousel display in the KurfürstAugust-Zimmer (Elector August Room) contains a mirror framed in porcelain. Although it doesn't rotate, the vitrine's heptagonal shape in the vau Ited backdrop makes it appear as if it were splnning or bursting out toward the viewer.
BOTTOM RIGHT: The Tetris-piece-shaped dlsplay in this second-floor room showcases the work of rococo artist Johann Joachim K昌ndler. Its shape provides a solid counterpolnt to the fluld sculpture of the room's fine stone benches and 。rnate flowering columns.
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ONE LOOK lengthwise in a sun-speckled upper room is all it t akes to see a spectru m ofideas at play in Gerh ar ds & Glücker's exhibit pieces for the Saxon castle of Albrechtsburg. in eastern Germany. Here the gaze is drawn into a lon g silvery vitline hung soberly with coins and daggers. Latin inscriptions. and Saxon royal seals made 仕um wax and animal hide. Move to one side. and suddenly the h ighly polished int erior looks as if it's made of mirror s. r eflecting objects previously hidden from view. picking up the expressions and movements of visitors nearby. and revealing the light. shad ow. al1d shape ofthe room itself. Look away. and one snaps back into the austere space of a medieval antech amber. Albrechtsbu rg. a 540-year-old castle on a hill overlooking the small river town ofMeissen . is a shortjoumey 白'0111 Dresden. an ancient seat ofroyal句 and curren t capital of the German free state ofSaxony. Restored by the former East Germans m ore than 40 years ago. the castle was open for touring. but there was n o lI1useum. So the challenge was twofold when Berlin-based interior architects Carsten Gerhards and Andreas Glücker were selected by Saxon state officials in 2008 to create an insta llation for the 300th-anniversary exh ibition of Meissen's famous porcelain. w ith t he condition that their design could transit ion into a perm anent exhibition celebrating the area's history and architecture a仕er it c1osed. It would be difficult to work within a medieval landma rk Moreover. the architects would have to be disciplined to display historic artifacts in a contemporary and creative way without tipping 由e scales into something jarring or farcical Specialists in working within the constrain ts ofhistory-they had already completed interiors for the city museum in medievallher an d for t he house of composer Georg Friedrich Handel-the designers spe nt time learning t he h istOl)' of Albl'echtsbu rg. its porcelain manufacture. an d the physical presen ce of t he building with its astounding vau lted ceilings and two spiral staircases. each lookin g like a string of seashells bound by lithe stone banis ters. "Ou r strategy became dematerialization ." Gerhards says. "Rather than materia lize the objects on display. we made artifacts which re f1ect the presence ofth e building. An d the fOffil of those ar tifacts is informed by the objects. and by what is told in t he rOOIl1."
FIRST-FLOOR PLAN DISP L IiγVITRII NES INDICATED INGRAY
CREDITS ARCHITECT: Gerhards &Glücker - Carsten Gerhards. Andreas Glüc ker. principals; Dirk Borchering. Christian Geisser. Jan Köpper. Giuseppe Vilucci. Lena Hanzel. Elisabelh Himichs. Ann'Kristina Simon. projecl team CONSULTANTS: Barth (display labricator); Eicher Werkslätten (environmental graphics); Li chlbau (Iighting) CLl ENT: Staatliche Schlösser. Burgen und Gärten Sachsen (Nalional Fortresses. Caslles. and Gardens 01 Saxony) SIZE: 53.820 square leet COST: withheld COMPLETION DATE: May 2011
SECOND-FLOOR PLAN
THIR D-FLOOR PLAN
FIRST FLOOR: The first floor of the Albrechtsburg Castle contains the portraits of Saxon nobility; It's where the most ornate vaulting and deeply colored roon、s are found. From the bottom to the top of the plan: the main parl町， main hall, and the entrances from the small and large spir副 staircases. The main hall contains what G&G calls the "Iaser cannon," a large viewing device mounted on a swivel that turns 360 degrees , overlaylng the Images seen through the eyeplece wlth data on the archltecture and construction techniques in use. SECOND FLOOR: The second floor features many large vitrines with displays dedicated to an exhibition of the area's porcelain manufacturing industry, the "white gold" that put Meissen on the map. At the bottom 。f the plan: Installatlons focuslng on the hlstory of the porcelaln. At the top: Installatlons on Its productlon. Special exhibits include a sound installation in a corridor on a raised aluminum floor (see Introduction, page 55); a large carousel vitrine in the Elector Augustus Room; a feature on rival artists Johann Joachim Kändler and Johann Herold; and at the top of the plan, a long shlpllke vltrlne reflectlng a spectacularly P副nted and tiled room. THIRD FLOOR: The third floor displays focus on the politics of the Saxon nobility and the architecture of the castle itself. Vitrines indicated at the bottom of the plan contain architectural exhibits; moving toward the top of the plan, the dlsplays transltlon to the castle as a IIvlng space, wlth blg glass frames showlng how people lived, often eating, sleeping, and working in single rooms. One of the side chambers has a perlscope, going through the celllng to the roof, that overlays viewed images with Informatlon. At the top right of the plan is a small tower prison cell with early 17th-century graffiti.
To do this , Gerhards and Glücker desig n e d more than a dozen p olyg onal a luminum vi衍in邸， some with a n gles , som e e m p h asizing ver l:icallines, at different heights and shapes, engaging rooms without 仕ying to match t h e m . A matte finish on the outside ofth ese display cases softly r eflects t h e surround ing rooms and vaulted cei且ngs， while a polishe d interior cr e ates brigh t exposition spaces and occasional kale idoscopes
Th e r e are three main levels in the sprawling b l1ilding, begun in 1471 to eventl1 ally house Ernst, Elector ofSaxony. and his brother Duke Albrecht the Bold. The pennanent exhibit is also split into t hree sections . One is d edicated to the buildi n g desig n e d by master arc hit ect Arnold o fWest p h a lia. Another is d evol:e d to politics, power, and Life in the Saxon kingdom. And t h e third sh owcases the porcela in Meissen b egan prodl1cing in 1710, first w ithin
Alb1'echtsburg itself and later at a nearby facto1'Y Even though the tïrst level hou ses the G1'a nd Ha ll, with the most complex a 1'ch wo 1'k , it makes sen se to begin a tour fr0111 the top , on the mo 1'e au stere thi1'd floo1'. This is whe 1'e t he building exhibits are located, as well as a 1110del of the floor plan . The space itself is n ot linea1', allowing visito1's to flow 企om 1'oom to 1'o om, wh e 1'e th ey'll fin d such a 1'tifacts as a high-tech alumin u m "periscope" that not only 1'e veals t h e 1'afte 1's bu t p 1'ovides data ove1'l ay on t he types ofbeal11s andjoints th e bu ilders used to suppo 1't the s时ucture. Engaging m u ltimedia and 3-D 1'elief in stallations, also designed by the a 1'c hitects, complement the glea mingvitrines. "All the time we u se these
m ate1'ials as mir1'or s to show det ails on the Visitors to this tiny prison cell ascend a ceiling or beh in d ," Glücke1' says. futuristic aluminum The n ew p e1'm anent exhibit ion does mor e pulpit to get a close look than trade on the castle's a 1'chitectu1'a l g 1'a n at well-preserved deur fo1' awe. Ge1'h ard s & Glücke1" s displays graffiti from the year fo1' Albrechtsbu 1'g Meissen gen e1'a te m ovement 1643 that says: "Death and living moments. There is a quiet conversa- is certain; only tion between the h istoric walls and sculptul 'al uncertain is the day. qu ality ofthe 21st-centu1'Y fo1'ms. And the Also the hour, no-one mi1'rorlil<e finishes within t he vitrines p 1'oduce knows. So think on this and pay honor to the dazzling Modernist perspectives upon t he Lord; for each hour centl11'ies-old 0时ects. A comm l1nion oftime, could be your last." the installation u lt imately em phasizes t he wonders of t he existing sl1rrol1 nding structu 1'e , a model of innovative thinking th at in its time set Eu mpean standards fo1' spatial structure, va111ting , w indows, an d staircase design . _
ELINOR BUNIN MUNROE FILM CENTER
A80VE: The new fllm center fronts West Sixty-fifth Street with a vivid orange marquee, an LED carpet, and a welcomlng transparency that reveals its community-friendly public areas as well as the central amphitheater, directly beyond.
I NEW YORK CITY I ROCKWELL GROUP
}UST ONE YEAR shy ofthe 50th anniversary of its New York Film Fest iva l. the Film Society ofLincoln Center (FSLC) can celebrate another milestone at this year's cinema fest , which t akes place 仕om September 30 through October 16. In addition to presenting fihns by such directors as Pedro Almodóvar, Roman Polanski, Martin Scorsese, Lars von Trier , and Wim Wenders , the FSLC is showcasing the state-of-the-art Elinor Bunin Munroe Film Center, recently completed by architect David Rockwell and his fïrm Part ofthe greater Lincoln Center revitalization, the 17,500-squar etoot pr句ect is located at street level, under the Lincoln Restaurant Pavilion [RECORD, June 2011, page 46] by Diller Scofidio + Ren仕o (DS+R) and FXFOWLE, and pushes deep into t he campus in位 astlUcture ben eath the Milstein Pool and Terrace and above the mechanical plant. The existing 1960s site had contained a garage and underutilized office spaces.
BELOW: Built on a floatinq slab over a mechanical plant and between the screeninq room entrance halls, the ar响phitheater has reflective qlass walls and absorptfve wood panels that create the riqht ambience for director chats and documentaries. When the qaraqe-style door is op凹， it morphs int。 a friendly hanqout.
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The prominent frontage on West Sixty-fifth Street provides the community-friendly access that FSLC needs to grow. For years , the 42-yearold gr oup h ad been limited to screenings and programs at one venue-the excellent but secluded 244-seat Walter Reade Theater , behind the ]uilliard School-with occasional events at Alice Tu lly and Avery Fisher halls The challenge, r ecalls Rockwell, was to carve out an area that was high enough for screening rooms with perfect sight lines and acot1 stics Working closely with the design and core-and-shell teams at DS+R and FXFOWLE, as well as acousticalωnsultant]a ffe Holden. Rockwell 缸ld his crew bUITowed south, away from the street, clearing the mechanical space and excavating behind it to create two soundisolated screening rooms that share a r ear projection booth: t he 144-seat Francesca Beale and the 87-seat Howard Gilman theaters. Ever conscio t1 s of the primary objective - to make this a world-class film exper ience-Rockwell deftly integrated technical with decorative
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elements , keeping the theater interiors visualIy quiet with a darl< taupe color palette. Softly pleated perforated-steel walls absorb sound and f10w into the vestibule to further buffer outside noise. Roomyαlstom seats are comfortable enou gh to enjoy t he four-and-a-hal f-hour Mysteries ofLisbon, by Raoul Ruiz. And when the LED-backlit pilasters that frame the screens fade t o black, the architecture disappears. By ∞ntrast， the remainder ofthe film center is open, f1exible , and bright, with polished concrete f100rs and exposed columns and ductworl(-an homage to the roots ofthe space, says Rockwel l. The entrance , too, is U'ansparent. Here the architects fashioned an an gular glazed "marquee" in vivid orange that mimics the roofline ofDS+R's restaurant pavilion above and beckons visitors to enter across a theaU'ical LED carpet. Rockwell and his team split the house into public and programmatic areas with a smart, sit-down café and a d iminutive film sh op, tor patrons and passersby, hlcked to either side of
the lobby. A wood-lined amphitheater on a f10ating slab navigates the acoustically problematic m echanical room below. Central to the scheme, it backs o nto the p rojection booth and serves as a transition between th e lively frontof-house and rear scr eening zon巳 Although less quiet t han the theaters , this conge nial spot h as a 152-inch plasma screen an d cushiontopped bleadlers that facilitate direαorchats， documentaries , and previews. ult's a very ‘ curatable' space that can change based on the Film Society's needs ," says Rockwel l. To maintain this core room's visibility, he enclosed it with 归国ally frosted glass side walls and doors that f1ank a 16-foot-wide garage-style por tal , which can be a fourt h wall when closed Such thought句l design strategies pay off. The Elin or Bun in Munroe Film Center has been busy, wit h a ll t hree theaters in use since opening in ]une. Now, says FSLC executive director Rose Kuo , uit's allowing us to host more films at the New York Film Festival. It's a great success and sign ifies a new era in our history." •
CREOITS ARCHITECT: Rockwell Group - David Rockwell , founder and CEO; Shawn Sullivan , principal in charge; Michael Fischer, design lead CORE & 5HELL ARCHITECT: Diller Scofidio + RenfroElizabeth Diller, Ricardo Scofidio, Charles Renfro, principals; FXFOWLE- Sylvia Smith, principal in charge CON5ULTANT5: Arup (structur剖， m/el口， spri nkle时， JaffeHolden (acoustical); fisher Dachs (theater); Boyce Nemec Designs (a fv); Focus (Iighting); Open (graphics) GENERAL CONTRACTOR: Yorke Construction CLIENT: Film Society 01 Li ocoln Center 5IZE: 17, 518 square feet C05T: withheld COMPLETION DATE: June 2011 SOURCE5 GLAZING: W&W Glass; VividGlass (amphitheater) GARAGE OOOR: Belu Tec (amphitheater) WALL5: GageMetal (perforated/theater); DKDI (wood/amphitheater); Aswoon , Seetin (wood/café) 5EAT5: Series Seating (theater) FLOORING: Milliken (carpet); Get Real Surfaces (concrete); Lanes Flooring (amphitheater) PLA5MA 5CREEN: Panasonic (amphitheater)
ABOVE: A leap above the usual snack bar, the tony caf岳 features communal tables and custom curved-wood focus walls made from recycled column covers by Brooklynbased artlsan Susan Woods of Aswoon. LEFT: Two screening rooms are isolated from each other by a thick concrete wall t。 prevent sound leakaqe. Absorptlve perforated steel walls, nonreflective recessed screens framed by theatrical backllt pllasters, comfortable wide seats, and perfect sight lines all maximize the movle-vlewlng expenence.
