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EDITOR IN CHIEF Robert Ivy, FAIA, rivy@mcgraw-hill.comMANAGING EDITOR Ingrid Whitehead, ingrid_whitehead@mcgraw-hill.comDESIGN DIRECTOR Anna Egger-Schlesinger, schlesin@mcgraw-hill.com

SENIOR EDITORS Charles Linn, FAIA, linnc@mcgraw-hill.comClifford Pearson, pearsonc@mcgraw-hill.comSarah Amelar, sarah_amelar@mcgraw-hill.comSara Hart, sara_hart@mcgraw-hill.comDeborah Snoonian, P.E., deborah_snoonian@mcgraw-hill.com

NEWS EDITOR John E. Czarnecki, Assoc. AIA, john_czarnecki@mcgraw-hill.comPRODUCTS EDITOR Rita F. Catinella, rita_catinella@mcgraw-hill.com

DEPUTY ART DIRECTOR Kristofer E. Rabasca, kris_rabasca@mcgraw-hill.comASSOCIATE ART DIRECTOR Clara Huang, clara_huang@mcgraw-hill.com

PRODUCTION MANAGER Juan Ramos, juan_ramos@mcgraw-hill.comWEB EDITOR Kevin Lerner, kevin_lerner@mcgraw-hill.comWEB DESIGN Susannah Shepherd, susannah_shepherd@mcgraw-hill.com

WEB PRODUCTION Laurie Meisel, laurie_meisel@mcgraw-hill.comEDITORIAL SUPPORT Linda Ransey, linda_ransey@mcgraw-hill.com

Randi Greenberg, randi_greenberg@mcgraw-hill.com

EDITOR AT LARGE James S. Russell, AIA, james_russell@mcgraw-hill.comSPECIAL CORRESPONDENT Suzanne Stephens, suzanne_stephens@mcgraw-hill.comSPECIAL SECTION EDITOR Jane F. Kolleeny, jane_kolleeny@mcgraw-hill.com

COPY EDITOR Leslie YudellPROOFREADER Lisa RosmanILLUSTRATORS I-Ni Chen, Sophia Murer

CONTRIBUTING EDITORS Raul Barreneche, Robert Campbell, FAIA, Andrea OppenheimerDean, David Dillon, Francis Duffy, Lisa Findley, Blair Kamin,Elizabeth Harrison Kubany, Nancy Levinson, Thomas Mellins,Robert Murray, Sheri Olson, AIA, Nancy Solomon, AIA, MichaelSorkin, Michael Speaks, Tom Vonier, AIA, William Weathersby, Jr.

SPECIAL INTERNATIONAL CORRESPONDENT Naomi R. Pollock, AIAINTERNATIONAL CORRESPONDENTS David Cohn, Claire Downey, Tracy Metz

GROUP PUBLISHER James H. McGraw IV, jay_mcgraw@mcgraw-hill.comVP, ASSOCIATE PUBLISHER Laura Viscusi, laura_viscusi@mcgraw-hill.com

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EDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: rivy@mcgraw-hill.com. Two Penn Plaza, New York, N.Y. 10121-2298.WEB SITE: www.architecturalrecord.com. SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 609/426-7046 (outside the U.S.). Subscriber fax:609/426-7087. E-mail: p64ords@mcgraw-hill.com. AIA members must contact the AIA for address changes on their subscriptions. 800/242-3837. E-mail: members@aia.org. INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Lighting, Practice, Charles Linn; Books, Clifford Pearson;Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella; News, John Czarnecki; Web Editorial, Kevin Lerner

ARCHITECTURAL RECORD: (ISSN 0003-858X) February 2003. Vol. 191, No. 2. Published monthly by The McGraw-Hill Companies, 1221 Avenue of theAmericas, New York, N.Y. 10020. Periodicals postage paid at New York, N.Y. RCSC and additional mailing offices. Canada Post International PublicationsMail Product Sales Agreement No. 246565. Registered for GST as The McGraw-Hill Companies. GST No. R123075673. Postmaster: Please send addresschanges to ARCHITECTURAL RECORD, Fulfillment Manager, P.O. Box 566, Hightstown, N.J. 08520. SUBSCRIPTION: Rates are as follows: U.S. andPossessions $64; Canada and Mexico $79 (payment in U.S. currency, GST included); outside North America $199 (air freight delivery). Single copy price$9.75; for foreign $11. Subscriber Services: 877/876-8093 (U.S. only); 609/426-7046 (outside the U.S.); fax: 609/426-7087. SUBMISSIONS: Every effort willbe made to return material submitted for possible publication (if accompanied by stamped, self-addressed envelope), but the editors and the corporationwill not be responsible for loss or damage. SUBSCRIPTION LIST USAGE: Advertisers may use our list to mail information to readers. To be excluded fromsuch mailings, send a request to ARCHITECTURAL RECORD, Mailing List Manager, P.O. Box 555, Hightstown, N.J. 08520. OFFICERS OF THE MCGRAW-HILL COMPANIES: Chairman, President and Chief Executive Officer: Harold McGraw III. Executive Vice President and Chief Financial Officer: Robert J.Bahash. Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Senior Vice President,Corporate Affairs, and Assistant to the President and CEO: Glenn S. Goldberg. Principal Operating Executives: Leo C. O’Neal, President, Standard & Poors;Robert E. Evanson, President, McGraw-Hill Education; Scott C. Marden, President, McGraw-Hill Information and Media Services. MCGRAW-HILL CONSTRUC-TION: Norbert W. Young, Jr., FAIA, President. Vice President and CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office.Copyright © 2001 by The McGraw-Hill Companies. All rights reserved. Where necessary, permission is granted by the copyright owner for libraries andothers registered with the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, Mass. 01923. To photocopy any article herein for personal orinternal reference use only for the base fee of $1.80 per copy of the article plus ten cents per page, send payment to CCC, ISSN 0003-858X. Copying for otherthan personal use or internal reference is prohibited without prior written permission. Write or fax requests (no telephone requests) to CopyrightPermission Desk, ARCHITECTURAL RECORD, Two Penn Plaza, New York, N.Y. 10121-2298; fax 212/904-4256. For reprints call 212/512-4170 or fax212/512-6243. Information has been obtained by The McGraw-Hill Companies from sources believed to be reliable. However, because of the possibility ofhuman or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, orcompleteness of any information and is not responsible for any errors or omissions therein or for the results to be obtained from the use of such informa-tion of for any damages resulting there from.

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THE AMERICAN INSTITUTE OF ARCHITECTS 2003 BOARD OF DIRECTORS • OFFICERS: Thompson E. Penney, FAIA, President; Eugene C. Hopkins, FAIA, First VicePresident; Bruce E. Blackmer, AIA, Vice President; Robin Ellerthorpe, FAIA, Vice President; Katherine Lee Schwennsen, FAIA, Vice President; Lawrence R. Livergood, AIA,Secretary; Douglas L Steidl, FAIA, Treasurer; Norman L. Koonce, FAIA, Executive Vice President/CEO • REGIONAL DIRECTORS: Douglas E. Ashe, AIA, Jamie Aycock, AIA, JohnH. Baker,AIA, Paul Davis Boney, FAIA, Stanford R. Britt, FAIA, Michael Broshar,AIA, Randy Byers,AIA, Tommy Neal Cowan,AIA, Lawrence J. Fabbroni, Student Director, JeromeFiler, FAIA, Betty Sue Flowers, PhD, Public Director, A. James Gersich, AIA, T. Gunny Harboe, AIA, William E. Holloway, AIA, Michael M. Hricak Jr., FAIA, Lisa L. Kennedy, AIA,Shannon Kraus,AIA,Associate Director, Jerry Laiserin, FAIA, David Lancaster, Hon.AIA, CACE Representative, Karen Lewand, CACE Representative to the Executive Committee,Orlando T. Maione, AIA, Thomas R. Mathison, AIA, Carl F. Meyer, AIA, Robert E. Middlebrooks, AIA, Barry Z. Posner, PhD, Public Director, David Proffitt, AIA, Bruce A. Race,FAIA, Jerry K. Roller, AIA, Martin G. Santini, AIA, Bradley D. Schulz, AIA, Robert I. Selby, AIA, John C. Senhauser, FAIA, Brad Simmons, FAIA, Scott Simpson, FAIA, R.K. Stewart,FAIA, Norman Strong,AIA, Stephen T. Swicegood,AIA, M. Hunter Ulf,AIA, J. Benjamin Vargas,AIA, David Watkins, FAIA • AIA MANAGEMENT COUNCIL: Norman L. Koonce,FAIA, Executive Vice President/CEO; James Dinegar, Chief Operating Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; HeleneCombs Dreiling, FAIA, Team Vice President, AIA Relationships; Charles Hamlin, Team Vice President, AIA Communication; Barbara Sido, CAE, Team Vice President, AIAKnowledge; Rodney Clark, Managing Director, AIA Government Affairs; James W. Gaines Jr., Assoc. AIA, Managing Director, A IA Professional Practice; Christopher Gribbs,Assoc. AIA, Managing Director, Convention and Meetings; Suzanne Harness, AIA, Esq., Managing Director and Counsel, AIA Contract Documents; Richard L. Hayes, Ph.D.,RAIC,AIA, Managing Director,AIA Knowledge Resources; Brenda Henderson, Hon.AIA, Managing Director,AIA Component Relations; Carol Madden, Managing Director,AIAMembership Services; Philip D. O’Neal, Managing Director, AIA Technology; C.D. Pangallo, EdD, Managing Director, Continuing Education; Terence J. Poltrack, ManagingDirector,AIA Communications; Phil Simon, Managing Director, Marketing and Promotion; Laura Viehmyer, SPHR, CEBS, Managing Director,AIA Human Resources.

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News31 SPECIAL REPORT: Rebuilding Lower Manhattan52 AIA Honor Award winners54 Pentagon Memorial

Departments21 Editorial: One Out of Nine?*25 Letters*69 Dates & Events*75 Critique: Flash Gordon at the WTC by Robert Campbell, FAIA

79 Correspondent’s File: Green Chicago by John Czarnecki, Assoc. AIA

83 Archrecord2: For the emerging architect by Kevin Lerner*87 Practice Matters: Making a firm green by Dan Heinfeld, FAIA

89 Books: Print resources for the green architect93 Exhibitions: Big & Green by Deborah Snoonian, P.E.

97 Snapshot: Whistle Grove by Ingrid Whitehead

248 Profile: Matt Petersen by Deborah Snoonian, P.E.*

Features100 How Green Buildings are Smarter and Safer

by Deborah Snoonian, P.E.The unexpected side benefits of energy-saving technology.

Projects109 Introduction by Deborah Snoonian, P.E.*110 City Hall, London, England by Jayne Merkel*

Foster and PartnersAn accessible city building gives green building a new shape.

124 Norddeutsche Landesbank, Hannover, Germany by Tracy Metz*Behnisch, Behnisch & PartnerA glimmering, energy-efficient headquarters rises in Hannover.

138 Computer Science Building, Toronto, Canadaby John E. Czarnecki, Assoc. AIA*Busby + Associates ArchitectsA Canadian building achieves sustainability without fanfare.

Building Types Study 818151 Introduction: Libraries by Clifford A. Pearson

On the Cover: London City Hall, by Foster and Partners

Right: Norddeutsche Landesbank, by Behnisch, Behnisch & Partner. Photograph by Roland Halbe

02.2003

The AIA/ARCHITECTURAL RECORDContinuing-Education Opportunity is a combination of

three special building-science articles, found in the Projects section

beginning on page 109 (actual articles appear on pages 116, 128, 142).

www *You can find these stories atarchitecturalrecord.com,including expanded coverage of projects, continuing-educationopportunities, and Web-only special features.

152 Saxon State Library, Dresden, Germany by David Cohn*Ortner & Ortner Baukunst

158 Nashville Public Library, Tennessee by Christine Kreyling*Robert A.M. Stern Architects

162 Troyes Médiathèque, Troyes, France by Claire Downey*Du Besset-Lyon Architectes

166 Mary Baker Eddy Library, Massachusetts by Nancy Levinson*Ann Beha Architects

www For 10 additional library projects, go to Building Types Study at architecturalrecord.com.

Building Science & Technology173 There are numerous ways to determine just how sustainable

so-called green products are today by Nadav MalinLife-cycle analysis determines a product’s true sustainability level.

181 Digital Architect: Interiors go with the flow by Alan Joch*

Lighting187 Introduction

189 Creative Uses

194 Lighting Education by John Calhoun

198 Friends Meeting House, New York City by William Weathersby, Jr*Tillett Lighting Design

202 Boon, Seoul, South Korea by Leanne B. French*LOT/EK

208 LiT, Oklahoma City by Leanne B. French*Elliott + Associates

213 Lighting Technology by Lindsay Audin

215 Lighting Products

Products221 Green Products 232 Product Literature

225 Product Briefs

18 What’s at 147 AIA/CES Self-Report Form*

architecturalrecord.com 236 Manufacturers’ Spotlight

225 Reader Service* 244 Classified Advertising*

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Project PortfolioPack your bags. Travel around theworld for this month’s featured projects.Link to the people and products behindthis month’s projects, including the GreaterLondon Authority by Lord Norman Foster,and the York University Computer ScienceBuilding by Busby and Associates.

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Bookmark This! Browse February’sExpanded Building Types Study,featuring ten library projects in addition to the magazine’s coverage. China, Ireland,Canada, France and the US are allrepresented in this international selectionof libraries. Plus, find project descriptions,plans, specs, photos, and links to peopleand products involved.

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02.03 Architectural Record 21

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What if you got what you asked for? That happened when

architecture and planning leaped to the forefront of media

attention late last year. In a single, widely publicized unveil-

ing at the Winter Garden of Manhattan’s World Financial Center on

December 18, 2002, seven teams presented nine schemes for the redevelop-

ment of the former World Trade Center site, an intellectual exercise

capturing headlines and air time around the globe. What did we get?

Regardless of the turn of events, the value of the architects’ contri-

butions cannot be overstated. Thanks to their commitment, suddenly we all

had a ray of hope for a situation that has been hotly debated, politically com-

promised, and heading rapidly toward the dustbin of mediocrity. The city

and the nation deserved better than business as usual. Finally, we have had

a glimpse of a positive direction, though significant work lies ahead.

These solutions face strong hurdles. As Hugh Hardy, FAIA, coordi-

nator of New York New Visions Plan Review Task Force, pointed out at a

Lower Manhattan Development Corporation (LMDC) meeting, “Without a

realistic program and method for development, and with the lack of leader-

ship from above, the schemes present a quandary.” The crux of the problem

remains: No real client exists for the largely theoretical program and the

commissioning institutions are ad hoc—subject to the governor’s will or to

the development community’s parsimony. Will the projects ultimately belong

to the public realm or to commercial interests? What will the roles become for

leaseholder Larry Silverstein or mall owner Westfield America, not to men-

tion the Port Authority of New York and New Jersey? How can visionary

plans overlay the demands for transit, which has prompted the Port

Authority to hurtle forward, building below grade? The powers-that-be are

calling for solutions, when the best answers benefit from a longer view.

Several observations seem relevant. The architects engaged in these

plans followed the rules, with bold assertions. While the LMDC allowed

modification and reduction of its original demands to return all 11 million

square feet of office space to the site, the remaining sheer bulk still produced

gargantuan responses by each team. The plazas are broad; the buildings, sky-

high. The proposed scale is daunting, a fact clearly evident in the images of

plans by Foster and Partners, or United Architects, or Richard Meier’s team,

where jumbo structures are counterposed against the skyline. By analogy, the

massive towers arrayed along New York’s Sixth Avenue, including the

McGraw-Hill building, typically contain 50 floors; more than one World

Trade Center scheme doubles that height.

By the look of it, the future of the tall building seems assured. Four

schemes propose the tallest buildings in the world. While one of the original

towers reached 1,368 feet, Daniel Libeskind’s garden-tower hits 1,776 feet,

and one of the THINK group’s schemes exceeds 2,000 feet. The questionable

validity of such extremes is pointed out by the renderings, in which height

and bulk loom against the existing urban fabric. The SOM group’s cluster, by

contrast—limited to 60 stories (940 feet)—elbows itself into the thick of

Lower Manhattan without lording it over the skyline. Somehow, the tallest

metaphor smacks of hubris.

Some of the work seems reactive, a term that demands clarifica-

tion: The events surrounding September 11 had an unavoidable influence on

the schemes. For that reason, Foster’s office replicated twin towers, making

them nevertheless the “tallest, strongest, safest” towers in the world. This urge

to rebuild, and to rethink, dual towers arising from the ashes of the destroyed

World Trade Center seems inevitable, but demands reflection. Would we

have built twin structures otherwise? Should they figure in the shape of the

emerging city, or should we seek new forms for a new century?

While twin towers incorporated memorial expression in their

form, Daniel Libeskind suggested retaining a significant percentage of the

foundation plane, 70 feet below grade, as a memorial plaza. And though it

would present complicated structural demands, the slurry wall holds mem-

ory authentically and poetically, without resorting to sentimentality.

Libeskind’s proposal, which captured critical admiration, deserves consider-

ation and selection for the potent way in which it responds both to history

Editorial

One Out of Nine?

By Robert Ivy, FAIA

22 Architectural Record 02.03

and to the future. The asymmetrical, modulated skyline he designed rein-

forces and adds new forms to Manhattan without overpowering the city.

Before leaping to acceptance, however, as in all of the proposals, individual

elements deserve analysis, including the garden-laced sky tower, an attractive

symbolic gesture but of questionable utility, or the forms of the Pennzoil-like

office towers themselves.

Potent imagery from all of the proposals lingers, including

THINK’s third scheme’s homage to the Eiffel Tower—a romantic, open

armature reaching skyward. United Architects produced dizzying views of a

delirious new Manhattan. The notion of an interlinked “city in the sky,” in

which both upper and subterranean floors of tall buildings house a public

realm, with gardens and cafés, harks back to other urban visions (good and

bad), including those of Antonio Sant’Elia’s citta nuova, or even John

Portman’s. The effects for the streetscape, however, remain problematic.

Although it has largely been overlooked in critical discussion thus

far, several teams devoted significant energy to sustainability, the larger sub-

ject of the current issue of this magazine. Foster and Partners produced a

techno-marvel, dual-skinned tower, based in part on its work with the

Commerzbank in Frankfurt, Germany, with interior gardens and operable

window walls. THINK suggested harvesting high-level winds through tur-

bines; Richard Meier’s team captured sunlight through photosensitive glazing,

which glows at night. Each idea demands scrutiny beyond the schematic.

At the record forum on January 7, architect Bernard Tschumi

suggested that collage had been a potent 20th-century force but was unlikely

to succeed unless done by a Braque or Picasso. However, by the publication

date of this editorial, the LMDC and the Port Authority may have made their

selections and tried to incorporate certain ideas into an urban plan. It would

be difficult, if not impossible, to graft idea onto idea, scheme onto scheme.

Short of a miracle, the result would be compromised. A better solution would

be, after studying them all, to make a single choice (at this writing, the

Libeskind scheme seems the most promising), allowing this one team to

incorporate the best ideas into its own master plan, forging the design for a

memorial plaza and the attendant public spaces and setting guidelines for

subsequent development of commercial space, including office towers—a

strong, clear shot at excellence for the years, and the unfolding ideas, to come.

Editorial From The Descentby William Carlos Williams

The descent beckonsas the ascent beckoned.

Memory is a kindof accomplishment,

a sort of renewaleven

an initiation, since the spaces it opens are new placesinhabited by hordes

heretofore unrealized,of new kinds—

since their movementsare toward new objectives

(even though formerly they were abandoned).

No defeat is made up entirely of defeat—sincethe world it opens is always a place

formerlyunsuspected. A

world lost,a world unsuspected,

beckons to new placesand no whiteness (lost) is so white as the memoryof whitenessWith evening, love wakens

though its shadowswhich are alive by reason

of the sun shining—grow sleepy now and drop away

from desire

Love without shadows stirs nowbeginning to awaken

as nightadvances.The descent

made up of despairsand without accomplishment

realizes a new awakening:which is a reversal

of despair.For what we cannot accomplish, what

is denied to lovewhat we have lost in the anticipation—

a descent follows,endless and indestructible

By William Carlos Williams, from Collected Poems 1939–1962, Volume II,copyright © 1948, 1962 by William Carlos Williams. Reprinted by permissionof New Directions Publishing Corp. Sales Territory: U.S./Canadian rights only.For British Commonwealth rights (excluding Canada), refer to: Carcanet Press,Conavon Court, 12-16 Blackfriars St., Manchester M35BQ, England.

http://www.bega-us.com

02.03 Architectural Record 25

Letters

Votary publicOver the past few months ARCHITEC-TURAL RECORD has featured sometruly ugly buildings in its Projectssection, but the ING Group’s dread-ful new headquarters in Amsterdam[January, page 92], with its pig-shaped body and spindly legs, isdefinitely going to be hard to beat.

Only your Residential Sectionkeeps me sane.—Rupert Essinger

San Diego

The richest of times,the poorest of timesWhat a marvelously rich and painfullydifficult time to be an architect, asyour December issue so thoroughlyilluminates. Here’s my take on why.

Your editorial on Muschamp[page 17]—one you and other editorshave no doubt been itching to writeand many of us have been itching toread. He’s a brilliant Technicolor writeron breathless, intoxicating architec-ture but does need to be balanced bya second, more sober Times regularwho stirs up fewer “unanticipated,flaming cocktails” but is not afraid tothrow the occasional Molotov. In anycase, you were gutsy to focus an editorial on your own medium and on a fellow professional, rather thanon architecture per se.

Then there’s Robert Campbell’swell-written critique [page 49] ofendless innovation and needlesschange by architectural rebels without a cause. Once again, hepunctures the soft underbelly of our field—the heady invention but“rootless confusion” that makesarchitecture avant-garde and excit-ing, but tends to marginalize us asfrantic artistes in the long run.Change for change’s sake, ratherthan timely and genuine changethat truly punctuates time andplace, is addictive fun but ultimatelythe low and easy road.

John Czarnecki’s piece on

clients “taking a leap of faith” [page72] is also pithy. Our society is farmore blessed with design talent thanwith clients who take advantage of it.The extra time, money, and patienceto get things right is much rarer inthe U.S. than Europe. Anything youjournalists can do to enlighten,reward, and raise the bar for thosewho commission buildings in thisculture is profoundly appreciated.Speaking of appreciation, we all needto remember that these clients arebigger risk-takers than their archi-tects, even though the latter preenand strut their creative feathers soproudly and conspicuously.

Joseph Giovanni’s “Ten Degreesof Modernism” [page 85] highlightssome impressive emerging talent.Generally you need an angle and/orsignature to make it with the media.In my day it was solar energy andregionalism; then it was theory; nowit seems to be image and artistry.(Tomorrow it may hopefully be urban-ism and ecology.) Design is morevisually refined and sophisticatednow, as well as more formally adven-turesome and liberated—a trueaccomplishment of which to beproud. But this more specialized vir-tuosity and newfound celebrity havebeen bought at considerable cost—less knowledge and power on theconstruction site, diminished fiduci-ary clout and moral authority in theboardrooms of private and publicclients, and flagging respect amongday-to-day users of our buildings.

The articles on designing inouter space and in virtual spaceare provocative. The formerbecause it brings into question the priority to build ultra-expensivecommunities in space when asmany as 80 percent of the peopleon earth are estimated to live inpoverty. Ironically, virtual architec-ture may be the way out of thismoral dilemma: Let our most talented and visionary designers

inspire us by constructing thecostly, never-dreamed-of worldswith electrons, much as novelistsdo with words and moviemakerswith celluloid. Then we may have enough human and naturalresources to construct more goodarchitecture and urbanism onearthly ground.

It is easy to pine for simpler daysand first principles. However, I don’tsee anybody or any force on thescene that is strong enough to get usback to the basics of “commodity,firmness, and delight” or a contempo-rary interpretation of “health, safety,and welfare.” The wake-up calls onour excess, compulsive change, andindividual self-expression—issuesyour articles have brought into reliefin different, even conflicting ways—will continue to come from anincreasingly disgruntled and militantdeveloping world that simply won’tput up with our snowballing levels ofconsumption, aggrandizement, andself-indulgence; nor will our ecosys-tems tolerate them.

Magazines like yours can helpus see beyond the trendy immedia-cies of the present while keeping usabreast of best practices in the pro-fession. Thanks for getting better atthe former, while continuing to reporton the cavalcade of new work.—Doug Kelbaugh FAIA, Dean,

Taubman College of Architecture

and Urban Planning,

University of Michigan

Youth, not wasted on the youngI applaud ARCHITECTURAL RECORD’scommitment to the “youth” of ourprofession in the December issue.Your Archrecord2 section of your Website, your monthly inclusion profilingour profession’s younger members,and “Design Vanguard 2002” are abold step in the right direction toinclude young designers, to build confidence and motivation, and toprovoke healthy debate and criticism

of the current state of architecture.After reading your introduction to“Design Vanguard 2002” [page 85],however, I am concerned that theentire focus of the article was on howthe profession’s youth, who are pro-viding today’s leadership, lack rigorand discipline and are overcompen-sating with blind optimism. One issuenot fully demonstrated in this articleis the current sustainability revolu-tion successfully challenging ourprofession. Although I applaud theindividuals presented here, I believewe are making huge progress in theproducts and processes we infuseinto our designs, and that is under-represented in “Design Vanguard2002.” The U.S. Green BuildingCouncil continues with it’s excitingLEED rating system and is adding arigor and discipline that our architectidols of yesteryear could only imagine.

I applaud the energy of thedesigners represented in yourDecember “Design Vanguard,” and I raise my glass for 2003 to cheerthose designers and urge this profes-sion to look deeper and understandthat every conscious design decisionwe make on this planet can changeour quality of life forever.—Peter Levasseur, AIA, LEED,

Ewing Cole Cherry Brott,

Washington, D.C.

CorrectionsIn the ∆January 2003 news storyabout the AIA and NCARB’s accordwith the ACE [page 29], the nameand title of NCARB’s executive vicepresident Lenore M. Lucey, FAIA, wereincorrect. In the December 2002news story about the rebuilding ofLower Manhattan’s PATH station[page 26], credit for the stationshould also have included the LouisBerger Group and subcontractorRenderTHIS.com.

Send letters to rivy@mcgraw-hill.com.

Letters may be edited for page fit.

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Record News Highlights AIAHonor Awards p. 52Pentagon Memorial p. 54

Solar cells at the White House p. 56Maki in St. Louis p. 60

RECORD presents in-depth coverage of the latest WorldTrade Center site designs by the seven teams.

• The nine schemes, page 32

• “A Defining Moment for

Architecture”: Analysis by

James S. Russell, page 46

For updates on the planning of

Lower Manhattan, visit

www.architecturalrecord.com.

REBUILDING LOWER MANHATTAN

Architects at the forefront as they show Ground Zero aspirations

process would unfold.The LMDC and the Port

Authority were expected to developa land-use master plan for the siteby early February. That plan, devel-oped by Stanton Eckstut, FAIA,working for the Port Authority, withAlexander Garvin, the LMDC’s vicepresident of planning, design, anddevelopment, will likely include thefootprint of one of the nine schemesthat the architects developed. Howthe land-use plan will then be real-ized has not been spelled out.

Designs without clientThe teams developed their plansbased on a program from the LMDCand the Port Authority that has littlevariation from the uses that werepreviously on the site. The keyexceptions are a call for a home fora cultural institution, a memorial, apark, and approximately 6.5 to 10million square feet of office spacecompared to the 11 million squarefeet that had been in the WTC. Thelack of a clearly redefined programfor the site, reflecting the reality of a depressed market for LowerManhattan office space, wasincreasingly troubling to the NewYork architecture and real estatecommunities after the latest pro-posals were unveiled. “They arestarting with a design and hope toarrive at a program,” BernardTschumi told The New York Timesin a January 1 article.

“There are two minor impedi-ments—there’s no program and noclient,” Richard Kahan, the presidentof Urban Assembly and Take theField, dryly stated in a January 7

If it was unclear before, it becameofficial on December 18: Architectureis now front and center as the focusof discussion regarding the future of the World Trade Center (WTC) site. Commissioned by the Lower Manhattan DevelopmentCorporation (LMDC) and the PortAuthority of New York and NewJersey, seven teams of world-renowned architects presented nine proposals on that day in theWinter Garden of the WorldFinancial Center in New York City.

In terms of architectural designpresentations, this was a sort ofSuper Bowl rarely seen in the profession. All three hours of pre-sentations were broadcast live onNY1, a local cable news station.Architects making their pitchincluded Lord Norman Foster, GregLynn, Daniel Libeskind, Rafael Viñoly,Peter Eisenman, Richard Meier,Steven Holl, and Charles Gwathmey.They offered a glimpse of what thefuture of the Ground Zero site couldbe, but at press time in mid-Januaryit was unclear if any of their visionswould become reality, or how the

Presenting their schemes on December 18, 2002, were (top row, from left)

Norman Foster, Steven K. Peterson, of Peterson/Littenberg Architecture and

Urban Design, and Daniel Libeskind; (middle row, from left) Rafael Viñoly, of

the THINK team, and Roger Duffy, of Skidmore, Owings & Merrill; (bottom row,

from left) the team of Peter Eisenman, Charles Gwathmey, Richard Meier, and

Steven Holl, and Greg Lynn presenting for the United Architects team. The

presentations were made in the Winter Garden of the World Financial Center,

and the designs were exhibited in that space through February 2.

By John E. Czarnecki, Assoc. AIA

02.03 Architectural Record 31

32 Architectural Record 02.03

United ArchitectsForeign Office Architects, Greg Lynn FORM, Kevin Kennon Architect,Reiser+Umemoto RUR Architecture, Imaginary Forces, and UN Studio

United Architects includes architects from New York, London, Los Angeles, and Amsterdam.

• Single building (1, 2, 6) that is really five structurally independent towers, the tallest of which is 1,620 feet tall

• Building includes more than 10 million square feet of space

• Towers (3, 4, 7) act as a curtain on the site, ringing the site, directing people to look up

• Skyway—a sort of “city in the sky” (5), with five floors of contiguous space at 800 feet above ground

• Areas of refuge every 30 floors in case of disaster

• Vertical sky gardens (5) are arranged every five floors throughout the complex

• A Sky Memorial will be atop one of the towers, and another memorial will be at the footprints below grade

REBUILDING LOWER MANHATTAN forum called Waiting for Ground

Zero sponsored by RECORD andmoderated by editor in chief RobertIvy, FAIA (see the news archive atwww.archrecord.com for a completestory on Waiting for Ground Zero).The client, at least for the designstudy exercise, was the LMDC andthe Port Authority, but developerLarry Silverstein still holds the leasefor the WTC office space, andWestfield America, which operatedthe underground shopping, expectsto rebuild the retail space. The LMDCdoes not have authority over the

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released a 42-page evaluation ofthe nine concepts in mid-January.The document can be found on theNYNV Web site, www.nynv.aiga.org.Hugh Hardy, FAIA, chair of the NYNVPlan Review Task Force, said of theplans, “If they are to be more thanan illustration in an architecturalhistory book, they must also berealistic—they must be able to bephased, to incorporate changingprogram needs and multiple partici-pants over time, to fit within thecontext of the Lower Manhattancommunity.”

And what is Beyer Blinder Belle(BBB) doing? The role of the NewYork firm has been diminished sinceit produced the first round of urbandesign proposals [RECORD, August2002, page 23] for the site in July2002. In a statement released tocoincide with the December 18unveiling, BBB stated, “The planningteam led by Beyer Blinder Belle and Parsons Brinkerhoff continuesto serve as consultants to the PortAuthority, providing analysis andinsight on planning implications ofvarious concepts for West Street, as

well as transportation studies relatedto commuter bus and ferry access toLower Manhattan. BBB will provideconsultation to Port Authority staff asthey analyze the nine designs.”

Prodigious amount of workSix of the teams were selected in aprocess in which 406 teams hadsubmitted to a call for architect qualifications. The seventh team,Peterson/Littenberg Architecture &Urban Design, had been working asin-house urban design consultants tothe LMDC since spring 2002. Each of

land, which is owned by the PortAuthority, an agency jointly con-trolled by governors George Pataki of New York and James McGreeveyof New Jersey. New York architectshave asked: If there is not a clearclient, how can the LMDC expectgreat architecture?

RECORD’s forum was one ofmany events and discussions heldlast month in New York City relatedto the latest proposals. New YorkNew Visions (NYNV), a pro bonocoalition of 21 architecture, plan-ning, and engineering organizations,

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the seven teams produced their pro-posals in 11 weeks and were initiallypaid a stipend of only $40,000,although some teams spent well over$500,000 developing their schemes.The LMDC has since authorized anincrease in the amount paid to theteams to a sum not to exceed $1.35million in the aggregate. Each teamproduced models, drawings, com-puter renderings and animations,and some produced videos. The workwas on display in the Winter Gardenthrough February 2.

Are there clear favorites among

Studio Daniel Libeskindwith Gary Hack, Hargreaves Associates, and Jeff Zupan

Berlin-based Daniel Libeskind is the only architect to implement the bare slurry wall as part of the design.

• Includes 1,776-foot-tall tower (1, 2) at the site’s northwest corner with the “Gardens of the World” at the top

• Memorial space (6) that is some 70 feet down on bedrock foundation with slurry wall visible to the west

• Museum will serve as the entrance into memorial (6)

• Two public spaces: Park of Heroes and Wedge of Light (4)

• An elevated walkway (1, 5) would serve as a memorial promenade encircling the memorial site

• A performing arts center is included

• A rail station concourse (3) links PATH trains, subways, hotels, the performing arts center, of fices, and retail

• Buildings are situated for a ray of sunlight to show on September 11 each year from 8:46 A.M. to 10:28 A.M.

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Newsweek online poll had more than101,000 votes through mid-January.The schemes by Peterson/Littenbergand Foster and Partners eachreceived 22 percent of the vote, fol-lowed by Think and United Architects(15 percent each), the Meier team(14 percent), Libeskind (8 percent),and SOM (4 percent).

Tall statementsAlthough the teams came up withwidely divergent designs, a numberof them had common elements. Allof the proposals respect the foot-

prints of the twin towers in someway—a few propose leaving thetower footprints alone with only aglass-bottomed water feature. TheLMDC called for “a tall symbol orstructure that would be recognizedaround the world,” and all of theteams incorporated at least one. Infact, four called for the world’s tallestbuilding or structure. Many of theplans also propose “green” spacesor gardens at upper levels in thetowers. In descending order from the tallest, the tall structures are byThink (2,100-foot-high Great Hall

tower), Libeskind (1,776 feet), Foster(1,764 feet), United Architects (1,620feet), Think (1,600-foot open-latticeWorld Cultural Center structure),Peterson/Littenberg (two 1,400-foot-tall buildings), the Meier team (1,111feet), and SOM (940 feet). Think’sSky Park scheme proposes three tall buildings of any height based on market demand. Currently, the1,483-foot Petronas Towers, in Kuala Lumpur, are the world’s tallestbuildings, and the 1,813-foot CNTower, in Toronto, is the world’stallest freestanding structure. The

the schemes? Not necessarily,although the Foster plan—the onlyone to have what appears to be twintowers—leads in two national polls.An online CNN poll that asked peopleto vote for a favorite garnered nearly300,000 votes through mid-January.Foster and Partners received 24 percent of the vote, followed by Think and Libeskind (18 percenteach), United Architects (14 percent),Peterson/Littenberg (12 percent), the Meier team (9 percent), andSkidmore, Owings & Merrill (SOM),with 5 percent of the vote. A similar

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WTC twin towers were, respectively,1,368 and 1,362 feet tall.

While the proposed towers aretantalizing, they are also distractingfrom what has appeared to be the key purpose of this charretteexercise, which was to formulate apotential land-use plan at theground level. And while evocative in imagery, forms, and in the scaleof the towers, a number of the pro-posals were noticeably vague ondetails such as square footage ofuses, what the underground por-tions of the site would look like, and

THINKRafael Viñoly Architects, Frederic Schwartz Architects,Shigeru Ban Architects+Dean Maltz, Ken Smith Landscape Architect,William Morrish, Janet Marie Smith, and Rockwell Group

This team, led by New Yorkers Viñoly and Schwartz, is the only one to develop more than one scheme.

• THINK developed three designs: World Cultural Center, Sky Park, and Great Hall

• World Cultural Center (1, 2, 3) has two 1,600-foot-tall open latticework towers with cultural facilities set within

• World Cultural Center towers (1, 2, 3) are built above and around the World Trade Center footprints

• Sky Park (4, 5), surrounded by three towers, is a 16-acre park above cultural facilities and a transit hub

• Great Hall (6, 7, 8) is a free-span, glass-enclosed, 13-acre public room adjacent to a 2,100-foot-tall tower

• With the Great Hall (6, 7, 8), two glass cylinders surround and protect the footprints of the twin towers

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ground. United Architects conceivedthis as a sort of “giant cathedral”that is “a new kind of vertical city,”according to the team. The teamtouts safety in this mammoth build-ing, with 29 separate stairways thatare connected by 43 safety areas ofrefuge. The memorial would residein the vicinity of the twin tower foot-prints, and a Sky Memorial wouldlook down on one of the towers.

Daniel Libeskind makes perhapsthe most evocative use of the site’scurrent condition: The slurry wallwould be exposed on the west side

of the site’s foundation and a spacefor a memorial would be at this level,70 feet below ground. Libeskind said,“The slurry walls are the most dra-matic elements to survive the attack.”Angular and asymmetrical buildingswould ring the site, and the tallestwould be a 1,776-foot-tall tower with gardens at the highest level.Libeskind’s site includes two outdoorpublic spaces, the Park of Heroes andWedge of Light. The Wedge of Lightand surrounding buildings are positioned so that there will be unim-peded sunlight on September 11

each year from 8:46 A.M. (time of thefirst plane hit) to 10:28 A.M. (time ofthe second tower collapse).

The ambitious Think team produced three proposals (picturedon this spread). Led by Rafael ViñolyArchitects and Frederic SchwartzArchitects, Think included ShigeruBan Architects + Dean Maltz, Ken Smith Landscape Architect,William Morrish, Janet Marie Smith,and Rockwell Group. One of theirschemes, called World CulturalCenter, has two 1,600-foot-tall latticework structures built above

how a major transit station wouldbe coordinated with the plan.

The nine proposalsThe United Architects team, whichincludes Foreign Office Architects,Greg Lynn FORM, Kevin KennonArchitect, Reiser + Umemoto RURArchitecture, Imaginary Forces, andUN Studio, developed a proposalthat would include the world’s tallestand largest building: essentially fivestructures that torque and meet asone building with five floors of con-tiguous space at 800 feet above

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and around the footprints of thetwin towers. Cultural facilities and amemorial would be embedded inthe structures. Nine office buildingswould be phased on the site, rang-ing in height from about nine to 60stories. This scheme is the only oneof the nine that does not require atall building with offices to createthe dynamic skylight element thatthe LMDC requests.

Think’s Sky Park plan has threetowers that could be any height, butthe architects suggested towers of 70,90, and 110 stories along the eastern

Foster and Partners

Following September 11, London-based Lord Norman Foster commissioned an expert multidisciplinary taskforce to conduct a study into the safety of tall buildings. The findings informed the Foster tower design.

• A “twinned” tower (1, 3) that “kisses and touches and becomes one,” Foster explains

• Where the tower “kisses” at three points are public observation platforms and trees: parks in the sky

• Tower has 98 floors and is 1,764 feet tall: “the tallest, strongest, and greenest,” Foster says

• Footprint of twin towers (2, 6) becomes site for memorial with monumental walls of steel and stone

• Foster considers three memorials: the tower voids, a 20-acre park (5, 6), and the new twinned tower itself

• The park (5, 6) extends to the Hudson River waterfront and Battery Park City, bridging over West Street

• A mass transit hub (4) connecting the PATH train, subway lines, and new airtrain links to airports

• Fulton Street and Greenwich Street will be extended (6)

• Liberty Street as a street market on the site (6)

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glass cylinders, would be visiblefrom the hall itself. At the southernedge of the site, a 2,100-foot-talltower would include offices, a hotel,and a transmission tower. Thearchitects would incorporate envi-ronmentally sustainable featuresinto the Great Hall, although thedetails of how it would harvest electricity and use natural air tomoderate the plaza’s temperaturewere not spelled out.

Twinned tower that kissesFoster and Partners created a pro-

posal (pictured on this spread) that isdominated by what Foster describesas really one 1,764-foot-tall “twinned”tower that “kisses” at three points. At those points, there are publicobservation platforms containinggreen plants and trees. The tower features a dual skin for energy con-servation, which Foster claims couldprovide natural ventilation 80 percentof the year. At the ground level, a parkwould bridge over West Street andconnect to the Hudson River water-front and Battery Park City. Walls ofsteel and stone would surround the

footprint of the twin towers, whichwould remain empty voids.

