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JANUARY 2022
NEWS BUILDING TYPE STUDY 1,037 EDUCATION & COMMUNITY
K-12 SCHOOLS
15 Brooks + Scarpa Win 2022 AIA Gold 39 Pivadenco Rural School, Los
Medal; Firm Award Goes to MASS 65 Introduction Sauces, Chile MAPAA ARCHITECTURE
Design Group By Fred A. Bernstein
66 Thaden School, Bentonville, STUDIO + DUQUE MOTTA
18 Oriol Bohigas, 1925–2021 By David Cohn Arkansas ESKEW DUMEZ RIPPLE, By Jennifer Krichels
20 Design and Healing Exhibition at the
MARLON BLACKWELL ARCHITECTS 42 Marygrove Early Education
Cooper Hewitt By Gideon Fink Shapiro AND ANDROPOGON By Beth Broome Center, Detroit MARLON BLACKWELL
22 Biden Outlines Federal ARCHITECTS By David Sokol
74 Groupe Scolaire Antoine de Ruffi,
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By Pam McFarland By Andrew Ayers Campus, Johannesburg
DEPARTMENTS 80 Grant High School, Portland, WILLIAM REUE ARCHITECTURE
Oregon MAHLUM ARCHITECTS By David Sokol
12 EDITOR’S LETTER: The News By Randy Gragg
About Diversity in Architecture CONTINUING EDUCATION
86 Discovery Building at Santa
25 HOUSE OF THE MONTH: Analog Monica High School, California 100 Climate Adaptation: DESIGNERS CREATE
House, Lake Tahoe, California OLSON
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KUNDIG & FAULKNER ARCHITECTS By Sarah Amelar TO THE WARMING PLANET.
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92 Samuel Powel Elementary By Joann Gonchar, FAIA
31 UP-CLOSE: Icefjord Center, Greenland School and Science Leadership
DORTE MANDRUP By Tim Abrahams Academy Middle School, 124 Dates & Events
Philadelphia ROGERS PARTNERS 128 SNAPSHOT: The Famalicão Municipal
35 GUESS THE ARCHITECT By James S. Russell, FAIA
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37 BOOK: Architecture PROJECTS
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47 PRODUCTS: Education 56 Taipei Music Center, Taiwan COVER: ICEFJORD CENTER, GREENLAND, BY DORTE
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48 PRODUCTS: Building Envelope
By Sheila Kim
9
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10 ARCHITECT U R AL RECO RD JAN UARY 202 2
www.NTMA.com 800.323.9736 FAIRFOREST MIDDLE SCHOOL, SPARTANBURG, SC
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PHOTOGRAPHER: David Laudadio
From the EDITOR
The News About Diversity in Architecture
While some women are gaining long overdue recognition in the profession, gender
and racial biases persist, says a new report.
THERE WAS REASON to celebrate diversity in • Over 50 percent of Black women reported PHOTOGRAPHY: © JENNA-BETH LYDE
architecture last month. The AIA awarded the Gold being left out of information-sharing networks
Medal to the wife-husband team of Angela Brooks in their workplaces.
and Larry Scarpa, founders of the Los Angeles firm
Brooks + Scarpa, known for their design and advocacy • Over 40 percent of Black architecture profes-
work for affordable housing (page 15). They are the sionals reported being unable to see a long-
second couple to win the AIA’s highest prize (Robert term future in their current workplaces, com-
Venturi and Denise Scott Brown were first, in 2016), pared to only 20 percent of white men.
and Brooks is only the third woman honored in the
medal’s 115-year history (Julia Morgan was the other, • More than half of women of color and white
awarded posthumously in 2014). women, along with 30 percent of men of color,
reported having questions addressed to someone
A day later, the AIA (with the ACSA) announced else when they were the expert; nearly 65 per-
that its Topaz Medallion for Excellence in Architec- cent of Black women reported that experience.
tural Education would go to Deborah Berke, dean of
the Yale School of Architecture since 2016, who also People working at large firms—50 or more people—
runs a successful New York practice. (Berke was simi- reported more bias than those in smaller offices. In
larly honored in October by record with a Women in addition, Williams says, people who worked at the rela-
Architecture Design Leadership award.) tively few firms where “good design” is considered the
product of a “solitary genius”—rather than a team—re-
Are we finally hearing the glass shatter in the ported much higher levels of bias and sexual harassment,
ceiling—or at least the sound of a good crack? though those statistics were not broken out in the report.
Well, not so fast. The same week the AIA was busy Across the board, “the data on access to design work
handing out its annual honors, the organization also is truly disheartening,” says Williams. One stunning
released a long-awaited report on bias in the profes- statistic: 88 percent of men said they were allowed to
sion—and the 192-page document paints a picture develop design ideas but only 61 percent of women of
that is shocking but, unfortunately, not surprising. color said so: “Multiracial women, Native American,
Alaska Native, Indigenous, and other underrepresented
Led by legal scholar Joan C. Williams, from the architectural professionals were the least likely to report
University of California’s Hastings College of the Law, being able to develop and present design ideas.”
the AIA-commissioned study was based on surveys of
1,346 architects, in firms of every size, examining What Williams calls “the Maternal Wall bias” is
racial bias as well as gender. “I don’t do gender without often cited as the reason women leave the profession—
racial bias,” says Williams, who has studied the work- women who have children cannot deal with the de-
place in seven professions, including engineering and mands of the work—but she believes thwarted ambi-
law, through the Center For WorkLife Law she found- tions to be designers could be a factor too. “They’re
ed at Hastings. “It doesn’t make sense,” she adds, making tremendous sacrifices for work that isn’t very
“because in this and every other study, white men’s fulfilling,” she notes.
experience emerges as different from every other
group, and the experience of women of color is the Among the few positive observations in this damn-
most divergent from that of white men.” ing document: “Racism and sexism in the profession
were so open that we found a pattern of white men
The architecture study looked at a range of demo- noting it with distaste, something we found in no
graphic groups, including Native American profession- other industry.”
als and those who identified as having lower socioeco-
nomic status. The most significant finding was that It is those white men who have the power to bring
Black and multiracial women reported the worst expe- about real change to the inequitable workplace they
riences in a variety of work situations. have perpetuated. Gentlemen, if you’re disgusted,
please do something about it—and then do more.
Just a few takeaways from the study:
• Two-thirds of Black architecture professionals, Cathleen McGuigan, Editor in Chief
both men and women, said they had experi- The AIA is to be applauded for publishing this report.
enced racism in their workplaces. Go to aia.org to read it.
