Archive for May, 2011

May 28, 2011

Taiyuan Museum | Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

In Progress: Taiyuan Museum / Preston Scott Cohen © Preston Scott Cohen

floor plan floor plan

floor plan floor plan

sections sections

Preston Scott Cohen‘s winning competition proposal for the  Museum of Art is currently under construction.  A cluster of buildings unified by continuous and discontinuous promenades both inside and outside. The building responds to the urban parkscape in which it is set; visitors are encouraged to pass through the building while not entering into the museum itself. An exterior ramp threading through the building connects the heterogeneous hardscapes, lawns and sculpture gardens. The integration of building and landscape registers multiple scales of territory ranging from the enormity of the adjacent Fen River to the intimacy of the museum’s own particular spatial episodes.

Architects: Preston Scott Cohen
Client:  City Government
Project Team:  (architectural design); Amit Nemlich (planning); Collin Gardner, Hao Ruan, Joshua Dannenberg (design assistants, modeling, renderings); Yair Keshet(model)
Project Consultants: Architecture Design and Research Institute of South East University
Project Area: 32,500 sqm
Project Year: 2007-2010

Inside, the security of museum space is maintained by a highly controlled interface between gallery and non-gallery programs including an auditorium, bookstore, restaurant, library, education center, and administrative wing. The individual sets of elevators and cores are distributed to guarantee easy access and easy divisibility between zones regulated by different schedules and rules of access. At the garage level, the services are intricately planned in order not to interfere with parking lots for staff and public.

The museum galleries are organized to ensure maximum curatorial flexibility. The galleries can be organized into a single, spiraling sequence for large chronological exhibitions or into autonomous clusters operating independently. For visitors architectural cues offer – the placement of ramps and portals, the expansion and contraction of space – provide a means of wayfinding. The building gives visitors the freedom either to follow a predetermined chronological sequence or to skip from one set of galleries to another, in a nonlinear fashion.

Exterior light weight honeycomb panels with stone veneer produce an evocative and elusive material effect and the perception of an exceptional scale. The panels are reflective as if metallic, seemingly too large to be stone panels, but clearly possessing the properties of both materials. Advanced parametric software allowed panels to conform to standard widths, reducing material waste.

May 25, 2011

MAS (Museum aan de Stroom), Antwerp, Belgium | Neutelings Riedijk Architects

Museum aan de Stroom in Antwerp, Belgium by Neutelings Riedijk Architects (Photo: Sarah Blee / © Neutelings Riedijk Architects)

Evening View East (Photo: Sarah Blee / © Neutelings Riedijk Architects

all drawings/pics is © Neutelings Riedijk Architects.

The new Museum Aan de Stroom (MAS), designed by Rotterdam-based Neutelings Riedijk Architects as a sixty-meter-high tower landmark in Antwerp, Belgium, has recently been completed. During one week in May, the public could visit the new building on guided tours. Now the MAS will be closed for another year to move the collection and set up the exhibitions. Official opening is foreseen in Spring 2011.

MAS seeks to become a contemporary museum of, for and about the city and the world. Visitors will discover how Antwerp and the world have been indisputably linked with one another for hundreds of years. In it, they will recognize hand prints as the traces left by others among us, and vice versa, they will understand Antwerp’s imprint on the world. The new museum gathers ethnological, maritime, ethnic and art historic collections in a new surprising story, so MAS announces.

Following is a description of the museum we received from Neutelings Riedijk Architects:


The new museum is between the old docks in the heart of “Het Eilandje”. This old port area is the major urban renewal project in the center of Antwerp and is developing as a vibrant new city district.


The MAS is designed as a sixty-meter-high tower. Ten gigantic natural stone boxes are piled up as a physical demonstration of the gravity of history, full of historical objects that our ancestors left behind. It is a storehouse of history in the heart of the old docks.

Each floor of the tower is twisted a quarter turn, so that creates a huge spiral staircase. This spiral space, which is bordered by a wall of corrugated glass, is a public city gallery. A route of escalators carry visitors up from the square to the top of the tower. The spiral tower tells the story of the city, its port, and its inhabitants.

At each floor the visitor can enter the museum hall and go into the history of the dead city, while on his way to top breathtaking panoramas of the living city itself unfolds. At the top of the tower are a restaurant, a party room and a panoramic terrace, where the present is celebrated and the future planned.


Façades, floors, walls and ceilings of the tower were completely covered with large slabs of red Indian sandstone hand cleaved, making the image of a monumental stone sculpture. The four colors of the stone slabs based on a computerized pattern are dividend on the façade.

The spiral gallery is lined with a huge curtain of corrugated glass. With its play of light and shadow, transparency and translucency of the undulating glass facade brings a lighthearted counterweight to the gravity of the stone sculpture.

To soften the monumental tower volume a pattern of metal ornaments has been put like a veil over the façade. The ornaments are shaped like hands, the logo of the City of Antwerp. Inside the building, this pattern continued through metal medallions, molded by a design of Tom Hautekiet with a text of Tom Lanoye.


The Museum square at the foot of the tower is an integral part of the design. The square is decorated in the same red stone as the tower and surrounded by pavilions and terraces, as an urban space for events and outdoor exhibitions. The central part of the square is half sunken and forms a framework for a large mosaic of Luc Tuymans.

