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EDITORIAL OFFICES: (646) 849-7124. 350 Fifth Avenue, Suite 6000, New York, NY 10118. WEBSITE: architecturalrecord.com. ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) March 2024, Vol. 212, No. 3. is published 12 times annually, monthly, by BNP Media II, LLC., 550 W. Merrill St., Suite 200, Birmingham, MI 48009-1443. Telephone: (248) 362-3700, Fax: (248) 362-0317. Annual rate for print: US $44.99, Canada $84.99 and Foreign $149.00. Annual rate for digital: $19.99. Single Copy sales: $12.00. Printed in the U.S.A. Copyright 2024, by BNP Media. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Birmingham, MI, and at additional mailing offices. POSTMASTER: Send address changes to: ARCHITECTURAL RECORD, P.O. Box 1514, Lincolnshire, IL 60069 CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada) to IMEX Global Solutions, P.O. Box 25542, London, ON, N6C 6B2. CHANGE OF ADDRESS: Send old address label along with new address to ARCHITECTURAL RECORD, P.O. Box 1514, Lincolnshire, IL 60069. FOR SUBSCRIPTION INFORMATION OR SERVICE, PLEASE CONTACT CUSTOMER SERVICE AT: Local Phone: (847) 504-8163 Toll Free: (866) 501-7541 Fax: (847) 291-4816. PRINTED IN USA EDITOR IN CHIEF Josephine Minutillo, [email protected] DEPUTY EDITOR Joann Gonchar, faia, leed ap, [email protected] MANAGING EDITOR Linda C. Lentz, [email protected] SENIOR EDITOR Leopoldo Villardi, [email protected] SENIOR NEWS/DIGITAL EDITOR Matt Hickman, [email protected] SPECIAL SECTIONS EDITOR Matthew Marani, [email protected] ASSISTANT EDITOR Pansy Schulman [email protected] COPY EDITOR Anna Shapiro ART DIRECTOR Michael T. Powell, [email protected] ASSISTANT ART DIRECTOR Sarah Wojno, [email protected] CONTRIBUTING ILLUSTRATOR, PRESENTATION DRAWINGS Peter Coe CONTRIBUTING EDITORS Sarah Amelar, Beth Broome, James Gauer, Blair Kamin, Izzy Kornblatt, Katharine Logan, Cathleen McGuigan, Clifford A. Pearson, Naomi Pollock, faia, James Russell, faia Emeritus, David Sokol, Suzanne Stephens INTERNATIONAL CORRESPONDENTS Tim Abrahams, Andrew Ayers, Aric Chen, David Cohn, Chris Foges CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe BNP Media Helps People Succeed in Business with Superior Information LORIN Lorin’s Anodized Aluminum can deliver an absolutely stunning dimensional element to your project, whether it is a cutting edge design, hi-tech structure, or a classical architectural masterpiece. Come see what Lorin Anodized Aluminum has to offer to help you reflect your vision. Polished, powerful, and dynamic. That’s the beauty of anodized. REFLECT YOUR VISION www.lorin.com 800.654.1159 DREAM IT. SEE IT. BELIEVE IT.
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11 MARCH 2024 DEPARTMENTS 16 EDITOR’S LETTER 19 HOUSE OF THE MONTH: Clay House, Tokyo ATELIER TSUYOSHI TANE ARCHITECTS By Naomi Pollock, FAIA 25 LANDSCAPE: Promenade Samuel-de Champlain, Quebec City DAOUST LESTAGE LIZOTTE STECKER By Matt Hickman 29 TRIBUTE: Marsha Maytum (1954–2024) By Joann Gonchar, FAIA 31 PRODUCTS: Glass & Glazing 35 CASE STUDY: Art Nouveau–Inspired Glazing Revamps a New York Lobby By Matthew Marani 54 BOOKS: Atrium, by Charles Rice Reviewed by Leopoldo Villardi 57 GUESS THE ARCHITECT 59 NEWS: Enthusiasm for Building Tall Endures By Joann Gonchar, FAIA 60 COMMENTARY: Skyscrapers of the Early 20th Century By Suzanne Stephens 69 FORUM: New Frontiers By Pansy Schulman THIS PAGE: 8 BISHOPSGATE, LONDON, BY WILKINSONEYRE. PHOTO © DIRK LINDER. Expanded coverage at architecturalrecord.com. COVER: ONE ZA’ABEEL, DUBAI, BY NIKKEN SEKKEI. PHOTO © HUFTON + CROW. FIRST LOOK 39 La Flor at Portal Bosque, La Barra, Uruguay LIVNI+ & DIEGO ARRAIGADA ARQUITECTOS By A. Krista Sykes 44 Wisdome at Tekniska Museet, Stockholm ELDING OSCARSON By Andrew Ayers 50 PILARES Quetzalcóatl, Mexico City DELLEKAMP ARQUITECTOS By Michael Snyder PROJECTS 109 Zaishui Art Museum, Rizhao, China JUNYA.ISHIGAMI+ASSOCIATES By Naomi Pollock, FAIA 114 Promenade & Coffee and Tree Café, Rizhao, China SELGASCANO By Clifford A. Pearson 129 Dates & Events 132 SNAPSHOT: Atlantis The Royal, Dubai KOHN PEDERSEN FOX By Leopoldo Villardi BUILDING TYPE STUDY 1,062 TALL BUILDINGS 75 Introduction 76 One Za’abeel, Dubai NIKKEN SEKKEI By Leopoldo Villardi 82 8 Bishopsgate, London WILKINSONEYRE By Joann Gonchar, FAIA 88 425 Park Avenue, New York FOSTER + PARTNERS By Clifford A. Pearson 94 Toranomon Hills Station Tower, Tokyo OMA By Josephine Minutillo LIGHTING 100 Firmament at Toranomon Hills Station Tower, Tokyo LEO VILLAREAL By Josephine Minutillo 102 Mori JP Tower, Tokyo L’OBSERVATOIRE INTERNATIONAL By Leopoldo Villardi 104 Hangzhou Century Tower, China TORYO INTERNATIONAL LIGHTING DESIGN CENTER By Matthew Marani 106 Products
