Risk: Opacity Series 01

RISK Out Looks In

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Introduction Letter from the Editor

02

Overview & Jurors

04

Event

06

Analysis 12 Projects Selected Works

18

Mentioned Works

112

Conclusion Afterword

172

20 16

I spent my first morning of architecture school lugging my set of Francis D.K. Ching books across campus, only for them to go largely untouched for the rest of the year. Instead of learning how to draw the perfect floor plan, we spent weeks sketching shadows and building cubes. Hundreds of them. We made lovingly detailed drawings of household objects (egg beaters, garden shears, door locks) and explored their various states of motion in models and collages. We attempted to understand abstraction through diagramming classical paintings. And always, we presented our work in front of our peers and professors.

At the time, these exercises were frustrating—not just for me, but for my entire class. We signed up to study architecture. Why weren’t we drawing and modeling buildings?

What we didn’t realize (and what we only came to appreciate later) is that we were being introduced to the principles at the very core of architecture and design. We weren’t being taught how to make architecture, but how to be architects.

We learned pretty quickly that there was no such thing as a “right answer.”

We learned how to defend our ideas, but also how to understand and accept

criticism. And we learned not to be precious with our work—to redraw, rebuild, and take risks constantly.

In later years, we learned the “stuff” we initially expected: How to draw that floor plan, what makes a building passive, how structures stand. Combined with criticality and evaluation, these skills allowed us to develop increasingly complex projects that were both practical and thoughtful.

Like architects do.

While architectural education can vary dramatically from school to school, it nearly always comprises those twin cores: the qualitative (the way of thinking, or “art” of architecture) and the quantitative (the-“stuff”or “science” of architecture.) Where qualitative skills are subjective and developed laterally, quantitative skills are objective and learned linearly. The quantitative aspects of architecture are about answers, the qualitative ones are about questions. (There are no right answers in design, but there are in force equations.)

In school, these two elements are weighted and taught with roughly equal importance. But somewhere in the transition to professional practice, the scales tip. Working life as an architect has a lot more to do with answers than

03 LETTER FROM THE EDITOR

questions, and often means prioritizing quantitative goals over those with less obvious incentives. Making time to discuss and critically evaluate work is peripheral when there are deadlines to follow and budgets to meet.

The result is a business model that supports safe, results-driven design practices, but doesn’t encourage the evolution of ideas that can only come through investigation. Projects of the same type tend to repeat the same architectural orthodoxies (you may notice this in the diagram and project sections), and result in functional buildings with pre-proven outcomes.

In many ways, this is what makes largescale architecture projects possible.

Buildings require immense capital investment—investment more readily made when there’s some assurance of outcome. But this narrow focus can make a casualty of creativity, of exploration—of risk.

The Opacity initiative (of which this book is an early exercise) intends to balance the scales, reinvigorating a culture of discourse and exploration within everyday practice. In August 2016, we held a juried review at the University of Minnesota, inviting five outside critics to look in at projects submitted by HDR’s various offices.

Where deserving, projects were awarded “selected” or “mentioned” status, denoting the most admired and most discussed work, respectively.

Like any time you present yourself or your work, this felt like a risk. The jurors were under no obligation to award any project anything if it was not truly deserved. But, risk or not, it was (and is) invaluable feedback. Criticism, when given and received in the spirit of progress, broadens the outlook of all participants. Outside perspectives allow us to see our own work not just from new eyes, but from new minds.

Opacity is still new, and many of the opportunities afforded by maintaining a culture of criticality and risk are still opaque to us. There is more we can do, and much we can learn. The benefits of rediscovering the qualitative approach will be inherently difficult to quantify and will likely be frustrating (just as it was in school). But balanced with continued expertise in the quantitative, it has the potential to enrich our work tremendously.

The greatest risk in the Opacity initiative lies not in encouraging ourselves and others to be critical, but in failing to apply the lessons we’ve learned. This is our challenge.

—Katherine Allen, Editor

THE OPACITY INITIATIVE was conceived as a “measure of our design conscience.” It’s a way to, each year, revisit and understand our work through the outlook of others. As we evolve from this effort, it will have to adapt to support us, too. What it looks like, how it’s measured, and how we learn from Opacity will all inevitably change. But the way we kickstart this process each year—the juried review event—will remain steadfast.

This year, we were joined at the University of Minnesota, Minneapolis, by five outside critics whose expertise, while all tied to architecture, varied considerably. These differences facilitated robust discussions, debates, and disagreements about the work over the course of the two-day review.

a pedestrian typology to touch on new ground. But beyond just critiquing the work, the jury members also offered insights into the state of the firm.

This inaugural measure of design conscience (and an introduction to our jurors) follows.

The projects that were ultimately elevated exemplified the jury’s notion of risk: incremental changes in concept, design, and/or production that allowed

MIMI ZEIGER

MARC SWACKHAMER

Architecture Critic, Educator and Curator

Associate Professor and Head of the School of Architecture, University of Minnesota

Los Angeles, California, USA

Minneapolis, Minnesota, USA

Mimi focuses on the intersection of architecture and media cultures. She is a regular contributor to a variety of architectural and mass media publications, and is known for her insightful essays on art, architecture, urbanism, and design. She is also the author of a number of books on the “tiny homes” movement and is the founder of the highly influential zine, loud paper. Mimi currently teaches graduate media design at Art Center College of Design in Pasadena.

Marc is an architect and educator whose research explores the relationship between performance and ornament through the lenses of digital representation and fabrication. Marc teaches core design studios and seminars on the topic of “hypernatural” architecture; his students’ work in these courses has been recognized by the AIA. He is also the co-founder of HouMinn Practice (pronounced “human”), an innovative research and architecture firm known for solving design problems through interdisciplinary collaboration.

05 OVERVIEW & JUROR S

JASON MCLENNAN

SUSAN SZENASY

JIM CRAMER

CEO, International Living Future Institute (ILFI)

Editor-in-Chief, Metropolis Magazine

Founder and Chairman, Design Futures Council

Seattle, Washington, USA

New York, New York, USA

Atlanta, Georgia, USA

Jason is an architect, speaker, consultant, and one of the leading voices in the green building movement. He is the creator of the Living Building Challenge, a green building program that is widely considered the world’s most stringent and effective, with a focus on the transformation to a world that is socially just, culturally rich, and ecologically restorative. His work in design and environmental advocacy has been integral in shaping sustainable building strategies—and has won him the prestigious Buckminster Fuller Prize.

For 30 years, Susan has guided Metropolis’s landmark design journalism on the subjects of ethical, sustainable, resilient, and human centered design. She extends this conversation to design professionals through conferences, where she has facilitated discussions covering everything from new strategies in healthcare to preschool education. In addition to writing, speaking, and moderating panels for Metropolis, she is also a regular lecturer at Parsons School of Design and a prominent figure in the New York design community.

Jim is an educator, author, business adviser, and future strategies consultant. While he began his career as a management consultant, his professional research on the architecture and design industries— and the desire to share his insights— eventually encouraged him to create Design Intelligence. Today, the AEC-oriented publication is well known for providing business, financial, and innovation strategies for firms across the world. Jim often leads strategic retreats and presentations about “futures invention” and value migration changes in the design professions.

REFLECT

We checked in with the jury members after the event to see what they thought of the work, the initiative, and us.

did you expect—if anything— Q What going into this event?

I didn’t have any expectations going in to the event, but I was really curious. I was interested in how a large practice takes stock of its design direction.

MIMI

I knew the firm was very large and had a huge breadth of work— so I expected diversity and a lot of technical projects.

JASON

MARC I guess I didn’t expect the variety of work that I saw—from large, institutional projects, to residences, and furniture projects. There was a nice range in the work in terms of scale. I was also surprised at the breadth of work in terms of program and location.

I knew HDR was a large firm, but I wasn’t aware of the diversity of work in terms of culture, type, program, scope, and location. Finally, I noticed that there was not necessarily a specific approach or aesthetic to the work. I think by some measures, this can be a strength.

07 EVENT

Feedback Continuum

Content

DISCUSS

CRITIQUE

STUDY

Critical Approach Sequence

REFLECT

Event Chronology

1

Socialize

2

Introduce

3

View

HDR

JURY

4

Filter

HDR

JURY

5

Deliberate & Elevate

6

Debrief

HDR

JURY

Socialize in the local (Minneapolis) office, welcome everyone, reception, chat.

Introduce and welcome the event and participants, explain the intent, review agenda, and set the rules of engagement.

View projects (138 entries divided into built/construct and unbuilt/concept categories). Individual study and begin individual critique of work, establish standards by which to evaluate work both as a project and as part of a larger body of work. Read narratives, view images, prepare for next phase.

Filter projects to focus on those that warrant critique, study, and reflection on the group scale.

Deliberate on projects filtered in previous phase. Discuss (as a group), continuing the critique and study established in previous phase. Focus on design themes, strengths, and weaknesses and evaluate those qualities in a public forum. Originate and reflect on the concept of risk within the body of work (unbuilt/concept projects.)

Elevate worthy projects to “selected” and “mentioned” status.

HDR

JURY

Event debrief. Reflect on risk as thematic quality that encapsulates opacity effort as a whole.

STUDY & CRITIQUE

you notice any trends in the portfolio of work that Q Did stood out or were unusual/unexpected?

