Innovative Design Quarterly 504 by Sumer

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 504 • 2015

Convention Center, 6 Cleveland Global Center for Health Innovations City Beautiful Movement Redo

18 Emera Astronomy Center 32 Pulitzer Arts Foundation The Stars are Clearer Now Complex Simplicity

CITY BEAUTIFUL MOVEMENT REDO

Rafael Viῆoly-Menendez of LMN Architects creates large beautiful space for Cleveland

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Convention Center, 6 Cleveland Global Center for Health Innovations Photo credit to Maguirephoto.com

16 Design Workshop 18 Emera Astronomy Center Photo credits to Mark Wellman, Butch Moor and Monty Rand

26 Product Showcase 28 Pulitzer Arts Foundation Photo credits to Alise Oâ&#x20AC;&#x2122;Brien Photography

38 Global Lighting News Making the switch

Innovative Design Quarterly Magazine, Issue Volume 504, is published quarterly by Gow Industries, Inc., PO Box 160, Elkton, SD 57026. Postmaster: Send address changes to Innovative Design Quarterly Magazine, PO Box 160, Elkton, SD 57026 Subscription Inquiries: There is no charge for subscriptions to qualified requesters in the United States. All other annual domestic subscriptions will be charged $29 for standard delivery or $65 for air delivery. All subscriptions outside the U.S. are $65. For subscriptions, inquiries or address changes contact info@innovativedesignquarterly.com.

Copyright ÂŠ 2015 Innovative Design Quarterly Magazine. All rights reserved. Nothing in publication may be copied or reproduced without prior written permission of the publisher. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Innovative Design Quarterly and Gow Industries Inc, assume no responsibilities for unsolicited manuscripts or photos. Printed in the USA.

TA B L E O F

CONTENTS Cleveland Convention Center, Global Center for Health Innovations Emera Astronomy Center Pulitzer Arts Foundation

City Beautiful Movement Redo

Cleveland Convention Center, Global Center for Health Innovations

Rafael Viáż&#x2020;oly-Menendez of LMN Architects â&#x20AC;˘ James Dudt of Karpinski Engineering Photo credit to Maguirephoto.com

In 1903, the American architect and urban designer Daniel Burnham applied his considerable expertise to the master planning of the Cleveland Mall (also known as Burnham Mall) in downtown Cleveland, a large public park surrounded by civic and government buildings on a bluff above Lake Erie. While Burnham would go on to design â&#x20AC;&#x153;The Plan of Chicagoâ&#x20AC;? and master plan other major cities, his Cleveland project became one of the most completely realized examples of the City Beautiful movement in the U.S. Lined with neoclassical buildings constructed in the early 20th century, the 600,000-square-foot mall also included an auditorium on top of a convention Seattle-based LMN Architects, which specializes in convention centers, has center. been moving clients away from fortress-like convention centers and toward Over time, the structures fell into disrepair. While an extensive underground addition extended their life, they remained underutilized through the 2008 recession and into the beginning of the 21st century. In 2010, the City of Cleveland sold the property to Although most of this structure is located 30 feet below street grade, there is Cuyahoga County, which plenty of natural light that creates an open and lively feeling. began conducting usability studies. To maximize Clevelandâ&#x20AC;&#x2122;s burgeoning identity as a medicalresearch community, an innovative plan called for a new above-ground

medical showroom building — The Global Center for Health Innovations — as well as a new medicaloriented convention center, constructed primarily below grade using the existing structure, with a new roof doing double-duty as part of the mall’s public park. The Seattle-based LMN Architects, which specializes in convention centers, ensured a seamless connection between the two structures and the mall’s existing green space and historic architecture. In fact, LMN has been moving clients away from the traditional, fortress-like convention center typology to structures with greater transparency and openness, structures like these with greater transparency and openness in order to in order to better engage better engage the surrounding community. the surrounding community. The Cleveland Convention Center, says LMN principal Rafael Viῆoly-Menendez, was a challenge “because we were trying to achieve openness in a facility that is largely below ground. We wanted the building to show itself above ground without being disruptive, yet not look like a submarine breaking the surface.” The solution was to gently slope the convention center roof high enough above street level to allow for a full story of floor-to-ceiling windows along the front, as well as along two sides. In