Project Details:
Program: New Development | Museum for City History Antwerp, Museum, Restaurant, Party Room, Pavilions, Plaza
Surface area: 19,557 m2 Floor surface, 11,415 m2 Outdoor construction
Construction costs: € 33.409.000 (including construction of the pavilions and plaza, excluding design, scenography, VAT, fees and indexing)
Location: Hanzestedenplaats | 2000 Antwerp | Belgium
Design: International Competition | 1st Prize | April 2000
Start construction: October 2006
Realization: February 2010
Architectural design: Neutelings Riedijk Architects | Rotterdam | The Netherlands

here is the ARCHITECTURAL RECORD article:

Client: City of Antwerp in cooperation with AG Vespa

Completion Date: February 2010

Program: A ten-story, 210,510-square-foot museum of the city of Antwerp, with exhibition galleries, a restaurant, an event space, and a panoramic terrace, as well as a plaza that includes a museum shop and a mosaic by Luc Tuymans. The project is part of the renewal of the city’s once-busy harbor district, which now includes residential towers, the city archive, and the ballet.

Design Concept and Solution: The architects wanted to design a monument to Antwerp’s history while spotlighting the city in its present form. Shaping the museum like a monolithic sculpture, they cantilevered all ten stories and rotated each of them a quarter turn, like steps in a spiral staircase. To extend the sculptural metaphor they selected a tactile cladding—red sandstone from India, hand-cut and unpolished—and countered its heft with a facade of corrugated glass that spans the gaps created by the cantilevers. The glass-and-sandstone facade forms a kind of vertical gallery with views overlooking the city. Visitors ascending the gallery on escalators can cycle through a short exhibition telling the story of Antwerp; those who venture into the heart of the museum receive the full version as they pass through a series of black-box rooms featuring exhibits and audiovisual displays.

Total construction cost: € 33.4 million


City of Antwerp in cooperation with AG Vespa

Neutelings Riedijk Architects
P.O. Box 527
3000 AM Rotterdam
The Netherlands
Phone +31 (0)10 404 66 77
Fax +31 (0)10 414 27 12

Personnel in architect’s firm who should receive special credit:
Architectural design: Neutelings Riedijk Architects | Rotterdam | The Netherlands

Structural design: Bureau Bouwtechniek | Antwerp | Belgium

Constructive design: ABT België | Antwerp | Belgium

Building physics: Peutz bv ingenieuze adviseurs | Mook | The Netherlands

Installation design: Marcq & Roba | Brussels | Belgium

Fire safety: IFSET International Fire Safety Engineering Technology | Asse | Belgium

Medallions: Tom Lanoye (text) and Tom Hautekiet (design) | Berchem | Belgium

Plaza mosaic: Luc Tuymans | Antwerp | Belgium

General contractor: 
THV MAS | Antwerp
Cordeel (
Interbuild (
Willemen (

Photographer(s): Sarah Blee , Scagliola/Brakkee


Nature stone: BTA (
Gillet – Loveld (

Curved glass: Sunglass (

Precast architecture concrete: Prefadim (

Concrete cast on site: Casais (

Foundation: Franki (

Wooden flooring: Rudy de Keyser Wood Industry (

Coraco, Gielissen Neos (
Labo Potteau (
L&Z (
ATM Maaseik (

Heating / cooling: Imtech (

Electricity: Evip (

Sanitary: de Bie & Veba (

Lifts: Coopman (

Escalator: Kone (

May 24, 2011



The Kansas City firm does not just advocate for building green, but has come to drive the sustainable-design movement—leading by example, always.







By:David R. Macaulay

rinciple for Kansas City, Mo.’s BNIM. Over its 40-year history, Berkebile Nelson Immenschuh McDowell has amassed a diverse portfolio of regional and national projects, winning more than 350 awards for design, planning, and leadership. Two national AIA presidents—as well as six local chapter presidents—have come from within its ranks. During the late 1980s and 1990s, members of the firm were catalysts in the formation of the AIA’s Committee on the Environment (COTE) and the U.S. Green Building Council, plus LEED and other sustainability standards.

With 17 LEED Platinum projects, one of the first-ever living buildings to its name, and its efforts to create the first carbon-neutral communities and campuses in the world, BNIM continues to innovate, pushing boundaries with a sustainable, integrated approach that embraces the concept of regenerative design. Here’s a look at some of the firm’s milestones of this century so far, and where it’s headed next.

David & Lucile Packard Foundation Sustainability Report and Matrix, Los Altos, Calif., 2001

“What if?” BNIM’s leaders asked their clients at the Packard Foundation this question. What if building performance could go well beyond LEED, with zero negative impact on the environment, while setting a completely new standard for energy efficiency?

Created during the goal-setting process for the foundation’s proposed new headquarters, the Sustainability Report and Matrix examines six levels of design—from Market Building to LEED Platinum and beyond—offering a more holistic understanding of land, water, and energy consumption. Equally important, this new tool outlined the broader implications of each design scenario, including the source of materials and environmental and societal costs, as well as the impact of a building over the next 100 years.

BNIM’s Packard Matrix presented a compelling case for new green building technologies and laid the groundwork for the Living Building concept (the Living Building Challenge was launched in 2006). “We wanted to move beyond energy efficiency, to look at biodiversity and human health and productivity and, ultimately, the idea of a living system that would restore the environment,” recalls Bob Berkebile, FAIA.