JIM We found significant depth of quality in the work from the firm worldwide. The use of sustainable materials and processes has moved into the forefront of the work. Much of the work in interior design shows a concern for performance and being fit for the future regarding scale, flexibility, and elegance.

What I began to notice after looking at all the work was that there were trends by region/office that really stood out. In some ways, the work felt like it came from three or four architecture firms—there was a distinctive approach depending on which office did the work. In some ways this was good, but in other ways it spoke to some missed opportunities to learn from best practices across the various offices. That said, every large firm struggles with this and it is not unique to HDR.

JASON

It seemed clear that the Australian team was working with a more progressive architectural vocabulary than the U.S.-based offices.

I think there’s a lot to learn from their approach because it offers a chance to see how a digitally-driven and materialdriven process might influence the firm as a whole.

MIMI

There also seemed to be a dichotomy, formally, between work that was trying to be very flamboyant (distinct, organic forms) and more restrained (orthogonal, minimal forms). I found that this depended on the particular office that designed the work.

MARC

SUSAN I liked the projects that showed an understanding of the current preoccupations among architects everywhere, such as refining the wood skyscrapers and high-rises that connect with nature on many levels: green roofs, balcony gardens, and landscaping the site. Each firm can add its findings to the larger dialogue of what architecture can do in a time of climate change.

I also noticed that there was a conspicuous lack of computationoriented work. Many firms are far ahead of HDR in terms of incorporating contemporary and powerful computation tools into their workflow.

MARC

09 EVENT

projects did you generally Q What admire, and why?

MIMI I really loved the [Galveston] fire station project—the design’s simplicity and resourcefulness in the face of possible natural disaster stood out.

MARC Many of us took note of the fire station project. I found it quite beautiful in its simple, elegant approach to a project with a small footprint and budget in a very challenging context. The project was thoughtfully composed and driven by a clear understanding of utility and context.

There were also a number of modest interior projects and adaptive reuse projects that I found quite compelling.

They seemed constrained by budget, space, and context, but I found that these constraints made them more thoughtful and subtle than the bigbudget, new construction projects.

SUSAN Alley Rethink is a great idea to reclaim unused areas of cities, bring new life into neighborhoods, bring nature into densely built settlements— and create a place that supports healthy urban living.

There are a lot of things I admire in great architecture—and make no mistake, our goal was to highlight projects that were great, not merely competent. HDR is known for highly competent work. But it’s time for it to more consistently rise above that quality. It was nice to see some flashes of brilliance in the work in several instances…and those were the projects that we selected.

JASON

In general, I admire projects that do have a clear parti, that are rationally considered and honestly expressed, and that integrate sustainability artfully into design and create great places for people. I admire projects that are beautiful to behold and delightful to experience and that elevate the human condition. Easy, right?

DISCUSS

you learn anything about HDR’s architecture, architecture Q Did in general, or otherwise from the review?

I was incredibly impressed with the firm’s culture and the openness of the event. It takes “guts” to bring criticism into the heart of the firm, but that willingness to listen seemed important to all aspects of the design process. In many ways, it was the projects that weren’t the best or the worst that provoked the most thoughtful discussions. So many projects were aiming for a high design standard, even if we didn’t immediately all agree on them as exemplary. Those projects forced us as jurors to make an argument for certain processes, ideals, and designs.

MIMI

JIM The long list of projects was impressive. Considerable evaluation and discussion brought the list into focus. We eliminated some work that would have achieved AIA regional design awards. The members of the jury debated in earnest about degrees of design excellence in healthcare, education, corporate, commercial, and elsewhere.

I enjoyed seeing the wide range of project types. HDR was at its best when they took the technical aspects of a project type and breathed new life into them. There were a lot of projects that felt like simply solving problems without pushing hard enough. More bravery is needed. Overall, there was a disappointing amount of attention paid to environmental considerations.

JASON

SUSAN I learned that HDR is involved in a wide variety of projects all over the U.S. and the world. I keep hoping that there is a healthy dialogue in every outpost of the firm around what can be learned from region to region, culture to culture.

I admire HDR for working on their design culture. They are clearly moving the needle and improving the overall quality of their work by making it a priority.

MARC

11 EVENT

interested you about the event itself? What can HDR— Q What and other firms—learn from an internal design review process?

MARC What their strengths and weaknesses are as a firm. There is no better way to grow than to invite outside critics to review your work and to take their observations seriously. Also, there is no better way to understand a firm’s identity than to look at it all at one time and from one place. It gives an excellent sense of the cross-sectional qualities of the firm.

JIM Much of the work shown inspired design—not commodity. The firm is entering a new competitive era with design excellence as an improving strength.

SUSAN I was very happy to be part of such a learned, vocal, and caring jury. The discussions were smart and challenging. [HDR should] present fresh ideas in structure, sustainability, material, technology, and land use in order to create a constant dialogue within the firm and beyond. We need to have many tough conversations about the built environment, its resilience, and how it connects with wellness.

Invited juries to firms are usually asked to deliberate on the best of recent projects. This is like the AIA Architecture Awards, which have become predictable. The AIA needs to learn from Opacity. Innovation is key.

It gives life to new thought processes, smart solutions, material and formal invention—all the reasons that give the creative professions a unique value to society.

I appreciated the firm’s willingness to self-reflect and to invite outside criticism in. That spoke well to the company’s culture. I think the people who had a chance to witness the event likely learned a great deal.

Exposing more [people] to that process would be good. It might be hard for others outside to learn—other than seeing the winners— so the trick is what you do after the event. How do you use the feedback to change your process? Planning after the event might be more important than the event itself.

JASON

PHOTO DIAGRAM - PARTI

This diagram groups conceptually similar projects (by primary concept; many projects have more than one at work). Note similarities in architectural articulation within the concept clusters. The numbers on the project images correspond to their entries in an upcoming diagram.

Reference To Context

Carved Spaces

Circulatory Spine

Clustered Modules

Attention To Materiality

Nested Volumes

Geographic Link

Public / Private

Atypical Project Type

13

A N A LY S I S

CONCEPT CLUSTERS

NESTED VOLUMES

CLUSTERED MODULES

These diagrams show the connections between concepts. Some concepts link with many others (e.g. “Public / Private” links with many other concepts) where others are more isolated (e.g. “Attention to Materiality”).

This illuminates similar approaches corresponding to project type, size, location, designing studio, etc.

Please note: these conceptual connections only refer to the work elevated by the Opacity jury.

NESTED VOLUMES

CLUSTERED MODULES

GEOGRAPHIC LINK

GEOGRAPHIC LINK

PUBLIC / PRIVATE

PUBLIC / PRIVATE

CIRCULATORY SPINE

REFERENCE TO CONTEXT

CIRCULATORY SPINE

REFERENCE TO CONTEXT

ATTENTION TO MATERIALITY

ATTENTION TO MATERIALITY

CARVED SPACES

CARVED SPACES

NESTED VOLUMES

CLUSTERED MODULES

NESTED VOLUMES

CLUSTERED MODULES

GEOGRAPHIC LINK

GEOGRAPHIC LINK

PUBLIC / PRIVATE

PUBLIC / PRIVATE

CIRCULATORY SPINE

REFERENCE TO CONTEXT

CIRCULATORY SPINE

REFERENCE TO CONTEXT

ATTENTION TO MATERIALITY

ATTENTION TO MATERIALITY

CARVED SPACES

CARVED SPACES

15 A N A LY S I S

NESTED VOLUMES

CLUSTERED MODULES

NESTED VOLUMES

CLUSTERED MODULES

GEOGRAPHIC LINK

GEOGRAPHIC LINK

PUBLIC / PRIVATE

PUBLIC / PRIVATE

CIRCULATORY SPINE

REFERENCE TO CONTEXT

ATTENTION TO MATERIALITY

CARVED SPACES

NESTED VOLUMES

CLUSTERED MODULES

CIRCULATORY SPINE

REFERENCE TO CONTEXT ATTENTION TO MATERIALITY CARVED SPACES

NESTED VOLUMES

CLUSTERED MODULES

GEOGRAPHIC LINK

GEOGRAPHIC LINK

PUBLIC / PRIVATE

PUBLIC / PRIVATE

CIRCULATORY SPINE

REFERENCE TO CONTEXT

CIRCULATORY SPINE

REFERENCE TO CONTEXT

ATTENTION TO MATERIALITY

ATTENTION TO MATERIALITY

CARVED SPACES

CARVED SPACES

6

17

7

16

8

15

9

14

13

11

10

12

PROJECT CONCEPTS - INDEX

5

18

4

19

3

20

2

21

1

22

A

B

C

D

E

F

G

H

H

G

F

E

A

B

C

D

46

23

45

24

25

44 26

43

27

42

28

35

33

34

36

32

37

31

38

30

39

29

40

41

17 A N A LY S I S

A NESTED VOLUMES

1.