12 ARCHITECTURAL RECORD MARCH 2024 CONTINUING EDUCATION LEARN & EARN Earn your continuing education credits free online at ce.architecturalrecord.com* To receive credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for complete text and to take the quiz for free. *All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted. Innovative Design Applications Using Advanced Fire-Rated Glazing Technology Presented by SAFTI FIRST Fire Rated Glazing Solutions 1 AIA LU/HSW NEW LUNCH & LEARNS AVAILABLE ON THE EDUCATION EXCHANGE TRENDING ARTICLES ON THE CE CENTER Photo courtesy of ATAS International Testing and Specifying Metal Roofs in High Wind Areas Sponsored by ATAS International 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR; 1 IIBEC CEH Photo courtesy of Eckert and Eckert Opportunities for Wood in Low-Rise Commercial Buildings Sponsored by Think Wood 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR Photo courtesy of Upper Left Photography Specifying the Right Surface Material Sponsored by Wilsonart 1 AIA LU/HSW; 1 IDCEC CEU/HSW; 0.1 ICC CEU IN THIS ISSUE p119 Facades–The Ultimate Skin Care Sponsored by Inpro and Vectorworks CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR Photo courtesy of Low Hammond Rowe Architects p125 A Lesson in Civics Sponsored by Think Wood CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR Photo by William Home; courtesy of Jones Architecture ACADEMY SPOTLIGHT Commercial Roofi ng Academy Brought to you by Versico Roofing Systems 8 AIA LU/HSW Acoustics Academy Brought to you by Armstrong World Industries 7 AIA LU/HSW; 1 AIA LU/ELECTIVE Science, research, and the application wisdom accrued over time all come together in the art of architectural acoustics. Designing, specifying, and installing roofing systems remains one of the most important aspects of creating a durable, energy efficient, safe, and resilient structure. Changing the Way We Think of Prefabrication Presented by Georgia-Pacific Building Products 1 AIA LU/HSW; 1 IIBEC CEH Aluminum Coil Anodizing for Architectural Design Presented by Lorin Industries 1 AIA LU/HSW Specifying High Quality Steel Doors for Multi-Family Applications: Questions to Ask Presented by Taylor Entrance Systems 1 AIA LU/HSW p126 Structural Steel for Low-Carbon-Emission Lightweight Frames Sponsored by The Steel Institute of New York CREDIT: 1.25 AIA LU/HSW; 0.1 ICC CEU; 1 PDH; 1 GBCI CE HOUR Photo courtesy of Nucor p128 Biophilic Design in Action Sponsored by Garden on the Wall¨ CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC CEU/HSW; 1 GBCI CE HOUR Photo courtesy of Anton Grassi Photography
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14 ARCHITECTURAL RECORD MARCH 2024 CONTINUING EDUCATION Photo courtesy of Technical Glass Products Safer School Design: Solving Current Challenges with Best Practices and Innovative Materials Sponsored by Technical Glass Products (TGP) 1 AIA LU/HSW; 0.1 ICC CEU Photo courtesy of Inpro Fire-Rated Expansion Joints— Employing Best Practices and Avoiding Field Problems Sponsored by Inpro 1 AIA LU/HSW; 0.1 ICC CEU Photo courtesy of Getty Images For the Emerging Professional: Leading Sustainability Efforts at Architectural Firms Sponsored by Kingspan Insulated Panels and Think Wood 1 AIA LU/ELECTIVE; 0.1 ICC CEU Photo courtesy of Think Wood Mass Timber as a Solution for Commercial Offi ces Sponsored by Think Wood 1 AIA LU/HSW; 0.1 ICC CEU Photo courtesy of Adobe Finding Durability and Resiliency in Commercial Roofi ng Projects Sponsored by Versico Roofing 1 AIA LU/HSW; 0.1 ICC CEU; 1 IIBEC CEH Photo courtesy of Tamlyn Achieving Sustainable Goals with Extruded Aluminum Trim Sponsored by Tamlyn 1 AIA LU/HSW; 0.1 ICC CEU; 1 IIBEC CEH LEARN & EARN Earn your continuing education credits free online at ce.architecturalrecord.com* NEW IN MULTIMEDIA Photo courtesy of Slenderwall Precast Concrete Insulated Panels Sponsored by Slenderwall 1 AIA LU/HSW; 0.1 ICC; 1 IDCEC CEU/HSW Photo courtesy of Gian Lorenzo Ferretti The Health,Safety, and Welfare of Membrane Systems Sponsored by Enclos Tensile Structures 1 AIA LU/HSW; 0.1 ICC CEU Photo courtesy of mmcité Public Furniture & Sustainable Materials Sponsored by mmcité USA LLC 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC/HSW Photo courtesy of Boston University High-Performance Insulated Sandwich Walls Using Composite Design Sponsored by AltusGroup 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC CEU/HSW Photo courtesy of Tallwood Design Institute CTL in Residential Typologies presented by Jennifer Bonner Sponsored by Think Wood 1 AIA LU/HSW; 0.1 ICC CEU Providing a Firm Foundation Sponsored by Tex-Trude 1 AIA LU/HSW; 0.1 ICC CEU NEW IN PODCASTS Brett Steele—Dean, USC School of Architecture Presented by Brett Steele 1 AIA LU/ELECTIVE; 0.1 ICC CEU Ronald Rael and Virginia San Fratello at Rael San Fratello Presented by Ronald Rael and Virginia San Fratello 1 AIA LU/ELECTIVE; 0.1 ICC CEU Eric Höweler—Höweler + Yoon Presented by Eric Höweler 1 LU/ELECTIVE; 0.1 ICC CEU Jason Frantzen of Herzog & de Meuron Presented by Jason Frantzen 1 AIA LU/ELECTIVE; 0.1 ICC CEU Kevin Daly of Kevin Daly Architects Presented by Kevin Daly 1 AIA LU/ELECTIVE; 0.1 ICC CEU Creative Design as a Way to Address Community and Public Architecture Interview: Carol Ross Barney Presented by Carol Ross Barney 1 AIA LU/ELECTIVE; 0.1 ICC CEU *All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted. This course is part of the Multifamlily Housing Academy. This course is part of the Commercial Roofi ng Academy. Photo courtesy of Tex-Trude NEW IN WEBINARS WATCH NOW LISTEN NOW Photo courtesy of Conor Doherty Photo courtesy of Pansy Photo courtesy of Rael-San Fratello Photo courtesy of Gina Folly Photo courtesy of John Boehem Photo courtesy of Joshua White This course is part of the Multifamlily Housing Academy. This course is part of the Commercial Roofing Academy.
