ADAPTIVE REUSE

RESTORATION
RENOVATION
02 2023 $11.99 architecturalrecord.com
Design & Pre-Construction Service

Calla® Shapes for DesignFlex® with JLC-Tech® T-Bar Flex® Lights & Price® Diffusers > BWI Thurgood Marshall Airport - Baltimore, MD > JMT Architecture - Hunt Valley, MD

Make everyone feel like

they’re flying first class
 ™
Experience, Above All

The simplification of a complex ceiling design can often

result in an elegant first-class experience. Easily upgrade
your next interior with our complimentary ProjectWorks®
design service. We can help to quickly develop your
design intent into safe and manufacturable solutions
and provide drawing packages that streamline the entire
process, from quoting through installation. Discover
comprehensive solutions that include everything from
panels and suspension systems to integrated lighting and
diffusers – all pre-engineered for seamless compatibility. ®

See how collaboration can provide an uplifting experience

at armstrongceilings.com/projectworks
 EDITOR IN CHIEF Josephine Minutillo, minutilloj@bnpmedia.com
PUBLISHER
Alex Bachrach
DEPUTY EDITOR Joann Gonchar, faia, leed ap,
bachracha@bnpmedia.com
goncharj@bnpmedia.com

MANAGING EDITOR Linda C. Lentz, lentzl@bnpmedia.com ADVERTISING SALES

MA, CT, RI, NH, VT, ME, NY, NJ, DE, MD, D.C., EASTERN PA: Joseph Sosnowski
SENIOR EDITOR Leopoldo Villardi, villardil@bnpmedia.com (610) 278-7829, sosnowskij@bnpmedia.com
WESTERN PA, IN, MI, OH, TX, LA, OK, NC, TN, VA, WV, KY EASTERN CANADA: Lisa Zurick
SENIOR NEWS/DIGITAL EDITOR Matt Hickman, hickmanm@bnpmedia.com (513) 345-8210, zurickl@bnpmedia.com
CA, OR, WA, AZ, NV, UT, NM, CO, WY, ID, MT, SD, ND, WESTERN CANADA: Bryce Madden
ASSOCIATE DIGITAL EDITOR Ilana Herzig, herzigi@bnpmedia.com (503) 200-9280, bryce@maddenandassociates.net
WI, MN, IA, IL, MO, MS, NE, FL, GA, SC, AL, KS, INTERNATIONAL: Chris Wilson
ASSISTANT EDITOR Pansy Schulman schulmanp@bnpmedia.com
(248) 819-0751, wilsonc@bnpmedia.com
CONTRIBUTING PRODUCTS EDITOR Sheila Kim, sheilakim.nyc@gmail.com
WORKFORCE/RECRUITMENT: Diane Soister
(646) 849-7137, Fax: (248) 502-2046, soisterd@bnpmedia.com
COPY EDITOR Anna Shapiro
PRODUCTION MANAGER: Kristen Carpenter
ART DIRECTOR Michael T. Powell, powellm@bnpmedia.com (248) 786-1222, Fax: (248) 502-2051, carpenterk@bnpmedia.com
ASSISTANT ART DIRECTOR Sarah Wojno, wojnos@bnpmedia.com
CONTINUING EDUCATION
CONTRIBUTING ILLUSTRATOR,
PRESENTATION DRAWINGS Peter Coe CONTINUING-EDUCATION GROUP MANAGER
Brittnie Wilson
EDITOR AT LARGE Cathleen McGuigan CONTINUING-EDUCATION PROJECT MANAGER
Nikolina Liveric
CONTRIBUTING EDITORS Sarah Amelar, Fred A. Bernstein, Beth CUSTOM CONTENT EDITOR
Broome, Blair Kamin, Izzy Kornblatt, Ellen McCurtin
Katharine Logan, Clifford A. Pearson, Naomi
Pollock, faia, James Russell, faia, David AUDIENCE MARKETING
Sokol, Suzanne Stephens
AUDIENCE MARKETING PROJECT MANAGER
Cassandra Kerby
INTERNATIONAL CORRESPONDENTS Tim Abrahams, Andrew Ayers, Aric Chen,
INTEGRATED-MEDIA SPECIALIST
David Cohn, Chris Foges
Catherine Neal

CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe

LIST RENTALS
Please contact your sales representative

CORPORATE
CHIEF HR & INFRASTRUCTURE OFFICER
Rita M. Foumia
CHIEF PRODUCTION OFFICER
Vincent M. Miconi
ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) February 2023, Vol. 211, CHIEF FINANCIAL OFFICER
No. 02. record is published 12 times annually, monthly, by BNP Media II, LLC., 2401 W. Big Beaver Rd., Lisa L. Paulus
Suite 700, Troy, MI 48084-3333. Telephone: (248) 362-3700, Fax: (248) 362-0317. CHIEF CREATIVE OFFICER
Michael T. Powell
Annual rate for print: US $44.99, Canada $84.99, and Foreign $149.00. Annual rate for digital: $19.00.
CHIEF OPERATING OFFICER
Single Copy sales: $12.00.
Nikki Smith
Printed in the U.S.A. Copyright 2023, by BNP Media. All rights reserved. The contents of this publication CHIEF EVENTS OFFICER
may not be reproduced in whole or in part without the consent of the publisher. The publisher is not Scott Wolters
responsible for product claims and representations. PANEL AND RESEARCH DIRECTOR
Ariane Claire
Periodicals Postage Paid at Troy, MI, and at additional mailing offices.

POSTMASTER: Send address changes to: ARCHITECTURAL RECORD, P.O. Box 1514, Lincolnshire,
IL 60069.
BNP MEDIA: (248) 244-6400
CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns
(Canada) to IMEX Global Solutions, P.O. Box 25542, London, ON N6c 6B2.

CHANGE OF ADDRESS: Send old address label along with new address to ARCHITECTURAL
RECORD, P.O. Box 1514, Lincolnshire, IL 60069. WEBSITE: architecturalrecord.com. SUBSCRIBER SERVICE: For subscription information or
service, please contact Customer Service at: Phone: (800) 952-6643; Email: AR@omeda.com SINGLE
FOR SUBSCRIPTION INFORMATION OR SERVICE, PLEASE CONTACT CUSTOMER SERVICE AT: COPY SALES: www.architecturalrecord.com/scs. If the Post Office alerts us that your magazine is
Local Phone: (847) 504-8163; Toll Free: (866) 501-7541; Fax: (847) 291-4816. undeliverable, we have no further obligation unless we receive a corrected address within one year.
REPRINTS: reprints@bnpmedia.com.

EDITORIAL OFFICES: (646) 849-7124. 350 Fifth Avenue, Suite 6000, New York, NY 10118.
BNP Media Helps People Succeed in
WEBSITE: architecturalrecord.com. Business with Superior Information

PRINTED IN USA
THE INVISIBLE WALL SYSTEM

Goldbrecht’s Invisible Wall - occasionally imitated, never equaled. Proven and

tested since 1992, with over 60,000 units installed in over 60 countries. Featuring
many beautiful innovations that you would only expect from Goldbrecht.

Now introducing the world’s slimmest

casement and awning windows.

310.988.4455 | info@goldbrecht.com | goldbrecht.com

 R16 R16

These R the same

Get wall-like R-values — with the aesthetic and daylighting benefits of glass.
With VacuMax™ vacuum insulating glass (VIG) by Vitro Architectural Glass, it’s possible to achieve R-values as high
as R16 in a nominal 1-inch insulating glass unit. VacuMax™ VIG — the ultimate thermal insulation in a window.

Learn more at VacuMaxVIG.com

FEBRUARY 2023
DEPARTMENTS
BUILDING TYPE STUDY 1,050 LIGHTING
12 EDITOR’S LETTER
RENOVATION, RESTORATION, 91 Bibliothèque Nationale de France,
15 CURRENTS: Cervin Robinson & ADAPTIVE REUSE Paris ATELIER BRUNO GAUDIN AND
16 HOUSE OF THE MONTH: Stowe House,
59 Introduction 8'18" By Andrew Ayers
Vermont MCLEOD KREDELL ARCHITECTS
60 Quay Quarter Tower, Sydney 95 Light Fall, New York LOISOS +
By Laura Raskin
3XN By Joann Gonchar, FAIA UBBELOHDE By Joann Gonchar, FAIA
21 LANDSCAPE: Leach Botanical Garden,
68 Royal Museum of Fine Arts, 98 Products
Portland, Oregon LAND MORPHOLOGY
By Randy Gragg
Antwerp, Belgium
KAAN ARCHITECTEN By Andrew Ayers
27 TRIBUTE: Arata Isozaki (1931–2022)
By Aric Chen
76 Building 12, San Francisco BOOKS
PERKINS&WILL By John King
28 TRIBUTE: Renée Gailhoustet (1929–2023) 33 Architect, Verb: The New Language of
By Andrew Ayers
84 Bronx Children’s Museum, Building, by Reinier de Graaf
New York O’NEILL MCVOY ARCHITECTS Reviewed by Tim Abrahams
31 GUESS THE ARCHITECT By Leopoldo Villardi
36 PRODUCTS: Flooring
38 NEWSMAKER: Annabelle Selldorf
By Josephine Minutillo 107 Dates & Events
42 INTERIORS: The Royal Hotel, Picton, 112 SNAPSHOT: ArkDes Exhibition,
Ontario GIANNONE PETRICONE ASSOCIATES Stockholm THAM & VIDEGÅRD
COVER: BUILDING 12, SAN FRANCISCO, BY PERKINS&WILL.
By Pilar Viladas
PHOTO © BRUCE DAMONTE.
48 FIRST LOOK: The T Building, Queens,
New York By Leopoldo Villardi
THIS PAGE: LEIGHTON HOUSE, LONDON, BY BDP. PHOTO © DIRK
52 CLOSE UP: Leighton House and LINDNER.
Gainsborough’s House, United Kingdom Expanded coverage at architecturalrecord.com.
By Tim Abrahams

5
A R C H ITE C T G R I S K E LI S YO U N G H A R R E LL / P H OTO F U N G I M E D IA
ILLUSIONS® +
GLOW ™

INVITE
LIGHT
SEAMLESSLY

CAPTIVATING LIGHTING.
COMPLETE INTEGRATION.

Glow ™ is a breakthrough product enhancer

that fully integrates backlit illumination into
our specialty perforated panel ceiling systems.
With pre-engineered and custom options,
we help you achieve your design vision with
creativity and ease.

The Future Is Going To Be Bright™

U SG .CO M/G LOW

 LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com*
CONTINUING EDUCATION

IN THIS ISSUE
Photo courtesy of Heritage Marble Tile

Photo courtesy of © Alan Schindler

p102 p104

Exploring Innovations in Exterior Ceramic Tile Site Selection Criteria for Commercial-to-Residential Conversions
Sponsored by Coverings 2023 Sponsored by The Steel Institute of New York
CREDIT: 1 AIA LU/HSW; 0.1 ICC CREDIT: 1.25 AIA LU/HSW; 1 GBCI CE HOUR; 1 PDH

TRENDING ARTICLES ON THE CE CENTER

Photo courtesy of Josh Meister and Philip Spears Photo courtesy of Unilock Photo courtesy of Bobrick Washroom Equipment

Outdoor Amenities: New Accommodations

Designing for Durability for Diversity
Essential for Today’s Lifestyle
Sponsored by Think Wood Sponsored by Bobrick Washroom
Sponsored by Unilock
1 AIA LU/HSW; 0,1 ICC CEU; Equipment
1 AIA LU/HSW; 1 GBCI CE HOUR;
1 GBCI CE HOUR; 1 PDH; 1 AIC CPD 1 AIA LU/HSW; 1 IDCEC CEU;
0.1 ICC CEU; 1 IIBEC CEH
0.1 ICC CEU

Photo courtesy of Forms+Surfaces Photo courtesy of Garden on the Wall® Photo courtesy of Joto-Vent System USA, Inc.

It’s a Material Thing

Designed to Protect Sponsored by Cascade The Foundation of Durability
Sponsored by Forms+Surfaces Architectural and Garden Sponsored by Joto-Vent System
1 AIA LU/HSW; 1 IDCEC CEU/HSW; on the Wall® USA, Inc.
1 PDH, LA CES/HSW; 0.1 ICC CEU 1 AIA LU/HSW; 1 IDCEC CEU/HSW; 1 AIA LU/HSW; 0.1 ICC CEU
1 GBCI CE HOUR; 0.1 ICC CEU

NEW LUNCH & LEARNS AVAILABLE ON THE EDUCATION EXCHANGE

System-Based Steel Building Building the Ideal Rainscreen: Advantages Porous Paving Designing ADA-Compliant
Solutions: Integrating Aesthetics, of Extruded Concrete Panels Presented by Invisible Structures Commercial Showers & Bathrooms
Performance, Sustainability Presented by Rieder North America 1 AIA LU/ ELECTIVE Presented by Inpro®
Presented by New Millennium Building Systems 1 AIA LU/HSW 1 AIA LU/HSW
1 AIA LU/HSW; 1 PDH

ACADEMY SPOTLIGHT

Metal Architecture Academy Mastering Movement™ Academy

Sponsored by Metal Sponsored by Construction Specialties
Construction Association 8 AIA LU/HSW; 0 AIA LU/ELECTIVE
8 AIA LU/HSW; 0 AIA LU/ELECTIVE

As the world faces unprecedented and In the Mastering Movement™ Academy, we

ongoing challenges in terms of climate will look at the range of environmental
change, the economy, and pandemic events that impact buildings and the variety
response, metal building innovations are a of issues buildings deal with within any
bright spot. given environment.

To receive credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for complete text and to take the quiz for free.

*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.

8 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
THERE’S ONLY ONE
METAL PARTITION
WHERE PRIVACY IS
TRULY INTEGRATED.
INTRODUCING
ASI’S PROPRIETARY,
INTEGRATED PRIVACY™
SYSTEM FOR METAL
PARTITIONS.

We have elevated the standard for privacy in metal partitions.

ASI’s partitions are engineered with built-in privacy and
manufactured as one color matched unit. The result?
A patent-pending design with superior aesthetics and complete
privacy without the need for any retrofitted components.
Exactly what building occupants want and deserve.

At ASI privacy isn’t an afterthought—it’s our standard.

Visit asi-accuratepartitions.com/privacy
 LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com*
CONTINUING EDUCATION

NEW IN WEBINARS
Photo courtesy of TVA Architects Photo courtesy of CETRARUDDY ARCHITECTURE Photo courtesy of CO Architects

Insulated Metal Panels and Architectural Louvers Breathe Managing Sound in

the Proactive Barrier Concept New Life into the Room the Wide Open Spaces
Sponsored by Metal Construction Sponsored by Construction Sponsored by Armstrong Ceiling
Association Specialties and Wall Solutions
1 AIA LU/HSW; 0.1 ICC CEU; 1 AIA LU/HSW; 0.1 ICC CEU 1 AIA LU/HSW;0.1 ICC CEU
1 IIBEC CEH

Photo courtesy of Inpro Corporation Photo courtesy of Benjamin Moore & Co. Photo courtesy of Latreille Architectural Photography

Durability by Design Scuff Resistant Paint Acoustic Ceilings for

(High-Traffic) High-Performing Schools
Sponsored by Inpro
Sponsored by Benjamin Moore & Co. Sponsored by Rockfon
1 AIA LU/ELECTIVE; 0.1 ICC CEU
1 AIA LU/HSW; 1 IDCEC CEU/HSW 1 AIA LU/HSW; 1 IDCEC CEU/HSW

NEW IN MULTIMEDIA
Photo courtesy of Vitro Architectural Glass Photo courtesy of Boston University Photo courtesy of @Fred Golden

Vacuum Insulating Glass (VIG) Protecting Buildings and

Benefits and Advantages in a Evolving the Concrete Jungle People with Coiled Wire Fabric
Sustainable World Sponsored by Holcim (US) Inc. Sponsored by Cascade
Sponsored by Vitro 1 LU/ELECTIVE; 1 GBCI CE HOUR; Architectural
Architectural Glass 0.1 ICC CEU 1 AIA LU/HSW; 1 IDCEC CEU/HSW;
1 LU/HSW; 0.1 ICC CEU 0.1 ICC CEU; 1 PDH

Photo courtesy of © Ben Rahn/A-Frame Photo courtesy of Bison Innovative Products Photo courtesy of XPEL

Glass Options for Biophilic Design & Rooftop Deck

Enhanced Building Design Improving Buildings
Systems: A Natural Connection with Window Film
Sponsored by Pilkington North Sponsored by Bison
America Sponsored by XPEL
Innovative Products
1 AIA LU/HSW; 1 IDCEC CEU 1 AIA LU/HSW; 0.1 ICC CEU
1 AIA LU/HSW; 1 GBCI CE HOUR

NEW IN PODCASTS
Photo courtesy of Huber Engineered Woods, LLC Photo courtesy of © Chad Davies Photo courtesy of Blackwell Architects

Magnesium Oxide (MgO)

Floor and Wall Panels How to Calculate the Wood Creating Meaning Through
for Multifamily Buildings Carbon Footprint of a Building Economy
Presented by Kate Andrews Land, Ben Presented by Andrew A. Hunt Presented by Aaron Prinz
Richardson, and Andrew A. Hunt 0.5 LU/ELECTIVE 1 AIA LU/ELECTIVE; 0.1 ICC CEU
0.5 LU/HSW

Photo courtesy of Ross Barney Architects Photo courtesy of Jakitsch/Gardner Architects Photo courtesy of Selldorf Architects

Creative Design as a Way to

Address Community and Public Designing-and Learning-Across Renovating Art Spaces in
Architecture Interview: Carol Cultures Service to Public Experience
Ross Barney Presented by Mark Gardner Presented by Annabelle Selldorf
Presented by Carol Ross Barney 1 AIA LU/ELECTIVE; 0.1 ICC CEU 0.5 LU/ELECTIVE
1 AIA LU/ELECTIVE

*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.
This course is part of the Metal Academy. This course is part of the Mastering Movement™ Academy.

10 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 ™
Arborisa
Biophilic Acoustic Cloud System

Transport inhabitants to a natural oasis and bring the great outdoors inside with Arktura’s new line of
expansive woodland inspired acoustic baffles.

Arborisa™ Aura Arborisa™ Axil Arborisa™ Denza Arborisa™ Nest

Scan to view the video

& learn more now!

arktura.com/arborisa | info@arktura.com Fueling Possibilities¨

Pictured: Arborisa™ Aura in Soft Sound® Wood Texture
 From the EDITOR

Infinite Possibilities
AS RECORD ENTERS its 133rd year of publication, in a media land-
scape vastly changed even in just the last decade, and I take on the role
of editor in chief, the opportunities to present and discuss architecture
are boundless. With record’s expanding platforms, we aim to be a vital
resource for everyone in the profession, from leaders to those new to it.
For students of architecture, there are no limits to what you can
design. Studio is an opportunity to stretch your imagination as far as it
can go, where the suspension of disbelief allows us to imagine how both
the discipline and the profession may go beyond their conventional
limits. More often than not, projects are imagined from scratch, the site
a blank canvas upon which to build whatever novel form you desire.

PHOTOGRAPHY: © JILLIAN NELSON

The impression from early on is that this kind of design is infinitely
more satisfying than, say, intervening in an existing building. In my own
experience practicing architecture, it was the years I spent on the resto-
ration of an early Modern landmark—tracking masonry details, terra-
cotta samples, and casement-window dimensions to closely approximate
its original 1940 appearance—that perhaps drove me to seek an alterna-
tive career in journalism. But preservation can be much more than repli-
cating the look of something old or updating building details to today’s
standards. And the imperative to preserve old structures has only grown
as we recognize the role the built environment plays in exacerbating the climate crisis.
In this our annual issue on Renovation, Restoration, and Adaptive Reuse, we investigate projects
that take preservation to another level, literally. In San Francisco, Perkins&Will raises a vast pier
structure, built to fabricate ship hulls during World War II, and now converted to retail, offices, and
makerspaces, 10 feet off the ground to respond to sea-level-rise projections. In Sydney, 3XN adds
several floors to an existing building and expands floor plates, transforming an outmoded tower into
desirable office space that incorporates 65 percent of the original structure and offers spectacular
views of the city’s harbor. Elsewhere, O’Neill McVoy Architects crafts a topographical playground
inside a former power station for the new Bronx Children’s Museum, and KAAN Architecten adds
a sharp contemporary touch to a classic Beaux-Arts museum building in Antwerp.
Preservation and history go hand in hand. As attitudes about preservation evolve, so too do
thoughts about history. And while the architectural canon may change, the idea that students
should be grounded in an awareness of the past needs to be reaffirmed.
The history of built works of architecture of course depends on the people who designed and
documented them. In this issue, we pay tribute to several who died as the new year was beginning.
One, Arata Isozaki, 91, was a Pritzker Prize–winning architect known throughout the world.
Another, Renée Gailhoustet, 93, a pioneering female architect who built social housing, was little
known outside of France but deserves recognition. We also remember photographer Cervin
Robinson, 94, whose images brilliantly captured architecture’s historic legacy.
As we look at architecture through a new lens, record shall continue being an advocate for the
profession, a source of discovery and inspiration, a platform for debate, and a showcase for talents
both well-known and little known. Plus, we want to provide a welcome break during those long
hours in studio—for seasoned architects and students alike. The possibilities are infinite.

Josephine Minutillo, Editor in Chief

12 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 Find Transcend Lineage
near you.

L I N E A G Eª

The next generation of design and performance is here.