B CLUSTERED MODULES

2. Georgia Tech Carbon-Neutral Energy Solutions Laboratory

C GEOGRAPHIC LINK D PUBLIC / PRIVATE

67 Albert Avenue ‘Illuminate’

E CIRCULATORY SPINE

3. Jim Pattison Centre of Excellence in Sustainable Building Technologies

F REFERENCE TO CONTEXT

4. Black Hills Wine Experience Centre

G ATTENTION TO MATERIALITY

5. Chris O’Brien Lifehouse

H CARVED SPACES

6. Australian Defence Force Academy (ADFA) Learning Spaces 7. Delta, Volume 1 8. Do Space

24. BBSRC National Virology Centre: The Plowright Building 25. Wietz Sideboard 26. Wollongong Central 27. 151 Clarence 28. 40-Storey Wood Office Tower 29. 67 Albert Avenue Gardens in the Sky 30. Al Maha Centre for Children and Young Adults 31. Alley Rethink

9. Galveston Fire and Rescue

32. Bluestem Community Health Campus and Branding

10. Australian Defence Force Academy (ADFA) Auditorium

33. Dubai Center for Research and Development of Fisheries

11. HDR Minneapolis Design Studio

34. Interdisciplinary High Performance Computational Center

12. HDR Ottawa Studio Ceiling 13. Health Hub Experience 14. Howard University Interdisciplinary Research Building

35. Kaiser Permanente RAD Health Hub 36. Child Development Center 37. University of Sydney LEES 1 Building

15. Humber River Hospital Mural

38. Ministry of Interior Academy Complex

16. Lauritzen Gardens, Marjorie K. Daugherty Conservatory

39. New Orthopedic Unit

17. Manter Hall School of Biological Sciences 18. Maryland Public Health Laboratory 19. MH60R Squadron Headquarters and Training Facilities 20. Novartis Headquarters Australia 21. Omaha Conservatory of Music 22. Ovations Lounge, Holland Performing Arts Center 23. pal-ate

40. Niobrara Valley Preserve 41. Optimize Health Clinic 42. Radiation Oncology Center 43. ReForm: Saving Main Street USA 44. Rehabilitation Hospital, University of Utah Health Sciences 45. River’s Edge 46. Women & Children’s Hospital

SELECTED WORK S These projects represent the best work the jury saw in their review of projects.

21 SELECTED

DU BAI CENTER FOR RE SE ARCH AND DE VELOPMENT OF FISHERIE S P R O J E C T L O C AT I O N

Dubai, United Arab Emirates CLIENT

Dubai Municipality STUDIO

Princeton, New Jersey, USA TEAM MEMBERS

David Connelly, Belinda Daisey, Kenneth Ferjancic, Alyssa Francis, Yi-Wen Lai, Brian Norkus, Charles Secker, Damian Wentzel C AT E G O R Y

Architecture CONCEPTS

Geographic Link Circulatory Spine Public / Private

ENTRY

FISH MARKET

Located at the edge of the palm-shaped Jebel Ali island, the Dubai Center for Research and Development crests over the landscape (designed to evoke a wave crashing into a cave) and divides in two sections: public and private. The wavelike roof form rises gently from the ground in the public space to frame both hatchery education spaces and views to the Gulf.

The private program

includes research and testing areas. Here, the roof lies lower, lending a human scale to the otherwise overwhelming interiors (almost all of the fish rearing and holding facilities are contained indoors to protect from the extreme temperatures outside.)

Flexibility in the design means researchers are able to adapt the space to suit their needs, ensuring long-term use.

23 SELECTED

EFFICIENCY / PRODUCTION EFFICIENCY/PRODUCTION

ENVIRONMENT ENVIRONMENT

INTERACTION / EDUCATION INTERACTION/EDUCATION

The site is divided into two distinct parts: the public entry and landscape desert plant garden to the east; and back of the house, utility buildings, and loading area around the hatchery buildings to the west.

25

SELECTED

MANTER HALL SCHOOL OF BIOLOGIC AL SCIENCE S

27 SELECTED

P R O J E C T L O C AT I O N

Lincoln, Nebraska, USA CLIENT

University of Nebraska-Lincoln STUDIO

Great Plains Omaha, Nebraska, USA TEAM MEMBERS

Michael Hamilton, Matthew Stoffel C AT E G O R Y

Interiors

CONCEPTS

Carved Spaces Circulatory Spine

The project entailed significant work to the laboratory layout, circulation, interior finishes, millwork, and lighting, as well as custom-designed seating and reception desk.

Materials include black polished concrete, white Venetian plaster, clear powder-coated steel,

rubber flooring, low-iron glass, and reclaimed Douglas Fir. To allow for science on display and for the space to be a physical representation of biology, the renovation provides a 12-foot-wide corridor space, or the Strada, an improvement

from the previous narrow corridor. The Strada invites students to interact, wait, and socialize, giving them a place to be. Increasing the width of the corridor and slightly relocating it allows for daylight and open views into the labs.

29 SELECTED

EXPLODED AXONOMETRIC

ALLE Y RE THINK

P R O J E C T L O C AT I O N

South Omaha, Nebraska, USA CLIENT

National Park Service: Healthy People Healthy Parks Initiative STUDIO

Great Plains Omaha, Nebraska, USA

TEAM MEMBERS

Nicholas Beaty, Bryan Johnson, Laura Koch, Michell McCullough, Mellissa Mywood, Phuong Nguyen, Jamie Niver, Kelsey Pierce, Katie Smith C AT E G O R Y

Architecture CONCEPTS

Geographic Link Circulatory Spine Reference to Context Attention to Materiality

31

SELECTED

SITEPLAN

33 SELECTED

Omaha is primarily a suburban landscape; wide interstitial spaces (between homes, districts, and even neighborhoods) go largely unused. This project proposes the phased insertion of dedicated active spaces in these areas, linking the city through healthy living.

Alley space is developed in fluid zones according to the following types: “Create” (creative and maker space); “Gather” (markets, public education programs, and gathering); “Learn” (neighborhood history and nature learning); “Grow” (community plots and sustainable landscape lab); and “Play” (exercise and play areas).

Spread over an entire neighborhood, one of these zones is at the heart of each block and is linked by a continuous trail for increased access.

Small-scale architectural installations are at the core of each of these zones, realized in simple construction that references local context. In revitalizing a shared core, Alley ReThink empowers residents to be healthy advocates for their own neighborhoods.

PHASE 3

PHASE 2

PHASE 1

35 SELECTED

PAL–ATE

P R O J E C T L O C AT I O N

Omaha, Nebraska, USA CLIENT

Dario’s Brasserie STUDIO

Great Plains Omaha, Nebraska, USA TEAM MEMBERS

Ross Miller, Michael Hamilton C AT E G O R Y

Architecture CONCEPT

Attention to Materiality

COMPONENT AXONOMETRIC

FITCH BEAM DETAIL

37 SELECTED

Inspired by the wood pallet and its prevalence in the transportation and shipping of food, the pavilion for a local food event is expressed with and constructed from recycled shipping pallets.

The rustic pallet cladding forms a column of space that is reminiscent of the wooden corn cribs that dot the Nebraska landscape. The shadows of the pallets tattoo the concrete and provide shade to the diners.

SOUTH ELEVATION

4 0 -STORE Y WOOD OFFICE TOWER CLIENT

“Studio Building of the Future” Design Competition, Commercial Real Estate Development Association (NAIOP) STUDIO

Penticton, British Columbia, Canada TEAM MEMBERS

Nick Bevanda, Robert Cesnik C AT E G O R Y

Architecture CONCEPT

Attention to Materiality

WEST/EAST ELEVATIONS

39

SELECTED

Advances in fireproofing and construction technologies have precipitated a renaissance in timber construction. Unlike concrete and steel, timber is a renewable resource and can often be found for lower costs.

This project draws from advanced sustainable strategies, responding specifically to the climate and environment of the Pacific Northwest.

The design is highly flexible; columnfree office floors are supported by a concrete central core. The floors themselves are built from engineered CREE panels. East-west building orientation maximizes solar gain; vertical exterior sunshades control exposure on these elevations. Horizontal shades on the south incorporate photovoltaic solar panels which are, in turn, integrated with the building’s energy systems.

41 SELECTED

TYPICAL FLOOR PLATE

The scheme proposes a building footprint of 150 feet by 90 feet, with a central concrete core. Floors span 30 feet from the core to the perimeter truss; decks are made of wood-concrete composite elements that take advantage of the superior tension capacity of wood and the compression capacity of concrete panels.

43

SELECTED

45 SELECTED

NOVARTIS HE ADQ UARTER S AUSTR ALIA P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia CLIENT

Novartis / Marprop STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Rodney Hector, Alberto Sunderland, Pei-Lin Cheah, Tina Turrisi, Sergio Azevedo, Rahul Butala, Stefano Cottini, Paul Reidy C AT E G O R Y

Architecture CONCEPTS

Attention to Materiality Nested Volumes Circulatory Spine Public / Private

The building is characterized by two conceptual directions: caring for patients and science-based innovation. The scientific finds its expression in the slender glass rectangular office floor projecting from the sloping site.

This volume is supported on the human element, a contrasting language of timber and aluminum curved forms that shape the core and the collaboration spaces at the heart of the building.

These two concepts

GROUND PLAN

GROUND PLAN 1 : 500

and their interaction generate a building of clean lines and precise transparent forms anchored by a series of curved warm elements to express their humanist mission and a culture of innovation.

N

0

5

10

47

SELECTED

49 SELECTED

Curved forms shape the core and the spaces at the heart of the building. Within these more human zones, vertical movement through glass lifts and a series of relaxed stairs encourages communication and transparency among employees.