• 70 percent of white women and 61 percent of
women of color reported experiencing sexism
in their workplace, compared with less than a
quarter of white men and men of color.
12 ARCHITECTURAL RECORD JANUARY 2022
Record NEWS
Comfortable with aesthetic, practical, political, and functional issues, they have mapped an architectural path
that is as didactic as it is successful. They are tireless students of architecture with a tremendous passion and
commitment to the field.
—Thom Mayne, 2013 AIA Gold Medal Winner, in a letter nominating Angela Brooks and Lawrence Scarpa for the award.
Brooks and Scarpa, MASS Design Group, Win AIA’s Top Annual Awards
BY FRED A. BERNSTEIN
PHOTOGRAPHY: © JEFF DURKIN (TOP); TARA WUJCIK (BOTTOM) ON DECEMBER 9, the American Institute Brooks + Scarpa, in its previous incarnation Angela Brooks and Lawrence
of Architects awarded its 2022 Gold Medal to as Pugh + Scarpa, won the firm award in 2010. Scarpa (above) and their 2016
Brooks + Scarpa, a Los Angeles firm best “We were so excited then,” said Scarpa. “And Los Angeles housing project,
known for designing affordable housing, it’s nice to know that more than a decade later, The SIX, for homeless
but active in many other areas. The award people still think what we’re doing matters.” veterans (left).
puts founders Angela Brooks and Lawrence In a letter supporting the firm’s nomination,
Scarpa in the company of Renzo Piano, Frank Robert Berkebile, founder emeritus of BNIM This year’s Firm Award winner is also doing
Gehry, and Thomas Jefferson (one of several in Kansas City, wrote: “Simply put, their lead work that matters. “We’re beyond humbled,”
posthumous recipients of the medal). Also ership in and out of the office is an inspiration said Murphy, reached in New York, where he
last month, the AIA gave its annual Archi to architects across the country.” was launching his new book, The Architecture of
tecture Firm Award to MASS Design Group, Health, and opening a companion exhibition
the Bostonbased nonprofit with a social curated by MASS at the Cooper Hewitt,
justice mission. Smithsonian Design Museum (see exhibition
review, page 20). “I think one of the reasons
Together, the two awards signal greater this is so meaningful to us is that we have
recognition of the collaborative nature of the structured our practice in a way that some have
profession. Brooks and Scarpa are the second
couple to be awarded the Gold Medal (after
Robert Venturi and Denise Scott Brown in
2016). And MASS is almost certainly the
first selfdescribed collective to receive the
firm award.
“It feels great to be honored with MASS,”
said Brooks by phone from California, “since
we’re all advocating for design with a higher
purpose.” Added Scarpa: “We told Michael
[Murphy, founding principal and executive
director of MASS] it’s really good that people
doing good things are getting recognition.”
In their efforts to get affordable housing
built, Brooks and Scarpa have worked with
advocacy groups and involved themselves in
state and local politics in order to remove legal
barriers to the creation of better buildings and
neighborhoods. Said Brooks, “We try to think
about issues beyond our property lines.”
And their practice also extends beyond
housing. “We’re pretty diverse. We’ll do a
doghouse if you ask us to,” said Scarpa jovi
ally. In fact, the firm is working on a “col
laboratory” for the College of Design, Con
struction and Planning at the University of
Florida. (The couple met there as students
and moved to California after marrying in
1987.) Other commissions range from a
Holocaust memorial in Tallahassee to a re
vival of the historic flower market in down
town Los Angeles. Their biggest project is a
1.2 millionsquarefoot government building
in Saudi Arabia that is expected to generate
nearly all of its own energy.
See daily updates at architecturalrecord.com
15
Record NEWS
MASS Design Group was recognized by the AIA
for working “tirelessly to ignite systemic change
in the built environment through its mission-
driven process.”
thought of as ‘alternative.’” MASS is a non- Harvard University’s Graduate School of Campus of the Dian Fossey Gorilla Fund, in PHOTOGRAPHY: © CHRIS SCHWAGGA
profit, values-driven collective with decentral- Design. The firm is best known for its hospi- Rwanda. MASS’s first project was Rwanda’s
ized decision-making. “This award,” Murphy tals in Africa, a cholera-treatment center in Butaro District Hospital. The firm now has a
continued, “validates that there are different Haiti, and the astonishing National Memorial thriving office of 80 people in the capital city,
ways to practice architecture, and I think it for Peace and Justice—a tribute to victims of Kigali, staffed largely by Rwandans, including
opens the door for a diversity of practice mod- lynchings—in Montgomery, Alabama. some of the first women architects, landscape
els. And that means there will be more ways to architects, and engineers in that country.
bring architecture to more people who need it.” Its current projects include a new welcome Altogether, MASS has more than 200 em-
center for the historic Africatown community ployees and has spawned MASS.Made, a
MASS (which stands for Model of Archi- in Mobile, Alabama; a memorial to Martin furniture design and fabrication team, and
tecture Serving Society) was founded in 2008 Luther King Jr. and Coretta Scott King on the MASS.Build, a construction company.
by Murphy and Alan Ricks, a classmate at Boston Common; and the Ellen DeGeneres
Rahul Mehrotra, chair of the Department
of Urban Planning and Design at Harvard’s
GSD, in a letter supporting MASS’s nomina-
tion, wrote that he admired the firm’s “com-
mitment to equate justice and beauty in our
built environment. Too often, we experience
the opposite in the architecture profession,
where beauty in design is privatized for a
select population.” n
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Record NEWS
Oriol Bohigas, Architect Who Transformed Barcelona, Dies at 95
BY DAVID COHN
THE SPANISH architect urban enclave along the re- organizer. After graduating from Barcelona’s PHOTOGRAPHY: COURTESY MUSEU D’HISTÒRIA DE CATALUNYA VIA WIKIMEDIA COMMONS
Oriol Bohigas, who died stored beachfront. architecture school, the ETSAB, in 1951, he
November 30 at the age of 95, joined the nascent Grupo R, and they began
led the remarkable urban At his urging, the city rebuilt promoting modern architecture in a city
transformation of Barcelona Mies van der Rohe’s 1929 dominated by a tame Neoclassicism.
that culminated in the 1992 Barcelona Pavilion on its origi-
Summer Olympics. He took nal site, and promoted quality In 1957, he turned his attention to FAD, an
charge of Barcelona’s urban public and private design. He organization dedicated to the decorative arts,
planning in 1980, under the became a local power broker, and launched its prestigious awards programs.
first democratically elected nurturing a new generation of He wrote magazine columns and books, advo-
Socialist mayor, Narcís Serra. architects. cating a Barcelona School of regional realism.
