Spring 2022 Source Material

Source Material Spring 2022

The latest on residential construction, landscape, and healthcare

The Architect's Newspaper archpaper.com

Editor’s Note

Home, Garden, and Health Looking over back issues of Source Material from the past two years, it’s clear that one thing has dominated discussions around architecture and architectural products: the COVID-19 pandemic. As infections soared and communities were forced into isolation, the design community leapt into the breach to devise ways in which people could gather again safely.

Products rolled out, especially in the commercial, hospitality, and office arenas, that provide prophylactic screening as well as enforce safe distancing among coworkers as well as customers—the dimension “six feet” will for a very long time have a deeper meaning than merely a measurement.

While COVID-19 seems to be far from done with us, we may, for the time being, be done with it. Pandemic restrictions, such as mask mandates and occupancy limitations, are falling away like autumn leaves. But as people emerge from their cocoons, they find a world that is undeniably

different. This change can be seen in the evolutions of three other project types— residential, landscape, and healthcare— which in some ways now have blurred demarcation lines. Homes have become quarantine zones and places for convalescence, hospitals are taking on decidedly more residential characteristics, and outdoor spaces have risen in importance as places to safely enjoy the society of other people, as well as search out nature as a wellspring of mental and physical healing.

In this issue of Source Material we compile select case studies and products that show how the realms of residential, landscape, and healthcare design continue to provide solutions to our rapidly changing planet. And since no project type exists in a bubble, we also profile a new office workplace solution from Vitra (page 4) that prioritizes flexibility so offices can adapt for whatever the world throws at us next.

Table of Contents

4 6 8 11 16 18 20 22 26 28 34

Meet Comma, Vitra’s new product line Residential Construction Case Studies Products: Smart Locks & IoT Systems; Handles, Knobs, & Pulls; Surfaces Landscape Case Study Q&A: Stimson Products: Seating, Lighting, Surfaces Healthcare Case Studies Products: Furnishings; Acoustics & Textiles; Hardware & Accessibility; Surfaces

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Vol. 20, Issue 4 | Spring 2022 Source Material

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On the cover: MNLA designed Waterline Square Park to be an oasis on the west side of Manhattan. Read more about this park on page 18. Photograph by Elizabeth Felicella

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4

The Architect’s Newspaper

Tomorrow’s Dynamic Workplaces The latest episode of Vitra Sessions outlines the future of commercial interiors

It has been over two years since the pandemic began and we were forced to hole up at home waiting for the “all clear.” While the definition of what marks the beginning of post-pandemic life has become more and more ambiguous, so too has the concept of the contemporary workplace. A quick adoption of digital technologies proved to many companies and employees that physical proximity wasn’t essential to the success of their businesses. Employees were happy to axe their commutes and grew to enjoy the flexibility of working from a locale of their choosing, and companies certainly benefitted financially by discontinuing expensive office leases. On the flipside, many missed the workplace camaraderie and clear spatial boundaries between work and home.

What comes next?

As a recognized leader in the world of commercial interiors, Swiss furniture manufacturer Vitra is closely observing these shifting workplace trends. In 2021, the company launched Vitra Sessions, a video series that examines the effects of the pandemic on our work environments. The company poured significant R&D spending into these explorations, designing and building entire office interiors and workspaces to showcase their findings.

“Dynamic Spaces,” the most recent episode of Vitra Sessions, finds that the best solution to entice employees back in the office is a hybrid work model with office space that falls somewhere between two of Vitra’s earlier concepts: Dancing Office and Club Office.

Popularized as a response to the immediate impacts of the early pandemic, Dancing Office is a functional and adaptable mobile partition, which was an excellent solution for the thennew concept of social distancing. The Club Office, which Vitra debuted at their headquarters in Switzerland in 2021, came later.

It incorporates a mix of public, semi-public, and private spaces that can accommodate an array of interactions while still establishing a sense of community.

This combination of adaptability and variety is what Vitra describes as “the future of shared spaces.” To account for these shifts, the company designed Comma, a product line consisting of six elements that can be configured and reconfigured into an endless mix of shelving, desks, storage spaces, and more.

Comma’s lightweight base and top frames, horizontal and diagonal beams, and shelves and screens can be quickly assembled by one or two people without tools.

“The last two years have shown how important it is to be able to respond to new situations with agile office environments,” Christian Grosen, chief design officer at Vitra, said.

“This is what prompted us to develop Comma, inspired by the robust simplicity of scaffolding, which is sturdy and stable and can be adapted to different requirements with the same few basic elements.” Suitable for work, education, healthcare environments and more, Comma is set to provide the flexibility and spacing we need when realizing our ideal post-COVID commercial interiors. Sophie Aliece Hollis

COURTESY VITR A

COURTESY VITR A

Spring 2022

5

COURTESY VITR A

Opposite page, top: New Work’s sixth-floor office in Hamburg’s HafenCity uses the Comma system to place people first.

Opposite page, bottom: For this work environment that anticipates post-pandemic lifestyles, flexibility was key.

Comma was complemented here by Vitra’s Soft Work sofa and Dancing Wall mobile wall elements.

Top: An installation at Vitra’s headquarters showcases how components of Comma’s system can be put to creative use for maximum mobility.

Bottom: The six-component system, inspired by scaffolding, is held together using a visible clip, seen here in black.

COURTESY VITR A

6 Focus

The Architect’s Newspaper

As we’ve learned during the pandemic, comfortable and functional domestic spaces are crucial for everyday life. To realize this goal in both new and existing construction, it’s important to have the proper finishes, details, and systems in place. The latest innovations make life at home as easy, safe, and healthy as possible. From smart devices that connect to the Internet of Things—controllable from your phone, anywhere—to new handles, knobs, and pulls, these products are useful items to specify. A roundup of surface options highlight trends toward earth tones, organicism, and geometry. Up front, three case studies showcase how we can live in together, both in denser multifamily buildings and with preparations against more intense weather due to climate change.

