The “Brick-Weave” House sits on the footprint of a century-old stable in Chicago’s West Side. With a modest budget, the owners hoped to salvage the entire building until hidden fire damage was uncovered. Strategically cutting away damage and weaving in new construction allowed 30% of the original structure to be reused. Front walls and roof were removed, creating a garden surrounded by a porous “brick-weave” screen that demonstrates a sensibility in the use of traditional materials in new and surprising ways.
Variation in ceiling heights and floor levels weaves together the two-story garden at the front of the house with the single-story volume at the back through a cascading section.
The screen animates the garden and interior with dappled sunlight, establishing a visual connection to and from the street. Rectangular voids in the screen throw hexagonal patterns of light inside. At night, the pattern reverses: the screen becomes a lantern.
it’s a proof of nothing happens or better to say creation can not be just accidentally, should have an idea
then try to develop it, good example to learn how to create-i call it -Live Facade, That’s a real skin.
Architects: Unsangdong Architects
Location: SinsaDong, GangNam, Seoul, Republic of Korea
Design Team: Jang Yoon Gyoo, Shin Chang Hoon
Construction: GuJin Industrial Development Co.Ltd
Client: Lee Sook Young
Site area: 567.5m2
Gross floor area: 1,995.14m2
Photography: Courtesy of Unsangdong Architects
Enormous urban ‘canvas’ has been attempted through the project ‘Gallery Yeh’. ‘Canvas’ is the wall of the building as well as a piece of experimental artwork that indicates a sign of the upcoming change of the new gallery. If typical canvas can be thought as two-dimensional medium, the canvas we have developed for the gallery is the spatial skin developed out of the new code found between the floor plan and the three-dimensional medium. Two-dimensional aspects of the wall have now become the opportunity to deform into space.
Such work is similar to searching for the new generation of space out of structure between the folded and smooth, continuous skin. ‘Spatial skin of the fold’ indicates the process of generating multiple layers hidden behind the single layer of the architectural skin. Skinscape can be initiated by simply acknowledging urban fabric as rather the envelope structure. Looking at the city as an enormous folded surface, continuous and sequential.
‘Skinscape’ can be said an experimental text attempted by combining the architectural skin and the loose meaning of the term ’scape’. It is organized through the formula of skin plus other elements and layers as variable? skin plus structure, skin plus space, skin plus program… and etc. Then we can imagine its physical deformation. Process of finding the new spatial model is closely linked with ‘Skinscape’, with its variables possible to be maximized by removing the excessive spatial elements or adding up more spatial ‘fat’.
The concept applied in ‘Gallery Yeh’ can be categorized as ‘Spatialization of Skin’ and/or ‘Mediazation of Skin’ – screen for the skinscape can be the medium to provide exhibit information as well as the huge canvas attracting outside events. Space for the skinscape offers unique spatial experience of puncturing through multiple layers of skin, in which each of its layers come as different spatial quality. ‘Spatial Surfing’, ‘Skin Surfing’, ‘Pictorial Surfing’, ‘Organizational Surfing’, … are some of the codes appearing along such experience, while each surfing twists and intertwines to create spatial complexity as a whole.
Like ‘Crack of Armor’, skin is not the surface that envelopes the space, but is bound by air that is light material and metaphorical interpretation and irony behind the new possibilities of space. The framework of heaviness is gained through the lightness, the quality of the skin is linked with the possibilities of creating gaps, so thus the space become enriching experience of discovering the hidden layers of logic and irony. thus the space become enriching experience of discovering the hidden layers of logic and irony.
We first heard about the new Shenzhen Stock Exchange (SSE) building by OMA during the peak of the new chinese construction revolution. Then we saw Rem Koolhaas breaking groundtogether with the Chinese government, and capitalism in China started to have a tangible representation.
The new building for the NASDAQ equivalent (730 high tech companies & startups, moving over US$500 billion) has now topped out at 246m.
“For millennia, the solid building stands on a solid base; it is an image that has survived modernity. Typically, the base anchors a structure and connects it emphatically to the ground. The essence of the stock market is speculation: it is based on capital, not gravity. In the case of Shenzhen’s almost virtual stock market, the role of symbolism exceeds that of the program – it is a building that has to represent the stock market, more than physically accommodate it. It is not a trading arena with offices, but an office with virtual organs that suggest and illustrate the process of the market.”
