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APRIL 2022
NEWS CONTINUING EDUCATION
BUILDING TYPE STUDY 1,040 100 The Climate Conversation
21 Diébédo Francis Kéré Named 2022 RECORD HOUSES HOW TO GET CLIENT BUY-IN FOR AMBITIOUS
Pritzker Prize Laureate By Izzy Kornblatt
57 Introduction ENVIRONMENTAL TARGETS By Katharine Logan
25 Lessons for Smart Cities from Sidewalk
Labs’ Demise By Alex Bozikovic 58 Alison-Mayne House, Los Angeles
MORPHOSIS By Sarah Amelar PRODUCTS
28 Remembering Gyo Obata (1923–2022)
By Fred A. Bernstein 66 Derwent Valley Villa, United 106 Surfaces By Sheila Kim
Kingdom BLEE HALLIGAN By Chris Foges
107 Hardware By Sheila Kim
DEPARTMENTS 72 Ridge House, Antiparos, Greece,
AREA, ARCHITECTURE RESEARCH
16 EDITOR’S LETTER: The Bad News 124 Dates & Events
ATHENS By Suzanne Stephens
and the Good
80 Flex House, Sacramento, 128 SNAPSHOT: Sagrada Família’s New Star,
19 CURRENTS: Thomas Kellner’s Barcelona LICHT KUNST LICHT’S DESIGN HUB
California JOHNSEN SCHMALING
Interpretation of Elbphilharmonie BARCELONA By Ilana Herzig
ARCHITECTS By Lydia Lee
31 Colonialism and Its Discontents in New
86 House in Colima, Mexico DI FRENNA
South Asia Show By Ranjani Srinivasan
ARQUITECTOS By Thomas Fisher
37 At SFMOMA, Neri Oxman Makes Nature
92 Frame House, Sonoma,
a Collaborator By Clare Jacobson
California MORK-ULNES ARCHITECTS
39 LANDSCAPE: Mount Curve, 1964 By Therese Bissell
RECORD House, Minneapolis
COEN+PARTNERS By Ilana Herzig
THIS PAGE: RIDGE HOUSE, ANTIPAROS, GREECE, BY AREA.
43 GUESS THE ARCHITECT PHOTO BY ED REEVE.
Expanded coverage at architecturalrecord.com.

BOOK REVIEWS PROJECT

48 Museum of Contemporary Art COVER: ALISON-MAYNE HOUSE, LOS ANGELES, BY
44 The Stahl House: Case Study House #22
San Diego, SELLDORF ARCHITECTS MORPHOSIS. PHOTO BY JASMINE PARK.
by Bruce Stahl and Shari Stahl Gronwald
By Sarah Amelar
with Kim Cross Reviewed by Sarah Amelar
45 Thirteen Ways of Looking at a House
by Stella Betts and David Leven with
Thomas de Monchaux Reviewed by Nader Tehrani

11
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IN THIS ISSUE
Photo courtesy of Kyle J Caldwell;

Photo courtesy of Marvin

courtesy of Bison Innovative Products

Photo courtesy of Inpro Corporation

p110 p122 p123

Transforming Outdoor Spaces: Placemaking Signs of the Times Designing for Coastal Living: Achieving
Sponsored by Bison Innovative Products, Cascade Sponsored by Inpro Durability, Safety, and Beauty
Architectural, Feeney, Inc., Humboldt Sawmill CREDIT: 1 AIA LU/HSW Sponsored by Marvin
Company, and Soil Retention Products, Inc. CREDIT: 1.25 AIA LU/HSW
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Photo courtesy of © James Ewing/JBSA

More than Just a Code Dynamically Adaptive Facades: The Need to Improve
Sponsored by Inpro Indoor Air Quality
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Designing ADA-Compliant Commercial
Built Off-Site, Built to Perform: Finding the Synergy
Showers and Bathrooms
Between VRF Technology and Modular Construction
Sponsored by Inpro
Sponsored by Mitsubishi Electric Trane HVAC US
CREDIT: 1 AIA LU/HSW; 1 ADA STATE ACCESSIBILITY/BARRIER-FREE
CREDIT: 1 AIA LU/HSW

Photo courtesy of Armstrong Ceiling and Wall Solutions

How to Specify Seamless Acoustical Ceilings Architects’ Career Paths Post-Graduation

Sponsored by Armstrong Ceiling and Wall Solutions Sponsored by Benjamin Moore & Co., Vectorworks Inc.,
CREDIT: 1 AIA LU/HSW; 1 GBCI CE HOUR Vitro Architectural Glass, and The Wood Institute
CREDIT: 1 AIA LU/ELECTIVE

Photo © Onnis Luque Photo courtesy of Floodproofing.com

Reimagining Residential Design: Solutions for Modern
Floodplain Design, Construction, & Impacts on Flood Insurance
Custom Homes
Sponsored by Floodproofing.com
Sponsored by Marvin
CREDIT: 1 AIA LU/HSW
CREDIT: 1 AIA LU/ELECTIVE

ALSO ONLINE AT CE.ARCHITECTURALRECORD.COM

How Windows and Doors Can How Distinctive Glass Designs Optimizing Performance in Metal Composite Material (MCM)
Make a House Feel Good Boost Learning Environments Commercial Fenestration Building Code Fire Requirements
Sponsored by Marvin Sponsored by Guardian Glass Sponsored by Azon Sponsored by MCA-ALPOLIC Division

Trends in Daylighting Glazing for Schools Historically Proven, Future Facing: Anatomy of a Tension Structure
and Tunable Lighting Sponsored by Guardian Glass Architectural Zinc for Walls and Roofing Sponsored by PFEIFER Structures
Sponsored by Marvin Sponsored by RHENZINK America, Inc.
Making Glass Come to Life The Intelligent Scale Solution – Template-
Design Innovations in the House Sponsored by Guardian Glass The Rise of Ceramics in Assisted Crystallization
Sponsored by Marvin Today’s Post-Pandemic Society Sponsored by WATTS Water Technologies, Inc.
Accommodating Movement Sponsored by Tile of Spain
Kitchens and Baths: Good in Building Design Engineered Wood Products (EWP)
Design Is Good Business Sponsored by Construction Specialties Spray Polyurethane Foam as a Basics: Strong, Safe, and Green
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Mastering the Physical Movement Sponsored by Huntsman Building Solutions
Introduction to ADA Signage of Air, Wind, and Water Louvers
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14 ARCHITECTURAL RECORD APRIL 2022

The architecture & design
event of the year returns
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 From the EDITOR

The Bad News and the Good

A bright spot in gloomy times comes from the world of architecture.

IT IS APRIL at last, and, though life and work are Pritzker winners—he creates projects as beautifully
returning to a new kind of normal after two years of designed as they are socially conscious, engaging their
Covid, other enormous troubles loom. Most urgent is surroundings and the people who use them in both a
the destruction and brutality inflicted by Russia on humane and sustainable manner. Those values will
the population of Ukraine—among the civilians killed doubtless be embedded in the larger-scale commis-
are many children—as the citizens choose to resist in sions now in his Berlin office (he splits his time be-
support of their democracy. tween Germany and Burkina Faso); they include a
And just days after Russia began its invasion of tower in Munich and the National Assembly in
Ukraine came more ominous news, in the form of a Benin, under construction, which he conceived as
3,500-page report from the United Nations’ Intergov- symbolic of “the idea of gathering together under a big
ernmental Panel on Climate Change (IPCC). Based tree to fix problems.”
on the work of 270 researchers in 67 countries, it is Kéré’s own story is remarkable: as the oldest son of
probably the most detailed account of what’s in store the chief, he was sent to school in a nearby town when
for the planet if global temperatures continue to rise he was 7 years old—a painful wrench that made him
unabated: hundreds of millions of people will suffer want to build a school for children right in his own
and die from heat waves, floods, droughts, and starva- village of Gando (now an expanded campus that
tion, as well as from diseases such as malaria and includes a secondary school, a library, and teachers’
dengue fever that will spread beyond the tropics, with housing). He won a vocational scholarship to
the poorest nations hardest hit. Said Simon Stiell, Germany to learn carpentry, which eventually led to
environment minister of the island of Grenada, “The his entry to architecture school in Berlin, where he
report is terrifying. There is no other way of saying it.” earned a degree in 2004, the same year he won his
While the wealthiest nations once pledged $100 first international honor, an Aga Khan Award, for the
billion a year to enable countries in the developing Gando primary school.
world to adapt to the climate crisis, the actual funding Anyone who has met Kéré knows him for his char-
has fallen far short. Reached by The New York Times, ismatic yet kind and energetic presence: speaking at
John Kerry, President Biden’s special envoy for climate one of record’s Innovation conferences, he pounded
change, admitted, “Every country needs to do more the floor and jumped off the stage into the audience in
[to address] both adaptation and resilience.” Yet our the midst of making a point. And in a profession in
own efforts to drastically reduce carbon emissions at which humility is in short supply, Kéré is modest in
home have been blunted by politics—and we seem the extreme: after he heard he’d won the Pritzker, he
unable even to acknowledge that the clock is ticking. told record, “I woke up the next day and thought,
Hans-Otto Pörtner, one of the scientists who led the ‘It’s a dream.’ ”
UN report, put it baldly: “Any further delay in con- So kudos to the Pritzker jury for acknowledging an

PHOTOGRAPHY: © JENNA-BETH LYDE

certed global action will miss a brief and rapidly clos- architect of such unusual gifts. He is the first Black
ing window to secure a livable future.” laureate and the first from an African nation. As the
Are you distressed yet? Read a summary of the continent with the world’s youngest population—and
IPCC report at ipcc.ch/report/sixth-assessment- with particular vulnerability to the effects of ecologi-
report-working-group-ii/. cal degradation—Africa is vital to the global future.
So we badly needed a glimmer of good news, and We need figures like Kéré who can help create a more
we got it with the announcement of this year’s Pritzker hopeful, sustainable built environment in the 21st
Prize laureate: Diébédo Francis Kéré (page 21). For us century.
at record, his honor is long overdue: we are proud to
have covered his remarkable work for many years.
Though known for schools and community centers in
his native Burkina Faso—not the glamorous museums
and institutions that have elevated most previous Cathleen McGuigan, Editor in Chief

16 ARCHITECTURAL RECORD APRIL 2022

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 Record CURRENTS
The report is “an atlas of human suffering and a damning indictment of failed climate leadership. With fact
upon fact, [it] reveals how people and the planet are getting clobbered by climate change.”
—António Guterres, U.N. Secretary General, in response to a new report on the climate crisis, compiled by 270 researchers from 67 countries
PHOTOGRAPHY: © THOMAS KELLNER

To celebrate the fifth anniversary of Herzog & de Meuron’s Elbphilharmonie in Hamburg, German
photographer Thomas Kellner, using an analog SLR camera and 35-mm film, created a series of
his signature fragmented images of the landmark concert hall. An exhibition of them, called
Dance of Resonance, is on view at Hamburg’s VisuleX gallery from April 6 to May 6.

19
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 Record NEWS
Diébédo Francis Kéré Named 2022 Pritzker Prize Laureate
BY IZZY KORNBLATT

SOME 60 MILES southeast of Burkina tecture—and the recognition of one of the

Faso’s capital, Ouagadougou, clusters of continent’s leading contemporary voices.
one-story houses dot the dusty savanna. This But what makes Kéré’s work important is
is the village of Gando, and with just 3,000 not just its social mission or location. Kéré,
residents and little in the way of infrastruc- who leads the Berlin-based firm Kéré
ture, it hardly seems like a magnet for foreign Architecture, pursues his social goals while
travelers. But in recent years, a growing trick- creating buildings of expressive heft—build-
le of visitors from Africa and beyond has ings that are shaped by the realities of mate-
PHOTOGRAPHY: © LARS BORGES (TOP); COURTESY FRANCIS KÉRÉ (BOTTOM, LEFT); ERIK-JAN OUWENKIRK (BOTTOM, RIGHT)

come to this settlement to see one of the most rial, structure, construction, climate, and
remarkable collections of contemporary program but nonetheless go beyond function-
buildings in the world. alism to offer transcendent experiences of
These are the seminal works of Diébédo space and light. Since winning the Aga Khan
Francis Kéré, who has been named the 2022 Award for Architecture in 2004, Kéré has
Pritzker Prize laureate. His projects are not attracted international acclaim and an array of
high-rises, museums, airports, or other testa- commissions beyond Burkina Faso—from the
ments to largesse and capitalism. Instead, National Park of Mali in Bamako (2010) to
they are single-story schools, a library, a the 2017 Serpentine Pavilion in London and
community center, and housing for teachers. new national assembly buildings in both his
Under Kéré’s direction, Gando’s residents home country and Benin.
constructed these buildings using sustainable Kéré’s work includes the Surgical Clinic and Kéré’s work is characterized by “a simulta-
Indigenous techniques that had fallen out of Health Centre in Léo (below, left) and the neous commitment to quality of design and
favor, thanks to 70 years of French colonial- Gando Primary School (below, right), both in the role of the building in the community it
ism. And they have transformed life in the Burkina Faso. serves,” says Pritzker jury member and Yale
village, bringing education within reach of School of Architecture dean Deborah Berke.
thousands of children over the years. “Francis represents a mode of practice “Neither is shortchanged by the other. Those
The selection of an architect driven by a which is incredibly significant,” says Pritzker two high-bar criteria actually enhance each
powerful social mission signals the Pritzker’s jury member Barry Bergdoll, a professor of art other in the final building.”
increasing recognition of architecture’s ethical history at Columbia University. “The way he Kéré was born in Gando in 1965, the eldest
responsibility. Kéré seeks to perform “a duty for works is as important as the actual built son of the village chief. Gando had no school
my community,” as he put it to record in a production.” at the time, and so, at his father’s insistence,
recent Zoom interview from Berlin. Last year’s Kéré is the first Black person, and the first Kéré was sent away at age 7 to begin his
laureates, the French duo of Anne Lacaton and architect from Africa, to receive the Pritzker education—a painful episode, he recalls, “to
Jean-Philippe Vassal, similarly emphasize in the award’s 44-year history. The selection leave your community, your safety, and just go
low-cost sustainable methods of making build- of Kéré marks a belated but growing acknowl- somewhere else.” Beginning in a small, airless
ings that improve the lives of their occupants. edgement of the importance of African archi- classroom in a nearby town, Kéré pursued his

See daily updates at architecturalrecord.com

21
 Record NEWS

Kéré’s Startup Lions Campus (left), along Lake

Turkana in Kenya, utilizes the stack effect for
ventilation. His Benin National Assembly
(below) takes inspiration from West Africa’s
palaver tree.

Murcutt, both of whom Kéré cites as key

influences, one doesn’t need a course in archi-
tectural history to find meaning in his build-
ings. Kéré’s work, in the words of the Pritzker
jury, “reminds us of what has been, and will
undoubtably continue to be a cornerstone of
architectural practice: a sense of community
and narrative quality, which he himself is so
able to recount with compassion and pride.”
Until now, Kéré, who splits his time be-
tween Germany and Burkina Faso, has com-
pleted mainly smaller projects. But he is at
work on a slate of larger buildings, including
his first tower, planned at the Technical
University of Munich, and his Benin National
Assembly in Porto-Novo, now under con-
struction. These projects will present Kéré
with new challenges, not least of which is
scaling the sense of community ownership
studies with vigor, ultimately winning a Kéré surprised villagers by using bricks made that characterizes his work in Gando into
vocational carpentry scholarship that brought in the village, rather than concrete, and train- symbols for an institution or a national gov-
him to Germany. There he received a scholar- ing locals to construct the building themselves. ernment.
ship to attend Technische Universität Berlin, A number of his designs also make use of wood Kéré has been working since 2014 to an-
from which he graduated in 2004 with an from eucalyptus trees, which grow across swer that challenge in his own country. His
advanced degree in architecture. Burkina Faso and can be harvested locally. design for the Burkina Faso National Assem-
Even before he graduated, Kéré launched Kéré’s mode of practice challenges the bly in Ouagadougou—a stepped pyramid
his lifelong effort to transform Gando. “The image of the architect as a singular figure, with an outer shell accessible as a communal
best decision I ever made in my life, really the instead empowering each person who plays a gathering space—presents government as an
best one,” he says, “was to start as a student role in the creation of a building to feel a extension of the public realm. But a military
by saying, ‘I’m going back to build a school sense of ownership. And by deriving architec- coup in January put the plans for the building
for my community.’ ” In 1998, he established tural expression from a building’s construc- on hold—and cast doubt on the country’s
what is now known as the Kéré Foundation tion and purpose, Kéré makes it visually prospects for stable democracy.
to raise funds, and in 2001 he completed his legible. His design for the Women’s Associ- Still, Kéré is optimistic, noting that I.M.
first building, the Gando Primary School. ation Center in Gando, for example, incorpo- Pei waited 15 years to see his John F. Kennedy
While diminutive in scale, the school’s rates locally made clay pots into the walls, Presidential Library built. “I am lucky,” he
rhythmic clay-brick walls and overhanging both as a functional element and a visual says, “to have started this work. And now if
corrugated roof give it a powerful presence signpost for women to store surplus grain. people can learn from what I’m doing and do

IMAGES: COURTESY FRANCIS KÉRÉ (TOP), KÉRÉ ARCHITECTURE (BOTTOM)

befitting its impact on life in the village. As in the work of Louis Kahn and Glenn their best, that is great.” n
Adjustable louvers filter sunlight and draw in
cool air, working in concert with the raised
roof to shield occupants from glare, and
ventilate the building.
Today, following the completion of a num-
ber of other community and school buildings,
Gando has become a model for the rest of the
country. “Even from the bigger cities,” Kéré
says, “people are coming to Gando to do their
exams.”
Kéré’s ingenuity with materials and design
solutions enabled him to build cheaply and
sustainably, engaging the people for whom he
designs in the entire process. At the Gando
Primary School and in subsequent projects,

22 ARCHITECTURAL RECORD APRIL 2022

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Record NEWS

Lessons for Smart Cities from Sidewalk Labs’ Demise

An inside look at how the Google affiliate’s vision for an “urban-tech revolution” hit a wall.
BY ALEX BOZIKOVIC

IN THE FALL of 2017, Sidewalk Labs, a that he “likely” has ALS, or Lou Gehrig’s explored ways to bridge urbanism and tech,
subsidiary of Google’s parent company, disease, and was stepping down—adding that creating a 400-page pitch document, known
Alphabet Inc., announced a deal in Toronto the company would no longer exist. as the Yellow Book, that proposed a 100-acre
to build a dream city “from the Internet up,” But what lessons can be learned about the development for 100,000 people, and looking
as CEO Daniel Doctoroff put it. The com- future of smart cities from the Toronto de- at sites near Denver and in the Bay Area city
pany’s 220-page proposal was heavy on the bacle? Here is a short history. of Alameda, California. Their urban vision
physical aspects of contemporary urbanity; its involved sensors measuring all aspects of city
colorful illustrations showed gondolas, waste- ON OCTOBER 17, 2017, Canadian prime life, from air pollution to individuals’ vital
disposal robots running underground, and minister Justin Trudeau came to the 12-acre site signs; a heavy reliance on autonomous ve-
mixed-use modular buildings. on Lake Ontario, dubbed Quayside, to an- hicles; utility tunnels; prefab construction;
But the illustrations were largely whims— nounce the partnership known as Sidewalk and a giant “canopy,” or dome, overhead that
drawn by a junior designer at Heatherwick Toronto. As a reporter covering the event, I had was very Buckminster Fuller
Studio in New York—and the actual ideas questions for Sidewalk Labs’ head of urban “The basic idea was, let’s rethink district-
never came any closer to reality. The company systems, Rohit Aggarwal, and head of policy scale infrastructure with digital tech woven
had imagined a 12-acre neighborhood with Micah Lasher. “Your pitch is interesting,” I said. in,” says Anthony Townsend, an urban plan-
an efficient energy grid and all kinds of ame- “But are you ready to navigate the politics of a ner and an early Sidewalk Labs employee.
nities, but it also wanted to place sensors city where even ordinary buildings can be hard Sidewalk’s far-reaching proposal promised
everywhere. The network of sensors would to get approved?” “Don’t worry,” Mr. Lasher modular buildings built to Passive House
not only record useful data about energy use said. “We’ve built a lot of things in New York.” standards and called for code and zoning
and occupants’ behaviors, but transform this This was true. Most of Sidewalk’s execu- changes to allow for what it called “radical
data into feedback to make the project’s sys- tives had worked for Doctoroff when he was a mixed use” within each building, with com-
tems run better—what Doctoroff dubbed an powerful deputy mayor of New York under pliance maintained by sensors rather than by
“urban-tech revolution.” Michael Bloomberg. But they had little expe- human inspection. The public realm was to
But the plan sparked hugely contentious rience as private developers and were planning be “vibrant and usable year-round,” thanks to
debates in Toronto about data collection, to build 6 million square feet in another heated sidewalks and retractable canopies
surveillance, and whether Sidewalk could even country. The company had been selected as guided, of course, by sensors.
be trusted. As Sidewalk discovered, its pro- an “innovation and funding partner” by But “the digital layer,” as Sidewalk called
posal posed serious ethical problems, as well as Waterfront Toronto, the public agency that it, immediately generated headwinds. In
political ones: when a company tries to reshape oversees the city’s underused port lands. The Toronto, the conversation soon became all
a city, the people of the city, at least in a de- agency, too, was exploring unfamiliar terri- about data: who would gather it, who would
mocracy, will have their own ideas. In May tory: under new CEO William Fleissig, it use it, and how. Sidewalk, and presumably
2020, the company walked away from the deal. aimed to explore the potential of smart-city Alphabet, wanted quasi-governmental powers
And Sidewalk as an entity is not embarking technology. in this respect.
on similar plans anywhere else. In December Since 2015, Sidewalk, with its platoon of Local good-governance advocates and
2021, Doctoroff revealed in a Medium post architects, planners, and technologists, had technologists stood up to prevent what they
saw as an abrogation of local government’s
role. “Sidewalk Toronto is not a smart city,”
the former BlackBerry executive Jim Balsillie
wrote in a 2018 op-ed. “It is a colonizing
experiment in surveillance capitalism at-
tempting to bulldoze important urban, civic,
and political issues. Of all the misguided
innovation strategies Canada has launched
over the past three decades, this purported
smart city is not only the dumbest but also the
most dangerous.” That year, Fleissig was
IMAGE: © HEATHERWICK STUDIO

pushed out as CEO of the waterfront agency.