L AU RIT ZEN GARDENS MAR JORIE K . DAU GHERT Y CONSERVATORY

51 SELECTED

P R O J E C T L O C AT I O N

Omaha, Nebraska, USA CLIENT

Heritage Services, Lauritzen Gardens TEAM MEMBERS

Bruce Carpenter, Tim Wurtele, William DeRoin, Cynthia Shuck, Tim Lang, Doug Sholl, Trevor Hollins, Mary McCawley, Allison Ingunza, Nick Zuniga, Steve LaHood STUDIO

Great Plains Omaha, Nebraska, USA C AT E G O R Y

Architecture CONCEPTS

Nested Volumes Geographic Link Attention to Materiality

The form of the Lauritzen Gardens Conservatory derives from a basic 12foot structural module.

To match the sloping topography of the site (and reduce the need for pre-construction site excavation), the structure rises and segments in step with the hillside. The circulatory diagram, in turn, links these changes in grade to changes in program. The organic curved form, molded and

extruded using advanced modeling, mimics blooms of the heliconia flower (which is among the plants displayed inside). The glass shell itself follows a shingle system where the horizontal panels simply lay on top of one another.

Operable louvers on the side walls and roof allow the structure to naturally ventilate.

1 EXISTING SITE

2 SPATIAL BOUNDARY

3 PROGRAM

4 RATIONALIZATION OF ROOF

5 L ANDSCAPE INTEGRATION

6 NATURAL MORPHOLOGY

The existing campus and the hills to the west comprise the site for the tropical conservatory addition.

The building mass is sized and a base layer of hillside is pushed back by use of retaining walls to allow for cooling fans along the west façade.

The long building mass is segmented into spatial divisions that are extruded to better reflect the changing topical elevations.

A simple cut made into the topography designates the site for the conservatory addition.

The roof’s precise geometric form is reminiscent of the roof on the adjacent Botanical Gardens’ building; the conservatory’s edge planes are softened to better resemble the smooth, natural forms of the plants within its walls.

The conservatory’s shell assumes the organic form of the heliconia plant; segmented bays are extruded in sections, while the roof overhang is pulled or subtracted to create an overlapping effect.

53

SELECTED

SOUTH ELEVATION

55 SELECTED

EAST SECTION

DELTA , VOLUME 1

P R O J E C T L O C AT I O N

N/A

CLIENT

N/A

STUDIO

N/A

TEAM MEMBERS

Hank Adams, Katherine Allen, Jim Atkinson, Dana Ball, Betsy Berg, Paula Brammier, Zach Brewster, Erik Carlson, Abbie Clary, Brendan Collingsworth, Dylan Coonrad, Matthew Delaney, Scott Foral, David Grandy, Jean Hansen, Jim Henry, Michael Joyce, Cally Larsen, Lily Livingston, Amy Lussetto, Tom Marquardt, Cindy McCullough, Brandy Olsen, Ashley Tucker, Katie Sosnowchik, Lou Ann BunkerHellmich, Suzanne Pini, Colin Rohlfing, Amy Skinner, Doug Wignall, Joel Worthington C AT E G O R Y

Research

CONCEPT

Atypical Project Type

Delta pushes HDR beyond design into the realm of strategic, futuristic thinking within the healthcare space.

The equity is embedded inside rich stories that demonstrate genuine thought leadership.

While we are proud of our deep portfolio of built work, this journal isn’t intended to pitch our project qualifications or experience. Project photography is strictly avoided—instead we visualize concepts in a way that is engaging, memorable, creative, and specifically tailored to the stories within.

57

SELECTED

Concepts are visualized to be engaging, memorable, creative, and specifically tailored to the stories within.

59

SELECTED

61

P R O J E C T L O C AT I O N

Oliver, British Columbia, Canada CLIENT

Black Hills Estate Winery S T U D I O L O C AT I O N

Penticton, British Columbia, Canada

TEAM MEMBERS

Nick Bevanda, Rob Cesnik, Andrew MacPhail, Mark Nielsen C AT E G O R Y

Architecture CONCEPT

Geographic Link

SELECTED

B L ACK HILL S WINE E XPERIENCE CENTRE

The building design highlights the character of its location, with its desert climate and picturesque views. It is constructed from a similar palette of materials as the existing winery building, with a steel structure supporting precast concrete panels. Interior spaces are softened by the use of wood. Deep overhangs and heatresistant glazing offer relief from the harsh summer sun, and a pool was added to provide a place to cool off when the heat of the Okanagan summer reaches its peak.

SITE PLAN

63

2

3

4

5

SELECTED

1

6

7

LEVEL 1

1 Storage / Electrical 2 Dishwasher 3 Office 4 Tasting Room

5 Main Entry 6 Upper Patio 7 Lower Patio / Pool

65

SELECTED

67 SELECTED

HDR OT TAWA ST U DIO CEILING P R O J E C T L O C AT I O N

Ottawa, Ontario, Canada STUDIOS

Ottawa, Ontario, Canada; Kingston, Ontario, Canada TEAM MEMBERS

The ceiling installation represents the shifting influence of transportation systems over the last 150 years in the Ottawa region. The area was founded at the confluence of key waterways where land was conceded for the use of farming. It was ultimately transformed through the replacement of rail by the automobile as the primary mode of transportation during the mid-20th Century.

Concession lines form the divisions in the panels; the resulting “terrain� is the abstraction of this transformation of transportation systems over time and its effect on city buildings.

James Chapman, Ingrid Felso, Jason-Emery Groen C AT E G O R Y

Research

CONCEPTS

Reference to Context Geographic Link Public / Private

the Ottawa HDR office

69 SELECTED

Mock-ups experimented with resin bonding and drill bit depth.

A three-dimensional graphic language represents and translates millions of lines of mapping into a consistent abstraction milled into the panels using new milling technologies.

71

SELECTED

HE ALTH H U B E XPERIENCE

P R O J E C T L O C AT I O N

Southern California CLIENT

Kaiser Permanente STUDIOS

Pasadena, California, USA; Omaha, Nebraska, USA; Chicago, Illinois, USA; New York, New York, USA; Dallas, Texas, USA, Denver, Colorado, USA, Sydney, New South Wales, Australia TEAM MEMBERS

Dana Ball, Paula Brammier, Dave Braucht, Moriah Brookshier, Dylan Coonrad, Kate Diamond, David Grandy, Jim Henry, Michael Joyce, Jay Ko, Steve LaHood, Amy Lussetto, Amy Mays, Kaia Nesbitt, Alex Newman-Wise, Brandy Olson, Susanne Pini, Heather Rivera, Gina Soohoo, Gary Waymire, Amy Williams, Joel Worthington, Mengni Zahng C AT E G O R Y

Research

CONCEPT

Atypical Project Type

73

SELECTED

75 SELECTED

Two building typology concepts were developed, both shaping a unique array of space and activity.

Health Hub is Kaiser’s physical manifestation of an intentionally designed patient experience for a reimagined medical office building. Health Hub represents a total overhaul of the patient experience, from arrival to the check-in process, to the aesthetics of the waiting area, to the way doctors and nurses interact with members and one another. Health Hub is an experience model that scales to different facility sizes and configurations.

This storytelling approach informed the layout for the Experience Guide, and allows the piece to resonate with a diverse audience that includes Kaiser Permanente planners, operations staff, regional strategy staff, providers, executive leadership, and architecture firms selected to implement Health Hub concepts.

Visuals were able to demonstrate that connections among people and experiences are sometimes not literal.

The user journey is designed using the “5 E’s” to build an immersive experience both inside and outside the facility environment.

COMMUNITY HEALTH HUB PUBLIC SQUARE

Entice

Enter

Engage

OUTPATIENT CLINICAL SUITE CLINIC POD

EXAM ROOM ENCLAVE

Exit

Extend

By showing environments or micro interactions in which members participate, we visually illustrated that the emotional connection is in the action, viewpoint, or activity.

77 SELECTED

Health Hub is not a specific building design, but rather an experience model that scales to EXAM ROOM different facility sizes and configurations.