Introducing Trex® Transcend Lineage™: the next generation of design and performance.
Engineered with heat-mitigating technology, it’ll reflect both the sun and your customers’
sense of style. Available now in four tranquil tones: Biscayne, Rainier, Jasper and Carmel.
Learn more about our coolest decking yet at lineage.trex.com

Rainier Carmel Biscayne Jasper

Although Trex Transcend Lineage is designed to be cooler than most other composite decking products of a similar cost, on a hot sunny day, it will get hot.
On hot days, care should be taken to avoid extended contact between exposed skin and the deck surface, especially with young children and those with special needs.
© 2023 Trex Company, Inc. All Rights Reserved. Trex® is a federally registered trademark of Trex Company, Inc., Winchester, Virginia
Reimagine the Outdoor Experience

Interface Inc. Headquarters, Atlanta GA | architect: Perkins & Will | photographer: ©Nick Merrick

ROOFTOP DECKS PLAZAS GREEN ROOFS POP-UP PARKS WATER FEATURES DECK SUPPORTS WOOD TILES
CONCRETE & STONE 2CM PAVERS PAVER SUPPORT TRAYS ARTIFICIAL TURF GRATING SITE FURNISHINGS

Ugly QR code. Beautiful Decks.

bisonip.com | 800.333.4234
 Record CURRENTS

In architectural photography there is always a distinction to be made between recording facts and doing so
in such a way that the viewer can see them.
―Cervin Robinson, architectural photographer
PHOTOGRAPHY: CERVIN ROBINSON. BUILDING IDENTITIES, CLOCKWISE FROM TOP, LEFT: TRIBUNE BUILDING (RICHARD MORRIS HUNT, 1875; DEMOLISHED); E.V. HAUGHWOUT & CO.
BUILDING (JOHN P. GAYNOR, 1857); PENNSYLVANIA STATION (MCKIM, MEAD & WHITE, 1910; DEMOLISHED); CHRYSLER BUILDING (WILLIAM VAN ALEN, 1930); ALL IN NEW YORK.

The Historic American Buildings Survey began as a Great Depression–era

proposal to put a thousand unemployed architects to work for 10 weeks.
Ninety years later, it has grown into a vast collection of more than 581,000
measured drawings, large-format photographs, and written histories
documenting some 43,000 structures and sites. Among the survey’s early
contributors was Cervin Robinson, who, in 1958, began turning his camera’s
lens toward architecture’s largely unphotographed past. His precisely
framed monochromatic prints heightened the works of notable early
American architects, including Frank Furness and H.H. Richardson, and led
to productive collaborations with prominent historians. Robinson, whose
photographs have appeared in the pages of Record, died on December 27,
2022, at age 94, but his prints for the survey remain in the public domain,
keeping alive the memory of many buildings that no longer stand.

15
 HOUSE of the Month
A SECOND HOME IN STOWE, VERMONT, SPEAKS TO THE VERNACULAR OF ITS MOUNTAINOUS SURROUNDINGS. BY LAURA RASKIN

Dubbed Pavilion Plus by the architects, the

black-stained cedar house (this image)
comprises four distinct wings (opposite).

VERMONT is synonymous with self-reliance ner Stephen Kredell, decided to do the same. Leod, he handed the architect a programmatic
and innovation, says Middlebury-based archi- (McLeod Kredell Architects was a 2020 diagram—a square divided into four. While
tect John McLeod, from its founding as an record Design Vanguard.) It was not a de- neither expected the final residence would be a
independent republic whose constitution parture from the firm’s work—houses, retail box, the sketch was “beautiful in its simplicity
forbade slavery to the nonconformists it proud- establishments, and school buildings that and clarity,” says McLeod. Inspired by the
ly claims as its own—Robert Frost, snow- celebrate simple purist forms. But it was an initial site visit, McLeod began drawing, ulti-
PHOTOGRAPHY: © DAVID SUNDBERG/ESTO;

boarding pioneer Jake Burton, and ice-cream opportunity to quietly protest the growing mately flipping the box inside out. “What
makers Ben and Jerry among them. spate of out-of-context luxury lodges and broke it open was realizing that, by creating
The architecture of the place followed suit, commercial projects that have burgeoned in these four rectangular boxes, you had three
adapting to natural phenomena like the Green Vermont’s mountain towns. sides to each box with views and light.”
KATE CARTER (OPPOSITE)

Mountains and Champlain Valley, with their Composed of four wings that stretch out in Sitting gently on the site and eschewing the
dairy farms and logging camps. Given the the cardinal directions and meet at a central excesses of resort culture, the house perches on
opportunity to design a house in Stowe (also open-air courtyard, the glue-laminated timber a moderately sloped clearing surrounded by a
the birthplace of Alpine skiing) for a New house on concrete slab is organized on an blanket of hardwoods and spruce trees rib-
York–based lawyer with a passion for the arts 8-foot grid to optimize the layout and mini- boned with trails.
and outdoors, McLeod, with consulting part- mize waste. When the client engaged Mc- Each clear-span wing is uniquely positioned

16 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 1 PORTE-COCHERE

2 ENTRY

3 LAUNDRY

4 COURT

17 14 5 KITCHEN
13
6 LIVING

7 DINING

8 DECK

and programmed to take advantage of the land 9 POWDER ROOM

around it and provide an intimate experience. 12 11 10 9 2 1
10 BEDROOM
4 3
The bedroom on the west is closest to the 11 BATHROOM
woods and opposite the existing gravel drive- 12 OUTDOOR SHOWER
5
way that leads to a carport and entrance on the 13 WORKSHOP
east; it opens to a cantilevered deck with an
14 ENTRY GARDEN
outdoor shower. The southern wing contains
15 MORNING GARDEN
the kitchen/dining/living area, with views that 16 6 15
16 EVENING GARDEN
tumble down the valley. On the north, a work-
7 17 DOG GARDEN
shop for the client, an avid potter, benefits
from diffuse daylight.
Inspired by Stowe’s early ski-lodge lan- 8

guage, McLeod and his team clad the house

(dubbed Pavilion Plus) in local eastern white 0 15 FT.
cedar, stained black. A standing-seam peaked FLOOR PLAN
5 M.
roof with deep overhangs and pronounced

17
 HOUSE of the Month

The kitchen/dining/living area occupies the southern wing,

its ceiling lined in larch wood (above, left and right); on the
north, a potters workshop receives diffuse light (left).

prows helps shade and cool the house in the summer

and direct stormwater to plantings and stone beds in
the four “outdoor rooms” created by the wings. Inside,
an eastern larch-wood ceiling follows the form of the
sculptural roof. Custom millwork and cabinetry are
complemented by such details as plaster walls with a
PHOTOGRAPHY: © DAVID SUNDBERG/ESTO (3)

textural wax finish; a bright red front door adds

warmth and a touch of contextual charm.
“We were really trying to do something modest and
respectful of the place and create an opportunity for
the client to be in relationship with the surrounding
land and the seasons,” says McLeod. “It’s really impor-
tant in architecture, and it seems true to Vermont.” n

Laura Raskin, a former record editor based in

Brooklyn, New York, writes about architecture.

18 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 40,000 happy listeners!

Listen in and learn Join the thousands listening to the new

hit architecture podcast Detailed, and
why so many discover lessons learned by some of the
design professionals most talented architects, engineers,
builders, and manufacturers in the
love Detailed. industry. Host Cherise Lakeside, aka CSI
Kraken, a Senior Specification Writer at
RDH Building Science, guides you through some of the most interesting,
complex, oddest, and challenging building conditions with the professionals
who took them on. You’re sure to learn something to use in a future project.

Go to arcat.com/podcast or scan the QR code to listen now!

DET ILED
an original podcast, powered by Gābl Creative
 Profile
Reimagine What Light Can Do

We believe that great design should

stand the test of time, be sustainably
crafted, and be proudly American made.

Profile: Waypost by day, light by night

Designed by Linnaea Tillett

Landscape Forms |
A Modern Craft Manufacturer
 LANDSCAPE
AN AERIAL TREE WALK IS THE CENTERPIECE OF A REIMAGINED BOTANICAL GARDEN IN PORTLAND, OREGON. BY RANDY GRAGG

OF PORTLAND’S many notable public

gardens, the one most cherished by Oregon
plant geeks is Leach Botanical Garden—for
its horticulture, but also its story. The largely
self-trained botanist Lilla Leach became a
Northwest hero for her discovery of several
previously unknown species in the state’s
Siskiyou Mountains. One earned her name,
Kalmiopsis leachiana, a find that led to the
creation of the 180,000-acre Kalmiopsis
Reserve, one of the most botanically diverse
areas in the U.S. From the 1930s to early ’70s,
she and husband John Leach, a pharmacist,
transformed a five-acre former lumber mill, 12
miles from central Portland, into a home for
themselves and a casually sumptuous array of
some 3,000 native and exotic species.
Gifted to the city in the ’70s, the Leaches’
storied house and garden became a magnet
for plant-loving volunteers. But with the At its highest point, the curving tree walk is 39 feet above the ground.
acquisition of 10 additional acres, it turned
PHOTOGRAPHY: © LAND MORPHOLOGY

into a grow ing drain and question mark in the plied, but Richard Hartlage and Sandy Land Morphology. “What you need is some-
city budget. So in 2014, Portland Parks & Fischer of the newly formed Seattle firm thing extraordinary to get people to come.”
Recreation (PPR) released an RFQ for a Landscape Morphology “threw a bold sche- Once hired, Hartlage and Fischer’s team
modest master plan update and a $1.3 million matic design on the table,” according to PPR (with Olson Kundig as consultant) continued
new entry garden and parking lot. The major project manager Ross Swanson. coloring outside the scope’s pinched lines,
agenda: give Leach a new, more prominent “We basically argued, ‘Why are you build- turning the original job into a $32 million
front door and a push toward stronger admis- ing more parking?’ ” recalls Hartlage, a vet- vision and a recently completed $12.6 million
sion- and event-driven financial performance. eran plantsman and executive director of first phase.
Top local and regional landscape firms ap- several botanical gardens before founding The master plan is a horticultural and

21
 LANDSCAPE

1 MAIN ENTRY

2 GREENHOUSE

1 2 3 POLLINATOR & HABITAT

GARDEN
3
4 FIREPLACE ARBOR &
3 TERRACE
3
4 6 5 AERIAL TREE WALK

6 WOODLAND HILLSIDE
The tree walk has an open grate underfoot 5
(above). An open-air event space is the first of 7 GIFT SHOP

several planned wood structures (above, right). 8 NORTHWEST CASCADIA

7
ECOLOGY

8 9 PARKING
architectural dreamscape featuring every-
thing from a native oak savanna to individual 9
gardens that highlight aquatics, moss, chro-
ma, physics, and children’s learning. Guided
by Hartlage’s deep experience with the fi-
nancial realities of public gardens, each area Early in the team’s work, Hartlage’s goal fundraisers, who, together, found the govern-
features carefully right-sized spaces for class- for “something spectacular” emerged: an ment grants and private donations for the
es, weddings, and other income generators— aerial tree walk. The first concept cantile- nearly tenfold increase in budget.
all phased and, for the right price, named. vered from hillside into treetop. Leach’s Visitation has doubled since the tree walk
Underlying botany and spreadsheets are steering committee quickly dubbed it the opened in March 2021. (The pandemic de-
two architecturally muscular transects. East to “diving board” as too architecturally alien and layed any reliable metrics of rentals and class-
west is the “cultural,” bracketing the Leaches’ the out-and-back experience too boring. The es.) The meadow now blossoms in an immer-
modest Arts & Crafts house (now a gift shop team then developed a circular stroll between sive kaleidoscope of 200-plus species. The tree
and meeting center) with various more formal land and treetops. Finally, after a Hartlage/ walk’s ellipse offers a sweeping horizontal
PHOTOGRAPHY: © LAND MORPHOLOGY

display gardens. South to north is the “envi- Fischer drawing session: an oval. “It’s more contrapuntal to the treetops’ soaring staccato.
ronmental,” versions of natural habitat rising elegant,” Hartlage says. “At the widest points, Seen from below, the tree walk’s thick sup-
from a major creek to a large new pollinator you can host a gathering or a plein air paint- porting columns read like kinfolk to neighbor-
meadow. It terminates with an Olson Kundig– ing class, but as it narrows at the highest ing Douglas firs. Underfoot, the walkway’s
designed open-air event space (completed) point, you get a sense of excitement and a open grate pairs function (self-cleaning) with
and, should the remainder of the master plan little peril.” The tree walk and a large con- the excitement of levitating 35 feet off the
be executed, with high-performance buildings necting pollinator meadow—and a small ground—a good analogy for the leap beyond
for offices and more events, all ethereally parking lot—became the hook that quickly the parking lot that Leach Botanical made
wrapped in sustainably harvested lath. captured the imaginations of politicians and with Land Morphology. n

22 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
Timeless aesthetics,
intuitive operation
and robust engineering.

Automatic,
Universal Roll
Towel Dispenser.

Roll with it at
Bobrick.com/Spec-and-Roll/
 GUESS THE ARCHITECT
WIN AN IPAD MINI

PHOTOGRAPHY: © DOMENICO LUCÀ VIA WIKIMEDIA COMMONS

TAKE A LOOK ON PAGE 31

ENTER @ ARCHITECTURALRECORD.COM/GUESSTHEARCHITECT

Sponsored by:

Guess the Architect Contest

FOR COMPLETE RULES AND REGULATIONS GO TO ARCHITECTURALRECORD.COM/GUESSTHEARCHITECT
 2022 AWARD WINNERS

01 13 14 15

CAMPAIGN
BEST IN CLASS WINNER HONORABLE MENTION
01 Armstrong Ceiling Solutions 04 Bison Innovative Products 06 NanaWall Systems
Zban Advertising 05 CRL 07 National Terrazzo &
02 ASI Group Mosaic Association
Ganton 08 Vitro Architectural Glass
02 03 16 17 18 19 20 21
03 Landscape Forms Pipitone

SPREAD
BEST IN CLASS WINNER HONORABLE MENTION
09 Armstrong Ceiling Solutions 12 Armstrong Ceiling Solutions 14 Armstrong Ceiling Solutions
Zban Advertising
10 Fortress Building Products
Zban Advertising
13 CRL
Zban Advertising
04 05 22 23 24 25 26 27
Brandner Communications, Inc.
11 Vitro Architectural Glass
Pipitone

SINGLE PAGE
BEST IN CLASS WINNER HONORABLE MENTION
15 American Institute of Architects 23 Bison Innovative Products 34 ASI Group 06 07 28 29 30 31 32 33
16 ASI Group 24 Bobrick Washroom Equipment Ganton
Ganton Pipitone 35 Bison Innovative Products
17 ASI Group 25 Cosentino Group 36 Bradley
Ganton 26 Feeney Inc. KSS Marketing
18 Bobrick Washroom Equipment ER Marketing 37 CRL
Pipitone 27 Goldbrecht 38 Landscape Forms
19 Landscape Forms 28 Humboldt Sawmill Company, LLC 39 Landscape Forms
20 Louis Poulsen USA Mighty Media Partners 40 National Terrazzo &
21 Neolìth 29 Kalwall Mosaic Association
22 Rocky Mountain Hardware 30 NanaWall Systems 41 Neolìth
31 National Terrazzo & 08 09 34 35 36 37 38 39
Mosaic Association
32 PureEdge Lighting
33 Westlake Royal Building Products
Planit

10 11 12 40 41

BECOME AN AWARD-WINNING ADVERTISER

Reserve your ad space today
Want to be part of the 2023 Advertising All ads will be automatically entered, carefully reviewed
Excellence Awards competition? and judged by a blue ribbon panel of knowledgeable
architects.
You’re running out of time to qualify!

• Advertise in the 2023 March or April print editions of Join us virtually in 2023 for a panel discussion on what
Architectural Record (full page or larger) our jury of architects look for in advertising. This is the
best opportunity to receive feedback on your marketing
– OR – efforts from your exact target audience.

• Run digital ads between now and the end of March Contact your sales representative to reserve
on architecturalrecord.com your space today!

March Ad Close: February 7, 2023

April Ad Close: March 1, 2023

architecturalrecord.com/adawards
 KB310-SSRE-MBLK KB301-SS KB310-SSRE

Design Matters to Us, Too

Koala Kare’s innovative new line of baby changing stations offers over
18 color and finish options to enhance your restroom designs.

To learn more about the craftmanship, aesthetics, and performance of the

ADA compliant baby changing stations, please visit koalabear.com/needs-met. A Division of Bobrick
 Record TRIBUTE

Arata Isozaki (1931–2022)

BY ARIC CHEN

THE FIRST TIME I met Arata ideas from structuralism to cybernet-

Isozaki was in 2013. I came to his ics to ma—the Japanese concept of
home in the posh Tokyo neighbor- “space-time” or the in-between—
hood of Azabu, where he appeared while mixing in avant-garde theater
wearing a dark yukata, with his silver and French philosophy. He was proud
hair characteristically slicked back in a of being an early champion of Zaha
short, neat ponytail. The apartment Hadid, a fellow “non-logocentric”
was light and muted, its living room architect, as he described her to me,
PHOTOGRAPHY: COURTESY ARIC CHEN (TOP); © KOCHI PREFECTURE, ISHIMOTO YASUHIRO PHOTO CENTER (BOTTOM)

furnished with his well-known using a term borrowed from Derrida.

Marilyn chairs, a tatami platform, an He was known for his buildings, but
Eames lounger, and a large Oba-Q also wrote prolifically, curated exhibi-
lamp designed by his good friend tions, and designed everything from
Shiro Kuramata, who had passed the giant robots at Expo ’70 in Osaka
away in 1991. and New York’s storied Palladium
The home was located about mid- nightclub to a teahouse for the
way between the South Korean and London-area home of John Lennon
Chinese embassies—a detail worth noting Aric Chen working with Arata Isozaki on Arata and Yoko Ono (which was never installed,
when I recall how he and his longtime part- Isozaki: Third Space, January 2019 (above). and whose timber components, made by a
ner, the gallerist Misa Shin, would sometimes Team Disney Building (1991) in Orlando (below). Japanese master craftsman, are presumably
complain, with a combination of humor and still somewhere waiting to be found).
resignation, about the racket they had to Aggression, as the Chinese refer to World Isozaki always spoke softly, almost under his
endure each weekend as right-wing Japanese War II.) Isozaki was defiantly independent, breath. However, he did it with focus and the
nationalists shuttled from the embassy of one refusing throughout his career to join profes- slightest tinge of mischief, as if what he was
Asian neighbor to the other, to protest what- sional associations or to take teaching posi- telling you was only half the story, and he knew
ever the latest offense was. tions or, after he turned 60, to accept honor- that you knew it. I had a quixotic impulse to
That Isozaki found himself in this position ary titles or awards (his 2019 Pritzker Prize figure him out, and it led me to become some-
was somehow hilariously poetic. He was a was an exception) or even to own property thing of a groupie. I followed him to Kyoto,
transnationalist if there ever was one, an (the Azabu apartment was a rental). where he gave a talk with Peter Cook; to his
iconic Japanese architect whose mind seemed He was equally hard to pin down through country house in Karuizawa (which had been
incapable of drawing borders. (And, as it his work. Despite creating some of the most owned, I believe, by his late wife, the artist
happens, Shin is of Korean parentage, while iconic images associated with Metabolism, he Aiko Miyawaki); to his Pritzker Prize ceremo-
Isozaki was active in China—including work refused to join that 1960s group. His later ny at Versailles; and to Okinawa, where he and
on his design for the Museum of the War of work would be described as Postmodern, but Shin moved in 2017 for the warmer weather. I
Chinese People’s Resistance Against Japanese he was not a Postmodernist. He referenced would also meet with them in Hong Kong and
Shanghai when I was living in those cities, and
they were passing through town.
The last time I saw Isozaki was toward the
end of 2019, shortly before the pandemic. That
time, we were in his hometown of Oita for the
opening of an exhibition at the Oita Art
Museum that he and Shin had invited me to
curate. The show focused on his nonbuilding
projects, and, while we wound up calling it
Arata Isozaki: Third Space, I remember think-
ing even then that it would have been just as
good, if not even more appropriate, to have
given it the title that Isozaki initially sug-
gested: Arata Isozaki: Enigma. n

International correspondent Aric Chen is general

and artistic director of the Nieuwe Instituut, in
Rotterdam, and cocurator of Arata Isozaki: In
Formation, opening this spring at Power Station
of Art in Shanghai.

27
 Record TRIBUTE

Renée Gailhoustet (1929–2023)

BY ANDREW AYERS

THOUGH photographs of the Brutalist Paris famous “étoiles”—free-plan apartment com-

suburb of Ivry-sur-Seine regularly circulate on plexes whose pyramidal form and soil-covered
Instagram, its plant-covered pyramidal apart- terraces were inspired by hilltop villages. With
ment complexes wowing in their 1970s audac- their triangle-based geometry that stretched
ity, few remember the woman who made it all internal sight lines to a maximum, the étoiles
possible. Renée Gailhoustet, who died on provided unorthodox accommodation, in
January 4, aged 93, was municipal architect which the right angle was banished, bedrooms
from the 1960s to the ’80s, overseeing the were often open, every apartment was differ-
radical transformation of the Communist ent from its neighbor, and space, light, and air
borough. Besides being one of the few female flowed in all directions.
architects to make a significant career in a Renaudie’s first Ivry complexes were com-
nearly all-boys profession, Gailhoustet was pleted between 1972 and 1976. Dense and
equally atypical in her decision to focus almost multifunctional, these raw-concrete mini-
exclusively on collective social housing. Yet cities gave inhabitants the illusion of living in
more unusually, she lived in two of her own a house with a garden. In the wake of their
projects. success, Gailhoustet herself built several
Born in Oran, Algeria, in 1929, Gailhoustet variations on the concept, among them Le
was in no way predestined for architecture. Liégat in Ivry (1971–82), where she lived until
After studying philosophy at the Sorbonne, Renée Gailhoustet, pictured above at her house her death, tending to her overgrown terraces.
she enrolled at Paris’s École des Beaux-Arts in in Le Lieget, Ivry-sur-Seine, France, in 2014. Les At La Maladrerie in Aubervilliers (1975–85),
1952, joining the external atelier run by Marcel Etoiles d’Ivry-sur-Seine (below). she riffed on the theme by including court-
Lods, André Hermant, and the engineer yard patios; at Saint-Denis (1977–86), in
Henri Trezzini. One of the few studios to year, she joined the practice of Party-member homage to Renaudie, she pushed complexity
accept women, it offered a more modern pro- Roland Dubrulle, who put her to work on to its peak; while at Ivry’s Ensemble Marat
gram than in-house ateliers. Among her fellow master-planning the center of Ivry, a Com- (1971–86), she bent to the building industry’s
students, Jean Renaudie (1925–81) would munist bastion since 1925. From there came demands by abandoning free-plan column-
prove significant in her life, not least as her the commission that allowed her to establish slab construction for compartmentalizing
romantic partner (though never married, the her own practice in 1964: the Tour Raspail, party walls, nonetheless producing unortho-
couple had two children), as well as a fellow one of four towers she would build in Ivry. dox multilevel accommodation that is almost
militant in the French Communist Party. Completed in 1968, Raspail’s exterior clearly fonction oblique à la Claude Parent.
Frustrated by what she saw as Lods’s “con- shows Corbusian influence, though its divi- By the 1980s, the context had changed—
formism” in the context of postwar housing, sion into two verticals broke with the unité central government had cut funding for large-
Gailhoustet switched to Jean Faugeron’s d’habitation, to fit the urban context. Yet scale housing projects, while Postmodernism
atelier, graduating in 1961. The following more unorthodox were its “semi-duplex” had brought the street back into style. Gail-
apartments, with entrance, houstet’s later work adapted to this paradigm
day spaces, and bedrooms shift; at Gentilly (1985–93), for example, her
divided among three half white-plastered ensemble pays lip service to the
levels, augmenting the street line but subverts it in all sorts of ways,
sensation of space while from ground-level recesses to upper-floor
reducing corridors. setbacks. By the 1990s, however, work was
Though praised in the drying up, and in 1998 she closed her practice.
architectural press, the In a career of almost 40 years, Gailhoustet had
tower faced criticism for its built around 2,000 residences. For this “artisan
monumentality. Question- of a difficult material: space”—her description
ing her choices, Gailhoustet of the architect’s role—it seemed that “the idea
PHOTOGRAPHY: © VALÉRIE SADOUN (2)

turned to Renaudie, who of social housing as an addition of little func-

had been busy developing tional-room boxes should not be given socio-
radical paper schemes. In logical sanction. We mustn’t forget that this
the more permissive climate occupation of space concerns dwelling types
following May ’68, she was that originated in cynical market conditions
able to hire him at Ivry (just and, more subtly, from ideological presupposi-
when their romantic part- tions. We are not so pretentious as to propose
nership was ending), thereby an ideal dwelling—we merely wish to create
midwifing the first of his possibilities for choice.” n

28 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
Where Your Vision
Meets Our Expertise
Terrazzo is a handcra ed building material; its primary
components are assembled on the construction site.
For 100-years, the contractor members of the National
Terrazzo and Mosaic Association have brought integrity
and skill to countless installations. The NTMA has
the expertise your project needs. Find specifications,
information, color samples, contractor and supplier
members at www.ntma.com or call 800-323-9736.