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16 ARCHITECTURAL RECORD MARCH 2024 From the EDITOR IT SEEMS counterintuitive to do an issue on tall buildings when so many tall buildings in cities across the U.S. are currently plagued with too much empty office space (despite a recent leasing uptick, particularly in New York). Why would we need more of them? And those pencil towers for luxury residences that make up places like Billionaires’ Row at the southern end of Central Park in Manhattan need to be seen as a special case, functioning more as bank vaults than apartments. They mostly sit empty as well. Who wants more of those? But, as Norman Foster said in January at the launch of a master’s program his institute has created with the Universidad Autónoma de Madrid, “Cities really are our future. By 2050, 90 percent of the global population will be living in cities.” And if Norman Foster said it, it must be true. The architect’s talking skills were part of what convinced David Levinson, chairman and CEO of L&L Holdings, to hand over a reported billion-dollar commission for a 47-story office tower on Manhattan’s Park Avenue to Lord Foster of Thames Bank. In our current situation, it is these kinds of super-high-end office buildings that are faring better than the shorter, dumpier ones, and are the structures that continue to get built (including another Foster tower at 270 Park Avenue for JPMorgan Chase—it being responsible for the disruption of the view from record’s office that I grumbled about in last month’s letter). According to an August 2023 Moody’s Analytics report, at the national level, high-floor office buildings that contain 20 or more floors consistently had lower vacancy rates than low (five floors or fewer) or medium-size (six to 20 floors) buildings. Since design of this building type goes on, we take a look at Foster’s tower for L&L in this issue, as well as new skyscrapers in London (by WilkinsonEyre), Tokyo (by OMA New York), and Dubai (by Japanese firm Nikken Sekkei, featured on the cover). We also examine lighting schemes for these and other behemoths, which range from subtle to over-the-top to a work of art (literally, by artist Leo Villareal). And, yes, the competition to build the tallest continues. We give an update on the just-completed Merdeka 118 in Kuala Lumpur, the second-tallest building in the world after Dubai’s Burj Khalifa. And we offer the latest word on the Jeddah Tower—formerly known as the Kingdom Tower—in Saudi Arabia. This future “tallest in the world” structure, which is expected to surpass the Burj Khalifa by at least 560 feet, recently restarted after a long lull, with contractors submitting bids to complete its construction. But if we really are concerned with the future of our cities, the nature of the tall building will have to change. Imagine a skyscraper that is not a symbol of wealth or kingdom, that contains not offices for hedge fund honchos or hardly occupied second, third, or fourth residences for multimillionaires, but real housing. In our future cities, we need dignified towers, not cookie-cutter blocks for that 90 percent who are not the 1 percent. Rise and Shine PHOTOGRAPHY: © JILLIAN NELSON Josephine Minutillo, Editor in Chief
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19 HOUSEof the Month A HOUSE TAILOR-MADE FOR THE FOUNDER OF AN APPAREL BRAND PUTS JAPANESE CRAFT IN THE LIMELIGHT. BY NAOMI POLLOCK, FAIA PHOTOGRAPHY: © TOMOYUKI KUSUNOSE Sunlight grazes the stucco walls of Clay House’s upper-level studio. A HOME FOR ONE in the heart of Tokyo, Clay House embodies Japanese craft at its best. The latest from the Paris-based Japanese architect Tsuyoshi Tane, the building blends quietly with its surroundings, a densely built residential area mainly composed of two-story single-family houses. But behind its understated stucco wrapping is a rich material palette and a treasure trove of exquisite details—signatures of Tane’s architecture. Before establishing his own practice in 2017, Tane collaborated with Dan Dorell and Lina Ghotmeh as DGT Architects. Subsequently, he has completed a number of houses, and was selected to design the muchanticipated building for Tokyo’s Imperial Hotel, which will finish in 2036. Occupying a corner site, the Clay House has a squarish plan with discrete open octagonal volumes in its four corners, each one designated for a specific function. “This liberates the middle of the house for social activity,” explains Tane. The ground floor centers on the combined living/dining/kitchen area, with the garage, entry foyer, stair, and storage plus powder room occupying the octagons. A cozy, shadowy place oriented around a hearth, this lower level is partly embedded in the ground. By contrast, the upper floor is a soaring, airy space where the walls bend inward to become angled ceiling planes culminating in a skylight 19 feet overhead. Here, the owner has a multipurpose studio, which is surrounded by volumes containing the stair, bedroom, dressing room, and guest room (with the bathroom in between). Throughout the wood-frame house, sharp edges and joint lines are absent. “This was one of the great challenges,” says Tane. “But it was a great opportunity to learn about the amazing power of handwork.” Sculpted like clay (hence the house’s name) by a skilled mason and
20 ARCHITECTURAL RECORD MARCH 2024 HOUSEof the Month 1 6 2 3 4 5 GROUND FLOOR PLAN 0 6 FT. 2 M. seasoned Tane collaborator, the stucco walls incorporate soil excavated on-site. Working closely together, the architect and mason adjusted the material composition for a smooth texture inside and a rough one outside. The walls were just one of the house’s handcrafted elements. “Everything is custom except the toilet,” says the architect with a laugh. This includes the terrazzo bathtub, the copper kitchen counters and, of course, the magnificent, curving stair—Tane’s favorite moment is at the top tread, when the second floor is revealed. Made of terrazzo treads cantilevered from the wall and supported by hidden steel underpinnings, it ascends graciously, accompanied by a pair of delicate oak railings. No doubt this elegant form was inspired by the architect’s experience living in France. “Paris has so many beautiful staircases,” he muses. But at its core, Clay House bows politely to the traditional, handmade Japanese home. Its forms and functions may be contemporary, but the spirit of craft links to history. “Modern technology can be very beautiful,” comments Tane, “but it is disconnected from our humanity.” n record contributing editor Naomi Pollock, FAIA, is author of The Japanese House Since 1945. Credits ARCHITECT: Atelier Tsuyoshi Tane Architects — Tsuyoshi Tane, design lead; Haruki Nakayama, Ryosuke Yago, project managers; Shota Yamamoto, project architect; Minako Matsumura, Froso Pipi, Daisuke Maeda, design team ENGINEERS: yasuhirokaneda STRUCTURE (structural); ZO Design Office (m/e/p) CONSULTANT: SOLSO (landscape) GENERAL CONTRACTOR: Eiko Construction CLIENT: withheld SIZE: 1,900 square feet COST: withheld COMPLETION DATE: August 2023 Sources CLADDING: Imajo Sakan (plaster) ROOFING: Martetsu Kobo WINDOWS: Yoshi (wood); Sob (metal) HARDWARE: Goal (locksets); Secom (security) INTERIOR FINISHES: Imajo Sakan (plaster); Matsumoto Kagu (cabinetry); Yamagata Dantsu (carpet) LIGHTING: Daiko 1 ENTRY 2 LIVING 3 KITCHEN 4 STAIR 5 WINE STORAGE 6 GARAGE
21 Rough plaster wraps the house’s exterior (opposite). Oak millwork forms an entry vestibule (right), which leads to a combined living/ dining/kitchen area (above, right). Upstairs, sloped ceilings culminate at skylights (above).