addition, “We painted the roof structure white and the finishes are light,” says Viῆoly-Menendez. Those decisions “allow enough natural light to come in so that the building, 30 feet below street grade, feels quite light.” The mezzanine at the street-level main entrance overlooks the singlelevel exhibit hall below. Natural daylight and a wayfinding palette of graphics and color guide visitors into the prefunction, exhibition spaces and ballroom underground. The ballroom is a multi-functional space capable of hosting a variety of public and private events. “Ballroom spaces have evolved from the traditional finished ceilings with chandeliers to spaces used for very different events,” ViῆolyMenendez says. “You might have a banquet, but you might also have a concert or small exhibit in the ballroom. So the client needed to have this flexibility incorporated into the new space.” The window wall at the north end of the ballroom faces Lake Erie, providing visitors with a view of the great lake and its interaction with the city. Vertical metal ceiling baffles in a wavy pattern evoke the nearby lake. The panels were also custom designed to complement programmable

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Ballroom spaces have evolved from the traditional finished ceilings with chandeliers to spaces used for very different events. You might have a banquet, but you might also hold a concert or small exhibit. So the client needed to have this flexibility incorporated into this new space.” – Rafael Viῆoly-Menendez

of LMN Architects

Multi-functional ballroom (pictured here) is capable of hosting a variety of public and private events.

lighting configurations to create various moods depending on the event. Also, because the ceiling isn’t a continuous surface, technicians can set up a lighting truss for a concert by reaching between the baffles and clipping lighting to the roof structure without having to remove ceiling panels. The new convention center was constructed within the existing structure’s footprint, which included a floor 30 feet below grade and concrete up to five-feet thick to withstand the high lakeside water table. “Opting to reuse much of that foundation was not only a cost-saving measure, but from a schedule and sequencing standpoint also allowed construction to proceed faster and get the client back in the market more quickly,” says Viῆoly-Menendez. “The ceiling height for a modern convention center is usually no less than 30 feet,” he continues. “You also want rooms that are clear spans—to stay away from columns within the exhibit space. Since retaining the original foundation would only give us 30 feet, the challenge was to work with the structural and mechanical engineers to make that sandwich of roof structure

and mechanical services as shallow as possible, so the final elevation of the roof angle/park would be low enough so people didn’t feel they were walking up onto another structure. We were able to slope transitions between the bordering street and sidewalk and keep most of the park level only four feet above the original grade. Visually, if you’re walking around the space, you can always see into it.” At the southwest end of the convention center, a smaller below-grade exhibition hall serves additionally as a connection to the five-story, 235,000-square-foot Global Center for Health Innovations, which has its main entrance at street level. The Global Center is a permanent showroom for Cleveland’s thriving medical research industry, a year-round anchor tenant on the mall, and an example of innovation in convention planning as a key to economic growth. The Global Center replaced a 15-story hotel, and LMN’s design gestures “toward the civic space” of the public mall, with a dynamic façade and atrium that “make the building feel open and connected to the site,” ViῆolyMenendez explains. “While many of the buildings around the mall have stone and masonry façades, buildings on the surrounding streets are terra cotta with a more textured and sculptured look. We wanted to move away from solid walls with glass on four sides. Our thought process was, ‘Can we come up with a way to design a façade with depth? That plays with sunlight and shadow? And still nods to the existing historic structures?’” LMN used parametric modeling and digital fabrication tools to create the Global Center’s innovative façade, which was inspired by two visual metaphors: The twisted helix shape of a DNA strand for the pre-cast panels (which are approximately eight feet wide, and from six to 20 feet in length), and an image of the pixilation that occurs during DNA gene sequencing for the window pattern around the building. “We developed an idea about the pre-cast panels and how the shapes on them would react with different angles of sunlight to create a reading with some depth, even though the modulation of the relief is very shallow,” Viῆoly-Menendez explains. The façade “has been designed so that as the sun moves around the building, the façade may read fairly flat or at other times with more shadow and depth.”

“

Our thought process was, ‘Can we come up with a way to design a façade with depth? That plays with sunlight and shadow? And still nods to the existing historic structures?’”

Newest part of the project is this five-story, 235,000 square-foot Global Center for Heath Innovations. Even though this is perceived as a separate building, the two are interconnected and run as one building.