Museum of Science & Industry Food Court

Architect General Contractor Photographer

Aria Group Architects, Inc. 41 North Contractors, LLC David Laudadio
Oak Park, IL Lisle, IL
 Artful Perforation

An art-inspired perforated screen with lights at abstract angles

serves to mask the parking area. The transparency balance is key. “We
wanted to push the perforation ratio to the minimum open area allowed
by code. This made each screen read more like a skin than an opening.”

-Knox Jolly, RA, Lord Aeck Sargent

The Charles, Atlanta Installing contractor: Pierre Construction Group Architect: Lord Aeck Sargent
Distributor: Commercial Roofing Specialties GC: Brasfield & Gorrie Photo: hortonphotoinc.com

Proud sponsor of GUESS THE ARCHITECT

7.2 Panel perforated View the

Metal Wall System case study
Weathered Zinc and video

IL: 800 PAC CLAD MD: 800 344 1400 TX: 800 441 8661 GA: 800 272 4482 AZ: 833 750 1935 WA: 253 501 2450 PAC-CLAD.COM | INFO@PAC-CLAD.COM
 Guess the Architect Contest
ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.
PHOTOGRAPHY: © DOMENICO LUCÀ VIA WIKIMEDIA COMMONS (TOP); LEONARDO FINOTTI (BOTTOM)

FOLLOWING THE NEAR-TOTAL DESTRUCTION OF THIS OPERA HOUSE DURING

WORLD WAR II, THE VENETIAN ARCHITECT CARLO SCARPA WAS HIRED TO OVERSEE
ITS RECONSTRUCTION. BUT, NOT LONG AFTER SCARPA DIED SUDDENLY IN 1978,
THE PROJECT WAS INSTEAD TAKEN OVER BY A COMPATRIOT KNOWN FOR THE USE
OF STRIPPED-DOWN TRADITIONAL FORMS. AMONG ITS MOST FAMOUS ELEMENTS
IS A TAPERING, LANTERN-LIKE TOWER THAT EMERGES THROUGH THE ROOF IN A
SHARP GLASS POINT.

The Tancredo Neves Integrated Center for Public Education (Centro Integrado de
Enseñanza Pública, or CIEP) was designed by Oscar Niemeyer. Niemeyer, working
with Rio de Janeiro governor Leonel Brizola, created a standardized design for the
CIEP program that was used in the construction of hundreds of new public schools in
the 1980s and 1990s.

By entering, you have a chance to win an iPad mini. See the complete rules and entry form
online at architecturalrecord.com/guessthearchitect.

31
Keep the sash.
Improve the glass.

Pilkington Spacia™
The thermal performance of conventional double glazing in the same thickness as a single
pane for historical restoration.

Scan for more on

historical restoration
glass solutions
1.800.221.0444
buildingproducts.pna@nsg.com
www.pilkington.com/na
BOOKS

A How-To Guide for Architect-ing

Architect, Verb: The New Language of multitude of indices for sustainable develop-
Building, by Reinier de Graaf. Verso, 272 ment, which make it difficult for architects to
pages, $25. design original, beautiful buildings in differ-
ent contexts. When he batters away at the
REVIEWED BY TIM ABRAHAMS
sustainability rating systems, the effect is
WHEN EXACTLY does does comic. He blithely waltzes
Reinier de Graaf find time to through the proliferation of archi-
write? He has published three tectural awards, some established
books over the last six years—not only to outflank others. Bespoke
bad, given that he is also a partner prizes have been created by com-
at OMA, one of Europe’s busiest, panies to reel in specific practices,
most respected architectural for dubious marketing purposes.
practices. His latest title, Architect, Here, De Graaf ’s commentary is
Verb, follows Four Walls and a wry as hell.
Roof (2017)—a compelling col- However, when the Dutch
lection of essays and diary entries architect adopts a more analytical
about his life in architecture— approach, the book soars beyond
and The Masterplan (2021), a cathartic humor. When he ad-
surprisingly good, although oc- dresses a particular place rather
casionally cheesy, novel. Colleagues speak of than a dictionary definition, his writing is far
his hammering away at his laptop’s keyboard more compelling. The chapter dedicated to
on long-haul flights, somewhere out over the Vancouver and the etymology of “livability”
ocean, while everyone else sleeps. He writes is a superb analysis of the conditions in
and he writes, and he does it well. Perhaps which 21st-century architecture operates. Kahn™ PANEL ©2022 modularArts, Inc.

more worthwhile, then, is to ask why rather The architect deconstructs the neologism, Ventanas™ PANEL style: Walnut modularArts, Inc.

than when. recontextualizes it, and then drags it through

As might be expected, de Graaf approaches recent history—illustrating not only the
writing from within the world of architecture, good done in its name, but the bad as well.
offering insight into the economic, social, and In the chapter on “beauty,” he nails better
political pressures of his professional life. than anyone else why the British have such a
Although Four Walls and a Roof began this hang-up on the word. Whereas other nations
process in circumspect fashion, Architect, Verb may deliberate and muse on the subject
comes out guns blazing. The book purports to intellectually, and still others might intro-
EZ-Seamª

be semantic in its intention—each chapter duce particular ideas of aesthetics by execu-

challenges a particular term or catchphrase tive order, the British seem to believe that it
common in the vocabulary of his colleagues, is the role of mid-ranking bureaucrats to
clients, and competitors. The big words that explain what beauty is to nominally indepen-
make de Graaf—a left-leaning late-boomer dent architects.
European—unhappy are professional terms It is one of the book’s recurring themes:
such as “world-class” and “place-making” as how architecture can become constrained
well as subjective concepts, including “creativ- by codes or consultancy. The section on
ity” and “beauty.” As de Graaf argues, these evidence-based design, in particular, should
words may offer architecture a set of goals, be compulsory reading for anyone operating
but, in fact, when codified by legislators or under the misguided belief that architects
marketing teams, they create a system, a are omnipotent figures who decree the
metric of measurement, that actually distracts shape and form of our built environment
from the medium itself. from on high. De Graaf may fall short of
Occasionally, de Graaf ’s intentions seem providing emphatic solutions, but no one is
rhetorical or satirical. In the section dedicated identifying the problems or suggesting
to sustainability, he doubles down—if not potential exits from them as wittily or as
triples down—on the sheer profusion of codes intelligently as he is.
an architect must tiresomely navigate. He Why does he write? To get beyond the
lists, to a dizzying degree, the number of flak—to arrive at that strange condition,
different updates various green-building often considered a conceit, where architec-
rating systems, like BREEAM and LEED, ture is autonomous. Long may his flights
have undergone. De Graaf points out the be long. n
 Record NEWS

70
66 64
60
58
54 52
58
50
51 53 52
48
40

30

20
D J F M A M J J A S O N D
2021 2022

INQUIRIES BILLINGS

Unlimited Online Access ABI Rises Slightly

The American Institute of Architects’ latest data show that the
Access original news articles written by preeminent
Architectural Billings Index rose slightly from 46.6 in November to 47.5
Architectural Record editors and contributors,
in December, still below the benchmark of 50 (scores over 50 indicate
along with interviews, videos and relevant features
an increase in firm billings). New inquiries and design contracts also saw
selected from around the web.
a modest increase from the previous month, from 52.0 to 52.3, and
from to 46.9 to 49.4, respectively.
Find it all at www.architecturalrecord.com

34 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
765432105/.-,+733/-1*)546,('&%$#",%! !("&,!(,"$(,,&,!,$ ,"!"&(,"
&"('(,'&",! ,%&,5%"&,!(,!",!,$(,"" ",&! ,!",&"$,$"(! ,
$ ,#$ ,",'(","&!#$,&! $,&,"&"$,,"!"&(,!,# &"((!",(&" ,
, (!,$ ,",#&,$#"(, $'&$,# #&"",",/"(",%"$'&"(,$",!,$ ,!"$,
&" $!&,&$&,%&,# #&"",$(,&! $,($(, &"#$(,# #&"",($!&(,$ ,$# !"(,
(",765432105/.-,+733/-1*)546,%&,$(! ,&"('(,'&,#!" (,!,$ &"#!$"

&,&",! %&$! ,!(!,&"$(#,&,#$, 


 PRODUCTS Flooring

Rainbow Effect
Floor coverings are seeing a resurgence in
color with uplifting pastels, calming
neutrals, and bold and contrasting hues.
BY SHEILA KIM

Expanded iQ Collections
Tarkett recently refreshed and expanded its iQ Granit collection of homogeneous vinyl
sheet and tile flooring with new colorways and the North American introduction of the
coordinating iQ Eminent and Eminent Unisense styles, which feature terrazzo-like
patterns at various scales. Shown here: the new iQ Granit Yellow Brick, Red Brick, and
Red hues; the iQ Eminent in Light Beige; and the iQ Eminent Unisense in Dusty Yellow.
tarkett.com

Opus Abstracts
Karndean has launched a new
capsule collection within its
Opus glue-down luxury vinyl
line. A grouping of abstracted
takes on familiar materials—
Astrum
from stucco and stone to
A modern take on travertine, the Supergres
textiles and timber—Opus
Astrum porcelain-slab collection combines a
Abstracts has a 20mil wear
variety of scales with an updated neutral
layer and comes in a wide
palette and a choice of matte or anti-slip
range of formats, in both
surface finishes, to fit with contemporary
subdued and deep colors such
architecture. The slabs are offered in sizes of
as Burnt Sienna and Black Iron
up to 48" square, in crosscut or vein-cut
(shown).
styles, and in one of four colorways.
karndeancommercial.com
supergres.com

Quotes
Known for painting bold
geometric graphics, artist
Alain Biltereyst lends his
signature style to Kvadrat for
a new rug collection. The
Quotes rugs are handwoven
of pure New Zealand wool and
available in sizes ranging from
5' 11"x 7' 10" to just over 13' x
16½'. Custom colors are also
available.
kvadrat.dk

36 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 Stones at Large
This porcelain tile collec-
tion from Crossville
simulates marble in three
tones and four different
scales, from 4" x 12" to
48" square, the largest of
which creates a high-end
look by minimizing visible
grout lines. Applicable to
both floors and walls,
Stones at Large can be
specified with a polished
or unpolished finish. A
coordinating 2"-square
mosaic is also offered.
crossvilleinc.com

Fresco Valley
New to Interface′s biophilic-themed offerings is
Fresco Valley, a collection of three LVT designs
that mimic patterns derived from nature—such as Heritage
Ridge (above)—each in six colorways. The 4.5mm- To celebrate its 30th
thick product is carbon neutral and both anniversary, American
GREENGUARD Gold and FloorScore certified. mosaic company New
interface.com Ravenna has unveiled
the Heritage collection.
The designs are inspired
by the manufacturer’s
own design history of
producing traditional
patterns that reference
ancient Roman and
Tunisian palaces, and by
more current trends,
including the creation of
ombred and saturated
patterns.
newravenna.com

Spatial Palette
Eco-conscious architects
rejoice: this Patcraft
series employs a new
platform to make a fully
recyclable 100% PET
Spacia Collection product, backing includ-
Mannington Commercial’s latest LVT release
ed. The result is a hybrid
comprises 68 wood, 28 stone, and 20 abstract
12" x 48" plank boasting
patterns in tile or plank formats, many of which
the performance of a hard
coordinate with the manufacturer’s other LVT
surface while providing
products. As an example, Spacia in Windsor Oak
comfort underfoot. The
(above, at left) is paired with Mannington’s Color
planks feature a cross-
Anchor LVT in Stone Wash (above at right).
hatch design in 16
manningtoncommercial.com
heathered colorways.
patcraft.com

37
 Record NEWSMAKER

Annabelle Selldorf Takes on the Critics

With high-profile museum projects recently And that is where all the gallery space was.
completed or in the works in several countries, So what we did is create a new entrance. And
Selldorf Architects has become a leading choice as a that, in and of itself, I don’t think bothered
design practice for institutions looking to expand anybody as much as the removal of VSB’s
and transform their existing buildings. But oversized pergola next to the former entrance.
several projects of the New York-based firm, But I want to point out that a really important
founded by Annabelle Selldorf in 1988, have building by Irving Gill had been completely
faced intense controversy over their designs. This covered up. And while I have heard com-
onslaught includes everything from public outcry plaints about the removal of the columns of
and a petition to halt its work to rebukes by that pergola, in the scheme of things and
leading professionals in projects ranging from the what you win or lose, we won back the Gill
Frick Collection in New York to the Museum of building.
Contemporary Art San Diego (record, April True, the VSB addition is altered. But it is
2022) and the National Gallery in London—the now a better player in the entire complex
latter two comprising previous additions designed because its Axline Court, the former entrance
by Robert Venturi and Denise Scott Brown. court, not only remains unchanged but was
Selldorf, in conversation with record editor in lovingly restored. It is now a place where
chief Josephine Minutillo, defends her schemes. people can come together and is a great learn-
ing center.
When the Neue Galerie opened in 2001, By the way, after I gave a lecture in San
your restoration was praised for having a Diego at the start of the project, Mosher &
light touch. It’s ironic, then, that your inter- Drew wrote me to say how excited the firm
ventions at the Frick, San Diego, and the was about the changes ahead.
National Gallery’s Sainsbury Wing have
elicited such criticism. Why this scrutiny? Actually, I do everything with a light touch, You encountered Carrère & Hastings’s
When the building completed by Carrère not because I think about it that way, but architecture again with the Frick Collection.
& Hastings in 1911 was purchased privately because balance to me means handling it in a Yet this time people objected to certain
by a patron for the Neue Galerie, it was quite gentle way. aspects of your design.
run-down. Nevertheless, its architecture has The Frick is a profoundly beautiful place.
some distinction. We worked on it only with The first polemical project you were in- At face value, it functioned incredibly well for
our clients. And we got to make decisions. volved in was your redesign of the Venturi most visitors. It didn’t function that well in
One big decision, for example, was to have the Scott Brown [VSB] addition to the San certain key aspects—such as welcoming
building be accessible. Believe it or not, that Diego museum, right? visitors inside so they do not have to queue in
was almost an option at the time. Any way, It all started with that beautiful 1915 the rain but come inside and have a large
nobody had any expectations of it. The archi- Irving Gill building that was a private house. enough reception hall, where they could
tects were dead, as was the previous owner, And then the San Diego firm Mosher & purchase tickets, or meet their friends. We
Serge Sabarsky, who in an earlier iteration had Drew added to it, and added to it, and added looked very carefully at what works and what

PHOTOGRAPHY: © STEPHEN KENT; COURTESY SELLDORF ARCHITECTS (OPPOSITE, 2)

suggested taking out the central staircase to to it. Sometime in the 1990s, Venturi and doesn’t work. We needed to provide some
create more space. Scott Brown were brought in. They weren’t crucial amenities, such as letting people who
The interesting thing with adaptive reuse hired to extend gallery space. Exactly what require a wheelchair come and enter through
is you get to know buildings, existing build- was modified is, to this day, not completely the same front door as everyone else.
ings, as if they were people. And you discover clear to me, except that they offered, more
their weaknesses and their strengths. In that than anything, a visual gesture that framed You also provide a loading dock and office
dialogue, you talk to the building as it was. the Irving Gill house and the little courtyard space for museum staff that isn’t in an attic
What does it need to deliver in its new incar- in front of it. But then VSB promptly filled with no air-conditioning.
nation? Many times, especially with public the courtyard so that you could no longer see I’m so glad that you pointed that out,
buildings, the requirements are more focused the house. because I remember seeing it for the first time
on delivering some service to the people who Part of that addition, of course, was an and thinking, “This is not possible.” None of
come visit rather than keeping [the structures] entry into the building that people had a these interventions are willful acts or a ges-
as untouched monuments. hard time finding. But by the time that the tural imposition on our part.
In other words, you have to be kind to museum purchased additional property—a
everybody. But you also have to understand significant amount—we were able to provide People also forget that there were four other
how people will use the renovated and ex- more than 35,000 square feet of new galleries proposals before yours over a period of 20
panded project, in terms of circulation and to the south of the existing complex. To put years—notably the Davis Brody Bond
activities, and how all that is a part of the that into context, a much larger building all of scheme, which would have inserted a six-
whole. You need to find a path, a balance. a sudden set at the south end of the property. story addition in the Russell Page garden.

38 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 A lot of it is just people making noise. I’m
not a trained preservationist, but I sure as hell
know good spaces. I sure as hell understand
how people circulate, and how you can make
connections that leave visitors with a coherent
experience, and how you make mechanical
systems work in spaces that weren’t meant to
have the kind of sophisticated setup we re-
quire nowadays. Many of the people who
have complained about the Frick did so be-
cause they were neighbors and didn’t want to
have construction for two years.
People objected to the removal of the
round music room. You can get upset about
this removal of some original fabric. But what
you get in return is tremendous. Of all the
spaces in the building, the music room was in
the way of connecting the library with the
collection. These changes enable us to make a
much better connection for the entire com-
plex, for linking scholarship with the museum
itself.
Selldorf Architects’ proposals for London’s National Gallery (above) and the Frick Collection (bottom).
At the Sainsbury Wing, you have to contend
again with VSB, specifically Denise Scott
Brown, who has been extremely vocal about more concerned about her legacy being intact edged there is a need for the building to
her displeasure with your proposal. and fully represented—she came back and change. She would always ask, “Why does it
I appreciate Denise Scott Brown. And she complained about the removal of the pergola. have to change? Why do you have to make
is someone who has always felt that she wasn’t She kept saying that it was the “beloved Sainsbury the main entrance?” It was hard to
recognized enough. I don’t know what that’s pergola.” I couldn’t remember anybody “be- have an exchange.
like; I didn’t work alongside a husband whose loving” it, but she apparently did. And I If I turn to the argument of precedent, I
charisma is such that everybody was on their accept that. should use Denise’s own terminology. In one
knees. Her life story is compelling and inter- With VSB’s Sainsbury Wing, which of her books or lectures, she showed these two
esting, and she never fails to remind us that opened in 1991, the challenge is bigger, be- drawings on yellow stickies, one of a glove,
she was trained as an urban planner. So, with cause it’s a Grade I listed building. The most and the other of a mitten. She used these
San Diego, I felt she enjoyed my positive frustrating aspect is that Denise and I never cartoons to say that you cannot anticipate
response to her thinking about La Jolla as a got to a point in the many, many, many, what is going to happen in the course of time
place. Yet I was quite surprised that—maybe many—can I say a few more times “many”?— and that buildings need to be flexible enough
because she is many years older and much conversations that we had where she acknowl- to go with change. Whereas the glove stood
for specificity, the mitten was more akin to
the Postmodern architecture VSB had pro-
moted, which incorporated a representation of
something, along with a great deal of flexibil-
ity behind it.

Would you explain why the Sainsbury Wing

needed to become the main entrance for the
National Gallery?
VSB designed a building that allows people
to enter on the ground level, unlike [entering
by] the gigantic central stair designed by
William Wilkins in 1838. How great is that?
In 1991, they were already cognizant of the
fact that some people needed to be able to
enter on level ground. Equitable entrance is
very important. You may remember that, back
then, there were no security requirements.
But, after 2001, you have security gates every-
where. When people enter the building today,

39
 Record NEWSMAKER

SEE FLOORING
differently

View looking south in the Sainsbury ground floor, with the original
rusticated wall along the Grand Staircase.

they queue in the rain or in the sun, whatever the case may be. What
we’re proposing is to create an enclosed, transparent security vestibule
that allows people to enter at a much faster pace, without the kind of
transgressive intervention of guards and equipment.

While the Westminster City Coucil voted unanimously to approve

your proposal, how does it make you feel when people come out and
say, as some former RIBA presidents have said about Sainsbury,
“This is an act of vandalism”?
Well, it’s been awful. I felt catapulted into the 21st century, in that
everybody can just say whatever the hell they please without having to
have any knowledge, any consideration whatsoever. They obviously
don’t care whether it’s hurtful or not. I try to find a level of equanimity.
But I won’t lie: this has not been fun.