Amid all the debates about data and IP
law, the architectural aspects of Sidewalk
Toronto were soon overshadowed. But here,
too, there were real questions.
The company proposed a factory to con-
Snøhetta and Heatherwick Studio’s mass-timber scheme for Sidewalk Toronto. struct building components from mass tim-

25
 Record NEWS

ber. It hired Snøhetta and Heatherwick Carlo Ratti developed a prototype for street In 2019, Alphabet spun off the New York–
Studio to imagine what the results would look pavers containing both sensors and signal lights, based Sidewalk Infrastructure Partners,
like—including improbable drawings show- but Toronto city staff balked at the required data which is working to fund and construct such
ing mass timber cladding. Sidewalk’s Toronto connections and maintenance costs. projects as recycling robots and roads geared
office even featured a glulam mock-up of its In the end, it is difficult to separate to autonomous vehicles.
proposed structural system. Sidewalk’s technical proposals from its politi- And it’s hard to overlook the loss of leader-
Yet the company’s director of building cal ones. Cities involve both; a radical devel- ship. Doctoroff “was the company,” Town-
innovation, Karim Khalifa, came from the opment scheme such as Sidewalk Toronto send says, and, without him, many of its
prosaic world of hotel prefab construction, needs to address them all. “I don’t think mass component parts are being absorbed into
and when I interviewed him in 2019, he was timber has anything to do with Sidewalk’s Alphabet. Some of these were part of the
ready to admit that some of the drawings success or failure,” says Michael Green, the Toronto plan, including such proprietary
were a bit fantastic. When Sidewalk presented Vancouver-based architect and wood-con- products as the vehicle sensor technology
its plan for Quayside, led by the New York struction expert who consulted for Sidewalk. Pebble and the building-automation system
firm Beyer Blinder Belle, a local design re- “The issue was their ability to move into a new Mesa. Sidewalk’s mass-timber construction
view panel savaged the scheme for its vague- community with no development experience.” operation, now called Canopy Buildings, will
ness and lack of technical feasibility. Townsend—who has been broadly critical of become an independent company.
As the project limped forward, it became Sidewalk since leaving the company—suggests And where will it build next? Perhaps for
clear that many of its ideas were either half- that its explorations of urban infrastructure Alphabet itself, which is already working with
baked or relied too heavily on rewriting the remain valuable. “The promise of Sidewalk architects, including Green, on mass-timber
rules. Its building “awnings,” for instance, were Labs was that people were excited about the buildings. Or perhaps in a new smart city, like
renamed “raincoats” in a detailed design by the boring and hidden stuff of city-building,” he Neom, in Saudi Arabia, where an authoritarian
Toronto architects Partisans. But it was ulti- says. “Sidewalk wanted to work on power government can deliver the concentrated pow-
mately determined that the embedded mecha- plants and conduits and building materials.” er—without the objection of ordinary citizens
nisms could endanger people with disabilities. And, in some way, that work will continue. —that big tech’s dreams may well require. n

26 ARCHITECTURAL RECORD APRIL 2022

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 Record NEWS

Remembering Gyo Obata (1923–2022) 70

70
64
BY FRED A. BERNSTEIN 62 61 63
60
59 56
GYO OBATA, who died March 8 at 99, Missouri, is a tour-de-force composed of three 50 53
52 51
lived a classic American success story. The rings of thin-shell parabolic arches. The strik-
40
son of Japanese immigrants who were sent to ing building made the pages of Life magazine
an internment camp during World War II, he and “put us on the map,” says Bill Hellmuth, 30
found his footing in the Midwest and went on the firm’s chairman and CEO.
to cofound and run one of the world’s largest By the mid-1960s, HOK was winning 20
architecture firms, Hellmuth, Obata & Kass- major commissions. Obata’s Dallas/Fort F M A M J J A S O N D J F
2021 2022
abaum (now HOK). Worth International Airport, a sprawling,
INQUIRIES BILLINGS
Obata studied at Washington University in desert-colored complex, opened in 1973. And
St. Louis and the Cranbrook Academy of Art, his 1976 National Air and Space Museum in
ABI Score Increases Slightly
where he joined a cohort of Midwestern Washington was the rare success among mod-
The American Institute of Architects’ latest
Modernists, among them Eero Saarinen and ernist additions to the National Mall; boxes of
data show that the Architectural Billings Index
Minoru Yamasaki, who preferred expression- pink Tennessee marble big enough to hold
increased slightly from 51 in January to 51.3 in
istic forms to the rigid International Style. planes were arranged in a staggered formation
February, still above the benchmark of 50
And, like Yamasaki, Obata was a leading that doesn’t overwhelm neighboring buildings.
(scores over 50 indicate an increase in firm
architect of color at a time when that was Best known as a designer, Obata was also the
billings). New inquiries also increased
exceedingly rare. firm’s chairman and 51 percent owner until he
modestly from 61.9 to 62.5, while design
One of his first buildings, the 1962 Priory retired in 1991. He continued to come into the
contracts decreased, from 56.1 to 55.2.
Chapel at Saint Louis Abbey in Creve Coeur, St. Louis office regularly until 2018. n

28 ARCHITECTURAL RECORD APRIL 2022

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EXHIBITION

Colonialism and Its Discontents in New South Asia Show

BY RANJANI SRINIVASAN

ON ENTERING the exhibi- veritable trove of architectural

tion The Project of Independence: masterpieces.
Architectures of Decolonization in But the relationship between
South Asia, 1947–1985, on view at modernism and decolonization
the Museum of Modern Art that is posited by the exhibition’s
(MoMA) in New York through curators, Martino Stierli and
July 2, visitors first encounter a Anoma Pieris, is tenuous at best
cinematic vignette from Yash and should strike the visitor as
Chaudhary’s documentary problematic for several reasons.
Chandigarh (1969). Sinewed First, the show does not ad-
workers labor without rest in the equately grapple with colonial
sweltering heat, passing head- history, which is crucial, since
loads of cement and sand-con- decolonization can only be un-
crete up makeshift wooden scaf- derstood in opposition to colo-
folding to build what would soon nialism. The unquestioned
become the sculptural Palace of assumption of terra nullius that
Assembly, part of the capitol undergirds much of the modern-
complex and administrative heart ism on display is itself violent
of Le Corbusier’s master plan for Hall of Nations, Pragati Maidan, New Delhi (1970), by Raj Rewal, and racially charged. It has
engineered by Mahendra Raj. Demolished 2017.
Chandigarh. But the true power caused the dispossession of
of these images emerges from the Indigenous peoples globally and
fact that they unwittingly expose the layered South Asia are best understood as extensions led to the creation of settler colonial states.
and contested meanings of modernity and, by of the economic theory of developmentalism. The show’s narrative does little to challenge
extension, modernism in postcolonial South By building new, “modern” cities, postcolonial or even acknowledge this: viewers with sparse
Asia—meanings that transcend mere archi- nations could claim membership in the devel- knowledge of South Asia are led to assume
tectural form and materiality. oped world and challenge what Edward Said that the subcontinent needed the urban-
Modernism can be broadly understood as a refers to as “Western representations of renewal-style rebuilding displayed in the
utopian project of architectural and urban Oriental underdevelopment,” while simulta- exhibition in order to be assimilated into
order premised on the overlaying of a dia- neously relying on the ahistorical aesthetic of modernity. This is a topic that continues to be
grammatic plan on terra nullius. Drawing on modernism to break from a past replete with debated and cannot be simplistically depicted
Le Corbusier’s principles, Lucio Costa and sectarian violence and colonial oppression. through a linear conception of progress.
Oscar Niemeyer’s plan for Brasília—the most This latter point was critically important to Moreover, development itself does not
complete urban manifestation of the tenets of the project of nationhood as many postcolo- necessarily entail decolonization, and, as in
the Congrès Internationaux d’Architecture nial states emerged from the unification of other Global South regions, developmental-
Moderne (ClAM) in another former colony— historically disparate territories and sought a ism has remained a highly contested issue in
sought to generate new forms of social asso- new, universal architectural style to convey South Asia. The government of India’s first
ciation through the reorganization of metro- the ideal of national unity. post-independence prime minister, Jawaharlal
politan life into distinct sectors. Modernist Foregrounding the emergence of regional Nehru, sought to reimagine the Indian state
master plans prioritized the movement of fast reinterpretations of Euro-American modern- and its institutions using béton brut, an at-
traffic along arterial roads, and the Interna- ism, the MoMA exhibition argues that a tempt that ran parallel to his administrative
tional Style in architecture accordingly took modern architecture rooted in a specificity of plans for national development and industri-
inspiration from industrial infrastructure. In place was central to the process of decoloniza- alization. But the real legacy of development
Chandigarh, the sculptural curved roof of the tion and the progressive transformation of projects, mainly executed in the agrarian
PHOTOGRAPHY: COURTESY MOMA, RANDHIR SINGH
Palace of Assembly refers to the Bhakra postcolonial societies in South Asia. To this hinterlands, has been large-scale land acquisi-
Nangal Dam in Himachal Pradesh, India, end, an array of stunning archival materials, tion and the dispossession of rural popula-
and the hyperbolic roof of the Legislative architectural models, and films, alongside tions—a key point missing from the narrative
Assembly building borrows from the shape of newly commissioned photographs by Randhir of the MoMA exhibition. And this history
a Croydon Power Station chimney. Both Singh, are used to capture the establishment attends modernist city planning as well:
symbolized the meeting between universal of foundational political, economic, and notably, while the siting of Chandigarh dis-
ideals and industrialized modernity. educational institutions built by the region’s placed 17 villages, the master plan never
Given this visual link between architec- first generation of postcolonial architects. included affordable housing for the working
tural style and technological prowess, both From Muzharul Islam’s earthy Chittagong class. Predominantly Bahujan laborers—
modernism in architecture and the rational University to Minnette de Silva’s picturesque sweepers, cobblers, laundrymen, and even the
comprehensive model of city planning in Pieris House, the show walks us through a migrant construction workers building the

31
 EXHIBITION

city—were forced into peri-urban squatter Sardar Vallabhbhai Patel Municipal Stadium,
settlements that are still visible today. Ahmedabad, India (1959–66), by Charles
Second, there is little engagement in the Correa, engineered by Mahendra Raj.
exhibition with the legacies of colonial soci-
ety. While it is true that postcolonial subjects
appropriated modernism for a variety of of Raj Rewal’s Hall of Nations and Halls of
reasons, the exhibit does not speak to the Industries at Pragati Maidan?
social positions of the first generation of Nor does the show adequately capture the
native architects whose work it celebrates: in evolving attitudes toward modernism in the
fact, most were wealthy, Western-educated, decades after independence—from the early
and belonged to an elite stratum within colo- technocratic high modernists’ giving way to
nial society. The Western interpretations of the later critical regionalists such as Laurie
modernity that found favor among these Baker, Geoffrey Bawa, and Joseph Allen
architects held little meaning for the rest of Stein. These designers centered placemaking,
South Asian society. To some, modern archi- experience, and environment as key compo-
tecture might be considered anti-colonial, but nents within their work, and, although their
for many others it demonstrates a continuity projects are displayed in the show, there is continuously shaped by meanings produced
in imperialist values, where the making of little acknowledgement that this shift sig- on the ground. And architecture, like other
meaning is an exercise in cultural hegemony. naled a deep public dissatisfaction with mod- manifestations of decolonization, is deeply
What else explains the lack of public concern ernist expansion, along with a resurgence of embedded in the social and cultural processes
within South Asia about the dilapidated state particularism. This is important to note, as that produce it. Unfortunately, MoMA’s show
of many of these buildings today? Or the fact decolonization is not a singular event or a neatly sidesteps these issues and presents
that it was only architects who objected to the monolithic vision but a multifaceted, socially architecture as a practice detached from the
hasty demolition, lamented in the exhibition, determined, and ever-changing process that is realities in which it is immured. n

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32 ARCHITECTURAL RECORD APRIL 2022

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EXHIBITION

At SFMOMA, Neri Oxman Makes Nature a Collaborator

BY CLARE JACOBSON

IN A TIME when building construction is row of cases lit like Tiffany windows. The
a significant contributor to multiple global Gemini Chaise, made of photopolymers and
crises, architect and educator Neri Oxman cherrywood, looks almost too pretty to sit on,
posits that nature can provide sustainable which is fine, as visitors may prefer not to
alternatives to conventional materials, tools, experience its purported “stimulation-free
and methods. Her design philosophy, which environment that echoes vibrations from one’s
she calls “material ecology,” looks to nature voice throughout the body.”
not only as a source of inspiration but also as Beauty, of course, has its place in museum
a kind of collaborator. Working with the exhibitions. But here beauty may be a detri-
Mediated Matter group she founded at the ment to communicating Oxman’s response
Massachusetts Institute of Technology and to the aforementioned “existential threats.”
with her New York–based studio, Oxman When visitors look at Man-Nahāta, can they
researches natural models to emulate and mourn the loss of Chelsea to sea-level rise
processes to use. A new exhibition, Nature × when it’s been replaced with such a lovely
Humanity: Oxman Architects, on view at the collection of glowing jewellike orbs? And
San Francisco Museum of Modern Art when they gaze at the wonderful Glass II
(SFMOMA) through May 15 and curated light columns, will they consider the overuse
by Jennifer Dunlop Fletcher, presents close of resources—sand, electricity, student
to 40 of these nature-centered works pro- hours—in their creation? The exhibition
duced from 2007 to the present. (Some introduction states that by “prompting ques-
projects were presented in a smaller show at tions rather than posing solutions, Oxman’s
the Museum of Modern Art in New York in installations offer opportunities for bold
2020, an exhibit cut short by the Covid-19 imagination, robust discussion, and in-
pandemic.) formed action,” but with only occasional
According to the exhibition introduction, descriptions of works in the show, there is
Oxman “responds to issues that continue to little fuel for questioning.
pose existential threats, such as nondegrad- I cannot help but compare this exhibition
able waste, depleted natural resources, to SFMOMA’s splendid 2018–19 The Sea
climate change, and broken social, health, Ranch: Architecture, Environment, and Idealism
and economic systems.” That is a lot to take (cocurated by Jennifer Dunlop Fletcher and
on, and Nature × Humanity divides the Joseph Becker), which exhibited a 1960s idea
Neri Oxman’s Aguahoja II explores the use of
effort into four sections. Material × Fabri- decomposable material in built form. of nature-based architecture. That show, like
cation explores nature-based materials— this one, included crisp models and images,
from wood pulp cellulose to apple pectin to but it also featured the charmingly messy
squid-ink melanin—and production pro- Some of the show’s ideas are not exactly work—from colorful concept diagrams to

PHOTOGRAPHY: © MASSACHUSETTS INSTITUTE OF TECHNOLOGY, MEDIATED MATTER

cesses informed by nature’s well-known new (such as building with curves to increase photos of windblown students doing field
workers, including bees and silkworms. stability and reduce materials), but their research—that resulted in the iconic dwell-
Scale × Structure—featuring the show- formal expression is very contemporary—no ings. As a result, it turned Sea Ranch from a
stopping Aguahoja towers made of decom- Bucky domes here. Generative design, 3-D shed-roofed one-liner into a complex story of
posable material set within steel and alumi- printing, digital fabrication, and CNC environmental activism. I miss that messiness
num frames—considers how organic forms milling abound. And while crunchy San in Nature × Humanity, as it is essential to
and decoration can be incorporated into Francisco museumgoers might find nothing research.
built form. Program × Performance looks at novel in using beet, spirulina, and turmeric as I do not suggest that museum exhibitions
embedding organic substances in inorganic natural dyes, they might find satisfaction in should rely on ponderous explanations to be
materials at scales both personal (wearables learning that the process has moved beyond successful. But I do believe that if Nature ×
containing responsive living organisms) and coloring Easter eggs to the hallowed halls Humanity intends to show how Oxman’s work
architectural (a performance space where of MIT. might affect the future of architecture, it
voices generate and amplify vibrations). Visitors no doubt will delight in the sheer needs to communicate what that work is, not
Time × Place takes a long view of design beauty of Nature × Humanity. Each object is simply present the viewer with the all-too-
intervention in works including Man- stunning—almost unnaturally perfect. The pristine results of her labor. To understand
Nahāta—Manhattan reconceived as it Vespers death masks, for instance, some of architectural intentions, both within the
would be in 2100, 2200, 2300, and 2400 if which are meant to visualize a person’s last museum and outside its doors, we need to see
it were balanced between human-built breath, are less eerie than inviting; colorful not just flawless final representations but the
urbanism and the encroaching sea. and formally complex, they are displayed in a processes that led to them. n

37
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 LANDSCAPE
COEN+PARTNERS RENOVATES THE GARDENS OF MINNEAPOLIS’S MOUNT CURVE RESIDENCE—A 1964 RECORD HOUSE. BY ILANA HERZIG

IN A RESIDENTIAL neighborhood of
Minneapolis, the lush emerald foliage of a
renovated landscape starkly contrasts with the
gray-scale orthogonal lines of the Mount
Curve residence—an understated Midcentury
Modern structure featured as a record house
in 1964.
The overhaul of the 1.5-acre site was
undertaken by Minneapolis-based landscape
architecture and urbanism firm Coen+Partners
following a 2017 competition to re-envision
the house (MSR Design renovated the house)
and its surroundings, for a client who is an art
collector and author. With their intervention,
the designers aimed to create a continuous
flow between indoor and outdoor spaces,
restore the site’s original symmetry, and
diversify plant life while showcasing the
owner’s sculpture collection. By reconfiguring
exterior courtyards, the team also endeavored Crab apple trees in
to ensure safe, level surfaces for aging in place horizontal metal
and future accessibility concerns. planters flank the
Constructed in 1963, the house was de- driveway (top).
signed by architects Bliss and Campbell (with Blooming greenery
fills a bedroom
landscape architect Edmund Phelps) for one
PHOTOGRAPHY: © PETER KERZE (TOP AND MIDDLE)

garden (above);
Mrs. John S. Dalrymple, “a woman active in Record Houses issue
social and cultural affairs [who] wanted a from 1964 (right).
house which would provide her with a cre-
ative environment in which to begin a new
pattern of life,” in the words of our 1964 issue.
The “one-story scheme with privacy and
spatial interest” sat on “a long, narrow lot
between two existing houses . . . that sloped
steeply downwards to the northern end, with
a northeast view over the town.” The site
included “a series of receding ‘garden walls’

39
 LANDSCAPE

The dining courtyard

is screened by
arborvitae, shaded by
honey locust trees,
and features a Martin
Puryear sculpture
(above). A water wall
made of Virigina slate
enlivens a lower
terrace off the living
room (left).

