commARCH - March April 2020

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MARCH I APRIL I 2020

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Podcast

Sound Advice Acoustics in office spaces is often overlooked

When you think of acoustics in architecture, you might normally think of theaters, auditoriums, lecture halls, and even churches and synagogues. Spaces meant to house a small number of performers or speakers presenting to a large audience.

Office spaces are inherently different, housing multiple people interacting with each other in groups of various sizes, or trying to concentrate on their work without being disturbed. Acoustics are critical in office spaces, as they are a key factor in comfort and productivity. But too often, acoustics are overlooked.

Gary Madaras is a PhD acoustician with Rockfon, a leading manufacturer of acoustic building materials.

He spoke to commARCH about how to approach acoustics for office spaces.

Acoustics is getting more attention “It’s reflected in the codes and standards and guidelines. A couple of years ago you didn’t have the WELL building standard with a sound controls section. LEED addressed (acoustics in) healthcare and schools, but not other types of facilities like offices. It’s a bottom-up movement, with greater expectations from building occupants.”

How offices spaces have changed “What’s happened over the decades… there were cubicle farms and everything was sound absorptive, and there were some very well-known and proven rules to acoustics designed to make open offices work well.

“People don’t want that anymore. They don’t like that aesthetic. We’ve moved to open spaces. And partly due to the sustainability and green movement, we’ve moved away from some materials, for example, carpeting.

And that leads to more reflection, more noise. And you take the cubicles away and you lose that occupant density control.

“And what we see now, people sitting elbow to elbow, face to face around tables. And speech privacy isn’t really expected anymore.”

When should architects address acoustics?

“We have to think fundamentally, why are people together? I think it’s important for architects, designers, specifiers to think, what am I actually trying to do acoustically in this particular building or space? Am I trying to allow people to communicate? Is speech intelligibility a good thing? Or is it a bad thing? Does it actually deter from good use of the space I’m designcommARCH // 4

ing? “It’s surprising how many problems are realized only after occupancy and are dealt with at too late of a date. And then it’s more expensive and interferes with (building operation).”

How can architects ensure their designs meet the acoustic needs of a space?

“There are industry professionals called acoustic consultants, and the National Council of Acoustic Consultants. Anybody can go there and look for acoustic consultants and bring that professional on board.

“There’s a small percentage of architectural engineering firms that are bringing specialists like acousticians on staff. Now more often the architect doesn’t employ those specialists directly. They go out and they hire the consultant. Some manufacturers are very knowledgeable, and should be able to say, this is the best product for your application. Here’s how you use it, here’s how much you should use and how to install it.

“There is so much more to acoustics. There’s environmental noise, there’s building system HVAC and plumbing noise. There are options: employ someone in staff, hire a consultant or go directly to a manufacturer for the application of their products.”

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ELEMENT. ENERGY. Akasha, in Vendantic Hinduism tradition, is the first ELEMENT. It is the essence of the material world. A spiritual force that Earth, Air, Fire and Water descend from. Infinite space. Creative Energy. The binding force between elements.

FIRE, this issue’s cover, is the display of passions and skills with confidence. Our reputation and the ability to be recognized for our gifts. Passion. Confidence. Vibrance. Fire. Heat. Energy.

These are also known as the Five Transforms of Energy. Wood feeds Fire, Fire creates Ash (soil), Earth produces Metal (minerals), Metal condenses into Water, and Water feeds plants (wood).

Every element in the Five Transforms of Energy has an element that “creates” it and an element that “controls” it. Thus, creating balance and harmony. A Controlling Cycle to keep harmony in the world. Fire melts Metal, Metal chops Wood, Wood breaks through Earth, Earth dams up Water, and Water douses Fire.

The heat content of fuels and energy sources is measured by the British thermal unit, or Btu. The residential and commercial sectors account for about 40 quadrillion Btu of total U.S. energy consumption, or an estimated 40 percent. Later in this issue, we explore statistics on U.S. energy consumption: petroleum, natural gas, coal, renewable energy and nuclear electric power.

As the ones responsible for the planning, design and construction of the built environment, we wrestle with energy consumption. No less a focus is our yearning for balance and harmony. How do we properly use our resources as we see energy needs continue to escalate? How we can leverage historic thinking as a path to balanced energy types and their consumption.

There are no easy answers, but finding them begins with having the best information and acknowledging the facts.

March/April. 2020 Issue . Volume 18 No. 2 5603 B West Friendly Avenue, #238 Greensboro, NC 27410 646-397-8241 commARCH.com, a division of IdeaSoil, LLC Dean Horowitz, Chief Product Officer/ President 646-397-8241 dean@ideasoil.com CONTENT - COMMUNITY ENGAGEMENT Edit@ideasoil.com Chief Creative, John Phillip Davis Managing Editor, Chris Thiede Executive Producer - Video & Podcasts, Barry Katz VP of Social Media, SEO/SEM, and Influencer Marketing Strategies, Alexandra Kavalos Webmaster, Chad Seay Community Creative, Brian Hertel Sr. Contributing Editors Education & Business Processes, William Asdal Financial Analysis & Reporting, Annie Asdal Facility Asset Data Management, Michael Bordenaro Leadership Strategies, Michael Catalonello Marketing & Business Growth Strategies, Shawn Draper AI, Eric Hochstein Technology, Services & Platforms, Kurt Hoechstetter Market Research & Forecasting, Chris O’Keefe International, Griffin Suber FinTech, Joan Susie Building Technology Editor, Jay Thomas Water, George Vorsheim CONTENT/EDITORIAL Send all press releases and editorial submissions to: Edit@ideasoil.com CONSTRUCTION DATA Dodge Data & Analytics info@IdeaSoil.com OPERATIONS - Multiplatform Operations Manager, Maria LeMaire Operations Associate, Alexander Bryce Horowitz Accounting@ideasoil.com, Digital@ideasoil.com, Production@ideasoil.com RESEARCH Research@ideasoil.com Research Associate, Heidi Hannula INTEGRATED MEDIA SPECIALISTS Sales@ideasoil.com SALES DIRECTORS Southeast Kurt Hoeschstetter - kurth@ideasoil.com Northeast Beth Emerich - bemerich@ideasoil.com Midwest Vince Basso - vinceb@ideasoil.com West Robert Reed - robertr@ideasoil.com SUBSCRIPTIONS For subscription inquiries or change of address, please contact us at commARCH@omeda.com, or call 847-559-7520.

WEBSITE commARCH.com Commercial Architecture (ISSN #24736902) Copyright © 2020 by IdeaSoil, LLC is published 6 times per year, bimonthly, by IdeaSoil, LLC, 2510 Duck Club Road Greensboro, NC 27410-2572. For subscriptions/change of address: commARCH@omeda.com, or call 847-559-7520.

Periodicals postage paid at Greensboro, NC and at additional mailing offices.

commARCH // 6

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T A B L E

O F

C O N T E N T S

B U I L D I N G S Lighting Defines Community Spaces . Page 57 Expanding Dental Care . Page 58 Sky Views . Page 59 School Design Promotes Mental Health . Page 71 More Than ‘Another Office Building’ . Page 72 Custom Fit, Tested, Approved . Page 73 Tech Giant’s Converted Warehouse . Page 77 Serving the Under-served . Page 78 Biophilic Headquarters . Page 79 Carnegie (Science) Hall . Page 80

D E P A R T M E N T S CONTRIBUTING EDITOR The Largest Challenge . Page 10 TECHNICAL ARTICLE Finding the Right Balance . Page 14 PRODUCTS Products designed to make your buildings beautiful and functional . Page 21 THE POWER OF LIGHT Architainment . Page 26 ONE-ON-ONE An architect’s drive to make a difference . Page 65

T A B L E

O F

F E A T U R E S MIPIM AWARD NOMINEES The Future of Cities is Human . Page 40

COVER STORY U.S. Energy Consumption . Page 44 1000 MUSEUM The Impossible Build . Page 49 DIGITAL MALL Retail Revival . Page 54 VILLAGE MENTAILITY 1901 Brooklyn Bank Renovated for Modern Needs . Page 60 PRESERVING AN ICON Mid-century Austin Landmark Gets New Life . Page 68 CA DIALOG A Conversation with Chaz Morgan, Roc Nation . Page 74

C O N T E N T S

THE

LCHALLENGE ARGEST

Innovative company fighting climate change with concrete

By Dieter Fischer, contributing editor

The construction and operation of buildings has commonly been seen as having a large carbon footprint, contributing to the growing problem of climate change.

One company has developed a way to make the built environment the solution to climate change. Blue Planet has developed a process for manufacturing aggregate rock that captures carbon dioxide. Concrete produced with this aggregate can be carbon neutral or even carbon negative.

I spoke with Brent Constance, CEO of Blue Planet, to talk about their process and how it works. commARCH // 10

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Dieter Fischer: Brent, tell us about your products and their significance in the fight against climate change?

Brent Constance: What we do at Blue Planet is instead of mining limestone, we actually synthesize it ourselves from CO2 that we’ve captured. When we capture CO2, we turn it into carbonate, bring in a calcium source and we make calcium carbonate limestone out of it. Limestone itself is where most of the carbon on earth is. Over 99 percent of Earth’s carbon today is sitting in limestone. So it’s a natural place for a CO2 to go. In our case, we’re not digging it out of the ground. We’re actually synthesizing it, (to create) a solid material that is interchangeable with geologic limestone, which is used as the main part of concrete.

DF: How does that address climate change?

BC: What it means is the built environment really is becoming the solution to climate change. We often think of the built environment is a big negative from a climate point of view because we’ve been focused primarily on the operational history of a building.