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REGISTER TODAY APRIL 17 | BOSTON MIT Media Lab 12:00pm to 5:15pm followed by a reception Approved for 4 AIA LU/HSW. Additional LUs will likely be available once programming is complete. RecordontheRoad.com MEET THE SPEAKERS IN PARTNERSHIP WITH LUNCH & LEARN SPONSOR Carol Ross Barney, FAIA Design Principal and Founder Ross Barney Architects 2023 AIA Gold Medalist Felix Heisel Director Cornell University’s Circular Construction Lab Mario Cucinella Founder & Creative Director MCA - Mario Cucinella Architects Sustainability in Practice This special half-day event, organized by Architectural Record in collaboration with the Massachusetts Institute of Technology, offers a “master class” in sustainable design and how to make it an integral part of a firm’s DNA, led by architects who have been doing just that for decades. Moderators: Josephine Minutillo, Editor in Chief Joann Gonchar, FAIA, Deputy Editor Seating is complimentary but limited. David Lake, FAIA and Ted Flato, FAIA Co-Founders, Lake Flato Architects 2024 AIA Gold Medalists ASSOCIATION PARTNER EXHIBITOR SPONSORS
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25 LANDSCAPE DAOUST LESTAGE LIZOTTE STECKER REIMAGINES A STRETCH OF QUEBEC CITY RIVERFRONT AS A BEACHSIDE PARK. BY MATT HICKMAN SO FREQUENTLY touted by its tourism bureau as a winter wonderland that you’d be inclined to think it was encased in ice year-round, Quebec City thaws out nicely during the summer months. The normally bundled-up provincial capital is a low-key beach town—the banks of the mighty St. Lawrence River and the Saint-Charles River, a watercourse flowing through the city, serve as lively spots for warm-weather leisure pursuits, including those taking place in a state of undress. Just east of the the Pierre Laporte Bridge, along a once industrialized and inaccessible stretch of the St. Lawrence, is the newest such spot: a proper lido, complete with a sandy beach, a wooden pier, a service pavilion comprising two stacked volumes, a “mirror” water feature for wading, and an infinity pool built into a precast concrete basin next to the river. Opened last summer, the beach and swimming area form the literal centerpiece of the third and final phase of Promenade Samuel-de Champlain, an urban green space conceived to connect visitors of all backgrounds and abilities with the riverfront. Born as a gift from the provincial government to Quebec City in commemoration of its 400th anniversary in 2008, the four-mile-long park is dotted with gardens, piers, reclaimed wetland areas, and recreational facilities. Weaving through it all is a multiuse paved path wedged between the river and a 1950s-era highway converted into what Grégory Taillon, an architect with Montreal-based multidisciplinary firm Daoust Lestage Lizotte Stecker, refers to as an “urban boulevard.” “We curved it so that people drive more slowly and to accentuate views of the river. It’s now more like a parkway,” Taillon says of the less-trafficintensive roadway that abuts the revitalized riverfront. “And we pushed it back,” adds firm principal and landscape architect Lucie Bibeau of the old highway. “Otherwise, there would have been no room for the park.” For the final phase of Promenade Samuel-de Champlain, an active rail The swimming area (top), which offers the illusion of taking a dip within the river, and beach (above) pay homage to Plage du Foulon, which drew PHOTOGRAPHY: © STEPHANE GROLEAU (TOP); MAXIME BROUILLET (BOTTOM) pleasure-seekers to the banks of the St. Lawrence in the early 20th century.
