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Where Your Vision Meets Our
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AUGUST 2024
DEPARTMENTS BOOKS
BUILDING TYPE STUDY 1,067
18 EDITOR’S LETTER FOOD, WINE & HOSPITALITY 63 REVIEW: The Rising: The Twenty-Year
21 HOUSE OF THE MONTH: Angra House, Battle to Rebuild the World Trade
73 Introduction Center, by Larry Silverstein
Brazil STUDIO ARTHUR CASAS
By Molly Heintz 74 OLM Nature Escape, Campo By Izzy Kornblatt
Tures, Italy ANDREAS GRUBER
28 FIRST LOOK: 843 N Spring Street, 66 EXCERPT: The Modern Garden: The
ARCHITEKTEN By Matt Hickman
Los Angeles LEVER ARCHITECTURE Outdoor Architecture of Mid-Century
By Ian Volner 80 Château Cantenac Brown, America, by Pierluigi Serraino, AIA
Cantenac, France (APM) ARCHITECTURE
34 CLOSE UP: Centre de Congrès, Salé,
& ASSOCIÉ By Andrew Ayers
Morocco RICARDO BOFILL TALLER DE
84 Explora Lodges, Jirira, Bolivia 121 Dates & Events
ARQUITECTURA By Leopoldo Villardi
MAX NÚÑEZ ARQUITECTOS 124 SNAPSHOT: Red Barn Winery at
40 PRODUCTS: Landscape & Outdoor
By Leopoldo Villardi Jagged Rock, Oliver, British Columbia
43 PRODUCTS: Hospitality OLSON KUNDIG By Pansy Schulman
88 Silt, Middelkerke, Belgium ZJA
46 EXHIBITION: I.M. Pei: Life is By Tim Abrahams
Architecture, M+, Hong Kong
94 Tasting Rooms, Norwalk,
By Josephine Minutillo
Connecticut ABRUZZO BODZIAK
53 IN FOCUS: NeueHouse Cinema, ARCHITECTS By Matthew Marani COVER: OLM NATURE ESCAPE, CAMPO TURES, ITALY, BY
New York ROCKWELL GROUP ANDREAS GRUBER ARCHITEKTEN. PHOTO © MANUEL
98 Edition Hotel, Singapore KOTTERSTEGER.
By Joann Gonchar, FAIA
SAFDIE ARCHITECTS
61 GUESS THE ARCHITECT By James S. Russell, FAIA Emeritus
THIS PAGE: EXPLORA LODGES, JIRIRA, BOLIVIA, BY MAX NÚÑEZ
102 Corollary Wines, Amity, Oregon ARQUITECTOS. PHOTO © ROLAND HALBE.
WAECHTER ARCHITECTURE Expanded coverage at architecturalrecord.com.
By Randy Gragg

11
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*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.

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 From the EDITOR
TALL TIMBER
Open Season
THERE ARE two kinds of people:
those who prefer to be cold, and
those who prefer to be hot. I am of
the latter camp, and summer for me
is the best time of year—not to sit
in overly air-conditioned rooms but
to be outdoors, or, as is more often
the case, to appreciate the outside
from indoors.
Like it or not, people around the
world are increasingly dealing with
being too hot. Temperatures to date
are already high enough to give
2024 a good chance of breaking
2023’s record as the hottest year since global tracking began. No level
of air-conditioning—arguably a cause of the problem—will fix that.
The August issue highlights buildings and spaces that smartly con-
nect to nature, rather than turn their back to it. We start with the
House of the Month in Brazil where, according to its architect, Arthur
Casas, “it’s always summer,” and plant life and natural materials are
focal points of the interiors.
Our Building Type Study is a celebration of the season in more ways
than one. While we examine buildings designed for food, wine, and
hospitality, those same buildings go a step further to integrate with the
landscape, and tread lightly on it. We visit a winery in France that
carefully deconstructs an existing hotel to reuse parts of it as a new
production facility, utilizing traditional, and mainly passive, tech-
niques to maintain all-too-important atmospheric conditions. A hotel
complex in Belgium softens the harsh relationship between its coastal
town and the sea wall. The round structure of a self-sustaining nature
escape in Italy, featured on the cover, takes in the Alpine views from
every direction, and accommodates an expansive solar array on its roof.
Other projects tackle biophilic design and sustainable building on a
smaller scale, whether incorporating greenery and daylight or employ-
ing prefabricated parts that can easily be disassembled and rebuilt
elsewhere.
Drawings: Council on Tall Buildings and Urban Habitat

A new book by Pierluigi Serraino, AIA, The Modern Garden: The

Outdoor Architecture of Mid-Century America (excerpted on page 66),

PHOTOGRAPHY: © JILLIAN NELSON

challenges the long-held assumption that architecture dominates the
landscape. We have all lived or worked in that type of scenario: air-
conditioned boxes, often with windows that are inoperable and where
swaths of green are nonexistent. As how we live and work changes—I
write this with a soft breeze and the sounds of birds chirping coming
through a window—and we understand more deeply the impact of our
buildings on the earth, let’s all focus on how architecture can have a
more symbiotic relationship with its surroundings.

Josephine Minutillo, Editor in Chief

IN18THE GALLERY AND ONLINE | 39 Battery Pl, New York | skyscraper.org

A R C H I T E C T U R A L R E C O R D AU G U S T 2 0 24
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 HOUSE of the Month
TO REIMAGINE A WEEKEND HOUSE ON BRAZIL’S EAST COAST, STUDIO ARTHUR CASAS TURNS TO NATURE. BY MOLLY HEINTZ

A TWO-HOUR drive south from Rio de retreat with affluent Cariocas, as inhabitants An atrium of rainforest plants is the backdrop
Janeiro, the seaport of Angra dos Reis is one of Rio are known, as well as Paulistanos from in the living room, which is spanned by a
woven-straw ceiling.
of Brazil’s oldest colonial settlements. While São Paulo, about five hours southwest. “It’s a
Rio seems to press the jungle back from its bit like the Hamptons,” says Paulistano archi-
buzzing beaches, Angra is inseparable from tect Arthur Casas, comparing the helicopter- its main point of access. An existing mod-
PHOTOGRAPHY: © FRAN PARENTE

its natural surroundings, merging with the commuting scene at Angra to that of eastern ernist house on the property was designed by
Atlantic across a 365-island archipelago. Long Island’s tony private getaways. Brazilian architect Fernando Peixoto in the
Though an active port—the “Bay of Kings” In 2021, one of Casas’s Rio-based clients, 1980s and featured tinted glass and walls in
remains a key outlet for the export of coffee, a family with two children, asked him to bright primary colors. Casas says he typically
coal, steel, and wheat—myriad inlets and visit a recently purchased property in Angra. passes on renovation projects, noting that
coves outside the city center hide tranquil Although part of a gated community, the site they often take longer and are more expen-
enclaves that make Angra a popular weekend is oriented toward the sea and uses a dock as sive—plus, “It’s a challenge to work on

21
 HOUSE of the Month

A
8
8 8 5
5 2
3
7

2
3
4 0 15 FT.
SECTION A - A
5 M.

A
2

1 DOCK 5 DINING AREA

1 2 OUTDOOR SEATING 6 LIVING AREA

3 POOL 7 SCREENING ROOM

4 GYM/GAME ROOM 8 GUEST ROOM

0 15 FT.
GROUND-FLOOR PLAN
5 M.

something that is not 100 percent your own.” roof and beamed ceiling remained, but the rior, and reimagined ceilings of woven straw
But the pitched ceramic-tile roof of the space below was reinvented. create textured canopies in the main living
Angra house appealed to him, as did the Working closely with Brazilian landscape areas. Casas looks forward to a time when the
siting of the L-shaped structure, set into a designer Ricardo Cardim, Casas blurred the stones will have acquired a patina and the
rocky slope leading to the water. Casas distinction between inside and outside over plantings have filled out even further, fully
imagined opening the volume up to create five split levels. Plant life becomes a focal blending the structure into nature.
better daylighting, with cross ventilation point, as in the atrium beyond the main living Casas removed divisions in the main living
that could catch the sea breezes. He also area, where a lush garden of local rainforest areas to create an open flow of space that
wanted the house to feel as if it were one species flourishes. New walls made of rough- underscores connectivity to the outdoors. A
with nature, much like Angra itself. The hewn local stone are left exposed on the inte- key design element in this approach is a series

22 ARCHITECTURAL RECORD AU G U S T 2 0 24
The main approach is
from a seaside dock
(opposite, left). The
dining areas are
defined by natural
finishes (opposite,
right, and far right).
The patio connects a
downstairs dining
room and chef’s
kitchen to the pool
(above). Most spaces,
including stairways,
offer a view to the
outdoors (right).

23
 HOUSE of the Month

A light-filled hallway on an upper level leads to

the primary suite.

of folding latticework screens made of acety-

lated wood and inspired by mashrabiyas.
Walls of the accordion-folding shades flank
the outdoor terrace and pool on two floors.
On lower levels of the house are a gym and
game room, and, tucked away, a screening
room, wine cellar, and guest rooms. The
family’s bedrooms and a home office, as well
as laundry and staff facilities, are in more
private areas of the upper level, which has an
inland-side entry. At the top of the house, the
tile roof now supports photovoltaic panels.
Best known in the Americas for his resi-
dential projects, which emphasize daylight
and natural materials, Casas works at all
scales and approaches projects holistically,
often specifying finishes and including furni-
ture plans in his first round of drawings.
Some of his own designs are used in the
Angra house along with those of other
Brazilian furniture makers, while Italian
pieces reign poolside, with sofas and chaises
by Paola Lenti. “People do everything at
home,” says Casas, explaining how the pool
area merges into a large dining area with a
chef ’s kitchen used for entertaining. “In Bra-
zil, there are always houseguests invited to
vacation homes. Here, it’s always summer.” n

Credits
ARCHITECT: Studio Arthur Casas — Arthur
Casas, principal; Nara Telles, project architect;
Fabíola Andrade, decor manager; Ligia Damin,
decor coordinator; João Lisboa, Manoela Vilaça,
Diogo Mondini, Milena Chieco, Joyce Santos,
Ana Maria Pedreschi, Augusto Mattos, Amanda
Tamburus, Valentina Lindner, design team
CONSULTANTS: Maneco Quinderé (lighting);
Ricardo Cardim (landscape); Zamaro
(electrical/hydraulic); Logiproject (climate
control); Abilitá (structure); X-tron (automation)
GENERAL CONTRACTOR: Laer Engenharia
SIZE: 7,535 square feet
COST: withheld
COMPLETION DATE: April 2024

Sources
WINDOWS: Eurocentro
INTERIOR FINISHES: Uniflex Ipanema (blinds);
Marvelar (cabinetry); Guandu (marble)
FURNISHINGS: Studio Objeto, Flexform,
Etel, B&B Italia, Lattoog, Paola Lenti, Cassina,
+55 Design, Firmacasa, Tora Brasil, Micasa
(furniture); Estúdio Avelós (upholstery); Nani
Chinellato (carpet)
LIGHTING: Herança Cultural

24 ARCHITECTURAL RECORD AU G U S T 2 0 24
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 FIRST LOOK

Branching Out
A Lever Architecture–designed timber-and-steel building portends
a mixed-use and biophilic future for Los Angeles.
BY IAN VOLNER

THE BEST and certainly the easiest way with the experience of urban space that the the project hopes to will into existence.
to approach 843 N Spring Street for the first car affords. “It’s definitely meant to be viewed from the
time is to do so by train. This in itself is Yet the new timber-and-steel office and Metro platform,” says Robinson. “And it’s a
PHOTOGRAPHY: © JEREMY BITTERMANN

unusual—at least in Los Angeles, where retail building in the city’s Chinatown neigh- great place to see people on the platform.”
most buildings are first seen through the borhood—the latest from Portland, Oregon– The building sits on a sloped site at the north-
front windshield. From the “electrographic based Lever Architecture and its founding ernmost terminus of historic Alameda Street,
architecture” (in Tom Wolfe’s phrase) of the principal, Thomas Robinson—is not like nearly at the geographic center of Chinatown,
Sunset Strip to the bold gestural statements other buildings in L.A. Located right next to a place often misunderstood, even by long-
of local staples like Thom Mayne and Eric an elevated station of the Metro Rail, 843 N time Angelinos. There has been significant
Owen Moss, much of what one has come Spring is architecture for a new and strik- change to the area over the last half century.
to understand about design and the La-La ingly different Los Angeles, one only dimly Chinatown began to be eclipsed by nearby
landscape is connected with the car, and visible at present but which the team behind San Gabriel Valley as the region’s primary

28 ARCHITECTURAL RECORD AU G U S T 2 0 24
Expansive balconies cantilever off the north
elevation (opposite). The landscaped atrium is
exposed to the elements (right). Curtain walls
line the east and west elevations (below, right).

Asian community in the 1970s. The intro­

duction of new amenities and infrastructure,
like the impressive Los Angeles State His­
toric Park (2001) just to the north, and the
expansion of the city’s mass­transit network
into the neighborhood (2003), made it espe­
cially attractive to developers—among them
Redcar, the company that snapped up the
former two­story retail structure on the site
back in 2018.
“The area has the power to be this creative
hub,” says Michael Namba, Redcar’s head of
development. “As soon as the train came
through, we saw it as a better alternative to
Downtown.” A transit­oriented strategy,
with more convenient commutes for building
users, is integral to the company’s ethos: in
the early 20th century, the “red car” was the
common name for L.A.’s interurban rail line,
the best way to get around in the city before
the advent of the freeways and the suburban
sprawl they helped produce.
As befits the new building’s ecological
and urbanist premise, Lever’s design puts
programmatic density and carbon reduction
at the top of the agenda. That first glimpse,
as the visitor rattles southward on the
tracks, gives a hint of the building that
follows. Atop a conventional base contain­
ing the street­level storefronts, the build­
ing’s north elevation appears to separate into
two discrete lobes—a move that makes way
for a courtyard—and each volume, framed
in dark steel, cantilevers towards the lot line
to provide balconies and brandish the ex­
posed undercrofts of the cross­laminated­
timber floor plates. The central void is key:
“We wanted to open up to the exterior
climate that defines why people live in
L.A.,” says Robinson. Exposed to the ele­
ments, the combined atrium­staircase in the
middle of the five­story complex is at once
its circulatory and social core, a multi­tiered
plaza where workers from the surrounding
offices can mix, mingle, or linger en plein
air with coffee from one of the lower­floor
vendors.
To give the space added allure, Lever
turned to the landscape experts from Field
Operations in New York. “We were really
inspired by the extraordinary meadows in
the Santa Monica Mountains,” says Sarah
Weidner Astheimer, a Field Operations
partner. In particular, the office took their

29
 FIRST LOOK

The verdant atrium is a route for vertical

circulation (left and below, left). The timber-
and-steel structure is visible (opposite).

cue from the shady canyons that shoot

through the coastal uplands of western
L.A.; the lush tree ferns at the lower levels
transition to verdant succulents and grass-
es as the building ascends, mimicking a
valley-type environment.
To anyone familiar with Lever, the
structural centerpiece of the design should
come as no surprise. “This was an oppor-
tunity to bring CLT construction to L.A.,”
says Robinson. The firm has become
arguably the foremost exponent of mass-
timber construction in the United States,
using the sturdy fire-resistant material as a
renewable alternative to carbon-intensive
concrete while making the most of its
undoubted visual (and, at N Spring, pow-
erfully aromatic) appeal. The CLT floor
plates (topped by concrete slabs) are com-
plemented by the dark, flanged steel of the
post-and-beam and cross-bracing systems,
creating what Robinson terms “a hybrid of
new and old”—of the industrial and the
natural, of Modernist simplicity and con-
temporary biophilic design.
Hints of Chinatown’s alleyways (by
virtue of the building’s open-air atrium
and myriad circulatory routes) and of the
warehouse workspaces, with the quasi-
industrial open office space long favored by
the SoCal creative class, add a familiar
regional flavor to the building, combining
nicely with its very Portlandian environ-
mentalism. Nonetheless, the design re-
mains distinctly un-L.A.-ish—a deliberate
attempt to stand out from the crowd. “I’m
hoping this is a new model for a mixed-use
building in L.A.,” says Robinson. In a
challenging post-pandemic office market-
place, the team behind 843 N Spring is
counting on its casual-cool, indoor-out-
door feel and transit-friendly, eco-con-
scious profile to draw personnel out of the
work-from-home bubble. Even the under-
ground parking garage is part of the sus-
tainability narrative, having been salvaged
from the previous structure. For a neigh-
borhood in flux, in a city struggling to find
its bearings after the disruptions of 2020
and before the Olympics in 2028, the
building represents a bold bet on the fu-
ture, one with uncertain prospects but
undeniable promise. As Redcar’s Michael
Namba puts it, “We’re thinking of this as a
catalyst for things to come.” n

30 ARCHITECTURAL RECORD AU G U S T 2 0 24
 Credits
ARCHITECT: Lever Architecture
ENGINEERS: Glotman Simpson Consulting
Engineers (structural); AMA Group (m/e/p);
Sherwood Design Engineers (civil)
CONSULTANTS: James Corner Field
Operations (landscape); KGM Architectural
Lighting (lighting); Morrison Hershfield
(envelope); Allegion (door hardware)
GENERAL CONTRACTOR:
Shawmut Design and Construction
CLIENT: Redcar
SIZE: 145,000 square feet
COMPLETION DATE: May 2024