defining spaces, creating courts and giving adjacency of the indoors and outdoors.” Ji, a proposition enabled by hydrangeas, tulips,
privacy from the street.” With their approach, the team sought to irises, anemones, ferns, peonies, snakeroot,
The original backyard contained only one reestablish a sense of juxtaposition and sym- and serviceberry trees. The designers also
small patio off the living room, with all other metry by complementing man-made struc- looked to the Midcentury Modern finishes for
outdoor space at a lower grade, eventually tures with natural elements. Edmund Phelps’s inspiration. “We carefully selected the materi-
crowded by overgrown plants. “We came up original 1960s landscape plan responded to als, so that they looked seamless,” says Ji,
with the strategy of leveling up the site by several existing elm trees to help delineate noting that they matched the interior’s origi-
bringing a plinth around the entire back side outdoor space; however, “that composition nal terrazzo floors with exterior two-tone
of the house to enable free circulation,” says was gone when we got the project,” explains concrete pavers, adding texture to avoid slips.
Coen+Partners’ design director, Wanjing Ji. Ji. (In the 1990s, the disease-ridden elms were New details also create privacy. An oper-
The team then added a reading terrace and a removed.) “One of the first strategies was to able metal-panel art fence (which mimics the
garden off two of the bedrooms. A gravel- rebuild the linear elements of the entry,” she house’s paneled gallery wall) provides visual
lined courtyard flowing from the dining says. “The historic photo shows the verticality enclosure, while a custom-designed water
room is shaded by the canopy of four honey of the four trees leading to and playing with wall—made of Virginia slate punctuated by
locust trees, while a lower courtyard off the the horizontality of the house.” The designers stainless-steel elements—uses white noise to
PHOTOGRAPHY: © PETER KERZE

living room is reached via a cantilevered stair reinstated this component, adding a dozen drown out the drone of a nearby highway.
that, says Ji, gives “a sense of floating.” In blue beech trees within low metal planters. Accented with numerous sculptures, “the
conceptualizing the scheme, the team was In addition to boxwood and arborvitae whole courtyard, along with the house’s
inspired by Richard Neutra’s work in screens, and the owner’s vegetable garden, the indoor gallery, feels almost like an art mu-
California, Ji notes: “We brought the pro- grounds incorporate a mix of species to infuse seum,” says Ji. “The reductive material pal-
grams outdoors to echo the Midcentury vibrancy and extend the blooming season. ette with the tree canopy makes it meditative,
Modern fluent circulation and seamless “Different seasons have different colors,” says in a way.” n

40 ARCHITECTURAL RECORD APRIL 2022

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PHOTOGRAPHY: COURTESY ANDREIZ/WIKIMEDIA COMMONS (TOP) ; GEOLINA163/WIKIMEDIA COMMONS (BOTTOM)

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43
 BOOKS

The Story Behind the Image

steel construction and a willingness to tackle a glass-and-steel house, on such an implausible
site widely deemed unbuildable; John Entenza, site, was the African-American-owned
the inspirational editor/owner of Arts & Broadway Federal, where Paul R. Williams,
Architecture magazine, who’d launched the the Black architect with Modernist leanings,
Case Study Houses program in 1945; and served on the board. For unknown reasons, the
Shulman, the photographer who portrayed the bank required a swimming pool (not previ-
house, sparking public imagination. Com- ously in the design), which became composi-
pleted in 1960, the project emerged from the tionally important, with the entry sequence
post–World War II era, when materials and crossing the pool patio, perceptually amplify-
innovations previously channeled into the war ing the house’s rectilinear transparency.
effort became fodder for cutting-edge design. Another surprise: one of “the girls”—the
The Case Study program—addressing a bur- two women in summer dresses, casually chat-
geoning middle class and rising housing short- ting in the living room in Shulman’s famous
age—aspired to create affordable, easily build- photo—was the fiancée of well-known San
able prototypes for modestly scaled yet Francisco architect Jim Jennings, then an archi-
inventive Modernist houses. (It’s ironic that tectural apprentice, assisting with the shoot.
many of the 20 surviving Case Study Houses Cross also tells how the Stahl offspring
have become privileged commodities.) have regularly jumped off the roof into the
The Stahl House: Case Study House #22: Buck and Carlotta Stahl were indeed a pool. And she reveals that the house’s original
The Making of a Modernist Icon, by Bruce middle-class couple of limited means. A graph- GE kitchen appliances (long gone) were pink!
Stahl and Shari Stahl Gronwald with Kim Cross. ic designer turned aero- Among the book’s
Chronicle Books, 208 pages, $24.95. space purchasing agent many engaging images
REVIEWED BY SARAH AMELAR and a homemaker, they are stunning profes-
had, as Koenig later said, sional photos, family
JULIUS SHULMAN’S iconic nighttime “champagne tastes and a snapshots, artwork
photo of Case Study House #22—with its beer budget.” Despite featuring the house (by
cantilevered glass-walled living room hover- their artistic sensibilities, David Hockney and
ing above the city lights of sprawling Los they couldn’t afford, even others), and original
Angeles—is arguably the most famous image with discounts, the Mid- letters, contracts, and
of residential architecture. Yet the story be- century Modern furnish- receipts, for what now
hind this remarkable building—how it came ings from Arts & Architec- seem quaint sums.
into being and the experience of living ture’s shoot; and, after The volume’s sec-
there—is far less known. And that’s what this happily occupying the ond half, however, is
book reveals. A deep and detailed account house for nearly a decade, not as compelling as
with abundant images, it’s a biography of a the family had to move in the first. Sections
house and its owners—and the book’s first with relatives to weather a describing movie, TV,
half, in particular, is a great read. severe economic down- The Stahl kids dove from the roof into the pool. and ad shoots at the
Shari Stahl Gronwald and Bruce Stahl, turn. But, six years later, house could have been
along with their late brother, grew up in Case they returned, with “the reduced, perhaps more
Study House #22 and still own it. As they Stahl kids” resuming “ordinary childhoods in effectively, to an amazing list accompanying the
write in the foreword, touring visitors often ask an extraordinary house.” No Case Study project visuals (among them, a Simpsons poolside scene).
about the family behind it. “We knew there was more quintessentially Modernist than the Captions for all images would have been wel-
was an untold story,” Bruce recently said, “and two-bedroom #22, perched on a Hollywood come. And the prose—which is generally clear
we set out to tell it.” In the dozen chapters that Hills promontory, with steep drop-offs and a and engaging—occasionally gets effusive or
follow, Kim Cross, an Idaho-based author and 270-degree panorama. metaphor-heavy. But these are minor quibbles.
PHOTOGRAPHY: COURTESY CHRONICLE BOOKS

journalist, weaves a narrative that portrays the Cross’s research for the book was clearly The house, now operated as a family busi-
family in intimate detail while placing the profound and extensive—delving into family ness, hosts over 6,000 paid visits a year. With
house within the cultural, historic, and techno- snapshots and archives, consulting with lead interior staging courtesy of Design Within
logical-architectural contexts that made it architects and engineers, and logging 125-plus Reach, the original design remains largely
possible. The project came at a pivotal moment interview hours. Then she deftly wove together intact—and some modified elements, such as
and through the convergence of five key play- the myriad threads, including unexpected, kitchen counters, will eventually be restored.
ers: Buck and Carlotta Stahl, determined relevant background details for each key player. Through the lens of one important building,
clients with a vision and an extraordinary piece The book is full of striking revelations. the book offers a compelling model for exam-
of land; Pierre Koenig, a young architect with a For example, the only bank willing to ining history and social change. And Bruce
background in experimental prefabricated- finance this unconventionally cantilevered Stahl is right: it’s a story well worth telling. n

44 ARCHITECTURAL RECORD APRIL 2022

BOOKS

House as Protagonist
Thirteen Ways of Looking at a House, by Stella this book is to dismantle the stability of their
Betts and David Leven, with essays by Thomas de conventional definitions. They force us to
Monchaux. Oro Editions, 328 pages, $45. “unlearn,” and to redefine the elements of
architecture in spatial, functional, and tectonic
REVIEWED BY NADER TEHRANI
terms. This entails our seeing
beyond an aperture before
A COLLABORATION assigning a “window” to it,
between Stella Betts and David defining the depth of a thresh-
Leven of LevenBetts, this book old before specifying a “door,”

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is a testament to how the ethic or understanding the quality of

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of iteration in architecture light rather than designating a
evolves into discipline. Cer- “skylight.”
tainly, not all architectural Their focus on informality
disciplines can be captured by a stems from an elemental
simple house, but, in this exer- delight with foundational
cise, the duo has taken the human needs as they mani-
house apart and put it back fest in the raw and provi-
together in accordance with 13 sional “campsite,” but also in
themes and houses, each replete the evolution of other archi-
with wider cultural contexts that include litera- tectures whose predisposition toward
ture, art, architectural precedents, and film. Existenzminimum defines an ethic of inge-
Open House, Campsite, Doors and Windows, nuity based in critical constraints. With this,
Steps and Stairs, Corridors, Courtyards, Curtains, they set out to redefine the house by “un-
Plumbing, House Plants, Plans, Structures, Thick domesticating” it, releasing it from the icon-
and Thin, Home—when listed like this, they ographic conventions that form the house as
appear as nothing more than benign architec- we know it. They are careful to distinguish
tural elements. But in the authors’ minds, each the house from the home, using the infor-
is conceptualized as an indispensable element mality of domestic activities to disrupt the
of a mis-en-scène that anticipates the events pristine architectural intentions that com-
that invariably get acted out, with each one monly plague the architect.
serving as another protagonist onstage. By escaping the sequential presentation of
These elements are charged by associations houses within the format of standard mono-
that are less centered on architecture than on graphs and taking the unorthodox path
the narrative that drives them. Imagine the through themes that give partial views into
embrace of Kar-wai’s atmospheric corridors in how ideas are embedded in objects, histories,

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In the Mood for Love, Godard’s theatricaliza- and narratives, they reorient the ideological
tion of Libera’s Casa Malaparte stair in underpinnings of the reader. On the one
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Contempt, or Kurosawa’s diaphanous curtains hand, they broaden the architect’s point of
in High and Low—the presence of these back- view toward a wider world deserving more
drops, no matter their silence, sets the stage detailed attention, and, on the other, they
for the narrative itself. educate a broader public on how architecture
Equally important, the human drama that engenders worldly ideas that are specific to its
unleashes itself onto architecture helps to tame medium. From diagram to type, from thick-
the architect’s ambition for total control. Form ness to thinness, and from raw material to
can only do so much, especially as scenes of elaborate details, the book thoughtfully dis-
love, jealousy, rage, and anxiety cast different mantles what it means to make a book as
shadows within those spaces. Ironically, these much as it takes apart the domestic structures
architects maintain that control with meticu- that are its subject. In doing so, it also reveals
lous attention, down to the detail lovingly to us how lessons from a simple house may yet
drawn; for them, the open plan is a recipe for have wider and far-reaching implications,
informality, but within intricate formal orders. whether confronting buildings of larger pro-
It is their conception of an “open plan” in gram, sites of urban complexity, or narratives
dialogue with an idea about specificity that of greater consequence. n
disentangles programs from an assumed align-
ment with spatial enclosures. Despite the Nader Tehrani is principal at NADAAA and
identification of 13 elements, the mission of dean of the School of Architecture at Cooper Union. Sound control in modular panels.
Continuous designs for uninterrupted sculptural topographies!
Academy of Digital Learning
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 Coastal Composite
Selldorf Architects is the latest notable firm to reimagine the Museum of Contemporary Art San Diego.
BY SARAH AMELAR
PHOTOGRAPHY BY NICHOLAS VENEZIA

ON A SLOPE with spectacular ocean views, the Art Center in La VSBA’s new elevation echoed the villa’s flat planes and arched open-
Jolla, a neighborhood of San Diego, opened in 1941 in the 1916 villa ings, traits shared by Gill’s La Jolla Woman’s Club across the street.
that architect Irving Gill had designed for newspaper magnate/philan- The reconfigured entry sequence proceeded from a forecourt—featur-
thropist Ellen Browning Scripps. As the venue expanded its mission ing a riff on the original colonnaded pergolas that fronted the house and
and collections, the original stuccoed-concrete house, an early example club—into a lobby, crowned by a star-shaped cupola with neon-edged
of California Modernism, acquired motley additions. In 1950, local forms, evocative of a starburst or palm fronds. That similarly exuberant
architects Mosher & Drew (M&D) annexed formal galleries and, a Postmodernist spirit infused VSBA’s twin pergolas, with their extra-
decade later, an auditorium, along with other modifications. In 1996, plump columns on undersized plinths. But after the New York firm
Venturi Scott Brown & Associates (VSBA) reworked the overall orga- Selldorf Architects (SA) set out, in 2014, to rethink and expand the
nization, adding amenities such as a café, museum shop, and outdoor museum yet again, its proposed design eliminated those paired struc-
sculpture garden; the firm also stripped away M&D’s early-1960s front tures. “People could never figure out where to enter the building,” says
elevation to reveal and restore the Scripps House’s facade. Adjoining it, SA senior project architect Ryoji Karube. (Years earlier, VSBA’s rem-

48 ARCHITECTURAL RECORD APRIL 2022

edies included retrofitting the sequence with
neon labels and even encouraging the museum
to install a giant topiary arrow pointing to the
door.) “Those columns,” Karube adds, “also
obscured much of Gill’s facade, which we
wanted to celebrate.”
But removing them would prove controver-
sial, eliciting protests from a broader architec-
tural community. This month, the museum
reopens—without the disputed pergolas. As
for the success of this $105 million over-
haul—which enlarged the building to
109,000 square feet, doubling the footprint
while quadrupling the gallery space—the jury
of public opinion is still out.
Pairing SA with VSBA, however, is a
curious proposition. Exceptionally Minimal-
ist and understated, principal Annabelle
Selldorf ’s architecture is the antitheses of her
predecessor’s extroverted expressiveness and
playful contextuality. In numerous high-
profile museums and galleries, including New
York’s Neue Galerie (2001) and Frick Collec- THE RELOCATED glazed entrance (top) houses the new lobby (above) and museum shop.

49
 6
6

6 4
6

4
4
4 4
5
4 4 4
4 4 4 A
11 6
A 4 12
4 4
4 7 5
8
4 4 10
6
4
9
1 NEW ENTRANCE
4 3
4 2 LOBBY
2
3 MUSEUM SHOP
1
4 GALLERY

5 BACK OF HOUSE

6 TERRACE

7 EDUCATION CENTER

8 OFFICE
GROUND-FLOOR PLAN
9 CAFÉ

10 KITCHEN

11 EVENT SPACE

12 ART PARK

13 LOADING

6 14 PARKING
6
15 LIBRARY

11 16 M/E/P
4
6
11
11
4 15
5 5

13 5 5
15 5 5
4
5
5 5 16 16
16

14
5

0 50 FT.
UPPER-BASEMENT PLAN
15 M.

4 7
4 4 4 11

15
4

0 30 FT.
SECTION A - A
10 M.

50 ARCHITECTURAL RECORD APRIL 2022

WINDOWS in a newly constructed gallery offer daylight and views. Street—a key avenue, with a cluster of Gill-designed buildings—the
long, ocean-facing west elevation is highly visible from the picturesque
tion expansion (2024), her designs defer to the artwork while subtly waterfront Coast Boulevard. On that side, the steep site’s irregularities
integrating pre-existing, sometimes historic, architecture. “When we had inspired additions skewed at various angles from the original
first spoke with Annabelle, she was still emerging—and hadn’t yet house. VSBA addressed many issues—including connecting the ter-
done much of that major work in the art world,” recalls Hugh Davies, raced ocean-facing sculpture garden to the museum, for instance, while
then director of the Museum of Contemporary Art San Diego, or giving the entry side, on Prospect, a stronger urban presence—but the
MCASD, as the La Jolla institution is now called. “We were intention- architects’ planned gallery wing was never built, and fixing such a
ally seeking younger, lesser-known talent because we figured ‘starchi- piecemeal building was probably impossible without significant
tects’ wouldn’t give their best effort to a mere addition.” (Coinciden- demolition.
tally, Selldorf was chosen last year to rework another VSBA project, at Now, in some respects, SA’s quiet Minimalism provides a foil for not
the National Gallery in London.) just the art but also the eclectic architectural elements. “It was impor-
Just as MCASD had hired VSBA to work with existing parts, the tant,” says Selldorf, “to knit together the different parts cohesively,
museum was, once again, not looking to start over from scratch, or only while still preserving their distinctive and recognizable qualities—let-
with the Scripps House. “Building in La Jolla is extremely challeng- ting them tell the story of the museum’s evolution.” Rectilinear and
ing,” explains MCASD director Kathryn Kanjo, who succeeded Davies clean-edged, her addition extends the building southward, meandering
in 2016. “The only way, for example, to get the ceiling heights needed in plan around a large existing ficus tree. Instead of giving the dispa-
for big, contemporary artwork was by converting the auditorium into rate parts a single unifying color or surface treatment, “we chose not to
gallery space—since that ‘nonconforming’ structure had been grandfa- dip everything in the same batter of stucco,” she says. “As with the
thered, bypassing current height restrictions.” forms, we wanted the materials to articulate separate readings.” So her
The previous architectural interventions also brought cumulative addition introduces an exterior palette of board-formed concrete, with
challenges, including diverse ceiling heights and a massing hodge- sand-toned travertine and extensive glass, notably in the mostly trans-
podge, particularly on the building’s “back,” or west, side. Though the parent entry “cube” housing the new lobby and museum shop. Sited at
primary entrance has always been from the east, along Prospect a T-intersection, where Silverado Street—leading from the town cen-

51
 ter—meets Prospect, the relocated entrance
“makes sense urbanistically and for interior
flow,” argues Selldorf. “With 80 percent of
the galleries now in our addition, the build-
ing’s center of gravity shifted to that end.”
Inside, contrasting floors—terrazzo, wood,
and concrete—distinguish the building’s
chronological phases. Smoothly navigating
different ceiling heights, SA balanced light,
views, and proportions, easing transitions
from space to space. In the former auditorium,
the gallery soars to 20 feet, with another one
tucked beneath it. The fluid interiors—all
with seismic and sustainability upgrades—in-
vite multiple circulation paths, unlike the
former “snake” of galleries, as Davies describes
it, which not only limited visitor routes but
often required closing every exhibition space
just to reinstall one. The addition also follows
the topography, stepping downhill with mez-
zanine overlooks, outdoor decks, and windows
orienting visitors to the seascape or neighbor-
hood landmarks. The new galleries are spa-
cious and airy, and—while such familiar
features as semi-industrial surfaces and con-
crete T-beams overhead are hardly unique—
MCASD’s impressive collection, dedicated to
work since 1950, looks good there.
Selldorf successfully defended preserving
VSBA’s starburst lobby (known as Axline
Court), whose new roles will include that of
reception hall for the many visiting school
groups. Without any ticketing counter “or
other distractions, its sky and ocean views are
unobstructed, and the design is so much
clearer,” says the architect. “It’s an artful
space”—and one that now reads as a quasi-
sculptural installation.
As for the twin pergolas, “I fought very
hard to keep them, despite board opposition,”
recalls Davies. “It was the biggest battle I lost

52 ARCHITECTURAL RECORD APRIL 2022

 SOME GALLERIES,
like the new event
space, have views to
the water (opposite,
top and bottom left).
Axline Court, with its
starburst ceiling, was
preserved (opposite,
bottom right). Parts
PHOTOGRAPHY: COURTESY SELLDORF ARCHITECTS (OPPOSITE, BOTTOM RIGHT)

of the new exterior

feature sand-toned
travertine (above).
The original Irving
Gill facade is on full
display (right).