His programs revitalized the
city’s degraded medieval core, Oriol Bohigas Bohigas arrived at this He helped found the critical journal Arqui
regenerated postindustrial position after struggling tecturas bis in 1974 and the progressive publish-
sites and the working-class periphery, and through Spain’s decades of ing house Edicions 62, which he headed from
reconnected the city to the Mediterranean. dictatorship. He spent his 1977 to 1999. In the 1960s and ’70s he lost his
formative years in the innovative Catalan professorship at the ETSAB twice, for joining
His projects, over 145 in all, included schools of the short-lived Second Republic in a student strike and for refusing to swear alle-
elegant urban plazas and parks festooned with the 1930s, and imbibed their spirit of progres- giance to the dictatorship. He was named
monumental sculptures by Richard Serra, sive thinking and civic responsibility. director of the school in 1977 and oversaw its
Eduardo Chillida, and Joan Miró. His master He was a prolific architect with his partners modernization amid the tumult of student
plan for the Olympic Village was a model Josep Martorell and David Mackay, but made activism. He left the position in 1980 to take on
his strongest mark as a writer, teacher, and the modernization of Barcelona as a whole. n
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Record NEWS
Design and Healing Exhibition at the Cooper Hewitt Offers
Creative Responses to Epidemics
BY GIDEON FINK SHAPIRO
HEALING, in its amorphous holism, of Black people who died at the Clockwise from top left: MASS PHOTOGRAPHY: © IWAN BAAN (TOP, LEFT); COOPER HEWITT (TOP, RIGHT AND BTTOM)
doesn’t easily translate into a design brief hands of police. These, along Design Group’s 2015 GHESKIO
or an architectural program. But a visit to with turban- and hijab-friendly Tuberculosis Hospital in Port-au-
the exhibition Design and Healing: Creative face masks designed in 2020 are Prince, Haiti; Norwegian design
Responses to Epidemics at the Cooper Hewitt, part of Cooper Hewitt’s Re- studio ANTI’s Ventizolve, an
Smithsonian Design Museum shows that sponsive Collecting Initiative, a emergency naloxone kit that can
healing is not altogether elusive, nor incom- novel approach in which staff temporarily reverse the effects of
patible with design. across the museum, not just a lethal opioid overdose; and
curators, nominate objects for Danielle Elsener’s zero-waste
Cocurated by Boston-based MASS Design acquisition. open-source scrub kit.
Group (see page 15) and Cooper Hewitt’s Ellen
Lupton, the exhibition, which runs through Occupying a series of galler- with a recollection of visiting
February 20, highlights design interventions ies on the museum’s ground his father in a hospital and
fueled by an indomitable spirit of care that cuts floor, Design and Healing closes feeling “shocked” at the facil-
across cultures and disciplines—before and with a dramatic sense of com- ity’s inhospitable, inhuman
during the Covid-19 pandemic. Lupton was pression and release. The wood- aspects. Advocating for “archi-
inspired, she said, by the variety of creative paneled walls of the Cooper tecture as a human right,”
work “initiated by people and organizations, Hewitt’s former Carnegie man- Murphy offers a typological
not big government agencies,” from zero-waste sion are obscured as visitors pass through a tent study of hospitals over the past
scrubs to daily information graphics. module that evokes the field hospitals hastily thousand years, then analyzes dozens of
erected in American cities last year—at least fascinating case studies, frequently returning
Architecture anchors but doesn’t dominate one of which MASS helped design on the fly. to themes of dignity and justice. A second
the show, which ranges in scale from virus A burst of light and space awaits on the other publication gathers and contextualizes works
particles to bodies, objects, buildings, cities, side of the tent: the former solarium, recon- from the exhibition: a new edition of Health
and regions. Select hospital-design projects by ceived as a “breathing space” furnished with Design Thinking: Creating Products and
MASS demonstrate how professional archi- floppy shag cushions of colorful, recycled Services for Better Health, coauthored by
tects can magnify their impact by partnering fabric. I could feel my body and mind relax. Lupton and physician Bon Ku.
with community advocates—and learning It remains to be seen whether design can
from history. For example, the firm’s Daylight and fresh air—more specifically, help bridge the gap between what curator
GHESKIO Tuberculosis Hospital in Haiti, the management of air that vulnerable pa- Lupton calls, with reference to vaccination
with its directional cross-ventilation, court- tients and caregivers inhale and exhale—take rates, “unprecedented scientific victories and
yard-facing verandas, and thermal roof ple- center stage in one of two excellent books that unexpected failures of communication.” But
num, is presented next to Alvar and Aino accompany the exhibition, The Architecture of with Design and Healing, a parade of creative
Aalto’s Paimio Sanitorium, a model of hu- Health: Hospital Design and the Construction of and critical innovations lets us glimpse the
mane design in which the designers “consid- Dignity. Author and MASS founding princi- seeds of a more caring world sprouting from
ered everything from chairs and sinks to pal Michael P. Murphy Jr. opens the volume the cracks of institutional authority. n
closets and beds,” and “leveraged the best
science available,” the curators write. Healing
architecture, though sanitary, is not strictly
minimal. It can be layered and generous.
The curators do not shy from the ethical
and political dimensions of healing. That’s a
wise move, since the power of healing as a
concept—and as a call to action—seems to
derive from its blend of empirical data, quali-
tative perceptions, and value judgments.
People who feel uncared for, researchers say,
are more likely to mistrust public health
campaigns. That’s part of why healing is
about social and environmental justice as well
as personal and community health.