LMN’s Element Tech Studio, a group of young architects engaged in developing technologies for design, drawings and parametric design, also worked on the solar orientation of the glazed atrium and program spaces through the Global Center. “We wanted to be mindful about the amount of light on the south side, as well as the amount of summer sun on the east side of the building,” Viῆoly-Menendez says. “The parametric modeling program creates a density of openings relative to solid structure that can be altered by degrees. As a result, for example, the façade has some vertical zones where the solid panels seem to line up; those are internal exit stairs, areas we felt didn’t necessarily need daylight.” The Global Center’s spacious light filled atrium includes walkways connecting the medical device showrooms. The showrooms accommodate a variety of tenants; some with large equipment displays or patient room mockups, others with imaging technology and software. Double-loaded hallways on each floor of the Global Center provide some showrooms with

exterior windows and others with openings to the atrium, ensuring each tenant enjoys natural daylight. The walkways are also function as “radiant bridges to help with heating and cooling,” says lead MEP engineer James Dudt of Karpinski Engineering in Cleveland. “Because all the return air is taken up high, it helps with the natural stratification as it is a very well lit space.” The project achieved LEED Gold Certification for a variety of sustainable strategies, including use of the existing underground convention center structure for the new facility. LMN’s façade design for the Global Center was more energy efficient than Ohio code requirements. “We also did a few unique things with some of the building systems,” Dudt adds. “We converted waste steam into snow melt preheat. A good deal of air transfer takes place to keep pressure relationships balanced. That means spaces like the kitchen are getting conditioned that you’d normally pay to have conditioned.” In addition, the

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The park was created as a large space to hold events such as concerts and outdoor movie showings, but otherwise be a public park. Narrow bands on either side of the space were built as a series of smaller lawns that will each be eventually developed into other public spaces, such as flower gardens and basketball courts.” – Rafael Viῆoly-Menendez of LMN Architects

mechanical system “has five separate smoke exhaust systems. Smoke detection is done with air sampling tubings.” Today, the Cleveland Convention Center, Global Center for Health Innovations and park areas are in full use. “The park was created as a large space to hold events such as concerts and outdoor movie showings, but otherwise be a public park,” Viῆoly-Menendez says. “Narrow bands on either side of the space were built as a series of smaller lawns that will each be eventually developed into other public spaces, such as flower gardens and basketball courts.” Other enhancements are in the works, including a hotel with an expected 2016 completion date. In addition to nearby cultural resources such as the Cleveland Browns Stadium and the Rock and Roll Hall of Fame, the new structures have successfully reinvigorated Cleveland Mall, while creating an economic engine and competitive advantage for the City of Cleveland. n

DESIGN

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The planetarium has always been a popular venue for visitors to the University of Maine campus as well as a resource for teaching astronomy on the academic side. Our new planetarium and observatory are providing us with the opportunity to continue our mission and outreach to current and future generations of learners.” – Alan Davenport, planetarium director

The Stars are Clearer Now Emera Astronomy Center Photo credits to: Mark Wellman, Butch Moor and Monty Rand

Having maximized the potential of its 1950s-era planetarium and observatory, the University of Maine in Orono, Maine, had long sought to build a new facility for the digital age and future generations of learners. “We had actually been considering a new planetarium since the mid-90s,” says Alan Davenport, planetarium director. “It was time to step up the quality, scale and style of the facility, and bring the technology up to modern scientific educational standards.”

When a private donation of $3.2 million was added to $1 million in university funding, followed by a $1 million naming gift from the energy company Emera of Maine, plans were made for a new Emera Astronomy Center to replace the outdated Jordan Planetarium and nearby observatory. The projectâ&#x20AC;&#x2122;s goal: To promote science, technology, engineering and mathematics education among K â&#x20AC;&#x201C; 12 students, and provide research and educational opportunities for the universityâ&#x20AC;&#x2122;s students, via a state-of-the-art facility with well-developed science programs.

The site had to accommodate the observatory and planetarium, provide a dark sky for viewing, and be in a central and accessible location on campus.