1

2

CLINIC POD

SHARED SUPPORT

3 CLINIC MODULE 4

THE ENCLAVE

5

OUTPATIENT CLINICAL SUITE

EXAM

EXAM

EXAM

EXAM

EXAM

EXAM

EXAM

MED PREP

BENCH

EXAM

EXAM

EXAM

EXAM

MED PREP

EXAM

EXAM EXAM EXAM

EXAM

MED EXAMPREP EXAM

PATIENT TOILET

EXAM

EXAM FLEX

EXAM

PATIENT TOILET

EXAM

PROCEDURE MINOR

PATIENT FRONT PORCH TOILET

EXAM

SPECIAL EXAM NEEDS

EXAM

EXAM

EXAM SPECIAL NEEDS EXAM PROCEDURE MINOR

EXAM

PROVIDER COLLABORATION ZONE VARIATIONS

EXAM EXAM

EXAM EXAM

EXAM

EXAM EXAM

EXAM

MED PREP

SPECIAL NEEDS

EXAM EXAM EXAM EXAM

PATIENT TOILET

PROCEDURE MINOR

EXAM

EXAM

EXAM EXAM

EXAM EXAM

EXAM

EXAM

EXAM

EXAM

EXAM EXAM

EXAM

EXAM

EXAM

EXAM

EXAM

MED PREP

EXAM

EXAM

SPECIAL EXAM NEEDS

EXAM

EXAM SPECIAL NEEDS

FLEX

EXAM

PROCEDURE MINOR

FRONT PORCH

MED PREP

PATIENT TOILET

FLEX

PROCEDURE MINOR

PATIENT TOILET

EXAM EXAM

MED EXAMPREP

EXAM

PATIENT TOILET

FLEX

EXAM

FRONT PORCH

EXAM

EXAM

FLEX

PROCEDURE MINOR

FRONT PORCH

EXAM

FRONT PORCH

EXAM

FLEX

PROCEDURE MINOR

PROVIDER ENCLAVE VARIATIONS

EXAM

EXAM EXAM

MED PREP

FRONT PORCH

EXAM

PROCEDURE MINOR

FRONT PORCH

MED PREP

EXAM

PATIENT TOILET

FLEX SPECIAL NEEDS

FLEX EXAM

PATIENT TOILET

EXAM

EXAM EXAM EXAM

EXAM

SPECIAL NEEDS

FLEX

EXAM EXAM

EXAM

EXAM

EXAM

PATIENT TOILET

MED PREP

SPECIAL NEEDS

EXAM

EXAM

FRONT PORCH

EXAM

PATIENT TOILET

EXAM EXAM EXAM EXAM

EXAM EXAM

EXAM

EXAM EXAM

EXAM

EXAM

EXAM EXAM

EXAM

EXAM

MED EXAMPREP

EXAM

MED PREP

FLEX

EXAM

EXAM

PROCEDURE MINOR

SPECIAL EXAM NEEDS

EXAM

EXAM SPECIAL NEEDS

FLEX

EXAM

PROCEDURE MINOR

FRONT PORCH

MED PREP

PATIENT TOILET

FLEX

SPECIAL NEEDS PROCEDURE MINOR

FRONT PORCH

EXAM

PATIENT TOILET

EXAM

SOILED

EXAM

EXAM

EXAM EXAM EXAM EXAM EXAM

EXAM

SOILED

EXAM

EXAM

EXAM EXAM EXAM

SOILED

EXAM

EXAM

SOILED

EXAM

SOILED

EXAM

SOILED

EXAM

SOILED

EXAM

SOILED

CLINICAL MODULE COMPONENTS

1 Exam Room 2 Clinic Pod 3 Clinic Module 4 The Enclave 5 Outpatient Clinical Suite

SOILED

FRONT PORCH

FRONT PORCH

SPECIAL NEEDS PROCEDURE MINOR

FRONT PORCH

FLEX

PROCEDURE MINOR

79 SELECTED

67 ALB ERT AVEN U E ‘ ILLUMINATE’ P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia C L I E N T

Corval

STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Sergio Azevedo, Rahul Butala, Paul Reidy, Alberto Sunderland C AT E G O R Y

Interiors

CONCEPT

Nested Volumes

81 SELECTED

The contemporary aesthetic of the undulating ceiling transforms the previously dark and unwelcoming lobby (above) into a place of light and whimsy.

83 SELECTED

The light installation in the lobby of 67 Albert Avenue brings visual interest and light to a formerly stuffy atrium space. The backlit and undulating forms articulate a unique visual presence at the street level, and provided the team with an opportunity to test cutting-edge fabrication tools.

NIOB R AR A VALLE Y PRE SERVE

P R O J E C T L O C AT I O N

Niobrara River Valley, Nebraska, USA CLIENT

The Nature Conservancy STUDIO

Great Plains Omaha, Nebraska, USA

TEAM MEMBERS

Bruce Carpenter, William DeRoin, Trevor Hollins, Alison Ingunza, Rebecca Liebentritt, Beth Redding, Doug Sholl, Tim Wurtele C AT E G O R Y

Architecture CONCEPTS

Geographic Link Nested Volumes Carved Spaces

85

SELECTED

1 BASIC MASSING

Form is refined to manifest programmatic hierarchy.

2 INTERNAL CIRCULATION

Circulation masses are embedded within the form.

87 SELECTED

The new learning center at the Niobrara River Valley is a hub for the parkland’s preservation and education efforts, consolidating what was a hodge-podge of buildings into a single learning center.

This structure, in turn, is designed to blend seamlessly with the environment; all programmatic elements are oriented to relate to the exterior surroundings.

3 CONNECTION TO SITE

Exterior circulation is applied to achieve a cohesive site/building relationship.

The material palette was selected for longevity and simplicity; the concrete core and weather steel siding require little upkeep, thus reducing maintenance costs. To minimize set impact, protect against natural hazards, and thermoregulate the interior, the building is set into a hill—a historic and effective passive design strategy.

4 FORMAL DEFINITION

Form is modified to create a directional emphasis on orientation.

GROUND LEVEL PLAN

89 SELECTED

SECOND LEVEL PLAN

GALVE STON FIRE AND RE SCU E

P R O J E C T L O C AT I O N

Galveston, Texas, USA CLIENT

City of Galveston TEAM MEMBERS

Jim Henry, Bryan Sumruld, Halden Tally, Kevin Augustyn, Tom Trenolone STUDIOS

Dallas, Texas, USA with Great Plains Omaha, Nebraska, USA C AT E G O R Y

Architecture CONCEPTS

Geographic Link Reference to Context Attention to Materiality

As climate change gives rise to increasingly volatile weather patterns, buildings— particularly those in at-risk areas—are being designed with the next disaster in mind. Resiliency is at the core of every aspect of this project, directing everything from structural and environmental strategies to the interior finishes.

Elevated command, living, and observational spaces ensure minimal damage to primary building functions

(mechanical systems are also raised from the ground, but are not directly co-located).

The ground-level utility bay is left intentionally rudimentary to mitigate future repair costs.

The restrained color palette, supergraphics, and strategic (impactresistant, lightweight, and replaceable) material finishes establish a unified visual language in line with the overall strategy: reuse without reconstruction after disaster.

91

SELECTED

FLOODPLAIN PREPARATION

PROGRAM STACKING

93 SELECTED

Previous disasters and the regions floodplain encourages moving housing and permanent program to the upper level in order to avoid future damage.

1

3 2

4 6

1 Zinc Paneling 2 Wood Slat Siding 3 Hardwood Floor 4 Reinforced Polygal 5 Utility Bay Doors 6 Stamped Concrete

5

The design is simple, comfortable, and casual. White panel cladding on the second level is interrupted by long recessed terraces.

95 SELECTED

GROUND FLOOR PLAN

SECOND FLOOR PLAN

97 SELECTED

67 ALB ERT AVEN U E GARDENS IN THE SK Y P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia CLIENT

Corval

STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Pei-Lin Cheah, Rahul Butala, Leigh Hanekom, Paul Reidy C AT E G O R Y

Architecture CONCEPT

Geographic Link

As a whole, the building functions as an ecological system working between both the landscape and the intricacies of housing design.

URBAN SILHOUETTE

NATURE-FILLED LIVING SPACES

URBAN ENTRY SEQUENCE

99 SELECTED

Urban environments often lack a natural presence; this project proposes integrating a medium-density tower block with a lush vertical landscape. While the design is a conceptual prototype, it follows the building code and natural policies of the City of Sydney. The tower itself is a model for sustainable residential design, and contributes to urban biodiversity

without expanding metropolitan sprawl.

Plants are distributed in relation to the façade’s position to the sun. The vegetal system aids in the construction of a microclimate ,which produces humidity, absorbs CO2 and dust particles, releases oxygenated air into the atmosphere, and thermoregulates the apartments inside.

NE W ORTHOPEDIC U NIT P R O J E C T L O C AT I O N

Eisenberg, Thuringia, Germany CLIENT

Waldkrankenhaus Rudolf-Elle GmbH STUDIO

Leipzig, Germany TEAM MEMBERS

Daniel Ferchland, Jacqueline Hofmann-Nitschke, Michael Keitel, Alexander Kopp, Stefan Opitz, Michael Peger, Katja Schober, Elisa de Rosa, and Matteo Thun & Partners C AT E G O R Y

Architecture CONCEPTS

Clustered Modules Public / Private Attention to Materiality

101 SELECTED

This project is located in Germany’s Thuringian Forest, and considers anew the relationships among physical space, the environment, hospitality, and patient care. Once inside, the circular form reveals itself to be more of a ring; a square-shaped internal courtyard is inscribed in the circular form. Patient rooms are located along the outer edge of the circular form; all mechanical and staff functions are oriented toward the

SITE PLAN

center. Natural light floods every patient room, linking those inside to the outside world. The interior’s strategy orients itself more toward hospitality than to hospitals themselves; comfortable furniture and art / decoration engender a warm atmosphere.

Natural materials such as wood, stone, and even foliage are also present in the interiors, further emphasizing the pastoral concept.

103 SELECTED

CONNECTIONS

CONNECTIONS

CONNECTIONS

CONNECTIONS

Rehabilitation Routes

Park and Forest Space / Walking Routes

Visitor and Hiker Routes

Hospital / Worker Routes

GROUND LEVEL FLOOR PLAN

105 SELECTED

An example of a typical single inpatient room.

A home-like atmosphere makes it a pleasant and soothing place for patients and family alike.