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8 Case Study

The Architect’s Newspaper

Houses of Cards

At Heron, a two-tower complex in downtown Tampa, angled structural walls create visual excitement.

Top: Angled boardformed concrete walls partition the towers’ terraces and create a playful counterpoint to the material’s severity.

Architecture: Kohn Pedersen Fox Associates Location: Tampa, Florida Interior designer: Cecconi Simone Construction manager: Coastal Construction Structural engineer: DeSimone Consulting Engineers MEP engineer: Cosentini Associates LEED, WELL, and energy modeling consultant: Thornton Tomasetti Exterior wall and roofing consultant: Vidaris Landscape architect: Raymond Jungles Concrete consultant: Red Hough Associates

Bottom, left: The architects pulled one corner of the podium back 60 feet to create a plaza and supported the tower above on a split concrete column.

Heron, designed by Kohn Pedersen Fox Associates (KPF), is part of the first phase of Water Street Tampa, a major development that is doubling the size of downtown while seeking to be the world’s first WELL-certified neighborhood. The LEED Gold–certified mixed-use project comprises two “sister” towers of rental apartments over a retail-and-parking podium.

“We were inspired by notions of wellness and how people function and live in and around these buildings,” said KPF design principal Trent Tesch. “We set out early on to think about what we could do from a planning and logistics perspective to make the towers elegant and straightforward and build with as little stress on the environment as possible.”

Constrained by a tight budget and truncated schedule, Tesch’s team cast about for ways to turn these limitations to their advantage.

Working with the client to establish project priorities, which included maximizing daylighting into and views out of the residences as well as a pool deck, the architects developed a computational model with which to test myriad massing options—upwards of 400—before hitting on the most optimal orientations for the towers and their terraces. This methodology reduced the design time line from several months to a mere three weeks.

On each tower, terraces provide shading for monolithic laminated glass windows set between dark gray stucco walls and bounce indirect light deep within the units. Structural board-formed concrete partition walls add texture. The walls start out orthogonal at the base of the towers and bend at increasingly agitated angles as they move up the elevation, lending some intriguing formal play to the inchoate skyline. The aluminum railings are an off-the-shelf product, chosen for their elegant profiles.

The parking stack sports a different cladding solution: perforated aluminum panels set at varying angles and painted a copper color that references the brick warehouses belonging to the local Cuban cigar industry. (Heron’s client was adamant that the architects avoid using the color white on exteriors—this is Tampa, not Miami.) The mechanical suite sits atop the parking deck, whose roof is vegetated with local grasses and crisscrossed by paths connecting the two towers. At the corner of Beneficial Drive and Channelside Drive, KPF pulled the podium 60 feet back from the curb to create a little plaza and supported the tower above on a split board-formed concrete column.

“We feel good about the building,” said Tesch. “There’s a real truth and honesty about materiality and structure. You can see the units, you know where the parking is, you know the amenity floor. Like a salad, you can see all the layers.” Aaron Seward

Middle, right: The parking levels are clad in perforated aluminum panels that ventilate the garage.

Bottom, right: Terraces shade the monolithic laminated glass windows while bouncing indirect light deep into the interiors.

KEVIN SCOT T/COURTESY KPF

KEVIN SCOT T/COURTESY KPF

KEVIN SCOT T/COURTESY KPF

KEVIN SEAMUS SCOT T/COURTESY PAYNE/COURTESY KPF STR ATEGIC PROPERT Y PARTNERS

9 Case Study

Spring 2022

Modern Family

The Zahrada townhomes tap into Sarasota’s midcentury modern legacy.

Architect: Halflants + Pichette Architects Location: Sarasota, Florida Structural engineer: Wilson Structural Civil engineer: AM Engineering MEP: Hahn Engineering Landscape architect: DWY Landscape Architects Geotechnical consultant: Universal Engineering Sciences Over the past decade, Sarasota’s Rosemary District has transformed from a sparse and neglected stretch north of downtown into one of the city’s liveliest corridors. In 2014, the City Commission tripled the allowable density in the district from 25 to 75 units per acre, setting off a buying frenzy among developers, who have since introduced over 1,700 new homes and numerous restaurants, shops, and offices.

The new developments come in all shapes and sizes, but few are as considered as Zahrada, a mixed-use complex with midcentury flair. Large apertures that recall those used by Paul Rudolph in his 1950s residential designs help set the row of white stucco-clad townhomes on 4th Street apart from its neighbors, while an intricate section (also redolent of the architect) neatly delineates the ground-floor office and retail spaces.

“Like Rudolph, we always try to take advantage of Sarasota’s agreeable climate and provide nice, shaded outdoor spaces, and seamless transitions from inside to out,” said John Pichette, founding principal of local firm Halflants + Pichette Architects.

Each of the six high-end homes contains four bedrooms, a pool, a detached granny flat, and an oversize two-car garage. Impact glazing frames views of the inner courtyard, which features plantings by DWY Landscape Architects. To Pichette’s point, sliding doors and undifferentiated concrete flooring extend the main living area into the (enclosed) pool patio. The flooring also mitigates the transmission of noise to the storefronts below.

This winter, construction will begin nearby on Zahrada 2, also designed by Halflants + Pichette. Though it follows a more traditional mixed-use format than its predecessor, Zahrada 2 will take greater advantage of the new zoning allotments by upping the occupancy area to 22 units, or 18 homes and 4 retail/ office leases. There’s a dash of Rudolph in there, too. Sophie Aliece Hollis

WILLIAM S. SPEER

WILLIAM S. SPEER

COURTESY HALFL ANTS + PICHET TE ARCHITECTS

Top: The project features wry allusions to Paul Rudolph’s Sarasota School, such as the deep overhangs that frame the top-floor bedrooms. Retail and office spaces are located on the groundfloor, facing 4th Street.