Peterson/Littenberg’s schemehas been called everything from themost “retro” or neotraditional to themost rational and understandable fora general audience. The firm’s insiderrole in this exercise has been ques-tioned, though, because the firm hasbeen the LMDC’s in-house urbandesigner for nearly a year and hasalso worked with Mayor Bloomberg to draft his “Vision for 21st-CenturyLower Manhattan,” unveiled inDecember 2002 [RECORD, January

edge of the site. A 10-block, 16-acrepublic park with a 3-acre publicgreen and amphitheater is 10 storiesabove ground level. The transit hub,as well as cultural facilities, retail, ahotel/conference center, and officespace would all be under the park.

Think’s Great Hall plan featuresa vast 13-acre, glass-enclosed pub-lic space that the architects call theGateway to the City and the GreatHall of the Transportation Center—planned as the world’s largestcovered public plaza. The footprintsof the twin towers, surrounded by

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2003, page 36]. Still, the firm has its supporters. Daniel Henninger, aWall Street Journal editor, suggestedin a December 20 editorial thatBarbara Littenberg be put in chargeof the planning process.

The Peterson/Littenberg planproposes seven towers surroundingmemorial gardens. A transportationcenter sits between two 1,400-foot-tall towers on the eastern edge ofthe site. An amphitheater with 2,797seats—one commemorating eachof the victims—will be in the foot-

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New York–based Peterson/Littenberg, led by Steven K. Peterson and Barbara Littenberg, has been an in-houseurban design firm for the LMDC since spring 2002 and was not selected in the international competition.

• Scheme has seven towers (1, 2, 3) surrounding gardens. The two tallest towers are 1,400 feet tall.

• Garden (4), sunk below street level, is a walled enclosure

• Public garden with an amphitheater in the footprint of the north twin tower

• Amphitheater has 2,797 seats—one commemorating each of the September 11 victims

• Museum is underneath the amphitheater, and main transportation building is between two tallest towers (1)

• West Street (1, 3) is a boulevard extending south to Battery Park

• Features 1.8 miles of new street frontage and 17 city blocks (1)

• Four theaters, a library, a school, and 500,000 square feet of housing included

• Includes one million square feet of retail and 8.5 million square feet of of fice space

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print of the north WTC tower.SOM conscientiously put

together a team that includedmostly emerging voices in art, archi-tecture, and landscape architecture.Their design called for nine build-ings, each 940 feet tall with gardensat the top. The buildings would beconnected by multiple ramps andpeople-movement systems.

The team of Meier, Eisenman,Gwathmey, and Holl attempted toexpress the sublime in austere building forms and landscape. The

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Skidmore, Owings & Merrill (SOM)with SANAA, Iñigo Manglano-Ovalle, Rita McBride,Field Operations, Michael Maltzan Architecture,Tom Leader Studio, Jessica Stockholder, and Elyn Zimmerman

SOM, which has designed the new 7 WTC tower for Larry Silverstein, worked with a team that included FieldOperations, led by Stan Allen and James Corner, as well as a variety of artists.

• A dense grid of nine vertical structures ( 1, 5) that are all 940 feet tall

• Towers (3) will function as heat exchanger and actually contribute power to the city

• Gardens (4), 16 acres in total, at the top of each tower

• Various people-movement systems and terraces, multiple ramps on site (3)

• A reflecting pool with bridges is over the twin tower footprints; a light-filled transit hub (2) is integrated

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self-described “New York team” pro-posed two 1,111-foot-tall hybridbuildings with interconnected “super-floors” that have large, continuousspace for conventions, trading floors,or other events. PV cell technologywould be embedded in the exterior tocapture daylight and emit a glow atnight. On the ground, the twin towerfootprints would be shallow, glass-bottomed reflecting pools, and thefinal shadows cast by the twin towerswould be delineated with tree-linedextensions into the Hudson River. ■

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Richard Meier & Partners Architects, Eisenman Architects,Gwathmey Siegel & Associates, Steven Holl Architects,

At the December 18 unveiling, Meier began his team’s presentation by saying: “Ladies and gentlemen, we’rethe New York team. Some may also say we’re the dream team, but we’re very real.”

• Two hybrid buildings (1, 2, 5) that rise 1,111 feet each; footprints occupy about 25 percent of the site

• Nine million total square feet of space for of fice, retail, hotel, convention, and cultural uses

• Interconnected “superfloors” (4) have large continuous floor space suitable for conventions, trading floors

• Buildings employ PV cell technology in wall to capture sunlight during the day and emit glow at night (3)

• Multiple memorials; twin towers footprints are shallow glass-bottomed reflecting pools (5)

• Final shadows cast by the towers delineated with special paving and dense linear rows of trees (5)

• At the top of the Church Street building is a memorial chapel and landscaped memorial observation terrace

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As the seven teams of architectspresented their schemes onDecember 18, 2002, the event wasbeamed live to television audiencesworldwide. It appeared on front newspages everywhere the next day. TheLower Manhattan DevelopmentCorporation’s (LMDC) Web site(renewnyc.com) was hit 6 milliontimes in the following two weeks. As many as 70,000 people visited the exhibition of the plans in its firstthree weeks and dropped off 4,000comment cards.

In short, the architecturalplans for the rebuilding became aninternational media and popularphenomenon, unprecedented inarchitectural history. The unique-ness of the moment was not lost on team members, who, along withcolleagues and well-wishers, cele-brated the presentations a day laterat a reception in the Winter Gardenof the World Financial Center, wherethe ideas were exhibited. Relief atthe end of an eight-week charrettewas mixed with jubilation at thegenerally positive reaction to theproposals. The presence of archi-tect-shunning government-agencyheads and real estate developersunderscored the significance of theevent. At no other architecturalexhibition could one imagine WTCleaseholder Larry Silversteinschmoozing with architect DanielLibeskind. The normally courtlyAlexander Garvin, LMDC’s chiefplanner, ecstatically hugged star-tled design-team members.

It seemed, on December 19,that an architectural Rubicon hadbeen crossed. Garvin gloried in the

State of

Governor PatakiState of

New JerseyGovernor McGreevey

PANYNJRobert Davidson,chief architect

LMDCAlexander

Garvin,chief planner

New York CityMayor Bloomberg,

Dan Doctoroff

EhrenkrantzEckstut& Kuhn

SilversteinProperties

*SOM

BrookfieldProperties

* Cooper Robertson

WestfieldAmerica

StudioLibeskind

THINKShigeru Ban

Frederic SchwartzKen Smith

Rafael ViñolyArup

Buro HappoldJorg Schlaich

William MorrishDavid Rockwell

UnitedArchitects

Reiser + UmemotoForeign Office

ArchitectsGreg Lynn FORMImaginary Forces

Kevin KennonUN Studio

Foster andPartners

SOM+Field Operations

Tom LeaderMichael MaltzanNeutelings Reidijk

SANAAInigo Manglano-Ovalle

Rita McBrideJessica Stockholder

Elyn Zimmerman

Richard Meier+Charles Gwathmey

Peter EisenmanSteven Holl

FederalGovernment

Weiss/Manfredi

Robert A.M. Stern

Smith-MillerHawkinson

*BeyerBlinder

Belle

FederalGovernment

President Bush and Congress

REBUILDING WTC:THE PLAYERS

Urban DesignConsulting

**Peterson/ Littenberg

"Innovative"Design SchemesMaster Site Plan

Vision for Lower Manhattan

New York

KEY

Architect

Tenant

Rebuildingagencies

Government

Contributed to July plans

July plans and Vision for Lower Manhattan

*

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A Defining Moment for Architecture

Who is in charge? The muddy prognosis for the Trade Center rebuilding plans stemmed from a byzantine array

of stakeholders and a lack of political leadership to set goals and create clear lines of authority.

By James S. Russell, AIA

REBUILDING LOWER MANHATTAN

ANALYSIS: Nine designs challenge New York to express the nation’s values in the rebuilt WTC. Will it rise to the occasion?

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the “pragmatic” redevelopmentschemes presented last July.

The inclusion of thePeterson/Littenberg team wasintended to mollify critics of the“progressive” approach, who see it as ignoring the tried and truemeans of citymaking: the constantevolution of a widely accepted lan-guage and aesthetic of building.Doesn’t a city’s unique sense ofplace, they argue, derive from astreet, block, and building patternthat is understandable, incremen-tal, quotidian, consistent?

Peterson/Littenberg’s plansalso gave enormous attention topublic ideals and public space,proposing, for example, to extend atree-lined visual axis south alongWest Street from the site. But theysee the perpetual search for thenew and dif ferent not as movingsociety out of a dif ficult presentinto a better future but as emptyinnovation for its own sake. Do weneed—as Barbara Littenbergargued at the RECORD-sponsoredJanuary 7 forum on the plans,

fact that at last the potential ofarchitecture and urban design hadearned a respected place in theredevelopment process.

But this apparent triumph ofthe visionaries may only havebrought to the forefront a battle ofphilosophic aims that has doggedthe rebuilding from the beginning—aconundrum much larger than thestaggering complexities of the site.The question is no less than whetherand how the city chooses to usearchitecture as a public investmentin its future and to express and nurture its citizens’ ideals.

Progressive vs. quotidianIn the nation, and even the world,these questions perpetually sim-mer below the surface, but thecontroversy-dogged rebuildingprocess keeps boiling them over.One side of the divide is repre-sented by the ideals that motivatedthe “innovative” (LMDC’s term)teams’ work: With the exception ofPeterson/Littenberg, they aspiredto what New York Times architec-ture critic Herbert Muschamp calls“progressive” notions of high designthat attempt to inspire through afuture-oriented aesthetic that issocially and technically innovative.These values were expressed inintentionally spectacular architec-ture that would use advancedconstruction techniques and build-ing technology.

Recognizing the enormity of theattacks calls for such an unprece-dented response, the teams’ workcollectively argued. The aestheticexpression of progress has alwaysdenoted (however naively) the poten-tial evolution of human charactertoward a more responsible, egalitar-ian ideal—offering a reproach to theterrorist attackers. The “progressive”schemes included millions of com-mercial square feet, as requested,but proposed, in a startling variety ofways, to give prominence to publicspace, commemorative space, sym-bolic space, and spaces and formsrepresenting public ideals. Far morethan aesthetic exercises (as hasbeen frequently asserted), this com-mitment is the key difference from

called Waiting for Ground Zero—to repeat the mistakes of theModernist past perpetrated byhubristic, architectural gigantism?

Akin to the aesthetic divide isa pragmatic one: In America, wherecities are built by market forces, do we dare put in place a plan thatrequires developers to depart—attimes radically—from the rigidlyprescribed spec-building criteriathat have evolved over the past 20 years?

It is clear that many peopleinvolved at the Trade Center site,whatever their leanings, view theway the rebuilding plays out as possibly redefining architecture inthe American public realm. Theseopposed approaches to rebuildingrepresent “a real crisis for architec-ture,” says Littenberg.

And it is, perhaps, one for planning and urban design, as well.Because what looks to manyobservers like a spat about style—progressive versus neotrad—mayportend reshuffled roles for once-discrete disciplines.

Planning vs. architecture?The Port Authority of New York andNew Jersey and the LMDCpromised to deliver at least astreet and parcel plan, with bulkguidelines, this month. Taking thework of the innovators into accounthas turned this task into a mine-field, however. So many of theplans entail “polar opposites,”Garvin says. Foster’s plan leavesthe tower footprints of f-limits tovisitors, while United Architects“want you to walk in and look upand have the sense of a futurecity,” he explains. Commemorativeopportunities abound in thescheme designed by a team led by Richard Meier. Libeskind hascarved the largest memorialprecinct of all, focusing on theslurry wall that kept the HudsonRiver at bay as the towers collapsed.

Plans by United Architects and Foster and Partners integratethe of fice-building concept closelywith a transit hub. Several designsrequire raised plazas to bridge

CRITICISM: What Works and What Doesn’tA lot of people thought contemporary architecture wastoo cool and self-absorbed to contend with loss andthat it had no language for inspiration. The plans pre-sented December 18 changed all that. Two of the mostvexing aspects of the schemes—their memorial pro-posals and their tall buildings—tested assumptionsthat have congealed into orthodoxy over the months.

Honoring the extent of loss in this tragedy hasturned the memorial into the planning linchpin. Eachteam raised questions about the memorial even asthey offered compelling visions for it.

Peterson/Littenberg drew up a pedestrians-onlycommemorative precinct, separated from daily citylife by a layer of buildings and a high wall (image 5).Foster’s plan erects a high wall around the footprintsand accesses the bedrock 70 feet below by a monu-mental ramp system. It seems a good idea to remove

the distractions of the city,to carve out a dignified,contemplative space. Butcan this void interruptingthe daily life of the city beseen as anything but ascar? Can such a monu-mental place offer amessage transcendent

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als. Only a bold decision willempower the citizens of New York to create a civic space to matchtheir aspirations.”

How bold can plans be?Just how assertive or symbolic therebuilding should be remained unan-swered as Eckstut and Garvin rushedto create their plan. “In this ballet ofbillions, the pubic must decide what it is owed,” observed Rafael Viñoly,member of the team called Think, atRECORD’s forum. His team’s threeschemes represented three differentlevels of public commitment, fromlargely commercial to almost entirelycultural. None of them, added teammember Fred Schwartz, “depend onoffice buildings to have meaning oras an iconic image.”

The Think scheme offered a res-onant response for those who believeit was not just people and buildingsthat were attacked, but ideas and values. Think’s three schemes mostclearly framed the all-important ques-tion: How are the aspirations of thepublic to be represented? “The apparently irreconcilable desire formemorial space and city life is a spur to architectural invention,” saidStan Allen, of the SOM team, whichcreates the opportunity to devise “acity not yet imagined.”

What would turn this “oppor-tunity” into a necessity? The mostprovocative scenarios are certainlyrisky. But failing to make a calcu-lated bet on the future may nolonger to be an option. Given theamount of vacant space availablein New York, real estate analystshave predicted that the squarefootage lost in the towers won’t beneeded for anywhere from 10 to 30 years. The real estate industrysecured a federal guarantee of awhopping $5 billion in incentives fortenants willing to locate in LowerManhattan. They are going begging.

One-way “dialogue”What bets to make nowadays mustinevitably involve the public. Officials

West Street, tying the long-isolatedBattery Park City and the water-front back into the fabric of LowerManhattan.

These strategies reflect anotion in many of these teams’minds that the architecture is theurban design. Libeskind says, “Thistakes New York and architecturewhere it needs to be—which is notseparating urbanity from architec-ture. I think this is a change thathas been brewing for some time.But here it looks explosively new.”Indeed, in Europe and Asia, archi-tects are frequently commissionedto do what in the U.S. would be classified as city planning orurban design.

Littenberg, who also worked on the discarded July plans, stillfeels strongly that “it doesn’t matterhow much architecture you throw atthe site, you have to figure out theessential orientation to open spaceand the existing urban fabric. Weassert that urban design happensbefore architecture.”

Doing the urban design first isprecisely the task Stan Eckstut hasset for himself. As part of the ever-more byzantine interrelationshipsamong stakeholders (chart, page46), the Port Authority hired his firm,Ehrenkrantz Eckstut & Kuhn, todraw up the master plan for the site,in cooperation with LMDC’s Garvin.

Eckstut is working with thesame program the architects did,and he feels confident he can cre-ate a plan that would accommodatenumerous future possibilities. “I amguided by principles,” he says. “Thecontext, first. We’re recognizing thebest of what’s there, and interpret-ing what New York is. We’re defininga system of public spaces and cre-ating a distinct sense of place.” And,he adds, “I’m not looking for a sin-gular work of art.”

Libeskind, for one, is not buyingit. “Urban design done by a facelessoffice in the shadows doesn’t makemuch sense to me. We are in aworld of grown-ups and profession-

memorial did not demand that the footprints be retained, onlyrespected. Artifacts from thedestruction need only be consid-ered for inclusion, it added. Too badthe mission statement came toolate to inform the program that wasgiven the seven architect teams.

The teams also demonstratedthe validity of other memorializingapproaches. By extending theprecinct of the historic St. Paul’schurch into the site, a pocket parkby SOM suggests a commemora-tive possibility that is both movingand authentic (image 6). SinceSeptember 11, 2001, the historicchurch has offered spiritual solaceand physical respite for rescuers,victims, and volunteers.

Great ideas, sure. But how toadvance key rebuilding decisionswhile keeping commemorative possibilities open? A series of char-rettes or competitions could helpeveryone understand what is possi-ble on small or large sites, and aclear approach may emerge thatdoes not entangle future possibilitiesfor the entire site. Such an approachwould also permit the city to waitlonger for its realization. Waiting mayseem cold-blooded, but prioritieschange as grief evolves, and aclearer view of what this memorialshould say and how it should dealwith the unique senselessness ofthe tragedy will emerge over time.

Do we really need anotherworld’s tallest building downtown?Foster’s proposal alone won overmany skyscraper rejectionists withits haunting elegance (image 4). It is the most beautiful he hasever done—and beauty counts inrestoring the terrible gap in theskyline. Foster’s approach recog-nizes that if you want to set asidea great deal of the site for amemorial and still accommodatea lot of of fice square footage, asuper-tall building is not an unrea-sonable answer. I am not amongthe naysayers who think it willtake a decade or more for down-town to support significant newsquare footage. Strategic invest-Criticism (continued on page 50)

enough to retain its hold on us asthe terror attacks inevitably taketheir place in history?

In respecting the 200-foot-square footprints of the twintowers—another planning consen-sus—and drawing the inevitablelinkage between them, severaldesigns created a very large andmonumental precinct that wouldbe off-limits to almost anything butthe commemorative program. Thatexpansiveness, in turn, stymiedefforts to more gracefully threadthe rebuilt site into the surroundingnetwork of streets and blocks. It’swhy the site remains a distinctenclave in most of the schemes.And it’s why you see big openplazas in schemes by Foster, Think(the Sky Park variation), and UnitedArchitects. The Meier EisenmanGwathmey Holl team actuallydefined the memorial precinct aseven larger, stretching it up intogardens in monumental openingshigh above the street and fingeringit out across the Battery Park Citydevelopment and into the HudsonRiver (image 7). Studio Libeskind’sscheme rejects the footprints infavor of exposing the length of the“heroic” slurry wall that held backthe Hudson River as the towerscollapsed on top of it (image 2).

We should beware of a com-memorative battle of the biggest.It should not be surprising thatsurvivors would define significancein terms of size as well as in theuse of ruins. This is what happensin the absence of a sensitively leddesign dialogue.

Designers have learned fromexperience that significance is bestconveyed by art and design, notsize. Landscape architect DianeBalmori, who accompanied GroundZero stakeholders on a tour ofBerlin monuments, was particularlymoved by a Holocaust memorialthat involved only the painting ofvanished Jewish owners’ names onbuilding stoops.

To its credit (and with theinvolvement of designers), theLMDC committee that developed adraft mission statement for the

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ees in the disaster, Eckstut said that it did not envision a schemeproceeding that the primary lease-holders—Silverstein Properties (forthe offices) and Westfield America(for the substantial retail space)—“don’t buy into.” The Port expectsthe existing leaseholders to rebuildlargely that which was lost and inpretty much the same way thatcommercial space is always built—even as the success of the“innovative” study seemed to makebusiness-as-usual untenable.

The leaseholders have notpublicly embraced the work of theteams, and if history is any indica-tion, they won’t find any of theseven teams’ “boldness” sellable.Tenants, it is assumed, will drive the rebuilding to the conventionalinspiration-free norm that prevails in what is probably the most innova-tion-averse industry in America.Indeed, no developer has steppedforward to map a marketworthyapproach that would as well repre-sent the public’s interest in apowerful gesture.

“I reject the notion that theseplans are unfeasible,” said RichardKahan at RECORD’s forum. Aveteran of government and semi-public agencies akin to LMDC, Kahan claimed, “The program thatapplies to the site today is arbi-trary, driven by the Port and bydevelopers who signed a piece ofpaper weeks before the disaster.This is correctable.” But, he added, “You can’t do this without a great client in the mold of theRockefellers at Rockefeller Center.”

To get a plan that recognizesnot only the way the disasteraffected Lower Manhattan but NewYork City and the region as a whole“will require the expenditure ofsomeone’s political capital,” saysAlexander Washburn, a veteran ofmany intergovernmental battles.Kahan thinks “the city and themayor should take over the process”from the purse-string-holding but sofar absent governor. Even withstrong leadership, harnessing theenormous public concern will be no easy feat. Failing to do so couldimperil the rebuilding. ■

architect of international stature todesign the transit hub.

Because Eckstut and Garvinpromised to deliver the urban-design strategy only weeks after thenine designs were released, thesame volunteer organizations thatpushed greater public dialogue inJuly have been presenting their ownmeetings and forums. The plan’sabbreviated schedule “is a bit suspi-cious,” commented AIA New Yorkchapter executive director Ric Bell. It is possible that a better methodol-ogy will evolve to serve the public’svoice out of this free-for-all, but thecynical use of its many noisy con-stituencies is a New York specialty.The public treated LMDC’s Januarypublic meetings as window dressingand stayed away in droves.

Neither Eckstut nor Garvincould say by press time how thework of the seven December teamswould be incorporated into theEckstut plan. “We hope to go aheadwith one of the schemes,” Garvinsaid. “But it’s a very difficult deci-sion to make.” An understatement.

Rallying round—what?“The Port is trying to get everyoneto have consensus around oneplan,” says Eckstut. Though theagency lost many of its own employ-

continue to tout a public processthat is based largely on one-waycommunication via public hearingand exhibition comment cards. BothLMDC and the Port are loath to sub-ject their latest round of schemes to the large-scale “electronic” townmeeting that so embarrassinglyrepudiated the July plans. But nei-ther have they proposed the kind ofinteractive dialogue that would helppeople sort through the dizzyingrange of issues the designs engage.

Officials have also closely heldplans for the most costly aspect ofthe rebuilding: public-transportationimprovements. Port and LMDC officials were still working on atransportation plan in mid-January,entirely out of public view. A range of options has been proposed byofficials and interest groups, someof which would require new rivertunnels and new stations at the siteor elsewhere in Lower Manhattan.Funds currently available would not go far in completing the mostambitious plans, which would costtens of billions of dollars. And yetthe mayor and business groupsadamantly proclaim substantialmobility improvements to be key torevitalization. Having learned a les-son from the December plans, thePort now pledges to search for an

ments must be made (in trans-portation, in the mix of uses, inthe environment) and a businesscase must be developed. (Is thecity working on this?) But largerbusiness trends favor LowerManhattan.

Real estate experts say thelow-energy, high-amenity buildingsFoster has built in Europe can’t workfinancially in America. Give Fosterthe chance to prove them wrong.We already know the proposedtower could be the most technicallysophisticated skyscraper on earth.Its triangulated form contributes to a uniquely strong structure withthe kind of redundancy tall-buildingcritics seek.

Let United Architects refine itsskyscraper scheme, too. It’s lessradical than it looks (image 1). Its floor plates respect current leas-ing norms; its largest floors willeven accommodate the financial-business trading arenas that turnnormal office buildings into window-less, overbearing behemoths. It’seasy to pooh-pooh the skygardensand streets-in-the-air as architects’fantasies, but if such a large build-ing can succeed, it will do so byoffering daylight, views, and otherhumane amenities lacking in thedisfiguring generic developer boxesthat litter the neighborhood. Withtwisting haunches hoisting its great bulk high, the surroundingstreets can flow into a rich multi-level topography of plaza, stores,and rail station. Akin to GrandCentral Terminal, it choreographsurban spectacle out of the everydaymovement of people.

It’s not wrong to engage, say,three of these teams to revise their designs based on public com-ment and realistic analysis. If theDecember plans demonstratedanything, it is the power of an archi-tecture of passion and commitmentto involve people in testing and sort-ing out ideas. Nothing else aboutthe process has so engaged peoplein questions that range from theprosaic to the wrenchingly personal.So pick up that phone. And pay theteams decently this time. J.S.R. ■

The teams presenting their rebuilding designs in the restored Winter Garden

at the World Financial Center, with its view of the disaster site.

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The American Institute of Architects(AIA) has announced therecipients of the 2003 AIAHonor Awards. Selected fromnearly 600 total submissions,31 recipients will be honoredin architecture, interiors, andurban design at the 2003 AIA National Convention andExpo, May 8–10, in San Diego.

Honor Awards inArchitectureConcert Hall and ExhibitionComplex, Rouen, France, by Bernard Tschumi Architects; American Folk Art Museum, NewYork City, by Tod Williams Billie TsienArchitects; Howard House, West Pennant, Nova Scotia, by Brian MacKay-Lyons Architecture Urban Design; Heritage Health & Housing, NewYork City, by Caples JeffersonArchitects; Will Rogers World Airport SnowBarn, Oklahoma City, by Elliott +Associates Architects; Federal Building and United StatesCourthouse, Central Islip, New York,by Richard Meier & Partners;Boston Public Library, Boston, byMachado and Silvetti Associates;Diamond Ranch High School,Pomona, California, by Morphosis;3rd & Benton/7th & GrandviewPrimary Centers, Los Angeles, byRios Associates; Simmons Hall, MIT, Cambridge,Massachusetts, by Steven HollArchitects; New Academic Complex, BaruchCollege CUNY, New York City, byKohn Pedersen Fox Associates;BoO1 “Tango” Housing, Malmo,Sweden, by Moore Ruble YudellArchitects & Planners; Colorado Court, Santa Monica,California, by Pugh Scarpa Kodama;Lever House Curtain WallReplacement, New York City, bySkidmore, Owings & Merrill;

Hypo Alpe-Adria-Center,Klagenfurt, Austria, by Morphosis.

Honor Awards in InteriorsKate and Laurance Eustis Chapel,New Orleans, by Eskew+Dumez+Ripple; Central Synagogue, New York City,by Hardy Holzman PfeifferAssociates; Craft, New York City, by Bentel &Bentel, Architects/Planners; Lutece, Las Vegas, by Morphosis;Collins Gallery, Los Angeles, byPatrick J. Tighe, AIA; Gardner-James Residence, NewYork City, by Valerio Dewalt TrainAssociates; Martin Shocket Residence, ChevyChase, Maryland, by McInturffArchitects; Global Crossing CorporateHeadquarters, New York City, byLee H. Skolnick Architecture;ImageNet, Oklahoma City, by

Elliott+Associates Architects; South Court, The New York PublicLibrary, New York City, by DavisBrody Bond; The Architecture of R.M. SchindlerExhibition at MOCA, Los Angeles,by Chu+Gooding Architects.

Honor Awards in Urban DesignSchuylkill Gateway, Philadelphia, bySasaki Associates; Interstate MAX Station AreaRevitalization Strategy, Portland,Oregon, by Crandall Arambula;Howard University: LeDroit ParkRevitalization Initiative,Washington, D.C., by Sorg andAssociates; Charlottesville CommercialCorridor Plan, Charlottesville, Virginia,Torti Gallas and Partners-CHK; East Baltimore ComprehensivePhysical Redevelopment Plan,Baltimore, Urban Design Associates.J.E.C.

Record News

AIA Honor Awardwinners announced

Seattle landscape architecture firm

Gustafson Partners, led by Kathryn

Gustafson, in collaboration with

Boston’s Wallace Floyd Design Group,

has been selected to design the

2.8-acre North End Parks to be built

over a portion of Boston’s Big Dig.

William J. Mitchell will step down as

dean of the School of Architecture

and Planning at the Massachusetts

Institute of Technology (MIT) at the end

of the current academic year. He will

remain at MIT to lead the school’s

Media Laboratory and its program in

media arts and sciences.

Five design teams have been short-

listed by the government of Hong Kong

to design and build a $628 million,

2-million-square-foot government

complex on the waterfront of the city’s

Victoria Harbor. Finalists are Kenzo

Tange/Skidmore Owings & Merrill,

Kohn Pedersen Fox/Wong & Ouyang,

NBBJ/Aedas, Norman Foster/RMJM,

and Rocco Design. The project will

include government of fices, a legisla-

tive complex, and an exhibition gallery.

A winner is expected to be announced

later this year.

Frank O. Gehry, FAIA, winner of the

Pritzker Prize in 1989 and a juror for

the prize from 1993 to 1995, will rejoin

the jury. J. Carter Brown, who was

chair of the jury since the founding of

the prize in 1979, died in June 2002.

Australian power company

EnviroMission plans to build a 3,300-

foot solar tower by 2006. The world’s

tallest freestanding structure is cur-

rently Toronto’s 1,813-foot CN Tower.

The New Museum of Contemporary

Art has named a shortlist of five firms

to create designs for a new facility

on Bowery at Prince Street, in New

York City. The five firms are Adjaye

Associates, Gigon/Guyer, Kazuyo

Sejima + Ryue Nishizawa/SANAA, and

Reiser + Umemoto RUR Architecture.

O F F T H E R E C O R D

Winning projects include

the Howard House (top),

West Pennant, Nova

Scotia, by Brian MacKay-

Lyons; Kate and

Laurance Eustis Chapel

(left), New Orleans, by

Eskew + Dumez +

Ripple; and Schuylkill

Gateway (below),

Philadelphia, by Sasaki

Associates.

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The Army Corps of Engineers, with a team ofselected jurors, is expected to choose a winnerlater this month in the competition to design amemorial to the September 11, 2001, attack onthe Pentagon. The Department of Defense, thecompetition sponsor that is ultimately responsiblefor building the winning design, is expected to selecta contractor to build the memorial soon thereafter.

The competition to memorialize the184 victims of the Pentagon terroristattack elicited 1,126 entries. Six finalistswere chosen in October. Reed Kroloff, acompetition consultant, said, “The com-petition produced exactly what one hopedit would—an opportunity for people whomight not otherwise be taken seriously bya big client to do a project.”

Two of the six finalists are from the University of Toronto faculty, ShaneWilliamson and Michael Meredith.Williamson designed a masonry wall withina grove of trees, and Meredith, of Clifton Park, NewYork, proposed a marble pedestal with a centralviewing stand. The design by the New Zealand teamof Jacky Bowring, Peter England, Richard Weller,and Vladimir Sitta evokes aircraft flight recorders.

Three teams are based in New York City.Mason Wickham’s and Edwin Zawadzki’s granitetable includes seats with the names of each vic-tim. Jean Koeppel and Tom Kowalski proposeinstalling glass slabs cloaked in mist that visitorscan write messages on. Julie Beckman and KeithKaseman envision 184 cast-aluminum benchesrunning across the 1.93-acre site.

Jury member Terence Riley, chief curator ofarchitecture and design at the Museum of ModernArt, does not believe the competition is “a veryreliable predictor” for a World Trade Center memo-rial. “The family members in Washington feel thatthe collapse of the twin towers will always be, atleast symbolically, the primary image of 9/11,” hesays. “Their attitude has been to keep thePentagon memorial very modest and private.”

Other members of the Pentagon Memorialcompetition jury include former secretaries ofdefense Harold Brown and Melvin R. Laird, familymembers Wendy Chamberlain and Jim Laychak,artists Sheila Levrant de Bretteville and MaryMiss, landscape architects Walter Hood andRoger Martin, University of Virginia School ofArchitecture dean Karen Van Lengen, and CarolynShelton, wife of General H. Hugh Shelton, formerJoint Chiefs of Staff chairman. David Sokol

Record News

Pentagon Memorial competition winner to be named soon

Finalist design by (from top)

Shane Williamson, of Toronto;

Julie Beckman and Keith

Kaseman, of New York;

Michael Meredith, of Toronto;

Mason Wickham and Edwin

Zawadzki, of New York; Jean

Koeppel and Tom Kowalski, of

New York; and a team led by

New Zealand’s Jacky Bowring.

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The National Park Service (NPS) installed the first solar electric system at the White Housecompound this past fall. The system, installed inAugust, went online in September and was offi-cially unveiled in January. NPS also installed twosolar-hot-water systems—the first since formerpresident Carter’s and the first one ever fully integrated into a White House building design.

“This is not going to wean us off foreignenergy by itself, but it has great symbolism,” saidMike Paranzino, spokesman for the Solar EnergyIndustries Association. The 8.75 kW photovoltaic(PV) system feeds into the White House com-plex’s electrical distribution network, supplying a fraction of power at the 55,000-square-footWhite House, the 600,000-square-foot OldExecutive Office Building, and other structures in the 18-acre compound.

“The solar-electric system provides enoughenergy for three to four average-size houses,”said Steven J. Strong, president of SolarDesign Associates in Harvard, Massachusetts.He designed the systems with NPS.

The 167-panel PV system, manufac-tured by Evergreen Solar of Marlboro,Massachusetts, sits atop the NPS’s 3,300-square-foot maintenance building. Athree-panel solar-thermal system byCalifornia-based SunEarth is also on the roofto provide hot water for the grounds crewmembers that shower and change there.

At the president’s newly rebuilt 800-square-foot cabana near the West Wing,another SunEarth thermal system with about160 square feet of solar panels heats thewater for the first family’s shower, hot tub,and pool. It was “integrated into the histori-

Record News

cally correct, lead-coated-copper, standing-seamroof,” Strong said.

“Part of our mission is to promote renewableresources and alternative energy,” said projectmanager James M. Doherty, NPS’s White Housearchitect. The thermal systems cost approxi-mately $25,000 and the solar-electric systemscost about $75,000.

This is the first time that solar panels havebeen fully integrated into the design of a WhiteHouse building, though then president Carterinstalled the first solar hot-water panels in 1979.Carter’s system sat atop the West Wing itself. Its 32 panels delivered 82 percent of the WestWing’s hot-water needs, said Hector M. Guevara,founder of Hytech Industries, the Bohemia, NewYork, company that installed and supplied thesystem. The panels were removed in the early1980s by President Reagan. Barbara Saffir

Solar panels installed on White House buildings

Steven J. Strong, presi-

dent of Solar Design

Associates, stands by

the solar-thermal col-

lector array (above)

atop the cabana build-

ing at the White House.

In June 1979, President

Carter (left) was at the

unveiling of the solar-

hot-water panels that

Reagan removed in the

early 1980s.

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Unveiled in December 2002, the expansion of the Brooklyn Children’s Museum by Rafael ViñolyArchitects is being touted as the first “green” children’s museum design in the United States.

Being constructed above a mostly subter-ranean, 25-year-old Hardy Holzman Pfeifferstructure, the Viñoly project will include 3,000square feet of renovated existing space and a51,000-square-foot expansion to the existing51,000-square-foot museum. Construction on

the $39 million project will beginthis year, with completion in 2006.

The cheerful, yellow, L-shapedstructure, which will define the corner of Brooklyn and St. Marksavenues in Crown Heights, will openonto a tiered courtyard and playspace. A glass curtain wall along theground floor will allow passersby tolook in and visitors to look out ontothe street. Permanent exhibitionswill be in an interior foyer. Hoveringabove the curtain wall, the struc-ture’s gently undulating facade ofdaffodil-colored ceramic tile is perforated with constellations ofporthole windows. From inside,these windows, some at the eyelevel of toddlers and others at the

eye level of teens, will provide views outside forpeople of all sizes.

The new yellow building will also be green.The addition will incorporate geothermal heatpumps, recycled and renewable materials, androoftop solar panels. Because the museum hasongoing environmental education programs, thegreen features themselves will be incorporatedinto ongoing exhibitions about energy and sus-tainable design. Tess Taylor

Report finds significant safety hazards at U.S. CapitolDespite efforts to improve and coordinate emergency evacuation plans in the months following the

9/11 terrorist attacks, the Office of Compliance of the United States Congress has found that the U.S.

Capitol complex still demonstrates significant deficiencies in emergency preparedness.

The Office of Compliance issued this evaluation in its “Report on Occupational Safety and Health

Inspections,” a biennial publication. Legislative branch buildings comprise approximately 20 million

square feet and house 30,000 employees.

The Library of Congress revealed the greatest lack of emergency planning capability, according to

the report. Many Library of Congress offices have outdated evacuation schemes, while inspections

also showed that the three-building complex suffers from inadequate smoke detection, emergency

lighting and alarming, and sprinkling.

Among the other problems noted were crowding and inaudible fire alarms in the Capitol building,

as well as exit routes and fire extinguishers that were blocked in nonoffice spaces such as the Capitol

Power Plant. Green says that many of these glitches will be quickly remedied: “The general counsel of

the Office of Compliance has never had to go to litigation to accomplish abatement of any of these

hazards.”

In a statement, Architect of the Capitol Alan M. Hantman, FAIA, said that a proposed reorganiza-

tion of the 2,000-person agency, which would place the Safety, Fire, and Environmental Programs

Office within the Office of the Facilities Manager, “will improve the overall communication, emphasis,

and execution of our safety program, not detract from it.” D.S.

The L-shaped museum addition will

include a tiered courtyard (bottom).

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Viñoly designs “green”expansionto the Brooklyn Children’s Museum

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Washington University in St. Louis has unveileddesigns by Japanese architect Fumihiko Maki for two new buildings, totaling $39 million in construction, in the Sam Fox Arts Center on theuniversity’s main campus.

Maki served as an associate professor inWashington University’s architecture depart-ment from 1956 to 1963. He also designed oneof the three existing buildings in the Fox artscenter, Steinberg Hall, a Modernist pavilion witha cantilevered upper level, in 1960. Steinbergwas Maki’s first completed building.

The centerpiece of the five-building complexwill be a new, 65,000-square-foot art museum to house the university’s collection, which is cur-rently displayed in Steinberg Hall. The Museum of Art, which is now called the Gallery of Art, was

Record News

founded in 1881 as the first art museum west ofthe Mississippi River. Its holdings are strongest in19th- and 20th-century European and Americanart. The new museum building will be constructedof limestone and glass and will also include class-room space and a new library.

Adjacent to the new museum, a 38,000-square-foot building for the School of Art will alsobe designed by Maki. The new complex will allowthe university to consolidate visual arts programsthat are currently scattered around campus.

Bixby Hall and Givens Hall, which flankSteinberg Hall and presently house the School ofArt and the School of Architecture, were built in a Beaux-Arts style. Construction will begin on thenew buildings in March 2004, and Steinberg Hallwill undergo renovations. Kevin Lerner

Maki designs two new Washington University buildings

The American Institute of Architects (AIA) hasannounced winners of the 2003 Edward C.Kemper Award, Whitney M. Young, Jr. Award, andThomas Jefferson Award for Public Architecture,to be presented at the AIA national convention in San Diego in May. C. James Lawler, Jr., FAIA,will receive the 2003 Edward C. Kemper Award.The Hispanic American Construction IndustryAssociation (HACIA) will be given the Whitney M.Young, Jr. Award, and Edmund W. Ong, AIA, andSusan Williams have been selected for theThomas Jefferson Award for Public Architecture.

The Edward C. Kemper Award recognizesoutstanding service to the AIA. Lawler, thefounder and principal of C.J. Lawler Associates, in West Hartford, Connecticut, was AIA nationalpresident in 1991. He completed a term as chancellor of the AIA College of Fellows in 2002.

The Whitney M. Young, Jr. Award honors the late civil rights and urban leader who urgedarchitects to take greater social responsibility.HACIA is being recognized for its work in promot-ing Hispanic Americans for public and privateconstruction projects in Chicago. The 23-year-oldbusiness association also encourages careers inarchitecture and construction with a scholarshipfoundation for minority students in architecture,engineering, and construction management.

Ong will receive the Thomas Jefferson Awardin recognition of his 26-year tenure as chief archi-tect of the San Francisco Redevelopment Agency.Williams will receive the award for her role inadvocating quality design and preservation as anIndianapolis City-County Council representativeand her current role as executive director of theIndiana State Office Building Commission. D.S.

AIA names Young, Jefferson, and Kemper Award winners

In the model (left), the new buildings are in the lighter shade in the back. The new museum is in the back

center, and the art school (interior rendering, right) is in the back to the right.

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Department of HomelandSecurity to be headquarteredin northern Virginia After asecret monthlong search for officespace, the Bush administration hasdecided to locate the Department of Homeland Security headquartersin the suburbs of northern Virginia.

Congress set aJanuary 24 deadlinefor the president tocreate and house thedepartment, which will ultimately include177,000 employees.

At press time, theBush administrationhad narrowed itsselection to threeproperties. Two build-ings are in TysonsCorner, Virginia, andthe third is locatedwithin an office cam-

pus in Chantilly, Virginia. The leasecomprises 275,000 square feet withan option to double that space. Themaximum annual cost of occupancyis $25.9 million.

Architects represented atNational Design TriennialThe Cooper-Hewitt, National DesignMuseum’s second National DesignTriennial will profile architects in abun-dance. Architects chosen includeAsymptote and Peter Eisenman, both of New York City; Bryan Bell, of Raleigh, North Carolina; SanFrancisco’s Stanley Saitowitz; Kiki Wallace and Mark Sofield, ofLongmont, Colorado; and JenniferSiegal and Escher + GuneWardenaArchitecture, both of Los Angeles.

6.5 percent of its power will be fromgreen sources by 2012.

Governor Pataki’s promisewould require construction of asmuch as 4,000 megawatts of alter-native power. Solar and wind energyproduction would directly benefit,because hydroelectric plants arealready the state’slargest source ofrenewable power.

United Nationsrenovation to becomplete by 2009The United Nations hasannounced that it willrenovate its New Yorkheadquarters. Officialsthere say that the 38-story U.N. SecretariatBuilding has no sprin-kler system andrequires asbestosremediation and new electrical andoperating systems. The addition of anew 30-story office building is alsoplanned; the total price tag for theproject is expected to top $1 billion.