WBRC Architects Engineers, which has offices in Bangor and Portland, Maine, was hired to design the facility and serve as architect-of-record. The firm collaborated with Kasian, located in Calgary, Alberta, which brought educational and planetarium expertise to the project. In fact, architect Bill Chomik, a senior principal at Kasian, who has designed more than 20 planetariums around the world, didn’t mince words when discussing the project with Davenport, nor with WBRC. “Decide what equipment you want to use, how you would like to use the planetarium, how you would like to teach in it, and I will design a space that will fit your needs like a glove,” Chomik told the planetarium director. He also told WBRC, after realizing the firm was the architect-of-record but had little planetarium experience, “Well, I do.” That confidence served the collaborators well as they forged ahead with Chomik designing the planetarium theater while WBRC worked on the rest of the project, a collaboration Chomik describes as “very rich and productive.” Site selection was one of the team’s first challenges. Not only did the observatory and planetarium need to be sited closer together, but in a dark sky location with minimal artificial light, plenty of parking, and in a central and accessible location on campus. A site on Rangeley Road, on the northeast corner of the campus, fit those criteria. WBRC clad the square multi-purpose building and trapezoidal entrance that are part of the 7,400-square-foot center in gray brick, while the circular planetarium has an EIFS (exterior insulation finishing system) exterior mixed with mica to add a star-like sparkle to the façade. The geometric exterior design of the circular planetarium “is an abstract representation of an image recorded by the Hubble Space Telescope,” explains Kris Kowal, project designer, WBRC.

The exterior of the planetarium is based on connecting points of intensity between stars and a series of linear images.

“We connected points of intensity between stars and a series of linear images began to emerge,” he continues, describing the creative process that led to the exterior design. “Once diagrammed, the image itself was wrapped around the planetarium and impregnated with color.” To balance security with the need for a dark sky, the team utilized tall light poles with white lights at the top. Red lights lower on the poles are illuminated, instead of the white lights, when the observatory is in use.

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In the lobby, metallic floors, dark blue walls and an undulating metal ceiling with star-like light fixtures add to the experience.

WBRC was also charged with designing a facility that would transport visitors from its earthly location to one of interstellar wonder. The team paid careful attention to the entry sequence into the building. “An architectural portal at each entrance facilitates this illusion,” says Kowal, “making passage into the key spaces an active experience.” In the lobby, metallic floors, dark blue walls and an undulating metal ceiling with star-like light fixtures add to the experience. Interactive educational kiosks on topics including space exploration and energy conservation, as well as office space are located in the lobby, which separates the multi-purpose building on one side from the planetarium theater on the other. The multi-purpose building, which has large windows on the east side, is a flexible space that can accommodate large or small groups, and has a room with cubbies for children to store backpacks, coats and boots during their visit.

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The projection equipment is hidden, so there is kind of a magic to the space.” – Bill Chomik, senior principal, Kasian

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Planetarium with two Definiti projectors provides an immersive learning experience.

The experience of being transported from earth to the stars reaches its apex as guests enter the planetarium. The carpet pattern resembles satellite imagery of Earth. Seat fabric features round shapes and stars. Unlike in many other planetariums, “the projection equipment is hidden” in this facility, Chomik says, “so there is kind of a magic to the space.” Historically, he explains, architects have designed the planetarium dome and then fit the equipment into it. In this case, the theater was designed around the equipment. Two Definiti projectors, one at the front of the screen (dome) and one at the back, provide visitors with an immersive learning experience. The technology accommodates IMAX shows and 3D films, and projects high-definition, scientifically accurate models of stars, planets, and galaxies from a host of vantage points. The 33-foot dome, tilted 22 degrees for maximum comfort during viewing, is made from aluminum panels perforated with thousands of tiny holes and covered with a high-tech gray paint.