How long could you stand doing this work?

What’s so funny is, you don’t start out thinking, “This is going to be
Karndean is invested in providing high- very controversial.” I don’t look for controversy. I believe it’s very impor-
quality products that you can stake your tant for museums and other public institutions to embrace a better pro-
cess for society’s interactions. Art institutions have their fair share of
reputation upon, including our new work cut out for them. But I don’t like fighting. And I don’t like the
Opus Abstract products. Personalize your intimidation. There have been a lot of lies that were published. PHOTOGRAPHY: COURTESY SELLDORF ARCHITECTS

designs by with unique laying patterns

You were recently hired to do a major addition to Toronto’s Art
or use design components to highlight Gallery of Ontario, whose previous expansion was led by Frank
architectural features. If your project Gehry. How is that going?
calls for something sophisticated, with the In one part it will touch Frank’s building. It was very clear to me, long
before I even talked to him, that the worst thing that could happen
ultimate “wow” factor, these floors may be would be to upset the balance of his very compositional and very strong
just the solution. elevation. But he was just so nice. And he said, “This is going to be
great. These spaces are going to be connected.” The most interesting
thing he said was, “We’re such different architects, but I totally trust
See for yourself at
what you do.” And that was excellent. n
www.karndean.com/archrecord
 Building
Distinction

Northern Arizona University Student-Athlete High Performance Center | Flagstaff, Arizona

Pioneering Products that Elevate Design and Efficiency.

At Kingspan Insulated Panels, we’re pioneering better technologies
and methods of building for a low carbon world. Kingspan insulated
metal panels are the next generation of building envelope, offering
an unparalleled combination of aesthetic flexibility, energy efficiency
and thermal, air, water and vapor barrier performance.
KS Mini Micro-Rib

Build distinction that stands out.

www.kingspanpanels.us
 INTERIORS

The Royal Treatment

PHOTOGRAPHY: © GRAYDON HERRIOTT (TOP AND OPPOSITE, BOTTOM);
Giannone Petricone Associates transforms a dilapidated hotel in Canada into a feast for the eyes.
BY PILAR VILADAS

WHEN THE Toronto-based architecture stages, the roof caved in. “We told him he was revive a historic building while adding offbeat,
firm Giannone Petricone Associates (GPA) was mad,” recalls Sorbara’s son-in-law Sol Korn- contemporary touches.
DOUBLESPACE (OPPOSITE, TOP)

asked by Greg Sorbara—a former Canadian gold, who later changed his mind and left the Pina Petricone and Ralph Giannone, the
politician and finance minister—to renovate the software business he helped found to become husband-and-wife team who in 1995 founded
Royal Hotel, an 1879 Victorian building he and the Royal’s general manager. Sorbara wanted to the firm—known for sleek urban towers and
his family had bought in Picton, Ontario, in create a gathering spot on Main Street for exuberant retail and restaurant projects, as
2013, the architects knew they had their work locals and tourists visiting Prince Edward well as sophisticated houses, furniture, and
cut out for them. The central staircase was County, an agricultural area known for its food lighting—enjoy working at many different
carpeted with moss, and, early in the planning and wine. The architects saw an opportunity to scales. The architects redesigned the existing

42 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
The restaurant’s
ceiling reinterprets a
Victorian rosette as
the 22-foot-diameter
underside of a
mushroom (above).
Rippling plaster
hotel with 28 guest rooms, a café, three bars, a restaurant, Upon entering the lobby, the open-all-day Counter Bar
encircles ceiling
lights in the Parlour spa, gym, and sauna. Outside, a redbrick garden terrace is on the left. The floor and bar are white oak, as are fins
(top, right) and a overlooks a fourth bar and a patio with a fireplace, and at the ceiling. Beyond the bar, the marble and bronze
column near the also leads to a swimming pool. Nearby, the hotel’s stables check-in desk (upholstered in a quilted traditional floral
reception desk were turned into the Royal Annex, an “abstracted farm- fabric) sits on a marble mosaic “carpet” set into the oak
(right). house” that contains five rooms. floor. At the top of a large column, a ring of light illumi-
GPA’s approach to the project was a mixture of conser- nates a rippling plaster ceiling rosette, which alludes to
vation and innovation. The facade was landmarked from water damage that had occurred throughout the hotel—
the second floor up, but the first floor had been altered. part of the architects’ strategy of invoking “sublime decay.”
The architects restored the upper facade while recreating Across from the bar, the Parlour is a lobby lounge for
the front balustrades on the lower portion in expanded gathering and working where a large GPA-designed cabi-
metal mesh. net houses the Convertible Bar. A fireplace surround was

43
 INTERIORS

Walls of dark-stained wood punctuate guest

rooms (bottom, left) and the library (left), where
they are given a corduroy treatment. Bathrooms
feature tiles in tartan patterns (bottom, right).

inspired by a starched white tablecloth, and

more rippled rosettes encircle the ceiling lights.
The corridor leading to the library, restaurant,
and terrace has an elevator cage of expanded
metal mesh like that of the facade, but brass-
plated, and a zigzagging ceiling light. A photo-
graph of the former crumbling staircase hangs
at the entrance of the men’s room, while the
women’s room has round mirrors perched on
cast-metal duck and chicken legs.
The restaurant is the formal dining spot,
and its ceiling of compressed acoustical fins
reinterprets a Victorian rosette as the 22-foot-
diameter underside of a mushroom, a nod to
the area’s agriculture. (The Sorbaras’ organic
farm supplies much of the produce.)
In some guest rooms, beds have headboards
framed in what the architects describe as a
rectangular embroidery hoop—another

PHOTOGRAPHY: © DOUBLESPACE (3)

Victorian reference—while tiles in the bath-
rooms evoke that era’s tartans in colors named
after apple varieties, and a scalloped edge on
the vanities refers to its linens. “A hotel should
be completely transporting,” says Petricone.
“To work in an existing building and bring it
to life again” was a goal at which the architects
more than succeeded. n

44 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 The Office Unplugged.

Introducing B+N’s solution for the new Hybrid Workplace: Rolling Office.
Battery-driven or Plug-and-Play 120v. Easily rolled to create collaboration areas.
Reconfigured without tools, without electricians, and with minimal manpower.
Visit us on the web to see more inspiration and detailed information
on just how Rolling Office can support the way we work now.

Rolling Office. Adaptive. Inclusive. Collaborative.

Refresh with PET felt, wood, or steel.

Batteries recharge a laptop four times.

www.BNind.com
© B+N Industries Inc. 800.350.4127 Meet Taboroid™: battery-powered, a PET felt pad, and storage.
BEFORE IT’S
April 18 – 21, 2023
Orlando, Florida

Behold the Bold at Coverings 2023

TRENDING, IT’S
The ultimate destination for breathtaking
“wow” moments, Coverings boasts the largest
and most impressive display of tile and stone in
North America. Explore the latest trends from
around the globe that deliver the quality, luxury,

AT COVERINGS
and visual appeal your customers demand.
With a fresh idea at every turn, there is always
a bold innovation to discover, a new partner to
connect with, and a planet-friendly product to
be specified. No matter your client, you’ll find
the perfect source of tile and stone inspiration
and knowledge at Coverings 2023.

erings2023 Register at no cost at Coverings.com

 FIRST LOOK

A Breath of Fresh Air

In Queens, a tuberculosis hospital is given a new lease on life as affordable and supportive housing.
BY LEOPOLDO VILLARDI

WHEN New York mayor Fiorello LaGuardia

laid the cornerstone of the Triboro Hospital
for Tuberculosis in Jamaica, Queens, in 1939,
he expressed hope that the disease—then the
leading cause of death for Americans between
the ages of 15 and 35—would be snuffed out
within his lifetime. Facing a shortage of some
4,000 beds, the city was in desperate need of
the new facility. But LaGuardia did not live
long enough to see the end of tuberculosis—
he died eight years later, coincidentally the
same year that clinical trials for streptomycin,
the antibiotic used to treat TB, began. By the
late 1950s the need for such a specialized
facility had started to wane and, with it, so
did the building’s condition. Dunn Develop­
ment, with architecture firm SLCE, Old
Structures Engineering, and architectural
conservator Mary Kay Judy, recently rehabili­
tated the underutilized hospital to help ad­
dress a different public­health challenge: the
housing crisis.

PHOTOGRAPHY: COURTESY GOTTSCHO-SCHLEISNER, LIBRARY OF CONGRESS PRINTS & PHOTOGRPAHS DIVISION (LC-G612-39053 &
CORRIDORS of the
Throughout much of the 19th century,
hospital were lined

LC-G612-39091), VIA MARY KAY JUDY; NEW YORK CITY HEALTH & HOSPITALS CORPORATION, DUNN DEVELOPMENT (OPPOSITE)
“miasmas” or even lapses in moral judgment with observation
were often thought to cause tuberculosis windows (above).
(sometimes called consumption). The formu­ Each wing of the
lation of germ theory in the 1880s, however, hospital terminated
helped medical professionals understand the with a solarium,
where patients
disease’s communicable nature, spreading
could undertake
through the air much like influenza or “heliotherapy” (left).
Covid­19. Until pharmacological treatment
was commonplace, doctors turned to archi­
tects for a solution: “taking the cure” meant
isolation from others in tuberculosis sanatori­
ums with plenty of exposure to the sun and
fresh air. This translated into dedicated facili­
ties far from dense urban centers, with balco­
nies or terraces wide enough to accommodate
bedridden patients, proper orientation, and
ample glazing, as well as all the auxiliary
spaces necessary to maintain hygiene (and style (he was, perhaps deridingly so, nick­ sium proposed for Manhattan’s Morningside
sanity) for patients who often needed months named “the last Roman”). But the extent of Park (never built, following the violent pro­
or years to fully recover. Aino and Alvar Pope’s involvement is not fully understood— tests at Columbia University in 1968).
Aalto’s Paimio Tuberculosis Sanatorium he died only a few months into the project, “Ample wholesome food, fresh air, regu­
(1933) is perhaps the most notable example, and its art moderne character seems much lated amounts of sunshine, rest” are what
and certainly one Triboro’s architects would more akin to the diverse repertoire of his patients of the Triboro could expect, accord­
have known. successors Otto Eggers and Daniel Higgins, ing to record in August 1938, when the
The commission to build Triboro was who later designed the Georgian­style magazine published plans and a rendering of
granted in early 1937 to American architect Silliman College at Yale University; a mod­ the building, then breaking ground. Tripar­
John Russell Pope, famous for his large public erne auditorium at Indiana University; and tite organization and clear axiality are com­
buildings and penchant for the neoclassical the highly controversial Modernist gymna­ plemented by distinctly moderne details:

48 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
rounded corners, semicircular solariums with
ribbon windows, cascading rooftop terraces,
and a central prow with a bowed window bay.
Though the buff brick-and-limestone struc-
ture is 10 stories tall, the plans reveal its long
and narrow nature, allowing patients equal
access to the sun. This horizontality is fur-
ther stressed by long cantilevered balconies
and brick reveal courses at the base.
Today, the former hospital is known as the
T Building. “It doesn’t look like affordable
and supportive housing, but it is,” says
Maggie Poxon, Dunn Development’s project
manager, as she spirited me around, punch
list in hand, “but only after years of painstak-
ing work.” Decades of water infiltration, ad
hoc interventions, and rampant disregard
resulted in widespread spalling, boarded-up
windows, collapsing ceilings, and an infesta-
tion of raccoons. The hospital had fallen into
such a decrepit state that film crews used it to
depict the fictional Arkham Asylum in the
television series Gotham.
Initial redevelopment plans for market-rate
senior housing were derailed by the 2007–8
recession, and, in 2012, a proposal to convert
the building entirely into housing for people collaborated on nearly 30 low-income housing windows, were still intact. On the other hand,
experiencing homelessness prompted outcry. projects with SLCE, engaged community restoring the Schuster two-way structural
“The community board went wild,” says stakeholders and organized tours of those system—fireproofed steel with terra-cotta
SLCE partner Saky Yakas. Many from the buildings to quell skepticism and build trust. block and reinforced-concrete infill—proved
neighboring residential enclave Parkway “First, we listened. But we also presented a lot an arduous, if expensive, challenge. Without
Village called for the building’s demolition of demographic and economic data that chal- many redundancies, the “grid is sacrosanct. If
(ironic, given that community’s history as lenged their assumptions,” says Dunn presi- one of the ribs is cut, the entire span needs to
former worker’s housing for United Nations dent Martin Dunn. Under the final agree- be reinforced with steel,” Poxon explains, and
staff, many of whom were people of color and ment, the city’s public-hospital system the discovery that the hospital had cut holes
had difficulty finding housing elsewhere in continues to own the T Building and its site, through it came with an unexpected $1.5 mil-
the city). “The project was a political football. but a 99-year ground lease was extended to lion price tag.
The Landmarks Preservation Committee the developer in exchange for the building’s To finance the $84 million construction
didn’t want to landmark it, either” says Judy, rehabilitation, including 12,800-square-feet cost, Dunn Development turned to two
who, alongside architectural historian Kerri of office space for the adjoining Queens federal tax-incentive programs. The Federal
Culhane, got the building on the National Hospital Center. Historic Preservation Tax Incentive, adminis-
Register of Historic Places instead. In some ways, the rehabilitation effort tered by the National Parks Service in coordi-
But, in 2014, the city selected Dunn, a benefited from the building’s neglect. When nation with each State Historic Preservation
Brooklyn-based developer, to rehabilitate the construction began in July 2019, most of the Office (SHPO), and the Low-Income Hous-
243,000-square-foot hospital as 125 units of original materials, including marble in the ing Tax Credit (LIHTC) program, adminis-
affordable housing and 75 units of supportive lobby, bronze grilles, terrazzo floors, teak tered by the U.S. Department of Housing &
housing. The developer, which previously handrails, glass and tile blocks, and steel sash Urban Development in coordination with
various state and local agencies, which allo-
THE ARCHITECTS
cate $8 billion in tax deductions for projects
published a rendering of every year, together funded $53 million, with
the 550-bed hospital in tax benefits passed on to equity investors.
the August 1938 issue of Balancing the competing interests of these
Record (left). The T two programs—retaining historically signifi-
Building is oriented cant architectural elements from the hospital
toward the southwest,
guaranteeing ample
and providing housing that doesn’t feel insti-
sunlight inside (above). tutional to tenants (who must make 60 per-
cent or less of the Area Median Income)—
was no easy feat. “Meeting the Secretary of
the Interior’s standards and allowing the

49
 FIRST LOOK

10

7 8 9 5 5 9 8

6 3 4 4 4 4 4 4 3 6
5 1 5
2 2

1 1

1 SOLARIUM 5 ISOLATION ROOM 9 BATHROOM

2 24-BED WARD 6 NURSES’ STATION 10 TREATMENT ROOMS

3 2-BED WARD 7 UTILITY ROOM

4 6-BED WARD 8 KITCHEN

■ STUDIO ■ 2-BEDROOM 0 30 FT.

10 M.
■ 1-BEDROOM ■ 3-BEDROOM

FROM THE upper balconies, residents have panoramic views of Queens

ORIGINAL (TOP) AND RENOVATED (ABOVE) TYPICAL FLOOR PLANS
and Manhattan (above).

flexibility needed for new proposed uses can be a pretty nuanced con- Merchants Block Association, which assists residents transitioning out
versation,” says Olivia Brazee, historic-site restoration coordinator at of homelessness with on-site case managers and recreation aides.
the New York SHPO. For example, observation windows, which al- Nonprofit ChaShaMa will offer affordable studio spaces to artists, who
lowed nurses to monitor patients from the hallways, were integral to will in turn teach classes. Other amenities include a ninth-floor com-
the original program. Many had been covered in the decades leading up munity room (once a small theater for visiting thespians, to keep pa-
to the renovation, and they would not have satisfied residential fire- tients in high spirits), along with a computer lab (the hospital’s former
safety codes had they been fully restored. The solution came in the medical library), on-site laundry, and a fitness center. Outside, amid a
form of “a frame that recalled the presence of a window,” Brazee says, pollinator garden designed by NV5, children can enjoy a playground.
where the nonprofit Photoville will install artwork on a rotating basis. And there is free Wi-Fi building-wide—“this fourth utility is an issue
Maintaining the original 10-foot-wide corridor, also a requirement, of equity. Dunn Development provides supportive-housing tenants
pushed SLCE to be creative with apartment layouts, which needed to with Chromebooks, and social services train tenants how to use them,” PHOTOGRAPHY: COURTESY DUNN DEVELOPMENT.

contend with the locations of existing windows, mullions, and access to Poxon says. With only minor work on the community center left, the T
balconies. The units range from studios to three-bedroom apartments, Building is already 100 percent occupied.
creating a mix of household sizes. “A more diverse community is a Dunn Development received over 37,000 applications through the
stronger one,” Dunn points out. NYC Housing Portal. Those numbers can be interpreted as an indica-
Significantly, had the former hospital been demolished, current tion of the project’s appeal, but they also highlight the extreme, contin-
zoning only permits the construction of a four-story residential build- ued need for more affordable housing. New construction isn’t the only
ing. “Here, historic preservation preserved density as well,” Dunn adds. way to meet that need—adaptive reuse has an important role to play. The
The former hospital’s auxiliary spaces were also easily repurposed T Building not only stands as an example that underutilized buildings
for amenities or to aid supportive housing (which is housing comple- can be made into durable, dignified housing, but it shows what’s possible
mented by on-site social services). Telephone booths and fluoroscopy when architects, developers, preservationists, policymakers, and commu-
rooms were converted into a suite of offices for the Church Avenue nity stakeholders work together in a way they seldom do. ■

50 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 CLOSE UP

There’s No Place Like Home

The recently refurbished house museums of painters Frederick Leighton and Thomas Gainsborough let art
and life intermingle.
BY TIM ABRAHAMS

PHOTOGRAPHY: © BDP (THIS PAGE); DIRK LINDNER (OPPOSITE, 2)

THE HOMES of famous artists make for ence of art to the public, an art integrated has required the removal or adaptation of
very particular—and, in the right hands— with life rather than serving abstract ideas. 20th-century additions. In the case of Leigh-
very special museums. Supposedly domestic While architects in Europe are expected, ton House, a series of store rooms that had
worlds, they have been built or adapted by increasingly, to resist demolition and incorpo- been created within a 1920s Arts & Crafts
their creative residents, within their lifetimes, rate pre-existing buildings into any new piece extension called the Perrin Wing, had to be
to simultaneously display art and artifacts. of architecture, the work on these small removed, enabling a new café to occupy the
Leighton House and Gainsborough’s House buildings constitutes essays—aesthetically central space on the ground floor, with win-
are such places: homes reflecting artistic sophisticated ones, given the artistic nature of dows added to the rear. At Gainsborough’s
views that have become museums and cher- the original structures—on how architecture House, it was an adjacent 1930s government
ished cultural institutions. Recent extensions must now be conceived. building that went, allowing the institution to
and renovations to these two complexes show The transformation of both Leighton stretch to the east.
how architects can provide curators with a House in London and Gainsborough’s House The new-build elements of Leighton
museum that offers an intimate, novel experi- in Sudbury, 70 miles northwest of the capital, House and Gainsborough’s House are small.

52 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
Leighton House has only been expanded
some 7,000 square feet, to just under 80,000
square feet. But these modifications are tips
to icebergs of institutional reorganization.
The most visible component of the renova-
tion work—done by international firm
BDP—to Leighton House, one of London’s
great hidden architectural treasures, is simply
a new entrance, inlaid with a sunburst of
black ceramic detailing, inserted into the
Perrin Wing. It redirects visitors from the
front door, with steps, that Frederic Leighton
and his many guests used, to an approach
that now meets contemporary standards of
accessibility.
Even the largest new component is small.
To the rear now is a brick-clad rotunda, 30
feet high and 20 feet at its widest. Containing
a staircase and elevator, it nestles into the last
unobtrusive exterior space in the large gar-
den, from which the two-story cylinder of
circulation can be seen, providing symmetry
with the dome of the fabled Arab Hall on the
west wing of the building. Hidden within
Leighton House, however, BDP—whose
heritage projects include current work on the
Houses of Parliament—created approximate-
ly 2,700 square feet of additional floor space,
largely in a newly excavated basement, which
provides a new drawing gallery, extra bath-
rooms, conservation, and teaching rooms.
It is the latest stage of a steady expansion.
Frederic Leighton (born in 1830 into a
wealthy family) built his house as an endlessly
expanding work of art, made to display his
collections, which includes work by his con-
temporaries as well as an astonishing range of
Middle Eastern tiles. In close collaboration
with the architect George Aitchison, he
created, in stages beginning in the 1860s,
what is still a pavilion of Victorian eclecti-
cism. Its rear facade is a particular joy, a
collage of wrought-iron balconies and domes,
with a north-facing winter garden. Leighton
was possibly the most active or powerful
president of the Royal Academy in its history,
and there is much to be told about Leighton
and his milieu; many members of his circle
bought houses in the vicinity (as a current
exhibition details.)
Gainsborough’s House, conversely, is a
simple Georgian rowhouse in a cheery Suffolk
market town. The relatively modest home in
which Thomas Gainsborough was born in
A cylindrical brick addition to Leighton House
(opposite) contains a helical stair with a
handpainted mural inspired by the poet Rumi
(top). The renovation allows more room for
exhibition (right).