53
 THE ADDITION follows the topography, stepping downhill with “This building’s odyssey has spanned 106 years,” says Davies. “In
mezzanine overlooks, outdoor decks, and windows to the seascape. the end, it’s really the visitors who determine the success of a museum’s
redesign. It’ll be illuminating to see where they pause, what they gravi-
within the museum in 33 years as its director.” He later salvaged one tate toward, how they occupy the space. It will be wonderful to see it
pergola by personally (at the time, anonymously) funding its relocation, full of people.” n
a few yards away, to the local historical society’s backyard, where it now
resides. “Much as I regretted losing those colonnades,” he concedes, “I
now think the fully revealed Gill facade looks great.” Credits Sources
The pergolas, which shaded café tables, enjoyed a devoted following ARCHITECT: Selldorf Architects — TRAVERTINE: TerraCORE Panels
Annabelle Selldorf, principal; Sara CURTAIN WALL: Oldcastle
(even among those who dubbed them “Pillsbury Doughboy columns”). Lopergolo, partner in charge; Wanda BuildingEnvelope
It’s easy to imagine how those garden structures could have remained, Willmore, project manager; Ryoji
GLASS: Guardian Glass
almost as sculptural pieces. But a far less reversable loss is VSBA’s Karube, senior project architect;
Corey Crist, architectural designer SKYLIGHTS: Viracon
arched facade, now truncated, leaving two side-by-side arches of differ-
EXECUTIVE ARCHITECT: LPA METAL DOORS:
ent heights—an almost meaningless fragment, stripped of its original
ARCHITECT OF RECORD: Panda Windows & Doors
rhythm. (Even an unbroken row of three arches could have retained it.)
Alcorn & Benton Architects HARDWARE: Assa Abloy
On the interior, the renovation seems transformational in improving
ENGINEERS: Guy Nordenson and ELEVATORS: Otis
functionality and the art-viewing experience, but the exterior is less Associates (structural design);
ACOUSTIC BAFFLES: Sky
compelling. Once the Scripps House began gaining accretions, it Simpson Gumpertz & Heger
Acoustics
ceased being an “object”—a singular iconic form. But, even accepting (structural); Buro Happold (m/e/p);
INTERIOR AMBIENT LIGHTING:
LPA (civil)
the entire building as a rambling composite or, as Selldorf puts it “a Edison Price Lighting
GENERAL CONTRACTOR:
community of built forms,” the final exterior results—while veering Level 10 Construction PLUMBING: Toto
away from being a splashy ego statement—don’t feel particularly dis-
CONSULTANTS: Purcell + Noppe
tinctive. On the west face, SA did clear away messy back-of-the-house + Associates (acoustics); Renfro
elements, replacing an open loading dock with a state-of-the-art en- Design Group (lighting)
closed one and eliminating the auditorium’s exterior egress stair. Now CLIENT: Museum of Contemporary
the hillside massing includes a new multipurpose event space, with Art San Diego
panoramic views and an independent entrance. While the ocean-facing SIZE: 109,000 square feet
elevation has become crisper and more deliberate, it is still, perhaps COST: $105 million
inevitably, a bit of a jumble. COMPLETION DATE: April 2022

54 ARCHITECTURAL RECORD APRIL 2022

APRIL 26, 2022 | 2:00PM EDT
Architectural Reboot: Vanguard Firms
Take a Fresh Approach to Practice
CREDITS: 1 AIA LU/ELECTIVE
Three recipients of RECORD’s 2021 Design Vanguard Award discuss how they paved their own paths
to starting their practices, through collaborative work, community outreach, a shifting client base, and
a focus on sustainability.
Speakers:

Ishtiaq Rafiuddin Kristen Sidell, AIA LEED AP Rudabeh Pakravan, AIA Jeremy Avellino, AIA,
Principal, Founding principal, Founding Principal, LEED AP, CPHD
Undecorated Sidell Pakravan Sidell Pakravan Principal,
Bright Common

SPONSORS:

SUPPORTING PARTNERS:

TO REGISTER, VISIT HTTPS://bit.ly/35TLR3j

 BUILDING TYPE STUDY 1,040

RECORD
HOUSES
2022

58 Alison-Mayne House 80 Flex House

Los Angeles Sacramento, California
Morphosis Johnsen Schmaling Architects
66 Derwent Valley Villa 86 House in Colima
United Kingdom Mexico
Blee Halligan Di Frenna Arquitectos
PHOTOGRAPHY: © LORENA DARQUEA

72 Ridge House 92 Frame House

Antiparos, Greece Sonoma, California
AREA Architecture Research Athens Mork-Ulnes Architects

HOUSE IN COLIMA, MEXICO,

DI FRENNA ARQUITECTOS

57
 RECORD HOUSES

Hide and Seek

Thom Mayne and his wife, Blythe Alison-Mayne, have tucked their house within a well-planted slice of L.A.

BY SARAH AMELAR
PHOTOGRAPHY BY JASMINE PARK

WHEN ARCHITECT Thom Mayne first tried to design a new

house for himself and his wife, Blythe Alison-Mayne, he was stumped.
The problem seemed to be the site, a sloped 9,570-square-foot corner
lot in L.A.’s verdant Cheviot Hills, where imposing five-bedroom
houses are common. “We’re both uncomfortable with ostentation,”
explains Alison-Mayne. “I knew he didn’t want some big, muscular
building up on a hill that said, ‘Hi, I’m Thom Mayne!’ ”
But then he figured it out.
His solution—the radical opposite of a McMansion—inverted the
topography with excavations to create a lush private “canyon.” Within
that quasi-wild landscape, he inserted highly experiential architecture,
impossible to take in as a single object, mostly hidden from the street,
potentially wide open to the outdoors—and with just one sleeping area
(not counting the autonomous two-bedroom guest wing).
Nestled amid hedges, with palms and local flora visible deeper in
the site, the front gate is weathering-steel plate, with calligraphically
rhythmic semilegible text laser-cut, stencil-like, into it. A small sign,
with a full transcript, identifies it as a passage by science fiction author
FROM THE STREET, the house is shielded by
hedges and palms (below). The concept sketch Ray Bradbury, whose longtime home stood here—a run-of-the-mill
by Mayne (above), shows how the house house that Mayne demolished, with a promise to honor the late writer.
embraces the lap pool (opposite). To one side, the cantilevered guest wing is visible above the hidden

58 ARCHITECTURAL RECORD APRIL 2022

59
 RECORD HOUSES

THE GUEST WING and bridge to the main

house overlook the pool (left). The edges of the
the living area (opposite, bottom) and dining
room (opposite, top) cantilever over the water.

carport. It is screened in olive-toned metal

panels, gridded with 2-inch holes that still
bear the cut-out material within them, tilted
at various angles, like sequins, or hanging
chads. The entry path continues down shady
steps and across a footbridge, spanning the
ravine—contoured to let sunlight reach the
“jungle” floor, 13 feet below grade.
From the bridge, the house finally appears,
with a lap pool in the foreground, alongside
the living/dining area above it. Here, the
glass-paneled facade can slide wide open—
merging indoors and out. (The front “door” is
simply one of those panels.) The interior’s
exposed-concrete floor has a wide glass-with-
steel border, cantilevered over the water,
projecting wavy reflections across the ceiling.
The design—with its transparent rectilinear
forms, cantilevers, and compositionally prom-
inent pool—shares DNA with Case Study
House #22, by Pierre Koenig, who taught
Mayne at the University of Southern
California. (For more on that house, see the
review of The Stahl House: Case Study House
#22: The Making of a Modernist Icon, page 44.)
As in Midcentury Modernism, the Alison-
Mayne House is fluid and open in plan.
Except in its “hotel” wing—where the couple
hosts their offspring and out-of-town
friends—the house’s only conventional
opaque door is to a guest bathroom.
Even their sleeping area is a low-walled
loft, overlooking the living/dining/kitchen
space. With five partial levels inside and four
terrace heights outside—plus perpendicular
wall planes that pass one another without
meeting—the house is sectionally complex,
with oblique views between spaces, and day-
light entering from multiple sources, includ-
ing semi-hidden skylights.
The design draws on different parts of
Mayne’s—and L.A.’s—architectural evolu-
tion, as well his family’s personal experiences.
Among the integrated relics, the “hole-
punched” metal sheathing is the identical
aluminum rainscreen—with the same irides-
cent, infrared-deflective (and therefore cool-
ing) coating—that Mayne and Morphosis
created in 2017 for the Bloomberg Center on
Roosevelt Island, New York.
Meanwhile, adjoining the sleeping loft, an
outdoor shower surrounded by tropical foliage
evokes both Akumal, Mexico, a favorite
family vacation spot, and the free-spirited

60 ARCHITECTURAL RECORD APRIL 2022

61
 RECORD HOUSES

SOUTH ELEVATION EAST ELEVATION

12
10
9
3
6 5

0 20 FT.
SECTION A - A SECTION B - B
6 M.

1 ENTRANCE
B
2 CARPORT
A A
7 3 STUDIO

3 4 HOUSE ENTRANCE
6
5 POOL

6 LIVING/DINING
4 5
7 KITCHEN
2
8 GARDEN
8 9 SLEEPING LOFT
1 B 10 BATH

11 GUEST BEDROOM

12 COMMUNITY ROOM

MAIN-FLOOR PLAN

showering arrangements of previous Alison-

10 Mayne homes. The couple also imported
their ritual of long talks during her bath—
9 here, with a sculptural seating niche beside
her freestanding soaking tub, which is also
open to the outdoors.
This is the first house Mayne designed in
more than two decades—and the first from
scratch for his own family. For 33 years, they
lived in nearby Santa Monica on a tight site in
SECOND-FLOOR PLAN a modest existing bungalow that he’d trans-
formed on the interior, combining compact
living quarters with soaring ceilings. Like the
latest house, it had an entry bridge and a
carved-out descent into a private realm—all
12 surrounded by dense landscaping.
But allusions to earlier buildings are not
the new house’s only “collections”—it also
11 contains many artworks and artifacts, some
from the couple’s travels, as well as their
11
grown sons’ childhood paintings, Mayne’s
0
sculptures and architectural drawings, and
20 FT.
SECOND-MEZZANINE PLAN
6 M. pieces by friends and colleagues, some well

62 ARCHITECTURAL RECORD APRIL 2022

IN THE GUEST wing, a bedroom has Douglas-
fir-paneled walls (above). The stair (right) leads
to the second-level sleeping area and garden.

known. For the living room, the architect

designed a diminutive “fireplace” on legs, a
whimsical cross between a TV and a hearth
that plays a video of crackling flames. The
coffee table beside it, a gift from artist Do Ho
Suh, incorporates thousands of little plastic
soldiers, holding up the thick clear-glass top.
Mayne also created the large, translucent,
squidlike pendant lamp—CNC-fabricated
from solid-surface acrylic resin—over the
long dining table.
While extremely spacious and airy, this
1,800-square-foot house (excluding its
825-square-foot guest wing) is barely bigger
than its compact predecessor in Santa
Monica—a decision key to the sustainability
strategy. Rather than max out the lot, Mayne
filled only 16 percent of the allowable above-
grade envelope (even below street level, the
house is much smaller than its neighbors).
With no conventional air conditioning, the
entirety relies on cross ventilation, deep over-
hangs, the megaperforated screens, and con-
sistent coolness (at 56 degrees Fahrenheit) of
the deep, excavated ground. With rooftop
photovoltaic panels, rain- and bathwater
capture for garden irrigation, and hydroponic
radiant heating and cooling, the house oper-
ates with water and energy efficiency.
Meanwhile, the building’s quasi-disap-
pearing act is a local curiosity. “My favorite
elevation is just one beam,” says Mayne. “We

63
 RECORD HOUSES

THE LIVING AND DINING AREAS, while glazed, are visible only from the Credits CUSTOM STEEL FABRICATION:
interior garden and terrace (above) on the south and east sides of the Tom Farrage & Co.
ARCHITECT: Morphosis — Thom
swimming pool (opposite) Mayne, Michael Nesbit, design; CONSULTANTS: Katie Spitz
Aleksander Tamm-Seitz, Natalia & Associates Design Studio
Traverso Caruana, Amit Upadhye, (landscape); Luminesce Design
joke that the architecture enthusiasts who peek through the hedge get Chris Eskew, design team; Eric (lighting)
to see almost nothing—it’s that private.” Meyer, head of X-Tech division; CLIENT: Thom Mayne and
The couple often invites in puzzled neighbors, and many end up Lauren Buntemeyer, Val Fan, Colleen Blythe Alison-Mayne
wishing they lived that way—without fretting about maximizing per- Fellows , Mauricio Gomez, Fredy
Gomez, Austin Griffis, Ilko Iliev, SIZE: 3,800 square feet
square-foot resale value, without doors that sequester family members Eric Lawler, Sam Naylor, Patrick COST: withheld
with their personal screens. Witthaus, design fabrication team COMPLETION DATE: 2017
As for Ray Bradbury, before Mayne razed his former house, die-hard ENGINEERS: John Labib (construction); 2021 (landscaping)
followers mounted vociferous opposition, drawing national coverage. +Associates (structural); Seeking
Balance (m/e/p)
“Then Thom invited two of the loudest voices to the office and pre- Sources
GENERAL CONTRACTOR:
sented our plans with a detailed model,” recalls Alison-Mayne. “By the METAL PANELS: A.Zahner
Blythe Alison-Mayne, Thom Mayne
end, they agreed that Ray—an architecture buff—would have loved the WINDOWS, GLAZING, SLIDING
CONSTRUCTION MANAGER:
house, even suggesting that ‘God’ had sent us to [create] it here.” n Jared Brunk DOORS: Vitrocsa

64 ARCHITECTURAL RECORD APRIL 2022

65
 RECORD HOUSES

A Soft Touch
Blee Halligan’s rigid volumes set amid lush gardens are a nod to the provincial English location’s industrial past.
BY CHRIS FOGES
PHOTOGRAPHY BY HENRY WOIDE

WORKING with nature is a common thread in the diverse portfolio Derbyshire. Although its half-acre plot has westward views to fields
of Blee Halligan, a relatively young architecture practice based in and hills, there are close neighbors on three sides. But with skillful
London and the Turks & Caicos Islands. “That’s our passion,” says planning, they seem to recede from sight, leaving occupants to enjoy a
cofounder Greg Blee, “and we’ve been lucky to forge our path building sense of seclusion among lush gardens.
in wild places—on beaches, cliffs, and mountains.” Some ingenuity Blee Halligan’s clients, Craig and Lisa Foster, had originally in-
was required to conjure a natural setting for its latest house, however. tended to remodel a modest bungalow on the site, but when the archi-
The 4,380-square-foot villa is on a rather ordinary suburban street in tects established its limited potential, the couple decided to start afresh.
Duffield, a village near the geographic heart of England in They asked for a relaxed family home with “unprecious” interiors to

66 ARCHITECTURAL RECORD APRIL 2022

DESPITE close
neighbors on three
sides, the house
enjoys a sense of
seclusion within the
landscape, dotted
with ponds and silver
birches.

67
 RECORD HOUSES

INDUSTRIAL materials, including concrete

block and black steel, are used in the living
areas, but are warmed by Douglas fir (left and
opposite).

withstand playful children, and a clearly

contemporary character.
To make the most of the primary vista, it
made sense to position the new building
where the old house stood, on raised ground
in the middle of the plot, but the distance
between the bungalow and gates to the street
had marooned it in a sea of asphalt. The
architects came up with a solution that drew
on Blee’s earlier experience designing a facil-
ity for dementia patients, spread across a
Victorian walled garden to frame intimate,
protected courtyards. “Stretching a building
through a confined site can have a powerful
effect,” he says.
The villa’s small entrance court is framed
by two linked brick pavilions containing the
garage and a guest annex. From there, a
glazed passageway runs through the middle
of the site to the two-story main house, also
expressed as a pair of simple brick volumes.
Separated by a narrow glazed slot, they are set
at different heights on gently undulating
terrain. The elaborate plan defines three
interconnected gardens, designed by Johanna
Gibbons, a leading landscape architect and
Blee’s sister.
Inspired by Duffield’s location in a river
valley, she conceived a wet woodland dotted
with ponds and silver birches, with meander-
ing paths following beds of native species that
flow smoothly around the rectilinear geom-
etry of the house.
That soft setting also contrasts with rough-
textured brick facades. Masonry was a natural
choice, says Blee, tying the villa to nearby
Edwardian houses and to the 18th-century

8 7 9

2
A 5 4 A

3 1

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

68 ARCHITECTURAL RECORD APRIL 2022

 mills for which the valley is famous. Purply-blue
bricks clad the first floor, while lighter, redder stocks
are used above, in a subtle allusion to the earth and
sky. With brickwork and full-height windows
11
framed by bands of precast concrete, there is a hint
3 of early British Brutalism—the 1955 Ham Common
flats in London by James Stirling and James Gowan
SECTION A - A
0 15 FT. come to mind—although Blee insists that any simi-
5 M.
larity is the product of instinct rather than intention.
Dark brickwork continues in the compact en-
trance hall, setting the stage for a theatrical route
1 MAIN ENTRANCE 5 KITCHEN/LIVING/DINING 9 MASTER SUITE through a house whose circulation spaces are among
2 STUDY 6 UTILITY ROOM 10 ELEVATED WALKWAY its most enjoyable aspects. Turning left into the
3 GUEST ACCOMMODATION 7 PLAYROOM 11 BEDROOM bright timber-framed passageway, the relationship of
4 GLAZED PASSAGEWAY 8 DEN 12 BATH architecture to landscape is immediately apparent.
On either side, dense planting lines the route, and
straight ahead a weeping willow fills the view from a

69
 RECORD HOUSES

THERE ARE views

out in every space,
through a circular
skylight (above, left),
at the end of the
timber-framed
passageway (above),
and across a wall of
glass in the kitchen
(left). The facade
features rough
textured brick and
full-height windows
framed by bands of
precast concrete
(opposite).

70
window in the open-plan living area. While the children love using the myriad routes through the house
There, references to the mills reappear in a palette of industrial and gardens as a racing circuit for scooters, their father is most pleased
materials. Structural concrete blocks and black steel are left exposed, by the cozy feel of the living room at night, and the close connection to
but are warmed by Douglas fir beams and linings to doorways and the landscape—“like living outside all year round, whatever the weath-
windows. An air of calm composure belies meticulous care in detail- er.” For me, the standout was Blee Halligan’s handling of tactile,
ing. “We almost lost the plot in setting out bricks and blocks,” says weighty materials to create characterful spaces that are both open and
Blee. “It is as refined as possible.” protective. Solid, serene, and often surprising, the house has amply
Another dramatic highlight is a staircase inserted in the glazed slot repaid the couple’s initial confidence. “We thought it would be good,”
between brick pavilions, which leads to bedrooms via a steel gallery says Craig, “but it’s better than we could have imagined.” n
overlooking a double-height section of the living area. Standing there
I counted 10 different views out, through high- and low-level windows Credits Sources
and a circular skylight. With so many openings, light falls into the ARCHITECT: Blee Halligan — Greg MASONRY: Freshfield Lane
Blee, Lee Halligan, principals; Matt
house in beautiful and unexpected ways, filtered by trees to cast rip- ROOFING: Protan
Hudspith
pling shadows on the concrete floor. WINDOWS: Velfac, Maxlight
ENGINEERS: Heyne Tillett Steel
The tough materials and hard lines might not suggest it, but this is a (structural) TILES: Mosa
comfortable place to be. “I did worry that it would look like a prison,” GENERAL CONTRACTOR: WOOD FLOORING: Havwoods
says Craig. “The architects said, ‘trust us,’ and they were right.” If the Derwent Valley Construction GLASS DOORS: Maxlight
design process seems to have been unusually trouble-free, however, the CONSULTANTS: J&L Gibbons HARDWARE: Buster + Punch
house was realized in the most difficult circumstances. Before con- (landscape)
LIGHTING: Collingwood
struction began, Lisa was diagnosed with a terminal illness, and sadly CLIENT: Craig and Lisa Foster
PLUMBING: Schluter, Mode, Kast
died some months later. “We nearly ditched the project,” Craig recalls, SIZE: 4,380 square feet
“but I needed something to get excited about. Building the house is COST: $1.57 million
also a legacy for her, which has been positive for the family.” COMPLETION DATE: July 2020

71
 RECORD HOUSES

Of Earth and Sea

A sinuously shaped house designed by AREA is tucked into the hills of a Cycladic island in the Aegean.
BY SUZANNE STEPHENS
PHOTOGRAPHY BY ED REEVE

A CURVILINEAR, sculptural house on a Greek island in the desired, sliding low-iron glass walls can be closed to separate the inte-
Aegean Sea convincingly testifies to a skillful melding of topography rior from the outside. Along the east, an undulating retaining wall of
and architecture. Embedded in the slope of a hill in Antiparos, the concrete and stone forms the backdrop for open-air paths and court-
Ridge House seems to grow from the site. Its serpentine plan, local yards carved out of the earthbound structure.
gneiss stone, and episodic sequence of spaces—courtyards, lightwells, Styiani Daouti, Giorgos Mitroulias, and Michaeljohn Raftopoulos,
planted roofs, and expansive terraces—enrich the experience of occu- AREA’s partners, all did graduate architecture work in the United
pying this site. Let us not forget the view of the water. States. Following their American odyssey, they formed an office in
The designers, AREA Architecture Research Athens, worked Athens in 2006, where they eventually met Tsakonas, who had some
closely with Iasson Tsakonas, head of Oliaros Property Development, arresting architectural projects in mind.
to insert the house’s reinforced-concrete structure into the steep hill so The developer had begun buying large pieces of land in Antiparos
that vistas are oriented west and south, to the deep blue waters of the in 2001 for vacation retreats (by now, some 50 properties). The draw:
Aegean. The private and public spaces spill down from the entrance on the island is in the Cyclades, known for its picturesque white, cubi-
the north to the guest wing to the south. form dwellings, and is a short ferry trip from the larger island of
Along a contoured edge on the western side, the house swerves out Paros, itself just a 45-minute plane ride from Athens. In the begin-
so that fan-shaped pergolas shield terraces from the intense sun. When ning, the land Tsakonas purchased had no water or electricity, only

72 ARCHITECTURAL RECORD APRIL 2022

THE SERPENTINE
form of the house is
most evident from the
south (opposite).
From the entrance on
the north, the
fan-shape structure
of the roof echoes the
contours of the coast.