Middle, left: Each of the six townhomes includes an accessory dwelling unit at the rear.

COURTESY HALFL ANTS + PICHET TE ARCHITECTS

COURTESY HALFL ANTS + PICHET TE ARCHITECTS

Middle, right: Plans of the main living areas (left) and upper bedrooms (right) Bottom: The complex section incorporates amenities like a pool and patio, as well as a two-car garage and storage.

10 Case Study

The Architect’s Newspaper

Industrial Proof

The Five Twelve House take its cues from nearby port structures.

Architect: Traction Architecture Location: Tampa, Florida Structural engineer: Catalano Engineering General contractor: Traction Construction Translucent cladding: Kalwall Furniture: Apparatus Studio Ceramics: Heath Ceramics Lighting: Rich Brilliant Willing Situated on the channel side of Davis Island, facing the Port of Tampa, Traction Architecture’s Five Twelve House is a resilient residence that revels in the excitement and precariousness of its location. Traction founder Jody Beck found inspiration in the 1950s ranch houses that predominate on the island, the purity of the forms of the industrial port structures across the channel, and the very, very large boats that pass by regularly.

“We love it,” said Beck. “It’s really cool. When you’re in the house you see freighters and cruise ships go by—like a giant moving wall or a building moving across the horizon. It’s a crazy scale.”

The other main design driver was the FEMA flood line, which on this 50-by-110-foot lot is 10 feet above sea level. With the site at 5 feet above sea level and code requiring living spaces to be 1 foot above the flood line, Traction had to perch the living spaces of the 2,700-square-foot house 6 feet above grade.

That change in elevation formed the section, called out by a switchback blackened plate steel staircase with open risers that carves out height-and-a-half spaces throughout the interior. The main (second) floor is left completely open, such that “you could throw a ball from one side to the other,” said Beck. Recessed balconies on either end can also be kept open for natural cross ventilation when the weather is mild, which it usually is from November to April.

On the upper level, three bedrooms and an office are separated by a double-height void overlooking the dining area. A bridge—made from the same graphite steel as the stairs— spans this little atrium, which is topped by a Kalwall skylight, oriented on the north side of the gable roof for diffuse natural illumination.

Scissor trusses supporting the roof allow the gable to be expressed inside, where prominent white oak surfaces give the impression of a ship’s cabin.

The structure is robust, able to take on any hurricane. The poured-in-place reinforced concrete columns, tie beams, and rake beams are infilled with concrete block and finished with stucco. The standing seam metal roof is equipped with photovoltaic panels for on-site electricity generation. And just as the living spaces are elevated above the flood line, so too are the mechanical systems (concealed within the spaces of the trusses). Five Twelve House is tough, which is not to say rough and ready, and thoughtfully incorporates its influences. Aaron Seward

SEAMUS PAYNE

SEAMUS PAYNE

Top: A recessed balcony off the main living space looks across the Seddon Channel toward Port Tampa Bay. Middle left: The office above the main entry is open to the top floor.

SEAMUS PAYNE

Middle right: White oak floors and ceilings in the bedrooms create the feeling of a ship’s cabin.

Far left: The house’s occupiable floors are set higher than the FEMA flood line, at 6 feet above grade.

Left: A Kalwall skylight above the dining area admits milky, diffuse light.

SEAMUS PAYNE

SEAMUS PAYNE

11 Products

Spring 2022

Smart Locks & IoT Systems Our homes have become our “everything,” so is it too much to ask that they also become more responsive? Innovations in smart door lock technology take the worry out of forgetting to lock up, while IoT-connected outlets secure work-related transmissions. Integrated USB plugs make working from home a breeze. Speaking of which, dynamic controls can regulate airflow and chills, as well as automate blinds. By Adrian Madlener

Ultra-Fast PLUS Power Delivery Legrand legrand.us

Zigbee 3.0 Controlled Receptacle Leviton leviton.com

Palladiom Wire-Free Shading System Lutron lutron.com

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12 Products

The Architect’s Newspaper

Handles, Knobs, & Pulls Masterfully crafted, these hardware products beg to be made key pieces of any FF&E vision. Some offer a sumptuous look, others IoT tie-ins, while all feature clever detailing. When paired with innovative doors and refined cabinetry, these handles, knobs, and pulls are sure to stand out. By Adrian Madlener

Carrera Thom Filicia, Accurate Lock and Hardware accuratelockandhardware. com

22447-32 Pull Schwinn Hardware schwinnoriginals.com

Stella Crystal Knob Viaggio Hardware viaggiohardware.com

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Patton Cabinet Knob Sugatsune sugatsune.com

ECLIPSE David Rockwell, Formani formani.com

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14 Products

The Architect’s Newspaper

Surfaces These cleverly engineered surfaces—produced using natural, composite, and synthetic components— are both stylish and incredibly durable. As earth tones, a subtle organicism, and bold geometric forms return to the fore, these materials reflect changing trends but also come in a wide range of variants for those looking to go their own way. By Adrian Madlener

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Silestone Ethereal Noctis Cosentino cosentino.com

Light Haze Durasein durasein.com

EARTHTECH Florim florim.com

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Spring 2022

Heating & Cooling Carrier carrier.com Mitsubishi Electric mitsubishicomfort.com LG HVAC lghvac.com RBM More rbmmore.com Rensair rensairus.com

DuPont dupont.com

Smart Locks & IoT Systems

Huber Engineered Woods huberwood.com

Buzr getbuzr.com

Kingspan Light + Air kingspanlightandair.us

Legrand legrand.us

LP Building Solutions lpcorp.com

Leviton leviton.com

Owens Corning owenscorning.com

Lutron lutron.com

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Rocky Mountain Hardware rockymountainhardware.com