Bannister Federal Complex, Kansas City, Mo., 2004

BNIM’s dynamic renovation transformed two bays of this dark WWII-era warehouse into a colorful, light-filled work environment for the Federal Supply Service (FSS). A new atrium and skylights introduce daylight into the 18,000-square-foot regional office, and individual work areas benefit from an underfloor air-displacement system to improve comfort. Today, the FSS reports dramatic productivity gains among employees since opening the office, with an 80 percent reduction in back orders and 60 percent faster fulfillment of new orders.

BNIM’s long tradition of adaptive reuse extends from the St. Louis Old Post Office (1983) to Kansas City’s Folly Theater (1974–2000) and Union Station (1999) and the corporate offices of Kansas City Power & Light (2009), a LEED Gold interior renovation where energy performance improved by more than 40 percent. “We try to identify what’s really important: what represents the cultural memory of a building or group of buildings,” notes Steve McDowell, FAIA. “Only then do we look for ways to integrate high performance and contemporary sustainable thinking within that historic fabric.”

Lewis and Clark State Office Building, Jefferson City, Mo., 2005

Reminiscent of the limestone bluffs overlooking the Missouri River, this 120,000-square-foot headquarters for the Missouri Department of Natural Resources serves as a green building prototype for the state to showcase a wide array of affordable, replicable design strategies. Despite a restrictive state budget, already two years out of date when the project launched, extensive team collaboration elevated the building from LEED Gold to LEED Platinum.

At Lewis and Clark, BNIM used an integrated design process to achieve high building performance levels—a process that typically relies on input from all stakeholders, including consultants, contractors, clients, and even nontraditional participants such as botanists and artists, to guide design decisions. The firm reinforces this practice on every project.

“We know now that you can’t achieve true sustainable design without bringing everyone to the table, by listening to their voices early,” says Laura Lesniewski, AIA. “No one knows as much as everyone.”

Greensburg Sustainable Comprehensive Master Plan, Greensburg, Kan., 2008

In the aftermath of an F-5 tornado that leveled 90 percent of their rural Kansas town, the citizens of Greensburg rethought their streets, schools, homes, and businesses as a model green community. The BNIM-led sustainable comprehensive master plan and Main Street Streetscape draw on innovative stormwater management, material use, and energy-efficiency measures. The firm’s contributions also include a new LEED Platinum K–12 school for the city, an AIA COTE award winner this year.

Revitalizing communities affected by disaster is a fundamental tenet of BNIM’s planning work. After assisting with the relocation of two Mississippi River towns following the Great Flood of 1993, its sustainable disaster-response and recovery efforts extended from New Orleans (2005) to Haiti (2010), Nashville (2010), and now the flood-prone city of Fargo, N.D.

“By engaging the entire community in a collaborative dialogue, they were able to create their own vision, to generate unique opportunities for change they never knew were possible,” Berkebile says.

Omega Center for Sustainable Living, Rhinebeck, N.Y., 2009

As a design statement on water—understanding, reclaiming, treating, and using it wisely—the Omega Center succeeds powerfully. BNIM incorporated an Eco Machine for primary treatment of wastewater, as well as a water garden and constructed wetland. Housed within a 6,200-square-foot building, this biological system serves as a vital teaching tool to educate Omega visitors on water issues. The facility received both LEED Platinum and Living Building Challenge certification.

Beyond Omega, BNIM continues to press for next-generation practices within the profession—accelerating the adoption of net-zero architecture, whole systems and citywide planning, and regenerative design thinking.

“We need to take responsibility for figuring how to achieve these remarkable feats in energy and water performance, as well as considering economics, nature, and the overall well-being of the people who are going to use these buildings and places,” McDowell says. “As designers, we can redefine our practice and lead that change.”

here watch the video of interview with the boss:

May 24, 2011

KFW Westarkade | Sauerbruch Hutton

A new bank headquarters in Frankfurt may well be the world’s most energy-efficient office tower.

By Ulf Meyer

KFW Westarkade

The sawtooth-shaped outer skin of the new KfW building includes multicolored automated flaps that open, depending on the weather.
Photo © Jan Bitter
KFW Westarkade
When viewing the exterior facade from some locations, its colors are invisible.
Photo © Jan Bitter
KFW Westarkade
Operable windows line the inner face of the double-skin facade.
Photo © Jan Bitter
KFW Westarkade
When viewing the exterior facade from some locations, its colors are invisible.
Photo © Jan Bitter
KFW Westarkade
Fresh air is vented through the corridors and then supplied to the offices and to the building core.
Photo © Jan Bitter
KFW Westarkade
The tower’s airfoil shape and encircling cavity make the most of prevailing winds for natural ventilation. The cavity also provides protection from solar gain.
KFW Westarkade
KFW Westarkade
KEY PARAMETERSLocation Frankfurt, Germany(Main River watershed)

Gross area 420,000 ft2 (39,000 m2)

Completed May 2010

Annual purchased energy use (based on simulation)24 kBtu/ft2 (277 MJ/m2)

Annual carbon footprint (predicted) 9 lbs. CO2/ft2 (43 kg CO2/m2)

Program Subdivisible project rooms, adaptable workstations, laboratory, monitoring room, director’s office, and conference room

Shrouded in shades of many colors, it is a building that claims to be green. And so it is. It is not often that a midsize bank building has good reason to make that claim, but the new 400,000-square-foot, $85 million expansion of the headquarters for the KfW Bank in Frankfurt, designed by Sauerbruch Hutton Architects of Berlin, does. If it performs as intended, the building will consume about 7 kWh (24,000 Btu) per square foot per year, making it one of the world’s most energy-efficient office towers.