It turns out the embodied carbon in buildings can actually exceed the operational carbon that’s generated over the life of the building. And concrete is the most used building material by far. (That) opens the opportunity to use a building as a great place to store all this CO2 in the form of the aggregate in the concrete in the building.

For example, an average cubic yard of concrete contains about 1,200 pounds of sand and about 1,800 pounds of aggregate or gravel. If we instead use limestone that comes from a power plant where there’s a Blue Planet system, now that 3,000 pounds of aggregate has (approximately) 1,300 pounds of CO2 permanently sequestered in that yard of concrete.

DF: What are your plans to make it available? And how long do you think it will take before architects can actually order it for their jobs?

BC: Our model is to partner with large, broad reaching industrial corporations to implement this. Right now we’re building a plant in Northern California on San Francisco Bay next to a gas fired power plant that powers most of the city and county of San Francisco and puts out about two million tons of CO2 a year. (For the rest of) North America, it’s going to be in the two- to five-year range.

DF: How would the cost of your products compare to these traditional products that they’re replacing? commARCH // 12

BC: Aggregate pricing is interesting because it’s less the price to mine it out of the ground at the quarry and more the price to transport it from the quarry to the ready-mix plant where it’s going to be combined in the concrete. What’s different about the Blue Plantet product is in general that a large CO2 emission sources, like our plant in the San Francisco Bay area, are right in the middle of things and within a fairly short distance from dozens of ready-mix plants.

So we do have our processing costs, which in general are a bit higher than mining, not much though. But we will win out in almost all cases simply because of the shorter transportation distance.

DF: I’m curious also about how your product would affect certifications like LEED. And I also understand there’s a new program called Carbon Star. How do you see Blue Planet fitting into those existing systems?

BC: Right now, CO2 is not something LEED takes into consideration. There are innovation points, (and) I know the USGBC is extremely interested in incorporating CO2 in the embodiment of building materials into the LEED system, but they’re not there yet.

(However), the Canadian Standards Association (is developing) an embodied carbon and sequestered carbon in concrete standard. It’s an ISO standard that’s being developed, and it’s called Carbon Star. And it’s meant to be patterned after Energy Star. It’s been simplified, just like Energy Star, so that it can be broadly applied. (They) are finalizing the standard and it will be available this summer.

DF: Is there anything else that you’d like to tell the readers about Blue Planet or your vision for the future?

BC: The driver here is there are a lot of capital-intensive projects that are going to need to be built. Procurement power is what’s going to drive this scale of carbon mitigation. And if (projects) show a procurement preference for rock synthesized from CO2 as opposed to rock dug out of open pit mines and transported long distances. That would be an important role for specifiers like architects to play.

For more information about Blue Planet, visit their website at blueplanet-ltd.com.

To hear the full interview with Brent Constance, go to commarch.com/blue-planet

“The built environment is becoming the solution to climate change.”

-Brent Constance, CEO of Blue Planet

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FINDING THE RIGHT

BALANCE By: Robert Marshall

Wood Ceilings Help the A&D Community Create Unique Resimercial Spaces

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Drawing elements of residential design into commercial interiors continues to impact multiple verticals, including higher education, healthcare (both acute and long-term/senior care), office and hospitality. Known simply as “resimercial design,” this wide-ranging movement places an emphasis on bringing a warm, home-like aesthetic to commercial settings.

This pursuit of functionality and comfort is reminiscent of another design movement sweeping the country—hygge. Hygge (pronounced “hoo-guh”) is a Danish and Norwegian word for a mood of coziness and comfortable conviviality with feelings of wellness and contentment. Much like hygge, resimercial design centers around creating cozy nooks, relaxed workspaces and an ambiance that facilitates connection with humans and nature.

By specifying products that maintain the level of performance necessary for commercial application without the standardized, institutional feeling commonly associated with durable furniture, fixtures and finishes, designers are able to create spaces that blend the best of both worlds. This includes residential furniture finished in commercial-grade materials, the use of warm colors and natural materials such as wood, stone and fabric.

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The increasing popularity of resimercial design and its expanding impact on the commercial interior design and architecture industry indicates several important trends for material selection during the specification process. This includes the use of wood, and more specifically wood ceilings and walls, to lessen the institutional feeling and add warmth and comfort to spaces within office buildings, schools and healthcare facilities.

Increasing Demand for Resimercial Design

When well executed, resimercial design can have a positive impact on occupant comfort, wellbeing and productivity. While these benefits are applicable across all verticals, employee happiness has become a focus for commercial office design. A recent survey found 61 percent of employees believe an aesthetically pleasing, comfortable workspace is the most valuable workplace feature. This data point remains constant across genders, ages, and locations.

But this finding is part of an ongoing area of research that dates back decades. Several years ago, turnstone, a subsidiary of office furniture giant Steelcase, surveyed 500 small businesses around the country. Researchers found that office culture is often a strong indicator of workplace satisfaction. More importantly, 80 percent of respondents believed the physical workplace environment plays a role in fostering a vibrant and healthy office culture. And resimercial design tenets like the use of natural materials, multiple flexible workspaces and comfortable furniture, all play a part in creating this environment.

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Much More than a Trend

“Wood is big in interior finishes right now because of resimercial design and a focus on biophilia and natural materials,” explained Zachary Donahue, product manager for Wood Ceilings and Walls at CertainTeed. “These design directions are more than trends at this point – they are driving the use of wood in floors, furniture, doors, walls and ceilings across building types. Wood and other natural materials frequently have become a go-to solution for a variety of design challenges facing commercial specifiers,” he added.

Ceilings are an optimal place for architects and designers to incorporate wood because they stay out of reach and are unaffected by high-traffic areas that might damage a natural material in other application locations.

Natural wood and veneer products can be used for wall panels, trim and accent pieces, but in these higher traffic areas, designers often opt for wood-look products that can withstand the expected abuse of a commercial setting.

Wood-look products might also be appealing for certain situations, like high ceilings where occupants’ sightlines can’t tell the difference.

As designers continue to place emphasis on acoustic solutions for open-concept and mixed-use spaces, wood products can provide sound absorption properties without sacrificing the residential aesthetic component integral to resimercial design. This is often a major consideration as acoustic comfort of an office, school or healthcare environment typically has a positive effect on the wellbeing of occupants, and the lack thereof can negatively affect overall workplace satisfaction.

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Grilles and open cells, two popular types of wood ceilings, feature unique textures and allow for the easy inclusion of acoustic infill for sound absorption, typically dark background acoustic panels or blankets above the installation. This adds to the acoustic performance of the ceiling system and helps designers manage noise in busy, highly populated areas.

Solid wood or veneers in cherry, beech, maple, oak and walnut, along with multiple tinted finishes and colors, provide a rich variety of options. While standard panels are often treated with a transparent finish, if a special look is required, translucent tint or opaque color finishes can be created and applied. It is also possible to vary the matching of veneer sheets to create a unique and interesting design aesthetic.

of wood materials to better patient recovery times, lower pain perception, a more positive disposition and lower stress levels.

It also found that more use of wood in healthcare facilities often enhances the mood of the healthcare providers themselves.

Similar principles extend to schools and universities, where students, teachers and administrators require welcoming spaces that emphasize comfort and foster creativity and learning.

Students are more likely to feel motivated when surrounded by functional and beautiful designs. Plus, resimercial design allows for customization and unique finishes to create spaces that are engaging, interesting and full of school spirit. This includes unique ceiling designs that provide design impact in atria, hallways, classrooms and offices.

The inclusion of wood ceilings and other surfaces in healthcare settings also has proven benefits in worker satisfaction and patient healing times. One Canadian study linked the inclusion

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Important Considerations

While there are a wide variety of wood ceiling products that can help create a resimercial aesthetic, it is critical to consider which works best for the space. “If you are specifying wood for aesthetic reasons, it’s important to choose the right species or finish,” explained Donahue. “Cherry and walnut many times can make a given space feel extremely rich and luxurious, however, these same products, when paired with dark stains and opaque finishes, might transform a space into one that is perceived as somewhat unwelcoming,” he added.

And while the inherent material benefits are strong, there are still important considerations in the specification process.

Understanding viewing angles and the distance between building occupants and the panel, plank or canopy will help you select between solid wood products, wood veneer applied to metal products, or simulated wood products.

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It’s also it is important to order all wood products to be used for a particular installation at the same time. Ordering additional material weeks or months after the first order is placed can present challenges with matching.

An Important Tool

Wood ceilings and walls are powerful tools for addressing resimercial design needs across commercial construction verticals. Wood products can add warmth, comfort and acoustic control to built environments. And, they can also provide a desired, home-like, cozy aesthetic and feel to commercial buildings.

Robert Marshall is the senior technical manager for CertainTeed Ceilings and a lifelong participant in the commercial ceiling industry.

Shaw Contract Campus Carpet Tile Campus is a Cradle-to-Cradle Certified carpet tile collection inspired by the teaching of Bauhaus. The Campus collection works on the same principles of collaboration and experimentation as Bauhaus to create designs that merge and adapt across multi-use spaces. The modern campus is no longer just a place of learning or commerce, but a hub for innovation and inspiration.

Rooted in patterns and tones that work across multi-use spaces, the No Rules carpet tiles meet the cycles of activity at the heart of any corporate or educational campus.

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commARCH // 21

Trex Signature Railing Effortless style and exceptional strength are the ‘signatures’ of the newest railing option from Trex Commercial Products, a national leader in engineering and manufacturing ornamental railing systems for commercial building applications.

