the shifting planes. Despite the warping, the area remains the same on each floor throughout the building, and all of the 6-by-14½-foot IGU’s of the unitized curtain wall are straight. Above T-Deck, a sky bridge that wraps a corner of the building’s facade acts as a marquee over the main entrance; its underside hosts a dynamic light installation by artist Leo Villareal (page 100). The soffit of the prefabricated T-Deck—which connects to a squat subway headhouse across the street, dubbed Glass Rock, and other nearby Mori buildings and art-filled public space—features origami-like folds of half inch–thick welded steel plates that are carried into the Station Tower’s expansive atrium. The multilevel atrium welcomes a vast array of visitors to the building, including those heading below grade to the retail concourse and subway platforms of the new Toranomon Hills Station on the Hibiya Line and above as guests of the 205-key hotel (designed with a Scandinavian flavor by Space Copen hagen), patrons of Tokyo Node, a 108,000-square-foot voluminous art space on the uppermost levels, or office workers spread out over a million square feet within the middle floors. At the very top, an infinity pool and greenery-filled observation area, known as the Sky Garden, wow diners at the two restaurants located there. (Plantings also accentuate the highly variegated base at street level, on the opposite side of the building from T-Deck.) If, from a distance, the slanting structure gives the impression that it just wasn’t built right, that notion is quickly dismissed upon seeing the building up close. While OMA is not generally known for the impeccable execution of its projects, it’s apparently difficult to escape a certain attention to detail in Japan. The vibrant exterior, with its louvered facade, is matched inside, where there’s also a refinement that comes with recurring motifs—grated ceilings, sleek lighting, and color schemes that fade from intensely saturated to pale hues (particularly in the glass escalator panels throughout the atrium designed by Sabine Marcelis, a frequent OMA collaborator). “For me, the focus was to create a highly public top and highly public bottom,” says Shigematsu. “The form is expressing the axis the building occupies, but it’s also creating a relationship to the context.” And if Shigematsu was less concerned about how his tower would transform the skyline, it still managed to achieve something most tall buildings in Tokyo do not—to stand out. n Credits ARCHITECT: OMA — Shohei Shigematsu, partner in charge; Takeshi Mitsuda, Jake Sadler-Foster, Luke Willis, associates EXECUTIVE ARCHITECT: Mori Building ENGINEERS: Kume Sekkei (structural, m/e/p, fire protection, facade); Arup (structural for competition, facade) CONSULTANTS: L’Observatoire International (exterior lighting); Arc Light Design (interior lighting); Ney & Partners (T-Deck) GENERAL CONTRACTOR: Kajima Corporation CLIENT: Mori Building SIZE: 2.55 million square feet COST: $1.3 billion COMPLETION DATE: October 2023 Sources CURTAIN WALL: Showa Leadfu, YKK AP (aluminum); Asahi Building Wall (glass) PHOTOGRAPHY: © TOMOYUKI KUSUNOSE (OPPOSITE, 3); JASON O’REAR ENTRANCES: NABCO Systems 99
100 ARCHITECTURAL RECORD MARCH 2024 CEU LIGHTING Firmament at Toranomon Hills OMA Leo Villareal BY JOSEPHINE MINUTILLO ARTIST LEO VILLAREAL has brought dancing lights to the cables of the Bay Bridge connecting San Francisco and Oakland. He’s illuminated the Thames River in London. His Multiverse transformed a tunnel connecting the East and West Buildings of the National Gallery in Washington, D.C. Smallerscale interventions have had big impact on individual buildings. At the recently completed Lindemann Performing Arts Center at Brown University by REX, his Infinite Composition of white LED panels over structural columns injects life into the lobby (record, November 2023). His biggest impact on a building may be his latest. Firmament at OMA’s Toranomon Hills Station Tower (page 94), is an emphatic punctuation mark at the tower’s entrance. Like all of Villareal’s work, it is a sitespecific piece that, in this case, underscores the building’s role as a gateway to Tokyo’s recent Toranomon Hills development at one end of the newly reconfigured Shintoradori Avenue. By dynamically illuminating the underside of OMA’s sky bridge, 132 feet above the ground, day and night, the artwork, which, for Villareal was meant to connect to the sky and cosmos, enchants visitors to the building and its belowground metro station as well as passersby on the street. “We had a proposal to do the top of the building, which was one idea,” says Villareal. “But this building occupied a very special location, so it was intriguing to me to activate the bottom of the sky bridge.” Inspired by artists such as Diego Rivera, Villareal likens the 126footlong, Lshaped panel to a mural, the kind that, like Rivera’s, adorn historic buildings. Only here, the reflection of the piece in the tower’s glass skin creates a doubling effect of the constantly moving light show. To some, the 6,000 LED nodes within Firmament may seem to react to the people walking beneath it, but the artwork does not contain sensors. “I did do some interactive pieces early on,” recalls Villareal, “but I found it difficult to create a satisfying experience like that.” Instead, after spending several nights on
101 site observing the mixed-use tower, its many spaces, and how people move around it, Villareal created different visual sequences. These are displayed in a random order and for a random amount of time. Layers of sequences are dynamically combined so that observers are not seeing the same thing over and over. “It’s not a loop,” says Villareal. “I’m really shuffling the deck.” To distinguish the quality of the light in this piece from the ambient light, Villareal used a 4000 Kelvin color temperature. The resolution of the graphics is relatively low compared to some of Villareal’s other more recent work. “I like how pared down it is and how it evokes something like an early kind of video game, which probably resonates in Japan,” says the artist. Using customized tools and working with products from Color Kinetics, the artwork incorporates LED nodes, power supplies, network switches, and computers, and is meant to be a permanent fixture on the building. “We have the ability to do some debugging remotely if we need to, but fortunately we haven’t had any issues, and the software we create is very robust.” Villareal has described his pieces as digital campfires, bringing people together to observe a phenomenon. “The public nature of the work—that it’s available and free to everyone—is very important to me.” n Artist Leo Villareal brings a dynamic light show to OMA’s Tokyo tower, emphasizing its role as a gateway to a new neighborhood. PHOTOGRAPHY: © INKI KANG
Mori JP Tower Pelli Clarke & Partners L’Observatoire International BY LEOPOLDO VILLARDI A stone’s throw from Toranomon Hills Station Tower (page 100) in Minato-ku, the ward in Tokyo that plays host to a suite of international company headquarters and national embassies, the Pelli Clarke & Partners–designed Mori JP Tower elegantly ascends to new heights—literally. At 1,083 feet, the building is the tallest skyscraper in Japan (only two communications structures surpass it in height) and represents the pinnacle of a 30-year relationship between architect and client, Mori Building. Mori JP Tower forms the centerpiece of a mixed-use, three-tower urban village called Azabudai Hills, master-planned by PC&P but with smaller-scale architectural contributions by Thomas Heatherwick and Sou Fujimoto, among others. Measuring 267 feet square at its thickest— wider than a Manhattan block—Mori JP Tower would have appeared staggeringly stout without the help of a few design moves with 102 ARCHITECTURAL RECORD MARCH 2024 CEU LIGHTING
PHOTOGRAPHY: © JASON O’REAR Credits ARCHITECT: Pelli Clarke & Partners — Fred Clarke, senior design partner; Mitchell Hirsch, Jun Mitsui, partners in charge; David Coon, design team leader; Olivia Shenglin Huang, senior designer; David Diaz, Amrit Pilo, design team LIGHTING DESIGNER: L’Observatoire International ENGINEER: Nihon Sekkei (m/e/p, structural) CONSULTANTS: Heatherwick Studio (public spaces and lower-level architecture); Light Design (retail interior lighting), Sirius Lighting Office (landscape lighting) GENERAL CONTRACTOR: Shimizu Corporation CLIENT: Mori Building SIZE: 4,970,800 square feet COST: $4.28 billion (entire development) COMPLETION DATE: November 2023 big impact, reinforced in the evening by L’Observatoire International’s lighting scheme. The bulky height-to-width ratio prompted the introduction of a vertical channel down the middle of each face, rendering the otherwise singular tower into a bundle of four narrower volumes. The tower softly billows, like entasis, tapering at the base and toward its petal-like crown. Rounded corners add to the visual trickery at play, as does highly transparent low-iron glass, which gives the tower a silvery cast akin to a Mikimoto pearl, says Fred Clarke, partner at PC&P. “It has a commanding but still quiet presence.” But, as L’Observatoire founder Hervé Descottes notes, “our cities live at night.” Tokyo is incredibly bright, he adds, while also pointing out that very few towers have lit crowns. “It’s important that they connect with people and serve as locators.” Although 48 floors of Mori JP Tower were planned as leasable office space, the top 10 levels house Aman Resorts–branded residences. To ensure that the apex would glow without affecting these units, programmable LEDs were installed inside the glass-clad spandrels between floors. Concealed LEDs also illuminate the vertical channels, reinforcing the quadripartite expression of the facade at night but with an important twist: these bands of light dim toward the ground, creating a sense that the four wedges are opening—like a flower bud beginning to blossom. The lighting scheme at the crown may seem understated when compared to the intense brightness of nearby landmarks, such as Tokyo Tower, but it establishes a rare identifiable symbol in Minato-ku. At the ground level, a louvered streetside plinth echoes the scale of the surrounding context. Uplights, integrated into every fifth fin, illuminate the undersides, while downlights wash other surfaces—a rounded-glass corner entrance filled with plants, or massive sloped columns near the office entrance—to dramatic effect. “We see tall buildings as the intermediary between heaven and earth,” Clarke adds. “That’s what César Pelli always used to say.” Record-setting achievement notwithstanding, Mori JP Tower cuts an elegant, if still weighty, figure across the Tokyo skyline— day or night. n Four vertical channels break up the skyscraper’s volume (right). Downlights wash columns and walls (opposite). 103