CARGAL GROUP OFFICES I LOD , ISRAEL I AXELROD DESIGN
COMMISSIONED TO design a small suite of offices in a noisy cardboard factory near Ben Gurion Airport. in Israel. architect Irit Axelrod decided to create an interior that asserts a sense of"quiet power." So she used materials like concrete. glass. and stainless steel in ways that emphasize both their inclustrial roots and their sophisticated finishes. Visitors enter the new offïces of the Cargal Group from an indoor walkway above the fà.ctory floor. where enOffil0US machines crank out cardboard packaging and forklifts scurry from one place to another. To separate the 2.000-square-foot office space 仕0111 the racket ofthe manufacturing facility. Axelrod erected a concrete-block wall that provides acollstical privacy and a rllgged sense of encIosu re. "Whel1 the project was complet时. 1 realized 1 had created a serene bubble in the middle of
By keepinq the 2 ,000square-foot suite as 。pen as possibie and separating private 。ffices with fioor吨。ceilinq glass, the architect made the space seem bigger than it actually is. A concreteblock wall provides acoustical privacy from the factory_
a fà.ctory," she explains. But she connected the loud and qlliet parts ofthe bllilding with a 30-foot-long band of glass cut into the thick concrete wall just 3 feet above the office floor. At Íilrst the height of the horizontal window seems a bit odd. as if a Japal1ese aesthetic had somehow infiltrated the design. Then you sit il1 Ol1e ofthe offices on the opposite side of the lobby/reception area and understand the height is jllst right, providing an important visuallink between executives and factory workers Axelrod. who splits her time between Israel and San Frandsco. says that growing up in Tel Aviv, with all of its early 20th-century. InternatiOl1al Style architecture. il1flllenced her approach to design. "Tel Aviv's origins are in the Ballhalls. As a child, these were the buildings I saw every day." The rigor of the
buildings finds expression in the CargaJ project's floor plan. a straightforward set of sqllares and rectangles. Private offices line the building's perimeter to take advantage of the daylight, while the long lobbY/reception area flows into a kitchel1ette equipped with a freestanding plywood counter and metal stools. Floor-to-ceilil1g glass separates the private oflïces 位 om the public areas while maintaining visual continuity and sharing daylight with the rest of the interior. Sustainability was notam苟or driver ofthe design , says Axelrocl, but maximizing the lIse of daylight creates a more pleasant work environment and reduces operating costs While the plan and hard-edged materials express a sense of discipline. the archiitect loosened things lIP on the lobby's angled ceiling. where 1011g fluorescel1t tllbes seem to
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in charge; Orit Tsabari , project architect GENERAL CONTRACTOR: Perfection Construction CLI ENT: Cargal Group SIZE: 2, 000 square feet COST: withheld by client COMPLETION DATE: January 2010 SOURCES FRAMELESS GLASS DOORS AND PANELS: AII'Glass LOCKSETS: Dorma CABINETWORK AND CUSTOM WOODWORK: Eyal Cinarty Woodwork SOLID SURFACING: Corian OFFICE FURNITURE: Vitra; Porro RECEPTION FURNITURE: Wiggle 5tool by Frank Gehry and Eames Bench, both from Vitra OF Fl CE CHAIRS: Eames molded'plastic chair and Meda chair from Vitra; Aeron chair from Herman Miller TABLES: Joyn from Vitra KITCHENETTE FURNITURE: Alno
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be randomly placed. "1 wanted the ceiling to be more playful to provide a contrast," explains Axelrod. "That's wher e 1 decided to break all
the rules." She specified a t1uorescent lighting system that offers custom lengths and can be used either horizontally (on the ceiling) or verúcally (on the concrete-block wall and in the kitchenette). To make the small project seem bigger, Axelrod carried views from one space to another. Although executives can pull down privacy shades in their offices, they rarely do, prefelTing jnstead to maximize their visual domain. The architect also designed pa1'tiαllar elements to give them the illusion of f1oating. She set the wooden 1'e ception desk on a smaller base and placed lights on the unde1'side to shine on the t100r and make it levitate. In a conference room at one end ofthe suite, she inserted a thin vertical strip of glass between perpendiαlla1' walls so they don't quite touch. And she attached stainless steel handles and ha1'd wa1'e directly onto glass doors so they seem suspended in space. Such instances of elements fIoating and sliding past one another provide a welcome contrast to the solidity of polished concrete t1oo1's and concrete-block walls. They work together to establish a balance between the muscula1' and the nimble For furnishings, Axelrod selected a simple
mix of molded-plastic Eames chai1's, a司justable Meda chairs for the execuúves , and Joyn tables. She used a 1'e su'ained color pale忧e ofwhites, off-whites, and grays with occasional accents ofblack and clear-stained wood. In the lobby, three Geh1'y cardboard stools add a playful touch and remind everyone of the packaging material being produced in the adjacent factory. What gives this project much of its character is the intriguing dialogue between sophistication and bottom-line toughness. As SOOI1 as you walk in t he 0征ice 仇。m the factory, you know you're in a different kind ofplace, one where aesthetics matter. But yOll never feel that anything is wasted 01' p ut h el'e for show. You might admire t he poured-concrete t1oors, which , like those in art galleries, have no expansion joints, so the material develops those lovely cracks. But you'll also notice the large ventilation duct n ll1ning through the lobby/recepúon area, exposed in a no-nonsense manner. And the simple plywood cabinets built into the private offïces. The people wo1'king here have good taste, but they aren't squandering money The subtle back-and-forth between the slick and the rugged speaks to the key cha llenge ofthis design: creating a white-collar place wi吐lÍn a blue-collar world. •
LEFT: Axelrod used a restrained palette of whltes. off-whltes, and grays for the offlces, and then provided accents with artworks and a few black chairs.
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L'OPERA RESTAURANT
I PARIS I OOILE
OECQ BENOIT CORNETTE ARCHITECTES
DESIGNING A NEW INTERIOR for a bu ilding as p rominent as Charles Garnier 's historic opera house isn't fo1' the faint-h earted . Erected in 1875 under the auspices ofBaron Haussmann's massive overhaul ofParis, t he 121.000-squarefoot Neo-Baroque edifice stands proudly at the intersection ofRue Scribe and Rue Auber in the middle ofthe city's ninth arrondissement. But these intimidating conditions did not spook architect Odile Decq. When invited to convert a cupola-covered porch into the building's first restaurant, t he raven-h aired designer deftly wrapped the space with a wavy curtain of glass and inserted a white mezzanin e , whose sinuou s 岛rm evokes the Paris Opera's infamous phantom. Facing PlaceJacques Rouch e , Decq's L'Opera Restaurant is located at str eet level, where ho1's e-drawn carriages on ce delivered their ticket-holding patrons. Today, diners approach L'Opera either from w ithin th e bllilding or through the 170-seat restaurant's main entrance, on the bllilding's east sid巳 Inside， the bar and lounge area lie to the left and the main dining room is straight ahead, followed by t he kitchen at the rear. Steps both in the center and at the side ofthe room (plus a ramp and an elevator) lead up to the mezzanine seating-mostly banquettes and semi-private dining areas seqllestered by a low-Iying wall. Though it took 136 years to realize Garnier's intention for a restallrant on the opel'a premises, Decq had only two weeks to develop her idea. lnitially, the client , a restaurant concessionaire with a 20-year contract for the Palais Gamier space, held a competition and actually
OPPOSITE: The ultlmate "pop-up," L'Opera features a sweeplnq plastercoated steel structure that wraps around and throuqh the columns and vaults of the exlstlnq bulldinq wlthout touchlnq It. ABOVE: Enclosed by a qlass facade, L'Opera Restaurant was Inserted In the porte cochere of the Opera Garnler built by French archltect Charles Garnier in 1875.
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selected 四。由er designer (whose name was withheld). But when the Minis位yofCulture nixed 由e winning scheme (for management reasons)，吐le dient made a cold call to Decq, who accepted the job despite its time schedule and ll1yIiad rigid restrictions. Because ofthe building's heritage, Decq could not touch its stone surfaces 01' block the view of the ornate pendant suspended 仇。ll1 the domed ceiling. And to enable the space to revert to its original state, every new element had to be rell10vable at the end of the restaurant's limited tenn. "The only thing we could chan ge was the f1oor," says Decq. Working around these constraints, the architect created a mezzanine consisting of a steel skeleton covered with white plaster molded on-site by one ofFrance's two remaining masons with t he traditional know-how. It is like an apparition wafting through the air, its
Though it t~~k 136 years_-to_ r~alize Garnier's intention for a restaurant, DecQ )!ad ~nly_ tw~ ~eel{s to developher idea. mysterious form continllaUy morphing. The mezzanine dodges 0 1' encircles the building's stone pillars, indents to keep the dome's apex visible, and tapers seamlessly down to the 15 unique colull1ns supporting its bulk Contrasting sharply with its ghostly exteIior, the hull-like mezzanine is startlingly bedecked entirely in red. Though partial to black, Decq agreed to cover the mezzanine's low walls, banquettes , chairs, and ca1'pets with the bright color. "Opera red is darker," explains the architect. "My shade is between o1'ange and red." Spilling down the stairs and pooling on the ground floor below, the c缸pet connects 吐le two dining areas , stopping just short ofthe facade. Tailored to the exist ing building, this undulating glass veil wends its way arollnd the stone columns and soars to the curved ceiling. Ranging from 26 to 28 feet in height, it consists oftwo shee臼 ofO.4-inch-thick laminated glass For maneuverability during construction, the wall divides vertically into two sections united bya bent steel band 20 feet above the f1 00r The band is invisibly anchored to the column tops by stainless steeI tie 1'ods, but the wall is practically seU:supporting because of its wavy profiIe. "With no visible structure, the glass is held in place as ifby magic," says Decq. Wh ile silicone joints atlix the top of the gIass to the
ceiling , a second steel band embedded in the f100r secures the wal1's base. Replacing the oIiginaI, exterior-grade brick pavers, Decq used black concrete dotted with smalI stones. Because of a slight level change between the restaurant's inteIior and adjacent outdoor terrace, the preservation authorities permitted the substitution. But they accepted only modest adjustments to the ground plane. as the technical spaces in 吐le opera￥ basement lurk just 5 feet below g rade. Nonetheless, the architect had to excavate to accommodate the 2-inch-thick steeI plates supporting t he mezzanine's columns. Each
column consists of a hoIIow steeI-mesh tube cloaked with plaster. While pockets in the masonηhold LED fixtures that cast Iight dramatically upward , the conduit contains ventilation shafts and electric cables. "This is exactly what Garnier was doing in the 19th century," explains Decq. "A modern architect in his time, he built t he opera frorr司 stone but its main structure was steel." Though the holIow columns can transmit sound to the stage above, ambient music was an important element befitting a restaurant in an opera house. 1、<> prevent interference with performances and offset t he room's many hard
OPPOSITE: A rlch red carpet links the tw。 dining areas, spilling down the stalrs and pooling on the ground floor, while trapezoidal tables align to form a single, snaking surface for flexible seatlng, banquettes, or buffets. LEFT: The facade's metal band is invisibly anchored to the column tops by stainless steel tie rods, but the wall Is practically self-supporting because 。f its wavy profile.