Inside Design Now runs from April 22through August 3, 2003.

New York makes statewidecommitment to being greenIn his annual address to the statelegislature, Governor George E.Pataki of New York pledged thatwithin 10 years the state would pro-duce one-quarter of its energy byrenewable resources. The governor’sJanuary 8 statement far surpassesother states’ green energy goals;neighboring New Jersey plans that

News Briefs

Peter Eisenman’s design for the City of Culture (left) and Guest Worker

Housing by Bryan Bell (right) will be on view at the National Design Triennial.

The United Nations will

renovate its facilities.

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promises that a newmuseum will be realized“on another scale and perhaps at another place.”J.E.C.

Nelson wins ASLA’sOlmsted Medal OnJanuary 10, the American

Society of Landscape Architects(ASLA) awarded its annual OlmstedMedal to Gaylord A. Nelson, whoserved as U.S. Senator fromWisconsin from 1963 to 1981. Themedal, established in 1990, is theASLA’s highest honor presented toan individual outside the landscape-architecture profession.

Nelson is being recognized forhis lifelong contributions to theenvironmental movement. In addi-tion to founding Earth Day in 1970,Nelson established the OutdoorResources Action Program andchampioned significant environ-mental legislation, such as theClean Air Act and the Water QualityAct. News Briefs by David Sokol

unless otherwise noted.

Bruce Goff landmark to berestored The Hopewell Foundationis raising funds to restore and updateHopewell Baptist Church, one ofBruce Goff ’s best-recognizeddesigns. The conical-shaped struc-ture with a 12-sided base wasvacated in 1989 but escaped dem-olition. It was recently listed on theNational Register of Historic Places.The Hopewell Foundation will reno-vate the church according to adesign by Rand Elliott, FAIA, ofOklahoma City–based Elliott +Associates Architects.

The congregation ofHopewell Church erected

by Frank Gehry, FAIA. Existing budgetdifficulties forced the GuggenheimLas Vegas to close indefinitely begin-ning January 5, 2003.

In November 2000, underthen-mayor Rudolph Giuliani, NewYork City pledged $67.8 million tothe East River Guggenheim project.Gehry’s model and drawings for the proposed 572,000-square-footbuilding were exhibited at theGuggenheim Museum in New Yorkin 2000 and 2001 [RECORD, May2000, page 41].

With this announcement, it is unclear if the GuggenheimFoundation will consider developinga new museum at Ground Zero, as has been speculated. Peter B.Lewis, chair of the foundation,

the structure, completed in 1951, infar northwest Oklahoma City forapproximately $20,000. The build-ing’s exterior trusses—composed ofoil-field pipe—as well as its stoneexterior demonstrate Goff ’s trade-mark use of surplus and indigenousmaterials to achieve affordabledesign. Elliott + Associates esti-mates that the restoration will cost$2 million.

Guggenheim scraps EastRiver museum plans TheSolomon R. Guggenheim Foundation

announced onDecember 30,2002, that it iswithdrawing itsplans for a newGuggenheimMuseum on theEast River, inManhattan. Thefoundation acknowl-edged that it cannotafford to finance theproposed $950 mil-lion project designed

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Gehry’s East River Guggenheim was cancelled.

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New & UpcomingExhibitionsBig & Green: Toward SustainableArchitecture in the 21st CenturyWashington, D.C.January 17–June 22, 2003

Through in-depth profiles of approximately 50 contemporary green projects worldwide,along with a broad examination of global eco-logical and economic forces, the exhibitiondemonstrates the transformative powers ofsustainable design. At the National BuildingMuseum. For more information call 202/272-2448 or visit www.nbm.org.

IntricacyPhiladelphiaJanuary 18–April 6, 2003

Guest curated by the architect and theoristGreg Lynn, this exhibition includes works byarchitects, designers, and artists that reflect an emerging sensibility that Lynn has labeled“intricacy.” This notion refers, in the abstract, to a new visual and spatial language of folding,interweaving, and layering—parts relating towholes—that has been heralded by the digitaland genetic engineering revolutions. The exhi-bition synthesizes a vast geography of ideasand practices drawn from many disciplines andcultural fields. At the Institute of ContemporaryArt at the University of Pennsylvania. Call215/898-5911 or visit www.icaphila.org.

Shigeru BanCambridge, MassachusettsJanuary 27–March 16, 2003

This exhibition will explore contemporaryJapanese architect Shigeru Ban’s innovativedesign approach and will trace the architect’sinvestigation of materials, structural systems,and methods of construction in the develop-ment of alternative architectural designs. At theHarvard Design School. For more information,visit www.artmuseums.harvard.edu.

Trespassing:Houses x ArtistsLos AngelesJanuary 29–April 13, 2003;

May 7–July 27, 2003

The two-part exhibition, co-organized by the

MAK Center for Art and Architecture and BellevueArt Museum, highlights nine new architecturalprojects developed in a joint effort between contemporary artists and architects Alan Kochand Linda Taalman of OpenOffice. The projectsengage the house as subject, investigating itsforms, functions, and significance while imagininga wide variety of prototypes for living. In additionto architectural drawings and renderings,Trespassing presents oversize scale models, filmand interactive elements, as well as an accompa-nying catalog outlining the projects’ development.At the MAK Center for Art and Architecture. Formore information call 323/651-1510 or visitwww.makcenter.org.

Next: LWPACVancouver, B.C.January 30–May 2003

The second exhibition presented in Next, aseries on emerging artists from the Pacific Rim.Vancouver architect Oliver Lang, a partner inLWPAC (Lang Wilson Practice in ArchitectureCulture) will redesign the Next space, a labora-tory for new art and ideas in a wide variety ofmedia. A new gallery will be designed by LWPACto complement and accommodate this pro-gram, not only to generate a new space butalso to document the process of its production.At Vancouver Art Gallery. Call 604/662-4715or visit www.vanartgallery.bc.ca.

Ongoing ExhibitionsDo It Yourself: Home Improvementin 20th-Century AmericaWashington, D.C.October 19, 2002–August 10, 2003

This show is an examination of modern Americanhousing and its products, with cultural insinua-tions regarding gender roles and leisure time inthe domestic sphere. At the National BuildingMuseum. Call 202/272-2448 or visitwww.nbm.org for more information.

Body DesignSan FranciscoNovember 16, 2002–March 23, 2003

Conventional notions of good design, especiallytheories about ergonomics, favor objects andspaces that accommodate and even mimic thehuman form. This exhibition looks at several

Dates &Events

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provocative designers who take this thinking one step further, reconsidering the relationshipsof body to space and physiology to function.Roughly 20 prototypes and commercially avail-able works from the fields of fashion, furniture,industrial design, and interior design are featured.At San Francisco Museum of Modern Art. Call415/357-4000 or visit www.sfmoma.org

David Adler, Architect:The Elements of Style Chicago

December 6, 2002–May 18, 2003

This will be the first major retrospective ofthe architect David Adler’s work, featuringapproximately 100 pieces, including plans,drawings, photos, models, and decorative arts. Also included will be major documentsfrom the Chicago Art Institute’s permanent collection and photos newly realized by therenowned Chicago architectural photographyfirm of Hedrich-Blessing. At the Art Instituteof Chicago. Call 312/443-3600 or visitwww.artic.edu.

Dates&EventsConferences, Symposia,LecturesSwiss MadeHoustonJanuary 22–February 12, 2003

The Spring 2003 RDA Lecture Series features fiveSwiss architects who share an uncommon preci-sion of craftsmanship and deftness of materialhandling that has come to emblematize the post-war Swiss architectural legacy. The careers of thefive designers span from the 1950s to the present.The speakers in this lecture series include AnnetteGigon, Mike Guyer, Kurt W. Forster, MarianneBurkhalter, Livio Vacchini and Silvia Gmur. At BrownAuditorium, The Museum of Fine Arts, Houston. Call 713/348-4876 or visit www.rice.edu.

Dallas Architecture ForumLecture SeriesDallasNovember 21, 2002–February 13, 2003

The Dallas Architecture Forum features its seventhseason of lectures by some of the most importantdesigners in the world. Included in the series will be talks by Enrique Norten, Rick Joy, and TerenceRiley. For information, call 214/740-0644 or visitwww.dallasarchitectureforum.org.

Spotlight on DesignWashington, D.C.February 13, 2003

A lecture by Topher Delaney. The SanFrancisco–based landscape architect will discussher work and belief in the healing power ofdesign. Delaney’s 26-year career as an environ-mental architect and builder has encompassed awide variety of projects including rooftop gardensand award-winning sanctuary gardens for med-ical facilities. At the National Building Museum.Call 202/272-2448 or visit www.nbm.org.

Designer’s SaturdayHong KongFebruary 22, 2003

The objective of this program is to provide thepublic with a behind-the-scenes look at appliedart/design companies in an informative andrelaxed setting, giving an opportunity for contactbetween current and future designers and thelocal community. By Atelier Pacific. Call852/2869-8265 or visit www.atpac.com.

GlobalShop 2003ChicagoMarch 16–18, 2003

GlobalShop is where retailers and brand mar-keters seek out resources and concepts todefine store and brand identity, generate traf fic,and increase sales. At the McCormick Place

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Convention Center. Call 866/933-1001 or visitwww.vnuexpo.com.

CoveringsOrlando, FloridaMarch 24–27, 2003

This event will feature the International Tile andStone Exposition, the International FlooringExposition, and the Vision Conference Program.At the Orange County Convention Center. For more information, call 561/776-0600 or800/881-9400, or visit www.coverings.com.

Lightfair InternationalNew York CityMay 5–8, 2003

This year’s Lightfair promises to be the biggest and most comprehensive annual architectural and commercial lighting conference to date, withmore than 550 exhibiting companies occupyingmore than 1,460 booths, and an expected atten-dance exceeding 19,000 architectural, engineering,design, and end-user professionals from aroundthe world. At the Javits Convention Center. Call404/220-2215 or visit www.lightfair.com.

Dates&EventsCompetitions and AwardsThe 2003 DuPont Benedictus AwardsCall for entries deadline: February 14, 2003

The competition, a collaborative ef fort betweenDuPont and the American Institute of Architects,with the cooperation of the International Unionof Architects, recognizes the innovative and sig-nificant use of laminated glass. Architects maysubmit projects in seven categories: commer-cial, community, education, government, healthcare, recreation, and residential. For moredetails, call 202/367-1633 or visit www.aia.orgor www.dupontbenedictus.org.

2003 Business Week/ArchitecturalRecord AwardsCall for entries deadline: March 14, 2003

The annual global awards program, sponsoredby the American Institute of Architects, invitesentrants to submit work that has demonstratedthat “good design is good business.” This is anopportunity for architects and clients to be rec-ognized for exemplary collaboration betweenclient/architect building teams who use archi-tectural design solutions to achieve strategicgoals. Entrants must submit a mission state-ment and business rationale describing how theproject fits into an organization’s overall goals.Additionally, entrants describe both the processand results, including measures of how the project’s architectural design solution helpedachieve those results. Public- and private-sectorprojects completed anywhere in the world since January 1, 2000, are eligible. Entries are welcome regardless of project or budgetsize, including new construction, interiors, and renovations/restorations. To download asubmission packet, go to the AIA Web site at aia.org, or the ARCHITECTURAL RECORD Website at archrecord.com. To order by telephone,call 888/242-4240 or 202/626-7467

International Achievement AwardsDeadline for entries: July 1, 2003

Sponsored by the Industrial Fabrics AssociationInternational (IFAI), this competition offers archi-tects an opportunity to gain recognition for projectsthat have creatively used fabric. The competitionfeatures 26 competition categories. Project entriesinclude photos of outstanding specialty fabric projects and descriptions of their unique andimportant characteristics. To request a brochureand entry form, contact Christine Malmgren at800/225-4324 or 651/222-2508, e-mailcmmalmgren@ifai.com, or visit www.ifai.com.

E-mail event information two months in advance

to ingrid_whitehead@mcgraw-hill.com.

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02.03 Architectural Record 75

Critique

Manhattan Development Corporation(LMDC). The guidelines state: “A tallsymbol or structure that would berecognized around the world is crucial to restoring the spirit of thecity.” The statement is bombasticrant. The spirit of New York did notdepend on the Twin Towers, whichwere dreadful in every way.

Is there any reason, anyway, forthis kind of massive development inthis particular location? The LMDC’sprogram calls for 6 to 10 millionsquare feet of commercial spaceplus a great deal of other stuff, all ona site that is just 60 percent largerthan Washington Square. Is thereany market for it, with 17 millionsquare feet of office space currentlyvacant in Lower Manhattan? And ifthere is, should the new space be inthis location? There is plenty ofunderutilized land only a few blocksaway. Why pile such gargantuandevelopment on one small parcel?How do you phase it?

Cloning an old formulaIt’s not as if anyone has thoughtfreshly about what the programshould be. The LMDC’s program isdéjà vu all over again. It’s a recap ofthe program of 30 or 40 years ago,when the World Trade Center wasfirst conceived. The only purpose ofcloning this ancient program is tosatisfy the developers who holdleases on the site and hope to col-lect their insurance money, and thePort Authority of New York and NewJersey, which hopes to collect rentagain from the lessors. (It’s a curioussidelight that nothing about the WorldTrade Center, present or past, has

anything to do with the Port of NewYork, which is what the Port Authorityis supposed to be worrying about.)

With one partial exception (the Viñoly/Schwartz/Ban team inone of its three proposals), none ofthese seven supposedly daringdesigners bothers to challenge theprogram. Nobody does any freshthinking about much more thansculptural form or seductive park-land. I’d hoped—actually, I’dassumed—that some or all of the architects would delib-erately violate the program.They’d propose some alter-natives. That would bringpressure on the LMDC and its parent organization,the Port Authority. TheAuthority, which is largelycontrolled by New York’sGovernor Pataki, could thenexercise some politicalmuscle. It could break theleases and open the doorto some fresh questions.Such as: What would be agood downtown neighbor-hood for our own time, nowin the 21st century? Whatis genuinely new about theworld that is evolving, andhow should urban designrespond to it? What arethe virtues of traditionalurbanism that we shouldbe sure to hang on to? Instead, bothin program and in design, the archi-tects and the LMDC are rehashingthe late 20th century.

Part of what seems to be driv-ing the current zeal for a glorious and novel skyline is a concept that I

thought had long since been put torest by the philosopher Karl Popperand other thinkers. This is the beliefthat architecture must serve someemerging zeitgeist, that it must bemidwife to a future that is strugglingto be born. For those who embracesuch a religion (which is what it is), itis helpful to remember that anythingnew will soon be old, and that it won’tbe either better or worse for beingso. Architecture isn’t about forward-or backward-looking ideas. It’s about

good ideas and bad ones. Piling agargantuan commercial monocultureon this site may not be one of thegood ones. Whether it is or not, thefact is that the question hasn’t beeninvestigated. The LMDC has takenover an old program that never

By Robert Campbell, FAIA

Instead of devising a 21st-centuryurbanism, the latest WTC proposals

rehash old notions of the future

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unveiling of nine proposals by seventeams for the site of the World TradeCenter in Manhattan. They were ahuge disappointment. Once again,we are being asked to take our chil-dren to an image zoo.

Most of the proposals look likea Stephen Spielberg invasion ofdinosaurs, trampling the fabric of thecity. It’s some kind of backhandedtribute to these designs, I guess, that they’ve succeeded in makingLower Manhattan, which onceseemed so soaring and powerful,look fragile and delicate. The existingcity fabric becomes a sort of weedyundergrowth beneath these vast,self-important new constructions.

In most of the designs, there isat least one building intended to be the world’s tallest. I guess weAmericans have to take back the titlefrom Kuala Lumpur, don’t we? Oftenthe proposed towers are connectedby sky bridges, creating what morethan one designer called “cities in theair.” This is avant-garde architecture?People have been imagining and cartooning sky bridges and aerialcities in Manhattan since the 1920s.Flash Gordon got there first. In all the designs, there is more interest increating a novel, dramatic skylinethan in creating a human and usablecity fabric at ground level.

The reason for the fireworks on the skyline is largely symbolic. All the designers were working withguidelines set out by the Lower

Contributing editor Robert Campbell

is the Pulitzer Prize–winning archi-

tecture critic of The Boston Globe.

A sketch by Libeskind shows the retention of

the “bathtub” wall around the old WTC site,

with new buildings set along an angled axis.

utopian proposals, of course, havetheir place in the history of architec-ture, although that isn’t how they’rebeing billed in this case. My per-sonal favorite is the one by DanielLibeskind, designer of the JewishMuseum in Berlin. Libeskind makestwo superb moves. He leaves theexcavation untouched: the so-called“bathtub,” 75 feet deep and linedwith the old concrete retaining wallsthat function as dams to keep outthe water of the Hudson River. Heproposes this raw excavation as thesite for a future memorial to 9/11. It is a setting with the grim vacuityof an Anselm Kiefer painting. Abovethis space, he cantilevers a crys-talline glass memorial museum. Onthe rest of the site, he arranges afamily of towers that look like shardsof glass. They rise in a spiral to agreen garden at a height of 1,776feet. It’s all quite wonderfully beauti-ful. It’s also totally impractical. Howdo you maintain a vertical gardeninside a slim glass spike a quartermile up in the air? But as an imageto bear in mind, as a sort of Oz-like,

unattainable ideal, Libeskind’sdesign is valuable. Despite its greatheight, it would carry the pincushionskyline of Manhattan to a climax,instead of overwhelming and trivial-izing it, as the old Twin Towers didand the other new schemes do. Iwish the other equally impracticaldesigns shared Libeskind’s deftsense of form.

It’s only fair to note, as every-one has, that one scheme, thePeterson/Littenberg one, does lackego gestures. Like the others, it failsto challenge the banana-brained pro-gram, but it succeeds in distributingthat program on the site in a modest,sane, and even conventional manner.Although I wouldn’t particularly mindseeing it built, I agree with those whofeel that something more is calledfor. That something is not a big show-off idea, not an Everest of verticality,not tired futurist cartoons. What iscalled for is a sense that an opportu-nity has not been lost to think long,hard, and freshly about the realissues of the city at the beginning ofthe 21st century. ■

and responsible architect normallydoes. Think of these proposals asmarketing moves. They’re gaudy diagrams to catch the eye. But asdiagrams, most of them are a littlescary. They’re as puffed up with theirown egos as they are contemptuousof the older city around them. Andspeaking of ego, it’s amusing toreport that one competitor pasted

paper over its office windows so no one could steal the genius ideasbeing fomented inside.

Libeskind’s schemeAll that said, though, I confess tobeing seduced by some of thedesigns, viewed as pure architec-ture. They’re fantasies, but they’recompelling fantasies. Fantasies and

worked well, added some tchotchkes,and called it a day. Why hasn’t itseized the opportunity to reconsiderthe future of the WTC site not as anisolated entity, but as a piece of theredevelopment of Lower Manhattan?

I’m well aware that none of thearchitects regard their designs as fin-ished proposals. They had only 11weeks to tackle an enormously diffi-

cult problem. It’s safe to say thatwhatever eventually emerges won’t resemble any of these flashyskylines. The LMDC will pick ateam—and all of the teams, cer-tainly, are competent—and only thenwill the team get down to the actualwork of design. Maybe then they’llfinally challenge the program, which,after all, is something any creative

Critique

I CONFESS TO BEING SEDUCED BY SOME OFTHE DESIGNS AS PURE ARCHITECTURE.BUT THEY’RE FANTASIES.

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Correspondent’s File

British Petroleum, Chicago PublicSchools, and ComEd, to install pho-tovoltaic panels on a number ofbuildings, as well as to “make theChicago Public Schools the largestschool-based solar-energy network,and a leader in environmental-tech-nology education,” according to thepartnership. Solar panels have beeninstalled on the roofs of six of thenine major Chicago museums aswell as many Chicago Public Schoolbuildings. The panels installed inJune 2001 on the Field Museum ofNatural History have an averageannual electrical output of 53,200kilowatt hours, and those on The ArtInstitute of Chicago (pictured, topright) have an average annual elec-trical output of 56,357 kilowatthours. The power generated by thepanels is fed back into the city grid.

Another project, the ChicagoUrban Heat Island Initiative, hasbeen established to reduce urbanair temperatures, ameliorate theeffects of dark surfaces, and reducepollution. More than 60 percent ofChicago’s rooftops are dark andabsorb and trap heat emitted fromthe sun. This phenomenon—anUrban Heat Island—increases urbantemperatures 6 to 10 degreesFahrenheit over rural temperatures.To lessen the effect, the city isbeginning to replace asphalt inalleys with lighter-colored paving,construct light-colored roofs, andinstall rooftop gardens.

The most widely publicizedChicago rooftop garden—ChicagoCity Hall (pictured, middle right)—has more than 20,000 plants on20,300 square feet of roof space.

Planted in fall 2000, 95 percent ofthe vegetation survived the first win-ter. Designed for low-maintenanceplants, the planted portion of theroof has performed admirably anddraws a striking contrast with a portion of the same building’s roof,over Cook County offices, that has a black-tar surface. On one of thehottest days in 2002, the DOE saysthe surface temperature was 86

degrees Fahrenheit in the plantedareas and up to 168 degrees on the black-tar surface. The averagedaytime air temperature was 90degrees above the City Hall gardencompared to 102 degrees above the black-tar roof.

The city has spread its greeninfluence from rooftops to theneighborhoods, as well. The ChicagoGreen Bungalow Initiative has begun

By John E. Czarnecki, Assoc. AIA

From the roof of city hall to rowsof bungalows, Chicago goes green

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Big Shoulders and the Windy City,is now making strides to becomeone of the “greenest” cities. UnderMayor Richard M. Daley, Chicagohas initiated a number of pilot projects in the past four years todemonstrate how it can conserveenergy, build new sustainablestructures, and retrofit existingbuildings to be more environmen-tally friendly.

Much of the capital for thecity’s green initiative comes from a 1999 $700 million settlementwith utility Commonwealth Edison(ComEd) in an arbitration case. The settlement required ComEd toundertake projects designed tomeet Chicago’s electrical powerneeds in an environmentally soundmanner. The city’s department ofenvironment (DOE) has guidedmany of the projects, in conjunctionwith ComEd.

Since 1999, the city has usedthe Leadership in Energy andEnvironmental Design (LEED) green-building rating system as a guide for competitions, adaptive reuseprojects, renewable energy installa-tions, and evaluation of prototypepolice stations and libraries.

Chicago has a goal to get atleast 20 percent of its power fromrenewable sources—solar, wind,and landfill gas-to-energy—by2006. In terms of wind power, thecity is actively pursuing purchasinga wind farm or taking an equitystake in one.

The city has entered into theChicago Solar Partnership with anumber of organizations, including

Chicago has gone green

with photovoltaic cells

on the roof of The Art

Institute of Chicago

(above), a green roof on

city hall (right), and the

Green Bungalow Initiative

(below).

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For and aboutthe new generation of architects

a r c h r e c o r d 2F O R T H E E M E R G I N G A R C H I T E C T

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architecturalrecord.com/archrecord2

archrecord2 has been around long enough now (the section is a month shy of its second birth-day) that designers who have been featured here are turning up in other parts of the magazine,or in other magazines altogether. This month, archrecord2 celebrates its alumni’s success withtwo repeat performances: one from a Colorado firm that designed a House of the Month thatappeared on architecturalrecord.com, and one prequel to next month’s Design profile.

DESIGNGoing modern in the land of antlers

The members of Studio B, a group of designers based in Aspen,

Colorado, want to buy the building in which the firm is based, a

warehouse space on the edge of town. When the transaction finally

goes through (and according to Scott Lindenau, Studio B’s princi-

pal, the current landlord is encouraging the deal), the firm plans to

transform its space into a series of intersecting geometric volumes.

The open work space of the office would be preserved, with all of

the designers (six at the moment, with a seventh due to start

this month) within shouting distance of each other.

This planned space makes an apt metaphor for the col-

laborative working style of Studio B, which Lindenau founded

in 1991. “When you have an open studio where everyone col-

laborates, it really encourages creativity,” Lindenau said. He

likened Studio B’s working style to an architecture school’s

design studio, with the same atmosphere of collaboration, late-

night jocularity, and shared purpose.

“Scott’s our leader,” said Derek Skalko, a member of the

firm, “but we all do a little bit of everything, and we all know where everything is.”

Studio B’s collegiate atmosphere actually includes the classroom, since

Lindenau requires that everyone in the studio take two or three classes per

year, which Lindenau pays for. The firm’s Web site (www.studiobarchitects.net)

even exhibits the nonarchitectural artwork of studio members.

Lindenau also covers about half of the cost of the firm’s annual two-week

sabbatical. The whole office closes down, and everyone travels together, draw-

ing and painting as they go. In 2001, the group went to Berlin and Prague; in

2002, they split their time between Spain and Morocco; and the spring 2003

trip will take the group to Helsinki and St. Petersburg.

Such official beneficence would lead observers to conclude that Studio B

has a history of financial success, which seems odd considering Aspen’s

tradition of conservative architecture and Studio B’s distinctly modern bent.

Lindenau, though, seems to have timed the studio’s existence perfectly.

“A lot of the people moving to Aspen now are younger wealthy people who

care about modern design,” Lindenau said. He sees the studio’s work in part as

“The Hive,” Studio B of fices,

Aspen, Colo., 2002–2003

Designed as a renovation of the

firm’s own offices, a warehouse

near downtown would become

an open, multilevel work space,

modeled around the studio’s col-

laborative working style.

Del Balso Residence,

Aspen, Colo., 1999–2000

Also known as “Conundrum

House,” this house’s simple palette

of sandblasted concrete and

mahogany siding allows the build-

ing to merge with the natural

beauty of the forested site.

84 Architectural Record 02.03

architecturalrecord.com/archrecord2

a reaction against what he calls, “the really

criminal architecture of the West, with its sloping roofs and antler chandeliers.”

Lindenau, who grew up in the upper Midwest, came to Aspen partly by

chance. He drove cross-country in the mid-1980s interviewing for jobs, and

found one in Aspen. When he left to start his own firm, he stayed in town.

“Sometimes I miss living in an urban area, where we could work on larger-scale

projects,” he said. “But I always felt that if we remained true to our convictions,

then the work would follow.”

His first break was the design for his own home, a significantly modified,

double-wide trailer on a lot in the Smuggler Trailer Park. “In Aspen, which is one

of the most expensive places to live, our only option was a trailer,” he said. “My

wife and I bought it for $55,000. Now it’s worth

$1 million.”

Lindenau’s million-dollar trailer wound up

in several magazines, and Studio B has had a

solid residential design business ever since.

Lately, the firm has taken on some larger proj-

ects, including a low-cost housing project (fea-

tured as House of the Month, September 2002,

on www.archrecord.com), and a master plan

for Aspen’s civic center. So despite Lindenau’s

occasional qualms, Aspen seems to be work-

ing out just fine for Studio B. “I feel very fortu-

nate to live in a place where we can get work

done,” Lindenau said, “and where it’s sunny every day.” Kevin Lerner

Bergen + Czech Residence,

Aspen, Colo., 2002–2003

An entry ramp slopes through this

house, eventually becoming a

cantilevered deck with views down

the adjacent creek. The house

rises on pilotis to protect it against

possible flooding from the creek.

Lindenau Residence,

Aspen, Colo., 1996–1997

Studio B earned some early recog-

nition for this modified trailer

home, in which Lindenau found

new applications for standard

lumberyard materials.

Sometimes, when an architecturalfirm is just starting out, the comple-tion of actual architecture relies onthe kindness of friends: friends whoare willing to take a risk on unproven

designers, but whoare, unfortunately,unwilling to pay.

Freecell, a youngfirm that is based inBrooklyn, New York,found a way to getthrough this start-upperiod, and evenearned some earlypress coverage in theprocess. Their tractor

chair, a desk chair fashioned from a seatintended for use onindustrial machinery,has been featured inseveral publications andis available for sale onthe firm’s Web site (www.frcll.com).

Freecell now produces a range of furniture, including the “SeatStorage” system (at left), which func-tions as seating and shelves; and theRolling Office Partition (above).

The four members of the firm fabricate the furniture in their studio,where they also build some of theirarchitectural work, such as an apart-

ment with a Murphybed that they havebeen designing andbuilding, off and on, forseveral years. The clientis one of the firm’s probono cases, so this

project gets attention between thoseof paying clients.

Freecell’s architectural work,including this apartment, will be fea-tured in archrecord2 in the Marchissue of ARCHITECTURAL RECORD. Moreof the group’s furniture design canbe found online. Kevin Lerner

WORKBuilding furniture to stay afloat

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Go to architecturalrecord.com/archrecord2 for more of Studio B’s projects,

including a link to the firm’s appearance in House of the Month.

To see more of Freecell’s furniture, go to

architecturalrecord.com/archrecord2

(continued from previous page)

On the Web, archrecord2 maintains an archive of all of the previous design profiles,

career articles, and lifestyle features that have appeared in this space. Find them at

architectural record.com/archrecord2, along with our monthly forum.

http://www.emeco.net

http://www.planetaec.com

02.03 Architectural Record 87

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Practice Matters

Automotive Group building (photobelow) designed by LPA, in Irvine,California, received the U.S. GreenBuilding Council’s (USGBC) compre-hensive Leadership in Energy andEnvironmental Design (LEED) certifi-cation. This third-party validationprocess establishes that a buildingmeets comprehensive performancestandards for sustainable design.

A trip to the USGBC’s Web sitewill show that the council has somany influential professional andindustry members, and that somany communities are now provid-ing incentives for architects andbuilders who use green buildingstrategies, that it is unlikely sustain-able design is merely a passing fad.

Getting startedThere are some simple steps thatyou can take to help your firm gogreen. Begin with training. It can beobtained through the USGBC’s LEEDworkshops as well as at many othercontinuing education venues. Inviteyour architects to become LEEDaccredited. Make discussions onsustainability a priority at staff meet-ings and invite experts on greenbuilding for in-house seminars.

Next, add reference materialsto your firm’s library. The USGBC’sSustainable Building Technical

Manual and the LEED Reference

Package, which contains a com-plete set of tools for LEED design,certification, and professionalaccreditation, are excellent placesto begin. Most professional bookpublishers are now offering bookson sustainable architecture, andthere is an abundance of publica-

tions from product manufacturers.Third, true sustainability is not

something an architect can overlayonto a project at the end of thedesign process. An integrateddesign process looks at the devel-opment of a project from the timethat ground is broken throughout its entire life cycle. It demands thecommitment of consultants. Thebudgeting process should be comprehensive enough that oppor-

tunities for making all parts of aproject sustainable can be identifiedearly and money can be shiftedwhere it will best meet the project’sgreen goals. A comprehensiveanalysis would consider the benefitsof trading a costly and environmen-tally insignificant feature—a granitefacade or showy lobby, for example—for extensive site landscaping thatwould shade the building from thehot summer sun, reduce heatislands in a parking lot and on walk-ways, and increase the overallbeauty of the project. The firm Iwork for believes in this approach so much that we have createdvalue-engineering software to ana-lyze green alternatives to standard

systems and building materials. Finally, involve your client in

every green-design decision. Clientresistance usually evaporates whenyou can demonstrate that making aproject sustainable will not incur asubstantial increase in cost. Fewclients are likely to say, “Give methe environmentally insensitivebuilding over the sustainable one,”any more than they would purpose-fully select an ugly design over an

attractive one.Once your firm has built

some green projects and you are able to demonstratethe firm’s green-design skills,you will have a track recordyou can make a part of yourmarketing program. Manyfirms that have already madethe leap to green are oftenprofiting handsomely from it.These firms also have anadvantage in recruiting and

retaining employees. Young profes-sionals who feel strongly about theenvironment and really want tomake a dif ference will be attractedto your firm if you can demonstratea commitment to environmentallyresponsible design.

The bottom linePerhaps the most important reasonto do green architecture is that itseeks real solutions to problemsinvolving energy use, water man-agement, and indoor air quality.Architects whose ambition is todesign buildings that will stand thetest of time can do no better than to develop architecture based onthe principles of sustainability. ■

By Dan Heinfeld, FAIA

Getting your firm ready to green up its architecture

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that making their buildings green is the right thing to do, for yearsthose who really pushed sustain-able design were thought to beworking on the fringe. Now, greenis no longer a novelty, but a fact oflife for architects.

One question that seems toconfront all practitioners is whethertheir firm is ready to change itsdesign approach from one thattacks a few green features onto itsbuildings as an afterthought, toone that creates buildings that aresustainable in a truly holistic sense.It can be a huge change for archi-tects and clients alike.

Some of the objections todoing green design are easy toanticipate. Cost usually comes upfirst. Many people think of greenbuildings as prototypical andassume they are too expensive for“real world” use. This is less truetoday than it once was. One reasonthat green buildings are moreaffordable these days is that pricesfor highly efficient materials, sys-tems, and fixtures have beendropping. Many strategies forimproving a project’s sustainabilitycan be added with little additionalcost if they are added early enoughto be part of the “genetic code” ofthe design.

Skeptics who joke that build-ings must be covered with diagonalwood siding to be green might besurprised to learn that the Premier

Dan Heinfeld, FAIA, is a LEED-accred-

ited professional and partner in charge

of design for LPA, in Irvine, Calif.

The LEED-certified Premier Automotive

Group headquarters building in Irvine, Calif.

Resources in print for architects and designers who

want to build green

Books

SustainableArchitecture andUrbanism: Design,Construction,Examples, by

Dominique Gauzin-

Muller with Nicolas

Favet. Basel: Birkhäuser,

2002, 228 pages, $70.

The subtitle of this bookcould have been “learningfrom greener Europe.” The volume is an elegantoverview of issues in sus-tainable design and theirapplication to mostly small-scale projects in Europe. Theauthor sets the context with a discussion of mounting worldwideattention to environmental degra-dation and resource limits. Herreferences to the Kyoto Accordsand other international agreementsare a reminder of the disconnectbetween America’s current politicalstands on environmental issuesand those of Europe and elsewhere.

Gauzin-Muller describestrends in environmental architecture, including the low-tech/high-tech dichotomy; the“middle way” of environmentalhumanism; a social and democraticenvironmentalism focused mostlyon low-cost housing; and “environ-mental minimalism,” the recentbreed of high-performance, low-energy projects.

Some sections are a bit dryand yet useful. For example, Gauzin-Muller wades through severalEuropean rating and assessmenttools (including the U.K.’s BREEAM,

Holland’s DCBA, and France’s HQE)to compare and contrast theseapproaches. Unfortunately, the U.S.Green Building Council’s LEED isnot mentioned, depriving Americanreaders of what would be the mostpertinent comparison.

Six European communities ofvarious sizes serve as urban designand development case studies. Theirefforts are progressive, complex,and multifaceted; housing, transit,open space, and other issues seemto have received equal emphasis.The communities’ successes areencouraging. But it would have been useful to learn more about therough spots they faced along theway—policy barriers, political issues,or other stumbling blocks.

Gauzin-Muller shows and con-cisely describes 23 architectureprojects, from single-family homesto office buildings. Many are small,chosen because they offer sustain-able solutions that were executed

economically and can be replicated.This collection of work goes beyondthe Euro starchitects (though someare mentioned elsewhere). Theapproach makes the work moreinspiring, showing that holisticallysustainable projects are achievableby “regular” architects working onregular projects.

Stylistically, the architecturefits the category of sustainabledesign that emphasizes humanismand Minimalism. Natural light is adominant theme, and the workhas a strong sense of approach-ability in both form and materials.Elegance and poetry are in

healthy supply, although readerslooking for the dramatic new greenaesthetic might find the architecturetoo quiet. Kira L. Gould

Cradle to Cradle: Remakingthe Way We Make Things, by

William McDonough and

Michael Braungart. New York:

North Point Press, 2002, 193

pages, $25 (paper).

Cradle to Cradle begins withthat all-too-familiar gloomy fore-cast for our planet that couldcause the reader to passivelywait for the end, which, by allaccounts, appears to bemoments away. Everything thatis manufactured and necessaryfor human comfort and produc-tion is toxic. Fabrics, carpets,appliances, computers, andtoys contain lead, mercury,hazardous dyes, acids, chlori-nated and brominatedsubstances, just to name a

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duce all this toxicity, we havesquandered our resources and overheated the planet and are nowsuffering the consequences.

The prevailing moral reflex is toblame our reckless embrace of thedestructive tools of progress. Fearand loathing are focused squarelyon technology. From there, in a collective paroxysm of denial, wesearch for antitechnology measuresand adopt recycling and conserva-tion as the path to restoration andredemption. Neither will work, saythe authors—architect WilliamMcDonough and his business part-ner, the chemist Michael Braungart.In fact, both approaches are illogi-cal. Less is not more. Using lessenergy does not produce more natural resources. Using less justprolongs the inevitable. And theauthors don’t feel any more positive

02.03 Architectural Record 89

about recycling, correctly renamingthe well-intentioned, albeit feeble,activity “downcycling.” After all, theproducts are still going to end up inthe dump eventually.

Although they tend to repeatthemselves by the end of this mani-festo, McDonough and Braungarthave some radical ideas. Technologyis not the culprit; in fact, humaninvention and ingenuity are what’sgoing to save the planet. By creatingproducts that return harmlessly to the earth (“biological nutrients”)and by manufacturing materials that continue to circulate withoutdegrading (“technical nutrients”), wewill create a regenerative system,called “eco-effectiveness.” Althoughthere are no formulas, the authorsoffer scientific principles and issueintellectual challenges. All of themcan be reduced to a single para-digm: Reinvent in order to replenish.For instance, don’t design a car (or

a house) that releases minimalor even zero harmful emissions,design one that releases positiveand useful emissions. Easier saidthan done, but the logic is beauti-fully simple. Sara Hart

Groundscrapers +Subscrapers of Hamzah &Yeang, by Ivor Richards. New

Chichester, U.K.: Wiley-Academy,

2001, 260 pages, $65.

This book presents some ground-breaking ideas about ground-healingarchitecture. It shows how we mightdesign and build large buildings in away that is in harmony with nature.It explores the notion of low-riseecological structures as seen in thework of Malaysian architect KenYeang, whose firm Hamzah & Yeanghas pioneered climatically sensitivehigh-rise design.

“Groundscrapers” are those

have a greater environmentalimpact than skyscrapersbecause they have much largerfootprints for the space theyenclose. Described as theantithesis of the environmen-tally responsive skyscrapersthat Yeang is famous for, the designs and ideas pre-sented in this book are notantithetical, but rather complementary. WhileYeang’s skyscrapers aremodels of energy efficiencyand sustainable design,groundscrapers and sub-

scrapers can mend incisions madeby building on the land.

After September 11, 2001,many asked if we should ever buildskyscrapers again. While today suchquestions seem an emotional over-reaction to the moment, Yeang’sarchitecture gives us a glimpse ofwhat that idea might actually mean,and how a more environmentallyresponsive architecture might beachieved by building low.

As Yeang explains the princi-

Books

buildings that “touch lightly” uponthe ground, doing a minimum ofdamage to the ecological systemsfound on the earth’s surface.“Subscrapers” are buildings that liveunderground, their roofs becomingpart of the landscape and convert-ing the excavated site into a naturalhabitat that may never have existed.

Groundscapers and subscrap-ers reach out into the landscape asmid-rise buildings that potentially

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ples of groundscraper and sub-scraper design, the critical elementturns out to be linked and continu-ously vegetated planting zones,“ecological corridors.”

These corridors help to bal-ance the biodiversity of buildings,which traditionally are intruders inan area’s flora and fauna. Yeangsees such ecological corridors asrestorative, bringing back the biodi-versity of brownfield sites andecologically challenged areas thatsuffer from previous development.He conceives of buildings as con-tiguous with the landscape, alivewith greenery growing over, through,and around them.

As Yeang explains: “This designendeavor becomes one of the cre-ation of new ecological habitats,which has previously been nonexist-ent.” The lesson of groundscapersand subscrapers is that, in Yeang’swords, “by appropriate design, wecan actually contribute positively tothe biosphere’s ecosystems byenabling the increase in the biodi-versity of the locality.”

By reintroducing natural environments in a world that isbecoming increasingly artificial andpaved-over, such buildings have the potential to improve the qualityof the microenvironment anddecrease “heat-island” effects.

Ultimately, Yeang sees thesebuildings as not only oases in thecity, but links in a green chain, covered in grass and flowers, thatextends in all directions throughoutthe city, blending built form withland form. In such a world, architec-ture and nature not only coexist, but are symbiotic—twined togetherin a green embrace.

The bulk of the book presents25 projects for sites throughout Asiaand Europe that explore these ideasand premises in built form. Somehave trees thriving inside, others arecrowned with fields of green andinsert themselves seamlessly withinthe landscape. Yeang’s architectureis not only ecologically sensitive, but (as this book shows) formallyfascinating and exemplary. Michael J. Crosbie

Sustainable ArchitectureWhite Papers, edited by David E.

Brown, Mindy Fox, Mary Rickel

Pelletier. New York: Earth Pledge

Foundation, 2001, 324 pages,

$17.