Hangzhou Century Center SOM TORYO International Lighting Design Center BY MATTHEW MARANI THE CITY of Hangzhou, the capital of Zhejiang province, sits at the mouth of China’s Qiantang River, and, like other metropolises across the country, it has undergone exponential population growth over the last several decades, now at some 11 mil lion residents. Having risen from approximately 600,000 in 1950, it developed along the way a panoply of skyscrapers, as well as a campus of parks and stadiums to support last year’s Asian Games. The Hangzhou Century Center, designed by SOM for developer Green land Holdings, is one such project that—as a two-towered 1,000-foot-tall structure connected by a sweeping midsection— demands attention, especially with a spectacular lighting array that emblazons its sinuous form against the night sky. The Center, which contains offices, a hotel, and residences, is a linchpin for Qianjing Century City, a new nine-squaremile mixed-use district that incorporates the Asian Games sports infrastructure. Clad with a diaphanous glass veil that is suspended 104 ARCHITECTURAL RECORD MARCH 2024 CEU LIGHTING
over the unitized glass curtain wall at the tower base and then merges into the fully enclosed facade as it arches upward, the supertall acts as a metaphorical and physical curtain opening to that urban scene. This outward-facing role is strengthened by the publicly accessible skybridge linking the two towers near their bases and by the more than 6,000 color-changing LEDs integrated into the glazing system on the internal face of the tower elevations. “Many of the most interesting buildings in the world can be encapsulated in two or three lines or movements. So, in this case, it is primarily those two curves,” says SOM associate director and design studio head Mark Nagis. “The idea behind the lighting was to do everything we could to reinforce those design aspects.” That accomplishment was no small feat for a project of this scale. The glass overlay is fritted and arranged in a running-bond pattern; at the midsection, alternating modules remain open to the elements to act as both apertures and protective covers for the exterior space of the bridge below. The lighting scheme follows the building contours, being embedded within the curtain wall at the outward surface of each mullion, and runs vertically for some 15 miles across the facade. At the underside of the bridge, the design team opted for flat, triangular metal-panel cladding that follows the doubly curved surface; the gaps between those panels are fitted with additional LEDs. All the lights can be set to any color on the WRGB spectrum—literally millions of options—and they are currently programmed to change every minute, though that speed can be ramped up to 24 refreshes per second. SOM collaborated with Beijing-based lighting consultant TORYO International Lighting Design Center for the scheme and with Arup as the facade consultant. Both were critical in determining the feasibility of different design iterations, such as placing a field of individual LED dots at the intersections of spandrels and mullions. SOM’s inhouse structural and mechanical engineers also helped guide decision-making. The sum of all those parts is an eye-catching edifice that successfully beckons residents and tourists to the banks of the Qiantang River and the heart of Hangzhou. n Credits ARCHITECT: SOM ARCHITECT OF RECORD: Ecadi LIGHTING DESIGNER: TORYO International Design Center CONSULTANTS: D+H (landscape); Arup (facade) CLIENT: Greenland Holdings SIZE: 5.7 million square feet COST: withheld COMPLETION DATE: February 2023 The tower is a visual landmark for the urban district (opposite). The LEDs follow the tower form (right). The glazing is a screen for the bridge, then merges into the curtain wall (bottom, both). PHOTOGRAPHY: © HANGZHOU GREENLAND Sources GLAZING: Taiwan Glass CURTAIN WALL: YASHA LIGHTING: Webb Deco (LED fixtures); CREE (LED chips) 105
106 ARCHITECTURAL RECORD MARCH 2024 BEGA Wall Cylinders Designed to accent columns, walls, and facades, this compact bidirectional luminaire group offers a choice of three beamspread distributions: narrow in both directions, very wide in both directions, or a combination. Made of marine-grade aluminum, the wall cylinder comes in three wattages and scales, a range of white color temperatures, and standard matte or custom finishes. bega-us.com Numi Linear Pendant Made of solid walnut, Boyd Lighting′s new pendant makes a handsome and efficient addition to any conference room with its dimmable-LED, indirect/direct lighting capabilities. It comes in 6' and 8' lengths, and three wood finishes with a choice of hand-finished brass accents in satin, antiqued, or blackened brass or dark bronze. boydlighting.com Node System This new modular system from Linea Light Group was created to work around interior obstacles on walls or ceilings, offering LEGO-like maneuverability with connection joints for installation flexibility and myriad lamping options—diffused linear bars, glare-free microcells, pendants, and track for spotlights and projectors. linealight.com Fry Reglet LED Reveals Fry Reglet, known for its architectural metal fabrications and component systems, also offers lighting in the form of extruded-aluminum LED Reveals, engineered for and sold with a full range of LED tapes and accessories. These integrate with drywall, millwork, plaster, and, now, wallcoverings—each profile having a minimum 0.05" metal thickness for rigid durability. fryreglet.com Beamer Projector The capabilities of ERCO′s highest-output museum spotlight are now available for outdoor use. The Beamer projector has glare-free dark-light lenses (that eliminate spill) for visual comfort, plus a variety of digital control modes, interchangeable lenses, and mounting options to accommodate numerous lighting tasks. erco.com PRODUCTS Lighting
107 IVO This shallow recessed downlight from Gotham Lighting fits into plenums from 2" to 3½" deep. Available in two aperture sizes—a 4" that delivers up to 3,000 lumens and a 6" with up to 5,000 lumens—IVO was designed for easy installation and service and comes in a range of finishes, in round or square formats with interchangeable trim and optics. gothamlighting.com My Circuit Designed by Michael Anastassiades for Flos, My Circuit is a modular ceiling system with a flexible matte-white rubber track that can be sized, curved, and bent to accommodate numerous interior schemes. The all-white corresponding pendants include a wafer-thin disc, a linear luminaire meant to be an alternative to a floor lamp, a sphere, a dome-shaped fixture, and an elegantly thin and long spot. professional.flos.com the Little Twos Small and powerful, USAI's latest downlights include a 2"-aperture recessed pinhole (above) and a 2"-diameter cylinder, available as a pendant or for surface mounting. Both styles offer up to 2,000 lumens with minimal glare, as well as numerous options for trim style and configuration, beam spread, housing, drivers, and adjustability. usailighting.com Vika Introduced at Stockholm Design Week in February, the Vika sculptural floor screen by Abstracta in collaboration with designer Khodi Feiz, is also an acoustic luminaire that generates a warm 2700K glow. Ideal for managing quiet areas in offices, Vika comes in two sizes, has a soundabsorbing core, and is clad with acoustic felt. abstracta.se Rio LAZR Floodlight B-K Lighting′s new Rio LAZR is said to be the first of its kind to use an efficient laser diode light source that produces a high-intensity center beam effective at illuminating towering facades. The 14.5W, 6000K, 14,000-candela lamp can have a square or round housing with an integral driver and comes with a choice of five cap styles and three optics. bklighting.com
Join us for the 3rd annual Design for Freedom Summit — a momentous day of action and awareness. Hear from leading experts across sectors who are working to eradicate forced and child labor from the built environment. Since holding the first annual summit in 2021, Grace Farms has welcomed more than 800 attendees representing industry professionals and university students united in the fight against forced labor in the building materials supply chain. AIA CES accreditation is pending. Scan QR code to register Early Bird Price: $100 (ends January 31st) Non-Member: $150 Member: $120 Student: $50 Scholarships are available for students. To find out more contact us at: [email protected] Grace Farms 365 Lukes Wood Road New Canaan, CT march 26 PANELS • ROUNDTABLES • PILOT PROJECTS • TOURS • JAZZ BREAKFAST • COCKTAIL RECEPTION SPONSORS Collaborator Contributors Media Sponsor Promo Partners Advocate © Jacek Dolata CPG architects
109 Walk on Water A new cultural building nimbly snakes across a lake in Shandong Province. BY NAOMI POLLOCK, FAIA PHOTOGRAPHY BY IWAN BAAN ZAISHUI ART MUSEUM I RIZHAO, CHINA I JUNYA.ISHIGAMI+ASSOCIATES A SINGLE LINE slicing down the middle of a man-made lake, the Zaishui Art Museum is as bold as it is breathtaking. This stark, elegant form stands out against the blue-green water, yet its scaleless simplicity harmonizes beautifully with the setting, yielding a delicate marriage of architecture and nature. While sunlight from above bathes the interior, lake water laps gently at its base, even coming inside and washing up against the concrete floor. In China, where the vastness of the open landscape so often dwarfs buildings, achieving such a balance is no minor feat. Yet this was the ambitious goal of Junya Ishigami, one of Japan’s most daring designers practicing today.