CREDITS ARCHITECT: Odile Decq Benoil Cornelle Architectes Urbanisles - Odile Decq, design principal; Peler Baalman. projecl chief; Giuseppe Savarese, Amélie Marchisel, pr叫ect architecls ENGINEERS: BATl SERF (slructural); MS Consulting (building services); SETEC (fire securily) CONSULTANTS: Hugh Dullon Associates (facade); Sludio DAP (acouslics); C2A (kilchen) ClI ENT: GUMERY
SIZE: 11, 840 square feel COST: $8 million COMPLETION DATE: July 2011 SOURCES FACADE: Simelal Formes PLASTER: Werey Slenger 呐'江止此
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where patrons gather at intermission, Decq introduced a squiggly continuous bench whose cushioned seat rises and falls along its length, E卫abling some to sit properly and others to perch. Meanwhile, a long bar made ofblack wood theatrically wraps itself around one of the building's big square columns Decq's interior harmonizes with the building's other voices-its rich history, its dramatic space, and its r egal materials. At the same time , by choreographing movement and a lter in g p erceptions, it dynamically transforms a staid , centrally organized space into one wit h a su'ong contemporary character. _
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surfaces , a porous, acoustically absorbent plaster coats the mezzanine's lowwalls and concave u n derbelly. In addition , carefully placed speakers let restaurant personnel fine-tune sound levels throughout and prevent excessive noise 仕om building up at a ny location. L'Opera's Decq-designed upholstered 仇HIll ture a lso dampens sound. Circular dining c hairs ringed with supportive backs and sides answered t he client request for comfo rtable seating. Decq paired them with trapezoidal tables that can align into a sin gle, snaking surface for buffets or banquets. In the loun ge,
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Minimal detailing , colors , and finishes expand spaces in a former warehouse. By Elizabeth Farrelly
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"YOU ONCE WROTE THAT Modernists couldn't do front doors, so I've tried to prove you wrong," says architect Ian Moore, as he pivots the massive milk-glass front door to admit l11e 仇'om the str eet. And prove l11e wrong he resoundiingly has , with a front ent1'a nce n oticeably grander and more ceremonial than that ofthe Sydney Opera House (at which my origina l point was aimed) The milk glass, within a fine, m atte-black frame set into the rustic brick facade of a ~ 19白-century warehot时， pref耶lres a superz rationalist interior where monochromatic ~ minimaHsm reigns s咿eme 。 The architect's brief, as he explains it, was 王 for "a black-a nd-white Ian Moore house with < a large, ver y well-lit bathro01l1." Moore, an @ 豆 engineer who became an architect a位er ~ working with Foste1' + Pa1't ners on the HSBC 号 headquarters in Hong Kong (1986), is known 主化r his su pe1's lick white boxes. So this was ~ s01l1ething of a departu1'e . The stark palette >
acco1'd s well with the client's collection ofblackphotog 1'a phs, a number of which incIuding Mervyn Bishop's po1't 1'a its ofRoy Orbison and Mick ]agger-are prominently displayed on a n upstairs walI. Because of an earlier. 1970s residential con version. relatively little structural intervention was required to tum this fomler grocery warehouse a nd subsequent engineering workshop into an ultrachic urban terrace house; much of the effort was an exercise in lining. finishing. and furnishing. A S'h-foot drop in grade between the two s口-eet entrances led to creating a split-level ground floor. with a tallliving space entered d让ectly from the street and overlooked by the kitchen on a mezzan ine. It. in t urn. is backed by a garage opening to a second street Moore colored everything that existedwalls. ceilings. and f1oors-white. while everything new - stairs. cupboards. the kitch en. furniture (and even the dog tood)-is black. The upper-level bathroom. however , a black a丑d-white
OPPOSITE: The main entrance to the 19thcentury warehouse leads Into an offlce. and IIbrary for the owner. LEFT: The garage, on the 882-square-foot site. 。pens onto a back street_ BELOW: The front door. a double-height steel portal. is at the end of a cul-de-sac.
anodized-aluminum glass-topped box. lit from the 1'o of and dividing the bedroom and sitting area. stretches the rule. Becau se the bathroom existed there befo1'e . it should be white. But two new wa lIs, plus a mir rored walI should be black. Here Moore depa1'ted from his conceit. "The bathroom was about space and Jight." he says. "so 1 abandoned t he strict regime in favor of its purity." The structure occupies about a l S-foot-wide terrace-house slot in the inne1'-urban Suπy Hills neighborhood ofSydney. Subtracting 白'0111 the 882-square-foot lot. the l11 ini l11u ll1 widths fo1' toilet. stair, and car left about 3fs inch for a new semi-stnlCtural wall between the garage and sta口 . The only lI1ateI;al t hat fit the bill was steel plate. Finished in a 1l1atteblack epoxy paint. then washed with vinegaI and rubbed to a soft sheen with (of a lI things) baby oil. the steel plate became something of a 1110tif. It forms notjust the staircase slot-with Its 仕eestanding sheet-steel balust1'ade - but t he
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CREDITS ARCHITEC T: lan Moore Architects -Ian Moore, principal and project architec t; lan Gorton, Danny Mathis, design team ENGINEERS: Benvenuti SC (struclural, m/e/p) CONSULTANTS: Fast Feet (Iandscape); Urbis (heritage) GENERAL CONTRACTOR: Seagull Construction STEEL FABRICATOR: Marq Abela CLl ENT: Tess Strelein 1
ENTRANCE
5
BEDROOM
COST: $743,000
2
OFFICE/DINING
6
LlVING ROOM
COMPLETION DATE: August 2010
3
KITCHEN
1
BATH
4
GARAGE
SIZE: 1,615 gross square feet
SECTION A-A
SOURCES GLASS LOUVERS: Breezway Altair Louvres SLl DING DOOR TRACK: Häfele HAWA j unior 80 SUSPENDED CEI Ll NG SYSTEM: Rondo PAINT: Dulux (Vivid White acrylic); International Protective Coatings (black epoxy paint) SOLlD SURFACING: Corian RUBBER FLOORING: Dalsouple DalUni Ll GHTING: Kreon (downligh t. task, exerior);
Serge Mouille (interior ambien t) FURNISHINGS: Piero Li ssoni, Marc Krusin, Carlo Tamborini for Glas Italia (coffee table and desk); 如Itonio Citt erio for B&B Italia ("Mart" side chair)
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in t 由 he garag 萨 el阳 u 四 ltωil 脏 t he large buil t-in banquette that marks the Ievel-change between kitchen and firstfloor living space, and the floor-to-ceiling bookcase, which , slotted together in the manner ofthe Eam es House ofCards, covers the livin g rool11's south wall. The pr eci se design called for immen se devotion to detailing white plasterboard, black st eeI , white rubber (for the flooring), and gl ass. It's a brave t h ing to adopt such a strict a regi me for a domestic environment. 旬， does it work? ro ∞ om，
For me, it's probably a little too brave-t oo too r igid for habitation. But arch it ecture should b e m easured agai n st its own brief, and it is clear that Moore's client, an art director and stylist, loves it. ln fact, it passed the ultimate test , as Moore's client i s now his fiancée, and he is already living there. That's got to be not one, but two , votes ofconfidence. _ demandir毡，
EHzabeth l'al'rel抄" an al'chitecture α'itic and columnist for the Sydney Morni ng Herald , wrote Blubberland: The Dangers of Happinessρ00刁
OPPOSITE: A top- lIt bathroor响。n the seco nd Iloor is lined i n white solld surfaclnq to emphasize its clarity and purity. LEFT: A black anodized alumlnum box encloses the upper- Ievel bathroom. whlch dlvldes the sittlnq room from the bedrooIY、. The floor Is surlaced i n white rubber. The rectillnearity 01 the la r咽inated glass desk and c:offee table echoes the knlle-edqe prollle 01 the steel-plate stalr balustrade (riqht. loreqround). LEFT, BOTTOM: The archltect palnted the steel plate with matteblack epoxy. then washed It In vlneqar and rubbed it with baby 011.
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ABOVE: One floor below street level, the lounge has hanging, stainless steel fireplaces with openings 。n three sides. Two-tiered white "hearths" prevent mingling crowds from bumping into these h悦。rbs， while also providing perches for drinks.
JUST A FEW YEARS AGO, the idea of planting a h ip, upscale 1'estau 1'a nt on a sleepy alley in San Francisco's China Basin n eighborh ood might have seemed nuts. But t he local scene is 1'a pidly changing. At the city's eastern edge, once dominated by fading indust 1'ial st1'uctu1'e s, Ch ina Basin and the adjacent community ofMission Bay are 1'e emerging as two ofSan Francisco's fastestg1'owing sections. In 2000, the Giants' baseball stadillm , now called AT&T Pa1'k , opened here Mo1'e r ecently, the new 43-acre Mission Bay campus for t he Unive1'sity of Calif01'nia, San Francisco catalyzed th e nearby proliferation of office bllildings and luxu1'Y condos. Into that bllbbling mix came 1'wenty Five Lusk , a 1'estau 1'a nt named fo1' its othe 1'w ise obscure address. "Even 10 years ago, it wouldn't have b een viable to open this sort of r estall1'a nt on this little alley, sOllt h ofMa 1'ket St 1'e et: says Cass Calder Smith, the a1'chitect who designed the venue and 60 other 1'e staurants before it The sem i-hidden location presents b oth a challenge and a latent asset: the risk.ofbu rying the place versus the potential fo1' invalllable cachet. "It n eeded visibility," he continues, "but we also knew p eople like discovering something hidden at the end of an alley." The design of t he 9,800-square-foot restau rant encourages further wandering an d discove 1'Y. Its b1'ick building，白。m 1917, was originallya meatpacking a nd -smoking plant (late1' dot-com offices). Working with the fOUI owners to createτ'wenty Five Lusk , their first restaurant, the architect deftly exploited and opened up unexpected sequ ences: rrom t he remains ofvast carcass-handling haUs to small meat-smoking chambers From outside, you get an initial taste of Smith's design strategies. Here, a glossy whiteglass-and-metal sto1'efront with a sleek canopy plays against t he earthy existing red brick shell. The counterpoint is c1ea1': You would never mistake the new fo1' t he old. "Usllally we have to warm lIP a place," h e explains, "but tllis one was already so wann, with brick and wood columns and beams, we could actually insert flash es of coolness- sleek, sassy, modern elements-with an infusion o fIuxury." Right over t he t hreshold , you arrive at a glass balustrade overlooking a dramatic 20.foot-high space, rising rrom t he bar and
TOP RIGHT: The canopy's upturned end gives It visiblllty from a major thoroughfare, perpendicular to Lusk Street. This new storefront, rendered in white and clear glass with accents 。f polished stainless ste创， plays agalnst the existing building's vintage redbrick shell.
ABOVE: Obliquely spanning the restaurant , the mezzanlne is a long bridgelike element with walls finished in smooth white Venetian plaster. This top level offers tables for fine dining, near the glassed-in kitchen and a small bar.
The archltect cut through a series of former meat-smoking chambers t。 create intimate lounqe areas (below) behind the main bar (right). Gray slate, proportioned like wood planks, covers the floor in these spaces, as well as In many of the restaurant's other well-traveled areas. lounge below. Orblike hanging fï1'e places of stainless steel with ta11, gleaming fll1es punct l1ate the scene. Cocktail-clinking l11en in crisp shi1'ts with collars open and women in stylish little d 1'e sses hover about the bar and hearths But it's not obvious how to get down to that cozy "den" level. To your left, between planes of sl1100th white Venet ian plaster. stairs go up-but not down. The idea, says the a1'c hitect. is for guests to meander upstairs, through the l11ain dining zone. bef01'e descending two levels. Curiously indirect. this circulation evokes a hOl1se party, where you have the lun ofthe place. (Fu1'ther investigation near the entrance reveals a discreet elevator and a "speakeasy" back stair to the lower level.) As you soon discover, low walls throughout the restaurant open l1p lines ofsight-most strikingl弘 the overview ti-OI11 the fïne-dining area. on t he mezzanine level. 1Wenty Five Lusk is clearly a place to see and be seen. The milieu is "a cross between Studio 54 and a ski lodge." as a writer for the San Francisco Bay Guardian characterized the industrial-chic aesthetic. Smith plays modern against vintage not merely by giving his insertions a cool pa]e位e and sleek surfaces (featuring white or gray glass and the ubiquitous stainless steel) but by skewing or tilting them off the existing structural grid. The entire mezzanine level-with seating for 110 diners. plus a small ba1' and an intimate. private-dining 1'o om-is essentially a long white bridge, obliquely spanning the interior Rhythmic horizontal fïns poke through the bridge's walls. Once in the dining area. above the din ofthejostling cocktail crowd. yO l1 recognize these projections as the ends of tabletops. luxuriously and whimsically rendered in bold black-and-orange-striated Macassar ebony. finished in high-gloss resin. Here, chefMichael Dolan, one ofthe fOUI owne1's . serves up seasonal Ame1'ican cuisine Views into the glassed-in kitchen. as well as to the lounge below. lend this area expansiveness. despite relatively low ceilings. And the seemingly casual separation and interpenetration of space give the owners f1exibility to ofler all. or parts. ofthe restaurant for parties. weddings. and other events-a successful side business. Tinted mirrors. skillfully positioned throughout t he interior. ampli句， the already gene rol1s space. Some even bear translucent images of sm oke. recalling the building's meatcuring history. The shadowy colors and imagery. along with sofas around the fireplaces
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(though fuel-fed and smokeless), create the illusion of a seductively smoky ambience-in a city w here ligh ting up in bars and r estaurants has been illegal for more than a decade. T he laid-back-luxe setting has generated an impressive happy-hour buzz. For a chance to gather ar ound mod cam pfires, lounge on buttery leathel' cushions , and sip Red Monkeys, custom ers sometimes l ine up down the blockdiscovering ju5t t he 50rt of out-fr ont 1口ingling ideally 5u ited t o an undiscovered alley. _
Sarah Amelar is a contributing editor ω ARCHITECT iURAL RECORD.
CREDIT5 ARCHITECT: CCS Archileclure - Cass Calder Smilh, design principal; Bryan Soulhwick, projecl archilecl; Barbara Turpin-Vickroy, direclor 01 inlerior design; Melissa Werner, arlwork ENGINEERS: Peoples Associales (slruclural); ACIES Engineering (m/e/p)
C05T: $3.5 million COMPLETION DATE: Oclober 2010 50URCE5 WINOOWS/GLAZING: Oldcaslle Building Envelope SKYLl GHTS: O'Keelle's
CONSULTANTS: Luminesce Design (Iighling); Federighi Oesign (Iood service)
PAINTS ANO STAINS: Benjamin Moore
GENERAL CONTRACTOR: Teulonic
CARPET: Shaw Carpel
CLIENTS: Mallhew Dolan; Chad Bourdan; Chris Oolan; Jamie McGral h
FIREPLACES: Fireorb
SIZE: 15, 000 square leel (reslauranl/commercial)
SO Ll OSURFACING: Caesarslone
Ll GHTING: Niche Modern (pendanls); WAC (track); Lulron (conlrols)
The ends of tables (above), made of Macassar ebony, poke through the mezzanine walls. Diners can qlance Qver these partitions to catch the action below. A band of blue-qray mirrors 仕" riqh的， bearinq imaqes of sm。悦， cuts across a brick wa" in the dininq area. Nearby, the kitchen's qlass enclosure (boUom riqhtl extends that horizontal rhythm.