With energy a front-burner issue forthe first time since Jimmy Carterdonned his cardigan, this 4-by-7-inchvolume of essays on sustainabledesign is timely. Among the ques-tions tackled by the Earth PledgeFoundation’s little handbook are: Ifwe are to make better use of our lim-ited supply of water, wood, energy,and land, how do we build, now thatthere are six billion of us? How do wemake zero-emission houses? How do we create structures that caneventually be harmlessly reincorpo-rated into the land?

Contributors to the volumeinclude William McDonough (“Eco-Effectiveness: A New DesignStrategy”), James Wines (“The Art ofArchitecture in the Age of Ecology”),the late Samuel Mockbee (“BuildingDreams: An Interview with Samuel

Mockbee”), Harry Gordon of Burt Hill Kosar Rittelmann Associates(“Sustainable Design GoesMainstream”), Robert Watson andAdam Cox of the Natural ResourcesDefense Council (“The Eco Office:Tomorrow’s Workplace, Today”), andmore than 50 others.

Some of the essays are brilliant, some are not. They aregrouped under the headings ofpractice, building community, public works, homes and schools,products and materials, andresources.

Taken together, the reportsaddress sustainability as incorporat-ing social, institutional, and spiritualaspects of life. Samuel Mockbee,who was founder of the Auburn RuralStudio, writes, for example, “Thesmart architect thinks rationallyabout a combination of issues includ-ing sustainability, durability, longevity,appropriate materials, and sense of place. The challenge is finding thebalance between environmental andeconomic constraints.”Andrea Oppenheimer Dean

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02.03 Architectural Record 93

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Exhibitions

are highest.” Indeed, the projectsshown constitute something of aThis-Is-Big-Green-Building-Todaycompendium. The oldest projectdates to 1980 (the Best ProductsCompany Forest Building, in ruralVirginia, by James Wines’s firm SITEProjects), but most of the completedwork is less than five years old.

Gissen gathered a small groupof advisers to help select the proj-ects, which were assigned to one of five categories based on their primary environmental benefits:energy; light and air; greenery,water, and waste; construction; andurbanism. This turned out to be asimple way to organize the exhibi-tion catalog, but don’t expect to findthe same one-to-one correspon-dence at the museum. “We movedsome projects around to dif ferentcategories because we discoveredmore information about them afterthe catalog went to press,” said

Decker. He added that the widevariety of media for each proj-ect—there are more than 30models on display—made itchallenging to group the projectsin their original categories.Recyclable cardboardtubes are used as astructural element inthe exhibition design;if successful, theywill make visitorsfeel like they’rewalking through a forest ora partially completed building—both places in transition, as greenarchitecture itself is right now.

As for the building types andstyles, this show is an architecturalbouillabaisse. There are skyscrapersand master plans, sports arenasand apartment buildings. “This isnot a theoretical exhibition,”stressed Decker. The same can besaid of the entire oeuvre of green

projects, especially commercial andinstitutional buildings: Althoughcommon features include indooratria, roof gardens, and solar panels,the forms these solutions take indifferent projects and locationsresemble each other about as muchas a Volkswagen Beetle resemblesan actual insect.

That’s not to say themes don’temerge. Most of the projectsappear in dense urban areas (notsurprising, given their scale). Non-American work is representedheavily in the mix (31 of the 50),and a disproportionate number ofthe U.S. projects are in New Yorkand California, where lawmakershave created incentives to rewarddevelopers for sustainable building.The overall aesthetic is more high-tech than woodsy, from the sleekcrystalline towers of the Gannettheadquarters in McLean, Virginia, byKohn Pedersen Fox [RECORD, May2002, page 212] to the rocketlike

By Deborah Snoonian, P.E.

In Washington, a showcase for sustainability

inspires by looking ahead,not back

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Sustainable Architecture inthe 21st Century. Curated by

David Gissen, at the National

Building Museum, Washington,

D.C., through June 22, 2003.

It begins outdoors. A wind turbine,8 feet in diameter and perched atop a 41-foot pole, lurks on thefront lawn of the National BuildingMuseum in Washington, D.C. A placard explains that the tur-bine—which looks like a giantpinwheel—can harness enoughenergy to power the averageAmerican home. “Putting the turbineoutside is a way to introduce ourvisitors to the exhibition material, at a scale that makes sense in their everyday lives,” said HowardDecker, the museum’s chief curator.

Big & Green is the first majorshowcase for large-scale, environ-mentally responsible designs fromaround the world. (At press time, theexhibition had not yet opened, butthe full-color catalog [PrincetonArchitectural Press] as well as com-puter renderings of the galleryinstallations were provided for pre-view purposes.) The show comprises50 built, in-progress, and unbuiltworks presented in sketches andphotographs, models and renderings,mock-ups and interactive displays.

While sustainable design solutions are often explored forsmall-scale buildings, like single-family homes or service structuresin undeveloped areas, the show’scurator, David Gissen, decided tofocus on recent large projects“because that’s where the stakes

FTL’s portable 12-story building can

be erected on-site in two weeks.

T.R. Hamzah and Yeang’s dense high-rise campus for a Malaysian university

includes a technology center, labs, convention space, and student housing.

94 Architectural Record 02.03

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images and a one-paragraph summary of their primary fea-tures—just enough to provokeinterest. Rounding out the contentare interviews with designers and a glossary of sustainable-designterms; these are nice touches,even if they appeal only to themost design-savvy. Sorely missedis the casual peruser’s handiestshortcut—an index of all the proj-ects with their locations and yearcompleted or conceived.

One important question thatremains unresolved is, does sizematter? Is there a point at which aproject’s sheer massiveness out-weighs its environmentally friendlyattributes? A new football stadiumon the west side of Manhattan,

designed by Kohn Pedersen Fox,would take up a huge amount ofland and create thousands of gal-lons of runoff during storms—andwould be fully utilized, on average,for about eight Sundays per year.But it’s designed to power itself and

add energy to the grid. This conun-drum (possibly a moot point, sincethe stadium’s future is uncertain)illustrates the difficulty of weighingthe relative benefits and drawbacksof individual projects—somethingdesigners struggle with constantly.

We’ll still build big. That’s acertainty. But sustainable sky-scrapers aren’t. The strongestwork in Big & Green is about possibilities, not realities. “We’relooking at an architectural condi-

tion that’s still evolving,”Decker said. The exhibi-tion’s timing and venuecould be seen as eitherpropitious or beside thepoint, with the Bushadministration, mereblocks away, dismantlinga generation’s worth ofenvironmental regulationand deciding not if but when we will go towar against a major oil-producing nation. Nomatter what your politics,Big & Green bringstogether thought-provok-ing projects whosedesigners envision themcoexisting with nature,not dominating it. ■

much-hyped Gap head-quarters in San Bruno,California, is featured, as is the Ford River RougeCenter, Albert Kahn’s semi-nal factory complex inDearborn, Michigan, whereMcDonough is adding roofgardens and landscaping tocleanse polluted runoff andwastewater. (This could bedubbed “project with themost ironic client,” given theabysmal gasoline mileageof Ford’s sport utility vehicles.) To those who follow green building,however, the designers repre-sented will not surprise: CroxtonCollaborative, Fox & Fowle, Kiss +Cathcart. Granddaddy of them all isMalaysian architect Kenneth Yeang,who coined the term “bioclimaticskyscraper” to describe his pioneer-ing tall buildings that incorporatenatural ventilation and vegetation[RECORD, March 1993, page 26;August 1998, page 81].

Many designers who appear inthe show also served on its advi-sory council, and at first blush thismight seem self-congratulatory atbest and a conflict of interest atworst. But fussing over whose proj-ects were chosen for Big & Green

is an exercise in splitting hairs. Few clients demand this type ofwork right now, and a relativelysmall circle of architects respond to their needs. The work of thesefirms simply is the state of thepractice. Whether other designerswill take up this mantle for largeprojects remains to be seen,although the rising adoption ofgreen building standards and environmental-protection missionstatements by governments, uni-versities, and corporations makesthis seem inevitable.

As for the catalog, Gissen’sintroduction deserves points for itssuccinct history of green building.Well-honed essays introduce eachof the five sections, and projectsare given two-page spreads of

Swiss Re headquarters by Fosterand Partners, currently under con-struction in London.

Critics have posited that greenarchitecture lacks panache, and inthis exhibition one finds reason toside both with and against them. Theaward for biggest wow-factor goes toNicholas Grimshaw & Partners’ retro-futuristic Eden Project, with domesthat “bubble out of Cornwall’s ruinedlandscape” [RECORD, January 2002,page 92]. Yet it’s the theoretical proj-ects that are the most appealing andintriguing: the Carbon Skyscraper, by

Peter Testa and his students at MIT;the Recyclable, Portable FabricSkyscraper by FTL Design EngineeringStudio; Richard Rogers Partnership’snever-built study for a low-cost hous-ing project in Korea. By and large, the American work—particularly thecompleted projects—is not of thesame caliber. Call it bouillabaissewithout the spicy kick.

Except for the omnipresentWilliam McDonough, relatively few ofthe architects shown will be familiarto the general public. McDonough’s

Exhibitions

Foster and Partners’ Swiss Re headquarters in London will be completed in 2004.

An MIT students’ model of a light-

as-air skyscraper is made of high-

strength, resin-treated carbon fiber.

The EDITT Tower, to be built in Singapore, has a

high ratio of planted areas to indoor spaces.

http://www.tecspecialty.com

http://www.johnsoncontrols.com

Architects have always aimed to make buildings comfortableand safe, but various forces in effect today make these goalsmore pressing than ever. Over the past decade, the continueddwindling of natural resources, coupled with studies that

demonstrate the adverse consequences of poor indoor air quality, havegiven rise to an increasing demand for building products whose manu-facture, transport, use, and disposal safeguards both environmental andhuman health. Yet, though using green products is a critical step towardmaking buildings sustainable (see “What Makes a Product Green?” onpage 173), in the long haul, slashing the power consumption of the builtenvironment is what reaps the most benefits environmentally.

The current state of our built environment with respect to thislast goal is a mixed bag. According to the Department of Energy, whichsurveys commercial buildings every four years (see map inset and graphsfor more detail), the number of buildings in the U.S. has increasedsteadily since 1979 while total energy consumption has remained flat—suggesting we have found ways to make our structures more efficient. Yetbuildings constructed after 1960 use more energy per square foot thanolder buildings, which contradicts this assertion. Suffice it to say that, onaverage, we’ve got a long road ahead of us—in the U.S., anyway.

But that road is being cleared of obstacles. The nationwide push tomake buildings sustainable will hasten the efficiency of new buildings. In thepast five years, cities such as Seattle, Chicago, New York, Arlington, Virginia,and many others have adopted green building guidelines and incentives fordevelopers to build efficient structures using renewable power sources suchas solar and wind energy. The U.S. Green Building Council has seen a four-fold increase in its membership since the mid-1990s and a growing list of projects undergoing certification. At the council’s first national confer-ence, in November 2002, in Austin, Texas (which attracted nearly 4,000people, more than double the number expected), the workshops and pre-sentations emphasized the merging of the practices of architecture andengineering to fashion buildings more holistically from the design phase for-ward. This was true of both new construction and retrofits, in which ownershave invested in energy-management technologies for systems such asHVAC and lighting to automate energy savings and cut operating costs.

Once in a great while making a structure more energy-efficientcan even have spectacular unanticipated benefits. For example, onSeptember 11, 2001, a high-tech energy-management system (EMS)played a role in saving many lives. It prevented millions of dollars in dam-age to a building whose continued operation was crucial for safeguardingnational security. That building was the Pentagon.

Inside the Pentagon’s energy-management systemIn the mid-1990s, Steve Carter, who holds the clunky title of real estateand facilities liaison to the $1.85 billion Pentagon Renovation program,was given a mandate: Reduce the energy bill of the Pentagon by 35 per-

By Deborah Snoonian, P.E.

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How green buildings are smarter

DISTRIBUTION OF FLOOR SPACEBY CENSUS REGION, 1999

NORTHEAST

MIDWEST

SOUTH

WEST

MILLION SQUARE FEET

12,360

16,761

23,485

14,731

0 5,000 10,000 15,000 20,000 25,000

Every four years, the Department of

Energy completes an exhaustive

data-collection exercise known as

the Commercial Buildings Energy

Consumption Survey, or CBECS, which

covers commercial buildings in the

U.S. of more than 1,000 square feet in

size. From this exercise, a dizzying

array of data is spun forth, not only on

building energy sources, consumption,

and expenditures, but also on building

size, location, occupancy, and many

other factors. Combing through the

data reveals a rich set of information

about our built environment. A selec-

tion of data and trends is presented

on these and the following two pages.

For more information, visit

eia.doe.gov/emeu/cbecs/contents.html.

HOW MUCH DOBUILDINGS CONSUME?

100 Architectural Record 02.03

02.03 Architectural Record 101

and saferEnergy-saving technology can have unexpectedside benefits for building safety and intelligence. One case study shows us how.

Midwestern buildings weigh inbetween other regions of thecountry in building size, age, andenergy consumption. They areranked second in total energy con-sumption, but third in per-buildingand per-square-foot use of energy.

The states in the West havebuildings that are newer, on aver-age, than in other parts of thecountry. Its buildings also con-sume the least amount of energyon a per-occupant basis, and onlyslightly more energy than those inthe South on a per-building basis.

As the largest region in the survey, the South has the highest number of buildings andthe largest amount of squarefootage. On a per-building basis,its buildings are the mostenergy-efficient of the fourregions of the country.

The densely populated East has thehighest number of buildings con-structed before 1959. The averagecommercial building size is 18,000square feet, larger than elsewherein the country. Its structures usethe most energy per square foot.

FACTS ABOUT BUILDING ENERGY CONSUMPTION SORTED BY REGION

WESTMIDWEST

EAST

SOUTH

102 Architectural Record 02.03

cent by the year 2010. Carter, an engineer, has worked at the 6.6-million-square-foot Pentagon for more than 17 years and knows its buildingsystems as intimately as a chiropractor knows the spine. What Carterconvinced his superiors to do was invest in a new energy-saving digitalbackbone for the Pentagon.

The primary feature of this backbone is an energy-managementsystem that links together various direct digital control (DDC) technolo-gies to automate the building’s HVAC system and make it easier tomonitor and manage. Included in the EMS is equipment such as sensorsfor air flow and temperature, as well as actuators that control the actionsof fans, pumps, and motors. DDCs were first developed in response to theenergy crunch of the 1970s. Today, all modern HVAC equipment is digitally controlled, and EMSs are a common element of large-buildingconstruction because they offer efficiencies in operation that can pay forthemselves within two to three years, according to industry groups.

As the Pentagon is renovated section by section, the HVACequipment will be upgraded in sections as well, with new, DDC-equippedcomponents replacing the old, manually operated ones. When Carter wasgiven his energy-savings mandate, renovation staff were preparing tomake over the first section of the Pentagon, Wedge 1. He proposed some-thing radical—while replacing that wedge’s HVAC systems, why not

retrofit new DDCs onto the existing 55-year-old HVAC system in theother four wedges? And while they were at it, why not centralize thebuilding’s operations in a single location?

The price tag on his suggestions made them unpopular.“Nobodywanted to pay to put new controls on 55-year-old equipment, knowing itwould all be replaced anyway during the renovation,” Carter recalls of theresistance he faced. Still, he persisted, demonstrating that the investmentwould pay itself back rapidly in dramatically lower energy bills and addingthat consolidating the Pentagon’s operation in one location would stream-line maintenance. In the end, his wishes were granted. That was in 1997.

The ultimate result was the Building Operations and CommandCenter (BOCC), which opened in the newly renovated Wedge 1 of thePentagon on June 8, 2001. The BOCC is like the Pentagon’s brain, the placewhere a network of thousands of DDCs that make up the EMS cometogether, and where information on the building’s condition is collected inreal time. In the BOCC, maintenance staff can take the Pentagon’s pulse bywatching five 90-inch display screens that show data such as room temper-atures and pump statuses. They can spot trouble and fine-tune these systemsfrom their workstations, or, if need be, they can also tap into the BOCC’s

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ON SEPTEMBER 11, AN EMS SAVED MANYLIVES AND PREVENTED MILLIONS OFDOLLARS IN DAMAGES TO THE PENAGON.

DISTRIBUTION OF BUILDINGSBY BUILDING SIZE

SQUARE FEET PER BUILDING

7

OVER

500

,000

1,000

1,500

2,000

2,500

500

200,

001

TO 5

00,0

00

100,

001

TO 2

00,0

00

50,0

01 T

O 10

0,00

0 25

,000

1 TO

50,

000

10,0

01 T

O 25

,000

5,00

1 TO

10,

000

1,001

TO

5,00

0

THO

US

AND

BU

ILD

ING

23 59145

257

708

1,110

2,348

0

Most buildings in the

U.S. are less than 5,000

square feet in size. This

is where the potential

for decreasing energy

use is greatest.

Over 500 mechanical equipment rooms are controlled by the Pentagon’s EMS.

http://www.tarkettsommerusa.com

104 Architectural Record 02.03

information system via laptop connections in the Pentagon’s 500-plus mechanical rooms. This balance of centralized and distributedbuilding information was both an innovation and a coup for a government-owned building of this size.

As Carter and his staff began working with the new system,they thought of more capabilities to add on top of the standard EMStechnology. “We put in water sensors and leak detectors under all the airhandlers, and gas detection where the natural gas system was, so thatexhaust fans would be turned on if gas concentrations got too high insome areas, and we made sure the fire-detection system was linked to theHVAC system,” he said. “We realized, too, that we could shift air patternsin the building—pressurizing some areas to keep out heat and smoke incase of fire, for instance.” A laundry fire in one of the Pentagon’s cafete-rias in the summer of 2001 proved this was no small convenience: Thesmoke was tightly contained around its area of origin, and after the firewas doused, engineers were able to desmoke the building in 20 minutes.“The fire department was totally amazed. Everyone was really excited bywhat we were able to do,” Carter said.

But the biggest test of all came on September 11, 2001. Thatmorning, like most mornings, Carter was in his office in the BOCC. He andhis colleagues were watching the twin towers burn on television when theplane struck Wedge 1. “All the control boards in the BOCC switched overand showed that the fire alarm system was going off,” he said. “We imme-diately started shutting down some of the air handlers, but our first thoughtwas, nothing could be this massive.” But massive it was. Shortly after thecrash, the BOCC lost power—and the operators lost their ability to watchor make adjustments to the building from there. Carter grabbed a two-way

radio and headed to a mechanical room nearby that still had power. Fromhis laptop, he tapped into the BOCC’s information system (fortunately stillintact) and sent out commands that closed dampers and turned off fans allaround the Pentagon to contain smoke and starve the raging fire of oxygen.When he learned that a breached water main had caused the water pressurein the building to dip too low for firefighting, Carter dispatched a few of hisengineers to the bowels of the building to remedy the problem. All in all,eight people stayed in the Pentagon on September 11, controlling the firedamage remotely via workstations from various mechanical rooms in thebuilding, with Carter directing the effort by radio.

On September 12 the Pentagon reopened. One hundred eighty-nine people had been killed (125 on the ground), and the building suffered$501 million in damages. But the Secretary of Defense’s office, the NationalMilitary Command Center, and other mission-critical areas such as datastorage centers and wiring and switch rooms were spared, thanks to theenergy-management system and eight people. Had the building’s HVACsystem not been automated and centralized—again, with the intent of sav-ing energy, not lives—Carter and his maintenance staff would have faceda grave situation. To control the fire and smoke they would have had toclose dampers and turn off fans manually in more than 500 mechanicalrooms. Even if it were possible to reach these rooms in the midst of thisconflagration, it would have taken many hours to do it.

While what happened at the Pentagon on September 11, 2001,was extraordinary, it speaks volumes about how sophisticated energy-management systems have become in enabling people to controlbuilding environments. Architects and engineers are only beginning tocomprehend the benefits EMS technology holds for the future. ■

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EIGHT PEOPLE STAYED IN THE PENTAGON,CONTROLLING FIRE DAMAGE VIA WORK-STATIONS IN VARIOUS MECHANICAL ROOMS.

TRIL

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ELECTRICITY FUEL OIL

NATURALGAS

DISTRICTHEAT

FUEL TYPE

0

3,500

3,000

2,500

2,000

1,500

1,000

500

ENERGY CONSUMPTIONOF COMMERCIAL BUILDINGS

ENERGY EXPENDITURES

MIL

LIO

NS

OF

DO

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S

ELECTRICITY FUEL OIL

0

$70,000

$60,000

$50,000

$40,000

$30,000

$20,000

$10,000

NATURALGAS

DISTRICTHEAT

Most people are sur-

prised to learn that

older buildings use

less energy per square

foot (below) than their

newer counterparts.

ENERGY USED PER SQUARE FOOT, 1,000 BTUS

BTU

S

0

1000

500

250

750

1959 0R OLDER

1990 AND NEWER

1960 TO 1989

88.3 98.3

71.9

http://www.efcocorp.com

http://antron.dupont.com/truegreen

http://www.toyota.com/tomorrow

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Good design no longerneeds the“green”modifier THREE PROJECTS PROVE THAT BEAUTY ISMORE THAN (BUILDING) SKIN DEEP

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All too often, the debate about green architecture dwindles into a simple moral-ity tale: Evil Developers who solicit bland, energy-guzzling boxes designedcheaply and fast by mercenary architects versus Earnest Internationals, teams ofclients, architects, and engineers who ostentatiously call attention to their use ofnontoxic and certified materials. Poised above the fray are the critics who washtheir hands of both camps, saying their work does little to provoke thought orstir the soul, much less improve the quality of the built environment or pre-serve natural resources.

It’s time for the argument itself to become sustainable. Living takesresources, and buildings use resources. When searching for work to include inthese pages, we sought projects and designers that strike a balance, while alsousing it as an opportunity to explore ways to protect the environment in formand function, as well as materials.

These three buildings represent vastly different approaches to greenbuilding. What looks like Lord Norman Foster’s formal whimsy is actually technical prowess of the highest order—the firm relied heavily on computeranalysis and modeling to create a building that uses far less than its share ofenergy. Behnisch, Behnisch & Partner went to extraordinary lengths to ventilatean office building naturally at all times of the year. And at York University’sComputer Science Center—a place that, by definition, will become obsolete 10 years from now—Busby + Associates and architectsAlliance took the con-cept of “plug-and-play” a step further by fashioning a building flexible enoughto adapt to future changes with minimal need for retrofits.

In each project, technology was the catalyst between engineering inge-nuity and architectural boldness. As a matter of fact, the work represents along-overdue convergence of old technology with new. Sophisticated softwareprograms allowed engineers to complete complex iterations in seconds, so that,in turn, natural ventilation could be employed for maximum energy efficiency.

These are not perfect projects, but they are projects that advance thestate of sustainable design. We applaud the designers for their efforts. We lookforward to seeing more. Deborah Snoonian, P.E.

CONTINU ING EDUCATION Use the following learning objectives to focus your study while read-

ing this month’s ARCHITECTURAL RECORD/AIA Continuing

Education Opportunity, which includes three special sections, on pages 116, 128,

and 142. To receive credit, turn to page 147 and follow the instructions.

LEARNING OBJECTIVES After reading this article, you should be able to:

1. Describe climate engineering currently being implemented in building projects.

2. Explain different ways of cooling and heating buildings in climate engineering.

3. Identify factors necessary for environmental comfort.

page 110

page 124

page 138

02.03 Architectural Record 109

Along the Thames, Foster and Partnersputs a new twist on government and

gives green a different shape with the highly accessible LONDON CITY HALL

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Occupying a prominent

site undergoing rede-

velopment near the

London and Tower

bridges, the shape of

City Hall recalls a river-

smoothed stone. Its

form was derived by

optimizing interior day-

lighting and shading.

The public courtyard

and extensive glazing

are meant to express a

spirit of openness in

the government agen-

cies and legislators.

On the building’s south

side (this page), the

facade is stepped in

from top to bottom so

that lower floors are

shaded by those above

them. Boats glide past

City Hall on the Thames

River (opposite, top).

Seen by day and at

night (opposite, middle

and bottom), City Hall

is a daring form that

belies the blandness

common to many pub-

lic buildings.

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If ever a building announced to the world that a new day haddawned, Foster and Partners’ new London City Hall does so with aclarity not seen in a city building in this country for quite sometime. The big, shiny, steel-and-glass egg looks as if the dome of

Berlin’s Reichstag (which Foster also designed) had spun off, gatheredsteam, and landed on the banks of the Thames with such force that its tipwas buried in the earth.

On closer examination, the Greater London Authority (GLA), asthe building is also known, is even stranger—curved inward toward thetop on one side, stepped out and upward on the other, a bit flat-toppedfrom some perspectives, pointed like the back of a cat’s ear from others.Its shape was devised to minimize the surface area exposed to direct sun-light while still admitting daylight. The southern overhangs allow eachfloor to shade the one beneath it but make the structure seem a bit tipsy.Inclined peripheral steel columns, which appear straight on each level butbend inside the floor plates, keep it erect.

On the north side, transparent triangular panels open theAssembly chamber to the river. On the east, west, and south, where theoffices are located, the skin is composed of a banded grid of triple-glazedpanels with fritting, solar blinds, and operable vents. Offices are cooled byceiling-mounted chilled beams fed by the water table 427 feet belowLondon; by winter, that water warms up enough to be used for heating.Together, these features reduce the energy load of the building by 75 per-cent, compared to similar-size office buildings elsewhere in London.

The obviously high-tech building symbolizes a new progressiveagenda, and energy savings are an important part of that, though that isn’timmediately apparent: There are no natural materials, stony thermalmasses, secondary outer shells, or other staple features of sustainabledesign. What is obvious is that the glass skin, like that of Berlin’s Reichstagdome, allows government to be quite literally transparent—visible to thecitizenry. Most of the skin on the GLA is actually opaque, but that isn’tnoticeable since the solid insulated silver aluminum panels that cover three-fourths of its surface are sheathed by plates of shiny glass. The openness isreal, though. The citizenry, and even tourists, are welcome. They can walkright in with the governors from a spacious plaza beside the Thamesthrough revolving doors that fold back to accommodate crowds.

Once inside, they find a generous circular atrium with a giganticmodel of the city to explore. A gently stepped ramp, similar to the one thatsurrounds the inside of the Reichstag dome (which is the size of this entirebuilding) but more functional, encircles the structure, providing views intothe Assembly chamber on one side and government offices on the other.Youcan really see government at work, at close range. On the north are vistas ofthe City, London and Tower bridges, and the Tower of London, looking likeicons of a different millennium, which they are.

Project: City Hall, London, England

Client: CIT Group

Architect: Foster and Partners; Lord

Norman Foster, FAIA, Ken

Shuttleworth, Andy Bow, Stefan

Behling, Sean Affleck, Richard Hyams

Engineers: Arup (structural, m/e/p,

facade, fire, acoustics)

Consultants: Davis Langdon &

Everest (cost); Claude R. Engle

Lighting (lighting); Reef UK

(maintenance); Townshend

Landscape Architects (landscape)

Contractors: Mace (construction

manager); Schmidlin UK (cladding);

Westcol Glosford (structural steel)

Jayne Merkel, a contributing editor of the London-based magazine Architectural

Design/AD, is a former editor of the New York AIA’s Oculus. She is writing a

book about Eero Saarinen for Phaidon Press.

By Jayne Merkel

(continued on page 120)

8

67

4

2

1

5

3

SECTION A-A

1. Main entrance

2. Exhibition space

3. Physical plant

4. Ramp

5. Assembly chamber

6. Offices

7. Elevator/core

8. London’s Living Room

The panelization of the

building skin was

determined by analyz-

ing sunlight patterns

throughout the year.

Three-quarters of the

facade is composed of

opaque panels; the

transparent areas have

adjustable blinds.

114 Architectural Record 02.03

GROUND FLOORUNDERGROUND LEVEL TWO

A A

0 30 FT.

10 M.N

912 8 13

4

8

9

9

9

3

3111010

10

7

5

2 2

1

315

14

16

17

17

6

LEVEL SIX LEVEL NINE

18

21

18

18

18

1913

17

17

10

10

2

20

20

1. Parking

2. Storage rooms

3. Physical plant

4. Outdoor amphitheater

5. Café

6. Information desk

7. Kitchen

8. Exhibition area

9. Committee room

10. Meeting room

11. Media center

12. Reception

13. Assembly chamber

14. Public viewing gallery

15. Library

16. Reading room

17. IT room

18. Office

19. Open-plan area

20. Terrace

21. London’s Living Room

116 Architectural Record 02.03

The strangely beautiful egg shape of theGreater London Authority (GLA) byFoster and Partners has as much to dowith sustainability as it does with archi-tectural design. The architect and itsengineering partner, Arup, decided earlyon that the building would be designed asan energy-efficient entity, as opposed to atypical structure that has energy-efficientdevices tacked onto it late in the design-development phase. This meant that theenvelope itself had to limit heating andcooling loads. The result is a sphericalenvelope that is itself an energy-savingdevice. A sphere has 25 percent less surfacearea than a cube of the same volume. Lesssurface equals less heat and cooling gains.

Arup engineered every aspect ofthe facade to minimize heat transfer acrossthe external surfaces. The maximumallowable solar heat gain for each externalsquare meter of building was determinedby constructing and analyzing heating-and cooling-load models. The use ofhighly insulated panels combined withhigh-performance glazing reduces poten-tial heat loss from the building. The greaterthe need for solar shading, the greater thecladding-to-glazing ratio. The use of thesepanels combined with high-performanceglazing reduces potential heat loss from thebuilding to a level well below that requiredby the building regulations.

Structure played a major role increating an efficient and integrated net-work of systems. A diagrid structuresupports the north-facing facade. Hotwater courses through horizontal mem-bers, 12 inches in diameter, warming theatrium and creating, in essence, London’slargest radiator. Structure that doubles asplumbing illustrates the economy of sys-tems integration.

Furthermore, the building leansback toward the south, where floor plates

are stepped inward from top to bottom,providing natural shading from the mostintense direct sunlight. On the northside, where there is no direct sunlight, theglazing is clear.

When heating is required, twogas-fired boilers generate hot water foruse in convector heaters in the offices, inthe debating chamber, and for the under-floor heating of the foyer. The hot waterruns through heating coils in the air-handling units, warming incoming air. Toreduce the energy required to circulatethe water around the system, Arup chosevariable speed pumps, which allow thewater flow to be increased or reduced tomeet demand.

Air for ventilation enters officesthrough grilles in the floor. Vents in thefacade are provided in the external officesfor natural ventilation. When the vents areopened, local cooling and heating systemswill be deactivated. During winter, heatand moisture will be recovered from theoutgoing air and used to conditionincoming ventilation air using devicescalled hygroscopic (the property of readilyabsorbing water) thermal wheels.

In the summer, comfortableinternal temperatures are maintained bychilled beams, rather than electric chillers.The beams are located in the office ceilings,where cold ground water passes throughthe heat exchanger and is circulatedthrough these beams. The ground water ispumped to a height of 410 feet at a tem-perature of 53 to 57 degrees Fahrenheitfrom the aquifer below the building viatwo specially drilled boreholes. This coldground water is also used directly in thecooling coils of the air-handling units tocool the fresh air entering the building.

The use of this natural resourcefor cooling reduces electricity consump-tion and thus saves money. Boreholes use

Technology and ingenuity contributeto energy-efficient performance

NATURAL VENTILATION DIAGRAMS

High-level automaticallycontrolled window Air out

Air out

Air in

Manually operatedopening vent

Air in

Opaque glass

Fade

Opaque glass

Fade

Clear glass

Clear glass

Clear glass

This month’s Continuing Education

Opportunity includes three special

building-science sections, on pages 116, 128, and 142. For learning objectives to focus your study while

reading these sections, turn to the Projects introduction on page 109. To receive credit, turn to page 147

and follow the instructions. As always, archrecord.com has this story and more continuing education.

AIA/ARCHITECTURAL RECORD CONTINUING EDUCATION

02.03 Architectural Record 117

SECTION THROUGH OFFICE FACADE

Thermally insulated aluminum ventilation flap

Aluminum casing with double glazing

Manually operated ventilation flap

Hollow floor for servicing

Toughened glass, adhesivefixed in aluminum section

Louvered sunshading

Spring element to operate glass

The south-facing

facade (right) steps out

at each floor, becom-

ing self-shading. The

section (left) shows

the various ventilation

and shading devices

for the offices.

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118 Architectural Record 02.03

less energy than do conventional chillersand cooling towers, and they are lessexpensive to install and maintain.Following circulation, the ground(aquifer) water is used to flush toiletsbefore being discharged, further reducingwater consumption.

As shown, environmental com-fort is determined by air movement,ambient temperature, humidity, air intakeand exhaust, and solar radiation. Buildingsystems can be optimized only if thedesigners understand the interaction andinterdependence of each system withevery other system. Arup specializes inwhat is called flow engineering, which isthe process of analyzing, predicting, andcontrolling the movement of fluids usingmathematical models and experimentaltechniques.

As building owners are realizing,systems are only as good as their consis-tent performance. Surveys have indicatedthat 75 percent of buildings in the UnitedKingdom are operating incorrectly, haveinappropriate operation and maintenancecontracts, or are wasting money throughinefficient energy usage. Arup engineereda sophisticated Building ManagementSystem (BMS) to maintain and controlconditions within the GLA building. TheBMS is programmed to maximize the useof the energy-saving systems and ensureother mechanical systems are used effi-ciently. For example, the chamber andcommittee rooms of the GLA buildingwill only be cooled when they are occu-pied. During peak summer conditionsand when the chamber is not in use, largeair vents allow natural ventilation. TheBMS also controls the flow and tempera-ture of the air entering the chamber andensures the occupants are provided withthe required amount of fresh air.

Arup’s environmental expertisecontinues to be applied beyond the GLAenvelope. The firm has worked closelywith the mayor of London, KenLivingstone, and the GLA over the pasttwo years to develop a comprehensive setof policies and proposals that willimprove London’s air quality. These rangefrom encouraging environmental bestpractice from businesses and new devel-opments to investigating the feasibility of a low-emissions zone (an area fromwhich the most polluting vehicles areexcluded). Sara Hart

4

SECTION THROUGH ROOF

Steel tube

Double glazing

Welded-steel T-section

Heating flow

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Minimum surface area faces the summer sun

Spherical form minimizes surface area reducing heat loss and heat gain

Responsive cladding system: Shading relates to building orientationIntergrated energy-circulation system

Passive cooling with chilled beams

Chamber can be naturally ventilated

Perimeter natural ventilation

Chamber oriented due north to minimize solar impingement

Maximum sunlight reaches the river walk

Building form providesself-shading in summer

Openablewindows to perimeter of of fice areas

Fresh air Exhaust air

Heat exchanger

Gray-water tankBorehole cooling

ENERGY CONSERVATION STRATEGIES

•

•

• •

•

•

02.03 Architectural Record 119

?

Aluminum sunshade

Perforated-sheet-metal sunscreen

Thermal-insulation vapor barrier

Steel tube beam

Double glazing

The 201,650-square-foot building was con-structed for £43 million (about $64 million). It replaces the GreaterLondon Council’s enormous County Hall, designed by Ralph Knott anderected in 1922 at the public’s expense. When the Thatcherites dissolvedthe leftist Council in 1986, they also sold County Hall; this stone structurewith a proud classical facade now houses a hotel, apartments, galleries,and an aquarium.

When Tony Blair came to power, he said his government repre-sented a return to “modernism,” implying a commitment to a social safetynet and a forward-looking approach. So he had to create a place for thereborn agencies to operate, and that place had to be a visible symbol ofcompassionate, enlightened leadership. Since privatization was (and is)still in vogue, the government could not simply build the new facility—instead, it held a developer/architect competition that allowed entrants topropose both the building’s form and location. Extraordinary energy savings were also required. The winners were CIT Group developers, withFoster and Partners architects and Arup engineers.

The team chose a 3.6-acre site on the South Bank that had beencleared in the 1980s for what was then called London Bridge City 2 within

the Southwark Riverside Masterplan. This area has become vastly moredesirable since the Tate Modern and a huge Ferris wheel (known toLondoners as “The Wheel” but officially named The British AirwaysLondon Eye, designed by David Marks & Julia Banfield Architects)opened a few years ago. It was ripe for development and accessible by twotube stops. The new team renamed the site More London and plannednine buildings containing a total of 2.4 million square feet, all to bedesigned by Foster. It’s the biggest commercial development in London in15 years. Besides City Hall, there will be four office headquarters buildingswith shops and restaurants on the ground floors, underground parking, ahotel, a theater, and two major public squares in a privately owned (butungated) area with walkways and a 1,000-seat amphitheater.

Old buildings on a once-shabby adjacent street are being reno-vated for mixed uses and will be connected with City Hall and its newneighbors, to tie their site to the city grid and London’s past. But City Hallitself speaks to the future in a way American municipal buildings rarelydo—or haven’t since Frank Lloyd Wright’s futuristic Marin County CivicCenter appeared in northern California in 1962.

In London, what you see now is lightness—glass and steel working

(continued from page 113)

02.03 Architectural Record 121

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Entry doors fold back

to reveal a naturally lit

interior (opposite).

Visitors and legislators

can peruse an enor-

mous model of London

in the atrium (this

page, top and bottom)

before ascending a

ramp for a closer look

at the Assembly cham-

ber and government

offices.

122 Architectural Record 02.03

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P)together dynamically to create a structure that, though unfamiliar and dar-

ing, invites exploration and enables interaction. At the top is a space with aterrace overlooking the city, called “London’s Living Room,” which can beused by the public for exhibitions and events. The cafeteria under the atriumis also open to the public. And the lavender-carpeted Assembly chamber onthe second level is surrounded by a tiered public gallery. This space has suchfine acoustics that speakers don’t need microphones; even softly spoken con-versation is audible on the upper levels of the ramp. The 25 members of theAssembly can sink into ergonomic chairs at their gray suede round table andtap on their individual stainless-steel desktops, at which point a flat-screencomputer will appear. James Bond, eat your heart out—as the members ofthe London AIA did when they settled into the seats while on a tour last fallled by Bruce Curtain of Foster and Partners. The architects were so fasci-nated by City Hall it was difficult to get them to leave at the end. Night fellduring the tour, so the building glowed handsomely as a finale.

Whether City Hall will be quite as sensational when the areaaround it is redeveloped remains to be seen. But, for now, it puts govern-ment in a favorable and forward-looking light. ■

Sources

Glazing: Schmidlin (external); Seele

(atrium and other areas)

Steel: Wescol Glosford (custom frame)

Concrete work: Geoffrey Osborne

Ramp: Waagner Biro

Atkiengesellschaft

Revolving doors: Rush Entrances/Blasi

Chilled beams: Trox Technik

www For more information on the people and products involved inthis project, go to Projects atarchitecturalrecord.com.

The access ramp

corkscrews its way

through City Hall (this

page). The ramp’s

design—a box that

carries concrete treads

(opposite, bottom)—

contributes to the

Assembly chamber’s

superb acoustics

(opposite, top).

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The complex was

designed to provide a

transition between the

city’s old residential

area to the south and

its historic center to

the north (opposite).

With facades oriented

in many directions, the

building turns its back

on no one (this page).

02.03 Architectural Record 125

Without the glazing, which takeson the blue cast of the sky, itwould be tempting to view theNorddeutsche Landesbank in

Hannover, Germany, as a modern-day EmeraldCity. This new bank complex by Behnisch,Behnisch & Partner is a self-contained mini-metropolis, rising like a sculpture ofglass-and-steel boxes, piled with nonchalantelegance one atop the other, some cantilevereddaringly, and all culminating in a tower.

Hannover is not a city with a well-established tradition of risk-taking architecture.Close to the old East German border, it laggedbehind the rest of West Germany in both eco-nomics and post–World War II reconstruction.The locals have grown fond of the remainingold buildings, and years of restrictive zoningresulted in a rather low and uniform cityscape.Even the impact of cutting-edge architecture in the pavilions of Hannover’s Expo 2000[record, July 2000, page 30] is not obvious.

Within this cultural and physical milieu, Behnisch, Behnisch &Partner devised a massing that would create a transition zone betweenHannover’s 19th-century residential area to the south and its denser historiccenter to the north. With shimmering elevations facing many differentdirections, the structure’s multiple orientations were intended as a way ofconnecting it with the surroundings, so that the Norddeutsche Landesbank(Nord/LB) building wouldn’t seem to be turning its back on anyone.

Bringing together 1,500 employees, formerly dispersed over 15separate locations, the 840,000-square-foot complex occupies a large cityblock. In response to this nexus of neighborhoods and the scale ofHannover’s old quarter, the new building meets the busy artery ofFriederichswall with a low base: ground-floor shops beneath two floorsof offices, embracing a publicly accessible inner courtyard with a reflect-ing pool and wooden decks. The low perimeter block of officessurrounds three sides of this courtyard—traversed at various heights by

glass tubelike passageways connecting the wings of the building.(Incorporated into the new complex is the landmark 19th-centurySiemens Building, now used as a training center with separate access.)The nearly 230-foot-tall tower—a beacon in the larger urban context—houses primarily offices and meeting rooms, with executive diningrooms and boardrooms at its top. Crowning the tower is a 65-foot-highsculpture of glass panes, coated with a metal film that changes color withthe position of the sun and nighttime illumination by diodes.