53
 CLOSE UP

A new café occupies the central space on the narrow building for the much larger paintings extension primarily allows some of Gains-
ground floor of Leighton House. that Gainsborough made after moving to borough’s more famous works to be properly
London and becaming (arguably) Britain’s exhibited in the same vicinity as his earlier
1727 became a museum in 1956, dedicated to greatest-ever portraitist. ones. The ground floor of the new structure is
his origins—unlike Leighton’s, which conveys To do just that, museum specialists clad in knapped flint and is drawn back
the culmination of a major artistic career. The ZMMA have built a new three-story gallery slightly from the street. The protruding upper
former’s life is discernible only in flashes, as in building. It sits behind the original house, at two stories of the building are clad in red
the long stretch of glazing he added to the the end of a connecting row of three buildings brick, a commitment less to immediate con-
north-facing studio, to provide light ample down a side street, which the museum owns text than to local materials. (The handmade
enough for painting his wealthy clients. It has and that contain a shop, café, and print studio bricks were produced two miles away.)
always been a struggle to find space in the (refurbished as part of the recent works). The Instead of using flint as an inlay to brick as

PHOTOGRAPHY: © DIRK LINDNER; HUFTON+CROW (OPPOSITE)

1865 1869–70 1877–81 1889–90 1894–95

The Original House Canvas Store & Loggia The Arab Hall The Winter Studio The Silk Room

EVOLUTION OF LEIGHTON HOUSE

54 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
is traditional, the division highlights the scale tions and articulating the cultural relation- The ground floor of the new structure at
of the upper floors, and the building looms ships that the east of England has with the Gainsborough’s House is clad in knapped flint
over the side street somewhat (although the rest of the country and continental Europe. and topped by an upper level of local brick.
scale does address an old silk factory immedi- The new elements are not just about ex-
ately to the west of the extension; Sudbury is panding the museum: they also improve However, “access” can also mean access to art.
historically the center of Britain’s silk indus- access, an ongoing issue with historical build- The new gallery space here has the security
try). The new build accommodates an addi- ings. As with Leighton House, the most and environmental controls that will allow
tional 3,500 square feet of exhibition space, in prominent new component at Gainsborough the institution to borrow the best work—as
four galleries, across three floors. With it, provides better circulation; to make it wheel- they have done with several of Gainsbor-
Gainsborough’s House has become a regional chair-accessible, the ancient floorboards had ough’s finest society portraits, displayed in a
art gallery, capable of hosting touring exhibi- to be dropped and the garden relandscaped. stunning room clad in green damask silk, on
the ground floor.
In addition, the extensions have enabled a
larger internal reorganization of the respec-
tive museums. The curatorial result is that the
museums’ famous former inhabitants can be
understood within the artistic culture that
they worked in while also expanding the
repertoire of the museum.
Significantly, both museums have incorpo-
rated new gallery space dedicated specifically
to drawing, a medium that in our digital age
is engaging new audiences, enchanted perhaps
1928 & 1955 2022
Perrin Wing, In-Fill and escape stair Removal of escape stair and addition by the immediacy of how a simple pencil or
of circulation cylinder
charcoal line on a page can conjure up new
worlds. In the case of Gainsborough’s House,

55
 CLOSE UP

PHOTOGRAPHY: © HUFTON+CROW (2, AND OPPOSITE, TOP); JEFF SPICER (OPPOSITE, BOTTOM)
7

10 9 8
the gallery has been created on the house’s creative approach of revealing the spirit of the
second floor following the rehang. One of the past. And while it is notable that BDP has a
11 12 7 many charms of Gainsborough’s House is high level of in-house technical expertise (in
that the old dwelling remains a gallery rather terms of lighting, for example), and ZMMA
than a simulacrum of a domestic space has a long expertise in dealing with the tech-
0 30 FT.
GROUND FLOOR PLAN
10 M.
(whereas Leighton House was always a gallery nical requirements of gallery spaces such as
that one man lived in). One of the eight ventilation and natural light, they have each
gallery rooms in the house is currently given been asked to channel the spirit of the origi-
1 TICKETING/RECEPTION 8 STUDY ROOM over to the work of Cedric Morris, who ran nal rather than preserve its fabric literally.
2 EXHIBITIONS GALLERY 9 HISTORIC HOUSE an unlikely art school in the 1930s nearby, This has matched a new curatorial ap-
3 GAINSBOROUGH ENTRANCE through which Lucian Freud passed. proach. The two museums are not intended to
GALLERY 10 PAINTING ROOM It is an exciting time for preservation in the make the lives of their former owners any
4 PRINT WORKSHOP GALLERY UK. British practitioners in the field used to more legible as chronological histories or
5 CAFÉ 11 CEDRIC MORRIS treasure the fabric of ancient buildings above remote historical lives, but to explore how life
GALLERY all else, after the precepts of William Morris, and art intermingle—how individual artists
6 COURTYARD

7 SHOP
12 EARLY GAINSBOROUGH who valued repair above renovation. For a influence the world around them, and are
GALLERY long time, the British have eschewed the more influenced by it. n

56 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
The unusual
basketweave pattern
of the brick on the
Gainsborough’s
House addition is
visible from street
level (opposite,
bottom). Its irregular
sawtooth roof stands
out amid the Suffolk
market-town
surroundings
(opposite, top), and
results in striking
galleries (above).
Visitors explore the
Gainsborough Gallery
(right).

57
TOGETHER
WE CAN BUILD A BETTER FUTURE

NET ZERO
CARBON MANUFACTURING BY 2030

50
REDUCTION
IN PRODUCT CO2INTENSITY
FROM SUPPLY PARTNERS
BY 2030

ZERO EMISSION
COMPANY CARS BY 2025

It’s time for more than talk. Through our

Planet Passionate program, Kingspan is
driving energy and carbon out of our global
business operations and supply chain, as
well as increasing our recycling of rainwater
and waste, while also accelerating our
participation in the circular economy.

WALK THE TALK WITH US TODAY

kingspan.com/planetpassionate
 CEU BUILDING TYPE STUDY 1,050

RENOVATION,
RESTORATION,
ADAPTIVE REUSE
60 Quay Quarter Tower
Sydney | 3XN

68 Royal Museum of Fine Arts

Belgium | KAAN Architecten

76 Building 12
San Francisco | Perkins&Will

84 Bronx Children’s Museum

New York | O’Neill McVoy Architects

CONTINUING EDUCATION
To earn one AIA learning unit (LU), including one hour of health,
safety, and welfare (HSW) credit, read the “Renovation, Restoration,
Adaptive Reuse” section (pages 59 to 88), and complete the quiz
at continuingeducation.bnpmedia.com. Upon passing the test,
you will receive a certificate of completion, and your credit will be
automatically reported to the AIA. Additional information regarding
credit-reporting and continuing-education requirements can be found
at continuingeducation.bnpmedia.com.

Learning Objectives
1 Outline a range of adaptation, renovation, and expansion
approaches, from discreet insertions within historic fabric
to complete aesthetic and structural overhauls of existing
buildings.
2 Explain why renovation and adaptation reduce carbon emissions,
when compared to new construction.
PHOTOGRAPHY: © ADAM MORK

3 Discuss the structural-engineering challenges involved in adding

on to a tall tower.
4 Describe renovation strategies that can make buildings more
resilient against the effects of climate change.

AIA/CES Course #K2302A

QUAY QUARTER TOWER, SYDNEY, BY 3XN

59
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

QUAY QUARTER TOWER I SYDNEY I 3XN

Upscaled & Upcycled

In reinventing an aging Sydney office tower, Danish Firm 3XN offers an innovative alternative to demolition.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY ADAM MORK

THE 50-STORY Quay Quarter Tower (QQT) overlooking Sydney’s structure, reusing 95 percent of its core and 65 percent of its beams,
world-famous harbor is clearly contemporary. With its twisting geom- columns, and slabs. The scheme, developed in partnership with architect
etry, its cantilevering blocks that appear to reach toward the water, and of record BVN, more than doubles usable floor area, to 1.1 million
its jazzy gridded facade, the 676-foot-tall office building stands out as a square feet. But, most notably, at least from a climate perspective, the
distinctly recent addition to the city’s quickly changing skyline. upcycling strategy saved 12,000 metric tons of embodied carbon—
However, despite this aura of newness, QQT is not new, or not en- greenhouse-gas emissions equal to those produced, the architects say, by
tirely so. The skyscraper is the product of the adaptation and expansion 8,800 flights between Sydney and Copenhagen.
of a 46-story tower completed on the prime Central Business District For AMP Capital, 3XN’s client and QQT’s owner and anchor
(CBD) site in 1976 and no longer considered attractive to tenants, due to tenant, retaining as much of the older structure as possible was a re-
its too-small floor plates. The recent $600 million transformation—de- quirement, one outlined in its 2014 design competition brief. However,
signed by Danish firm 3XN—retains nearly all the existing tower’s AMP’s interest in building reuse was not prompted by the potential

60 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
QUAY QUARTER Tower rises from a prime
harborside Central Business District site
(opposite and this image).

61
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

environmental benefits, but instead by eco-

nomics. The approach shaved nine to 12
months off the construction schedule and
saved about $100 million, estimates Fred
Holt, a 3XN partner based in Sydney.
“Circular economy is about economy,” he says.
No small factor, of course, were planning
restrictions that limited the height of a new
tower, had the existing one been demolished.
The now-expanded building rises from a
new mixed-use podium clad in Sydney sand-
stone, the material of many of the neighbor-
ing historic buildings. The platform estab-
lishes a level ground plane on the steep site as
it slopes sharply from the primary entrance on
Bridge Street northward, toward the harbor.
The podium houses a spatially dynamic,
loftlike multilevel lobby and offers dining and
retail options, aimed not only at QQT ten-
ants but at the surrounding blocks of the
CBD. And on the podium’s roof, a publicly
accessible park is sheltered under a trellis by
Icelandic-Danish artist Olafur Eliasson.
From this base, QQT’s office levels are
stacked in five blocks, each twisting to take
full advantage of the maximum allowed
envelope while making the most of views of
the trusses of the Harbour Bridge, the “sails”
of Jørn Utzon’s Opera House, and the ferries
coming and going from Circular Quay.
Creating the tower’s geometry, with floor
plates that are now about 22,000 square feet
(up from 13,000 square feet), involved sacri-

62 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
THE TOWER’S site slopes up from the harbor
(right) to the main entry on Bridge Street
(opposite, top), allowing for a multilevel lobby
(opposite, bottom).

ficing the northernmost portion of the older

building’s square-in-plan “tube-in-tube”
structure, so called because of its closely
spaced perimeter columns and placement of
its core. The revamp process included graft-
ing on new floor plates and then enclosing the
expanded volume in a new glass curtain wall,
which is in turn wrapped within an alumi-
num brise-soleil. Its grid pattern steps in
alternating directions to distinguish each
stack of floors from the next.
But the grid is more than aesthetic. “Its
design is informed—it isn’t just form,” quips
Holt. Depending on the facade’s solar orien-
tation, the depth and profile of the brise-
soleil’s blades vary to cut heat gain by more
than 30 percent, lowering mechanical cooling
requirements and thereby reducing opera-
tional carbon. In addition, the brise-soleil
dispenses with the need for blinds, which
would—for at least part of the day—block the
all-important views.
Within QQT’s stacked blocks, the office
space is organized as a series of vertical “neigh-
borhoods,” each focused on its own multistory
social space at the building’s northern edge and
a rooftop terrace at the base of each stack. The
atria, which tenants and visitors see as soon as
they get off the elevators, serve, says Holt, to
democratize access to the tower’s stunning
vistas. They also drive daylight deep into the
tower’s footprint, and allow for workspaces
with an airy, informal feel that clearly appeals
to tenants: As of late last year, the tower,
completed in April, was already 95 percent
leased—impressive performance in this work-
from-anywhere era.
QQT is believed to be the largest and tallest
building-transformation project anywhere.
And, as one might expect, adaptive reuse at
such a scale comes with a host of engineering
and construction complexities. Chief among
the challenges was the differential settlement
between the new construction, which consists
of concrete-filled steel-tube columns and steel
beams, and the old building, with its concrete
frame. “Usually, we just have to connect a
tower to the ground, but here we also had to
connect to an existing structure,” says Tom
Benn, a senior associate with structural consul-
tant BG&E. The concern was that shrinkage
of the new construction would pull the existing
core and its adjacent columns downward,
affecting all facets of construction, including

63
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

DEMOLITION AND CONSTRUCTION AXONOMETRIC DIAGRAMS

View from
lobby

New New
Existing Existing

Existing Remaining Existing / New Views / Daylighting Increased Views / Daylighting

AXONOMETRIC
DEMOLITION AND CONSTRUCTION PLAN DIAGRAMS
DIAGRAM

FLEX-FLOOR DIAGRAM

64 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
THE ORIGINAL 1970s tower (opposite, far left)
had closely spaced, view-obstructing perimeter
columns, in contrast to QQT’s vertical villages,
with their stunning harbor vistas (right).

the elevators and the facades. The solution was

to leave a temporary gap between the build-
ing’s old and new portions, tying the two
together permanently only after the new con-
struction had substantially settled.
The designers and contractors not only had
to take vertical settlement into account—they
also had to consider lateral movement, for the
completed, expanded structure, and for the
new and old portions during construction.
Predicting this performance, however, was
complicated by the unconventional construc-
tion sequence that entailed top-down demoli-
tion happening concurrently with new con-
struction at the base. Throughout the process,
the engineers tracked building movements
with a variety of low- and high-tech instru-
ments, including plumb bobs, strain gages,
tilt sensors, and accelerometers. This “struc-
tural health monitoring” allowed verification
of the accuracy of the engineers’ early struc-
tural simulations and constant calibration of
QQT’s digital twin, and provided a keen
understanding of the retrofit needs for the
older building. Along with some 1,600 core
samples taken from the 1970s tower, the
dynamic 3D model helped engineers pinpoint
places where reinforcement was needed,
adding such elements as steel jackets to in-
crease compressive capacity and carbon-fiber
laminates to strengthen for tension.
One of QQT’s most ingenious features is
its “flex floors”—floors above and below the
atria that have been configured to be re-
moved, should tenants wish to extend their
vertical neighborhood. The connections are
primarily bolted, rather than welded, and the
elements in the IKEA-like kit of parts are
sized so they can be taken out of the building
in the freight elevator without the need for
temporary lifts or external scaffolding. Levels
currently without such infill floors have
connections ready that would allow their
insertion if tenants so desired. It is a testa-
ment to the quality of the workspaces that
3XN has created that no tenant so far has
chosen to fill in its atrium, prioritizing day-
light, views, and social space over more occu-
piable square feet.
That the expanded tower has been de-
signed with further transformation in mind
should help keep it viable well into the future.
QQT offers a model for the many outmoded
mid- and late 20th-century office buildings in

65
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

THE ARRANGEMENT of blocks of floors that

twist and cantilever (opposite) creates the
opportunity for terraces (this image and below).

cities globally, demonstrating that they can be reimagined, rather than

demolished. The project shows that aging commercial towers can be
redefined to create world-class workspaces—without the huge environ-
mental toll of new construction. n

Credits COST: $600 million

ARCHITECT: 3XN — Kim Herforth COMPLETION DATE: April 2022
Nielsen, founder & creative director;
Fred Holt, partner in charge, 3XN
Australia; Jeanette Hansen, Audun Sources
Opdal, partners; Alyssa Murasaki PODIUM STONE: Deemah Stone
Saltzgaber, project manager PODIUM GLAZING: G. James
ARCHITECT OF RECORD: BVN FACADES: Sharvain Projects
CONSULTANTS: BG&E and LOBBY FEATURE WALL:
ADG (structure); Arup (m/e/p, Terrazzo Australian Marble
fire, facades); ASPECT Studios
(landscape); Design Research Studio FEATURE STAIRS: Icon Metal,
(lobby and market hall interiors); Top Knot Projects
Studio Olafur Eliasson/Studio Other RAISED FLOORS:
Spaces (public artwork) ASP Access Floors
GENERAL CONTRACTOR: GLAZED BALUSTRADES:
Multiplex YAP Engineering
CLIENT: AMP Capital VERTICAL TRANSPORT: Schindler
SIZE: 1.1 million square feet TUNED MASS DAMPER: Visotech

66 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
67
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

ROYAL MUSEUM OF FINE ARTS I ANTWERP, BELGIUM I KAAN ARCHITECTEN

Disappearing Act
KAAN Architecten discreetly inserts a contemporary addition inside a Beaux-Arts museum.
BY ANDREW AYERS

68 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 FOUNDED BY Napoleon in 1810, the ciple was to respect the building for what it is
Koninklijk Museum voor Schone Kunsten and bring it back to its original state.” Like
Antwerpen (Royal Museum of Fine Arts Charles Garnier at the Paris Opera (1860–75),
Antwerp, or KMSKA) houses a world-class Winders and Van Dijk followed classic Beaux-
collection that includes 16 Rubenses, six Van Arts theory when designing their museum.
Dycks, countless paintings by early Flemish First, they made it a freestanding monument in
masters, Belgium’s most extensive James the middle of a giant square, not only for
Ensor holdings, and much, much more. In temple grandeur but also to reduce fire risk.
1890, the KMSKA moved to its current, Next, at the exact center of their composition,
purpose-built home in the new neighborhood they placed the dominante, a space embodying
of Het Zuid, of which it was the centerpiece. the building’s raison d’être—for Garnier the
The fruit of a forced marriage between the auditorium, for Winders and Van Dijk the
joint winners of a design competition, Jean- Rubens and Van Dyck halls. Around the
Jacques Winders and Frans Van Dijk (who dominante, they lined up the remainder of the
reputedly hated each other), the eclectically program in logical axial succession: a public-
ornamented Beaux-Arts temple dominates its entrance sequence directly borrowed from the
surroundings. Already too small by 1925, Paris Opera (external temple steps, vestibule,
when it was first reconfigured, the building monumental stairwell); exhibition areas laid
was again refurbished in 1976. Untouched and out like long galleries in a stately home and
unloved in the quarter century that followed, grouped around four large light wells; and
it had become a creaking, leaking liability by another vestibule/staircase sequence at the rear,
the turn of the millennium. A 2003 call for accessing administrative offices. Again in
ideas, with a brief both to renovate and ex- keeping with Beaux-Arts rationalism, Winders
pand, produced a winning master plan by and Van Dijk divided their museum into three
Rotterdam-based KAAN Architecten. Closed levels: tall, top-lit painting galleries on the
in 2011, the revamped KMSKA finally re- uppermost floor; side-lit sculpture galleries on
opened 11 years later, in September 2022. the second floor; and a ground-floor storage
“The original architecture is so strong,” says podium that included a fire-, flood-, and
Dikkie Scipio, the KAAN partner who led the bomb-proof bunker into which the Rubenses
$109 million transformation. “Our first prin- and Van Dycks could be lowered via traps (a
PHOTOGRAPHY: © SEBASTIAN VAN DAMME

SET WITHIN a large civic square, the museum embodies Beaux-Arts principles of urban place-
making and has been a landmark since opening in 1890 (left). A grand lobby welcomes visitors on
entering (above).

69
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

THE RUBENS HALL

displays some of the
museum’s most
treasured artworks
(above). Daylight is an
essential aspect to all of
the museum’s galleries,
including this historic
one (left). An 18-by-30-
foot pivoting door allows
large artworks to access
a special elevator
(opposite).

70 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 precaution deemed necessary in light of the long history of armed conflict
in the Benelux region).
“In the century following inauguration,” says Scipio, “all sorts of clutter
was introduced.” Parts of the main gallery sequence were divided up,
either to gain display walls or to squeeze in supplementary back-of-house
activities, and extra accommodation added in the light wells. KAAN’s
first step was to strip all that out—a huge job in itself, involving asbestos
removal and the hand demolition of a nuclear-bomb shelter—to recover
the logic of the 1890 plan. “The original concept was fantastic, but then
PHOTOGRAPHY: © SEBASTIAN VAN DAMME (OPPOSITE, 2); STIJN BOLLAERT

they messed it up!” laughs Scipio. There remained the question of the
24,000 square feet of new gallery space—a 40 percent increase—requested
in the competition brief. “We felt the extension had to be invisible from
the outside,” explains Scipio. “Otherwise, you destroy the building.” This
meant the only place to put it was in the light wells and on the roof. “It’s
like a table with four legs,” she continues, “except the tabletop is U-shaped,
to skirt round the skylights of the Rubens and Van Dyck halls.”
Such discretion is not only uncharacteristic for architects—see Zaha
Hadid’s Antwerp Port Authority enlargement just downriver (record,
November 2016)—it is far more complex to achieve than Scipio’s descrip-
tion suggests. First, the steel-framed addition comprises four levels orga-
nized as a new, separate circuit: the skylit top-floor galleries, ideal for
paintings; below them a technical floor, containing climate-control
equipment for the entire building; then a floor of low-ceilinged galleries
for fragile and small-scale works; and, at the level of Winders and Van
Dijk’s second floor, high-ceilinged monumental halls for large-scale
works. Second, to match the quality of the historic museum, KAAN AXONOMETRIC OF NEW INSERTION

71
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

decided that all the new galleries must be naturally lit, which involved
cutting light shafts through the middle levels of their extension. Last,
there was the question of visitor flow: to avoid a U-shaped circuit with
two dead ends, KAAN played with the poché, widening original
walls—including the one between the Rubens and Van Dyck halls—to
run stairs and passages within them. Highly complex, the slotting of
new into old recalls a Chinese 3D puzzle.
Where the historic visitor route is concerned, the architects trans-
ferred the library and coat check to the ground floor, installed a new
spiral stair linking the coat check to the main vestibule, and moved the
restaurant and the museum shop/cafeteria to either end of the latter,
creating a new, logical entrance sector. Restored to its 1890s configura-
tion and appearance, Winders and Van Dijk’s gallery circuit now sports
rich colors based on paint-scratch samples and teems with a multitude
of original details that have been cleaned, repaired, or remade where
necessary. Furthermore, KAAN cut concealed slits through certain
walls to allow large-scale paintings to move between rooms, and re-
THE ADDITION, which is not visible from the street, includes 198 built all the skylights to bring them up to modern standards. The firm
north-facing triangular skylights. also replaced the HVAC with an innovative new system that forces

11
14 14
1 8 8
10
8 9
8 15 15
15
A 6 A
3
8 8 12 14 8

6
8 8
8 8 15
14
4 5 5 8 8 4
14 14

0 50 FT.
GROUND-FLOOR PLAN SECOND-FLOOR PLAN
15 M.

14 14

9
12
14
8

12

0 50 FT.
SECTION A - A
15 M.
14

1 GROUP ENTRANCE 7 LIBRARY 14 HISTORICAL GALLERY

14 14
2 ACCESSIBLE 8 ART DEPOT 15 NEW GALLERY
PHOTOGRAPHY: ©MEDIAMIXER

ENTRANCE 9 ART ELEVATOR 16 RUBENS HALL

0 50 FT.
3 TICKETS & INFO 10 STAFF 17 VAN DYCK HALL
THIRD-FLOOR PLAN
15 M. 4 CAFÉ/RESTAURANT 11 MUSEUM SHOP 18 ATELIER
5 KITCHEN 12 GRAND HALL 19 CANYON STAIR
6 COAT CHECK 13 AUDITORIUM 20 GALLERY FOR
FRAGILE ART

72 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 NEW GALLERY skylights bounce daylight off angled white surfaces
(above). A new level with low ceilings and reduced light was inserted
between existing floors to accommodate small and fragile pieces of art
(right).