Sources
STRUCTURAL DECKING: Structurelam
EXTERIOR CLADDING: ORCO Block &
Hardscape (burnished CMU); Ennova
Facades (curtain wall); TAKTL (UHPC facade
panels)
WINDOWS: Oldcastle BuildingEnvelope
(awning vent); Shuco (metal frame)
GLAZING: Guardian; Velux Longlight
SECTION PERSPECTIVE (skylights)
PAINTS AND STAINS: Benjamin Moore

31
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 CLOSE UP

Inner Circle
In Morocco, Ricardo Bofill Taller de Arquitectura designs a university
conference center with a deep-green auditorium at its core.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY GREGORI CIVERA

34 ARCHITECTURAL RECORD AU G U S T 2 0 24
UNIVERSITÉ Mohammed VI Polytechnique has been diligently working to see that work
(UM6P) in Ben Guerir, Morocco, is a relatively through. (A good amount of it is finished.)
new institution—the private research university UM6P, which currently enrolls about 5,000
only began conferring degrees less than a decade students, continues to grow and has even begun
ago. But Ricardo Bofill Taller de Arquitectura building satellite campuses, including one in the
(RBTA), the Barcelona-based studio formerly Rabat-Salé metropolitan area, near the nation’s
led by the eponymous architect until his death capital, that fittingly offers degrees in social
from Covid-19 in 2022, is no stranger to UM6P. sciences, economics, and the humanities. There,
In 2011, the firm beat OMA and Zaha Hadid RBTA has been just as busy, employing a simi-
Architects, among others, in a competition to lar master planning strategy that relies on axial
master-plan and design the approximately 135- relationships, walkable covered streets, and
acre campus, and, over the last 13 years, RBTA, public plazas. This fall, doors will open at the
now under the leadership of Bofill’s two sons, campus’s Centre de Congrès, an academic lec-

35
 CLOSE UP

ture hall big enough to host conferences and

conventions.
“It was important for us not to be too
nostalgic about the vernacular, because that
can yield something pastiche,” says Pablo
Bofill. “In Morocco, there is always an inner
architecture—you might first go through a
small door, and then there might be a court,
and then there might be another door, and so
on,” he explains of the existing fabric and the
team’s attention to geometry and sequencing
in the Centre de Congrès. Accordingly, be-
hind layers of concentric spaces lies the proj-
ect’s hidden gem: an emerald lecture hall,
illuminated by an uplit white-plaster dome
that bestows the room with dramatic flare.
The procession begins from an esplanade
of potted trees that connects the Centre de
Congrès with the rest of UM6P’s Rabat-Salé
campus. A colonnade-like wall, clad in local
beige detrital limestone and punctured by
corbelled rectangular openings, delineates the
perimeter of the building. This threshold
encloses, first, a patio, and then a monumen-
tal poured-in-place-concrete drum with four
wide arches around its base. Within this
cylindrical volume, an entrance hall and
staggered blocks (housing seminar rooms)
interspersed with light wells wrap the 1,500-
seat monochromatic sanctum of education.
On the far side, in the interstice between the
drum and outer wall, the architects placed a
café with ample seating (and views of an olive

Credits
ARCHITECT: Ricardo Bofill Taller de
Arquitectura — Pablo Bofill, CEO; Ricardo
E. Bofill Maggiora Vergano, president; 4 4
Hernán Cortés, design lead
ASSOCIATE ARCHITECT:
Melehi Haitam Architecte
ENGINEERS: Sogea (structural); Sepsi
(security/fp); Axians (AV); Cegelec
(electrical) A A
CONSULTANTS: Peutz (acoustics); Royth
2 1
(facades); Signes (signage); Poliprograma
(program); 380-750nm (lighting) 1
GENERAL CONTRACTORS: Sogea,
7
Cegelec
CLIENTS: OCP, Université Mohammed VI
Polytechnique
SIZE: 117,400 square feet
COST: withheld 4 4

COMPLETION DATE: September 2023

1
Sources
GLAZING: Astiglass
FINISHES: Radici Pietro Industries &
Brands (carpet); BD Barcelona Design
(furnishings)
0 50 FT.
LIGHTING: Bega GROUND-FLOOR PLAN
15 M.

36 ARCHITECTURAL RECORD AU G U S T 2 0 24
A MONUMENTAL cylinder with arched openings
(right) sits behind a colonnade (above). Like the
auditorium, the café is all green (opposite).

grove), an exhibition space, and a 300-seat

diamond-shaped hall—also fully green.
Immersive color has been used to great
effect by the Catalonian studio to enliven its
architecture—consider the deep midnight blue
of Castillo de Kafka and the reds and indigoes
of La Muralla Roja, inspired by Maghrebi
casbahs. “It is a part of our DNA and a strat-
egy that we often consider,” says Bofill, hold-
ing up a palette of RBTA-preferred hues. “For
us, space becomes more powerful when there
is one color rather than a patchwork—it helps
people identify a special place in their mind.”
Green also carries cultural significance in this
context: its association with paradise and
purity in Islam, the pentagram of Morocco’s
national flag, and the zellige tiles that adorn
notable mosques throughout the country.
“Sometimes the only way of doing things
in Morocco is to do them fast—work and
construction happen at almost the same time.
That has always been a challenge,” Bofill

5
2
6

0 30 FT.
SECTION A - A
10 M.

1 PATIO 3 SEMINAR ROOM 5 AUDITORIUM 7 EXHIBITION

2 ENTRANCE HALL 4 LIGHT WELL 6 GREENROOM 8 CAFÉ

37
 CLOSE UP

THE INNER DRUM is partially open to the sky,

allowing students to pass underneath striking
high-flying arches.

concedes. But, despite this, a certain cinemat-

ic quality prevails, notable for a firm whose
works have repeatedly drawn location scouts
for films such as Brazil (1985) and television
shows including Westworld (2016–22), or
inspired set design, as in Squid Game (2021).
For Bofill, however, “this project is about
much more than the architecture.” UM6P
was founded with the goal of providing qual-
ity education to students from across the
continent. “It’s about trying to be part of the
transformation of a place,” he says, adding
that it has become increasingly difficult for
students in the Arabic- and French-speaking
Maghreb to acquire visas to pursue education
in France. “The architecture is an excuse to be
able to make progress.” And while that might
be true, the Centre de Congrès is sure to
make those who aren’t students there green
too—with envy. n

38 ARCHITECTURAL RECORD AU G U S T 2 0 24
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 Record EXHIBITION

A First-Ever I.M. Pei Retrospective Opens at Hong Kong’s M+

BY JOSEPHINE MINUTILLO

THIS MAY SOUND odd com­ Knapp in 1948 to the design of

ing from someone who grew up in his last project, the Miho
New York City, but my first im­ Institute of Aesthetics Chapel
mersive experience with modern in Japan in 2008—it is, after all,
architecture came when I moved his unrealized work that is most
to Ithaca. For three of the four surprising. Take, for example,
years I spent in that isolated up­ Pei’s proposed scheme for La
state New York town as a student Défense in Paris (1971) or the
at Cornell University, I was a Hyperboloid, Pei’s first sky­
docent at the school’s Herbert F. scraper design, from 1956. The
Johnson Museum of Art. The 108­story tower was meant to
building, designed by I.M. Pei and replace Grand Central Term­
opened in 1973, was often called inal. (Plans for it were fortu­
the “sewing machine” for its un­ nately abandoned, in 1958.)
I.M. Pei: Life is Architecture,

IMAGES: © JOHN LOENGARD/THE LIFE PICTURE COLLECTION/SHUTTERSTOCK (TOP); J. HENDERSON BARR (BOTTOM, LEFT); COURTESY PEI COBB FREED & PARTNERS (BOTTOM, RIGHT)
canny resemblance to one, with its
thick base, shaft to one side, and which runs until January 5,
cantilevering upper floors over the 2025, covers Pei’s long career
base. I didn’t know what to make and famously long life. The
of it at the time, only that I loved curiously organized exhibition,
being inside of it. separated into six sections that
The Johnson Museum is among have several of the projects
a narrow selection of Pei’s buildings appearing repeatedly, spans a
featured in an exhibition—the first retrospec­ Cayuga Lake beyond. It’s a fascinating detail sprawling 17,000 square feet of gallery space
tive of the architect—that opened in late June for those who know the building, and the within Herzog & de Meuron’s superlative
at M+ in Hong Kong. An early drawing for locale, and even for those who don’t. museum building in the West Kowloon
the Johnson Museum shows an unrealized As an architect who designed many ac­ Cultural District (record, December 2021).
plan for a tunnel cutting through rock be­ claimed works and whose career spanned 60 Before Pei died at the age of 102, in 2019, he
neath the building, leading to the edge of the years—from when Pei joined William Zeck­ was approached by then M+ architecture and
gorge above which the towering structure endorf to head the architectural division of design curator and record contributing
presides and offering stunning views to giant real­estate­development firm Webb & editor Aric Chen, and tentatively gave his

Portrait of I.M. Pei taken when he was selected to design the John F. Kennedy Presidential Library
and Museum in 1965 (top). Rendering of the Herbert F. Johnson Museum of Art (above). The unbuilt
Hyperboloid (1956), Pei’s first skyscraper design (right).

46 ARCHITECTURAL RECORD AU G U S T 2 0 24
 Museum of Islamic Pei was a celebrity during his lifetime,
Art (2008), Doha and the exhibition, particularly a section
(top, left). OCBC
devoted to “Power, Politics & Patronage,” is
Centre (1976),
Singapore (above).
chock full of material featuring the architect
Installation view of in the press (including a cover of record)
exhibition showing and with famous world leaders such as
Bank of China tower François Mit ter rand and artists including
in Hong Kong (left). Henry Moore and Alexander Calder. What
it lacks is a deeper understanding of Pei’s
PHOTOGRAPHY: © MOHAMED SOMJI (TOP, LEFT); BEP AKITEK (TOP,

consent for a retrospective at the institution, according to cocurator Shirley Surya, who process. The section on Material &
after reportedly refusing one for years. describes Beijing’s Fragrant Hill Hotel (1982) Structural Innovation, which showcases,
Hong Kong is an apt location for the as not successful; it was called by many a among other things, various concrete forms
exhibition—Pei’s family relocated there in Postmodern building, though Pei rejected Pei employed, is where I hoped to see more
1918, after Ieoh Ming was born in Guang­ that notion. (The Rock & Roll Hall of Fame, information about his partners, Harry Cobb
zhou the previous year, and it is the site of one an outlier in his oeuvre, is not in the show— and James Ingo Freed, and collaborators like
of the architect’s best projects, the Bank of perhaps the building missed a beat.) Les Robertson.
RIGHT); DAN LEUNG (BOTTOM, LEFT)

China Tower just across Victoria Harbour But even the apparent misses become hits. “This isn’t a show for architects,” said
from M+. That skyscraper—briefly the tallest “Villain Turned Hero” read one paper’s head­ Surya during its opening days. The absence
in Hong Kong and Asia from 1990 to 1992— line about Pei’s hard­fought battle to get the of sketches is startling even if the kind of
is included in the show, as are all the hits, like Louvre pyramid built. Regarding his Society detailed drawings or analysis of process I
the National Gallery of Art East Building Hill project in Philadelphia (1957–64), expected could be a turnoff to a general
(1978) in Washington, D.C., and Paris’s journalists wrote: “No Longer Are They audience. Aside from drawings by Pei’s hand
Grand Louvre, completed in 1993. There are Laughing at Pei Homes,” and “Pei Homes from his student days at MIT and Harvard,
also a couple of less well­regarded works, Now Paying Off.” there is not even a single hand­drawn parti

47
 Record EXHIBITION

PHOTOGRAPHY: © LIU HEUNG SHING (LEFT); MARC RIBOUD (RIGHT)

for, say, the Louvre pyramid. “He would (Sandi’s brother Didi, with whom he ran worthwhile look at a sometimes underappre-
make a very simple sketch, one or two lines, PEI Architects, died unexpectedly in ciated figure, his Pritzker Prize notwith-
and then sketch on top of other people’s December 2023.) standing. Pei was never accorded the same
drawings. It was a very iterative process,” Despite some shortcomings—in part due reverence as his contemporaries Louis Kahn
said Pei’s son Sandi, who worked with his to scant materials at Pei Cobb Freed & or Paul Rudolph (whose unusual blue-walled
father on the Bank of China Tower, and who Partners’ offices (note to architects about double office tower, Lippo Center, sits across
was also present for the exhibition opening. preserving their archives)—the exhibition is a the road from Pei’s Bank of China building
S TA N F O R D B A S S B I O LO G Y C A F E
 I.M. Pei with Jacqueline Kennedy Onassis at
Fragrant Hill Hotel’s opening in Beijing, 1982
(opposite, left). Pei and French president
François Mitterrand at the Louvre (opposite,
right). Installation view with pyramid (right).

in Hong Kong). Adds Sandi Pei about his

father, “He wasn’t a provocateur.”
Pei was, instead, the envy of many archi­
tects for the sheer number of buildings—
icons, even—he completed (perhaps even the
envy of Kahn, against whom Pei won the
commission for the John F. Kennedy Presi­
dential Library and Museum, featured unre­
markably in the exhibition). Travel the world
and you’ll see his work, in places from Sing­
apore, Beijing, and Paris to Lincoln, Nebraska
PHOTOGRAPHY: © WILSON LAM

(and, yes, even Ithaca). The show itself, set

to travel to Pei’s Museum of Islamic Art in
Doha in 2026 and reportedly elsewhere,
seems executed to fully establish Pei’s reputa­
tion for the future. Whether that happens is a
question. So far, there are no plans for the
exhibition to come to the U.S. n

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 IN FOCUS

Underground Cinema
Rockwell Group revisits and transforms a basement at a private New York club into a “destination.”
BY JOANN GONCHAR, FAIA

THE ROCKWELL GROUP–designed What is NeueHouse? The member-only The screening room’s plush seating is tiered, as
NeueHouse, in Manhattan’s Madison coworking space bills itself as a “private work in a commercial theater. Sofas, for the front
row, can be reconfigured or removed.
Square neighborhood, makes a striking and social space for creators, innovators, and
first impression. After walking through an thought leaders.” In addition to desks, of-
anonymous set of doors on East 25th fices, and high-speed Wi-Fi, it offers ameni- designed the company’s Hollywood “house,”
Street, visitors are greeted by a loftlike ties similar to those found at an upscale renovating William Lescaze’s 1938 CBS
ground-floor space, with an edgy down- hotel, including a concierge, a restaurant and Radio Building and Studio on Los Angeles’s
town feel: the early 20th-century building’s bar, and a catering service. It also hosts Sunset Boulevard.
PHOTOGRAPHY: © JASON VARNEY

concrete slabs and structural clay tiles have cultural programming, such as workshops More recently, Rockwell Group returned
been left exposed; new insertions have been and lectures, among other events. Rockwell to Madison Square to rethink the basement
made of industrial materials, including Group, known in particular for its hospital- level after the space flooded in spring 2021. It
metal mesh and blond-veneer plywood; and ity and theatrical design work, completed the had previously contained a large conference
oversize chandeliers with glass orbs are Madison Square location—NeueHouse’s room, a broadcast booth, a library, and a
suspended from above, helping to amplify flagship, in five floors of the 12-story build- small, 47-seat theater and was a bit of an
the room’s considerable volume. ing—in 2013. And, not long after, the firm afterthought, says David Rockwell, firm

53
 IN FOCUS

founder, of the floor’s earlier iteration and its

4 5 theater. NeueHouse wanted, says the archi-
tect, a larger theater, elevated projection and
1 BAR LOUNGE
3 sound systems, and a space that could be
2 BAR
better “activated for films, talks, and perfor-
3 SCREENING-ROOM
mances.”
LOUNGE
The chief design challenge, according to
4 CINEMA
Rockwell, was to transform the basement
1 5 GREENROOM into a “destination.” The low-ceilinged
6 RESTROOMS space, devoid of daylight, would require a
2
completely different approach from the
strategy used on the floors above. Instead of
an industrial-chic vibe, the new cinema level
exudes the ambience of a swanky after-hours
club. For instance, in the bar and lounge area
6
surrounding the new screening room, the
ceiling and its tangle of pipes, ducts, and
conduit, have been painted dark green to
make them less conspicuous. For the space
below this virtual horizontal plane, the
design team chose rich, earthy hues, such as
claret, rust, and mustard. The palette is used
for the walls, the carpeting, and for velvet-
upholstered seating that includes love seats,
0 15 FT.
CINEMA FLOOR PLAN
5 M.
armchairs, and banquettes, some inserted

54 ARCHITECTURAL RECORD AU G U S T 2 0 24
A swath of polished concrete floor cuts a path
through the lounge (opposite), past the bar
(above), to the theater. A greenroom (right) can
also host meetings or receptions.

into cozy nooks. Tables of different shapes

and sizes are topped in various types of
marble. Touches of gold, which reflect the
dim but warm illumination, are found here
and there, and on a soffit over the bar re-
sembling the marquis of an old-time movie
palace. The only surface that remains un-
adorned is a swath of polished concrete floor
that cuts a circulation path through the
lounge space to the theater.
The treatment of the theater itself, now
with 90 seats, is nearly monochromatic. It is
entirely rendered in sage green, except for a
few wood accents. The plush seating, uphol-
stered in velvet, like the furniture in the
lounge area, is mostly tiered, as in a com-
mercial movie theater. The front row, how-
ever, features modular sofas that can be
removed or reconfigured, as event require-
ments dictate. Directly accessible from the

55
 IN FOCUS

Touches of gold—on the furnishings, a metal

screen at the bar, and throughout the revamped
space—reflect the low but warm illumination.