Combining sophisticated design with the unparalleled strength of aluminum, Trex Signature railing lives up to its name by affording architects and developers the flexibility and confidence to create truly distinctive spaces.

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commARCH // 22

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RETHINK DESIGN. RETHINK PERFORMANCE. Overcome the harshest conditions with the Ruskin® EME3625DFLMD wind-driven, rain-resistant stationary louver. This industry-leading 3” louver combines a compact design with AMCA 540 certification for high impact resistance and AMCA 550 approval for wind-driven rain applications. And the EME3625DFLMD is backed by 20-year finish and 5-year limited warranties. Built with low-maintenance, extruded aluminum construction, the Ruskin EME3625DFLMD delivers maximum performance in a smaller solution.

Learn more about the EME3625DFLMD and other Ruskin innovations at ruskin.com.

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Coalesse Potrero415 Table Tennis Edition Many companies are choosing to have a little more fun with their spaces by embracing comfort and showcasing their playful side. Fun office features invite people to take breaks and socialize during the workday. The Potrero415 Table Tennis Edition takes the popular Potrero415 base and tops it with a hardwood table tennis top. Project table conference table, breaktime table – this seriously playful surface does it all.

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Make Your Building Quiet and Safe

Acoustical Door Panels with a Bullet Resistant Rating Designtex

Krieger doors enhance the building acoustics by exceeding the ANSI Standard S12.60-2002, and now

Celliant

they add safety with an included bullet resistant rating

Celliant is a blend of naturally occurring, thermo-reactive minerals that are applied as a non-woven backing to four fabrics across fifty colors. The minerals work to capture and convert body heat into infrared energy, which has been clinically shown to increase local circulation and improve cellular oxygenation, as well as help regulate body temperature, all of which means more energy, endurance, comfort and well-being. With Celliant technology, Designtex and Hologenix are delivering wellness to the built environment with a solution to amplify the energy, endurance and comfort of the user.

UL 752. Plus, all Krieger doors are manufactured to your requested size, style, and finish.

Acoustical Rating

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www.KriegerProducts.com RS#10

The Power of Light How “Architainment” Can Transform Your Building

By Mike Martens Today’s great buildings are not just buildings. They’re entertainment. They blend showstopping architecture and sensational lighting to deliver a transformational experience to their audience of residents and visitors.

It’s called “architainment” and it is lighting up the building industry—literally.

Take the City and County Building in Denver. It uses exterior lighting to visually demonstrate support for the city in unique and creative ways, as well as to promote awareness of various initiatives that impact Denver’s diverse community.

For example, non-profit organizations can request that the City and County Building be lit up in a specific color to recognize a particular initiative or create social and charitable awareness. The state-of-the-art lighting also commARCH // 26

makes it possible to pick out details on the building’s façade, and to create dramatic, unforgettable experiences.

The power of light to impact emotions and create a wide range of moods is something that artists and designers have long understood. Light not only allows us to see things, it also has a tremendous influence on our state of mind.

And you don’t need to be a billion-dollar corporation to create dramatic effects and make your building stand out. You just need the right LED lights.

Read the full article at commarch.com/architainment

Sternberg Lighting Rialta Whether you’re illuminating open areas and pathways, or placing a sleek beacon for wayfinding, Sternberg Lighting’s Rialta is the solution. Blending form with function, our expanded collection of columns and bollards brings visual comfort and safety in a variety of sizes, shapes, finishes, and mounting options. The Rialta family includes 8” and 6” diameter columns and complementary bollards. Our color changing edition allows you to illuminate to virtually any color in the spectrum for a variety of uses and occasions.

sternberglighting.com Website RS#34

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QuickDrain USA WellDrain Linear Drain This radically different concept in shower drains features an elegant linear design, but with no decorative metal components. Instead, water gracefully exits via the downward slope of the shower pan into a drain channel concealed behind the base of the wall — rendering WallDrain virtually invisible. Nearly any solid surface tile can be installed in the drain’s magnetic vertical cover before it is attached to the shower wall, resulting in a seamless and fully integrated design, without sacrificing function or flexibility.

quickdrainusa.com Website RS#35

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Johnson Controls TYCO Concealed Window Sprinkler The new TYCO Model CWS Concealed Window Sprinkler is designed to provide an alternative to a two-hour fire-resistance-rated glazing assembly.

The 5.6 K-factor CWS is UL and C-UL Listed as a specific application automatic window sprinkler and can be used in accordance with the International Building Code as an alternative to interior fire partitions or exterior wall assemblies, as evaluated in ICC ESR-2397. The CWS is the first and currently only concealed pendent vertical sidewall window sprinkler to be specifically listed to provide complete wetting and coverage for heat strengthened, tempered or ceramic glass windows using closed sprinklers.

tyco-fire.com Website RS#36

Airolite Expanded Architectural Louver Screen Line Airolite’s new ENCB6500 is a versatile horizontal blade louver screen that functions as a sight and security barrier as well as an architectural accent to enhance commercial building projects. The 4-inch deep inverted louver screen blade profile provides an effective visual screen when viewed from grade or any lower elevation. The flowing shape of the blade offers bold lines while providing an impressive 50% free area allowing for increased airflow.

The ENCB6500 can be supplied with concealed vertical mullions, mitered and boxed corners, and man-doors to meet aesthetic and service requirements.

airolite.com Website RS#37

Hunter Industrial Fans Trak New from Hunter Industrial Fans, the Trak ceiling fan is designed and engineered with a commercial grade motor and extruded aluminum blades for a long lifespan and optimal airflow. Available in four sizes—including 60, 72, 84 and 96-inch diameter models—the Trak fan offers three versatile finishes and an LED light option to best fit the size, style and lighting needs of any space. This modern commercial ceiling fan elevates a variety of spaces and environments including restaurants, hotels, sports facilities and more.

hunterfan.com/industrial Website RS#38

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High Efficiency Lighting Modern Elegance Sternberg Lighting provides sustainable outdoor decorative lighting for corporate campuses, hospitality, medical centers, retail office plazas, universities and more. Designed with sleek modern forms, and powerful low profile lines, that compliment architecture.

SoftVue lens components reduce disability and discomfort glare by up to 76%.

Smart lighting solutions integrated with IntelliStreetsTM, are capable to see, hear, and record what’s happening thru cameras and audio sensors. Smart dimming, dynamic two-sided digital signs, a ‘Push Blue’ emergency system, and more are available.

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Louis Poulsen AJ Lamp In 1960 Arne Jacobsen’s iconic SAS Royal Hotel opened in Copenhagen, providing the city with its first real high-rise. Jacobsen designed the AJ lamp for the hotel and today it is one of his most iconic designs. In Spring 2020, for the 60th Anniversary of the hotel, Louis Poulsen is re-introducing the AJ Royal pendant lamp. Available in three sizes in black and white, the AJ Royal retains its classic, graphic look whether it is lighting up a dining table, used in an office, or displayed in a showroom. Its design ensures even and flawless downward lighting, and its muted upward light provides a pleasant ambiance in any space.

louispoulsen.com Website RS#39

BEAUTIFUL. COMPLEX. SOLVED. Why do architects choose AGC for the world’s most iconic structures? That’s simple – our people. www.agcglass.com/MyConsultant

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3/6/20 5:17 PM

Pulp Studio Precision Edge Precision Edge technology is a proprietary process delivering a high quality, zero-tolerance finish with perfect alignment for both tempered and annealed laminated glass handrails. It allows designers to get the exposed-edge aesthetic on glass handrails without having to settle for a pre-polished laminate product.

pulpstudio.com Website

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INOX LaserArt x CeraMax INOX has combined two of its own innovative, industry-first creations to expand its line of ceramic-coated finish options with the launch of LaserArt x CeraMax. This latest offering combines INOX’s CeraMax Rainbeaux ceramic-coated color palette with the artistry and customization of laser engraving, resulting in a virtually limitless assortment of project-specific and personalized door hardware options.

inoxproducts.com RS#41

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Luminis Hollowcore High Bay Lighting Hollowcore is a modern take on a classic shape, that is suitable for both traditional high bay applications and more contemporary spaces. Hollowcore is a re-think of the traditional high bay pendant. With a unique circular LED light engine and an open center concept, Hollowcore is designed to optimize and deliver light evenly and where needed. It delivers up to 13,000 lumens of uniform light with a batwing distribution for minimal cave effect.

luminis.com RS#42

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PREMIUM EFFICIENCY. CUSTOMIZED ZONING. HIGHER PROFITS. 69º

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Remember, when your customers want the very best products, it’s your bottom line that benefits. constantcomfort.com

The Fujitsu J-Series…Premium benefits. Premium profits.

RS#14

Bradley Verge Soap Dispenser and Faucet Sets A new line of matching Verge soap dispensers and faucets, these complete sets offer cohesive and striking designs that further enhance the sophisticated look of Verge washbasins and work seamlessly with any other basin. With advanced sensing technology for reliability and durability, the Verge soap and faucet pairs come in an industry-leading collection of four styles and six popular finishes. With the most models, finishes and advanced features available, these versatile sets provide the perfect finishing touch to every commercial washroom.

bradleycorp.com/verge-soap-and-faucet Website RS#44

Eureka Celeste Decorative Pendant The Celeste pendant is a decorative lighting disc that is formed from artisanal casted glass. It features integrated connectors that allow individual Celeste heads to be connected vertically, providing the opportunity to create large impactful installation as well as smaller clusters.