EARL'S GOURMET GRUB
I LOS ANGELES I F' REELANDBUCK
FOOD CUlTURE
Digital design is combined with traditional craft to create a fresh and casual atmosphere for a new Los Angeles eatery. By Russell Fortmeyer
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LOS ANGELES may be the fïrst city to have taken plywood seriously as a finished material, a fact that was not lost on architec臼 David Freeland and Brennan Buck when they designed the interior for Earl's Gourmet Grub. Opened in May 2010 in an empty 1, 500-squarefoot storefront on an otherwise nondescript section ofVenice Boulevard about three miles northwest ofthe beach , Earl's is the kind of casual restaurant that Los Angeles does so well Polished ground-concrete t100rs and plywood mix with glass and marble and organic comfort food , all to fresh effect The two architects met as graduate students at the University ofCalifornia, Los Angeles, and then worked separately for a few years before 自:>tmding their firm , FreelandBuck, in 2009. $0 they readily acknowledge debts ωthe Los Angeles school, particularly to the use of plyw.∞d in the early projects ofFrank Gehry and Thol!l1 Mayne. But there are nuances evident in the design ofEarl's that distinguish Freeland and Buck as part of the digitally connected , theory-based generation ofyoun g architect-academics behind a small-scale
revival of craft. If a llusions to the Los Angeles school occur-Freeland previously worked for Michael Maltzan, while Buck taught with Greg Lynn -they certainly don't dominate At Earl's, the architects responded to a client interest in Alpine imagery and rustic food with an environment made by bending, warping, and fusing planes in subtle ways and with hints of resU'ained color. "We are inter ested in finding a set of material effects and details that, through their method offabricat ion and construction , produce atmosphere," Freeland says ofthe abstract Alpine landscape mural in wood that covers the long west wall of the restaurant. To extend the flat surface ofthe white maple veneer wall into low relief, the architects depended on Rhino and Grasshopper software and a computer numerical controUed (CNC) mill (see related story, page 99). Buck de scribes this surface interest as part of a wider investigation into what digital technology and íabrication can conU'ibute to architecture , rather than a fascination with technology for its own sake. The mural plays against a white gypsum-
OPPOSITE: The archltects developed the maple veneer mural by digitally translatlng an Image of an Alpine landscape int。 a gridllke pattern. The mural's low relief was cut with a CNC mill. ABOVE: Unadorned plywood forms the backslde of counter seating just inside Earl's storefront and serves as the backdrop for the eatery's neon sign.
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CREOITS ARCHITECT: FreelandBuck David Freeland, Brennan Buck, partners.
SOURCES PANELl NG: CNC'milled white maple veneer
CONSULTANTS: Joe Cooper (CNC milling)
MILLWORK: ABX fir plywood
GENERAL CONTRACTOR: Vandermeer General Contractors
INTERIOR AMBIENT Ll GHTING: Texas Fluorescents
CLl ENT: Yvonne McDonald and Dean Harada
LOCKSETS: Schlage
PAINTS: Dunn- Edwards
DOWN Ll GHTS: Lightolier
CEILl NG CONTOUR PLAN
board wall on the east t hat bends up into ba ff1es at the ceiling over the kitchen. Two layers of war ped l ,4-inch gypsum board in semi-gloss white for m t hree large , central lig ht scoops over the open kitche n's bar-two with electric light and one, above the cash register, with an actual skylight. The scoops contribute to a sense ofscale, bringing the ceiling d owl1 to a human size and subdividing t he space, They also provide some acoustic softening to the open kitchen area. The bar 's mitered marble corner details blur the panels into a single monolithic block, so t hat the kitche n more eflectively dominates t he restaur ant. The bathroom has its own surface e ffects w he re a painted mural depicts a tr悦. But it is only recognizable whe n viewed from one angle. When looked at 白 0111 other vantage points, the tree appears more like a random pattern As for that Gehry-style plywood , t he architects used it in several ways , including in t he street-side sign t hat forms the underside of an eating bar in the f 1'ont window and along the east walL In the ceiling above the mural, the architects designed a series ofplywood baff1es that conceal TS fluorescent strip lights installed along the walllike a continuous ligh t fixture , At floor level, b uilt-in plywood millwork for displaying packaged food and for casual seating lines the west walL In all cases , Buck and Freeland specified a bleaching process to minimize contrasts between g rowth rings in t he plywood, while a white stai n softens the sheets further and relates 1110re c10sely to t he wh ite maple muraL It appears the plywood has been taken seriously: The architects won a r estauran t design
"We are interested in finding a set of material effects and details that, through their method of fabrication and construction, produce atmosphere," says Freeland. award 白 om the AIA Los Angeles ch apter inJuly and are at work on two other restaurants in the region. W ith each new project, t he firm has developed a better understanding ofthe tools offabrication, particularly CNC mills, says Free land. Or as Buck says, " [ think we're d eveloping a weird hybrid b etween t h e ph ysicality ofmaterials and the digital processes we use to manipulate them." _
SIZE: 1,000 square feet COST: $220,000 COMPLETION DATE: May 2010
Russell Fortmeyer is an engineer, sustainabi1it歹 consultant, andjournalist based in Los Angeles
Three sculpturalllqht scoops-two illuminated by electric liqht and 。ne that Is an actual skyliqht-qivE the restaurant's lonq and tall volume a sense of scale and help modulate the space.
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ARCHITECTURAL RECORD
OCTOBER 2011
ION G
AFETISH FOR FABRICATION In digitally sophisticated Los Angeles , the Southern California Institute of Architecture's new Robot House Ups the ante. By Russell Fortmeyer
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THE ARCHITECTS PETER TESTA and Devyn Weiser like to point out that th e robotic Stäubli instruments installed last spring in the new Robot House at the Southern Califomia Institute ofArchitecture (SCI-Arc), in Los Angeles, are not people. For that ll1atter, the Robot House is not a house, but rather a converted double-height space at t he south end ofSCI-Arc's main building. The room h as two glass walls and a catwaIk overhead, which allow students to view the robots in action. Testa and Weiser, partners in the fïml Testal Weiser and faculty members at SCI-Arc, initiated the school's partnership with Stäubli and oversaw the Robot House's design a nd construction. The five robots in the facility, along with a sixth, much smaller on e in an adjacent classroom. range in weight from 60 to 550 pounds and can handle loads ofup to 75 pottnds ， 直lloving as fast as 35 feet per second. They m ig ht not be people, but t hey may well populate the next frontier of digital design. Similar models of robots build cars, process p hannaceuticals , and perforll1 surgery. gu aranteeing precision and consistency. In architecture. robots have mostly been used individually to "pick and place" materials, such as bricks. But with multiple robots , designers can investigate 1l10vement. choreography. and collaboration. providing an alter native to the typical linear sequence of design and programming. followed by fabrication and con struction . ..飞Iýe con sider the robots a real-time desig11 and construction platform." explains Testa. Robots ofter a way of getting beyond the computer screen, which doesn't account for g1'avity or ll1aterial properties. "We wanted to move on to something more tangible and interactive." he says. Robots could also enable 仕ee-for:m filbri.ιation. minimizing or eli:minating the use of :molds. This summer, Weiser taught the first seminar lIsing the robots , called Robotic Confections and Confilbulation s , or RoCoCo. while Testa's earlier XLab studios at SCI-Arc had specu lated on their potential use. Contractors and other schools have robots as part offabrication shops. Machineou s , a Los Angeles- based fabricatol瓦. has a six-axis robot im 川出 n it 岱 t s s 蛐l怆 Eωofe 灿 叫呻 华 q 1咿 the tri干 川 1】- lobe-shaped plastic "br 时 'icks" for arch> i-tect Greg Lyn n 's Blobwall for Pan elite in 2007
For the eatery Earl's Gourmet Grub, FreelandBuck created a mural made of whlte maple veneer lamlnated onto standard sheets of medium-density fiberboard. To develop the mural's low relief, the architects dlqltally translated a photoqraph of an Alplne landscape Into a qrldllke pattern. They then worked wlth fabricator Joe Cooper to set the tool path for the CNC machine. They proqrammed it to make cuts in the direction of the qrain first , to avoid chippinq or splinterinq the veneer.
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A six-axis robot can move in the typical X吁~Z planes but also rotate 360 degrees around an object. Ifrobots are not new. they represent the next phase in t he fasànation with digital design and fabrication that has defined some ofLos Angeles' most progressive architectural practices. 1\而ntyye盯s ago. computer numerical control (CNC) milling l11achines, which typically consist oflarge beds with a vertical spindle that can cut material based on programnllng 1I1put, were not common 111 architecture schools, let alone in commercial practice. High-profile local projects such as Gehry Partners' Walt Disney Concert Hall, which opened in 2003. he1ped change the situatioll. The approximately 8 , 000 wood panels and components inside the hall were fabricated using a CNC mill with digital files created by the architects. Although some architecture offices have their OWll CNC equipment. 1110St work with a fabrication shop. The Los Angeles- and New York- based practice FreelandBuck collaborated with Los Angeles fabricator Joe Cooper for a mural installed in Ear! 's Gourmet Grub on Venice Boulevard (see story, page 88). Cooper￥ first step with any project is to clean up architectural CAD files , connecting lines or deleting offsets. as mills require exact instructions. He then converts them into a Mastercam file, which he uses to produce the so-called "G code" that runs the mill's controller. "There's no room for mistakes." Cooper says. "Whatever 1
program is exactly what it will do." He then sets up a tool path that directs where and how fast the mill will cut For Ear!亏， FreelandBuck created the design for t he mural, which consists of maple veneer laminated onto standard sheets ofmediumdensity fiberboard, based on a photograph the c1ient had provided showing a mountain landscape. With the software Maya, the architects translated the in1age into a grid that resembled a topoguphic map. with darker tones indicating a denser grid. They then tI'正ll1slated this into a Rhino file to send to Cooper. The architects worked with Cooper to set the too1 path, programming the mill
to make cuts in the direction of the veneer 's grain first in order to minimize chipping or splintering. It took less than four days to l11i1l the 60-foot-long mural IfFreelandBuck's work in digitized architectural surfaces represents one mode of practice in Los Angeles. the art installations of the Ball-Nogues Studio represent another. Architects Benjamin Ball and Gaston Nogues. two SCI-Arc graduates. started working together in 2004. Ball had worked for Gehry before pursuing set design for fùm productions. while Nogues had spent much of his career working in digital design for Gehry (Ball says "everyone in L.A. is standi.ng on
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Continuinq Education To earn one AIA learning unit , -"";1 including one hour 01health , salety, and welfare (HSW) credit. read the entire "A Fet阳h for Fabricalion" story and complete Ihe test online at no charge at architecturalrecord .com. Upon passing the tes t. y口u will receive a certificate of completion and you r credit will be automatically reported to the AIA. Additional information rega rding credit reporting and continuing education requirel1、ents can be found online at ce.construction.com under "resources and requirements."
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Ball-Noques Studio is buildinq a CNC-milled plywood frame (opposite) that will mold 2 ,000 stalnless steel spheres into Talus Dome-a public art piece for the Clty of Edmonton, Alberta (above). After the dome's fabrlcatlon, the studio plans t。 install the frame at a slte near Yucca Valley and convert it into an elevated "crater" filled with water (Ieft).
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In a seminar held this past summer in SCI-Arc飞 Robot House (above), students conducted varlous actlvlties wlth rob。怡. including deformlng materials (above, left). In preparation for one final group demonstratlon. they created an algorithm that calculates the distance between the robots' arms, helping coordlnate movement (Ieft). bent into U-shapes on molds cut out by the CNC mill, will t h en be welded to adjace nt spheres to hold them in place. The dome will be fabricated in sections to allow it to be transported to Canada and assembled on-site , with no internal support mechanism s. Next yea r , Ball and Nogues are scheduled to undel飞 take an installation at SCI-Arιusing the Robott House. Ball has jokingly suggested that the robots be fitted with chain saws. There were no chain saws in Weiser 's summer seminar. In fact , there were few physical objects created. Instead , the students used the robots to explore synchronous movement, projection , sonic environments, weavin 吨 g， and mat， 臼 :e口 rial det 岛 orma 挝 tiωon 且1.