110 ARCHITECTURAL RECORD MARCH 2024 The project began with a cold call to Ishigami from Xu Qunde, chairman of the Shandong Bailuwan Company, a developer working on a multistage mixed-use project in Shandong Province. As throughout China, the land is owned by the government but was rented to the client for the purpose of development. In addition to housing and commercial buildings, several other components intended to attract tourists have been built, including the lake, and a colorful promenade and café by the Spanish firm selgascano (page 114). In addition, a horseback-riding center, a hotel, and a 148-foot-high concrete church, also by Ishigami, are in progress. From the outset, the developer wanted to locate the museum in relation to the lake—the question was how. In search of an answer, the client and architect together visited Wuzhen, a city laced with Venice-like canals, and considered various options proposed by Ishigami. Ultimately, their decision was to place the 217,700-square-foot museum not alongside but actually within the oblong body of water. Connected to the ground at either end, Ishigami’s building extends along the lake’s full length. The main entrance to the kilometer-long structure is at its narrow end. It opens to a long and linear hall, with doors on either side where parking is located, leading like a corridor to a fluid sequence of distinct but connected functional zones. These start with a lobby, reception area, exhibition hall and café, which are followed by additional museum display areas interspersed with informal seating. Designed for flexibility, the building can accommodate a wide variety of art installations, but its opening act features chocolate. Within this exhibition, six clear-acrylic boxes showcase the various steps that turn cacao beans into confection, including roasting, grinding, conching, and, of course, tasting. Over the course of its length, the building volume gradually widens, from 16 feet at the east end to 66 feet at the west where a terrace connects to a second, C-shaped structure containing a second café, a gift shop, and gallery. From there, a tunnel goes under the street and leads to additional parking, as well as other parts of the greater Bailuwan development. Facing the lake, this subsidiary building is embedded in the ground and covered with a grassy roof. Its concealed form is a functional complement but physical contrast to the museum itself. Within the main structure, there are no walls, partitions, or visual boundaries. Instead, a continuous polished-concrete floor distinguishes one place from the next. As in many traditional Japanese buildings, the floor is more than a surface for walking on. It defines space, its concrete surface expanding and contracting in width to create programmatic areas and circulation pathways. At the narrowest point, which is in the entry hall, it cinches down to a mere 7 feet wide. Rather than being sharply divided from the structure, lake water washes up on this path’s outer edges, where the concrete slopes down as gently as a sandy shoreline within the building’s glass skin. “I imagined the floor like an island,” says Ishigami. Fed from the nearby Chaobai River, the lake depth ranges from 20 inches to 6 feet along the transparent enclosure, which consists of 900 clear-glass panes that extend 4 inches below the lake’s surface. A gap between the glazing and the concrete floor—it was designed to remain—allows the water to flow inside, but, in the occupied areas, the floor rises a constant 4
111 inches above it. In winter, when the lake freezes over, a variable air-volume-heating system under the floor keeps the interior water liquid, although it is still and glassy. In summer, soft breezes ripple its surface and gently infuse the galleries with fresh air, thanks to the 100 operable panes. “I wanted THE KILOMETER-LONG structure (opposite) connects to the shoreline with a path that leads to the middle section of the building (above). to make a new outside environment inside the building,” explains the architect. Interspersed with the glass, 150 steelreinforced concrete columns march along each side of the building. Spaced 20 feet apart and measuring 14 inches by 9 inches, they transfer their loads to single-footing foundations that rest on the lake’s stable bottom. Underwater, they also support the steel bars that secure the glazing units from below. Since earthquakes are not a threat here, the rectangular members are sufficient to handle vertical as well as lateral forces. Unlike earlier Ishigami works, such as the Kanagawa Institute of Technology Workshop (record, No - vem ber 2008), a building with 305 superskinny steel columns, the building’s structural system was relatively straightforward. But achieving high-quality concrete construction required guidance from the architects and numerous mock-ups from the contractor. Also made of concrete, the roof undulates along its length, tilting from side to side as well as up and down. It peaks at 16 feet, its highest point, at the building’s west end, and drops to its lowest of 4 feet, currently near a hot-cocoa sampling station in the middle of the building. These variations enabled Ishigami to manipulate the relationships SECTION
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113 between indoors and out. Where the roof tilts down sideways, only the lake can be seen, but, where it tilts up, the scenery expands and the hilly landscape in the distance comes into view. On its underside, the concrete ceiling is enlivened by the ever-changing sunlight reflected off the water. Aside from portable lamps for emergencies, the sun is the museum’s only source of light, once again blurring the divide between interior and exterior. Capitalizing on the best daylight hours, the museum is only open from 10 a.m. to 4 p.m. Stepping down in scale but still underscoring the connection to the natural environment, Ishigami-designed furnishings, including planters and tables, were made primarily of local sandstone by highly skilled Chinese craftspeople. “Since I wanted to create a new outside, the pieces look like outdoor furniture,” notes Ishigami. Through out the building, their curvaceous sculptural forms dot the interior, inviting visitors to pause, or passively guiding them on their way. In Japan, where open, buildable land is quite limited, maximum building size is tightly controlled. However, in China, where property is plentiful, the government decides the minimum floor area and clients are encouraged to build as big as possible, explains Ishigami. But, he notes, the scale of the Chinese terrain is both a strength and a weakness. “Since the environment is so vast, there are no relationships between buildings and their surroundings,” he says. Inextricably linking the two, the Zaishui Art Museum deftly raises that bar. n Credits ARCHITECT: Junya.ishigami+associates — Junya Ishigami, Zenan Li, lead design architects; Zhirui Lim, Sellua Di Ceglie, Rui Xu, Tong Zhang, Cing Lu, Yuxuan Zhou, Zhixuan Wei, Yunyi Zhang, Hanyang Zhou, Qinxuan Li, Jason Tan, Anping Song, Yichen Ji, project team ENGINEERS: XinY structural consultants (structural); Environment-Friendly Solution to Building Services Engineering (m/e/p/lighting) CONTRACTOR: Beijing Yihuida Architectural Concrete Engineering Co. (reinforced concrete) CLIENT: Shandong Bailuwan Company SIZE: 217,700 square feet COST: withheld COMPLETION DATE: December 2023 THE MEANDERING path in the main building is edged by lake water (opposite, bottom). An aerial view (right) reveals a curving, greenroofed secondary structure (opposite, top).
