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David Chipperfield Architects: Anchorage Art Museum
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Interview: Perter Pennoyer The Designer’s hand
Software Update What Architects have been waiting for
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Green Architecture: An overview
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3D Flourescent Dimming Ballast Luton Electronics Project Runaway Amanda Hurley The High Cost of NOT Going Green Bernard Tschumi’s New Acropolis Museum Case Study: ANSI-Emerald Remodel Transforms 70-Year-Old Phoenix Home Weill Greenberg Center Weill Cornell Medical College, New York
Contents
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Ciralight: Suntracker Two day lighting system
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Advanced Glazing Solera+Nanogel
What exactly is green architecture?
sustainability, materials, energy efficiency,
Green architecture is an approach to
land use, and waste reduction.
building which has become more prevalent in the last 25 to 30 years. Also known as
Sustainability
sustainable design, green architecture is
Green buildings are not only be designed
simply a method of design that minimizes
for a present use, but consideration is
the impact of building on the environment.
also be given to future uses as well. An adaptable structure can be “recycled”
Once thought of as unconventional and
many times over the course of its useful
nonstandard, green architecture is quickly
life. If specific technical issues prevent use
becoming accepted by both regulatory
of the building for a new function, then
agencies and the public alike as a
the materials used in its construction are
socially responsible and logical means of
designed to facilitate ease of recycling and
construction.
reprocessing of materials.
The beginnings of today’s green
Materials
revolution can be traced back to the
Buildings consume a variety of materials in
social awareness of the 1960s and
their construction. Green design reduces
European design such as is found in
the dependence on resource intensive
Scandinavia. From these origins, new
products and materials. Today, there
construction techniques have lead to the
are an increasing number of products
development of innovative materials and
available made from efficient, earth-
design concepts. Indeed, successfully
friendly, or recycled materials. In a green
designed green projects can involve an
building, consideration is also given to the
extensive array of factors, ranging from
construction process itself.
the resourceful use of materials, to careful consideration of function, climate, and
Materials that minimize waste or can be
location.
recycled, help contribute to an efficient and environmentally sensitive construction
So what makes something “green”?
process.
The concepts about green architecture can generally be organized into several
Energy Efficiency
areas of application. These areas include
Another important aspect of green design
is the integration of energy efficient
on the environment and resources is
mechanical systems and conservation
minimized.
methods.
natural part of an increasing number of
Additionally, green designs further help to
buildings. As natural resources dwindle,
minimize waste through the use of gray
green design will take a critical role in
water recycling and other sustainable
our built environment. In future articles,
energy strategies.
we will look at the specific components of green architecture, such as the variety
Land Use
of innovative products and materials
Site selection and building orientation
now available. If you would like more
also play a critical role in green design. A
information about sustainable design,
green building is located to take advantage
please visit some of the valuable resources
of its climate and surroundings. These
listed below.
conditions not only affect the efficiency of a building, but of the community and society as a whole. Planning for responsible land use addresses these issues through the consideration of climate, transportation, and the natural
Featured: SCIC Atlanta showroom
environment.
Waste Reduction An amazing amount of waste is generated by the construction of a typical building. Green buildings are designed to eliminate waste by using modular systems of construction, recycled products, and efficient use of materials. The ideal green building would create no waste either during construction or use, so the impact
By: Patrick Larum
2-3
Today, sustainable design is becoming a
eliminate the dependence on fossil fuels.
Green Architecture
Summary Green buildings are designed to reduce or
Even in the age of computer-aided design, pencils, pens, and paintbrushes can be essential architectural tools. Is there a place in the modern architecture practice for handmade design drawings? Peter Pennoyer—who leads an eponymously named New York firm that produces classically inspired designs for houses and apartments, as well as institutional and commercial projects—believes so. Pennoyer and members of his firm are active in the Institute of Classical Architecture & Classical America, for which Pennoyer serves as chairman; one colleague, senior associate Anton Glikin, taught drawing there. Pennoyer keeps a collection of hundreds of drawing instruments from the 18th to the 20th centuries at the office, and some still get daily use. “We still have Maylines,” Pennoyer says. “We still have charcoal.” These tools help produce the firm’s distinctive work. How much of your design work begins with sketches? Design in this office is done by drawing, period. We don’t design things directly on the computer. I sketch some, as much as I’m able, but I’m really managing the firm. Gregory Gilmartin, our director of design, only draws. He never uses CAD, although he’s very familiar with it and works with
drawing and the computer?
houses that are accurate in represent-
Yes, but the people who are the principal
ing the building and that show shade and
What techniques are used?
designers constitutionally express them-
shadow and give a sense of materiality.
Gilmartin sketches in pencil, in felt-tip pen,
selves with pencil and pen.
When we’ve had a separate easel with a painting, the design is much easier for
tracing paper with a Mayline parallel rule.
What’s the role of beauty in drawing?
Anton Glikin draws freehand first and then
It depends on who’s doing it. Gilmartin’s
does pen-and-ink drawings. He also does
drawings are exceptionally accurate and
Do you hire specifically based on draw-
watercolors and washes.
detailed. They’re visions of what he’s look-
ing ability?
ing for, and he’ll build up layers and layers
I look at the range of skills. Great drawing
Why rely exclusively on hand drawing at
of trace as he refines his designs. All the
skills aren’t common these days. If some-
the design phase?
drawings that are done here for design
one brings a new kind of drawing style or
We believe the kind of design we do is
look beautiful to me because they show a
media, we welcome that. The drawings are
best expressed in a direct connection from
great passion. You can see the gesture and
of different character, depending on who
your mind to your arm to your hand to
the physical act, as opposed to computer
might have done them.
the paper. It’s more fluid. We try to make
drawings that always look a little bit ossi-
each project different, so we like to have
fied.