not an extension of th 挝 .e sh op," 臼 expla凶5 Testa. "It is a design environment." One ofthe key achievements ofthe seminar and t he prior SCI-Arc studios was t he creation of an interface between the VAL-3 programming language that controls robots and the arch itectural modeling software Maya. As part oftheir final presentation , M.Arch students
Brandon Kruysman , Jonathan Proto, and Curime Batliner used this so仕ware platform to produce a choreographed demonstration with three 5归chronously moving robots , a'忧empting to coordinate movement , sound , an d othel variables. 1Wo robots held projectors displaying video on the walls, while t he third robo t fi lmed the event. The students cr eated an algorithmbased program that determined the distance between the twO projection robots to modulate the tone and frequency of an ambient sound track. Each student manually contl'olled the preprogrammed sequence of an individual robot , r esulting in a few near-collisions. Testa expects t hat the tools will eventually be sophisticated enou gh to enable designer s to tightly control t he work spheres ofmultiple robots in complex spatial conditions. This would set the stage for robots moving out of the factOIγ and onto t he construction site , u ltimately allowing a much more adaptive and responsive design environm ent, where both architect and client can evaluate outcomes in r eal time. _
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Gehry's shoulders.") The architects are fabricating a public a rt piece t hey will install in Edmonton , Alberta, later this year. Called Talus Dome , the installation consists of approximateIy 2, 000 stainless steel spheres that range from 8 to 30 inches in diameter and are interconnected and self-supported in place Ball and Nogues used their own CNC mill to fabricate the t imber frame that will serve as the dome's mo!d. If all goes as p!anned, the freestanding , self二supported 30-foot-tall mold will then be reused as an e!evated aquatic basin for a proposed project called Yucca Crater to be installed near Yucca Valley, California , for the nonprofit arts group High Desert Test Sites To create the dome - which Ball describes as a happy medium between a pile of sand and a parabolic sphere - the architects are lining the frame with t hin plywood and stacking the spheres a long the interior surface. ..斗Ve have not been able to fmd a piece of software to predict with any accuracy how these spheres will stack," says Nogues. Steel connector plates,
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design usually includes an imegrated approach ro reducing not only energy consumption but a1so water consumption. The reason for this seems readily apparent; water is an increasingly precious commodity with competition emergll1 g among manyιommun ltIes， cities and states to secure adequate warer supplies for their growing populations But there is also a signifìcant use of energy involved in the movemem and processing of wate r. As a result, architects and engineers involved in green building design are already quite familiar with how to address water consumption in bathroom fìxtures such as sinks, toilets and showers, since these are covered in most green building rating systems and codes. However, rhere is another opportunity to help control water consumption, particularly in residential buildings of all types- multi-family as well as single fami ly. That opporrunity rests in the appliances that use water and are designed and specified into kitchen and laundry situations in a manner that efficienrly promotes water and energy conservation rather than consumption. WATER USE, ENERGY AND SUSTAI NAB I Ll TY Looking at the big picture, there are several ways to think about water use in this coumry. A.ccording to the U.S. Environmemal Protection Agency (EPA) more than 240 million people in the U. S. (approximately 85 percent ofhouseholds) depend on public water supply systems, requiring the withdrawal of more than 43 billion gallons of water every day. T his is quite dramatic when compared [0 the approximately 15 percem of housel> olds that are self supplied (i.e., from private wells) and use only 4 billion gallons of water per day. H istorically, nearly 60 percent of the public supply is delivered to households while the rest goes to other buildings or public uses such as street c1 eaning, swimming pools, etc. Not to be overlooked is the additional water used by e1ectric power plants which typically use 136 billion gallons of fresh water per day across the country during the production of energy from fossil fuels , nuclear or geothermal sources. G enerally,
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warer wirhdrawn for power plants is used for cooling purposes within the plant and obviously would be needed less if less energy were being generated. T he EPA notes that with the U. S. population doubling over the past 50 years , our thirst for water tripling, and at least 36 states facing water shortages by 2013, the need to conserve water is becoming more and more critical. From an environmemal standpoint , this increasing demand for water in the United States creates the need [0 build more dams, dig more wells and make more withdrawals from natural water bodies. This trend and the failure to use water efficiencly can hurt our natural water sllpply by altering water f1 0ws due to excessive withdrawals, causing contaminams to intrude into freshwater aquifers and wells dlle to excessive withdrawals, and creating the need to build additional dams. Dams generate nonpoint source pollution by trapping sediment and other pollutants, affecting water quality both lIpstream and downstream. Conversely,
some of rhe environmemal benefìrs rnar are aided by water effìciency include the reduced need to construct additional dams and reservoirs, fewer sewage system fai lures from overwhelming input, and the reduced need to construct addirional water and wastewater treatment facilities. When it comes [0 water use in buildings, it is widely held that water conservation measures are one of the most immediate and cost-effective sustai nable choices that can be implemented. There are several reasons for this. First, as soon as water consumption is reduced in a building, the effects for the building owner and the water supply systems are immediate. Similarly, the effects on the wastewater treatmem system associated with that water use also decrease immediately. Second, there is typically very litcle if any cost increase for water systems, fixtures and appliances that use less water to accomplish the same task or function as less effìcient ones, all e1se being equal. Cercainly there are choices among any water-using item that
Making some informed choices abollt water-using nxtures and applian臼s can yield notable savÎngs in water and energy use Beyond basic water conservation measures, it is importam to realize that it takes a signifìcam amoum of energy to deliver, treat and process water. Most people realize that hot water uses up energy, but supplying and treating cold water requires a signifìcam amOllm of energyωo.Any given building needs to access and acquire potable water from someplace, even ifit is on-site. That will usually involve energy for pumping and sωring water. To assure good health, that stored water will be treated in some fashion, usually with energy imensive chemicals to either remove unwamed material or address organic concerns. Once treated, the water again 陀quires some energy to move it to a higher or pressurized location to service the building. Experts tell us that anywhere between 5 and 25 BTUs of energy are required per gallon just to bdng the water
imo a building. But the process doesn't end there. Once inside the building, the water is used in bathroom or kitchen fixcures and! also in applianαs such as dishwashers and c10thes washing machines. After that use is complete, the water then needs to drain and/or be pumped to an appropriate water treatment facility. 1n most cases, that is a central or municipal sewage treatment plant which is commonly very energy imensive by nature. This is due to the rawenergy needed to operate the plam effectively plus the faCt that it is in constam use, 24 hours a day, 7 days a week, 52 weeks a year, every y臼L Recognizing all of the aspects of this process , the U. S. Department of Energy has noted that roughly 80 percent of water costs are associated with the energy used in the process. To be more specifìc, they note that American public water supply and treatmem facilities consume about 56 billion kilowatt-hours (kWh) per year-enough electricity to power more than 5 million homes for an entire year. As an i Ilustration, it is noted that letting a faucet run for only five minutes uses about the same amount of energy as turning on a 60-watt 1ight bulb for a full 14 hours. Further, if only 1 perαm of all American hOllseholds reduced their water use appreciably, then about 100 million kWh of e1ectricity could be saved per year. That level alone would avoid 80,000 ton5 of greenhouse 伊 emissions-equivalent to removing nearly 15,000 automobiles from the road for one year.
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systems." The LEED scoring system direcdy addresses only bathroom fixrures. Although appliances aren't specifìcaIly considered , it is possible that a bllilding that has a signifìcam water use for laundry or dishwashing could be a candidate for an innovative green building strategy and resulting LEED points if enough water savings can be shown. America n C ouncil fo r a n En ergy-Effìcient Economy (ACEEE). This nonprofit organization is dedicated to advancing energy efficiency and promoting economic prosperity, energy s哩curity and environmental protection. ACEEE carries out its mission by conducting in-depth technical and policy analyses plllS working collaboratively with businesses, government officials, public interest groups and omer organizations. It also eduαtes businesses and cons山ners through repor囚， books, conference proceedings, media outreach and a fairly comprehensive web site. ACEEE's technical work is widely relied upon by policymakers, business and industry decisionmakers, consumers, the media, and omer energy professionals ENERGY STAR" is a government-backed program through the U.S. Department of Energy (DOE) that is helping businesses a nd individuals protect the environment through superior energy efficiency. The ENERGY STAR. label is granted to products and appliances that are shown to meet specifìc reductions in energy and water use compared to standard products and appliances. They have produced a 1ist of typical e1 ectri.city use, for example, for appliances including those shown for clothes washers and dishwashers as shown in the table below. ENERGY STAR also provides a summary of the most effìcient clothes washers for 2011 on their website. 1
Since water conservation is 50 c1early signifìcam in all buildings, it is easy to see why programs, codes and Typical Household Electricity standards have emerged to Usage Related to Water-Using Appliances address implementation of water Eleclricily Appliance Cosl$/yr C02 lbs/yr conservation measures. Some of kWb/yr these are discussed below: Clotbes Wasber 1,080 $86 1,544 (ind. bOI waler) U.S. Green Building Council Clothes Washer $8 142 99 (USGBC). The USGBC Leadership (excl. bot water) in Energy and Environmental Demand water 350 $28 501 heater (electric) Design (LEED") program states that the intem of the Water Dishwasher $75 1,337 935 Effìciency credit is to "increase (ind. bot water) water efficiency within buildings Dishwasher 330 $26 472 (excl. bot watcr) tO redllce the burden on mllnicipal water supply and wastewater 5ource: U.5. Deparrmenr of Energy - ENERGY 5TAR. Program.
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range in cost depending on other features a nd characteristics. H owever, comparing just the cOSt of the water-conservation f白tures between similar items is usually found to be very favorable. Since the average household spends as much as $500 per year on its water and sewer bill, making a few simple changes to use water more efficiendy could readily save about one third or $170 per year. The EPA estimates that if all U. S. hOllseholds installed water-efficiem appliances, the coumry wOllld save more than 3 trillion ga Ilons of water and more than $18 bi Il ion per year.
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The Consortium for Energy Efficiency information and support on effícient and temperatures mean less energy is used on an ongoing basis with the higher temperarure (CEE). This nonprofit public benefit attractive design of cornmon laundry rooms. corporation develops initiatives for its Each of these organizations have creared only for the intermittent needs of contributed tO the understanding and North American members to promote the dishwasher. Speci马ing a dishwasher that the rnanufacture and purchase of application of water conservation and requires less water to be heated and used will result in more efficient operation. ENERGY energy-effìcient products and services. energy reduction in appliances and they Their stated goal is to induce lasting are referenced further in the discussion on STAR dishwashers use about 4 gallons or specific appliance types below less of water per load, compared to standard structural and behavioral changes in the rnarketphce, resulting in the increased machines that use about 6 gallons or rnore. By comparison, hand washing generally uses adop[Î on of energy-efficient technologies. EffLCIENCY LN DISHWASHERS CEE members include utili[Îes , statewide about 20 gallons of water. and regional market transformation According to CEE, approximately The ACEEE explains that dishwashers adrninistrators, environmental groups , 60 percent of A rnerican homes have for residential use fall into two basic dishwashers and account for 2 .5 percent categories- food-disposing where research organizations and state energy particles are drained with the rinse water of total residential energy use or 24,000 offíces in the U.S. and Canada. AIso gigawatt hOllrs (GWh) of energy per year. and non-food disposing models where contribll ting to the collaborative process are particles are collected in a strainer that CEE parmers-manufacturers, retailers and They go on to point Ollt that a m勾ority government agencies. The U.S. D epartment of the energy llsage in dishwashers occurs must be emptied and rinsed manually. The of Energy and Environmental majority of American manufacturers make Protection Agency both provide support through food-disposing rnachines. ~achinesin active participation as well as funding. CEE has established bmh categories may or the Super-Efficient Home rnay not have a filter, Appliance Initiative (SEHA) which generally comes as a natÎonal program III two types- coarse designed (0 stiml! I:J,te or fìne. With coarse manufacturer a nd consumer filters , food particles stay in suspension and interest in highly efficient horne appliances. Launched in can be re-deposited onto 1997, it provides a nationally dishes after washing. recognized definicion of As a result, a larger arnount of ri nse water "super-efficiency" th rough the is typically needed than establishment of perforrnance tiers that urilities can in fìne fìltered models. Fine fílter models voluncarily adopt for use generally have less food in local programs. As such, re-deposited, as most SEHA seeks to provide early ... particles a陀 fì Itered ou t markets for che mosc energy·也‘二 -11'-，"， Water use in a dishwasher is heavily dependenr on its design while energy 旧eh皿 a lot to do with saving home appliances. prior to re-circulation cycle selection. Manulàcmrersι回 maximize the wash and rinse tem阴阳tu.res in order to 陀duc巳 in the wash cycle. ene岱F 时ed in each cycle The Multi-housing Laundry Approximately half of the Association (岛1LA). This professional during the hot water and the dry cycle, d ishwashers sold are fine-fíltered rnodels and group of laundry service providers , wirh the hot water cycle providing the most half have coarse fílters or none at all. manufacturers and aff、ìliated companies sign的cant portion. Typically, a domesric is dedicared ro making mlllti-housing water heater supplies the initial hot warer to Continues at ce.architecturalrecord.com laundry service an actracrive, profirable the dishwasher. H owever, all dishwashers manufactured in the U.S. have a booster Peter j. A l'senau!t, FAJA , NCA凹， LEEDand responsible alternative for property owners and managers. They poinc our that heater tha< funher raises and maincains AJ气 is a practicing al'chitect, sustainability consuftant and freeLance writer based in N ew saving warer is just the beginning. ~LA the water temperature. That is acrually a YOI.k State member companies can help make laundry good thing, because it allows domestic hm rooms an amenity that actually atcracts water heater remperatures to be curned new residents and helps with the retention down to around 120 degrees , instead of See Quiz on rhe Nexr Page or of current residenrs. The ~LA maintains a the higher temperatures usually desired Take rhe Quiz Free Online website a t www.laundrywise.com that offers fOf dish washing. The lower water hearer 二、唁
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Program [Îde: " Water-Conserving Appliances" (10/11, p咿 105). A IA/CES Cred it: This anicle will eam you one A IA/CES LU hour of health, safety, and welfare/s山rainable design (I- ISWJSO) credit. (Valid for credit through Octob盯 2013). Dir弩ctions: Refer to the Learning Objectiv臼 for this program. Selec( one answ町 foreach q ue.srion in the exam and 后11 in t hebox by the appropriate Ic([el'. A rn inimum score of800/0 陈 required (Q earn credj[. To rake d由回应 online and avoid handling charge, go '0 ce.arehitectur祉record.ωm
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1. Ir is widdy held 由atoneof由e most irnmed.ia te and cost-dfc甜ve susrainable choiccs rha can be implen田.ted in buildin萨 is: 口a.