114 ARCHITECTURAL RECORD MARCH 2024 WIGGLING through a phalanx of mid-rise housing blocks, a covered walkway and attached café serve as a colorful antidote to the regimented architecture all around it. Designed by the Madrid-based firm selgascano, the irrepressible explosion of angled-steel tubing and corrugated-metal roofing is a social magnet for the thousands of residents in Bailuwan Town. As has happened throughout China during the past three decades, the area two hours’ driving distance from the coastal city of Qingdao has been rapidly transformed from farmland. The developer makes its profit from the housing components—which are heavily formatted in siting, plan, and scale and usually designed by large Chinese firms—but entices buyers with a series of eye-catching, break-the-mold structures often designed by foreign architects. At Bailuwan, in addition to Junya Ishigami (page 109), the developer commissioned Sou Fujimoto, Ryue Nishizawa, and selgascano to create these special elements, each firm working independently of the others to add a different spice to the architectural stew. Some of these have been built, while others—including a hotel and a residential complex by selgascano—remain on hold as China’s once-booming housing sector now faces a monumental bust. José Selgas and his partner Lucía Cano had never worked in China. But Xu Qunde, the chairman of the Shandong Bailuwan Company, approached them and traveled to Madrid shortly before the Covid pandemic began. “He turned out to be one of our best clients,” says Selgas, who found the chairman thoroughly engaged in the project and willing to solve any problem that arose during construction. Although the apartment buildings on-site had already been designed, Xu allowed selgascano to add curving, yellow-accented balconies on one side and devise a color scheme and new composition for fenestration on the Local Color A covered promenade and café cut a lively path through a large housing complex in China. BY CLIFFORD A. PEARSON PHOTOGRAPHY BY IWAN BAAN CANOPIED PROMENADE + COFFEE AND TREE CAFÉ I RIZHAO, CHINA I SELGASCANO
115 other. The project goal was to enliven the housing blocks and create visual connections, which was also achieved with the promenade and café that would snake through the center of the site. The contrast to the red-brick, residential monoliths could not be starker. Selgas and Cano at first considered relating their designs to Chinese antecedents. Xu rejected that approach, the only time he dismissed an idea outright. He agreed, however, on integrating architecture and landscape, blurring indoors and out. While this strategy has deep roots in Chinese pavilion and garden design, the Bailuwan walkway and café would make no direct historical allusions. Instead, they’re a contemporary assemblage of elements selgascano has used before—steel tubing, corrugated metal, and acrylic panels—responding to the particulars of site, program, climate, and culture. “We always try to do less,” says Selgas. “Use less material, consume less energy, make it lighter.” So the firm’s 575-foot-long covered passage dances gracefully above the ground, THE ARCHITECTS enlivened the town with color and trees—along a walkway (opposite), on balconies (right), and at a café (above).
116 ARCHITECTURAL RECORD MARCH 2024 open on all sides and allowing air and daylight to trickle through gaps in the irregularly shaped roof pieces. Known for their vibrant use of color, Selgas and Cano eventually selected a progression of tones ranging from willow green and olive to beige and tan. The architects insisted on using high-quality paint so it would last for many years. Paired angled-steel tubes serve as columns and hold up the same kind of tubes used as beams to support corrugated-steel roof panels. Those tubes become benches when laid horizontally and connected to the columns; selgascano originally proposed using a custom connector for attaching tubes, but the client ended up welding the pieces. Pavers are handmade ceramic tiles, which came from Spain after the architects—surprisingly—couldn’t find any appropriate fabricators in China. The north end of the walkway attaches to an amoeba-shaped canopy that from above 1 OUTDOOR SEATING 2 CAFÉ SEATING & BAR 3 CAFÉ LOUNGE AREA 4 ROOF DECK 1 2 5 5 CANOPY ENTRANCE 3 4 CAFÉ LONGITUDINAL SECTION 0 15 FT. 5 M.
117 THE CANOPIED PATH, café (opposite), and multihued housing (right) are among new local projects that include Ishigami’s art museum. looks like the bulbous lump in the gut of a snake that has just eaten its prey. At the head of the serpent, the architects designed the café with holes cut out of the roof for trees to grow through. The “coffee-and-tree café” is the only portion of the project with an enclosed space. It is wrapped on all sides with clear floor-to-ceiling acrylic panels, 2 inches thick and a little more than 8 feet high. Selgascano often uses acrylic in projects, because it’s half the weight of glass, is recyclable, and requires much less energy to fabricate, being heated to 300 degrees Fahrenheit, rather than 3,000 for glass. The acrylic for the project was manufactured in China by a company that works on aquariums, and was delivered to the site in five large pieces that were quickly installed. “The most important part of the project is the landscape,” says Selgas. Whether you’re on the walkway or in the café, you’re always surrounded by trees and plantings. “On most projects, landscaping is the last thing considered and the first to get cut. Not here.” A curving steel stair with tubular railings leads to a rooftop sitting area above the café. For the top surface of the concrete-slab roof, Selgas and Cano specified a material made of recycled tires. For the ceiling in the café and the soffit of the cantilevered roof, they used a recycled-wood-and-resin material that has the feel of wood. The wide eaves and the trees all around the café protect the interiors from the full impact of the sun. The architects also designed two waveshaped bus shelters, clad on the inside with slender yellow and white tubes and on the outside with a reflective metal skin that helps them disappear within their setting. Along the access road, they designed colorful metal awnings for a long retail structure and six sinuous pavilions made of painted rebar that sit in a rooftop garden. And, just to the west of the walkway at its start, they created a curvaceous terrace with a small “capsule kitchen” and plenty of tables and chairs. A high-energy jolt of architectural exuberance, the walkway and café projects entice residents to come and relax, to explore and play, to stroll and hang out. Bisecting the property, they serve as common ground for kids, parents, and seniors. They’re both a line and a hub. And they do all this by balancing the needs for both standing out and fitting in, especially with nature. n Credits ARCHITECT: selgascano — José Selgas, Lucía Cano, principals in charge; Paolo Tringali, Inés Olavarrieta, Justo Díaz, Juan Díaz, Alejandro Jiménez, Ying Zhu, project team ENGINEERS: IDI Ingenieros CONSULTANT: DVELAS (furniture) CLIENT: Shandong Bailuwan Company SIZE: 13,000 square feet (site) COST: withheld COMPLETION DATE: January 2023
118 ARCHITECTURAL RECORD MARCH 2024 CONTINUING EDUCATION CATEGORIES BE BUILDING ENVELOPE DESIGN IN INTERIORS PM PRODUCTS AND MATERIALS CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR BE PMD RR Photo courtesy of Low Hammond Rowe Architects p119 CONTINUING EDUCATION Courses may qualify for learning hours through most Canadian provincial architectural associations. Facades–The Ultimate Skin Care Sponsored by Inpro and Vectorworks CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR PM ST SU Photo by William Home; courtesy of Jones Architecture p125 A Lesson in Civics Sponsored by Think Wood In this section, you will find four compelling courses highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders. 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. PMD PRACTICE, MANAGEMENT, DIGITAL TECHNOLOGY RE RESIDENTIAL RR RENOVATION AND RESTORATION ST STRUCTURAL SU SUSTAINABILITY CREDIT: 1.25 AIA LU/HSW; 0.1 ICC CEU; 1 PDH; 1 GBCI CE HOUR PM ST SU Photo courtesy of Nucor p126 Structural Steel for Low-Carbon-Emission Lightweight Frames Sponsored by The Steel Institute of New York IN PM RE CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 IDCEC CEU/HSW; 1 GBCI CE HOUR Photo courtesy of Anton Grassi Photography p128 Biophilic Design in Action Sponsored by Garden on the Wall® RR