26 ARCHITECTURAL RECORD MARCH 2024 LANDSCAPE The lushly landscaped Coastal Meadows include Frontenac Quay (left) and colossal pebble sculptures (below, left). PHOTOGRAPHY: © STEPHANE GROLEAU (TOP); MAXIME BROUILLET ( BOTTOM) SITE PLAN 1 2 3 4 56 7 8 9 10 11 1 SILLERY PARK 2 PAVILLON DE LA CÔTE 3 COASTAL MEADOWS 4 FRONTENAC QUAY 5 PAVILLON DES BAIGNEURS 6 ST-MICHEL PIER 7 POOL & BEACH 8 MARSHLAND WHARF 9 FAMILY & SPORTS SECTOR 10 PAVILLON DE LA VOILE 11 FOULON PIER corridor also had to be removed and rebuilt farther away from the river, a complex undertaking that explains why 15 years passed between the completion of the first and final stages of the project. Still, there’s a palpable continuity between the first and the 37-acre last phase, which, in addition to the lido, features two other major zones, each anchored by its own architecturally distinctive pavilion. Located west of the beach and swimming area adjacent to phase one are Sillery Park and the Coastal Meadows; to the east, just past a tranquil marsh ecosystem, is the family and sports sector, with its myriad picnic areas, athletic fields, and a marina. The uninterrupted design language among the different sections of the promenade can be credited to the fact that the small team from Daoust Lestage Lizotte Stecker, on top of its role as park master-planner, designed almost every aspect of the project: the pavilions, landscaped elements, urban furniture (bike racks, benches, drinking fountains, garbage cans, and on), wayfinding, and signature landmarks, including a trio of giant, scalable pebbles replicated from river stones that were 3D-scanned and modeled by the project team. (Although part of the firm’s master plan, the smaller second phase was not designed by them.) For a park that lends itself so well to warm and humid Quebec City summers, this isn’t to say that Promenade Samuel-de Champlain empties out completely while its destination beach and pool are shuttered during the city’s famously frigid winters. “The river is amazing during the winter,” says Taillon. “People just walk or cross-country ski along it.” ■
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29 Record TRIBUTE PHOTOGRAPHY: © BRUCE DAMONTE (BOTTOM); COURTESY LMSA (TOP) Marsha Maytum (1954–2024) BY JOANN GONCHAR, FAIA THE ARCHITECT Marsha Maytum died on February 10 at 69, three years after a diagnosis of amyotrophic lateral sclerosis (ALS). Maytum is known as much for the buildings she designed, which sensitively respond to their surroundings and to users’ needs and desires, as for her deep conviction that architecture can and should address our most critical problems, including the climate crisis and social equity. Until the beginning of 2023, when Maytum stepped away from day-to-day practice due to her advancing ALS, she led San Francisco–based Leddy Maytum Stacy Architects (LMSA) with her husband, Bill Leddy, and their partner, Richard Stacy. “One of our priorities was the environment, and we really wanted to focus on that work,” Maytum said in an interview last year (record, March 2023) about establishing LMSA, originally founded as Tanner Leddy Maytum Stacy Architects in 1989. Since then, the now 38-person firm has directed its energy to what Maytum, Leddy, and Stacy have referred to as “mission-driven design,” creating an impressive portfolio of projects for clients whose values mirrored their own, including affordable and special-needs housing, academic buildings, and civic facilities. Along the way, LMSA has garnered many honors, including the 2017 Architecture Firm Award from the American Institute of Architects (AIA) and 12 AIA Committee on the Environment (COTE) awards. “Marsha’s special ability to connect with people with empathy and encouragement permeated our firm, reinforcing the bond among us toward our shared mission,” said Stacy. Maytum was a pioneer in the integration of preservation with green design strategies, expertise that was key to her elevation to the AIA College of Fellows in 2001. Her Tho - r eau Center for Sustainability (1997) was the first renovation project in the newly established national park at San Francisco’s Presidio. It transformed a former army hospital into a home for an environmental nonprofit. Among other adaptive-reuse projects was the Fort Mason Center for Arts & Culture (record, March 2018), the conversion of a historic pier building on the city’s waterfront into studio and gallery space. She firmly believed that architecture should serve everyone, including those with disabilities. Her innovative solution for the Sweetwater Spectrum community (record, July 2013), in Sonoma, California, established a replicable residential model for people on the autism spectrum. Maytum’s buildings are only one aspect of her legacy, however. Her leadership extended to advocating for change within the profession. As 2019 COTE chair, she championed a resolution for “urgent and sustained climate action,” calling for the rapid acceleration of efforts to decarbonize the built environment. It was passed overwhelmingly by members at the AIA Conference on Architecture held that year in Las Vegas and was subsequently approved by the organization’s board of directors. “We felt that it was important to take the issue directly to the membership and demonstrate support in a way that was transparent and visible,” Maytum told the magazine at the time. The resolution’s adoption laid the groundwork for the development of the AIA’s Framework for Design Excellence, which outlines a holistic approach to architecture, encompassing the environment, health, and equity. Together, the resolution and the Framework signaled a significant realignment of organizational and professional priorities. She will be remembered for her optimism and her steadfast faith in the power of design. “Marsha’s vision, mentorship, and generative force to get things done lifted many of us, helping us to see and realize the positive change that is possible,” said Julie Hiromoto, a principal at HKS who collaborated with Maytum through the AIA and COTE. “She helped us understand what we—and architects together—can do to change the world and empower the next generation.” Maytum is survived by Leddy, their children, Anna and Andrew, and two grandchildren. n The Fort Mason Center for Arts & Culture remade a pier building into studios and gallery space.
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35 CASE STUDY Glass & Glazing Art Nouveau–Inspired Glazing Revamps a New York Lobby BY MATTHEW MARANI THE COMMERCIAL SKYSCRAPER at 712 Fifth Avenue is one of those anomalies of New York real estate and zoning. The 650-foot-tall tower opened its doors in 1989 and, with its main entrance on a side street, also incorporates two historic rowhouse buildings. The 1908 Coty Building, by Woodruff Leeming (known for its decorative windows by French artist René Lalique), and the former home of the famed Rizzoli Bookstore (1907), by Albert S. Gottlieb, front the tower (designed by KPF) on the Fifth Avenue side. The preservation of the shorter structures’ landmarked facades, including the Coty’s decorative Art Nouveau glazing, and public access to their storefronts, which are Privately Owned Public Spaces that link to the skyscraper’s lobby, were mandatory to allow the tower design to advance through the city’s land-use-review gauntlet. With the passage of time, the building’s Postmodern aesthetic, namely that of the lobby and the adjacent retail spaces, had grown dated and called for a contemporary overhaul. Paramount Group, the current owner, which purchased the property in 1998 from Solomon Equities, brought KPF back to achieve that end. The resulting revamp wrapped up last spring and saw the respectful renovation of those Fifth Avenue storefronts and the introduction of a curved glass entrance with a milled-limestone reception area in the tower lobby (formerly a muted affair of thick, gray granite columns with little daylight.) The curved glass panels undulate between the lobby and sidewalk, and lighten the PHOTOGRAPHY: © MICHAEL MORAN formerly dark reception area (top and above).