73
 RECORD HOUSES

14 11 8 7 6
4
15
22

0 15 FT.
SECTION A - A
5 M.

7 5

23
A
01

SECTION B - B

B 02
07 3
05

4
B

C
SECTION C - C

09 C

1 GARAGE 7 MAIN BEDROOM 13 MAIN KITCHEN 19 OUTDOOR DINING

11
03 2 ENTRANCE RAMP 8 STUDY 14 PERGOLA 20 GUEST ROOMS

3 COURTYARD 9 GUEST BATH 15 POOL 21 LOWER GUEST

4 SUNKEN COURT 10 BASEMENT STAIR 16 STAIR TO ROOF ROOMS
12 13
5 GARDEN 11 LIVING ROOM 17 OUTDOOR SHOWER 22 STAFF
14
6 GUEST ROOM 12 DINING ROOM 18 OUTDOOR KITCHEN 23 MECHANICAL

16
rubble-strewn dirt roads. He installed elec-
tric lines and fiber-optic connections under-
ground and created a desalination plant to
15 supply the houses with water and to fill the
swimming pools.
19 18
But the idée fixe was the architecture, and
every house would be hidden from the others.
Tsakonas created master plans for clusters of
20 lots (each house sits on four acres), selected
A
architects (including Atelier Bow Wow,
Harry Gugger Studio, and Sou Fujimoto),
21
and worked with them on the schemes. Once
he obtained permits, he started pre-selling
the unbuilt designs to clients, who would then
work with architects on customizing their
house. Existing design restrictions called for
buildings of local stone and plaster that were
no higher than 23 feet, but Tsakonas began to
MAIN-LEVEL PLAN 0 15 FT. encourage houses to be dug into the hills so
5 M.

74 ARCHITECTURAL RECORD APRIL 2022

AT THE ENTRANCE, a path leads to the living room while a stair
ascends to the roof (above). Outside the living room is a courtyard
protected from the wind (right).

they would not impinge on the sight lines of other residences.

The couple who own Ridge House live in Paris. The husband
found AREA “talented and inspired.” He also points out that
“the architects listened to us” about the modifications he and his
wife wanted, such as ample storage and the generous use of stone.
The couple is gratified with the results. “We are here alone in
front of the sea,” the husband says. “While the roads are rough,
that is part of the charm. This is a sure way to have privacy.”
The kinesthetic experience of moving through the labyrin-
thine house supports this sense of privacy, but with a logical
circulation—you don’t need Ariadne’s golden thread to find your
way out. As you enter from the parking area, you step along a
butter-tan stone-walled path, bounded on one side by open stairs
that lead to a planted roof terrace. Walking on, you come to an
open courtyard, protected by curving stone walls. “We do this to

75
 RECORD HOUSES

A PERGOLA extends south (above) from the

living room (below). A dining terrace is shaded
by another pergola (opposite, top). A study
(opposite, bottom) adjoins the main bedroom.

create several microclimates on a site that is

very rough and windy,” says Mitroulias.
Turning right, you cross a threshold into a
low vestibule before descending a few steps
into the living room. Here the compressed
space lifts up and seems to push out beyond
the glass window wall to the breathtaking
view of the blue Aegean. “The entire house is
a series of thresholds,” says Raftopoulos. “The
interstitial spaces connect them together.” A
terrace shaded by a pergola stretches toward
the south, facing an infinity pool that seems
to meld with the sea in the distance.
Next to the pool and a large outdoor
dining area, also sheltered under a pergola,
are a half-dozen guest bedrooms on two tiers.

76 ARCHITECTURAL RECORD APRIL 2022

The upper level adjoins the pool area; more
bedrooms below open onto a sunken garden,
while the rear spaces, tucked into the hill, are
punctured from above with light wells. The
main bedroom and the larger guest bedroom,
at the north end of the house, have their own
terraces—and views.
It is no surprise that this extraordinary
creation—6,000 square feet for the main level,
2,500 square feet for staff quarters underneath,
which are illuminated by light wells and court-
yards—involved extensive earth moving and
elaborate construction. The poured-in-place
concrete structure, set into the dry, rocky soil,
required tactical engineering. The concrete
deck roofs fan out with beams projecting up
from the top of the slabs, so that the pine-
board-formed concrete ceilings inside are
entirely flat. The prominent beams atop the
roof create traylike edges for planting beds.
Where the concrete beams extend over the

77
 RECORD HOUSES

terraces, iroko wood and cane fill in the open gaps between the beams to The strongly collaborative efforts of all those involved produced a
help shade outdoor areas. These pergolas are supported on the stone seamlessly powerful work. AREA, in particular, has sensitively com-
walls, piers—and, notably next to the pool—on reinforced-concrete bined historic and modern vocabularies with an inventiveness that em-
columns of varying shapes evocative of Le Corbusier’s piloti. phasizes the topography, a curvilinear plan, a full complement of spatial
The craggy, volumetric stone walls are built of hand-chiseled blocks hierarchies, and natural materials. It all comes together with a forceful
from nearby quarries, set dry so that the recessed joints do not encour- yet intrinsically organic attitude toward the earth and the sea. n
age mold. Although the house has air conditioning, the stone walls
obviously help keep the place cool. Credits CLIENT: Oliaros Property
The clients brought in Brussels-based interior designer Nelly ARCHITECT: AREA, Architecture
Development
Smets, of the firm François Marcq Interior Architecture, who had Research Athens — Syliani SIZE: 9,500 square feet (gross)
previously renovated the couple’s Paris apartment and knew their Daouti, Giorgos Mitroulias, COST: withheld
Michaeljohn Raftopoulos, partners;
predilections. But she also became attuned to the architects’ thinking; COMPLETION DATE: July 2021
Kleoniki Lytra, Eleni Zotou,
her choice of materials, such as the Italian terra-cotta tiles for the Konstantinos Petropoulos, Ionas
floors, or the alpaca and linen curtains in the main bedroom, reflects Mountogiannakis, team Sources
AREA’s ethos of minimalism and natural materials. “The architecture ENGINEERS: Erisma (structural), GLASS: St. Gobain
is unusual and strong and fits so well into the landscape,” she says. “We PG Kamarinos (mechanical)
LOCKSETS: ScHmidt & Cie
all wanted to be integrated with the power of the site.” INTERIOR DESIGNER: Nelly
TERRA-COTTA FLOOR TILE:
Smets of François Marcq
The sense of craft prevails in the precise way doors, cabinets, and InteriorArchitecture Cotto Etrusco/Materia+
other elements are put together, even when some walls are simply brick EXIT DEVICES: P. Bisschop
GENERAL CONTRACTOR:
with lime-plaster finish. The landscaping, undertaken by Doxiadis +, Oliaros Property Development
reflects a commitment to self-sustaining native plants, such as centau- CONSULTANT:
rea spinosa, that can withstand summer heat and thrive in rocky soil. Doxiadis + (landscape)

78 ARCHITECTURAL RECORD APRIL 2022

A CURVING PATH
crosses by the
planted roof (right),
The garage is tucked
into the hill on the
north (below). A
private walk
meanders by the
main bedroom and
guest room
(opposite, right).
Sloping stone walls
mark the entry to the
kitchen from the pool
area (opposite, left).
 RECORD HOUSES

Over and Above

Johnsen Schmaling Architects builds flexibility into a Sacramento developer’s own residential property.
BY LYDIA LEE
PHOTOGRAPHY BY JUSTIN LOPEZ

AFTER SPOTTING an open lot east of downtown Sacramento, residential district—in walking distance of shops and restaurants.
Erica Bergsma, a local developer of multifamily infill housing, knew Bergsma also knew who could help her tackle building on the chal-
that it would be a great place to build a house for her own family. “I lenging infill site.
stalked it for three years,” says Bergsma, who was then living in the Milwaukee–based Johnsen Schmaling Architects had already
suburban outskirts of the city. The 32-by-80-foot parcel was located collaborated with Bergsma to design six other projects for her com-
at the threshold between a lively commercial area and a historical pany, Indie Capital, including Broadway Housing in Sacramento

80 ARCHITECTURAL RECORD APRIL 2022

A STEEL-CLAD plinth that conceals a garage (above) resists graffiti and two-family house is physically partitioned into a 2,315-square-foot
wear and sets off a slightly cantilevered cedar volume (opposite).
main residence on the top two floors, and a 725-square-foot ground-
floor unit that can be rented out as an apartment or commercial
(record, October 2019). All had tight budgets and many site con- space. For about a year during the pandemic, the lower unit served as
straints, and this one was no different. “There is a parking lot next the office for Indie Capital. It’s currently being used as a short-term
door, so we wanted to provide a hospitable living environment that’s residential rental, but Bergsma envisions it as a possible future unit
not burdened by the neighboring context but also responds to it,” says for her parents.
principal Brian Johnsen, who, along with partner Sebastian Schmal- The design team took advantage of the property’s zero-lot line and
ing, is working on two more projects for Indie Capital. devised a structure that hugs its eastern edge, next to a two-and-a-
The Flex House, as it’s dubbed by the architects, is a dwelling for half-story apartment building, and placed the laundry and mechanical
our uncertain times. The compact 3,040-square-foot, three-story services on that side. This strategy allowed them to create a 10-foot-

81
 RECORD HOUSES

wide buffer zone containing a linear bioswale for stormwater drainage

on the western side, between the house and the parking lot, which
serves a neighboring two-story commercial building.
The scheme negotiates the transition between the income-generat-
ing lower level and the private abode above it. The structure—framed
in both wood and steel—is clad in industrial black-oxide-coated steel
panels and a warm Alaskan yellow cedar. The steel begins at the
ground level and continues up the building’s east side, where the
service spine, as well as the garage, are located. Most of the upper
two-story residence is defined by the cedar. A continuous steel
C-channel creates an elegant horizontal reveal between the steel and
wood. The design team also used C-channels to construct a stylized
portico along the west facade. Under the portico is Bergsma’s front
door, which opens into a glazed foyer at the building’s northwest
corner, activating the street by clearly revealing the stair to the apart-
ment upstairs. A portal at the portico’s far end leads to a separate
entrance for the ground-floor flex space, as well as to a small backyard
with a swimming pool.
Because the view from the second floor consisted largely of parked
cars, Johnsen Schmaling flipped the typical two-story dwelling plan.
Instead of locating the bedrooms above the public spaces, the archi-
tects put the kitchen, dining, and living areas on the top floor, with

9 13 14
1
6 8
2
4 10

3
1 7 12
A A 6
11
2 5

6 3
2

SECOND-FLOOR PLAN THIRD-FLOOR PLAN

15

12 10

6 3

2 4

0 15 FT.
FIRST-FLOOR SITE PLAN
5 M.
SECTION A - A

1 ENTRANCE 6 BEDROOM 11 LIVING ROOM/LOUNGE

2 FLEX SPACE 7 WALK-IN CLOSET 12 ROOF TERRACE

3 BATHROOM 8 LAUNDRY 13 READING ROOM

4 GARAGE 9 OFFICE 14 POWDER ROOM

5 BIKE STORAGE 10 KITCHEN 15 POOL

82 ARCHITECTURAL RECORD APRIL 2022

A TRELLISED entry portico (opposite) and
terrace (above) next to the kitchen and dining
areas (right) integrate into the architecture.

an open-plan arrangement and a terrace

running along its length. Overlooking the
city, this generous outdoor space is reached
through a sliding glass door within a glazed
wall that brings the outdoors in. Three
bedrooms are located one flight down. The
primary suite at the end of the corridor is on
the southwest corner, so when its floor-to-
ceiling pocket door is left open, daylight
filters through the internal space. Stra-
tegically placed operable windows through-
out the two levels help keep the house cool
and well ventilated.
To give the wood-clad residence on the
upper two stories a more substantial pres-
ence, the architects constructed 22-inch-
deep walls on its three cedar-clad eleva-
tions. Behind the siding, they furred out
structural frames to accommodate extra
insulation and a ventilated cavity, providing
room for deeply inset windows that punctu-

83
 RECORD HOUSES

ate the wood with texture and shadow. On

the top floor, they opened the deep walls
to create a column-like effect along the
terrace, framing views and controlling
exposure to the intense afternoon sun. The
resulting facade “has the tectonic heft of
load-bearing masonry,” says Schmaling.
“We wanted a clear contrast with the
smooth steel cladding.”
The flipped design is not only practical
but subtly psychological for those who
dwell here. From the lofty experience of
light-filled space and urban vistas on the
third floor, one descends to the cozy co-
coon of the sleeping areas on the second. “I
love living like this, because the bedrooms
feel very secure and homey, sandwiched
between the two levels. When you go up to
the top floor, you see the sun and the trees,
and the morning greets you,” says Bergsma.
“And, outside on the terrace, you’re part of
the community every morning from the
comfort of your living room.” n

Lydia Lee is a freelance writer in the San

Francisco Bay Area, focused on architecture
and design.

Credits
ARCHITECT: Johnsen Schmaling Architects —
Brian Johnsen, Sebastian Schmaling, principals
in charge; P.J. Murrill, project manager; Andrew
Cesarz, Ben Penlesky, project team
ENGINEER: Core 4 Engineering (structural)
GENERAL CONTRACTOR: Indie Capital
CONSULTANTS: CABEC (energy analyst);
Ultimate Fire Systems (life safety)
CLIENT: Erica Bergsma
SIZE: 3,040 square feet (main residence and
flex space); 520 square feet (garage and bike
storage)
COST: withheld
COMPLETION DATE: April 2021

Sources
CLADDING: Wiemann Metalcraft (steel panels);
Boral (poly-ash siding)
ROOF: Johns Manville
WINDOWS & EXTERIOR DOORS:
Sierra Pacific; Supersneaky (garage)
PAINTS & STAINS: Benjamin Moore
TILE: Iris
LIGHTING: HALO; DMF; Artemide; Jesco; WAC;
LuxR
COUNTERTOPS: Silestone
PLUMBING: Grohe; Blanco; Moen; Kohler
WATER HEATER: Rheem

84 ARCHITECTURAL RECORD APRIL 2022

LOUVERS ABOVE
the terrace and on
the windows (this
page) filter daylight
into the living area
and glazed stairwell
(opposite, top and
bottom).

85
 RECORD HOUSES

Moments
in Time
For a family home in west-central Mexico, Di Frenna Arquitectos
combines traditional craft and innovative technique.
BY THOMAS FISHER
PHOTOGRAPHY BY LORENA DARQUEA

WHAT MIGHT a 19th-century German architect teach us about a logue with the hacienda . . . as a poetic gesture to honor its location . . .
21st-century Mexican house? Plenty. Gottfried Semper published The including the use of rescued techniques and materials that were origi-
Four Elements of Architecture in 1851, arguing that the first buildings nally used in the hacienda complex.” Semper would have approved.
consisted of roofs, which involved carpentry; walls, involving weaving; Consider Di Frenna’s treatment of the house’s site. The complex
mounds, involving terracing and masonry; and hearths, involving stands on a slight rise—a mound, as Semper would say—with a broad
ceramics. While Semper’s interest in architectural anthropology may stair leading up from two carports to a terrace and small pool, on one
seem far removed from contemporary architecture, his ideas help side, and a meandering walk, on the other, that winds past a tall organ
explain what makes this house in Comala, in west-central Mexico, cactus and mature tamarind trees to the main house. Semper saw
such a compelling residential complex. elevated mounds as a protective measure for buildings but also a way to
Designed by the Mexican architect Matia Di Frenna Müller, the delineate our place in the landscape and to create a sense of arrival.
house occupies part of the former hacienda of the late artist and designer These clearly happen here.
Alejandro Rangel Hidalgo, whose nearby home now serves as a museum The owners, one of whom hails from California and the other native
of pre-Hispanic ceramics. Di Frenna wanted his design to be “in dia- to Mexico, moved from an apartment to this house, planning to start a

86 ARCHITECTURAL RECORD APRIL 2022

family and “take full advantage of the location of the land and its to- THE ENTRY WALKWAY passes beneath tamarind trees and leads to a
pography to achieve interesting views and environments that blend breezeway (opposite). A natural material palette evokes the property’s
with nature,” says Di Frenna. And he achieved that, with the house former hacienda (above).
overlooking a canyon and with traditional rammed-earth walls, “chu-
kum” stucco cladding, and retaining walls and piers clad in rounded That allowed the architect to step the house down the hill toward the
stonework, evoking the rocks from the river below. river, with a bedroom and bath a half-flight down from the living area
To preserve the site’s tree canopy, Di Frenna “exploded” the plan. and a principal bedroom another half-flight down, opening onto a lower
Two guest cottages, for visiting family or bed-and-breakfast rentals, terrace. The house also steps up, with an interior stair along the side of
stand on either side of the entry walk. You enter the house through a the two-story study that leads to a yoga studio, which opens out to roof-
breezeway that has a study on one side and a kitchen on the other, top terraces and a steel-framed shade structure. Meanwhile, the roof over
overlooking the living and dining area, half a flight down. “The clients the principal-bedroom patio serves as a bridge that connects the living
wanted space for different events,” says Di Frenna, “but they did not room to a hillside terrace. Semper saw roofs as the defining feature of the
require the house to have one continuous level.” first buildings, and Di Frenna has used every inch of the ones here.

87
 RECORD HOUSES

12
15 8 9

1 11 11
10
7
8
10
4 3
5 2
6 15
13 15
A A

0 15 FT.
LOWER-LEVEL PLAN MAIN-LEVEL PLAN
5 M.

1 ENTRY 9 STUDY
11
2 LIVING 10 GARAGE

3 DINING 11 TERRACE 4
2 8
4 KITCHEN 12 INTERIOR GARDEN

5 PRINCIPAL BEDROOM 13 WORKSHOP 15 12

5
6 DRESSING ROOM 14 SERVICE

7 CHILDREN’S BEDROOM 15 BATHROOM

8 GUEST COTTAGE 16 POOL

SECTION A - A

88 ARCHITECTURAL RECORD APRIL 2022

A SWIMMING POOL and two guest bungalows flank the arrival terrace
(opposite). The living room looks out to the canyon (above). A stair from the
kitchen leads down to the dining area and a bedroom below that (right).

Semper’s argument that the earliest walls were “woven” is an idea

reflected in the woven reedlike material, called “carrizo,” that Di
Frenna deploys throughout the house. The use of carrizo also recalls
the hacienda’s former artist owner, who sought to revive traditional
crafts through his work. Di Frenna wanted to “highlight the connec-
tion to the land and to the craftsmanship promoted by Rangel.”
As a German, Semper saw the hearth as a source of heat as well as a
place to cook and to gather. But in a warm climate, like Mexico’s,
where cooling matters more, the hearth becomes a kind of a metaphor
for moving air rather than heating it. Di Frenna has cooled the house
with tall ceilings, large openings, and a location high above a canyon in
order to capture air currents and promote cross ventilation. Cave-like
spaces, such as the bedrooms partly buried in the slope, have concrete
floors that stay cool. There is even an outdoor bathtub and an alfresco
shower in a secluded sunken garden: architecture open to the elements,
as Semper might say.
The central role of the hearth, with its ceramics (in Semper’s theo-
ry), transmutes into a set of symbolic forms in this house. While an
earlier phase of the design had an outdoor firepit, the realized project
has no fireplace, but it does have plenty of fired materials, such as
ceramic-tile walls in the kitchen and the black-steel frames of the
windows and glass doors throughout the house. And at night, the
exterior lighting creates the impression of multiple points aflame, Di
Frenna says, encouraging guests to wander through the complex before
gathering together.