Celeste is offered in multiple canopy styles and in clear or frosted glass. Specifiers can choose from one of more than thirty preconfigured configurations or create their own unique display.

eurekalighting.com RS#43

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THE FUTURE OF CITIES

IS HUMAN

Building on last year’s sustainable responsibility discussions, the central theme of this year’s MIPIM International Real Estate Convention is “The Future is Human.”

As has been the case for decades, the future is cities, so focus will be on city-dwellers as the industry postulates efficient, humane approaches to modern real estate dilemmas such as affordable housing and alternative energy sources.

Since 1991, the MIPIM Awards have honored outstanding projects on an international scale. In response to the onset of hybrid hospitality structures and global growth in co-living and co-working spaces, the MIPIM Awards has added a new category for 2020: mixed-use developments.

In January, an 11-member jury, chaired this year by Méka Brunel, CEO of Gecina, selected 45 projects from 19 countries as finalists for the MIPIM Awards. Here are the finalists for the new Mixed-Use category.

Funan, Singapore Funan is a high-tech mall that combines modern aesthetics with elements that embrace the surrounding community such as a cut-through cycling path, rock-climbing wall, and a rooftop urban farm.

Developer: CapitaLand Architect: Woods Bagot Photo: ©CapitaLand commARCH // 40

Îlot Balmoral, Montréal Home to Canada’s new National Film Board (NFB) head office, Îlot Balmoral, was designed specifically for its filmmaking activities. Two separate structures, 13 stories each, are separated by an oblique fault line that creates a full-height atrium and provides exceptional natural light.

Developer: Société d’habitation et de développement de Montréal (SHDM) Architect: Provencher_Roy Photo: © Stéphane Brügger

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MahaNakhon, Bangkok This mixed-use skyscraper turns heads with its cuboidal spiral, wrapped like a pixelated ribbon around the exterior. It is the tallest building in Bangkok and contains the country’s most sought after condos.

Developer: PACE Development Co., Ltd. Architect: Büro Ole Scheeren Photo: © Srirath Somsawat

Monopolis, Lodz, Poland An adaptation of the former Monopol Wódczany vodka distillery, Monopolis joins a wave of post-industrial revamped factories and features theatres, cafes, restaurants, a play area for children, a gym, pool, and an office space.

Developer: Virako Sp. z o.o.

Architect: Rafał Grzelewski (Head Architect), Grupa 5 Architekci Sp. z o.o.

Photo: © Jacek Łukasiewicz

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Are you on the cutting edge?

Structural steel is leading the way when it comes to innovation in AEC, and it’s easy for you to learn the latest from the people driving the industry forward.

Join the American Institute of Steel Construction in Atlanta for the Architecture in Steel conference at 2020 NASCC: The Steel Conference to learn all about: • How cast steel can give you creative freedom while cutting construction time and simplifying connection design • How working with a steel fabricator can save time and money on your next project • The sustainable advantages of the most recycled cradle-to-cradle material in the world: steel • Cutting-edge research into programmable materials, self-assembly, and phase change systems (how cool is that?)

• The latest in membrane design and fabrication, non-Euclidean geometry for façades, the best ways to incorporate safety and security into your designs, and more!

Architecture in Steel at NASCC: The Steel Conference Georgia World Congress Center

April 22–24, 2020

aisc.org/nascc

America’s premier event for fabricators, structural engineers, detailers, erectors, and architects

Registration now open!

Smarter. Stronger. Steel.

American Institute of Steel Construction 312.670.2400 | www.aisc.org

RS#15

U. S. ENERGY CONSUMPTION In 2018, the residential and commercial sectors accounted for about 40% (or about 40 quadrillion British thermal units) of total U.S. energy consumption.

ENERGY CONSUMPTION BASED BY SECTOR 2018 - (TRILLION BTU) Residential - 21,428 Commercial - 18,451 Industrial - 32,844 Transportation - 28,477

ENERGY CONSUMPTION BASED BY SECTOR 2019 - 11 MONTHS (NOT INCLUDING DECEMBER) - (TRILLION BTU) Residential - 18,961 Commercial - 16,537 Industrial - 29,753 Transportation - 26,018

FOSSIL FUELS About 65% of total electricity generation in 2018 was produced from fossil fuels (coal, natural gas, and petroleum), materials that come from plants (biomass), and municipal and industrial wastes 72.895 (Quadrillion Btu) for 11 months of 2019 (not including December) Fossil fuels are the largest sources of energy for electricity generation

WIND Renewable Energy Consumption: Electric Power Sector - 2019 - 11 months (not including December) 2,485 (Trillion Btu) Wind generation totaled 300 million megawatthours (MWh) in 2019 exceeding hydroelectric generation by 26 million MWh Wind has surpassed hydro as most-used renewable electricity generation source in U.S. 2019 - wind - 300,071 (Thousand Megawatthours)

NATURAL GAS 2019 - 11 months (not including December) - 27,823 (Billion Cubic Feet) 2018 - 11 months (not including December) - 27,082 (Billion Cubic Feet) 2017 - 11 months (not including December) - 24,061 (Billion Cubic Feet) Residential - 2019 - 11 months (not including December) - 4,214 (Billion Cubic Feet) Commerical - 2019 - 11 months (not including December) - 3,047 (Billion Cubic Feet) Industrial - 2019 - 11 months (not including December) - 9,303 (Billion Cubic Feet) Transportation - 2019 - 11 months (not including December) - 845 (Billion Cubic Feet) Natural gas was the largest source—about 38%—of U.S. electricity generation in 2019

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BATTERY Operating utility-scale battery storage power capacity has more than quadrupled from the end of 2014 (214 MW) through March 2019 (899 MW) Utility-scale battery storage power capacity could exceed 2,500 MW by 2023.

At the end of 2018, the United States had 862 MW of operating utility-scale battery storage power capacity and 1,236 MWh of battery energy capacity. By either measure, more than 90% of operating battery capacity used lithium-ion based batteries

BATTERY 2019 - 72,234 (Thousand Megawatthours) Solar energy provided about 2% of total U.S. electricity in 2019 Renewable Energy Consumption: Electric Power Sector- Solar in 2019 (minus December) - 619 (Trillion Btu) Renewable Energy Consumption: Residential and Commercial Sectors - Solar in 2019 (minus December) Residential - 241 Trillion Btu Commercial - 101 Trillion Btu Renewable Energy Consumption: Industrial and Transportation Sectors - Solar in 2019 (minus December) Industrial - 27 Trillion Btu

FRACKING “According to the US Energy Information Administration, hydraulic fracturing from tight oil reserves accounted for the production of 6.44 million barrels of crude oil per day in 2018, or 59 percent of total American production�.

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This Week in Petroleum

Release date: March 25, 2020 | Next release date: Arpril 1, 2020

PROPANE

Residential propane prices (dollars per gallon)

Average 1.911 dollars per gallon for residential propane prices as of March 23rd 2020

WHOLESALE PROPANE PRICES

RESIDENTIAL PROPANE PRICES (dollars per gallon)more price data › https://www.eia.gov/petroleum/weekly/propane.php

Page 1 of 7

Average 0.421 dollars per gallon for wholesale propane prices as of March 23rd 2020

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Nearly 2 percent of the U.S. energy needs are supplied LPG. In 2015, about 1 million barrels of LPG were consumed per day.

Nearly half of the propane consumed by industry is used to make plastic As of 2017, nearly 830,000 farms in the U.S. use propane.

Roughly 8% of the homes in the Midwest are heated with propane fuel - nationally about 7 million households use propane for space heat 47 million households use propane to fuel an outdoor gas grill.

Global LPG productions grew by 3.6% in 2019 Domestic use represents 44% of global LPG use in 2019

2018 FACTS

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THE

BUILD IMPOSSIBLE

One Thousand Museum, a 62-story condominium tower in downtown Miami, is the first and only residential tower in the U.S. designed by world-renowned, Pritzker Prize-winning architect Zaha Hadid, who died before the project was completed.

The 703-foot-tall structure features 88,689 feet of undulating exoskeleton columns that makes the project both an instant landmark and an engineering breakthrough. Referred to as an “impossible build,” the high-rise is the first of its kind anywhere in the world, consisting of 5,000 light-weight glass-fiber reinforced concrete panels, permitting 40 feet between columns to create a sense of openness throughout the residences.

glass-fiber reinforced concrete (GFRC). “The use of GFRC—manufactured in and imported from Dubai—as a permanent formwork system is a first in high-rise construction.”

One Thousand Museum was designed to be highly resistant to Miami’s demanding wind loads, including hurricanes, while also introducing a new aesthetic to the city’s skyline. According to Zaha Hadid Architects, “The structure reads top to bottom as one continuous liquid frame. The emphasis is on expressing the dynamism of the structure in an integrated whole that avoids the frequent typology of a tower resting on a base.”

According to Brad Meltzer, President of Plaza Construction, “One Thousand Museum is arguably one of the world’s most challenging builds. The tower features a one-of-a-kind undulating exoskeleton comprised of 5,000 pieces of lightweight commARCH // 49

Innovative System The serpentine exoskeleton design not only twists and curves as it climbs up the building, but a closer look clearly reveals that the detailing of the structural column profiles constantly changes. On any given elevation, the forms required to pour the exoskeleton change with each floor lift.

After a lengthy study of constantly modifying conventional column forms for each lift it became apparent that the cost and time required would be prohibitive. The team contacted a firm in Dubai that had been successful with pre-molded GFRC panel “forms” to pour intricate pattern walls leaving the “form” panels in place as the finished pattern product.