119CONTINUING EDUCATION Facades–The Ultimate Skin Care O n all buildings, the outer skin (e.g., the facade) performs all of the same functions that the skin on our body does. In both cases, it is the skin that protects the inside from the elements like sun, rain, and wind. It regulates the flow of moisture by allowing it to permeate through the skin when needed or prevent it from passing at other times. It helps regulate our temperature in conjunction with insulating layers. It absorbs or reflects light and heat based on the color and texture. In some cases, it can be selfhealing or otherwise easy to repair when damaged. And, of course, we want it to look good and healthy not just today but over many years. In this course, we address these multiple aspects of building skins including their role in creating sustainable buildings. While the part we see is the outer surface of the facade, buildings like people, are much more than just skin deep. Photo courtesy of Low Hammond Rowe Architects Designing smarter with attention to detail Sponsored by Inpro and Vectorworks By Peter J. Arsenault, FAIA, NCARB, LEED AP CONTINUING EDUCATION 1 AIA LU/HSW 0.1 ICC CEU 1 GBCI CE HOUR Learning Objectives After reading this article, you should be able to: 1. Identify different strategies for creating sustainable, integrated building facades that meet aesthetic and performance needs. 2. Assess the safety performance aspects of properly incorporating expansion joints into building facades. 3. Explain the multiple ways that the use of Building Information Modeling (BIM) can help create facades that contribute to health, wellness, and safety. 4. Determine how the proper use of expansion joints help with occupant safety and fi re resistance in building facades. To receive AIA credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for the complete text and to take the quiz for free. AIA COURSE #K2403N SUSTAINABLE FACADE DESIGN Facade design is part of every building project. The style, character, and visual appeal of a building are all part of the design considerations. In addition, the performance in terms of energy flows, water control, moisture management, and impact on the surrounding environment all come into play too. Most facades are a combination of opaque wall areas and fenestration, each with their own contributions, or detractions, from the appearance and performance of a facade. A primary design requirement from building owners, building codes, and voluntary standards is that the facade must meet criteria for sustainability and resilience. Doing so is a multi-step process with many different, sometimes competing, considerations. Fortunately, things have evolved to the point where aesthetics and sustainable performance can be blended into a complementary and successful solution. The Dallas Road Townhouses. Building facades come in all types, styles, shapes, and sizes, yet they all need to be designed well for reasons of aesthetics, safety, sustainability, and overall performance. EDUCATIONAL-ADVERTISEMENT 1 GBCI CE HOUR
120 ARCHITECTURAL RECORD MARCH 2024 FACADES–THE ULTIMATE SKIN CARE EDUCATIONAL-ADVERTISEMENT CONTINUING EDUCATION application of continuous insulation over a structural system of whatever type is becoming more common and readily achievable to produce higher thermal performance in most climate zones across the US and Canada. Air and water barrier products are more plentiful with more options for application types to effectively control air infiltration and manage vapor transmission. Cladding and rain screens have become well developed including some sophisticated means for supporting them. All of these components go into a facade design, so understanding not only their purpose, but also their material makeup plays directly into creating a sustainable facade. Design Strategies Architects and other building design professionals seeking to achieve sustainable facades can learn from some strategies that have been successfully used by others including the following. • Consider Lightweight Cladding: Less weight usually translates into less structure to hold it up not only in the framing but also in the foundation. In particular, the use of lightweight metal in facades can include rolled steel sheets, metal cladding panels, or composite metal panels. Metal building products, such as steel and aluminum, typically contain high amounts of recycled material thus lowering the amount of embodied carbon in the products. Masonry and concrete or other cement-based products are fossil fuel intensive to produce with high levels of embodied carbon. Metal fabrication can have even lower carbon footprints when the electricity used in the process comes from renewable resources like wind, solar, or hydropower. Finally, the ability to recycle and upcycle metal materials at the end of their service life also improves their sustainability. • Prioritize Adaptive Reuse or Historic Preservation: It is often said that the most sustainable building is an existing one. The same is true of facades. If a building renovation project includes facade work, focus first on the ability to save and re-use what is there before automatically assuming everything has to be removed and done over. This could include selectively removing only things that are outdated or deteriorated but keeping the things that are still usable while their replacement would create more work, and more emissions, to produce and install. • Account for Siting and Building Orientation: Facade skins can always get a little help from their surroundings. Siting and building orientation play a big role in the amount of wind, sun, and weather that a building facade is exposed to and it may be different on different sides of a building. Trees and other vegetation can provide some shade and protection while surrounding buildings in an urban setting can do the same thing. In cases where facades are fully exposed, adding elements over fenestration is a common approach to improve shading and overall performance. Strategies can include horizontal or vertical sun shading systems as conditions call for. They can also include planted green facades to add a natural, biophilic solution. • Anticipate Climate Extremes: Many buildings are being subjected to more extreme conditions than previously due to climate change. The frequency and severity of storms and the intensity of temperature and wind conditions have made historical data alone unreliable as a design guide. Similarly, climate zone designations have been a useful benchmark for climate conditions, but individual sites can have widely varying conditions. Hence, it has become prudent to include measures for increased resistance to these extremes as a means of creating more resilient, and therefore more sustainable, buildings. The design process of achieving a truly sustainable facade has changed in recent years. It is no longer a matter of just picking a few products out of a catalog and calling it done. Rather, detailed information is needed not only on the technical aspects of the products’ performance but also on their ability to be compatible with other products and with building codes. Similarly, there is a need to have information about the environmental impacts of the products selected which is often found in Environmental Product Declarations (EPDs). Managing all this data can be quite difficult if done manually or in a piecemeal fashion. It is more effective to use computer-based data coordinated with Building Information Modeling (BIM) software. A key advantage of BIM software is that it provides the ability to readily visualize, test, and analyze a variety of different building facade designs in order to arrive at the best outcome. The algorithms and visualization tools inherent in BIM inform design professionals how a specific project will both look and perform in a particular site and in light of the natural elements there. In this way, an integrated planning and design process can be employed to ensure a project is set up for success to meet all project goals, including sustainability, from inception through to completion. DESIGNING FOR MOVEMENT The design of facades for larger buildings needs to consider the fact that building structures, and their facades, must be allowed to move. That movement is accommodated by designing predetermined gaps into large structures that can absorb the motion. In large buildings, they are a necessity, Images courtesy of Habit Studio Falkland Street Project. BIM software allows designers to visualize different building designs while providing data related to performance and sustainability.