ROCKWOOL rockwool.com

Surfaces

Sherwin-Williams sherwin-williams.com

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Cosentino cosentino.com

Tubelite tubeliteinc.com

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USG usg.com

Durasein durasein.com

Handles, Knobs, & Pulls

Florim florim.com

Accurate Lock and Hardware accuratelockandhardware.com

Formica formica.com

Allied Air Enterprises alliedair.com

LIVDEN livden.com

Ashley Norton ashleynorton.com

Neolith neolith.com

Formani formani.com

Nemo Tile nemotile.com

Schwinn Hardware schwinnoriginals.com

Wilsonart wilsonart.com

COURTESY FLORIM

Sugatsune sugatsune.com Viaggio Hardware viaggiohardware.com COURTESY NEMO TILE

16 Focus

The Architect’s Newspaper

After more than two years of a global pandemic and multiple periods of self-isolation, we are refamiliarizing ourselves with the pleasures of the outdoors. Research shows that engagement with nature—however brief—can have a restorative effect on our bodies and minds. Now, more than ever, we all want to be outside, at least for some period of time. Manufacturers have responded in turn, delivering a new generation of outdoor products that are designed for an expanded format. AN’s annual Landscape special section foregrounds these innovations, while also drawing attention to a case study with plenty of lessons to impart. We also speak to Stimson, recipient of the American Society of Landscape Architects’ 2021 Landscape Architecture Firm Award, for insights on a postpandemic world.

Landscape

COURTESY LOUIS POULSEN

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18 Case Study

The Architect’s Newspaper

West Side Refuge

The MNLA-designed Waterline Square Park welcomes, with arboreal landscaping.

Landscape architect: MNLA Location: New York City Structural steel: Paragon Iron Inc. Steel edging and walls: ADG Metals (custom) Lumber decking: Art Woodwork (custom) Stone: ABC Worldwide Stone Granite walls: Berardi Stone Setting Concrete: Regal USA Concrete (custom) Soil cells: Deeproot Outdoor furnishings: Landscape Forms Lighting: Louis Poulsen (pedestrian lights and bollards), Structura Inc. (custom wood poles), BK Lighting (accents), Landscape Forms (plaza light-fixture heads) Waterline Square Park opened at the tail end of 2020. The arboreal public space is flanked by a glassy trio of residential towers that make up the Waterline Square development. It is just one in a string of new parks on Manhattan’s Far West Side designed by the New York–based landscape architecture firm MNLA (think Little Island), which has played a critical role in the transformation of the postindustrial waterfront. Waterline is situated on the former grounds of the New York Central railyard, adjacent to the decommissioned IRT Powerhouse, and it links to the nearly borough-length Hudson River Greenway.

The 2.6-acre park takes a different approach than that of the fortresslike superblock of Hudson Yards to the south, in that it embraces the existing street grid within its layout, and provides a sense of connectivity to the Hudson River park system across West 60th Street. MNLA designed with porosity in mind: The park descends toward the riverfront in an amalgam of pathways, sloped plantings, terraces, and a bubbling brook—features that, in their accessibility, invite harried pedestrians and anyone seeking a break from the cacophony of Manhattan to explore them.

Abundant flora makes the park transportive. Of the more than 40,000 plants, many are arranged functionally as sunscreens and wind blocks. The location and choice of plantings was also determined in part according to their seasonality and health within the complex’s microclimates. “As spring takes hold, the banks of the riparian fountain come to life as beds of crocuses poke through the snow.

These are soon followed by the soft pinks and whites of eastern redbud and fothergilla. Summer’s ornamental grasses sway gently in soft breezes while drifts of sun-loving perennials such as meadow sage, echinacea, and verbena glow with color within the meadow berms,” said MNLA principal Molly Bourne. “These grasses and perennials erupt into breathtaking swathes of fall texture that ultimately lend themselves to winter interest and pollinator habitat. Native conifers create warmth and insulation as they block prevailing winds and noise from adjacent highways and form a lush, evergreen backdrop that contrasts beautifully against winter’s frequent gray skies.”

The development also hosts a sprawling amenity space whose variable topography arose from the carving out and remediation of the site’s contaminated soil. The design of the spaces above these areas required a ballet of code compliance and structural evaluation.

Slab elevations and penetrations are integrated within landscape features, and points of egress and utility connections are embedded throughout, a process coordinated through 3D analysis in collaboration with the design team.

Matthew Marani

ELIZABETH FELICELL A

ELIZABETH FELICELL A

ELIZABETH FELICELL A

Top: Waterline Square Park is a multilayered public space in the middle of the Riverside Center development on Manhattan’s Upper West Side.

Above left: The park features abundant flora—more than 40,000 plants in total—as well as a bubble brook.

Above right: Visitors enjoy views to the landmarked, Stanford White– designed IRT Powerhouse.

Left: Covering 2.6 acres, the park’s plan comprises a series of angular elements, including an expansive playscape with equipment from Landscape Structures.

ELIZABETH FELICELL A

mmcite.com

info@mmcite.com

REFORMA follows function

20 Q&A

The Architect’s Newspaper

Slow Growth

AN sits down with the winner of the 2021 Landscape Architecture Firm of the Year.

Over the summer, the American Society of Landscape Architects announced that it would bestow its annual firm award on the Cambridge, Massachusetts–based office Stimson.

The practice, founded by Stephen Stimson in 1992, produces sharp work that straddles the urban and rural realms. This quality is baked into the firm’s operations: Stimson and his wife and co-principal, Lauren, maintain a farm– cum–living laboratory in central Massachusetts, just north of Worcester, while co-principals Edward Marshall, Joe Wahler, and Glen Valentine oversee the Cambridge office.