Included in the show are mutual-aid tool-
kits, activist posters, and tennis player Naomi
Osaka’s face masks emblazoned with the names
20 ARCHITECTUR AL RECORD JANUARY 2022
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Record NEWSMAKER NEWS in Brief
President Biden Outlines Federal Topaz Medallion Goes to
Decarbonization Plan Deborah Berke
BY PAM MCFARLAND The AIA and the Association of Collegiate
Schools of Architecture awarded the Topaz
A NEW PRESIDENTIAL executive order sik, senior advisor for the Institute for Market Medallion for Excellence in Architectural
Education to Deborah Berke, whose career
that calls for major reductions in greenhouse- Transformation. The target reductions in has centered around equitable access to
architectural education, from spearheading
gas emissions from federal buildings and greenhouse-gas emissions are “stretch” goals diversification as Yale School of Architecture’s
first woman dean to developing an
facilities could have sweeping impacts for that will require “big changes in how the undergraduate urban-studies major.
construction and design firms that do busi- government operates, designs, and constructs Doshi Receives Royal Gold Medal
ness for the federal government. its buildings, and also makes decisions about Balkrishna Doshi is receiving RIBA’s 2022
Royal Gold Medal, in honor of his pioneering
President Joe Biden’s December 8 directive where to build buildings, and which buildings modernism informed by a deep appreciation of
the traditions of India’s architecture, climate,
calls for federal agencies to collectively reduce to build,” he says. culture, and craft. Born in 1927 in Pune, India,
Doshi worked with Le Corbusier in Paris
facility emissions 50 percent below 2008 levels Majersik adds that the administration is and India before joining Louis Kahn for over
a decade. He founded his own practice,
by 2032, and have a net zero operating carbon planning to roll out a proposal for a new build- Vastushilpa, in 1956.
emission building portfolio by 2045. Other ing-performance standard early next year as Lesley Lokko Curates
Architecture Biennale
goals include moving part of its efforts to reduce
Lokko has been appointed the curator of the
away from fossil fuels emissions. “Performance 2023 Venice Biennale Architettura. The
Ghanaian-Scottish architect was dean of
by electrifying govern- standards are the most architecture at the Bernard and Anne Spitzer
School of Architecture, CCNY, in 2019–20,
ment-owned buildings powerful policies that are before she resigned and founded the African
Futures Institute in Accra, Ghana. Her work in
and vehicles, and driving improvement in both architecture and literature has looked at the
relationships among race, culture, and space.
achieving net zero the building sector,” he
emissions from federal says, and having one in
procurement efforts no place would send a strong
later than 2050. signal to the private sector.
The order instructs Building-energy-
federal agencies and performance standards
newly created task forces have been adopted in a
to develop plans and President Biden at the Glasgow Climate handful of states and
policies to reach the Change Conference in November. counties, but a 1980s
target reductions and effort to adopt one for
goals. One, called Buy Clean, will focus on federal buildings ultimately failed.
developing a plan to promote using construc- Response to Biden’s order was positive
tion materials that have less embodied carbon. among renewable-energy and environmental
Nick Goldstein, vice president of legal and advocates. In a statement, Gregory Wetstone,
regulatory affairs at the American and Road president and CEO of the American Council 70 69 65
59 59
Transportation Builders Association, says it is on Renewable Energy, said the directive will 60 61
53 56 51
“too early to tell” the specifics of how Buy help “catalyze the development of thousands 50
Clean policies will be enacted, but “it’s some- of megawatts of new pollution-free power, 50
thing we’ll be taking a look at” to gauge po- leading to a cleaner grid and more good- 40 44
tential impact on the association’s members. paying jobs for American workers.” He added
As the federal government’s prime real- the effort will be enhanced through the Build
estate agent, the U.S. General Services Back Better Act, which includes tax incen- 30
Administration will play a key role in helping tives for renewable-energy projects.
agencies achieve the goals outlined in Biden’s But some GOP lawmakers chafed at 20 PHOTOGRAPHY: COURTESY OFFICE OF THE PRESIDENT
N D J F M A M J J A S ON
order. GSA is responsible for a real-estate Biden’s directive. “With this action, he’s
2020 2021
portfolio of more than 370 million square feet telling millions of Americans who provide
and oversees more than $75 billion in annual most of the energy we use every day that he INQUIRIES BILLINGS
contracts; it is also the primary agency pro- thinks they should be thrown out of work,” ABI Score Continues to Slide
curing government electricity. “From day one, said John Barrasso of Wyoming, ranking The AIA’s latest data show that the Architectural
Billings Index eased to 51 in November, down
GSA has been excited about revitalizing member of the Senate Energy and Natural from 54.3 in October, but still above the
benchmark of 50 (scores over 50 indicate an
government-wide sustainability, and we are Resources Committee, in a statement. increase in firm billings). New inquiries and
contracts have slowed down since last month,
now positioned to help,” GSA deputy admin- “What’s worse, he wants to use the power of from 62.9 to 59.4, and 58 to 55.8, respectively.
istrator Katy Kale said in a statement. the federal government to do it.” n
A long-term approach spanning several
administrations will be needed to achieve the This story first appeared in Engineering
goals, which are ambitious, says Cliff Majer- News-Record.
22 ARCHITECTURAL RECORD JANUARY 2022
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HOUSE of the Month
TOM KUNDIG AND GREGORY FAULKNER COLLABORATE ON THE DESIGN OF FAULKNER’S HOUSE IN LAKE TAHOE. BY WENDY MOONAN
PHOTOGRAPHY: © JOE FLETCHER WHY WOULD a talented architect like
Berkeley-based Gregory Faulkner turn to the
celebrated Seattle architect Tom Kundig to
design a house for himself and his wife, Lesa?
And why would Kundig get involved in a
house for another architect? The answer lies
in the process of collaboration.
Faulkner began thinking about this notion
when he and Lesa stayed at Peter Zumthor’s
Swiss spa, Therme Vals, some years ago.
Zumthor was there as well, and Faulkner
enjoyed talking with him over the next sev-
eral days; it made him wonder what it might
be like to collaborate with another architect.
Later, the Faulkners bought 2.5 acres in a
Ponderosa pine forest near Lake Tahoe,
California. The couple knew the area;
Faulkner has a second office in nearby
Truckee, where he designed several houses
Spare and easy to clean, the house is located
among Ponderosa pines (right). Its dining
room (top) has oak-slatted acoustical ceilings
and black steel columns.
25
HOUSE of the Month
7 11 2 (record, September 2021). Lesa, a designer,
runs the interiors department at the firm.
9 10 8
After Faulkner heard Kundig give a talk at
3 the Museum of Fine Arts in Reno, he asked
Kundig about designing his own house, where
1 1 ENTRY 7 LIVING he would be a collaborator as well as the PHOTOGRAPHY: © JOE FLETCHER
4 56 2 GARAGE 8 SITTING client. “Tom was all in,” he says.