The lobby is a four-story-high, semipublic space—the actual

Project: Norddeutsche Landesbank am

Friedrichswall, Hannover, Germany

Architect: Behnisch, Behnisch &

Partner—Günter Behnisch, Stefan

Behnisch, Günther Schaller, partners;

Martin Haas, Jörn Genkel, project

leaders; Alexandra Burkard, Martin

Gremmel, Dominik Heni, Bettina

Maier, Klaus Schwägerl, Jorg Usinger

Project management: NILEG

Engineers: Arge Tragwerksplanung,

Wetzel & von Seht; Pfefferkorn

Consultants: Transsolar Energietech-

nik (energy); Christian Kandzia (color);

Becker & Becker, Lindhorst, Grabe,

Taube/Goerz/Liegat (environmental)

Behnisch, Behnisch & Partner creates a glimmering,dynamic, and energy-efficient landscape in

glass and steel at NORDDEUTSCHE LANDESBANK

Tracy Metz is record’s Amsterdam-based correspondent.

By Tracy Metz

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bank offices, and concomitant security measures, start on the secondfloor—covered by a sloping glass wall with louvers for climate control.To one side is the “forum,” a space that doubles as art gallery and lecturehall. In the lobby, an extraordinary floor bridges height differences notwith stairs but through a seemingly infinite number of slightly rampingtriangular planes, keeping the space fluid but sometimes playing fleetingtricks with your sense of balance. This entry area also provides access toa two-level underground parking garage and the ground-floor companyrestaurant, just beside the tower lobby. The restaurant’s roof is abstractlyshaped like butterfly wings and covered with earth and vegetation thatvaries with the seasons. Waterside decks around the indoor dining areasinvite employees to lunch in the courtyard, accompanied by the babbleof water flowing like a curtain over a low wall.

Spectacular aspects aside, Behnisch, Behnisch & Partner won theinternational competition for this building in part because of the firm’s skillin reducing energy use, bringing in daylight, and ensuring worker comfort.In Nord/LB, the ground floor plays a key role not only in mediatingbetween existing neighborhoods and providing an enjoyable setting, but inachieving the building’s energy goals. As in earlier Behnisch work, such asthe Dutch Institute for Forestry and Nature Research [record, January2000, page 96], the courtyard—with low roof plantings (on the restaurant)and water elements—helps improve the interior microclimate, providingcleaner air to ventilate and cool the building. (continued on page 137)

Scaled-down massing

at the block’s perime-

ter allows Nord/LB to

meet adjoining neigh-

borhoods with a

low-rise base (right).

Closer to the center of

the site, the partly

cantilevered tower

rises up from a court-

yard (above). Glazed,

tubelike passageways

(opposite) traversing

the courtyard and

connecting the build-

ing’s wings have roofs

that can open in warm

weather.

126 Architectural Record 02.03

A shallow pool in

the courtyard, along

with plantings on

the restaurant roof,

enhance the complex’s

exterior as well as

its interior ecology.

128 Architectural Record 02.03

The climate-control engineers atTranssolar Energietechnik in Stuttgart,Germany, had two primary goals inmind when they set out to plan an energy-efficient complex for NorddeutscheLandesbank. The first priority was tosurpass the 1997 German insulationregulations by 10 percent, and then tocreate environmentally sensitive meas-ures at a reasonable cost. According toPeter Voit, project leader for Transsolar,because energy consumption for winterheating is comparatively low, attentionwas focused on the reduction of costlierenvironmental necessities—ventilation,cooling, and lighting.

Harnessing natural ventilationto cool the offices rather than installingair-conditioning was a logical choice,since temperatures in Hannover onlyrise above 72 degrees Fahrenheit about 5 percent of a year. However, this strat-egy is much more complex than merelyinstalling operable windows. Specifyingthe optimal glazing systems requirescareful study of the weather, solar radia-tion, and daylighting routines, as theyimpact each other’s effectiveness.

Transsolar is part of a consor-tium that continues to develop TRNSYS,an open-code program commerciallyavailable since 1975 that simulates thetransient performance of thermal-energysystems. This tool, along with FIDAP(software for numerical air-flow simula-tion, particularly in natural ventilationsystems or the study of air currentsinside rooms) and RADIANCE (softwarefor evaluating the quality of illuminationbased on the luminance of both naturaland artificial lighting), aided the engi-neers in resolving an interrelated set ofenvironmental concerns.

The core of the planning activ-ities focused on the design of the

standard offices. The goal was to allowoffice workers control over heating,window openings, lighting, and shadingdevices in a system that required nomechanical ventilation and cooling. Asthe wall sections show, ducts exhaust airto vents in the roof. Their location in thecorridors helps mitigate sound. Theexhaust system relies mostly on thechimney effect, when outdoor tempera-tures are below 50 degrees. Even whenelectrically driven fans are needed, theenergy they use is negligible. Such effi-ciency eliminated the need for aheat-recovery system.

On the one hand, protectionfrom solar heat gain is necessary if abuilding is to be naturally ventilated. Onthe other hand, shading devices shouldnot block out daylight if that’s the majorsource of illumination in the offices. Inthe case of Norddeutsche Landesbank,adjustable, highly reflective aluminumsun blinds within the double-glazed unitsallow reflected light into the interiorwhile blocking solar radiation.

Transsolar also took advantageof the earth’s natural thermostat andincorporated a geothermal heat exchangerand pump. The use of radiant-slab coolingwas particularly ingenious. Polyethylenepipes were cast in the exposed-concreteceiling slabs. Cold water (about 62 degreesFahrenheit) is pumped through the pipes,generally at night, storing coolness in theconcrete surface for delivery to the roomin the morning.

It is clear that climate engineer-ing in Germany has evolved way beyondits counterpart in the United States, andyet none of these strategies is rocket science. The time has come for Americanarchitects and engineers to seek alterna-tives to their high-voltage formulas andbegin to work unplugged. Sara Hart

High-Tech Tools Give GermanEngineers Low-Tech Solutions

This month’s Continuing Education

Opportunity includes three special

building-science sections, on pages 116, 128, and 142. For learning objectives to focus your study while

reading these sections, turn to the Projects introduction on page 109. To receive credit, turn to page 147

and follow the instructions. As always, archrecord.com has this story and more continuing education.

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SHADING AND VENTILATION DIAGRAMS

Summer night

Balustrade panel

Supply-airshutter

Exhaust-air"chimney"

1. Story

Summer day

Balustrade panel

Supply-airshutter

Exhaust-air"chimney"

2. Story

Winter day

Balustrade panel

Supply-airshutter

Exhaust-air"chimney"

3. Story

02.03 Architectural Record 129

The offices provide high

levels of comfort at low

operating costs during

all seasons. Outside

air is drawn through the

space and exhausted

through vents in the

corridor that lead to

chimneys (diagrams at

right). During summer

evenings, warm air is

chilled by cool-water

pumps through pipes

embedded in the con-

crete ceiling. Highly

reflective louvered

blinds (opposite,

bottom left) convey

light into the interior

while blocking solar

radiation.

130 Architectural Record 02.03

The lobby (above) is a

four-story-high semi-

public space covered

by a sloping glass wall

with operable louvers

for climate control. This

area provides access

to subterranean park-

ing, the adjacent

company restaurant,

the courtyard, and the

tower itself. Executive

offices and meeting

areas occupy the upper

reaches of the tower

(above left, center, and

opposite, right).

DIAGRAMS SHOWING AIR FLOW

AIR EXHAUSTED THROUGH CEILING TO DUCT

Supply air

Exhaust air

02.03 Architectural Record 131

AIR EXHAUSTED THROUGH TRANSOM BENEATH SUSPENDED CORRIDOR CEILING

Top-hungwindow

Cool head

Heat em

ission

by radiation

Corridor

Shaft

Cooling slab

Center-hungwindow

Top-hungwindow

Cool head

Heat em

ission

by radiation

Door

Corridor

Shaft

Cool ceiling

Transom lightcasementCenter-hung

window

AIR EXHAUSTED THROUGH SUSPENDED CORRIDOR CEILING

132 Architectural Record 02.03

THIRD FLOOR

9

11

11

11

11

12

10

1

4

6

7

8

8

8

1

810 14

TENTH FLOOR

Plantings covering the

roof of the staff restau-

rant (opposite, top right)

varies with the seasons

and helps refresh the

courtyard microclimate.

The building’s articula-

tion of many parts

becomes even more

pronounced at night

(opposite, top left).

In cross section

(above), the bank’s

mix of public spaces,

outdoor terraces,

and offices becomes

apparent. The floor

plans (right) show

the pinwheel-shaped

placement of the can-

tilevered upper floors

of offices.

9

10

1

23

4

56

7

8

8

SECTION A-A

1. Double facade

2. Entrance hall

3. Reflecting pool

4. Restaurant

5. Covered pathway

6. Gallery

7. Terrace

8. Roof garden

9. Offices

10. Executive offices

FIRST FLOOR

0 50 FT.

15 M.

1 2

3

3

4

5

6

7

8

7

1

11

8

10

14

EIGHTH FLOOR

02.03 Architectural Record 133

FIFTH FLOOR

911

11

11

10

10

1

4

7

8

8

8

SIXTH FLOOR

7

11

11

1

8

8

10

10

13

14

9

10

15

15

ELEVENTH FLOOR

10

10

9

14

FOURTEENTH FLOOR

1. Existing building

2. Courtyard

3. Covered pathway

4. Entrance hall

5. Lobby

6. Terrace

7. Roof garden

8. Social area

9. Double facade

10. Roof terrace

11. Office

12. Gallery

13. Library

14. Conference room

15. Executive office

The courtyard has an

intensely dynamic

character, resulting

from multiple skews;

the daring, seemingly

precarious, cantilever-

ing of volumes; the

slick slope of the lobby

roof; and the near colli-

sion of these parts with

structural columns and

high-flying, tubelike

passageways (this

spread). At night, the

vivid mural in the staff

restaurant becomes

highly visible from out-

side (opposite) .

136 Architectural Record 02.03

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The lobby, with its over-

head walkways, echoes

the building’s skewed

and intersecting forms.

A mural by British artist

Michael Craig Martin

enlivens the staff

restaurant (left). The

low-rise section of the

complex (opposite)

incorporates an eleva-

tion of the preexisting

Siemens Building, now

an interior wall facing

daylit balconies off a

company training zone.

Martin painted this

elevation with the

identifying Nord/LB in

colorful supergraphics.

02.03 Architectural Record 137

The offices have no air-conditioning—unusualin German commercial high-rises, most of which have either air-condi-tioning or mechanical ventilation systems with controlled fresh-airsupplies and exhaust-air extraction. Here, the tower’s load-bearing struc-ture—consisting of two 3-foot-thick columns with concrete cores wrappedin heating spirals—is cooled by a low-energy system using cold groundwater, pumped from 66 feet below the ground, about 6 feet below the watertable. The tower relies on concrete ceilings for its storage mass. Water, run-ning through pipes in the tower’s ceilings, gets cooled in soil heat-exchangertubes in 120 foundation piles, where the heat is removed in the summerand can be stored for winter use. The seasonal storage and pumped circu-lation of ground water constitutes the building’s main heating system, butconventional zone heating backs it up. For the whole complex, the annualbalance of heat supplied to and extracted from the ground is equal. Thoughthe system itself is not new, it is atypical for such a large building.

Allowing each employee to make local adjustments to workplacetemperature and airiness, the windows are individually operable. Offices onthe building’s low perimeter, facing the traffic artery, are double glazedagainst noise and car fumes, but even here, the inner windows are operable.Depending on orientation, some windows are protected by foil dot patternsapplied to the glass, while others have external sunshades—operable bothcentrally and from workers’ individual controls. The upper slats of the sun-shades are angled specifically to direct illumination inward and keep outglare. To bring light into the courtyard, computer-driven mirrors on its sur-rounding facades redirect rays into shadowy corners.

The importance the architect attached to creating a pleasant and

comfortable work atmosphere is apparent everywhere, not only in thenuances of shading, the refreshing courtyard, and the operable windows.Though many workers had to adjust to the “fishbowl” distractions andlack of privacy created by glass walls onto interior corridors, the daylightadmitted was welcome from the start. And everyone seems to enjoy theinformal interaction and information exchange at the many strategicallyplaced coffee corners. Plan variations from floor to floor allow for manyoffice types, from open layouts to cells and team offices.

In the staid world of German banking, the choice of anunorthodox, noncorporate office like Behnisch, Behnisch & Partner rep-resents a major leap. In a statement, C.E.O. Manfred Bodin admitted that“for us bankers, it was not always easy to follow the highly creativeapproach of the architects.” But in the process, Behnisch clearly managedto satisfy traditional executive needs. On the tower’s 11th through 17thfloors, where the nine top executives have their offices, private diningrooms, a “sky lounge,” a conference room, and a large dining room forguests are all designed with understated chic. And by choosing architec-ture that is both environmentally sustainable and visually striking,Nord/LB sends a message far and wide, sharpening its social image andpromoting a forward-looking reputation. Among the locals, reactions tothe new building seem strong, yet mixed: People either love or hate it. ■

Sources

Curtain wall: Rupert App GmbH

Glazing: Glas-Fischer GmbH

www For more information on the people and products involved inthis project, go to Projects atarchitecturalrecord.com.

(continued from page 126)

The main entrance

and lobby (this page

and opposite) face the

campus walk. The sun-

shaded glazing above

the lobby provides nat-

ural light for the main

lecture theater, which

extends up and over

the lobby.

02.03 Architectural Record 139

Perhaps the best way to describe the Computer Science Building atYork University, in Toronto, Canada, is to be clear about what it isnot. It does not offer the architectural spectacle that the GreaterLondon Authority Headquarters and the Norddeutsche

Landesbank, both featured in this issue, possess. A low-lying structuretucked discreetly into a campus, the York building lacks the landmark pres-ence in an urban cityscape that distinguishes those two projects. However,in the Toronto climate of harsh winters and hot summers, the York facilityprovides one of the best examples of North American institutional archi-tecture that fully integrates environmentally sustainable features into anintelligent design. It avoids the aesthetic clichés associated with “green.”

Located in far northwestern Toronto on a stark campus of manyconcrete Brutalist buildings constructed in the 1960s and ’70s, theComputer Science Building was designed by Busby + AssociatesArchitects, of Vancouver, in a joint venture witharchitectsAlliance, of Toronto. It replaces anexisting computer science building, completedin the mid-1990s, that was quickly perceived astoo customized and not appropriate for chang-ing technological needs. “That building didn’tevolve,” says Adrian DiCastri, a partner witharchitectsAlliance.

York University, with a number offacilities recently completed or currently underconstruction, also foresaw a need for greaterbuilding flexibility to address an upcomingsurge in enrollment. The university has coupledits demographic foresight with an environmen-tal commitment. In the past decade, in both itscurriculum and campus setting, it has pursueda green agenda and now has sustainable guide-lines for all new buildings. Having a savvy client enabled the team ofBusby and architectsAlliance to fully develop an environmentally sus-tainable building from the start.

Simple in plan, complex in building intelligenceOpened in spring 2001, the 101,400-square-foot York UniversityComputer Science Building comprises the largest green institutionalbuilding in Canada. Built for only $11.1 million, or $110 per square

Project: Computer Science Building,

Toronto, Canada

Owner: York University

Architect: Busby + Associates

Architects—Peter Busby, partner in

charge; Mike McColl, associate in

charge; Veronica Gillies, Alfred

Waugh, Susan Ockwell, team;

architectsAlliance—Adrian DiCastri,

partner in charge; Walter Bettio,

project architect; Barbara Zee, team

Engineers: Keen Engineering

(mechanical); Yolles Partnership

(structural); Carinci Burt Rogers

(electrical)

Landscape: John Lloyd & Associates

Without architectural fanfare,Busby+ Associates and architectsAlliance demonstrate

sustainability in a northern climate with YorkUniversity’s COMPUTER SCIENCE BUILDING

By John E. Czarnecki, Assoc. AIA

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foot, the straightforward plan allows flexibility. Situated snuglybetween two existing academic buildings—fitting the campus masterplan’s call for increased density—the front of the computer sciencebuilding faces a walkway to the south. The three-story structure, withtwo, 200-seat lecture halls in the basement, is composed primarily ofthree volumes: a bar of laboratories and offices extending the length ofthe building’s western edge, a courtyard at the northeast corner sur-rounded mostly by offices, and a volume with a 950-seat lecture halland the main entrance at the southeast corner. The plan of the entirestructure was based on a 30-foot module. Learning a lesson from theprevious, overly customized computer science building, the architectsdesigned most interior walls in the bar and courtyard volumes of thisnew structure as partitions that can easily be removed or repositionedfor new configurations. All mechanical, data, and electrical systems areconnected through continuous cabinets along the building’s perime-ter—a distributive system allowing for easy modifications. Currently a

home to computer science, the building can readily be adapted toanother academic or office use at any time in the future.

The building’s efficient envelope includes a sawtooth-patternedfacade clad in copper (pictured left) on the top two floors of the east andwest sides. The orientation of the east sawtooth allows for winter solar gainand summer shading, and the west wall is oriented for northern light. Thelecture hall, featuring a planted green roof for storm-water retention andthermal reflectance, is clad in precast concrete on its east wall.

A glass wall (featuring glazing with a low-e coating and a 40 per-cent shading coefficient) faces the campus walkway to the south and has anintegrated glass canopy. From the walkway, visitors enter into an entry hallwith full southern exposure. The entry hall’s ceiling, covered with a maple-veneer acoustic panel, slopes down to a maple bench (see photo, page 145).This simple, Alvar Aalto–inspired design detail warms and humanizes thespace that faces the garish Brutalist concrete buildings outside.

The main lecture hall, accessible to the entry lobby, has seatingthat steps up and over the lobby. The back wall of the hall has glazing fac-ing south, with fabric-covered-wood, floor-to-ceiling louvered sunscreensthat can be closed with computer controls. Through numerous discus-sions, the architects convinced the university to add glazing for naturallight along the hall’s southern wall because many of the events and classesheld in the space do not require darkness.

Form follows function follows climateProgrammatic functions are placed in relation to climate in this build-ing. Labs line the north side—where the building will have the leastheat gain—of the top two floors. Every office, lab, and classroom hasoperable windows either on the perimeter of the building or facing aninterior atrium for access to daylight and fresh air. The principle north-south circulation spine forms a double-height atrium, separating thebar volume from the rest of the building. The tree-filled courtyardatrium (pictured at right), with offices primarily on two sides, istopped with fritted glass as well as clerestory windows that mechani-cally open in response to the need to exhaust warm air. Buildingvolumes act as continuous vessels for air flow and cross ventilation,drawing air from perimeter windows into the atria, where it isexhausted through the courtyard atrium’s clerestory as well as throughthermal chimneys in the circulation spine atrium.

THE BUILDING CAN READILY BE ADAPTEDTO ANOTHER ACADEMIC OR OFFICE USE ATANY TIME IN THE FUTURE.

for winter solar gain

and summer shade on

the east; it is oriented

for northern light on

the west.

The copper-clad facade

with a sawtooth pattern

on the building’s east

and west sides (west

side shown here) allows

Offices and labs with

operable windows ring

the courtyard atrium

on four floors. The

atrium, topped with

fritted glass, has

clerestory windows

that mechanically open

when it is necessary

to exhaust warm air.

York Computer Science Buildingacts as vessel for natural ventilation

142 Architectural Record 02.03

Sunshade louvers

Natural ventilationduring spring and fall

Smoke ventilation

Painted dot-matrix pattern to "heat up" stack

DETAIL SECTION OF AIR STACK

Planted roof

Although designed prior to the implemen-tation of the LEED (Leadership in Energyand Environmental Design) green build-ing rating system, the York UniversityComputer Science Building would likelyqualify for a LEED Gold rating, accordingto the architects.

The building’s shape and exter-nal shading provide an efficient envelope.Exterior walls, composed primarily ofcurtain-wall systems, precast concrete, andcopper, have a thermal value of R23, andthe roof has a value of R35. Ordinary con-crete emits greenhouse gases, but theconcrete used in this structure is composedof a mixture with at least 50 percent flyash. The fly-ash concrete will emit far lessgreenhouse gas than conventional con-crete. The building also features a plantedroof that allows for evaporative cooling insummer and added insulation in winter.Excess rainwater is collected and stored ina rooftop tank for controlled dispersal intoa drain to the ground.

According to the architects, theToronto climate will allow for naturalventilation without heating or air-condi-tioning 55 percent of the year. Whennatural ventilation is adequate for main-taining comfortable temperatures,temperate air is drawn through intakegrilles into an underground plenum whereair is passively cooled, then drawn intorooms through floor- or wall-based dif-fusers. In this condition (see middlesection diagram, opposite), fan coils arelocked out, and windows and stackdampers open to allow cross ventilation.The air rises in rooms and is warmed bybuilding occupants and computers. Theexposed concrete structure absorbs, holds,and slowly releases heat before it risesthrough openings in the building’s twoatria, creating a pressure differential. Stackeffect draws air into operable windows and

wind pressure raises the air-change rate,allowing for passive cooling. As outdoor airtemperature rises, exhaust fans are turnedon to assist ventilation. When heating orair-conditioning is needed, fan-coil unitsdraw in mixed air, heat or cool it, anddeliver it to building spaces. A direct digitalcontrol system, which manages the heat-ing, cooling, and ventilation, determinesthe switch-over point from natural venti-lation to normal systems and vice versa.

The university implements abroadened thermal comfort range in thisbuilding compared to most educationstructures. Temperatures in offices and labsare kept between 68 and 73 degreesFahrenheit and between 64 and 79 in pub-lic spaces. “That temperature gradient hasa significant impact,” on energy cost sav-ings, says Adrian DiCastri, a partner witharchitectsAlliance.

Building users can self-regulatespaces with manual controls for windows,air diffusers, and lighting. The universitygave all occupants instructions on when,for example, to open a window or when toopen air diffusers.

Most of the building’s furnish-ings are covered with a DesignTex fabricdeveloped by William McDonough. Thefabric involves a more efficient dyeingprocess and reduction of wastewater.

The architects claim that theirmaterial selection will save 1,340 tons ofgreenhouse gas emissions annually, andbuilding systems operations will save1,125 tons of greenhouse emissions peryear. Over a 75-year life span, the build-ing will save 85,715 tons of greenhousegas emissions. The estimated operatingand maintenance costs over 75 years are$33.3 million, as opposed to $83.9 mil-lion if the building were conventionallydesigned. John E. Czarnecki, Assoc. AIA,with Sara Hart

This month’s Continuing Education

Opportunity includes three special

building-science sections, on pages 116, 128, and 142. For learning objectives to focus your study while

reading these sections, turn to the Projects introduction on page 109. To receive credit, turn to page 147

and follow the instructions. As always, archrecord.com has this story and more continuing education.

AIA/ARCHITECTURAL RECORD CONTINUING EDUCATION

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SECTION - WINTER/SUMMER MECHANICAL OPERATION

Relief air hoods are closed.Hot air stratifies and is relieved into stack atrium.

Planted roof reducessolar heat gain insummer and providesinsulation in winter.

Closed fan-coil unitsdraw in mixed air, heator cool it, and deliver itto the building spaces.

Outdoor air mixes withreturn air from theaters, classrooms, and of fices.

Air-handling unit

Room temperature25ºC (77ºF)

Supply cool air 12ºC (55ºF)

Outdoor air

17ºC (64ºF)AHU

SECTION - SPRING/FALL MECHANICAL OPERATION

Relief air hoods open on roof. Hot air rising up through relief air hoods creates a pressure dif ferential.

The stack ef fect draws air in through the intake grille, through the underground tunnel where air is passively cooled.

Solaron stack increases stack-ef fect action. Exhaust fans are turned on for "fan-assisted" ventilation.

Hot air rising through the openings in the atria create a pressure dif ferential (stack ef fect), drawing air in throughthe operable windows.

Fresh air from outside

Outdoor air

17ºC (64ºF)AHU

The inside of air stacks

along the west atrium

(in picture and dia-

gram, opposite) are

lined with a dot matrix

pattern for surface

reflection and absorp-

tion, to maximize

daylight penetration.

The stacks are topped

with exhaust fans that

turn on when needed to

exhaust warm air. The

diagrams to the right

show the offices and

classrooms adjacent to

the courtyard atrium. In

summer, cool air is

delivered from fan-coil

units through diffusers

that are individually

controlled by room

occupants. Cool air is

also brought into the

atrium from the

ground. The planted

roof allows for evapo-

rative cooling in

summer, absorbing as

much heat as a black

or gray membrane roof

would. In natural venti-

lation conditions

(diagram, far right),

cool air enters the

rooms through opera-

ble windows. Warm air

rises and enters the

atrium, where it is

exhausted through the

clerestory. Passively

cooled air enters the

atrium floor from the

underground plenum.

SPRING/FALL NATURAL VENTILATION

SPRING/FALL

SUMMER COOLING

SUMMER

9

11 12 10

13

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2

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6

666

6

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8

The north-south corri-

dor through the building

(left) acts as an atrium.

Fabric-covered wood

panels in the back of

the lecture theater

(below) can be opened

or closed to emit or

block daylight. The

main lobby (opposite)

slopes down from the

campus walk.

1. Entry

2. Lobby

3. Lecture theater

4. Offices

5. Grad offices

6. Computer labs

7. VGR laboratory

8. West atrium

9. East atrium

10. Library

11. Faculty lounge

12. Seminar room

13. Planted roof

14. Exterior deck

02.03 Architectural Record 145

The building’s concrete structure is exposed throughout, andexposed-concrete ceilings (composed of 50 percent fly-ash concrete,which results in lower greenhouse gas emission) provide thermal mass tostore heat. Air-conditioning and heating is necessary in a building in thisclimate, but the smartly designed structure holds heat in winter andallows for ventilation in temperate weather. The building was designed forair to flow through rooms and interstitial spaces—there are no ducts. Theheating and cooling loads are far less than they would be in a conven-tionally designed building, and the mechanical equipment is about halfthe size necessary for a traditional building of its size. With a lower costfor mechanical equipment, the architects were able, in effect, to focus onconsidering the entire building as an integrated mechanical system.

Corridors, lined with a cherry-faced plywood with low-VOCtoxins, have linoleum flooring, which is renewable and inert. Most of thebuilding’s materials, including steel, concrete, and glass, were producedlocally in or near Toronto, the center of Canadian manufacturing.

Thinking green from the beginningWhat Busby and architectsAlliance have shown with the York building isthat it is possible to have an environmentally sustainable building in a cli-mate with dramatic extremes. “We always hear that it is easier to do greenin a benign climate,” says Peter Busby, principal of Busby + Associates.

“But the harsher the climate, the easier it actually is to do a green building.Toronto buildings require three times as much energy as those inVancouver,” so the payback in energy savings in a sustainable building inToronto, although it definitely requires heating and air-conditioning, is fargreater than in a gentler climate.

Planning for sustainability from the beginning of schematicdesign, according to DiCastri and Busby, is key. And that requires a dra-matic change in mindset. “Architects design a conventional building andtry to make it green,” DiCastri says.“You can’t make a building green as anadd-on. We say that if you go light or partially green, it will add to thecosts. If you go deep green, it will lower the costs.”

The true test will be the facility’s ability to perform and be flexible.As the copper used in the building slowly patinates and the university’sacademic needs change, the structure as a whole must also evolve. ■

Sources

Copper cladding: Heather & Little

Metal/glass: Kawneer Company

Canada

Masonry: Belden Brick Company

Glass: AFG Industries; Glass Group

Skylights: Prelco

Metal doors: Regal Door & Hardware

www For more information on the people and products involved inthis project, go to Projects atarchitecturalrecord.com.

http://www.usg.com

http://www.marvin.com

http://www.epicmetals.com

02.03 Architectural Record 151

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Go to a flea market anywhere they’re building new libraries andchances are you’ll find some old card catalogs for sale. Digitaltechnologies have made the great wooden cabinets with all theirindex cards obsolete. But libraries made of bricks and mortar

(or glass and steel) are not disappearing, even though much of the infor-mation they house can now be accessed online or by other remote means.Their roles and functions, however, are changing.

More than ever, libraries are social hubs and places of learning.Although people can search catalogs and read periodicals from their com-puters at home, they need to visit the library to have real conversations, tobump into colleagues, to catch the buzz that only a physical hive of activitycan engender.“Libraries are no longer just repositories of information,” saysShirley Dugdale, the head of learning environments consultancy services atthe planning and design firm DEGW.“People go to libraries these days forhelp in finding information and to collaborate with others,” explainsDugdale. One of the design challenges for architects is finding the right balance between spaces for interaction and sanctuaries for reading.

Public libraries are increasingly important in providing access tocomputers and online services for people who don’t have such technologiesat home or work, says Dugdale. They are also becoming places where moreaffluent people can come, plug in, and get help in mining the often confus-ing information landscape. While libraries have long provided communitieswith reading rooms, today they often have extensive facilities for classes andeven conferences. Libraries are also supplying spaces for other kinds of gath-erings: cafés for informal encounters,“newsstands” for people to catch up onthe latest periodicals, and galleries for exhibitions. In part, these areresponses to a new type of library competitor—the comfortable, sprawlingstores of book chains such as Barnes & Noble and Borders. The changesseem to be working: Library visits rose 8.3 percent in 2002 over 2001,according to a study by the American Library Association.

Both public and private clients are reasserting the civic role oflibraries. Cities such as Nashville and Troyes, France, have built majorfacilities right downtown, using them to make architectural statementsabout the central role of learning in a modern society. In Dresden,Germany, a new library brings together the collections of the state gov-ernment and a local university and creates a public square serving townand gown. And in Boston, the Christian Science church literally toredown walls separating its new Mary Baker Eddy Library and the city’sstreet life. Although these projects employ different architectural styles,they all strive to express a vigorous engagement with the public realm. ■

By Clifford A. Pearson

Hubs of Learning

ONCE THE HUSHED REPOSITORY OF BOOKS, THE LIBRARY ISEVOLVING INTO A HYBRID COLLECTION OF BOTH ACTIVE ANDQUIET SPACES WHERE EVEN A CUP OF COFFEE IS WELCOME.

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81.Dresden, Germany

Mostly buried underground, the

Saxon State and University Library

by Ortner & Ortner brings some old-

fashioned ideas to a Modern building.

2.Nashville, Tennessee

Robert A.M. Stern Architects designed

a Neoclassical icon to face Tennessee’s

19th-century state capitol and attract

citizens downtown.

3.Troyes, France

A grand porch and bold use of

materials and colors give Du Besset-

Lyon’s Médiathèque an engaging

presence in a historic city.

4.Boston, Massachusetts

Ann Beha Architects created a dialogue

between old and new when it converted

part of an early-20th-century building

into a Modern library.

LIBRARIES

www For additional library projects, and more information on the people and products involved in the following projects, go to Building TypeStudy at architecturalrecord.com.

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Saxon State LibraryDresden, Germany

1 ORTNER & ORTNER BRINGS BACK A NEOCLASSICAL FORMALITY TO LIBRARYDESIGN WHILE LEAVENING IT WITH A MODERN SENSIBILITY.By David Cohn

Architect: Ortner & Ortner

Baukunst—Laurids Ortner, Manfred

Ortner, principals; Christian

Lichtenwagner, Ekkehart Krainer,

Ulrich Wedel, Rudi Finsterwalder,

Michael Ewerhart, Michael Adlkofer,

Hans Witschurke, Roland Duda,

Robert Westphal, Michael Franke,

Berit Grosmann, Bernhard Eichinger,

Thomas Grossmann, Thomas

Heydenreich, Georgia Prätorius, Ralf

Prätorius, project team

Architect (planning): ATP

Achammer-Tritthart & Partner—

Burkhard Junker, chief executive

officer

Client: State of Saxony, represented

by the State Construction

Department—Matthias van Rüdiger,

managing director of construction

Landscape architect: Burger +

Tischer

Engineers: Gmeiner Haferl

Tragwerksplanung KEG (structural);

Zibell Willner & Partner (building

planning)

Main contractor: Bilfinger + Berger

Size: 485,000 square feet

Cost: $80 million

Sources

Stone facade: Lauster Steinbau

Glass roof: MBM Metallbau

Wood panels: Inabau Tischlerei

For more than two decades the pre-vailing model for library design inGermany has been Hans Scharoun’sState Library in Berlin. Breaking withthe tradition of organizing largelibraries around a central readingroom, Scharoun introduced a non-hierarchical mix of reading areas andbook stacks, which he set on floatingfloor trays much like the projectingbalconies of his nearby PhilharmonicHall. With the new Saxon State andUniversity Library in Dresden, archi-tects Laurids Ortner, 62, and hisbrother Manfred, 60, have made aradical break of their own. They havereintroduced the monumental read-ing room and used it to provide afocus for the 400,000 square feet ofopen book stacks and study areas inthis mostly underground facility.

ProgramThe building combines the official col-lections of the Saxon State with thegeneral library of Dresden’s TechnicalUniversity, providing space for 7 mil-lion volumes. Its site, once theuniversity’s soccer field, is ringed bymature trees and earth berms origi-nally built for spectator seating. Set ina developing area at one edge of thecampus, the library will be joined bynew academic buildings.

SolutionThe Ortners’ design, which won an

open competition in 1996, playsback and forth between Neoclassicalformality and the more informal andpractical approach of contemporarybuildings. This dichotomy highlightsthe two origins of the library: theSaxon royal collections and the pub-lic university’s holdings.

“Our first idea was to put thelibrary underground,” says ManfredOrtner. “It was the only way to main-tain the aura of this location, whichwas given by the surrounding trees.”This approach also allowed the archi-tects to create a large public squarefor the growing campus. The libraryoccupies three levels below thesquare, which is set at the height ofthe earth berms. The architects

www For more information aboutthe people and products involved inthis project, go to Building TypesStudyat architecturalrecord.com.

152 Architectural Record 02.03

framed the square at the front andback with a pair of administrativeblocks clad in Türing stone, a honey-colored German travertine. Coveredin sod and crisscrossed by paths, thesquare is punctured by skylights,ventilation pods, and emergencyegress hatches to the library below.

In contrast to the uneasy, artifi-cial naturalism of this too-oftenpunctured lawn, the library’s mainentry portico presents a row of blackprecast-concrete columns thatevokes the Neoclassical grandeur ofSchinkel’s Altes Museum in Berlin.The portico, which is partially hiddenfrom the street by the site’s berms,reveals itself through a small off-center opening, seeming to emerge

David Cohn is record’s Madrid-

based correspondent.

The two above-ground

blocks define a public

square for a growing

university campus

(right). The buildings

are clad in Türing

stone, a German

travertine (below).

154 Architectural Record 02.03

Much of the library is

buried beneath the

landscaped public

square, helping to pro-

vide a stable interior

environment for the

book collections (sec-

tion, above). Imposing

precast-concrete

columns add to the

building’s sense of

formality (left), while

numerous skylights

bring daylight into the

major reading and

study areas (opposite).

1. Entry

2. Administration

3. Reading/stacks

4. Main reading room

5. Loading

22

3 34

5

LONGITUDINAL SECTION

1

ENTRY LEVEL LOWEST LEVELN 0 50 FT.

15 M.

910 10

1

2

3

3

3

4

5

6

7

8

8

8

8

1. Lobby

2. Catalogs

3. Reading/stacks

4. Seminar rooms

5. Light well

6. Offices

7. Loading

8. Archive

9. Main reading room

10. Double-height galleries

156 Architectural Record 02.03

from the earth like a picturesqueEnglish garden grotto.

The stately reading room lies atthe heart of the building and risesfrom the lowest level to a skylit ceil-ing. Surrounded by open floors, it isenclosed by bookshelves and panel-ing of stained wood and fiberboard.“A classic reading room has thescale and power to focus readers’attention,” says Manfred Ortner. “Youcan feel the power of the wholelibrary concentrated here.”

Mediating between thisgrandeur and the surrounding floorsis a series of double-height, skylit circulation galleries, which aresometimes staggered between thethree floors in a lively section ofPiranesian complexity. The readingroom is ringed by these cuts and adouble-height row of wood columns.

Interior finishes search for a bal-ance between economy and dignity.The warmth of wood mixes with thehonesty of untreated concretecolumns and exposed ductwork.Carpeting is ingeniously printed witha pattern scanned from a sample ofTüring stone. The Ortners also applya “bar code” pattern—a shallow reliefof boxes in irregular configurations—to the building’s stone cladding, aswell as to the wood paneling andcoffered concrete ceilings inside.

CommentaryWith the Saxon State Library, theOrtner brothers have come a longway from their 1960s roots as part ofa group of radical artists and archi-tects called Haus-Rucker-Co. Whilethey currently share with other archi-tects of their generation a fashionablenostalgia for the Neoclassical, theirwork is far from the stilted orderlinessfavored by many of their Berlin peers.The underlying modesty of the Saxonlibrary, as seen in its retiring urbanpresence, is a necessary antidote tomore bombastic features like thegrand entry portico. Just as Scharounconceived the open-plan floors of hisState Library in Berlin to representWest Germany’s postwar spirit ofdemocracy, so the Ortners’ mix of the Neoclassical and the suburbanoffers a suggestive image of a newGermany in the making. ■

As in the great Beaux-

Arts libraries of the

19th century, the main

reading room (oppo-

site, top) serves as the

focal point of the entire

design. But the Ortner

brothers surrounded

this room with open-

plan reading areas

(opposite, bottom left)

and used modern ele-

ments such as raw

concrete and sculptural

stairs (this page and

opposite, bottom right).

158 Architectural Record 02.03

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Nashville Public LibraryNashville, Tennessee

2 ROBERT A.M. STERN ARCHITECTS BROUGHT HARD-NOSED PROBLEM-SOLVINGSKILLS AS WELL AS NEOCLASSICISM TO A COMPETITION-WINNING DESIGN.By Christine Kreyling

Architect: Robert A.M. Stern

Architects—Robert A.M. Stern, FAIA,

Alexander Lamis, AIA, partners; Jeffery

Povero, AIA, Paul Zembsch, project

designers; Daniel Lobitz, AIA, Melissa

DelVecchio, Mark Gage, Ryan Hullinger,

Julie Nymann, Jong-Hyuck Park,

Charles Toothill, Susi Yu, assistants;

Dawn Handler, Laura Hynes, Mei Wu,

landscape team; Thu Do, Kelly Greeson,

Pat Burns Ross, interiors team

Architect of record: Hart Freeland

Roberts

Client: Public Library of Nashville

and Davidson County

Engineers: Hart Freeland Roberts

(structural); I.C. Thomasson

Associates (m/e/p)

Consultants: Allan Ray Associates,

Ben Page and Associates (landscape);

Fisher Marantz Stone (lighting); Shen

Milsom & Wilke (acoustical)

General contractor: Beers/Jones &

Jones

Size: 350,000 square feet

Cost: $51 million

Sources

Steel windows: Hopes

Glazing: Viracon

Skylights: Naturay Skylights

Special interior surfacing: Forbo

Marmoleum; Tennessee Marble; Surell

Lobby flooring: Georgia Marble

Downtown Nashville once had aClassical library building. The 1904edifice, constructed with a donationfrom industrialist Andrew Carnegie,was demolished in 1963 to makeway for a main library in theModernist mode. Fragments of theold structure were placed in a plazanext to the new library, where theylay like bleached bones alongsidethe Santa Fe Trail—critters thatfailed to go the distance.

In 2001, Nashville got a newmain library that reincarnates theClassical spirit of the lost Carnegiebuilding. And the current facility,designed by Robert A.M. SternAssociates and the local firm HartFreeland Roberts, is proving to bethe most popular architecture intown, as six decades ago the RymanAuditorium became the motherchurch of country music there.

ProgramThe library commission, which Sternwon in a competition with two otherfinalists—Michael Graves and HardyHolzman Pfieffer—envisioned abuilding with 288,000 square feet of space (four times the size of theexisting facility) and a constructionbudget of $50–$55 million.

The program, developed byproject manager Heery Internationalfor a user group wary of winding upwith a stylish but dysfunctional plant,

was purposely specific. The full-blocksite was difficult—with a steep slopeand a parking garage that had to bepreserved. The immediate contextwas architecturally mediocre andfractured by surface parking, but ithad the virtue of a direct sight lineto the Tennessee State Capitol threeblocks away.

SolutionStern’s victorious design acknowl-edged that the capitol is the onlyarchitecture in the vicinity worth thelibrary patron’s attention. The majorpublic spaces—lobby, Nashville Roomfor special collections, and GrandReading Room—all focus on views ofWilliam Strickland’s Greek Revivalmasterwork. More informal seatingareas turn inward toward an open-aircourtyard. And in its uncompromis-ingly Classical organization, massing,and detailing, the library recognizes

the capitol’s stature. “Classicismseemed appropriate to reinforceNashville’s history as the ‘Athens ofthe South,’ ” Stern says, “tostrengthen something that’s latent.”

By building a three-story, pedi-mented limestone front on ChurchStreet, the architects were able toplace two large floors over theexisting parking structure. They alsoinserted an intimate Italianatecourtyard in the center of the planon the second floor.