The project is based on pure volumes, a combination of a tower and a podium suspended 36m high. The podium is one of the biggest cantilevers in the world, an operation that liberates the ground to create a big public plaza which is visually connected (representing the new economic openness) to the lower part of the tower and the podium itself, the places were the stock exchange operations take place. Above the podium, there is a series of office space for internal operations of the SSE, totaling 200,000sqm for the entire building.
The tower’s structure is a robust exoskeletal grid overlayed with a patterned glass skin – the first time such glass has been used for an exterior at this scale. The patterned glass reveals the detail and complexity of construction while creating a mysterious crystalline effect as the tower responds to light: sparkling during bright sunshine, mute on an overcast day, enigmatic at dusk, glimmering during rain and glowing at night.
The building is expected to be completed by August, 2011.
and more shots fromhttp://www.flickr.com/photos/yleberre/sets/1582442/
Sometimes, a photographer goes out in search of a good photo–and, because of unforeseen circumstances, he comes back with a great photo, one that gets displayed all over the world.
And so it was last night as Tribune photographer Chris Sweda headed to the John Hancock Center skydeck to snap a few shots of the official debut of the Trump Tower spire–and a supercharged storm broke over Chicago.
Chris got the assigned shots as the spire turned from red to blue to white (below), but he got something much more powerful: A rare shot of lightning bolts simultaneously striking the Trump Tower and the Willis Tower (above).
The Associated Press has transmitted the shot worldwide and the Daily Mail of London has already picked it up. “Stunning images,” says the Mail.
Kudos to Chris for getting exactly the right angle and for pressing the button at exactly the right moment. He was equally skillful in capturing the aftermath of the storm as the sky and the skyline faded to a golden glow.
Oh, by the way, the Trump spire (a visual flop by day) looks pretty spiffy by night.
(Tribune photos by Chris Sweda)
For more Tribune storm photos, click here.
Small stones placed atop buildings to reflect sunlight
|Two firefighters work to remove shards of glass from the frame of a window that blew out on the south side of the Willis Tower during a severe storm that ripped through downtown Chicago. (Chris Sweda, Chicago Tribune / June 18, 2010
Loose pebbles from roofs caused downtown windows to pop out and crash to the ground in Friday’s storm, Chicago officials said Monday.
The pebbles are placed on top of buildings to reflect sunlight, said Jose Santiago, director of the city’s Office of Emergency Management. Friday afternoon’s storm, which whipped up 77 mph winds, kicked up an unusual amount of pebbles, causing them to strike skyscraper windows, including a few at Willis Tower, Santiago said.
The wind was sporadic and blew in unusual directions, Santiago said.
As the Tribune reported earlier this week, the windstorm that broke four windows at Willis Tower did a lot more damage at the glass-sheathed 22 W. Washington office building. It cracked 35 windows there, but hardly anybody noticed because 22 W. Washington isn’t the tallest building in North America.
Having been to the scene, blogger Lynn Becker muses that 22 W. Washington actually looks better in its disjointed, post-storm condition. His take: The dark, off-the-shelf replacement windows installed after the storm create a Mondrianesque pattern with the energy of “Broadway Boogie-Woogie”–an upgrade from the dull cliche of mirror-glass that I panned when I reviewed the tower in 2008.
Here’s a view of Trump International Hotel & Tower that I bet you’ve never seen–unless you happen to be a helicopter pilot. It comes from Lawrence Okrent of Chicago’s Okrent Associates, a firm of urban planners, architects and graphic designers that provides aerial photography to the real estate industry.
Nevertheless, this aerial perspective nicely shows off the skyscraper’s taut, elegantly-detailed curtain wall. And it’s fun to peer down on Trump’s outdoor terraces and their tiny swaths of shrubbrery.
Oh yes–we also see the racetrack-like circuit for the skyscraper’s clunky-looking, window-washing contraption. Reminds me of an oil well–except, of course, it’s more than 1,000 feet above the sidewalks of Chicago.
Though it may serve as a blueprint for the future, SOM’s visionary master plan for greening the Inland Steel Building ran into two insurmountable obstacles: a tough economy and strict historic-preservation restrictions.