theater is a greenroom with a long marble

table that can be separated into three tables,
allowing the space to double as a conference
room or a place to host a dinner.
Among the events held at the revamped
cinema since its completion earlier this year
was a preview of the Amy Winehouse biopic
Back to Black, in May, and a prescreening of
Keith Robinson’s new Netflix comedy spe-
cial, Different Strokes, in June. This writer
attended a directors’ talk and sneak peek at
two films set to premier later this month in
Philadelphia at BlackStar, a festival showcas-
ing the work of Black, Brown, and
Indigenous filmmakers. The pre-event
reception had a definite red-carpet energy,
with audience members chatting over cock-
tails in the lounge and a photographer mill-
ing about.
Rockwell says his inspiration for the new
cinema level was 1960s Italian movie houses.
He has clearly created a space that is smart,
intimate, and that hints at the glamour of
some recently bygone era. If that is what a
’60s Italian movie house was like, he has hit
the nail on the head. n

Credits
ARCHITECT: Rockwell Group — David Rockwell,
founder; Greg Keffer, partner; Matthew Winter,
studio leader; Rashmi Doshi, project manager;
Won Choi, interior designer
ARCHITECT OF RECORD: GSA Architecture
CONSULTANT: BOLD (lighting)
GENERAL CONTRACTOR: C&A Seneca
OWNER: CultureWorks/NeueHouse
SIZE: 3,500 square feet
COST: withheld
COMPLETION DATE: January 2024

Sources
PAINT: Benjamin Moore, JH Wall Paints,
Crescent Bronze
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Guilford of Maine
ACOUSTIC PANELS: Terramai
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ShawContract
METAL SCREEN: Banker Wire
STONE COUNTERTOP: Caesarstone
TABLES: Rustbelt Reclamation, Milia Shop, Four
Hands, Eichholtz, Calligaris
FIXED THEATER SEATING:
Irwin Seating Company
FLUTED GLASS: Bendheim

56 ARCHITECTURAL RECORD AU G U S T 2 0 24
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BOOKS

The Rising: The Twenty-Year Battle to cavalier” Port Authority of to win billions from insurers
Rebuild the World Trade Center, by Larry New York and New Jersey, to help pay for the redevel-
Silverstein. Knopf, 368 pages, $35. the bureaucratic entity that opment.
controls the Trade Center Nonetheless, as Silver-
REVIEWED BY IZZY KORNBLATT site and with which stein details in the memoir,
Silverstein traded blame for numerous politicians and
LARRY SILVERSTEIN, the 93-year-old years over delays and cost the Port Authority repeat-
New York developer who played a leading role overruns. edly tried to buy him out or
in rebuilding the World Trade Center, has Silverstein’s involvement otherwise lessen his influ-
scores to settle. Doing so is one of the central in the effort was something ence over the planning
aims of The Rising, Silverstein’s recounting of of an accident. In 2001, process. Even those of us
the reconstruction saga that is scheduled to be before the attacks, his firm who dislike Giuliani and
released—unsurprisingly—on the eve of had beaten out several mistrust the Port Authority
September 11. His targets? There are many: larger competitors in a may be inclined to question
the “mean-spirited” press, exemplified by New multibillion-dollar bid to whether a single wealthy
York Times editors who cast Silverstein as lease and operate the Port individual should have
greedy; self-serving politicians, including Authority–owned complex exerted so much control over
former mayor Rudy Giuliani and former gov- for 99 years—a lease that a publicly owned site of
ernor George Pataki, who acted cynically to he retained after the towers grave significance.
advance their ambitions for higher office; were destroyed, along with an obligation to Another of Silverstein’s aims in the book is to
insurance companies that Silverstein battled in pay the Port Authority $10 million in monthly address this skepticism. In contrast to the cor-
court, successfully winning a payout well above rent. And his presence was unavoidable for rupt and wasteful Port Authority, Silverstein
the insured value of the Twin Towers. And, another reason: as the holder of insurance presents himself as hard-nosed, capable, and
most important of all, the “capricious and policies, Silverstein’s cooperation was needed committed to the project out of civic duty. “No

63
 BOOKS

From 7 World Trade Center, Larry approached valuing buildings, structuring

Silverstein looks out over Ground financial agreements, and engaging in diffi-
Zero and the construction taking cult multiparty negotiations—when, that is, it
place there (left, circa 2007).
sticks to the mechanics of real estate.
And what of the complex that emerged from
Silverstein is not much of a the arduous process described in this book—
memoirist. His retelling is heavy the collection of Silverstein-developed offices,
on trite grandstanding and light the Port Authority–developed One World
on evidence of introspection. Trade Center (formerly known as the Freedom
Readers will have trouble believ- Tower) by Skidmore, Owings & Merrill,
ing that profit was as far from his Santiago Calatrava’s stegosaurus-like PATH
mind as he suggests, and it is station, the vast memorial pools, the marble-

PHOTOGRAPHY: © JOE WOOLHEAD, COURTESY KNOPF

difficult to take his complaints clad mausoleum that is the Perelman
about the Port Authority’s mis- Performing Arts Center, and everything else
use of taxpayer money seriously that now stands at Ground Zero? Silverstein
when another of his gripes with justifiably takes pride in such successes as the
the agency was its reluctance to shimmering 7 World Trade Center (also by
guarantee loans for his commer- SOM). But when he concludes that the com-
one seemed to understand that after 9/11 my cial towers, or when he later brags of negotiat- plex is a “better version of New York,” it’s
involvement with the Trade Center was not ing a lopsided agreement that required the difficult not to reflect on all the money spent
primarily about money or profit,” he writes. “I authority to fund the luxe shopping center in and the two decades of bitter wrangling be-
was determined to show the people who had the base of 3 World Trade Center. Rather, The tween Silverstein, the authority, and other
attacked America that we don’t give up. That Rising is most interesting when it affords interested parties, and wonder: is this really the
we rebuild.” insight into how Silverstein and his partners best we could have done? ■

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 BOOKS

The Modern Garden: The Outdoor outside to the inside), thus the necessary use of mul-
Architecture of Mid-Century America, neutralizing this estab- tiple retaining walls, the
by Pierluigi Serraino. Rizzoli, 224 pages, $70. lished hierarchy of archi- dramatic drop in height
tecture over landscape. In from the entry is solved
Architect and writer Pierluigi Serraino, AIA, the goal of integration, through a refined cascade
takes readers on a stroll through Modern gardens the garden became an of platforms in redwood
in this forthcoming survey, which aims to shed open framework to meet and concrete, landing on a
light on the overlooked landscapes that surround so ever-changing functional concrete tray with a six-
many midcentury masterworks. Bountifully needs, just as architecture sided pool inlaid in its
illustrated with striking images by fabled auteurs was attending to. Garrett boundaries. The circula-
Ezra Stoller, Julius Shulman, and others, the book Eckbo further expanded tion was carefully cali-
explores the (at times fraught) relationships among these insights: “The land- brated to deliver the sense
landscape architecture, building, and photography. scape must be designed in of inhabiting an outdoor
Following is an excerpt from chapter three. toto, area by area, pre- sculpture where the blend
cisely because its quality is of hardscape and landscape
MUCH HAS BEEN SAID about the in- a direct result of the total yields a stage set from
door-outdoor connection that Modern archi- combination of all elements seen from a given where to absorb the surrounding vistas. The
tecture opened up. As commonly shared, the point of view or circulation pattern.” strong architectonic nature of Halprin’s design
directional nature of the connection—that is, With the Gould Garden in Berkeley, puts in crisis the disciplinary divisions of
from the inside to the outside—reveals the California, in the late 1950s, Lawrence architecture and landscape. The qualitative
built-in assumption that architecture domi- Halprin’s vision for the outdoor setting radi- nature of this open void far overrides the
nates the landscape. Landscape architects cally transformed the bland character of the architectural merits of the preexisting struc-
gradually recognized that the reverse was just residence, which the owner had built a few ture, demonstrating the latent power of land-
as viable: outdoor-indoor (that is, from the years prior. As a technical challenge, due to scape architecture to radically sublimate given

66 ARCHITECTURAL RECORD AU G U S T 2 0 24
 Lawrence Halprin’s Gould Garden (1955–60)
offers residents a terraced landscape with
views of the Berkeley Hills (right).

conditions into a coherent spatial statement of

enduring strength. Such containment of space
in the out-of-doors further reinforced the
viability of extruding elements of the preexist-
ing structure into a landscape reality existing
as a stand-alone experience. The fountain and
the scoring motifs on the retaining wall are
from Jacques Overhoff ’s conception, whereas
the pool pavilion is a collaboration with the
architect-owner, making this a veritable
choral work under a landscape master plan.
While examples such as the Gould Garden
increasingly made their appearance in the
PHOTOGRAPHY: © MORLEY BAER

design vocabulary of the landscape commu-

nity, architects, for their part, continued to
reach out into the garden in their spatial
ambitions. Austrian émigré Richard Neutra
aimed at grounding his architecture to the
specific site in virtually all his residential
works. In a seminal article, “The Significance

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 BOOKS

In Oakland, California, Beverley David Thorne’s how to negotiate the fixed image of a reformed
Sequoyah House includes landscape elements architectural space with the changing image of
designed by Robert Cornwall. the space of the landscape. The organization
of the hardscape took the upper hand in the
of the Natural Setting” (Magazine of Art, earlier period, through geometric intricacies, as
January 1950), he admitted that “the problem a form of control to mitigate the unpredictable
may have been narrowed down too much and fluid language of plant materials and the natu-
the structure unjustly segregated from the total ral flow of walking. Traditional landscape
impact that it would produce when anchored to plans frequently offset the geometry of the
its surroundings.” He continued: “For ages, house into the garden, to replicate spatial
buildings have been designed to exclude the relationships on the ground, often at a grander
elements to repel the atmospheric influences scale. A growing sense of the necessity to set

PHOTOGRAPHY: COURTESY THE DAVID THORNE ESTATE

rather than to absorb them, as organisms do, up the environment for landscape to see archi-
for the vital process of assimilation and nour- tecture and for architecture to see landscape
ishment. . . . While manifestly a foreign body progressively took hold among architects. The
in the landscape, a building can nevertheless be transparency of Modern architecture called for
virtually fused with it.” Neutra arrived at these a far closer relationship to landscape than ever
conclusions as a mature architect who had before, its being a see-through invitation to let
personally witnessed the rapid transitions that the environment in. If early Modern architec-
Modern architecture was undergoing. His ture had cutouts on its purist walls, then, as
realizations, however, where hardly common in decades passed and technologies developed,
earlier years, or even at the time of that article. windows became walls of glass, obliterating
In the relentless quest for a new image for that physical distinction between outside and
architecture, the challenge for modernists was inside for good. n

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 BUILDING TYPE STUDY 1,067

CEU
FOOD, WINE &
HOSPITALITY
More than a celebration of epicurean delights, this month’s
Building Type Study, which also comprises the Continuing
Education course, highlights the myriad ways architecture
is enhanced through its connection to nature—often, quite
literally, bringing the outdoors inside.

74 OLM Nature Escape 88 Silt

Campo Tures, Italy | Middelkerke, Belgium | ZJA
Andreas Gruber Architekten
94 Tasting Rooms
80 Château Cantenac Norwalk, Connecticut |
Brown Abruzzo Bodziak Architects
Cantenac, France |
98 Edition Hotel
(APM) Architecture
Singapore | Safdie
& Associé
Architects
84 Explora Lodges 102 Corollary Wines
Jirira, Bolivia | Max Núñez
Amity, Oregon | Waechter
Arquitectos
Architecture

CONTINUING EDUCATION
To earn one AIA learning unit (LU), including one hour of health,
safety, and welfare (HSW) credit, read the “Food, Wine &
Hospitality” section on pages 73 to 104 and complete the quiz at
architecturalrecord.com. Upon passing the test, you will receive
a certificate of completion, and your credit will be automatically
reported to the AIA. Additional information regarding credit-
reporting and continuing-education requirements can be found at
continuingeducation.bnpmedia.com.

Learning Objectives

1 Describe how architecture can enhance coastal resiliency and

measures that can protect buildings from flooding.

2 Discuss building design and construction strategies suitable

for remote locations with fragile ecosystems.

3 Describe passive climate-control methods that can reduce or

eliminate the need for mechanical systems, keep occupants
comfortable, and reduce energy consumption.
PHOTOGRAPHY: © FINBARR FALLON

4 Outline ways buildings—both in rural and urban settings—

can integrate the local landscape and bring nature indoors,
improving occupant experience.

AIA/CES Course #K2408A

EDITION HOTEL, SINGAPORE

73
 CEU FOOD, WINE & HOSPITALITY

OLM NATURE ESCAPE | CAMPO TURES, ITALY | ANDREAS GRUBER ARCHITEKTEN

Round Trip
Flanked by the Zillertal Alps, a self-sustaining spa hotel offers a radical departure
from the chalet-style accommodations found in Italy’s northernmost province.
BY MATT HICKMAN

74 ARCHITECTURAL RECORD AU G U S T 2 0 24
 BE IT an onion-domed church or a metal-
clad warehouse, it’s not difficult for any build-
ing to appear dramatic against the natural
landscape of South Tyrol, Italy. With snow-
capped peaks and deep, winding valleys
setting the scene, even the most quotidian
structures come alive in this mountainous
pocket of Central Europe, still locked in an
Italian-Austrian identity crisis. (Bilingual but
predominantly German-speaking South Tyrol
was annexed from the Austro-Hungarian
Empire by Italy in 1919.) So, it doesn’t hurt
that the province, fiercely independent and
rooted in agrarian cultural traditions, has
embraced contemporary architecture that’s
just as sensational as the scenery. This is, after
all, home to a superlative high-altitude mu-
seum designed by Zaha Hadid (record,
December 2015).
Young South Tyrolean practitioners are
producing bold, forward-looking work that’s
idiosyncratic yet congruous with the land-
scape. Residential and hospitality projects—
key to this tourism-heavy stretch of the
Alps—have resulted in the largest bouts of
experimentation, including modern interpre-
tations of rural architecture. The latest project
to depart from the chalet-style lodges that
have long welcomed vacationers is from
Andreas Gruber, architect of the region’s
most curious—and environmentally con-
scious—new hotel.
Nestled in a pasture on the outskirts of
Campo Tures, a small market town in the
Aurina Valley, is OLM Nature Escape (olm
means alpine meadow), a 33-key “eco apar-
thotel” whose distinguishing characteristic is
its circular form. Unlike another flying saucer–
shaped building topped with photovoltaic
panels, Norman Foster’s Apple Park campus
(2018), this 45,200-square-foot hotel doesn’t
appear to have crash-landed from another
planet. Embedded in a gently rolling hillock
grazed by cows and sheep, the two-story con-
crete-frame structure is almost hidden, tucked
away in the landscape at the end of a curving
country lane as if it had always been there.
“It’s more like a contemporary monastery
than a classical hotel,” says Gruber, an area
PHOTOGRAPHY: © MANUEL KOTTERSTEGER

native (and retired competitive luger) who

studied architecture at the University of
Innsbruck.
As Gruber—whose multidisciplinary
studio also helmed the landscape design and
had a collaborative hand in the hotel interi-

THE RING shape of the hotel, enveloped by

farmland at the site of a former flour mill, is
meant to evoke the full cycle of nature.

75
 CEU FOOD, WINE & HOSPITALITY

ors—explains, one of the initial concepts for the site was a tourist
compound comprising multiple cabins. Ultimately, the client moved
ahead with a new plan, a simple circular structure with “large wood
units inserted,” says Gruber of the guest rooms. Like much of the hotel
interior, the individual suites are almost completely clad in warm,
untreated larch. “They even smell like cottages,” he adds.
After entering OLM through a front plaza, also circular, and going
past the entry-level reception area to the northeast of the building, guests
venturing counterclockwise next pass through the hotel’s restaurant and
bar. Beyond those begins a corridor located on the outer circumference
of the building’s doughnut-shaped plan. Here, the guest rooms, all of
which include balconies or patios, are focused inward, facing the hotel’s
nearly 200-foot diameter courtyard and pool area. About a quarter-way
around, the circulation route shifts to the inner circumference of the
circle, so that the guest rooms look out into the surrounding alpine
meadow, and the looping, glazed corridor provides views into the court-
yard. Although its does not complete a full loop, this plan largely re-
peats on the sunken ground floor, where the spa is located. No matter
which way you venture around OLM, there’s rarely a stunning view of
the South Tyrolean landscape absent. “It’s as if you’re walking outdoors
to your cottage—you always have a connection to the farmland and the
mountains,” says Gruber of the building’s transparency.
The kitchenette-equipped guest rooms convey the coziness of a
rustic mountain cabin but with features catering to a discerning clien-

7 1
1 9

7
7
5 10

6
2

12 11
4 3
3

3
1

0 30 FT.
GROUND-FLOOR PLAN SECOND-FLOOR PLAN
10 M.