The perforations help create a clear image, while ensuring proper airflow throughout the theater. “Mechanically speaking, it was important to drop air through the perforated dome and suck it out at the bottom of the theater to avoid a dirty screen,” says Mat Ward, senior architect, WBRC. “We had to make sure everything that was behind the screen was matte black or covered by black fabric. Duct work also had to be insulated for sound.” The two projectors also free up plentiful floor space for seating. Because the planetarium is largely a teaching facility, the seating is less sloped than in a more public facility. “When a teacher is holding a class, they like to be able to move around the room,” adds Ward. “So the slope is 15.2 degrees, with seating down the middle of the theater that can be removed during a class or put in place for a larger show.” The team ensured seating comfort for visitors, as well. “We developed a projection clash-detection modeling system,” Chomik says, “that put a 6’4” person in every seat. This way, we could make sure there weren’t any interference lines with the projection system. We also brought the dome down as close as possible, so the theater feels extremely immersive.” The designers tilted the dome, and The planetarium seating was designed for comfort decreased the degree of seat tilt in and is less sloped than in a public facility to better the back rows, for maximum viewing accommodate instructors. comfort. Ample space between rows, per the client’s request, ensures legroom and easy access. An ADA seating area at the top and at the bottom of the theater, and a ramp wrapping around the outside, provide accessibility. Exit signs were strategically placed to minimize light pollution, while red lights line the stairs. To reduce sound and light, egress areas were sealed, a set of double doors Observatory includes a 20-in digital PlaneWave was installed between the lobby and CDK20 telescope. theater, and walls were insulated. Next to the Emera Astronomy Center is the observatory. The circular structure includes a 20-inch digital PlaneWave CDK20 telescope, which captures images of the night sky that are projected on the planetarium’s dome. A pre-existing, four-foot-thick concrete slab was used as the observatory’s foundation and reduces vibration from the adjacent road. To ensure temperatures inside and outside the observatory remain the same, which prevents fogged lenses, insulation is minimal and exhaust/intake fans were installed to reduce temperature variations.

Nearly 80 school children as well as university officials and representatives from WBRC, Emera Inc and the Challenger Learning Center were invited to sign one of the beams used in the roof structure.

For this reason, the observatory was not included in the Emera Astronomy Center’s pending submission for LEED Silver certification. One of the primary sustainable strategies driving the certification is the project’s geothermal heating and cooling system, explains Ward, “with three additional electric thermal storage units that draw power at night when the rates are lower and store energy for use during the day.” The closed-loop system, which is independent from the campus steam system, and doesn’t require fuel oil or natural gas, may have a less-than five year payback and greater than 20 percent return on investment. The star of the Emera Astronomy Center remains its planetarium, however. During construction, nearly 80 schoolchildren were invited to sign one of the beams used in the roof structure. “This is being built for people like you,” Karl Ward, president of the construction company Nickerson & O’Day, told the children that day. University officials, and representatives from WBRC, Emera Inc., and the Challenger Learning Center also signed the beam before the kids signaled the crane operator to hoist it into position. For generations to come, children will tell their children who will, in turn, pass on their enthusiasm for learning and discovery in remembrance of the names inscribed in a permanent part of the planetarium. Undergraduate and graduate students at the University of Maine will also enjoy unprecedented access to research and education in a state-of-the-art facility. “The planetarium has always been a popular venue for visitors to the University of Maine campus as well as a resource for teaching astronomy on the academic side,” Davenport says. “Our new planetarium and observatory are providing us with the opportunity to continue our mission and outreach to current and future generations of learners.” n

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C O M PA N Y P R O F I L E CONCEALITE

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Concealite provides solid solutions in preserving commercial, retail, and large scale residential designs while meeting necessary life safety codes. Their products have made notable strides in the industry, and they continue to evolve their products with advances in technology. CONCEALED EMERGENCY LIGHTING AND ALARMS Architects and Designers no longer have to contend with walls and ceilings displaying a patchwork of red boxes or bulky protruding light boxes holding code required life safety devices. Enter Concealite’s FA Conceal-Alarm series of products. They designed a fixture that hides devices behind a flush door that is easily installed in walls or ceilings. Appliances stay concealed until activated. Additionally, the doors are easily customizable to match interiors. Concealite will provide the products in decorative finishes such as paint, metal, paper, or wood laminate to help blend the door into new or existing finishes. UNIQUE-TO-THE-MARKET EXTERIOR LIGHTING Now high power exterior egress lighting is available in Concealite’s latest innovative product, the Hydro-Lite (HL) Series wet location fixture. These concealed high output outdoor lamp units provide up to 200 watt light output which is 3 to 5 times brighter than all other products on the market. Hydro-Lite systems are designed to blend in to the exterior of a building, and are the only non-obtrusive solution to the ever demanding code requirements for exterior egress emergency lighting. NOTABLE INSTALLATIONS Concealite’s high demand products have been installed all over the world and in such notable places as The Boston Museum of Art, The White House Visitor Center, Tiffany’s, Williams Sonoma, BMW Dealerships, Kate Spade, and Jimmy Choo. They also have product installations at the Bill Gates Learning and Foundation Center, Miami International Airport, Universal Studios, Disneyland and in many other historical and well known buildings and institutions across the country.