By Alexandra Lange
Posted June 16, 2010
What makes a landmark? Is it the stuff it’s made of? Or the goals of the architects who made it? In the case of the Inland Steel Building—a stainless-steel Chicago land-mark from 1958, designed by Skidmore, Owings & Merrill—these questions have become both practical and philosophical. In the lead-up to the building’s current renovation, architects, preservationists, and city and state officials all debated the future of the icon and whether continuity with the past meant keeping its material structure or innovating anew. The owner hired architects at SOM to create a master plan for retrofitting the building. They matched its original innovations in today’s terms—sustainability, flexibility, ease of use—and demonstrated the outer limits for LEED in a 52-year-old shell. Inland Steel has become a case study in what you can do to green a midcentury building, as well as what you can’t, economically and legally. As retrofits become more appealing—cheaper, greener—we may need to revisit the rules for bringing old buildings back to life.
“A serious approach to sustainability is unquestionably going be an inherent part of every building in the future,” says Stephen Apking, the SOM Interiors partner who led the team working on the Inland Steel master plan. “We’re going to see many more retrofits of existing buildings, landmarked and not, and the plan we created will be a benchmark.” What they learned was that you can create a LEED-certified landmark with all the contemporary amenities and mid-century style—but to make it happen you need new agreements on sustainability from landmarks commissions, as well as clients with the will and means to create a boutique property. “Landmark office buildings—you can’t say that they simply aren’t going to work,” he says. “You have to find a way to insert new technology that makes them viable.”
The real estate investment company Capital Properties purchased Inland Steel in 2007 for $57.25 million. Richard Cohen, Capital’s principal, was encouraged to buy it by his friend Frank Gehry, who had already invested in the building in 2005 and was frustrated with the lack of progress on renovation. “We wanted to set the goal high for innovation,” Apking says. “We had an encouraging client in Richard Cohen—anything we brought to him, he wanted more.” After deciding to go for LEED Platinum certification, Apking and SOM associate Claes Appelquist researched the building’s original design and found themselves updating many of the features that made Inland Steel so innovative in 1958.
Walter Netsch—the legendary SOM Chicago partner who designed an early version of Inland Steel, before being pulled off the project to work on the U.S. Air Force Academy—intended for Inland Steel to have a double-glass skin, and to use the space between as ducting for the HVAC system—an advanced idea even now. (It is being used in such sustainable skyscrapers as Cook + Fox’s One Bryant Park.) When Bruce Graham took over the project, the double-layer curtain wall was eliminated, replaced by distinctive green-tinted glass. The SOM master plan returned to Netsch’s original double-glass idea, suggesting the insertion of a second glass wall behind the outer window wall. Between the two panes would be programmable mechanical blinds, set to react automatically to changing light levels, but with tenant overrides.
Other features of the original building sound like they could have been specified yesterday. Graham moved the support piers to the perimeter—where they form striking stainless-steel ribs on the exterior of the building along South Dearborn Street—to create 58-by-178-foot open floors. He integrated electricity and telephone lines into the floor as part of a modular system called “Inland Cellufloor,” which shares much in common with today’s energy-efficient floor delivery systems. This system saved a foot of headroom per floor, allowing the building to fit 19 floors into what would otherwise have been an 18-story envelope.
“To us,” Apking says, “it was essential that all of the systems be integrated,” as they had been in the 1958 design. That meant keeping the streamlined profile and minimal section of the original ceiling and floor. One of the strengths of the new master plan is the slimness of the insertions, which suggests that any 1960s tower can be reworked from the inside out. The plan includes chilled beams—a series of refrigerated boxes installed at intervals in the ceiling—that can be integrated with the lighting system. Chilled beams allow for localized temperature control, since they are spaced throughout the floor, and also obviate the need for a large HVAC plant. They have been used in a number of European projects but rarely in the United States.
“We decided we had to protect our clients from tenants who might not be environmentally friendly,” Appelquist says. SOM designed a new movable wall and cubicle system, with veneer, fabric, or glass panels less than two inches thick, along with modular furniture in FSC-certified woods and three color palettes. “This is a designed product, and as a tenant you will buy into that product,” Apking says. “The ceiling is designed as a kit of parts. You can reuse the walls and the furniture systems. It is a test in terms of the marketplace: Will tenants be willing to set their egos aside?” SOM has been discussing manufacturing the system with Unifor, and it might go ahead with the product line without Inland Steel, marking a renewed engagement for the company in the world of manufacturing.
After the economy soured in 2008, Capital began to scale back its goals for Inland Steel. “You can call it a master plan or call it a menu of things that were possible in the building,” Cohen says. “It was not only for us to determine what was feasible or not feasible economically. One of the big issues in landmarks is combining technology with the desire to preserve the uniqueness and originality of the building.”