Bottom Left - Legs for londonderry pietra dura marble tops Bottom Right - Neptune, design for a bay window
Featured: Top - Stair hall design
the freedom of the pencil. We work very
people to read.
So there’s no office drawing style? We try to make the designs personal to the
closely with others in the office to put this
Does the computer have a role beyond
designer. If you look at the work, you can
into the computer.
construction documents?
see which partner or associate has worked
We totally invite the computer. The 3ds
on it. The work depends on the context,
What computer drawing programs do
Max stuff we do is extremely elaborate.
the style of the building, and the client. So
you use?
We’re pushing very hard to make it more
there’s a diversity of work, and that is also
AutoCAD and 3ds Max.
realistic, warmer. We try to vary our pre-
reflected in the diversity of drawing style.
How up-to-date are you with software?
sentations. We try to get the client to face
We keep up with the latest versions of the
a complete presentation—nothing tenta-
software and have certain people in the of-
tive—so they can fully commit.
fice who know the latest techniques. Most of us in the office have a particular set of
What other rendering techniques do you
talents. We don’t all try and learn the latest
use?
things. Somebody here knows them.
It’s important to make a distinction between drawings and renderings. Rendering
Do you have people move between hand
is a different step. We do paintings of our
By: Edward Keegan
Interview
and he drafts his designs using 2H lead on
4-5
everybody else.
It’s an ocean, a continent, and a far cry
Chipperfield Architects had ambitions for a
glass cube. Each cube is juxtaposed or
from Berlin to Anchorage, Alaska, but Lon-
more extroverted museum that would still
stacked in a progressive sequence that
don-based David Chipperfield Architects
respect the art while also responding to the
forms a promenade up and into the build-
was working on the renovation of Friedrich
larger context. The architects spent square
ing. As in the Hepworth Wakefield art
August Stüler’s Neues Museum and the
footage strategically, positioning the addi-
gallery near Leeds, England—composed
expansion of the Anchorage Museum at
tion on the downtown side of the existing
of a series of clearly defined rooms that
about the same time. If the architects were
structure to give the building a completely
drive the external forms of the building—
responding to the grandeur of history in
new entrance façade and an enhanced
in Anchorage, Chipperfield particularized
urbanistically dense, culturally loaded
civic presence. The program was stacked
spaces per program and sequence. The
Berlin, they responded to a different form
to rise above the surrounding buildings,
particular is expressed within a universal-
of grandeur in Anchorage—the Cugach
creating a height that allows upper floors
ized language; bars of program are slipped
Mountains—and to another urbanism: a
unobstructed mountain views. A circulation
and stacked, achieving a cubic silhouette
sprawling frontier city with wood-frame
atrium was centered at the back of the ad-
in a pyramid four stories tall that achieves
houses sprinkled among commercial mid-
dition, allowing the staircase to function as
a striking, crisp monumentality. Other glass
rises.
a new core, and fusing the addition to the
structures in the city are merely generic
existing building.
office buildings. “We rendered the volumes
The commission called for a nearly 90,000-
with a continuous surface as pure as pos-
square-foot expansion to the existing mu-
The architects decided to glaze the build-
sible, to have them read very clearly, with-
seum, a composite building with a single-
ing, making the museum visually interact
out being broken up by big windows,” says
story original volume transformed by a
with the environment: the mountains can
Prendergast. “There wasn’t high demand
1984 Mitchell Giurgola Architects addition.
be seen from within, and the galleries and
for big spaces, so with the gallery experts,
This new expansion had to accommodate
public spaces from outside. “We wanted
we worked for optimum spaces about 22
galleries and the Smithsonian Arctic Stud-
an open and transparent aesthetic to cre-
feet wide.”
ies Center.
ate a relationship to the city and the landscape,” says Billy Prendergast, associate
The architects left about 25 percent of the
Museums are normally a closed build-
director of the project. He adds, “Anchor-
curtain wall transparent. They skinned the
ing type, subject to all the issues of art
age is neither a brick nor a stone city, like
building in double-glazed, mirror-fritted
conservation and architectural deference
London or Berlin, and stone in any event
glass, with a third interior wall of glass
to art, and the existing building followed
couldn’t compete with the natural stone of
enclosing a heated space 1 foot deep
all the rules: introverted and protective of
the mountains.”
on the transparent areas of the façade to
the treasures inside, it was mute to the city
prevent condensation in Alaska’s extreme
itself and blind to the magnificent nature
Chipperfield wrapped each element of the
climate. A long wall on the top floor allows
beyond.
program in an appropriately dimensioned
a sweeping view of the mountainous pan-
orama, and window walls on the ground and second floors open public spaces to view from the outside. The building, then,
of the sky at the same as it admits views into the galleries, creating an intriguingly gauzy surface that plays off the crisp cubic forms. The building is complex despite its apparent simplicity. Though it has a cool beauty, the surface itself feels soft, and though the language is universal, the massing is particular. The aesthetic may be industrial, but the composition is picturesque. The payoff of the complexity and variety is that by the time the building delivers viewers to the object at hand in serene and foties have been primed by an extraordinary building that helps them see extraordinary things. Bottom Right - The linear motif staircase
Bottom Left - Glazed windows on the exterior walls
Featured: Top - West side of the building
cused galleries, their senses and sensibili-
By: Joseph Giovannini
6-7
because the mirror-fritting reflects images
Anchorage Art Museum Review
is visually porous, but ambiguously so
Middle - Entrance view Right top - Side plan of recent addition Right bottom - Side view
Featured: Left - Side view of top of building
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Anchorage Art Museum Review