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Complex

Pulitzer Arts Foundation

Architect- Tadao Ando • Architect of record- Dan Jay of Christner Inc Photo credit to: Alise O’Brien Photography

The name “Pulitzer” has been synonymous with excellence in journalism since newspaper publisher Joseph Pulitzer gifted $250,000 to Columbia University, which was used to establish the renowned journalism school and create the Pulitzer Prize. The family’s philanthropy has continued through the generations. Joseph Pulitzer III, a St. Louis newsman who chaired the Pulitzer Prize Board for 31 years, accumulated a collection of modern art. With his wife Emily Rauh Pulitzer, they established the Pulitzer Foundation for the Arts in St. Louis, Missouri.

Simplicity

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The building is simple, and yet it will not allow itself to be used for just anything. It is very specific in its nature.” – Tadao Ando, Tadao Ando Architects & Associates

Today, the Pulitzer Arts Foundation is housed in a signature work of art designed by Tadao Ando Architects & Associates. Located in the St. Louis Arts District, a transitional urban neighborhood, the concrete and glass structure opened in 2001 and was the Japanese firm’s first public building in the U.S. It’s also a serene work of architecture in which to contemplate and enjoy the Pulitzer art collection.

Rauh Pulitzer, who led the design effort, “has a strong dream for the foundation,” says Tadao Ando, principal and founder of the firm. “With the new building and its works of art, she is determined to make a statement about architecture in America and the direction in which it might go. At the same time, she’s made a strong statement by creating the foundation in St. Louis, to show that art and architecture belong to all people, not just the residents of large American cities on either coast.” Ando was given a flat site, “with no particular character,” on which to design his masterwork, he says. “It was a blank, which meant I was given a chance to create a new order, an example for the entire city, which might influence a lot of things to come.” Ando’s work is minimalist and modern: simple in design with clean lines and tranquil forms. For the Pulitzer Arts Foundation, he designed two long rectangles, one 9.8 feet taller than the other. A cantilevered roof slab extends from the higher wing over the lower wing and

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The concrete is cast in place and requires perfect planning and execution. It is an unforgiving material. The ‘smooth as-cast’ finish is the most difficult concrete finish to achieve. The finished product should be virtually free of bug holes (air bubbles trapped at the formwork surfaces), with clear pattern lines and crisp, sharp corners and edges.” – Peter Clarkson, the concrete specialist

is supported by a single column. Two long, narrow wings extend from the low-ceilinged lobby, flanking a reflecting pool that reflects light onto the ceilings through low ribbon windows, a traditional Japanese design signature. About the design, Ando says: “It has to do with your perception of space. Let’s say you have a tall room, which you enter through a lower space. You experience one space in relation to another. The surprise, the emotion, of how you perceive the space comes from what you see before and what you see after. This is architecture. In the Pulitzer building, I have tried to get the maximum effect from this kind of composition. For example, the reflecting pool in the middle of the building is not very long; but you perceive it as long because the proportion is very narrow. A similar play of perception is involved in the asymmetry, or imbalance, of the building. You perceive each part in relation to another; each part emphasizes what the other is.”

Most of the artworks are displayed in the east gallery, which is 170 feet long and steps down in response to a slope on the site. Here Ellsworth Kelly’s “Blue Black” has been permanently installed. The west wing contains a smaller gallery and administrative Gallery E above and Gallery F below demonstrate designer Ando’s offices. Part of the minimalist style. basement level is used for conservation and storage. Steps lead up to a small glass-walled gallery, a sculpture terrace and a roof garden. The building shares a rear courtyard, where Richard Serra designed and installed his torqued spiral sculpture “Joe” – with the Contemporary Art Museum next door.