KfW, an abbreviation for Kreditanstalt für Wiederaufbau, or Credit Buro for Reconstruction, was founded in 1948, largely with money from the post-World War II European Recovery Program, also known as the Marshall Plan. Today, it is owned by the German government and is one of the 10 largest banks in the country, employing 3,500 people. Among its many initiatives is the funding of Germany’s ambitious energy-conservation programs, including existing building retrofits and photovoltaic panel installation. Since 2006, KfW has distributed $1.4 billion for CO2reduction programs that stem from the Kyoto Protocol. The bank also defined KfW-40 and KfW-60—two widely cited energy standards used as credit criteria.

Being at the forefront of Germany’s tough energy policies, it was only logical that the bank would want a green building when the need to expand its existing headquarters arose. The German-British architecture duo of Matthias Sauerbruch and Louisa Hutton, selected in 2004 as the result of a design competition, were no strangers to this task. Among their many ambitious green projects is Berlin’s GSW building, completed in 1999 and widely regarded as one of the world’s first environmentally friendly high-rise towers.

The recently completed KfW fits remarkably well into the context. Situated in Frankfurt’s affluent Westend neighborhood, the building, known as the Westarkade, provides office space for 700 employees and includes a conference center. At its base, the building has a curvy four-story podium that reinforces the street edge and defines a small green space to the rear. It also serves as a backdrop to the nearby Palmengarten or Palmtree Garden, a public botanical garden. The podium connects to the adjacent KfW buildings on several levels, so the building forms an extension to the KfW ensemble of buildings from the seventies, eighties, and nineties.

The 10-story tower that rises from the podium has a flowing form that responds to prevailing wind directions and the sun’s daily and yearly path. Yet it is also reminiscent of the jazzy architecture of the late forties and early fifties, the era when the bank was founded. According to Sauerbruch Hutton Project Architect Tom Geister, the tower is shaped like a wing in order to maintain access to daylight and the best possible views for the occupants of the neighboring KfW buildings.

Energy models predict that the new building’s primary or source energy consumption for building operations (excluding the data center and other process loads) will be only 9.1 kWh per square foot. Monitoring by researchers from the University of Karlsruhe, to be completed this summer, will determine if the model was accurate. The simulation was conducted according to the parameters of the German EnEV 2004, the country’s strict guidelines for building insulation and energy conservation.

A number of tightly coordinated strategies should help the building meet its ambitious targets. These include thermal activation of the slabs and a recovery system that captures heat from the data processing center and from exhaust air. A supplemental raised floor ventilation system, used only when outside temperatures are below 50°F or above 77°F, supplies fresh air drawn through a duct buried beneath a below-grade parking garage. The duct carries the air from an intake louver located at the site’s edge near the botanical garden, modulating it with the constant temperature of the earth.

The building’s most unusual feature is a specially devised double-skin facade, dubbed a “pressure ring” by the design team. “Originally we wanted to call it a ‘gauge-pressure ring,’ but we thought that would sound intimidating,” says Bjoern Roehle, a physicist in the Munich office of Transsolar KlimaEngineering, the firm responsible for the building’s climate-control concept.

The envelope consists of an encircling sawtooth-shaped cavity, 28 inches wide at its deepest point. It encloses automated blinds that help block solar gain and control glare. This “ring” is defined on the exterior by a skin made up of fixed, tempered-glass panels and colorful ventilation flaps, and on the interior by alternating operable and fixed argon-filled insulated glazing units incorporating a low-E coating. The dynamic system negates the effects of variable pressure around the building, enabling natural ventilation much of the year. It also allows occupants to open windows in the inner skin, regardless of the season, without drafts or heat loss. The system reduces detrimental cross ventilation—a typical problem in high-rise buildings with operable windows—to a “convenient minimum,” explains Geister.

The building has a roof-mounted weather station that monitors wind direction and speed, among other factors, and controls the outer skin’s ventilation flaps. Depending on conditions, the building management system opens or closes the flaps to introduce fresh air and create a zone of consistent pressure surrounding the curtain wall’s inner skin, while also producing a slight pressure differential between the cavity and the building’s interior. The air is then drawn into offices through floor vents near the perimeter, or through the occupant-controlled windows, and subsequently exhausted naturally to the negatively pressurized corridor, and ultimately through the building core.

Colorful facade panels, also deployed at GSW and by now a signature Sauerbruch Hutton device, animate the elevations. In the Frankfurt building, the architects combined red, blue, and green panels, with a different hue dominating each elevation. This colorful and innovative envelope, along with the building’s highly coordinated climate-control systems, should help KfW establish a new benchmark for red, blue—and, of course, green—design in Europe.

Ulf Meyer is an architectural writer and educator based in Berlin and the U.S. He was named the Hyde Chair of Excellence 2010 at the Univ. of Nebraska-Lincoln.