107 SELECTED

AUSTR ALIAN DEFENCE FORCE AC ADEMY (ADFA) LE ARNING SPACE S P R O J E C T L O C AT I O N

Campbell, Canberra, Australian Capital Territory, Australia CLIENT

Department of Defence /Richard Crookes Constructions STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Jonathan Croft, Anthony Raad, Paul Reidy, Alberto Sunderland, Carl Tappin, Tina Turrisi, Maurice Valentinuzzi C AT E G O R Y

Architecture CONCEPTS

Clustered Modules Public / Private

This project adds to the original modernist ADFA campus and supports new collaborative, active, and studentfocused pedagogic methods. Exterior materiality references the existing context; interiors are reciprocal, reinterpreting the conventional “learning in the classroom” approach. As such, the list of academic spaces expands to include learning areas in the corridors, outdoors, and everywhere in between.

The addition of a glazed gathering space at the center of campus reinforces the project’s connective function, uniting previously disparate blocks of program.

GROUND FLOOR PLAN

A variety of learning spaces are scattered across the complex.

109 SELECTED

Staircases and voids that were previously underutilized or uninviting are reimagined into informal gathering environments.

111

SELECTED

MENTIONED WORK S These projects are recognized for the significant amount of debate they solicited from the jurors, but in the end they found themselves outside the bubble.

INTERDISCIPLINARY HIGH PERFOR MANCE COMPU TATIONAL CENTER

P R O J E C T L O C AT I O N

Staten Island, New York, USA CLIENT

City University of New York (CUNY), College of Staten Island STUDIOS

New York, New York, USA; Princeton, New Jersey, USA TEAM MEMBERS

Pal Halamar, June Hanley, Tom Hughes, Kevin Jelinek, Anisha Kothari, Scott Kimble, Yi-Wen Lai, John Pavlik, Dale Peterson, Dan Rew, Lee Schofer, Jake Levine C AT E G O R Y

Architecture CONCEPTS

Circulatory Spine Public / Private

115 MENTIONED

DAYLIGHT VIEWS daylight & views

STRUCTURAL GRID structural grid

VD

RY BL

VICTO

STA

TEN

ISLA

ND

EXP

RES

SW

AY

WIL

LO

WB

RO

OK

RO

AD

A

E D

A. North Quad B. Great Lawn C. South Quad D. Administrative Quad E. Connecting Green

B

RO

AD

C

0

500’

SITE PLAN

EAST ENTRY

FO

RE

ST H

ILL

N

verticalCIRCULATION circulation VERTICAL

Interconnectivity is at the heart of this project, as the building links computing to academics (math, computer science, engineering, and physics), people and place, and the various sections of campus. A diagonal atrium bisects interior programmed spaces, which are distributed irregularly (as opposed to grouped by discipline) to promote interdisciplinary collaboration. The atrium space itself follows the existing path between the quads on either side, and acts as circulation

and gathering space for both the building and the campus. While this diagonal incision responds to context and use, it also introduces natural light deep into the interior. A doubleloaded corridor loops around the building’s upper floors, connecting classroom, research, and office spaces. The design, in emphasizing circulation, connection, and community, seeks to reduce academic territorialism and encourage shared learning.

MINISTRY OF INTERIOR AC ADEMY COMPLE X P R O J E C T L O C AT I O N

Abu Dhabi, United Arab Emirates CLIENT

Abu Dhabi Ministry of Interior STUDIO

Princeton, New Jersey, USA TEAM MEMBERS

Mike Andrewsky, Erin Schaefer, Tom Smith, Damian Wentzel, Nabil Katrajian C AT E G O R Y

Architecture CONCEPTS

Circulatory Spine Geographic Link

SITE PLAN

From above, the educational campus of the Ministry of Interior appears to be ribbons of sand dunes blown against a thick retaining wall. Indeed, the sinuous form (unusual for this program) is woven into the landscape to establish a sense of place in the otherwise shifting environment. An orthogonal ceremonial space anchors the

building at its center; programmatic arms arc out from this core on either side, housing living and learning zones. This segmented form, while poetic, also forms a kind of buffer against the harsh climatic conditions of the desert and breaks down the otherwise massive spatial demands into a more comfortable scale.

117 MENTIONED

SITE SECTION

119

P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia CLIENT

Chris O’Brien Lifehouse STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Sergio Azevedo, Francesca Fava, Alessandro Filipi, Scott Gould, Ronald Hicks, Peter Kouvelas, Graham Reynolds, Mark Shoolman, Rebecca Yeo, Vanessa Zakrzewski C AT E G O R Y

Architecture CONCEPTS

Public / Private Circulatory Spine Clustered Modules

GROUND FLOOR PLAN

ARTICULATED STREET FAÇADE

With an entry facing the campus, rather than the public street, and a gradated façade (allowing those outside to view only certain interior spaces), this project explores notions of safety, protection, and privacy in healthcare architecture. The vertical expression reorients the building mass required by the program around a full-height atrium and creates a dense interior campus.

Screens, louvers, and façade appliqués filter and soften light entering the building, while also protecting the (extremely private) medical encounters from public view.

MENTIONED

CHRIS O’B RIEN LIFEHO USE

HDR MINNE AP OLIS DE SIGN ST U DIO P R O J E C T L O C AT I O N

Minneapolis, Minnesota, USA STUDIO

Minneapolis, Minnesota, USA TEAM MEMBERS

Mike Rodriguez, Jim Thomson, Julie Robertson, Michael Nelson, Alexa Choles, Kyle Lacek C AT E G O R Y

Discovery

CONCEPTS

Clustered Modules Circulatory Spine

8

7

9

5

6 4

6

3 2

1

1 Lobby/Reception 2 Hosting Bar 3 The Big Think 4 The Red Room 5 Unassigned Bench Seating 6 The Living Room 7 The Blue Room 8 Lockers 9 Library

121 MENTIONED

The design for HDR’s new Minneapolis office puts flexibility and collaboration at its core.

Different clusters of workspaces encourage different types of working – in a group or individually; silently or collaboratively. A ‘coffee shop’-inspired space at the front introduces and anchors the office’s

professional-yet-relaxed atmosphere. Indeed, employees do not have assigned seats, and instead move to best serve their needs. The office design itself was crafted from information gathered in quantitative and qualitative employee surveys, embodying the design concept: “start by listening.”

[ composite ]

1

2

4

1 Limestone base references area geology

3 Earth-toned metal panels reference the prairie site

2 Neutral screen hides and protects mechanical spaces

4 Glass walls invite users into the community spaces; windows indicate private spaces

P R O J E C T L O C AT I O N

Grand Island, Nebraska, USA CLIENTS

Grand Island Hospital Holding LLC and Chief Industries STUDIO

3

Great Plains Omaha, Nebraska, USA

TEAM MEMBERS

Matthew Delaney, Dylan Coonrad, Dana Ball, Paula Brammier, Steve LaHood, Katie Sosnowchik, Amy LaMar, Rachel Henry, Cally Larsen, Wendy Moran, Bryan Nielsen, Tom Trenolone, William DeRoin, Chris Turner, Xin Zhao, Scott Foral, Cyndi McCullough, Brian Zabloudil, Trevor Hollins, Rebecca Cherney, Joe Hazel, James Wingert, Andrew Wilson, Abby Scott, Megan Michalak

C AT E G O R Y

Architecture CONCEPTS

Reference to Context Clustered Modules

123 MENTIONED

B LU E STEM COMMU NIT Y HE ALTH C AMPUS AND B R ANDING

The connection to people is at the core of the design of this project, a set of new facilities for a community health system serving a midsized community in rural Nebraska. Development revolved around this connection; the program was expanded to include social and market spaces for community gathering.

The buildings’ materials reference the local vernacular. Rusted metal panels on the façade relate to the red oxide additive used to paint barns; the limestone base is a nod to the quarries in the area; the corrugated metal used throughout is drawn from the area’s numerous metal silos.

CHILD DE VELOPMENT CENTER

SECTIONAL PERSPECTIVE

125 MENTIONED

P R O J E C T L O C AT I O N

Riyadh, Kingdom of Saudi Arabia CLIENT

Kingdom of Saudi Arabia Ministry of Health STUDIOS

Kingston, Ontario, Canada; Ottawa, Ontario, Canada; Boston, USA; Dubai, United Arab Emirates TEAM MEMBERS

Jason-Emery Groen, Allen Buie, Sebastian Wooff, Abel Solana Morales C AT E G O R Y

Architecture CONCEPTS

Circulatory Spine Reference to Context Carved Spaces

This project is a concept without a site, challenging the architects to establish a programmatically and conceptually effective parti for many Saudi Arabian (i.e., desert) locations. A careful investigation of local geography and IndoIslamic architectural tradition inspired a vernacular approach, with hallmarks such as traditional courtyard gardens, Jaali-inspired solar shading, local materials, and passive thermal regulation.

The building’s central spine draws inspiration from the wadis (valleys/ ravines) that dot the Arabian landscape; this form acts as the architectural translation of a safe embrace (not to mention clear wayfinding). All clinical spaces attach to the spine, and are each placed as discrete elements along a linear core (i.e., not otherwise connected).

The interstitial spaces between clinics are articulated as exterior courtyards—a reference to the courtyard gardens of Old Town Riyadh.

127 MENTIONED

WOLLONGONG CENTR AL

P R O J E C T L O C AT I O N

Wollongong, New South Wales, Australia CLIENT

The GPT Group STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Gloria Alvarez, Stephen Auld, Paul Brodala, Stefano Cottini, Ciaran Durney, Scott Gould, David Hart, Hugh Irving, Lionel Kettler, John Peachey, Susanne Pini, Tony Rastrick, Jason Roberts, Colin Ross, Kyle Soltani, Graham Steer, Sandra Stewart C AT E G O R Y

Architecture CONCEPTS

Circulatory Spine Reference to Context Attention to Materiality

Ilwarra, the region where this project is located, is characterized by an unusual dichotomy: a steel town within a rainforest-like landscape.