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回 Electrolux
Recognized mro llgho llt E lI rope as the gold st a ndard of appliancω， E1 ectrol l1x a ppliances h ave b een lIsed in fÌne European ho m cs and restaurants for more [han 80 years . With 120 d esig ne rs a t six d esig n cemers o n fÌve continents , Elcctrolux a ppliances featurc a u lI ly unique d巳sign and qllaliry that have set the s tand ard i n thc appliance indu suy. 丁。 learn m ore about Electrolux, p lease visit electroluxappliances.com
CIRCL.E 27
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To rec臼ve AIA/CES credit, you a陀 r叫uired tO read the entire article and pass the test. Go tO 臼.archi阻c[uralrecord.com forωmplete t口t and tO take the teSL 』The quiz questions belo附 include informat ion from this online reading.
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lf Affordable he Resilient Floorζovering Institute (RFCI) is a North American industry trade association
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whose members are the leading resilient flooring manufacturers and suppliers of raw materials, additives, and sundry flooring products for the North American market. Resilient flooring manufactured by RFCI members is all about sustainability, durability, affordability, and
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encompassing a surprisingly wide variety of hard surface flooring products - from vinyl and linoleum t o rubber and cork.
Versatile Resilient flooring is not only a great choice for versatile, cost e仔ective f1 00ring solutions - it's also a great choice for the environmen t. RFCI is leading the way in sustainability with our third-party certification programs and standards including the popular FloorScoreo& program and the new NSF 332 Sustainability Assessment for Resilient Flooring, a multi-attribute, Life Cycle Assessment based program. Visit our website at www.RFC l.com to learn more about the sustainability of resilient f1 ooring.
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AIA/CES Learning Unit. including one hour ofhealth safety welfare and sustainable design cred it. answcr the qu出口。ns on page 115. rhen follow the reporring instructions ör go to ce.a rchitecturalrecord.com and follow the reporting instructions. Learning O bjectives Afrer reading this article. you should be able ro:
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- Identify he cri eria used ' 0 deline sustainabil i y in resilient Rooring under the standard -Dif!社rentiate and distingllish among different levels of sustainability for
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resiliem Roori ng using the new s andard.
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- Investigate d ifFerent approaches tha manufacturers and suppliers of resilient Rooring can take toward creatingsustainable resilient Aooring products. - Analyze and a且e55 the 511stainability of speci且c resiliem Rooring products based on ht ir scort under hc standard
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Within Standard 332 , resilient floo ring is specifìcally delìne d as "a floor surfacing material made in sheet or tile form , or formed in place as a seamless mat盯ial that h臼 a wearing surface that ís not textíle.>> The resílíent f1 00ríng above has the appearan ce of stone, bllt is not
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by t由 heir manufact川 urerωs of being "green" or "sustainable" have become increasingly common. Some of t hese claims have been readily discernable and verifiable while others have been more diff icult to evaluate. In certaln cases , comroversy has arise n between those making the claims , such as manufacturers , and those trying to make objective , informed , design d ecisio ns such as a rchitects and inte rior designers. Tn t he case of resilient flooring , in particular,
selecring floor coverings for green and sustainable buildings , a new nationaI standard has been developed. NSF/ ANSI STANDARD 332-2010 SUSTAI NABIL口Y ASSESSMENT NSF Imernational (formerly the National Sanitation Foundation) is an independent, not-for-profìt standards developer that has d eveloped a new sustainability assessmenr standard for resilienr floor coverings chat has also been approved by the American N ational Standards Institute (ANSI) as meeting the ANSI stand ardsening requiremenrs. T he new NSF American N arional Standard 332-2010 "S ustainability Assessmenr Srandard for Resilient Floor Coverings" (NSF 332) can now be used by architects, d esigners, owners, faciliry managers and end users to determine for themselves the reliability of the sustainability attributes of a range of resilienr f100ring producrs. While the standard is offered as a self-assessment for manufacturers, its credibility is derived from having been developed through the open , consensus-based ANSI process with public
review and inpuL Further, optional thirdparty cerrifìcation under rhis standard offers specifìers the highest level of confìdence and credibilicy in a market that has no shortage of green claims. The goal is to make it easier to evaluate rhe sustainability profìle of resilienr floor coverings, and to enable rhe resilient floor covering industry to offer f100ring products with increased sustainability. In rhe broadest sense, resiliem flooring is usually deAned as a hard surface fJooring material bur with some 飞ive" or "resilience" when walked on that bounces right back to its original configuration. Within Standard 332, resilienr flooring is specifìcally defìned as "a floor surfacing m aterial made in sheet or tile form , or formed in place as a seamless marerial that has a wearing surf二ce that is not textile." A key distinction is that the wearing surface is non-textile such as would be found in carpets and covered under other stand ards. Examples of resilienr f100r coverings include vinyI tile, vinyl composition tile, sheet vinyl. luxury vinyl tiles and planks, cork, rubber, polymeric, and lino leum fJooring producrs. Also incl t+ded are accαsories such as wall base, moldings and stair treads N SF 332 is based on providing 飞 thorough communication ofinformation that is verifìable, accurate and not mislead ing about environ menral a nd social aspects associared with the producrion
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and use of resilient floor coverings." The srandard is "intended to be science based, provide transparency, and offer credibility for manufacturers in making claims of environmental preferability and sustainability, and to harmonize the principles and procedures used to support such claims." While che standard is intended to be used primarily by product manufacturers, it is expected that it wiU also be used by independent auditors, certification bodies and environmental labeling organizations, architects, designers, and purchasers in determ ining market-based environmental and sustainability claims. Overall, the standard offers a consistent approach to the evaluation and decermination of environmentally preferable and sustainable resilient f10 0r coverings and includes relevant criteria across the product's fulllife cycle from product design, through manufacturing, use and end-oιlife management. In addition to all of the above, the standard is deemed applicaible to producrs manufacrured in one faciliry or multiple facilit邸， one country or multiple countries. Under NSF Jea,dership NSF 332 was developed using rhe AN51 consensus-based process that included architects, academia, environmental program managers, the U.5. Environmental Protection Agency (EPA), state and federal agencies responsible for procurement practices, and fIooring manufacturers. The standard is built upon scientifìc principles including the International 5tandards Organization (150) 14000 series Environmemal 5tandards. lt took over three years to complete the process that included a two-year public comment and voting period. N5F 332 was fìrst released as a draft standard and ultimately received fìnal ANSI approval in 2010. The development committee included represematives from the Resiliem Floor Covering lnstitute (RFCI). RFCI is a nonprofit industry trade association representing the major manufacturers of resilient flooring, raw material suppliers and sundry product producers (e.g. adhesives). RFCI currendy works with Sciemific Cenification Systems (SCS) ro admin ister FloorScore. , which certifies hard-surface flooring complying with the indoor air quality program for VOC emissions under California Section 01350
The new NSF/ANSI Scandard 332-2010 looks ac all cyp出 of resilient f100ring (ιg. vinyl cile, VCT, sheec vinyl, polyme肌 rubber， cork, linoleum f1oorin g). (CDPH/EHLB Stnadard method V T.lFebruary 2010) and LEED IEQ 4.1 and 4.3. Hundreds of hard-surface f1 00ring materials and adhesives currendy bear the FloorScore. seal.
UNDERSTANDING N SF/ANS I STN叶 DARD 332 From the outset, the intent was to develop a cOl1l prehensive standard that looked at mulriple criteria so rhar producrs could be assessed based on multiple attributes of thar product, not just a single atrribute. 5ingleattribute standards serve a purpose but mulri-attribute srandards are regarded as more indicative of deterl1lining such things as an Environmentally Preferable Producr (EPP) as mandared by many governmem agencies. NSF 332 , which uses rhe multiattribute approach, is responsive ro markec requests for a more cOl1l prehensive rool just as FloorScore. responded to l1larket demands for l1leasuring VOC emissions which impact indoor air quality. Criteria Category Groupings Six categories of potemial environmental impacr ro be evaluared are included in NSF 332. The criteria are grouped in general conforl1lance wirh a product's life cycle, from design (i ncluding raw material selecrion and their production) (0 manufacturing, use and end of life. Additionally, criteria related to corporate governance are included to address issues of
social responsibility. The six categories are as follows: 1) Product design that encourages manufacrurers to integrare environmental and life-cycle rhinking into the product's design process 2) Producr manufacruring processes rhar encour
1ρng-term value encouraging manufacrurers to l1laxi l1lize product longevity
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End-oιlife management encouraging existing and new resilient flooring products to be collected, processed, recycled, and/or composted within the existing material's recycling infrastrucrure
5) Corporate governance encouraging corporare social responsibiliry in the form of providing a desirable workplace, being involved in the local community, and demonstrating financial health 6) Innovation (optional) ω glve manufacrurers the opponunity to be awarded points for exceprionaI performance above the requirements set forth in NSF 332 Scorin g 如fethodology
For resilient flooring manufacturers that choose ro assess the sustainabiliry performance of their products in accordance with this standard, a poim-based scoring system
has been developed. The system is based on a 90-poim scale with a varying number of poims assigned [0 accomplishing each of the assessmem caregories. Note that the lnnovation category is optional and allows for 10 bonus points beyond the 90 available in the other categories for a rotal maximum potential score of up to 100 points. The category poim breakdown is as follows:
Environmental considerations in design. The manufacturer must implement an environmental assessment program witihin the product(s) design and development system. The program shall consider the environmental attributes and impacts ofits products and packaging, including issues such as designing for longevity, designing for reusability, and designing for recyclability and/or compostability. The environmental assessment program shall consider environmental
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baseline criteria from which a product can then be judged funher for sustainability under NSF 332. The fìrst three prerequisites are in the Product Design Categoryas follows:
at those levels must be determined for a coordinated design. lt is also imponant [0 note that these levels of sustainability can be specifìed independendy of any other sustainability goals for the project such as LEED certifìcation through the U. S. Green Building Council and GREEN GLOBES green building certifìcation. This approach using defìned levels of conformance was developed so that sustainability principals could be attainable by companies regardless of size or number of manufacturing plants. No饨， however, that certification is for specific products made at speci 白c plams. The same product made at a differem plant which is not pan of the cenifìcation process cannot bear the standard 's certi fìcation.
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attributes and impacts of products and packaging across the entire product's life cycle (e.g. , raw material extraction, manufacruring, use and end oflife). Inven tory of material inputs. The rnanufacturer rnust complete an inventory of material inputs for the product(s) undergoing assessmem including packaging and recommended adhesive systems. At a minimum, the inventory shall 陀port inputs by using Chemical Abstract Service (CAS) nomenclature, with inputs classifìed as hazardous declared ro a minimum 1000 ppm (0.1 percent) threshold and other inputs to 10,000 ppm (1.0 percem) threshold. (
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Prog ram t itle: uAssessing Resilient Flooring 阳 Sustainability" (10/11 , page 11 1). AIA/CES C redit: 11 is article wilI eam you o ne AIA/CES LU hOllr ofheaIth, safety, and weifare/sllstainable design (HSW/SD) credi t. (飞'al id for credit th l'oug h October 2013). Directions: Refer tO [he Leaming Objec[ives for [his program . Select one a nswer for each question in [he exa m and 自11 in d1e box by rhe appropria(e lc[[cr. A m inimmn SCQre of800/0 附 required [0 咀m crediL To taJ也由is 阻st online and avoid handling charg冉 goto 四.ar吐li田:ruralreωrd.ωm
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才 brand new s i s t e r Ins i de : World Festival of Inter 土 ors fest 土val
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[Q fOCl川our srudy as yOll read 飞" ‘国 Innovations in Colo r and Texture. To earn one A IA/CES Learn ing Uni[，川dllding one hour ofhealth safety welfare credit, answer the questions on page 122, rhen fol1ow rhe reporting insrructions or go ro ce.arc hitecturaJrecord.com and follow the reporting insrructions
Le aming Objectives Afrer r也ding this article , you should be able [0: - Discuss rhe gcneral e fFecrs of color and texrure on archirecru re in both aesthetÎc and funccio nal terms. - Describe rrends in rhe applicarion of color and texru陀 ro rypical archirecrural materials , surfdces and finishes.
- Lisr methods for applying color and texture to such surf坦c臼 as laminatcs and glass - Apply rrends in end-uscr needs , building uses, and colorltexrure selecrion to building design siruations.
INNOVATIONS IN COLORAND TEXTURE EXPRESSIVE CAPAB I Ll T IES FORARCHITECTURAL SURFACES By C. ι Sullivan
A白… m K 叫山巾川川… sdrωωs 剑阳川 tru … 旧Cαω u …… 阳川… … tωM 川…优… u m…叫忡 t印y 忖 肘i the essence of architecture. Surfaces play a large role in articularing materiality, wirh equal comributions of lighr, color and rexture giving buildings rheir u n ique characrer. Louis Kahn poericaIly described these imertwined relarionships: ''AIl marerial in naru眩， the mounrains and the streams and the air and we, are made ofLight which has been spent, and rhis crumpled mass called mareriaJ casts a shad ow, and 出e shadow belongs ro Lighr." Applied as architecrure, rhar marerial is essential ro the resu lr. "Colors and rexru陀S can nor be seen independenrI y of design inrenr," says Jack Diamond, principal ar Diamond and Schmirr Archirecrs ofToronro. "Qnce rhe objectives for a b l.lild ing projecr are esrablished, colors and texru陀s become an inregral means of achieving design ends."