Owner KfW Bankengruppe
Architect Sauerbruch Hutton
Commissioning agent Green Building Services
Engineers Transsolar Energietechnik (energy concept); ZWP Ingenieur-AG, Köln (mechanical); Reuter Rührgartner (electrical); Werner Sobek (structural/facade)
Consultants Mosbacher & Roll (facade); Sommerlad Haase Kuhli (landscape); Licht Kunst Licht (lighting); Müller-BBM (acoustical)

Metal/glass curtainwall FKN/Wicona (glass facade) BGT, Bischoff Glasstechnik (colored glass)
Cabinetwork/custom woodwork Westermann (conference wall)
Doors Schörghuber; Hörmann; Blasi
Wallcoverings (corridors) Rehau; Thermopal; Kronospan
Paneling Federle Westermann (partition)
Special surfacing Pleyers. bau innovationen
(high grade plaster)
Floor and wall tile Jura Kalkstein (natural stone, ground floor); Villeroy & Boch (tiles)
Elevators/escalators Schindler
Interior ambient lighting Zumtobel

May 23, 2011

27 The Project – Teaser, #1 & #2

27 The Project – Teaser

#1: SPAIN Fabrizio & Alberto

#2: DENMARK Bjarke Ingels

About 27 from
27” is a joint venture between a filmmaker, two architects and a designer. They travel together to meet people engaging in the process of making the Europe of tomorrow. “27” is a journey into the heart of contemporary European architecture, under a permanent state of mutation. 27countries, 27 cultures, 27 architects build according to their own rules, and their own history while giving contribution for the construction of a common space : Europe.

May 23, 2011

Thomas Heatherwick: Building the Seed Cathedral

A future more beautiful? Architect Thomas Heatherwick shows five recent projects featuring ingenious bio-inspired designs. Some are remakes of the ordinary: a bus, a bridge, a power station … And one is an extraordinary pavilion, the Seed Cathedral, a celebration of growth and light.

Thomas Heatherwick founded Heatherwick Studio in 1994 with his aim being “to bring architecture, design and sculpture together within a single practice.” On the team, architects, landscape architects, designers and engineers work from a combined studio and workshop, where concept development, detailing, prototyping and small-scale fabrication take place. The studio’s work spans commercial and residential building projects, masterplanning and infrastructure schemes as well as high profile works of public art.

From his biography at the Design Museum :

Heatherwick finds pleasure in what other designers might perceive as unconventional commissions, like the entrance and carpark for Guys Hospital, near London Bridge. He responded with an organic woven façade, created from stainless steel braid that requires little maintenance and creates a new system for routing traffic. In this context, what Heatherwick cites as his dream design job is unsurprising: a large-scale car park for the 1970s new town, Milton Keynes. “It’s is a weird place but I find it exciting because its infrastructure is taken so seriously,” Heatherwick explains, “It needs multistory car parks. But what world-class example of a well designed car park can you think of? There’s not much competition and they’re a very cheap building typology so you could build the best car park in the world for a fraction of the cost of the fanciest new art gallery… I’d like to work on the world’s best car park.”

May 23, 2011

contextual approach in Facade | 109 architectes

USJ Campus de L’Innovation et du Sport, B 

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

Site Plan Site Plan

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

Site Plan Site Plan

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © Patrick Helou

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

USJ Campus de L’Innovation et du Sport / 109 architectes © 109 architectes

Architects: 109 architectes
Client: Université Saint-Joseph (USJ)
Partner in Charge: Ibrahim Berberi
Architect in Charge: Nada Assaf TEAM: Rani Boustani, Etienne Nassar, Emile Khayat, Naja Chidiac, Richard Kassab
Project Area: 57,000 sqm
Photographs: 109 architectes

This new campus takes a contextual approach, integrating physically, culturally, and historically with ’s urban tissue. Conceptually an urban block with sculpted voids, the building’s hollow spaces define six autonomous blocks and construct multiple viewpoints across , connecting students to their dynamic setting.

The voids also generate a street-level meeting space, which flows fluidly to the top floor in the form of a massive staircase. It concludes at a landscaped terrace overlooking the city.

Light is a vital element in oriental architecture and one that shapes its style and identity; the campus exposes alternate light qualities through Moucharabieh-inspired perforations and a polycarbonate volume. Such manipulation presents a striking contrast in filtered light and luminescence. A stylized random-opening treatment is a snapshot of the Lebanese War, lending a poetic glimpse into the reality of destruction and violence.

May 23, 2011

it was a parking lot ! | ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

University of Oregon John E. Jaqua Academic Center for Student Athletes / ZGF Architects Courtesy of ZGF Architects

The John E. Jaqua Center for Student Athletes at the University of Oregon explores the limits of transparency and connectivity to provide the UO’s student-athletes a place to gather as a community focused on study and learning. The challenge of creating a tranquil environment where students feel connected to natural landscape elements and daylight was heightened by the chosen location: a busy intersection between campus and the city of , on the site of a former parking lot at one of the major campus entrances.

Architects: Zimmer Gunsul Frasca Architects, LLP
Project Area: 40,000 sqf
Photographs: Courtesy of 

The notion of a fertile, natural environment to invigorate and inspire learning was the premise on which the design concept was based. The glass structure rests on a “table of water” and a birch forest celebrates the region’s natural environment. A “double wall” facade addresses acoustic isolation, thermal insulation, and control of available daylight within the building. The walls consist of five elements that create a dynamic response to orientation while reinforcing the concepts of transparency and connectivity. A prismatic, vertical stainless steel screen within this facade provides shading, thermal comfort, and ability for heat harvesting (which reinforces the natural convection within the vessel) as well as visual privacy for the inhabitants. The glazed facade and interior spaces are composed on a rigorous module to achieve an uninterrupted visual connection between internal rooms and the larger garden beyond. The reflectivity of the glass and water obscure the boundary between the building and surrounding landscape.