AN contributor James McCown met with Valentine in the courtyard of MIT’s Hayden Library to discuss the award and reflect on the studio’s growth. Valentine had suggested the meeting place, a pleasant outdoor space conceived by Stimson as a nine-square grid on which to plot plantings and select pieces from MIT’s collection of 20th-century sculpture.

Twin curvaceous berms lent a touch of whimsy to the space.

James McCown: First, congratulations on the award. Talk to me about the uniqueness of the firm.

Glen Valentine: Sure. It’s a commitment to agricultural and rural life. Steve Stimson, the founder of the firm, has deep roots in New England, going back ten generations. A few years ago, he was able to buy a farm in Princeton [Massachusetts], which is very close to the [family’s] ten-generation farm in Charbrook. He turned the Princeton farm into a homestead for him and his family.

For Steve, it’s been a sort of reclamation of his past. Charbrook allowed him to do some new things, like build a nursery and raise livestock for organic, grass-fed beef and lamb and really design the whole space both as a working farm and a laboratory for us.

COURTESY STIMSON

JM: So you use plantings from the farm in your projects?

GV: Yes, we can use the trees from the nursery on the farm. And now there’s a studio under construction there, which will be completed this fall. The [firm’s] connection with the nursery, with all the fields, is going to be even stronger than it already was. It’s all organic, and we can push different species. The nursery lets us try a species like gray birch, which you can’t find in the industry. Both institutional and residential clients appreciate that they know where the trees are coming from.

They know who took care of them.

JM: How does a firm with such a deep and abiding belief in rural, agrarian life do urban projects like the one we’re sitting in right now?

GV: We fully embrace a modern contemporary aesthetic, but we try to make it feel almost relaxed. So we’re in the Lipchitz Courtyard, and there are three works by the sculptor Jacques Lipchitz.

JM: Was that your idea, to base a garden around these pieces?

GV: No, but I’ll take credit for it. [laughs] The sculptures were here already but were

COURTESY STIMSON

Top: Campus work like the Boston College Pine Tree Preserve is a staple of Stimson’s portfolio. Above: Earlier this year, the firm completed the landscape at the Behnisch Architekten–designed Harvard University Science and Engineering Complex.

21 Q&A

Spring 2022

randomly placed around. And we said, “They should really be in a conversation with one another,” and we worked very hard to site them [accordingly]. It’s a very contemporary space, which comes through in the nine-square grid that [underpins] it. At the same time, we had to consider the practicalities of growing trees. We’re sitting above a part of the Hayden Library, and there wasn’t enough room for a membrane and paving. So we raised the courtyard about 18 inches, which gives you eye-level views into the library. The garden has a contemporary feel that isn’t imposed so much as [it is] a natural consequence of thinking about certain practicalities.

JM: Name another new project that you’re particularly proud of.

GV: I’d say the Pine Tree Preserve at Boston College. One of the things we really pride ourselves on is building relationships with institutional clients. I’ve been working at Boston College for about 12 years now, on ten or so projects. And they’ve all been very specifically related to quads and buildings and fields. But this Pine Tree Preserve is a collaboration. It’s a parcel of land adjacent to a reservoir that for the past hundred years has been fenced off. It’s owned by the Metropolitan Water Resources Authority. And they, in an agreement with Boston College, decided to take down the fence, open it up, and make it into a public park.

COURTESY RIALTO STUDIO/PHIL HARDBERGER PARK CONSERVANCY

JM: What are some architecture firms with which you’ve had especially good, collaborative relationships?

GV: We’ve worked a lot with Centerbrook [Architects + Planners] on campus projects. That’s been a big focus for our practice. We recently worked with Behnisch [Architekten] on the Harvard Science and Engineering Complex.here we really tried to make the stormwater components a strong element of the design. Lake|Flato out in Austin has also been a great partner of ours; we’re also doing some campus work with them. But we did a master plan for a 300-acre park in San Antonio—Hardberger Park [Phil Hardberger Park Conservancy]—where they also designed a building. We just finished a big land bridge over the highway that connects two sides of the park and gives wildlife a safe place to cross.

JOHN HORNER

Top: For several years, Stimson has been engaged in the design of the 311-acre Hardberger Park in San Antonio. In 2021, the firm completed (with local architecture firm Rialto Studio) a land bridge over a busy highway, ensuring wildlife safe passage.

JM: Your website says: “We draw by hand and we embrace slowness.” Do you not use computers? [laughs] And does embracing slowness scare off some clients who have a deadline?

GV: That is a great question. Slowness forces you to think carefully about what it is you’re doing. It also [gets] into our whole idea of growing things ourselves, of getting our hands dirty. We have people, particularly young people, who come to the firm and start by digging and balling trees. It’s a way of familiarizing yourself with the materials you’re going to be using later. We absolutely use computers—our younger staff spends much of their time in Revit and 3D modeling programs—but we try to integrate them into a certain workflow. We have a very deliberate, purposeful way of working. It hasn’t scared clients off at all.

JM: And how was the transition to remote work because of the pandemic?

Left: Also in 2021, Stimson completed its renovation of a courtyard at MIT’s Building 14.

Above: For the redesign, the landscape architects planted nine new trees and twin berms. They also introduced continuous seating.

JOHN HORNER

GV: I’m not going to say it’s easy, but Zoom is pretty good. The fact that you can draw and put drawings up on the screen is great. We’ve even done a few site visits with someone on FaceTime walking around the site. We didn’t think that that would work either, but it did. And of course, we’ve had to do virtual meetings for public process. Admittedly, a certain “spontaneous” creativity is lost when everything goes digital. You lose a little of the magic of being in the same office or site. Having said that, it’s really given us a geographical flexibility we just didn’t have before.

JM: Are you looking to return to the office soon?