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122 ARCHITECTURAL RECORD MARCH 2024 FACADES–THE ULTIMATE SKIN CARE EDUCATIONAL-ADVERTISEMENT CONTINUING EDUCATION particularly where buildings are segmented into different sections or if one attaches to another structure such as a parking garage or other use. The location, size, and movement requirements for all such expansion joints are project-specific and appropriately established by the Structural Engineer of Record. Some design conditions directly affect the way expansion joints are worked into a building. For example, facades and exterior elements often have complex geometries that can converge in a range of locations such as at grade, under entry portals, at beltlines, across patios, soffits, etc. It is also common that multiple materials are used for aesthetic or functional purposes on a building. All of these conditions directly affect expansion joints, requiring them to accommodate differing materials to invert under patios, climb up and over parapets or elevator mechanical rooms, negotiate curbs or rooftop gardens, etc. These locations are also where a range of trades can come together for the different materials and systems being installed. Not surprisingly, these locations are also the sources of most leaks or breaches in the envelope related to water, air, or thermal compromises. Therefore, providing properly coordinated details that can be used by the trades to address these situations can be critically important in maintaining the integrity of the facade across the expansion joints and the areas around them. Unfortunately, very few projects containing expansion joints are ever detailed to such a finite level. This leaves most contractors, facility managers, owners, and potentially architects to deal with the consequences of uncoordinated expansion joint systems for years to come. Industry data suggests that expansion joint issues account for the second highest recurrence of the owner's first year callbacks to the contractor (The #1 reason remains HVAC balancing problems). The owner’s issues generally surround frustration with joint systems- whether for functional, aesthetic or leak-resistance purposes. The first step to proper specification and detailing of a joint system is to acknowledge the nominal joint size for a particular building and the range of movement between the fully contracted size and the fully expanded size. The design width of an expansion joint at an average air temperature is referred to as the nominal joint size. The building movement that makes expansion joints necessary occurs due to several common reasons with three types of movement that typically need to be accommodated: • Thermal Forces: This type of movement is most typical and caused by daily or seasonal environmental temperature changes in and around the structure. Thermal movement is primarily “onedirectional” in nature and is the result of the expansion and contraction of structural elements as affected by heat, cold, and humidity levels. The typical amount of thermal movement is approximately 10-25 percent of the nominal joint size. That means the maximum expanded joint size where the building sections contract away from each other (i.e., during cold temperatures) should be 10 – 25 percent more than the nominal joint size. Similarly, the minimum contracted joint size where the building sections expand toward each other (during warm temperatures) should be 10 – 25 percent less than the nominal joint size. If expansion joints aren’t sized and installed properly, then the thermal expansion and contraction can cause buckling of structural surfaces and ripple along the facade and other surfaces. • Seismic Activity: The shifting of the earth’s tectonic plates (i.e., earthquakes, tremors, etc.), and shifts along fault lines is the source of seismic activity. Seismic movement may be horizontal, vertical, in shear, or a combination of all three. Seismic expansion joint widths may need to increase with higher floor levels to accommodate the additional, cumulative movement that needs to be addressed. These joints must have the capacity for movement of plus or minus 50-100 percent of the nominal joint size associated with them. When it comes to expansion joint systems, it is important to select systems that can “reset” themselves after a minor seismic event without requiring workers to reposition any cover panels. • Wind-Loads: Movement induced by high winds, can force the structure to sway. This movement is normally perpendicular and/or parallel to the joint. This is common where a low horizontal building span meets with a taller vertical element. Movement in these joints is typically on the order of 50 percent of the joint width. Peter J. Arsenault, FAIA, NCARB, LEED AP is a nationally known architect and a prolific author advancing better building performance through better design. www.pjaarch.com, www.linkedin. com/in/pjaarch Images courtesy of Habit Studio Expansion joints in a facade can blend in with the surrounding material or be designed to make a visual statement. Either way, they need to be located and installed properly to address the different types of movement to which a building and facade can be exposed.
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125 CONTINUING EDUCATION A Lesson in Civics T he use of mass timber in civic architecture offers a sustainable and aesthetically pleasing solution for creating net-zero or highly efficient civic buildings. To help with the successful outcomes of such projects, it is important to prioritize stakeholder engagement, community involvement, and education throughout the design process. These aspects play a pivotal role in fostering community acceptance, inclusivity, and a shared commitment to sustainable development. Engaging key stakeholders, including government officials, local authorities, and potential partners, is essential to align project objectives with civic priorities. Involving stakeholders at the outset helps Photo by William Home; courtesy of Jones Architecture Mass timber as a catalyst for achieving sustainability goals in civic projects Sponsored by Think Wood CONTINUING EDUCATION 1 AIA LU/HSW 0.1 ICC CEU 1 GBCI CE HOUR Learning Objectives After reading this article, you should be able to: 1. Describe how mass timber can be incorporated to be part of an effi cient and expressive structural solution. 2. Explain why integration and collaboration with the design and build team early in the process is critical when designing with mass timber. 3. List the physical attributes of mass timber that help support recent trends in sustainable building practices in civic projects. 4. Describe the importance of managing consensus and engaging in community stakeholders during the design process to ensure a more inclusive and accepted net-zero civic building. To receive AIA credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for the complete text and to take the quiz for free. AIA COURSE #K2403O identify their needs and concerns, allowing the design to reflect the community's values and goals effectively. This collaboration helps align the mass timber building with civic aspirations, which is particularly important in the context of net-zero goals. One of the fundamental design principles when working with mass timber is to embrace the material's natural characteristics. Wood, with its inherent warmth, beauty, and strength, allows for the creation of structures that connect with both the environment and human senses. Designing with mass timber involves an appreciation and understanding of its structural capabilities and aesthetic qualities to enhance the visual and tactile experience of the built environment. The C. Gerald Lucey Building in Brockton, Mass., used exposed mass timber to provide both structural integrity and beauty for occupants. EDUCATIONAL-ADVERTISEMENT Think Wood provides commercial, multifamily, and single-family home design and build resources to architects, developers, and contractors, including education, research, design tools, and innovative project profiles. 1 GBCI CE HOUR
126 ARCHITECTURAL RECORD MARCH 2024 CONTINUING EDUCATION Structural Steel for Low-Carbon-Emission Lightweight Frames A mong much of the general public, the communications media, and even some architects and developers, there is a misconception that the production of structural steel results in more carbon emissions than the production of other inorganic structural materials. The global emissions footprint of structural steel is indeed troublesome; even the most sustainable steelmaking technologies use considerable energy; and production methods in some areas remain both dirty and energy-intensive—yet confusion between domestic metrics and global metrics, which include emissions from both traditional integrated blast furnace/basic oxygen furnace (BF/BOF) steel production and the far more sustainable electric arc furnace (EAF) method using recycled ferrous scrap, frequently obstructs an accurate assessment of the energy and emissions performance of the U.S. steel industry. The U.S. is a leader among nations where EAFs are now dominant, recycled content is the norm, and the Photo courtesy of Nucor Using structural steel for building frames to enable more flexible, lightweight structures while reducing carbon emissions Sponsored by The Steel Institute of New York | By William B. Millard, PhD CONTINUING EDUCATION 1.25 AIA LU/HSW 0.1 ICC CEU 1 GBCI CE HOUR 1 PDH Learning Objectives After reading this article, you should be able to: 1. Identify and recognize the properties of structural steel that are conducive to environmental sustainability and resilience as defi ned by national and global standards. 2. Recognize aspects of the domestic and global steel industry that require nuanced attention to energy and emissions footprints, depending on local conditions and practices. 3. Investigate opportunities to apply the properties of lightweight, highstrength steel in the design and construction of building frames, thus using materials effi ciently and reducing carbon emissions. 4. Assess the functional contributions of materials, designs, and systems as they contribute to green and sustainable design using structural steel. 