3 BUNKROOM 9 MAIN BEDROOM
FLOOR PLAN 0 32 FT. 4 DINING 10 CLOSET Kundig, founding principal of Olson
10 M. 5 BREAKFAST 11 COURTYARD Kundig, recalls, “I knew who Greg was, so I
6 KITCHEN definitely had a sense of ‘This is going to be
interesting!’ To be under the scrutiny of a
terrific architect who’s been delivering great
work is no small task. Greg and I are both old
enough to be mature and confident in our
voices and ability to work together as designers.
But I was nervous.” They began meeting and
trading sketches, while the Faulkners staked
out the site to determine the proper orientation
of the house for views and circulation.
After 18 months of design development
(with Olson Kundig’s Steve Grim as project
architect), they had conceived a 5,420-square-
foot house. Kundig calls it “one of the most
satisfying architectural conversations I’ve
been involved with.” The plan “is almost like
a hike through the forest,” Kundig adds, since
the pines are very close to the house. (Only
five were removed.)
The Faulkners placed the various rooms
along an extended U-shaped interior corridor,
with the main bedroom at the far end, for
privacy when the couple’s six children—ages
19 to 35—and one grandchild come to visit.
Their bedroom adjoins the living room and
sits across an open courtyard from the wing
containing the garage and the bunkroom.
Linking the two volumes at the bottom of the
U is the entrance, dining room, breakfast
room, and kitchen. A 42-foot-tall steel-
sheathed tower above the breakfast room
contains two bedrooms and a roof deck with a
firepit.
True, the plan is attenuated. (Lesa
Faulkner says she wanted breakfast to be a
“journey” from the bedroom, because that
morning walk is when she collects her
thoughts.)
The entry, which you reach after walking
along the interior corridor past the garage
wing, is halfway around the courtyard. Still,
placing the living room away from the cook-
ing/eating area and next to the main bedroom
suite seems unusual.
“This building is like playing billiards: it
bounces off the existing context, so you expe-
rience moments in the forest,” Kundig says.
Sliding glass doors, floor-to-ceiling windows,
and poured-in-place concrete walls frame
calculated views.
26 ARCHITECTUR AL RECORD JANUARY 2022
The living room, detached from the dining
pavilion (opposite), has poured-concrete walls
and an acoustical plaster ceiling (above). The
main bedroom, located nearby, is lined with
oak (right).
With concrete walls and steel framing, the
house is geared to be as fire-resistant as pos-
sible. In designing the interior, Lesa commis-
sioned elegantly detailed steel tables, cabinets,
light fixtures, a fire screen, and door hard-
ware from Kundig’s metal-fabrication shop,
12th Avenue Iron, in Seattle.
The collaboration proved successful.
“Tom’s an architect’s architect,” Faulkner says.
“It is all about the work, with no real exposed
personal ego. It was really a fifty-fifty team
effort.” Adds Kundig: “Greg is the kind of
architect who does it all from beginning to
end.” The two have named it the Analog
House, because, Faulkner says, “it’s more
about the form and light and space and less
about digital technology and gimmickry.” n
27
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CLOSE-UP
DORTE MANDRUP’S ICEFJORD CENTER IN GREENLAND CURVES INTO ITS SITE LIKE PART OF THE DRAMATIC LANDSCAPE. BY TIM ABRAHAMS
ON THE WESTERN coast of Greenland, 150 miles north of the PHOTOGRAPHY: © ADAM MØRK
Arctic Circle, the Sermeq Kujalleq glacier—the most productive in the
northern hemisphere—disgorges more than 38 billion tons of ice
annually into an ice fjord. The large icebergs that calve off the glacier
and float down this ice fjord—improbably called Disko Bay—toward
the open sea create one of the great spectacles of the Arctic. The
Icefjord Center provides a view of that spectacle. It is a short walk
along a pathway from the outskirts of Ilulisat, an old whaling settle-
ment of some 5,000 inhabitants, the third-largest town in Greenland.
The walk is along a track through low grassland that is covered in
snow much of the year. The structure overlooks a small inland lake and
stands where the track breaks into three paths, all of which lead into a
UNESCO World Heritage site that includes the fjord and the glacier.
Just outside the UNESCO protected zone, the long, low, curving
Icefjord Center is also a piece of landscape, providing intrepid visitors
with a roof terrace for their first glimpse of the icebergs, which are
sometimes more than half a mile high and occasionally set off great
waves crashing across the bay. According to Dorte Mandrup, the
Copenhagen-based architect of the Center, “You couldn’t see the
icefjord from the site we had [a former heliport]. By making a boomer-
ang shape, and placing it on the edge of the site, cantilevering it out
toward the lake, we can give visitors the chance to see the icefjord and
also learn about its importance.” The 161,000-square-foot building
Icebergs—broken off from the largest glacier in the northern
hemisphere—are best viewed from the center’s roof deck (top and right).
31
CLOSE-UP
ROUTE OVER
THE ROOF
WOOD-CLAD
ROOF-TERRACE
WOOD AND
GLASS
FACADE
WOODEN DECK
AND CORES
STEEL
STRUCTURE
EXPLODED ISOMETRIC
The steel frames, wood, and prefabricated world, and the architects wanted to remove rectangular before returning to triangular at
facade system (top, middle, bottom) were very little. the south end. The building is 21½ feet from
imported, like all building materials in Greenland. floor to ceiling on average, although it is
Any structure in Greenland must be built slightly taller at either end.
rests on a raised steel frame to enable it to lean with imported materials. Using a series of 52
out over the slope and to leave as small a unique steel frames, the center is 400 feet The architect has placed these frames in
footprint as possible. The bedrock in which down the middle of the curve. Its section the boomerang plan and arranged them to
the structure is anchored is the oldest in the slowly changes as visitors walk through it; it is create a gracefully curving roof. Although
triangular at the north entrance and becomes most of the wood used in the building is
32 ARCHITECTURAL RECORD JANUARY 2022
An exhibition about ice is in an open-plan
gallery (right).
robust akoya, the roof terrace decking is
oak, with cellular glass insulation. The
facade system is prefabricated, made from
aluminum with mounted wood profiles and
triple-glazed floor-to-ceiling windows.
When visitors walk into the building,
they pass through this series of frames and
encounter three wood-framed and clad
freestanding structures resting on the deck:
first is the ticket office, then a café and
cinema—with an exhibition gallery stand-
ing in the open plan—and finally an office.
Wisely, the Icefjord Center does not
seek to compete with the drama of the
birth of an iceberg. Nor does it just meet
the basic necessities of a visitors center.