1 MECHANICAL/TECHNICAL 5 FITNESS 9 KITCHEN

2 CHANGING 6 SWIMMING POOL 10 DINING/BAR

3 SAUNA 7 PRIVATE/STAFF 11 RECEPTION

4 TREATMENT 8 RESTROOM 12 BIKE/EQUIPMENT STORAGE

76 ARCHITECTURAL RECORD AU G U S T 2 0 24
 A ROOFTOP solar array provides the hotel with
clean energy (opposite); natural materials and
local craftsmanship abound in the restaurant
(above) and in a reception area with a modest
PHOTOGRAPHY: © MANUEL KOTTERSTEGER (OPPOSITE); HANNES NIEDERKOFLER (2)

shop showcasing regional delicacies (right).

tele: in-ceiling Bluetooth speakers, large

soaking tubs, and high-speed Wi-Fi that can
be muted by guests seeking to truly detach
during their stay. Reflective of OLM’s loca-
tion in the heart of an all-season outdoor-
recreation hot spot, generous built-in benches
near the entrance of each unit provide a con-
venient place to sit and shed one’s gear after a
long day on the nearby ski slopes or on hiking
and cycling trails. Many of the rooms also
feature glass-enclosed saunas outfitted with
maple benching. According to Thomas
Steiner, a hospitality consultant who worked
with Gruber to develop the OLM concept,
the in-room saunas are geared toward Italian
guests, who, he says, are not as comfortable
with nude, coed saunas use as their German

77
 CEU FOOD, WINE & HOSPITALITY

WHEN NOT exploring, guests can unwind on

private terraces (left), take a dip in the pool
that begins indoors (opposite, top); sweat in a
Finnish sauna (opposite, bottom left), or take
in panoramic views from the hotel’s circuitous
first-floor corridor (opposite, bottom right).

and Austrian counterparts. “Italians appreci-

ate the privacy,” says Steiner. “This category
of room is very popular with them.”
While a connection to the outdoors is
visible throughout the property, there are
some issues accessing the hotel’s exterior
spaces from inside. For those not staying in
an inner-facing room on the ground level,
the courtyard—so alluring, with its lap pool,
natural swimming pond, mirrored outdoor
sauna, and undulating expanse of manicured
grass (tended in the summer months by a
robotic lawn mower that emerges at dusk)—
can only be accessed (through multiple doors)
from the spa area, itself a somewhat confus-
ing warren of steamy rooms. Once there, you
can at least swim into the courtyard from the
spa through a wave-activated gate that con-
nects the indoor and outdoor sections of the
25-meter pool.
Not just integrated into the environment,
OLM also treads lightly on it. Joined by a
nearly 162,000-square-foot geothermal field
located opposite the hotel, a 510-kilowatt-
peak photovoltaic system—its 1,200 panels
span the hotel rooftop—helps the property
achieve energy self-sufficiency. The 126-
probe geothermal system provides thermal
control and water heating for the all-electric
building. As Steiner notes, the project’s
energy infrastructure, with its $1.6 million
price tag, will pay for itself in four to six
years. Notably, OLM also has its own arte-
sian well, allowing it to serve unlimited

PHOTOGRAPHY: © MANUEL KOTTERSTEGER; HANNES NIEDERKOFLER (OPPOSITE, 3)

mineral water fresh from the source to
guests.
Gruber and Steiner say that OLM’s car-
bon-neutral ambitions help to attract envi-
ronmentally conscious vacationers who might
otherwise think twice about staying at a spa
hotel—buildings that normally consume
Credits Sources considerable amounts of energy and produce
ARCHITECT: Andreas Gruber Architekten MASONRY, PRECAST CONCRETE: GSR much waste. But here, where guest rooms
ENGINEER: Oberrauch & Haller CURTAIN WALL: Puschtra Metall have four separate recycling bins and the
CONSULTANTS: Thomas Steiner (hotel GLAZING: Vitralux
bath linens were vetted for both their plush-
operations); H44 Team (gastronomy); March Gut ness and the amount of water and energy
(interior design) DOORS: Plana Ladina
required to launder them, any such guilt is
GENERAL CONTRACTOR: Gasser Markus ACOUSTICAL CEILINGS: Sto
assuaged. At this big, beautiful hoop of a
CLIENT: Carron Bau and Christian Lechner FLOOR AND WALL TILE: Hofer
hotel in the Italian Alps, the only worry is
SIZE: 45,200 square feet FURNISHINGS: Pedrali whether you’ve successfully soaked in the
COST: $14 million (construction) LIGHTING: Rittner Leuchten views from every single direction prior to
COMPLETION DATE: November 2023 PHOTOVOLTAIC SYSTEM: Leitner Energy checkout. n

78 ARCHITECTURAL RECORD AU G U S T 2 0 24
79
 CEU FOOD, WINE & HOSPITALITY

CHÂTEAU CANTENAC BROWN | CANTENAC, FRANCE | (APM) ARCHITECTURE & ASSOCIÉ

Lightweight
Eschewing starchitect glitz in favor of an approach that treads gently on its terroir, a new winery is
nonetheless a showstopper.
BY ANDREW AYERS
PHOTOGRAPHY BY LUC BOEGLY

IN A WINE-INDUSTRY peculiarity, the place of production often save as much as possible. We incorporated the perimeter walls into our
plays the role of showroom, immersing customers in the making of the project, and carefully deconstructed the rest.” Crushed concrete became
merchandise to seduce them into buying. To render the story more landscape paths, copper pipes went for smelting, while roof tiles and
compelling, vintners frequently turn to well-known architects, such as sanitary ware joined the commercial reuse circuit.
Pritzker Prize–winners Norman Foster, Frank Gehry, Herzog & de One enters the facility to the south, via a generous covered-market-
Meuron, Jean Nouvel, Christian de Portzamparc, or RCR, to name just type structure, open on all four sides, that is used to sort the grapes at
a few who have tried their hand at wineries. Nowadays, however, not harvest time (a task for which many producers simply rent a large tent).
everyone believes in such celebrity branding, as evinced by the new Its positioning close to, but not touching, the former hotel ensures a
winery at France’s Château Cantenac Brown, 15 miles north of Bor- cooling breeze, thanks to the Venturi effect, as air is channeled
deaux. Here, in the heart of the Margaux appellation, owner Tristan through the narrow gap at eave level. Detailed with enormous care,
Le Lous eschewed starchitect glitz in favor of French sustainable- the lean timber frame is wind-braced with steel on its hotel side and
building veteran Philippe Madec. finished with a nontoxic paint made from flour, linseed oil, and iron
Founded in 1806 by Scotsman John Lewis Brown, the château is oxide, which gives it a distinctive claret color. At the far end, an arched
located in the tiny village of Cantenac. After acquiring the property, in stone entrance leads into the cuverie, or wine-vat hall.
2019, Le Lous increased the acreage from 119 to 190, meaning that the Filling the space between the hotel’s two wings, the cuverie is “a
old 19th-century winery, located to the north of Brown’s imposing place of work, people, and light,” says Madec of this impressive two-
Tudor-style house, could no longer cope with the augmented yield. story volume. To resist shocks from material handling, as well as the
Flanking the house to the south, a disused hotel from the 1990s seemed corrosive effects of grape must, the lower part of the structure is in
like the perfect spot for a new facility, on condition that its fabric could galvanized steel, above which rises a complex wood attic frame whose
be reused or recycled. “Naturally, I would never have designed this kind play of triangles helps keep the roof low in relation to the neighboring
of Postmodern facade,” says Madec of the concrete-block structure, with buildings. Daylight floods in through generous skylights and to the
its plaster coating and stuck-on stone dressings. “But it was important to fully glazed western elevation, which overlooks the English-style park

THE WINERY is flanked by the château on one side

and a covered-market-type structure on the other
(this image). The soaring vault of the chai rests on
Prouvé-style splayed columns (opposite).

80 ARCHITECTURAL RECORD AU G U S T 2 0 24
behind Brown’s house. Outside, a wooden brise-soleil protects the glass animated by streaks of claret iron oxide that imitate string courses.
facade from overheating. Inside, the transition from the cuverie, “a place of people,” as Madec
In the cuverie, where the fermentation process takes place, the stainless- puts it, to the chai, “a place of wine,” is quietly theatrical. After crossing a
steel vats maintain the must at the required temperature, so the building 1½-foot-thick timber partition, insulated with wood wool, the visitor
itself need only ensure human comfort, achieved without heating or cool- enters a dark, narrow corridor, whose other wall is in rammed earth. A
ing in part because of the wood-wool insulation and the hotel windows, door at the far end opens into the chai, guaranteeing a gasp of surprise as
which open for cross ventilation. In the chai, however, where the wine is one arrives in a soaring vaulted space, dimly lit by rose-tinted slit win-
matured in oak barrels, a temperature of 15 degrees Celsius (59 degrees dows in the far distance. “Heat will rise, so the height helps maintain a
Fahrenheit) and stable humidity must be maintained year-round. To steady temperature,” explains Madec. “It also expresses the majesty of
achieve this, Madec turned to traditional techniques, building layered the wine matured here.” Constructed entirely from straight members,
walls 3 feet thick: on the exterior, 1½ feet of regionally sourced rammed the wood vault curves upward as a result of the changing lengths of its
earth rising on a bed of locally quarried stone; next, 8 inches of cork insu- successive pieces. As in the cuverie, the timber superstructure is sup-
lation; after that, a 2-inch air gap; and, on the interior, a skin of unbaked ported on steel, in this case claret-painted Prouvé-style splayed columns.
mud bricks, stabilized with quicklime to resist shocks. Located to the east Since it came into service, in September 2023, the chai has maintained
of the cuverie, with one facade on the road bordering the château, the chai the desired atmospheric conditions without any need for cooling, but it
presents bare rammed earth to the outside world, its subtly striated surface is connected to a Provençal well in case of extreme heat. (Also known as

81
 CEU FOOD, WINE & HOSPITALITY

Credits
ARCHITECT: (APM) Architecture & Associé —
Philippe Madec, principal
ENGINEERS: Ingérop, C&E Ingénierie, Le
Sommer Environnement
CLIENT: SCEA Château Cantenac Brown
SIZE: 99,000 square feet
COST: $21 million
COMPLETION DATE: September 2023

Sources
DOORS: EMAM Menuiserie, Atelier
D’Agencement
RAISED FLOORING: Atelier D’Agencement
ACOUSTICAL CEILINGS: Laudescher

A A
1 CUVERIE
2 CHAI

3 COVERED OUTDOOR
STRUCTURE
4 CHÂTEAU

5 TASTING ROOM

0 50 FT.
GROUND-FLOOR PLAN
15 M.

2 2

0 15 FT.
SECTION A - A
5 M.

82 ARCHITECTURAL RECORD AU G U S T 2 0 24
THE STRIATIONS of the rammed earth imitate
string courses (opposite). A complex wood attic
frame rises above the cuverie (above and right).

a Canadian well, this is a passive system that

uses the nearly stable temperature of the earth
to condition ventilation air in buried pipes.)
At the far end of the chai, a processional
oak-and-steel stairway leads to the wine-
tasting room, on the second floor of a small
19th-century building at the entrance to the
château. “You need light to appreciate a
wine’s color,” explains Madec of the sudden
transition from gloom to bright daylight as
one arrives in a space that is plain to the point
of artlessness, with its oak floor and walls
finished in milk tempera. Thanks to the
generous fenestration, visitors understand
they have come full circle, both physically
and metaphorically, since the room looks onto
Brown’s Tudor-style house on one side, and
the château’s vineyards on the other, stretch-
ing out to the horizon. Combining method,
logic, and a touch of poetry, Madec’s eco-
responsible winery forms a contemporary foil
to the historic home, which now accommo-
dates Cantenac Brown’s VIP guests. n

83
 CEU FOOD, WINE & HOSPITALITY

THE SYMPTOMS may seem mild at first:

fatigue and a headache. But, over time, dizziness
and a state of confusion will set in. Even while
resting, shortness of breath lingers, stirring panic.
Altitude sickness occurs when the body quickly
ascends to higher elevations, where there is less
oxygen to be absorbed by the lungs. It can imperil
mountain trekkers and backpackers—to say noth-
ing of those carrying out the physically taxing
labor of construction. When commissioned with
the design of a series of remote ecotourism lodges
around Bolivia’s Uyuni Salt Flat (about 12,000
feet above sea level), Chilean architect and 2017
Design Vanguard Max Núñez developed a pre-
fabricated solution with worker safety—as well as
habitat conservation—top of mind.
“Doing anything in this part of the world
requires a lot of effort,” says Núñez. But why
build anything at all in such isolation?
For Explora, the ecotourism company behind
the lodges, bringing so-called “explorers” on
guided travesías to far-flung parts of South Amer-
ica fosters a firsthand appreciation of unique and
endangered biomes. After all, the Uyuni Salt Flat
is a geological marvel, covering some 3,900 square
miles (about twice the size of Delaware). Its excep-
tional flatness, the chalky color of a deep salty
crust, and relatively low humidity make the basin
an ideal calibrating surface for satellite altimeters.
Still water that idles after rainstorms transforms
the flat into the largest reflective surface on the
planet. And, as inhospitable to life as it may seem,
flora and fauna—including, curiously, three
different species of high-altitude flamingos—find
ways to flourish at the edges. The thinking goes
that appreciation and understanding drive conser-
vation, and the lodges help make a daunting
350-mile journey, long famous in backpacking
circuits, more welcoming than before.
For Núñez, his initial site visit began the same
way as many explorers’—in a Toyota Land Cruis-
er fully loaded with spare fuel, food, water, and
GPS-enabled electronics. “I thought whatever we
propose should be similar to this vehicle,” he says
of the popular SUV. “It’s an efficient and reliable
model. The design is simple, stripped down to
the bare necessities.” And perhaps most impor-
tant, he adds: “It gets you where you need to go,
but it’s not in the landscape forever.”
Conventional wisdom would dictate locally
sourced materials to reduce long supply chains.
There is even a tradition of salt-block architec-
ture here on the Andean Plateau. “Those struc-
tures are beautiful—but it’s a very different
approach,” Núñez says, explaining that the
blocks’ weight would have necessitated a stereo-
tomic vocabulary, sturdy foundations, and
extensive regrading. A lightweight prefabri-
cated system, on the other hand, would limit

84 ARCHITECTURAL RECORD AU G U S T 2 0 24
EXPLORA LODGES | JIRIRA, BOLIVIA | MAX NÚÑEZ ARQUITECTOS

High and Dry

To build with minimal impact, a Chilean architect bucks conventional wisdom about locally sourced materials.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY ROLAND HALBE

THE LODGES at Jirira,

Bolivia, overlook the
Uyuni Salt Flat.

85
 CEU FOOD, WINE & HOSPITALITY

1 ACCOMMODATIONS
2 COMMUNAL LOUNGE

3 STAFF

MANI WOOD, prominently featured inside (above and top), contrasts with the
steel cladding and rigging outside (opposite). SITE PLAN

86 ARCHITECTURAL RECORD AU G U S T 2 0 24
workers’ time on-site and disturbance of the ground. in this article), grants guests panoramic vistas of the salt flat.
Núñez and team devised a base module (measuring 11½ feet by 19¾ “The challenge was finding someone who could build such a system,
feet) that could be modified to accommodate different uses and ar- designed by my team in Chile, and also transport it to the highlands,”
ranged into varied linear combinations alongside smaller add-on mod- says Núñez. For this, he collaborated with OPEC, a Bolivian engineer-
ules. They sit on a deck formed by a steel chassis that rests on shallow, ing company with experience in large-scale infrastructure (including the
minimally invasive concrete footings. Fully outfitted with windows, aerial cable car system in La Paz). One by one, the modules were con-
doors, insulation, and hookups for some utilities, each unit fits on a structed 500 miles away in Santa Cruz, Bolivia (a mere 1,300 feet above
truck bed, and a steel frame ensures longevity during the daylong jour- sea level), shipped, and lifted into place via boom truck. “In the middle
ney on rough-and-tumble dirt roads. No-nonsense steel cladding re- of a city, the lodges could have gone up in two weeks—but the condi-
quires little on-site maintenance (a client request), and oversize angled tions of the terrain are difficult.” Each grouping took about two months
roofs, held up by another steel frame, shield the lodges from unwanted to erect, still far faster than other modes of construction.
solar-heat gain. “Inside, the atmosphere is completely different,” says Just as quickly, they can be disassembled and ferried away, footings
Núñez. To heighten the transition from a dry outdoor environment, the and all—the connections are all bolted, not welded. The strategy, which
architect lined the interiors with hardy tropical mani wood, which was has the potential to leave the site nearly as it was found, brings to mind
certified as responsibly sourced. Potable water and food are brought the popular outdoorsy saying: take only pictures, leave only footprints. And
from nearby towns, and waste is removed every few months. The setup one day, when the time is right, Núñez hopes that the lodges might live
amounts to a much cozier upgrade from its predecessor: tents. another life elsewhere. “Maybe even in Chile,” he says with a smile. n
For explorers who travel this particular itinerary along the salt flat,
the journey takes upward of a week, with daytime excursions, ample time
Credits SIZE: 4,000 square feet (each)
to acclimate to the high altitude, and overnight stays at three different
ARCHITECT: Max Núñez COST: withheld
locations. Each “camp” features a three-piece set of Núñez-designed
Arquitectos — Max Núñez, Stefano COMPLETION DATE: March 2022
lodges (one houses a handful of guests, another acts as a lounge and Rolla, principals; Carlos Rosas, Pabla
communal dining room, and the last provides space for staff) and takes Amigo, design team
on a distinct identity (through color and module configuration). Trekkers ENGINEER: Jorge Tobar (structural) Sources
first stop at Ramaditas, where the accommodations echo the same red- CONSULTANTS: Martinez Harasic METAL PANELS: Englert
dish cast of a distant mountain range. Then, onward to Chituca—there, (lighting) ROOFING: Tyvek
mint-colored refuges pay homage to the many cacti that stoically dot the GENERAL CONTRACTOR: OPEC INTERIOR FINISHES: Mani (wood)
barren landscape. Finally, the newest and largest camp, in Jirira (pictured CLIENT: Surex

87
 CEU FOOD, WINE & HOSPITALITY

SILT | MIDDELKERKE, BELGIUM | ZJA

Going Dutch
An Amsterdam-based firm brings its infrastructure know-how to
a casino and hotel complex on the Belgian coast.
BY TIM ABRAHAMS
PHOTOGRAPHY BY STEFAN STEENKISTE

88 ARCHITECTURAL RECORD AU G U S T 2 0 24
IN THE BELGIAN seaside town of Middelkerke, a new building, tinue the Flemish government’s program for flood protection around
Silt, is referred to as “the casino,” largely because it replaces a 1950s Middelkerke begun in 2018. For the town itself, the government-fund-
Normandy farmhouse-style gambling hall, demolished in 2018. ed defenses consist of wave-damping extensions to the seawall, legible
However, the project, designed by Amsterdam-based architects ZJA, is as slopes at the top of the beach, with additional baffling that dimin-
a hugely expanded structure that now defines the promenade along the ishes the power of waves. Outside the town, the program is achieved
water, containing not just a casino but a 76-room hotel and an with natural landscaping, new dunes kept sturdy and structured with
1,100-square-foot event space. It is also a sophisticated piece of flood native marram grass. When the local authority decided to replace the
defense and urban infrastructure. With all of these taken together, Silt demolished casino, it wanted the project to continue this region-wide
provides an example of how Dutch architects (albeit a firm working in strategy. ZJA and team offered a proposal that suited the tourism
neighboring Belgium), conceive architecture and infrastructure as one. offering, but also this new landscape condition.
The project not only revitalizes the tourist offerings of Middelkerke To achieve both goals, the new structure needed to be part of the
but beefs up the storm resilience along the short Belgian coast. landscape on a literal as well as symbolic level. Deploying construction
The client—the municipality—wanted a building that would con- techniques often used in the Netherlands, the team created a tempo-

THE PROJECT SOFTENS the abrupt

transition between the long stretch of
waterfront development and the sea.