“art-friendly” air down from the cornice over the paintings, after which
it mixes with “human-friendly” air rising from the floor, and exits via
the ceiling. Dissimulating all the ducts and vents, which the historic
galleries were not designed to contain, was a tour de force, as was the
widening of walls to contain hidden stairways and passages. In the Van
Dyck hall, for example, the wall moved forward 7 feet, pushing the
elaborate gilded ceiling moldings with it; along with cutting and re-
joining them, the architects had to redimension the skylight. Despite
their magnitude, KAAN’s interventions remain invisible to the unini-
tiated. “I’m so proud to have completed a job where it looks like noth-
ing happened,” says Scipio.
In contrast, self-expression reigns unchallenged in the new galleries.
“I felt you could only fully respect the strength of the historic building
PHOTOGRAPHY: © SEBASTIAN VAN DAMME

if you answered it with equally strong architecture that didn’t try to say
‘I’m better than you,’ ” explains Scipio. “How do you do that? By de-
signing the complete opposite and keeping it entirely separate.” To
underscore the through-the-wardrobe transition, the entrances to the
new galleries (located on the second floor, in the hallways beyond the
monumental stairwell) take the form of fat pivoting-wall sections.
Once over the threshold, you suddenly find yourself in snowy Narnia,
an abstract, all-white world whose high-gloss resin floors reflect the
daylight streaming down from 92 feet above. “Most of the canvases

73
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

here were painted in natural light,” says Scipio, “so it’s of such value to aggressive spotlessness” and a “snowstorm” brightness that eventually
bring it in. Though you must treat it carefully, to protect the artworks.” “becomes strenuous.” But nonspecialists seem to like the revamp, an
This is why KAAN’s 198 triangular skylights face north, bouncing important consideration for a museum looking to broaden its appeal
daylight off their inclined white surfaces to achieve a diffuse effect. and increase attendance. “I never experienced this before,” confides
The new upper galleries are reached either by elevators or monu- Scipio, “but people in Antwerp reach out to me in the street and say,
mental stairways—another cue picked up from the old building but, ‘Thank you for the museum. We’re so happy.’ Ordinary people, of
again, modernized, most spectacularly with a 103-step canyon ca- course,” she laughs, “not architects.” n
denced by serried ranks of wall-mounted strip lights. Such dazzling
Dutch aesthetics have proved controversial in the sophisticated world Credits COST: $109 million
of Belgian architecture, known for its subtle approach to materials and COMPLETION DATE: September 2022
ARCHITECT: KAAN Architecten
renovation (“Star Wars,” sniffed an associate member of the Robbrecht — Kees Kaan, Vincent Panhuysen,
en Daem team that designed new KMSKA furniture). Despite some Dikkie Scipio, principals; Walter Sources
soigné detailing—marble treated so the slabs remain whole, for ex- Hoogerwerf, senior project leader
ELASTOMERIC ROOFING: ADCO
PHOTOGRAPHY: © STIJN BOLLAERT

ample—Carlo Scarpa this is not. Dialogue between new and old fabric ENGINEER: Royal Haskoning DHV
COPPER ROOFING: Lion
(structural)
has been categorically shut down, while the restoration of Winders and GLAZED ROOFING: Deforsche
GENERAL CONTRACTOR: THV
Van Dijk’s galleries, though ingenious and meticulous, is a form of Artes Roegiers; Artes Woudenberg CABINETWORK: Kulapro
heritage make-believe whose ambiguities and ironies are neither ex- FLOOR AND WALL TILE: Vitra
CONSULTANTS: Architectenbureau
plored nor even acknowledged. Furthermore, flexibility of display is Fritz (restoration) LIGHTING: Phillips; Bega; Luceplan;
precluded—Impressionist paintings, for example, being forced to CLIENT: Flemish Department of Trilux; LTS; Nemo; DKN Kreis; Ixilum;
contend with a gleaming and anachronistic white cube. Kristian Vis- Culture, Youth and Media Etap
trup Madsen, in a generally positive Artforum review, wrote of “an SIZE: 323,000 square feet ELEVATORS: Hugo de Jongh

74 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
A LONG, narrow stair takes visitors to top-floor
galleries (opposite, left). A gallery for 21st-
century art is topped by a light well (opposite,
right). A spiral stair connects the street level to
the second floor (this image).

75
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

BUILDING 12 I SAN FRANCISCO I PERKINS&WILL

Raising Expectations
Perkins&Will lifts an old pier building in San Francisco to accommodate climate change and new
economic realities.
BY JOHN KING
PHOTOGRAPHY BY BRUCE DAMONTE

76 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 EVEN IF you didn’t know the backstory, the gaunt steel
hulk of Building 12 at San Francisco’s Pier 70 would reso-
nate as a triumph of historic preservation—one that forges
an enticing amalgam of new makerspaces and offices from
a vast monolith built to fabricate ship hulls during World
War II.
The triumph is even more compelling when you grasp
the most startling aspect of all: this three-story behemoth
with 1.5-acre floor plates was lifted 10 feet into the air
before its recent renovation began.
The higher position responds to sea-level-rise projections
for the Pier 70 area, which mostly consists of reclaimed land
that in the early 20th century turned tidal marshes into the
site of one of the West Coast’s largest shipbuilding facili-
ties. Many neighboring industrial structures were torn
down in the decades after Bethlehem Steel closed its opera-
tions here in 1982. Building 12 is intended as the atmo-
spheric centerpiece of what is envisioned as a 28-acre
mixed-use district including 2,000 housing units and nine
acres of public space.
This flavorful role—adding patina and blue-collar grit to
what otherwise will be a 21st-century development—ex-
plains why such care was put into an 82-year-old rusty relic

THE RUSTING envelope of an old shipbuilding

factory has been reborn as a retail, office, and
makerspace at Pier 70 (this image) and welcomes
visitors through an industrial-style portal (right).

77
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

that consisted of little beyond a corrugated steel skin punctured by

banks of steel sash windows, held up by 66 structural columns deployed
in four rows. The project isn’t a moneymaker on its own; rather, it is
intended to set a tone for a previously obscure location that developer
Brookfield Properties is marketing as both evocative and inventive.
“We never intended it to be bright and shiny and new,” said Ariane
Fehrenkamp, a senior project manager at Perkins&Will, Building 12’s
lead architect. “We wanted something that is celebrating the industrial
past, but also the present.”
To perform the act of architectural levitation, general contractor
Plant Construction rebuilt the decrepit crenellated roof and its dia-
phragm to make the long-decayed roofline rigid, then wrapped the
outer walls in cables and inserted horizontal steel beams between each
pair of columns to hold the old structure steady. After the columns were
severed from the original slab foundation, hydraulic jacks were placed
underneath the crossbeams supporting the columns, and the entire
assemblage slowly was lifted 6 inches at a time, with bars of wood in-
serted underneath each column to hold it at its new, temporary position.

6 6
STACKING DIAGRAM

1 1 1

0 30 FT.
SECTION A - A
10 M.
A

1 7 6
1 6

6
1 5 4
1
5

6
3

1 2
6 6

0 50 FT.
FIRST-FLOOR PLAN SECOND-FLOOR PLAN THIRD-FLOOR PLAN
15 M.

1 RETAIL OR MAKERSPACE 4 BREWERY 7 BUILDING MANAGER

2 RESTAURANT 5 KIOSK 8 OFFICE

3 GROCER 6 MAKERSPACE

78 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 CONTRACTORS lifted the entire 1941 building 10 feet to accommodate rising waters, working 6 inches at a time over a five-week period (above, left and
right). New roads and outdoor common spaces were built at the new height, as large pits at the original level wait for future development (top).

Measurements were recalibrated each time, and the cycle was re- gouges that date from the 1940s, when steel plates were wheeled in on
peated—a process that took nearly five weeks before the 2,000-ton trains, then lifted up by gantry cranes attached to ceiling rails and
structure was high enough to build a new concrete foundation beneath lowered onto the floor once the train cars left. From there, blueprint-
PHOTOGRAPHY: COURTESY PLANT CONSTRUCTION COMPANY, L.P. (3)

it, one that exceeds sea-level-rise projections through 2100 for this like tracings done in the workspace above were placed atop the plates,
stretch of the San Francisco Bay shoreline. Only then was dirt trucked which were cut as needed for assembly into hulls outside.
in to create a new ground plane matching the roadbeds alongside the Adding to the visual drama, a new 13-foot-high steel mezzanine
structure, which already were set at the planned height. floats above portions of the central bay. This will remain open to the
Enter Building 12 now, and nothing about its topographic transfor- public, a vantage point for anyone visiting Building 12’s innards to
mation is apparent. The structure’s rugged simplicity is what casts a shop, attend an event, or simply gawk.
spell—starting with your entrance through the steel frame of Building A second level—framed in steel with concrete floors and connected
15, which was built as an annex during World War II and now survives by catwalks that match the mezzanine—has been inserted on the east
in skeletal form, with its columns and trussed roofline forming an open and west sides of the central bay, 9 feet above the mezzanine, and will
canopy outside Building 12’s southern entrance. hold the light-industrial space required by city zoning. The top floor is
The first level, with its 39-foot-high ceiling running through the original and flooded with natural light from the jagged roof ’s clere-
central bay north to south, is especially striking; at present there are no story windows. This area will be conventional office space, its airy
interior walls, just the thick columns with their supporting trusses up expanse softened by ceilings of tongue-and-groove slats of Douglas fir.
high. The intent is to leave the ground floor largely open as a makers’ There are a few contemporary design touches, such as grand entrances
marketplace. The columns’ fat rivets are visible, as are the nicks and framed in steel, coated with a rich red paint that’s the same as what has

79
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

80 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
ENORMOUS clerestories and perimeter windows
flood the top floor with daylight, creating an
attractive setting for future office tenants.

81
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

been used on the distinctive mezzanine. Portions of the

ground-floor walls that were roll-up doors have been
replaced with a curtain wall framed in crisp black alumi-
num. (There also is diagonal seismic bracing tucked in
amid original trusses). But these are accents on the origi-
nal structure, complementing rather than competing
with its first life. You’re always aware you are occupying a
building from the past, which doesn’t always happen with
historic renovation on this scale.
Given the pandemic that caused commercial devel-

PHOTOGRAPHY: SAN FRANCISCO MARITIME NATIONAL HISTORICAL PARK

opment in San Francisco to slam to a halt, there’s no
telling when Brookfield’s larger plans for Pier 70
might be realized. Building 12 is the only structure
now open. The surrounding landscape juxtaposes new
common areas, such as roads and plaza sites, high
above the rectangular pits where buildings of six to
nine stories are planned, their ground planes still at
the old 1941 level. Building 12 is ready for tenants but,
so far, has been used only for events, such as an exhibi-
tion in early 2021 of storefront murals from the first
months of the pandemic. The potential of the space
and the restored structure is palpable. The question is
WORKERS used tracings to guide the cutting of steel plates for ship hulls in the 1940s what the future might bring. n
(above). A new mezzanine and catwalks animate the sprawling ground floor (top). At the
entry (opposite, bottom) and in makerspaces on the second floor (opposite, top) an John King is the urban-design critic of the San Francisco
industrial aesthetic prevails. Chronicle.

82 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
Credits
ARCHITECT: Perkins&Will — Dwight Long,
Ariane Fehrenkamp, project team
HISTORIC ARCHITECT:
Architectural Resources Group
ENGINEERS: Nabih Youssef Structural
Engineers (structural); Maffei Structural
Engineering (structural seismic analysis);
Degenkolb Engineers (constructing); Point
Energy Innovations (m/e/p); BKF Engineers (civil)
GENERAL CONTRACTOR: Plant Construction
LIFTING SUBCONTRACTOR:
Bigge Crane & Rigging
CONSULTANTS: S9 Architecture (retail);
Tucci Lighting (lighting); DN&Co. (graphics and
wayfinding); Vibrasure (acoustics); Teecom
(telecom); RDH (building envelope)
CLIENT: Brookfield Properties Development
SIZE: 230,000 square feet
COST: withheld
COMPLETION DATE: August 2022

Sources
BUCKLING RESTRAINED BRACES: Corebrace
CURTAIN WALL: Kawneer
BUILT-UP ROOFING: Soprema; Georgia Pacific
DOORS: DCI; Smoke Guard Systems; ActivWall
GLASS: Vitro

83
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

BRONX CHILDREN’S MUSEUM I NEW YORK I O’NEILL MCVOY ARCHITECTS

Power Play
O’Neill McVoy Architects orchestrates a topographical playscape inside a former electric plant.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY PAUL WARCHOL

84 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
“WE’RE ALL children at heart,” laughs Carla Precht, founding THE “CLOUD” hovers above the early-learner area (left). CLT walls,
director of the Bronx Children’s Museum. “The building was close translucent acrylic, and gentle shifts in elevation define the museum’s
to the water, and it looked like a castle—I thought it had all the interiors (above).
makings of a wonderful space for kids,” she adds. After 10 years of
operating out of a purple school bus as a “museum without walls,” missioned by the Department of Design & Construction to overhaul
in December the institution moved into a long-awaited brick-and- the top floor. But the bright, in-your-face polychromy typical of chil-
mortar home and opened its doors to the public. Now it doesn’t just dren’s museums is noticeably absent from the interior architecture—in-
have wheels—it has walls. stead, a subdued palette, natural materials, and winding walls engage
The Bronx Children’s Museum occupies the upper floor of a power- the senses. It’s a grown-up approach to design for children.
house that once supplied refrigeration and electricity to the borough’s “The kids are coming from apartments, schools, and streets that are
nearby terminal market. Built between 1925 and 1929, the market was all orthogonal. We wanted to create a new kind of space that was open
the first of its kind in New York and intended as a model for the sale of to their imagination,” says McVoy. Set within the 13,660-square-foot
perishable goods in other boroughs. Today, only the powerhouse still rectangular floor plate of the existing powerhouse, curvilinear elements
stands—and with four crenellated turrets and arched brick corbeling, meander, bifurcate, and reconverge to form a topographical playscape
its castle-like form indeed invites curiosity. In 2010, the building was of thematic spaces that flow one into the other. “When the children
outfitted with a green roof, high-efficiency insulation and fixtures, and walk in with their parents, it’s clear that they just want to begin explor-
first-floor office space for the New York City Department of Parks & ing,” O’Neill adds.
Recreation. Three years later, O’Neill McVoy Architects, led by the From the welcome area, young patrons can go in many different
husband-and-wife team of Beth O’Neill and Chris McVoy, was com- directions. One route takes them past the “cove,” a niche with an inhab-

85
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

itable rabbit hole, and up a small set of stairs to the natural sciences area.
Here, the floor has been raised almost 5 feet to make sweeping views of
the Harlem River accessible to the museum’s diminutive constituents.
The sound of trickling water accompanies the panorama—Waterways,
an interactive 35-foot-long exhibit by Boss Display that features a minia-
ture version of the Bronx’s Old Croton Aqueduct, invites playful splash-
ing (willing participants borrow raincoats). Perceptive visitors might
even see, through the bottom of the basin, a window offering a glimpse
into the cove beneath them. “Water connects us all,” Precht says, a
theme that figuratively flows through much of the museum. As kids
amble about interactive exhibits and terraria showcasing native flora and
fauna, they eventually find themselves in the “Turret Gallery,” a vertical
column of space curated by Natalie Collette Wood that stretches upward
into one of the building’s towers. Dichroic film on clerestory windows
and a torrent of suspended crystals scatter iridescent light onto an assort-
ment of woodland-themed furniture—an arrangement that would please
any young reader of Alice in Wonderland. (At night, the four turrets are lit
from within, emitting a soft purple glow.)
In the community arts area, the interior architecture takes a back seat
as the birthplace of hip-hop comes to life with a casita by artist Charles
George Esperanza, as well as caricatures of various storefronts and
portraits that pay homage to Bronx streetscapes and borough natives
including actor Sonia Manzano, Supreme Court Justice Sonia
Sotomayor, and playwright Richard Abrons. With 15-foot ceilings, the
architects squeezed in a mezzanine-level “loft” under another of the tur-
AXONOMETRIC rets, where children can survey the entire museum and gather for artist-

1 LOBBY

6 2 WELCOME AREA
10
3 THE “COVE” (BELOW)/NATURAL
4 SCIENCES AREA (ABOVE)

4 EARLY-LEARNER AREA (BELOW)/

THE “CLOUD” (ABOVE)
7
PHOTOGRAPHY: © ARCHITECTURAL RECORD

5 5 COMMUNITY ARTS
9
6 THE “LOFT”
2
7 STROLLER PARKING

8 STUDIO
3
8
9 RESOURCE ROOM
1
11 10 OFFICES

11 TURRET GALLERY

0 20 FT.
FLOOR PLAN
6 M.

86 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
THE BRONX Children’s Museum (opposite) anchors the
north end of Mill Pond Park. Inside (above and right),
O’Neill McVoy Architects explore a subdued palette.

led classes. Another mezzanine, a multimedia room

called the “cloud,” is conspicuously hung from the
ceiling (and connected to the natural sciences area via
a bridge) and is mostly enclosed for storytelling or
digital projection—providing a moment of respite
from the scampering below. Tucked underneath the
cloud is the early-learner area, an intimate space in
which to keep a watchful eye on the youngest of
youngsters.
In comparison to the literal yet lively exhibits, the
interior architecture is more nuanced in its approach
to spatial learning. To buttress their design, architects
McVoy and O’Neill leaned on Swiss psychologists
Bärbel Inhelder and Jean Piaget, authors of The
Child’s Conception of Space (1948). “It’s a dry book,”
McVoy jokes, “but Piaget spent an incredible amount
of time documenting how children understand space.
It’s about here and there, continuity and separation,
enclosure and openness, light and dark—fundamental
notions.” Translucent acrylic obfuscates views but not
the blurs of bodies moving behind it (McVoy spent

87
 CEU RENOVATION, RESTORATION, ADAPTIVE REUSE

one afternoon polishing edges to perfect the finish, too). Fabric duct- CHILDREN as well as artwork can inhabit the “cove.” Artist Rachel
work evokes a playful spirit and catches light against a pale blue acousti- Sydlowski’s Invisible River is a dimensional silkscreen using UVA pigment.
cal ceiling. Floors are covered with end-grain red oak tiles that make
legible the oft-taught biology lesson that tree rings can be counted to began. Despite the curious difference between the artists’ and archi-
age trees. “And everything was designed from the vantage point of a tects’ approaches, the new Bronx Children’s Museum offers up a multi-
child,” O’Neill says. sensory feast for voracious kids. Just ask them—on departure, they
The most noticeable material choice is the curving, knotty spruce complete an “exit poll” on a magnetic board. Judging from the results,
cross-laminated timber (CLT). Today, CLT is most often used as a the kids are having a blast! n
mass-timber building’s primary structure, but O’Neill McVoy
Architects deployed it to create walls, guardrails, floor planks, benches,
Credits SIZE: 15,676 square feet
frames, and stair stringers that were inserted within the powerhouse’s
ARCHITECT: O’Neill McVoy COST: $14 million
existing envelope. These elements not only have their own independent Architects — Beth O’Neill, Chris COMPLETION DATE:
structural properties, but are more slender than typical stud-and-dry- McVoy, principals; Ruso Margishvili, December 2022
wall construction. It’s also the first use of curved CLT in the United associate in charge; Richard Stora,
project architect
States, explains Sebastian Popp, technical director at Austria-based Sources
ENGINEERS: Silman (structure);
KLH, which manufactured the Forest Stewardship Council–certified CLT: KLH
Plus Group Consulting Engineering
CLT components. Although walls with shallow curves can be pro- (m/e/p) WINDOWS: NanaWall
duced flat and bowed in situ, more complex geometries require vacuum GENERAL CONTRACTOR: GLASS: PPG; Walker Glass;
forming—a process used by Ray and Charles Eames to produce bent- A Quest Corporation Pilkington; Technical Glass Products
plywood furniture. These components were produced oversized and CONSULTANTS: Tillotson Design ACRYLIC: 3Form
milled to final dimensions (plus or minus 2 millimeters) on a CNC Associates (lighting); ADS Engineers
(LEED consultant); TM Technology LIGHTING: Ketra; Feelux; LED
machine, giving the designers an opportunity to incorporate pebble- Partners (AV/IT/Security) Linear; Ecosense; Soraa
shaped apertures and making installation easier and more cost effec- ACOUSTICAL CEILINGS:
CLIENT: NYC Department of Design
tive. If scuffed, the wooden walls can be sanded and refinished. and Construction, Bronx Children’s Sonacoustic
With very few dead ends, visitors inevitably end up where they Museum DUCTWORK: Ductsox

88 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 Minneapolis, MN
May 10-12 | Live & Virtual
gettingtozeroforum.org

Join us at the
premier event
on building
decarbonization!
Take advantage of Early Bird pricing and register by 2/13!
Learn more at: www.gettingtozeroforum.org/registration
CHECK OUT OUR FEBRUARY WEBINARS

FEBRUARY 15, 2023 @ 2:00 PM EST FEBRUARY 28, 2023 @ 2:00 PM EST
Durability by Design Amplify Change: Designers
CREDITS: 1 AIA LU/ELECTIVE; 0.1 ICC CEU as Sounding Boards
Science teaches us that matter moves from order to disorder. CREDITS: 1 AIA LU/ELECTIVE; 0.1 ICC CEU
Amazingly, the same thing can happen to buildings! What once was
sparkling and new can eventually slide into disrepair. Design thinking can be applied to everyday activism. As creative problem
solvers, we catalyze change by improving the environments where
Building owners could simply surrender to it, or they can proactively people live, work and play. We can extend this momentum beyond
take a stand and fight for their buildings. They can choose products that billable work to volunteer activities that promote social justice. In this
protect the interior from damage in the first place. presentation, learn how to leverage your resources and apply your
professional skills to community engagement. Using geniant + Eastlake
Architects and interior designers can also slow the hands of time by Studio’s Sounding Boards as a case study, explore how individual
thinking long term and specifying door and wall protection products … designers and firms can amplify change using the tools of our trade.
to not only preserve their design, but also as a service to building owners
long after the ribbon is cut. LEARNING OBJECTIVES:
1. Examine their internal assets and external network, merging
LEARNING OBJECTIVES:
resources into a valuable tool kit.
1. Explore how the proper installation of wall protection materials –
2. Delineate tasks based on expertise and skill sets, treating the
when specified with standard wall construction options –
community based action as a design project with a clear process
determines their effectiveness in interior applications.
and objective.
2. Recognize when to specify wall cladding vs. targeted wall protection.
3. Evaluate the process to pivot as needed, continuing to ask
3. Examine the best-practice options for achieving effective and questions, evolve, improve, and iterate.
aesthetically pleasing interior protection.
4. Recognize the broad benefits of the action: short term, long term,
4. Discover strategies to successfully design for the long term by for the community, and for your firm.
avoiding the trap of first- cost value engineering.