Authenticity to the  student athlete experience was a key design driver, as was the celebration of the success of student-athletes in the pursuit of knowledge and athletic achievement. An atrium forms the “heart” of the building. The atrium walls are infused with graphic displays that relay the heritage of athletics at the University. It also includes a scoreboard-inspired wall listing upcoming tutorial appointments for student-athletes.

Through the seamless integration of art, environmental graphics and architecture, the facility serves as a pantheon of student athletic achievements. For example, the “A Few Who Just Did It” wall celebrates the post-graduate academic achievements of notable former student-athletes, including the faces of author Ken Kesey, Nike co-founder Phil Knight and Ann Bancroft (the first woman to cross both the North and South Poles), engraved in 8×8 square oak blocks. On another atrium wall, a three-story mural is constructed of 10,000 small 3×3 photos of student-athletes acid-etched onto stainless steel and assembled in a large-scale pixilated pattern such that Albert Einstein’s face emerges when viewed from a distance. This mural depicts the life of student athletes at the University, dating the building as circa 2009 when the photos were captured. Other elements include floor engravings of Academic All-American honorees, a color and sandblasted glass wall celebrating PAC-10 All Academic recipients and a stairwell that contains the names of more than 4,000 lettermen that graduated from the University between 1945 and 2009.

University of Oregon John E. Jaqua Academic Center for Student Athletes

University of Oregon John E. Jaqua Academic Center for Student Athletes

University of Oregon John E. Jaqua Academic Center for Student Athletes

University of Oregon John E. Jaqua Academic Center for Student Athletes

Client: University of Oregon

Completion date: January 2010

Program: A 40,000-square-foot, three-level academic center for student athletes. The ground floor includes a public café, an auditorium, and an atrium; the two floors above, open to student athletes only, feature a 114-seat auditorium, tutor rooms, faculty and advising offices, a computer lab, a graphics lab, and a library.

Solution: The architects sought to turn a bustling site—a former parking lot at a busy intersection—into a tranquil, light-infused building that evokes the natural environment. Because of the site’s prominence, they designed the center to have four public facades. Each is composed of two glass walls divided by a prismatic stainless steel screen, whose triangular bars reflect light back inside. The Jaqua Center stands on a table of water, and the resulting reflections blur the distinction between building and landscape. The ZGF team kept the materials palette minimal, leaving some concrete shearwalls exposed and using Oregon white oak for the floors.


University of Oregon

ZGF Architects LLP
1223 SW Washington Street, Suite 200
Portland, OR 97205
P: 503-224-3860
F: 503-224-2482

Personnel in architect’s firm who should receive special credit:
Bob Packard, Associate AIA – Partner-in-Charge
Gene Sandoval, Associate AIA – Design Partner
Randy Stegmeier – Principal Interior Architect (Firm 151)
Jan Willemse, AIA, LEED AP, Registered Architect – Technical Design Partner
Robert Snyder, AIA, LEED AP, Registered Architect – Project Manager
Jennifer Russina, Associate AIA, LEED AP – Project Designer
Walker Templeton – Project Designer
Yoshiyuki Watanabe – Project Designer
Jenn Ward – Interior Architect (Firm 151)
Trent Thelen, ASLA, LEED AP, Registered Landscape Architect – Landscape Architect

Man Hui Chan, Graphic Designer

Interior designer: 
ZGF Architects LLP

Structural Engineers: KPFF Consulting Engineers

MEP Engineers: Interface Engineering

Façade Engineers: Arup

Civil Engineers: Harper Houf Peterson Righellis, Inc.

Geotechnical Engineers: Geotechnical Resources, Inc.

Landscape: Charles Anderson Landscape

Lighting: Interface Engineering

Acoustical: Altermatt Associates

Other: Firm 151

General contractor: 
Hoffman Construction Company

Ron Cooper

Eckert & Eckert, Pete Eckert

Basil Childers

CAD system, project management, or other software used:
CAD: Autocad
CA Software: Attolist


Structural system
Reinforced Concrete frame with post tension concrete slabs

Exterior cladding
Masonry: Mutual Materials Ground face CMU

Metal/glass curtainwall: Benson Industries, Inc.

Concrete: Marion Construction, Salem, Oregon

Elastomeric: Firestone Ultraply TPO

Aluminum: Benson Industries, Inc.

Glass: Viracon

Skylights: DeaMor

Entrances: Blasi GmbH

Metal doors: Styles Custom Metal Inc

Wood doors: Oregon Door

Sliding doors: Custom made by Straght-up

Fire-control doors, security grilles: Side coiling by Woodfold-Marco MFG

Locksets: Schlage

Hinges: Ives, Ezy

Closers: LCN, Dorma, Rixson

Exit devices: von Duprin

Pulls: Tice Industries

Security devices: Bosch, Sentrol, American Magnets, Altronix, Indala, Pelco, Radionics.