However, this “permanent formwork” system had never been utilized to form major structural support columns for a high-rise tower. Working commARCH // 50

in concert with the structural engineering firm in Dubai, the local Structural Engineer of Record for the project, and a third structural engineering firm to provide independent peer reviews, the team was able to design the exoskeleton columns to meet all the engineering requirements while maintaining the aesthetic proportions of Hadid’s design.

The permanent formwork finished columns eliminated the additional cost and time of swing stage stucco and paint operations that would follow a regular CIP exoskeleton structure and achieved the complex geometry and detail that Zaha Hadid had rendered.

Construction Challenges With a strong design concept, the team committed to a glass-fiber reinforced concrete (CFRC) formwork system, to form the entire exoskeleton. Because the shape of the members is always changing, contractors needed nearly 5,000 custom pieces of GFRC to create the curves.

Adding to the challenge, all the CFRC formwork was shipped to Miami from Arabian Profiles, the supplier in Dubai. Though the approach cost more up front and created logistical issues, it ultimately saved more than six months in the schedule and improved the overall product.

Shipping custom pieces across the Atlantic opened significant risk for the project, so the team scheduled deliveries to arrive months before the pieces were needed for installation. Each section of formwork arrived as two pieces of GFRC – one for each side of the exoskeleton element.

The manufacturer recommended putting two pieces together with nylon straps and ratcheting them down. Once the rebar was inspected, the concrete was poured to form the deck. The real trick is the rebar and the congestion created as the exoskeleton comes together and diverges apart with all the angular projections, making sure that the rebar is in the correct location is tricky.

Some of the sections below level 15 could be six feet wide by 35 feet long. It’s not practical to pour something like that with GFRC forms, so GFRC cladding was done instead. One edge of the building’s podium lies just six inches from a neighboring building leaving little room for movement in the foundations. One pile was driven to more than 170 feet the deepest pile ever driven in Miami-Dade County at the time. Crews cast the roughly 9,500 cubic yards of concrete for the mat in one continuous placement. The work took 26 hours and required nearly 1,000 concrete trucks.

The main challenge for the construction team on 1000 Museum was the intricate logistics of the permanent formwork for the structure being fabricated and shipped from Dubai for the structural columns.

Each level of column forms was unique to that level and could not be used for any other location on the building.

To ensure quality control of fabrication, the Team placed a full time representative in the Dubai casting facility to monitor the quality of the castings before packing. This individual was responsible for making sure the sequence of production matched the levels being constructed in Miami and in addition oversaw the packaging of the containers for the port.

As the containers were received from the port of Miami, they were off loaded at a storage facility, unpacked, inspected, and labeled according to their final location in the structure. This was scheduled so that any shipping damage that may occur would be discovered and reordered in time to meet the installation schedule. Panels were then loaded and trucked to the site in a sequence just in time to be picked up from the trucks and crated to their final position.

This reduced the risk of damage if stored on the construction site, allowed enough time for proper quality inspection, and reduced multiple rigging and pick times. The Dubai fabricator also had their own personnel on site in Miami to inventory, verify condition and assist in supervising the erection process. The deck cycle time of construction was longer than conventional construction, but it also eliminated the need for finish trades normally required on an exoskeleton structure.

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Premium Luxury The completed 1000 Museum creates a six-star lifestyle with 83 luxury condos consisting of duplex townhouses, full-floor residences, and half- floor residences within an exceptionally elegant private residential tower.

One Thousand Museum offers an international elixir of premium craftsmanship, including model residences influenced by Italy, France and Brazil.

Lush landscaping is by Switzerland’s Enzo Enea; interior illumination products by Apure (customized by German designer Uli Petzold); kitchens by Italian firm Italkfraft or custom manufactured by Italy’s Gatto Cucine; closets

by Italy’s Poliform; and Lualdi doors also from Italy. These residences span between 4,600 square feet to 10,000 square feet, from $5.7 million. Furnished full-floor residences range from $21 million to $24 million. Furnished half floors range from $6.25 million to $7.75 million.

The building is surrounded by water, sky, sun and fun and frames the metropolis. Over 30,000 square feet of beautifully designed venues for swimming, sunning, socializing, fitness, and pampering cater to fewer than 100 residences, offering the luxury of abundant space.

At the very top of the tower, an Aquatic Center and Sky Lounge will provide residents with an indoor pool and private event space with stunning views to the beach and the city. The roof of the tower has also been designed to accommodate Miami’s first private helipad on a residential tower. Hadid’s Miami tower is in Downtown Miami, adjacent to Museum Park and its two new museums, the Perez Art Museum and the recently completed Frost Science Museum.

Article courtesy of Plaza Construction Photos credit: Alëna Graff

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RETAIL RE:VIVAL

By Griffin Suber, contributing editor

Designed to fit an industrial chic theme, Funan is clad in brown-orange panels featuring a dichroic coating.

Rarely used on building exteriors, this dichroic effect causes the color of these glass panels to change from bronze to orange depending on the angle of the sun.

Since the internet became the new bastion of American commerce, malls have slowly decayed into depressing fenced-in elephants awaiting demolition.

Singapore, however, loves their malls.

Fifty percent of the country considers shopping a hobby and, like a gift shop at the end of a tour, nearly every subway station in Singapore is attached to some sort of shopping center. Now, CapitaLand’s Funan Mall in Singapore shows what happens when malls are allowed to evolve into the twenty-first century.

Future Looking The Funan brand has always been associated with technology.

Before the mall went into hibernation for a three-year revamp, it was known as Funan DigitaLife Mall and was the go-to destination for the latest tech and IT products. Now, in what is more a rebirth than a redevelopment, the latest descendants of those products are built into the structure’s bones.

Visitors to the food court can place orders through the Facebook Messenger app on their phones and pay with their pick of cashless transactions, including cryptocurrencies. Dining counters feature wireless charging for your devices. Directory panels use facial recognition to suggest shops suited to your profile. commARCH // 54

Facial recognition also acts as a keycard into the WeWork and twin office block space. If you drive to work at Funan, you can reserve a space in the parking lot ahead of time from your phone. A “click and collect” system allows shoppers to pick up orders served via a robotic arm normally seen in car factories. Self-checkout options abound and if an advertisement catches your eye, scan the corresponding QR code to add that product to your digital wish list.

This integration of digital into physical, of online and offline, is a first for Singaporean shopping malls. Woods Bagot, the design firm behind Funan, calls their approach “future-looking” as analytics software has been hardwired into the building’s infrastructure.

Like a cellphone that needs periodic updates or a Tesla that can download features to make it more efficient, Woods Bagot’s goal with Funan was to build an experiential civic hub for the present that can adapt for the future.

Stephen Jones, Director and Regional Chair of Woods Bagot China, said the mall was designed with a particular demographic in mind.

“Funan is a place for everyone. However, the more tech part was designed thinking of Millennials and Gen Z as users,” said Jones.

“The experience was designed to engage and exchange.”

Tree of Life Beyond the digital aspect, Funan goes above and beyond to ensure that the mall itself is a distinct destination.

At one of the entrances on North Bridge Road, a kinetic clock tells the time and displays art installations.

A rock-climbing wall is prominently placed in the center of the mall and extends over 160 feet through multiple levels.

Climbers find their holds in full view of shoppers passing spas, coffee shops, and designer clothing stores as they ascend.

There’s a cycling path that cuts through the mall’s first floor, allowing commuters to enjoy some air conditioning before continuing on in the Singapore sun. If they dismount in Funan, they can use the complimentary bicycle repair and pump station or park in the Bicycle Hub and enjoy the shower room (accessible via an app, of course).

“Studies of the history of the site showed that it originally spanned multiple city blocks with a connection between North Bridge Road and Coleman Street,” said Jones.

“Woods Bagot wanted to re-establish this lane connection that was once important to street life.”

On the roof, after ascending a stairway skirted with real vegetation, you’ll find a 5,000 square foot urban farm. Using real soil as well as indoor farming techniques, the farm grows pesticide-free herbs, spices, vegetables, and fruit.

Most of these crops supply restaurants within the mall.

In a creative departure from traditional mall design, Funan has no atrium. “In defining the future of architecture, I find myself immersed in a new dimension where designing space implies envisioning the type of content that the canvas will host,” Jones explained.

Though this decision certainly impacted traditional definitions of tenant rental prices, that dynamic was replaced by Funan’s defining feature, the Tree of Life.

Funan’s central pillar is a six-story timber and steel plugand-play host for retail pods, pop-ups, and workshops.

Made with 250 tons of dark steel, glass, mesh balustrades, bronze, and concrete finishes, the tree is meant to symbolize the idea that creativity grows from collaboration.

“The roots of the tree rise from the earth and grow, sustaining the building – reflected in the earthy tones on the exterior of Funan that shimmer and twist in the sun,” said Jones. “The roots extend to different areas of the building; creative communities grow on its various platforms and in the office, co-working, and co-living spaces above. The urban farm on the roof is symbolic of the top of the tree.”

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A New Formula With the Tree of Life, bicycle path, rock climbing wall, and brightly lit storefronts, there’s a lot to take in when you enter through the floor-to-ceiling sliding doors at Funan.

On the structure’s west end, a glass canopy spreads upwards from the ground floor and merges with a curtain wall on the upper retail levels. Visually, this splits the retail podium in two creating the illusion of a strong, transparent connection to the other side of the mall.

And this was exactly the intention – to create a commercial canyon for pedestrians and cyclists to pass through. It feels like an open space, which is a welcome distraction from the heavy commercial stimuli.

Walking through Funan in the morning, surrounded by cyclists taking a coffee break and teens taking selfies on the wooden steps, it’s clear Funan was designed to appeal to an attitude. Or a profile.