GV: Right now, there are about three people there at any given time. But because of the Delta variant we wanted to leave it open to staff. A lot of the architects’ offices are already back. We’ll get there. We just reconvened the office for a retreat at the Haystack Mountain School of Crafts in coastal Maine. I say “reconvene”—we hired several people during the pandemic, so in some cases this was the first time we’d met face-to-face.

JM: Isn’t Haystack great? I’ve attended three workshops there.

GV: We’re actually doing the master plan for the school now! Those [Edward Larrabee] Barnes buildings are so beautiful. He re-

ally knew how to build without destroying the pristine nature. We worked in the studios up there for a week. It was fantastic.

JM: How do you think the firm award will change your practice? Has it made it easier to market your work? Or did you have to do any marketing at all? Do you just sit around and wait for the phone to ring?

GV: [Laughs] I’d say we’re pretty lucky to have established relationships with a number of architects a long time before this happened. But I’ll be honest: The award has definitely increased the number of calls we’re getting. It’s made getting work just a little easier.

22 Products

The Architect’s Newspaper

Seating Is there any design category as polymorphous as seating? Especially outdoor seating, which, given its context, can do more than just provide a place to sit down. Park benches can do wonderful things, when they’re allowed (for instance, integrating planters). Regardless of the shape, comfort should be a factor, though this is hardly a universal rule. Many public spaces feature seating seemingly designed to prevent languid stays. That isn’t the case with the following examples, which, in addition to being aesthetically pleasing and multipurpose, promote socializing—from short or long distances.

By Adrian Madlener

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23 Products

Spring 2022

Lighting Lighting design is a more varied thing than it’s given credit for. Whether subtle or obvious, soft or bold, light operates on many different registers, particularly when applied to a public plaza (where safety is paramount) or garden (where privacy might be desired). Often when flexibility is required, or simply when a site is past a certain size, a mix of light sources must be used in coordination. Lastly, lighting needs to be durable. On these points and more, these stylish luminaires fit the bill. By Adrian Madlener

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Le Klint AMEICO ameico.com

Bysted Garden Louis Poulsen louispoulsen.com

TURN+ Ambientec ambientec.co.jp

24 Products

The Architect’s Newspaper

Surfaces Surfaces are one of the most overlooked elements of an outdoor space. But used ill-advisedly, they cause people to take notice. Pavers, decking tiles, and planters should work together to create a sense of cohesion while also indicating patterns of use. Obviously, they should all be functional, engineered to withstand serious wear and tear. The following selection checks all these boxes. And as you’ll notice, these products aren’t limited to ground applications, but extend up the sides of plazas and enclosures. By Adrian Madlener

gsTree greenscreen greenscreen.com

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Holland and Moduline Belgard belgard.com

Nuances: Scorcio Esterno ITALGRANITI italgranitigroup.com

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Spring 2022

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COURTESY DESALTO

COURTESY L ANDSCAPE FORMS

26 Focus

Healthcare

The Architect’s Newspaper

Over two years ago, COVID-19 made its way across the globe, prompting every industry—especially healthcare—to adapt and improve upon operations in record time. With hospitals and clinics at max capacity, those working in design searched for a way to help—and they haven’t stopped since.

Architects, designers, and manufacturers continued to develop and deliver new or improved products that optimize the medical experience for both patients and healthcare workers, in any situation. From germ-conscious hardware to durable, sustainable surfaces, the following wares meet rigorous standards of function and beauty. Furthermore, three California case studies put all that we have learned throughout the pandemic into practice, demonstrating the highest standard of contemporary healthcare design.

K YLE JEFFERS

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28 Case Study

The Architect’s Newspaper

Through the Looking Lab

A neuroscience and psychiatric hub at the University of California San Francisco allows researchers to interface with each other—and the public outside.

Design architect: Mark Cavagnero Associates Architect of record: SmithGroup Location: San Francisco General contractor: DPR Structural engineer: Degenkolb MEP engineer: Critchfield Mechanical Facade consultant: Walters & Wolf Lab planner: SmithGroup Lighting consultant: Loisos + Ubbelohde Sustainability consultant: Atelier Ten Acoustics consultant: Arup A lot is happening inside the Joan and Sanford I. Weill Neurosciences Building at the University of California, San Francisco’s (UCSF) Mission Bay campus from moment to moment.

Patients struggling with the effects of Alzheimer’s and other mental disorders confer with caregivers in a bank of exam rooms or in the MRI suite. Loved ones may be on hand or teleconferenced in to participate in treatment decisions. Administrators tap away at the desks in light-filled offices, while others make presentations in corner meeting rooms. Teams of scientists and researchers stationed in wet and dry labs on floors 3, 4, and 5 work toward cures, sometimes deep into the weekend.

People crisscross the wood-paneled atrium, a much more pleasurable space than one might expect at a clinical or research facility, where, on certain evenings, a donor dinner or charity event may be taking place. Those searching for a much-needed break scale the stairs to the top-floor cafe and roof terrace or other social spaces clustered on the building’s west side, where intermingling is encouraged.

Much, though not all (patient privacy is obviously considered), of this activity is visible, either to peers or other UCSF visitors, particularly in the early evening hours, when the hub, in the words of its architect, Mark Cavagnero, “becomes totally alive.”

A staggering transparency characterizes the 181,500-square-foot, LEED v4 Gold–targeted building, whose intricate program augments those of nearby Sandler Neurosciences Center and Rock Hall, which, too, are dedicated to exploring and treating brain disorders. The other research labs and treatment facilities that form the top-rated UCSF Medical Center tend, in their architectural demeanor, toward involution.

By contrast, the Weill Neurosciences Building is extroverted, disclosing in its attitude where others are concealing.