89
 RECORD HOUSES

This combination of traditional elements and local resources

with contemporary conceptions of light and space help make
this house a captivating work of architecture. Gottfried Semper
has been interpreted as a conservative, as someone who wanted
to return to a version of the primitive hut, but Di Frenna shows
here how wrong that reading of the architect has been. By
“marrying traditional crafts and materials to new techniques
and innovative structural solutions,” says Di Frenna, his work
reveals Semper’s renewed relevance. It might even start a new
movement, the Semper faithful: Semper Fi. n

Thomas Fisher is a professor at and former dean of the College

of Design at the University of Minnesota, and he directs the
Minnesota Design Center.

Credits SIZE: 4,300 square feet

ARCHITECT: Di Frenna CONSTRUCTION COST:
Arquitectos — Matia Di Frenna $477,000
Müller, founder and CEO; COMPLETION DATE:
Mariana de la Mora Padilla, December 2021
design lead architect; Juan
Gerardo Guardado Ávila,
construction manager, civil Sources
engineer STEEL STRUCTURE:
ENGINEER: Hugo Saucedo Transformaciones Metálicas
Acosta (structural, civil) Virgen
GENERAL CONTRACTOR: WOOD STRUCTURE: El Roblito
Di Frenna Arquitectos ROOFING: Pasa Tecnología
CONSULTANTS: Aurelio Impermeable
Alcaraz Rodriguez, Los Olivos GLAZING: ALCON
Garden Center, Di Frenna
Arquitectos (landscape); Bruno HARDWARE: Kwikset
Taller (kitchen) LIGHTING: Tecnolite, Bticino,
CLIENT: Sasha Rosse and Estevez
Francisco Franco

90
REEDLIKE “CARRIZO” ceilings
are employed in the kitchen
(opposite, top) as well as in the
two-level study (opposite,
bottom), which looks out to the
canyon below (this image).

91
 RECORD HOUSES

Up from the Ashes

Mork-Ulnes Architects replaces a Sonoma house damaged by wildfire with an armored yet open retreat.
BY THERESE BISSELL
PHOTOGRAPHY BY BRUCE DAMONTE

92 ARCHITECTURAL RECORD APRIL 2022

NORTHERN CALIFORNIA’S wine-country fires, a series of THE WEEKEND house (opposite) sits on an 18-acre site overlooking a
conflagrations that swept the region in October 2017, were historic in valley with a triple-pod guest quarters (above) downslope.
the breadth of their destruction; of the Sonoma hillside structures that
survived, few escaped serious damage. One building left unscathed was a offices in San Francisco and Oslo. The relatively young practice’s resi-
board-formed concrete three-unit guesthouse, designed by Casper dential portfolio is distinguished by a project-by-project inventiveness
Mork-Ulnes and completed shortly before the wildfires as a striking within the Scandinavian ideal of spartan restraint, as evidenced by the
adjunct to an unremarkable kit home that had come with the 18-acre compositionally dynamic Mylla Hytte in Oslo (record, January 2018).
property overlooking the valley. When flames severely compromised the “As a Norwegian,” says Mork-Ulnes of his bicultural influences, “I’m
main house but bypassed the angular guest quarters just downslope, the strongly aware of the psychological impact of light and air in architec-
owners, choosing to stay and rebuild, had their primary material (con- ture. California Midcentury Modernism, particularly, incorporates
crete) and their architect (Mork-Ulnes) decided for them. those elements in a way that is both instructive and fundamental to me.”
Mork-Ulnes Architects, a 2015 Record Design Vanguard firm, has His brief for the charred Sonoma site was an armored though open

93
THE RESIDENCE (above) was conceived as a
three-dimensional grid in concrete. A double-
height volume rises from the kitchen (right).

size the structure, and establish a rhythm to

the whole, as they display the character of the
rooms—introverted or extroverted, public or
private. Correspondingly, the loggia’s differ-
ent depths are based on their use—addressing
major solar loads, providing a sheltered space
for outdoor dining. “Function driving form
gives the house its expression,” says Mork-
Ulnes. There is no loggia on the glazed north
facade, and the south facade is entirely
opaque.
The program called for four bedrooms,
four and a half bathrooms, a media room, and
an open-plan great room. The bedrooms and
bathrooms are situated on the second floor
and pushed to the exterior for direct access to
the viewing decks above the loggia, extending
the floor plate. A catwalk that joins the mas-
ter suite with the other bedrooms dissects the
central void within the double-height volume
rising from the kitchen, compressing the scale
below for a more domestic effect. Within the
great room, the building’s slim profile and

95
 RECORD HOUSES

THE CONCRETE structure is expressed on the

interior, including above the great room
(opposite). A catwalk (above) connects the
master suite (left) with the other bedrooms.

symmetrical openings allow for cross ventila-

tion in the warm climate.
The interiors are detailed to the highest
standard. Bleached vertical-grain Douglas fir
dominates without overwhelming, a result of
Mork-Ulnes’s deft balance of wood and
natural light. (“Light is very dear to all
Norwegians,” he notes. “Historically, it’s been
up to architects to find ways to bring it in.
Here, it’s about calibration.”) Consistent with
the precision of the millwork, the board
joints perfectly track from wall to ceiling, and
differentiation between the shop-finished
doors and the field-finished walls is virtually
imperceptible. The house’s concrete frame
translates as accent bands in the great room,
importing a piece of the exterior and provid-
ing a textured contrast to the uniformity of
the wood.
At the perimeter, every aspect of the sur-
rounding grounds was reconsidered in the

96 ARCHITECTURAL RECORD APRIL 2022

building process. Fire-resistant low-water
native perennials irrigated from an on-site
well have replaced shrubs; new softscape was
designed for rainwater reabsorption. The
sizable pool, installed by Mork-Ulnes in his
first go-round with the property, can perform
as a reservoir. Water tanks connect to a state-
of-the-art sprinkler apparatus that, in the
event of an outage, is supported by photovol-
taic panels and a battery system.
It’s not a monolith of noncombustible
material, and it can’t be assumed that the fire
gods will spare every element of the building
in the future, as happened with the lucky
guesthouse. With climate change and result-
ing hyper-drought conditions, California
will remain a tinderbox for years to come,
some say permanently. But there is both
strength and expectation in having incorpo-
rated every proactive measure for mitigating
loss without imposing a faceless, bunkerlike
presence on the landscape. Here, Mork-
Ulnes has wisely presented, in a structure
designed to contend with nature’s evolving
savageries, a response—not a dare. n

Therese Bissell is an architecture writer based in

the San Francisco area.

Credits
ARCHITECT: Mork-Ulnes Architects — Casper
Mork-Ulnes, principal; Alicia Hergenroeder,
Robert Scott, project managers; Lexie Mork-
Ulnes, interiors
CONSULTANTS: ZFA Structural Engineers
(structural), RGH Consultants (geotechnical),
Adobe Associates (civil and septic),
Surfacedesign (landscape), The Office of
Charles De Lisle (interiors)
GENERAL CONTRACTOR:
Nordby Signature Homes
SIZE: 4,000 square feet
COST: withheld
COMPLETION DATE: April 2021

Sources
WINDOWS AND ENTRANCES:
Quantum Windows & Doors
MOISTURE BARRIER: Prosoco
GLAZING: B&L Glass
SKYLIGHTS: CristaLite
CABINETWORK: Mueller Nicolls Builders
SOLID SURFACING: Caesarstone
PLUMBING FIXTURES AND SANITARY WARE:
Graff, Antonio Lupi, Duravit, Nameeks
PHOTOVOLTAIC SYSTEM: LG
ENERGY STORAGE: Tesla

97
 SUBMIT YOUR PROJECTS!

2022
Record
Interiors
We are looking for outstanding
interiors projects – residential,
commercial, and public –
completed within the last year.
These should address unique
client needs with creative,
sustainable solutions, resulting
in spaces that are both beautiful
and functional. Winning
projects will be selected by an
editorial jury and published in
the September 2022 issue of
Architectural Record.

DEADLINE:
JUNE 1, 2022

PHOTOGRAPHY: © PAUL WARCHOL

Enter online: architecturalrecord.com/call4entries

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 CEU CLIENTS AND CLIMATE

The Conversation
How to talk to clients about ambitious environmental targets and get their buy-in.
BY KATHARINE LOGAN

THE DEGREE to which an architect can ence between a project that minimizes its every project, owners have this little question
mitigate the climate impacts of a building embodied carbon and one that offsets it. So that they ask,” says Z Smith, director of
often depends on the degree to which that how are firms with ambitious climate com- sustainability and building performance at
building’s owner is on board. Clients vary, of mitments navigating these client discussions? locally based EskewDumezRipple (EDR),
course, and some are going to be more open What strategies are making a difference? the project’s architect, “and if you see it, that
than others to the idea of doing whatever it The St. Peter Apartments, a $7.4 million, question is an opportunity.”
takes to help preserve a livable planet. But if a 45,000-square-foot affordable-housing com- On St. Peter, the little question was,
client is at least agnostic, a conversation can plex in New Orleans (completed in 2020), “Could you look into batteries?” Instead of
make the difference between, say, an afford- didn’t start out targeting net zero energy. The suggesting that a gas-powered generator
able-housing project that addresses emergency achievement grew in response to a concern would be cheaper, EDR showed the client
needs with a gas-powered generator and one expressed by the client, SBP (a national non- that investing in more energy-efficient con-
that uses battery-stored solar while also re- profit), about buffering vulnerable residents struction would reduce consumption needs to
ducing residents’ energy bills. Or the differ- against the city’s frequent power outages. “On the point where rooftop solar panels could

100 ARCHITECTURAL RECORD APRIL 2022

 supply the building’s power—and charge a Hull Partnership talks about sustainability in regenerative project that meets the stringent
battery array too. The development’s investors a similarly incremental way, framed by the requirements of the Living Building
would be able to access solar tax credits, with firm’s explicit climate commitment. In 2021, Challenge. The gap analysis conversation—
the price of the batteries rolled in, and the Miller Hull launched its EMission Zero which Rochon says clients welcome because
resulting system would not only provide initiative, aimed at eliminating greenhouse- they want to see what the possibilities are—
backup power, it would cut residents’ bills gas emissions from all of its projects through a covers the concepts underlying each scenario,
substantially. As it turned out, the local utility three-pronged program of design, education and puts the construction-cost premium in
was so intrigued with the idea of a microgrid and advocacy, and offsetting. “EMission Zero the context of operational savings. And while
(a self-contained power system that’s capable has given us a framework for having discus- not every client chooses to level up, “if we can
of operating autonomously when discon- sions with our clients on both Scope 2 (opera- move them a step,” says Rochon, “that’s a
nected from the main grid) at such a small tional) emissions and Scope 3 (embodied) huge success.”
scale that they pitched in $1 million, and the emissions,” says Ron Rochon, a partner in the Another conversation that Miller Hull
solar system for Louisiana’s first net zero firm’s Seattle office, “and we're finding that holds with both the client and the contractor
energy affordable-housing development ended both our institutional and commercial clients pertains to offsetting embodied emissions.
up costing the owner nothing. are excited to engage.” “By doing design for clients, Miller Hull is a
Similarly, another EDR project, the Center For Scope 2, “we always start from the contributor to embodied-carbon emissions,”
of Developing Entrepreneurs, a 215,000- premise that where our client is meeting us is says Rochon, so for every project completed,
square-foot technology center comprising good design,” says Rochon. Then, for every the firm purchases certified carbon offsets. (A
coworking, makerspaces, laboratory, and project, the firm performs what it calls a gap carbon offset is a tradable unit that represents
office uses that will be completed this year in analysis to show what would be needed to 1 metric ton of CO₂ equivalent that a mitiga-
downtown Charlottesville, Virginia, didn’t move the project from good to better, and tion project—such as a sustainably managed
start out targeting LEED Platinum, or plan- from better to best. “Better” is a reduced- forest or a wind-energy farm—has removed
ning to use only carbon-free energy, or in- carbon design that meets the requirements of from the atmosphere or prevented from being
tending to offset its embodied-carbon foot- the AIA 2030 Commitment (consisting of released in the first place.) Miller Hull’s goal
print. Those achievements grew out of a series stepped reductions towards carbon-neutral is to completely offset each of its projects’
of conversations between EDR and the proj- building operations by 2030), and “best” is a embodied carbon as of the occupancy date,
ect’s owner, CSH Development. EDR point-
ed out that the building they had designed in
accordance with the AIA’s Framework for
Design Excellence—to satisfy a desire ex-
pressed by CSH’s president to be able to open
a window and feel the breeze—would prob-
ably qualify for LEED Platinum. “And the
client said, ‘Well, talk to my marketing peo-
ple and see if they want to do that,’ and they
did,” says Smith. Then EDR pointed out that
since the building’s energy was projected to
cost only $113,000 per year, compared to the
$400,000 that a merely code-compliant
building would pay, an extra $6,000 was a
small price to pay to source carbon-free en-
ergy from a new wind project off the Virginia
coast. And the client agreed—which just left
the burp of carbon from the building’s con-
struction. So EDR initiated another conver-
sation, pointing out that half of Charlottes-
IMAGES: © FRED JOE/SERA (OPPOSITE); ESKEWDUMEZRIPPLE

ville enjoyed beautiful tree cover, and the

other half, primarily in historically African-
American neighborhoods, was bare. A mod-
est contribution to a local urban forestry
nonprofit would pay for the planting and
maintenance of enough trees to suck out of
the atmosphere all of the carbon that making
the building would emit. “It’s all about how
you approach the conversations,” says Smith.
“What matters is the willingness to have
them. The client doesn’t have to sign up for
everything, but you do make the case.” IN CHARLOTTESVILLE, Virginia, the Center of Developing Entrepreneurs, designed by
The Seattle- and San Diego–based Miller EskewDumezRipple, will source clean energy from a new wind project off the state's coast.

101
 CEU CLIENTS AND CLIMATE

MILLER HULL has purchased carbon offsets for its Environmental Health & Safety Facility at the University of California Santa Cruz.

calculated using the Tally life cycle assess- of offsetting compared to the total cost of a in SERA’s Portland office.
ment tool. Ideally, the architect, contractor, project is tiny. “When clients see what we The compass provides a holistic picture of
and client will each offset a third of the total, have already done on past projects, and what 36 potential priorities organized into three
but, “regardless of what our clients or contrac- we are going to do on their project, they sectors: resource management, sustainable
tors are willing to do,” says Rochon, “we become very receptive to the idea,” he says. placemaking, and health and well-being. A
offset our third anyway.” “I’m just hoping we can show people that this circle at the center of the compass represents
The firm’s offsets for seven projects sub- is a cool and unique thing to do, and that our the market standard for the project location
stantially completed in 2021 accounted for clients understand that it makes them differ- and type, with three concentric rings repre-
16,678 metric tons of carbon dioxide equiva- ent in the market place.” senting successive levels of improvement.
IMAGES: © CHIPPER HATTER; SERA (OPPOSITE)

lents (tCO₂e). The projects range in type and Somewhere between EDR’s cumulative, Priorities can be expressed on the compass in
scale, including the University of California narrative-based strategy and Miller Hull’s a variety of ways: projects with larger con-
Santa Cruz Environmental Health & Safety structured framework is SERA Architects’ stituencies sometimes use dots on the com-
Facility (total up-front impact: 620 tCO₂e), low-tech (in a good way) graphic tool, called pass to indicate participants’ “votes” on where
the new U.S. embassy in Niamey, Niger “project compass,” that the firm developed to the project should position itself, and then
(13,729 tCO₂e), and a commercial building in guide the setting of priorities. “It provides a translate the dots into a cell or spider diagram
Seattle, 333 Dexter (30,025 tCO₂e). With nuanced approach that’s helpful both inter- that summarizes the aspirations. The project
offsets currently costing in the range of $8 to nally and for clients of varying levels of so- compass then informs the next stage: the
$10 per metric ton, Rochon says clients are phistication, who may not understand what’s articulation of key performance goals, which
generally surprised to find that the total cost achievable,” says Clark Brockman, a principal may be expressed in a project charter and/or

102 ARCHITECTURAL RECORD APRIL 2022

in terms of the Five Capitals Model. (Five
Capitals is a framework for sustainability
developed by the international nonprofit
IAL HEA
Forum for the Future. It expands the under- TER LT
standing of wealth creation beyond physical MA H
and financial capital to include human, natu-

LOW-IMPACT
ADA
L

ITY
MATERIAL
SOURCIN

NT
HEALTHY
IA

L
PT
&R
FUT SILIE
EM

ME
QUA
ral, and social capital.) “We’ve tried to tune

ABIL
BO

RE N
ISH
UR NCY

TU TIO
C

DI

AIR
EL

UR
IT

G
our strategies and goals within each market

ED

NA EC
HU IN
AN

Y
IFE

NO
CA

TOONN
M V
AN ES

RB

TY &
sector to align with what’s possible,” says

LI Y
ON

C
CA TM

BI IT
N

O IV
PI EN
SH

M CT
TA T
IN OR
Brockman. “That way, teams can feel they’re

FI

HA
A
L
VE T
ST TE TY
M RM TY RI
EN FE CU
SA SE
working toward something that is both im- L
IN ONG
T
&

PP
VE L
ST TER ICA
ME M YS ORT
pactful and achievable.” NT PH MF

INE
ENE CO
RGY

ENERG
Beyond establishing nuanced goals project
L
SOU UA
RCE VIS FORT
C OM

by project, SERA is working to refocus two

SS
STIC
ACTIV
E ACOU RT
COMFO
larger conversations, both with clients and
within the profession as a whole. The first PASSIVE
MARKET
THERMAL
COMFORT
STANDARD
pertains to net zero versus absolute zero. The

KN
R PRE OCCU
TE PANCY
FRESH WA INPUT
problem with net zero—which allows a proj-

O
ect to give and take energy from the grid over TER WA S
TE W
A TER
PO
FEE ST OCC
DBA UPA

W
CK NCY

the course of a year (as long as it gives at least ER

ED
WA UCA

LED
T
WA
WA YF TIO
RM IN
DINN &
as much as it takes)—is that it places the STO
SO
G
S CI
burden of storing the project’s surpluses and M

GE
TE AL
S YS CA
PI
TE TA
supplying its deficits on the transmission grid SI

AD PR UL
L

EM D
ON

R E OP
ST TE
S

VA ES TI
P
SY EC

N E N ON
and the utilities, says Mark Perepelitza,
N

CE T E S
N

DE SIVEE

OP ASTE GEM
CO

S D
ON AT

W ANA

U
N

ER

N
SP M

SIG

D
SERA’s director of sustainability. “If you had
RE CLI

AT
LOCLTURE

ER
U TY

CU
EC

IO

-
LAND USE
TRANSIT

TY
AL

NS
BE A
a zero-carbon focus instead, you would find LO I

EN
U

T
ways to store clean energy, to make sure more GY EQ
buildings are using it at times when the grid is
otherwise dirty,” which typically occur during C O M M U NITY
periods of peak demand.
The second refocusing seeks to center the
conversation around carbon, regardless of
source, rather than energy. “It took the indus-
try over 15 years to home in on net zero as a
big goal. Now we’re going to have to shift it RESOURCE MANAGEMENT PRIORITIES CATEGORIES
again—including the certifications and the HEALTH + WELLBEING WORKPLACE QUALITIES
reward mechanisms,” says Brockman. “We
don’t need to throw away what we did with SUSTAINABLE PLACEMAKING CLIENT BRAND OPPORTUNITIES

net zero,” he adds. “We just have to take the RESEARCH AND INNOVATION CAPABILITIES
IMPROVED
discussion farther and deeper.”
Placing client conversations in the context BETTER

of evolving industry issues is something EXEMPLARY

Cannon Design is also doing. The firm’s
news-clipping service, for example, highlights
AS PART OF a goal-setting charrette, SERA used its project compass to establish the priorities for
climate-related trends in five categories—the
the design of its own office in Portland, Oregon.
regulatory landscape, insurance, shareholders,
transparency, and credit risk—that have
potential implications for development, and firm’s director of sustainability. The firm’s biggest worries; How can you alleviate these
distributes the collected industry insights to “create your own client” playbook guides staff worries; How does your idea connect to other
clients and staff each quarter. in framing sustainability in terms of client parts of the project; and What are the other
The clipping service is one tactic in a goals generally, and then more specifically, benefits your idea brings? The playbook then
firm-wide change-management strategy according to three main project types. suggests sector-specific strategies for tying
focused on bringing Cannon’s projects to net Under the umbrella question, “How can climate-responsive outcomes to client priori-
zero across the board. Because clients vary you get this client excited about sustainabil- ties. “So I’m never selling them on a green
widely in terms of their sustainability priori- ity?” guiding questions are intended to lead to roof,” says Freed, “I’m selling them on the
ties, the core of Cannon’s “living-centered solutions such as a high-performance enve- benefits it provides—biophilia and productiv-
design” strategy is “a much more empathetic lope, healthy materials, alternative structural ity, thermal mass, a workplace amenity.”
approach to the client,” says Eric Corey Freed, systems, and embodied-carbon reductions. This outcomes-based approach to sustain-
a senior vice president at Cannon and the Among the questions: What are this client’s ability begins even before the firm is hired. “I