Mandrup has managed to create a building
that not only celebrates the journey to see
these wonders but helps explain, in a time
of global warming, man’s evolving relation-
ship with the ecology of ice. n
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ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.
CLUE: THE ARCHITECTURAL FIRM FOR THIS HIGH SCHOOL HAS BEEN CONSIDERED
AVANT-GARDE SINCE THE LATE 1960S. THE SCHOOL IT DESIGNED IN A MAJOR U.S. CITY
EXPLORES A SCULPTURAL CONSTRUCTIVIST VOCABULARY APPROPRIATE FOR THE
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DOWNTOWN NEIGHBORHOOD.
The architect for the Wexner Center for Visual Arts at Ohio State University, in Columbus, is
Peter Eisenman, who was affiliated with a local firm, Trott Architects, for the project. The building,
completed in 1989, is known for its linear white scaffolding, its turret-like shards, which refer to an
armory that once stood on the site, and the strong imprimatur of Eisenman’s theoretical investigations.
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architectural world since the 1980s—a festival debates of the era as being intimately linked to
that was initially stimulated by opposition to its formal inventions. The French are here in AuralScapes™ Flo™ PANEL Sound Absorption Wall Panel felt color: Silver @2020 modularArts, Inc.
the historicist Postmodernism of the 1960s force, of course, but also Lebbeus Woods, that AuralScapes™ Dune™ PANEL Sound Absorption Wall Panel felt color: Light Camel @2003 modularArts, Inc.
and ’70s—has produced some of the most powerful voice of opposition through drawing,
powerful, monumental statements of the early and Ann Bergren, the feminist theorist who Sound control in modular panels.
21st century. Fueled by digital parametricism elucidated Derrida for architects with classicist Continuous designs for uninterrupted sculptural topographies!
in design and innovative engineering tech- eloquence. In this redressing of imbalances,
nologies, the new “deconstructive” forms one especially welcome in the light of her
exhibited as a small avant-garde movement at premature death at age 65, Zaha Hadid finally
New York’s MoMA in 1988 are now in mul- finds her place as a stubborn pioneer of an
tiple transformations sought after in corporate architecture that has yet to be fully explored—
boardrooms and by cultural foundations one only intimated in the works of the previ-
worldwide. Beginning with the dramatic story ous generation.
of Coop Himmelb(l)au’s transition from
anti-architectural radicals in the 1960s to the Refreshing in its refusal to fall into the
architects of the European Central Bank polemics of star architecture critiques, this is a
headquarters in 2015, the critic and frequent tale of an architecture that Giovannini sees as
record contributor Joseph Giovannini traces having finally caught up with the “shape-
the history of what he sees as a continuous shifting” sciences and art movements of the
avant-garde movement, from 1920s early 20th century. Presenting himself as an
Expressionists to the neo-avant-garde enthusiastic supporter, a generational sympa-
Deconstructionists and their contemporary thizer, and an informative companion on the
offspring. “Disruptive” and “constructively reader’s voyage through these assembled texts,
irrational,” this is a tendency that has, he Giovaninni traces paths through biographies,
argues, always run parallel to more “static” mini-histories of groups, and cultural erup-
modernisms, but is now released through tions that underlie his approach to the history
digitalization, into its full force. Assembling a of the period. In one sense, we are treated to
brilliantly illustrated roster of stories, anec- the author’s personal journal, beginning with
dotes, and critical assessments of the work of his witnessing of the Parisian uprisings of
a wide range of protagonists, tracing their 1968 but, in another, to the mature retrospec-
varied careers, precedents, interrelations, and tion of a fellow architect who has, over the
academic and institutional histories, he has many years since, faithfully and engagingly
produced an extraordinary 831-page, 2½"- documented the unfolding of this “movement”
thick volume, with suitably exuberant vertigo- as it has, in so many different ways, attempted
testing graphics to match. to create an architecture that moves. n
Here Gehry, Koolhaas, Tschumi, Libes- Anthony Vidler is professor at and former dean of
kind, and Hadid find their place beside the Irwin S. Chanin School of Architecture,
Matta-Clark, Laurie Anderson, and Vito Cooper Union, and a historian and critic of
Acconci in a cultural history of the postwar modern and contemporary architecture.
period’s revolt against rationalism. Unlikely
juxtapositions, visually acute comparisons, and
a narrative that sweepingly takes us through
the heady climates at London’s Architectural
Association and New York’s Institute of
Architecture and Urban Studies, as well as
dance halls and performance spaces, add up to
a rich retrospective vision of our recent pres-
ent. The author’s own background in literary
www.neolith.com
EDUCATION & COMMUNITY
Pivadenco Rural School
Los Sauces, Chile | MAPAA + Duque Motta
SINCE THE 1990s, the Araucanía region of
Chile has been the site of intensifying conflict
between indigenous Mapuche communities and
the government, which has permitted large
forestry contractors and others to take over
historical lands. Amid this ongoing dispute—
which goes back to the late 19th century—the
region has become one of the poorest in Chile.
In an attempt to preserve and foster the lan-
guage and culture of the indigenous people
39
EDUCATION & COMMUNITY
there, in 2016, the country’s Ministry of 1 15
Education launched an architectural competi- 3
tion to bring schools to these remote areas,
about 400 miles south of Santiago. 46
2
“In these scattered rural territories, the
school is the center of community life,” says FLOOR PLAN 0 10 FT.
Cristián Larraín, partner and director of 3 M.
MAPAA Architecture Studio, which in
collaboration with architecture firm Duque 1 CLASSROOM 3 PATIO 5 TEACHERS ROOM PHOTOGRAPHY: © PABLO CASALS AGUIRRE
Motta was awarded the task of developing 2 KITCHEN 4 RESTROOMS 6 EXTERIOR HALL
four of eight schools commissioned through
the Rural Schools of Araucanía initiative. generate a continuous surface while adapting areas and native coigue wood inside the class-
“We sought to define a common strategy for to the geometry of the roof. Exposed concrete rooms, for a warmer material palette.
the four schools, based on understanding the stained black acts as a heat sink by capturing
building not only as an educational center, but and storing solar energy from skylights and To promote the idea of a community cen-
also as the social center of a territory,” says releasing it as the climate cools. Floors are ter, the architects created a space capable of
Larraín, who founded MAPAA Architecture polished concrete in high-traffic common adapting to a variety of educational and social
Studio with Matías Madsen in 2007, and has activities within the school. It was a design
since completed office and residential projects
across Chile.