“The rest of the campus was designed with more traditional lab spaces,” Cavagnero said, “where everything was kind of isolated and there was no exterior sun control, so everyone has their shades down and there’s no daylight for researchers.”

According to Cavagnero, lead donor Sanford I. Weill, former chief of Citigoup, tasked him with finding a “forward-thinking” architectural solution that satisfied the needs of multiple users and stakeholders and also had iconographic value. The exact meaning of “forward-thinking” was left for the architect to sort out. In explaining his concept, he reached for ethereal analogies, the most material of these being Japanese origami. “The idea of making science appear light, and not heavy and obtuse, really appealed to me,” he said. “I wanted the building to feel like it was about lightness itself. This concept of light being hope.”

But given the project’s corner site, which offers primary exposures to the south and west, and the extensive use of glazing, an invitation to daylight might soon come to be

regretted. Various strategies were implemented to assuage this concern. The top-heavy massing, for one, results in a deeply shaded arcade. The first two floors, containing the clinical spaces and their waiting rooms, are stepped far back from the property line, which the upper floors, held aloft by concrete columns, meet.

To shield those higher floors, the design team, which included the local office of SmithGroup and facade consulting firm Walters & Wolf, among others, devised a prophylactic metal screen that preserved the desired transparency. Orderly white aluminum blades suspended from the glass facades deter heat gain while adding visual interest: Depending on one’s approach, an elevation may seem opaque or clear, prompting the observer to “start reading form and abstraction in a new way,” Cavagnero said.

The metal blades are “the primary point of the building’s crisp outer expression,” said Jon Riddle, a principal architect at SmithGroup. The description accords with Cavagnero’s references to origami; the likeness comes into play at the top register, where the corners of canted penthouse volumes (separated by a gallery) are pulled up like butterfly wings. Riddle also compared the precise handling of the exteriors with the “precision care happening inside, where computer modeling and analysis are used to really target the area that needs treatment.”

The same ethos informed the design of the interiors, which are flush with warm and natural materials, especially the prevalent use of sycamore. The wood paneling finds its way into all sorts of spaces, including exam rooms, though it’s used most extensively in the fullheight atrium. Lining back walls and soffits, the sycamore enlivens the broad room, especially during the day, when it’s suffused with daylight falling through the center skylights and western facade. A durable marble acquired from a small quarry in southern France blankets the floor, a finish that would be cost-prohibitive for most facilities of this kind.

“The quality of those finishes was really driven by the donor, who wanted more of a hospitality feel,” said Suzanne Napier, a SmithGroup VP, “and they do really go throughout the whole building, top to bottom, inside and out.”

A telling thing happens at the corner of the atrium. The walls of a fire-rated stair core are partially glazed so that light can reach them. This visibility—counterintuitive from a functional perspective—also makes the stairs more attractive to the building’s core user set.

It’s an elegant summary of the project’s aims, Cavagnero said. “The underlying message was that there isn’t anything happening here behind closed doors. We’re all chasing the same dream. We’re all trying to find the same cures, here in this wonderful new environment together.” Samuel Medina

TIM GRIFFITH

K YLE JEFFERS

29 Case Study

Spring 2022

TIM GRIFFITH

K YLE JEFFERS

Opposite page, top: The building “glows like a beacon of hope,” its architect said.

K YLE JEFFERS

Opposite page, bottom: The full-height atrium features extensive wood paneling.

Top: The building’s pointed profile resembles origami.

Left and above: The labs on levels 3, 4, and 5 are exposed on two sides—to the atrium and the outside.

30 Case Study

The Architect’s Newspaper

Support of Nature

The Lawrence J Ellison Institute for Transformative Medicine encourages collaboration

ART GR AY

Architect: Rios Location: Los Angeles General contractor: Sierra Pacific Constructors Structural engineer: Risha Engineering Windows: Arcadia Doors: Western Integrated, EZ Concept Interior finishes: Galleher, Thermory, Farrow & Ball, Amerlux Fittings and furniture: Tacchini, Bernhardt, Hay, Herman Miller, Ariana Rugs, Tom Dixon, Bentley (carpet) The Lawrence J Ellison Institute for Transformative Medicine in Los Angeles is an innovative cancer research center that harnesses nature to create a space conducive to the hunt for a cure. Founded by Dr. David Agus, author of The End of Illness, among other titles, with a substantial donation from Oracle co-founder Larry Ellison, the project encourages collaboration between researchers, patients, and others, by providing a comfortable and creative environment that overturns many expectations of what a laboratory building should be.

Designed by Rios, which provided architecture as well as landscape architecture and wayfinding services, the scheme derives from Agus’s maxim: If you change the soil, the seed won’t grow. “How do you change researchers’ soil, mentally, and prime them to be collaborative?” asked Rios creative director Sebastian Salvadó. To answer this, the team looked to its landscape practice. “We have always put landscape thinking at the forefront of everything we do,” Salvadó continued. “We really believe in the power of nature to create healthy spaces and spaces that we’re comfortable in and spaces that feel familiar and engaging.”

Unable to find an appropriate site for a ground-up building, the institute purchased a spec creative office designed by HLW that was still under construction. While the location, at the border of Santa Monica near the Expo Line, was ideal, the building’s long, skinny footprint—79 feet wide by 300 feet long, with the

broad sides facing east and west—presented some challenges. However, Rios developed a concept that turned these challenges into a driver for the design.

“We needed the institute to be open and free-flowing, but it couldn’t be so open that it had an inhuman sale,” Salvadó said. “We had to create a gradient of differently scaled spaces.” The architects divided the eastern side of the building from the west with a line and then made this line meander. To the east they placed the laboratories and other introverted spaces. To the west, they placed the open, collaborative spaces, like the communal kitchen, cafe, meeting rooms, and The Forum, a triple-height atrium that serves as the collaborative core of the project.