Cabinet hardware: Tice Industries, Blum, Hafele, Accuride

Interior finishes
Cabinetwork and custom woodwork:
Lamer Woodworking
Straight Up Carpentry
Legend Custom Woodworking

Paints: Sherwin Williams

Writable/Projectable surface: Egan Visual, Egan Wall

Custom Graphic Wallcoverings: Infinity Images

Wood Panelling, White Oak custom plank widths:
Straight Up Carpentry
Legend Custom Woodworking

Special surfacing:
tackable , writable, projectable surfaces:
Egan Visual, EganWall
Culver Glass, glass, custom backpaint
MDC wallcovering, tabrasa idea paint
Forbo, 2202

Solid surface: CaesarStone, BlissardCorian, Nocturn + Glacier White

Floor and wall tile:
café + restrooms:
datile, colorbody
jr glass, rainbow crystal

Resilient flooring:
White Oak Wood Flooring, custom plank width
Branson Hardwoods

InterfaceFLOR, carpet tile, Superflor, primavera berber beige
Bentley prince, custom match to pantone

Office furniture:
Wood Desks [custom]:

custom white oak
Mfr:  Lamer Woodworking

desk chairs:
eames aluminum group, leather to match pantone
Mfr:  Herman Miller

additional seating:
custom pouf
Mfr:  Moroso
Upholstery: Maharam, Divina Melange

side chair:
344 fin chair, white oak
Mfr: de la espada

Nur Pendant
Mfr:  Artemide

desk accessories:
Mfr[s]:  Moss, Blomus,Neo-Utility, Plus-One, Vitra

Reception furniture:
Atruim + reception area
Banquet chairs: Vitra –  stacking mvscustom color to match pantone
Custom white oak reception desk: Faustrollean
Desk chairs: Herman Miller – eames aluminum group, leather to match pantone
Dustom benches, Upholstery: Maharam, Divina Melange – Moroso

Café + entry lounge
Custom, white oak booth: Lamer Woodworking
Custom, white oak computer bar: Lamer Woodworking
Custom “O” sofa, leather upholstery, custom color to match pantone: Moroso
Exterior furniture + umbrellas: lepere – coro

Living room waiting area Upholstery:
Ottomans: Moroso – Fjord, custom upholstery leather + wool
Sofa: Moroso – malmo, custom upholstery leather + wool
Lounge chair: Moroso – Bloomy Armchair, custom upholstery leather + wool
Lounge Chair:  Moroso – fjord swivel custom upholstery leather chair
Area rug: Moroso –  bravoure, 661

Fixed seating:
Mfr: poltrona frau
pitagora, leather upholstery, custom color to match pantone

Conference rm chairs:
eames aluminum group, executive, custom leather to match pantone
Mfr:  Herman Miller

Side Chairs [throughout]:
344 fin chair, white oak
Mfr:  de la espada

Bar + Counter Stools [throughout]:
Slab Stool
Mfr:  Tom Dixon [Inform Interiors]

conference rm table:
custom white oak and glass
Mfr: Master Furniture Makers, LLC

Tutor Rm Tables [small + large], 
Custom white oak
Mfr:  Lamer Woodworking

Tutor Lounge, Staff Lounge, Life Skills Tables:
Custom white oak
Mfr:  Lamer Woodworking

Tutor Lounge, Staff Lounge, Life Skills SideTables:
Highlands and Springfield
Mfr: Moroso

Mfr:  Bensen [Inform Interiors]

Interior ambient lighting:
Ingo Maurer, custom pendants to match pantone[s] at Cafe
Artemide, various [see attached spreadsheet]
Color Kinetics
Tom Dixon

Downlights (and Uplights):
Focal Point
Color Kinetics

Task lighting:

Color Kinetics


Elevators/Escalators: Kone

Plumbing Fixtures: Elkay, Hans Grohe, Toto, Kohler, Chicago, Duravit

Exterior water feature: design by Waterline

Add any additional building components or special equipment that made a significant contribution to this project:
RayGun Digital
Pacific Window Tint
Lamer Woodworking
Engrave Your Tech
Square Root Industries
Ted BlockerHolster
Master Furniture Makers, LLC
Tice Industries
Kelly Reid Consulting

May 23, 2011

prefab concrete panel in facade | Carreño Sartori Arquitectos

Salamanca City Hall / Carreño Sartori Arquitectos © Courtesy of Carreño Sartori Arquitectos

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Section A Section A

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Site Plan Site Plan

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Salamanca City Hall / Carreño Sartori Arquitectos © Courtesy of Carreño Sartori Arquitectos

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Salamanca City Hall / Carreño Sartori Arquitectos © Cristóbal Palma

Architects: Carreño Sartori Arquitectos / Mario Carreño Zunino, Piera Sartori del Campo
Location: Salamanca, Chile
Collaborator: Pamela Jarpa Rosa
Client: Municipality of Salamanca
Construction: INCOBAL Construction
Structural Engineering: SyS. Mauricio Sarrazin A.
Electrical Engineering: ICG S.A.
Services: Roberto Pavéz
Project Area: 4400 sqm
Project Year: 2008-2010
Photographs: Cristóbal Palma

The city of Salamanca, is located in an inner valley at the base of the Choapa River, a minning and rural area. The surrounding landscape includes a long narrow agriculture strip surrounded by vertical arid slopes. This project introduces a new height for the present low construction city. This height does not mean a tower that can be seen from outside, but instead a five floor building understood as an interior in relation to the valley.

The site is adjacent to the city’s main square, Plaza de Armas de Salamanca. The first intuition was to start the building tour from enlarged public sidewalk, thinking the building as part of an urban situation.

The building contains a ramp system, which runs through an interior space opened to the landscape from ground level up to the terrace on the top floor, bringing together the various municipal services. To receive the ramps, two independent structures are based from the ground floor with a level mismatch. The ramps connect both volumes, complemented by two staircases -one at each end- which serves as shortcuts for work teams and the public.