89
 CEU FOOD, WINE & HOSPITALITY

rary cofferdam—an enclosure built within

water or sodden ground that can then be
drained—with 32,290 square feet of sheet
piling. Within this, over 1,000 vertical piles
were added, along with retaining walls and
floors, using three techniques: concrete slurry
mixed with excavated soil; secant pile walls;
and steel plates vibrated into the ground. This
system allowed for two floors of column-free
basement parking that can also act as a cistern
in the unlikely event that water tops the
seawall. Above the basement walls, a post-
tensioned concrete slab acts as a plinth for the
0 150 FT. structures overhead.
SITE PLAN
50 M. Here ZJA has produced a landscape in
which the wood-lattice-clad hotel is legible as
a singular architectural moment, though, in
actual fact, the scheme encompasses engi-
8
neering, landscape, and urban design. Sub-
3
terranean parking, with entrance and exit
7 ramps at the very edges of the 1,300-foot-
5 wide site, is integrated into the town’s street
plan, allowing the adjacent square, Epernay-
plein, to be transformed from a parking lot
into a public plaza with embedded fountains,
offering a new civic heart to the town.
As one approaches Silt on foot through
0 100 FT.
LEVEL -1 PLAN
30 M.

1 FOYER
2
3 2 CLOAKROOM

4 3 EVENT SPACE
5
4 RESTAURANT
1
5 CASINO

6 SEAWALL
7 BACK-OF-HOUSE

8 TECHNICAL SPACE

9 PARKING
A

0 100 FT.
GROUND-FLOOR PLAN
30 M.

0 50 FT.
SECTION A - A
15 M.

90 ARCHITECTURAL RECORD AU G U S T 2 0 24
STAIRCASES offer an experience similar to
clambering over dunes (above). Steel trusses
support the roof over the event space (right).

this square, the entrance is discernible ahead

beneath a bridgelike span. One crosses this
threshold and arrives at the foot of the hotel
tower, with the event space to the west and
the casino to the east. Above the event hall,
steel trusses support the prestressed concrete
elements onto which the landscaping was
added. To the east, a staircase straddles the
concrete roof structure, offering a shortcut
from the town to the beach, over the building.
From the promenade, Silt softens the
harsh relationship between the glass-fronted
hotel buildings (unfortunately, little of the
town’s Belle Époque architecture remains)
and the seawall and then the beach and the
water beyond. The building offers three
routes to those walking the promenade—
through the extended square on the town
side, around the base on the seaward side, or
over the covered building. The latter two

91
 CEU FOOD, WINE & HOSPITALITY

A CENTRAL circulation space surrounds the

tower’s core (left). A restaurant (opposite, top)
overlooks the sea. The wood lattice is visible
from the hotel rooms (opposite, bottom).

routes are connected by a pair of staircases on

either side of the hotel that make a saddle
over the structure, providing a similar experi-
ence to clambering over dunes. Integrated
benches along the sea-facing pathways pro-
vide extra public space, with a direct view
over the beach.
Sadly, the planting treatment by landscape
architects DELVA is not equal to ZJA’s rare
combination of structural daring and well-
executed details; the beds are simply local
marram grass, copying the new dunes but
here not performing any stabilizing function.
The desultory paths are sand-colored con-
crete. Still there is much richness elsewhere.
The hotel is legible as a graceful pavilion in a
landscape rather than a component of a larger
complex. The structure itself, 103 feet tall, is
a simple one: a central concrete core, flat floor
slabs in post-tensioned concrete, and perim-
eter columns. Although at first glance it looks
circular, it is in fact oval in plan; a circle was
deemed to be overly formal.
The consequence of this choice, however,
was that the timber members that form the
external screen were all irregular, requiring
that it be carefully designed in a parametric
3D model in Rhino and that the 1,314 pieces
of rot-resistant acetylated wood be cut to
bespoke lengths. Several months after com-
pletion, the wood, originally light brown, is
already turning the intended textured gray
color, offering an earthier, more natural
tone, suited to the colors of the coastal envi-
ronment.
Silt has brought the beach to meet the
town, thus transforming the previously abrupt
transition between Middelkerke and the sea.
ZJA’s background in infrastructure projects,
such as the firm’s striking rail station in The
Hague, completed in 2016, has been put to
good use with Silt, in terms of its technical
achievement but also in a poetic sense. Due to
their close relationship with water, Dutch
architects are attuned to the need for flood-
control measures, but also to the potential for
such defenses to serve a larger social good,
providing community facilities while creating
economic opportunity. With new attention
to how buildings perform in relation to
changing natural conditions, a strategy that
asks a building to do more is commendable.
ZJA’s intriguing, attractive landscape, a
highlight of the 40-mile Belgian coastline, is
an exemplar of this approach. n

92 ARCHITECTURAL RECORD AU G U S T 2 0 24
 Credits
ARCHITECT: ZJA
ARCHITECT OF RECORD:
Bureau Bouwtechniek
ASSOCIATE ARCHITECTS: DELVA Landscape
Architecture and Urbanism, OZ
PHOTOGRAPHY: © SEBASTIAN VAN DAMME (OPPOSITE AND TOP); FLITS&FLASH (BOTTOM)

CONSULTANTS: COBE (structure); Witteveen-

Bos (seawall engineering); VK Engineering
(acoustics); Plantec (landscape); Beersnielsen
(lighting); Actiflow (wind); Mint (mobility);
Sertius (environmental)
GENERAL CONTRACTOR: TM Furnibo-Democo
CLIENT: Municipality of Middelkerke
SIZE: 318,000 square feet
COST: $42 million (construction)
COMPLETION DATE: March 2024

Sources
CANOPY CLADDING: Dekton
TIMBER LATTICE: HESS Timber
CURTAIN WALL AND SKYLIGHTS:
Allaert Aluminium
INTERIOR GLAZING: Eribel
BALUSTRADES: Smeets
WOOD LAMELLA CEILING: Derako
MOVEABLE PARTITIONS: Breedveld
FOYER STAIRS: EeStairs

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 CEU FOOD, WINE & HOSPITALITY

TASTING ROOMS | NORWALK, CONNECTICUT | ABRUZZO BODZIAK ARCHITECTS

Buttered Up
Abruzzo Bodziak Architects gives a Connecticut catering facility a facelift.
BY MATTHEW MARANI
PHOTOGRAPHY BY MICHAEL VAHRENWALD

CATERING IS a hectic corner of the hospitality industry; freshly one-story steel-frame warehouses and light-industrial buildings, just a
prepared foods and beverages, along with the requisite support staff few miles from Interstate 95. OnTheMarc took over the lease of one
and infrastructure, are seemingly ready at a moment’s notice to ser- of these for the Tasting Rooms, in 2021, from the industrially scaled
vice weddings, funerals, or other such large gatherings. However, catering conglomerate Aramark; before that, the space was used by the
shepherding so many pieces into place requires a well-oiled machine, hedge fund Bridgewater Associates to support the catering demands
with humming kitchen and logistical operations, and bustling office of its nearby corporate headquarters, and, even further back, it was a
space. In Norwalk, Connecticut, the Abruzzo Bodziak Architects– high-security pharmaceutical warehouse. Within, the 15,000-square-
designed culinary center for food-service company OnTheMarc foot space was anything but inviting: 9-foot-tall gridded drop ceilings
raises the bar for the typology by converting a formerly drab facility coupled with a warren of narrow hallways and offices, replete with
into a welcoming and, most important, efficient home base for the vinyl flooring, made for an uninspiring front-of-house, and the kitch-
client. en, hemmed in by interior partitions, was starved of daylight.
South Norwalk’s Baywater Business Park isn’t exactly a splashy For Abruzzo Bodziak Architects (ABA) and the client it was criti-
locale, and that’s the point—it’s a utilitarian campus composed of cal to open up the facility to boost both connectivity and daylight

94 ARCHITECTURAL RECORD AU G U S T 2 0 24
THE TASTING ROOMS are used for staff
meetings, events, and tastings for clients
(opposite and right).

penetration throughout the office and kitch-

en. Those objectives necessitated gutting the
approximately 3,200-square-foot office area
and shifting the entrance from the north-
west corner of the site toward the center of
the west elevation, where the workplaces are
now located. The kitchen, and its walk-in
refrigerators and freezers, along with a
warehouse and cold-food-preparation room,
among other functions, are set to the north
and east of the offices. A six-bay loading
dock takes up much of the building’s south
side.
To make the most of the 17 feet between
floor slab and roof deck, ABA removed the
dropped ceiling above the shared office
space. That decision afforded the team an
opportunity to carve out four approximately
5-by-10-foot skylights at the roof deck, in
gaps between HVAC systems mounted on
top of the building. The glazing is fitted with
a white interlayer that not only obscures
views of mechanical equipment from below
but diffuses sunlight, creating a soft glow, the
effect of which is magnified by 4-foot-deep
white-painted plaster-and-wood frames that
catch changing light conditions. Additional
windows were punched through the exterior
walls to further supplement illumination
throughout the day.
The demolition of an interior partition
separating the kitchen from the office area
permitted the insertion of the project’s most
conspicuous design element, a pair of “tast-
ing rooms,” which inhabit the space like a
building within a building. There, two
50-foot-long parallel glazed walls blur the
boundary between OnTheMarc’s business
operations and food preparation, offering
daylight to the kitchen, while providing
meeting spaces for the staff and prospective
clients. Their detailing is relatively simple;
oak clads floors, walls, and ceilings, and
porcelain resembling marble is used for
table- and countertops. “What is interesting
about this project is that, typically, the
work in the kitchen is often unseen, or
hidden from the restaurant or client,” says
ABA partner Emily Abruzzo. “Here, that
work is celebrated.” At either end, the inte-
rior walls of the volume curve, providing,
on the south, an additional access point to
the kitchen, and, to the north, a nook for
phone calls.
ABA’s treatments for the office spaces are

95
 CEU FOOD, WINE & HOSPITALITY

12

10
9 8

10
8
7
5 5 5 5 5

2 3 4
2 2

5
A A 4
3
9
2
0 6 FT.
SECTION DETAIL A - A
2 M.
11
3
1
1 ENTRY 7 LOADING DOCK

2 OFFICE 8 MECHANICAL
2
3 TASTING ROOM 9 STORAGE
7 8
2 4 KITCHEN 10 FREEZER
5 WALK-IN REFRIGERATOR 11 WASHING

6 COLD PREP 12 SKYLIGHT

0 20 FT.
FLOOR PLAN
6 M.

96 ARCHITECTURAL RECORD AU G U S T 2 0 24
simple and unpretentious. Polished concrete underfoot bears the faint THE GLAZED PARTITIONS blur the boundary between business and
outlines of the former vinyl flooring; a straightforward color palette of kitchen operations (opposite, and above, left). The skylights illuminate the
shared office space (above).
white and dark turquoise paint covers the walls; and white-oak desks
stand directly under the skylights above. The existing kitchen was
largely untouched by the renovation, except for the introduction of
white wall tiling and several overhead lights. The Baywater Business
Park is also located in a FEMA-designated 100-year-flood zone (an
area with a 1 percent chance of flooding in any given year). In fact,
the interior was under 30 inches of water from a heavy rainstorm Credits HARDWARE:
when the project kicked off. The design team contended with this CR Laurence (glass accessories)
ARCHITECT:
threat by placing flood gates at the building’s exterior entrances, while Abruzzo Bodziak Architects — Emily INTERIOR FINISHES: Benjamin
Abruzzo, Gerald Bodziak, principals Moore, Farrow & Ball (paints and
the bare concrete floors allow for easy cleanup. To keep operations
ENGINEER: stains); AKDO (porcelain stone
running during precipitous rainfall, the concrete curbs of the loading slabs); Daltile (floor and wall tile)
Silman Structural Solutions
dock at the south end were raised to 3 feet, above the threshold of the FURNISHINGS: Ton (chairs); AYTM
GENERAL CONTRACTOR:
floodplain, and that increase in height is accommodated by a newly (bathroom mirrors)
Gabriele Builders
installed ramp to transport goods to and from the building’s interior. LIGHTING: Jesco Lighting Group
CLIENT: OnTheMarc Events
The amalgam of these design strategies is a more hospitable and (suspended linear fixtures); Stuff
SIZE: 15,000 square feet by Andrew Neyer (sconces and
resilient facility that blends the spheres of the office and kitchen staff
COMPLETION DATE: January 2024 pendants); Nuovo Lighting (ceiling-
into a single entity. It has also proved popular with clients; the demand mounted light sockets)
to book the tasting rooms for catered events is overwhelming. It just Sources PLUMBING: Duravit (bathroom
goes to show that, if you build it—and provide hors d’oeuvres—they GLAZING: Binks Glass; Wasco sinks); Grohe (bathroom faucets);
will come. n Commercial (skylights) Elkay (kitchenette sink)

97
 CEU FOOD, WINE & HOSPITALITY

EDITION HOTEL | SINGAPORE | SAFDIE ARCHITECTS

Hidden Oasis
Along Singapore’s famed Orchard Road, a sunken garden and high-flying pool offer a sense of sanctuary.
BY JAMES S. RUSSELL, FAIA EMERITUS
PHOTOGRAPHY BY TIMOTHY HURSLEY

DIAGRAMMATICALLY, Singapore’s
eight-story Edition Hotel wraps a courtyard
with its 204 rooms, sharing a through-block
site with a 28-story, 154-unit apartment tower.
In the hands of Safdie Architects, the develop-
ment becomes considerably more bravura. It is
as if a 60-foot-wide slot were cut to divide the
apartment tower vertically in half and the slice
then hinged downward to form a 290-foot-
long bridge that rests on the roof of the hotel,
extending over the sidewalks at each end. Atop
this bridge is the hotel’s most distinctive fea-
ture—a 140-foot-long swimming pool. Acro-
phobes beware: swimmers encounter a clear
acrylic disk set into the pool floor with a view
down nine stories to a lush courtyard.
Clearly, Edition does not settle for the
glass-box hotel norm. Singapore, which
embraces architectural spectacle, expects
more. And Safdie is well known locally,
having designed Marina Bay Sands, the
shopping, casino, theater, convention and
2,600-room hotel complex that is an iconic
presence on the skyline.
The prominent Singaporean real-estate
company, City Developments Limited, hired
Safdie Architects to conceive the combined
hotel and apartment building for a site near
the Orchard Road luxury-retail district. The
developer chose Ian Schrager’s 20-property
luxury Edition chain as the operator, Schrager
being the hospitality guru whose hotels fea-
ture an architecturally distinctive theatricality.
“Ian is very focused on his vision for Edition,”
comments Safdie partner Jaron Lubin, who
collaborated with Schrager’s in-house team
and CAP Atelier, a Hong Kong–based hospi-
tality-focused interior design firm. Each
brought a distinctive aesthetic.
“The site and its access teed up an organi-
zational idea for us immediately,” Lubin ex-

98 ARCHITECTURAL RECORD AU G U S T 2 0 24
A BRIDGE hovers high above the hotel’s sunken
courtyard garden (opposite) and cantilevers
over the entrance (right).

plains. “We love to talk about the courtyards

in Singapore, like the famous Raffles—urban
hotels in dialogue with oasis gardens.”
Courtyard-facing hotel rooms look down
on the densely layered trees and shrubs that
line a sunken garden. Plants ascend the walls
and spill from terraces and open bridges that
run beneath the bulk of the apartment tower’s
residential floors, the lowest of which has been
hoisted above concrete columns to avoid direct
sight lines with the Edition. The permeable
tower base filters the searing tropical sun while
allowing ample daylight to reach the garden.
While a developer might not have counte-
nanced sacrificing revenue-generating floor
space, Singapore encourages this kind of
daylight penetration with what Lubin calls the
45-degree rule; it extends an imaginary diago-
nal plane from overhanging edges into spaces
left open to the air within a building envelope.
The floor area beneath the plane does not
count toward the structure’s total allowable
square footage; under different guidelines,
neither do publicly accessible outdoor spaces,
—so the courtyard and pool deck are “free,” in
zoning terms.
The 45-degree rule is among the city’s
Urban Redevelopment Authority’s compre-
hensive yet innovative guidelines and incen-
tives, many of which are intended to reduce
the city’s heavy reliance on air-conditioning as
well as the urban-heat-island effect. Edition’s
recessed porte cochere is fronted by two rows
of dense trees that help meet the city’s man-
date to shade public sidewalks. The city also
requires developers to largely replace trees
removed during construction, specifying a
Landscape Replacement Area for each site. As
a result of these measures, 56 percent of
Singapore’s land is tree covered.
The design team readily embraced the
guidelines. Schrager said he wanted as much
greenery as possible, Lubin explains, “so, when
guests arrive at Edition, they feel that they
have arrived in Singapore.” Since Safdie has
welcomed the extensive use of greenery above
the ground plane in projects as early as his
breakout Habitat 67 in Montreal, “this was
music to our ears,” Lubin says.
The hotel is entirely clad in full-height
sliding metal shutters that allow guests to
individually calibrate light and privacy, enliv-
ening the facades with an ever-shifting pat-
tern. The louvers also protect the glass from
solar heat gain, a requirement of Singapore’s

99
 CEU FOOD, WINE & HOSPITALITY

A
10

11

12
9

0 50 FT. A
LOBBY-LEVEL PLAN
15 M.
6

1 HOTEL LOBBY 7 HOTEL ROOM

1 2 RESTAURANT 8 RESIDENTIAL TOWER

3 SUNKEN GARDEN 9 RESIDENTIAL ENTRANCE

4 BALLROOM 10 RESIDENTIAL AMENITIES

5 BRIDGE 11 TERRACE

6 HOTEL POOL 12 PARKING RAMP

0 50 FT.
SECTION A - A
15 M.