36 ARCHITECTURAL RECORD MARCH 2024 CASE STUDY Glass & Glazing 1 1 2 5 5 3 1 4 AXONOMETRIC 1 FLAT PANELS 2 MULTI-RADIUS CURVED PANELS (FOUR SEGMENTS) 3 MULTI-RADIUS CURVED PANELS (FIVE SEGMENTS) 4 MULTI-RADIUS CURVED PANELS (THREE SEGMENTS) 5 CUSTOM DECORATIVE CAPS The skyscraper can be accessed through the Fifth Avenue storefronts (left). Carved stone welcomes visitors to the tower lobby (below). Lalique glass guided the new design (opposite). For KPF, the historic glazing of the Fifth Avenue rowhouses-turned-retail establishments served as a point of reference for the lobby renovation. The sculpted Coty Building windows, resembling a trellis with twisted vines and flower blossoms, is the only project designed by Lalique in the United States. Lalique’s sinuous scheme has been interpreted for the lobby’s laminated-glass panels in an arrangement the design team describes as a set of “angel wings” that reach out into the street and encircle the revolving primary entrance, which is flanked on either side by accessible doorways. “What you see here sprang from an homage to the Lalique glass and the idea of capturing something within the glass as a piece of art,” says KPF principal Hugh Trumbull. “It is our offering to really think about how to incorporate historic architecture and embed it within the heart of a very different building.” KPF’s original design concept called for the use of plexiglass, which would have allowed for
37 Uline Uline’s cushioning gives you the best seat in the house. And with over 42,000 products, you’ll love our variety. Order by 6 PM for same day shipping. Best service, products and selection – experience the difference! Please call 1-800-295-5510 or visit uline.com tighter panel radii and a more seamless look, with fewer joints, but that proved cost prohibitive due to exorbitant insurance premiums associated with that material’s potential wear and tear. Glass was ultimately determined to be more durable, enhanced by elements of desirable distortion and reflectiveness, an effect that is multiplied by the sheer scale of the panels—each measures some 14 feet tall. Facade specialist Front collaborated with KPF on the project and oversaw the detailing and design-assist process with Mexico-based glazing manufacturer Cristacurva. With the geometry constraints in hand, the architects worked iteratively to finalize the glass form and joint locations. The wings consist of several components: four subtypes of flat and multi-radius curved panels, each of which is composed of multiple segments, which are held in place with custom decorative caps at the head and sill edges. That arrangement also defines an undulating void whose depth varies between the many segments. Notably, no mullions were required to support the glass, which, in the flat areas, is ⁹/16-inch thick. “Tight radii require that the glass be thinner for fabrication reasons,” explains Front associate principal Jeffrey Kock. “Fortunately, thinner glass is adequate structurally at curved locations because the curvature imparts stiffness.” Navigating thermal performance and conformance with New York energy standards was achieved through steady-state thermalanalysis software. However, the cavity between the glass wings is subject to potential condensation and dust accumulation. These issues are tackled through low-velocity desiccant air dryers, for which the panels can be lifted out of place by a rig with suction cups to provide access for cleanup crews. Beyond the curved glass, the lobby transitions to gargantuan CNC-milled blocks of limestone, sourced from France and fabricated in Portugal, with incised scoops for sitting. The result is a welcoming and luminous entry that, in drawing from the past, confidently repositions the office tower for the years ahead. n
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PHOTOGRAPHY: © MARCOS GUIPONI 39 FIRST LOOK Into the Woods La Flor, a children’s learning center in Uruguay, anchors a community-oriented campus amid maritime pines. BY A. KRISTA SYKES A MILE inland from southeastern Uruguay’s Atlantic coast, in the Maldonado town of La Barra, a learning center for children aged 3 to 12 sits amid an evergreen forest. Dubbed la Flor and designed by Pedro Livni and Rafael Solano of livni+, and Diego Arraigada, the learning center forms an integral part of Portal Bosque, a nonprofit, all-ages cultural club conceived to foster creativity and community. The idea for Portal Bosque arose during the pandemic, when more than 30 Argen tinean entrepreneurs and their families resettled in Uruguay’s Punta del Este, a region popular for its seaside resorts and abundant cultural offerings—at least during the summer months of November to February. During the off-season, the émigré families found educational and recreational opportunities lacking, especially for school-age children. This prompted new residents Mariquel Waingarten and Matías Woloski to conceptualize Portal Bosque and its multidisciplinary programming that unites nature, technology, and the arts. Waingarten and Woloski planned the complex for an initial membership of 100 families, who pay dues for access to facilities including a café, a greenhouse for botanical exploration, and an outdoor biopool. Non-members may purchase tickets to theater performances, outdoor concerts, and other events. To realize their vision, the clients turned to Livni, based in Montevideo, Uruguay, and Arraigada, in Rosario, Argentina. As principals of three-to-five-person design firms that focus on residential and small-to-mediumscale institutional work, the men have much in common. In addition, both are educators who developed a rapport during contemporaneous teaching engagements at the Universidad Torcuato di Tella in Buenos Aires. (Arrai gada still teaches there, while Livni is on the architecture faculty at the Universidad de From above, la Flor’s plan is evident—seven circles intersect with a central square.