103
 CEU CLIENTS AND CLIMATE

A SUSTAINABILITY research hub at Caltech in Pasadena by Cannon Design's Yazdani Studio relies
on such strategies as mass-timber structure and passive-first environmental-control systems.
CONTINUING EDUCATION
To earn one AIA learning unit (LU), including one hour
see you’ve committed to carbon neutrality sensor- and data-driven building automa-
of health, safety, and welfare (HSW) credit, read “The
by 2035: how is this project going to help tion; and on-site rainwater management,
Conversation,” review the supplemental material found
you get there? If you don’t have an answer, among other conservation and resilience
at architecturalrecord.com, and complete the quiz at
we can help.” The approach carries through strategies, with the flexibility to accommo-
continuingeducation.bnpmedia.com. Upon passing the test,
programming, design, and into construc- date technological advances as they
you will receive a certificate of completion, and your credit will
tion. “It doesn’t get value-engineered out, emerge. Holding together these strategies
be automatically reported to the AIA. Additional information
because everybody on the team is aware for what will be the greenest building on
regarding credit-reporting and continuing-education require-
that we’re striving toward these outcomes,” Caltech’s campus is a vision of the resource
ments can be found at continuingeducation.bnpmedia.com.
says Freed. “It’s how we’ve been able to get center as a home for the fight to curb
dozens and dozens of clients, all across the climate change. Learning Objectives
country, designing what they’re calling In summing up Cannon’s approach to 1 Outline the approaches architecture firms are employing
their healthiest building on campus or the conversations with clients about the cli-
IMAGE: © YAZDANI STUDIO OF CANNON DESIGN

to obtain client support for their environmental goals.

greenest building they’ve ever done.” mate crisis—designing to reduce climate
2 Define relevant terms such as "carbon offset" and "gap
A standout example, designed by the impacts and adapting to the ones that are
analysis."
firm’s Yazdani Studio and now under already inevitable—Freed captures a recur-
construction in Pasadena, California, is ring theme that all of the architects who 3 Explain the difference between scope 2 and scope 3
Caltech’s Resnick Sustainability Resource shared their insights with record ex- carbon emissions.
Center. The 80,000-square-foot mass- pressed: “We don’t see it so much as push- 4 Discuss the implications of focusing environmental goals
timber research hub is designed as a test- ing them as preparing them,” he says. on carbon emissions rather than energy consumption.
bed for sustainable strategies: passive-first “They come to us for our expertise, and our
AIA/CES Course #K2204A
environmental-control systems (including expertise is telling them they need to
natural ventilation as the primary mode); prepare for this now.” n

104 ARCHITECTURAL RECORD APRIL 2022

 The DESIGN:ED Podcast by Architectural Record
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 PRODUCTS Surfaces

More than Skin Deep

Tried and true materials—from metal to marble—
have inspired the latest interior surfaces.
BY SHEILA KIM

Rauvisio
This REHAU panel product simulates shimmery metal but differentiates
itself from metal-foil-laminated boards. For one, Rauvisio’s brushed-metallic
surface is printed—instead of being topped by a malleable foil—and finished
with both a clear PET film and UV-cured lacquer. The 1101/4" x 48" MDF
panels are laminated on both sides.
rehau.com

Hermitage
One of four new quartz surfaces
from Cambria, Hermitage has
Dekton Onirika
gold swirls in both tight and
For this Dekton series, Cosentino tapped interior
open patterns, to form a combi-
designer Nina Magon to reinterpret the patterning of
nation of light and dark pool-like
marble, with the veining in updated colorways. The
motifs that create a sense of
upshot: four designs—each with an elegant and time-
subtle movement. Featured on a
less appearance—that offer performance attributes
warm-white background, this is
such as impact and UV resistance.
an elegant quartz that will con-
cosentino.com
fer a touch of opulence.
cambriausa.com

Burnished Coin
Part of Formica’s 2022
Living Impressions
collection, this new
laminate design con-
jures suggestions of
Sahara Noir Extra
coins with a blend of
Building on the popularity
copper, green, and gray
of Nero Marquina black
hues. The matte-
marble, this ceramic slab
finished laminate is
by Laminam simulates
available in 10 sheet
Tunisian Sahara Noir, noted
sizes up to 60" x 144".
for white, brown, and gold
formica.com
veining that loosely criss-
crosses on a black base.
The 271/5" x 118" slabs are
available in three thick-
nesses.
laminam.com

106 ARCHITECTURAL RECORD APRIL 2022

PRODUCTS Hardware

Eye Candy
Tactile or touchless, these devices are aesthetically
akin to architectural jewelry.
BY SHEILA KIM

G87
A new glass-patch system from
Accurate Lock & Hardware, the G87
series houses a mortise lock and
comes as a complete package
including a thumb turn and inside
and outside levers. Compatible
patch-strike and emergency-re-
lease devices can also be specified.
The system is offered in Satin
Aluminum, Oxidized Black +
Lacquer, and Electroless Nickel.
accuratelockandhardware.com

WS-90 Wall Strike EMPowered Motorized

Following the success of INOX’s Touchscreen Keypad
pocket-, barn-, and sliding-door Locks
hardware, the manufacturer in- Emtek’s EMPowered touch-
troduced this surface-mounted screen keypad and deadbolt
wall strike that houses an inter- entry set is a “smart” security
locking bracket to hold the latch solution programmed and
securely. Available in stainless controlled using sister-brand
steel, black, and select ceramic Yale’s mobile app. It works
colors, the strike is compatible with voice assistants such as
with INOX’s PD5000, PD8000, Siri and is compatible with
and PD9000 series. popular smart-home systems.
unisonhardware.com Five finishes are available.
emtek.com

Vaask
Sleek and slim, this design-
er hand-sanitizer dispenser
marks the debut of manu-
facturer Vaask. The dis-
pensing and drip-catching
fittings come in black,
white, brass, or custom
colors, and can be mixed or
Eclipse Collection matched with faceplates,
Formani collaborated with architect David Rockwell and his also available in these
studio, Rockwell Group, to develop the Eclipse collection, finishes. A minimal linear
inspired by its planetary namesake. Featuring a subtle wan- LED in the faceplate indi-
ing-moon profile, the sculptural handle provides an ergonomic cates supply levels and the
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formani.com vaask.com

107
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In this section, you will find a collection of compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry

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leaders. View the course at ce.architecturalrecord.com for complete text and to take the quiz free of charge to earn credits.

Photo courtesy of Kyle J Caldwell; Bison Innovative Products

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109
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CONTINUING EDUCATION

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Outdoor spaces that are usable, appealing, and

sustainable require attention to multiple design
factors and a number of related details.

Transforming Outdoor CONTINUING EDUCATION

1.25 AIA LU/HSW

Spaces: Placemaking 1.25 GBCI CE HOUR

Learning Objectives
Some new products help create better results After reading this article, you should
be able to:
Sponsored by Bison Innovative Products, Cascade Architectural, Feeney, 1. Identify and recognize the health,
safety, and welfare aspects of
Inc., Humboldt Sawmill Company, and Soil Retention Products, Inc. designing outdoor spaces that also
By Peter J. Arsenault, FAIA, NCARB, LEED-AP contribute to sustainability standards
such as LEED v4 and SITES v2.
2. Assess the sustainability aspects

E
of different materials and products
very building has a site and the act Sustainable Sites and the separate, but closely
that are used for outdoor spaces,
of putting a building on it neces- aligned, SITES rating systems are referenced. particularly in regard to LEED v4 and
sarily creates outdoor spaces that It is worth noting that any LEED v4 project SITES v2 criteria.
are used for access, parking, congregating, can now automatically earn all of the points 3. Explain different strategies that
recreation, or other activities. The impact in the Sustainable Sites credit category in provide for human safety and
of those spaces is reflected in both the LEED when they achieve SITES v2 Gold minimize environmental impacts in the
people who ultimately use these spaces and certification or higher. In addition to general design of outdoor spaces.
the natural environment which is either principles of design, several specific strate- 4. Determine ways to incorporate the
disrupted or enhanced. In both cases, it gies are reviewed with case study examples of principles presented into buildings
is the design of these outdoor spaces that successful installations. and sites as shown in case studies.
can produce a sense of an outdoor place
and directly influence how truly sustain- PERMEABLE PAVING To receive AIA credit, you are required to
able the site is. This continuing education Asphalt or concrete paving is common to read the entire article and pass the quiz.
article explores ways in which both private many building sites but, as surfaces that Visit ce.architecturalrecord.com for the
and public outdoor spaces can be trans- don’t allow water to permeate, design issues complete text and to take the quiz for free.
formed for placemaking, comfort, safety, of water runoff, retention, and drainage AIA COURSE #K2204D
GBCI #920025497
and sustainability. In particular, LEED become significant. Not only is it a matter

110 ARCHITECTURAL RECORD APRIL 2022

 DRIVABLE GRASS ®

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 TRANSFORMING OUTDOOR SPACES: PLACEMAKING EDUCATIONAL-ADVERTISEMENT

Photo courtesy of Soil Retention Products, Inc.

conform to uneven ground surfaces without
coming apart. Hence, the mats maintain the
CONTINUING EDUCATION

characteristics of a drivable, natural surface

while minimizing wheel rutting even when
saturated. The lattice-style grid structure
allows water to flow right through it and veg-
etation to grow if desired. The small concrete
squares provide a solid surface comparable
to more common paving materials such as
asphalt and poured concrete. This configura-
tion eliminates sharp edges common in other
systems, plus it is less prone to crack and
break like rigid concrete or pop up like plastic
systems.
Flexible concrete pavement systems are
well suited for a variety of residential and
commercial outdoor spaces that might
otherwise be paved with impermeable
In a permeable pavement system, water penetrates the surface and moves through a materials. Commonly, these include spaces
variety of layers including sand which acts as a natural filter. that are infrequently driven on such as fire
lanes, utility easements, and drainage ways.
In addition, driveways, parking stalls, RV
of managing the water, but there is also a especially important in urban areas where parking, and bioswale protection are all
legitimate concern about the things trans- sites are smaller and must meet stormwater ideal uses. Hydraulic performance in drain-
ported by the water runoff, such as petroleum regulations.” All of these aspects of such age channels has also been tested and these
products from parked cars, chemicals from systems bode quite well for projects seeking products have performed well. When any of
landscaping, or other harmful compounds. LEED certification or using the SITES rating these conditions are paved with convention-
In fact, the Environmental Protection Agency system for Sustainable Sites. al paving, a vacant, underutilized outdoor
(EPA) considers “stormwater runoff in urban space is created. With the flexible pavement,
and developing areas to be one of the leading Flexible Concrete Pavement Systems the area looks more inviting and allows for
causes of water pollution in the United States.” Among the different types of systems avail- a more natural, controlled drainage. While
In response to this situation, alternatives able, an increasingly popular one is not just these systems are suitable for a variety of
have been developed in the form of perme- a rigid “turf block” but is a flexible system. scales, they are not commonly used for
able paving systems to replace traditional Notably, this type of system is available in major streets, except for areas with very
hard surfaces. These systems use a range of 2-by-2-foot mats made of wet-cast concrete limited traffic, such as median turnarounds
sustainable materials and techniques that squares that are connected by a grid. Holes in and erosion control areas.
allow the movement of stormwater through the grid allow for water infiltration and root
the surface down into the underlying base penetration if the design calls for a vegetated Design Considerations
and subbase. A variety of plantable and non- infill. There are also several non-planted Commonly, the design of a permeable
planted systems are available that have been infill options available, such as gravel, pre-cut pavement system is a multidisciplinary
shown to help reduce the carbon footprint of artificial turf, or decomposed granite, which effort. The first step is to clarify the objec-
buildings, improve water quality, diminish makes the system versatile. The polymer grid tives of the system. Is it focused on flood
flooding and erosion, and reduce urban heat embedded in the mats allows them to flex and mitigation or water retention/detention?
islands all while creating attractive open
spaces. A 2007 study at the North Carolina
Photos courtesy of Soil Retention Products, Inc.
State University (NCSU) Permeable Pavement
Research Lab showed that “all permeable
pavements significantly and substantially
reduced surface runoff volumes and peak
flow rates when compared to asphalt.”
Part of the beauty of permeable pavement
is that it reduces the need for other mitigation
measures. Neil Weinstein, executive director
of the nonprofit Low Impact Development
(LID) Center in Washington, D.C., has noted
that “The primary motivation for using
permeable pavement is that it doesn’t eat Flexible, permeable pavement systems can be used with a variety of infill materials includ-
up the land like surface retention basins, ing pre-cut artificial turf (shown on left), gravel, (shown on right), or vegetation, thus allow-
bioswales, and filtration basins do. This is ing for unique looks and applications.

112 ARCHITECTURAL RECORD APRIL 2022

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Photo courtesy of Soil Retention Products, Inc.; Eric Owen Moss Architects
Or is the objective primarily to filter the
water for improved water quality? What
CONTINUING EDUCATION

about water collection and reuse possibili-

ties? And of course, what is the intended site
traffic that the system needs to carry?
Once all of these questions are answered,
the design will next be influenced by the com-
position of the subgrade (i.e., the native soils
below the paving section) and the correspond-
ing infiltration rate. On top of these soils, the
structural subbase will be placed and has the
potential to collect and store some rainfall,
depending on the materials used. With the
native soils and the subbase working together,
it is possible to even store other runoff from
the site, thus avoiding the need for separate
detention and storage. In cases where the soils
This Los Angeles project uses a flexible, plantable concrete pavement system for an exterior
provide low infiltration, some use of excess
patio and vehicular driveway. Dolan Daggett, project director with Eric Owen Moss Archi-
stored water may have to be considered. For tects, states “the beauty and performance of the product speaks for itself.”
example, excess water could be piped away
with an elevated underdrain and used for
irrigation or other useful purposes. plant growth. Conversely, applying turf by using natural materials, such as wood and
In Los Angeles, Eric Owen Moss Architects seed and not overfilling the void spaces gives stone, and incorporate vegetation and
incorporated a flexible, plantable concrete greater protection to the root system. greenery using planter cubes and pots. This
pavement system into a high-profile project The type of grass species or groundcover can allow for regular interactions with the
there. Specifically, it was incorporated into an to be planted is very much a localized deci- outdoors which has been proven to have
exterior patio and vehicular driveway. Project sion. Some locations will likely never need positive health benefits, such as lower blood
Director Dolan Daggett was very pleased with to consider irrigation while others may only pressure, reduced stress, expedited healing,
the results stating, “The beauty and perfor- survive with it. The temperature cycles and and improved mood and focus. Further,
mance of the product speaks for itself.” ability of the vegetation to survive different such pedestal decks can help to reduce
climate conditions come into play. Local site a building’s carbon footprint through a
Turfgrass Considerations conditions of predominant shade or sun in reduction in a roof ’s ambient temperature,
If a vegetated permeable paving system is different spaces will directly impact growth. increased potential for green space, rain-
desired, then the plantable part of the system There may be reasons to consider a warm- water collection initiatives, and/or reduced
is typically some form of turf or grass. When season grass or a cool-season grass, a bunch- need for roof replacement.
used in areas of light pedestrian traffic, such grass or a spreading grass type, or grasses
as parks or ballfields, the planting of turf that are tolerant of deicing salts or other Pop-Up Parks
or even sod is fairly conventional. However, local conditions. Resources to determine the An emerging trend is to create an outdoor
when used for vehicle traffic, the first thing best or most appropriate planting choices space in the form of a “pop-up park.” These
to be aware of is the need for a bedding for specific sites include local cooperative are commonly used to reclaim car-designat-
course which is defined as the underlying extension agents, state agricultural offices, ed zones (i.e., parking spaces or extra traffic
sandy material between the pavement and nurseries, and landscape architects. lanes) for pedestrian use. Pop-up parks
the compacted subbase material. This is the vary in size and could encompass a one-car
layer that will promote vegetative growth and PEDESTAL DECK SYSTEMS parking space, many spaces linked together, a
is important to the health of the turf. In some cases, the best way to create outdoor reclaimed portion of a lot, a whole block, or a
In order for the turf to remain healthy spaces is to look at balconies and rooftops as full lane. Many parks offer seating areas, gar-
and functional, the pavement system needs well as on-grade applications. These types of dens, bike parking, exercise machinery, and
to prevent soil compaction so that the living outdoor spaces allow for an extension of in- other amenities. They were first recognized
root zone of the plants is both porous and door areas or can be seen as an outdoor place in San Francisco and New York in programs
permeable to air and water. Successful all on its own. Through design, such spaces like “Pavement to Parks.” Some manufactur-
permeable paving products provide the can be completely customized to contain ers offer all the built elements required for
reinforcement needed to bear the vehicular outdoor kitchens, fire pits, bars, living areas, a pop-up park installation. This creates a
weight, transfer the loading to the subbase, gardens, or other amenity areas. smooth installation and offers a consistent
and allow the spaces between paving cells to One successful means to accomplish this warranty for the entire system.
provide the needed root zone conditions for type of outdoor space is to use a pedestal To create pop-up-parks, level platforms,
the vegetation to thrive. If the void spaces of deck support system with wood or other such as modular pedestal decks, are built on
the system are too large and overfilled with tiles laid on top to create the outdoor floor top of existing pavement and are populated
soil and growth, soil compaction will occur surface. This allows outdoor decks to help with planters, railing, benches, furniture,
which cuts off the air and water needed for connect people to the natural environment and other accessories. This allows for low

114 ARCHITECTURAL RECORD APRIL 2022

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

Reimagining the outdoor experience.

Since 1994, Bison Innovative Products has led the industry in designing and manufacturing
versatile pedestals, pavers, and site furnishings that offer the design exibility to create
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 TRANSFORMING OUTDOOR SPACES: PLACEMAKING EDUCATIONAL-ADVERTISEMENT

Photo: Bill Horsman; courtesy of Bison Innovative Products

The location of the pedestals is typically Site Furnishings
based on a modular layout that follows the Manufacturers of pedestal deck systems
size of the material used on the deck surface. also offer coordinated, modular elements
Commonly, this is a 2-by-2-foot square grid, that are designed to integrate with their
although many other sizes are possible as well. deck systems while giving the architect
Adjustable pedestals are available in a range complete design flexibility. Modular wood
of heights and weight-bearing capacities to cubes are available with an array of design
suit a variety of conditions or needs. Those options to incorporate seating, storage, and
decks carrying more weight or requiring more planters. Such cubes are available with a
height to achieve a level condition will need a polyurethane lining and drainage holes to
higher grade of pedestal. Adjustable pedestal host plant life. At other times of the year,
systems can support decks over occupied the cubes can be repurposed for seating
space, allowing space for electrical systems, and storage of seasonal items (i.e., cushions
duct work, and irrigation. and pillows) by placing a manufactured
hardwood top on the cube.
Deck Surfaces If a different look is desired, aluminum
The versatility of adjustable pedestal deck cubes are also an option. Designed to
supports means that they can be used to withstand temperature extremes, these
elevate a variety of decking surface materials. low-maintenance, durable planters are
The common options include pavers made constructed of lightweight, partially
from concrete or stone, such as granite or recycled aluminum. Some use an industrial
travertine. Similarly, structural porcelain strength powder-coated finishing process
tiles, fiberglass grating, composite materials, that is applied electrostatically and cured
or conventional wood decking systems can under heat, creating a more resilient finish
be used in a grid pattern to meet different than conventional paint. There are a variety
design requirements. Typically, a galvanized of size and color choices available.
steel paver tray is installed on top of the Overall, complete coordinated modular
pedestals to support structural porcelain deck systems as described here, can be
pavers or other materials prone to breakage. designed and specified to create attractive,
Rooftops are an ideal location to create
Surface materials can be removed for routine durable, and sustainable outdoor spaces.
outdoor places and pedestal deck systems
offer modular, complete solutions. maintenance, repairs to the roof, or to gain
access to other systems. DESIGNING WITH COILED WIRE FABRIC
If a lighter weight surface material is Outdoor spaces often require defined
installation costs since they can be installed preferred or needed, then wood tiles, weigh- perimeters using the edges of a building
in a way that does not require reconfiguring ing only one-third as much as concrete tiles, or alternatively, a central focal point for
the streetscape, doing much, if any, demoli- are a good alternative. Typically made from activity or congregating in the space. Often
tion, or altering utilities. hardwoods in a variety of species, wood tiles the materials used in these situations may
Regardless of where or how they are used, are commercial grade, responsibly harvested, be a need to provide a limited degree of
adjustable deck systems commonly incorpo- and available in standard and FSC Certified separation without the use of a solid surface.
rate three types of components as described hardwood options for sustainability. If In fact, it may even be desirable to provide
in the following sections. maintaining the wood color is desired, wood some controlled connectivity between spaces
tiles can be periodically cleaned and sealed. for light, air flow, sound, or other reasons.
Deck Supports Left to weather naturally, the wood tiles will Several different products have been used to
Fixed or adjustable height pedestals are the develop a silvery-gray patina. achieve this effect, but an innovative choice is
fundamental support system for the deck
and have become recognized as one of the Photos: Bill Horsman; courtesy of Bison Innovative Products
most labor- and cost-efficient methods of
creating a level deck over a moderately sloped
surface. High-density polypropylene plastic
that is 100 percent recyclable is a common
material used to manufacture the supports.
This makes them impervious to water, mold,
and freeze-thaw cycles. Their adjustability
offers tremendous design flexibility compared
to traditional deck building materials and
methods. Using a gravity system, the supports
do not penetrate, but rather protect, roofing
and waterproofing membranes thus causing Different types of surfaces can be used on rooftop decks to address the specific needs of a
no damage or harm to the surface below. variety of building projects.