100 ARCHITECTURAL RECORD AU G U S T 2 0 24

POTTED and hanging plants dot the high-ceilinged hotel lobby (opposite, curved metal cladding by a pair of full-length trusses that rest on con-
both). The bridge’s pool deck offers elevated views of the city (above). crete corbels cast into the structure of the hotel and apartment building.
A concrete slab braces the bridge crosswise.
strict energy-conservation regime. Without the shutters, the clear glass The pool deck focuses views through the apartment tower slot to
would have needed to be deeply tinted, which the architects opposed. nearby skyscrapers, several also featuring plant-festooned terraces.
“Ian’s concept was to make every public space unique, offering a sense Compared to the could-be-anywhere nature of too many big-city hotels,
of surprise,” adds Henry Leung, founding partner of CAP Atelier. The guests will know that their destination is unmistakably Singapore. n
firm punched up the neutral materials typical of Schrager properties
with notes of theatrical color, including by backlighting the lobby-bar Credits GENERAL CONTRACTOR:
bottle shelves in pink and placing a recessed disk in gold leaf in the Kajima Overseas Asia
ARCHITECT: Safdie Architects
lobby ceiling above an alluring spiral stair that descends to the garden CLIENT: City Developments Limited
ARCHITECT OF RECORD:
level, where events in the 340-seat ballroom and other rooms can spill DP Architects SIZE: 603,000 square feet
into the planted courtyard. By contrast, the six floors of rooms are INTERIOR DESIGNERS: COST: $259.3 million (construction)
serene. Laid out in a double-loaded U configuration, they feature blond Ian Schrager Company, CAP Atelier, COMPLETION DATE: November 2023
wide-plank oak floors, with white fabrics and rugs. Axis ID
ENGINEERS: Meinhardt (civil);
Sources
Mounting the pool bridge atop the hotel was not the whim it may
Squire Mech (m/e) CLADDING: Deshin (metal); Earth
seem. It was inspired by the multilevel structure that famously hosts an Arts, Surface Stone, Choo Building
endlessly Instagrammed infinity pool overlooking the city atop Marina CONSULTANTS: CKP (hospitality);
Materials (stone)
Sitetectonix, Madison Cox Associates,
Bay Sands. Edition’s pool deck features a trellised lounge that opens on Garden 26 (landscape); Acviron GLAZING: AVA Global, Schueco
the water feature’s spectacular full length, lined by chaises, shrubs, and (acoustics); IHD Design (IT); Clair LIGHTING: Technolite Singapore,
small trees. This enormous weight is supported within the bridge’s Solutions (AV); ALT (facades) Pelucchi, Million Lighting

101
 CEU FOOD, WINE & HOSPITALITY

COROLLARY WINES | AMITY, OREGON | WAECHTER ARCHITECTURE

A Pop of Color
A small Oregon winery makes a statement with a brightly hued tasting room for sparkling vintages.
BY RANDY GRAGG
PHOTOGRAPHY BY PABLO ENRIQUEZ

THE BUILDING’S red exterior stands out from

the landscape (this image). The indoor (opposite,
top) and outdoor (opposite, bottom) tasting
rooms offer sweeping views of the valley.

102 ARCHITECTURAL RECORD AU G U S T 2 0 24

FOR ITS MODEST 1,500-square-foot size, Corollary Wine’s new
tasting room by Waechter Architecture glows as if an alien ship has
landed on the horizon. Perched atop one of the Willamette Valley’s
taller hills and wrapped in metal that’s powder-coated a custom red just
shy of fluorescent, the building’s sharp origami folds stand out in the
rolling landscape.
“Rather than hanging a sign somewhere, Corollary wanted the
building to be an element of its brand,” says Waechter’s project lead
Alexis Coir. But beyond being a bold building-as-logo, the tasting
room “actually has a light touch architecturally,” she adds. “It’s really
about the land.”
Cofounded by wife/husband duo Jeanne Feldkamp and Dan
Diephouse, Corollary has made an equally distinct mark among
Willamette Valley vintners as the first to focus solely on sparkling wine
developed in the deeply rooted, biodynamic champagne-making style
pioneered by the French. The couple works entirely alone to make their
small-batch wines, market them, and host and pour tastings. They
served their earliest vintages (made from other vintners’ grapes) in
2020 in the socially distanced surrounds of a mobile pop-up tent. That
minimalist combination of intimacy, airiness, and views inspired the shady for grapes, they’ve enlisted 35 goats and 100 sheep from a rota-
new tasting room. tional-grazing service to chew away the invasives for an eventual na-
“We’re making traditional-method wine,” says Feldkamp. “But we’re tive-habitat restoration.
in the new world—in Oregon. We didn’t want to shy away from the Feldkamp—who in addition to making wine practices design under
fact that we’re doing something unique.” the moniker Heirloom Modern—closely collaborated with Waechter
To fully realize their ambitions, Feldkamp and Diephouse bought on siting the tasting room on the ridge between the two slopes, one
a recently clearcut 57-acre family-owned forest in 2022 and spent 15 side overlooking the vineyard, the other opening to an expansive view
months removing the stumps, blackberry, and thistles left behind. of the valley and Oregon Coast Range. The radiant architecture is
Work ing with a permaculture consultant, they contoured the land and powerfully contrasted by a surrounding collection of native white oaks
service roads to maximize natural drainage, for irrigation, and planted that Feldkamp preserved. Misshapen by survival within the thick
13 acres of champagne classics: pinot noir, chardonnay, pinot meunier, former tree-farm monoculture (and oddly left by the loggers), the oaks
and pinot blanc on the south-facing slopes (with 15 more acres in rise like skinny fingers that almost seem to clutch the ethereal archi-
reserve). For the remaining north slope acreage that’s too steep and tecture to the land.

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 CEU FOOD, WINE & HOSPITALITY

A STAND of native white oaks surrounds the building, whose butterfly near-constant winds by 50 percent, each neatly folding away in wall
roof collects the area’s ample rainfall for use in the winery’s operations. recesses. For chilly seasons, outdoor heaters are recessed in the ceilings.
Feldkamp entirely designed the interior, paneling the indoor tasting
The many folds in Waechter’s design skillfully shape an ensemble of room and cabinetry in native white oak, sustainably harvested by near-
spaces and functions: a funnel-shaped vestibule welcomes visitors; two by Zena Forest Products. The restroom is its own separate immersive
indoor and two outdoor rooms host the tastings; and a butterfly roof experience, beginning with an anteroom painted a pink matching
channels the valley’s 48 inches of annual rainfall into 22,500-gallon Corollary’s rosé and culminating in a chamber papered in a mylar
cisterns that provide water to all the winery’s operations, including custom printed with blown-up photographs of the microscopic bubbles
future irrigation of the vineyard. (The infant vines require trucked-in in Corollary’s wine.
water at the start.) Among the Willamette Valley wineries—often made in woody
Cutting diagonally across the overall rectangular form, the steep faux-Tuscan Northwest-regional style, or placelessly posh minimal-
roof fold became a design and construction feat, requiring 42 distinctly ism—Corollary’s tasting room offers a savvy new architectural land-
angled trusses (and customized software for the shop drawings) to mark. It’s also unique within Waechter’s oeuvre.
withstand the hilltop’s powerful winds and occasional clogging of At many turns in the collaboration, “We said to ourselves,
drains after snow and ice storms. Despite the complications and ex- ‘Waechter would never do that.’ That was fun for us,” says Coir of
pense, Waechter and Corollary stayed the course: the roof ’s razor-edge working with Corollary. The result is “a little bit cheeky. That’s their
profile, like the color, echoes the winery’s geometric logo. brand—it’s fresh but still feels grounded.” n
The brilliant powder coating wraps every exterior surface, from
walls to outdoor ceilings to aluminum window and doorframes. Three Randy Gragg is a Pacific Northwest–based writer, editor, and curator in the
steel-mesh curtains, the longest stretching 45 feet, filter the hilltop’s fields of architecture and art.

Credits Sources
ARCHITECT: Waechter Architecture CLADDING: Taylor Metals
4
2 — Ben Waechter, principal architect; WINDOWS & DOORS: Sierra Pacific
Alexis Coir, project lead
METAL CURTAINS: Banker Wire
5 INTERIOR DESIGN: Heirloom
FURNISHINGS: Vondom, Blu Dot
Modern — Jeanne Feldkamp
1 INTERIOR FINISHES: Steven
3 ENGINEER: DCI Engineers Sherman White (cabinetwork);
4 5 (structural) Sherwin-Williams; Look Walls
GENERAL CONTRACTOR: (mural); Zena Forest Products
A D Construction LIGHTING: Silvio Mondino Studio,
0 10 FT.
FLOOR PLAN Juno, Artemide, Nahtrang Studio for
3 M. CLIENT: Corollary Wines
Estiluz, Leviton
1 KITCHEN 4 OFFICE SIZE: 2,260 square feet
ENERGY: Orchard & Vineyard
2 OUTDOOR TASTING ROOM 5 RESTROOM COST: withheld Supply (rainwater harvesting);
3 INDOOR TASTING ROOM COMPLETION DATE: May 2024 Bromic Platinum (outdoor heaters)

104 ARCHITECTURAL RECORD AU G U S T 2 0 24

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SKETCH CONTEST 2024
If you are a licensed architect or related professional who practices
in the United States, you can enter this remarkable contest.

All you need is a white cocktail napkin and pen to demonstrate

that the art of the sketch is still alive. Two grand prize winners will
be chosen (1 licensed architect, 1 related professional). Grand prize
winners will receive a $300 gift card and a set of cocktail napkins
with their winning sketch printed on it! The winning sketches will
also be announced at and utilized on napkins at our Innovation
Conference in October.

The sketches of the winners and runners-up will be published

in the November 2024 issue of Architectural Record and on
architecturalrecord.com.

SUBMIT SKETCHES
BY AUGUST 26, 2024
5 INCHES
HOW TO ENTER:
• Sketches should be architecture-oriented and drawn
specifically for this competition.
• Create a sketch on a 5-inch-by-5-inch white paper
cocktail napkin. You may cut a larger napkin down to
NAME
these dimensions.
• Use ink or ballpoint pen.
• Include the registration form below or from the website.
FIRM • You may submit up to 6 cocktail napkin sketches, but
each one should be numbered on the back and include
your name.
• All materials must be postmarked no later than
August 26, 2024.
ADDRESS

For more information and official rules visit:

architecturalrecord.com/cocktail-napkin-sketch-contest
5 INCHES

Due to the volume of entries, cocktail napkin sketches

YEARS IN PRACTICE PHONE EMAIL
will not be returned.

SEND ALL SUBMISSIONS

JOB FUNCTION: IN ONE ENVELOPE TO:
❒ ARCHITECT ❒ DESIGNER Cocktail Napkin Sketch Contest
Architectural Record
❒ SPECIFICATION WRITER ❒ FACILITIES MANAGER 350 5th Avenue, Suite 6000
New York, NY 10118
❒ ENGINEER ❒ CONTRACTOR

❒ STUDENT ❒ OTHER
BACKGROUND FEATURES
RAZAN HADIDI, 2023 WINNER

Entry form the size of 5 x 5 cocktail napkin, for reference. SPONSORED BY:
CONTINUING EDUCATION
In this section, you will find seven compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders.

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

Photo courtesy of Tournesol Siteworks Photo courtesy of VPI Quality Windows

p108 p114

Landscape Architecture – Designing with Nature Designing with Engineered uPVC Windows
Sponsored by Bison Innovative Products and Tournesol Siteworks Sponsored by VPI Quality Windows
CREDIT: 1 AIA LU/HSW; 1 SITES; 1 GBCI CE HOUR; CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC CEU/HSW
1 PDH, LA CES/HSW PM SI SU BE IN PM

Photo courtesy of ©IRIS22 Productions, LLC Photo courtesy of B+N Industries Photo courtesy of LaCantina

p115 p116 p117

Restorative & Regenerative Sit, Stand, Move, Repeat Big Doors, Big Dreams
Design as Holistic Design Approach Sponsored by B+N Industries Sponsored by LaCantina Doors
Sponsored by Garden On The Wall CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU;
CREDIT: 1 AIA LU/HSW; 1 GBCI CE HOUR 1 IDCEC CEU/HSW
1 GBCI CE HOUR; 1 IDCEC CEU/HSW IN RR SU IN PM SU IN RE PM

Photo courtesy of The BILCO Company Photo courtesy of Polyguard

p118 p120

Roof Hatches Simplified Defending the Building

Sponsored by The BILCO Company Sponsored by Polyguard
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IIBEC CEH BE LS PM BE PM ST
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU

CATEGORIES
BE BUILDING ENVELOPE DESIGN PM PRODUCTS AND MATERIALS SI SITE INFRASTRUCTURE DESIGN
IN INTERIORS RE RESIDENTIAL ST STRUCTURAL
LS LIFE SAFETY AND CODES RR RENOVATION AND RESTORATION SU SUSTAINABILITY

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

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 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of Tournesol Siteworks

Incorporating vegetation with buildings provides dynamic

landscape design opportunities and offers many sustainability
benefits for people’s health and well-being.

Landscape Architecture – CONTINUING EDUCATION

Designing with Nature

1 AIA LU/HSW 1 SITES

1 GBCI CE HOUR

Combining the natural environment 1 PDH, LA CES/HSW

with the built environment Learning Objectives

After reading this article, you should
Sponsored by Bison Innovative Products and Tournesol Siteworks be able to:
1. Identify the health, safety, and
By Peter J. Arsenault, FAIA, NCARB, LEED AP welfare aspects of designing
outdoor spaces that also contribute
to sustainability standards such as
LEED, SITES, and WELL.