4. Comprehend systems in a variety of green, conventional, and investigational structures and formulate appropriate selections related to specifi c applications. To receive AIA credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for the complete text and to take the quiz for free. AIA COURSE #K2402G steel industry exemplifies the operations of a circular economy. “Steel has been recycled for over 4,000 years,” notes metallurgist and architectural/ structural metals consultant Catherine Houska, recalling remarks she recently made to an American National Standards Institute technical advisory group. “If you go back to when mankind first started to use iron, it has been recycled very carefully since that time.” The long-established tradition of reusing scrap metal and melting it at temperatures that effectively remove impurities (since steel has a higher melting point than aluminum or copper and can be recycled indefinitely through the lifetimes of many buildings or products) forms a foundation for newer sustainable practices. These increasingly involve shifts to alternative energy sources, part of the broader decarbonization of infrastructure and the economy; designs that use steel in highly efficient ways, thanks in part to high-strength grades of steel that can carry more load with An electric arc furnace (EAF), shown here in operation, uses up to 100 percent scrap steel and has approximately one third the CO2 emissions of a traditional blast furnace/basic oxygen furnace (BF/BOF). EDUCATIONAL-ADVERTISEMENT 1 GBCI CE HOUR 1 PDH
127 EDUCATIONAL-ADVERTISEMENT STRUCTURAL STEEL FOR LOW-CARBON-EMISSION LIGHTWEIGHT FRAMES CONTINUING EDUCATION less bulk (see Architectural Record, February 2022, “Not Quite Your Grandfather’s Steel: High-Strength A913 in Today’s Green Construction”); computationally assisted analysis of structural loading, allowing increasingly precise allocation of materials; and, in certain prototype projects, advanced additive manufacturing technologies. The strength/weight ratios found in contemporary steel continue to enable lightweight structures with impressive aesthetics and structural performance (see Figure 1). Design and construction methods grounded in the capabilities of today’s steel industry can legitimately earn descriptions as green and clean. “The biggest misconception I encounter,” says Max Puchtel, SE, PE, director of government relations and sustainability at the American Institute of Steel Construction (AISC), “and this is common when you look at any kind of third-party webinar or publication about the steel industry on sustainability, is people will tout global numbers for emissions responsibility for the steel industry when they’re talking about the domestic steel construction industry. So you’ll see things like, ‘The steel industry is responsible for 8 percent of worldwide emissions,’ which is true, but that’s a global number. It reflects the fact that worldwide, there’s about a 70/30 split of integrated traditional steelmaking relative to modern recycled-content steelmaking.” “In the U.S., about 75 percent of all steel is made with an electric arc furnace,” notes Philip K. Bell, president of the Steel Manufacturers Association, the Washington, D.C.-based organization representing the domestic EAF industry. “Most construction materials—whether they’re structural beams, long products like rebar, wire rod for reinforced concrete, and even plate—are made by EAFs,” he continues. “About 99 percent of all long products are made by EAF. About 80 percent of all structural products are made via EAF, and about 75 percent of most plate products are made via EAF.... This trend is growing not only in North America, but around the world. Increasingly, we see foreign steel industries trying to make their steel industry look more like ours, where they are retiring old blast furnaces that use extractive methods of mining iron ore and coal and replacing them with EAFs. This is particularly true in Canada, Germany, and the U.K.” A move toward EAF is not yet the case, however, in China—the nation that produces over half the world’s crude steel annually. China’s proportion of EAF facilities also lags well behind those of the U.S. and other world leaders, with estimates varying, but some credible sources suggesting a mere 10 percent EAFs in 2020, with 15 percent as an aspirational goal by 2025 (Zhang and Chow); large-scale new BF/ BOF construction persists in that nation, despite stated intentions to encourage scrap-fed EAFs (Shen and Myllyvirta). The locked-in commitment to BF/BOF mills by the world’s largest steel producer is a major reason the global steel industry, assessed as a whole rather than nation by nation, can appear anything but green. With global climate change making the conversion of high-emissions extractive processes to circular, sustainable, and resilient processes an increasingly urgent priority, and with professionals, clients, and regulatory bodies all paying serious attention to energy and emissions metrics, improving the performance of this critical industry strikes observers inside and outside the field as a powerful imperative (Muslemani et al.). The relevant metrics include both embodied carbon and operational carbon, though current building codes chiefly address their attention to the latter. These measurements apply to all three scopes of emissions: scope 1 includes greenhouse gas (GHG) emissions from sources that an organization controls directly; scope 2 includes indirect GHG emissions associated with the purchase of electricity, steam, heat, or cooling; and scope 3 includes all other indirect GHG emissions resulting from activities in an organization’s value chain (Greenhouse Gas Protocol). Figure 1. GEODIS Park by Populous and Hastings Architecture, the new home of Nashville SC of Major League Soccer, features exposed slender beams of structural steel produced in an EAF. It is the largest dedicated soccer stadium in the U.S. or Canada and a winner of a 2024 AISC Innovative Design in Engineering and Architecture with Structural Steel (IDEAS²) Award. Source: AISC Photo courtesy of Tom Harris Bill Millard is a New York-based journalist who has contributed to Architectural Record, The Architect’s Newspaper, Oculus, Architect, Metals in Construction, OMA’s Content, and other publications. The Steel Institute of New York is a not-for-profit association created to advance the interests of the steel construction industry by helping architects, engineers, developers, and construction managers develop engineering solutions using structural steel construction.
128 ARCHITECTURAL RECORD MARCH 2024 CONTINUING EDUCATION Biophilic Design in Action B iophilic design is the latest frontier in creating indoor environments that help people feel, work, learn, and heal better. The design philosophy seeks to create indoors the patterns of nature that humans are naturally attuned to. This includes natural light and nature views, natural materials like wood and stone, and plants. While vertical walls of living plants seem to satisfy this human need for exposure to nature, the upkeep and maintenance of these assemblies has proven onerous. That accounts for the growing interest in striking installations of all-natural, preserved plants that require virtually no maintenance but that deliver a power immersive experience of nature. And why not? The plants are all-natural, albeit with their sap replaced with a nontoxic solution, and without the pruning, Photo courtesy of Anton Grassi Photography Indoor gardens with preserved plants Sponsored by Garden on the Wall® By Kathy Price-Robinson CONTINUING EDUCATION 1 AIA LU/HSW 1 GBCI CE HOUR 1 IDCEC CEU/HSW 0.1 ICC CEU Learning Objectives After reading this article, you should be able to: 1. Describe biophilic design and its effect on occupants of workspaces, healthcare, and hospitality. 2. Explain how plants are preserved and used in indoor gardens. 3. &GƂPGVJGFGUKIPHCDTKECVKQP installation and maintenance of indoor gardens and planters created with all-natural, preserved plants. 4. Discuss the importance of third-party VGUVKPICPFSWCNKƂGFKPUVCNNGTUHQT safety and sustainability. 5. Identify several applications of preserved-plant gardens that bring biophilic design to workspaces, healthcare facilities, and hospitality venues. To receive AIA credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for the complete text and to take the quiz for free. AIA COURSE #K2202L watering, leaking of systems, and burden of care that their live counterparts require. This course introduces the learner to the biophilic benefits of preserved plant gardens for indoor use and provides high-profile examples where these installations are already benefiting building occupants, building managers, and building owners. EDUCATIONAL-ADVERTISEMENT Garden on the Wall® is an award-winning provider of turn-key, Maintenance-free Garden Installations exclusively for interiors. Our gardens are created with All Natural Preserved Plants. Our mission is to elevate the spirits of occupants by bringing maintenance free nature-art installations to imaginative designed spaces; making these places better to live in and enjoy. Kathy Price-Robinson writes about building and design. Her remodeling series “Pardon Our Dust” ran 12 years in the Los Angeles Times. She specializes in buildings that are durable and resilient to climate disruptions, as well as products and designs that provide shade in hot climates. www.kathyprice.com