Chris Chong, Managing Director of Retail at CapitaLand, said of Funan, “As the retail landscape undergoes disruptions, the formula for a successful mall has to evolve as well. While a decade ago a mall [could] succeed largely on the merit of its tenant brands, today it must be able to anchor its own community of supporters and followers.”

Project Specifications: Photography courtesy of Woods Bagot Developer/Owner: CapitaLand Mall Trust (retail and office components) and Ascott-Qatar Investment Authority Serviced Residence Global Fund (co-living serviced residence) Project Manager: CapitaLand Design Consultant: Woods Bagot Project Architect: RSP Architects Planners & Engineers (Pte) Ltd Quantity Surveyor: Arcadis M&E Engineer: Alpha Consulting Engineers Pte Ltd C&S Engineer: RSP Architects Planners & Engineers (Pte) Ltd Landscape Designer: Grand Associates Lighting Design: Nipek Project Development Expenditure: S$560 million

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With its emphasis on combining physical and digital experiences, Funan courts millennials and zoomers with its Instagram-ability. Storefronts are covered with hashtags and neon lights against faux foliage. The roof’s green space is adorned with swings and hammock-like nets and a picturesque skyline backdrop. Several tenants have integrated Instagram into the physical locations, such as one fashion retailer’s augmented reality catwalk, made specifically for shares on social media.

There are real reasons why Singapore’s malls stay busy while America’s shopping centers are abandoned. For now, they’ve dodged the digital bullet as most Amazon retailers won’t deliver to the tiny island nation and home-grown online marketplaces such as Carousell aren’t large enough with consistent, quality merchandise.

Plus, an air-conditioned oasis to escape alternating bouts of stifling heat and pouring rain will always be welcome. However, as Singapore strives to become the world’s first smart city-state, Funan poses as a case-study in how developers are evolving malls to meet millennials in the future.

Photographer: Ryan Kurtz

C A S E

S T U D Y

Lighting Defines Community Spaces Project: TriHealth administrative office Location: Cincinnati Architects: GBBN, Cincinnati Client: TriHealth Moving to a modern office space with floor to ceiling glass on all exterior walls was the perfect prescription for Cincinnati’s TriHealth, who sought to cultivate an environment of community, collaboration, and well-being for its administrative team.

GBBN was contracted to design the fitout, using glass walls and low-profile desks to keep conference rooms and collaborative areas bright and ensure all team members have access to the exterior windows’ natural light. “Interior lighting choices had to be complementary to all that natural light,” said Megan Mershman, interior designer at GBBN. The team selected Eureka Lighting’s Aperture luminaires for community zones throughout the seven floors. They worked with over 70 Aperture fixtures in a variety of diameters and colors.

"Having access to different scales and colors of Aperture enabled us to define the community spaces while maintaining a common lighting design aesthetic,” said Mershman.

Read more at commarch.com/trihealth Website commARCH // 57

C A S E

S T U D Y

Expanding Dental Care Project: College of Dentistry Clinic and Education Building Location: Dallas Architects: Kahler Slater, Milwaukee; BRW Architects, Dallas Client: Texas A&M University Texas A&M University College of Dentistry opened a new Clinic and Education Building in Dallas to expand dental care services to underserved patients.

The 160,000 square-foot, nine-story Clinic and Education Building features nearly 300 dental chair stations ranging from general practice to prosthodontics and implant surgery, each equipped with the latest technology. It also includes specialized clinics, clinical support spaces, faculty areas, classrooms and study spaces.

Kahler Slater of Milwaukee led the programming, planning and design for the new facility, partnering with architect of record BRW Architects of Dallas.

Dr. Lawrence E. Wolinsky, dean of the College of Dentistry, said, “No longer will students and patients be going to different areas of the school or clinic to seek information about treatment and care. The patient will actually be the center of the treatment and treatment will come to them.�

Website

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C A S E

S T U D Y

Sky Views Location: Seattle Architect: ECH Contractor: PCL Contracting, Ltd. Client: Delta Airlines Glazer: Lacey Glass With the goal of strengthening its presence in the Northwest, Delta Airlines wanted to create a guest experience at the Seattle-Tacoma International Airport that was unlike any other. In 2016, the airline opened its new $21 million SkyClub, a 21,000-square-foot lounge that’s not only enormous, but stunning. With dramatic 30-foot floorto-ceiling windows offering views of aircraft and Mount Rainier, the space is consistently ranked as one of the most beautiful airport lounges in the world. Customized Track Rail glass railing with stainless steel handrail from Trex Commercial Products allows for unobstructed views and enhances the light, airy feeling of the space.

Website

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VILLAGE MENTALITY A 1901 Brooklyn bank is renovated to serve 21st Century tenants

Located across the Williamsburg bridge from Manhattan, 134 Broadway was originally built as a bank to serve the growing Brooklyn population. Over the decades, as banking changed and the neighborhood evolved, the building went through several transformations.

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Recently, Stephen B. Jacobs Group was tasked with transforming the building into a modern office space, while rediscovering the structure’s original grandeur. The lead architect was Isaac-Daniel Astrachan, AIA, LEED AP, principal at Stephen B. Jacobs Group.

Astrachan has been with Stephen B. Jacobs Group since 1998. He has worked on the design of most of the firm’s projects including the Hotel Gansevoort in the Meatpacking District, 325 Fifth Avenue, The Ohm, the Copper Building, The Edge, Gansevoort Park Avenue Hotel, and ALTA LIC. We met with him at 134 Broadway to talk about the approach he and his firm take to preserving and repurposing historical buildings.

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commARCH: Tell us about your background.

Isaac-Daniel Astrachan: I’m originally from France. Grew up in France eight months of the year till I went to college. And the other four months in downtown Detroit. Went to college in New York, went to graduate school in Cambridge, went back to France for a while and then 1998 within a few weeks I found a job and an apartment and a girlfriend who’s now my wife.

So I’ve been with Stephen Jacob’s group ever since.

(Stephen B. Jacobs Group) has been in business for over 50 years. We do mostly multifamily residential projects. We do hospitality projects, charter schools, and we do quite a few of these boutique office spaces in existing buildings. cA: What is the story behind this project?

IDA: The beauty of existing buildings is that there’s so much existing energy and existing craft and that it’s great to have the opportunity to bring them back to life.

This one in particular was built in 1901 as a bank. Once the Williamsburg bridge was built, there were actually quite a few of these banks around. And now we’re just, you know, we’ve renovated it into this boutique office spaces.

You can’t bring these buildings back to what they were originally. You have to always give them new life. So that’s what we’re doing.

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cA: There is a perspective that it’s more efficient, more cost effective, less headaches to build new versus to renovate. Do you agree with that?

IDA: I think the big thing with renovations is that there are always challenges and surprises. There’s always (situations like) the column’s not exactly where you said it was going to be or this beam needs to be replaced. But that’s part of the challenge of working in existing buildings.

But also, we don’t build them the same way (anymore) and there’s enormous value in preserving what deserves to be preserved. You can see the difference and then you discover things. You take off some of the wall coverings in certain instances or the sheet rock that’s been put in or the suspended ceiling that was put in and you rediscover what was there and you bring it back to life. And then you make certain choices. cA: How did you work with the developer so they knew it was financially the right decision?

IDA: Most of our clients are New York City developers, so they are not new to the game. They know and we know what numbers work and what don’t. And so that’s an advantage for us because we know how to work with them. So we’re not coming up with some crazy design that’s going to cost them a fortune.

We’re all on the same page. It’s a pretty flawless, easy kind of relationship.

In this case our client Capsi Development tells us (they were) looking at this building, can (we) come out take a look? And so we take a look, see what we think has to be done, how much work needs to be done and then it’s up to the developer to figure out if the numbers work out. cA: Talk about the value of the space being dictated by what you’ve achieved here.

IDA: Life isn’t coming back until people are actually in this space and working and living. There’s going to be a restaurant on the ground floor and there’s going to be even more activity and that’s what it’s all about. cA: Does working in New York require additional work, vs. other cities?

IDA: I grew up in the South of France in a small village, so I have that village mentality… coming into spaces and saying hello to people that I’ve gotten to know. And you create this community. Paris is known as a series of villages, you know, in New York has a little bit of that.

I think every (city) has its specificities. I think it’s just to have the experience to know what needs to be done. For instance, we have our own expediter in house. So that’s kind of added value that we bring to our clients that we can take care of that if they want. I personally go to building department meetings, so I know who the examiner is and we can, we can talk and get through it. So it’s those types of things that aren’t architecture, per se, but they are, if you want to get things built.

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cA: What’s the culture of your firm?

IDA: We’re New York City experts. We like to get things built. We live in the real world. And our clients expect us to get it done and within their parameters. And it simplifies things. As an architect, it’s sometimes frustrating because you wish you could do this and that, but you learn that you try to push the envelope as much as possible without wasting people’s time and money. cA: What advice do you have for other architectural firms?

IDA: You start to know what you’re good at and what you’re not so good at. Focus on what you’re good at and if you also have to do things that you’re not so good at, find the right people who are going to help you do it better.

I’m a big sports guy, so I’m all about team and getting the right team together. So that’s within the office among architects and interior designers, but it’s also the consultants. You end up working with the mechanical engineers, the structural engineers. It’s all a big team. And if everyone’s working in the same direction, it makes it a lot easier.

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ONE ON ONE

An architect’s drive to make a difference

What did you want to convey to the kids today?

Edwin Harris’ passion for design and creating inspiring public places led him to start EVOKE Studio Architecture in Durham, N.C., along with co-founders Teri Canada and Billy Askey.