The idea of replacing the historic curtain wall with a new, double-glass, energy-efficient one had already been rejected by the Chicago landmarks commission, which was insistent that the outward look of the building not be altered. “We came up with a double-wall system that would in every way keep the appearance the same from the outside”—including five different samples of low-emissivity (or low-e) glass—“but they were not convinced,” Apking says. In addition, because Cohen submitted Inland Steel to be placed on the National Register of Historic Places, and then applied for a federal historic-preservation tax credit, all renovations had to pass the Register’s strict code. “They require that you maintain as much of the character-defining features as possible,” says Allen Johnson, a consultant on Inland Steel and the director of the Chicago office of MacRostie Historic Advisors.
The owner was also reluctant to embark on the kind of full-scale interior renovation that would have emptied the building, preferring instead to improve its efficiency and amenities while getting new tenants into the vacant floors. (The building is currently only 50 percent leased.) New bathrooms and elevator cabs were necessary to make the building handicapped-accessible, and energy-efficient HVAC systems were needed for the empty floors. In April, the City Council approved a $5 million Class L tax incentive for Inland Steel, a property-tax break that can be applied after a building is rehabilitated. Capital has decided to go ahead with two exterior green features, a green roof on the annex (a two-story building that originally housed the loading dock and mechanical plant) and a pocket park tucked between the annex and the office tower. The Richard Lippold sculpture in the lobby,Radiant I, will be refurbished, and the ceiling’s acrylic panels cleaned and realigned.
The ceiling on the mezzanine, one level above the lobby, will also be restored. “When originally designed, the mezzanine lighting was a continuous pattern of square light fixtures, with an exterior overhang on the north and south ends of the building,” says Emily Ramsey, an associate at MacRostie. “The effect was supposed to be of the office portion of the building floating above that recessed space.” At some point, the interior mezzanine lighting was removed and replaced with an acoustic dropped ceiling. The plan is now to replace that ceiling with reproductions of the original lights, based on those still extant on the overhang.
On the upper floors, some of the original white, perforated-steel ceil-ing panels still exist, and since the pattern of lights is visible from the street, they also count as character-defining features. Whether or not Capital can replace some or all of these ceilings, and in what manner, is currently under discussion. A number of original E.F. Hauserman panels, from an early demountable system, are also still in the building, and Capital may refurbish them and put them back in use. The Park Service, which administers National Register properties, “is interested in maintaining as much of the original interior as possible,” Johnson says. “One floor has the original furniture—a real Mad Men set design—along with the frosted-glass Hauserman panels.”
A combination of relatively small moves—better indoor-outdoor seals, energy-efficient lighting, and variable-air-volume systems (which allow for localized temperature control)—should increase the building’s efficiency, but it remains to be seen whether Capital will even get LEED certification for the existing building, let alone Platinum. Apking is understandably disappointed that more of the plan is not being implemented, but he believes that the master plan can serve as a blueprint in its particulars and as a topic for debate. He thinks Inland has fallen victim to a gap in the education of building owners and preservationists. “The focus on sustainability has fallen mostly to new construction,” he says. “But there is nothing more sustainable than using existing buildings.” Given the current economy, we will only be seeing more owners with 1960s and ’70s structures too expensive to tear down but unappealing in their current state. “It’s akin to the discussion over the last twenty-five years on accessibility,” Apking adds. “There was an emerging common understanding that landmark and historic buildings must be accessible, and everyone came together and developed a series of methods.”
That hasn’t happened yet around sustainability. This master plan suggests a method for making an old building as efficient as any new one, without altering its appearance. Inland’s new double-layer facade would have fit within the window frame of the old one, fulfilling Netsch’s original idea. The new ceiling would have replicated the striped light-ing pattern on the office floors, but it trumped the old SOM at integrating systems into a single sandwiched surface. “There has to be new technology that allows us to do that, or at least an understanding that there are technologies that can be layered into historic buildings later,” Apking insists.
SOM wanted to create new potential for Inland Steel (and new value for its owner) by making a landmark as innovative now as when it was new. The preservationists feel they must keep all the material that, incredibly, still remains, 52 years after its construction. So Inland Steel remains an icon of the past, when we have the ability, technology, and design skills to make it Platinum in the present. “Working through this process, we learned you can create a holistic approach for retrofits that is accessible and tangible,” Apking says. “It should be possible to create that product.”
Fred R. Conrad/The New York Times
Christopher S. Connelly, on the top floor erected at ground zero, got lunch to go on Wednesday without having to take an elevator to the street.