T
2. Assess the sustainability aspects
he natural environment is our well- LANDSCAPING DESIGN TRENDS
of different materials and products
developed home on earth which offers Design professionals of all types, including that are used for outdoor spaces,
physical, psychological, and emo- architects and landscape architects, are often particularly regarding LEED, SITES,
tional benefits to people. The built environ- concerned with considerations and strategies and WELL criteria.
ment is our human response to create shelter for designing outdoor spaces that fulfill the 3. Explain landscape design strategies
and spaces that are practical and beautiful end users' health, safety, and welfare needs. that include biophilic aspects for
to live, work, and play in. The intersection At the same time, they seek to minimize the human benefit while coordinating
of these two environments is found in land- environmental impacts of those outdoor directly with the design of buildings.
scape architecture – a combination of built spaces by evaluating the sustainability attri- 4. Determine ways to incorporate the
and natural design. In urban, rural, and butes of their design by focusing on compli- principles presented into buildings
and sites as shown in project
suburban settings, landscape architecture ance with third-party criteria such as LEED,
examples and case studies.
can turn an otherwise unused or abandoned SITES, and WELL rating systems. Toward
piece of land into a natural looking setting these ends, at least three current trends in
that allows for vibrant activities or peaceful landscape architecture support the design of To receive AIA credit, you are required to
repose. In and around buildings, landscape successful, sustainable outdoor spaces. read the entire article and pass the quiz.
Visit ce.architecturalrecord.com for the
architecture can create outdoor spaces
complete text and to take the quiz for free.
that complement the building designs, • Biophilic Design: Wilson and Kellert
streetscapes, or rooftops to add nature and define Biophilic Design as "the deliberate
beauty to an otherwise harsh hardscape. attempt to translate an understanding of
This course will explore some of the current the inherent human affinity to affili-
ways that landscape architecture is being ate with natural systems and processes
combined with building architecture to - known as biophilia - into the design of
produce a coordinated, functional, healthy, the built environment.” There are many AIA COURSE #K2407G
and appealing total result. ways to incorporate biophilic elements

108 ARCHITECTURAL RECORD AU G U S T 2 0 24

 LANDSCAPE ARCHITECTURE - DESIGNING WITH NATURE EDUCATIONAL-ADVERTISEMENT

Photo: John Cole; courtesy of Bison Innovative Products

as outdoor kitchens, fire pits, bars, seating
areas, gardens, or others.
CONTINUING EDUCATION

One successful means to construct this

type of outdoor space is to use a modular,
raised pedestal deck system. This versatile
approach gives designers the flexibility to
create unique and beautiful outdoor spaces.
Adjustable pedestal deck systems can be
utilized over virtually any structural surface
- on bare structural decks, rooftop decks, roof
membranes, green roofs, terraces, compacted
grade, pavement, or pool surrounds. The
adjustable pedestal accessories allow for varia-
tions in slope or substrate so a level pedestal
grid can be created. On top of that, modular
wood tiles or other pavers can then be laid
to create the level outdoor walking surface.
Architects can choose from a mix of surface
material options including wood, stone,
The creative use of an outdoor deck helps connect indoor and outdoor spaces by opening up structural porcelain, trays for crushed rock,
views and claiming space that might otherwise go underused. grating, artificial turf, and/or concrete. In
addition, some systems readily accommodate
other features such as planter cubes, water
into a building’s design—through a visual or systems that also require water, such features, exterior lighting, and benches, to
connection to the outdoors, incorpora- as plants and other living things, means create a complete living or entertaining space.
tion of natural elements, or expanding the the stored water is also useful on site and Through the modular use of materials and ac-
indoors to the outdoors. Many projects reduces the need for potable water. cessories, designers can create an abundance
that incorporate biophilic design elements of different design visions without the need for
also have sustainability and wellness goals There are certainly other trends as well, custom or costly materials.
designed to benefit human health and but these three appear to be prevalent and From a biophilic standpoint, natural
healing, increase productivity in work directly support the overall goals of many materials can be used in a deck system,
environments, and improve the overall projects. such as wood and stone, and the spaces can
quality of life by lowering stress levels. incorporate vegetation and greenery. This al-
• Greening of Built Spaces: It seems DEFINING OUTDOOR SPACES lows for regular interactions with the outdoors
that greening of the built environment, Outdoor spaces can be enclosed to stand which has been proven to have positive health
particularly in urban and suburban on their own or provide a direct visual and benefits, such as lower blood pressure, reduced
areas, is becoming increasingly valued material connection from inside a building to stress, expedited healing, and improved
and sought after. Bruce Jett, Principal of the natural environment providing a peace- mood. These areas can also provide occupants
JETT Landscape Architecture + Design ful refuge to rejuvenate the body, mind, and with the opportunity to release tension
points out “There's a huge trend out there soul. If they provide broad landscape views, through sport and physical activity, thereby
now that developers recognize more and they can inspire an emotional attachment improving users’ focus, health, and morale.
more the value of landscape and they're to the building’s natural surroundings and
willing to make the needed investment. promote positive interactions between the Vertical Wall and Trellis Systems
It used to be how much bark mulch can building users and the neighboring ecosys- Outdoor spaces are created and defined by
we put out there and no irrigating plan. tem. In all cases, however, there are several more than just horizontal surfaces – verti-
Now developers are asking how much we basic approaches to consider for a truly cal surfaces are also a key component of
need to spend to make this a memorable three-dimensional, well-balanced design. every design. That doesn’t mean that typical
experience for the prospective tenant, for exterior wall materials are the only option. In
the community that you're building in?” Horizontal Deck Surfaces fact, there are natural options, particularly
• Bioretention for Stormwater Often, the best way to create outdoor living the notion of vegetated walls re-emerging
Management: Climate changes are space is to look for areas where a horizontal from the centuries-old use of natural, living
causing extreme weather shifts, making deck can be incorporated either at grade plants incorporated onto building surfaces.
stormwater management a rising concern, or an elevated level such as at balconies or This practice allows the building users to
particularly in urban environments. rooftops. These types of outdoor spaces can reap multiple benefits, depending on the
Finding ways to collect stormwater, store allow for an extension of indoor floor areas living plants selected. Sometimes, the term
it short-term, and then release it slowly or can claim horizontal areas that are other- “greenwall” is used to describe what appears
into the larger community drainage wise unused. Through design, such outdoor to be vertical growth of vegetation on the in-
system is a proven strategy for alleviating deck areas can be completely customized terior or exterior of a building supported by
some concerns. Using natural materials to contain desirable amenity features such a trellis. Such installations do not always use

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Reimagine the Outdoor Experience

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

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

Ugly QR code. Beautiful Decks.

bisonip.com | 800.333.4234
 LANDSCAPE ARCHITECTURE - DESIGNING WITH NATURE EDUCATIONAL-ADVERTISEMENT

Photos courtesy of Tournesol Siteworks

living plants, but instead use artificial ones
intended to create a natural “look” or attempt
CONTINUING EDUCATION

to incorporate biophilia into a design. For

clarity, in this course the term “living wall” is
used and refers to real, living plants or vines
that require sunlight and water to grow up
along an intentionally designed trellis struc-
ture secured to a building or planter.
Living walls are a tangible way to imple-
ment a strong biophilic element that helps
create healthier spaces for both people and
the planet. For people, wellness is a recog-
nized benefit that inherently attracts them
to a more natural space. Living walls are
making their way into the building industry
with this concept, resulting in organic
elements like plants and natural materials
being integrated into brand new structures.
According to the organization Green Roofs
for Healthy Cities (https://greenroofs.org/),
natural, organic, vegetative design compo-
nents are becoming principal considerations
Incorporating vertical landscaping in the form of trellis systems to create green walls is a
for urban building projects. Specifically,
proven way to blend vegetation in many different types of buildings.
they note that millennials and GenZer's are
far more likely than previous generations
to choose an employer, restaurant, or store
based on visible sustainability features and Note how we distinguish here between solution for a variety of projects while creat-
aesthetics. This includes living walls as well vegetation planted in a three-dimensional ing and reclaiming valuable outdoor space.
as other related natural features. planter and a fully planted “green roof.” The A related at-grade approach is to create
planters are intended to elevate the vegetation an outdoor space in the form of a “Pop-Up
Planters above a roof surface and allow the surround- Park.” These are commonly used to reclaim
Mixed in with horizontal deck surfaces and ing area to be used for other purposes. A car-designated zones (i.e., parking spaces
vertical walls, articulating an outdoor area green roof is generally designed to cover an or extra traffic lanes) for pedestrian use.
often becomes a matter of defining it with entire roof area of a building, usually with Pop-Up Parks vary in size and could encom-
distinct elements or features. Commonly, growth that is relatively low in height and not pass a one-car parking space, many spaces
these take the shape of furnishings and plant- typically meant for foot traffic. There is, of linked together, a reclaimed portion of a lot,
ers of varying heights, widths, and shapes. course, nothing that says the two can’t exist a whole block, or a full lane. Many parks
Such planters provide several functions. First, in the same design, each developed to serve a offer seating areas, gardens, bike parking,
they are the repository for selected plant different purpose in their own sections of the exercise, and other amenities. They were
materials, whether for visual delight, as with roof. Nonetheless, the distinction is important first recognized in San Francisco and New
flowers and greenery or for nutritious value in terms of design. York in programs like “Pavement to Parks.”
as when fruits and vegetables are grown To create Pop-Up-Parks, level platforms,
and harvested. Second, they can create an Outdoor Spaces at Grade such as modular pedestal decks, are built on
ordered and/or artistic layout for the outdoor Certain outdoor spaces around a building at top of existing pavement and are populated
space by helping to define walkways, edges, grade level are often developed as part of the with planters, railing, benches, furniture,
perimeters, etc. Third, they offer the essential overall design from the outset, such as entry and other accessories.
planting base (i.e., soil, other media) for courtyards, plazas, and similar very visible
vegetation to grow, whether fully contained locations. Other spaces may be incidental
in the planter or feeding upward onto a trellis or underutilized as a result of the general
system. Finally, they also become the pri- building design, the site constraints, or both.
mary place to help manage water use for the Such spaces can become valuable assets when
plantings. This is true from the standpoint designed appropriately. From utilizing unused Peter J. Arsenault, FAIA, NCARB, LEED AP is a
of watering the plants/vegetation growing in space in the city, upgrading a porch or back- nationally known architect and a prolific author ad-
planters as well as helping to collect and slow yard in the suburbs, or creating a luxurious vancing better integration of site and building design.
stormwater runoff. oasis by the sea, elevated deck systems can be a www.pjaarch.com www.linkedin.com/in/pjaarch

112 ARCHITECTURAL RECORD AU G U S T 2 0 24

 ADVERTISEMENT

PRODUCT REVIEW
Landscape Architecture – Designing with Nature

CONTINUING EDUCATION
Bison Innovative Products
Photo courtesy of Bison Innovative Products

Bison Rooftop Deck Systems

Bison Pedestals are manufactured in Denver, Colorado, with 20% post-industrial recycled materials and have patented features that improve
performance and stability. These versatile, adjustable pedestal deck systems create level rooftop decks over sloped surfaces, support a variety
of different surface materials, and can be installed over any structural surface.

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Tournesol Siteworks
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Bioretention Planters for Stormwater Management

Bioretention planters are pre-built and installed on site to collect stormwater from drain leads and downspouts. Plants and media filter out
organic/inorganic solids and slowly release the water into the storm drains, reducing peak discharge rates. We offer a range of standard sizes in
aluminum and GFRC, and custom configurations.

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113
 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of VPI Quality Windows

Commercial profile design coupled

with an industry-leading glazing system
in these engineered uPVC windows
delivers the right balance of aesthetics
and performance, at a great value.

Designing with Engineered CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

uPVC Windows 1 IDCEC CEU/HSW

Differentiating between window and door systems to Learning Objectives

After reading this article, you should
successfully meet code and performance goals, both be able to:
1. Describe and rebut common
now and for the future misconceptions about vinyl windows
and doors.
Sponsored by VPI Quality Windows | By Amanda Voss, MPP
2. Analyze relevant performance testing
and certifications for commercial
windows and doors and discuss how
they measure product performance
and enable choice.
3. Identify the types of component
improvements and innovations that
are required for commercial windows
and doors that also enable greater
energy efficiency and performance.

I
4. Solve design problems and turn
n a world where demanding specifica- that exceed the expectations for all project challenges into opportunities using
tions and uncompromising jobsite participants. It also equips professionals to the product advantages of commercial
testing are a way of life, how can design navigate market fallacies while anticipating vinyl windows and doors.
professionals select a product that will upcoming codes and regulations, meaning
perform, adapt to challenges, and satisfy the final window and door package will
To receive AIA credit, you are required to
budget constraints? A commercially rated perform and operate as designed for years
read the entire article and pass the quiz.
window—an engineered window—is the to come. Visit ce.architecturalrecord.com for the
only acceptable solution for commercial complete text and to take the quiz for free.
projects, as residential windows leave room
for design hurdles, performance and code
compatibility issues, inflated product and Amanda Voss, MPP is an author, editor, and
labor cost, and unwanted risk. This course policy analyst. Writing for multiple publications,
enables architects to identify and specify she has also served as the managing editor for
AIA COURSE #K2407K
superior fenestration product performance Energy Design Update.

VPI Quality Windows is a leading innovator in the window manufacturing industry, renowned for our commitment to
delivering high-performance, energy-efficient window solutions. Established with a vision to enhance mid-rise to high-rise
multifamily and commercial spaces, we have consistently pushed the boundaries of design and technology to provide
products that meet the diverse needs of our clients. VPI Quality Windows is proud to be part of the JELD-WEN global
family of product brands and companies.

114 ARCHITECTURAL RECORD AU G U S T 2 0 24

 EDUCATIONAL-ADVERTISEMENT

Photo courtesy of ©IRIS22 Productions, LLC

CONTINUING EDUCATION
We are just beginning to investigate and understand the neural
underpinnings of aesthetic experiences, whether it is exposure
to art or to nature. The initial exploration of this field reveals the
powerful connection humans have to beauty and nature and its
implications for true wellness in built environments.

Restorative & Regenerative CONTINUING EDUCATION

Design as Holistic Design

1 AIA LU/HSW 1 GBCI CE HOUR

1 IDCEC CEU/HSW
Learning Objectives

Approach After reading this article, you should

be able to:
1. Explain the basic principles of
neuroaesthetics and neuroarchitecture
Neuroaesthetics, neuroarchitecture, biomimicry, and how these disciplines intersect with
interior design and architecture, using
and preserved gardens collaborate to achieve insights from key studies and research.
transformative, human-centric spaces 2. Apply the concepts of biophilic
design and sensory experience to
Sponsored by Garden On The Wall | By Amanda Voss, MPP enhance indoor environments and
boost mental health and productivity
via biomimicry.
3. Design spaces that integrate
preserved natural elements, such as
moss walls and preserved gardens,

T
his course introduces interior designers only aesthetically pleasing but also support and form a dynamic fusion between
aesthetic values and psychological
and architects to the innovative fields cognitive and emotional health. The course
well-being.
of Neuroaesthetics, Neuroarchitec- also provides design professionals with
4. Critically evaluate and adapt
ture, and Biomimicry, with a special focus on insights into mindful design and a holistic existing architectural and interior
integrating Preserved Gardens and Biophilic approach, considering both neurotypical and designs to better comply with
Design principles. Participants will learn to neurodivergent occupants of designed spaces. neuroaesthetics principles, improving
create environments that enhance human By the end of the course, participants both the functionality and the human
well-being and environmental sustainability, will be equipped with the knowledge and experience within designed spaces.
exploring the psychological and regenerative tools to create innovative, sustainable, and
impact of design elements. human-centered designs that reflect the latest To receive AIA credit, you are required to
The curriculum is structured to progress advancements in the intersection of neurosci- read the entire article and pass the quiz.
from fundamental concepts to more ence and architecture. Visit ce.architecturalrecord.com for the
intricate applications, making it ideal for complete text and to take the quiz for free.
professionals aiming to incorporate cutting-
edge science into their design practices.
Participants will gain a deep understanding
of Biomimetics, Biomimicry, Neuroaesthetics,
Neuroarchitecture, Restorative Design, and Amanda Voss, MPP is an author, editor, and
Regenerative Design. policy analyst. Writing for multiple publications,
Through this comprehensive approach, she has also served as the managing editor for
AIA COURSE #K2407H
designers will learn to craft spaces that are not Energy Design Update.

Garden on the Wall® is an award-winning creator of maintenance-free, turnkey preserved garden and moss wall installations
for interior spaces. Our bespoke gardens and green walls blend nature's beauty with cutting-edge, safest preservation
techniques. We're committed to elevating human well-being through sustainable biophilic design, transforming environments
into inspiring, health-promoting sanctuaries. Our mission: to reconnect people with nature with most third-party tested
garden and planter offerings for human-centric designed spaces, fostering harmony between humanity and the natural world.

115
 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of B+N Industries

Movable walls, flexible furniture, and

portable power future-proof workspaces
and lead to employee satisfaction.

Sit, Stand, Move, Repeat CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

How to design a dynamic workplace
Sponsored by B+N Industries | By Kathy Price-Robinson 1 GBCI CE HOUR

Learning Objectives
After reading this article, you should
be able to:

T
he workplace is evolving. No longer that can move and those that can be raised 1. Discuss the history of open office
a static setting for the daily grind, and lowered allow people to work how and design and modular office furniture.
the office has become a destination where they want. Tables that tilt can be 2. Define dynamic office design on a
for dynamic collaboration, community folded away to free up space. Portable power macro level.
building, and flexible work styles. Bringing allows maximum freedom within the work- 3. Explain flexible office design solutions
on the micro level using modular and
out the best in staff requires a fluid work- space. Creativity and satisfaction naturally
mobile furniture and portable power.
space solution accommodating individuals follow when office design allows people to sit,
4. Discuss case studies that offer
and teams with no singular permanent, stand, move, and repeat.
designers beautiful and creative
unchanging layout. This course explores solutions to their office design needs.
shifting desires away from totally open
offices to flexible offices. When workspaces
are designed to be flexible, change is simple To receive AIA credit, you are required to
read the entire article and pass the quiz.
and easy. The course focuses on the three
Visit ce.architecturalrecord.com for the
foundations of dynamic office design: mov- Kathy Price-Robinson writes about building and complete text and to take the quiz for free.
able walls and shelves, modular furniture, design. Her “Pardon Our Dust” remodeling series
and portable power. With movable walls and ran for 12 years in the Los Angeles Times. She spe-
shelves, there is no need for heavy carpentry cializes in writing about buildings that are durable
work and the scheduling and disruption and resilient to climate disruption and products
that entails. Modular furniture allows the and designs that provide shade in hot climates.
ultimate use of space as needs dictate. Desks www.kathyprice.com AIA COURSE #K2407E

B+N Industries is a leading designer and producer of award-winning proprietary products that enhance the interior and exterior
aesthetics of retail, hospitality, and workplace locations. Clients may initially discover us through our catalog products, but soon
realize the full extent of our custom capabilities. Our strong, developed industrial design team serves as an extension of our clients'
design teams, and our robust operations and logistics team can manage rollouts on a global scale. We design and manufacture
innovative and intelligently engineered solutions that create purposeful and beautiful places.

116 ARCHITECTURAL RECORD AU G U S T 2 0 24

 EDUCATIONAL-ADVERTISEMENT

CONTINUING EDUCATION
Photo courtesy of LaCantina.

Incorporating movable glass door systems

allows any home to seamlessly blend with
its surroundings, integrating nature directly
within the footprint of the residence.