The interior is an exercise inlogical progression. The ground floorlobby houses circulation services,with a balcony functioning as exhibi-tion and music gallery. Library direc-tor Donna Nicely says the self-con-tained lobby and balcony “encourageus to program events there—thenoise doesn’t leak into other areas.”Surrounding the lobby are spacesrequiring the most immediate public

www For more information aboutthe people and products involved inthis project, go to Building TypesStudyat architecturalrecord.com.

Christine Kreyling is architecture

critic for the Nashville Scene.

The main entry facade

on Church Street (this

page and opposite)

hides an existing park-

ing structure, which

now feeds pedestrians

into the library’s lobby.

160 Architectural Record 02.03

SECOND FLOOR

3

3

5

5

57

8

THIRD FLOOR

9

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4

5

5

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2

3

3

4

5

66

GROUND FLOOR

0 50 FT.

15 M.N

1. Lobby

2. Retail

3. Offices

4. Reading

5. Stacks

6. Conference center

7. Children’s theater

8. Courtyard

9. Grand reading room

The main entry (above)

and key interior

spaces, such as the

main reading room

(opposite, bottom),

face the state capitol,

while lesser reading

areas (opposite, top

right) face a courtyard

built on top of the

garage. Murals in the

stair hall (right) were

painted by Richard

Haas, while EverGreene

Studios did the decora-

tive painting in other

areas. The main lobby

and its surrounding

balcony (opposite,

top left) can be used

for special events.

access: a “storefront” for popularmaterials, a streetside café andretail space, and a conference cen-ter adjacent to the garage. Sternnotes that “the entrance from thegarage is not into some nasty spacebut right into the lobby, whichencourages people to cut through tothe street, and maybe pick up abook in the process.”

A double staircase leads up to the children’s section, specialcollections, and offices. The topfloor, with its barrel-vaulted mainreading room, is reserved for seri-ous study and research. The planallows activity to circulate aroundthe courtyard and minimizes apatron’s need to trek through onedivision in search of another.Design competition juror MarleneDavis, dean of the University ofTennessee’s College of Architecture,describes Stern’s planning as “aprogrammatic tour de force. Heworked out every little detail.”

CommentaryStern’s library was part of an ambi-tious $115 million building programthat also included five new branchlibraries and the renovation of threeexisting ones. Director Nicely ispleased that “patronage at the mainlibrary is four times what it was in theformer library. The public loves thisbuilding. What they like most is that it feels so warm, so welcoming; itdoesn’t intimidate. I think we struck achord in the city.” A Classical chord. ■

Troyes MédiathèqueTroyes, France

3 DU BESSET-LYON WRAPPED A HISTORIC COLLECTION OF BOOKS IN GLASS ANDGOLD, CREATING A MODERN JEWEL BOX FOR THE CIVIC REALM. By Claire Downey

Architect: Du Besset-Lyon

Architectes—Pierre du Besset,

Dominique Lyon, principals;

Alain Chiffoleau, Gary Glaser,

Lawrence Weiner, project team

Client: Communauté

d’Agglommération Troyenne

Engineers: Khephren Ingénierie

(structural); Alto Ingénierie

(m/e/p); Van Santen (facades)

Consultants: Speeg & Michel

(lighting); Jean-Paul Lamoureux

(acoustical); Casso (security)

Size: 116,000 square feet

Cost: $12 million

Sources

Masonry and foundations: CRN

Metal structure: ACMM

Curtain wall: Laubeuf

Gold suspended ceiling: Richter

System

Metalwork: Vulcain

Woodwork: Santin

Elevators: Otis

The French Revolution toppled themonarchy, but it also attackedanother rich and powerful institu-tion—the Church. In 1789, therevolutionary authorities gatheredthousands of rare books and manu-scripts, mainly from religious libraries,and assembled them in one collec-tion in the city of Troyes. But thecollection never had its own buildinguntil July 2002, when the TroyesMédiathèque opened its doors.

ProgramTroyes is a city with an industrial past,rich in medieval architecture, and witha growing university population. Forthe Médiathèque, the municipalitywanted a welcoming environmentthat would attract a diverse group ofusers. To do this, it applied new tech-nologies to old sources, such asscanning 12th-century manuscriptsto make them available as digital files.It also instituted an open-shelf policyfor contemporary books and allowedpeople to take some titles out of thebuilding (which is not the norm atFrench libraries).

When they won the designcompetition in 1997, architects DuBesset and Lyon were already knownfor a library they had designed inOrléans, as well as the headquartersfor Le Monde in Paris. The Troyesproject is part of a new developmentzone, on the site of what had been

an old train station and, later, a highschool. Today, the existing buildingis being turned into a cultural cen-ter, with the library abutting it onone side.

The library provides space forthe rare-book collection, exhibitions,reading rooms, a newspaper kiosk,and closed areas for book conserva-tion, storage, and offices.

SolutionBecause the library has only threevisible facades and suffers from amain entrance located off the parkinglot of a McDonalds restaurant, thearchitects chose to create a buildingthat is largely transparent, where interiors and exteriors flow together.

Beyond the glass facade, aseries of bold elements—including agold ceiling, a pink staircase, a his-toric book room, and a yellow corri-dor—define an interior urban land-scape. At the heart of this culturalvillage is a dramatically elongatedrare-book room where volumes aredisplayed on wooden shelves datingto the 17th century.

Glazed corridors and open-stack areas wrap around the oldbook collection, with expansiveglass walls that encourage peopleto push open doors and explorenew works. The architects employeda palette of pastel colors to definespaces, even extending the conceptto window walls where colored filmis sandwiched between glass layers.

Surrounded by glass, the main

www For more information aboutthe people and products involved inthis project, go to Building TypesStudyat architecturalrecord.com.

162 Architectural Record 02.03

A glass front and deep

portico help project the

interior spaces out to

the exterior. Part of

this strategy includes

continuing the undulat-

ing gold ceiling of the

top floor on the under-

side of the roof to form

a canopy, a feature

that is currently being

completed.

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Claire Downey is record’s Paris-

based correspondent.

SECTION A-A

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1. Permanent exhibits

2. Storage

3. Reading

4. Children’s section

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SECOND FLOOR0 30 FT.

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reading room on the top flooroffers views of the city and themoody, often gray, sky. An undulat-ing gold ceiling grid floating abovethe floor casts a warm light overstacks and reading areas andevokes metaphors of the region’schampagne industry. Made of gold-anodized aluminum, it is morecrumpled than curved in places,adding to its reflectivity. Looking up,visitors can see through the grille to the lights above and through aglass roof to the sky beyond. Thearchitects designed the building sothe gold ceiling would project outunder the roof to form a canopyover the entry, an element that isjust now being completed.

CommentaryDu Besset and Lyon have shownthemselves to be experts at design-ing spaces that create a certainlightness of being. At Troyes they bal-anced the intimacy that pastel colorscan impart with a dynamic energygenerated by long, open volumes.The result is a place where visitorsfeel comfortable either studying forhours or just dropping by to see achanging exhibition. What the libraryneeds now is an entry sequence thatdoesn’t require sidestepping a drive-thru lane at McDonalds. ■

N 0 50 FT.

15 M.

1. Lobby

2. Newsstand

3. Permanent exhibits

4. Rare books

5. Storage

6. Children’s section

7. Reading

164 Architectural Record 02.03

The library abuts an

old train station that

is being converted

into a cultural center

(site plan, above). The

phrase “Ecrit dans le

coeur des objects”

(“Written in the heart of

objects”) runs along a

main corridor (below).

The rare-books room

(above left) includes

old shelves, while read-

ing and study areas

elsewhere in the library

are thoroughly modern

(above right). Visitors

can look through the

gold ceiling and glass

roof to the sky (below).

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Mary Baker Eddy LibraryBoston, Massachusetts

4 ANN BEHA ARCHITECTS INSERTED A MODERN LIBRARY WITHIN ANEOCLASSICAL BUILDING, RESPECTING THE OLD BY MAKING CLEAR WHAT’S NEW.By Nancy Levinson

Architect: Ann Beha Architects—Ann

Beha, FAIA, Peter Sugar, AIA, princi-

pals; Peter Hoyt, AIA, Chris Raber,

Cynthia Deschenes, James Selvitelli,

Chantelle Brewer, Milton Lau, Jill

Bogdanowicz-Wilson, design team;

Jonathan Cutler, AIA, John Paul

Dunn, master planning; Ken Guditz,

AIA, Ric Panciera, AIA, Geoff

Pingree, envelope

Client: Mary Baker Eddy Library for

the Betterment of Humanity

Consultants: Reed Hilderbrand

Associates (landscape); Schuler &

Shook (lighting)

Engineers: Weidlinger Associates,

Simpson Gumpertz & Heger (struc-

tural); Vanasse Hangen Brustlin

(civil); AHA Consulting Engineers

(mechanical/electrical)

General contractor: Shawmut

Design and Construction

Size: 81,000 square feet

Cost: $25 million

Sources

Glass curtain wall: Old Castle Temp

Glass (Stackwall System)

Brushed stainless-steel canopy:

Hercules Steel

Swinging doors and enclosure:

Salem Glass

Office furniture: Herman Miller;

Knoll

Bostonians have never shied awayfrom the challenge of the goodcause or the high ideal, and it is nosurprise that the city that stylesitself the “Athens of America” shouldboast an abundance of institutionsdedicated to the pursuit of knowl-edge. The latest such institution,which opened this past fall, is theMary Baker Eddy Library for theBetterment of Humanity. Designedby Ann Beha Architects, the libraryhas, as its formidable name wouldsuggest, a capacious agenda. It isat once a research institution hous-ing the collections of Mary BakerEddy, the founder of the Church ofChrist, Scientist, and a civic gather-ing place, featuring exhibitionswhose theme is the power of ideas.

ProgramAs conceived by the client, the program for the library mixes thepractical and idealistic, the privateand public. Located within an existing building—the 11-storyNeoclassical mid-rise once occupiedby the Christian Science PublishingSociety—the 81,000-square-footfacility includes a technologically up-to-date research library and a smallconference center for both institu-tional and public use. In addition tothese specialized spaces, the libraryfeatures a sequence of public gal-leries, all of which have a marked

spiritual and pedagogical bent, andwhose presence addresses theclient’s ambitious goal of making thelibrary a forum for the public. Thesegalleries include the Hall of Ideas,located in the double-height spacethat was once the building’sentrance lobby and for which the MITMedia Lab has created “WordPhysics,” a computer-generated flow of great quotations; the QuestGallery, which documents MaryBaker Eddy’s life and work; theMonitor Gallery, an interactive dis-play that uses the resources of The

Christian Science Monitor to exploreworld events, past and present; andthe renovated Mapparium, a three-story, spherical, stained-glasssimulation of the globe, constructedin 1935 and long one of the city’ssingular attractions.

SolutionDesigned in 1932 by Boston archi-tect Chester Lindsay Churchill, the

www For more information aboutthe people and products involved inthis project, go to Building TypesStudyat architecturalrecord.com.

166 Architectural Record 02.03

existing building was, as Ann Beha’spartner Peter Sugar put it, “worn-out and dusty, but structurallystrong—it had once contained thepresses of The Christian Science

Monitor.” Throughout, the architectshave followed the sensible and sensitive course of refurbishing,wherever possible, existing featuresand finishes, and of using a contem-porary vocabulary for all that isadded, thus articulating old andnew. The result is a lively blending of elements, including chestnut wallpaneling, travertine and terrazzofloors, wrought-iron grillwork, andmosaic-tile ceilings, all retained fromthe original building, and new fea-tures such as a lobby staircase witha stainless-steel stringer and glassbalustrade, sleek new birch furni-ture, and a glass curtain wall.

The library occupies only fourfloors of the old building, withresearch and archival spaces on thetop two floors and public galleries on

Nancy Levinson is the former managing

editor of Harvard Design Magazine.

Before the library proj-

ect, the building was

cut off from the street

by an imposing wall

(opposite). Today, much

of the wall is gone and

a garden entry beckons

pedestrians (below left)

and brings light into

the lobby (below right).

GROUND FLOOR0 20 FT.

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the lower levels. These public spacesposed a particular challenge. If thelibrary were truly to be a civic meet-ing place, it would need to establisha strong presence on its street,which happens to be MassachusettsAvenue, one of the city’s main thor-oughfares. But the old PublishingSociety was not at all a presence onthe street. It was literally walled off,separated from the surrounding cityby a 14-foot-high limestone wall thatsheltered what had been a privategarden; the building was enteredfrom the Christian Science Plaza(part of the church headquartersdesigned in the early 1970s by I.M.Pei and Araldo Cossuta). The archi-tects met this challenge with a skill-ful and bold gesture: move theentrance from the plaza to the mainavenue, tear down the high wall, andextend the lobby toward the street,enclosing the new entry space with agracefully curved, 16-foot-high glasswall, transparent by day, aglow bynight. And from this generous archi-tectural move there followed anequally good landscape strategy,which was to create a gardenbetween the lobby pavilion and the

The architects inserted

clearly Modern ele-

ments in the reception

area (far left) and read-

ing rooms (left) while

restoring the old fabric

of spaces such as the

Hall of Ideas (below).

street. Designed by Reed HilderbrandAssociates, the garden, like thearchitecture, elegantly interminglesold and new. By removing only por-tions of the Neoclassical wall, the designers created a landscape in which new features, such as astainless-steel waterwall, work incrisp counterpoint to the imposingheft of the Baroque-style gate.

CommentaryBoston has long been characterizedby a creative tension between pastand present, tradition and progress.In recent decades, the traditional—both the real thing and therecreated—has carried the day, tothe point where it was hard to recallthe city’s once-strong commitment tocontemporary design (exemplified,for instance, by Pei and Cossuta’sCorbusian-influenced ChristianScience headquarters). It is heart-ening, then, to see the solid anddignified Christian Science PublishingSociety renovated with care and craftbut not undue reverence, transformedinto a place where existing buildingand contemporary design are notclashing but complementary. ■

1. Reception

2. Sitting

3. Shop

4. Mapparium

5. Hall of Ideas

6. Temporary exhibits

and café

7. Office

http://www.spacesaver.com

http://www.aia.org

http://www.truebro.com

http://www.nationalgypsum.com

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Aconversation with Ronald Dean of FarrAssociates in Chicago illustrates how farsome firms have come in their approachto green materials. Through their research

and past projects, the designers at Farr Associates arevery familiar with the considerations that go intochoosing green materials, and factor those into theirdecisions as a matter of course. With that approachas a baseline, they are able to integrate green prod-ucts into the broader quest for the right materialswith which to construct a project. “It’s not just aboutwhether the product is green, but how well it fits intothe design and the stories we’re trying to tell with thebuilding,” says Dean.

For some projects, an explicitly natural orecological aesthetic is appropriate, suggesting a cer-tain style of visibly green products. “We designed aclay-straw retirement home for a woman,” Deanexplains, “and all materials going into that projecttended to relate to that aesthetic or philosophy—alot more wood, plaster, unpainted systems.” But anyprojects can use green products and materials,either by covering natural materials with more conventional finishes, or choosing from a palette ofproducts that are environmentally sound even if it’snot obvious at first glance.

What makes a product green?So, what constitutes an environmentally sound product? What shouldyou look for, and how can one distinguish real green achievement frommarketing hype? The tools and resources available to designers have,until recently, relied almost exclusively on a handful of attributes, suchas recycled content or low indoor emissions, as indicators of environ-mental performance. For example, the U.S. Green Building Council’sLEED Rating System allocates points for the use of materials that aresalvaged, recycled, rapidly renewable, locally produced, or harvestedfrom well-managed forests.

But these attributes, considered in isolation, may be mislead-ing indicators. Just because a product has one sustainable ingredientdoes not automatically make it the best environmental choice, as it mayalso have undesirable traits. Some recycled rubber flooring products, for

example, offgas chemicals that make them inappropriate for indoorapplications. And straw-panel products work great in some applica-tions, but they are more sensitive to moisture than wood-fiber panels,making them less durable in damp climates.

To avoid these problems, researchers and environmentaladvocates are developing more holistic methods to determine whichproducts are environmentally preferable. Most of these are based primarily on a system called life-cycle analysis (LCA)—not to be con-fused with the engineering practice of life-cycle costing. In LCA,researchers study a product from its origins as raw materials,through processing, manufacturing, and use to its ultimate disposal orreuse. For every process in this life cycle, they quantify the flows of resources and pollution, and then estimate the environmentalimpacts of those flows.

In theory, this comprehensive LCA approach allows us toknow with more certainty which products are environmentally prefer-able. Indeed, the U.S. Environmental Protection Agency (EPA)recommends LCA as the basis of the Environmentally PreferablePurchasing programs that federal agencies are required to implement.The EPA has also helped develop some of the research and modeling

By Nadav Malin

There are numerous ways to determine just howsustainable so-called green products are todayINDIVIDUAL PROJECTS MAY BE FREE OF TOXIC EMISSIONS, BUT A PROJECT’S TRUE SUSTAINABILITYQUOTIENT DEPENDS ON A SCIENTIFIC ANALYSIS OF THE LIFE CYCLE OF ALL THE MATERIALS

Nadav Malin is editor of Environmental Building News, content director for

BuildingGreen.com, and cochair of the Materials & Resources Technical Advisory

Group for the LEED Rating System.

RELEASES TO ENVIRONMENT

EXTRACTIONS FROM ENVIRONMENT

Life Cycle Inventory Analysis

SYLVATICA, INC.

Life-cycle analysis is the process by which the inputs and outputs of energy, resources, and

pollution are quantified for each process in the life of a product.

174 Architectural Record 02.03

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methods used to estimate the impacts of resource use and pollutionassociated with a product’s life cycle.

In practice, however, LCA requires so many assumptions andapproximations that any results it generates must be viewed with someskepticism. Even if the assumptions and underlying data are reasonablygood, a margin of error of 30 percent or more is typical, so only very largedifferences in the scores of competing products are meaningful.

Before it became popular as a method for comparing andchoosing products, LCA was developed to inform companies’ internalproduct development. From this background came one of its strengths—the ability to tell us where in a product’s life cycle the biggestenvironmental burdens are generated. In the case of building products,LCA results show that energy use or indoor air emissions during use areoften the most important consideration.

For any product that affects the building’s energy use, such as avariety of scales ranging from a chiller to a window or light fixture, select-ing the model that saves the most energy almost always results in the lowestoverall life-cycle burdens. Even ceiling tiles can make a difference—in aspace that uses indirect lighting, the reflectivity of the ceiling is probablymore important overall than the amount of recycled content in the tiles.

In the case of indoor air emissions, most releases of volatileorganic compounds (VOCs) decrease over time. So the use of a very low-VOC paint may be important initially, but after a few months or yearsthat benefit is negligible. Chemical emissions from ongoing maintenance,however, do not taper off in the same way. One study suggests that a sin-gle instance of stripping and waxing a floor releases as many unhealthyVOCs as are released by the installation of the flooring itself, including theadhesive, over its entire useful life.

A comprehensive look at materials highlights the fact that whenwe install and use a product in a building we are engaging with that prod-uct at one point in its overall life cycle. Prior to reaching our job site, theproduct evolved through a series of resource extraction, manufacturing,and transportation activities. After it is no longer needed in our building,

Most life-cycle analysis (LCA) software is complex and expensive andis best used by consultants who have the training to use it appropri-ately and interpret the results. Two software tools are now available,however, that can be easily used by any designer. New versions of both products have recently been released with significant new fea-tures, and they have very dif ferent emphases.

The Athena Environmental Impact Estimator version 2.0 (sampleoutput shown below) is organized around building elements or wholebuildings. It is a simple modeling tool, in which the user describes the primary building elements by inputting dimensions and choosingmaterials from a menu of options. Based on this model, the softwarecomputes a bill of materials, and then tabulates the environmental bur-dens of the project. The results can be displayed as tables or charts,

either for a single project or as a comparison across multiple projects.The software does not predict energy use from building operations,

but it does include an option to input that information. The impacts ofthat energy use, reported as either annual energy use or energy use forthe entire life of the building, can be included in the LCA results. Thedevelopers of Athena EIE hope that it will eventually be available as partof standard CAD software, making environmental-impact informationavailable during the design process at the click of a button. Athena software is available for $390 from the Athena Sustainable MaterialsInstitute: www.athenasmi.ca.

The second tool is Building for Environmental and EconomicSustainability (BEES). Unlike Athena, which is based on building ele-ments, BEES focuses on individual products and materials. Version 3.0

makes it possible for the first time tocompare brand-specific products. Forexample, the user can now compare theEcoWorx carpet tile from Shaw Industrieswith the PowerBond ER3 tile from Collins& Aikman or the Sabi tile from InterfaceFlooring. (The ER3 looks slightly betterthan the others, although the final resultdepends on how you choose to weightthe relative importance of the variousenvironmental-impact categories.) Eightyproducts from 14 manufacturers areincluded in the current version. It is alsopossible to compare generic productsbased on industry-average data for thoseproduct types.

The new release of BEES uses thelatest EPA methods for analyzing thedata. BEES 3.0 is free from the NationalInstitute of Standards and Technology:ww.bfrl.nist.gov/oae/bees.html.

New software packages allow designers to calculate the environmental burdens of materials

CONCRETE OFFICE BUILDING

ENERGY SOLID WASTE

PER

CEN

T

102

103

AIR INDEX WATER INDEX GWP RESOURCES

STEEL OFFICE BUILDING

Comparison of All MeasuresWith Concrete Office Building as Project Baseline

IN THE CASE OF INDOOR AIR EMISSIONS,MOST RELEASES OF VOLATILE ORGANICCOMPOUNDS (VOCS) DECREASE OVER TIME.

176 Architectural Record 02.03

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more activities will be required to dispose of it or prepare it for reuse orrecycling. Each of these processes had its own material and energyrequirements and pollution emissions.

While the environmental burdens resulting from a product’shistory and its future are important, they are rarely as important as theproduct’s performance in the building. Carpet got a bad reputation in thegreen building world in the early 1990s, due to concerns about its role in

indoor air quality problems and due to the enormous waste caused by thetons of carpet replaced each year. Since then, carpet companies have beenaggressively combating that image, and nearly every company claims thatits products are green. Different companies are approaching that goal invery different ways, however. Noted below are features of products bysome of the most progressive carpet companies.

Nearly all commercial carpet uses nylon face fibers. Nylon

comes in two varieties: nylon 6, supplied primarily by Honeywell andBASF, and nylon 6,6, supplied by DuPont and Solutia (formerlyMonsanto). Nylon 6 is easier to recycle, while nylon 6,6 may be moredurable. A number of companies, including Interface Flooring, Lees,Shaw, J&J Industries, offer recycled-content fiber, though efforts to getlarge-scale recycling efforts going for turning old carpet fiber into newhave not yet become commercially viable. Interface has also experimentedwith natural fibers, such as hemp, in commercial carpets, and plans torelease carpet with fibers made from agriculturally derived plastics.

As conventional dyeing processes use a lot of water and gener-ate significant waste, solution-dyed nylon is preferable. Many carpetfibers are treated with stain-resistance and mold-inhibiting chemicals,which can be beneficial (reducing the need for cleaning agents, reducingmold), yet the treatments themselves may also represent a health andenvironmental risk.

Nearly all companies use polypropylene fabric as the primarybacking into which the face fiber is tufted. As petrochemical resins go,polypropylene is relatively simple and benign. Lees’ Metafloor productline takes a unique approach by beefing up and pigmenting the primary

CARPET GOT A BAD REPUTATION IN THEEARLY 1990S DUE TO THE WASTE CAUSEDBY THE TONS OF IT REPLACED EACH YEAR.

ACIDIFICATION

CRIT. AIR POLLUTANTS

ECOLOGICAL TOXICITY

EUTROPHICATION

FOSSIL FUEL DEPLETION

GLOBAL WARMING

HABITAT ALTERATION

HUMAN HEALTH

INDOOR AIR

OZONE DEPLETION

SMOG

WATER INTAKE

pts

0.0200

0.0150

0.0100

0.0050

0.0000

Environmental Performance

BRICK & MORTAR STUCCO ALUMINUM SIDING

ALTERNATIVES

software. BEES is a powerful technique for selecting cost-effective, envi-

ronmentally friendly building products. All stages in the life of a product

are analyzed. (The difference between BEES and the Athena program is

discussed in the sidebar on the previous page.)

This sample chart shows three cladding alternatives—brick and mortar,

stucco, and aluminum siding—that have been examined across all

12 environmental-impact categories by using Building for Environmental

and Economic Sustainability (BEES), a Windows-based, decision-support

http://www.bentley.com

178 Architectural Record 02.03

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backing so that it can become part of the exposed surface of the floor cov-ering, thus greatly reducing the amount of face fiber needed.

Most broadloom carpet is made with styrene-butadiene latex(SB latex) and a chalk filler, as the secondary backing. High-end products use a more dimensionally stable urethane backing. Many com-panies now offer a urethane backing option from Universal TextileTechnologies that uses a soy-based polyol as one ingredient, comprising

about 7 to 10 percent of the backing by weight. Lees Carpets’ two newestcarpet lines use the Unibond RE backing, which contains 20 percentpostconsumer recycled content.

Carpet tile products use either PVC (Interface, Collins &Aikman) or urethane (Milliken) backings. Collins & Aikman has led therecycling charge, with technology that shaves off most of the face fiber forrecycling as nylon, and then recycles the rest of the carpet by mixing it

into PowerBond E3 backing for new carpet. The residual nylon fibers in the recycled backing actually improve the product’s performance.Interface Flooring’s GlasBac RE backing system also uses a high percent-age of recycled material.

Some companies have well-developed systems for taking backused carpet and utilizing it as a resource. Milliken Carpet, with itsEarth Square process, extends the life of carpet tiles by taking back usedtiles, retexturing them, cleaning them, and overprinting them with anew pattern so they can be resold for about half the cost of new tiles.Interface Flooring’s Solenium product, introduced in 1999, was aneffort to solve the future reuse problem by making it easy to separatethe components.

Carpet innovations show that performance and sustainabilityaren’t mutually exclusive. If a product’s function affects the amount ofenergy or water used in the building, then how well it functions deter-mines how good it is environmentally. More fundamentally, how aproduct or material works, functionally and aesthetically, is as critical in a green building as in any good design—if it doesn’t do its job, then itdoesn’t matter how environmentally friendly it is. ■

Wood has come under fire as a building material in the U.S., mostly byenvironmentalists concerned about logging in the old-growth forestsof the Pacific Northwest and in tropical rain forests around the globe.From a manufacturing perspective, however, wood is a relatively low-impact building material, because trees do most of the manufacturingthemselves, using photosynthesis. The amounts of energy andresources needed to mill and dry wood are smallcompared with those used to manufacture con-crete or steel. To address concerns about loggingpractices (and the associated loss of wildlife habi-tat and siltation of streams from runof f), a numberof certification programs have emerged.

These programs monitor logging practices onthe ground and certify forestry operations that meettheir standards. The only such program that haswidespread endorsement is that of the Oaxaca,Mexico–based Forest Stewardship Council (FSC). TheFSC’s “Principles and Criteria” aim to ensure thatforestry practices are environmentally responsible,socially beneficial, and economically viable. Theseglobal principles are translated into meaningful stan-dards at a local level through a region-specificprocess of setting standards.

FSC also accredits and monitors certificationorganizations. These independent, third-party auditors annually evaluate compliance with FSC stan-dards to award certifications. In addition to certification offorest-management practices, FSC-accredited organizations certify com-panies that process, manufacture, or sell products made of certifiedwood to ensure that a reliable chain of custody can be established. Themajority of FSC certification audits performed in North America are con-ducted by SmartWood and Scientific Certification Systems (SCS).

Simply adding the FSC requirement to your standard specification isnot enough. First, the quantities, species, and grades of wood that are

available with FSC endorsement are limited, so you must find out what is available that will fit the needs of your project. Second, even if thematerial is available, it is best not to specify the highest grades of wood(at least not in large quantities), because only a small fraction of the lum-ber from any one logging operation can meet those grades. Specifyinglower-grade wood greatly reduces the pressure to cut large, old-growth

trees, and can save a lot of money. Often structural requirements can bemet without using the highest grades.

To ensure that the wood used is actually certified, your specifica-tions should require that project contractors and subcontractors submitvendor invoices containing their chain-of-custody certification numbersand identifying each certified product on a line-item basis. For moreinformation, contact the Certified Wood and Paper Association: www.certifiedwood.org.

New wood-certif ication projects have emerged to address concerns about logging practices

SOME COMPANIES HAVE WELL-DEVELOPEDSYSTEMS FOR TAKING BACK USED CARPETAND UTILIZING IT AS A RESOURCE.

http://www.sunbrella.com

http://www.hp.com/go/mcad

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Black Magic. By first simulating aproposed design of the library andthen breaking up the 3D model intothousands of tiny cells, CFD soft-ware lets engineers map, in greatdetail, airflow characteristics andtemperature variations, and passthose analyses on to architects. Inthe case of the Clinton PresidentialCenter, the firm PolshekPartnership, in New York City, uses these full-coloranimations and dia-grams to revise variousinterior configurationsand floor plans, like par-titions and elements ofa mezzanine, to achievethe right airflow forcomfortable tempera-tures year-round.

“There was no waywe could do a radiantfloor slab in the ClintonCenter without exten-sive CFD simulations,”says Daniel H. Nall, AIA,and senior vice presi-dent of Flack + Kurtz,the New York City engineering firmthat performed the CFD analyses.“It allowed us to see what’s impor-tant for creating comfort in theoccupied zones and what happensto this comfort level when we startmessing with the design.”

New usesOnce the exclusive realm of aero-space engineers using airflowmodels to create new generations of wing designs, CFD graduallyevolved in the early 1990s tobecome a tool to help designers ofcommercial and public buildings,starting first in Europe and Japan

and eventually reaching the U.S. Stillan expensive niche technology usedonly for select projects, CFD helpsarchitects gauge the effectivenessof exotic HVAC systems, especiallythose used to regulate large openspaces like atria. The technologycan also model the air quality withina proposed building or judge theeffectiveness of new or nontradi-tional types of ventilation systems,

such as the radiant flooring that willbe used in the Clinton Center.

In addition to the ClintonCenter, Flack + Kurtz has used CFDfor a new dormitory at DartmouthCollege, which also makes use of aradiant-heating and -cooling floorslab. “We’re trying to [air-] conditionthe people, not the space,” Nall saysabout the design goals of thoseprojects. “People are not going to be walking on the ceiling, so we’reworking on creating comfortableconditions in the zones of the build-ings that are actually occupied. CFDis the only way we can get a handleon what’s going on in these spaces.”

The only alternative, he says, wouldhave been to build full-scale mock-ups of the structures and takephysical readings—obviously a cost-prohibitive exercise.

Flack + Kurtz isn’t the onlyengineering company to conductCFD analyses on buildings. StevenWinter Associates in Norwalk,Connecticut, used CFD to help optimize the operation of an HVAC

system with natural ventilation atthe Adam Joseph Lewis Center forEnvironmental Studies at OberlinCollege, a project designed byarchitect William McDonough, AIA.Architectural Energy Corporation(AEC), a Boulder, Colorado, engi-neering and design firm, workedwith the Pittsburgh architecturefirm IKM to create an addition to thePhipps Conservatory and BotanicalGardens, in Pittsburgh. The addition(called the Tropical Forest Building)houses a rain forest, and the CFDanalysis depicted not only tempera-tures and airflow, but also patternsof sunlight throughout the year. “Our

When future visitors stroll throughthe Clinton Presidential Center inLittle Rock, Arkansas, they’ll havelittle idea how much of their physi-cal comfort depends on what’sunderfoot. A special floor slab willhouse an exotic heating and cool-ing system that will variouslycirculate hot or cold water through-out the museum to regulate theindoor temperature according tothe seasons.

But the floor won’t be the onlyenvironmental regulator. Streamingsunlight from an all-glass, west-facing wall will enter the space tohelp heat the interior and createbuoyant layers of air and comfort-able surroundings for guests.

This intricate dance of tempera-tures and air currents hasn’t beenleft to chance. Engineers are spend-ing months poring over sophisticatedcomputer models that forecast thetemperatures at every point withinthe building for each season of theyear, and for specific times of eachday. The environmental model hasbecame an essential component ofthe design process.

At the heart of this model isthe arcane technology known ascomputational fluid dynamics (CFD),whose complexity makes it a highlyspecialized calling with the reputa-tion of something bordering on

Digital Architect

By Alan Joch

Interiors go with the flow

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Alan Joch is a technology and business

writer based in New England.

Contact him at ajoch@monad.net.

www For more information ontechnology for architects, includingreviews, vendor lists, and links,go to Digital Architect atarchitecturalrecord.com.

Architectural Engineering

Corporation used CFD soft-

ware called Airpak to analyze

airflow and temperature varia-

tions inside the Tropical Forest

Building at the Phipps

Conservatory, in Pittsburgh.

tions, especially for moreinnovative designs. “Itgives us more freedom toplay with new ideas,” saysJelena Srebric, assistantprofessor and CFD instruc-tor at Pennsylvania StateUniversity’s department ofarchitectural engineering.“CFD allows us to test[models and designs] thatdon’t yet exist.”

Detailed modelsIn recent years, CFD soft-ware has become moremature, and commercialproducts geared for build-ing design are appearing on themarket to ease the complexities of creating models. In addition totheir CFD analysis engines, a hand-ful of vendors are now marketinguser-friendly interfaces for thoseproducts that are designed to sim-

begins by importing a CAD file witha proposed design into a commer-cial CFD program, which then plotsthe geometry of the space in 3Dand the materials that could affectairflow and temperatures. Themodel also estimates boundary

ulate building conditions. Theseinclude Airpak, by Fluent. In time,CFD will become easier to use andeconomical enough to be appliedto more mainstream designs,Srebric believes.

The analysis process typically

The Tropical Forest Building at the Phipps Conservatory lets in plenty of natural light for

its permanent botanic residents. The simulation software Radiance was used to create

this rendering of lighting conditions, and the results were used in the CFD analysis.

clients are plants, which need theright amount of light, the right spectrum of light, and the right tem-perature,” says Michael Holtz, AIA,AEC’s president. “We’re looking atairflow to make sure we achieveacceptable conditions.” In addition,Arup, a London-based engineeringcompany, used CFD to help remodelthe air-conditioning system of thehistoric London Coliseum, the homeof the English National Opera.

In each case, CFD provided“what-if” capabilities that helpedarchitects and engineers reconcileenvironmental and design consider-ations. “Architects come to us withdesign objectives and CFD helpsthem develop a design that meetsthose objectives,” Holtz says. “Oncea preliminary design is developed,CFD can then be used to evaluateits effectiveness.”

These capabilities are helpingCFD find more widespread applica-

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CIRCLE 71 ON READER SERVICE CARD OR GO TO WWW.LEADNET.COM/PUBS/MHAR.HTML

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The present age prefers the sign to the thing signified, the copy to the original,fancy to reality, the appearance to the essence, for in these days illusion onlyis sacred, truth profane,” declared philosopher Ludwig Feuerbach. He waswriting in The Essence of Christianity in 1843, but lately we at record have

been thinking a lot about the sacred and the profane, appearance and illusion, and,well, Christianity. We lighting editors are not always such a philosophical crew, but thejuxtaposition of projects this month—and their strategies for illumination—run justthis thought-provoking gamut.

For the Friends Meeting House in Manhattan, principal lighting designerLinnaea Tillett, IALD, investigated the history and traditions of the Quaker faith to create versatile illumination that sublimely infuses a spare, sacred space. Simplicity wasthe essence of the design. Elsewhere in this issue, at Supperclub sites in Amsterdam andRome, and at the Li¯T club in OklahomaCity, we’ve spotted a curious trend (here’sthe profane part): lighting as a social cuefor rest-room design. A trip to the loo, itseems, is part of the enhanced nightclub-bing experience, boldly embellished withblack lights and colored fluorescent gels.Now if only we could figure out how tooperate the unconventional sinks.

Meanwhile, on a plane floatingsomewhere between the sacred and theprofane, college students are pursuinglighting designs with audacity and imag-ination. Recent Parsons School of Designgraduate Conor Sampson, for example,created an exploded view of a store win-dow’s lighting (illustration, right) thatreminds us of a vintage Hitchcock cin-ema poster or perhaps a Surrealist’s eyechart. Beginning on page 194, you canread more about recent trends in archi-tectural lighting education in the U.S.

With sadness we note the pass-ing of two leading lights in design.Architect Charles Morris Mount died at age 60 on November 8, 2002. One of his lastprojects, the McDonald’s on 42nd Street in New York City, brought Broadway lusterto the the fast-food-venue format. Italian architect and industrial designer AchilleCastiglioni, renowned for astounding lighting fixtures such as the Tojo lamp, died onDecember 2 at 84. They will be missed. William Weathersby, Jr.

02.03 Architectural Record 187

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The sacred and the profane,illumination and illusion,and the student scene, too

Lighting

The 25th Session of theCommission on Illuminationcommences in San Diego on June 25.

The quadrennial, weeklong lighting confer-

ence focuses on presentations by world

experts. For information, visit the Web site

www.cie-usnc.org. If you are ailingfrom seasonal affectivedisorder, Oliver Sacks’s book Uncle

Tungsten may be just the tonic. He gives a

fascinating account of his uncle’s lightbulb

manufacturing company, Tungstalite, in

prewar England. Don’t forget to brush up

on your high school chemistry; Sacks’s

description of Mendeleevian’s development

of the Periodic Table of the Elements is

mind-boggling. Charles Linn, FAIA

189 Creative Uses194 Lighting Education 198 Friends Meeting House

Tillett Lighting Design

202 BoonLOT/EK

208 LiTElliott + Associates

213 Lighting TechnologyCeramic metal halides

215 Lighting Products

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A 1960s university building gains a new sheen with cold cathode • Ode ona Trojan dawn hits Manhattan • Patrons in Rome and Amsterdam dance through the light at Supperclub

The University of Wolverhampton inthe midlands of Great Britain is acampus known for artistic experi-mentation. Its School of Art andDesign building, a nine-story, pre-cast-concrete structure designed in the Brutalist style of the 1960s,recently served as a canvas for acolorful play of shadow and light.

“The idea of reconfiguring alandmark in Wolverhampton camefrom the town’s motto, ‘Out of dark-ness cometh light,’ ” says architectIgor Marko, principal of the firm

cold cathode.Called Lightlines, the work

“echoes through a graphic, linearpattern of light the architecturaldesign of the Wolverhampton build-ing, animating its proportions andmassing,” Marko says.

The lighting installation encom-passes 86 individually controlled,10-foot-long cold-cathode tubesmounted between the elevationalfins of the facade. The lowest tubesare protected by polycarbonate cov-ers. The installation was designed tofit externally onto the building, con-cealing both the cable runs and thetubes, so the fixtures do not appearprominent in daylight.

The animated lighting pro-gram runs a variety of changingpatterns and sequences within afive-minute loop, dimmed for slowor fast changes. The light show will be redesigned annually byArt2Architecture, and relamping isprojected after seven years.

Art2Architecture is a companydedicated to collaborative ways ofworking and employing artists,architects, and urban designers. Itsinterdisciplinary projects range frommajor lighting installations, urbancenters, ecological parks andbridges, and site-specific artworksemploying IT technologies. For alook at a portfolio of other projects,visit www.art2architecture.co.uk.William Weathersby, Jr.

Creative Uses

Art2Architecture, thedesigners of the lightinstallation.

The result of a designcompetition funded by theBritish-lottery-supportedOut of Darkness lightingprogram, Art2Architecture’s work is the largest cold-cathode lightingproject in the United Kingdom.Marko and his partner, artist PeterFink, collaborated with NeolecLighting, a company with 30 years of experience in the application of

Color, light, memory, and history arethe obsessions of New York artistSpencer Finch. Eos, a monumentalroom-size installation that created a meditation on the quality of lightFinch encountered during a trip tothe ancient ruins of Troy in westernTurkey, was part of an exhibition of his work held at Manhattan’sPostmasters Gallery last Novemberand December. Fitted with carefullycalibrated spectrum gels, the 75ceiling-mounted fluorescent tubesapproximated the light conditionspresent at dawn in the landscape

at the site in October 2002. “Thelandscape has been reduced topure light,” Finch says.

The exhibition, which also fea-tured 100 ink drawings of colorsfrom the artist’s dreams in theform of Rorschach blots, continuedFinch’s exploration of the gapsbetween objectivity and subjectivity.Trained at the Rhode Island Schoolof Design, Finch often uses electriclight as a medium. For the installa-tion at Postmasters, he receivedtechnical assistance from CapitalLight and Phillips Lighting. WW

The facade lighting project incorpo-

rates 86 individually controlled,

10-foot-long cold-cathode tubes.

An art and architecture collaborative reinvigorates a dated campus facade in Great Britain

Artist Spencer Finch offers a meditation onthe quality of light cast by Troy’s dawn sky

Fluorescents fitted with filters capture the light of ancient Troy in Finch’s Eos.

190 Architectural Record 02.03

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that can shift with the mood of thecrowd. The restaurant in SupperclubRome makes similar use of LEDs,PAR16s, and fluorescent technologythat is capable of altering the colorscheme of the interiors.