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“The building is simple, and yet it will not allow itself to be used for just anything,” Ando explains. “It is very specific in its nature.” The Kelly and Serra works were created in response to the architecture, and vice versa. “This was one of the rare opportunities when the works of art and the architecture were realized at the same time,” he continues. “The artists were looking at the building design; the architect was looking at the plans of the artists.”

Lower-level staircase.

The high-quality concrete Ando uses in Japan, and which he required for the Pulitzer building, is rare in the United States. But the builders responded to the challenge and achieved the refined finishes. “Ando uses ‘silky smooth concrete’ as his signature material,” explains Peter Clarkson, the concrete specialist and owner’s representative on the project. “The concrete is cast in place and requires perfect planning and execution. It is an unforgiving material. The ‘smooth as-cast’ finish is the most difficult concrete finish to achieve. The finished product should be virtually free of bug holes (air bubbles trapped at the formwork surfaces), with clear pattern lines and crisp, sharp corners and Staircase to lower level. edges.” In addition, the architect’s “design module for the Pulitzer building was based on standard sheets of plywood, which make up the liners for the formwork,” Clarkson continues. “His design called for the wall surfaces to display the panel lines between each individual 4 x 8 foot plywood liner, as well as show the individual screw heads and form ties that make up the formwork. Everything had to be perfectly aligned and the panel lines had to be exactly parallel with the one above, below and to either side.” Western facade.

A shop was constructed onsite to complete the formwork, adds Dan Jay, president and CEO of Christner, Inc., St. Louis, which was the project architect-of-record. “Each form was like a piece of furniture in terms of the finish that was put on the final surface of the wood. They tested 18 concrete mixes before they were satisfied. As a result, the finish on the concrete is such that architects walk in and drool, it’s that beautiful.” Ando also infuses his architecture with natural light and the Pulitzer Arts Foundation is no exception. “The beauty of the building, besides the concrete, is the use of light and air, the transparency, and the play of both direct and indirect daylight on the surfaces,” Jay says. Even the building’s 2015 expansion, which added 3,700 square feet of public space to the existing 7,500 square feet of gallery space, was based on existing plans incorporated into the original design and utilized the building’s basement without sacrificing a sense of space and light. Unlike the above-ground galleries, where the natural light and spatial impressions modulate throughout the day, the design of the new below-ground spaces incorporates artificial light to create calm and serenity, and allow for multimedia works and the installation of art pieces more sensitive to daylight. The lower-level spaces also feature white oak floors (as opposed to concrete), and walls imbedded with acoustical material to better accommodate and serve more experimental exhibitions and programs. “Constructing Ando’s buildings is a fascinating, exhausting, challenging, demanding and rewarding process,” says Clarkson. “The buildings are deceptively simple looking, but their construction requires a tremendous amount of effort. As a minimalist, Ando doesn’t include baseboard, window trim, door casings, moldings or other details that can hide imperfections in the construction. If you make a mistake with an Ando building you have two choices — either live with the mistake or tear it out and reconstruct.” In the design of the Pulitzer Arts Foundation, Ando created an art museum and cultural facility that harnesses the

“

Constructing Ando’s buildings is a fascinating, exhausting, challenging, demanding and rewarding process. The buildings are deceptively simple looking, but their construction requires a tremendous amount of effort. As a minimalist, Ando doesn’t include baseboard, window trim, door casings, moldings or other details that can hide imperfections in the construction. If you make a mistake with an Ando building you have two choices either live with the mistake or tear it out and reconstruct.” – Peter Clarkson, concrete specialist

Construction of the flooring with two floor grilles that run the entire distance of each gallery.

power of natural light, links spaces indoors and out, and uses permanent art installations (the Kelly and Serra works) as touchstones for exhibition cycles. The architect also designed an iconic structure that advances the institution’s focus on cultural intersections, particularly the intersection between art and architecture.

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“Over the last decade, the Pulitzer has grown and evolved as an institution, expanding and diversifying its program through a range of partnerships, community engagement and scholarly inquiry,” says Kristina Van Dyke, executive director. While Ando’s architecture encapsulated the organization’s vision, she continues, the recent expansion “was a natural next step as we look to the future and build upon our mission to the push the boundaries of the traditional arts encounter. Our vision is to provide contemplative, unmediated access to outstanding art alongside imaginative programs that inspire visitors to think differently about art and its relationship to daily life.” n

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