Though linked in their goals, each school
has its own design, responding to specific
topographic conditions, solar orientation, and
program requirements. The Pivadenco Rural
School, in the Los Sauces district, recalls the
local timber agricultural sheds, composed of
wood assemblies with short members capable
of creating large structural spans. “We
worked with a prefabricated pine system,
which allowed pre-dimensioning of all the
structural parts that make up the building,”
says Larraín. On the ceiling, a tongue-and-
groove pine fascia meant the architects could
40 ARCHITECTURAL RECORD JANUARY 2022
THE ODDLY hipped roof (opposite) contains
skylights that bring daylight deep into the large
central patio (above) and classrooms (right).
strategy that evolved from meetings with the
local population, where the architects pre-
sented the main goals of the building and in
turn received community input. The school
relies on a single teacher to guide students
between 7 and 14 years old in the same class-
room; to allow children of different ages to
coexist in a single space, a 1,185-square-foot
multipurpose internal patio is flanked by two
440-square-foot classrooms that can be used
individually or in tandem with the central
space, as sliding doors are opened or closed. A
kitchen and pantries, restrooms, and circula-
tion corridors all link with the patio. The
effect is a direct and supportive connection
with the surrounding community, whether for
a jovial afternoon of sports or for important
meetings with neighbors about the future of
the rural territory. Jennifer Krichels
41
EDUCATION & COMMUNITY
Marygrove Early
Education Center
Detroit | Marlon Blackwell Architects
THE FUTURE of Marygrove College shaped plan punctuated by three courtyards, TERRA-COTTA cladding speaks to the existing
appeared grim in 2016, when the Detroit its low profile energized by a zigzagging masonry building (above). The preschool (below)
institution reached out to the Kresge Foun roofline and striped facade. “Onestory is and most rooms open to the outdoors (opposite).
dation for help in navigating its financial standard for a lot of educational buildings,
straits. Although the Troy, Michigan–based from the standpoint of universal design and asymmetrical light monitors deliver addi
foundation could not prevent the Catholic control,” Blackwell says of the design’s ori tional sunshine into the EEC.
college from shuttering undergraduate gins. While convention would have also
courses, it launched a multiorganization dictated maximizing daylight by way of a Manipulating the form also allowed
collaboration to reinvent the 53acre campus barshaped plan, the Fayetteville, Arkansas– Blackwell to vary the scale of the rooms, in
as a learning center for the Livernois based studio had to nestle 28,000 square feet response to each one’s function and the age of
McNichols neighborhood and surrounding immediately east of the high school. “It could the child occupants. “Schools are often unin
communities that have not experienced the not be long, so we had to go with a mat build spired, overly diagrammatic, repetitive spaces;
same revitalization as Detroit’s CBD and ing,” Blackwell recalls. To create that mat, the we were able to challenge an impoverished
Midtown areas. architect and his team coiled the hypothetical building type,” Blackwell says.
bar volume onto itself so that every classroom
Three years later, Marygrove’s picturesque enjoys outdoor access. Folded planes and The architect adds that Kresge, as well as
main building reopened as a public high the Illinois Facilities Fund (IFF), a Chicago
school, with an enrollment that now tops based nonprofit tapped by the foundation to
300 students. Then, last September, Kresge develop this project, wanted to push the
and its partners opened the Marygrove Early design envelope. He initially anticipated
Education Center (EEC), a $15 million cladding the EEC in a timeless material like
structure designed by Marlon Blackwell brick or copper, but the client thought a
Architects, which provides local families with uniform skin would have a corporate appear
services ranging from prenatal support to ance. Kresge’s Detroit Program, in particular,
preK education for 144 kids. wanted to send a message of inclusivity.
Today, a glazed terracotta rainscreen inter
The new facility comprises a wedge prets the stone and brick colors of nearby
buildings as a series of vertical stripes that
also evokes the work of the Gee’s Bend
Quilting Collective in Alabama, which
Blackwell says celebrates the Great
Migration’s impact on Detroit history: “It
suggests that you’re as valued as the kids over
in Grosse Pointe,” he notes, referring to the
nearby welltodo suburb.
Since 2017, when Marygrove terminated
its undergraduate and graduate program,
more than 500 other colleges and universities
have shut down nationwide. Yet Marygrove’s
42 ARCHITECTURAL RECORD JANUARY 2022
transformation suggests a path forward that 41 5 7 1 ENTRANCE
may well prevent a college campus from 12 6 7 2 RECEPTION
becoming the next dead mall. Currently on 3 10 3 PARENT ROOM
the Marygrove site, the renovation of a de- 10 10 10 2 11 7 4 FLEX SPACE
funct girls’ academy into a K-8 public school 5 OFFICE
is under way by the Ann Arbor–based firm 11 5 12 10 7 77 6 STAFF LOUNGE
PLY+, and the University of Michigan has 5 12 7 INFANT/TODDLER CARE
begun a unique teaching residency here that 5 8 PRESCHOOL
is structured like a medical-school program. 5 9 KITCHEN
Kresge estimates that its commitment to the 10 PROGRAM ROOM
campus will eventually total approximately 95 11 MEETING ROOM
$75 million, making it the largest philan- 12 COURTYARD
thropic investment in a Detroit neighborhood 88 8 88 8
in the city’s history. David Sokol
FLOOR PLAN 0 50 FT.
15 M.
43
EDUCATION & COMMUNITY
Devland SOWETO Education Campus comprises administrative offices and flexible
learning spaces, anchored by an auditorium in
Johannesburg | William Reue Architecture its northeast corner, was designed by New
York–based William Reue Architecture, with
IN 2010, when Deborah Terhune pivoted field experience in the construction trades. In Africa’s largest firm, Boogertman + Partners,
from a decades-long career in private-sector addition, upon conclusion of those projects, serving as architect of record. Both studios
real estate to one in social entrepreneurship, buildings are donated to school operators to worked on the commission pro bono, and 225
she founded the nonprofit Growing Up perpetuate a culture of learning. The recently companies donated materials and labor to the
Africa, with a two-pronged education mis- completed Devland Soweto Education effort in all. These goods and professional ser-
sion. The New York–based organization Campus in Johannesburg is Growing Up vices make up 80 percent of the total cost of
develops secure and technology-ready educa- Africa’s first foray into a higher-education the facility, which is equivalent to $6.9 million.