TO REGISTER FOR UPCOMING WEBINARS IN 2023, VISIT

HTTPS://CONTINUINGEDUCATION.BNPMEDIA.COM/WEBINARS
 LIGHTING

THE WORLD’S oldest mandatory-

Bibliothèque deposit library, the Bibliothèque Nationale
Nationale de de France (BNF), conserves not only the
nation’s printed matter but also fine collec-
France tions of coins, medals, engravings, maps,
manuscripts, and musical scores. Between
Atelier Bruno Gaudin 1720 and 1998, all of its holdings were kept
8'18" at a site in the heart of Paris, between the
rues Vivienne and de Richelieu, in a jumble
BY ANDREW AYERS of buildings (including Cardinal Mazarin’s
© SÉBASTIEN
PHOTOGRAPHY:
PHOTOGRAPHY: VERONESE, EXCEPT AS NOTED
© TKTKTKTKTKTKT

91
 LIGHTING

palace) that were famously remodeled by Henri Labrouste in 1854–68.

With the exponential expansion of its collections in the 20th century,
the BNF became desperately short of space, which prompted construc­
tion of Dominique Perrault’s giant library building in Paris’s 13th
arrondissement (1988–96). While the majority of the printed matter
moved there, everything else—around 20 million objects—remained
at the Richelieu site, which also became home to the National Insti­
tute of Art History. In 2007, a major overhaul and refurbishment was
begun by L’Atelier Gaudin Architectes (AGA), in two phases, the first
completed in 2016 and the second last September. Accompanying
AGA throughout this 15­year adventure was Paris­based lighting
designer 8'18", which oversaw illumination for the entire
743,000­square­foot complex.
“For us, the BNF was like a giant case study, with countless projects
within the project,” says 8'18" partner Emmanuelle Sébie. After a
detailed analysis of the existing systems and fixtures, which included
interviewing all those working in the restoration workshops about
their individual needs, 8'18" established a catalogue of off­the­shelf,
adapted­readymade, and 100­percent custom solutions according to
three main criteria: functional lighting (corridors, workspaces, reading
desks, etc.), conservancy lighting (bookstacks and museum storage),
and architectural­feature lighting.
“We had to find our place in spaces with a very strong character,”
recalls Sébie. “We tried to recount the architecture through the light­
ing.” In the Galerie Mazarine, for example, the only part of the cardi­
nal’s palace to survive intact, 8'18" persuaded the BNF to remove the
imposing chandeliers (which, though historic, were not designed for
the space) and instead install cornice­mounted lighting that allows
uninterrupted appreciation of the beautifully restored blues and pinks
of Gian Francesco Romanelli’s ceiling frescos. In the Galerie Mansart
just below, which the BNF uses for temporary exhibitions, 8'18" re­
moved a technical­lighting gantry, which they felt prevented a proper
reading of the vault, and replaced it with wall­mounted brackets whose
forms echo the painted ceiling cartouches. Because of the heavy pro­
jectors their 6­foot cantilever must carry, the brackets are set 1 foot
into the stonework.
One of the revelations of phase two of the revamp, the Salle Ovale
(designed by Jean­Louis Pascal, Labrouste’s successor, and built in

PHOTOGRAPHY: © 818

A cross section of the new open-plan hall (above) reveals how daylight, combined with strategically placed luminaires, lights the circular steel-and-
aluminum escalier d’honneur that penetrates the heart of the building (previous page).

92 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
8'18" created
custom solutions
for the Galeries
Mazarine (above)
and Mansart
(opposite) that
highlight ceiling
art while, for
reading and
workrooms (right),
devising discreet,
functional
lighting.

93
 LIGHTING

1897–1932) “was a textbook case on its own,

given all the different lighting situations,”
says Sébie. Besides restoring the historic
reading lamps and illuminating the wall-
mounted shelving with discreetly integrated
sources, 8'18" designed museum lighting for
displays installed near the entrance: suspend-
ed 59 feet from the ceiling, giant mirror-
finished stainless-steel bars contain spots
directed toward the presentation cases.
Several prototypes were required to perfect
their curvature, which echoes the oval of the
hall. Then there was the question of what to
do with the monumental glass skylight and
glass-filled oculi. “Bruno [Gaudin] couldn’t
bear the idea of their becoming black holes
after dark,” recalls Sébie. In response, 8'18"
installed projectors above the skylight, which
turn the steel roof frame into a ghostly night-
time presence, and fixed a series of LED
constellations to the upper side of the oculi—
a technically complex, bespoke installation—
which they programmed to twinkle in differ-
ent spatial sequences.
Together with AGA, 8'18" developed
countless solutions for the BNF that range
from the spectacular, like the daylight-effect
illumination of the escalier d’honneur, to the
discreet, such as the 8,000 corridor lights
whose polycarbonate shades are engraved
with images representing all the different
departments housed at the Richelieu complex.
In the Salle Ovale, curved mirror- “What was both wonderful and extremely
finished steel bars house spots (this
difficult was finding a suitable narrative,”
image), while LEDs behind ceiling
oculi (below) sparkle from above.
concludes Sébie. “The BNF was an incredibly
complex and enriching undertaking.” n

Credits
ARCHITECT: Atelier Bruno Gaudin — Bruno
Gaudin, Virginie Bregal, principals; Raphaële Le
Petit, Olivier Peyrard, project architects
LIGHTING DESIGNER: 8'18" — Georges Berne,
Emmanuelle Sébie
ENGINEER: EGIS
CONSULTANT: Eiffage Energie Systèmes
(lighting contractor)
CLIENTS: French Ministries of Culture;
Education; and Higher Education, Research and
Innovation
OWNER: Bibliothéque Nationale de France
PHOTOGRAPHY: © 818 (BOTTOM)

SIZE: 740,000 square feet

TOTAL LIGHTING COST: $4 million
COMPLETION DATE: 2022

Sources
LIGHTING: Secante; Modular Lighting
Instruments; LED Linear; Regent Lighting; DGA;
SPX Lighting; OPTYLED; Delta Light

94 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 LIGHTING

Light Fall
Loisos + Ubbelohde
BY JOANN GONCHAR, FAIA

BURIED deep inside a mammoth office building

that occupies an entire city block in Manhattan’s
Chelsea neighborhood, a delicate column of light
extends 15 stories, from the roof to the ground
level, illuminating a dim, windowless stairwell.
The shaft’s striking glow is not generated by elec-
tricity, however, but sunlight.
Light Fall, as this light sculpture is known,
concentrates and directs daylight through a roof-
mounted “light cannon,” or solar collector, and
fiber optics. The latter’s glass strands (more than
5,000 miles of them, bundled and sheathed in
translucent sleeves) are strung between steel rings,
each 15 feet apart, and supported in the stairwell
by four steel cables in tension. When the sun is
shining, this “light dagger” transmits daylight
down its 208-foot length, with the ends of the
fibers producing bright, dotlike points of light.
The permanent installation was designed by
Loisos + Ubbelohde, a San Francisco Bay Area
architecture, daylighting, and energy-efficiency
consultant. The firm has done a handful of light
sculptures that collect and redirect sunlight, includ-
ing one in a lab at Caltech in Pasadena (record,
November 2012), but none are on the scale of Light
Fall, which is part of a larger renovation project,
overseen by architect HLW, to transform the 2.9
million-square-foot building into the East Coast
headquarters of a global U.S.-based company.
Built in 1932 as a warehouse, and for industrial
uses, the existing structure included elevators to
accommodate trucks. It is one of these oversize
shafts, converted into a stairwell for office-occu-
pancy egress requirements, that houses Light Fall.
The idea behind the installation is to encourage
tenants to use the stair, not only in an emergency
but to routinely travel between floors. “We wanted
to draw people in and make a pedestrian space that
stands out,” says Lee Devore, an HLW principal.
The stair’s ambient lighting, by consultant
Lumen Architecture, was conceived to keep the
focus on the sculpture and is largely indirect, with
LEDs shielded by the stair’s folded metal handrail.
The approach creates a subtle backdrop for Light
Fall while providing sufficient light levels on
PHOTOGRAPHY: © GEORGE LOISOS

cloudy days and during evening hours.

The “light cannon” that creates the daylight
effect is actually a reflecting telescope with two SUNLIGHT, rather than electricity,
mirrors—one convex and one concave—that rotates illuminates Light Fall, a 15-story
vertically and horizontally to track the path of the fiber-optic sculpture installed
sun. An automated system relying on mathematics within a stairwell.
and optical tracking directs the movement of the

95
 LIGHTING

A rooftop light cannon (left) collects sunlight, directing it to a light box

(above), which channels the daylight through the 208-foot-long “dagger.”
Another set of optics creates a real-time image of the sun on the ceiling.

18-foot-tall, 36,000-pound instrument. These controls also take infor-

Light Cannon mation into account from a nearby weather station: during overcast days
and severe storms, the system locks the telescope until conditions im-
prove. The safety feature reduces wear and tear on the telescope’s moving
components, explains George Loisos, Loisos + Ubbelohde principal. A
series of mirrors and lenses redirects sunlight to a “light box” suspended
from a truss at the top of the stair and to the fiber-optic dagger. A second
set of optics produces a real-time image of the sun on the stair’s ceiling,
even revealing sunspots.
Solar Image and It took almost a decade to finish Light Fall, due to technical and
Redirecting Optics
logistical setbacks, including mirrors fabricated from polycarbonate
instead of the specified glass, a sealant melted by the intensity of the

PHOTOGRAPHY: © NICHOLAS VENEZIA (TOP, LEFT); GEORGE LOISOS (TOP, RIGHT)

sun, dust that migrated into the telescope from nearby demolition,
replacement of a contractor, and finally Covid. “It has been a learning
process,” says Loisos—one that now offers building tenants a rare
manifestation of the sun, indoors. ■

Credits and Optical Technologies (mirror

fabrication); Lumen Architecture
ARCHITECT: Loisos + Ubbelohde
Light Dagger (lighting design)
— George Loisos, designer;
Eduardo Pintos, Susanna Douglas, CLIENT: JLL
Susan Ubbelohde, core team; SIZE: 10,500 square feet
Alan DeMarche, Steven Eichbaum,
project team CONSTRUCTION COST: $2 million

ARCHITECT OF RECORD: HLW COMPLETION DATE: October 2022

ENGINEER: Mar Structural Design

GENERAL CONTRACTOR: Talisen Sources
CONSULTANTS: Starman CLADDING & ROOFING: Alucobond
Systems (telescope controls); (light cannon)
Optical Mechanics (optical design/ GLAZING: Schott (Borofloat)
STAIR SECTION fabrication/assembly); Displays

96 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 Find these and many more available Lunch & Learn presentations at

ce.architecturalrecord.com/ee

DESIGNED TO PROTECT GIVING ELEVATORS A LIFT

1 AIA LU/HSW 1 AIA LU/Elective
Presented by: Forms+Surfaces Presented by: Inpro®

SPECIFYING HIGH-QUALITY AGELESS ELEGANCE:

STEEL DOORS: QUESTIONS TO ASK STEEL WINDOWS AND DOORS
1 AIA LU/HSW 1 AIA LU/Elective
Presented by: Taylor Entrance Systems Presented by: Euroline Steel Windows & Doors

THIN SHELL PRECAST GLASS ENTRANCE SPECIFICATION:

EXTERIOR WALL SYSTEM WHAT YOU NEED TO KNOW
1 AIA LU/HSW; 1 PDH 1 AIA LU/HSW
Presented by: SlenderWall Presented by: CRL

CODE CONSIDERATIONS SPRAY-APPLIED GLASS FIBER INSULATION

IN FIRE RATED GLASS 1 AIA LU/HSW
1 AIA LU/HSW Presented by: Monoglass® Incorporated
Presented by: SAFTI FIRST
Fire Rated Glazing Solutions
 PRODUCTS Lighting

Illuminating Trends
These new systems and fixtures were designed for a
variety of building needs and aesthetics.
BY SHEILA KIM

Heretofore Hanging Light

Refractory Studio created this cast-bronze
inverted trough with a hand-chiseled interior that reflects the
light of concealed LED strips, resulting in soft indirect illumination. Measuring 48"
long, the made-to-order fixture is available in a choice of six finishes.
refractory.studio

LattiX Acoustic Grids

A modular grid system that com-
bines lighting with sound-absorbing
PET felt, LattiX from Axis Lighting
comes in both 2' x 3' and 3' square
formats that can be grouped with
additional grids or panels to achieve
a particular visual or acoustic result.
The modules are specifiable in eight
wood finishes with a choice of eight
felt colors.
axislighting.com

AJ Garden
Midcentury Modern Danish architect Arne
Jacobsen is known for several now iconic prod-
LittleOnes Micro Doubles
ucts, among them the AJ floor and table lamps
USAI follows up its LittleOnes “bare-
for Louis Poulsen, which the Denmark-based
ly there” recessed lighting with
company is taking outdoors with the launch of AJ
Micro Doubles, which uses the same
Garden. Available in a black finish, the lamp
technology to power a pair of tiny
comes in two heights—3½" for path and 272∕3" for
fixtures within a single housing.
ambient illumination—with spike, base, or anchor
Offered in downlight, adjustable,
mounting options.
and wall-wash formats, or a combi-
louispoulsen.com
nation, it delivers up to 1600 lumens
though 1¼" apertures.
usailighting.com

98 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3
 Woods Collection
LightArt’s new collection may look
like authentic timber, but it is really
composed of parent-company
3form’s eco-friendly Varia resin,
which is both lighter in weight and
easier to clean. The fixtures are
available in wood-grain finishes,
Holly including walnut and white oak,
Resembling a cluster of supersize grapes, Unika Vaev’s plain or with one of two laser-cut
Holly provides a touch of whimsy, along with sound patterns, and on three of LightArt’s
control, for this sculptural grouping of 9¾" diameter styles—I/O Drum, Cigar Pendant,
globe lights and acoustical-felt-covered spheres. and LA2 Three Beam (shown).
Vertical and horizontal configurations are both offered, lightart.com
as are acoustical-only versions in three felt colors:
Anthracite, Light Grey, and Terracotta.
unikavaev.com

Monopoint Luminaires with

Alumina Finishes
The minimalist monopoint fixture
from Lucifer Lighting conceals an
adjusting mechanism that allows for
TruCurve BIY rotation and tilting up to a full 90º.
A build-it-yourself plaster-in Available in two sizes, it can be wall
system by PureEdge Lighting, or ceiling mounted, and specified in
TruCurve BIY recesses into 5∕8" five new anodized-aluminum fin-
drywall without the need to ishes, such as obsidian and light
modify joists. Architects can patinated bronze.
luciferlighting.com
specify the degree and radius
of the curves and desired
length in 1' increments. Further
simplifying the system, the
LED strips and lenses are
field-cuttable, as needed.
pureedgelighting.com

99
CONTINUING EDUCATION
In this section, you will find two compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders.

CONTINUING EDUCATION
Read a course, and then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.

Photo courtesy of Heritage Marble Tile

p102

Exploring Innovations in Exterior Ceramic Tile

Sponsored by Coverings 2023

CREDIT: 1 AIA LU/HSW; 0.1 ICC PM RE SU

Photo courtesy of © Alan Schindler

p104

Site Selection Criteria for Commercial-to-Residential Conversions

Sponsored by The Steel Institute of New York

CREDIT: 1.25 AIA LU/HSW; 1 GBCI CE HOUR; 1 PDH RE RR SI

CATEGORIES
PM PRODUCTS AND MATERIALS RR RENOVATION AND RESTORATION SU SUSTAINABILITY
RE RESIDENTIAL SI SITE INFRASTRUCTURE DESIGN

Courses may qualify for learning hours through most Canadian provincial architectural associations.

101
 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

The latest ceramic tile

solutions come at a time
when residential and
commercial outdoor living
spaces have evolved from
makeshift solutions meant
Photo courtesy of Heritage Marble Tile

as pandemic stop-gaps to a
long-term shift in design.

Exploring Innovations CONTINUING EDUCATION

in Exterior Ceramic Tile

1 AIA LU/HSW

0.1 ICC

New products, technologies, and standards increase Learning Objectives

sustainability, safety, and aesthetics for commercial After reading this article, you should
be able to:
and residential outdoor spaces 1. Explain how new products and
technology are expanding the
Sponsored by Coverings 2023 aesthetic choices for designers and
architects in exterior applications.
By Erika Fredrickson 2. Discuss how updated standards to
exterior tile surfaces and installation
contribute to increasing the health
and safety for occupants.

C
3. Describe installation options for
eramic tile has a long history in ar- details the health, safety, well-being, and
exterior tile that promote more durable,
chitecture, but recent technologies sustainability reasons these tiles are becom- sustainable, and safe applications.
and design innovations have given ing so popular. This article is a topline look 4. List examples of how thicker tile
it new life in outdoor spaces. The latest tile at various tile types and why they are the (2cm and 3cm) specification can help
solutions come at a time when residential ideal solution for outdoor applications. improve the sustainable qualities of
and commercial outdoor living spaces have Gain access to more detailed information, a project to support goals for green
evolved from makeshift solutions meant as as well as case studies, on Coverings’ com- building and health and wellness for
pandemic stop-gaps to a long-term shift in prehensive Tile Academy online. occupants.
design. And now, homeowners and com-
mercial developers are demanding durable LAYING THE GROUNDWORK To receive AIA credit, you are required to
yet fashion-forward exterior designs. This FOR INNOVATION read the entire article and pass the quiz.
course will look at exterior application Tile is one of the best products to provide Visit ce.architecturalrecord.com for the
trends, gauged porcelain paver standards, a combination of durability and livability complete text and to take the quiz for free.
the latest in pedestal systems, 2cm and 3cm for exterior walls, walkways, pool decks, AIA COURSE #K2301P
tiles, and other new technologies, and it outdoor kitchens and water features in an

102 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3

EDUCATIONAL-ADVERTISEMENT EXPLORING INNOVATIONS IN EXTERIOR TILE DESIGN

Schluter Systems; photo courtesy of TCNA

array of styles from modern to old world.
Ceramic tiles not only meet aesthetic and

CONTINUING EDUCATION
durability needs but provide many of the
necessary components for sustainable and
healthy building qualities for occupants. In
this section, we will discuss tiles made from
porcelain, ceramic, and glass and how their
unique attributes make them a good fit for a
variety of outdoor designs.

Porcelain Tiles
Porcelain tile has evolved over many centu-
ries since its use in the construction of the
Porcelain Tower of Nanjing in 15th century
China and its periodic use in European
palaces. These days, porcelain tile technol-
ogy allows for a variety of residential and
commercial applications, including modern
outdoor spaces.
Porcelain tile is a prime material for
exterior design. It is created with fine, dense
clay and fired at high temperatures, making Adjustable paver supports are one technology that supports different formats and thicknesses
it highly durable. Its ability to withstand to achieve the necessary height in outdoor applications.
severe weather conditions, including freezing
temperatures, makes it an appropriate choice
for any climate. That same quality of durabil- and walkways. In addition to inherent made of glass can be used in pools, foun-
ity makes it popular for high-traffic areas resistance to UV, fire, and stain, many tains, fireplace surrounds, outdoor showers,
in both commercial and residential spaces, options are available for added traction to spas, and as accent walls on outdoor decks
including entryways and other transitional make products slip resistant. and bars. Glass tile has a variety of practi-
spaces between indoor and outdoor areas. And cal qualities that make it a good choice for
because tile is used with aesthetics in mind, it’s Ceramic Tiles outdoor spaces including low maintenance
important to note that durability isn’t just the Ceramic is the oldest form of tile and still requirements, durability, stain resistance
ability to maintain its structure and function; one of the most popular. Once made by and being easy to clean. Glass tile can also
porcelain tile retains its appearance even hand, ceramic tiles were fashioned together provide an aesthetic and ambience, since
under heavy use. Porcelain tile, like ceramic from wet clay and dried in the sun or fired light reflection off glass can create a mood
tile, can be selected in a variety of colors and by kiln. They have many applications and or sense of movement.
textures with seemingly endless possibilities, because they are durable and affordable, Glass tile is often also used for back-
thanks to digital printing technology. They they are often used in both residential and splashes or as shower tile. As a decorative
can provide the realistic look of natural wood, commercial projects. Glazed ceramic tiles material, glass tile can be used as framing
stone or concrete, without the upkeep those have the added ability to protect against or to reflect light and make a space feel
materials require. stains and damage compared to other larger. New technology in glass tiles has
Porcelain tile is nonporous, which means materials. In general, ceramic has a natural emerged that enhances appearance, func-
it won’t harbor bacteria or suffer issues of resistance to fire, frost, and moisture. Like tion, and durability, making it an option
too much water absorption, such as crack- porcelain tiles, ceramic tiles can withstand for certain outdoor applications.
ing. It has a water absorption rate of less heavy traffic and severe weather, such as
than 0.5%, making it useful in wet environ- freezing temperatures. Like porcelain,
ments, inside or outside. Its nonporous qual- ceramic tiles are appropriate for any climate.
ity also allows it to be cleaned easily, even in Ceramic tiles are also easy to clean and
outdoor spaces, which makes it both more maintain. Erika Fredrickson is a writer/editor focusing on
hygienic and able to maintain its appearance technology, environment, and history. She frequently
without the need for polishing, waxing or Glass Tiles contributes to continuing education courses and
sealing. Some outdoor applications include Glass tiles are a good material for adding publications through Confluence Communications.
outdoor flooring, pool surrounds, patios, style to outdoor spaces. Tiles and mosaics http://www.confluencec.com

Coverings is the preeminent event for the ceramic tile and natural stone industry in North America. Join us April 18-21,
2023 to discover 800 global exhibitors from more than 30 countries, breathtaking product innovations, invaluable insights,
and crucial industry connections you need to grow your business. www.coverings.com

103
 EDUCATIONAL-ADVERTISEMENT

The Hugh O'Neill Building (Mortimer C. Merritt,

1887), New York City, converted from commercial
to residential use by CetraRuddy in 2005.
CONTINUING EDUCATION

Photo courtesy of © Alan Schindler

Site Selection Criteria CONTINUING EDUCATION

1.25 AIA LU/HSW

for Commercial-to- 1 GBCI HOUR 1 PDH

Residential Conversions Learning Objectives

After reading this article, you should
be able to:
1. Explain the relations of floorplate size
Evaluating buildings, locations, and communities and shape, ceiling height, building
age, and other building features to
Sponsored by The Steel Institute of New York | By William B. Millard, PhD successful conversion.
2. List and describe factors that can
affect or limit residential conversion.