A dramatic residemi'll building in Barletta, ltaly, employs a double-Iayered rainscreen of durable panels tO add tex:tu陀 and oolo r. Architect: Michele Sfregola
Color is inherenr ro m arerialiry and can also be applied as archirecrural surface or fìnish. ln eimer case, it makes a significanr conrriburion-one losr on roo many minimalisr architecrs oflate. "Color makes visible rhe sparial effecr roward which archirecture rends," said Theo Van Doesburg, rhe Dutιh arrisr, archirecr and D e Sr与l pioneer. "Color is an expressi\吧 m areriaJ equivaJenr ro omer
1n addirion to hand-applied polished plaster wall fìnish白， a new pre" cast, panelized approach can be 山。d toα也te seamless sculptural wall marerials like srone , iron, or glass." ;~Xt;;凹. Th is muted texrured wall is of总et by a vibram jolr ofcolor Even more, "Color is a major elemenr in scale," wrote Van D ay Truex, rhe ofc ∞ 010 町rml仪 xmg influenrial Parsons presidenr an d Tiffany's lmpo 创rtωant eler盯 menr臼s. Whemer light or dark, design direcror 丘om 1955 to 1962. ''A smaIl litde value ∞ntrast makes for 山1ity， and sharper room can have a larger look by rhe use of conrrasr makes for srronger punctuation," said dosely relared val l.les, h l.les, and in rensir沪 A 出e Mad Men-era designer, Truex. Looking ro rhe exisring conrexr offers large room can be made ro look smaller by a backdrop for the new color choice, marked conrrasrs of color and value, hue, and inrensiry." says Viñoly's Wrigh r. "D epending on When archirects selecr sllrface marerial, the situation and the design goals, the color and rexture, much more is ar srake designer will seek ro align rhe new colors rh an a mere srylisric choice. Forrunarely, new and rexrures ro the old, or she may wish ro conrrasr and play off rhe o ld. Somerimes rechniques and rechnologies mal王e almosr any rype of expression possible. Whar follows rhe inrroducrion of a new and srartling is a brief examinarion of some of rhe laresr color or rexrure serves to bring a heighrened appreciation of the existing," he says. advances and llnderlying principles for their use in archirecrure. Manufacrurers restrict their color palettes for pracricaI reasons. Pigmenrarion and SELECTI NG HUES dyes are cos cIy (see "Color PrognosrÎCarors" sidebar in rhe online version of rhis comse), For practical reasons, both architects and and experience shows that specifìers and marerial suppliers limir rhe number of end-users prefer to choose from a pre-edired colors considered for a given architecrural paletre or have marching hues made to order. "Five rhousand colors is simply [00 many applicarion. One of rhe primary delimiters is rhe sllrrollnding condirion. "Color and to choose from. We've focused on a standard rexrure choices are highly conrexr-driven ," color range of about 350 hues, but recognize nores Sreven Wrighr, AIA , LEED AP, mar cusrom color-marching is always a project manager with Rafael Viñoly needed," says Shawn Tweedy, chief operating offìcer for Armourcoat, a distributor of Archirects. "Largely they are influenced by the regional and specifìc locale. And, decorarive fìnishes including polished plaster, a hisroricaI wall rrearmenr technique sti Il of course, rhe clienr may have certain requiremenrs, such as brand colors." used widely today. "A crirÎCal issue is being able ro offer a custom soIution: to provide rhe Combinarions of∞lors may also be exacr color, hue and rexrure." similarly limired, by considering 出e effecrs
INTRODUCING 16 N(;:W TACTIL(;:
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Tn addition co focusingon bespoke solutions , leading design teams and cheir suppliers shortlist colors and textur臼 uSll1g an iterative process of surveying market feedback. "Based on external research in architecture and a句aαnt fields such 挝 design and fashion- c1 oching, furnicure, interior, aucomocive- and through specifìc discussions with global trend watchers, we idencify a selection of possible future trends," says Remon Veraart, d ireccor-Americas for Trespa , which makes exterior c1addings. "The rrends are discussed in workshops wich archicects in Europe, Asia and che USA co idencify che mo虹 capcivating curren句 on the marker." The company's in-house designers then translate the selected trends inco producc colors, cextures and full façade design systems , adds Veraart. C OLOR TRENDS: RICH N EUTRALS The investmenc in market research and expert advice pays o ff, say those in the building materials supply chain. "We must follow the palette of the cimes, and fìt withi n what￥ happening in the market," says 5cephanie Goudreau, marketing manager for l.aminArt, a supplier ofdecoracive high-pressure laminate (H PL). Recently Go叫reau has noted a crend back towards neutral colors, "But very interestÎng neurra!s such as greys and beiges, wich undercones or hincs ofcoloracions such
as taupes, blues or mauves. Abstracc princs and wood grains also cend co combine warm and cool rones in the same design, making them swtable 也r both cool and warm color palettes." Warm neutrals primarily include beiges and tans, while the most common cool neutral is gray. Other cool neutrals include white and green "We've seen an overall shift in che neutral base color palecte," confirms M arybeth Orlando , interior design director with the firm The Architectur al Team. "lnstead of cooler, minimalist grays, clients are opcing for classic warmer beiges for both interior and exterior materials." These warmer tones tend to work well with wood finishes and ocher natural palectes that have a biophilic effect, exploiting the connection thac humans have with nature and nacural forms. "Eanh tones never go our of style , panicularly given our culture's concern tod ay with natural materials, the environment and the out-oιdoors ，" says Katie Grimwood , an interior designer with TowerPinkster Architects Engineers. "Particularly in colder climates , bringing the outside in becomes a strong design concepr. In fact , brown has really become che new black in many sectings." Yet many of the prediccors of trendy, fashionable colors cut against th is naruralisc , neurral grain. " R ight
now, according co the Seprember issue of 协'gue， color is in : brighr mix-andmatch ," says Jill Pilaroscia, IACC , a color expert and principal of Colour Stucl. io, l nc. "Red panrs with yellow shoes , with an emerald green accessory or blouse , is acceptable. This trend wi ll resu lt in more colorful interior environments , but ir will nor translate well into functional environments like healthcare or schools as t rends wi ll not support the specific behaviors and tasks that should drive public spaces."
"Color is an expressive material equivalent to other materials like stone, iron , or glass.)) - Theo ~句n Doesburg
50 while mainstream architectu re may not favor such Fauvist fancy, the mixing of colors and textures is now tending toward the higher value contrasts described by Truex. "Along with wa rmer neutrals , we are injecting bolder accents of colo r. Our once timid , muted accents are coming alive w ith more daring expressions of color and texture," sa ys Orlando. Examples include wood finishes with more pop , says Trespa's Veraart, such as zebrawood. As for textu re , the latest consu mer trends point to more variety and daring, adds Pilaroscia , an accredited color consultant who lectures freq uenrly on theory and application. " For example , West Elm is offering accessory pillows in fur, rextured felt and prinred sa ti n th is season- the fu 11 range at hand," she explains. "Contract finishes include carpet tiles in a variety of neutrals w ith bold accents t hat pattern in unconventional ways. Some look like EKG tesrs or scoc k marker f1 uc tuarions." ~Continu国 at ce.archit忍cturalreωrd.com
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比WI Design a new Rhythm to create the unexpected Fascinating rhythms in shapes, Iines and patterns can portray a range of emotions. 卫lese patterns change as Iight plays across a facade . . . highlighting an unexpected array here, a surprising texture there. Intricate patterns and thoughtful color choices amuse the eye and help connect with people on an emotionallevel. τhe Rhythm concept from Trespa fosters an exciting diversity of possibilities leading to classic and timeless design that willlast forever. For more information: www.trespa.com/ na
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To re ceive AIAlC E S credit, )'ou are req uired to read
Program [jtlc: "lnnovatjons in Color and Texture" (1 0111, page 1 1η AIA/CES Crcdit 刊is arriclc will carn you onc AIA/CES LU hour of hcalth , safcty and wclfårc (HSW) crcdit (Valid forεredit through Ocrob盯 201 3). Directi。因: Refer [0 出e Learning Objectives for t his program. Selec[ one answer for each quesrÎon in rhe exam and fill Ìl1 the box by the appropria[(:' let町. A minimum score of 800/0 is required (0 earn cred ir. 1'0 takc 也is test online and avoid h皿dlingcharge， go 阳面.architoctur世record.com
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ARCHITECTURAL RECORD
OCTOBER 2011
129
KITCHEN & BATH REVIEW OUR ANNUAL REVIEW OF KITCHEN AND BATH DESIGN INCLUDES A MANHATTAN APARTMENT FINISHED IN LOCAL MATERIALS , A CHALLENGING KITCHEN RENOVATION IN MONTREAL'S HABITAT 67, AND A LAND-WORTHY KITCHEN AND MASTER BATH FOR A PRIVATE YACHT. RITA CATINELLA ORRELL
Madison Square Apartment New York Ci ty Arch itect David Bucovy Architect
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AS PART OF HIS close collaboration, Brooklyn-based architect David Bucovy helped scout an apartment for his client, a Swedish businessman in love with New York City. The w indows in the carefully cbosen pied-à-terre at Five East 乱venty-second St reet overlook Madison Square park, with its lush greenery, Shake Shack burger stand, and changing public art installations. Once tbe cinematic Flatiron district was chosen, Bucovy stripped the 1980s co-op apartment down to tbe slabs and oversaw a gut renovation. He kept the palette spare but inc1uded small, 111eaningful details and locally sourced materials New bleacbed and pickled white oak floors and whitewashed walls complement the owner's bright artwork, Ii ke Woody A lIen 1110vie posters with Swedish titles. "The white palette gives primacy to the views and the lig ht," says Bucovy. The three-bedroom, three-bathroom unit has an open kitchen that dissolves into the shared living space. Custom cabinetry sprayed with a catalyzed lacquer hides under a recycled glass and concrete countertop manufactured in Brooklyn. Behind t he stove, Bucovy added a glass backsplash and a minill1al hoOO. The kitchen island nods to New York City's history, making use of reclaimed yellow pine bea111S from the Putnam Rolling Ladder Company (in operation since 1905) The c1 ient travels to the city often on business and wanted a comfortable p lace for his family to stay. A child's bedroom and bath off the kitchen allowed Bucovy to exp eriment. He insta lled fiberoptic lights in a starry sky pattern on the sh ower ceilin g , referencing the family's cottage on the watel in Sweden. "1 like to put these special touches in for people ," he says. A desk sits in an office alcove that
acts as a light box when an aquacolored sliding acηlic door closes it offfrom the living room. Crossing the threshold of the 111aster bathrooll1, ll1ade of the blue mineral sodalite, is akin to being transported to the bottom of a swi ll1111ing pool. B1ue glass mosaic tiles line the walls and floor LEDs around t he perimeter ofthe room enhance the watery shimmer. As in tbe kitcben, lacquered , custom-milled cabinetry keeps toiletries and towels hidden away to maintain the quiet. Laura Raskin
2. Blue qlass mosaics and LEDs qlve the apartment's master bath a poolllke aura. 3. A sweeplnq modern vent hood and a qlass backsplash are surrounded by a concrete and recycled qlass countertop. 4. Bleached white oak floors contrast with a kitchen island made of loc剖， reclaimed yellow pine.
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ARCHITECT: Oavid Bucovy Archilect GENERAL CONTRACTOR: SM Conslruclion
COOKTOP, OVEN , DRAWER, MICROWAVE: Viking MILLWORKER: Soulh Slope Woodworks
SOURCES
KITCHEN SINK: Blanco
KITCHEN FLOOR: Fl ynn Cuslom Wood Floors COU NTERTOP: IceStone
TOILETS: Ouravil MASTER LAV: Welslyle PAINT: Benjamin Moore
VENT HOOD: Zephyr
MASTER BATH MOSAICS: Trend USA
Sky Yacht 055 , the Netherland5 Arch itect Mojo Stumer Associates CREATING A FUNCTIONAL, attract ive living space is hard enough on terra firma. So when a former client approached M句o Stumer Associates Architects to provide the interîors of a new, 165-foot yacht, the fïrm , which fì'equ ently does hîgh.end resîdentîal work, knew it would face a unique chal. lenge. Add to that the client's desire for an open, Modernist aesthetic in their four-bedroom , four.bathroom retreat on the hîgh seas, and you have a veritable architectural koan According to the architects, weig ht and size restrictions, and a need for things to be safely se. cured , presented major challenges in the pr句ect's planning stage "Everyth ing h ad to have a home, so to sp eak, where ît could be safely stored while the boat was movîng from port to port," says finll cofounder Mark Stumer. To achîeve the desîred stream. Iin ed look an d address the limitations the pr吗ect presented, the duo teamed up with the Netherlands.based company Heesen Yachts. Acquiescing to lîmitations sometimes proved
advantageous , the architects ex. plain. " By specifying thin gauge steel , rather t h an the originally specified sh eet m etal ," for example , including for surfaces in the k itchen and b atihrooms , "we were able to accommo date a lot more n atural stone throughout t he boat to meet the desîgn înten t," says Stumer . The countertop in t h e master bathroom is one such place wher e the luxur y of stone is afforded; a single slab of limestone nestles the his.and.hers sinks ther巳 Panels ofbacklit sandblasted glass beneath these sinks- and in the ceiling-provide the mast er bathroom's m aîn source oflight. In addi tion to these touches , the ship features an uncharacteristi. cally open floor plan. The kitchen is demar cated from other common spaces by r ecessed overhead l ighting and strategically placed ledges on the f100r plan巳 Removing walls typically found on yacht s creat ed a " lofì:like feeling ," say the ar chitects. " It allowed for more f1exibility," says StUlηer. 'vVe learned quite a bit on t his project." Asad Syrkett
ABOVE: Backlit fritted glass in the ceillng and under the his'and-hers sinks provides light in the master bathroom. LEFT: AII millwork and cabinetry in the kltchen have safety closures. A full-time chef uses the spacious kitchen. whlch Is also equipped for caterinq staff.