The meandering line breaks up the long, skinny floor plates into neighborhoods without introducing walls and doors. Meeting rooms and the few private offices were deployed as clusters of “boulders” that subdivide neighborhoods. The labs were also dispersed, which increased the cost of the HVAC system, but forces researchers to walk around and interact more. Throughout the building, access is provided to outdoor decks, even from the laboratories, though there you must also pass through an air lock.

The materials on the interior also lean toward the natural. In addition to an abundance of plants, there is a wealth of wood flooring, wood plank paneling, and exposed wood structure (stained to match the wood palette used in the rest of the building). Carpeting was used in the collaborative areas to make them softer and dampen the acoustics. In the lounge spaces the carpeting is even plusher and arrayed with custom upholstered dark metal furniture in sophisticated earthy colors. There is also a lot of art on display, including major works by Robert Indiana and Jeff Koons, yet another contemplative perk in this very comfortable and engaging lab building. Aaron Seward ART GR AY

31 Case Study

Spring 2022

ART GR AY

ART GR AY

Opposite page, left: Plantings in the Forum and elsewhere bring nature inside.

Opposite page, right: Access to the outdoors is provided throughout the facility, even from the labs themselves, and art is everywhere.

Top, left: The wood structure was left exposed and stained to match the wood palette used elsewhere on the interior.

ART GR AY

Top, right: A communal kitchen brings researchers, administrators, patients, and others together.

Middle, right: While the designs of the labs themselves are prescribed, ample glazing keeps them connected to daylight and views.

Bottom, left: Lounge spaces evoke a residential character with plush carpeting and cozy furniture.

Bottom, right: Comfort was prioritized in the patient treatment rooms.

ART GR AY

ART GR AY

32 Case Study

The Architect’s Newspaper

First Steps

The Belardi Family Pavilion at the City of Hope medical complex puts a new master plan on the right track.

BENNY CHAN

Architect: Gensler Location: Duarte, CA General contractor: Hathaway Dinwiddie Construction Company Structural engineer: Walter P. Moore Glass: Viracon, Technical Glass Partitions Expanded mesh: AMICO Architectural Products Louvers: Construction Specialties, Pottorff, Greenheck Doors: Panda, Wilson Partitions Ceilings: Armstrong Interior finishes and furnishings: Hufcor, Bentley, G-Rail, Kvadrat, Mecho, Owens Corning, Shaw Contract Landscape: Hanover Architectural Products Founded in 1913 as a tuberculosis sanitorium in Duarte, California, City of Hope has grown into a leading center of medical research, education, and treatment. Located just 20 miles from Downtown Los Angeles, the sprawling 116-acre campus acts as the anchor of the National Cancer Institute, which has a network of clinical practice locations throughout Southern California and regional fundraising offices across the United States.

In order to optimize operations throughout this growing, multifaceted organization, City of Hope tapped Gensler to design a master plan that would unite existing functions as well as pave the way for future development.

The project’s first phase wrapped in 2021 with the completion of the Belardi Family Pavilion, a medical and administrative space that consolidates multiple research, surgery, and treatment departments, as well as executive offices. Breezy corridors take advantage of the

BENNY CHAN

climate and subtly hark back to City of Hope’s original function.

The form of the four-story, 96,000-squarefoot building follows the curve of the campus’s eastern-most property line, with primary frontage to the east and west. The east facade is outfitted with silver, sawtooth metal fins to mitigate solar heat gain. The inner edge of each fin is finished in bronze to burnish the light that bounces into private offices lining this side of the project.

On the western half of the building lies the “collaborative zone,” which is spread over two floors. Conference and seminar rooms, food service, outdoor terraces and break-out areas are bounded by galleries and connected by exterior stairs. Perforated facade panels, calibrated at optimal angles to shade the promenade, are nearly imperceptible.

The meticulous facade detailing is part and parcel of the architects’ wider sustainability strategy, which helped the building achieve LEED Gold Version 4 certification.

Gensler factored embodied carbon into all of its design decisions, resulting in an emissions reduction of 2.8 million metric tons. Powered largely by the extensive solar farm atop the roof, the facility performs with twice the efficiency of standard office buildings.

“The pavilion will serve as a springboard that allows the campus to move into the future,” said project architect Brian Fraumeni. As the first step in City of Hope’s vision for a patient-friendly, ecologically conscious, and technologically advanced campus, the Belardi Pavilion has set the bar high for future development.

Sophie Aliece Hollis RYAN GOBUT Y

33 Case Study

Spring 2022

BENNY CHAN

Opposite page, top left: The building follows the curve of City of Hope’s eastern-most property line.

Opposite page, top right: Silver sawtooth fins are lined with bronze to reflect warm-colored light into the eastern and southern sides of the building.

Opposite page, bottom: A large staircase invites visitors to ascend and engage with the building at multiple levels.

Top: The generously shaded exterior walkway looks out on the City of Hope campus.

Right: The Belardi Pavilion houses ample open plan office spaces to provide opportunities for departments to crosspollinate.

BENNY CHAN

34 Products

The Architect’s Newspaper

January/February 2022

Furnishings The constantly changing needs of the healthcare industry require that care environments be responsive. The following furnishings do just that by providing myriad applications, customizability, and mobility in times of change. Sophie Aliece Hollis

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35 Products

Spring 2022

January/February 2022

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36 Products

The Architect’s Newspaper

Hardware & Accessibility Access is of utmost concern for hospital staff, and these handles, locks, and hinges are ready for any scenario. Especially crafted for healthcare environments, they ensure safety, privacy, and cleanliness.

Sophie Aliece Hollis

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37 Products

Spring 2022

Surfaces It goes without saying that hospitals and clinics require durable, hygienic, and easy-to-clean surfaces.

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2022 Color Collection 3form 3-form.com

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The Architect’s Newspaper

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