40 ARCHITECTURAL RECORD MARCH 2024 FIRST LOOK 1 COMMON ROOM 2 MUSIC ROOM 3 AUDIOVISUAL SPACE 4 ARTS & CRAFTS 5 KITCHEN/RESTROOM 6 FABRICATION LAB 7 LIBRARY 8 SHARED RESTROOM 9 STORAGE The activity pods focus attention inward (both, above). La Flor’s translucent polycarbonate glows in low light (opposite). la República in Montevideo.) So when the clients requested that Livni, who had been recommended to them, and Arraigada, who had previously designed Waingarten’s beachfront house, collaborate on Portal Bosque, the architects gladly agreed. Together, Livni’s and Arraigada’s firms are responsible for Portal Bosque’s master plan and five of its seven pavilions, nestled throughout 15 acres of maritime pines. The campus layout respects much of what was already there; for example, the property’s well-trod walking paths were incorporated into it. As Arraigada notes, “It was a matter of finding the best opportunities for each building,” whether la Recep ción (the Reception)—a preexisting mud-walled house transformed into a welcome center—or el Pez (the Fish), a concrete outdoor amphitheater that, from above, resembles a fish skeleton surfacing through a grassy slope. Then there is la Flor (the Flower), the 3,200-square-foot children’s learning center that comprises a large square from which seven circular pods emerge, each housing a different program: fabrication lab, music room, library, arts-and-crafts studio, audiovisual space, kids’ restroom, and small kitchen plus restroom for teachers. These activity pods can be used simultaneously, accommodating 10 to 15 kids each, and approximately 50 people can gather in the square core to play or share experiences. A wood frame unifies the building, creating a minimalist structure that reads as a continuation of its natural surroundings. Inside, a smooth concrete floor offers a neutral baseline as muted teal seating and carpets complement the warm pine finishes. And while the main square’s clear glass envelope allows visual connection with the forest, the 1 2 3 4 5 6 7 8 9 AXONOMETRIC
41 Credits ARCHITECTS: Diego Arraigada Arquitectos (Argentina) — Diego Arraigada, principal; Francisco Falabella, project manager; Sofía Rothman, Nicolás Alvarez Saby, Paula Pasquinelli, Manuel Ventura, design team livni+ (Uruguay) — Pedro Livni, principal; Rafael Solano Ferrari, associate architect; Diamela Meyer, Serrana Lluch, Valentin Eyheralde, design team; Lorenzo Preve, construction coordination ENGINEERS: Magnone Pollio (structural); Estudio Hofstadter (structural, lighting); Dica & Asociados (sanitary); Asuan (conditioning) CONSULTANTS: Angeles Casares, Chris Storey (landscape); Marcelo Ribeiro, Koko Dominguez, Den Rey, Didi, Estudio Croma, Male Traynor (interior design) GENERAL CONTRACTOR: SURESTE Construcciones CLIENT: Fundación Portal Bosque SIZE: 3,230 square feet COST: $350,000 COMPLETION DATE: November 2023 Sources POLYCARBONATE: Abasur pods’ translucent polycarbonate skins focus attention inward. That the learning center’s plan evokes a flower is incidental; rather, the architects emphasize their design’s affinity with the 1960s experiments of the Japanese Metabolists. Livni explains: “Like a Metabolist work, the learning center has a designated core—the square—and circular plugins, which carry specific programs.” This comingling of geometries, with the curvilinear softening the hardedged, creates a more organic feel, heightened as one approaches via the meandering stone path. Livni and Arraigada adopted a similar core/plugin strategy for other pavilions on the property, including a culinary space named el Comedor (the Dining Room) and an indoor theater called la Nave (the Ship), both nearing completion. Portal Bosque opened in November 2023. Just a few months later, membership is at capacity—an evident endorsement by the families for which the club was conceived. With its educational and cultural offerings for all ages, Portal Bosque has become the place for creativity and community its cofounders envisioned. And the learning center, with its honest materials, striking geometries, and kinship with nature, plays a decisive role in Portal Bosque’s success. n A. Krista Sykes is a writer and architectural historian based in Cambridge, Massachusetts.
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44 ARCHITECTURAL RECORD MARCH 2024 FIRST LOOK LOCATED in the capital, Stockholm, Sweden’s National Museum of Science and Technology—the Tekniska Museet—turns 100 this year. “Back in 1924, the country was among the poorest in Europe and needed to train more engineers to get industry going,” says Astrid Stenberg, project leader for visitor experience at the museum, which is run under government charter by a private foundation. “Today the Wisdome program comes at a time of huge challenges ahead,” she continues, referring to a decade-long joint initiative by five Swedish science museums to build state-of-the-art dome theaters. Showing immersive 3D visuals—everything from the latest satellite imagery of the solar system to specially made films explaining processes such as photosynthesis—these 360-degree cinemas are intended to wow a new generation of young Swedes and encourage them to study science when they’re older. Last of the five, the Tekniska Museet’s Wisdome, which opened in December, is also the most architecturally ambitious, since the museum used the opportunity to incorporate a new events hall. Among the sponsors was the Swedish/Finnish wood-and-paper giant Stora Enso, which agreed to supply cross-laminated timber (CLT) and laminated-veneer lumber (LVL) for the project. “We thought, ‘Let’s Sphere of Influence A Stockholm museum hopes its masterfully built Wisdome will inspire a new generation to pursue science. BY ANDREW AYERS build in wood, let’s challenge the Swedish construction industry,’ ” explains Stenberg. Entrants to the 2019 design competition therefore had to make convincing use of these engineered-timber products, a challenge the winning office, Stockholm’s Elding Oscarson, rose to with bravura by looking to historical precedents, in particular Frei Otto and Carlfried Mutschler’s 1974 Multihalle in Mannheim, Germany, which is still the world’s largest self-supporting timber grid-shell structure. Initially located downtown, the Tekniska Museet moved to its current site, in the Royal National City Park, in the wake of the Stockholm Exhibition held there in 1930. Partially inspired by Stuttgart’s Weissenhofsiedlung, the fair marked the triumph of the International Style in Sweden, and it was in rather dourly Functionalist mode that the architect Ragnar Hjorth completed the new museum in 1936. Two years later, the initial building, which closes the fourth side of a courtyard formed by three 19th-century military structures, was extended with the addition of a barrel-vaulted concrete hall at its rear. Another extension was added in the 1990s, that time in the form of a mostly windowless rectangular structure that filled up one half of the remainder of the courtyard. A similar building was intended for the other half, but never constructed, and it is there that the Wisdome makes its mark today. “In addition to the dome theater, the brief called for a one-story hall that could house large-scale gatherings,” recalls Jonas Elding, founding partner, alongside Johan Oscarson, of Elding Oscarson. “Rather than having the theater sticking up next to the hall, we really liked the idea of having the globe inside as the centerpiece of the space.” After ruling out a giant box, they began exploring hybrid possibilities, in consultation with their structural engineer, Oslo-based Florian Kosche, who they brought onboard at the outset to ensure that form and structure would develop in tandem. The irregular diagrid dome of the Multihalle, built for Mannheim’s garden festival, was an obvious reference in the circumstances. With this precedent in mind, the architects devised a glass-walled rectangular-plan structure (82 by 157 feet) that enclosed the dome theater at its far end, next to the ’90s extension. On this orthogonal base, without a single intermediate support, they imagined an enormous and asymmetrical LVL-lattice vault rising up to enfold the theater within the volume of the hall. “It sounds easy, but it was a long process,” says Oscarson. One of the first challenges PHOTOGRAPHY: © MIKAEL OLSSON (BOTTOM AND OPPOSITE)
45 Positioned next to military structures, the low-slung building (opposite) bulges to accommodate the dome theater (this image).