Communal seating in diningareas furthers the owner’s aim thatpatrons feel a sense of together-ness. Seating around the perimeterof the restaurant on both levels isultracasual, comprising mattressescovered with white sheets. Dinersare encouraged to remove theirshoes and lay back against plushcushions. Classic Modern chairsdesigned by Verner Panton surrounddining tables set in the center ofthe space. The tables were inspiredby the design of elephant drumsand are sturdy enough to hold din-ers who venture to dance atop themonce dinner has been cleared.

On the lower level, a 1,625-square-foot lounge is for patronsseeking a more intimate setting.The pure white color scheme of themain floor is repeated downstairs,again as a backdrop for coloredlighting. Gelled fluorescents uplightfabric-draped stucco walls andbathe seating in a warm glow ofvibrant hues.

Lighting creates a dramatictransition into Le Bar Rouge, anintimate bar and dance area that,

apropos of its name, is dressed inshades of red. Gelled fluorescentsuplight the bar while a truss of miniPAR16 spotlights defines the areabehind the bar and a deejay table.

Selective illumination in restrooms, which are partitionedaccording to sexual preference, notgender, is a Supperclub signature.The opposite spectrum of therestaurant and lounge, rest roomsare completely furnished in a darkpalette with black tiles, stalls, toilets,counters, and large square blocksfor seating. Black light illuminatesthe rest rooms, which the ownersenvisioned as a darker alternativefor patrons too intimidated to makeintroductions in the well-lit main

spaces. Strategically placed mir-rored glass affixed to the stalls addsa voyeuristic touch.

Adapting the Supperclub concept to a historic palace nearthe Pantheon in Rome last year,Concrete worked under the closesupervision of the city’s preserva-tionists. The architects restoredelements of the ancient structure,including frescoes and travertinesteps, and married the historic withthe contemporary furnishing ele-ments. The patina of centuries-oldfrescoes juxtaposed with coloredlighting continues to position thisoutpost of Supperclub as anotherintriguing international nightspot.Leanne B. French

Creative Uses

A decade is a long life for a night-club. The staying power to endurebeyond a decade is immortality. ForEuropean clubgoers, Amsterdam’srenowned Supperclub has attainedsuch divine status. Opened in 1990by a group of artists, the innovativerestaurant/club/art gallery wasrecently expanded at its location in the old center of the city andcontinues to draw crowds with its“communal” approach to nightlife.

“Freedom is the key wordhere,” says owner Bert van derLeden of the renovation, “just as ithas always been.” The Supperclub’sfreethinking philosophy is based on maintaining a “multisensory”environment that encouragescamaraderie among strangers. TheAmsterdam-based firm ConcreteArchitectural Associates was hiredto revitalize that concept and toexport the same ethos to a newsister Supperclub in Rome.

Concrete’s approach to light-ing both nightspots is as colorfuland spirited as the club mavensthe franchise attracts. On the firstfloor of Supperclub Amsterdam, a 1,775-square-foot, two-tieredrestaurant is painted and custom-furnished in uniform white, a blankcanvas for colored lighting. A trussof automated luminaires and colorchangers paint the room in hues

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Moody colored lighting sets the scene fordancing and dining at two Supperclubs

Monochromatic furnishings and materials in a lounge of Supperclub

Amsterdam (below) are a canvas for colored lighting. At Supperclub Rome

(above), downlights frame a fresco and cast a glow on communal seating.

http://www.aal.net/miniflex

http://www.sitelighting.com

194 Architectural Record 02.03

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Learning to Light

By John Calhoun

More architecture professionals and academic institutions havebegun to recognize architectural lighting as a valid, discretediscipline, not simply a service enhancing the grand design.In terms of education, there are more paths than ever leading

toward a career as a lighting designer. Yet the upgraded standards don’tmean that a consistent method of teaching lighting design has been codified. Degrees, programs, and emphases remain all over the map.

The classic educational models remain Pennsylvania StateUniversity and the University of Colorado, both of which offer degreeswith a lighting specialty within their architectural engineering programs.There are a variety of degrees offered by other institutions, from a Master ofArts in Lighting Design at Parsons School of Design to a Master of Sciencein Lighting from Rensselaer Polytechnic Institute (RPI). And schools suchas the Rhode Island School of Design, among others, offer sessions inlighting design as part of their technology and studio curriculum.

Beyond the university realm, manufacturers such as GeneralElectric present in-house training for professionals and students. Web-based courses and programs are sponsored by the IlluminatingEngineering Society of North America and the International Associationof Lighting Designers (IALD). The Architectural Lighting Design MasterClasses, a professional seminar, takes place this month (February 20–21)at John Jay College in New York City.

“The credibility that the lighting field has accrued was pushedby the generations before us, by professionals like Leslie Wheel andHoward Brandston,” says Charles Israel, president of the IALD EducationTrust Fund and principal of Lighting Design Alliance, an architecturallighting design firm. “They have trained architects to appreciate the valueof good lighting design. The IALD’s emphasis is to make students awareof the professional field of architectural lighting design. Lighting con-sultants may work on 5 percent of all architectural projects. Let’s say wecould double that to 10 percent. We don’t have the depth of ranks toaccomplish that. Where would we get all those designers to double ourfield? Clearly, there is a huge need for better lighting education.

“The IALD is also trying to push lighting design versus illumi-nation engineering,” continues Israel, who teaches advanced lighting atthe University of Southern California School of Architecture, Los Angeles,as part of the Master of Building Science program. “Some programs pro-vide great technical background but not really the design aspect.”

Parsons School of Design, New York CityParsons, on the other hand, stresses design. As an accredited degree, theM.A. in Lighting Design goes back 18 years, though it grew out of classes

first taught at the school by Jim Nuckolls, author of the groundbreakingtextbook Interior Lighting for Environmental Designers. “As far as I know,we’re the oldest program in lighting design,” says director JoAnneLindsley, past president of IALD and a Parsons alumna, of the three-semester course of study. Requirements include studio plus courses inlighting principles and daylighting. The philosophical core of the pro-gram is a two-semester course, “Light, Perception, and Culture,” whichemphasizes the history, aesthetics, and psychology of lighting.

“We see light as having a critical role in social formations and inthe way the built environment is qualified,” says Peter Wheelwright, chairof the Parsons Department of Architecture. The department, founded in1991 to further refine Parsons’ environmental design offerings, grew toincorporate the M.A. programs in lighting and interior design, with thegoal of establishing an interprogrammatic field of study.

The road has been bumpy. “There is not a lot of theory under-lying [the lighting discipline], and it hasn’t cohered into an academicformulation,” says Wheelwright. “A cultural perception persists, particu-larly in higher levels of architecture, that lighting is a service discipline;architects tend to think of lighting designers as technicians.” Lindsleyadds, “Lighting hasn’t entered the perception of many architectureschools.” To counter this view, Parsons is working to consolidate the cur-riculum and attract interest and funding from government and industry.

Rensselaer Polytechnic Institute, Troy, New YorkUp the Hudson River from Manhattan, RPI indeed offers a very differentkind of lighting education from the Parsons program. The two-year M.S.degree in Lighting, offered by the School of Architecture, is highly con-centrated on the technology of light. “Other degrees in lighting tend to bearchitectural engineering degrees with a concentration in illumination,”says Daniel Frering, manager of education at the RPI-affiliated LightingResearch Center, which has been running the M.S. program since 1989.“Our degree is 48 credits, all in the field of lighting.”

Research dollars—about $4 million a year—drive the program.Students are awarded research assistantships, which pay all or part of theirtuition. “We feel that the students learn 50 percent in the classroom andthe other half working directly on projects with faculty,” says Frering. RPIaccepts 10 or 12 M.S. lighting candidates per year, as opposed to the 30 to40 enrolled in the Parsons program. RPI students come from disciplinesincluding architecture, engineering, art, and interior design. Frering esti-mates that half of the program graduates go on to work in lighting design.

University of Colorado, Boulder“The degree that we grant at the University of Colorado is a Bachelor ofScience in Architectural Engineering, and lighting is one of the special-ties,” says David DiLaura, senior instructor since 1980. By their junior

John Calhoun is a freelance writer based in New York City who frequently writes

about lighting and cinema design.

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THE PATH TO A PROFESSIONAL CAREER IN ARCHITECTURAL LIGHTING DESIGNHAS BECOME A ROUTE BUILT ON FIRMER ACADEMIC FOUNDATIONS

The Parsons M.A. pro-

gram stresses design

above illumination

engineering technol-

ogy. Among recent

work presented by stu-

dents (clockwise, from

top): Two views of an

interior swimming pool,

with lighting by Conor

Sampson, a 2002 grad-

uate; a series of

studies for an elevator

lobby with a kinetic

light sculpture by the

team of Li-Wei Lu, Tim

Milton, and Chuenjai

Nuttamun; an ethereal

lighting fixture created

by Won-Keun Han; and

another rendering by

Sampson for the sub-

dued lighting of a law

school gallery.

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year, students in the four-year program declare an emphasis: Besideslighting, they can choose structures, solar and renewable energy, orHVAC. Nine lighting courses are offered, and lighting specialists areencouraged to take relevant classes in theater and physics. Some engi-neering-minded students remain to earn an M.S. degree.

It’s a highly technical education, but DiLaura, who was instru-mental in creating the National Council on Qualifications for theLighting Professions’ Lighting Certification exam, says, “We’re committedto broadly educating our students in lighting. I’m known for writingcomputer programs in mathematics, and when I started, everyonethought, ‘He’s just going to train engineers, in the worst sense of the word:24-karat, broken-eyeglass, pocket-protected nincompoops.’ Most of ourstudents end up either working for lighting designers or for architecturalengineering firms that do lighting as part of their service to architects.”

Texas Christian University, Fort WorthLighting education is structured somewhat differently at Texas ChristianUniversity. With the help of a grant from the Nuckolls Fund, TCU’sDepartment of Design, Merchandising & Textiles has offered a lightingminor since 1998. All interior design students take a core lighting course,while lighting minors take six more. “We’re the undergraduate version ofthe program at Parsons, and quite philosophically different from the pro-gram in engineering at Colorado,” says Fred Oberkircher, TCU lightingfaculty member and past president of the IALD Education Trust. “We’reheavy on design, and probably light on calculations.”

Oberkircher knows firsthand how scant lighting training hasbeen within architecture programs. “I’m a Penn State grad, but from thearchitecture side,” he says. “When I went there 35 years ago, my one-halfof one course in lighting was the same one-half of one course that theyoffer now. Yet there is a world-class lighting program in the next building,in architectural engineering, and they haven’t taken advantage of it.”

University of Nebraska, OmahaThe country’s newest lighting-specialty degree is at the University ofNebraska, in the four-year-old architectural engineering program. Theuniversity offers a five-year course of study, granting students a B.S. inengineering after four years and an M.S. after five. An area of specializa-tion is declared after the third year. Currently there are nine lightingstudents, but assistant professor Kevin Houser says he hopes the numberwill rise to 20 or so. The school has three Ph.D. candidates in lighting.

Establishing architectural engineering at the university resultedfrom a targeted business call in Nebraska; $70 million in funding came fromthe state and industry. The lighting emphasis and lab at the new Peter KiewitInstitute was made possible in part by a grant from the Nuckolls Fund, andHouser lured fellow faculty members Clarence Waters and Dale Tiller fromKansas State and Canada’s National Research Council, respectively.

Strength in growing numbers, a deeper pool of mentors“There are very few tenure-track professionals who have ever done light-ing design, who have day-to-day experience,” notes Israel, identifying achallenge to the future of lighting education. “You can’t have studentsuntil you have good programs; you can’t have good programs until youhave good instructors. With everyone requiring Ph.D.s to teach, it’s toughfor designers to get that level of accreditation. The only way to get instruc-tors currently is to steal them from established programs.”

“Within many programs in interior design or architecture, asingle requisite course in lighting is taught,” DiLaura says. “To get seriousabout lighting, there must be a sequence that lasts several years at least.The support for that has been all but absent and requires a long-termcommitment by a host institution. That’s getting difficult, because highereducation is funded by huge engines of technology, which our industrylacks. The birth of the Nebraska program is a very uncommon activity,and it’s an interesting development to watch.” ■

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At Texas Christian

University, Fort Worth,

a grant from High End

Systems supporting

the school’s Lighting

Designer in Residence

Program allowed Anne

Militello of Vortex

Lighting to visit cam-

pus. After a week of

seminars, the students

implemented lighting

using 21 automated

luminaires within the

atrium of the Tucker

Technology Center.

Three fixtures were

affixed with rotating

gobos to produce daz-

zling light patterns.

http://www.brucklighting.com

After considering

the use of a pendant

shaped like a Quaker

bonnet, Tillett pared

down the design of the

fixture to bare essen-

tials. The six lanterns

are quietly sculptural.

MANHATTAN MENNONITE FELLOWSHIP

QUAKER MEETING FOR WORSHIP

FRIENDS SCHOOL PERFORMING ARTSPH

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Stuyvesant Square Park is a swatch of Manhattan whose historicfabric remains firm. Once part of Governor Peter Stuyvesant’splantation, or “bouwerie,” the area surrounding the square atEast 15th Street near Second Avenue was settled in 1836 after

Stuyvesant’s great-great-grandson, Peter Gerard Stuyvesant, deeded theland to the city. Today, two distinctive buildings dominate RutherfordPlace, which forms the western border of the park: the 1856 St. George’sEpiscopal Church (where J.P. Morgan worshiped) and the FriendsMeeting House, a Greek Revival building constructed five years later for aQuaker congregation, the Religious Society of Friends.

Elegantly restrained, the redbrick Friends Meeting House wasbuilt by Charles T. Bunting, a member of the meeting who is also thoughtto have designed the structure. Largely a silent practice without a formalsermon, physical or institutional hierarchy, or visual focal point, theQuaker worship ritual centers around reflective meditation and com-mentary shared by individuals, with the congregation seated in foursections of pews facing each other in a spare, nearly square room ringedwith tall windows. More than 140 years later, the Friends still adhere tothe same democratic assembly, but the uses of their main meeting roomhave blossomed. The 56-by-64-foot room serves additionally as a place ofworship for a congregation of Mennonites, a classroom for the on-siteFriends Seminary for schoolchildren, a community performance andevents venue, and a resource space for an affiliated homeless shelter.

With ongoing architectural restoration under way to preservethe building’s wood pedimented porch and double-hung windows withoriginal glazing, the Friends decided to upgrade interior lighting to reflectthe meeting house’s many contemporary functions.

“For Quakers, light is a metaphor for divine inner light,”explains administrator Nancy Hadley-Jaffe. “A central tenet is ‘light comesfrom within us, rather than outside us,’ so lighting is an important aspectof maintaining the sense of a sacred space.”

To orchestrate subdued yet efficient lighting, Tillett LightingDesign focused on the Quaker virtues of “simplicity and frugality,” saysprincipal lighting designer Linnaea Tillett. “The new lighting needed toenhance the Friends’ own meetings, yet there is so much activity takingplace in this one room throughout the week that flexibility, ease of use,and energy efficiency were priorities.”

Tillett, who holds a doctorate in environmental psychology, metwith the meeting house’s many constituencies—from Gospel singers andgrade-school musicians to members who have worshiped here fordecades—then devised lighting plans and presets for multiple functions.

For ambient lighting, spare pendants find beauty in simplicity.Six brushed-metal lanterns painted dove gray are fitted with restorationglass to reference the traditional lines of the room’s tall windows.

With new lighting, the historic Friends Meeting Housein Manhattan achieves beauty in simplicity

By William Weathersby, Jr.

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02.03 Architectural Record 199

The Friends Meeting

House is a center of

community activity;

Tillett mapped out light-

ing presets (right) for

versatility. Spare cus-

tom pendants (above

and opposite) comple-

ment the austere lines

of the meeting space’s

19th-century window

mullions and glazing.

Contributing editor William Weathersby, Jr., is a freelance writer based in

Manhattan. He edits the lighting and interiors special sections of record.

HIGH LIGHT LEVEL

MEDIUM LIGHT LEVEL

LOW LIGHT LEVEL

200 Architectural Record 02.03

Dimmable compact fluorescents permit warm, concealed light sourcesthat complement daylight. The lack of any visible lamp source and the useof restoration glass allows worshipers a view through the fixtures to thewindows and landscape beyond. The pendants are on individual motor-ized controls so they can be lowered for maintenance.

Sconces were a modification of an existing fixture design. Tillettmade the fixtures more austere by removing any detailing and adjustedtheir size to reflect the scale of the space. They use 42-watt biaxial lamps.

Recessed slots in the ceiling house a trough system fitted with500-watt PAR56 lamps. Theatrical lights can be operated either from alocal preset Lutron system or from a theatrical panel. AdditionalMR16s provide ambient downlighting. “We locked in energy-efficient,all-fluorescent lighting presets for everyday use,” Tillett says. “Moresophisticated programs, such as nighttime performances, integrateincandescent sources for a more intimate ambience.” ■

Project: Friends Meeting House,

New York City

Lighting designer: Tillett Lighting

Design—Linnaea Tillett, principal

designer; Kate Gardner, Voravanna

Tonkul, project team

General contractor: Fifty Three

Restorations

Electrical engineer: Atkinson Koven

Feinberg Engineers

Sources

Pendants: Aurora Lampworks

Downlights: Iris

Task lighting: Altman Stage Lighting

Sconces: Baldinger

www For more information on the people and products involved inthis project, go to Lighting atarchitecturalrecord.com.

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Recessed ceiling

troughs house PAR56

luminaires that support

performance require-

ments (top). Additional

MR16 pinspots add

ambient light and spot-

lighting. Sconces were

stripped of detail for a

spare look (above).

202 Architectural Record 02.03

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Architects LOT/EK bring a Boon to shopping in Seoulwith a landscape of light boxes infused with color

By Leanne B. French

When Boon, the largest fashion franchiser in Seoul, SouthKorea, decided to corner the market on new talent andcompete with the fashionistas in Tokyo and Hong Kong,the strategy was to open a showroom and retail store that

would be just as compelling as the fashion designs on display. The ownerlooked to the U.S. for an edge and an architecture firm to push fashionforward. “They wanted to create a store that was very New York Cityurban in feeling, a cross between an art gallery and clothing store,” saysarchitect Giuseppe Lignano, principal with partner Ada Toller in theManhattan-based firm LOT/EK (pronounced “low tech”).

Both transplants to New York from Naples, Italy, Lignano andToller are alumni of the Columbia University Graduate School ofArchitecture, where they became interested in mining the city for ideas as

well as materials. The firm has been recognized for its imaginative trans-formations of salvaged industrial parts. The architects have turned TVmonitors into light sources, detergent bottles into lamps, and have madeindustrial shipping containers a signature. Recently, the duo master-minded a system of movable shipping containers to enliven an exhibitionspace for the Bohen Foundation in New York’s West Village.

Translating this urban attitude and eye for innovation to theshowroom in Seoul began with finding a two-level facility that couldaccommodate a gallery and showroom upstairs and retail area below. A10,000-square-foot sportswear store was the site waiting to be overhauled.“The existing interior was entirely Sheetrocked and had a typically blandretail feeling,” says Lignano. “At our first meeting we punched holes in theSheetrock and realized that underneath was actually a beautiful concretestructure.” The client favored a rougher, warehouselike environment, soLOT/EK chose to expose the concrete walls, floor, and ceiling, returningthe shell to its raw, untreated concrete finish.

Leanne B. French is a freelance writer and a documentary filmmaker based in

Manhattan. She frequently contributes to record’s special lighting section.

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to enclose specialty

fashion vignettes (top

and opposite). Stair

treads of perforated

metal filled with resin

cast pinholes of light

downstairs (right).

Photo and video pro-

jections add another

layer of lighting to

the Boon showroom

(above). The movable

translucent panels

can be reconfigured

204 Architectural Record 02.03

The empty structure was deep and narrow with minimal win-dows, so illumination became a crucial element of the interior design.The architects devised a floating wall system of fluorescent-illuminated,translucent panels to define space and either hide or reveal air and heatingducts and structural elements. The floating fluorescent “ribbon” displaysclothing and accessories in the front of the showroom and functions as anunadorned lighting source and visual focus toward the rear. “The band oftranslucent panels is on castors and continues around the vertical planewithout touching the floor or ceiling,” explains Lignano. “Essentially, wecreated a gap between the existing concrete wall and the panels so that wecould light them from the back.”

Five fluorescent tubes are placed behind each translucent fiber-glass panel supported by steel pipe frames. The fiberglass has a slight

blue-green tint at the base and acts as a filter for the fluorescent lighting.“The quality of fluorescent light can be very harsh, but we experimentedwith the color rendering of the panels,” Lignano says. “As long as you fil-ter the light with some other color or texture, it can become quitebeautiful.” The fluorescents also offered the possibility of changing thecolor of the entire space or a specific zone by simply wrapping gelsaround the tubes.

While fluorescents make the space appear to glow and providegeneral illumination, halogen PAR lamps installed in the electrical boxesalong the ceiling create museum-style illumination for spotlighting man-nequins and special displays. The fluorescent wall system is carried

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LIKE A KIT OF MOVABLE PARTS, THE PANELS CAN BE ROLLED ALONG THECONCRETE FLOOR TO ENCLOSE SPACE. Within the stark con-

crete shell, all interior

elements are modular.

The light-box panels

are not connected to

either the perimeter

walls or ceiling and

seem to float like a

ribbon of light through

the long, narrow space.

In-store staff can adapt

the units to serve as

clothing display niches

or room dividers.

http://www.adventlighting.com

206 Architectural Record 02.03

through in the 4,000-square-foot gallery and shoe department, and the6,000-square-foot lower-level retail space, lounge, and café.

One of the client’s concerns was the flexibility and ease of mod-ifying the enclosures of the space, an issue LOT/EK addressed with itsmodular panel design. Fitted with castors, the panels are contoured toaccept indentations that create two bands. The indentations serve two

purposes: to accommodate hanging display shelves and to function as thefemale niche to the male counterpart of another panel.

Panels are cut out around storefront windows at street level toallow visibility into and out of the store. The fluorescent lighting filtersminimal daylight from the windows. Stairs leading down to the retailspace are made from perforated metal panels filled with resin, a materialthat extends the warmth of the light downward.

The lower-level retail space is divided into four vignettes,

accommodating displays for four to six fashion designers. Service andamenity areas include a lounge, fitting rooms, and storage space.

Located off the main retail corridor of Seoul and around thecorner from traditional department stores like the Galleria, Boon is bring-ing new fashion trends and a new kind of shopping experience to thefringe of the New Town district. “The neighborhood is reminiscent ofNew York City’s SoHo or NoLita areas,” says Lignano, referring to hishome city, which inspired this Asian outpost. “It’s chic and trendy, theplace to introduce new ideas to Korean fashion.” ■

Sources

Fluorescents: Phillips Lighting

www For more information on the people and products involved inthis project, go to Lighting atarchitecturalrecord.com.

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A RIBBON OF TRANSLUCENT PANELSILLUMINATED BY COLORED FLUORESCENTSTHREADS THROUGH THE FASHION HOUSE.

Fitted with color gels,

the fluorescents can

transform the ambi-

ence of the showroom

and retail space. Some

areas are often left

bare to appear like an

art installation.

Project: Boon, Seoul, South Korea

Owner: Shinsegae International

Architect, lighting designer:

LOT/EK—Ada Tolla, Giuseppe

Lignano, partners

General contractor, engineering

consultant: Kesson Construction

Computer rendering: John

Hartman, Thomas Chirouse

http://www.ppgglazing.com

Perforated metal stairs

and guardrails leading

to a roof deck are lit

with colored fluores-

cents (this page and

opposite, top). The

deck, overlooking a

plaza and stadium, was

added to the building.

Lounges at LiT (oppo-

site, bottom) change

hues seasonally.

02.03 Architectural Record 209

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Project: LiT, Oklahoma City,

Oklahoma

Owners: Lane Payton, Kyle Payne,

Stephen Confer, Tyler Peyton

Architect, lighting designer:

Elliott + Associates Architects—Rand

Elliott, FAIA, design architect; Danny

Theisen, Assoc. AIA, Branson Young,

Assoc. AIA, Joseph Williams, Assoc.

AIA, design team

General contractor: Lingo

Construction

Electrical contractor: Womack

Electric

Elliott + Associates captures LiT in a former warehousereborn as an edgy art gallery and watering hole

By Leanne B. French

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Bricktown, as its name suggests, is an industrial district inOklahoma City lined with redbrick warehouses that over theyears have stored everything from munitions to mufflers. Morerecently, a city initiative has funded public-improvement projects,

including the refurbishment of a scenic waterway, so that tourism is takingroot where industry has vanished. It was the allure of the area’s industrialpast, however, that most inspired architect and lighting designer Elliott +Associates to design Li¯T (pronounced “light”), an edgy new art galleryand bar on the outskirts of the evolving neighborhood.

Li¯T’s quartet of owners, enterprising medical students moon-lighting as entrepreneurs, were not interested in creating simply anothertourist draw, but rather a neighborhood spot that would attract a “see andbe seen” clientele of regular patrons. Principal architect Rand Elliott,FAIA, took an “archaeological approach” to the quirky 25-foot-wide-by-120-foot-long industrial building, formerly the Corkan Pump Company,that they had rented. “The clients had little money and time, and I’malways challenged by that,” says Elliott, who oversaw the design andbranding of the project from the logo and letterhead to the interior archi-tecture and lighting. Limited by budget, “we powerwashed the shell,removed the dust, then sealed everything, all the cracks and crevices, andfroze them in time,” Elliott says. New architectural insertions, the bar andgallery spaces, appear to be objects floating within the historic space.

Colored lighting gives the bar its competitive edge, not to men-tion its name, Li¯T. Elliott’s design objective was to devise a strategy ofvisual reinvention.“Any bar can become really dull for the staff and clien-tele who visit frequently,” he explains. When the clients suggested thespace function as a commercial gallery as well as a watering hole, Elliottsaw the proverbial lightbulb of inspiration hovering above his head. “Iasked myself, why doesn’t the space change just as the art changes? So weproposed that the menu, art, and lighting change on a quarterly basis.”

Since Li¯T opened last July, the lighting scheme has alreadyshifted seasonally from red to blue to purple. Though the chromaticchanges in illumination are stunning in effect, they are accomplishedsimply and at low cost. One hundred T8 32-watt fluorescents are placed atthe edges of the 3,250-square-foot main interior, with inexpensive tubeguards, or gels, used for changes in color. Through the center of the space,Elliott specified MR16 cable lighting, lamped at 20 and 50 watts. “We putglass filters on the cable lights so we could illuminate the center of theroom with color, then illuminate the art with white light,” he says. “It

210 Architectural Record 02.03

almost appears as though the artwork is illuminated from within.”Design and construction economics required using inexpensive

building materials, which actually fit well with the architects’ industrial-chic aesthetic. A bar face and rest-room countertops of galvanized steelhave a reflective quality that complements the lighting while trumping thesurfacing’s industrial pedigree. Black, white, and translucent furnitureallows lighting to reign as the premier design element. White partitions inthe rest rooms absorb Elliott’s tongue-in-cheek lighting plan: pink for theladies and blue for the gentlemen.

Structural flaws, like a hole in the wall originally used as a pathfor a forklift, were transformed into design vignettes. The wall openingwas covered with galvanized metal and anchors custom metal wine-bottle holders. Nearby, a perforation in the floor was covered with a metalgrate and illuminated from within.“The flooring has a mystery to it,” saysElliott. “Patrons wonder whether it is art or structure as they walk past.”

A centerpiece is a backlit Plexiglas panel along a back wallbeneath stairs leading to the roof deck. The illuminated panel creates agolden section while hiding another stairway up to an office. “The panelis the basis for the proportion of all the interior wall elements,” Elliottsays. “It synthesizes the art and architecture throughout the space.” ■

Sources

Cable lighting: ALFA

Downlights: ELP

Exterior lighting: Lithonia

Task lights: Lithonia; Paramount;

First Source Lighting

Exit lighting: Quantum

Controls: Leviton

www For more information on the people and products involved inthis project, go to Lighting atarchitecturalrecord.com.

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“When we conceived

LiT, we thought about

light as a source of

energy and celebra-

tion,” says Elliott.

Above, saturated light-

ing is achieved with

gelled fluorescents

aided by cable lights.

Below, a former hole in

the wall now cleverly

stores wine bottles.

http://www.elliptipar.com

http://www.irsecurityandsafety.com

02.03 Architectural Record 213

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By Lindsay Audin

Track-mounted incandescent lighting is the most commonlyused system for the display of art and retail goods. Becauseincandescent lamps are cheap, have precise beam spreads, andproduce accurate color, they have always been the lamps pre-

ferred for use in track fixtures. Now a new generation of tiny metal-halidelamps, miniaturized electronic ballasts, and new track fixtures permitmetal halide to chip away at incandescent’s predominance as the lamp ofchoice in track-lighting systems.

Innovative CMH lamps In the past, nothing could rival the optical control ofincandescent lamps. But even when ceramic-metal-halide (CMH) lamps, manufactured by Philips,Sylvania, and GE, began to approach the color qualityand beam control of incandescent lamps, the size andweight of the fixtures discouraged most users fromreplacing their incandescent track with metal halide.Each fixture and ballast unit could weigh more than 4 pounds, so in addition to the cost of replacing theincandescent equipment, the structure supporting thetrack might also need to be upgraded. Another disad-vantage in the past was that a metal-halide fixture’slamp wattage couldn’t be changed without alsochanging the ballast. By contrast, the brightness andbeam spread of an incandescent fixture could bealtered simply by changing a lamp.

CMH Lamps 101For those who are unfamiliar with CMH lamps, here are some of thebasics. These small lamps provide light that has a color-rendering indexof 80 to 92, and they maintain their color-rendering capacity and lightoutput over the lamp’s life much better than earlier metal-halide lamps.CMH lamps produce about 80 lumens per watt, about four times asmuch as a halogen lamp. The high efficiency of such sources cuts air-conditioning loads and makes many spaces, such as stores andgalleries, much more comfortable than those illuminated by “spaceheaters,” as incandescent spots have been called. The new lamps emitonly a tiny fraction of the ultraviolet radiation common to halogens andolder metal-halide lamps. The CMH’s ceramic element has an arc gap ofjust 3 mm. This allows its light to be concentrated with a smaller reflec-tor than was previously possible; for example, a 39-watt CMH lamp isabout the same size as an MR16. CMH lamps also start faster than ear-lier metal halides, reaching 90 percent of full output in 72 seconds, andrestart in less than three minutes. Philips calls its CMH MasterColor;

GE calls its brand Constant Color; and Osram Sylvania calls its lampsMetalarc Ceramic Metal Halide.

Fitting CMH to existing trackConsidering the millions of lineal feet of 120-volt incandescent light trackin the world, it should come as no surprise that someone would figure outhow to put metal-halide track heads on it. The company that did it is

called Metal Light (www.metal-halide.us) and islocated in New York City. Its creation is the TrackAdapter Pak, a small ballast that is 8 inches long and11⁄2 inches square, weighs just 14.6 ounces, and maybe twisted into place on any standard Juno, Halo,or similar single-circuit track. The bottom of theballast has an opening that accepts a standard metal-halide track head. Metal Light makes these, as dowell-known track-lighting manufacturers such asTimes Square Lighting, Con Tech Lighting, RuudLighting, and Genlyte-Thomas’s Daybrite.

A lighting designer need only choose thelamp size, color, wattage, and style of track head thatbest fits the application. The ballast can handle 39-,50-, 70-, or 100-watt CMH lamps; roughly compa-rable to incandescent in the 75- to 400-watt range.Any of these CMH lamp wattages can be chosenwith the flick of a switch on the adapter ballast, so

one has to use the lamp wattage that the track head was originally manu-factured to handle. Should it be necessary to raise or lower brightness, oneneed only change the lamp and adjust the switch setting. Metal Light alsomakes track heads that accommodate GE’s new ConstantColor CMH 20-watt bi-pin lamp for installation onto its Track Adapter Pak.

The all-important caveatsFirst, Metal Light’s retrofit ballasts are not dimmable. If the track is wiredto dimmers or a dimming system it must be disconnected and the trackhardwired to a 120-volt circuit. Second, one should not attempt to installa medium-base incandescent track head with a medium-base metal-halide lamp screwed into it onto the retrofit ballast. The sockets are notdesigned to carry metal halide’s high starting voltage and will fail. Finally,those designers or building operators seeking to retrofit a length of trackthat is carrying many track heads should verify that the tracks can carrythe additional load. Changing 20 heads to CMH would add about 20pounds to that single length of track.

As with any new product, always check the specs: UL listing,power factor, end-of-life/lamp-failure shutoff, flicker issues, resistance topower spikes, total lamp and ballast wattage used. Look for low harmonicsand ease of part/lamp/ballast replacement. While Metal Light’s equipmentpasses all the critical tests, other manufacturers’ CHM ballasts may not. ■

Ceramic metal halide outshining incandescentNEW TINY, LOW-WATTAGE, CERAMIC-METAL-HALIDE LAMPS AND MINIATURIZED ELECTRONIC BALLASTS MAKE IT POSSIBLE TO RETROFIT CMH FIXTURES ONTO EXISTING INCANDESCENT TRACK

Lindsay Audin is the president of Energywiz, an energy and technology

consulting firm.

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A compact ballast allows CMH to be

installed on incandescent track.

02.03 Architectural Record 215

Lighting Briefs

For more information, circle item numbers on Reader Service Card or go to www.architecturalrecord.com Advertisers & Products info.

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Los Angeles furniture man-

ufacturer Modernica

announces the release of

the 50th-anniversary-edi-

tion Diamond Bubble lamp,

from an original George

Nelson design long out of

production. Created in

1947, the airy Bubble lamps

are fashioned from sturdy,

lightweight cages covered

with a translucent, syn-

thetic material that was

originally developed during

World War II to waterproof

armaments. 213/683-

1963. Modernica, Los

Angeles. CIRCLE 200

� Pop the bubbly

Plexineon is a LED linear lighting sys-

tem that glows and curves like neon

but uses up to 70 percent less energy.

The product can be used in long,

straight pieces; connected to make

one continuous piece; factory-bent

tightly into letters or curves; or cold-

bent tightly in the field into gentle

waves or arcs. 847/328-7800. iLight

Technologies, Evanston, Ill. CIRCLE 205

� Neonlike LED

Using natural, hand-carved

rock crystal, artist Robert

Kuo has created the Carved

Ice table lamp for McGuire.

Resting on a copper base,

the translucent, textured

crystal catches the light

from the lamp and is

paired with a Pongee silk shade

to add contrast to the lamp’s

materials. Each lamp is signed,

numbered, and dated. 415/626-

1414. McGuire, San Francisco.

CIRCLE 201

Pani is a collection of terra-cotta light

wall lamps that are available in three

different shapes called Baguette,

Sfilatino, and Pagnottella (shown) for

different powers of linear halogen

bulbs. Pani is just one family of lumi-

naires from the Italian lighting and

furnishing design company Album.

39/039 220041. Album, Biassono,

Italy. CIRCLE 203

� Piece of bread

Nessen Lighting has teamed with Knoll

Textiles to introduce the Imago acrylic

textile shade material. The Imago resin-

encapsulated shade fabric is available

in a choice of 10 colors and textural

patterns, ranging in appearance from

denim to tweed to linen. Each may be

specified as an optional shade choice

on a wide range of Nessen decorative

wall sconces with rectangular or tubu-

lar shades. 914/698-7799. Nessen

Lighting, Mamaroneck, N.Y. CIRCLE 206

� Acrylic textile shade

Flux has launched a line of architectural

lighting that features nickel-plated steel

and anodized aluminum components

forged by the same contractors who

helped make the Boeing 757 and

Boeing 767 airplanes. Each pendant fix-

ture, surface-mount light, and wall

sconce has either handblown colored

glass, or slumped and textured hydro-

cut glass. Many of the residential or

commercial fixtures can accommodate

both incandescent and compact fluorescent

bulbs. 206/282-3023. Flux, Seattle. CIRCLE 202

� Aeronautical lighting

Louis Poulsen was one of

the sponsors for last fall’s

Arne Jacobsen exhibition

at Scandinavia House in

New York City. The AJ

Eklipta light fixture was

designed by Jacobsen in

1965 for the City Hall in

Roedovre, Denmark. The

architect used the prod-

uct in many of his later

buildings, as well, often as

a wall fixture for staircases. AJ Eklipta features a three-layer handblown glass shade

with a clear edge that creates a halo of light around the perimeter. 954/349-2525.

Louis Poulsen Lighting, Fort Lauderdale, Fla. CIRCLE 204

� Northern lights

� Ice sculpture

http://www.bega-us.com

Lighting Briefs Efficient choices

For more information, circle item numbers on Reader Service Card or go to www.architecturalrecord.com Advertisers & Products info.

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Philips’ new Alto Plus Slimline T8 8 Foot flu-

orescent-lamp family features a life of up to

30,000 hours, which is 60 percent greater

than other 8-foot fluorescents, which last

about 12,000 to 18,000 hours. In addition,

the Slimline lamps deliver a high CRI of 85

and 95 percent lumen maintenance over

the life of the lamp. 800/555-0050. Philips,

Somerset, N.J. CIRCLE 212

� Lasting lamps

For open office lighting for the Symantec technical sup-

port and customer service center in Springfield, Oregon,

Pentron T5 HO lamps were used in high-performance

indirect lighting systems providing 30-footcandle levels.

The outer rows of luminaires

nearest the windows are auto-

matically dimmed by daylighting

controls using Quicktronic PHO-

DIM ballasts. Actual lighting

energy use is approximately 50

percent of the amount permit-

ted by the Oregon Energy Code.

978/777-1900. Osram Sylvania,

Danvers, Mass. CIRCLE 211

� Efficient collaboration

Juno Lighting has introduced its new, 4-inch PAR ICI Downlight to enable installa-

tion in a greater variety of space-restricted insulated plenums, to save energy, and

to enhance aesthetics with improved beveled-trim rings. The new housing design

is Air-Loc rated without requiring the use of supplemental gasketing. The Air-Loc

rating complies with energy-efficiency requirements first established in the State

of Washington that do not

allow conditioned air to

escape a recessed fixture

or unconditioned air in the

attic to enter through it.

An Air-Loc recessed fixture

can save more than $4

per year per fixture in

energy costs compared to

a similar IC-rated fixture

that does not carry the Air-

Loc rating. 847/827-9880.

Juno Lighting, Des Plaines,

Ill. CIRCLE 210

� Airtight light

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02.03 Architectural Record 221

BuildingGreen, publisher of the GreenSpec Directory and Environmental

Building News (EBN), announced its selection of the top 10 new green building products of the year. This first-ever award, announced at the GreenBuilding Council’s International Green Building Conference in Austin, Texas,last November, recognizes outstanding products added to its GreenSpec

Directory during the past year. The 10 products chosen represent a range of materials and equip-

ment that can help to reduce the environmental impact of a building. Someproducts selected may have been on the market for more than a year. “We sought to recognize a wide variety of products in an effort to convey to designers, builders, and building owners the wide array of green buildingproducts that are available today,” says GreenSpec coeditor Alex Wilson.“We wanted to choose some really new or innovative products that even

What makes a product green? The editors of theGreenSpec Directory suggest criteria including environmentally attractive material content or features

that reduce the environmental impact of building operation. For more info,checkout this month’s article on selecting green materials, on page 173. Rita F. Catinella

New Products

seasoned green architects or builders might not have heard of yet.” Wilsonnotes that selecting only 10 products from the 250-plus new products in the directory was difficult. “Five years ago it would have been easy to selectthe standout green building products. But so many new products are beingintroduced now that selecting the top 10 products was a huge challenge.”

BuildingGreen plans to make the top 10 announcement an annualevent at the Green Building Council conference and trade show. The nextconference takes place from November 12 to 14 in Pittsburgh.

Eight of the green products selected are shown here. The two products from the top 10 that are not shown include formaldehyde-freefiberglass from Johns Manville and the McDry waterless urinal from DuravitUSA. Both products were recently highlighted in the Product Reports section of RECORD’s December 2002 issue. 802/257-7300. BuildingGreen,Brattleboro, Vt. CIRCLE 213

For more information, circle item numbers on Reader Service Card or go to www.architecturalrecord.com Advertisers & Products info.

BuildingGreen announces the Top 10 Green Building Products of the Year

Until recently, Kalwall’s highest-perform-

ance translucent glazing system was a

70-millimeter panel with fiberglass insula-

tion that insulated to R-10 and transmitted

up to 9 percent visible light. Kalwall R-20 is

a new 70-millimeter glazing system that

provides double the insulation value and

transmits up to 20 percent of visible light.

This is achieved by filling the glazing unit

with a granular silica aerogel from Cabot

Corporation called Nanogel. 978/670-

8018. Cabot Corporation, Billerica, Mass.

CIRCLE 215

� Insulating aerogel

Pittsburgh Paints’ Pure Performance line of interior paints is the latest zero-VOC product to

enter the market. While most low-VOC paints today use acrylic or vinyl acetate resins, Pure

Performance uses a newer vinyl acetate ethylene resin. The company claims equal perform-

ance to the second-to-the-top Wallhide line it replaces, and there is no cost premium. This is

the first paint to be certified under a new Green Seal standard for paints. 800/441-9695.

PPG Architectural Finishes, Pittsburgh. CIRCLE 216

WatterSaver is the first heat-pump

water heater that is designed as a

drop-in replacement for a standard

electric water heater. The 50-gallon

unit extracts heat from the indoor air

to heat water using about half the

energy of an electric-resistance water

heater. During operation, the

WatterSaver consumes about 500

watts of electricity and produces

3,500 Btus per hour of cooling, which

in a warm climate serves as free air-

conditioning. 716/366-5500. ECR

International, Dunkirk, N.Y. CIRCLE 214

� Cans of green paint

� Cooling heater

222 Architectural Record 02.03

New Products

For more information, circle item numbers on Reader Service Card or go to www.architecturalrecord.com Advertisers & Products info.

Preform Manufacturing offers a range of office partition systems that are manufactured

from environmentally responsible materials. Their Classic Panel and Decato systems

utilize core materials made from a foamed flue-gas gypsum product, 100 percent

recycled-content foamed glass, and a high-recycled-content cellulosic honeycomb

material. The company also

uses natural textiles and is

experimenting with other bio-

based materials, including a

proprietary resin material. All

components are PVC-free,

and all finishes are nontoxic.

407/673-7474. Preform

Manufacturing. Orlando.

CIRCLE 218

� PVC-free partitions

The Low Impact Foundation Technology (L.I.F.T.) is a foundation

system that can be installed with almost no excavation. Sections

of foundation wall are poured above ground and “pinned” into

the ground using heavy-duty steel pins that extend deep enough

to support the structure and prevent uplift. This same basic

technology has been used for about five years in supporting

boardwalks in ecologically fragile locations, such as wetlands,

where excavation would cause significant damage. The L.I.F.T.

system is being used on a limited basis in the Pacific Northwest,

including a Habitat for Humanity home completed last summer.

253/858-8809. Pin Foundations, Gig Harbor, Wash. CIRCLE 221

� Friendly foundation system

The new XLerator hand dryer’s high-velocity fan results in a typical drying time of just 12 to

15 seconds (versus 30 to 45 seconds for conventional electric dryers). Along with saving

a great deal of money in operating costs,

compared with paper towels or a stan-

dard dryer, the XLerator also performs

better from a life-cycle assessment stand-

point. Including the energy to produce

paper towels, the XLerator uses just 10

percent as much energy per hand-drying

use as virgin paper towels, and 17 percent

as much as when recycled paper towels

are used, according to research compiled

by EBN. 413/525-4531. Excel Dryer, East

Longmeadow, Mass. CIRCLE 220

� Dry hands, conserve energy

The Roy O. Martin Lumber

Company’s Tuff-Strand oriented

strand board is the first such

product to be certified according

to standards developed by the

Forest Stewardship Council. To

receive this certification, the

company had to go through an

extensive third-party review of its

forestry practices on its timber-

lands in Louisiana. In addition to

offering FSC-certified OSB, the

Roy O. Martin company also

offers FSC-certified softwood plywood, concrete forms, hardwood lumber, and

utility poles. 800/299-5174. ROMEX World Trade Company, Alexandria, La.

CIRCLE 219

� Certified OSB

WoodStalk is a fiberboard product made

from wheat straw. It is available in vari-

ous thicknesses for use in cabinets,

shelving, furniture, and underlayment.

Not only is the product

made from a waste agri-

cultural material (straw),

but formaldehyde is not

used in its manufacture.

(Conventional particle-

board and MDF are made

with urea-formaldehyde

binder and can emit

formaldehyde gas.)

WoodStalk can be used

in place of Lauan plywood as a resilient

flooring underlayment, thereby

protecting the world’s rain forests.

979/238-5329. Dow BioProducts,

Manitoba, Canada. CIRCLE 217

� Wheat-straw fiberboard

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02.03 Architectural Record 225

PH

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: ©

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Product Briefs

For more information, circle item numbers on Reader Service Card or go to www.architecturalrecord.com Advertisers & Products info.

Product of the Month Mimosa FinishesMimosa International specializes

in the production and application

of a range of authentic Italian

decorative finishes for commer-

cial and residential interiors,

exteriors, and furnishings. One

hundred percent natural materi-

als are hand-applied by crafts-

people to produce a range of

washable, water-resistant, odor-

less, and durable finishes. The

products can be applied to virtu-

ally any surface and produced in

custom-made colors and tex-

tures. Recent projects include the

Villa Venezia residence in Palm

Beach, Florida, Smith Architects

and Bunny Williams (right); the

Prada U.S. Headquarters, Herzog

& DeMeuron; and Equinox Gyms,

by David Rockwell Architect (top

right). Mimosa has collaborated

with classic modern furnishings

manufacturer Cassina to create a

set of fixtures, display cases, and furniture designs for the new 7,000-

square-foot Alfred Dunhill New York flagship store. 212/334-0330. Mimosa

International, New York City. CIRCLE 223

The Frog armchair and chaise longue (shown) were two of the new furnishings

designed by Piero Lissoni for Living Divani on display at last year’s Promosedia chair

trade fair in Udine, Italy. The Minimal-style seating collection comes in a variety of

coverings, including felt, coach hide, PVC, rope, and padding. 39 031 630954. Living

Divani, Anzano del Parco, Italy. CIRCLE 222

� Princely frog

The Quick Step Rheinzink

Solar PV roof-integrated mod-

ule system features a 3M

binding technique that meets

requirements pertaining to

light penetration, weather, and

aging resistance. The system

is suited for roof pitches of 10 degrees to 75 degrees. Without having to walk on the

solar modules, they are connected by a roof installer with the aid of a plug-in sys-

tem. An authorized electrician connects the converter or converters. 617/948-2520.

Rheinzink Canada, Boston. CIRCLE 225

� Roof-integratedPV system

IQ Smart Fabric (above left) is a new

upholstery and panel fabric from

Carnegie. Composed of a 100 percent

polyacrylic face, IQ has one million pile

knots per square yard, resulting in higher

pile density and greater durability. IQ

uses a finishing process of only

heat and pressure that eliminates

the need for chemical finishes.

Also new from Carnegie is Tuscany

(above right), an alternative non-

woven wall covering that is PVC- and

chlorine-free. Offering a nonwoven base

of polyester and viscose, Tuscany is

infused with water-based acrylic inks

and minerals to create a metallic sheen.

516/678-6770. Carnegie, Rockville

Centre, N.Y. CIRCLE 226

� Alternative coverings

One of the innovative manufacturers on dis-

play at 100% Design, held last year in London, was Smile Plastics. The

company is committed to sourcing and developing markets for sheets made from

recycled plastics waste, including old plastic bottles, coffee cups, yogurt cups, and

industrial waste. Last year’s introductions included sheets made from crushed CDs,

plastic water bottles, toothbrushes (above left), bank notes (above right), and scrap

from the Smile Plastics’ factory. 44 01743 850267. Smile Plastics, Shrewsbury,

United Kingdom. CIRCLE 224

� Redeemable plastics

Product Briefs

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The new Get Set Collection from Allsteel includes tables and seating that can eas-

ily be configured for team meetings and breakout sessions. The tabletop features a

flip-up top and quickly and compactly folds and nests for storage. The chairs have

a cushioned seat, a “flex back” that follows the natural movement of the body, a

sloping arm, and perforations in the back that allow for air circulation. 563/262-

4800. Allsteel, Muscatine, Iowa. CIRCLE 229

� Get ready, get set

Tuva Looms, a woven carpet com-

pany founded by Terry Mowers and

Suzanne Tick, is expanding its collec-

tion with three new designs and

subtly altering colors of existing pat-

terns, all eight of which are still

available. The three new patterns

are: Double Grid, a large-scaled window-pane pattern on a tatamilike ground; True

Path, a linear pattern of ribbed construction; and Open Plane, whose block pattern is

outlined with surface ravines created by “warp voids.” 212/598-1021. Tuva Looms,

New York City. 212/598-1021. CIRCLE 228

� Looming designs

M2L presents four re-editioned designs of the Italian furniture

designer, artist, interior designer, and architect Carlo Mollino

(1905–73). Mollino, inspired by the Futurist and Surrealist move-

ments of his time, was one of the pioneers of biomorphism, which

greatly influenced postwar Italian design. A man of many inter-

ests, Mollino was an expert stunt flyer,

avid skier, race-car driver (and

designer), student of the occult, and a

photographer known for his erotic

Polaroids. The Ardea armchair

(shown) was designed in 1944

for the Minola House in Turin. It

features a removable cover, a

black painted wood base, and a

steel frame. 212/832-8222. M2L,

New York City. CIRCLE 230

� Bamboolike pulls

The Ingress’r ADA-compliant door

control offers improved accessibility

to visitors ranging from the most

severely disabled (with limited use of

their limbs) to parcel-laden traffic.

The door control offers a tapered

contour shape to deter shear-off

from wheeled conveyances, a height

of 36'', and a 2'' wide central column

that is fully activated by a tap at

any height. 877/421-9490. Wikk

Industries, Greendale, Wis. CIRCLE 232

� Welcoming entrance

Interface introduces the Philosophy Collection of carpet tiles, which includes three

new patterns: Cogent, Perpension, and Rationale. The tiles feature a heavy, nubby

texture in a tufted-loop construction that varies in pattern across the three modu-

lar formats. The 50 cm tile offers the most flexibility on the floor and displays the

smoothest texture; the 50 cm x 1 m plank can be arranged in a number of patterns,

such as herringbone or ashlar; and the 2 m x 2 m modular rugs provide a set geo-

metric pattern. 706/882-1891. Interface Flooring Systems, LaGrange, Ga. CIRCLE 231

Valli & Valli’s new collection of bamboo-inspired door pulls was designed by architect

Leon Krier. Suitable for both residential and contract use, the pulls are available in

gold, satin chrome, and rustic finishes. The Krier door

pull is the newest addition to Valli & Valli’s collec-

tion of products by distinguished architects and

designers. 877/326-2565. Valli & Valli, New

York City. CIRCLE 227

� Designer of many interests

226 Architectural Record 02.03

� Carpeting philosophy

http://www.atas.com

Product Briefs

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Werndl comprises an array of modular, mobile, and combinable office furnishings

that integrate steel, aluminum, fine wood veneers, and high-impact plastics. The

system includes: Emerge, a workstation with integrated wire management;

Freewall, an expandable partition providing wire management and adjustable

shelving; Touchdown, a sit-stand, height-adjustable side table; Fliptop, a foldaway

desk; Moby, a family of lockable file and storage carts; Tokyo, a fixed shelving unit;

Communicator, a mobile media cart; and InfoTainer, an array of presentation fur-

nishings. 972/641-2860. Vecta, Grand Prairie, Texas. CIRCLE 234

� Workplace workhorse

The Frame line of bathroom fixtures features a flexible plaited-stainless-steel hose

covered by a transparent PVC film. The fixture’s “frame” is a structural element

turned out from a stainless-steel laser-cut plate. Frame also has an accessories line

in stainless steel, resin, and

glass that includes a scented

oil holder and vase. A plaited-

stainless-steel spout is also

the main characteristic in the

bathtub spout (below). The

entire Frame line is available

in chrome and brushed-nickel

finishing. 39 0163 560000.

Rubinetterie Ritmonio, Varallo,

Italy. CIRCLE 233

� Worthy of framing

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Product Briefs

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Wilsonart has launched a new high-pressure laminate flooring collection called

Velocity, designed exclusively for commercial environments. The collection features

20 different exotic wood, stone, and abstract designs. Velocity is constructed with a

commercial-grade core and high-performance wear layers and impact layers to

withstand the wear and tear of commercial environments. Velocity is Wilsonart’s first

commercial flooring designed for use with the company’s new adhesive-free Trac-

Loc installation system. 800/710-8846. Wilsonart, Temple, Texas. CIRCLE 235

� Commercial-grade laminate flooring

New designer finishes are avail-

able in Alucobond material for

exterior cladding and interior

finishes. The brushed surfaces

are offered as anodized exterior

finishes or clear-coat interior-

only finishes in designs called

Graffiti (random swirls applied

by mechanical means, shown

above right); Grass (mill-finish-

aluminum and satin finish

that is highly directional); and

Diversion (mill-finish-aluminum

and satin finish that is mostly

directional, shown below right).

The embossed surfaces form

a 3D pattern that maximizes

texture and contrast while

providing a strong visual pres-

ence. 800/382-6445. Alcan

Composites, St. Louis. CIRCLE 236

� Scratching the surface

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ProductLiterature

Health-care furnishingsBioFit Engineered Products offers two

brochures for their newest furnishing

offerings. The first catalog describes

BioFit’s line of Fold-N-Roll tables for

training and meeting facilities, learning

and activity centers, cafeterias, and

other applications in plants, offices, and

schools. Seating for Health Care Settings

is a catalog to assist in the specification

of chairs and stools for health-care

applications. 800/597-0246. BioFit

Engineered Products, Bowling Green,

Ohio. CIRCLE 237

Fine case-goods brochureCCN International offers a new brochure

for its Foundation Collection of hand-

configurable, fine wood desk and case-

good components. Photos illustrate the

many perimeter-mounted work surfaces,

desks, tables, reception stations, creden-

zas, and storage-display cabinets that

comprise Foundation. 315/789-4400.

CCN International, Geneva, N.Y.

CIRCLE 238

Revived lightingRejuvenatio’s Early Winter 2002 catalog

features an expansion of the company’s

Modern America line of light fixtures for

homes built from the mid-1920s through

the 1940s. 888/401-1900. Rejuvenation,

Portland, Ore. CIRCLE 239

Full-line fan catalogThe new Monte Carlo Fan Company cat-

alog is the first full-line catalog from the

company in three years. The 116-page

catalog features more than three dozen

lines of fans, each of which is offered in

a range of fan housing and blade colors.

856/764-0500. Monte Carlo Fan

Company, Fort Worth. CIRCLE 240

NEW SITES FOR CYBERSURFINGInformation about “green” polyiso insula-tion products www.greenzone.com

Reclaimed wood from old barnswww.old-barn-wood.com

Newly redesigned site for custom furniture, lighting, and accessorieswww.jrobertscott.com

New site design for fiber cement productmanufacturer www.nichiha.com

CIRCLE 102 ON READER SERVICE CARD OR GO TO WWW.LEADNET.COM/PUBS/MHAR.HTML

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ProductLiterature

Track lighting catalogLithonia Lighting’s full line of track light-

ing is highlighted in a new 32-page

catalog. The piece includes product

photography, dimensional drawings,

and technical information to allow easy

product selection and ordering. In addi-

tion to traditional track heads such as

flatback, roundback, and lamp holder,

new products such as PAR shades and

metal-halide lamp holders are featured

in the brochure. 770/922-9000. Lithonia

Lighting, Conyers, Ga. CIRCLE 241

CRSI award winnersThe Concrete Reinforcing Steel Institute

announced the winners of its 16th

Biennial Design Awards Competition in

its 2002 Design Awards Brochure. The

28-page brochure features 10 structures

selected for their excellence in utilizing

conventionally reinforced cast-in-place

concrete. Jury selections represent a

wide spectrum of project types, including

buildings, bridges, parking facilities, and

public infrastructure needs. 847/517-

1200. Concrete Reinforcing Steel

Institute, Schaumburg, Ill. CIRCLE 242

Ventilation product catalogGreenheck’s new Architectural Products

catalog provides an overview of the com-

pany’s comprehensive line of louvers and

other architectural ventilation products.

The illustrated catalog also includes

penthouse and equipment screens, sun-

shades, and standard or custom egg-

crate grilles, all designed to complement

Greenheck’s air movement and control

products worldwide. 715/359-6171.

Greenheck, Schofield, Wis. CIRCLE 243

Wall-mounted lightingWall-mounted Wallpack Series luminaires

from Holophane are described in a new

brochure from the company. Applications

include office complexes, schools, parks,

parking garages, residential areas, cam-

puses, walkways, and underpasses.

740/345-9631. Holophane, Newark, N.J.

CIRCLE 244

Treated wood answersThe Southern Pine Council, in coopera-

tion with the American Wood Preservers

Institute, has released a new edition of

the brochure, Answers to Questions

About Pressure-Treated Wood. The book-

let offers more than 30 definitive answers

to popular questions asked about treated

wood. 504/443-4464. Southern Pine

Council, Kennar, La. CIRCLE 245

Complete Light Distribution

Primelite Manufacturing offerssign lights of high quality. Wideassortment of heads/arms bentto specification. Heads & armsmade of aluminum. Availableincandescent, PL, HID. twentyone standard colors. Powercoating. Primelite offers anentire line of decorative out-door fixtures, poles, woodenposts, post lights, wall brackets.Indoor and outdoor fixtures,factory shades. 516-868-4411,800-327-7583, Fax: 516-868-4609. Web: Primelite-Mfg.com

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Lightweight Gypsum TilesOffer New Ceiling Solutions

International Architectural CeilingTiles Inc. (INTERACT) creates anew cost effective generationof advanced technology, light-weight gypsum ceiling tiles, fea-turing: 2'x2' panels; less than6.5 lbs; fit into existing 15/16"t-bar; fire and smoke retardant;moisture resistant and cleanable;drills and cuts easily. INTERACTceiling tiles encompass a widerange of acoustical propertiesmaking them economicallysuitable for any application.www.interactceilings.com

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R E C O R D L I G H T I N G / M A N U F A C T U R E R S ’ S P O T L I G H T

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136tracey_hall@McGraw-Hill.com

A D V E R T I S E M E N T236 Architectural Record 02.03

Opus by Prima Flame

Exciting and unique, the“Flame” spotlight is a real state-ment. It means to be seenand appreciated. Flame can beused in low voltage monorail,cable, and mono-point / multi-point canopy system. Optionsof Polished Chrome and MattSilver finish, MR16 Max 50W.For more information, call tollfree 866-885-4915 or visitwww.primalighting.com.

Prima Lighting Corp.CIRCLE 151 ON READER SERVICE CARD

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New ‘Hole in the Ceiling’Downlights

These innovative fixtures utilizecompact fluorescent, incandes-cent or metal halide lamps. TheGRG (fiberglass reinforced gyp-sum) casting has integral elec-trical components which areaccessible through the bottomof the fixture. Installed, it lookslike a custom, formed drywall‘light niche’ that blends with anyinterior motif. UL/CUL listed.Contact us at 626-579-0943.

Engineered Lighting ProductsCIRCLE 155 ON READER SERVICE CARD

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150 Watt Metal HalideFraming Projector

Presenting the unique 150Watt metal halide recessableframing projector for multipleillumination from one sourceby means of patented photo-graphic imaging process. Calltoll free (800) 528-0101 or logon to www.wendelighting.com.

WendelightingCIRCLE 153 ON READER SERVICE CARD

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MTR Luminaires

Selux MTR systems provide anintriguing marriage of classiccontemporary forms with thepatented MTR refractor technol-ogy. MTR is a true prismaticrefractor system with glare-freeillumination, distributed precise-ly where it is needed. Thisproduct family includes bollard,wall-mounted, column formsand pole-mounted luminaries, ofdie cast and extruded aluminum.

SELUX CorporationCIRCLE 150 ON READER SERVICE CARD

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Confetti

Confetti adds a festive twistto the traditional RLM with afull palette of bright colorsand a wealth of design options.Available in cord- or stem-hungpendant and wall mount config-urations with incandescent, com-pact fluorescent or metalhalide lamping. Shown is theConfetti CP Prismatic Refractorwith wall mount designer armand optional conical drop lens.Call (800) 940-6588 or visitwww.luraline.com for a full selec-tion of interior & exterior lighting.

Luraline Products Co.CIRCLE 154 ON READER SERVICE CARD

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Space Cannon Vh

Space Cannon Vh specializingin both architectural and promo-tional lighting.With dichroic colormixing in wattages beginning at150 watt up to 12,000 wattsusing metal halide and xenonlamp sources. Features suchas DMX, zoom, shutter, strobeand beam shaping are avail-able on most products. SpaceCannon Illumination Inc. yourexclusive North American dis-tributor. www.spacecannon.com

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Ornamental Picket Fencewith a Purpose

Monumental Iron WorksTM is amodular system with the solidlook & feel of authentic wroughtiron.When assembled, it createsone of the strongest ornamentalfence systems on the market.Welding processes are eliminat-ed to avoid red rust problems.MIW utilizes a duplex coatingof polyester resin over hot-dipgalvanized steel for corrosion pro-tection. Master-Halco, Baltimore,Maryland 21040. 410.676.2744Email: spec@fenceonline.comWeb site: www.fenceonline.com

Monumental Iron WorksTM

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Perfect for Gated Communities

FAAC is the world’s largestspecialized manufacturer ofhydraulic operators for swing,slide and barrier gate systems.The Model 400 heavy-dutyhydraulic swing gate operatoris UL 325 compliant anddesigned for applications need-ing maximum versatility, suchas subdivisions and apart-ments. Its power and reliabilityalso make it ideal for large,ornate gates. Call 1-800-221-8278 for full color brochure orvisit www.faacusa.com.

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Three-Sided Fireplace for Unlimited Installations

Heat-N-Glo introduces modelPIER-TRC, a three-sided directvent fireplace that can be termi-nated vertically or horizontallyto accommodate nearly anyapplication. The PIER-TRC isperfect as a room divider, bar,end of counter or a wide varietyof creative installation possibili-ties. As with all Heat-N-Glo fire-places, the PIER-TRC can beoperated by remote control forthe ultimate in convenience.Call 888-427-3973.

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A D V E R T I S E M E N T 02.03 Architectural Record 237

M A N U F A C T U R E R S ’ S P O T L I G H T

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136

tracey_hall@McGraw-Hill.com

Columns, Balustrades& Mouldings

Melton Classics columns, bal-ustrades and mouldings are thestandard for quality and design.Columns are offered in fiber-glass, poly/marble composite,synthetic stone, cast stone, GFRCand wood. Balustrades are offeredin synthetic stone, poly/marble,polyurethane and cast stone.Ask us about our full line of caststone products, and polyurethanemouldings and details. 800-963-3060, meltonclassics.com

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OpeningsCIRCLE 158 ON READER SERVICE CARD

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Applications

The new flush exit device isdesigned for use on TOTALDOORS in single, pairs anddouble egress pairs. Ideal forcorridor & elevator lobby appli-cations in all commercial facili-ties. The exit device allows con-tinuous, uninterrupted sight-lines in corridors when doorsare pocketed in the open posi-tion. Its quiet operation is idealanywhere noisy hardware is aproblem.TOTAL DOORS can beretrofitted into existing doorframes, saving time & expense.

Libraries...Grab ‘n Run Books or.....

The biggest problem with well-intentioned attempts to intro-duce daylight into placeswhere people work and think isthat we cannot walk through2-dimensional plans. Andsophisticated modeling is fartoo expensive for all but thelargest projects. Result... unin-tended consequences likeglare and hot spots, even withtoday’s performance glasses.Heat gain / loss becomes yetanother challenge as do exteri-or noise sources.

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Learning Hangouts

Solera® high performance translu-cents fill libraries (and otherspaces) with diffuse and soft-ened daylight. Solera is glass,so there’s complete design flex-ibility and no discoloration likewith plastic. We do the model-ing to help you identify and “dialin” ideal light levels. High R val-ues and great sound attenua-tion make the Solera packagecomplete. Library visitors lingerand learn. 1-902-794-2899. Orwww.advancedglazings.com

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Chadsworth’s1.800.Columns®

www.columns.com

Columns, pillars, pilasters andposts available in wood, Poly-Stone™ and fiberglass. Interior,exterior. Variety of sizes andstyles.Competitive prices. Job-site delivery. Worldwide ship-ping. Our award-winning IdeaBook features an exciting collec-tion of column projects. IncludesColumns Product Portfolio, $20.Columns Product Portfolio $5(credited to first order). Freebrochure. 800.486.2118 Fax910.763.3191

Chadsworth’s 1.800.Columns®

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Retractable RoofEnclosures & Skylights

Custom designed retractableroof panels and operable sky-lights create year-round set-tings. At the touch of a button,motorized panels retract to open50% of the roof area, letting insunshine and fresh air. Mainte-nance-free thermally brokenaluminum framing. Enclosuresideal for restaurants, patios,pools and atriums. For moreinformation, call 800-267-4877,Email: openaire@openaire.comor visit www.openaire.com.

OpenAire Inc.CIRCLE 166 ON READER SERVICE CARD

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CHROMIX® Admixtures forColor-Conditioned Concrete

Award winning projects beginwith award winning materials.CHROMIX® Admixtures for Color-Conditioned Concrete are col-ored, water-reducing, set-con-trolling admixtures for architec-tural concrete. Coloring concreteintegrally, they produce richhardscapes & precast, tilt-up, orcast-in-place buildings of naturalbeauty. CHROMIX Admixturesprovide permanent, streak-freecolor conditioning, & increasedconcrete strength at all ages. 800-800-9900 or info@scofield.com.

L. M. Scofield CompanyCIRCLE 172 ON READER SERVICE CARD

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With its patented tri-laminatetechnology and rugged sculp-tured tab design, CertainTeed’sCelotex PresidentialTM TL is asuper-heavyweight shingle (450lbs/square) designed to give therich look and depth of woodshakes. Presidential TL is algae-resistant, carries a UL Class Afire rating, is UL certified to meetstringent ASTM D3462 per-formance standards and fea-tures a lifetime, limited warranty.

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PresidentialTM TL

North Country Slate

North Country Slate offers a newbrochure explaining the designand performance advantages oftheir remarkable roofing materialto your residential customers. Insix glossy pages, “Slated forExcellence” presents all the fea-tures and benefits to your client,the homeowner. Make sure youhave this brochure on hand foryour next discussion on slateroofing. For more information,call 800-975-2835, email usat info@ncslate.com or visit:www.northcountryslate.com.

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M A N U F A C T U R E R S ’ S P O T L I G H T

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136tracey_hall@McGraw-Hill.com

A D V E R T I S E M E N T238 Architectural Record 02.03

Fast, Affordable, RelocatableBuilding Alternatives

Sprung Structures provide aunique, innovative solution toenclose space in a fraction of thetime of conventional constructionand at a significantly lower cost.This stressed membrane struc-ture technology is available inwidths 30' to 200' by any length.14 different architectural mem-brane colors available. Optional8" fiberglass insulation package.Extensive guarantee program.Proven technology worldwide.800-528-9899 www.sprung.cominfo@sprung.com.

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80.000 Sq. Ft. Gaming Facility

Get Safe…with the NEWSchool Safety Kit!

Discover the latest advancesin fire rated glass technologywith our NEW School SafetyKit, “Keeping Them Safe.” Thekit includes an informationalbrochure on the benefits of newtechnology fire rated glazing inschools; our latest Quick-Spec,so you can begin specifyingclear, fire and safety rated glaz-ing right away; a U.S. map andbox of crayons so your kids can“Color It Safe!” Request yourstoday at www.firesafe-glass.com.

InterEdge TechnologiesCIRCLE 173 ON READER SERVICE CARD

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Structural Curbs for Proper Support

When a structural curb isinstalled and fastened to the topof bar joists, as shown, addition-al structure is not required tosupport roof-mounted equip-ment. Curbs can be mounted upto four feet on either side beyondbar joists or supporting mem-bers. May also be attached totop of steel deck. Structuralcurbs from RPI mean leak-free, cost-effective installation.800-262-6669; Fax 423-892-2107; www.rpicurbs.com.

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Samsung Staron® SolidSurface Countertops

Consider Staron® by Samsung.A high-quality solid surfacematerial, Staron offers designversatility, a large color selec-tion and integral solid surfacesinks and bowls. Recently intro-duced, Staron kitchen sinksand bathroom bowls come inthree classic colors and severalshapes and sizes. For moreinformation about Staron, visitwww.GetStaron.com/design3or call 1-800-795-7177.

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Fabric Structures

Eventscape is a custom manu-facturer of superior quality fab-ric structures for architecturalinteriors and custom exhibits.Since 1993 Eventscape hasbeen instrumental in the growingawareness and use of frame andfabric as a versatile solution fora variety of design applications.Eventscape’s expansive paletteof workable fabrics gives design-ers the freedom to create with-out boundaries. t: 416.231.8855www.eventscape.net

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IAC’s Noise-Lock® Doors

IAC acoustic door systems havethe industry’s highest STC rat-ings. Noise-Lock® doors are fire-rated and available in a varietyof finishes. As fully assembledsystems, IAC doors are factoryguaranteed to specified acousticperformance. Available as bi-and tri-fold and with visionglass. Applications: home the-atres, offices, studios, controlrooms, conference halls, andauditoria. (718) 931-8000 / email:info@industrialacoustics.com.

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M A N U F A C T U R E R S ’ S P O T L I G H T

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136

tracey_hall@McGraw-Hill.com

Concrete Waterproofingby Crystallization

Applied as a slurry coatingXypex is a chemical treatmentthat waterproofs by penetrat-ing the concrete with a crys-talline formation that “plugs”the pores of the structure pre-venting water seepage. Xypexis ideal for use on the “inside”of wet underground struc-tures. Call toll free 1-800-961-4477 or visit our web site atwww.xypex.com.

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Panelfold’s Decorative Accents!www.panelfold.com

Caned panel inserts may beopen or opaque; translucentinserts clear or amber; Trans-parent inserts allow viewthrough the panels; Mirroredinserts and Carved detailingare available one or both sides.A wide variety of surfacingmaterials is available. PanelfoldElectronic Library Version 3on CD Rom available uponrequest by Fax 305-688-0185or E-mail: sales@panelfold.com.Please visit our website:www.panelfold.com.

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Architectural Wood Carvings

Authentic & distinctive architec-tural woodcarvings using oldworld designs & craftsmanship.Carvings are stocked in HardMaple Cherry & Red Oak.Mahogany, Pine, Beach, Alder& Hickory are available at apremium. Our Carvings arerecommended for interior only.Our Goal is to produce the finestquality carvings & designs & toguarantee customer satisfaction.Toll Free: (866)850-2680 Fax:(905)850-2604 www.afe-inc.com email: sales@afe-inc.com.

Art for Everyday Inc.CIRCLE 179 ON READER SERVICE CARD

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A D V E R T I S E M E N T 02.03 Architectural Record 239

Supporting SustainableWorking Environments

Ecophon CertainTeed, Inc.acoustical ceiling panels offernumerous design possibilities.Ecologically friendly, Ecophonpanels have a minimum recy-cled content of 70% (com-pared to an industry-standard25%) due to the patented “Tel-process”. Our patented “Oxymelt”process incorporates produc-tion waste into new glasswool. Discover more about usat www.ecophon-us.com.

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Desigh FlexibilityHigh Durability

Astra-Glaze SW+ glazed con-crete masonry units offer free-dom of expression in designthrough a variety of colors,shapes and even custom color matching. Astra-Glaze SW+offers: Durability & Value / One-Step Installation / Environment-ally Sound / Easy Maintenanceeven Graffiti Resistant! ContactTrenwyth Industries, OneConnelly Road, Emigsville, PA17318. 1-800-233-1924 or atwww.trenwyth.com.

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Architectural Portholes /Doorlights for Doors & Walls

Idaho’s custom made port-holes are designed to fit anydoor or panel, interior or exteri-or. Idaho’s stainless steel port-holes come with a choice offinishes and glass. Idaho alsooffers a full design serviceallowing you to create yourown unique shape or style ofporthole. Contact: 805-451-6723 or info@idaho1.co.uk.www.idaho1.co.uk

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o

Pass the A.R.E.Study With Archiflash®

GET THE NEW 4TH EDITION.Prepare for the Architect Regis-tration Exam with Archiflash®.Each set contains 1,152 expertlywritten flashcards covering all sixmultiple choice tests. Learning iseasy with timesaving charts, def-initions, diagrams, and multiplechoice Q & A. More informationthan you ever thought possible inan easy-to-use flashcard for-mat. Only $89.95. Order byphone: 800-411-7314 or online:www.archiflash.com.

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Certified Wood Doors

“Going Green,” a special reportexamining the technology andprocedures required to deliverarchitectural wood doors thatcomply with Forest Steward-ship Council specifications forcertified materials, is availablefrom the marketing and commu-nications group at VT Industries.800/827-1615, ext. 210 or 304.VT Industries, Holstein, Iowa.

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Alabama Shadow Vein Stone

Distinctive architecture deservesAlabama Shadow Vein Lime-stone. Mined from the historicRockwood Quarry near Russell-ville, Alabama, the stone’suniquely uniform, rich, light-graycolor & delicate shadow veiningmake it a leading choice for exte-rior & interior use. From intricatecarved decorative pieces tomassive columns to finely craft-ed veneer panels, the VetterStone Company is ready toachieve your design needs. 800-878-2850 www.vetterstone.com.

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Curved Plywood Panels

Award-winning curved plywoodpanels for furniture, cabinetsand fixtures. Specializing inshort runs and quick turn-around, Multi-Ply employs 3-Ddesign and machining to createaccurate molds and compo-nents cost-effectively. We utilizesustainable hardwoods and non-formaldehyde adhesives. Visitus at www.multi-ply.com, email:info@multi-ply.com, call 800-550-2325 or fax 800-550-8220.

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M A N U F A C T U R E R S ’ S P O T L I G H T

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136tracey_hall@McGraw-Hill.com

A D V E R T I S E M E N T240 Architectural Record 02.03

Alucobond® MaterialBrochure

Totally new Alucobond® Materialbrochure in dramatic new for-mat illustrates the use ofAlucobond Material in a varietyof innovative applications andcolors. Alucobond Material isthe original ACM (aluminumcomposite material) and hasbeen used on more than 50,000buildings worldwide. AlucobondMaterial is always the afford-able solution. For more informa-tion, call 800-382-6445 or visitwww.alucobond.com.

Alcan Composites USACIRCLE 184 ON READER SERVICE CARD

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Eliason Easy Swing Double Action Doors

Eliason has compiled a new2003 Easy Swing Doors pricespec catalog. As the originalsupplier, only Eliason can fur-nish the quality workmanshipand service you have expect-ed over the years. Send foryour free catalog today. Doorsare sold direct and the pricecatalog will be sent at nocharge. Call Toll Free 1-800-828-3655. Fax: 1-800-828-3577.Email. doors@eliasoncorp.comor doors@eliasonwest.com.Web: www.eliasoncorp.com.

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Seneca Cedar Shake

EcoStar introduces SenecaCedar Shake. Produced usingsome of today’s strongest,most flexible recycled materi-als, rubber (EPDM) and plastic(TPO), Seneca Cedar ShakeTiles are a sustainable buildingmaterial that offer long life, firesafety, high wind resistanceand impact resistance whilemaintaining the beautiful lookof cedar shakes. 800.211.7170www.premiumroofs.com

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ADESO Dual CompoundSelf-Adhesive Membranes

Polyglass introduces ADESOdual compound family of self-adhesive roofing membranes.ADESO membranes are manu-factured utilizing glass fiber orpolyester reinforcement, with a“true” APP or SBS modified bitu-men compound on the top sur-face and an asphaltic self-adhe-sive compound on the bottomsurface.The built-up membranesprovide the perfect alternative totraditional adhesives or propanetorch techniques. 800.222.9782www.polyglass.com

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http://www.aia.org

http://www.aboutsfi.org

http://www.aia.org

C L A S S I F I E D A D V E R T I S I N G

TO ADVERTISE: Contact Tracey HallT: (212) 904-2010 / F: (609) 426-7136tracey_hall@McGraw-Hill.com

244 Architectural Record 02.03

(314) 993-6500 • Fax: (314) 993-0632(800) 280-7811 • http://www.Latas.com

Executive search and professional recruiting services.Serving the construction and A/E/P industries exclusively

nationally and internationally since 1975.

Your premier source for executive, managerial, anddifficult-to-fill professional-level needs.

Contact our Architecture/Engineering Division.

MICHAEL LATAS & ASSOCIATES1311 Lindbergh Plaza Center

St. Louis, MO 63132

ARCHITECTURAL DESIGNERDesign development and construction documentsfor Senior living, transportation facilities, housingbuildings etc. Coordinate with Land Planning andInterior Design staff. Perform computer-aideddrafting using AutoCAD 2002, ArchitecturalDesktop 3.3, PhotoShop, computer generated 3Dmodels and animations. Req. Bachelor’s degree inArchitecture from an accredited university, or itsforeign degree equivalent w/5-yrs exp. in job offeredin a professional architectural design environment.Resume w/portfolio, preferably on CD-ROM, toDirector of Operations, THW Design, 4055 RoswellRoad, Atlanta, GA 30342.

ARCHITECTURAL DESIGNER (JOB CAPTAIN)Architectural design and production usingAutoCAD, Vector Works and freehand dwg. No lic.req. BS architecture + 2 yrs exp. in job or in field.Send ad/resume to DesignARC @ 10500 W. PicoBlvd., Los Angeles, CA 90064

INTERN ARCHITECTIntern Architect for Florida corp-assist in designexperimentation, documenting designs and detailing,and work under direction of licensed architect con-ducting materials research and specification support.Min. req. Bach. in Arch. +2 yrs exp. Resume to Burke,Bales & Mills Associates, Inc., 100 Colonial CenterParkway, #150, Lake Mary, FL 32746.

GREAT JOBS IN NEW ENGLAND

Looking for a job in Boston or the surrounding area?Check out the Boston Society of Architects/AIA’sBuilding Industry Classified at www.architects.org.This online service includes job opportunities, spaceavailable and service listings.

ARCHITECTS - ALL LEVELS / ALL SPECIALTIESJR Walters Resources, Inc. specializing in the place-ment of technical professionals in the A&E field.Openings nationwide. Address: P.O. Box 617, St.Joseph, MI 49085 Tel: 269-925-3940 Fax: 269-925-0448 E-mail: jrwawa@jrwalters.com VISIT our website at www.jrwalters.com

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State-of-the-Art Commercial Renderings. Lowercost, premium quality, photo-realistic. Call VRT at989-781-2908. www.vrt3d.com

POSITIONS AVAILABLE

School of Architecture and PlanningDean Search

The Catholic University of America is seeking candidates for the position of Dean

of the School of Architecture and Planning, effective Fall 2003. The school has approx-

imately 400 students and offers the following degrees: Bachelor of Science in

Architecture and Master of Architecture. Candidates for the deanship should have

strong academic, administrative and leadership skills, solid experience in practice, a

body of recognized creative work, experience in funding raising and grant support, and

credentials that would warrant appointment to senior faculty (preferably full professor)

and tenure. A professional accredited degree, and a professional license are required.

The School is seeking a dean with vision and a strong interest in architectural educa-

tion. Teaching on a limited basis is expected. Candidates should understand and be

supportive of the mission of The Catholic University of America.

The search committee will begin its review of candidates in early February. Send

a letter of interest, a curriculum vitae, and three names of reference to: Dr. Peter

Cimbolic, Vice Provost and Dean of Graduate Studies, The Catholic University of

America, 116 McMahon Hall, Washington, DC 20064. The Catholic University of

America was founded in the name of the Catholic Church as a national university and

center of research and scholarship. Regardless of their religious affiliation, all faculty

are expected to respect and support the University’s mission. The Catholic University

of America is an equal opportunity employer.

DeanGRADUATE SCHOOL OF ARCHITECTURE,

PLANNING AND PRESERVATION

Columbia University is searching for an individual of vision and skill to be the new Dean of itsGraduate School of Architecture, Planning and Preservation, starting in the 2003–2004 aca-demic year. Reporting to the University’s Provost and Dean of Faculties, the Dean provides theSchool with strategic, professional, and intellectual leadership; directs its educational pro-grams; maintains a faculty of excellence; and represents it within the University and the pro-fession. The Dean also manages the School’s budget and oversees its administrative operations.

Established in 1881, the School is one of the oldest in the country. It currently offers programsleading to the Master of Architecture, the Master of Science, and the Ph.D. to more than 575 stu-dents and maintains close collaborative relationships with Columbia’s 16 other Schools to fur-ther its educational mission and scholarly agenda. Its 17 full-time and 130 part-time facultyinclude many who are internationally renowned for their professional achievements, scholar-ship, and teaching.

Columbia seeks an accomplished professional or scholar with a distinguished record of achieve-ment, the ability to plan strategically for the future of the School, and a commitment to work-ing creatively with its faculty to develop and deliver innovative new curricular, research, andprofessional programs. The successful candidate will also be expected to have a demonstratedrecord of administrative leadership and be an effective fund-raiser.

Letters of application or nomination should be submitted to the search committee, with anaccompanying curriculum vitae, care of the Office of the Vice Provost for AcademicAdministration, Columbia University, 310 Low Memorial Library, Mail Code 4326, New York, NY10027, by February 14, 2003. They may also be submitted by e-mail to archsearch@columbia.edu.The screening of candidates will begin immediately and continue until the position has been filled.

Columbia is an equal opportunity/affirmative action employer. We especially encourage quali-fied women and minorities to apply.

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ADVERTISERS INDEX Bold: Indicates Page Number. Italic: Indicates Reader Service Number. Y: Indicates Sweets Marketplace Participation

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170 AIA Contract Documentsaia.org

241, 243 AIA Convention, National Campaignaia.org

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191 78 Architectural Area Lightingaal.net

245 Architectural Record ReprintsNL

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176A-B Bentley Systems Incbentley.com

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02.03 Architectural Record 247

ADVERTISERS INDEX continued SALES OFFICES & CONTACTS

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