116 ARCHITECTURAL RECORD APRIL 2022

 It’s All in How You Frame It.

With unlimited design potential, Feeney®’s beautiful and customizable pieces effortlessly
mesh with an extraordinary view. Elevating the overall look and feel of virtually any
space, Feeney brings your vision to life, while keeping it all perfectly within frame. RAILING SOLUTIONS
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 TRANSFORMING OUTDOOR SPACES: PLACEMAKING EDUCATIONAL-ADVERTISEMENT

Photos courtesy of Paul Turang (left) and Collaborative studio (right); Cascade Architectural
achieved with a single panel in many
cases. For projects needing more than
CONTINUING EDUCATION

a 40-foot span of fabric, multiple coils

can be spliced together at the job site in a
routine fashion and still create a continu-
ous appearance.
• Light Transparency. Coiled wire fabric
will allow light to pass through, but how
much and how visually transparent it
appears will be based directly on the
specified make-up of a particular fabric.
Those with thicker wires and tighter
Coiled wire fabric can be used to enhance the outdoor spaces around buildings by adding
a durable, fabric-like material as a feature or a surface that can support plant growth on weaves will obviously allow less light
the side of a building. than those with thinner wires and more
open weaves. Architects and designers
can vary the level of transparency or sun
the use of coiled wire fabric. Such products are for an outdoor space, there are a many shading by altering these factors to suit
different from traditional metal mesh materi- different choices of how it can be specified. their needs. “Fullness” is another factor
als in that they are designed as architectural Here are some things to keep in mind when that designers can alter which will vary
products for use in a variety of ways. specifying and designing with this innova- the level of light able to pass through the
Coiled wire fabric is a durable, thin mate- tive material. coiled wire fabric. By using more material
rial that is lighter in weight than traditional than what is required to cover a given
wire mesh and offers more design flexibility. • Material makeup. Coiled wire fabric area, a billowing drapery effect may be
On building exteriors, it can be used for sun systems begin with a base metal wire achieved, causing the mesh to overlap
shading, security protection, resilience en- in varieties of steel, aluminum, brass, which can be used to allow the desired
hancements, or aesthetic facade treatments. copper, or stainless steel. The choice of amount of light penetration.
When those building exteriors face onto the wire material and its gauge impact • Formability. As with any fabric type of
an outdoor space, it can provide additional the weight, functionality, and aesthetics product, coiled wire fabric is free flowing
color, texture, or artistic effects. Under the of the final fabric. By altering the base and flexible. That means it can be formed
right circumstances, it can also be used as material, wire gauges, weave pattern, and shaped to create undulating or
a base for vegetation to grow and create an and finishes, the strength, rigidity, and curved surfaces, flat taut surfaces, or a
outdoor “living wall” surface. It is available appearance can all be chosen to meet the combination of any of these. That allows
with a range of attachment systems allowing design or performance characteristics for a high degree of creativity in how
for different building conditions and finish being sought. It is worth noting that the spaces are defined and articulated, both
treatments. The material can be left to hang fabric is available in virtually unlimited for walls and ceilings.
(i.e., flowing freely) or it can be secured at widths, and up to 40 feet in length or • Color. Coiled wire fabric is available in
both the top and bottom and pulled taut to height, so large installations can be either a natural, uncoated state, or with
create a semi-rigid condition. Because of its
fabric nature, curved and undulating shapes
Photo courtesy of Cascade Architectural
are easily achieved providing more character
and vitality than rectilinear shapes alone.
As a material made from metal, coiled
wire fabric is a durable product with a long
service life. It can contain recycled content
and is 100 percent recyclable when it is
removed from service. It is worth noting that
no toxic chemicals are used in the material’s
manufacturing process. Some even carry
Declare labels from the International Living
Future Institute indicating the degree to
which human health and the environment
are protected by the products. Declare labels
gives consumers full transparency on the
product, including where it comes from,
what it is made of, and where it goes at the
end of its life cycle.
The use of coiled wire fabric for outdoor settings, such as this park pavilion, is a creative
Specifying Coiled Wire Fabric way to use a durable, flexible, light-transmitting, and readily customizable material in
When selecting a coiled wire fabric system creative ways.

118 ARCHITECTURAL RECORD APRIL 2022

 TRANSFORMING OUTDOOR SPACES: PLACEMAKING EDUCATIONAL-ADVERTISEMENT

Photos courtesy of Humboldt Sawmill Company

resilient powder-coating finishes for a
sharp, long-lasting aesthetic. The color
CONTINUING EDUCATION

choices are broad, allowing it to be a

successful part of virtually any design
scheme. Further, the finishes can be
specified to match any RAL color code or
specified to comply with Declare labels
from the International Living Future
Institute to protect human health when
used on interiors.
• Performance Traits. It can be used for
light diffusion or shading to enhance or
control the ambient lighting of a space. Natural redwood lumber and timbers have long been prized for their warm appearance
coupled with their natural traits of durability and longevity.
It also serves very nicely as a surface to
receive nighttime lighting. In appropriate
strengths, it can provide partitioning for
safety, fall protection, blast mitigation, and design. Natural redwood is regarded as codes. The design f lexibility and perfor-
and security. Further, when used in one of nature’s finest and strongest building mance characteristics of redwood decking
outdoor spaces, the material is durable materials. Structurally, redwood has a shear means it can be used in either renovation
enough to withstand those rigors as well. strength up to five times greater than plastic projects or new construction. Redwood
• Cost Effectiveness. Compared to the full and composite decking. From a durability decking also works well with innovative,
construction of rigid partitions or other standpoint, redwood, in particular the newer deck components such as glass
separation elements, coiled wire fabric is heartwood from the center of the tree, is panel railing systems or cable railings. The
a very affordable option. It is also more known to be naturally resistant to decay warmth of the wood complements a variety
economical than commercial woven wire and termites. This was first discovered in of the other materials, like glass and metal.
mesh that is typically designed for other redwood forests in California where fallen
purposes. This affordability lets architects trees were found to have been laying on AESTHETIC SAFETY RAILINGS
and designers flex their creativity, pro- the ground for decades with no visible sign Anytime an outdoor space is used by people,
duce signature designs, and turn projects of any significant decay, very unlike other it brings some safety considerations. For
with modest budgets into something trees that can decay naturally quite quickly. example, the International Building Code
unique, innovative, and responsive to Regarding the appearance, many designers requires guardrails to protect people from
project needs. agree that no other decking material mimics falls anytime a deck or platform is raised
the natural beauty and warmth found in real up more than 30 inches above the ground.
Designers who recognize the innovative redwood deck boards and accessories. It’s rich, Similarly, if an outdoor space is adjacent to
uses of this product and its sustainability warm color and grain pattern look great when vehicular traffic, it is considered a best safety
traits can achieve successful outcomes when installed and maintains its appeal even with practice to use some method to prevent
used in outdoor settings. age. Redwood can be left untreated due to people from accidentally walking into harm’s
its natural resistance properties and allowed way. The design issue often becomes how to
REDWOOD LUMBER AND TIMBERS to patina over time, or it can be stained or provide the needed safety while incorporat-
One very legitimate concern about creating finished to preserve a particular color and ing an aesthetic solution or one that does not
outdoor spaces is the choice of materials look. Either way, it is a lightweight wood that detract from natural features, such as views
to be used. Anything specified needs to is easy to work with, which helps control or vegetation.
be able to handle the constant exposure overall construction costs. One popular solution to this need for a
to sun, wind, rain, and other weather When redwood is used for decking, functional yet aesthetic railing is the use of
conditions. It also needs to be strong and it naturally achieves a Class B f lame cable rail systems.
durable enough to handle the activity and spread. That means it is approved for use
operations of the people who use the space. in California’s Wildland Urban Interface
In addition, the aesthetics must be right, (WUI) fire hazard severity zones without
and the sustainability of the material needs restriction. For situations where a higher
to be accounted for. degree of fire resistance is needed, it can be Peter J. Arsenault, FAIA, NCARB, LEED-AP is a
Considering all of these criteria, treated to achieve a Class A f lame spread nationally known architect and a prolific author ad-
redwood lumber and timbers are seen as an using proven and tested processes that are vancing better integration of site and building design.
excellent option for landscape architecture registered with state agencies and building www.pjaarch.com, www.linkedin.com/in/pjaarch

120 ARCHITECTURAL RECORD APRIL 2022

 ADVERTISEMENT

PRODUCT REVIEW
Transforming Outdoor Spaces: Placemaking

CONTINUING EDUCATION
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Bison Rooftop Deck Systems

Bison Pedestals are manufactured in Denver, Colo., with 20% Humboldt Sawmill Company, LLC
post-industrial recycled materials and have patented features that
improve performance and stability. These versatile, adjustable Photo courtesy of BOURNE Photo
Redwood Timbers
pedestal deck systems create level rooftop decks over sloped
Redwood timbers in exposed beam,
surfaces, support a variety of different surface materials, and can
shade structure, and timber frame
be installed over any structural surface.
construction produce dramatic
results. Redwood provides
www.bisonip.com unique beauty and environmental
advantages over alternative
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SITES.
Photo courtesy of Erika Brown Photography

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Soil Retention Products, Inc.

Flexible Concrete Mat
Photo courtesy of Alex Abikasis, Pillar Custom Homes

with Pre-Cut Turf

Drivable Grass® is a permeable,
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Cascade Architectural is committed to serving the product and infill options such as natural
service needs of our architectural customers. Since 1987, Cascade has grass, gravel, decomposed
provided a full range of functional Fabricoil© woven wire mesh fabric granite, and a pre-cut artificial
systems to domestic and international markets. Suited for projects turf. The design also eliminates
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121
CONTINUING EDUCATION

Photo courtesy of Inpro Corporation

Signs of the Times CONTINUING EDUCATION

1 AIA LU/HSW
ADA compliance as an element
of design for commercial spaces Learning Objectives
After viewing this multimedia
presentation, you should be able to:
Sponsored by Inpro | By Erika Fredrickson 1. Discuss the role signage plays in ADA
compliance toward supporting the
well-being of people with disabilities.
2. Describe the role shower and

T
bathroom design plays in ADA
he Americans with Disabilities Act protection of individuals with disabilities, compliance for the health and safety
(ADA) lays out clear guidelines as well as provides an overall view of how of people with disabilities.
regarding architectural design. That these design elements not only protect 3. Explain the influence and impact of
includes proper signage in commercial and people with disabilities but also create the ADA on design, with an emphasis on
public spaces, and minimum dimensions best experience possible for each person creating healthier, happier spaces.
and configurations of spaces such as bath- who enters the building. 4. List ways in which manufacturers have
room and shower designs. This presenta- responded to the aesthetic goals of
tion explores how signage and bathroom designers looking to integrate high-
performance ADA-compliant design
and shower systems play a role in ADA
into their projects.
compliance in a variety of applications, Erika Fredrickson is an independent writer and
from office spaces to hotels, restaurants to editor focusing on technology, the environment,
hospitals, college dorm rooms to assisted and history. She is a frequent contributor for To receive AIA credit, you are required to
living centers, and other places where a continuing education courses and publications view the entire presentation and pass the
quiz. Visit ce.architecturalrecord.com to
variety of people convene and live. It offers through Confluence Communications.
view the multimedia CEU and to take the
background on ADA law and the legal http://www.confluencec.com quiz for free. AIA COURSE #K2204E

Founded in 1979, Inpro® is a global provider of high-performance, design-forward architectural products for building profes-
sionals. Inpro's product categories include door + wall protection, washrooms, expansion joint systems, privacy, elevator
interiors, architectural signage, and commercial window treatments. www.inpro.com

122 ARCHITECTURAL RECORD APRIL 2022

 EDUCATIONAL-ADVERTISEMENT

CONTINUING EDUCATION
Photo courtesy of Marvin

Home design on the

coast requires a balance
of framing the view
and high-performance
windows and doors.

Designing for Coastal Living: CONTINUING EDUCATION

Achieving Durability, Safety, 1.25 AIA LU/HSW

Learning Objectives

and Beauty After viewing this multimedia

presentation, you should be able to:
1. Discuss both aesthetic and durability
design considerations and trends for
Sponsored by Marvin | By Erika Fredrickson residential projects in coastal areas.
2. Describe materials used in windows
and doors that respond to coastal

C
elements.
oastal living is easy to idealize. But vision of coastal living. This course explores 3. Explain the performance criteria of
living by the water means being how to specify window and door solutions impact-rated windows and how they
exposed to the elements in more ex- that support the health, safety and well-being are tested.
treme ways than living in other places. Sun, of the occupant and achieve the architectural 4. Recognize window and door
salt, wind, rain, and debris all take a toll on vision. installation and warranty
waterfront houses, which is why specifying considerations for coastal design.
building materials created for coastal living
is imperative. In the past, these consider- To receive AIA credit, you are required to
ations have sometimes limited the aesthetic view the entire presentation and pass the
vision architects may have for coastal design. Erika Fredrickson is an independent writer and edi- quiz. Visit ce.architecturalrecord.com to
These days, however, high-performance ma- tor focusing on technology, the environment, and his- view the multimedia CEU and to take the
terials for doors and windows can provide tory. She is a frequent contributor for continuing edu- quiz for free.
high-level durability and still create beauti- cation courses and publications through Confluence AIA COURSE #K2204F
ful design that embodies that idealized Communications. http://www.confluencec.com

Marvin is a fourth-generation family-owned and led business, headquartered in Warroad, Minnesota, with more than
7,000 employees across 16 cities in North America. The Marvin portfolio of products for builders, architects and home-
owners is designed to provide exceptional solutions for any project with a focus on creating better ways of living. Marvin
products are distributed nationally through a network of independent dealers. Visit Marvin.com to learn more.

123
 DATES & Events

Upcoming Exhibitions Ongoing Exhibitions

American Framing Future Cities: Zaha Hadid Architects
Chicago Chengdu, China
May 6–July 16, 2022 Through May 8, 2022
Wrightwood 659, a 1920s building transformed by architect Tadao This monographic exhibition at Future Design Arts Centre traces the
Ando into a new exhibition space in the Lincoln Park neighborhood, development of the firm’s urban projects across the world, examining
presents a reinstallation of the U.S. pavilion for the 2021 International
Architecture Exhibition of La Biennale di Venezia. This exhibit marks
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124 ARCHITECTURAL RECORD APRIL 2022

the innovations driving 21st-century urban- Charleston, a 17th-century farmhouse, be-
ism. Zaha Hadid Architects has completed a came home and studio to modernist painters
number of major projects in China, including Vanessa Bell and Duncan Grant in 1916. The
the Chengdu Contemporary Arts Centre. See house grew into a gathering place for the
zaha-hadid.com. Bloomsbury group, a radical collective of
20th-century artists, writers, and thinkers.
Peter Cook: City Landscapes Today, Charleston has been adapted as an
Humlebæk, Denmark exhibition space that honors the building’s
Through May 8, 2022 history as a focal point for art and ideas.
“I would like to be remembered as someone Currently on view is an exhibition by artists
who cheered architecture up,” said Archigram Ben Langlands and Niki Bell consisting of 11
member Peter Cook. The Louisiana Museum artworks that explore the role of architecture
of Modern Art is displaying a collection of and design in imagining utopian futures. For
the avant-garde British architect’s futuristic more, see charleston.org.uk
drawings; known as a “paper architect,” his
importance lies primarily in his shaping of Reset: Toward a New Commons
architecture as a theoretical field. Archigram, New York
the group he was part of in the 1960s and Through September 3, 2022
’70s, used drawing and collage to launch The Center for Architecture presents an
concepts such as the Plug-in City, the exhibit that analyzes the role of architecture
Walking City, and the Instant City. This in contemporary dynamics of community.
exhibition explores Cook’s imaginative and Taking into account recent movements to-
colorful drawings throughout his nearly ward racial justice and the impact of COVID
six-decade career. See louisiana.dk/en. on the American way of life, the exhibit
highlights historic and contemporary case
Nature × Humanity: Oxman Architects studies where design has addressed the need
San Francisco for community amongst vulnerable popula-
Through May 15, 2022 tions. See centerforarchitecture.org.
The San Francisco Museum of Modern Art
presents an exhibit of 40 artworks and instal- Events
lations in which Neri Oxman and her team
question the role of the architect in the age of AIA Conference on Architecture 2022
climate change. The collection explores, Chicago
through organic design, digital fabrication, June 22–25, 2022
and materials science, the sustainability of Registration for the annual conference opened
architectural practices and attempts to pre- on February 9, with this year being the first
clude a built environment centered solely time since 2019 that the event will be hosted
on the human. See sfmoma.org. in person. Leaders and professionals in archi-

Find us
tecture and design will come together for a
Open: Doug Aitken schedule of seminars, practicums, and tours of
New York the host city in order to highlight innovation
Through May 27, 2022
303 Gallery in New York, along with Galerie
in the industry. For more information, see
conferenceonarchitecture.org. on Social
Eva Presenhuber in Zurich, Regen Projects in
Los Angeles, and Victoria Miro in London, Competitions
presents a joint exhibition of artist Doug
Aitken’s work hosted exclusively within the AIA National Photography Competition
Vortic virtual reality system. Open features 2022
digital interpretations of Aitken’s existing Deadline: May 5, 2022
physical sculptures as well as new artworks The annual competition recognizes achieve-
made for the platform. Visitors will don ment by architects, design professionals, and
Oculus headsets to experience Aitken’s sculp- architectural students whose talents are show-
tures and artworks situated within imaginary cased in their photographic interpretation of
and fantastical architectural environments. the designed environment. It is open to U.S.-
The exhibit is also available on Vortic’s web- registered architects or AIA associate, stu-
site and mobile app. See 303gallery.com. dent, and full members. See aia-stlouis.org.

Langland and Bells: Visions of Utopia E-mail information two months in advance to
East Sussex, England areditor@bnpmedia.com.
Through August 29, 2022

125
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127
 SNAPSHOT

A STAINLESS-STEEL-AND-GLASS 12-pointed star, illuminated by the German

lighting design firm Licht Kunst Licht (LKL), glows atop one of the spires of
Antoni Gaudí’s Sagrada Família basilica in Barcelona. In planning the church—a
UNESCO heritage site under construction for over 140 years now—the Catalan
architect originally stipulated that the “star must be a luminous element at
night, and during the day a non-transparent architectural element.” However,
Gaudí wrote, “the luminosity . . . must not be excessive, but rather dim to avoid
the architectural dematerialization of the star.” The recently installed element, PHOTOGRAPHY: © LKL DESIGN HUB BARCELONA
crowning the 450-foot-tall Tower of the Virgin Mary, consists of 10-foot-long
steel-framed pyramidal points with triple-layer glass infill (the top layer of which
is textured “artistic glass” made specifically for the project). LKL’s Barcelona
office (which is overseeing the master lighting plan for the tower and the entire
church) employed miniature LED luminaires for the spire and star that are
designed for precision, control, and to withstand lightning impact and the heat
of Barcelona’s summers. “The goal is to see the building illuminated but not to
see the luminaires,” says LKL project manager Naiara Caballero, of the effort to
seamlessly integrate luminaires within Gaudí’s organic forms. “We didn’t want to
place our stamp—we just wanted to respect the architecture.” Ilana Herzig

128 ARCHITECTURAL RECORD APRIL 2022

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