PINE ROOF SHINGLES SOLID WOOD PANEL GLASS PARTITION PINE FACADE CLADDING LVL ROOF STRUCTURE LVL EDGE BEAM LVL COLUMN INTEGRATED SEAT BENCH VENTILATION GRILLE 46 ARCHITECTURAL RECORD MARCH 2024 FIRST LOOK 1 2 4 SECTION A - A 1 THEATER 2 PRE-SHOW 3 CAFÉ 4 BAR 5 RESTROOMS was finding a contractor that could actually build the design. Though Kosche had tried to simplify the structure so that any Swedish company could construct it, the museum eventually hired Swiss timber specialist Blumer Lehmann, which has worked with, among others, Shigeru Ban—for example, on his snaking Swatch Headquarters in Biel/ Bienne, Switzerland (record, Decem ber 2019). Blumer Lehmann’s input proved crucial since, in addition to fine-tuning details, the company devised a construction method. Computers were of course essential. So complex is the geometry that each digitally milled piece is unique, identified by a QR code. The principle is nonetheless simple: strips of LVL (12.4 miles in total!) are screwed together to form beams, with three transverse and two longitudinal layers. Whereas the first layer of beams was pre-bent off-site, the others arrived flat and were forced into shape in situ. LVL dowels attach them to the beams below, while the grid is closed with acoustic and thermal insulation. Above this is an air cavity, followed by a waterproof membrane, and finally a covering of 85,000 handmade, hand-nailed wooden shingles. Given the lateral thrust exerted by the vault, the columns that hold it up—massive agglomerations of LVL, 24 by 24 inches thick on the building’s shorter sides and 24 by 32 on the longer—were prestressed with bent steel 0 30 FT. 10 M. FLOOR PLAN 1 3 4 5 2 A A DETAIL SECTION
47 rods inserted into their cores. To avoid fixing ductwork to the vault, air is brought in from under the floor and sucked out through the top of the dome theater. Milled in CLT, the latter includes two fully reclinable wheelchair stations among its 100 seats, an innovation pioneered at the museum. A large cooling apparatus for the six powerful projectors is located under the seating, while the screen, in microperforated aluminum, both absorbs sound and lets in air from ceiling-mounted ventilation ducts. At once modest and monumental, the events hall is a warm and welcoming space that houses a rectangular wooden block containing restrooms and a bar. Acoustically comfortable, even when crowded, it marks a welcome light-filled pause in an otherwise dense and windowless museum circuit, with its longer, south-facing facade giving onto an outdoor deck that is shaded in summer by ancient linden trees. Complete with a model and displays that explain its construction method and mechanical systems, the building forms an engaging exhibit in its own right. It remains to be seen whether the structure will spawn imitations elsewhere, but, for the museum and the architects, that was not the goal. Rather, they hope, it will start a conversation, and inspire others to take an equally inventive approach. n Credits ARCHITECT: Elding Oscarson ENGINEERS: Florian Kosche DIFK (structural); SJB Kempter Fritze, Hermann Blumer (timber structure) CONSULTANT: Design to Production (parametric design) GENERAL CONTRACTOR: Oljibe, Blumer Lehmann (timber) CLIENT: National Museum of Science and Technology SIZE: 14,000 square feet COST: $22 million COMPLETION DATE: December 2023 Sources EXTERIOR WOOD CLADDING: Tilly GLASS: Saint-Gobain ROOF SHINGLES: Nykarleby DOORS: Schüco Jansen (entrances); Daloc, Stålprofil (interior) ACOUSTICAL CEILINGS: Akustikmiljö THEATER SEATING: Ilmonte, Kotobuki The roof is covered by 85,000 wood shingles (opposite). The hall accommodates large-scale gatherings beneath its LVL-lattice vault (above). The dome theater offers immersive visuals (right). PHOTOGRAPHY: © ANNA GERDÉN (TOP, BOTTOM, AND OPPOSITE)
CHECK OUT OUR MARCH WEBINARS TO REGISTER FOR UPCOMING WEBINARS IN 2024, VISIT HTTPS://CONTINUINGEDUCATION.BNPMEDIA.COM/WEBINARS MARCH 12, 2024 @ 2:00 PM EDT For the Emerging Professional: Leading Sustainability Efforts at Architecture Firms CREDITS: 1 AIA LU/ELECTIVE; 0.1 ICC CEU Have you ever wondered what a sustainability director does? On March 12, join RECORD and three sustainability directors—all from highly regarded architecture firms—to find out. The panelists will discuss how they collaborate with clients and colleagues to set performance goals, how they shape the design process, and how they keep projects on track. Speakers will also outline the career paths that brought them to their current leadership roles. MARCH 13, 2024 @ 2:00 PM EDT Achieving Sustainable Goals with Extruded Aluminum Trim CREDITS: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IIBEC CEH Aluminum, as a metal, can play a significant role in reducing GHG emissions in the construction industry. This webinar will look at specifically how extruded aluminum trim can be a valuable tool in the architect’s design kit when trying to reduce a projects carbon footprint while also achieving aesthetic and performance goals. MARCH 19, 2024 @ 2:00 PM EDT Fire-rated Expansion Joints – Employing Best Practices and Avoiding Field Problems CREDITS: 1 AIA LU/HSW; 0.1 ICC CEU There is more to an expansion joint system than just the frame and covers. This AIA CES program deals with the life safety specifics of fire barriers, industry standards and testing. In addition, it covers installation concerns, proper detailing of fire barriers, and the current state of joint system verification. The goal is to limit liability and make sure your building and its occupants are not vulnerable to the hazards of fire, smoke and heat transfer. This webinar is part of the Multifamlily Housing Academy