CREDITS ARCHITECT: Mojo Stumer Associates YACHT ENGINEER: Heesen Yachts SOURCES KITCHEN COUNTER: Corian
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THE 354 STACKED and interlocking concrete modules ofMoshe Safâie's landmark Habitat 67 housing pr<沙 ect in Montreal have t l'ansfonned it into a Mid-Century modern icon. Built for approximately $14 million U.S., the 238,OOO-square-toot pr付 ect is a permanent symbol of the success仇卫1 Expo 67 world's fair. For two businessmen who divide their time between New York and Montreal, living at Habitat 67 is part of an ove1'alllifestyle; they collect Expo 67 souvenirs, and most oftheir fu1'nishings and art are Mid-Centl.1 ry. When they purchased their condo in 2010, it had been striipped to its concrete shell for a renovation the previous 1'esidents had abandoned 气rve always envisaged tal
1. The center 01 the apartment is a double-heiqht kltchen Iramed by a st aircase and floatinq passerelle 01 slatted European whlte oak. 2. Three 01 the stacked concrete modules 01 Moshe Saldie's landmark Habitat 67 project make up the apartment. 3. A photo 01 the Interlor 01 a similar apartment in Habitat 67, clrca 1967.
and exhaust was an issue. as it was not possible to feed them under the floor." says Bulthaup. "This dictated that the sink and the fridge needed to be against the wall and that the air extractor had to be integrated into the island and t hen ducted through a raised f1oor." For Peart and his partner. it was just part of the process. "One ofthe greatest attributes of Habitat 67 is t hat each homeowner can truly m ake it his 0 W11." Rita Cat汹.ella O付elI
CREDITS ARCHITECT: bultha Ll p Toronto - Antje Bulthaup, principai; Richard Keyes , designer INTERIOR DESIGN: Maria di loia, Idea Design SOURCES CABINETS, COUNTERTOPS. SINK. RECESSED Ll GHTING, TAP: bulthaup
PENDANT Ll GHTING: Tom Dixon DISHWASHER: Miele OVENS, INDUCTION COOKTOP: Gaggenau DOWNDRAFT EXHAUST: Wolf FRIDGE/FREEZER: Li ebherr WOODWORK: Standard Marc Company
132
ARCHITECTURAL RECORD
OCTOBER 2011
WATER-CONSERVING BATHROOM PRODUCTS
BASYS Sensor Faucets Sloan Valve Company sloanvalve.com The BASYS sensor-activated commercial faucet line includes five deck-mounted and one wallmounted model with three spray-rnodule options, two sensing-technology options, and fOUl' power choices, including battery, hardwire , sola1', and tu1'b ine. An interchangeable crown offe rs advanced features such as solar panels 01' an LCD display that provides wash times and water temperatures. CIRCLE 204
Katalyst Spray Technology Kohler uS.kohler.com The v飞TaterSense-certified single-function showerheads with Katalyst technology provide a steady flow of water at 2.0 gallons per l11inute. Kohler's Purist, Forté, and Bancroft single仇ll1ction showe1'heads are all now ava ilable with the technology and a1'e cOl11pliant with the requiretnents ofCALGreen. A new spray face optil11izes the water pa忧ern and droplet size for superior intensity and rinsing. CIRCLE 206
Architec Urinal Duravit du ravit.us Architec is one ofthe first urinals to receive the U.S. Environmental Protection Agency's WaterSense label. Designed by Frank Huster, the urinal's intelligent t1ush technology registers temperature changes in the siphon (when liquid ente l's the cha l11 ber) and then activates a flush. A small l11agnetic key held up to a sensor on the urinal's side progra l11s the system . The Eco t1ush progral11, fo1' exal11ple , activates the l11ain flush after 15 minutes ofuse. CIRCLE 205
Flow Showerhead Caroma caromausa.com Caroma's Flow high-efficiency showerhead has a nominal flow rate of 1. 5 gpm at 80 psi and features a precision-en gineered nozzle that pr essurizes water to pmduce a unifoffil and powerful spray that can save up to 10 gallons 1110l"e water than the standard 2.5-gpm showerhead for a 10-l11inute shower. The showe1'h ead incorporates an easy-slide spray adjustrnen t, ranging frOl11 a wide-cove1'a ge bathing sp1'a y to a concentrated rinse flow. CIRCLE 207
Integrated EcoPower Faucet & Acquia Wal1-Hung HET TOTO totousa.com TOTO introduced an extensive range of new wate1'-efficient products to the l11a 1'k et this year, including additions to t he EcoPower faucet and Aquia high-e仔iciency toilet lin es. The Integ1'a ted EcoPower senso1' faucet for cotntnercial spaces harnesses the k inetic energy of flowing water to power its eleco'onics, eliminating batteries 01' hard-wiring. The WaterSense-certified Integrated EcoPower 1110del includes temperature and operational controls above the counter for easier use. Also new is a wall-hung option for t he Aquia line of dual-flush HETs for the residential l11arket. The toilet's dual-button flush actuator is available in th1'ee fïnishes and gives the option for a 1.6 gpf for bulk waste to 0.9 gpf 01' light waste. CIRCLE 208
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New and Upcoming Exhibitions Padfic Standard Time: Art in L. A. 1945-1980 Los Angeles OctoÞer 1, 2011-AptiI1 , 2012 Set to be the largest cultural collaboration in Southern California's history, Pacifïc Standard Tîme features exhibitions and programs that encompass a broad range of developments, including Modernist architecture and design, African American al.tistic networks, and Mexican American and Chicano artists and movements. At various venues. For more information , visit pacificstandardtime.org Design with the Other 90%: CITIES New York City OctoÞer 15, 2011-]anuω)'9， 2011 This is the second in a series ofthemed exhibitions that demonstrate how design can be a dynamic force in transforming lives. The exhibition will explore design solutions to the challenges created by rapid urban growth. At the United Nations. For more information, visit cooperhewitt.org
myMarvin
ARCHITECT'S CHALLENGE WINNERS The winning enlries have been selected Irom an array 01 lruly inspired a nd inspiring designs Each projed lealures Marvin W indows and Doors and the best examples 01 solution-driven desig n, innovalio n, classic beauly and suslainabilily. ~才 ere 5 your
Ongoing Exhibitions Breaking Borders: New Latin American Architecture Brooklyn
Through NovemÞeγ 30， 2011 Held at the Hazel and Robert H. Siegel Gallery. 出is exhibition highlight s contemporary architecture ofthe past 10 years from45 firms r epresenting more than 10 counU'ies in Latin America , and includes both built and proposed projects in which scope has been influenced bya histOlγofpolitical and social instability. invasive use of environmentally sensitive r egions , rapid urbanization , social displacem ent , and unique climate conditions. Visit l atinpratt.org/breakingborders.html.
in this prestigious annual even t. View winners' showcase at marvin.com/inspired
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Ocωber 26, 2011
This conference at Brooklyn Borough Hall w i1l explore the tensions between the architectural preservation and change t hat are playing out along Brooklyn's water仕ont， from Greenpoint to Coney Jsland. Topics include whether 01' not the waterfront's historical past can be preserved in the face of change. as well as whether it's possible to preserve not only the physical architecture ofthe area, but also the way oflife associated with it. Visit baruch.cuny.edu!realestate!even
Competitions IDP Firm Award and IDP Outstanding Firm Award Registration Deadline: October12, 2011 Hosted by tbe American Institute of Architects; the Firm Award recipient must l11 eet 12 essent ial criteria in the categories of mentoring, supervising, commitment to the Intern Development Program. and oth ers. The Outstanding Firm Award is r eserved tOl' firms that meet the criteria for the Firm Awar d and can demon strate innovation and out standing best practices in t heir efforts to support participation in the IDP. Visit aia.org
Fentress Global Cballenge 2011: Airport of the Future Registration Deadline: October 31, 2011 Fentress Architects' fIrst-ever Global Challenge is an international idea competition inviting architecture and engineering students to present their visions for the airport of the future. Visit fentressarchitects.com!aof.
Registration Deadline: November 11, 2011
Lectures , Conferences , and Symposia Firsts Portland, Oregon OctoÞer 6, 2011- May 7, 2012
MARWN1ι
Tbe Waterfront-A Brooklyn Model for Preservation and Cbange Brooklyn
inNatur Open Ideas Competition
chance to see all the entries that have been awarded lorexcellence
and beginnings. long a subject of interest among architects, w i1l be explored Visit pdx.edu!architecture. ofor耶ns
The Department ofArchitecture at Portland State University inaugurates this lecture series. which includes presentations by notable academics, artists, and professionals in architectural practice worldwide: Petra Kempf, John OChsendorf, Gilles Saucier, Jeremy Till, Sarah Wigglesworth, and Paul Pfeiffer. The concepts
This open ideas cOl11petition seeks innovative proposals committed to a strategy of implementing architecture in a protected natural environ l11ent. Approaches should point to finding synergies between nature and the building itself. Projects must lead to sensitivity and commitment to the natural environment For more information, visit opengap.net
E-mail information two months in adval1Ce to [email protected]. For more li stings,
visit architectura!γecord.comfnewsfevents.
To get your share, visit NJCleanEnergy.ωm/AllY or call866-NJSMART to speak to a representative.
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CIRCLE 12
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•• • • HV口ROTECH
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Advertisers Index I
Reader Service #
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Page
4, 5
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35,37 1 30
Internet Inc
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Reader Service #
Forms & Surfaces
1and1.com
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Alcoa Architectural Products
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American Hydrotech, Inc
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Armourcoat
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AZZ Galvanizing Services BEGA
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Belden Brick
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CertainTeed
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Custom
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kawneer.com Lamin-Art
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laminart.com Learn & Earn
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1 44
45
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Dillon & Company
51
marvfn.com McGraw-Hill Const阳ction
138.139
construction.com McGraw-Hill Construction
125,126
Sound Solutions Sweets.com
10
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Technical Glass Products
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32 142
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tgpamerica.com
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Toto USA lolousa.com
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Trespa
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Velcro USA Inc
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νelcroconstruction. comlarchitects
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39
vtindustries.com
1 74
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144
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14,15
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exceldryer.com
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65
144
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eflisonbronze.com
70,71
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I 64
modularArts
Ellison Bronze Co.
151
skyscraper.org
63
McNichols Co
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13
strongtie.comlstrongframe
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Modernus
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135
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110.115
S impson Strong-Tie Co mpany Inc. 47
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。 Mitsubishi - Alpolic
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92
lockers.com
modernus.com
ediflon.com
Prodema
Salsbury Industries
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MechoShade Systems, Inc.
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FireLite" with ultraH0- Technology is a clear choice when you don't want to compromise on aesthetics to meet ftre.safety codes守 Produtt Appllutlon: • Post Road Elementary. White Plains. NY • Seattle-τacoma International Airp。同.Seattle. WA • Shaklee Headquarters. Pleasanton. CA P.rformo n Data: • Fire rati ngs up to three hours • Impact safety options. passes hose stream test
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PROJECT ARCHITECT Page Southerland Page, LLP 川 Dallas， TX seeks Project Architeι!.Quali自ed applicants will possess a Bachelor's degree in Architecture and 5 years of experience in the job offered or 5 years of experience in architecturaJ project management, pro且cient with AutoCAD, Photoshop, Sketch-Up, IIl ustrator, and Microsoft Project , Wor d, and Excel , and a Registered Architect, including 1 year of experiellce with REVIT. E-mail resume to [email protected]. Must put job code 6166227 on resume ARCHITECTURAL DESIGNER Integrating oriental & occidental design standards utilizing 3-D Max, Photoshop, JIIustrator & Sketchup. Mail to The Jerde Partnership, Inc目， 9130cean Front Walk, Venice, CA 90291 or fax (310) 392-1316 Must REF#5966 MAGNET FOR TALENT JR Walter Resources, premier A/E/C recruiting firm , can help you grow your company and your career. Review current opportuni ties at www.jrwalters.com or call 269-925-3940
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To obtain information or to reserve space contact: Diane Soister at Tel: 2 12-904-2021/Fax: 212-904-2074 Email:
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WORLD TOWERS ABOVE 380 METERS
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A NEW LINE WITH A BOLD DESIGN. Ori-Oesign@is proud to introduce its new Texture Series product line. This revolutionary new product provides a unique accent or focal point on any architectural projec t. A custom patterned three-dimensional grill attached to the surface of our standard Dri. Design system allows our Texture Series to provide a project-specif ic design with quick and easy installation. Let us work with you to help put a signature on your next projec t. A new line with a bold design - Texture Series. Call us today to learn more or set up a presentation with your f irm.
WHY DRI-DESIGN? • Each panel made to custom color and size • Will never stain, streak or require maintenance; no sealants, caulk or gaskets • Will never delaminate • Available in a variety of materials including zinc, copper, stainless steel. anodized aluminum and Kynar-coated aluminum, among many others • Fastest and easiest installation on the market • Exceeds performance specifications of AAMA 508-07 and Dade County
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Lutron offers the most complete line of precisio门
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。2011 Lutron Electronics Co.. Inc
CIRCLE 41
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