The design of this project draws upon this connection in a myriad of ways, connecting the development inextricably to its context. In that spirit, the exteriors of the building are primarily steel, a strong material used lyrically to reference historic context and the environment.

Organic motifs are

FUSING ARCHITECTURE , ART, AND CULTURE

present throughout the building, and are particularly prominent in the steel detailing and glass appliqués.

The interior is laid out horizontally along a circulatory spine or “main street” that is highlighted by an undulating lumber element. The program is separated across the levels vertically (e.g., retail on the ground floor, dining at the top).

P R O J E C T L O C AT I O N

C AT E G O R Y

CLIENT

CONCEPT

Omaha, Nebraska, USA Omaha Conservatory of Music

Architecture Reference to Context

STUDIO

Great Plains Omaha, Nebraska, USA TEAM MEMBERS

Tim Wurtele, David Lempke, Xin Zhao, Cary Schroeder, Tim Lang, Beth Redding, Randy Niehaus, Nathan Engel, James Hubbell, Alison Ingunza, Nick Beaty, Susan Johnson, Abby Scott, Jeff Pauba, Rick Horeis, Greg Kyander, Nick Hoesing, Matt DeBoer, Nick Zuniga, Kevin Moody, Danielle Truckenbrod

Light wells embedded in the side walls of the main hall (see photo above) bathe the performance space in soft diffuse light.

129 MENTIONED

OMAHA CONSERVATORY OF MUSIC

A significant renovation transformed the former Temple Israel into a world class performance, rehearsal, and headquarters space for this music conservatory. The design approach embraces simplicity, adapting the existing facility only where necessary for new programmatic needs.

The existing brickwork, slate flooring, and doors were left as a nod to the building’s history, and contrasted with new concrete flooring and exposed ductwork in the public and circulatory spaces.

Acoustics were key in ensuring the success of the facility. In the concert hall, a shingled system along existing parallel masonry walls prevent flutter echoes, but converge to a flat surface toward the stage.

In the recital hall, an original curved wall and new angled ceiling work in concert to ensure ideal acoustics.

Direct Sound Reflected Sound

DO SPACE P R O J E C T L O C AT I O N

Omaha, Nebraska, USA CLIENT

Heritage Services STUDIO

Great PlainsOmaha, Nebraska, USA TEAM MEMBERS

Kevin Augustyn, Bruce Carpenter, Paul Concannon, Matt Deboer, Nick Hoesing, Trevor Hollins, Jennifer Karls, Jeff Larka, David Lempke, Randy Niehaus, Beth Redding, Cary Schroeder, Brad Swerczek C AT E G O R Y

Architecture CONCEPT

Reference to Context

DIGITAL REVIVAL

131 MENTIONED

Located at the intersection of two major urban arteries, Do Space breathes new life into this former bookstore left empty in the wake of technological advancement. This rehabbed design (perhaps ironically) makes use of the existing structure to support a new “tech library/ incubator space,” which includes classrooms, computer banks, and various types of maker

and community areas.

The building’s public focus and range of workspaces (from single-person pods to large-group meeting rooms) facilitate collaboration and sharing—both hallmarks of a contemporary digital spirit. Do Space is a playground, a workshop, a business, a studio, and a library—reinterpreted, but not reinvented, for the 21st century.

133 MENTIONED

151 CL ARENCE P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia CLIENT

Investa Property Group STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Pei-Lin Cheah, Rahul Butala, Stefano Cottini, Sergio Azevedo, Paul Reidy C AT E G O R Y

Architecture CONCEPT

Reference to Context

This proposal for downtown Sydney reconciles the insertion of a contemporary office building within a district that has an established architectural language primarily composed of masonry. Insertions in the brick faรงade (a benefit of steel, rather than a full masonry structure) flood the interiors with natural light; they also lift up from the ground plane to

allow unimpeded views and movement at the public level.

Inside, a twisting staircase weaves across the levels, crafting a dynamic and individual circulation strategy for the building. Podium levels (major gathering areas) are defined as light-filled spaces that connect to this staircase to encourage campus community.

REFOR M: SAVING MAIN STREE T USA P R O J E C T L O C AT I O N

Haxtun, CO – Rural Town USA CLIENT

Haxtun Hospital District STUDIO

Great Plains Omaha, NE USA TEAM MEMBERS

Matt Goldsberry, Matthew Stoffel, Ian Thomas, Tom Trenolone, Katherine Allen, Kent Spreckelmeyer; KU Studio 808 Students: Lauren Amos, John Barnthouse, Chelsea Campbell, Cole Giesler, Chinoso Ike, Rachel Keeven, Kathy Kim, Hannah Kramer, Ashley Lawrence, Chang Liu, Nicole Mater, Sarah Moser, Lizzy Nikoonamesh, Phillip Perkins, Eman Siddiqui, Mahzad Talaei, William Weiner, Dana Wellman C AT E G O R Y

Research

CONCEPTS

Reference to Context Geographic Link

VACANT AND OCCUPIED BUILDINGS

ReForm is the review and synthesis of the Great Plains Studio’s design/ academic output, and explores the concept and role of critical care access in the American small town. The book itself is divided into six sections: The Question, The Precedent, The Research, The Town, The Design, and The Exhibition. It is a comprehensive review

of studio work, giving precedence to the broad social, cultural, and infrastructural issues at the basis of any architectural project.

At its most granular, it deals with the details and tectonics of clinic prototype construction; at its heart, it considers how/if architecture can play a role in the life (and, increasingly, death) of small towns.

DISTRIBUTION OF SERVICES

In a realm of architecture that is often programmatically restrictive (i.e., healthcare), ReForm proposes, through extensive investigation and with thorough evidence, that better answers regarding the future of healthcare are uncomfortably unknown.

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LIBRARY

PATIENT ROOM

WIE T Z SIDEBOARD CLIENT

Kate Wietz STUDIO

Great Plains Omaha, Nebraska, USA TEAM MEMBERS

Michael Hamilton, Susan Johnson C AT E G O R Y

Discovery

CONCEPT

Nested Volumes

Inspired by the classic 1954 Florence Knoll credenza, digital fabrication and industrial materials put a fresh spin on the established design.

The thin steel base allows the sideboard’s body to appear as though it is floating—a ubiquitous hallmark in Mid-century Modernist design. The base is constructed of laser cut 3/8-inch hot-rolled steel; MDF, trimmed out with reclaimed maple, comprises the body of the piece. Doors are clad in 18-gauge hot-rolled steel, while the top and sides are clad in a single piece of 3/16-inch hot-rolled steel with waterfall edges.

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1 2 1 Steel Shrowd 2 Sideboard 3 Steel Base 4 Wood Drawers 5 Door Fronts

3

4 5

AUSTR ALIAN DEFENCE FORCE AC ADEMY (ADFA) AU DITORIUM

P R O J E C T L O C AT I O N

Canberra, Australian Capital Territory, Australia CLIENT

Department of Defence/ Richard Crookes Construction STUDIO

Sydney, New South Wales, Australia

TEAM MEMBERS

Jonathan Croft, Lionel Kettler, Chris Murray, John Peachey, Anthony Raad, Paul Reidy, Colin Ross, Alberto Sunderland, Carl Tappin, Maurice Valentinuzzi C AT E G O R Y

Architecture CONCEPT

Nested Volumes

This project is part of a number of additions to the Australian Defence Force Academy campus, reconciling current needs with the original modernist design. In a nod to the architectural context, the new structure is composed of two simple forms: a circle inscribed in a rectangle. These two shapes make up the auditorium and reception spaces and are rendered in concrete and glass, respectively.

The auditorium is architecturally realized as a 1200-seat theatre.

The building also includes seminar rooms, a gallery, band rehearsal spaces, and student administrative services.

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MH60 R SQ UADRON HE ADQ UARTER S AND TR AINING FACILITIE S

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P R O J E C T L O C AT I O N

HMAS Albatross, New South Wales, Australia CLIENT

Department of Defence, Australia STUDIO

Sydney, New South Wales, Australia in association with Woods Bagot TEAM MEMBERS

Stuart Aslett, Jonathan Croft, Lionel Kettler, James Robinson, Maurice Valentinuzzi, Ralph Williams C AT E G O R Y

Architecture CONCEPT

Carved Spaces

This project is a bespoke structure that maximizes the efficiency and capability of the two squadrons housed inside. The operational structure was designed to accommodate the highly specific and established workflow.

Functionality was a key driver behind the form of the building—a contemporary interpretation of form follows function. The building is oriented to avoid the effects of winter’s prevailing winds and limit direct sunlight. This northwest axis, coupled with the precast concrete louvers, ensures a comfortable working environment.

The Holland Performing Arts Center lacked an engaging and revenueproducing ground floor amenity space that could support pre- and post-function activities.

The solution was a wine bar and lounge adjacent to the street-level entry, injecting a fresh heartbeat to the building and to the surrounding downtown area. The space is divided into sections: a standing reception area, a bar, and a series of lounge setups.

To address acoustical issues and to create a space that relates on a human level, ceilings were built down and warm colors and textures were introduced. Woven area rugs create cozy, easyto-clean seating islands in a lounge atmosphere.