In addition to his work as principal of EVOKE, Harris is also active as a teacher and mentor for aspiring designers. He is a professor of practice at North Carolina State University, and regularly mentors elementary, middle school, and high school students. commARCH met with Harris at a student STEM Conference hosted by Teach One Tech, a Raleigh, N.C.-area nonprofit dedicated to inspiring kids to pursue STEM careers.

Just the excitement that I have for design and architecture and that I didn’t want them to feel limited by whether they could draw or sketch or if they’re good at math. There are avenues in architecture and design for everybody.

I really wanted them to leave with an excitement for design and architecture…what it can do to improve our communities and our environment.

What was your goal in your presentation?

We live in an age right now where the internet and Instagram, all these things are available, but there’s still something about architecture and design. It’s still this mystical, secretive career path. And I think helping students to really understand that these are possibilities. And then also just seeing someone that may look like them. Only ten percent of licensed architects are African Americans. I think seeing someone (like me) is helpful for them.

Why do you think it’s important to be a role model for minority kids?

I think it’s important to show we’re not unicorns. We literally exist. We are real.

I didn’t necessarily have that when I was coming up. Hopefully that helps them to feel comfortable to ask questions if they’re interested or not interested in architecture, design or anything.

How old were you when you decided you wanted to become an architect?

I was probably 13. At the time I was living with my grandparents and my grandfather kind of saw that I did a lot of sketching and drawing. I was into car design and industrial design. But I didn’t really know what car design was called and, he didn’t know either, but he did a lot of research to try to find it out. And (one day he said) “Have you ever thought about architecture?” From that point on, architecture is what I wanted to do.

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What is your firm’s approach to architecture and design?

There’s this something really incredibly rewarding about when you build something that (the community) didn’t necessarily ask for or expect. And they have that over pouring of emotion and just appreciation. That is something that, I mean quite frankly is addictive.

All of the work that we pursue, whether it’s higher education or parks or museum work, our goal is to have a positive impact on people.

So what are some of the projects that you’re working on?

Currently we’re working in conjunction with Vines Architecture on the Windsor Chavis joint use facility in Greensboro, North Carolina. This community has deserved a facility that really is representative of all the needs in the legacy and the history of that area.

And we’re really looking to do something pretty transformative there.

Where does the name evoke come from?

Interpreting what a client asks us to do or a community that says they want a rec center or a community center or a library. We hear all those things and then we interpret that into a built form. When we’re successful, you can see the emotion and the pride that is instilled in those who visit those, those places. Evoke is really about that feeling of joy and awe that we see people get when they come into those spaces. And so that’s been the thing that drives us.

Photos: Mark Herboth Renderings: EVOKE Studio Architecture Edwin Harris was the lead designer for Emancipation Park during a previous association with Perkins + Will

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PRESERVING

ICON AN AUSTIN

An iconic Austin office building, built in 1960, has undergone a complete renovation by local architecture firm, Mark Odom Studio. Cantilevering towards North Lamar Blvd, this mid-century structure is nestled along a main Austin thoroughfare and integral midtown park district. commARCH // 68

Meredith and Tyler Spears, owners of the heritage and family operated insurance company BKCW, bought the building for its iconic mid-century architecture which they felt reflected their company culture, attitude, and goals. The project then began not only as a full renovation of the 3,000 square foot office building built in 1960 (by architects Pendley & Day), but also as an adaptive reuse, ensuring the true preservation of the original building.

Over the years, the project had been internally subdivided, limiting the experience of the original building stature. Mark Odom Studio quickly set out to fully open the space, a nod to the open office layout seen in insurance and advertising companies in the mid-1960s. This approach fully expressed the entire building volume by not only opening up the interior, but by allowing the prominent glass facades to flood the space with natural light.

To accomplish many of the reuse portions, the project salvaged as much existing brick as possible and replaced existing storefront windows with new energy efficient glazing, framed with steel mullions to match the original window pattern.

Internally and externally, the use of mid-century materials, such as vintage brick, stained wood paneling, and cork flooring, brought this project back to is former life. The careful resourcing of these details made it possible to update the original low ceiling, raising it one foot to achieve eight-foot ceiling heights throughout, with a seamless transition inside and out.

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“For our office, the most exciting part of this design process was treating this more like an adaptive reuse project rather than just a renovation. Preserving this iconic 70-year-old building was of course a must—but tricky to pull off. Raising the roof and ceiling, opening the interior, and finding vintage brick were just a few of the big design choices that helped it really come to life.” says Mark Odom, of Mark Odom Studio.

Keeping the dedicated views towards downtown Austin and Pease District Park was critical, both for the client and for the visual experience for the employees. Complimenting the very public southern and western views, the eastern windows now face a revitalized subterranean back courtyard, which acts as a respite from the North Lamar traffic. On the exterior, both the front, park facing deck and the southern, down-town facing deck were added and expanded to accentuate the horizontality of the original structure while also providing more generous entry points for visitors and employees The end result is a preserved but updated, mid-century building that remains an Austin landmark.

The build was completed by Franklin-Alan. Mod mid-century furnishings and vintage art in collaboration with The Renner Project for selected interior finishes.

Photos: Leonid Furmansky

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School Design Promotes Mental Health Project: Youth Development Center Location: Houston Architects: PlanNorth Architectural Co., Houston Client: Youth Development Center Sunlight, fresh air and an “inside-out” space flow design can influence mental health and deter school violence, says Katie Burch, founding partner and principal architect of PlanNorth Architectural Co. “A building design focused on overall wellbeing can deter negative behavior and influence a person’s mental well being.”

Burch’s firm designed the Youth Development Center (YDC) as a prototype for this concept in the Greater Fifth Ward, one of Houston’s highest-crime areas. The YDC provides intensive after school academic intervention programs for at-risk students in grades 1-6.

The school’s design features include: “Inside-out” space flow – Deliveries are unloaded at the front for visibility and transparency. Children enter and exit at the side of the building, within the highest security perimeter ring with limited public view.

Natural light and fresh air – Punched hole windows allow natural light, and high-efficiency systems add fresh air to nurture a sense of wellbeing.

Social design – Settings for group play and dining create an overall feeling of community, and influence children’s behavior and comfort level.

“Third place” – The building serves as a primary place that is outside of school and home life for children. This teaches them places can be safe, inspiring and fun.

Website

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More than ‘Another Office Building’ Project: 50Fifty DTC Location: Denver Architects: Clutch Design Studio Client: Corum Real Estate Group 50Fifty DTC, a 400,000-square-foot, 12-story office tower in the Denver Tech Center, launches a new era of office design in south Denver.

Developed by Corum Real Estate Group in partnership with Clutch Design Studio, the building is shifting the landscape of the city’s office park.

“Our client came to us with the directive to not design ‘just another office building.’ What we delivered sets a new bar for the Denver Tech Center,” said Clutch Design Studio President Matt Robertson.

The award-winning building employs six floor plates, integrated parking, floor-to-ceiling performance glass, and strategically placed light wells to both maximize site effectiveness and promote workplace wellness.

“The light wells animate the interior of the building, providing direct access to natural light throughout, which is rare for buildings of this size and type,” said Clutch Director of Design Robin Ault.

With expansive views, high-end finishes, and a building envelope more reminiscent of dense urban areas, 50Fifty provides a more modern approach for companies who want the amenities and style of an urban location, but prefer to locate in South Denver.

“Office building design needs to be reimagined to meet the needs of today’s workforce, and address the challenges of urban sprawl,” says Ault. “By uniting parking and office space in a single building envelope, 50Fifty DTC transfers a design narrative historically found in dense urban environments to the suburban landscape.”

Read more at commarch.com/50Fifty Website

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Website

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Custom Fit, Tested, Approved Project: Midfield Satellite Concourse, LAX Location: Los Angeles Architects: Corgan, Gensler, CannonDesign Client: City of Los Angeles The new Midfield Satellite Concourse (MSC) North was designed to improve operations, enable faster connections, and ease passenger access, all while providing state-of-the-art facilities. At the same time, the project had strict CALGreen sustainability and energy efficiency standards.

The design team at Corgan specified Atlas EnergyShield and ACFoam products due to their low VOC emissions and optimal performance. To ensure the Atlas products would meet the CALGreen requirements, both the wall and roof insulation solutions went through extensive GREENGUARD Gold testing.

Complementing the ocean wave theme of the airport, the architects envisaged a stunning curvilinear roof. This unique design element additionally demanded specific roof and wall configuration requirements. To bring the vision into reality, the team needed insulation materials that could be custom fit to meet their curvature and design needs.

“We were highly selective in the products we chose to bring this project to life,” said Jennifer Wehling, Sustainability Specialist at Corgan. “Having successfully worked with Atlas in the past, we were thankful for their willingness to go through the GREENGUARD Gold testing process.”

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cA

DIALOGUE

CHAZ MORGAN Roc Nation designer Chaz Morgan talks about creativity & inspiration Chaz Morgan has built a reputation as one of the music industry’s top designers.

You may not be familiar with his name but, you may have seen his artwork. His designs grace the album covers of A-list artists like Meek Mill, Sean Combs, Rick Ross, and French Montana.

He also has a branding and clothing line called Carpe Diem.

We met with Morgan in his studio in New York to talk with him about his creative process and sources of inspiration.

commARCH: What is your story? How did you get started?