tion facilities in South Africa with local labor, program.
so that community members gain valuable The Devland campus occupies a 1.7-acre
The 21,500-square-foot building, which parcel overlooking a highway that connects its
44 ARCHITECTURAL RECORD JANUARY 2022
The compact, low-slung volume (opposite, top) 7 5 3 1 AUDITORIUM
was built by the community (bottom) and has 8 6 42 2 ENTRANCE
a large daylit flex room (right) and playful 9 3 ADMINISTRATION
classroom fenestration (opposite, bottom). FLOOR PLAN 10 1 4 RESTROOM
5 CLASSROOM
namesake community—part of the Soweto 6 LECTURE HALL
townships, which a segregationist government 7 KITCHEN
established as a Black ghetto in the 1930s—to 8 CAFETERIA
Johannesburg. Although Terhune says her 9 OUTDOOR DINING
expansive network of corporate sponsors and 10 FLEX CLASSROOM
private donors are committed to Growing Up
Africa’s goals in principle, architect William 0 30 FT.
Reue notes that givers needed a highly re- 10 M.
solved schematic design to galvanize tangible
commitments. In turn, Reue conceived a
low-slung volume, parallel to the artery at its
east, with a roofline that rakes upward dra-
matically to accommodate the auditorium
within. “It was important to have a bold and
dignified presence at the street to create a
center of gravity, while scaling the rest of the
building to the informal development that
surrounds the site,” he says.
The initial drawings of the school secured
the donated concrete that makes up the build-
ing’s superstructure, and the design evolved as
subsequent gifts fell into place. Responding to
an offer of more than 20,000 sandbags, for
example, Reue thickened the walls to make
use of their thermal and acoustical properties.
When that framing prevented Reue from
punching geometrically complex openings
into the north and west elevations, he ap-
proximated that idea by installing donated
windows in a seemingly random pattern.
Alternatively, when Reue thought that the
aluminum extrusions cladding a nearby
Johannesburg gallery would make an evoca-
tive skin for the auditorium, Terhune was able
to raise funds for a direct purchase.
Because few of these transactions took place
in single swoops, Terhune orchestrated con-
struction based on the availability of supplies
and laborers. Occasionally work would pause
until the planets realigned in her favor. Even
so, she says, “it was important that I was on-
site every day. I made a promise to the com-
munity and to everyone who committed time
and resources to this project.” Fulfilling that
promise, in 2021 Terhune turned the campus
over to the University of Johannesburg, which
will run the facility as a satellite specializing in
the STEAM curricula for its undergraduates
and local continuing-education students. The
university, moreover, has partnered with the
global IT services and consulting company
Accenture, so that students may be assigned to
one of its projects upon completion of their
coursework. David Sokol
45
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PRODUCTS Education
Get Schooled
A formula of usability plus aesthetics equals up-to-
date furnishings perfect for learning environments.
BY SHEILA KIM
Custom Writable Wall Panels Leaf
New manufacturer Arden Studio specializes in sleek writ- Developed to facilitate small-group, floor-level learning, this series of
able-glass screens and mobile panels—as well as custom cozy environments from VS America consists of a leaf-shaped sail-like
variations for site-specific applications. For the latter, Arden element made flexible with stretch fabric, glass-fiber rods, and mag-
helps integrate its product into a through shape, an infinite netic attachment points to form round tents, tunnels, and nooks. Each
array of colors, and logos or other custom graphics. The leaf is 89" long x 377∕8" at its widest end. The manufacturer also offers
glass is also easy to clean and disinfect. coordinating tentpoles and floor mats.
ardenstudio.com vs-furniture.com
Fireframes Designer Acoustic Locker
Guard System Collection
With both the safety and Designed in collaboration with
security of students in Gensler, this locker collection
mind, TPG developed this from Hollman reduces sur-
fire-rated full-lite glass rounding noise levels with a
door system to meet the diagonal pattern of routed
certification requirements acoustic contours and sound-
of the Forced Entry stan- absorbing panels on the door
dard (ASTM E2395). It backs. Additionally, the lockers
comprises a swing door feature smart locking tech-
with side lites, welded nology and antimicrobial
steel framing, and lami- surfaces.
nated glass with fire rat- hollman.com
ings of up to 60 minutes.
fireglass.com
Beguiled by the Wild
Designtex has updated the color palette with 16 new hues for this
polyurethane upholstery textile printed with a collage of animals
by artist Charley Harper. The surface is finished with silicone,
rendering it resistant to ink and denim staining and cleanable
with bleach.
designtex.com
47
PRODUCTS Building Envelope
It’s a Wrap
These new materials push performance and
appearance beyond the typical shell.
BY SHEILA KIM
Lightwall 3450 Kite Breeze
Extech has expanded its Glen-Gery’s contemporary take on the patterned masonry breeze-blocks
translucent wall offerings with that were popular in the 1960s, Kite Breeze features a 3½"-thick x 113/8"-
Lightwall 3450, which can square frame with a setback triangular aperture. Architects can rotate the
accommodate 2"-thick cellular blocks any which way and even layer them to create unique patterns. Kite
polycarbonate panels without Breeze is offered in White Glaze, Terracotta, and Dune.
framing members within the glengery.com
field of glazing, to ensure a
clean aesthetic. This daylighting
system can extend up to 54'
long, performs well under high
wind loads, and helps save
energy with a U-factor of 0.19.
extechinc.com
StoVentec for
Masonry Veneer
Facades
Sto Corp. designed this new
StoVentec ventilated rain-
screen to support thin-brick
masonry-veneer facades.
The system comprises an air
and moisture barrier, con-
tinuous insulation, a light-
weight carrier board, and a
choice of thin-brick veneers
that integrate with the com-
pany’s other facade finishes.
stocorp.com
Steni Nature EASY MEG
Norwegian facade-panel manufac- Abet Laminati has introduced three new fixing systems
turer Steni now offers an aggregate- for its MEG exterior-grade laminate cladding series: the
stone variety for ventilated facade Closed Joint provides high water deflection; Open Joint
applications. The panels come in a creates a louvered outer skin; and Overlapping resem-
selection of 13 natural colorations bles clapboard siding. MEG is available in 16 decorative
and four surface grades, from fine patterns, six solid colors, and 10 wood grains.
to coarse. All are easily cleanable, abetlaminati.com
frost- and water-impermeable, and
impact-resistant.
steni.com
48 ARCHITECTURAL RECORD JANUARY 2022