The space is a lively and sophisticated celebration of the performing arts, with an interesting play on light. The ceiling treatment’s custom light slot pattern appropriately alludes to the movement in a scored piece of music.

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OVATIONS LO U NGE , HOLL AND PERFOR MING ARTS CENTER

P R O J E C T L O C AT I O N

Omaha, Nebraska, USA CLIENT

Omaha Performing Arts STUDIO

Great Plains Studio Omaha, Nebraska, USA

TEAM MEMBERS

David Lempke, Amanda Swartout, Brandon Kyle, John Kaffenberger C AT E G O R Y

Interiors

CONCEPTS

Carved Spaces Clustered Modules Nested Volumes

AL MAHA CENTRE FOR CHILDREN AND YO U NG ADU LTS

Community / communal spaces are at the core of the Al Maha project.

The mass of ambulatory / clinical outpatient program is divided in three diagrammatic parts; these zones each encircle a quad-like space within which staff, patients, and visitors can move about freely. More serious inpatient services are more internally oriented, but are arranged to form ‘residences.’

Large corridors across the building form avenues to counteract the stereotypically claustrophobic hospital atmosphere.

This community oriented parti derives from local culture and building context. Arrival spaces take inspiration from souqs, or local marketplaces, which emphasize public spirit and the human scale; the outpatient ‘neighborhoods’ draw from the tightly packed urban context.

Natural light is present throughout, filtering through decorative external shading to link the interiors to time and nature.

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P R O J E C T L O C AT I O N

Al Wakra, State of Qatar CLIENT

Hamad Medical Corporation STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

Ron Hicks, Jonathan Lindsay, Elisa Nakano, Sam Faigen, Sergio Azevedo, Tony Rastrick, Alan Boswell, Rodney Hector, Vanessa Zakrzewski, Rebecca Yeo, Lise Desebordes, Natalie Walsh, Scott Gould, Alexia Courdurie, Chris Murray, Quincy Ye C AT E G O R Y

Architecture CONCEPTS

Clustered Modules Nested Volumes

HOWARD U NIVER SIT Y INTERDISCIPLINARY RE SE ARCH B UILDING

P R O J E C T L O C AT I O N

Washington, DC CLIENT

Howard University STUDIO

Arlington, Virginia, USA

TEAM MEMBERS

Stephen Blair, Shaun Salazar, Stephen Waller, Lance Bailey, Michael Vinkler, June Hanley, Karen Murphy, Dale Peterson C AT E G O R Y

Architecture CONCEPTS

Reference to Context Clustered Modules Attention to Materiality

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Forging connections among the community, campus, and scientific and research disciplines, the IRB creates harmonies with both the traditional architecture and the cultural heritage of Howard University.

The building form reaches out in a way that gives the public the impression of walking through the building, allowing them a glimpse of the activities inside.

GROUND FLOOR PLAN

SITE PLAN DIAGRAM

K AISER PER MANENTE R AD HE ALTH H U B

“LINEAR” AND “RADIAL” CLINICAL MODULES

CLIENT

Kaiser Permanente, Southern California Region STUDIOS

Omaha, Nebraska, USA; New York, New York, USA; San Francisco, California, USA TEAM MEMBERS

Dave Braucht, Dylan Coonrad, Scott Dunlap, David Grandy, Michael Joyce, Amy Lussetto, Steve LaHood, Amy Mays, Gina SooHoo, Jim Henry C AT E G O R Y

Architecture CONCEPT

Clustered Modules

Healthcare is on the cusp of provisional and architectural change—a shift that requires updates to how we consider care delivery within space. Health Hub investigates the next iteration of the medical office building, and is composed of a kit of parts: the front porch, the clinic module and clinic pods, the exam room, and the off-stage enclave. While each of these spaces are programmatically familiar, they are

designed to adapt to the needs of patients and providers and make care more comfortable.

The new module places all patient areas at the center in two doubleloaded corridors, each buttressed on one side by a dedicated provider zone. The provider area, in turn, is organized along a gradient of community: group work / relaxation areas are framed by private offices to accommodate all professional needs.

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B BSRC NATIONAL VIROLOGY CENTRE: THE PLOWRIGHT B UILDING

P R O J E C T L O C AT I O N

TEAM MEMBERS

CLIENT

C AT E G O R Y

STUDIO

CONCEPTS

Pirbright, Surrey, United Kingdom

The Pirbright Institute London, England, United Kingdom

Mark Bryan, Ross Ferries, Brian Kowalchuk, Fatos Peja Architecture Public / Private Clustered Modules

151 MENTIONED

This project flips the traditional laboratory organization strategy inside out. Containment labs are moved from the core of the facility to the outer ring, centralizing staff gathering space and introducing natural light into the research labs—all within the containment boundary.

This new model prioritizes the health and happiness of the workers, and is anchored by a triple-height atrium at the building’s center.

Though the groundlevel atrium space is not

1

2

3

within the containment barrier, the glass walls look onto the labs that surround it. Exterior materials reinforce the revolutionary nature of this facility—in particular, emphasizing the departure from conventional, sterile containment environments. Wood timber paneling, multicolored window casings, transparent glass panels, and a carefully detailed metal brise soleil express the vibrancy of the new Pirbright.

3

1 Wood = Science 2 Metal = Engineering 3 Glass = People

MARYL AND PU B LIC HE ALTH L ABOR ATORY

EXPLODED AXON

153 MENTIONED

P R O J E C T L O C AT I O N

Baltimore, Maryland, USA CLIENT

State of Maryland STUDIOS

Arlington, Virginia, USA; Princeton, New Jersey, USA TEAM MEMBERS

Warren Hendrickson, Michael Mottet, Tung Nguyen, John Pavlik, Dan Rew, Simon Trumble, Michael Vinkler, Steve Waller, Bruce Werfel, Mike Dombrowski C AT E G O R Y

Architecture CONCEPT

Clustered Modules

Baltimore’s architectural vernacular characterized by mill, row, and warehouses) is straightforward and honest. The design of the Maryland Public Health Laboratory hews closely to this tradition, reinterpreting the use of ubiquitous materials to craft a unique but contextual design.

Laboratory modules cluster in the center of the building and are

buffered by a ring of gathering spaces along the exterior edge. These are articulated in brick and glass, respectively, and indicate the degrees of program privacy.

A screen-and-louver system on the exterior façades filters the light entering the building’s upper levels; it is pulled up from the ground level to create a humanscale and sheltered entry sequence.

GEORGIA TECH C ARBON - NEU TR AL ENERGY SOLU TIONS L ABOR ATORY P R O J E C T L O C AT I O N

Atlanta, Georgia, USA CLIENT

Georgia Institute of Technology STUDIOS

Atlanta, Georgia, USA; Princeton, New Jersey, USA TEAM MEMBERS

Rohan Herwadkar, John Pavlik, Princeton Porter, Dan Rew, Rob Staudt, Chip Bullock, Robby Bryant, Carlos Perez Rubio, Bill Zavatkay, Jon Crane C AT E G O R Y

Architecture CONCEPT

Clustered Modules

This project exemplifies its research purpose: To find carbon-neutral energy solutions. It follows passive design strategies such as maximizing daylight (no artificial lights are used during the day), natural ventilation of the building, and designing for the local climate and context. The structure is the finish; an honest approach that also cuts down on building and maintenance costs.

Circulation follows the compact pinwheel parti and organizes the interior work zones.

This scheme highlights three types of flexible laboratory spaces within: High bay (a doubleheight space for largescale research), mid-bay (for smaller projects that require more stringent environmental control), and computation / computer laboratories.

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BUILDING ORIENTATION

1

Square

2

3

4

5

Rectangular

Glazing Diagram

Clerestory

High-Bay Void

As one of the most advanced sustainable facilities in the world, the Centre is designed to the standards of the Living Building Challenge.

Most systems and spaces in the building are used as part of the teaching curriculum, demonstrating the application of strategies that students learn in the classroom. The design also is highly adaptable so that new technologies can replace obsolete systems whenever necessary. Not only does this ensure the building’s continued efficiency and relevancy, but it establishes the school as a vanguard presence in the education of healthy design practices.

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JIM PAT TISON CENTRE OF E XCELLENCE IN SUSTAINAB LE B UILDING TECHNOLOGIE S P R O J E C T L O C AT I O N

Vancouver, British Columbia, Canada CLIENT

Okanagan College STUDIO

Vancouver, British Columbia, Canada TEAM MEMBERS

Richard Bolus, Bill Locking C AT E G O R Y

Sustainability CONCEPTS

Geographic Link Clustered Modules SITE PLAN

REHABILITATION HOSPITAL , U NIVER SIT Y OF U TAH HE ALTH SCIENCE S P R O J E C T L O C AT I O N

Salt Lake City, Utah, USA CLIENT

University of Utah Health Sciences STUDIOS

Princeton, New Jersey, USA; Chicago, Illinois, USA TEAM MEMBERS

Moriah Brookshier, Abbie Clary, Todd Eicken, Brian Kowalchuk, Amy Lussetto, Dave Redemske, Diego Samuel, Lance Thies C AT E G O R Y

Architecture CONCEPTS

Public / Private Clustered Modules Geographic Link

SITE PLAN TERRACE

Inside and out, the Rehabilitation Hospital’s design concept draws on the surrounding environment. