33.3 This Point in Time: Opacity Monograph 01 by H D R

33.3 THIS POINT IN TIME AN OPACIT Y MONOGR APH

ABOUT THE COVER An essential element to HDR’s continual growth is the critical review of the firm’s global work and how these projects influence its trajectory. The cover design represents the enlightenment that occurs because of the introspective quality of the Opacity process. A fritted gradient obscuring part of the cover gradually changes in scale, allowing the colors underneath to peek through— a nod to the desire for transparency, the very tenet upon which Opacity rests. The flare of varying colors blends together to create a singular whole, representing a practice founded in architecture and engineering that has since transformed into a global interdisciplinary firm informed by efforts to collaborate, explore, and evolve.

FOREWORD By Jenna M. McKnight

PREFACE By Thomas J. Trenolone

OVERVIEW The Timeline The Process The Jury The Results Why Opacity Matters by Doug Wignall

CONTEXT The View from 35,000ft by Mimi Zeiger Project Gallery

FORM The Future City: No Parking Allowed by Alissa Walker Project Gallery

158

MATERIALS A New Age of Material Invention is Dawning by Susan S. Szenasy Project Gallery

210

PROGRAM Towards the Post-Programmatic by Aaron Betsky Project Gallery

254

SPACE Building Connections in a Digital World by Katie Gerfen Project Gallery

314

SUSTAINABILITY Charting the Ascent of the Sustainability Paradigm by Chrysanthe Broikos Project Gallery

374

CULTURE From Diversity, A Shared Purpose by Brian Kowalchuk Global Snapshot Studio Profiles

406

PROJECT CREDITS

412

OPACITY TEAM CREDITS

ta b l e o f c o n t e n t s

TA B L E O F C O N T E N T S

For e word

FOREWORD JENNA M. MCKNIGHT

Be a great listener. This piece of advice is found in all sorts of places, from ancient proverbs to online TED talks. It sounds simple enough, but in reality, true listening—the act of paying full attention and letting the information sink in—can be enormously difficult. It requires time, focus, and patience. Most importantly, it requires an open mind. In my experience, HDR is embracing the art of true listening through its ambitious Opacity program. While comprising many facets, Opacity is oriented around a yearly design review, in which outside experts from varied disciplines are invited to evaluate the firm’s work and offer their feedback. These jurors are encouraged to be candid; the more incisive their commentary, the better. During the deliberations, there is no rebuttal from HDR—no chance to justify why certain decisions were made and others were not. The sole purpose of the review is to listen to the critics and absorb their insights. It’s a commendable process that embodies these famed words by the poet Rumi: “The quieter you become, the more you are able to hear.” Like most worthwhile endeavors, Opacity has been a long time in the making. It took root well over a decade ago, when members of HDR’s Design Council started envisioning ways to bolster the firm’s architectural practice. After much planning and a pilot program in 2011 (in which I served as a juror), Opacity was officially launched in 2016. Knowing that progress doesn’t happen overnight, HDR smartly conceived Opacity as a 12-year initiative, divided up into fouryear cycles. During a single cycle, there are three annual design reviews, each leading to the publication of a book featuring noted projects and jury input. The final year of the cycle is reserved for deep reflection and the development of a monograph.

As of 2020, HDR has completed one of three cycles, a milestone that has informed the title of the first Opacity monograph: 33.3 This Point In Time. It’s a sweeping publication rich with content, from beautiful imagery and compelling infographics to thought-provoking essays by esteemed writers and critics, some of whom have served on Opacity juries. This monograph looks to both the past and the future; it also looks inward by exploring the people who make up the firm’s vast architectural practice. As this book makes evident, HDR is composed of many distinct threads that are woven together to form a powerful collective. The Opacity program celebrates the diversity of this collective, along with its shared goal of design excellence. Speaking as a journalist who covers architecture around the globe, I can confidently say that the design profession needs more initiatives like Opacity. Most firms, especially powerhouse ones like HDR, tend to avoid critique, especially if it comes from outsiders. Who can blame them? Having your work picked apart is an uncomfortable experience. But listening to this feedback is critical to sparking fresh ideas and cultivating novel solutions. Without critique, we all risk becoming complacent and falling in step with the status quo. Opacity is a remarkable initiative that ensures HDR will keep listening, keep innovating, and keep creating designs that transform our world. I am honored to be part of this visionary program, and I look forward to seeing all of the great work it inspires in the years to come. Jenna M. McKnight is an architecture and design journalist who has served as the Opacity book editor since 2017.

pr e f a c e

P R E FAC E THOMAS J. TRENOLONE

From the very beginning of our formal education, architects are taught to embrace critique. During design studios, our ideas are relentlessly analyzed and interrogated, which ultimately leads to a greater end result. This process of ongoing improvement carries over into our professional practice, as we continually strive to master our discipline and produce exemplary work. But the path to great architecture and design is lined with many hazards— arrogance, indifference, and close-mindedness, to name a few. The greatest of these hazards, in my opinion, is fear. Too often we let fear take over, and we miss out on opportunities to grow and mature. Opacity enables us to confront this fear head on. Each time we engage a new jury and visit a new academic partner, I feel a sense of anticipation. I wonder: Will our work pass the test? Are we practicing “critically” acceptable design? But despite my trepidation, I welcome the feedback from our discerning jurors. Critical discourse is essential to advancing not only HDR’s work, but the architectural profession as a whole. Too often, this discourse is nonexistent within design firms, particularly ones of size, and is left to the academy. As a consequence, design work can become stunted. The Opacity program was established as a mechanism to foster discourse and infuse our practice with valuable outside perspectives, which in turn will strengthen our work. Firms such as HDR play a necessary role in solving the important design problems facing humanity. Consequently, they must guard against becoming what I call a “planetary organization.” These types of organizations look inward and have their

own atmosphere. They tend to lose perspective and judge themselves based solely on internal ideals. Opacity helps us keep an interstellar view of what we do. It allows us to consider our place in the design universe and to identify new routes for exploration. It helps us remove obstacles that inhibit these goals. Free of politics and bias, Opacity establishes an environment that allows for candid debate to take place and outstanding work to rise to the top. We are now a third of the way through Opacity, which was launched in 2016 as a 12-year program. Our first monograph, 33.3 This Point In Time, serves as a moment of reflection during this exciting journey. I am grateful to everyone who has contributed to Opacity—a program that is empowering us to conquer our fears and elevate our design practice. Thomas J. Trenolone is a design director at HDR and oversees the Opacity program.

OVE RVIE W THE TIMELINE After years of planning work and pilot programs, HDR officially launched the Opacity initiative in 2016. Our inaugural jury event took place in Minneapolis, Minnesota, followed by a 2017 event in Chicago, Illinois, and a 2018 event in Washington, D.C. Each Opacity Design Review led to the publication of a book showcasing all of the projects chosen by the jury for recognition. In 2019, we began work on our first Opacity monograph, 33.3 This Point In Time. Featuring projects, infographics, studio profiles, and thought-provoking essays by esteemed writers and critics, our monograph was published in the spring of 2020. Months later, we embarked on the next four-year cycle of the Opacity program with a jury event in sunny Los Angeles, California.

2 0 1 6

2 0 1 7

AUGUST 10 â&#x20AC;&#x201C;11

J U LY 2 5 â&#x20AC;&#x201C; 2 7

Opacity Design Review, held in conjunction with Opacity Design Leadership Gathering Minneapolis, Minnesota

Opacity Design Review, held in conjunction with Design Leadership Gathering Chicago, Illinois

Host Studio Minneapolis

Host Studio Chicago

Academic Partner College of Design, School of Architecture, University of Minnesota

Academic Partner Department of Architecture, Interior Architecture and Designed Objects, School of the Art Institute of Chicago

Deliberations and Reveal Steven Holl Addition, Rapson Hall, University of Minnesota College of Architecture and Landscape Architecture Opacity Series, Volume 01 RISK: Out Looks In

Deliberations School of the Art Institute of Chicago Reveal Palmer House Hilton Hotel Opacity Series, Volume 02 RIGOR: Working With Intent

ov e rvi e w

2 0 1 8

2 0 1 9

2 0 2 0

J U LY 1 0 â&#x20AC;&#x201C; 1 2

FE B RUARY 7â&#x20AC;&#x201C; 8

Opacity Design Review, held in conjunction with Design Leadership Gathering Washington, D.C.

Kickoff meeting for first Opacity monograph

Release of 33.3 This Point In Time

Host Studio Arlington Academic Partner School of Architecture, Planning & Preservation, University of Maryland Deliberations Carriage House, The Phillips Collection Reveal The National Building Museum Opacity Series, Volume 03 VERGE: Empowering Our Ethos

Work continues throughout the year with editor Jenna M. McKnight

Launch Party Hennessey + Ingalls, Art and Architecture Bookstore, Los Angeles, California N E X T O PAC I T Y C YC L E B E G I N S

Opacity Design Review, held in conjunction with Design Leadership Gathering, Los Angeles, California

THE PROCESS The Opacity initiative enables us to take measure of our design conscience in a rigorous and authentic way. Each year, we invite a diverse group of experts to gather in a chosen city for a multiday jury event. During the proceedings—which are attended by HDR leaders and multidisciplinary staff members—these outside critics review work submitted by HDR studios across the globe. After many intense hours of study and debate, the jury elevates a limited number of projects to “selected” or “mentioned” status. Those projects, along with the jury’s insights, are then revealed during a ceremony and presented in an annual Opacity book.

AC ADE MICS CRITICS PR AC TITIO NER S

ov O V eE rvi R V I eE w W

GATHER

DEBRIEF

Jurors arrive in the designated city and come together in the local HDR office. A welcome reception offers a casual way for jurors to interact with each other and members of the firm.

The HDR Opacity team explains the intent of the program, the event agenda, and the assessment process. Each jury is free to establish its own rules of engagement.

VIEW

DELIBER ATE

All submissions are pinned up in the local office. Jurors circulate through the gallery and independently review each project’s narrative and imagery. Projects that capture their interest are marked for advancement to the next stage of deliberations.

Jurors meet for a full day of review and critique as a group. Submission material for projects chosen from the prior day are projected onto a screen and carefully studied. Jurors debate the attributes of each project, with guidance provided by the jury chair. HDR designers are invited to sit in and listen to the discussion.

SELECT

REVEAL

After several rounds of concentrated negotiations, the jury determines which projects, if any, should be elevated and receive “selected” or “mentioned” status. Jurors are not required to pick a certain number of projects; rather, they have the freedom to choose how many projects are deemed worthy for each recognition.

Projects chosen for commendation are presented during a ceremony that is broadcast to HDR offices worldwide. Jurors explain in detail why each project was elevated, reflect on their Opacity experience, and make suggestions for future cycles. Work on a themed book for that year’s program gets underway.

THE JURY Our jurors play a vital role in the success of the Opacity program. Each year, we invite a group of renowned professionals from the design profession to analyze HDRâ&#x20AC;&#x2122;s work and offer incisive feedback. To engender a broad and vigorous discussion, we select jurors from a range of disciplines, including architecture, engineering, interiors, graphic design, media, and urban planning. The jury makeup is different each year with the exception of our foreperson, who serves a three-year term. We are incredibly grateful to our jurors for sharing their perspectives and participating in the critical discourse that helps us strengthen our design culture and elevate our practice.

ov e rvi e w

JURY CHAIR

JAMES P. CRAMER

DAVID CRONRATH

ELLEN DUNHAM-JONES

Founder and Chairman, Design Futures Council Atlanta, Georgia

Architect; Professor, School of Architecture, Planning & Preservation, University of Maryland College Park, Maryland

Professor of Architecture and Urban Design, Georgia Institute of Technology Atlanta, Georgia

NEIL FRANKEL

KATIE GERFEN

DEBRA LEHMAN-SMITH

JASON MCLENNAN

Design Partner, Frankel + Coleman; Lecturer, School of the Art Institute of Chicago Chicago, Illinois

Design Editor, ARCHITECT Magazine Washington, D.C.

Founding Partner, LSM Washington, D.C.

CEO, International Living Future Institute Seattle, Washington

LANCE C. PÉREZ

JONATHAN D. SOLOMON

MARC SWACKHAMER

SUSAN SZENASY

Dean, College of Engineering, University of Nebraska-Lincoln   Lincoln, Nebraska

Director of Architecture, Interior Architecture, and Designed Objects, School of the Art Institute of Chicago Chicago, Illinois

Associate Professor and Head of the School of Architecture, University of Minnesota Minneapolis, Minnesota

Editor in Chief, Metropolis Magazine New York, New York

ANN WILLOUGHBY

MIMI ZEIGER

Founder and Chief Creative Officer, Willoughby Design Kansas City, Missouri

Architecture Critic, Educator, and Curator Los Angeles, California

*Titles indicate positions held at time of Opacity deliberations.

2016 2017 2018

THE RESULTS Projects submitted to the Opacity program go through a multiday judging process. A handful are elevated to “selected” or “mentioned” status.

VERGE, 2018

Round 1

Round 2

Elevated

RIGOR, 2017

Round 1

Round 2

Elevated

RISK, 2016

Round 1

Round 2

Elevated

ov O V eE rvi R V I eE w W

358 PROJECTS REVIEWED

86 PROJECTS ELEVATED

VERGE, 2018 RIGOR, 2017 RISK, 2016

Hol land

Hol

A NETWORK OF TALENT

Per f

land

ing

form

orm

Pe r

Our annual juries have honored projects by over 20 different HDR studios.

e ung s Lo tion oom Ova rs R ter k Cen nde u Par Arts r Fo gy nte ner er s Ce dE ent lan sC

ing

Art

Hol

olt

iab

inc

ete

rec

orm

erf

eri

Exp

bo ok

nte r

tio

ide

tag

ing

ire

pu s

rte rs

er ie

alt

nit

ish

sto

try ua

cie

ng lve

lmh

alt

sti Ga

dio

m Stree t 14 0 W i l l ia [ 1 9 17 ]

Do olu

t he Sk y 67 A l be rt A v enu e G a r de n s in O ffic e Tow e r 4 0 -S to re y Wo od e 15 1 C l ar e n c

67 Albert Avenue ‘ I l l umin a t e ’

ltu

A l Maha Centr e for C hi ldr e n a n d Yo u ng A d u lt s

USA Australia Canada Germany United Kingdom United Arab Emirates

A ll ey R eTh i n k

ldin

Bui

use

icu

olu

Stu

nt uti r La Ce ons bor nte Lab ato r ora ries gB dan tor :N Iribe Tr a y e n wB sfo Cen rma ter uild for tion s Com Blue Pro pute stem Brid j e c r ging Com t Scie mun nce Wo r ity H and lds ealt E ngin h Ca eeri mpu Black BBSR ng s an C Nat H i d l ls W ional B r a ine E n Virolo d i ng xper gy Ce ience ntre: Austra Cent The P lian D r e lowri efence ght B Fo r c e uildin Acade g m y Le Austra li a n D e arning fence F S p a ce s orce Ac ademy Audito A u ro r a H rium e a lt h C a re S ig n a tu r e E x p A r go nn e N e ri e n c e at i o na l L ab or at or y En e r gy S c i e n ce s B ui l di n g An t hr o po s o ph i c al Ho s p it a l

Bren

oin

lta

ign

ife

lta

rie

De nD

O’B

ren

ing

vel

Sol

lea

ner

al E

ild

Nuc

ris

utr

Ty s

adi

-Ne

Can

bon

Car

Cla

tre

oll

Fr a

rkl

ark

ing

Str

v Pa

ers

ilin tur

art

lin

dio

alt

Stu

ead

tor

usi

pet

itio

tory

onc

ept

d Tr a

ining

Fa c i l

s p i ta l

g (L EE S 1 )

ities

is tr ic t H o l S c ie n c

mple

rs an

y Co

uarte dem

a er C

rali

To w

ust

r ve sA

tudi

r Aca

gn S Unit

ese rte r

qua

y Pr

, Ne

ead

alle pus

rva

nse

ra V

dic

Desi

terio

eadq

orato

nserva h Lab

rty Co Healt ro n H

u b li c quad

of In

olis

ope

neap

stry

0R S

and P

i o lo g i c a

t Neno D

en ta l Sc ie n

t C li n ic a ool of B

aughe

Hall Sch

u tp a t i e n ie K. D

Manter

M a la w i O

Re sid en ce

& En vi r on m

Lef e b vr e-Sm yt h

L i fe , Ea r th

ce s B u ild i n

K ai s e r Perman e nte R A D H e al t h H ub

K o l o s D a ta C e n te r

Marjor

Orth

bra arti

lan

el H

aha

ize

ant

esi pu

tim

taw cC

pit

c i fi te

l–a

Oak

Nov

Nio

New

Min

il i t y I n t e r di s c i pli n ary R e sear c h F a c Jim Pattison Centre of Excellence in Sustainable Building Technologies

Maryl

Mini

B u il d in

OVERVIEW ov e rvi e w

MH6

r l C e n te

l i ta l M u r a iv e r H o sp ti on al Ce nt er Humber R ce Co m p u ta h P e rf o rm an ig H y r a n li I n t er di s c ip R e s ea rc h Bu ild ing I n t e r d i s c i pli na ry

Huawei

F i n a n c ia o rp o ra te

1515

ilio n

t at

ña R.

h o eH

a St

tio

X NE

n en i

t of

e sL

on ati

for Re

e xp

On c

S m:

Riv

arn

il hab

e niv

rie n

C ing

g olo

in av ita

er ’

rsi

V ce en

gM tio

dne Rus

e yC

f yo

isi on

n te

ain

o nH

l She

Shi

spi

e Edg oo yC ent

d an

e Str

kS er

lv sy

r et

na er i

Ry rley

ss trau

s lne

A for

Fo r

Pe r f

on ornt

k Par dva

bi an A

g ram

n ce

orm

Com

est lity

Ugan ve s a nt A Floris t s e W o a rd Sideb Wie tz entral gong C al Wo ll o n ’s H o s p it C h il d r e n d n a n Wo m e

ed da M

Pla

mun

ter

tal lth Hea

Ar ing nd ical a

Car

Lab ts C

e n te

ity AIDS

Clini c

rb e an U nue: L

an is m

Re v i v al

A MULTIDISCIPLINARY COLLECTION The honored projects represent a broad range of skills and expertise.

eilin dio C ic

Clin

n Stu

ic Mus alia ustr

esig

n co l o

: S a v in

tion O

wa D

ren ’s Ho sp ita l Wo me n an d Ch ild Ce nt ra l Wol lo ng on g e b o a rd W ie tz S id dge R i v e r’s E l a H o s p it it a t io n U SA R e h a b il S tre e t g M a in nter gy Ce Reform

Radia

pal–a

Otta

y of

liti es

ing (L

EE 1) s

ato r

aci

ild gie

serv

Bu olo

alth

nin

es hn

e He

lex

rai dT

nc Te c

imiz

ry ing

ers

tor

ato ild

Opt

Con rter

art

ora

te r

erv

nit

dio

ade

re s

Stu

ble

qua

ead

alle

esi

eri

tio

tai

ra V

edi

is D

Int

cie

aha

arti

bra

hop

pol

cie

nge

erv

ica

uta

erie

log

Fish

Lo u

alt

rty

alt

ro n

lle

try ad

lic

15 1 Cla ren ce

40-Stor ey Woo d Offi ce Tow

67 Albert Avenue Gardens in the Sky

67 Albert Avenue ‘Illuminate ’

and You ng Adu lts

ons

din

Bio

Al Mah a Cen tre for Chil dren

e a lt h

nity H

il ls W in

s Lab ora to ry Camp us and e Exp e r ie n c e Brand B BSRC N C e n t re in g a ti o n a l V ir o lo g y C e n tr e: The P A u st ra li a n lo w ri g h D e fe n ce Fo t B u il d in rc e A c a d e g m y Le a rn in A u s t ra lia n D g S p a ce s ef en c e Fo rc e A ca de m y A u d i t o riu m Al ley R e Th ink

B la c k H

uil

t of

ution

ati

men

elop

Dev

y Sol

boo

ente

ent

ommu

and

ouse

ent C

Energ

a rc h

ide

orm

utral

Lifeh

cue

erf

ral

te m C

a rc

Ort

nea

nis

ryl

n-Ne

lopm

ese

Res

t re

Blues

De ve

rien

or R

rien

Art

tal

Carbo

s O’B

olum

and

spi

Hig

Child

re f

xpe

ing

rie

Chri

a, V

ent

F i re

orm

erm

Delt

Spa

ton

erf

ina

all

ai C

ipl

rjo

Dub

ves

Riv

art

Gal

alth

ipl

llan

isc

tti

Nov

Nio

New

Min

Mi MH

e rd

isc

ise

Int

e rd

n te

Int

Jim

L Ka

1717

14 0 W illi am St ree t A nt hr A rg o n n e op os op hi ca N a ti o n a l l H os pi t a l L a b o ra to ry E n e rg y S ci e n ce s B u il A u ro ra H d in g e a lt h C a re S ig n a tu re E x p e ri e n c e B r id g in Fo c a l g Wo r ld P o in t s Comm Hasti u n it y Camp ngs P us erfor Holl ming and Arts C Pe r f Heal e orm n te r th Pr ing A ecinc rts C t Sta e I n n g t t e1 e rd i e r Fo Ma scip law unde lina i Ou Pe Ăą rs Ro ry R tpa aS om esea tien tat rc h t Cl ion Fa c i inic Kolo NE l ity at N s Da XT eno ta C Exp en te Dis eri tric enc r Om t Ho ant eV spit el H isio a ead l na qua nd Par Ru rter We kla sh n s llne dH Ce ss osp n te P ro Ro ital r fo d g ney ram rA dv C P oo lan an kS Sh ce d r. P irle Ug H a yR an ea rk lth da Th ya orn nA Ca Me r ton e bil dic ity al Co La an mm b dA un ID i ty SC lin i c [19 17 ]

OVERVIEW ov e rvi e w

RI GO R

d na

in ild

ian

ran BT

le uc

b La

yso nT

Fr a

a orm

tio

ri ato

r Cla

n ke

ro nP

es:

te Cen

Eng

jec

n do

r fo

ild

p Com

f Fo

dio

o a, V

cu gri

Stu

n sig

ing eer

leg Col

ltu

lum

ci al S

any

try re s

ol lmh

enc

qu ead

art

s Con

tz D

Hol

ers

erv

atio

es bet

lan

Cen

erg d En ter Cen

ter

y Pa

Buil

GE ER

eri

en Br

be Iri

r nte

o rC

te pu

c ien

E nd

e gin

ding

Sustainability S i t e + L a n d s c a p e D esign Lighting Design Interiors B randin g + Gra phi c s A r c h i t e c t u r a l E n g i n eering A rc h i te c t u re

e cial denc Re si inan F h t e y rat Sm pt v re orpo o n ce efeb ei C on C L i t w i t a e Hu mp re er Co ructu ng St i d To w k r e a B w us P ia s, Ne Camp s y lv a n ampu a c i fi c f Pe n n C P o d y n it a ivers er Oakl he Un g Cent al of t e a r n in L it p is s n o n De eH st R. Joe n at th in a Fo re P a v i li o S h e lt e r r A rt s C e n te e rf o rm in g S tr a u ss P i v al U rb a ni sm R ev Av e nu e: Le an nt sa ris lo F Wes t

A DIVERSE COMPILATION

MATERIALS FORM CONTEXT

In this book, the honored projects are organized into six thematic chapters.

Interdisciplinary High Performance Computational Center Humber River Hospital Mural Huawei Corporate Financial Center Building Holland Performing Arts Center Ovations Lounge Holland Performing Arts Center Founders Room Holland Energy Park Helmholtz Diabetes Center Health Precinct Stage 1 Health Hub Experience Guidebook Hastings Performing Arts Center Galveston Fire and Rescue Franke College of Forestry & Conservation Focal Point Community Campus Engineering Company Headquarters Dubai Center for Research and Development of Fisheries Don Tyson Center for Agricultural Sciences Do Space Delta, Volume 2 Delta, Volume 1 Clarendon Design Studio Chris O’Brien Lifehouse Child Development Center Carbon-Neutral Energy Solutions Laboratory Canadian Nuclear Laboratories: New Builds Building B Transformation Project Bridging Worlds Brendan Iribe Center for Computer Science and Engineering Bluestem Community Health Campus and Branding Black Hills Wine Experience Centre BBSRC National Virology Centre: The Plowright Building Australian Defence Force Academy Learning Spaces Australian Defence Force Academy Auditorium Aurora Health Care Signature Experience Argonne National Laboratory Energy Sciences Building Anthroposophical Hospital Alley ReThink Al Maha Centre for Children and Young Adults 67 Albert Avenue ‘Illuminate’ 67 Albert Avenue Gardens in the Sky 40-Storey Wood Office Tower 151 Clarence 140 William Street [1917]

1919

OVERVIEW ov e rvi e w

SUSTAINABILITY SPACE PROGRAM

Women and Children’s Hospital Wollongong Central Wietz Sideboard West Florissant Avenue: Lean Urbanism Revival Uganda Medical and AIDS Clinic Thornton Community Strauss Performing Arts Center Shirley Ryan AbilityLab Shelter in a Forest Rush Center for Advanced Health Care Rodney Cook Sr. Park River’s Edge Rehabilitation Hospital Reform: Saving Main Street USA Radiation Oncology Center R. Joe Dennis Learning Center Peña Station NEXT Experience Vision and Wellness Program Plan Pavilion at the Hospital of The University of Pennsylvania Parkland Hospital pal–ate Pacific Campus Parking Structure Ottawa Design Studio Ceiling Optimize Health Clinic Omantel Headquarters Omaha Conservatory of Music Oakland Campus, New Bed Tower Competition Concept Novartis Headquarters Australia Niobrara Valley Preserve New Orthopedic Unit Minneapolis Design Studio Ministry of Interior Academy Complex MH60R Squadron Headquarters and Training Facilities Maryland Public Health Laboratory Marjorie K. Daugherty Conservatory Manter Hall School of Biological Sciences Malawi Outpatient Clinic at Neno District Hospital Life, Earth & Environmental Sciences Building (LEES 1) Lefebvre-Smyth Residence Kolos Data Center Kaiser Permanente RAD Health Hub Jim Pattison Centre of Excellence in Sustainable Building Technologies Interdisciplinary Research Facility Interdisciplinary Research Building

Why Opacity Matters DOUG WIGNALL

Doug is president of HDR’s global architecture practice.

As I reflect on the Opacity initiative and its significance to our design practice, I am reminded of these words by Darren Petrucci, professor at the Herberger Institute for Design and the Arts at Arizona State University and a participant in one of the earliest iterations of what has since become our global Opacity initiative: “Design excellence comes from making yourself vulnerable.” That simple phrase sticks with me because it so succinctly summarizes the essence of what Opacity is all about: Our relentless pursuit of achieving design excellence in our work and our willingness to expose those efforts to outside peer review for judgment. Like many architecture practices, HDR commits considerable resources to awards programs each year. We submit our project work to be judged in terms of innovation, technical mastery, and creativity. We do so because awards programs honor the exceptional strengths and outstanding achievements of our practitioners—and the enduring outcomes of their efforts. Awards programs also offer the chance to compare ourselves against our peers and to help us raise our own standards and expand the definition of design and technical excellence. This was a significant impetus behind the origins of Opacity design reviews and

why we invited leaders from outside HDR in the fields of academia, architecture, media, graphic design, interiors, and landscape architecture to review our work and provide candid feedback. At the beginning, our intent was to use these design reviews to foster an atmosphere of collegial competition and to select projects worthy of submitting to external design awards programs. In hindsight and, I believe, more importantly, Opacity serves as an annual litmus test for where we are and where we need to go as a growing, global design firm. For anyone who has read The Tempest by William Shakespeare or visited the National Archives building in Washington, D.C., the phrase “what’s past is prologue” may be familiar. Its meaning, while cloaked with nuance, essentially says that the past is a prelude to the future. In other words, our past work—both distant and near—has a hand in shaping the present and informing the future. Opacity has been a fantastic tool from which to learn from the past to grow for the future. Jury deliberations provide an abundance of sometimes uncomfortable moments of insight and introspection—along with moments that are joyfully validating. It takes a lot of work to frame and articulate meaningful constructive criticism, and it is equally difficult to keep an open mind to listen, process, and be inspired by it.

2121

OVERVIEW ov e rvi e w

At times, we have been subjected to harsh criticism and some comments have struck a nerve or two. Yet, we have benefited greatly because I can point to concrete accomplishments and progress that have resulted from it. We didn’t ignore it, we didn’t walk away from it. Instead, we made changes to address our shortcomings. I would speculate that we probably learn as much from the work that judges didn’t select as we do from the work that they did. Personally, I am always intrigued by their selections. Projects I was certain would be selected, were not. And vice versa. In a few instances, judges have seen something in projects that we didn’t see ourselves. This process has now become part of our evolutionary DNA, and every juror who has contributed their time and intellect are a part of it, too. Sometimes those contributions are nuanced and sometimes they are readily apparent. All are profound, and all are greatly appreciated. Can we precisely measure Opacity’s influence? Perhaps not quantitatively, but the effects are real. Opacity lends a tremendous credibility to our work as a result of the fair and neutral judging process. It also helps to confirm and celebrate the reasons why we’re in this profession in the first place.

Mostly, though, I believe the significance of the Opacity initiative relates to our own sense of purpose in the world. This initiative, and in particular the books published each year, provide a greater sense of permanence to the magnitude of what we have accomplished. These books are tangible evidence that we can look at, reflect on, and understand that the work we do is impactful. Through the Opacity initiative, we are demonstrating our commitment to being the best design firm we can be. This continual outside critique of our work is also essential for our practice to stay relevant in a changing world. By “work,” I mean everything that we design: buildings, sites, interiors, graphics, ideas, experiences, communities, and products. I am a firm believer that great design culminates in influence. And influence, in turn, opens the doors to opportunities that can magnify the power—and purpose—of our practice in ways that ignite our collective imagination of what the future can hold.

CONTE XT In this chapter, we spotlight 16 projects that exemplify HDRâ&#x20AC;&#x2122;s skill for creating architecture that honors and embraces its milieu. The projects represent a wide range of typologies, from a hospital embedded within a dense, urban fabric to a winery overlooking a verdant valley filled with vineyards. We begin the chapter with an essay by esteemed critic Mimi Zeiger, who interrogates the notion of context and its relevance in the modern age.

The View From 35,000ft MIMI ZEIGER

A few years ago, artist Robert Irwin described his process of understanding a site. We were sitting on folding chairs in his nondescript studio just outside of La Jolla. The walls were painted white, the floor gray. As sites go this one felt generic—one of several warehouses with roll-up doors close to a freeway exit. “You make a circle, a wider one, and a wider one,” he said, his hands tracing a spiral. He described how he runs his sensibility over a place, like a gumshoe looking for evidence. I could imagine his tall frame pacing a site, absorbing details: people, existing materials, or qualities of light. “I have no idea what I’m going to do, so I’m looking for something to hang my hat on,” he admitted.

He’s looking for context. His method is intimate, attentive, a close read. Yet in an age of algorithmic wayfinding and Google Earth satellite images, context, a term so closely aligned with postmodernism and the search for meaning in architectural forms, has itself become somewhat abstracted. Place is interpreted via palmsized devices mainlining data. The term means everything and nothing to those who wield the jargon: Context dictates historicist molding. Context demands subgrade parking. Context yields to computational expression. Clues might be found in the work of anthropologist Marc Augé, who distinguishes place from non-place

via questions of identity, mobility, and commerce. He attributes the rise of non-places to supermodernity, aka our contemporary neoliberal condition, and sketches a definition. “A world where people are born in the clinic and die in the hospital, where transit points and temporary abodes are proliferating under luxurious or inhuman conditions (hotel chains and squats, holiday clubs and refugee camps, shantytowns threatened with demolition or doomed to festering longevity); where a dense network of means of transport which are also inhabited spaces is developing; where the habitué of supermarkets, slot machines and credit cards communicates wordlessly, through gestures, with an abstract, unmediated commerce,” he writes in Non-Places: Introduction to an Anthropology of Supermodernity, listing spaces that are architectural, but by their very programmatic nature are disengaged from local or regional context. Augé begins his formative book with a prologue of contextless spaces. His protagonist travels from ATM to highway to parking garage to airport performing the series of spatial transitions so familiar to the global traveler. The description is nearly frictionless, passing from urban to exurb conditions, from passport control to a window seat with a view of the “Mediterranean, the Arabian Sea and the Bay

of Bengal” below. With little effort one can imagine this non-space, summoning the details that would lead Rem Koolhaas to write in his famous essay, “Junkspace”: “Superstrings of graphics, transplanted emblems of franchise and sparkling infrastructures of light, LEDs, and video describe an authorless world beyond anyone’s claim, always unique, utterly unpredictable, yet intensely familiar.” That uncanny familiarity has been with us for close to three decades: Non-Places was published in 1992 and “Junkspace” in 2000. In subsequent years, their observations and critique have been used to justify a polarity of architectural answers, from a widespread doubling down on a global, luxury modernism seen as much in Dubai and Singapore as at Manhattan’s Hudson Yards to the opposite, embodied in New Urbanism’s valuing of neo-traditionalism or the hunt for “authentic experiences” that comes with our Instagram-driven culture. At both poles, design is responsive to a narrow set of parameters, often market-driven, and still tilted toward the frictionless figure of the global flâneur, seemingly free from class, nation, race, or gender. But what happens along the spectrum, when we interrogate the specifics of place and user? Rather

than comparing place with non-place and coming up empty handed, can we interrogate it as a context in itself? Events recently and over the past thirty years suggest this in-between is actively being reinvented in positive and negative ways worthy of attention. Homes are smart and networked. Refugee camps have become permanent micro-cities. Schools, once bastions of education, are fortified in the wake of gun violence. In Hong Kong, for example, non-places like malls are more than non-spaces of capital production, but contested sites rich with action, as Hong Kong citizens take to the mall for mass protests against Chinese extradition. Their stand against the coming Chinese sovereignty redefines traditional retail environments as context. A similar inversion is happening with fast food restaurants, where the spaces we’ve written off as place are now more relevant than ever. In cities where housing is at a premium, like Hong Kong or Los Angeles, McDonald’s outlets have become hubs for transient occupation—24-hour facilities to charge phones and catch some sleep. These changes in how spaces are used prove that context can no longer be thought of as an aesthetic or architectural style. Debates about “fitting in” or

Mission Revival design covenants mean little in the face of recognizing that context is a bundle of socio-cultural factors, political and economic policies large and small that shape cities and suburbs. “And you realize, when people come to a site, they don’t come from nowhere, they come from somewhere,” said Irwin, on that afternoon in his La Jolla studio. Those people, that somewhere is context.

MIMI ZEIGER

Mimi is a Los Angelesbased critic, editor, and curator. She was co-curator of the U.S. Pavilion for the 2018 Venice Architecture Biennale and the recent Soft Schindler exhibition at the MAK Center for Art and Architecture. She has written for the New York Times, the Los Angeles Times, Architectural Review, Metropolis, and Architect,

where she is a contributing editor, and is an opinion columnist for Dezeen. Zeiger is the 2015 recipient of the Bradford Williams Medal for excellence in writing about landscape architecture. She teaches at SCI-Arc and within the Media Design Practices MFA program at the Art Center College of Design.

CONTEXT

This proposal reconciles the insertion of a contemporary office tower within an urban district dominated by masonry buildings. A human-scaled base is clad in brick and glass, helping it blend with its lower-scale neighbors. Above the podium, a glazed tower quietly steps back and merges with the sky.

151 CL ARENCEâ&#x20AC;&#x201A;Sydney, New South Wales, Australia

CONTEXT

At this winery tasting room, glazed walls provide sweeping views of the vineyards and surrounding peaks. Deep roof overhangs shelter the building from the intense summer heat, while a pool terrace offers visitors a place to cool off while taking in the picturesque scenery.

BL ACK HILLS WINE E XPERIENCE CENTREâ&#x20AC;&#x201A;Oliver, British Columbia, Canada

CONTEXT

A connection to people and place served as the guiding design principle for this medical complex. Materials such as weathering steel take cues from vernacular architecture, while limestone refers to the regionâ&#x20AC;&#x2122;s geology. Gathering spaces were integrated into the campus, further enforcing its ties to the local community.

BLUESTEM COMMUNIT Y HE ALTH CAMPUS AND BR ANDINGâ&#x20AC;&#x201A;Grand Island, Nebraska, USA

CONTEXT

A careful study of local geography and Indo-Islamic architectural traditions shaped the design of this healthcare facility, which features courtyard gardens, latticed screens, and an earthy color palette. Within the building, a central spine draws inspiration from the wadis, or valleys, that weave through the Arabian landscape.

CHILD DEVELOPMENT CENTERâ&#x20AC;&#x201A;Riyadh, Kingdom of Saudi Arabia

CONTEXT

This research facility embraces its pastoral setting, where rolling hills and verdant farms abound. Stone and metal cladding allude to vernacular architecture, while large windows open the building up to the environment. The landscape design features test crops, along with a bioswale used for measuring water quality.

DON T YSON CENTER FOR AGRICULTUR AL SCIENCESâ&#x20AC;&#x201A;Fayetteville, Arkansas, USA

CONTEXT

This urban healthcare campus aims to be a change agent in a struggling neighborhood. Deep research into socio-economic factors helped shape the communitycentric design of the complex, which includes medical facilities, schools, daycare, and green spaceâ&#x20AC;&#x201D;all of which will help bolster the quality of life for local residents.

FOCAL POINT COMMUNIT Y CAMPUSâ&#x20AC;&#x201A;Chicago, Illinois, USA

CONTEXT

NORTHERN

CICERO + BERWYN

MIDDLE

SOUTH + EAST

african-american/black hispanic/latino/mexican white/other 100.0%

african-american/black hispanic/latino/mexican white/other

ETHNICITY GROUPS african-american/black hispanic/latino/mexican white/other

african-american/black hispanic/latino/mexican white/other

more than $15k less than $15k 100.0%

more than $15k less than $15k

TOTAL HOUSEHOLD INCOME

more than $15k less than $15k

100.0%

NEW HOSPITAL + CLINIC

northern middle south + east cicero + berwyn

100.0%

NEARBY PUBLIC TRANSPORTATION

northern middle south + east cicero + berwyn

100.0%

PHYSICAL APPEARANCE OF FACILITY

northern middle south + east cicero + berwyn

100.0%

PROXIMITY TO BUSINESSES + SERVICES

northern middle south + east cicero + berwyn

A stand of aspens can cover a large swath of land, but underneath, the trees are connected by a single root system. This natural phenomenon inspired the design of this colorful, glass mural, which is meant to symbolize how a sense of community unites the new hospital and the diverse population it serves.

HUMBER RIVER HOSPITAL MUR ALâ&#x20AC;&#x201A;Toronto, Ontario, Canada

CONTEXT

Wrapped in large stretches of glass, this welcoming facility forges a genuine connection between scientists and the local community. Moreover, its vibrant, terracotta rainscreen works in harmony with the numerous masonry buildings at Howard University, an institution founded over 150 years ago.

INTERDISCIPLINARY RESE ARCH BUILDINGâ&#x20AC;&#x201A;Washington, D.C ., USA

CONTEXT

Alluvial fans, vast glaciers, and towering mountains informed the design of this remote data center, which features a series of modules organized along a central spine. Overlooking an icy fjord, the campus entrance is articulated with a copper-clad building that draws upon the areaâ&#x20AC;&#x2122;s mining heritage.

KOLOS DATA CENTERâ&#x20AC;&#x201A;Ballangen, Norway

55 CONTEXT

KOLOS DATA CENTER

Nudged into a hillside overlooking Skaha Lake, this home treads lightly on the earth. FaĂ§ades are wrapped in quiet yet sturdy materials, while the framing system consists of traditional lumber and glue-laminated beams. Gently sloping roofs with deep overhangs help protect the building from sun and rain.

LEFEBVRE-SMY TH RESIDENCEâ&#x20AC;&#x201A;Kaleden, British Columbia, Canada

CONTEXT

Designed for the Royal Australian Navy, this facility contains offices and classrooms, along with spacious hangars that house maritime combat helicopters. Angled, concrete louvers on the public-facing side of the building add visual interest while also mitigating the effects of direct sunlight and strong, winter winds.

MH60R SQUADRON HE ADQUARTER S AND TR AINING FACILITIESâ&#x20AC;&#x201A;HMAS Albatross, New South Wales, Australia

CONTEXT

Set into a hillside, this educational center is designed to blend seamlessly with the environment. Made of simple and enduring materials, the building features a series of terraces and walkways that float over the landscape, offering visitors elevated vistas of the scenic nature preserve.

NIOBR AR A VALLE Y PRESERVEâ&#x20AC;&#x201A;Niobrara River Valley, Nebraska, USA

CONTEXT

Pittsburgh’s landmarks and industrial heritage informed the design of this university medical center. The steel-framed, glazed tower is wrapped in a scrim with lemonhued accents, drawing a connection to the city’s famous yellow bridges. The tower floats over a podium, where expansive stretches of glass engage the streetscape.

OAKL AND CAMPUS, NEW BED TOWER COMPETITION CONCEPT Oakland, Pennsylvania, USA

CONTEXT

Iconic approach

Community connection

Symbolic presence

Integrated green space

Maintaining the urban fabric

CONTEXT

New milling technologies were used to create this distinctive ceiling installation, which depicts shifting transportation systems in Ottawa over the course of 150 years. The abstracted graphic traces the arrival of the railroad and the automobileâ&#x20AC;&#x201D;and their profound influence on the rural and urban terrain.

OT TAWA DESIGN STUDIO CEILINGâ&#x20AC;&#x201A;Ottawa, Ontario, Canada

73 CONTEXT

the Ottawa HDR office PATTERN + ASSEMBLY

Nestled into a sloped site on a collegiate campus, this medical facility is designed to offer framed views of a tree-studded landscape and the Wasatch Mountains. Outdoor gardens and earthy materials such as wood and stone further reinforce the buildingâ&#x20AC;&#x2122;s connection to its natural setting.

REHABILITATION HOSPITALâ&#x20AC;&#x201A;Salt Lake City, Utah, USA

CONTEXT

A pond capable of holding 10 million gallons of stormwater sits at the heart of this 16-acre park in Vine City, a neglected urban neighborhood with aging infrastructure. In addition to flood alleviation, this critical green space will offer community amenities such as a sports court, a playground, and a great lawn.

RODNE Y COOK SR . PARKâ&#x20AC;&#x201A;Atlanta, Georgia, USA

CONTEXT

FORM This chapter features 20 projects that embody progressive ideas about form. Many are individual buildings that exhibit distinctive shapes and clever massing strategies. Others are urban schemes that demonstrate interesting ways to assemble components in a built landscape. The chapter begins with an essay by journalist Alissa Walker, well-known for her incisive writing on urban form. In her piece, Walker critiques the car-centric nature of U.S. cities and calls for planning strategies that are more sustainable, humane, and forward-thinking.

The Future City: No Parking Allowed ALISSA WALKER

On August 8, 2019, Minneapolis passed a truly groundbreaking law for an American city—it banned drive-thrus. The decision sounds on the outset like it was pushed exclusively by nutritional lobbyists to shut down fast food restaurants: a moratorium on Whoppers while behind the wheel. But it turns out that by nearly every metric, a drivethru is one of the worst possible ways to use space in cities. Let’s start with the building itself. Even in the densest of cities, a drive-thru is almost always a single-story structure, ringed by surface parking lots. Now add idling cars, which emit additional carbon pollution into the warming atmosphere. Vehicular emissions also contain noxious gases like ozone, which in close,

prolonged proximity can cause lifelong health issues. And that’s not the only public health risk. Due to the high volume of vehicles using multiple entrances and exits around drive-thrus, people on the immediate streets and sidewalks are more likely to be hit and killed by cars. Looking at the data we now have on this ubiquitous fixture of the American landscape, it’s shocking that any city allows drive-thrus to continue to operate at all. But is it really that shocking? For the past 100 years, every element of U.S. architecture has been built or retrofitted to accommodate motor vehicles. From our clogged freeways, to our infinite blacktop lots, to our garages stuffed with SUVs, cars are baked into the built environment.

Now we must completely rethink our auto-centric legacy—and fast. Transportation emissions are the U.S.’s largest source of greenhouse gases. Air pollution kills more Americans than smoking. More people die in this country from car crashes than guns. Designing a piece of infrastructure to serve cars is unsafe, unsustainable, and, knowing what we know now, it’s simply unconscionable. But how do we design cars out of our communities when the typical American city is essentially just one big drive-thru? According to national transportation data, 45 percent of all vehicle trips that Americans take are three miles or fewer. Shifting a majority of those short trips made by car to walking, biking, scooting, and transit-riding could have a dramatic, immediate effect on emissions, air quality, and traffic deaths in the United States. To make that shift relies on public infrastructure investments like wider sidewalks, safer bike lanes, and more bus shelters. But it also means that people using those modes are prioritized on either ends of their journeys—from the moment they step out their doors, all the way to their destinations. Imagine tree-lined planted promenades leading to the main entrance of every building. Boundless bike racks staffed with bike valets. Transit stops that

sensitively integrate seating and shade, not clunky off-the-shelf afterthoughts. To say it’s impossible to retrofit cities, consider that virtually every entrance to every building in this country is required to build a wide, gently sloping, well-maintained pathway that’s essentially off-limits to anyone who is not operating a one-ton vehicle. But a driveway is never just a driveway. It’s also a garage. And a parking space at the strip mall. And another one waiting in a downtown structure. Space for cars begets more space for cars. And cities keep requiring more of it. The most famous example of this is Apple Park, the tech company’s Norman Foster-designed headquarters in Cupertino, California. It’s considered one of the world’s greenest buildings. Yet, for 14,000 employees, there is parking for 11,000 cars. There is more square footage devoted to parking than office space. Sadly, this aligns with a nationwide trend: For every car in America, there are eight parking spots. Combine all these spots and you’d have a parking lot that equals the size of West Virginia. Now, technically, the architect isn’t to blame. In Cupertino, as in most places in the United States, parking requirements are dictated by the city. But this is exactly the role architects must play in a time

of crisis. To persuade their clients to change the rules. To protest archaic city policies. To propose parking maximums—not parking minimums. Luckily, some traditionally car-focused structures are being built with a better future in mind. Parking structures are no longer designed with sloped floors, allowing them to easily be converted into living or working space. Surface lots are being reclaimed as flexible public spaces that can serve the community instead of just accommodating motionless vehicles. Garages are being turned into backyard homes, helping families live more closely to desirable, walkable neighborhoods. And instead of guaranteeing free parking, workplaces are providing access to electric car share systems, fleets of electric cargo bikes, and transit passes that are automatically topped off every year. In each of these situations, cars are still allowed. The difference is that the car is no longer the default—it is a carefully considered, slow-moving, zero-emission guest. Critics of these ideas might argue that they are not as convenient as our car-dominated status quo. But convenient for whom? One-third of Americans cannot or do not drive, and not all of those people can afford to pay someone to do it for them.

It’s time to reconsider every drive-thru, every strip mall, every driveway, every garage, every valet stand, and every parking structure for what it is—a relic of an unacceptable past that is holding us back from a more inclusive future. Reorienting cities away from cars is an opportunity to design places with less pollution and fewer crashes, but it’s also a chance to finally create spaces that are truly accessible to all. That’s because prioritizing cars over people is fueling another crisis. Every space we devote to storing cars is space that can’t be used for housing people. Parking requirements not only limit the habitable size of buildings; they also make construction more financially onerous, meaning those costs get passed down to residents. Higher housing costs and fewer available units mean people must live further and further away from the places they need to go. Forced to choose between a home and a car, some people opt to live in their vehicles. After all, cities have plenty of places to park.

ALISSA WALKER

Alissa connects people with where they live through writing, speaking, and walking. As the urbanism editor at Curbed, she covers policies and designs affecting our cities. She has been named a USC Annenberg/Getty Arts Journalism Fellow and has received a Design Advocate award from the

AIAâ&#x20AC;&#x2122;s Los Angeles chapter. In 2012, her project Good Ideas for Cities was selected for inclusion in the U.S. Pavilion at the Venice Architecture Biennale. Alissa is co-founder of Design East of La Brea, a nonprofit that has earned two grants from the National Endowment for the Arts.

This tower marks a significant departure from the standard office block. Chamfered corners provide walkable space at ground level while maximizing square footage above. A retail alley between the tower and an adjacent parking garage enables pedestrians to fully circulate around the site, engendering a vibrant urban atmosphere.

[1917]â&#x20AC;&#x201A;Omaha, Nebraska, USA

89 FORM

Optimized office block

Sliced corners for pedestrian movement

Cutouts promote interaction

A wavy ceiling installation has transformed a previously dark and unwelcoming lobby into a place of whimsy and exuberance. Highly visible through a glazed wall, the enhanced lobby has given this office building a heightened street presence. The undulating forms were created using advanced fabrication techniques.

67 ALBERT AVENUE ‘ILLUMINATE’ Sydney, New South Wales, Australia

FORM

Interstitial spaces in cities, such as alleys, often go unused. This proposal aims to activate these fallow areas by introducing playgrounds, artwork, garden plots, and other community amenities. Five typologies are proposed—create, gather, learn, grow, and play—with each space tailored to meet local needs.

ALLE Y RETHINK South Omaha, Nebraska, USA

95 FORM

157 dpi

FORM

Situated within a military campus with a modernist vocabulary, this building is composed of two simple shapes: a semicircle inscribed in a rectangle. The outer portion houses the reception area, while a 1,200-seat auditorium occupies the rounded volume. Glass, concrete, and wood reinforce the buildingâ&#x20AC;&#x2122;s formal clarity.

AUSTR ALIAN DEFENCE FORCE ACADEMY AUDITORIUMâ&#x20AC;&#x201A;Canberra, Australia Capital Territory, Australia

FORM

A trio of resilient buildings—linked by pedestrian paths that weave through courtyards—is envisioned for a 1950’s energy campus along the Ottawa River. The assemblage makes the case for “utility urbanism,” a novel planning approach that emphasizes connectivity, integration, and a view toward the future.

CANADIAN NUCLE AR L ABOR ATORIES: NEW BUILDS Chalk River, Ontario, Canada

101 FORM

Designed to evoke a wave approaching the shore, this facility is gracefully integrated into the edge of a palm-shaped island in the Persian Gulf. The program includes educational spaces, a fish hatchery, and a garden with desert plants. A vast roof rises up from the landscape and shelters both public and private zones.

DUBAI CENTRE FOR RESE ARCH AND DEVELOPMENT OF FISHERIESâ&#x20AC;&#x201A;Dubai, United Arab Emirates

105 FORM

This glazed tower is conceived as a continuous floor of offices, folded in upon itself to fit the confines of an urban site. A narrow profile ensures adequate daylight and natural ventilation. Diagonal bracing obviates the need for corner columns, allowing internal collaboration spaces to “float” in the city.

ENGINEERING COMPANY HE ADQUARTER S Omaha, Nebraska, USA

107 FORM

Ideally, a single floor

Folded to fit the site

Collaborative culture

A simple, rectangular block has been chiseled away to form a dynamic place for education and research. Most notably, an atrium angles through the building, bisecting the interior and connecting to existing pathways on campus. The diagonal incision serves as both circulation and gathering space; it also ushers in natural light.

INTERDISCIPLINARY HIGH PERFORMANCE COMPUTATIONAL CENTERâ&#x20AC;&#x201A;Staten Island, New York, USA

113 FORM

0’

15’

This academic building defines a new campus gateway. To make the most of a thin, wedge-shaped site—and to avoid harming protected fig trees—the building’s lower level is set back while the upper portion is cantilevered. Large folds in the glazed façade add visual zing and orient views toward the city.

LIFE , E ARTH & ENVIRONMENTAL SCIENCES BUILDING (LEES 1) Sydney, New South Wales, Australia

115 FORM

Encircled by sand dunes, this vast educational campus is designed to buffer against harsh environmental conditions. Living and learning spaces are distributed across low-lying buildings that are woven into the sun-baked landscape. Beyond being climate responsive, the segmented layout creates a comfortable human scale.

MINISTRY OF INTERIOR ACADEMY COMPLE Xâ&#x20AC;&#x201A;Abu Dhabi, United Arab Emirates

119 FORM

Science-based innovation and humanist ideals drove the design of this building, which features an interplay of rectilinear and curvy forms. The fluid interior offers numerous moments for collaboration and inspiration, including nooks adjacent to stairways. Timber finishes and natural light further enhance the work environment.

NOVARTIS HE ADQUARTER S AUSTR ALIAâ&#x20AC;&#x201A;Sydney, New South Wales, Australia

121 FORM

A verse in the Noble Quran that describes the relationship between the sun and the moon informed the “orbiting curve” design of this headquarters for a telecommunications company. The building’s glazed walls are wrapped in a sinuous veil that provides shade and serves as a graphical representation of sound.

OMANTEL HE ADQUARTER S Muscat, Oman

127 FORM

This 2.1-million-square-foot hospital consists of stacked and intersecting barsâ&#x20AC;&#x201D;a massing strategy that deftly balances the human and city scales. Woven throughout are tranquil gardens and courtyards that serve as places of respite. The facility is accessed via multiple modes of transportation, including bus and light rail.

PARKL AND HOSPITALâ&#x20AC;&#x201A;Dallas, Texas, USA

131 FORM

Sophisticated engineering plays a key role in the design of this 16-story urban hospital. The upper levels hang from a 27-foot-deep truss, while the lower portion sits upon a W-shaped transfer truss buttressed by two “super-columns.” An underground, concrete parking garage supports the weight of the tower above.

PAVILION AT THE HOSPITAL OF THE UNIVER SIT Y OF PENNSYLVANIA Philadelphia, Pennsylvania, USA

135 FORM

How can we create a sustainable community that improves residents’ health and quality of life? That question, paired with interviews with local stakeholders, shaped the design of this transit-oriented development. Notable features include walkable streets, a climbing wall, a multipurpose trail, and access to fresh produce.

PEÑA STATION NE XT E XPERIENCE VISION & WELLNESS PROGR AM PL AN Denver, Colorado, USA

137 FORM

Sculptural benches and a curved wall surround this elegant addition to a cancer hospital. The two buildings are connected by a slender circulation bar that gently slices through the new volume. Waiting areas are situated along this spine and look upon verdant healing gardens, while ample glazing brings in soft daylight.

R ADIATION ONCOLOGY CENTERâ&#x20AC;&#x201A;Jiddah, Kingdom of Saudi Arabia

141 FORM

Building footprint

Connect to existing

Envelop + protect

Create healing garden

Trim + create views

Boosting healthcare access is a key factor in the revitalization of small towns in America. Presented in a six-part book, this proposal investigates architectureâ&#x20AC;&#x2122;s role in strengthening rural communities and outlines various interventions for aging downtown districts, such as co-locating medical clinics and cultural offerings.

REFORM: SAVING MAIN STREET USAâ&#x20AC;&#x201A;Haxtun, Colorado, USA

Main street

Vacant and occupied buildings

145 FORM

Relocation and punctuation of program

Distribution of services

This project entails the renovation and expansion of a 1970â&#x20AC;&#x2122;s arts building at the University of Nebraska. Featuring a sculptural form that gestures both outward and upward, the new addition enters into dialogue with existing campus architecture. An opening is carved into the mass to form a light-filled circulation path.

STR AUSS PERFORMING ARTS CENTERâ&#x20AC;&#x201A;Omaha, Nebraska, USA

Common addition strategy

Stack volume vertically

149 FORM

Manipulate form for circulation spine

Carve openings into mass

2017 New addition begins

4 1973 Strauss Performing Arts Center completed

2019 New addition completed

151 FORM

Proposed for an area where residents prioritize open space and healthy living, this sculptural tower dips and crests, resulting in varied pockets of activity and a vibrant community atmosphere. The design extends the public realm both horizontally and vertically, which in turn generates an authentic feeling of connectedness.

THORNTON COMMUNIT Yâ&#x20AC;&#x201A;Penrith, New South Wales, Australia

153 FORM

Shifts, bends, and extrusions were used to shape this hospital and delineate its four programmatic zones (public, research, outpatient, and inpatient). Evocative of a bird’s nest, the parametrically designed exterior balances the need for daylight, views, and privacy. Ample green space further enriches the user experience.

WOMEN AND CHILDREN’S HOSPITAL Minnesota, USA

157 FORM

M AT E R I A L S In this chapter, we present 13 designs that feature a commendable use of materials. The projects range widely, from a copper-clad school and a glazed conservatory to a rural health clinic made of compressed-earth bricks. The chapter begins with an essay by the renowned writer and educator Susan Szenasy, who explores how environmental concerns are driving significant advancements in the design and use of materials.

A New Age of Material Invention is Dawning SUSAN S. SZENASY

The Industrial Revolution started in the 1700s, and by the late 19th century, it was on steroids. Its dust— pollution as we came to call it—settled on cities. Everyone, especially children, living in dense, urban areas experienced its adverse effects. Photographers and filmmakers documented the murky skies and thick air. It was hard to ignore the looming health (and economic) crisis. Eventually, this crisis would lead to the clean-up of emissions from power plants and transportation systems. The visible change from murky to bright skies seemed monumental in 1963, when Congress passed the Clean Air Act. In reality, we knew, even then, how small and incremental this response was to a challenge we were yet to understand in its full magnitude:

Our actions, and the materials we use, are poisoning the Earth, its atmosphere, and the creatures, including us, that inhabit it. We’ve known for some time that fossil fuels are incredibly damaging. Yet, even as scientists warned, for decades, that our reliance on coal, oil, and gas was wreaking havoc on the planet, we were too busy celebrating the always “new and improved” products of chemistry labs and believing that they could save humanity and our environment. As catastrophic storms, fires, and floods visit nearly every corner of our fragile planet—and leave enormous emotional and financial burdens in their wake— citizens protest anti-environmental legislation and worried children mobilize to let everyone know about the bleak future they face. Yet, these import-

ant actions rarely get to the heart of the problem: the built environment. Buildings, alone, contribute at least 40 percent of all greenhouse gases choking the Earth. The materials used in buildings and furnishings have received some serious evaluation by design professionals, particularly as the wellness movement has gained traction in society. Following its humanist standards, the design community continues to develop Health Product Declarations (HPDs), which list materials’ ingredients and their associated hazards. HPDs have been created for some 5,000 products. Yet the complexity and behavior of synthetic products remain difficult to grasp. For instance, antimicrobials, designed to protect humans by killing other living organisms, are found in countless products, from household cleaners and clothing to building and furnishing materials. For some time now, antimicrobials have been known to be harmful to our health, yet they represent a thriving industry which puts its worth at $4.5 billion by 2020. At the same time, Nature’s clean energy sources— sun, wind, and geothermal—have progressed considerably. Industrial-looking panels have evolved into elegant solar curtain walls; wind turbines are programmed to talk to each other for maximum efficiency; and geothermal power, where accessible, is used to complete the Earth-friendly energy picture. Increasingly, Nature is acclaimed as the supreme intelligence and a bountiful source of clean materials and processes. Flax, for example—a fiber crop that grows around the world—has been used to weave linens since the ancient Egyptians. It was nearly wiped out of existence by high-performing synthetics. Now a serious revival of this age-old plant, with its fiber-rich stalks, is underway, initially fueled by the cannabidiol (CBD)

craze. CBD supplements and unguents are made with linseed oil, a flax seed product, and the remaining stalks are collected and spun into sturdy yarns for weaving. This process, which brings seemingly unrelated businesses together, supports the critical discourse around the circular economy. Circular economy thinking goes something like this: Nature doesn’t throw things away, only humans do. Nature uses up every molecule of decaying organics as nutrients to nourish life, both existing and emergent. For a circular product to succeed, it must be designed with non-toxic materials and be produced by manufacturers who both value their labor force and work with regional distributors. Once the product reaches the end of its useful life, it is recycled— a translation of Nature’s closed-loop approach. A sign of this thinking about products and materials can be read in job ads for industrial designers, as manufacturers search for “systems thinkers.” Like the rest of us, factory owners have seen the massive quantities of single-use plastics churning in the Pacific Gyre—polluting edible aquatic life and beaches, piling up on trash heaps. Yet even with such graphic evidence of the malfunctioning industrial system, the old ways persist. What will it take for the stewards of the built environment to organize and create—as only the design and architecture community can—materials, processes, and built spaces that are beautiful, systemic, and safe? Incomplete, and, yes, faulty approaches to product design are everywhere. For instance, when linens are shipped across the oceans, designers who specify the material violate the ethos of sustainability—sourcing within a 100- to 500-mile radius of a project. This begs the question: How can a large design firm, working on significant projects for increasingly climate-aware clients, advocate for family farms and local workshops? This localized

approach requires a system of mindful purchasing that goes beyond the handsome product and stays within budget. It assumes the design community’s active participation in solving the pressing problems of our time. Experiments with products formed by Nature’s processes are increasing in number and importance. For instance, there’s now experience with growing bricks, wall boards, and furniture from Mycelium. This promising material is a product of mushroom roots thriving in decomposing organic matter, in dark and damp tunnels. The familiar phrase from the recent sustainability movement, “Waste equals food,” still rings true. Initiatives in which architects collaborate with university research labs are increasingly worth watching. One inspiring example can be found at the Tulane School of Architecture, where Dean Iñaki Alday kicked off the 2019–20 year with ten ambitious research studios. The mandate: Explore, in depth, humanity’s existential concerns by focusing on the built environment. One studio, for instance, focuses on how precast concrete and advanced fabrication technologies can be deployed to help manage urban stormwater. Another studio explores how mass timber can be used to construct low-scale residential buildings in the hurricane-ravaged Gulf South region. Another examines New Orleans’ coastal location and what future architects can learn from historic waterside or water-anchored dwellings that respond to climate and culture, rather than ignoring or even fighting these conditions. Thus, the amnesiac approach of the modern dogma is interrogated. Designers have a long history of successfully exploring local and regional materials, skills, and methods, along with responses to climate, culture, and ecology—elements that form the unique ethos of each place. Even as numbingly similar glass tower clus-

ters scrape the skies, from Austin to Ahmedabad, a new age of invention is dawning. And so, it may be useful to remember the words of Gunnar Birkerts, the Latvian-American architect who settled in the Midwest and built modern structures there, as well as in far-flung places, from New York State to Venezuela. A few years before he died at the age of 92, he clearly recalled his own role in creating the modernist ethos: “We had to invent everything,” he told a group of skeptical architects in Boston. Can we, in good conscience, keep ignoring the wisdom of our fathers?

SUSAN S. SZENASY

Susan is a renowned design advocate, historian, and educator. She is the former Director of Design Innovation at Metropolis, where she served as Editor in Chief for over three decades. She has taught history and ethics at New York’s Parsons School of Design, and she is advisor to the university’s Healthy Materials Lab. She also

serves as an advisor for the sustainable design master’s program at the New York School of Interior Design, and is an Emeritus Board Member at the Landscape Architecture Foundation. Among her many accolades are a Cooper Hewitt National Design Award and four honorary doctorates.

Through its contemporary articulation, this research facility works in harmony with a modern-style campus and neighboring brick structures. Bronze-colored panels and large windows make up the exterior. Inside, social areas feature a neutral color palette and finishes atypical of a government building.

ARGONNE NATIONAL L ABOR ATORY ENERGY SCIENCES BUILDINGâ&#x20AC;&#x201A;Lemont, Illinois, USA

165 M AT E R I A L S

A soaring atrium lies at the heart of this healthcare building, which was designed to feel protective, private, and comfortable. From exterior screens to ceiling installations, perforated metal is found throughout the facility. Its distinctive dot patterning is based on the word “lifehouse” translated into Braille.

CHRIS O’BRIEN LIFEHOUSE Sydney, New South Wales, Australia

167 M AT E R I A L S

169 M AT E R I A L S

Copper siding gives this building a distinctive look while respecting the university’s historic architecture. Sustainable design elements include thermochromic glazing that shifts from clear to tinted based on environmental conditions. Mass timber is proposed for the structural frame—a fitting material for a forestry college.

FR ANKE COLLEGE OF FORESTRY AND CONSERVATION Missoula, Montana, USA

171 M AT E R I A L S

173 M AT E R I A L S

Mass timber construction

Exotic wood and Platner furnishings lend a timeless appeal to this elegant lounge for donors. Suspended overhead is a dramatic lighting fixture made of LEDs and acrylic rods. Inspired by the dynamic properties of a sound wave, the installation honors the finely engineered acoustics within the arts center.

HOLL AND PERFORMING ARTS CENTER FOUNDER S ROOMâ&#x20AC;&#x201A;Omaha, Nebraska, USA

175 M AT E R I A L S

Framing system

Polished black case

Traxon LED lights

Polished acrylic rods

177 M AT E R I A L S

For the overhaul of an existing building, the client wanted a classical style that exemplified beauty, power, and stability. In response, stone cladding and piers were added to the exterior, and elegant materials were used throughout the interior. A large, golden wall lends a sense of grandeur to one of the central courts.

HUAWEI CORPOR ATE FINANCIAL CENTER BUILDINGâ&#x20AC;&#x201A;Shenzhen, Guangdong, China

179 M AT E R I A L S

Located in one of the world’s most impoverished countries, this rural outpatient facility comprises a series of sloped-roof pavilions that line a shaded courtyard. Research into the area’s vernacular construction informed the material selection, which includes wood trusses, corrugated metal roofing, and compressed-earth bricks.

MAL AWI OUTPATIENT CLINIC AT NENO DISTRICT HOSPITAL Malawi, Southeast Africa

181 M AT E R I A L S

183 M AT E R I A L S

Designed to put science on full display, this project entailed updating a laboratory and narrow corridor. Black polished concrete and white Venetian plaster were used to modernize the space and to focus attention on learning activities. Additional finishes include powder-coated steel, low-iron glass, and reclaimed Douglas fir.

MANTER HALL SCHOOL OF BIOLOGICAL SCIENCESâ&#x20AC;&#x201A;Lincoln, Nebraska, USA

185 M AT E R I A L S

187 M AT E R I A L S

1 2 3 4

LED Lights Wall Framing 3/8â&#x20AC;? Hot-Rolled Steel Plate Venetian Plaster

This buildingâ&#x20AC;&#x2122;s curved, organic form mimics the heliconia flower, which is among the foliage displayed inside. The glass shell employs a shingle system, in which horizontal panels gently overlap. Operable windows were incorporated into the roof and side walls, allowing the structure to ventilate naturally.

MAR JORIE K . DAUGHERT Y CONSERVATORYâ&#x20AC;&#x201A;Omaha, Nebraska, USA

189 M AT E R I A L S

191 M AT E R I A L S

Taking inspiration from a stand of golden reeds, vertical strips of precast concrete line the faĂ§ade of this parking garage. The strips form a screen that permits daylight to penetrate the interior, which in turn increases user safety. This building visually enriches a college campus through its simple, bold expression.

PACIFIC CAMPUS PARKING STRUCTUREâ&#x20AC;&#x201A;Omaha, Nebraska, USA

193 M AT E R I A L S

195 M AT E R I A L S

Repurposed shipping pallets were used to create this temporary structure for a local food festival, which was held atop a highway overpass. Sturdy and cost-effective, the pallets are stitched together to form a pavilion that evokes the rustic corn cribs dotting the Nebraska landscape.

PAL-ATEâ&#x20AC;&#x201A;Omaha, Nebraska, USA

197 M AT E R I A L S

Housing for refugees is one of the critical issues facing our global community. This proposal envisions a simple dwelling for Syrian migrants as they travel through Turkey. Reminiscent of a cairn, the building is made of stone-filled gabion cages and wooden shipping palletsâ&#x20AC;&#x201D;materials that also are used for interior furnishings.

SHELTER IN A FORESTâ&#x20AC;&#x201A;Turkey

199 M AT E R I A L S

201 M AT E R I A L S

Locally sourced infill materials

Gabion baskets

Shipping pallets

SLEEP

EAT

GATHER

Taking cues from midcentury decor by Florence Knoll, this smoke-colored credenza has thin metal legs that create a floating effect. The medium-density fiberboard body is trimmed with reclaimed maple. The base is constructed of hot-rolled steelâ&#x20AC;&#x201D;the same material used to cover walls and doors.

WIETZ SIDEBOARDâ&#x20AC;&#x201A;Omaha, Nebraska, USA

203 M AT E R I A L S

Fusing industrial and natural elements, this retail center draws upon its unique context: a coastal town with lush forests, jagged cliffs, and a steel mining heritage. An interior “main street” features sculptural forms made of wood, while the exterior is clad in metal shards with perforations evoking a constellation of stars.

WOLLONGONG CENTR AL Wollongong, New South Wales, Australia

207 M AT E R I A L S

209 M AT E R I A L S

PROGR AM This chapter features 13 projects that demonstrate a commitment to the architectural program. The work varies widely, from a power plant with a public museum to guidebooks and strategic plans related to healthcare delivery. The chapter begins with an essay by the noted critic Aaron Betsky, who reveals the dangers of traditional programmatic thinking and proposes new ways of approaching the functional dimension of architecture.

Towards the Post-Programmatic AARON BETSKY

“All buildings work. … The Parthenon probably worked perfectly well for the ceremonies that they used it for. … That we should have a front door to come in and a back door to carry the garbage out—pretty good, but in my house I noticed to my horror the other day that I carried the garbage out the front door.” –Philip Johnson, The Seven Crutches of Modern Architecture, 1954

square feet are required in what adjacency to each other. The only design elements that escape from the architect’s job of transcribing and organizing are the circulation areas, which they can try to exploit to promote either awe or, more trendily, chance encounters and productive interaction, and the quarter of an inch or less of the façade in which they have the opportunity to express what they think their client or the site is all about.

Most architects rely too heavily on programmatic excuses in the design of buildings. They claim that their creations are the semi-automatic translations of the requirements the clients gave them (or that they developed for those commissioners). As a result, the spaces and façades are the direct result of how many

As a result, most buildings have plans that are predictable and work reasonably well, while countless human hours are spent trying to adjust those standard diagrams to the specific conditions prevailing at the company or institution for which the architect is working. It was not always this way. We used

to think that, if you made a good space as part of a well-thought-out building, it would adapt itself to various and changing needs. Then we felt the need to justify our time and efforts, and the bubble diagram and use analysis were invented, leading to the standardization of floor plans and leeching out of anything that might look or feel like architecture. There are several flawed assumptions in this approach. The first is that it assumes the client and their needs are static. Yet corporations and institutions change rapidly in response to everything from marketing forces to trends in internal management. Private clients change their minds, have children, or find themselves confronted with new technology. The latter issue overrides all others in the case of highly specialized spaces such as laboratories and research hospitals. Several years ago, Apple spent close to a billion dollars building a headquarters that was also a monument to itself. In Jobs-ian fashion, everything about the building, designed by Norman Foster, was figured out to the last detail, including the circular Dilbertland that sent employees racing around the donut trying not to bump into the perfectly transparent walls. Even before it was finished, however, the company took over a spec building down the road because its headquarters no longer met its space requirements. In response to these sorts of situations, architects try to find a balance between making designs that seem to meet whatever the program is at the moment they are designing (or, to be more accurate, that the client signs off on), while creating a certain amount of generic quality to their plans so that the resulting spaces can adapt to changing circumstances. It often does not matter; new buildings often have to be renovated or adapted even before they are finishedâ&#x20AC;&#x201D;the only benefit being that architects and contractors wind up making their true profit from change orders.

The second issue is exactly the standardized and generic nature of the spaces that result. What gets lost when the program rules is a sense that every situation, every human interaction, every operation, and every relationship to the surrounding conditions is unique. Granted, you can very easily categorize and abstract most of those relations, and that is exactly what allows programs to be predictive, standardized, and efficient. Yet we also know that this streamlining causes friction when the particulars of a situation chafe at the standardized boxes into which we put everyone, and that it promotes the production of the soulless, banal, and interchangeable environments in which many of us work, live, or play. Third, and as a result of this continual friction between evolving activities and interactions and the rigid building, we view buildings as constraints, rather than as enablers. For most of us, the built environment is something we react to by trying to make ourselves at home within it. We personalize our spaces, we do little renovations, we misuse spaces for functions other than what they were programmed to accommodate. When things get really bad, we either just leave, or we blow up parts of buildings so that they do work. Fourth, and for all these reasons, programmatic thinking turns us all into robots going through the motions the buildings define for us. This is true not just for the users: It is equally so for designers, who find themselves trying to believe that they are doing more than just imprisoning people in efficiency and expected behavior. Programming is indeed semi-automatic, and pretty soon it will not need designers; there are apps for it. Finally, there is the problem of the sheer lack of need for programming. When you can work, play, and live anywhere, and many of your interactions are virtual, why designate space for something specific?

Moreover, fixing assets in spaces designed for a specific program is wasteful—hence the rise of the loft as the answer for everything, from hot-desked working to urban and now suburban living, to pop-up shopping or parties. Only the most specialized functions escape from that corrosive effect of fast-moving information and capital, and even in those spaces the most finicky lab equipment is becoming smaller and more flexible, so that it is not impossible to imagine that pop-up clinics and loft-based labs are in our future. The great escape valve for all of this is what we used to call circulation space, and which has now become the Great Room in the house, the atrium lobby, the “mixer space,” or whatever name we come up with for something that is purposefully amorphous, promoting different uses and encounters. These spaces are by definition not efficient, and the way architects convince clients to pay for them is usually in that they provide the Wow Factor. They impress visitors, they make employees feel as if they are part of a larger whole, and they let you as a client wallow in all that wasted space that you can afford to throw away at such nebulous effects. Those spaces that save buildings from the tyranny of programs are in effect a kind of potlatch—or a monument to the vanity of both client and architect. What is more interesting than continually trying to refine responses to complex programs is to engage in a series of activities that offer alternatives to both the overly specific and the too multipurpose. Such an approach, which we might call Post-Programmatic, can take a variety of different approaches. First, there is the currently fashionable notion of affordances. Based on the theories of the psychologist James Gibson, it is now in use at practices as diverse as Zaha Hadid Architects, Snøhetta, and Rietveld Architecture-Art-Affordances in the Netherlands.

The idea is that we need spaces that neither tell us what to do nor let anything or nothing happen, but that afford a range of different possibilities. In the same way that a bird might find a cozy nook in the eaves to build a nest or a cat finds a place where it has a view and yet feels cozy, so we can design spaces that offer certain cues for a limited range of interactions. These design elements usually combine at least two different scales and bodies in at least two different modes (such as standing and sitting), while offering both a sense of privacy and an openness to a range of social actions. The second possibility is to trace or track existing activities and elaborate them into spatial conditions that build on them. This is a technique that Koolhaas and his team, the Office for Metropolitan Architecture, developed during the mid-1990s, and have elaborated ever since. It uses strong form and articulated circulation to attract and complicate activities. Often based on circulation, it is a strategy that mixes functions such as staircases and theaters (by now such a cliché that you can even find it at airports, but first used by OMA in 1995 at the Rotterdam Kunsthal). It also distends activities by making them bigger or more prominent—for instance, by cantilevering lecture halls out of the building or turning reading rooms into open terraces. You might think of this as Nudge-itecture: By making a strong form or forcing you to do something in a space that looks as if it was designed for something else, it opens you up to social mixing and the invention of new approaches to your work or living rituals. Finally, there is the notion that architecture can invent programs that are so seductive or troubling that they move us out of our expectations and routines into another space, one where we can fulfill a role in which we reimagine ourselves. This Fairy Tale Architecture is not necessarily completely fanciful or against what was there: It merely rear-

ranges reality, sometimes only slightly. Many people today are used to having to work, live, and play where they can, to connecting in amorphous groups, and to moving around incessantly, so this generation of architects concentrate on designing ways in which we can bring places alive. Their work is one of finding usable spaces and telling good stories. That approach can lead to results as subtle as putting windows in labs or integrating hidden light sources into houses. On an urban level, New York’s High Line is the perfect example of how to open up our environment to show new structures, but you can also find this approach in the way some companies borrow theming techniques from the gaming and film industry that turns toilets into castles reached by skateboard ramps or restaurants into forests. For the two generations that have by now grown up with Harry Potter and the film versions of Lord of the Rings, such a world that opens up if you go to Platform 9 ¾ does not seem that strange—it is those who do not see it that are just mindless muggles. So it is time for architects to stop worrying about programs, or at least to stop using them as excuses. Instead, they should use them as opportunities, ruins on which to build, or preconceptions their designs will waylay. The program had its day. Now it is time to discover new ways to discipline and vitiate architecture.

AARON BETSKY

Aaron is President of the School of Architecture at Taliesin. A critic of art, architecture, and design, Aaron is the author of over a dozen books on those subjects, including a forthcoming survey of modernism in architecture and design. Trained as an architect and in the humanities at Yale University, Aaron was previously Director of the

Cincinnati Art Museum (2006-2014) and the Netherlands Architecture Institute (2001-2006), as well as Curator of Architecture and Design at the San Francisco Museum of Modern Art (1995-2001). In 2008, he directed the 11th Venice International Biennale of Architecture. His latest books are Making It Modern and Architecture Matters.

Deep, qualitative analysis and multiple ideation sessions led to the formation of a rigorous strategic plan for a Wisconsin-based healthcare provider. The plan, which helps improve customer service, has proven to be very effective: The client has adopted the framework as the overarching structure for its entire organization.

AUROR A HE ALTH CARE SIGNATURE E XPERIENCEâ&#x20AC;&#x201A;Milwaukee, Wisconsin, USA

nge

s sit

Tra n

IPS

EPI

ION

LAT

LIFE ST BRAYLE ND

INNOV ATION

ork y, Netw h rap s, og ing Ge ffer O

ion

Cura ted R esou rces 360 App oint men Rec t ast Rel a tion Re fer shi ps ral s

ne Ch allen ge Front li

Whites pace Ch alle

PROGRAM

LOCATION DIGITAL/VIRTUAL ROLES SERVICE

217

& ES ES SIT VIC HIPS R SE NERS T R PA

nity ns muizatio m Co rgan O tte que Mar

rics

t Pedia

Retail ence edia Influ

-PEER PEER-TNOECTION CON

Social M

Expert Patient Mentors Aurora.org

eConsults Tele-Visit s

VIR CON TUAL NEC TION

V-Visit s

E-Vis its O Solnue-Call tion s

P Conatient tac t Ce C nte Co linica r nta l ct C Pre ent Co -S er nta erv ct ice Ce nte r

Doc Find a e/ n Devic our Otwion BringInYte gra App

res atu Fe w ine Ne sel Ba t the n e Fix aym &P g ulin ing hed Bill t Sc men oint App and ome g Welcboardin On

OLS

THE TO

PATIENT PROFILE SERVICE ROLES DIGITAL/VIRTUAL LOCATION

RA RO AU MY

C CE ONT NT AC ER T S

BIG IDEAS ESTABLISHED ESTABLISHED EVOLVING EVOLVING EMERGING EMERGING

Gardens, terraces, and generous corridors extend the educational experience beyond the classroom within this academic complex. A glazed, central volume unites multiple buildings while also serving as a dynamic gathering space. Materials such as concrete and glass draw upon the schoolâ&#x20AC;&#x2122;s existing modernist design.

AUSTR ALIAN DEFENCE FORCE ACADEMY LE ARNING SPACESâ&#x20AC;&#x201A;Canberra, Australian Capital Territory, Australia

219 PROGRAM

220

PROGRAM

221 PROGRAM

222 PROGRAM

LABORATORY

Given that containment labs tend to lack social areas and daylight, this building marks a radical departure from the norm. Labs occupy the perimeter and encircle a gathering space that falls within the containment boundary, enabling scientists to easily take a break without going through extensive decontamination measures.

BBSRC NATIONAL VIROLOGY CENTRE: THE PLOWRIGHT BUILDINGâ&#x20AC;&#x201A;Pirbright, Surrey, United Kingdom

223 PROGRAM

COMMONS

LABORATORY

225 PROGRAM

Numerous interviews and focus groups informed the creation of this strategic roadmap for healthcare marketing leaders and their organizations. Commissioned by the American Hospital Association, the research publication outlines a range of tactics, from generating data-driven insights to dissolving traditional boundaries.

BRIDGING WORLDSâ&#x20AC;&#x201A;Worldwide

227 PROGRAM

PRINCIPLES OF STRATEGIC INNOVATION

Low-fidelity prototyping

Human-centered

Rapid iteration

Diversity of thinking

Ideas to implementation

Adjacent thinking

Alternate divergent and convergent

228 PROGRAM

This bespoke journal offers critical insights into the future of healthcare delivery and how to plan for it. Instead of showing the typical glossy photos, HDRâ&#x20AC;&#x2122;s thought leadership is conveyed through engaging essays and compelling graphics, which combine to paint a full picture of current challenges and progressive solutions.

DELTA , VOLUME 1â&#x20AC;&#x201A;Worldwide

The second in a series, this content-rich journal outlines an ambitious redesign of the healthcare delivery process, including strategies for implementation. Filled with insightful case studies and infographics, the publication is the result of a deep collaboration among writers, graphic designers, and healthcare experts.

DELTA , VOLUME 2â&#x20AC;&#x201A;Worldwide

231

PROGRAM

B A

++Biometric Bathroom Mirror ++Wearable Device ++Bedroom Lights

= =DAILY NUTRITION STATS

G D

C B

B C ++Smart Grocery Cart ++Menu Tracking ++Fitness Watch ++Smart Scale

= =BMI STATS, PROGRESS, RECOMMENDATIONS

D F F F

C ++Roomba Vacuum ++Kitchen Fan ++Outdoor Air Quality Sensor ++Weather Channel Feed

D E

H G

= =COPD AIR QUALITY HOME & COMMUNITY REPORTS

H H

D ++Car Seat Sensor ++Office Chair Sensor ++Couch Sensor

++Smart Fridge ++Grocery Store List ++Geo-Location Mapping ++Rx Diet ++Meal Tracking = = DAILY VITAL RECORD

= =DAILY SEDENTARY METER

++Wearable Device ++Smart Blood Pressure Cuff ++Smart Exam Room

++CPAP Machine ++Smart Bed ++Live Physician Tracking

++Kiosk Check-In ++Doctor Tracking ++Edu-tainment

= =AUTO-ADJUST ENVIRONMENTAL CONTROLS TO CALM PATIENT

= = DAILY SLEEP STATS

= = FULFILLING WAIT FOR PATIENT

This adaptive reuse project entailed converting a shuttered bookstore into a tech library and incubator space for local residents of all ages. The nonprofit facility houses classrooms, computer banks, meeting rooms, maker spaces, and social areas. Vibrant colors and ample light create a welcoming atmosphere.

DO SPACEâ&#x20AC;&#x201A;Omaha, Nebraska, USA

233 PROGRAM

12 3 10

3 9

3 8

1 2 3 4 5 6 7 8 9 10 11 12

Entry Help Desk Conference Rooms Workstations Childrenâ&#x20AC;&#x2122;s Rooms Maker Space Staff Areas Coffee Shop Classrooms Innovation Lab Lounge Testing Center

234

PROGRAM

235 PROGRAM

The medical office is reimagined in this publication, which was created for Kaiser Permanente, a leading healthcare provider. The book outlines tactics for improving the patient experience, ranging from aesthetic considerations to communication methods. The model is applicable to a variety of facility sizes and configurations.

HE ALTH HUB E XPERIENCE GUIDEBOOKâ&#x20AC;&#x201A;Southern California

237 PROGRAM

This natural gas facility is much more than a power plant. Based on community input, a visitor center and museum were incorporated into the building, enabling it to serve as a teaching tool. On the facade, the public areas are expressed as a vibrant red band that catches the attention of passing drivers.

HOLL AND ENERGY PARKâ&#x20AC;&#x201A;Holland, Michigan, USA

240

PROGRAM

241 PROGRAM

242 PROGRAM

The concept for this next-generation medical office building was created in response to a Kaiser Permanente initiative called Project RAD (Reimagining Ambulatory Design). Aiming to foster physician connectivity and improved member experiences, the design calls for spaces that are flexible, efficient, and scalable.

K AISER PERMANENTE R AD HE ALTH HUBâ&#x20AC;&#x201A;Southern California

243 PROGRAM

Envisioned as a pilot project, this medical clinic and community wellness center features a modular design that is highly versatile. Public, semi-public, and private areas can be rearranged based on specific needs and changing conditions. Spaces will feature work by local artists, helping engender a sense of pride and ownership.

OPTIMIZE HE ALTH CLINICâ&#x20AC;&#x201A;Raghogarh, India

245 PROGRAM

Solar Panels

Water Collection

Light + Heat Filtration

Private

Mixed

Public

246

PROGRAM

This design guide was created for a medical center undergoing a major transformation. Based on input from patients and physician groups, the book outlines 10 guiding principles to foster a positive healthcare experience. The recommendations will aid in the creation of a new outpatient facility, also designed by HDR.

RUSH CENTER FOR ADVANCED HE ALTH CAREâ&#x20AC;&#x201A;Chicago, Illinois, USA

249 PROGRAM

PRINCIPLES OF USER EXPERIENCE DESIGN

Enabling technology

User experience

Environmental Design

Operations

Service Model

250 PROGRAM

Guided by the concepts of lean urbanism and incremental sprawl repair, HDR has imagined a series of small-scale interventions for an area impacted by civil unrest. Incubator spaces, micro-retail units, and a community park are among the proposed amenities, all of which will be developed over time to fuel market momentum.

WEST FLORISSANT AVENUE: LE AN URBANISM REVIVALâ&#x20AC;&#x201A;Dellwood, Missouri, USA

251 PROGRAM

252

PROGRAM

253 PROGRAM

S PA C E This chapter looks at 13 projects with notable spatial conditions, both within and beyond a buildingâ&#x20AC;&#x2122;s envelope. Some exhibit a quiet, minimalist aesthetic; others are bold and exuberant. While diverse, the projects are alike in one regard: They all meet the unique needs and desires of their users. The chapter kicks off with an essay by the respected journalist Katie Gerfen, who discusses the importance of physical space in our increasingly digitized world.

Building Connections in a Digital World K AT I E G E R F E N

In the trailer for Steven Spielberg’s 2018 film Ready Player One, the young protagonist walks through the debris-laden streets of a ruined, post-apocalyptic Columbus, Ohio, where those still surviving live in ramshackle towers of repurposed mobile homes. “There’s nowhere for me to go,” he says, putting on a virtual reality headset, “except the Oasis,” before diving into a digital world that offers all of the social interaction and imagined built space that he can’t find in his physical environs. The idea of a virtual escape from cramped confines is a staple of the Sci-Fi genre—anyone who has watched the Star Trek franchise will be familiar with the Holodeck, for example—but in our ever-digitizing world, it no longer seems like a far-off fiction. VR

is becoming a staple in the building industry, and our phones are tiny supercomputers in our hands, allowing us to do everything from shop to engage with friends, and strangers, via social media. Now, the average person spends at least four hours on their phone each day, and that number keeps rising. We’ve never been more connected as a society, yet with so much of our lives conducted online, our experience in the physical world is shrinking to the size of a screen. If we can build global relationships, order groceries, and perform a job, all without leaving the couch, does the built environment outside our walls still matter? If anything, the design of the built environment, and public space in particular, is more critical

than ever. It’s more than an opportunity for digital detox; it’s critical for maintaining our connections with society, and reinforcing the in-person connections that dwindle as we retreat to our digital ones. It also influences our health, our cognition, and our happiness. In her 2014 TED Talk, former New York City Planning Commissioner Amanda Burden noted that: “Cities are fundamentally about people, and where people go and where people meet are at the core of what makes a city work. So even more important than buildings in a city are the public spaces in between them. … They are what makes it come alive.” These places “where people go and where people meet” can take many forms: parks, plazas, sidewalks—any space, really, that everyone can access. And incorporating plants and greenery is a plus: Whether it’s planters, a pocket park, or a massive urban green space, the biophilic effect of being in (or even have views of) natural areas is well documented. In the healthcare industry, it’s linked to faster recovery times; in schools, to better learning comprehension; and in the public realm, greened spaces are often the most used and celebrated. But these spaces aren’t just about finding respite from the concrete jungle. They are also about finding human connections. Research shows that if we surround ourselves with people, their emotions can influence our own. So, the security and happiness that we feel in comfortable, engaging public spaces can actually influence those around us. In an age when we are becoming more personally isolated by technology—and when online forums can become echo chambers of our own implicit biases—those in-person connections are vital to reinforce. Because public areas help foster these connections, it is crucial that these spaces are inclusive, welcoming, and easy to access for everyone.

In her book The Shaping of Us: How Everyday Spaces Structure Our Lives, Behavior, and Well-Being (Trinity University Press, 2019), environmental psychology consultant Lily Bernheimer examines how the design of public space affects the people who use it. She cites what she calls the Laweiplein Paradox— the story of an intersection in the Dutch province of Friesland that was reimagined by traffic engineer Hans Monderman. Laweiplein ticked all the boxes of being a well-engineered intersection, but still was plagued by a high number of accidents. So Monderman stripped it of the normative, rule-based trappings of traffic lights, signs, and lane markers, and recast it as a shared public circle with a central green space. “Monderman had one central goal: to reduce traffic speed to the level at which people can make eye contact,” Bernheimer writes. “When drivers move slowly enough to communicate visually with pedestrians and bicyclists, a fundamental change happens. They start to look at each other, to wave and nod, to drive more carefully.” As a result of safety conditions falling equally on the shoulders of drivers, cyclists, and pedestrians, the different groups engaged with and respected one another, and the number of accidents decreased. In a world where we are constantly speeding up, it seems fitting that slowing down can actually shore up human connection and empathy for one another— and can make everyone safer as a result. “As a society, we act a bit like teenagers,” Bernheimer writes. “If our parents are unreasonably strict, it makes us all the more rebellious. Conversely, a total lack of structure or positive role models can produce wayward teens. Designing public space is a subtle balancing act between these two extremes.” If outdoor public space can reinforce our connections to and improve our investment in society, then it is

critical to take those principles inside as well. In a talk at Google’s Detroit office about her book Welcome to Your World: How the Built Environment Shapes Our Lives (HarperCollins Publishers, 2017), architecture critic Sarah Williams Goldhagen discussed the effect of building design on users. One example she cited is the Cathedral of Amiens, in France, which inspires awe in visitors. Scientists have found that a feeling of awe can inspire within people “what are called prosocial thoughts—to consider their individual place in a larger community … their shared humanity with other people,” Goldhagen explained. The fact that we can quantify links between a structure’s design and how people feel about others underscores the importance of creating spaces where people can come together and forge connections. For savvy designers, incorporating social areas such as lounges, cafés, study spaces, and occupiable circulation is now standard across the education, science, and office sectors, with the aim of encouraging collaboration. But including them isn’t enough; design makes or breaks the success of these spaces. Too often they are tucked away in awkward parts of the floor plan, resulting in a dark and isolated atmosphere. If these spaces are centrally located and filled with natural light—even better if they have high ceilings, views, and comfortable furniture that users can rearrange to suit their needs—people will want to spend time there. And in so doing, they will actually talk to one another, as opposed to communicating entirely within the cloud. These in-person connections do more than just make people happier; they lead to moments of creative serendipity and problem solving, which can make companies and institutions work better. “It isn’t an exaggeration to say that built environments, and specifically the design of built environments, affect how people fare physically. They affect how they think, decide, interact with others, and how they feel emotionally,” Goldhagen

said in her talk. “What we now know is that these effects are real, and they are not negligible.” The digitization of our society has so many upsides: We can talk to more people than ever before, and we have so much information at our fingertips that we can easily fall down hours-long Internet rabbit holes as we research anything our hearts desire. The danger is that our relationship with the online world is an entirely self-directed experience—we only seek answers to the questions we know we have, from sources we know and like, and we miss all of the learning that we can get from others with differing viewpoints. This is cementing our already devastating implicit biases, and drawing lines in a society marked by division. We haven’t yet reached the point where we’re all hoping to escape through the VR looking glass, and well-designed spaces that help us engage with others in a spirit of community can help pull us back from the brink. These spaces engender happier and healthier individuals and a more personally connected society —even if that connection is nodding at a neighbor as we check Twitter from a shared park bench.

K AT I E G E R F E N

Katie is the editor of design for ARCHITECT magazine, where she oversees the publicationâ&#x20AC;&#x2122;s building features, online content, and awards programsâ&#x20AC;&#x201D;including the Progressive Architecture Awards. She has been writing and editing stories about design for the last

fifteen years. Before joining ARCHITECT shortly after its start in 2006, she worked as an associate editor at Architecture Magazine. Her work has appeared in other publications such as Contract and Interior Design.

260 S PAC E

An office towerâ&#x20AC;&#x2122;s lusterless ground plane is transformed into a lively hub for dining, shopping, and gathering. The architects worked in tandem with lighting designers, branding experts, and artists to create a colorful space full of energy and intrigue.

140 WILLIAM STREETâ&#x20AC;&#x201A;Per th, Western Australia, Australia

261 S PAC E

263 S PAC E

264 S PAC E

This hospital’s open and airy atmosphere helps put patients and their families at ease. Arrival zones take cues from traditional Arabic marketplaces, called souks, and wide corridors enable the free flow of movement. Diffused, natural light streams into the building through screens with decorative patterning.

AL MAHA CENTRE FOR CHILDREN AND YOUNG ADULTS Al Wakra, State of Qatar

265 S PAC E

267 S PAC E

268 S PAC E

Students, faculty, and outside partners are brought together in this new center, which aims to catalyze advancements in high-tech fields. The building contains a range of spaces for learning, working, and socializing—from flexible classrooms and specialized labs to a rooftop terrace with sweeping views.

BRENDAN IRIBE CENTER FOR COMPUTER SCIENCE AND ENGINEERING College Park, Maryland, USA

269 S PAC E

270

S PAC E

271 S PAC E

272 S PAC E

In this proposal, a former Bethlehem Steel machine shop gets a new life as a dynamic learning environment at Lehigh University. Labs, workshops, a cafĂŠ, and a theater are among the rich mix of spaces envisioned for the facility. A flexible design, including plug-and-play modules, provides a high level of adaptability.

BUILDING B TR ANSFORMATION PROJECTâ&#x20AC;&#x201A;Bethlehem, Pennsylvania, USA

273 S PAC E

274

S PAC E

275 S PAC E

2 3

12 13

1 2 3 4 5 6 7 8 9 10 11 12 13

New Building Core Wind Cowls Entry Plaza Skylights Amphitheater Mezzanine Flex Lab Zone Plug-and-Play Modules Theater Seating Work Yard Glass Porch Plaza Drop-off PV Array Trellis

276 S PAC E

Organized around an open stair, this two-story office encompasses four staff neighborhoods, each of which adjoins meeting rooms, phone booths, and technology stations. The studio also houses a library and cafĂŠ. The fluid, light-filled setting embodies the innovative and team-centric spirit embraced by the staff.

CL ARENDON DESIGN STUDIOâ&#x20AC;&#x201A;Arlington, Virginia, USA

277 S PAC E

279 S PAC E

280 S PAC E

Envisioned as a vessel of fluid movement, this building conjoins a 1950’s structure that houses a college music program. The addition features a perforated façade and large, glazed walls that engage the campus. Inside, a sequence of front-of-house spaces leads into a 500-seat auditorium with carefully engineered acoustics.

HASTINGS PERFORMING ARTS CENTER Hastings, Nebraska, USA

281 S PAC E

PERFORMANCE

SUPPORT

LOBBY

282

S PAC E

283 S PAC E

284 S PAC E

Stairs and bridges encourage movement and foster interactions within this research and educational facility on a growing university campus. The building consists of two main zones organized around a central, light-filled atrium. Collaborative work is supported through open workspaces and casual meeting areas.

HE ALTH PRECINCT STAGE 1â&#x20AC;&#x201A;Sydney, New South Wales, Australia

285 S PAC E

286

S PAC E

287 S PAC E

288 S PAC E

Lined with a long, glazed wall, this wine bar and lounge act as a welcoming entrance to an urban concert hall. A lowered ceiling defines the space and helps soften noise. Light slots in the ceiling form a pattern that subtly alludes to movement in a scored piece of music.

HOLL AND PERFORMING ARTS CENTER OVATIONS LOUNGEâ&#x20AC;&#x201A;Omaha, Nebraska, USA

289 S PAC E

290

S PAC E

291 S PAC E

292 S PAC E

Drawing upon the idea of a “campus within a campus,” this building is composed of glazed, vertical blocks that surround an active courtyard. A highly visible, bright red staircase appears as a sculptural ribbon, giving the building a distinct identity.

INTERDISCIPLINARY RESE ARCH FACILIT Y Sydney, New South Wales, Australia

293 S PAC E

294

S PAC E

295 S PAC E

Data from employee surveys inspired the design of this highly flexible office, which features a variety of workspaces, no assigned desks, and an atmosphere that is professional yet relaxed. Anchoring the office is a coffee shop-style gathering space with a clever seating system that can take numerous forms.

MINNE APOLIS DESIGN STUDIOâ&#x20AC;&#x201A;Minneapolis, Minnesota, USA

297 S PAC E

298

S PAC E

299 S PAC E

300 S PAC E

This adaptive reuse project transforms a temple into a world-class performance space. Masonry walls covered with shingle-style panels help prevent flutter echoes; smooth surfaces around the stage further optimize acoustics. Soft, natural illumination is provided by light wells embedded within the walls.

OMAHA CONSERVATORY OF MUSICâ&#x20AC;&#x201A;Omaha, Nebraska, USA

301 S PAC E

302 S PAC E 1 2

Natural light from existing window LED cove light

Exterior

Concert Hall

Corridor

303 S PAC E

304 S PAC E

Formerly dark and outdated, this renovated laboratory space features a continuous glass wall that puts science on full display. A restrained palette of materials was used, including rubber flooring and light-toned maple cabinetry. Bright yellow beams add pops of color, while movable furniture offers heightened flexibility.

R . JOE DENNIS LE ARNING CENTERâ&#x20AC;&#x201A;Bellevue, Nebraska, USA

305 S PAC E

3 1

2 5 4 7 6 8

Science Corridor

Chemistry and Biochemistry

Chemistry Prep

Microbiology

Shared Prep

Anatomy and Physiology

Superstructure Painted Yellow

Learning on Display

Student Research and Demonstration

Low-Iron Vision Glazing and Low-Iron Back-Painted Glazing

308 S PAC E

Bold graphics create an uplifting atmosphere in this translational rehabilitation hospital, where researchers and clinicians work with patients in flexible spaces. Smooth, curved surfaces help users move around more easily, and daylight and city views are maximized throughout. Outdoor gardens further enhance the experience.

SHIRLE Y RYAN ABILIT YL ABâ&#x20AC;&#x201A;Chicago, Illinois, USA

309 S PAC E

310

S PAC E

311 S PAC E

313 S PAC E

GREEN ROOF STATIC FAÇADE

COMPRESSION

SKY LOBBY GARDEN

PLAZA STREETSCAPE

STORED ENERGY

FACETED FAÇADE

GREEN FOOTPRINT

FRICTIONLESS DESIGN

SKY LOBBY

05 04

TRADITIONAL STACKING

GRAPHICS AS METRICS COMMUNICATING VOLUMES

S U S TA I N A B I L I T Y In this chapter, we feature 11 projects that are infused with sustainable principles. Among them are a mass-timber tower, a greenery-filled hospital, and a fire station designed to endure flooding. The chapter begins with an essay by the curator Chrysanthe B. Broikos, who traces the evolution of the sustainability movement and its intersection with the National Building Museumâ&#x20AC;&#x201D;an institution that has consistently put the spotlight on critical issues facing our planet.

Charting the Ascent of the Sustainability Paradigm CHRYSANTHE BROIKOS

I started graduate school at the University of Virginia’s School of Architecture in 1994, the same year William McDonough, immediately dubbed the “Green Dean,” also arrived. Had those two events not coincided, I doubt that I could accurately date the origins of my awareness of the sustainable design movement in architecture.

idea of an environmental industrial complex a fantasy. Not anymore. In the 21st century, an ever-expanding constellation of green-related ratings systems has been introduced, some of which have been subsumed within the LEED brand or are administered by the USGBC’s sister organization, Green Business Certification Inc. (GBCI).

That was 25 years ago, and since then, the industry and its affiliated professions have come a long way. When I joined the National Building Museum in 1996, Leadership in Energy and Environmental Design, or LEED—the green building rating system administered by the U.S. Green Building Council (USGBC) and now in its fourth iteration—had yet to be introduced. At that point, I would have considered the

In 2010, for example, the American Society of Landscape Architects launched a pilot program for the Sustainable Sites Initiative, or SITES, which officially joined the LEED family in 2015. Similarly, the International Well Building Institute introduced its WELL Building Standard in 2014, and that program’s certification and WELL AP credentialing are now overseen by the GBCI. Additional rating/certifi-

cation programs in the fold include Performance Excellence in Electricity Renewal, or PEER; True Zero Waste Certification, known as TRUE; and Excellence in Design for Greater Efficiencies, or EDGE. As I look back at the National Building Museum’s exhibitions, programs, and publications, it is interesting to note how they have chronicled the evolution of the “green movement” itself. In 1996, for example, we started hosting lunchtime lectures with the U.S. Environmental Protection Agency’s newly minted Smart Growth Network. The initiative—which promotes development that benefits the community, the economy, and the environment—formed at a time when industry professionals were coming to fully understand the impacts of urban sprawl. A cross-section of designers and planners were beginning to revisit older ideas and promulgate new directions in an effort to reduce the ills begat by the automobile. Momentum was building and, in 1999, the Museum presented the first of four exhibitions on smart growth cosponsored by the Urban Land Institute. The groundbreaking series, titled Smart Growth and Choices for Change, marked a turning point in the Museum’s efforts to address contemporary environmental issues head on. Next we shifted our focus to sustainably designed buildings, which were rising across the globe. We opened Big and Green: Toward Sustainable Architecture in the 21st Century in January 2003. The exhibition’s design—by James Hicks with Pure+Applied—fully embraced “going green.” Displays were hung on a framework of recycled (and recyclable) cardboard tubes that were locally sourced, and the imagery was printed on recyclable Tyvek. After its run at the Museum, the exhibition traveled to the Museum of the City of New York, the Yale University School of Architecture Gallery, and the Chicago Architecture Foundation. In addition, a companion catalogue was co-published with Princeton Architectural Press.

Given the industry’s intensifying focus on green buildings, we opted to explore the subject further. With the Home Depot Foundation as the presenting sponsor, we introduced a suite of educational programs called For the Greener Good: Conversations That Will Change the World. The Foundation also supported the Museum’s multi-year effort to green our galleries and operations. Opened in May 2006, The Green House: New Directions in Sustainable Architecture and Design was a huge success, thanks in no small part to a sustainably furnished version of architect Michelle Kaufman’s Glidehouse—a sleekly modern prefabricated home. The exhibition also featured 20 additional homes from around the world that embodied green design principles, as well as a resource room that showcased green products and materials. Like prior shows, this exhibition went on the road and circulated into 2010, and the Museum partnered with Princeton Architectural Press for the publication. Geared toward a general audience, The Green House exhibition illuminated the possibilities of eco-friendly design and aligned with larger shifts taking place in society. The exhibition opened the same month Vanity Fair published its “Green Issue” (the first in a series). The cover image, photographed by Annie Leibovitz, featured Julia Roberts as Mother Nature, and George Clooney, Al Gore, and Robert F. Kennedy Jr. as crusaders fighting to save the planet. Already more than a decade in the making, sustainability had become a cause célèbre. After having zoomed in on large-scale buildings and houses, the Museum pulled back to offer a broader perspective on sustainability. Our Green Community exhibition debuted in 2008, on the eve of the 100th anniversary of the American Planning Association (APA). Recalling our focus in the 1990s, the show explored sustainable neighborhoods and develop-

ment—that is, how we plan, design, and construct the world between our buildings. The APA served as the exhibition’s presenting sponsor, co-presenter of a symposium, and co-publisher of a companion book. As Green Community drew to a close in the fall of 2009, “green fatigue” had begun to set in for many. This was especially true for those outside of the industry. For example, in April 2009, Vanity Fair announced that it would not publish its annual “Green Issue.” In fact, even before the exhibition opened, the Museum had decided to shift its approach to exhibitions about sustainable design. Rather than continue to spotlight sustainability in a straightforward manner, we would, as warranted, present exhibitions in alignment with its underlying principles. Since then, the Museum has presented five exhibitions whose premise, thesis, or primary subject was centered on the benefits of sustainable thinking, design, and/or construction. These shows include the U.S. Department of Energy Solar Decathlon 2011 Finalists: A Special Presentation (2011); Green Schools (2013), which featured Sprout Space, the first net-zero-energy modular classroom available for distribution at a national level; Designing for Disaster (2014), which presented strategies to mitigate the effects of natural hazards and build community resiliency; HOT TO COLD: an odyssey of architectural adaptation (2015), a look at the work of Bjarke Ingels Group; and Timber City (2016), which was all about crosslaminated timber. In addition, the Museum embarked on a collaboration with the Cultural Landscape Foundation to present exhibitions whose focus is centered on our understanding and relationship to the natural world—a topic the Museum seeks to address more consistently. The notion of sustainability has expanded considerably in the 21st century. It is now interwoven into design topics such as resiliency, health and well-

ness, and even social justice—and it has become entrenched within the architectural profession. To underscore this, look no further than the recently updated Code of Ethics and Professional Conduct for the American Institute of Architects. Now, members are required to discuss with their clients the likely environmental impacts of a project. Since I entered graduate school in the 1990s, I have witnessed—and the National Building Museum has helped propel— the ascent of the sustainability paradigm. I hope we continue working with avidity toward the betterment of our communities and our planet.

CHRYSANTHE BROIKOS

Chrysanthe is a curator at the National Building Museum in Washington, D.C. She joined the Museum as its public programs coordinator in 1996 and moved to the curatorial department two years later. She has organized the presentation of more than 30 exhibitions, including Making Room:

Housing for a Changing America and Designing for Disaster. Chrysanthe holds a masterâ&#x20AC;&#x2122;s degree in architectural history from the University of Virginia, and she now serves on the Deanâ&#x20AC;&#x2122;s Advisory Board for the UVA School of Architecture. She also has taught at her undergraduate alma mater, Georgetown University.

320 S U S TA I N A B I L I T Y

This innovative tower features structural components made of engineered woodâ&#x20AC;&#x201D;a renewable material that is undergoing a renaissance. Other sustainable elements include exterior shades that modulate sun exposure, and an east-west orientation that maximizes solar heat gain during cool months.

40 -STORE Y WOOD OFFICE TOWERâ&#x20AC;&#x201A;Penticton, British Columbia, Canada

321 S U S TA I N A B I L I T Y

322

S U S TA I N A B I L I T Y

323 S U S TA I N A B I L I T Y

324 S U S TA I N A B I L I T Y

A lush, vertical landscape is integrated into this conceptual scheme for a medium-density tower. Plantings are based on the sun’s path in relation to the building façades. The greenery forms a microclimate that generates humidity, absorbs carbon dioxide and dust particles, and releases oxygen into the atmosphere.

67 ALBERT AVENUE GARDENS IN THE SK Y Sydney, New South Wales, Australia

325 S U S TA I N A B I L I T Y

327 S U S TA I N A B I L I T Y

328 S U S TA I N A B I L I T Y

This project entails the expansion and renovation of a 1960â&#x20AC;&#x2122;s medical facility. Imagined as a built landscape, the addition has numerous terraces, tranquil gardens, and rooms bathed in daylight. The design embodies the tenets of anthroposophical medicine: personalized care, alternative treatments, and harmonizing with nature.

ANTHROPOSOPHICAL HOSPITALâ&#x20AC;&#x201A;Herdecke, Germany

329 S U S TA I N A B I L I T Y

330

S U S TA I N A B I L I T Y

331 S U S TA I N A B I L I T Y

HUMAN SCALE

CIRCULATION

EXISTING AND NEW BONDING

333 S U S TA I N A B I L I T Y

SUSTAINABLE HOSPITAL

1 2 3 4 5 6 7

8 9

Photovoltaics Construction Flexible for Future Reorganization Extensive Use of Daylight Graywater Use Green Roofs Balconies and External Sunblinds Use of Geothermal Energy / Exposed Concrete Slabs for Heating / Cooling Ice Accumulator Landscape Open for Infiltration

334 S U S TA I N A B I L I T Y

For this living lab, sustainability was at the forefront of every design decision. The building’s orientation, façade strategy, internal layout, and materials all help reduce energy consumption. Bioswales and permeable pavement manage stormwater, while photovoltaics generate power for the LEED Platinum-certified facility.

CARBON-NEUTR AL ENERGY SOLUTIONS L ABOR ATORY Atlanta, Georgia, USA

335 S U S TA I N A B I L I T Y

1 2 3 4 5 6

Building PV Array Parking PV Array Bio-Retention Basin Rainwater Cistern Permeable Concrete Underground Detention

337 S U S TA I N A B I L I T Y

SUMMER SUN

OFFICE 1 2

WINTER SUN

4 5 6

HIGH-BAY

8 9

11 10

WET LAB MID-BAY

1 2 3 4 5 6 7 8 9 10 11

Clerestory Photovoltaic Array Operable Window Fan UFAD Kalwall Utility Zone Light Louver Permeable Concrete Operable Louvers Radiant Floor

As our climate becomes increasingly volatile, this firehouse was designed to be highly resilient in the face of natural disasters. Command and living spaces are located on the upper level to protect them during floods; mechanical systems are also elevated. On the ground floor, retractable walls act as a bypass for rising waters.

GALVESTON FIRE AND RESCUEâ&#x20AC;&#x201A;Galveston, Texas, USA

341 S U S TA I N A B I L I T Y

342

S U S TA I N A B I L I T Y

343 S U S TA I N A B I L I T Y

344

S U S TA I N A B I L I T Y

345 S U S TA I N A B I L I T Y

346 S U S TA I N A B I L I T Y

Prominently located, this research building consists of two rectilinear forms connected by a central spine. Glazed walls usher in natural light, while vertical louvers help mitigate heat gain in areas with heightened sun exposure. A garden courtyard offers a pleasing space for scientists to eat, relax, and socialize.

HELMHOLTZ DIABETES CENTERâ&#x20AC;&#x201A;Munich, Germany

347 S U S TA I N A B I L I T Y

348

S U S TA I N A B I L I T Y

349 S U S TA I N A B I L I T Y

350

S U S TA I N A B I L I T Y

351 S U S TA I N A B I L I T Y

352 S U S TA I N A B I L I T Y

This educational facility was designed to meet the rigorous standards of the Living Building Challenge sustainability program. Photovoltaic panels generate power, while energy and water usage follows a “conserve, capture, and create” approach. Locally sourced materials include beetle-kill pine from Canadian forests.

JIM PAT TISON CENTRE OF E XCELLENCE Vancouver, British Columbia, Canada

353 S U S TA I N A B I L I T Y

354

S U S TA I N A B I L I T Y

355 S U S TA I N A B I L I T Y

356 S U S TA I N A B I L I T Y

This building is located in East Baltimore, where redevelopment efforts are guided by Maryland’s “Smart, Green and Growing” initiative. Designed to meet LEED Silver requirements, the research facility has glazed walls that provide views and usher in ample daylight. Solar heat gain is mitigated by a screen-and-louver system.

MARYL AND PUBLIC HE ALTH L ABOR ATORY Baltimore, Maryland, USA

357 S U S TA I N A B I L I T Y

358

S U S TA I N A B I L I T Y

359 S U S TA I N A B I L I T Y

360 S U S TA I N A B I L I T Y

Tucked within a forest, this medical building considers anew the relationship between healthcare, physical space, and the environment. Patient rooms ring the perimeter, where large windows bring in daylight and engage the outdoors. Natural materials such as wood, stone, and foliage create a warm and welcoming ambiance.

NEW ORTHOPEDIC UNITâ&#x20AC;&#x201A;Eisenberg, Thuringia, Germany

361 S U S TA I N A B I L I T Y

Rehabilitation Routes

Visitor and Hiker Routes

363 S U S TA I N A B I L I T Y

Park and Forest Space / Walking Routes

Hospital / Worker Routes

364 S U S TA I N A B I L I T Y

Featuring a mix of uses, this pedestrian-oriented development is located along the Missouri River. A verdant park occupies the floodplain, while buildings are set behind a levy. The focus on landscape is extended indoors, where green walls and large windows provide a strong connection to the natural terrain.

RIVERâ&#x20AC;&#x2122;S EDGEâ&#x20AC;&#x201A;Council Bluf fs, Iowa, USA

365 S U S TA I N A B I L I T Y

366

S U S TA I N A B I L I T Y

367 S U S TA I N A B I L I T Y

368

S U S TA I N A B I L I T Y

369 S U S TA I N A B I L I T Y

370 S U S TA I N A B I L I T Y

Proposed for a remote area, this medical facility consists of brick volumes arranged in a U shape around a courtyard. A cascaded roof channels rainwater to an underground basin and a life-sustaining well. To enhance its community function, the building offers open-air spaces for gathering and a farmersâ&#x20AC;&#x2122; market.

UGANDA MEDICAL AND AIDS CLINICâ&#x20AC;&#x201A;Bududa District, Uganda, East Africa

371 S U S TA I N A B I L I T Y

WATER RETENTION PLAN

373 S U S TA I N A B I L I T Y

3 7

4 5

WATER RETENTION + VENTILATION 1 2 3 4 5 6 7

Wood Slat Partition Framed Wall with Shiplap Wood Siding and Electric Fan Framed Wall with Shiplap Wood Siding Rainwater Reclamation Pipe Water Retention Tank Galvanized Gutter Galvanized Downspout to Cistern

374 S U S TA I N A B I L I T Y

C U LT U R E In this chapter, we explore the diverse interests, backgrounds, and talents of the people who make up HDRâ&#x20AC;&#x2122;s architectural practice. We present a poignant essay by Global Design Director Brian Kowalchuk, along with a series of fascinating infographics that were created using data from employee surveys. We also spotlight design studios that have excelled in the Opacity program, with each having multiple projects honored by our annual juries. These studios vary in terms of size and location, but they all share a commitment to supporting our people and fostering a culture of design excellence.

375

C U LT U R E

From Diversity, A Shared Purpose B R IA N KOWALCH U K

Brian is global director of design for HDR.

Ask anyone who knows me and they’ll tell you that I am an ardent champion of telling great stories. The best stories—the most memorable ones—are those that teach while also engaging our emotions. And while storytelling is important to all professions, I believe it is especially critical to architecture and design. Stories help distill the essence of a project’s big ideas into the very reason for its being. The story I want to tell here is not about projects, but about the people who have conceived the ideas that inspired the spaces, the buildings, and the experiences featured in this monograph. Our design practitioners live in many different parts of the world and work on many different types of projects. Some are new to the profession or new to our practice, others are veterans with long careers. They reside in studios that, in most cases, are separated by great distances from one another. By virtue of the individuals who work in them and the countries and regions where they are located, each studio is distinguished by its own particular milieu, with its unique sensibility and distinct way of working. Though we have arrived at this point in our firm’s history from many diverse origins, we have found common ground in our desire to use design to elevate the human spirit—and we’ve built a strong

foundation upon it for a global culture that learns and grows from our heterogeneity. The Opacity initiative reinforces the richness of this global culture beautifully. Not only does it provide an opportunity to consider our collective body of work at a single point in time, but it forces us to stop, think, and communicate with one another about our work in a meaningful way. It also forces us to listen to other perspectives, to reflect on what outside jurors think about our work and explore how we can improve from their critique. Without a doubt, Opacity fosters a sense of friendly competition between the studios. Yet, we come away from it with a greater sense of camaraderie and a more profound understanding of our design practice in the process. This insight informs the intent of our efforts, which in turn becomes the framework for HDR’s story of our collective design legacy. We are a firm composed of individuals who are all united by a singular purpose. That individuality is underscored on the following pages, where you will learn about who we are as distinct persons, as empowered members of a studio, and as valued professionals helping to write the global HDR design narrative. This is our story.

GLOBAL EXPERIENCE

LIVED

STUDIED

PR AC TICED

STUDIED

PR AC TICED

SOUTH AMERICA

LIVED

Our staff members have lived, studied, and/or practiced in more than 100 countries around the world.

A RG EN T I N A PR AC TICED

STUDIED

NORTH AMERICA

LIVED

B R A ZI L CH I LE CO LOM B IA ECUA D O R PERU V ENE ZU EL A BA R BA D OS BER M U DA C A N A DA COS TA R I C A CU BA EL SA LVA D O R

AFRICA

G UAT E M A L A HONDURAS

C A M ERO O N

JA M AI C A

CO N GO

M E XI CO

EGY P T

N I C A R AG UA

GHANA

PA N A M A

K EN YA

P U ERTO R I CO

L I BYA

SAI N T K IT T S A N D NE VIS

MO RO CCO

SAI N T LU CIA

N I G ER IA

U N IT ED S TAT ES

S O U T H A FR I C A

U. S . M I N O R O U T LY I N G ISL A N DS

U GA N DA

377

PR AC TICED

STUDIED

LIVED

ï»¿C U LT U R E

ASIA

A FG H A N IS TA N A R M EN IA BA H R AI N PR AC TICED

STUDIED

EUROPE

LIVED

BA N G L A D ESH CH I N A H O N G KO N G

COUNTRIES PR ACTICED IN

I N D IA I N D O NESIA IR AN

AU S T R IA

I R AQ

BELG I U M

ISR A EL

B OSN IA & H ER ZEGOVI N A

JA PA N

B U LGA R IA

J O R DA N

CROAT IA

K A Z A K H S TA N

C Y PRU S

KO R E A

C ZECH R EP U BL I C

K U WAIT

D EN M A R K

LEBA N O N

FR A NCE

M A L AYSIA

G EO RG IA

MYA N M A R

G ER M A N Y

NEPA L

G I B R A LTA R

PA K IS TA N

G R EECE

PH I L I PPI NES

H U N GA RY

QATA R

I CEL A N D

SAU D I A R A B IA

I R EL A N D

SI N GA P O R E

ITA LY

SR I L A N K A

LUX E M B O U RG

TAIWA N

M A LTA

T H AI L A N D

NE T H ER L A N DS

U N IT ED A R A B E M I R AT ES

N O RWAY

VI E T N A M

70 COUNTRIES STUDIED IN

90 COUNTRIES LIVED IN

POLAND

SER B IA

O CE A N I A

SPAI N SWED EN

AU S T R A L IA

SWIT ZER L A N D

FI J I

TURKEY

G UA M

U K R AI NE

NE W ZE A L A N D

U N IT ED K I N G D OM

PA P UA NE W G U I NE A

LIVED

SCOT L A N D

STUDIED

ROM A N IA RU SSIA N FED ER AT I O N

PR AC TICED

P O RT U GA L

OUR EDUCATIONAL LANDSCAPE Collectively, HDR's architectural staff members have earned degrees from nearly 300 universities and colleges around the globe.

NORTH AMERICA

379

ï»¿ U LT U R E C

O CE A N I A

ASIA

EUROPE AFRICA

SOUTH AMERICA

AREAS OF STUDY

Computer Science Information Technology Mathematics

Our staff members hold degrees in over 60 different academic disciplines.

A P P L I E D SC I ENCES

F O R M A L SC I ENCES

H U M A N I T I ES

N AT U R A L SC I ENCES

Biology Environmental Studies Microbiology Physics

S O C I A L SC I ENCES

Anthropology Criminal Justice Diversity and Equity Economics Geography International Affairs International Development International Relations Political Science Psychology Sociology Sustainable Development Urban Planning Urban Studies

Accounting Agriculture Alternative Energy Architectural Engineering Biomedical Communications Building Construction Technology Business Civil Engineering Communications Computer Graphics Construction Engineering Construction Management Education Electronics Engineering Science Environmental Design Finance Graphic Design Health Administration Healthcare Design Horticulture Industrial Arts Industrial Technology Interior Design Journalism (Print & Broadcast) Library and Information Science Liturgical Design Marketing Mechanical Engineering Medicine Nursing Project Management Public Relations Robotics Structural Engineering Urban Design Architecture Art History Book Arts English Fine Art French Landscape Architecture Law Music Philosophy Visual Arts Womenâ&#x20AC;&#x2122;s Studies

381

ï»¿C U LT U R E

WHAT WE LIKE We surveyed our architectural staff members to get a sense of their lifestyle preferences. Here's what we learned.

COFFEE 68%

C H O C O L AT E 7 0 %

MUSIC 78%

TEA 32%

VA N I L L A 3 0 %

PODCASTS 22%

W H I T E WAT E R R A F T I N G 7 3 %

BE ACH 52%

SUMMER 79%

URBAN 56%

SK YDIVING 27%

M O U N TA I N S 4 8 %

WINTER 21%

RURAL 44%

FICTION 52%

C O L O R 74 %

TA L K 6 0 %

PEN 60%

NONFICTION 48%

BL ACK & WHITE 26%

TEXT 40%

PENCIL 40%

SANS SERIF 7 7%

FUNC TION 70 %

OPEN PLAN 66%

HALF FULL 88%

SERIF 23%

FORM 30%

CUBICLE 34%

HALF EMPT Y 12%

AT L A N TA

LOCATIONS AND LEADERS HDR has architectural offices and studios around the world, led by a diverse team of experts.

BE R L I N

Thomas Grabner Design Studio Lead, Architecture

ARLINGTON

Chad Wilkey Design Director, Interiors William (Robby) Bryant Design Principal, Site + Landscape Design

Kent Bonner Design Principal, Architecture

Jeff Minton Design Principal, Architecture

BOSTON

Joseph Mamayek Design Principal, Architecture

CHICAGO

Jeff Fahs Design Director, Site + Landscape Design

Jon Brooke Design Principal, Site + Landscape Design

Lauren Andrysiak Design Principal, Interiors

Tom Lee Design Principal, Architecture Mike McGinn Design Principal, Architecture

D A LL A S

Trey Heaton Design Principal, Site + Landscape Design Stephen Knowles Design Principal, Architecture

D EN V E R

Malte Hofmeister Design Principal, Architecture

Tony Mazzeo Design Principal, Site + Landscape Design

Michael Kรถnig Design Studio Lead, Architecture

L O S A N G ELES

K I N G S T O N + O T TAWA

Jason-Emery Grรถen Design Director, Architecture

M I NNE A P O L I S

Kate Diamond Design Director, Architecture

Susan Suhar Design Principal, Interiors

Eric Meub Design Director, Architecture

Satoshi Teshima Design Principal, Architecture

Paul Nagashima Design Principal, Architecture

D ร SSEL D O R F

Aaron Harcek Design Principal, Architecture

Gary Wheeler Global Director of Design, Interiors

Scott Elofson Design Principal, Architecture

Julie Robertson Design Director, Interiors

Katie Sosnowchik Design Principal, Communications

LONDON + TORONTO

Donald Chong Design Principal, Architecture

MUNICH

Michael Reischl Design Studio Lead, Architecture

383

ďťżC U LT U R E

OMAHA

NE W Y O R K

Brian Kowalchuk Global Director of Design, Architecture Mohammed Ayoub Design Director, Architecture

Brooke Horan Design Director, Interiors

Thomas Trenolone Design Director, Architecture

Amy Mays Design Director, Interiors

Marty Amsler Design Principal, Creative

Elizabeth Von Lehe Design Principal, Brand Strategy

P EN T I C T O N

Doug Bisson Design Principal, Urban Planning Paula Brammier Design Principal, Brand + Graphics

Matthew Goldsberry Design Principal, Computation Michael Hamilton Design Principal, Architecture David Lempke Design Principal, Architecture

P R I NCE T O N

Robert Cesnik Design Principal, Architecture

Diego Samuel Design Director, Architecture

Gene Graff Design Principal, Architecture

Brian Norkus Design Principal, Architecture

I n M e m o r ia m

Thomas Smith Design Director, Architecture

Nabil Katrajian Design Principal, Architecture

Scott Boyer Design Principal, Architecture

Danielle Masucci Design Principal, Interiors

Richard Prakopcyk Design Principal, Site + Landscape Design

Nick Bevanda Design Principal, Architecture

P H I L A D EL P H I A

Dan Rew Design Principal, Architecture

S A N F R A NC I SC O

Leah Bauer Design Director, Interiors

Sangmin Lee Design Principal, Architecture

Michael Bardin Design Principal, Architecture

Jung Moo Lee Design Principal, Architecture Mike Pattinson Design Principal, Interiors

SE A T T LE

Thomas Knittel Design Director, Architecture

S Y D NE Y

Ronald Hicks Principal, National Director Health, Architecture Susanne Pini Principal, National Director Mixed-Use + Workplace, Architecture

V A NC O U V E R

Alan Boswell Principal, Architecture Stefano Cottini Principal, Architecture Jonathan Croft Principal, National Director Defence + Government, Architecture

Mary Chow Design Principal, Architecture

ARLINGTON

E S TA B L I S H E D

1969

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Kent Bonner Design Principal, Architecture

Hamed Aali Erin Cooper Kelley Dorsett Tyler Dye Hannah Heile Jack Knapp Sally Lee Gina Robinson Asma Sanaee Emy Semprun Greg Wells

Architecture Architectural Engineering Branding + Graphics Interiors Sustainability

# O F C O U N T R I E S S TA F F HAS WORKED IN

S TA F F Y E A R S O F PR ACTICE

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

<5 5 to 10 1

11 to 15 16 to 20 21 to 25

26 to 30 30+

3 2 . 7 3 5 7 ° N , 9 7. 1 0 8 1 ° W

385

O PA C I T Y P R O J E C T S

NFIC

BIKE

CAR

TION

FICTION

RURAL SA MO

ERIF NS S UN

TA I N S

URBAN

SERIF B E ACH

W H AT W E L I K E

The D.C. area has a vibrant culture influenced by our country and the wider world. I enjoy being part of a community that embraces the unique perspectives of the people who live and work here. Our studio promotes the same level of diversity in our staff, clients, and the activities to which we contribute our time and talents. —Kent Bonner

BERLIN DÜSSELDORF MUNICH

E S TA B L I S H E D

1991 (Berlin) 1959 (Düsseldorf) 2008 (Munich)

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Malte Hofmeister Design Principal, Architecture

Architecture Interiors Branding + Graphics Sustainability

300+

Michael König Design Studio Lead, Düsseldorf

Sascha Ellenberg Antje Ferchland Bert Gahrmann Gabriele Gölzer Nikoleta Kalampoka Milan Kapetanovic Tobias Kremp Vicente Menchero Christopher Nielsen Lea Reinschmidt Martin Sapinski Gabriel Stern Keyvan Tat Marion Waid

Michael Reischl Design Studio Lead, Munich

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

Thomas Grabner Design Studio Lead, Berlin

51.2277° N, 6.7735° E 3 2 . 7 3 5 7 ° N , 9 7. 1 0 8 1 ° W 4 8.1351° N, 11. 5820° E

387

C U LT U R E

O PA C I T Y P R O J E C T S

Architecture, besides language, is one of the greatest cultural achievements of mankind. It extends beyond meeting basic needs, such as shelter and safety, and influences the life of each individual through the built environment. Designing this environment requires passion, enthusiasm, and courage to meet the complex challenges of the future. —Malte Hofmeister GLASS H ALF

NF NO

ICTION

MER

WINTER

TING

SKYDIV

PLAN

CUBIC

SUM

RAF

FICTION

FUL

ING

W H AT W E L I K E

S TA F F Y E A R S O F P R A C T I C E

# O F C O U N T R I E S S TA F F H A S W O R K E D I N

<5 4

5 to 10

11 to 15 16 to 20 21 to 25 26 to 30 30+

2 1

CHICAGO

E S TA B L I S H E D

1995

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Jeff Fahs Design Director, Site + Landscape Design

Jennifer Bradley Lindzey Duval Basim Shamsuddin Ian Thomas Bryan Zundel

Architecture Interiors Site + Landscape Design Sustainability

Lauren Andrysiak Design Principal, Interiors

Jon Brooke Design Principal, Site + Landscape Design

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

Tom Lee Design Principal, Architecture 4 1 . 8 7 8 1 ° N , 8 7. 6 2 9 8 ° W

Mike McGinn Design Principal, Architecture

# O F C O U N T R I E S S TA F F H A S W O R K E D I N

S TA F F Y E A R S O F P R A C T I C E

<5 2 1

5 to 10 11 to 15 16 to 20 21 to 25 26 to 30 30+

389

S AS

MUSIC

PODCAS

PENCIL

PEN

MPTY LF E

TE COL A TEXT

GLASS VA N I L L TA L K

W H AT W E L I K E

O PA C I T Y P R O J E C T S

HAL A

F F UL

C U LT U R E

Chicago is a city where great design is not reserved for cultural institutions, but applies to buildings we use every day. I love Chicago because of this confluence. I’ve had the privilege of living and working in some of the most iconic and innovative buildings of our time, and pass others every day. They are reminders that great design should be for everyone, any day. —Tom Lee

DALL AS

E S TA B L I S H E D

1975

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Stephen Knowles Design Principal, Architecture

Peyvand AliAmiri Phillip Steffy

Architecture Architectural Engineering Branding + Graphics Interiors Lighting Design Site + Landscape Design Sustainability

Trey Heaton Design Principal, Site + Landscape Design

# O F C O U N T R I E S S TA F F H A S W O R K E D I N

S TA F F Y E A R S O F P R A C T I C E

<5 2 1

5 to 10 11 to 15 21 to 25 26 to 30

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

32.7767° N, 96.7970° W

30+

391

C U LT U R E

O PA C I T Y P R O J E C T S

Do common things uncommonly well. This simple statement has been a hallmark of our work. We live it and breathe it. We believe even the most seemingly mundane of projects deserves a quality design process performed by professionals never satisfied with the status quo. —Stephen Knowles

TEA TEXT

PENCIL FUN OP

CTION

PLAN

COFFEE

TA L K PEN FORM CUBICL

W H AT W E L I K E

KINGSTON OTTAWA

E S TA B L I S H E D

2000

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Jason-Emery Gröen Design Director, Architecture

James Chapman Kerry Clifford Susan Croswell Ingrid Felso Christopher Havers Rob Malloy Dean Mapeso Abel Solana Morales Michael Ryan II Sebastian Wooff

Architecture Interiors Sustainability

# O F C O U N T R I E S S TA F F HAS WORKED IN

S TA F F Y E A R S O F P R A C T I C E

<5 S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

5 to 10 11 to 15

16 to 20 21 to 25 30+

4 4 . 2 3 12 ° N , 76 . 4 8 6 0 ° W

393

SANS SE RIF

STILL

S PA R K L I

MER SUM

WINTER

FORM

FUNCT

PODCA

MUSI

ION

W H AT W E L I K E

Being that Kingston was the first capital of Canada and Ottawa is the current capital of our nation, each of our sister studios has a rich history of place and a strong identity. It is an honor to be able to design in such a rich region while resonating with modern challenges and opportunities. —Jason-Emery Gröen

OPACITY PROJECTS

C U LT U R E

SERIF

M I N N E AP O LI S

E S TA B L I S H E D

2006

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Gary Wheeler Global Director of Design, Interiors

Zach Brewster Isaac Bros Brian Giebink Patricia Paulson Katie Voelker Dan Williamson

Architecture Architectural Engineering Interiors

Julie Robertson Design Director, Interiors

Scott Elofson Design Principal, Architecture

Katie Sosnowchik Design Principal, Communications

S TA F F Y E A R S O F P R A C T I C E

<5 5 to 10 11 to 15 16 to 20

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

21 to 25 26 to 30 30+ # O F C O U N T R I E S S TA F F H A S WORKED IN

2 4 4 .97 78 ° N , 93. 265 0 ° W

395

C U LT U R E

O PA C I T Y P R O J E C T S

RURAL

URBAN

STILL

S PA R K L I

CLE CUBI PEN

WHIT K &

OPEN P LAN PENCIL COLOR

W H AT W E L I K E

Our office design enables us to succeed. We work where, when, and how we want depending on our mood, workload, and project type. The space was intended to fulfill the goal that if staff love coming to work every day because they have this flexibility, everyone benefits: the team member, the studio, and our clients. —Julie Robertson

N E W YO R K

E S TA B L I S H E D

2010

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Brian Kowalchuk Global Director of Design, Architecture

Jessica Andrisano Sabine Aoun Nick Cassab Brian Cheng Thomas Hughes Desiree Mervau Cole Wycoff

Architecture Branding + Graphics Interiors Lighting Design Site + Landscape Design Sustainability

Mohammed Ayoub Design Director, Architecture

Brooke Horan Design Director, Interiors

Amy Mays Design Director, Interiors

Elizabeth Von Lehe Design Principal, Brand Strategy

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D # O F C O U N T R I E S S TA F F HAS WORKED IN

2 4 0 . 7 1 2 8 ° N , 74 . 0 0 6 0 ° W

397

C U LT U R E

O PA C I T Y P R O J E C T S

RURAL

URBAN

F FULL

GLASS H AL

AL S H

MER SUM NFI

CTION

CAR

WINTER FICTIO

F E M

BIKE

W H AT W E L I K E

S TA F F Y E A R S O F P R A C T I C E

<5 5 to 10 11 to 15 16 to 20 21 to 25 26 to 30 30+

When we set out to create a design studio in New York, we started with a small group of passionate designers, and we’ve been growing ever since. We have hired designers from the country’s premier design schools in the region to create a studio that is incredibly diverse, both in terms of heritage and gender. For me, this has been and continues to be a hugely exciting and fulfilling experience. —Mohammed Ayoub

OMAHA

E S TA B L I S H E D

1917

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Thomas Trenolone Design Director, Architecture

Kevin Augustyn Matthew Delaney William DeRoin Jessica Doolittle Tyson Fiscus Timothy Hemsath Trevor Hollins Alison Ingunza Sheila Ireland Taylor Nielsen Jonathan Oswald John Savage Dan Schwalm Abby Scott Matthew Stoffel Wyatt Suddarth Ian Thomas James Wingert Xin Zhao

Architecture Architectural Engineering Branding + Graphics Interiors Lighting Design Site + Landscape Design Sustainability

230

Marty Amsler Design Principal, Creative

Doug Bisson Design Principal, Urban Planning

Paula Brammier Design Principal, Brand + Graphics

Matthew Goldsberry Design Principal, Computation

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

41 . 2 5 65Â° N , 95 .93 45Â° W

Michael Hamilton Design Principal, Architecture

David Lempke Design Principal, Architecture

STAFF Y E AR S OF PR ACTICE

# O F C O U N T R I E S S TA F F H A S W O R K E D I N

<5 4 2

5 to 10 11 to 15 16 to 20 21 to 25

26 to 30 30+

399

CHO

C U LT U R E

TEXT

TA L K

C O L AT E

VA N I L L

FORM

FUNCTI

EMPTY ALF S H S A NG RKLI GL S PA

GLASS STILL

W H AT W E L I K E

O PA C I T Y P R O J E C T S

There is a special freedom that comes with being rooted and influenced by the vernacular. In the words of Aldo Rossi when describing the grain elevators of the Great Plains: 'Over time silos rose with ever greater assurance and created the landscape of the New World. In abandoning the problem of form, they rediscovered architecture.' —Thomas Trenolone

PENTICTON

E S TA B L I S H E D

2015

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

Robert Cesnik Design Principal, Architecture

Dan Sawyer

Architecture

N U M B E R O F S TA F F

2 IN MEMORIAM

Nick Bevanda Design Principal, Architecture

401

C U LT U R E

O PA C I T Y P R O J E C T S

MOU

N TA I N S

BE ACH

PENCIL TA L K

A BL

HITE & W

TEXT COLO R

FORM

W H AT W E L I K E

The Okanagan Valley’s natural beauty provides an amazing architectural opportunity. We are fortunate to be part of a passionate community with a rich history and expertise in mass timber, from manufacturing through design and construction. —Robert Cesnik

PRINCETON

E S TA B L I S H E D

1964

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Diego Samuel Design Director, Architecture

Michael Andrewsky James Burton Peter Carideo Shiguang Chen Erin Disbrow Yi-Wen Lai Tom Lyman Ryan McDonough John Pavlik Ellen Randall Jessica Vuocolo Damian Wentzel Jacqueline Wolverton

Architecture Architectural Engineering Branding + Graphics Interiors Lighting Design Site + Landscape Design

131

Thomas Smith Design Director, Architecture

Scott Boyer Design Principal, Architecture

Gene Graff Design Principal, Architecture

Nabil Katrajian Design Principal, Architecture

S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

Danielle Masucci Design Principal, Interiors 4 0 . 3 5 7 3 ° N , 74 . 6 6 7 2 ° W

Brian Norkus Design Principal, Architecture

Rich Prakopcyk Design Principal, Site + Landscape Design

403

FORM

A GL

FUNCTIO

LE CUBIC

OPEN PL AN

SERIF

SANS S ERIF

LL LF FU TA L K

GLASS TEXT

W H AT W E L I K E

O PA C I T Y P R O J E C T S

# O F C O U N T R I E S S TA F F HAS WORKED IN

S TA F F Y E A R S O F PR ACTICE

<5 5 to 10 1

11 to 15 16 to 20 21 to 25

20 to 30 30+

There are few places to work that are afforded such a rich diversity of advantages … innovative, interdisciplinary, historic, intellectual, global, a one-stop shop, community based, family oriented, and close (but not too close) to New York and Philly. The Princeton office is all of these things rolled into one beautiful package. —Diego Samuel

SYDNEY

E S TA B L I S H E D

2014

LEADERSHIP

D E S I G N VA N G U A R D

STUDIO DISCIPLINES

N U M B E R O F S TA F F

Ronald Hicks Principal, National Director Health, Architecture

Matthew Bourke Sam Faigen Jeremy Graham Tom Hart Sonni Jeong Ha Been Kim John Peachey Jason Roberts Romina Triboli Pisi

Architecture Interiors

Susanne Pini Principal, National Director Mixed-Use + Workplace, Architecture

Alan Boswell Principal, Architecture

Stefano Cottini Principal, Architecture

Jonathan Croft Principal, National Director Defence + Government, Architecture S TA F F L I V E D/ S T U D I E D/ P R A C T I C E D

33. 8688° S , 151. 2093° E

405

O PA C I T Y P R O J E C T S

Our city is defined by its ink blot of blue. Its tall towers all turn their faces, like sunflowers to the sun, to this blue. For me it’s like the best of ourselves— open and looking beyond. —Susanne Pini

TA L K

TEXT

A GLASS H LF FULL

A E W IT

TER

RAFT

S PA

ING

G RKLIN

CUB

ICLE

SKYDIV

OPEN P LA

W H AT W E L I K E # O F C O U N T R I E S S TA F F HAS WORKED IN

S TA F F Y E A R S O F PR ACTICE

<5 1

5 to 10 11 to 15

16 to 20 21 to 25

4 5

26 to 30 30+

ING

STILL N

p. 94

ALLEY RETHINK S outh Omaha, Nebraska, USA CL I EN T National Park Service: Healthy People Healthy Parks Initiative S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Nicholas Beaty, Thomas Trenolone, Chris Turner, Bryan Johnson, Laura Koch, Michelle Mccullough, Mellissa Mywood, Phuong Nguyen, Jamie Niver, Kelsey Pierce, Katie Smith O P A C I T Y V O L U M E R I S K

p. 328

ANTHROPOSOPHICAL HOSPITAL H erdecke, Germany CL I EN T Gemeinschaftskrankenhaus Herdecke Gmbh S T U D I O Düsseldorf, Germany T E A M M E M BE R S Michael König, Keyvan Tat, Gabriele Gölzer, Antje Feiter, Dana Kuhlmann, Malte Hofmeister O P A C I T Y V O L U M E R I G O R

p. 16 4

ARGONNE NATIONAL LABORATORY ENERGY SCIENCES BUILDING L emont, Illinois, USA CL I EN T Argonne National Laboratory S T U D I O Chicago, Illinois, USA T E A M M E M BE R S Ahmad Soueid, Tom Tan, Steve Sandrock, Dave Bechtol, Gregory Sloniger, Clare Swanson, Warren Hendrickson, Theresa Hercik, Usman Tariq, Martin Sterr, Jimmy Bates, Curt Frinfrock O P A C I T Y V O L U M E R I G O R

p. 2 16

AURORA HEALTH CARE SIGNATURE EXPERIENCE Milwaukee, Wisconsin, USA CL I EN T Aurora Health Care S T U D I O S Strategic Innovation; Chicago, Illinois, USA T E A M M E M BE R S David Grandy, Amy Lussetto, Caroline DeWick O P A C I T Y V O L U M E R I G O R

p. 98

AUSTRALIAN DEFENCE FORCE ACADEMY AUDITORIUM Canberra, Australian Capital Territory, Australia CL I EN T Department of Defence/Richard Crookes Construction S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Jonathan Croft, Chris Murray, John Peachey, Anthony Raad, Paul Reidy, Colin Ross, Alberto Sunderland, Carl Tappin, Maurice Valentinuzzi, George Karavatos, Michael Smith O P A C I T Y V O L U M E R I S K

p. 2 18

AUSTRALIAN DEFENCE FORCE ACADEMY LEARNING SPACES Canberra, Australian Capital Territory, Australia CL I EN T Department of Defence/Richard Crookes Construction S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Jonathan Croft, Anthony Raad, Paul Reidy, Alberto Sunderland, Carl Tappin, Tina Turrisi, Maurice Valentinuzzi, Matina Rajbhandari, Nam Truong

p. 8 8

PROJECT CREDITS

[1917] O maha, Nebraska, USA CL I EN T Noddle Companies S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Thomas Trenolone, Mike Moran, Lisa Miller, Matthew J. Stoffel, Kevin Augustyn, Emily Ciaccio, Mark Jamison, Debbie Schwartz, John Savage, James Savage, Austin Vachal, Andrew Gorham, Randy Niehaus, Rebecca Cherney, Joe Hazel, Justin Graeve, Matthew J. Obst

p. 26 0

140 WILLIAM STREET P erth, Western Australia, Australia CL I EN T Cbus Property S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Susanne Pini, Sandra Stewart, Jason Roberts, Elizabeth Clark O P A C I T Y V O L U M E R I G O R

p. 28

O PAC I T Y VO LU M E VERGE

151 CLARENCE S ydney, New South Wales, Australia CL I EN T Investa Property Group S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Pei-lin Cheah, Rahul Butala, Stefano Cottini, Sergio Azevedo, Paul Reidy

40-STOREY WOOD OFFICE TOWER Penticton, British Columbia, Canada CL I EN T “Studio Building of the Future” Design Competition, Commercial Real Estate Development Association (NAIOP) S T U D I O Penticton, British Columbia, Canada T E A M M E M BE R S Nick Bevanda, Robert Cesnik

p. 26 4

67 ALBERT AVENUE ‘ILLUMINATE’ Sydney, New South Wales, Australia CL I EN T Corval S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Sergio Azevedo, Rahul Butala, Paul Reidy, Alberto Sunderland O P A C I T Y V O L U M E R I S K 67 ALBERT AVENUE GARDENS IN THE SKY Sydney, New South Wales, Australia CL I EN T Corval S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Pei-lin Cheah, Rahul Butala, Leigh Hanekom, Paul Reidy O P A C I T Y V O L U M E R I S K AL MAHA CENTRE FOR CHILDREN AND YOUNG ADULTS Al Wakra, State of Qatar CL I EN T Hamad Medical Corp. S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Ron Hicks, Jonathan Lindsay, Elisa Nakano, Sam Faigen, Sergio Azevedo, Tony Rastrick, Alan Boswell, Rodney Hector, Vanessa Zakrzewski, Rebecca Yeo, Lise Desebordes, Natalie Walsh, Scott Gould, Alexia Courdurie, Chris Murray, Quincy Ye O P A C I T Y V O L U M E R I S K

O PAC I T Y VO LU M E RISK

p. 2 2 2

p. 324

p. 92

O PAC I T Y VO LU M E RISK

BBSRC NATIONAL VIROLOGY CENTRE: THE PLOWRIGHT BUILDING P irbright, Surrey, United Kingdom CL I EN T The Pirbright Institute S T U D I O London, England, United Kingdom T E A M M E M BE R S Brian Kowalchuk, Fatos Peja, Mark Bryan, Rich Prakopcyk, Ross Ferries O PAC I T Y VO LU M E RISK

p. 3 0

p. 320

O PAC I T Y VO LU M E RISK

BLACK HILLS WINE EXPERIENCE CENTRE O liver, British Columbia, Canada CL I EN T Black Hills Estate Winery S T U D I O Penticton, British Columbia, Canada T E A M M E M BE R S Nick Bevanda, Robert Cesnik, Andrew Macphail O PAC I T Y VO LU M E RISK

p. 3 8 p. 16 6 p. 276

BRENDAN IRIBE CENTER FOR COMPUTER SCIENCE AND ENGINEERING C ollege Park, Maryland, USA CL I EN T University of Maryland S T U D I O S Princeton, New Jersey, USA; Arlington, Virginia, USA T E A M M E M BE R S Brian Kowalchuk, Diego Samuel, Simon Trumble, Tara Jasinski, Rachel Park, Michael Vinkler, Steve Waller, Tung Nguyen, Sally Lee, Tyler Dye, Ryan Pedrotty, Kyle Unruh, Marika Mavroleon, Jeremy Wei, Peter Carideo, Richard Mulder, Danielle Masucci, Gary Wheeler, Dave Bechtol, Paul Kopperman, Mike Konsko, Tom Lyman, Louis Ondreyka, Paul Daniel, Jeff Zoll, Melissa Gasway

p. 2 26 p. 27 2

O PAC I T Y VO LU M E VERGE

BRIDGING WORLDS W orldwide Society for Healthcare Strategy and Market Development (SHSMD) of the American Hospital Association (AHA) S T U D I O Strategic Innovation T E A M M E M BE R S David Grandy, Michael Joyce, Alex Newman-Wise, Amy Lussetto, Dylan Coonrad, Joel Worthington O P A C I T Y V O L U M E R I G O R BUILDING B TRANSFORMATION PROJECT Bethlehem, Pennsylvania, USA CL I EN T Lehigh University S T U D I O Princeton, New Jersey, USA T E A M M E M BE R S Diego Samuel, Dan Rew, Anisha Kothari, David Kurten, Thomas Hughes, Marc Carola, Peter Aloisi, Dylan Coonrad, Marc Sohayda, Paul Halamar, Dale Peterson, James Bates, June Hanley, Peter Carideo, Shiguang Chen

CL I EN T

CARBON-NEUTRAL ENERGY SOLUTIONS LABORATORY tlanta, Georgia, USA A CL I EN T Georgia Institute of Technology S T U D I O S Atlanta, Georgia, USA; Princeton, New Jersey, USA T E A M M E M BE R S Dan Rew, John Pavlik, Princeton Porter, Rob Staudt, Jon Crane, Rohan Herwadkar, Chip Bullock, Robby Bryant, Carlos Perez Rubio, Bill Zavatkay O P A C I T Y V O L U M E R I S K

CLARENDON DESIGN STUDIO Arlington, Virginia, USA CL I EN T HDR S T U D I O S Arlington, Virginia, USA; Princeton, New Jersey, USA T E A M M E M BE R S Kent Bonner, April Drake, Danielle Masucci, Michelle DiPenti, Anne Ullestad, Monica Perez, John Manovich O P A C I T Y V O L U M E V E R G E DELTA, VOLUME 1 W orldwide T E A M M E M BE R S Hank Adams, Katherine Allen, Jim Atkinson, Dana Ball, Betsy Berg, Paula Brammier, Zach Brewster, Erik Carlson, Abbie Clary, Brendan Collingsworth, Dylan Coonrad, Matthew Delaney, Scott Foral, David Grandy, Jean Hansen, Jim Henry, Michael Joyce, Cally Larsen, Lily Livingston, Amy Lussetto, Tom Marquardt, Cindy McCullough, Brandy Olson, Ashley Tucker, Katie Sosnowchik, Lou Ann Bunker-Hellmich, Suzanne Pini, Colin Rohlfing, Amy Skinner, Doug Wignall, Joel Worthington

p. 2 3 0 p. 2 32

DELTA, VOLUME 2 W orldwide T E A M M E M BE R S Caroline DeWick, Michael Joyce, Tom Lee, Amy Lussetto, Kaia Nesbitt, Susanne Pini, Roberto Seif, Elizabeth Zacherle, Dylan Coonrad, Katie Sosnowchik, Paula Brammier, Lou Ann Bunker-Hellmich, Troy Parks, Hank Adams, Ashley Tucker, Zach Brewster, Cally Larsen, Amy LaMar O P A C I T Y V O L U M E V E R G E DO SPACE O maha, Nebraska, USA CL I EN T Heritage Services S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Kevin Augustyn, Bruce Carpenter, Paul Concannon, Matt DeBoer, Nick Hoesing, Trevor Hollins, Jennifer Karls, Jeff Larka, David Lempke, Randy Niehaus, Beth Redding, Cary Schroeder, Brad Swerczek O PAC I T Y VO LU M E RISK

p. 42

p. 1 0 0 p. 3 3 4

O PAC I T Y VO LU M E VERGE

CHRIS O’BRIEN LIFEHOUSE Sydney, New South Wales, Australia CL I EN T Chris O’Brien Lifehouse S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Ron Hicks, Sergio Azevedo, Francesca Fava, Alessandro Filipi, Scott Gould, Peter Kouvelas, Graham Reynolds, Mark Shoolman, Rebecca Yeo, Vanessa Zakrzewski O P A C I T Y V O L U M E R I S K

O PAC I T Y VO LU M E RISK

O PAC I T Y VO LU M E VERGE

CANADIAN NUCLEAR LABORATORIES: NEW BUILDS Chalk River, Ontario, Canada CL I EN T Canadian Nuclear Laboratories S T U D I O S Toronto, Ontario, Canada; Ottawa, Ontario, Canada; Kingston, Ontario, Canada T E A M M E M BE R S Donald Chong, Susan Croswell, Dathe Wong, Ross Ferries, Walter Gaudet, Warren Hendrickson, Min Hoo Kim, Dean Mapeso, Abel Solana Morales, Chris Routley, Clare Swanson, Sebastian Wooff, Scott Barron, Paul Harrison, Kayla Csaszar, Michael Malleson

CHILD DEVELOPMENT CENTER Riyadh, Kingdom of Saudi Arabia CL I EN T Kingdom of Saudi Arabia Ministry of Health S T U D I O S Kingston, Ontario, Canada; Ottawa, Ontario, Canada; Boston, Massachusetts, USA; Dubai, United Arab Emirates T E A M M E M BE R S Jason-Emery Gröen, Allen Buie, Sebastian Wooff, Abel Solana Morales, Julie Robertson O PAC I T Y VO LU M E RISK

p. 2 28

p. 26 8

BLUESTEM COMMUNITY HEALTH CAMPUS AND BRANDING G rand Island, Nebraska, USA CL I EN T Grand Island Hospital Holding LLC and Chief Industries S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Thomas Trenolone, William DeRoin, Chris Turner, Xin Zhao, Scott Foral, Cyndi McCullough, Brian Zabloudil, Trevor Hollins, Rebecca Cherney, Joe Hazel, James Wingert, Andrew Wilson, Abby Scott, Megan Michalak, Matthew Delaney, Dylan Coonrad, Dana Ball, Paula Brammier, Steve LaHood, Katie Sosnowchik, Amy LaMar, Rachel Henry, Cally Larsen, Wendy Moran, Bryan Nielsen O P A C I T Y V O L U M E R I S K

DON TYSON CENTER FOR AGRICULTURAL SCIENCES Fayetteville, Arkansas, USA CL I EN T University of Arkansas S T U D I O Dallas, Texas, USA T E A M M EM BER S Jim Henry, Vince Ellwood, Craig Jones O PAC I T Y VO LU M E VERGE

PROJECT CREDITS

p. 3 4

407

p. 28 4

O PAC I T Y VO LU M E RIGOR

p. 3 4 6

p. 1 0 6

ENGINEERING COMPANY HEADQUARTERS Omaha, Nebraska, USA CL I EN T Confidential S T U D I O S Omaha, Nebraska, USA; Chicago, Illinois, USA T E A M M E M BE R S Bruce Carpenter, Mark Jamison, Tom Lee, David Lempke, Thomas Trenolone, Kevin Augustyn, Debbie Schwartz, Lisa Miller, James Bayless, Matthew Whaley, Min Hoo Kim, Mohammed Ayoub, Ross Miller, David Thomas, Cole Wycoff, Ian Thomas

HELMHOLTZ DIABETES CENTER Munich, Germany CL I EN T Helmholtz Zentrum München GmbH S T U D I OS Stuttgart, Germany; Munich, Germany T E A M M E M BE R S Malte Hofmeister, Guido Meßthaler, Urs Klipfel, Sabine Heemskerk, Katja Klenk, Rebekka Stöcker, Stefanos Kioftetzis, Elise Mandat, Alfred Schellewald, Daniela Ziemann O P A C I T Y V O L U M E V E R G E HOLLAND ENERGY PARK H olland, Michigan, USA CL I EN T Holland Board of Public Works S T U D I O S Chicago, Illinois, USA; Ann Arbor, Michigan, USA T E A M M E M BE R S Michael McGinn, James Connell, Carrie Shuler, Scott Leigh, Dennis Bruce, Serguei Kouznetsov, Jeff Cummings, Chris Rogers, Jim Brigham, Albert Stolz, Aerin Klump, Olivia Schwartzfisher, Dale Burke, Chris Zuelch, Cristina Koss, Michaella Wittmann, Jennifer Ninete, Justin Fudge, Matthew Rohr, Colleen Scholl, Josh Prusakiewicz, Michael McMahon, Lance Thies, Brian Dennen, Tricia Billings

p. 4 6

O PAC I T Y VO LU M E VERGE

FOCAL POINT COMMUNITY CAMPUS Chicago, Illinois, USA CL I EN T Chicago Southwest Development Corporation S T U D I O S Omaha, Nebraska, USA; Chicago, Illinois, USA T E A M M E M BE R S Thomas Trenolone, Tom Lee, Joe Cliggott, Julia Louie, Dave Redemske, Terry Houk, Matt Stoffel, Matt Goldsberry, Joel Yow, Gail Dahlstrom, Lance Thies, James Bayless, Cyndi McCullough, Abbie Clary, Ian Thomas

O PAC I T Y VO LU M E VERGE

p. 174

p. 170

O PAC I T Y VO LU M E RIGOR

FRANKE COLLEGE OF FORESTRY & CONSERVATION Missoula, Montana, USA CL I EN T University of Montana S T U D I O Seattle, Washington, USA T E A M M E M BE R S Thomas Knittel, Duncan Griffin, Christopher Walling, Rachel Meyers

p. 28 8

O PAC I T Y VO LU M E RIGOR

HOLLAND PERFORMING ARTS CENTER OVATIONS LOUNGE O maha, Nebraska, USA CL I EN T Omaha Performing Arts Society S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S David Lempke, Amanda Swartout, Brandon Kyle, John Kaffenberger, Trevor Hollins O PAC I T Y VO LU M E R I S K

p. 178

HEALTH HUB EXPERIENCE GUIDEBOOK California, USA Kaiser Permanente S T U D I O S Pasadena, California, USA; Omaha, Nebraska, USA; Chicago, Illinois, USA; New York, New York, USA; Dallas, Texas, USA, Denver, Colorado, USA; Sydney, New South Wales, Australia TEAM MEMBERS Dana Ball, Paula Brammier, Dave Braucht, Moriah Brookshier, Dylan Coonrad, Kate Diamond, David Grandy, Jim Henry, Michael Joyce, Jay Ko, Steve LaHood, Amy Lussetto, Amy Mays, Kaia Nesbitt, Alex Newman-Wise, Brandy Olson, Susanne Pini, Heather Rivera, Gina Soohoo, Gary Waymire, Amy Williams, Joel Worthington, Mengni Zahng O P A C I T Y V O L U M E R I S K

HOLLAND PERFORMING ARTS CENTER FOUNDERS ROOM O maha, Nebraska, USA CL I EN T Omaha Performing Arts Society S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S David Lempke, Tim Wurtele, Trevor Hollins, Nick Beaty, Susan Johnson, Abby Scott

HUAWEI CORPORATE FINANCIAL CENTER BUILDING Shenzhen, Guangdong, China CL I EN T Huawei Technologies Company S T U D I O Princeton, New Jersey, USA T E A M M E M BE R S Brian Kowalchuk, Diego Samuel, Shiguang Chen, Wei Wang, Marian Jacobs, Marc Sohayda, Michael Andrewsky, Chengbo Wang, Peter Carideo O P A C I T Y V O L U M E V E R G E

p. 5 0

p. 3 4 0

HASTINGS PERFORMING ARTS CENTER Hastings, Nebraska, USA CL I EN T Hastings College S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Tim Wurtele, David Lempke, Taylor Nielsen, Lisa Miller, Nick Beaty O P A C I T Y V O L U M E R I G O R

p. 2 3 6

p. 28 0

O PAC I T Y VO LU M E VERGE

GALVESTON FIRE AND RESCUE G alveston, Texas, USA CL I EN T City of Galveston S T U D I O S Dallas, Texas, USA; Omaha, Nebraska, USA T E A M M E M BE R S Jim Henry, Bryan Sumruld, Kevin Augustyn, Thomas Trenolone, Halden Tally O P A C I T Y V O L U M E R I S K

HEALTH PRECINCT STAGE 1 Sydney, New South Wales, Australia CL I EN T University of Sydney S T U D I O Sydney, New South Wales, Australia (in association with Ian Moore Architects) T E A M M E M BE R S Ronald Hicks, Sergio Melo Azevedo, Natalie Walsh, Catherine Locker, Elisa Nakano, Lize Gerneke, Dion Moult, Ciara Corbett, Matthew Wang, Robert Byrne

p. 2 3 8

p. 1 0 4

DUBAI CENTRE FOR RESEARCH AND DEVELOPMENT OF FISHERIES D ubai, United Arab Emirates CL I EN T Dubai Municipality S T U D I O Princeton, New Jersey, USA T E A M M E M BE R S Brian Norkus, Yi-Wen Lai, Damian Wentzel, Belinda Daisey, Alyssa Francis, Charles Secker, David Connelly, Kenneth Ferjancic O P A C I T Y V O L U M E R I S K

HUMBER RIVER HOSPITAL MURAL Toronto, Ontario, Canada CL I EN T Humber River Hospital S T U D I O S Denver, Colorado, USA; Princeton, New Jersey, USA; Toronto, Ontario, Canada T E A M M E M BE R S Frank Daharsh, Kevin Ditto, Norman Fisher, Jerry Jeter, Brian Norkus, John Salisbury, Brian Giebink

CL I EN T

O PAC I T Y VO LU M E RISK

INTERDISCIPLINARY RESEARCH FACILITY S ydney, New South Wales, Australia CL I EN T Confidential S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S David Keenan, Sergio Melo Azevedo, Rahul Butala, Charles Cassell, Dion Moult, James Wright, Lize Gerneke, Joanne Song, Ciara Corbett, Robert Byrne

p. 18 0

O PAC I T Y VO LU M E RIGOR

p. 18 4

INTERDISCIPLINARY RESEARCH BUILDING Washington, D.C., USA CL I EN T Howard University STUDIO Arlington, Virginia, USA T E A M M E M BE R S Curt Finfrock, Shaun Salazar, Steve Waller, Michael Vinkler, June Hanley, Karen Murphy, Dale Peterson, Stephen Blair, Lance Bailey O P A C I T Y V O L U M E R I S K

MANTER HALL SCHOOL OF BIOLOGICAL SCIENCES Lincoln, Nebraska, USA CL I EN T University of Nebraska-Lincoln S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Michael Hamilton, Matthew Stoffel, Randy Prescott, Trevor Hollins, David Hinsley O P A C I T Y V O L U M E R I S K MARJORIE K. DAUGHERTY CONSERVATORY Omaha, Nebraska, USA CL I EN T Heritage Services, Lauritzen Gardens S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Bruce Carpenter, Tim Wurtele, William DeRoin, Cynthia Shuck, Tim Lang, Doug Sholl, Trevor Hollins, Mary McCawley, Alison Ingunza, Nick Zuniga, Steve LaHood O P A C I T Y V O L U M E R I S K

p. 35 6 p. 62

KOLOS DATA CENTER B allangen, Norway Kolos S T U D I O Princeton, New Jersey, USA T E A M M E M BE R S Brian Kowalchuk, Diego Samuel, Tom Smith, Kevin LeMans, Ryan Oeckinghaus, Richard Prakopcyk CL I EN T

MH60R SQUADRON HEADQUARTERS AND TRAINING FACILITIES H MAS Albatross, New South Wales, Australia CL I EN T Department of Defence, Australia S T U D I O Sydney, New South Wales, Australia (in association with Woods Bagot) T E A M M E M BE R S Stuart Aslett, Jonathan Croft, Lionel Kettler, James Robinson, Maurice Valentinuzzi, Ralph Williams, Tina Turrisi O P A C I T Y V O L U M E R I S K MINISTRY OF INTERIOR ACADEMY COMPLEX Abu Dhabi, United Arab Emirates CL I EN T Abu Dhabi Ministry of Interior S T U D I O Princeton, New Jersey, USA T E A M M E M BE R S Tom Smith, Damian Wentzel, Mike Andrewsky, Erin Schaefer, Nabil Katrajian

p. 114

LIFE, EARTH & ENVIRONMENTAL SCIENCES BUILDING (LEES 1) Sydney, New South Wales, Australia CL I EN T University of Sydney S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S John Daubney, Ron Hicks, Paul Reidy, Alex Matovic, Chuck Cassell, Regina Filipowicz, Jordan Murray, Chloe Zeng, Kaden Ball, Alexia Courdurie, Rashi Prashar, Mark Schoolman, Kieran Kartun, Anthony Rastrick, Rahul Butala, Quincy Ye O P A C I T Y V O L U M E R I S K

O PAC I T Y VO LU M E RISK

p. 2 9 6

p. 5 8

O PAC I T Y VO LU M E RIGOR

LEFEBVRE-SMYTH RESIDENCE Kaleden, British Columbia, Canada CL I EN T Lefebvre-Smyth Family S T U D I O Penticton, British Columbia, Canada T E A M M E M BE R S Nick Bevanda, Robert Cesnick, Dan Sawyer O P A C I T Y V O L U M E V E R G E

MARYLAND PUBLIC HEALTH LABORATORY Baltimore, Maryland, USA CL I EN T State of Maryland S T U D I O S Arlington, Virginia, USA; Princeton, New Jersey, USA T E A M M E M BE R S Dan Rew, John Pavlik, Simon Trumble, Michael Vinkler, Steve Waller, Tung Nguyen, Warren Hendrickson, Michael Mottet, Bruce Werfel, Mike Dombrowski O P A C I T Y V O L U M E R I S K

p. 118

p. 352 p. 242

KAISER PERMANENTE RAD HEALTH HUB C alifornia, USA CL I EN T Kaiser Permanente S T U D I O S Omaha, Nebraska, USA; New York, New York, USA; San Francisco, California, USA T E A M M E M BE R S Dave Braucht, Dylan Coonrad, Scott Dunlap, David Grandy, Michael Joyce, Amy Lussetto, Steve LaHood, Amy Mays, Gina SooHoo, Jim Henry O P A C I T Y V O L U M E R I S K

p. 5 4

O PAC I T Y VO LU M E RIGOR

JIM PATTISON CENTRE OF EXCELLENCE IN SUSTAINABLE BUILDING TECHNOLOGIES Penticton, British Columbia, Canada CL I EN T Okanagan College S T U D I O Penticton, British Columbia, Canada T E A M M E M BE R S Richard Bolus, Bill Locking O P A C I T Y V O L U M E R I S K

MALAWI OUTPATIENT CLINIC AT NENO DISTRICT HOSPITAL Malawi, Africa CL I EN T Construction for Change-Partners in Health S T U D I O Boston, Massachusetts, USA T E A M M E M BE R S Jessica Stebbins, Allen Buie, Deborah Rivers, Rachel Finkelstein, Charles Hergrueter, Rachel McCown

p. 18 8

p. 52 p. 2 92

INTERDISCIPLINARY HIGH PERFORMANCE COMPUTATIONAL CENTER S taten Island, New York, USA CL I EN T City University of New York (CUNY), College of Staten Island S T U D I O S New York, New York, USA; Princeton, New Jersey, USA T E A M M E M BE R S Dan Rew, Tom Hughes, John Pavlik, Yi-Wen Lai, Pal Halamar, Jake Levine, June Hanley, Kevin Jelinek, Anisha Kothari, Scott Kimble, Dale Peterson, Lee Schofer O P A C I T Y V O L U M E R I S K

MINNEAPOLIS DESIGN STUDIO Minneapolis, Minnesota, USA CL I EN T HDR S T U D I O Minneapolis, Minnesota, USA T E A M M E M BE R S Michael Nelson, Julie Robertson, Isaac Bros, Dan Williamson, Brian Giebink, Shawn Brenny, Roy Gikonyo, Patricia Paulson, Tina Nolan, Jim Thomson, Megan McNally, Mike Rodriguez, Alexa Choles, Kyle Lacek O PAC I T Y VO LU M E RISK

PROJECT CREDITS

p. 11 0

409

p. 7 2 p. 192

PACIFIC CAMPUS PARKING STRUCTURE Omaha, Nebraska, USA CL I EN T University of Nebraska Omaha S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S David Lempke, Taylor Nielsen, Xin Zhao O P A C I T Y V O L U M E V E R G E

p. 19 6

NOVARTIS HEADQUARTERS AUSTRALIA Sydney, New South Wales, Australia CL I EN T Novartis/Marprop S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Rodney Hector, Alberto Sunderland, Pei-Lin Cheah, Tina Turrisi, Sergio Azevedo, Rahul Butala, Stefano Cottini, Paul Reidy

PAL–ATE O maha, Nebraska, USA CL I EN T Dario’s Brasserie S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Ross Miller, Michael Hamilton O PAC I T Y VO LU M E RISK

OPTIMIZE HEALTH CLINIC R aghogarh, India CL I EN T 30/30 Project Initiative S T U D I OS New York, New York, USA; Princeton, New Jersey, USA T E A M M E M BE R S Mohammed Ayoub, Brian Cheng, Tom Hughes, Jake Levine, Sabine Aoun, Cole Wycoff, Ellen Randall O P A C I T Y V O L U M E R I S K

p. 132

PAVILION AT THE HOSPITAL OF THE UNIVERSITY OF PENNSYLVANIA P hiladelphia, Pennsylvania, USA CL I EN T Penn Medicine S T U D I O S Princeton, New Jersey, USA; Omaha, Nebraska, USA T E A M M E M BE R S Martin Fahrenbach, Jim Burton, Joe Krzyzewski, John Savage, Dan Hahn, Robert J. Guinn, Victor Stoute, Jerry Holmes, Gregory Z. Aldrich O P A C I T Y V O L U M E V E R G E PEÑA STATION NEXT EXPERIENCE VISION AND WELLNESS PROGRAM PLAN D enver, Colorado, USA CL I EN T Fulenwider LLC, with Panasonic, Denver International Airport, and Kaiser Permanente S T U D I O S Strategic Innovation; Denver, Colorado, USA; Omaha, Nebraska, USA; Vancouver, British Columbia, Canada T E A M M E M BE R S Michael Joyce, Dana Ball, Mary Chow, Daniel Conces, William DeRoin, Caroline Dewick, Scott Foral, Doug Gordon, David Grandy, Mark Hentze, Helen Jones, Kaia Nesbitt, Lindsay Pericich, Susanne Pini, Kevin Spaans, Daniel Strandell, Booker Tieszen, Thomas Trenolone, Elizabeth Zacherle O P A C I T Y V O L U M E R I G O R R. JOE DENNIS LEARNING CENTER O maha, Nebraska, USA CL I EN T Bellevue University S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Michael Hamilton, Ross Miller, Mike Goertzen, Joe Hazel, Lisa Lyons, Andrew R. Wilson, Randy Prescott O P A C I T Y V O L U M E V E R G E

OMANTEL HEADQUARTERS M uscat, Oman CL I EN T Oman Telecom Regulatory Authority S T U D I O New York, New York, USA T E A M M E M BE R S Mohammed Ayoub, Jake Levine, Brooke Horan, Tom Hughes, Tom Smith, Damien Wentzel, Nabil Katrajian O PAC I T Y VO LU M E RIGOR

p. 24 4

O PAC I T Y VO LU M E RIGOR

p. 13 6

OMAHA CONSERVATORY OF MUSIC Omaha, Nebraska, USA CL I EN T Omaha Conservatory of Music S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S David Lempke, Tim Wurtele, Xin Zhao, Cary Schroeder, Tim Lang, Beth Redding, Randy Niehaus, Nathan Engel, James Hubbell, Alison Ingunza, Nick Beaty, Susan Johnson, Abby Scott, Jeff Pauba, Rick Horeis, Greg Kyander, Nick Hoesing, Matt DeBoer, Nick Zuniga, Kevin Moody, Danielle Truckenbrod O P A C I T Y V O L U M E R I S K

PARKLAND HOSPITAL D allas, Texas, USA Parkland Health & Hospital System S T U D I O S Dallas, Texas, USA; Omaha, Nebraska, USA; Chicago, Illinois, USA; Charlotte, North Carolina, USA T E A M M E M BE R S Thomas Trenolone, Jim Henry, Jeff Fahs, Jim Atkinson, Kevin Lynch, Hank Adams, Mike Moran, Cameron Elahi, William DeRoin, Bryan Sumruld, Cyndi McCullough, Chad Anderson, Bob Case CL I EN T

p. 3 0 4

p. 124

p. 3 0 0

p. 6 8

O PAC I T Y VO LU M E RISK

OAKLAND CAMPUS, NEW BED TOWER COMPETITION CONCEPT P ittsburgh, Pennsylvania, USA CL I EN T University of Pittsburgh Medical Center S T U D I O S Princeton, New Jersey, USA; San Francisco, California, USA; New York, New York, USA T E A M M E M BE R S Brian Kowalchuk, Tom Smith, Jesse McCarter, Damian Wentzel, Chengbo Wang, Annette Veliz, Chris Bormann, Amy Mays, Richard Prakopcyk, Michael W. Street, Douglas Gordon, Brian Zabloudil, Bryce DeReynier, James Burton, Dylan Coonrad, Hollis Madara, Nibu Samuel O P A C I T Y V O L U M E V E R G E

OTTAWA DESIGN STUDIO CEILING Ottawa, Ontario, Canada CL I EN T HDR S T U D I O S Ottawa, Ontario, Canada; Kingston, Ontario, Canada T E A M M E M BE R S James Chapman, Jason-Emery Gröen, Chris Havers, Ingrid Felso O PAC I T Y VO LU M E RISK

p. 128

p. 3 6 0 p. 6 4

NIOBRARA VALLEY PRESERVE N iobrara River Valley, Nebraska, USA CL I EN T The Nature Conservancy S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Bruce Carpenter, William DeRoin, Trevor Hollins, Alison Ingunza, Rebecca Liebentritt, Beth Redding, Doug Sholl, Tim Wurtele O P A C I T Y V O L U M E R I S K

p. 120

NEW ORTHOPEDIC UNIT E isenberg, Germany CL I EN T Waldkrankenhaus Rudolf-Elle GmbH S T U D I O Leipzig, Germany T E A M M E M BE R S Daniel Ferchland, Michael Keitel, Jacqueline Hofmann-Nitschke, Alexander Kopp, Stefan Opitz, Michael Peger, Katja Schober, Elisa de Rosa, and Matteo Thun & Partners O P A C I T Y V O L U M E R I S K

p. 8 0

RODNEY COOK SR. PARK A tlanta, Georgia, USA CL I EN T The Trust for Public Land STUDIO Atlanta, Georgia, USA T E A M M E M BE R S Robby Bryant, David West, Ryan Healan, Yoon Lee, Zach Ames, Caleb Peeler, Ron Geiger, Robert Baysden, Michael Little O P A C I T Y V O L U M E R I G O R

p. 24 8

O PAC I T Y VO LU M E RISK

RUSH CENTER FOR ADVANCED HEALTH CARE Chicago, Illinois, USA CL I EN T Rush University Medical Center S T U D I O S Strategic Innovation; Chicago, Illinois, USA T E A M M E M BE R S David Grandy, Amy Lussetto, Caroline DeWick, Michael Joyce

p. 198

SHELTER IN A FOREST T urkey S T U D I O Boston, Massachusetts, USA T E A M M E M BE R S Joe Mamayek, Charles Hergrueter, Oana Pavunev, Christopher Shafer O P A C I T Y V O L U M E V E R G E

p. 3 0 8

O PAC I T Y VO LU M E RIGOR

SHIRLEY RYAN ABILITYLAB C hicago, Illinois, USA CL I EN T Shirley Ryan AbilityLab S T U D I O S Omaha, Nebraska, USA; Chicago, Illinois, USA (in association with Gensler, Clive Wilkinson Architects, and EGG Office) T E A M M E M BE R S Thomas Trenolone, Jon Crane, Kevin Augustyn, William DeRoin,Todd Eicken, Abbie Clary, Michael McGinn, Karl Lust, Jennifer Bradley, John Gresko, Juana Link, Jeffrey Fahs, Lance Thies, Clare Swanson, Randy Niehaus, Krysia Lynch, Trevor Hollins, Terry Houk O P A C I T Y V O L U M E R I G O R

p. 14 6 p. 152 p. 3 70 p. 2 5 0

RIVER’S EDGE Council Bluffs, Iowa, USA CL I EN T Noddle Companies S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Lisa Miller, Matt Stoffel, Matt DeBoer, Kevin Augustyn, Thomas Trenolone, Susan Johnson, Todd Feldman, Andy Gorham, Trevor Hollins

UGANDA MEDICAL AND AIDS CLINIC B ududa District, Uganda, Africa CL I EN T Construction for Change S T U D I O S New York, New York, USA; Boston, Massachusetts, USA T E A M M E M BE R S Mohammed Ayoub, Ellen Randall, Cole Wycoff, Jake Levine, Brian Cheng, Sabine Aoun, Tom Hughes, Allen Buie, Colin Embry O P A C I T Y V O L U M E R I G O R WEST FLORISSANT AVENUE: LEAN URBANISM REVIVAL Dellwood, Missouri, USA CL I EN T CRSA/EPA S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Doug Bisson, Andrew Gorham, Austin Vachal, Alex Robinson O P A C I T Y V O L U M E V E R G E

p. 202

REHABILITATION HOSPITAL S alt Lake City, Utah, USA CL I EN T University of Utah Health Sciences S T U D I O S Princeton, New Jersey, USA; Chicago, Illinois, USA T E A M M E M BE R S Brian Kowalchuk, Diego Samuel, Yi-Wen Lai, Jungha Kim, Jennifer Bradley, Tricia Billings, Lance Thies, Abbie Clary, Todd Eicken, Amy Lussetto, Dave Redemske, Moriah Brookshier, Ian Thomas O P A C I T Y V O L U M E R I S K

THORNTON COMMUNITY P enrith, New South Wales, Australia CL I EN T Point Property S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Susanne Pini, Ciaran Durney, Jason Roberts, Leigh Hanekom, Antonin Gros O PAC I T Y VO LU M E RIGOR

WIETZ SIDEBOARD O maha, Nebraska, USA CL I EN T Kate Wietz S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Michael Hamilton, Susan Johnson O PAC I T Y VO LU M E RISK

p. 20 4

REFORM: SAVING MAIN STREET USA Haxtun, Colorado, USA CL I EN T Haxtun Hospital District S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S Thomas Trenolone, Matt Goldsberry, Matthew Stoffel, Ian Thomas, Katherine Allen, Kent Spreckelmeyer; KU Studio 808 Students: Lauren Amos, John Barnthouse, Chelsea Campbell, Cole Giesler, Chinoso Ike, Rachel Keeven, Kathy Kim, Hannah Kramer, Ashley Lawrence, Chang Liu, Nicole Mater, Sarah Moser, Lizzy Nikoonamesh, Phillip Perkins, Eman Siddiqui, Mahzad Talaei, William Weiner, Dana Wellman O P A C I T Y V O L U M E R I S K

STRAUSS PERFORMING ARTS CENTER Omaha, Nebraska, USA CL I EN T University of Nebraska Omaha S T U D I O Omaha, Nebraska, USA T E A M M E M BE R S David Lempke, Tim Wurtele, Taylor Nielsen, Xin Zhao, Tyson Fiscus O PAC I T Y VO LU M E VERGE

WOLLONGONG CENTRAL Wollongong, New South Wales, Australia CL I EN T The GPT Group S T U D I O Sydney, New South Wales, Australia T E A M M E M BE R S Susanne Pini, Gloria Alvarez, Stephen Auld, Paul Brodala, Stefano Cottini, Ciaran Durney, Scott Gould, David Hart, Hugh Irving, Lionel Kettler, John Peachey, Tony Rastrick, Jason Roberts, Colin Ross, Kyle Soltani, Graham Steer, Sandra Stewart O PAC I T Y VO LU M E RISK

p.15 6

p. 142 p. 76 p. 3 6 4

RADIATION ONCOLOGY CENTER Jiddah, Kingdom of Saudi Arabia CL I EN T Saudi National Guard S T U D I O S New York, New York, USA; Charlotte, North Carolina, USA T E A M M E M BE R S Mohammed Ayoub, Jim Atkinson, Brian Cheng, Brooke Horan, Tom Hughes, Cole Wycoff, Sabine Aoun, Yelena Polyakov, Steve Goe, Michael Roughan O P A C I T Y V O L U M E R I S K

WOMEN AND CHILDREN’S HOSPITAL M innesota, USA CL I EN T Confidential S T U D I O Minneapolis, Minnesota, USA T E A M M E M BE R S Mike Rodriguez, Jim Thomson, Kyle Lacek, Dan Williamson, Isaac Bros, Julie Robertson O PAC I T Y VO LU M E RISK

PROJECT CREDITS

p. 13 8

411

OPACITY TEAM CREDITS

33.3 EDITOR Jenna M. McKnight

Jenna M. McKnight is a leading architectural journalist and editor. Her work has taken her around the globe, from touring skyscrapers in Manhattan to reporting on humanitarian work in Haiti and Burkina Faso. Jenna has held senior positions at major print and online publications, in addition to being the first digital editor at the global architecture firm Skidmore, Owings & Merrill. She currently is a contributing editor at Dezeen and helped launch the influential media company’s office in New York. Beyond this book, Jenna served as editor of two volumes in the Opacity series, Rigor: Working With Intent and Verge: Empowering Our Ethos.

33.3 OPACITY TEAM Thomas Trenolone, Director Jenna McKnight, Guest Editor Paula Brammier, Art Director Denise Beideck Zach Brewster Matthew Delaney Antje Feiter Sandie Kauffmann Tyler Olson Encarnita Rivera Julie Robertson Anne Röttsches Adrian Silva Katie Sosnowchik Patricia Stülp Mary Zgoda A special thanks to Vince Ellwood, who provided wise counsel to the Opacity initiative during its formative years.

FEATURED PHOTOGRAPHERS Farshid Assassi Do Space Parkland Hospital Brett Boardman Chris O’Brien Lifehouse Wollongong Central Tyrone Branigan Novartis Headquarters Australia 67 Albert Avenue ‘Illuminate’ Australian Defence Force Academy Auditorium Australian Defence Force Academy Learning Spaces James Brittain BBSRC National Virology Center: The Plowright Building Dave Burk Argonne National Laboratory Energy Sciences Building Shirley Ryan AbilityLab Ari Burling Interdisciplinary Research Building Paul Dingman Huawei Corporate Financial Center Building Corey Gaffer Minneapolis Design Studio Simon Grimes MH60R Squadron Headquarters and Training Facility Halkin Mason Photography Clarendon Design Studio HGEsch Photography Helmholtz Diabetes Center Jonathan Hillyer Georgia Tech Carbon-Neutral Energy Solutions Laboratory Sarita Hollander pal-ate TJ Kloster 2017 Opacity Event Michael Moran Shirley Ryan AbilityLab Stefan Mueller-Naumann Helmholtz Diabetes Center Andrew Pogue Galveston Fire and Rescue Parkland Hospital

413

O P A C I T Y T E A M C R E D I T S

Denise Rix 140 William Street Rouse Photography Group 2018 Opacity Event Dero Sanford Don Tyson Center for Agricultural Sciences Dan Schwalm Argonne National Laboratory Energy Sciences Building Do Space Holland Energy Park Holland Performing Arts Center Founders Room Holland Performing Arts Center Ovations Lounge Humber River Hospital Marjorie K. Daugherty Conservatory Manter Hall School of Biological Sciences Omaha Conservatory of Music Ottawa Design Studio Pacific Campus Parking Structure R. Joe Dennis Learning Center, Bellevue University Shirley Ryan AbilityLab Wietz Sideboard Wollongong Central Jarrad Seng 140 William Street David Sundberg / ESTO Maryland Public Health Laboratory Ed White Photographics Black Hills Wine Experience Centre Jim Pattison Centre of Excellence in Sustainable Building Technologies

2018 OPACITY TEAM Thomas Trenolone, Director Jenna McKnight, Guest Editor Dana Ball, Art Director Lyndsey Akers Kent Bonner Paula Brammier Zach Brewster Matthew Delaney Ella Feng Jason-Emery Gröen Danette Hunter Sandie Kauffmann Mallory Lane Desiree Mervau Kelsey Pierce Patty Rockwell Anne Rottsches Katie Sosnowchik Patricia Stülp Ian Thomas Greg Wells

Lefebvre-Smyth Residence hdrinc.com/opacity/verge

2017 OPACITY TEAM Thomas Trenolone, Director Jenna McKnight, Guest Editor Dana Ball, Art Director Kevin Augustyn Paula Brammier Zach Brewster Dylan Coonrad Matthew Delaney Matthew Goldsberry Jason-Emery Gröen Amy LaMar Mallory Lane Tom Lee Desiree Mervau Lisa Miller Kim Ramaekers Patty Rockwell Katie Sosnowchik

hdrinc.com/opacity/rigor

2016 OPACITY TEAM Thomas Trenolone, Director Katherine Allen, Editor Dana Ball, Art Director Paula Brammier Zach Brewster Rachel Coffee Dylan Coonrad Matthew Delaney William DeRoin Abbey Furlow Taylor Nielsen Patty Rockwell Katie Sosnowchik

hdrinc.com/opacity/risk

Copyright ÂŠ 2020, HDR First printing May 2020 All rights reserved. Apart from any fair dealing for the purposes of private study, research, criticism, or review as permitted under the Copyright Act, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher. ISBN: 978-0-9997633-5-3 Library of Congress Control Number: 2020901372

Printed and bound in the United States of America by Barnhart Press

5207 0520

Published by HDR hdrinc.com

$40.00 USA ($55.00 CAN) $40.00 ISBN 978-0-9997633-5-3

54000>

9 780999 763353