T
3. Apply features of existing commercial
he COVID-19 pandemic and ensuing a boom may be slower to start than some
buildings to new residential uses.
workplace changes have increased have hoped, but may gain momentum in the
4. Explain how creating voids in an
attention to an enduring anomaly foreseeable future, given a set of appropriate existing structure can develop
in the national built environment: a glut of policy and economic incentives and prudent- amenities and how transferring the
commercial space coexisting with a hous- ly imaginative choices of prospective sites. usable area to new stories atop a
ing shortage. The question has naturally Commercial real estate markets softened building can require structural support.
arisen: Can some of the former resources dramatically when large numbers of office 5. Discuss how relations between
be repurposed to address the latter need? workers, unprotected by vaccines until a commercial building and its
Architects with experience in adaptive December 2020, began working remotely. As surrounding community can increase
reuse add a corollary question: Can the many workers and employers have discovered or decrease suitability for residential
conversion.
transformation of commercial properties to the feasibility of work from home or hybrid
residences yield desirable homes, buildings, schedules, demand for office space as the
neighborhoods, and cities? pandemic wanes has not sprung back to pre- To receive AIA credit, you are required to
The first question, commentators suggest, pandemic levels. Coldwell Banker Richard read the entire article and pass the quiz.
has been answered “yes, theoretically” more Ellis (CBRE) reported a national commercial Visit ce.architecturalrecord.com for the
complete text and to take the quiz for free.
often than “yes, and here's the living proof: vacancy rate of 17 percent in the third
a boom in conversion projects.” Reflection quarter of 2022, continuing to rise as new AIA COURSE #K2301B
on the second question explains why such supply outstrips demand, with class A space

104 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3

EDUCATIONAL-ADVERTISEMENT SITE SELECTION CRITERIA FOR COMMERCIAL-TO-RESIDENTIAL CONVERSIONS

accounting for all net demand, class B/C

demand actually negative, and downtown

CONTINUING EDUCATION
vacancy rates surpassing suburban for the
past two quarters (CBRE, 2022). A Jones Lang
LaSalle report on the same period calculated
the national vacancy rate at a record 19.1
percent (Jones Lang LaSalle, 2022).
Business Insider recently labeled today's
conditions an “office apocalypse,” with
pre-pandemic occupancy rates of 95 percent
now falling below 50 percent (Skandul, 2022).
Collateral effects have lowered multiple
variables reflecting business districts' vigor: Figure 1. Percentage increases in adaptive-reuse apartments in 2020-2021 became higher
not just office occupancy and commercial than in new apartments. Source: RentCafe analysis of Yardi Matrix data (Neculae, 2022).
real estate values but employment, foot
traffic, business spending, transit ridership,
public services, and property-tax revenues tracking rising numbers of conversions buildings are sometimes associated with
for cities nationwide. Apocalyptic rhetoric is since 2010, has offered roughly comparable federal tax credit opportunities or reductions
not limited to journalistic contexts; the same figures, noting that offices have overtaken in local parking requirements, McLane
term appears in a detailed report by scholars at hotels as the leading target type despite a adds. Another benefit is that the conversion
NYU and Columbia Business Schools, posted COVID-related rise in hotel conversions process is generally less physically disruptive
on the Social Science Research Network, (Miller, 2022). Office conversion is most to a neighborhood than new construction.
calculating that remote work had caused “a common in “larger, more historic cities,” “Projects of this nature,” he says, “are op-
$413-billion value destruction” in the U.S. with 1,000 to 2,000 conversions seen in portunities to fix the wrongs that we've done
commercial office sector (Gupta et al., 2022). Philadelphia, Washington, D.C., Cleveland, to our downtowns and revitalize them.”
The idea of converting commercial real Chicago, and Los Angeles. Curiously, the John Cetra, founding principal of New
estate to residential has the intuitive appeal NAA's report says little about New York York firm CetraRuddy, has worked on several
of solving two problems at once: helping City's conversions, though these have of the city's most prominent conversion proj-
to relieve the housing shortage in high- become prominent through media cover- ects and sees this sector as ripe for expansion.
demand urban areas and adding new forms age, the Skyscraper Museum's “Residential “People are not using office space to the same
of value to spaces that have been neglected, Rising” exhibition on downtown degree that they had been before COVID,”
abandoned, or rendered less marketable. Manhattan's transformations since the he says, recounting a recent client conversa-
Research suggests that residential adaptive 1990s, and city government's creation of an tion about an office building undergoing
reuse is indeed rising, with about 28,000 Office Adaptive Reuse Task Force in July extensive renovation. “We've been working
new rental units nationwide between 2022. Such conversions, one should note, on the plans for over a year, and we have
January 2020 and December 2021, 11,000 still represent a relatively small phenomenon no new tenants lined up. So they're calling
of which (about 40 percent) were in the within the real estate context, contrasting me and saying, 'What can we do with this
office-to-residential niche (Kolomatsky, with 791,081 newly constructed rental units building? Can we look at that quickly and see
2022), increasing at a faster rate than new nationwide during 2020-2021, according to if it's a viable candidate for either mixed use
apartments (Neculae, 2022) (see Figure 1). RentCafe (see Figure 1 above). or total conversion to residential use?' So, I
Other building types chosen for conver- Converted office buildings, particularly think we're going to see more.”
sion during these years included factories from before World War II, offer dwellers In practice, some sites and building
(15.5 percent), hotels (12.8 percent), and an array of advantages, says James McLane, categories are well-suited to this form of
warehouses (9.0 percent), followed by health AIA, director of technology at Page & adaptive reuse, while others look promising
care, educational, and religious buildings. Turnbull, a San Francisco-based firm from afar but turn out to be cases of wishful
(These figures are from the real estate re- focusing on renovation and preservation. thinking when analyzed in detail.
search group RentCafe, which studies Yardi Their formal lobby spaces and corridors are
Matrix data on conversions into residential character-defining features; they often have
buildings with at least 50 units; smaller- ground-level commercial spaces with high
scale conversions, assuming these are above ceilings, readily adapted into amenities such Bill Millard is a New York-based journalist who has
zero, logically imply that RentCafe's counts as fitness centers, cafés, or mobile work cen- contributed to Architectural Record, The Architect's
are conservative, possibly underestimates.) ters; many have balconies, tall story heights Newspaper, Oculus, Architect, Annals of Emergency
The National Apartment Association, and windows, and narrow floorplates. These Medicine, OMA's Content, and other publications.

The Steel Institute of New York is a not-for-profit association created to advance the interests of the steel
construction industry by helping architects, engineers, developers, and construction managers develop
engineering solutions using structural steel construction. www.siny.org

105
 Architectural Record is looking for the best
CALL FOR ENTRIES emerging architecture firms from around
the world to feature in our 2023 DESIGN

DESIGN VANGUARD issue. Although we do not have

an age limit, we try to select architects and
designers who have had their own practices

VA N G UA R D for 10 years or less.

SUBMISSION DEADLINE:

2 02 3
MARCH 1, 2023

For full details and to submit your entry, visit: architecturalrecord.com/call4entries.

E-mail questions to arcallforentries@bnpmedia.com. Please indicate the contest name as the subject of your e-mail.

GREAT LAKES CABIN, MORLOCK ISLAND, CANADA, BY 2022 VANGUARD LECKIE STUDIO.
PHOTOGRAPHY: © KYLE CHAPPELL
DATES & Events PVDF ORE FINISHES
ROOFING, SIDING, THERMAL & MOISTURE PROTECTION

NEW | GREEN | $$
PAC-CLAD | Petersen
PAC-CLAD Ore finishes provide designers with
Upcoming Exhibitions alternatives to expensive and unpredictable
natural metals. These PVDF finishes add an
elegant finishing touch to any project.
Mirror Mirror: Reflections on Design at Chatsworth Product Application
Bakewell, England • 16 unique finishes
• Available on wall and
March 18–October 23, 2023 roof panels, coil and sheet
Built in the late 16th century, the stately home of Chatsworth has been • Available on steel and aluminum

home to 16 generations of the Devonshire family as well as to an ex- Performance Data

• PVDF finishes never tarnish, discolor or rust
panding art collection that includes Greco-Roman art and scupture • Backed by an outstanding finish warranty
and masterpieces by Rembrandt and Reynolds, as well as work by
modern artists including Lucian Freud and David Nash. Now on view PAC-CLAD.com
800.722.2523 | info@PAC-CLAD.com
in the house and garden is an exhibition of work from 16 contemporary
artists and designers in direct relationship with the house’s architec-
ture, interiors, furniture, and materials. For more, see chatsworth.org. DOORS, WINDOWS
LIFT-STRAP BIFOLD DOORS AND ONE-PIECE HYDRAULIC DESIGNER DOORS
Simone Leigh WR
Boston Schweiss Doors, Moving Walls
April 6–September 4, 2023 Schweiss Doors manufactures unique custom
designer doors, one-piece hydraulic doors and patent-
The Institute of Contemporary Art/Boston presents the first compre- ed lift-strap opening/closing bifold doors.
hensive survey exhibition of New York–based artist and sculptor Product Application
Simone Leigh. The exhibit will showcase work from two decades of • Moving doors and walls
• You think it, we build it
production, including sculpture, ceramics, video, and installations, as • Custom designed storefronts, and more…
well as works from Leigh’s 2022 Venice Biennale presentation for the Performance Data:
first time in the United States. See icaboston.org. • Faster, safer operation
• Zero lost headroom
• Superior design that keeps working!
Ongoing Exhibitions
www.schweissdoors.com
Willy Guhl - Thinking with Your Hands 507.426.8273 | schweiss@bifold.com
Zurich
Through March 26, 2023
The Museum of Design Zurich presents an exhibition of work by the
influential Swedish designer Willy Guhl. Known for his “Loop Chair,”
made of a cement-asbestos mixture called Eternit, Guhl attended the
Kunstgewerbeschule in Zürich before becoming a part of the neo-
GRIFFOLYN®
DIVISION OF REEF INDUSTRIES, INC.
functional design scene in Europe in the mid-20th century. For more
VAPOR PROTECTION SYSTEMS
information, see museum-gestalting.ch/en.

Prague Tomorrow? Houses and Apartments

Prague WHAT‘S INSIDE MATTERS.
Through April 30, 2023 CONTROL MOISTURE IN THE
Presented by the Center for Architecture and Metropolitan Planning, BUILDING ENVELOPE
this comprehensive exhibition explores the current state of housing in
Prague and presents potential pathways for success through policy
reform and design. The exhibition’s findings are primarily based on the ROOF UNDER SLAB CRAWL SPACE WALL
Housing Development Strategy for the city of Prague, which was
approved by the city’s council in 2021. See praha.camp/en.

Deconstructing Power: W.E.B. Du Bois at the 1900 World’s Fair

New York
Through May 29, 2023
As part of the The American Negro Exhibit at the 1900 World’s Fair in
Paris, W.E.B. Du Bois and his students at the University of Atlanta
created a series of data visualizations on the social and economic status
of African-Americans since emancipation. Du Bois’s long-overlooked
contributions to the historic display are now on view at the Cooper
Hewitt Design Muesum, and for the first time are brought into dia-
logue with the larger event to highlight the disparities in the record
and memory of the World’s Fair as a spectacle of progress. For more,
see cooperhewitt.org.

800-231-6074 • GRIFFOLYN.COM
 DATES & Events

Parables for Happiness Vanguard winners CO Adaptive and Only If. conference will feature 800 exhibitors from
London Each project will be shown with a new video over 30 countries. Visitors can explore a wide
Through June 23, 2023 by Brooklyn-based filmmaker Hudson Lines, variety of displays, as well as participate in
Yinka Illori is a British-Nigerian artist and specially produced for the exhibition. See industry learning sessions and networking
designer known for his colorful public art moma.org. opportunities. See coverings.com.
installations. The Design Museum in London
showcases 100 works by Ilori ranging from Events Getting to Zero
artworks, photographs, and furniture to May 10–12, 2023
textiles, books, and personal possessions that Modernism Week 2023 Minneapolis
highlight the effect of his North London Palm Springs, California Held both virtually and in person, this forum
upbringing and his Nigerian heritage. See February 16–21, 2023 will gather over 500 leading policymakers,
designmuseum.org. This annual celebration of Modernist design architects, and other industry professionals to
and architecture features more than 350 share perspectives and collaborate on zero-
Architecture Now: New York, New Publics events in a variety of locations throughout energy and zero-carbon solutions to decar-
New York Palm Springs, including home and garden bonize the built environments. For more
Through July 29, 2023 tours, films, and lectures. This year’s keynote information, see gettingtozeroforum.org.
The Museum of Modern Art has announced presentation wil be by Morphosis principal
a new exhibition series that will showcase Thom Mayne See modernismweek.com. Concéntrico 09
work from emerging architects who are inno- Logroño, Spain
vators in the field. The inaugural exhibition Coverings April 27–May 2, 2023
will highlight 12 recently completed projects Orlando The six-day architecture and design festival
throughout New York, from architecture April 18–21, 2023 returns for its ninth iteration this year with a
firms including Adjaye Associates, nArchi- The largest international tile and stone event roster of events, installations, and exhibitions
tects, SO – IL, and record’s 2022 Design in the United States, this year’s Coverings throughout the city of Logroño. Featured are

RESIDENTIAL RISING: Lower Manhattan since 9/11 39 Battery Pl, New York
IN THE GALLERY AND ONLINE
skyscraper.org
 Custom Doors
design proposals and concepts that celebrate honors excellence in photographic interpreta- for Every Project
the public realm and civic life. For more, see tions of the built environment. Winning
concentrico.es/en. entries will be published in record and
exhibited at the 2023 AIA conference in
Competitions April. See aia-stlouis.org.

North American Copper in Architecture Holcim Awards 2023

Awards Deadline: March 30, 2023
Deadline: March 31, 2023 This global competition, hosted by the
The Copper Development Association is Holcim Foundation, recognizes projects that
seeking building projects for submission for combine sustainable design and construction
their annual award, which recognizes and with design excellence. Submitted projects
promotes the outstanding application of will be evaluated using the Foundation’s goals
architectural copper and copper alloys. for sustantainable construction, and Gold,
Projects must be located in the United States Silver, and Bronze prizes will be awarded in
or Canada and have been completed within five geographic regions: Europe, North
the past three years. See copper.org. America, Latin America, Middle East Africa,
and Asia Pacific. Winners from each region
AIA National Photography Competition will receive a cash prize and be invited to the
Deadline: April 3, 2023 prize announcement at the Venice Biennale of
AIA-St. Louis’s annual photography compe- Architecture 2023. See holcimfoundation.org.
tition is now open and seeking entries from
licensed architects and currently enrolled E-mail information two months in advance to
architecture students. The competition schulmanp@bnpmedia.com. All Krieger Specialty Products
doors are custom-engineered
to the unique specifications
of your project.

Acoustical & SCIF

Blast & Pressure

DISAPPEARING DOCK LIFT
Bullet & Forced Entry

Radio Frequency

Tornado & Hurricane

Performance Hybrids

NOW YOU SEE IT NOW YOU DON’T

AN ADVANCE DOCK LIFT IS THE ONLY EQUIPMENT Custom Finishes
THAT CAN SERVICE ALL TRUCKS. Our full range of custom finish
options includes wood veneer,
• White PAPer (Selection Guide) • ArchitecturAl SPecificAtionS prime painted, stainless steel, plastic
• lift SPecificAtionS SheetS • Pit & PAd drAWinGS laminate, and more—all perfectly
matched to your unique project.

AvAilAble At advancelifts.com

1-800-THE-DOCK www.KriegerProducts.com
 Earn up to
2 AIA LUs

SEAN PAVONE | ISTOCK | GETTY IMAGES PLUS

REGISTER TODAY MEET THE PANELISTS

MARCH 21 | NEW YORK

PHOTO: JULIAN CASSADY

PHOTO: JASON SCHMIDT
New Museum | 235 Bowery | 6:30-9:30pm

Museums of the Future: Thomas Phifer Shohei Shigematsu

A Discussion with Those Founder

Thomas Phifer and Partners
Partner
OMA

Designing and Leading Them

PHOTO: JULIE SKARRATT

PHOTO: EILEEN TRAVELL

Join Architectural Record for two CEU sessions followed by

a cocktail reception. Earn credits for each session attended.

Moderator: Josephine Minutillo, Editor in Chief,

Architectural Record Max Hollein Thelma Golden
Director Director and Chief Curator
The Metropolitan Museum of Art Studio Museum Harlem

IN PARTNERSHIP WITH SPONSORED BY

RecordontheRoad.com
Advertisers Index
Advertiser Page Advertiser Page Advertiser Page

Advance Lifts INC 109 B+N Industries, INC. 45 Landscape Forms, INC. 20

ARCAT 19 Bison Innovative Products 14 modular Arts 33

Architectural Record - ACE Mentor 100 Bobrick Washroom Equipment INC 23 National Terrazzo & Mosaic Association 29

Architectural Record - Advertising

Coverings 2023 47, 102, 103 Petersen Aluminum 30
Excellence Awards 25

DeepStream Designs, Inc. 34 Pilkington North America 32

Architectural Record - AR eNewsletters 46

Architectural Record - Design Vanguard 106 CVR4

Georgia-Pacific Gypsum Reef Industries, Inc. 107

Architectural Record - Design:ED Podcast CVR3 Getting to Zero, a program of Skyscraper Museum, The 108

New Buildings Institute 89

Architectural Record - Education Exchange 97

Steel Institute of New York 104, 105

Goldbrecht 3
TREX Company 13
Architectural Record - February Webinars 90

Invisible Structures, INC 51

USG Corporation 6, 7
Architectural Record - Record on

the Road New York 110 Karndean Designflooring 40

Vitro Architectural Glass

(Formerly known as PPG Glass) 4

Arktura LLC 11 Kingspan Insulated Panels 41, 58

WR Meadows 35
Armstrong World Industries, Inc. CVR2, 1 Koala Kare Products 26

ASI Group 9 Krieger Specialty Products 109

Publisher is not responsible for errors and omissions in advertiser index. R Regional Insert

111
 SNAPSHOT

On: Architecture is an apt title for the current exhibition at

ArkDes, Sweden’s national center for architecture and design.
PHOTOGRAPHY: © ÅKE E:SON LINDMAN

The “groundbreaking” display (housed within the floor) showcases

the work of Tham & Videgård, a 2009 Design Vanguard, and offers
visitors a full-scale spatial experience involving models,
photography, and films—all set below a walkable 4,650-square-
foot transparent surface. “The glass floor lets visitors feel as
though they are hovering above an archaeological excavation,”
says Bolle Tham, who founded the Stockholm-based studio in
1999 with Martin Videgård. “This concept goes hand in hand with
the idea of contemporary architecture being a part of history
projected into the future.”

112 ARCHITECTURAL RECORD F E B R UA R Y 2 0 2 3

 The DESIGN:ED Podcast by Architectural Record takes you inside
the profession through informal conversations with the field’s leading
architects and designers. Tune in to hear inspiring stories from design
leaders, posted twice a month.

Hosted by Austin, Texas–based architect Aaron Prinz, Architectural

Record’s DESIGN:ED podcast features the most renowned architects of
our time – such as Thom Mayne, Deborah Berke, Bjarke Ingels, Michael
Murphy, and Billie Tsien, as well as rising professionals in the next
generation, such as Pascale Sablan, Jesus Robles Jr, and Jenny Wu.

JANUARY PODCAST GUESTS:

Carol Ross Barney and Kevin Daly

Carol Ross Barney Kevin Daly Angela Brooks, Lawrence

2023 AIA Gold Medal Recipient KDA Scarpa, & Jeff Huber
Brooks + Scarpa

Tomas Rossant & BJ Siegel Marianne McKenna Andy Cohen & Diane Hoskins
Ennead & Juno & Shirley Blumberg Gensler
KPMB

Annabelle Selldorf Michael Hsu & Maija Kreishman Jim Dow

Selldorf Architects Michael Hsu Office of Architecture Dowbuilt

Now all DESIGN.ED Podcasts will offer AIA LUs. Listen to conversations with design legends and emerging stars
while earning CEUs. After listening to the podcast, visit https://continuingeducation.bnpmedia.com/podcasts
and take a quick quiz to earn one learning unit towards your license requirements.

Check out our top 6 podcasts from 2022, which have been approved for AIA LUs, at
https://continuingeducation.bnpmedia.com/podcasts.

PLATINUM SPONSORSHIP:

www.architecturalrecord.com/designed-podcast
SUBSCRIBE: Apple Podcasts | Spotify | iHeartRadio FOLLOW: Instagram
Foot traffic and maintenance work on a commercial rooftop without cover
board protection can lead to costly puncture damage. Specify DensDeck®
Roof Boards to strengthen your roofs and your reputation.
Don’t let preventable damage hold anyone back. See how your
buildings can be ready for anything at DensDeck.com/StopCallbacks.
©2023 GP Gypsum. DensDeck and the Georgia-Pacific logo are trademarks owned by or licensed to GP Gypsum.