This whole space where programmed complexity converges, receives a large number of people daily, consolidating the public nature of the building. This building proposes a meeting place for a tight community, as it is a town of no more than 12,000 inhabitants. All floor levels open to this main space, where worker teams receive the public in a relaxed atmosphere, brought inside the building by distant landscape views.

The physical attributes of the interior are activated to ventilate the place by convection, taking air in an underground yard and venting it in the top. It is naturally illuminating with a skylight at the top of the route and a  wall facing north. With an eave six meters wide, the building regulates the light in winter and summer, in the geometric relationship with the south hemisphere solar tour.

The journey upward from the urban ground to the fourth floor progresses from public to private with public programs in the lower levels, which are more open to the community, to more private programs in the upper levels.

In each level, departments are distributed perpendicularly along the length of the building. From the receipts of the ramps you go through a series of layers to reach the inner offices, where the river and northern slopes of the valley are seen.

The building process started with a seismic-proof  structure erected on site, and all other construction elements –like  panels, ramps and glasses- are prefabricated outside this isolated city and assembled to the main structure with flexible connections, that dissipate seismic movements.

May 18, 2011

Top 100 Architecture Firms


Credit: Joe Pugliese

Our third-annual ranking of American architecture firms judges them on three factors: profitability, sustainable ethos, and design quality. By looking at the whole picture, we’re able to honor not the biggest, but the best.

By:Amanda Kolson Hurley, Research by Karlin Associates

So, is it getting any better? In the third year of the ARCHITECT 50 ranking, signs of a rebound glimmer on the horizon. March was the fifth consecutive month in which the Architecture Billings Index showed positive (albeit very modest) growth, and inquiries to firms regarding new projects are strong. If most U.S. architecture firms are not thriving, at least some of them—25 percent, the AIA estimates—have gotten a boost through projects stemming from the American Recovery and Reinvestment Act of 2009.

The 2011 ARCHITECT 50—based on a composite assessment of a firm’s profitability, sustainable ethos, and design ability—shows that A and A/E firms, large and small, can do well in this economy. By our calculations, the most profitable firms in 2010 include heavyweights such as Fentress Architects, NBBJ, and Gensler, but also Princeton, N.J.’s smaller Ikon.5 Architects. If you still need proof that smart business strategy and careful financial management can make or break any design enterprise, look no further.

Perhaps the most striking thing about this year’s ranking is how many of the top firms are focused on the higher-education market. Aren’t we always hearing about colleges and universities feeling the pinch? Yes, says management consultant Ray Kogan, AIA, but there are other factors at work. Higher-education institutions “are in their own competitive market as they try hard to attract more students to make up for their other revenue shortfalls.”

Ever-tighter public budgets, healthcare reform, and continued sluggishness in commercial construction leave much unclear about the future, so it’s difficult to say which markets might be on the rise. Then again, that means the field is wide open for our 2012 ranking. Wherever you are based, and whatever kind of work you do, why not enter next year?

2 Smithgroup
3 William Rawn Associates
4 Skidmore Owings & Merrill
5 Ann Beha Architects
6 Sasaki Associates
7 Ikon.5 Architects
8 DLR Group
9 ZGF Architects
11 Machado and Silvetti Associates
12 HOK
13 Payette
15 Fentress Architects
17 H3 Hardy Collaboration Architecture
18 Kohn Pedersen Fox Associates
19 Westlake Reed Leskosky
20 RNL Design
22 The Miller Hull Partnership
23 RBB Architects
23 Pearce Brinkley Cease + Lee
25 LMN Architects
26 HGA Architects and Engineers
27 NAC|Architecture
28 Leddy Maytum Stacy Architects
29 Tate Snyder Kimsey Architects
32 Ross Barney Architects
33 Adrian Smith + Gordon Gill Architecture
34 EYP Architecture & Engineering
35 Gould Evans
35 EHDD Architecture
37 Bohlin Cywinski Jackson
40 Architectural Resources Cambridge
41 Jeffrey M. Kalban & Associates Architecture
42 Ayers Saint Gross Architects and Planners
43 Cunningham | Quill Architects
47 KMD Architects
48 Julie Snow Architects
49 Lake Flato Architects
50 SRG Partnership
51 EwingCole
52  Architects
53 Perkins Eastman
54 Ennead
55 Steven Ehrlich Architects
56 Ballinger
57 Beyer Blinder Belle Architects & Planners
58 Sorg Architects
59t SfL+a architects
59t Mackey Mitchell
61 HKS
62t PageSoutherlandPage
62t KlingStubbins
64 Tsoi/Kobus & Associates
65 Studios Architecture
66 Cook + Fox
67 CO Architects
68 Davis Brody Bond Aedas
69 Ratcliff Architecture
70 VOA
71 Goody Clancy
72 Shepley Bulfinch
73 Fanning Howey
74 Robert A.M. Stern Architects
75 Goettsch Partners
77 Hord Coplan Macht
78 RDG Planning & Design
79 Hickok Cole Architects
80 Leo A Daly
81 Design Collective, Inc.
82 Hanbury Evans Wright Vlattas + Company
83 cbt architects
84 DesignLAB
85t Lord Aeck & Sargent
85t Eskew+Dumez+Ripple
87 AC Martin Partners
88 Gresham Smith and Partners
89 The S/L/A/M Collaborative
90t Flad Architects
90t BRPH Co.
92 Moseley Architects
93 BLT Architects
94t SHW Group LLP
97 Populous
98 Polk Stanley Wilcox Architects
99 Solomon Cordwell Buenz
100 HMC Architects