It will never make the Michelin Guide, but New York City’s newest restaurant is almost certainly one of the world’s most exclusive.Most of the patrons are drawn from an elite group of high-beam artists, namely ironworkers laboring hundreds of feet above the street. The dress code is severe: hard hat, overalls, safety vest and glasses. Security clearance and a union card are a must.
The restaurant, a Subway franchise, opened its door on Wednesday at the top of the steel honeycomb that forms 1 World Trade Center, the skyscraper rising at ground zero. The building will be the city’s tallest when finished in 2013, and the sandwich shop, currently sitting on the 27th floor, will rise along with it.
The shop was built by DCM Erectors, the same company that is putting up the 46,074 tons of steel girders and beams that will be lifted, bolted and welded into place at the 105-story skyscraper. The sandwich shop is one of four movable “pods” on hydraulic legs sitting on either side of two tower cranes; the other pods house offices, a shanty where workers can change clothes, and bathrooms for men and women. The bathrooms alone were considered a breakthrough for workers who previously had used bottles and slop buckets.
But despite advances in engineering, materials and safety, when it comes to lunch, ironworkers and other laborers are used to eating the way their literal and proverbial forebears did during the skyscraper boom of the 20th century: out of a lunch bucket, with a plastic cooler doing the job of the old metal pail.
Many workers, however, go out for lunch, and in a building the size of 1 World Trade Center, a 30-minute lunch break can stretch beyond 60 minutes, as workers line up and wait for the hoist that descends 40, 50 and 60 stories to street level, and then rises back up.
The array of pods cost $3 million, but the contractor hopes to recoup some of the expense in saved time. “The days of eating on top of a steel beam are long gone,” said Bill Grutta, a DCM vice president.
Each pod is made of nine cargo containers welded together and stacked three levels tall. In the dining pod, the Subway sits on the top level.
It is no different from any other Subway, with a kitchen, a walk-in freezer, a service counter and refrigerators for drinks. One level down, there is a heated and air-conditioned lounge with tables and chairs. A compost tank and an evaporator in the bottom container take care of all the solid and liquid waste.
Visibly nervous in a structure seemingly hanging in midair, Richard Schragger, an accountant turned restaurant franchise owner, stood behind the cash register offering free cookies to his burly patrons on the first day of business.
The menu, for now, is instantly recognizable to any connoisseur of the chain. But Mr. Schragger may add ready-to-heat lasagna, burgers, hot dogs and pretzels to the usual $5 footlongs to infuse the shop with a sense of variety. There is also talk of adding Papa John’s pizza. After all, he must cater to the whims of his clientele.
“I don’t think the veggies will be a big seller,” said Mr. Schragger, who owns four other Subways in Manhattan. “I imagine most of the guys will want protein. Philly Cheesesteaks and the Feast.”
Brett Davis, a young ironworker, was thrilled to be able to relax while eating his lunch, instead of having to race to and from the hoist. “I got an Italian B.M.T.,” he said, “what I always get from Subway.”
The shop is open to ironworkers, who work at the top of the building as it goes up, as well as laborers, concrete workers, electricians and others on the lower floors; at any time more than 1,000 people can be on the job site. But they are not required to eat at the Subway. Business was a little slow Wednesday for what Mr. Schragger called a “soft opening,” but he and DCM are hoping the shop will catch on.
“It’ll be real nice in the winter,” said Rod Carril, an ironworker.
DCM reviewed nine companies interested in opening a restaurant in an unfinished skyscraper. DCM wanted good food that could be prepared elsewhere and that required minimal packaging, so most of the waste could be “composted and compacted,” said Nancy Wickham, the DCM office manager who organized the selection process.
A local deli won hands down based on taste, she said, but was unable to operate under the special conditions required. A Canadian company’s coffee was deemed too weak for New York taste buds. Subway won on the basis of its business and financial plan, she said.
The ground zero Subway shop is now atop the chain’s list of unusual locations, which include an aluminum smelting plant in New Zealand, an air-conditioner plant in Georgia, car dealerships in California, a church in Buffalo and a riverboat in Germany.
But it is probably the only one whose 500-gallon water tank is replenished weekly by an even larger tanker lifted by a crane. DCM expects — or hopes — that the compost container will not have to be opened until the building is finished. The waterless toilets and urinals are cleaned by negative pressure that pulls the waste into an evaporator that turns much of the sewage into steam.
DCM is not charging rent and it will not share in the profit, but it will “subsidize Subway if they don’t meet projected sales,” Mr. Grutta said.