Chaz Morgan: I started when I was in college around 2006. I went to school at Columbia college in Chicago. There is where I discovered Photoshop. And from there I practiced and practiced and I developed a unique design style and I was able to take my talents to Chicago night life where I designed for a lot of club promoters. And from there I met a lot of marketing reps at labels. I started getting album cover opportunities and through word of mouth and great work and consistent work, I was able to gain traction and meet a lot of people within the music industry and designer album project. cA: When recording artists are choosing someone to create their album, why do they choose you?

CM: I think they chose me based on my expertise, my hyper-realistic style and my ability to get straight to the point as far as making sure that the art I design represented what the music was about and the imagery I was using was truly relevant to the artist making the music and a fan base who digested it. And just a familiarity with the subject matter and the consumer. cA: How do you get inspired when you are beginning a new project? What is your creative process?

CM: I listen to a lot of music, particularly the clients’ music. I deep dive and do research on the start to present day of that artist’s journey. I ask thought provoking questions about where they see themselves now and where they plan to be in the future. And so, I think they choose me because I’m able to foresee a lot of their trends design-wise and help them communicate their message to their audience better. cA: Regardless of the industry, when we work with clients, there can be differences in creative vision. How do you approach dealing with creative differences when working with a client on a project?

CM: I try to communicate as much as possible. I play devil’s advocate to my perspective and their perspective. I tend to avoid it by (providing) three different art directions for them. So it’s never just one cookie cutter creative solution. I’ll make sure they’re able to dive in and collaborate with me while I work with them on their brand. And whenever problems arise depending on what the issue is and the time frame and the deadline, we usually come to understand that quickly or we just agree to disagree and go our separate ways. cA: Do you get into creative slumps? What do you do to break out of them?

CM: Yes, I do a lot. What I do to get out of them, I work on passion projects, things that are not commercially driven, just pure expression. Second, I try to get rest. And three I read or research and do other things completely not related to design. I’m always on a pursuit to learn different things. So when I get burnt out I just stay away as much as possible or I work on something completely in contrast what I normally work on. cA: You also have a successful clothing line. Can you tell us about that venture?

CM: Yes. My clothing line is called Carpe Diem. It started out originally as a visual diary. It was a collection of designs that I created to express myself and people started beginning to gravitate towards it. The message is relevant and the things that I felt like are worth learning or worth materializing or worth pursuing is a foundation from oneself. And with clothes being such a vanity, I just want to create a context that people do deserve to look good at any price point, no matter who you are and what walk of life.

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cA: What project are you most proud of and why?

CM: The project I’m proud of the most was Meek Mill’s Dreams and Nightmares.

That was my first album cover in 2012. Not only was my first album cover, it performed well amongst my peers. And the same colleague that chose me to get that project also was the one that provided a new opportunity as a creative director at Roc Nation eight years later. So there’s a lot of sentimental value to that. cA: What changes do you see in the design world?

CM: Just more self-expression, more vulnerability, more juxtaposition. So many different people from different walks of life being exposed to different cultures in different walks of life. You can open up your phone, your smart phone or your computer and travel around the world in 10 minutes. And I think the more people dive into their interests, the more they’ll find inspiration near and far.

And that ultimately changed the way people interact with visual art as a whole because different cultures have different appreciations or different resistance to different things. And I think it’s creating a landscape to create something really interesting. cA: How would you complete this sentence? For my next project, I would like to…

CM: Create four dimensional assets and have fun and different design programs and create architecture and clothes. cA: What is your favorite architectural building in the world and why?

CM: One is the Willis Tower because I’m originally from Maywood, Chicago area and the second one anything built (in the style of) Mondrian and the De Stijl era. cA: If you could use one of your album covers as a piece of art in a commercial building, which album cover would you choose in what building or city. Why? CM: I would pick Dreams Worth More than Money by Meek Mill, and I would put it in the Louvre. The inner city has his own trials and tribulations and circumstances that shape some really unique individuals. And when I created that album cover, it was based off Meek’s father passing when he was an adolescent. and the name of the album was called Dreams Worth More than Money. In the inner city, what’s worth more than money? Is it your dreams or is it something else? That particular approach, I decided to use a $100 bill – half being his father’s funeral program and the other half being a stack of money.

Because with young African Americans from the inner city, you either have proper guidance or you’re out there risking your lives and financial freedom.

And I think that was a powerful statement and conversation to have revolving around an artist that solely speaks to people coming from those environments.

Not just in Philadelphia and Chicago. That message is relevant in London, UK, and everywhere else. So, I think the Louvre would be the proper venue for a piece of work of mine like that.

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Photo courtesy of Rowe Fenestration Inc.

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Tech Giant’s Converted Warehouse Project: Amazon University Location: East Palo Alto, Calif.

Architects: Devcon Construction Client: Amazon Further expanding its Silicon Valley footprint, tech giant Amazon opened a 214,000-square-foot office complex at 2100 University Avenue, more than doubling the number of jobs in East Palo Alto and establishing the city's largest technology presence. Housed in a converted warehouse space, the University Square office building boasts a contemporary, open-concept design similar to spaces found in San Francisco's SoMa district yet infused with the Amazon essence. To complement the modern aesthetic, Trex Commercial Products custom engineered more than 1,200 linear feet of architectural railing for the four-story central atrium stairways, landing and overlooks.

Website

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Serving the Under-served Project: Martin Luther King, Jr. Behavioral Health Center Location: Los Angeles Architects: HOK Client: Los Angeles County Public Works As one of the first facilities of its kind, the Martin Luther King, Jr. Behavioral Health Center (BHC) will integrate inpatient, outpatient and supportive services for some of the area’s most vulnerable and underserved populations, including those living with mental illness, substance use disorders and homelessness. Bernards is leading the construction and HOK is leading the design, in partnership with Los Angeles County Public Works.

By preserving the original five-story building, the renovation reduces demolition and construction costs, as well as the amount commARCH // 78

of embodied carbon associated with new construction. The design is targeting LEED-Silver certification with improvements to the building’s heating, ventilation and air conditioning (HVAC) and mechanical, engineering and plumbing (MEP) systems that will increase energy and water-use efficiency. Solar power generated onsite will decrease the center’s reliance on the local energy grid.

“As neighbors in the community, we are thrilled to team with Los Angeles County, Bernards and the entire design-build team on the reuse of this healthcare facility to expand the continuum of care, said Hunvey Chen, regional leader of Healthcare at HOK. Construction site mobilization began in January 2020. Phase I of the project is scheduled to be completed in October 2020, with completion of Phase II scheduled for June 2021.

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Biophilic Headquarters Project: Eddyfi Technologies World Headquarters Building Location: Quebec City, Quebec, Canada Architects: Coarchitecture, Quebec City Client: Eddyfi Technologies Designed by Quebec City neighbor Coarchitecture, Eddyfi Technologies’ world headquarters building is a model of contemporary architecture, biophilic design and sustainable materials – from the generous application of locally sourced wood and use of large, tripleglazed windows, to the selection of solvent-free PPG Coraflon coatings to protect and embellish its muted aluminum cladding.

Resembling a high-tech graphics card and functioning as a second skin that veils interior space from southern sun exposure, the perforated metal wall that envelopes most of the building’s second floor is finished with three custom colors formulated specifically for the

project by PPG. Most of the metal façade is covered in PPG Coraflon White Pearl powder coating, offset by a lesser amount of PPG Coraflon Gauntlet Gray powder coating.

The building incorporates a full range of biophilic and sustainability features to create an environment that appeals to the company’s staff and enhances their professional lives. These features include floor-to-ceiling windows that connect occupants to natural light, weather conditions and the surrounding woodlands, as well as natural ventilation, a sun-filled central atrium, and indoor and outdoor meeting spaces.

Read the full case study at commARCH.com/eddyfi

Website

Photo: David Boyer Photographer commARCH // 79

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Carnegie (Science) Hall Project: PPG Science Pavilion Location: Pittsburgh Architects: Indovina Associates Architects Client: Carnegie Science Center As part of the renovation of Carnegie Science Center’s new PPG Science Pavilion, Indovina Associates Architects was tasked with incorporating classrooms and a rental space for private events into the design plan, along with a revamp of the Science Center’s River View Café. One upgrade that really made a statement was the addition of a grand staircase.

In designing this modern stairwell, the architecture firm ran into a roadblock. "When we realized that we were able to move forward with the top floor rental hall above the exhibit levels, the staircase needed to become a true means of egress," Martin Busser, Principal at Indovina Associates Architects, explained. "In order to become a true means of egress, the original building needed to be able to be separated from the new addition, as required by building codes."

To meet these fire- and life-safety requirements, Indovina Associates Architects chose Fireframes Curtainwall Series with Pilkington Pyrostop fire-resistive-rated glass by Technical Glass Products for the stairwell’s interior wall.

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Along with providing fire-resistance, the curtain wall is visually stunning.

"We wanted the wall to appear to be open-air once we realized we could make form and functionality work with the system," Busser continued. The curtain wall’s minimal profiles work to achieve this sense of openness, as does the absence of tie-backs for structural support.

Read the full case study at commARCH.com/Carnegie-Science Website

C L A S S I F I E D S

P R O D U C T Dryer Duct Booster® Reference Guide Shows How to Substantially Reduce Drying Times and Lint Build-Up 8 Page Brochure highlights clothes dryer Duct Boosters offered for home, multi-family and laundromat applications.

Contains product features, tables for model selection, specifications, duct sizing, plus installation benefits, typical duct layouts and system accessories.

Dryer Duct Booster systems save significant energy by reducing drying times 50% or more. Reduces lint build-up, dust & fire hazards by maintaining proper velocity in duct runs. Slashes duct cleaning maintenance costs in commercial systems. www.tjernlund.com//dryer_ booster.htm

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