Big Doors, Big Dreams CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

Specifying movable glass door systems
1 IDCEC CEU/HSW
to maximize potential in any space
Learning Objectives
Sponsored by LaCantina Doors | By Amanda Voss, MPP After reading this article, you should
be able to:
1. Describe how market trends are
influencing residential design and

M
creating new opportunities for
ovable glass panel doors break and performance codes become invaluable. movable glass panel door systems.
the boundaries of design Understanding the certifications for door 2. Analyze how glass panel door systems
conceptions. No longer confined performance means selecting with confi- can enhance occupant welfare and
to large, custom spaces, incorporating mov- dence a movable glass system that will not health, including enhancing indoor
able glass panels maximizes living oppor- only look beautiful, but will perform beauti- environmental quality.
tunities and occupant health in any space. fully over the life of the building. 3. Identify the performance testing and
certifications required for doors and
Low maintenance and uniquely versatile, In tandem with the improved health
explain how they measure product
these systems connect the indoors and metrics that movable glass panel door sys- performance and sustainability.
outdoors with a streamlined design that tems can provide, enhancements in manu- 4. Explain how component improvements
works with any type or style of home. The facturing and technology have increased and innovations have enhanced design
expansive use of glass makes any home a efficiency. Today, these systems can occupy a choices while enabling greater energy
beautiful, welcoming, and modern space. It greater area in the building envelope without efficiency and performance from
also places heavy performance demands on compromising overall performance.The movable glass panel door systems.
that glass and the surrounding frames. As a best manufacturers create movable glass
greater percentage of wall space is occupied panel door systems that are not only visually To receive AIA credit, you are required to
by windows and doors in smaller homes, appealing, but also are built to perform, even read the entire article and pass the quiz.
the insulative and performance properties in the most severe climates and regions. Visit ce.architecturalrecord.com for the
of those products need to be increased, complete text and to take the quiz for free.
to avoid placing an energy burden on the
building. The entire system must also
be evaluated on its ability to prevent air Amanda Voss, MPP is an author, editor, and
leakage, how it will interact with weather policy analyst. Writing for multiple publications,
events, and how it will stand up to the wear she has also served as the managing editor for
AIA COURSE #K2407J
and tear of daily use. This is where energy Energy Design Update.

LaCantina is a pioneer in designing and manufacturing large opening door systems. Our focus in developing and
refining these products has resulted in the most innovative and comprehensive range of folding, sliding and swing
doors available to enhance indoor outdoor living. LaCantina is proud to be part of the JELD-WEN global family of
product brands and companies.

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 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Roof hatches with rails

provide safe and convenient
Photo courtesy of The BILCO Company

access to the roof.

Roof Hatches Simplified CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU
Safety, convenience, codes, and fire ratings
1 IIBEC CEH
Sponsored by The BILCO Company | By Kathy Price-Robinson
Learning Objectives
After reading this article, you should
be able to:
1. Explain the function and benefits of
roof hatches for commercial buildings

R
oof hatches are a common building THE FUNCTION AND
and their safety requirements.
component used to access the roof. In BENEFITS OF ROOF HATCHES
commercial settings, they are com- Roof hatches provide safe and convenient 2. Describe the different styles of roof
hatches and common applications.
monly installed to access the roof area for access to roof areas by means of an interior
3. Discuss how building codes and
maintenance purposes, such as air treatment ladder, ship stair, or service stair. Hatches
standards impact the specification of
systems, air conditioning units, and other typically feature engineered lift assistance roof hatches, especially regarding fire
mechanical systems. They are installed at for easy one-hand operation. protection and safety.
hospitals, offices, industrial buildings, retail When architects and contractors think 4. Identify key features of modern roof
facilities, and any commercial building that of roof hatches, they typically envision a hatches that can impact the energy
requires rooftop access. In single-family resi- standard 36-inch-by-30-inch hatch allowing a efficiency of a building.
dential and multi-family applications, they technician to service a rooftop air condition- 5. Learn about the future and growing
can provide access to rooftop decks, which is ing unit on a commercial building by means trends for roof hatch products.
a growing trend. of a fixed ladder. But the applications for roof
This course explores the features and ben- hatches are so much more diverse than that. To receive AIA credit, you are required to
efits of roof hatches, their design, and options For instance, as we’ll see later in the course, read the entire article and pass the quiz.
for enhanced performance. The course dives roof hatches give building occupants access to Visit ce.architecturalrecord.com for the
into pertinent building codes for hatches, ever-more-popular rooftop decks that increase complete text and to take the quiz for free.
their specific language (or lack thereof), and usable living space and provide views. Hatches
the existing consensus among fire protection are also available in custom sizes to provide an
experts regarding fire protection ratings accessible way to install or remove large pieces
requirements for roof hatches. The defini- of equipment from a building.
tion of these requirements has caused some
confusion among architects, construction The Case of Ochsner Medical
managers, and code enforcement officials Center in New Orleans AIA COURSE #K2407D
which will be addressed in this course. Consider the case at Ochsner Medical

118 ARCHITECTURAL RECORD AU G U S T 2 0 24

EDUCATIONAL-ADVERTISEMENT EMERGING TRENDS INFLUENCING INNOVATION IN FIRE-RATED GLAZING

Photo courtesy of Woodward Design+Build

Center in New Orleans and the massive piece

of state-of-the-art medical equipment that

CONTINUING EDUCATION
needed to be installed in a building.
The options for maneuvering a 21-ton,
multi-million piece of life-saving medical
equipment within a medical facility are limited.
The team at Woodward Design+Build found its
solution with a custom-sized roof hatch.
The Louisiana-based construction com-
pany renovated a 9,000-square-foot space for
an oncology suite at Ochsner. The suite links
to the Gayle and Tom Benson Cancer Center,
which opened in 2020 after the completion of
a two-year, $56 million expansion. The oncol-
ogy suite expansion occurred in a building
that dates back to the mid-20th century.
One of the most significant challenges
for Woodward centered on installing a
Gamma Knife into the building. Only
about 300 facilities worldwide have the
$7-million device, which uses radiation and A large roof hatch allows this massive Gamma Knife unit to be lowered into an oncology suite
computer-guided planning to treat brain at Ochsner Medical Center in New Orleans.
tumors, vascular malformation, and other
abnormalities of the brain.
Treatment with the Gamma Knife is a source in this sophisticated medical device, the establishment of new plant power and
non-invasive alternative to traditional brain cobalt-60, has a half-life of 5.3 years. The distribution. The requirement to maintain
surgery. In the procedure, high-dose beams of roof hatch will allow workers to replace plant operations throughout construction
the cobalt-60 radiation converge on selected the radiation source as necessary without made the immense scope of the project
areas deep within the brain to treat the patient. removing the equipment. "They will have to more challenging.
The Gayle and Tom Benson Cancer replenish the radiation source by going in Garney installed 10 roof hatches in the
Center is a linchpin to cancer patients in New through the roof, so this hatch allows them reclamation facility to provide workers with
Orleans and offers a holistic, patient-centered access to do that," Kersten said. "There isn't access to equipment for maintenance and
approach that is among the nation's most any other way to do that." replacement purposes.
advanced cancer treatment centers. Consistency of equipment was a priority,
Cranes lowered the device into the build- Roof Hatches Provide Easy Access for according to Stephanie Sansom, Senior
ing through a custom 12-foot-by-9-foot roof Colorado Water Reclamation Facility Project Manager for the Parker Water &
hatch. The roof hatch features engineered Rapidly growing cities and their need for Sanitation District. Therefore, the specified
lift assistance to allow for easy, one-hand infrastructure have increased the need for roof hatches were manufactured by the same
operation despite its large size and, most im- reliable roof hatches. company as the existing ones throughout
portantly, weather-tight construction, given For instance, Parker, Colorado, has the district. "We haven't had problems with
the exorbitant cost of the medical equipment grown from less than 300 residents a few their hatches in the past,” she said. “So why
directly below the hatch. decades ago to more than 60,000 in 2021. change something if it's already working?
"We needed a customized hatch solution As the community expanded, keeping up
for the size of the opening," said Ryan Kersten, with infrastructure improvements remained
Project Manager for Woodward. "The roof a concern. The most recent was the overhaul
hatch company really fit the bill and was able of the North Water Reclamation Facility Kathy Price-Robinson writes about building and
to accommodate the varying sizes that we (NWRF). Garney Construction completed a design. Her “Pardon Our Dust” remodeling series
looked at. The size of the hatch grew in design three-year, $57-million project that ex- ran for 12 years in the Los Angeles Times. She spe-
as we completed the design phase." panded the facility from 2 million gallons cializes in writing about buildings that are durable
In the future, medical workers must per day (MGD) to 3.8 MGD. and resilient to climate disruption and products
access the Gamma Knife unit periodically The complex project included the con- and designs that provide shade in hot climates.
for maintenance and repair. The radiation struction of a new headworks facility and www.kathyprice.com

For more than 90 years, The BILCO Company has been a building industry pioneer in the design and development of
specialty access products for both commercial and residential projects. The ISO 9001-certified company is a wholly owned
subsidiary of AmesburyTruth, a division of Tyman PLC.

119
 EDUCATIONAL-ADVERTISEMENT
CONTINUING EDUCATION

Photo courtesy of Polyguard

Defense is the best plan when it comes to protecting the home from
the Formosan subterranean termites. Once a colony is established,
remediation can mean extensive residing, water mitigation, and more.

Defending the Building CONTINUING EDUCATION

1 AIA LU/HSW 0.1 ICC CEU

Non-chemical barrier systems provide ample
protection from Formosan subterranean termites Learning Objectives
After viewing this presentation, you
Sponsored by Polyguard | By Andrew A. Hunt should be able to:
1. Discuss the destructive nature of the
Formosan subterranean termite, how
these pests can endanger the health,
safety, and welfare of occupants,
and how climate change has helped
enable a rapid and invasive expansion

T
his presentation will focus on barrier treatments for foundations, designed of its territory in the U.S.
safeguarding wood structures from explicitly to prevent pest invasion, buildings 2. Describe effective and appropriate
the destructive nature of Formosan can create a robust defense against both methods to prevent termite damage
subterranean termites while also addressing termites and water intrusion. These physical with physical blockers to create a
pest-free and durable building.
the crucial need for waterproofing mea- barriers not only block termite access to the
sures. Since they arrived in the 1960s, this structure but also serve as an essential line 3. Explain the benefits to occupants and
the building of using a non-chemical
non-native species has expanded its territory of defense against moisture, addressing dual
physical barrier for pest prevention
drastically in the southern United States, concerns simultaneously. compared to other types of defense
reaching as far north as Tennessee. Exacer- systems.
bated by warming conditions and excessive 4. Identify how pre-construction planning,
moisture due to climate change, Formosan waterproofing, and physical barriers
termites now pose a significant risk to wood- prevent termites and future damage.
framed structures, particularly in regions
from Texas to Florida. To receive AIA credit, you are required to
Termite prevention strategies vary from Andrew A. Hunt is Vice President of Confluence view the entire presentation and pass the
plan to plan, but universally it is critical to Communications and specializes in writing, de- quiz. Visit ce.architecturalrecord.com
make sure that every system specified is sign, and production of articles and presentations for the complete text and to take the quiz
robust and durable enough to protect the related to sustainable design in the built environ- for free.
building for the duration. To combat this ment. In addition to instructional design, writing,
threat effectively, architects and builders can and project management, Andrew is an accom-
implement integrated solutions that combine plished musician and voice-over actor, providing
termite protection with waterproofing. By score and narration in both the entertainment and
AIA COURSE #K2407F
specifying non-chemical physical water education arena. www.confluencec.com

Polyguard manufactures the toughest sealants & barrier systems for every construction project. Behind our quality
products is an entire team of experts that are passionate about innovation and truly care about your success.

120 ARCHITECTURAL RECORD AU G U S T 2 0 24

DATES & Events
Bigger.
Brighter.
Upcoming Exhibitions Ongoing Exhibitions Clearer.
Views of Planet City Beyond Heights: Skyscrapers and the Expanding your possibilities
Los Angeles Human Experience to match your imagination
September 13, 2024–February 14, 2025 Milwaukee
The Southern California Institute of Archi­ Through September 8, 2024
tecture (SCI­Arc) presents an exhibition imag­ An exhibition at the Milwaukee Art Museum
ining a future without sprawl. The show’s explores the advent of skyscrapers through
premise, based on an ongoing project by archi­ prints, photographs, and design objects from Satisfy safety regulations with
tect and lead curator Liam Young, looks to­ the early 20th century as evidence of a shift in Aluflam, the key system featuring
ward a 2050 when all of humanity has retreat­ human imagination, experience, and percep­ true extruded aluminum vision doors,

Photo Credit: ©Dana Sohm

ed into a single city housing 10 billion people, tion. Featured artists include photographers windows and glazed walls, fired-rated
leaving the rest of earth’s territory for rewild­ Lewis Wickes Hine and Walker Evans, furni­
for up to 120 minutes.
ing and the return of stolen lands. In addition ture designer Paul T. Frankl, and painter
to Young’s evolving body of work, Views of Louis Lozowick. See mam.org. Aluflam products are indistinguishable
Planet City includes contributions from SCI­ Without doors® and
CONTRAFLAM
from non-fire-rated One
Arc faculty Jennifer Chen, John Cooper, Welcome to Tribuneville windows and are available in a
Damjan Jovanovic, and Angelica Lorenzi. The Chicago wide portfolio of most architectural
show will be presented simultaneously at two Through December 30, 2024 finishes.
galleries, the Pacific Design Center in the In the summer of 1922, the Chicago Tribune
Cube and the SCI­Arc Gallery in the school’s launched an international architectural com­
downtown campus. See sciarc.edu petition for the design of its new headquarters.
The contest drew worldwide attention, and

Photo Credit: ©Dana Sohm

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121
 SPECIALTY PRODUCTS DATES & Events
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Events
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Singapore Design Week
VISUAL STATUS INDICATOR DEADBOLTS
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September 26–October 6, 2024
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The B Series deadbolts with new indication trim The 2024 edition of the annual festival is curated around the theme
options feature patented, 180-degree visibility “People of Design,” celebrating the achievements of everyday visionaries
windows applied to Schlage’s Grade 1 and Grade
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security and privacy applications. President*s Design Award winner Hans Tan, tech futurist Cathy Hackl,
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122 ARCHITECTURAL RECORD AU G U S T 2 0 24

Advertisers Index
Advertiser Page Advertiser Page Advertiser Page

Aluflam Na LLC 121 Bobrick Washroom Equipment INC 45 Nakamoto forestry 63

Architectural Record - August Webinars CVR3 BOYD Lighting 42 NanaWall 7

Architectural Record - Design:ED Podcast 32 Bradley Corporation 17 National Terrazzo & Mosaic Association 9

Architectural Record - Education Exchange 58 Nucor Corporation CVR4

Carlisle Construction Materials 8

Architectural Record - Grace Farms 70 PABCO Gypsum 69

Construction Specialties, INC. 48, 49

Architectural Record - Innovation Conference 13 Petersen Aluminum 60

DeepStream Designs, Inc. 66

Architectural Record - Sketch on a Polyguard 120

Duro-Last, Inc. 27
Cocktail Napkin Contest 106
Propane Education and Research Council 10
EarthCam, Inc. 68
Architectural Record Academy of
Digital Learning - Benjamin Moore 12 Salsbury Industries 67
Garden on the Wall 115
Architectural Record Academy of Skyscraper Museum, The 18
Digital Learning - Polyguard 26 Inpro Corporation 65

Solais Lighting Group 4, 5

Architectural Record - AR Forum 105
Joto-Vent System USA, Inc. 64
Technical Glass Products 2, 3
Architectural Record - Monterey
Kaynemaile Limited 25
Design Conference 44
Tournesol Siteworks, LLC 109

KI, Inc. 52
Architectural Record - Women in Architecture 71
Unilock Group of Companies 39

Kingspan Insulated Panels 20

Armstrong World Industries, Inc. CVR2, 1
Vitro Architectural Glass
(Formerly known as PPG Glass) 19
ATAS International 59 Kingspan Planet Passionate 72

VPI Quality 114

B+N Industries, INC. 51, 116 Koala Kare Products 62

Woods Air Door 121

Belden Brick Company, The 33 LaCantina Doors 117

WR Meadows 57
Bilco 118, 119 MetronGroup 15

Bison 111 modular Arts 6

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

123
 SNAPSHOT

Anchoring the 400-acre Jagged Rock Vineyard in Oliver, British

Columbia (the heart of Canada’s wine country), the Red Barn
Winery makes a colorful statement within its dramatic
landscape, framed by the rocky cliffs from which the property
takes its name. Designed by Olson Kundig as an adaptation of a
disused agricultural building (originally completed by the firm
in 2000), the combination production and tasting facility
integrates hospitality spaces with the vineyard’s functional
operations. The barn’s vibrantly red-painted steel cladding
was refreshed and supplemented with a black-and-yellow
chevron-striped garage door, which opens into in the double-
height production area that occupies one half of the building.
A new public visitors center and glass-walled tasting room on
the opposite side allow guests to observe the wine-making
process from above. “I always really enjoy projects that
remodel or repurpose existing buildings, because I get to work
in conversation with another designer and another client’s
vision from the past,” says firm principal Tom Kundig, “In this
case, the other designer is a younger version of myself, working
with a younger version of my client.” Pansy Schulman

PHOTOGRAPHY: © NIC LEHOUX

124 ARCHITECTURAL RECORD AU G U S T 2 0 24

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your secret weapon, empowering you to
chemical physical barrier termite protection Sustainability is an oft-discussed design
design and build faster, smarter, and greener.
with successful waterproofing strategies. term; yet there is confusion about what it
From slab-on-grade construction to concrete is and how to use new (and existing)
block foundations, speakers will provide case technologies to achieve sustainable
studies, product insights, and field-tested building designs.
solutions to keep the home pest-free and
watertight. This AIA, GBCI, and IDCEC -accredited
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