Mr. Schragger is optimistic.
“As the building goes up,” he said, “the views will be pretty nice. I’m sure it will be one of the most talked-about sites to come have lunch.”
and more pics here at http://www.archdaily.com/65151/ground-zeros-newest-restaurant/
|William Pedersen, FAIA, FAAR, is the Principal Design Partner of Kohn Pedersen Fox Associates, which he founded in 1976 with A. Eugene Kohn and Sheldon Fox. Under his direction, KPF has amassed a body of work that includes commercial buildings and institutional facilities, civic and cultural spaces, and mixed-use residential and retail projects in cities across the United States and throughout Europe, Asia and the Middle East. For his achievements and contributions to the built environment, Mr. Pedersen has personally received six AIA National Chapter Honor Awards and numerous Merit, Design Excellence and Distinguished Architecture Awards from various AIA state and city chapters. His work has also earned five Progressive Architecture citations, in addition to honors from the Society of American Registered Architects, Urban Land Institute, and the Council on Tall Buildings and Urban Habitat. Of particular note, his design for the Shanghai World Financial Center was the recipient of the Best Tall Building Worldwide Award in 2008.
Also of note, Mr. Pedersen was awarded the Gold Medal for lifetime achievement in architecture from Tau Sigma Delta, the National Honor Society for Architecture and the Allied Arts, and the Arnold W. Brunner Memorial Prize in Architecture for Contributions in Architecture as an Art, awarded by the American Academy and the Institute of Arts and Letters. Additional honors include the Rome Prize in Architecture from the American Academy in Rome, the Prix d’excellence from L’Ordre des Architectes de Québec, and a number of GSA Building Design Excellence and Honor Awards. Mr. Pedersen lectures internationally and has served on academic and professional juries and symposia throughout the world. He has been a visiting professor at the Rhode Island School of Design, the Otis College of Art and Design, Columbia University and Harvard University, and he has held the Eero Saarinen Chair at Yale University. Honored with the Herbert S. Greenward Distinguished Professor in Architecture by the University of Illinois at Chicago, he is currently a member of the University of Minnesota Foundation’s Board of Trustees and a recipient of the University’s Alumni Achievement Award. Following completion of his Master of Arch. degree at MIT, Mr. Pedersen worked as a designer with Pietro Belluschi and Eduardo Catalano. Prior to founding KPF in 1976, he was an associate at I.M. Pei & Partners and then Vice President of John Carl Warnecke and Associates.
|International Commerce Centre
Hong Kong, 2010
|DG Bank Headquarters
Frankfurt, Germany, 1993
|Shanghai World Financial Center
Shanghai, China, 2009
his bio @ KPF website:
William Pedersen is the principal Design Partner of KPF, which he founded in 1976 with A. Eugene Kohn and Sheldon Fox. KPF has earned the Architectural Firm Award from the American Institute of Architects and the Gold Medal of Honor by the New York Chapter of the AIA.
Bill has received the AIA National Honor Award six times in recognition of each of the following projects: 333 Wacker Drive in Chicago, Illinois (1984); the Procter & Gamble World Headquarters in Cincinnati (1987); the World Bank in Washington D.C. (1998); the New Academic Complex, City University of New York/Baruch College (2003); Westendstrasse 1/DG Bank Headquarters in Frankfurt, Germany (1994); and the Gannett/USA Today Headquarters in Virginia (2005). Other major projects include the highly publicized World Financial Center – now under construction – in Shanghai, and the New York Sports and Convention Center in Manhattan.
He received the Gold Medal for lifetime achievement in architecture from Tau Sigma Delta, the National Honor Society for Architecture and the Allied Arts. Additional honors include the Arnold W. Brunner Memorial Prize in Architecture for Contributions in Architecture as an Art (1985), awarded by the American Academy and the Institute of Arts and Letters; the 1990 University of Minnesota Alumni Achievement Award; and the Rome Prize in Architecture (1965), awarded by the American Academy in Rome.
Bill lectures internationally and serves on academic and professional juries and symposia. He has been a visiting professor at the Rhode Island School of Design, Columbia University, and Harvard University, and he has held the Eero Saarinen Chair at Yale University. He has also been the Otis Lecturer in Japan. In 1989, he was honored as the Herbert S. Greenward Distinguished Professor in Architecture at the University of Illinois at Chicago. He has degrees in architecture from the University of Minnesota and the Massachusetts Institute of Technology.