129 DATES & Events Upcoming Exhibitions Spatializing Reproductive Justice New York May 2-September 3, 2024 Arriving at the Center for Architecture in the spring, this traveling exhibition and programming series is dedicated to how architects and designers can address the inequities of reproductive care in the United States. Organized in association with WIP Collaborative and ArchiteXX in light of the repeal of Roe v. Wade, the exhibition is informed by past and present reproductivejustice movements and recent research into the spatial, legal, and social logistics of reproductive-health-care access. On view are investigations into how factors of race, class, and gender impact an individual’s access to care, alongside speculative design proposals for facilities, systems, and networks that expand reproductive-care access. For more, see centerforarchitecture.org. Ongoing Exhibitions What If: Unbuilt Architecture in Switzerland Basel Through April 7, 2024 The Swiss Architecture Museum brings together nearly two dozen architectural institutions from across the country in a wide-ranging exhibition exploring unbuilt Swiss architecture. What If draws from the “nearly infinite pool” of lost, rejected, stalled, or changed designs—from Caruso St. John and Morphosis to Le Corbusier—that continue to live on in Swiss architectural discourse. The result is a vision of an “alternative Switzerland, in which the courage to embrace utopia is greater than the fear of avoiding mistakes.” See sam-basel.org. Adrienne Moumin: In Another Life Washington, D.C. Through April 12, 2024 On view at the District Architecture Center is a series of works inspired by architecture and urban landscapes. With her monochromatic photo collages meticulously forged by hand, multimedia artist Adrienne Moumin uses repetition and geometric abstraction to reimagine simple structures and familiar objects, such as light fixtures, doorways, and arches, to create dizzying optical effects that shift one’s perspective of the everyday. See aiadc.com Estúdio Campana: On the Road New York Through April 20, 2024 The first of a series of exhibitions celebrating the 40th anniversary of the São Paulo–based design studio is on view at the Friedman Benda gallery. Founded by brothers Humberto and Fernando Campana, Estúdio Cam pana has gained international recognition for its innovative approach to design, in which mundane materials are transformed into furniture, installations, and other objects, exploring and bringing new context to MATERIALS FIRE-RATED, SECURITY-RATED GLASS $$$ Technical Glass Products Pilkington Pyrostop® laminated to School Guard Glass® is fire rated, offers bullet resistance ratings and withstands forced entry attacks in standard fire doors. Product Application: • Gaffney Elementary School, Oregon City, OR • Candy Lane Elementary School, Oregon City, OR Preformance Data: • Fire-rated up to 120 minutes • Bullet resistance ratings up to UL Level III for school applications fireglass.com | 800.426.0279 | [email protected] ROOFING, SIDING, THERMAL & MOISTURE PROTECTION MOISTURE CONTROL FOR BUILDING DESIGN reefindustries.com | [email protected] CLASS I (IRC) Reef Industries, Inc. Reef Industries offers a complete system of polyethylene vapor retarders, seaming tapes, and pipe boots for total moisture infiltration control. Product Application • Roof Vapor Retarders • Under Slab Vapor Retarders • Wall Vapor Retarders • Crawl Space Vapor Retarders Performance Data • Class I – Very low permeability vapor retarders – rated at 0.1 perms or less. Sheet polyethylene (visqueen) or unperforated aluminum foil (FSK) are Class I vapor retarders. DOORS, WINDOWS LIFT-STRAP BIFOLD DOORS AND ONE-PIECE HYDRAULIC DESIGNER DOORS www.schweissdoors.com 507.426.8273 | [email protected] WR Schweiss Doors, Moving Walls Schweiss Doors manufactures unique custom designer doors, one-piece hydraulic doors and patented lift-strap opening/closing bifold doors. Product Application • Moving doors and walls • You think it, we build it • Custom designed storefronts, and more… Performance Data: • Faster, safer operation • Zero lost headroom • Superior design that keeps working! MAKING THE COMPLEX CLEAR Clear Seas Research is an industry-focused market research company dedicated to providing clear insights to complex business questions. Capturing feedback via quantitative surveys (online, phone, mail or in-person) OR qualitative experiences (one-on-ones, focus groups or bulletin boards), we present results that are easily understood, insightful and actionable. www.clearseasresearch.com
130 ARCHITECTURAL RECORD MARCH 2024 DATES & Events Brazilian craft traditions. On the Road is the studio’s first show with Humberto as sole principal designer, following the death of his brother Fernando last year, and marking a new chapter in the practice. For more information, see friedmanbenda.com Sites of Impermanence New York Through May 11, 2024 The National Academy of Design presents an exhibition of art and architectural works by its 2023 cohort of National Academ i - cians. Architects Richard Gluckman, Carlos Jiménez, and Sarah Oppenheimer were among eight artists and designers recognized by the Academy for their contributions to the American cultural landscape. With a diverse roster of participants, the show comprises a vivid cross section of responses to urgent contemporary conditions and the underlying histories that have shaped them, with works exploring ideas of temporal and spatial mutability. See nationalacademy.org Albert Frey: Inventive Modernist Palm Springs, California Through June 3, 2024 The Swiss-American architect Albert Frey (1903–97) paved the way for the emergence of the California city as a center for Mod ern architecture and design. The Palm Springs Art Museum presents an exhibition that explores how he used the formal tenets of early European Modernism to pioneer a new style of “desert Modernism,” making an indelible mark on the cityscape. The expansive retrospective showcases rare and previously unseen architectural models, drawings, films, photographs, and furniture to highlight Frey’s formative and place-sensitive approaches to material, color, and geometric composition. See psmuseum.org. Competitions North American Copper in Architecture Awards 2024 Deadline: April 22, 2024 Presented by the Copper Development Association (CDA), this annual awards program celebrates projects across the United States and Canada that feature architectural copper and copper alloys, including roof or wall systems, facades, and custom-fabricated elements. Projects of any size and type are eligible, so long as they feature architectural elements of copper, brass, or bronze; are located in the United States or Canada; and were completed within the last three years. See copper.org. E-mail information two months in advance to [email protected]. IN THE GALLERY AND ONLINE 39 Battery Pl, New York skyscraper.org Drawings: Council on Tall Buildings and Urban Habitat
131 ARCAT 30 Architectural Record - Academy of Digital Learning Guardian Glass 42 Architectural Record - Academy of Digital Learning Versico CV3 Architectural Record - AIA Photo Contest 73 Architectural Record - Education Exchange 22 Architectural Record - Grace Farms 108 Architectural Record - March Webinars 48 Armstrong World Industries, Inc. CV2, 1 ASI Group 7 AZON 28 Bradley Corporation 17 CAST CONNEX 68 Coverings 2024 18 DeepStream Designs, Inc. 65 EarthCam, Inc. 62 R Regional Insert Advertisers Index Advertiser Page Advertiser Page Advertiser Page Publisher is not responsible for errors and omissions in advertiser index. Nucor Corporation CV4 Petersen Aluminum 56 ProWood, LLC 34 Salsbury Industries 66 Skyscraper Museum, The 130 SlenderWall 38 Steel Institute of New York 126, 127 Technical Glass Products 2, 3 Think Wood 125 Uline 37 Vectorworks 123 Vetrotech 27 Vitro Architectural Glass (Formerly known as PPG Glass) 33 Wooster Products 54 Epic Metals Corp 15 Garden On The Wall 128 Guardian Glass 67 Hormann High Performance Doors 55 Inpro 121 Joto-Vent System USA, Inc. 64 Julius Blum & Co., Inc. 8 Kalwall 71 Kingspan Insulated Panels 9 Kingspan Planet Passionate 74 Landscape Forms, INC. 24 Lorin 6 MetronGroup 10 Moz Designs 63 NanaWall 13 National Terrazzo & Mosaic Association 4, 5
PHOTOGRAPHY: © H.G. ESCH Seemingly sprouting out of the Emirati coastline, when viewed from above, Palm Jumeirah is one of the largest man-made archipelagos in the world and Dubai’s premier vacation des tination. Thousands of luxury villas and resorts pepper the palm’s sandy “fronds” and the crescent-shaped breakwater that surrounds them—including Atlantis The Royal, the newest offering from the aquatic-themed hotel chain operated by Kerzner International. Kohn Pedersen Fox’s New York office, serving as design architect, remolded the logic of a tall building into a sinuous super-scale lattice that stretches more than a quarter mile in length. The permeable structure, open to the gentle sea breeze from the Persian Gulf, soars 43 stories to offer guests and residents sky-high terraces, cabanas, and pools. And when taking in the sun grows old, the hotel features a full com plement of amenities: over a dozen restaurants, high-end retail, and critter-filled aquariums. Leopoldo Villardi SNAPSHOT 132 ARCHITECTURAL RECORD MARCH 2024
Designing, specifying, and installing roofing systems remains one of the most important aspects of creating a durable, energy efficient, safe, and resilient structure. Today there are more choices than ever when it comes to types and styles of roofing systems, and being able to specify with confidence is critical for architects and designers. This academy will provide an overview of the state of roofing systems, including new technologies and materials that are being developed to address uplift, solar exposure, and water intrusion. Roofing options need not be confusing, and this academy covers everything from fleece membranes and urethane adhesives, to exterior VOCs, PVC roofing, white EPDM, and the critical importance of understanding roofing wind speed ratings, using and mastering electronic lead detection devices and warranties. Focus On: Commercial Roofing ACADEMY OF DIGITAL LEARNING ce.architecturalrecord.com/academies/commercial-roofing Brought to you by COMMERCIAL ROOFING ACADEMY ARCHITECTURAL RECORD + VERSICO 8 AIA LU/HSW EARNED 2024 Become an expert on Commercial Roofing through Architectural Record’s Academy of Digital Learning. Upon successful completion of the Commercial Roofing Academy, you will earn 8 AIA LU/HSW + 0.8 ICC CEU + 8 IIBEC CEH and a digital badge that demonstrates your mastery and achievement. Earn your digital badge and showcase your expertise! CREDITS: 8 AIA LU/HSW + 0.8 ICC CEU + 8 IIBEC CEH
See how high-strength steel is enabling sustainable design. nucor.com/madeforgood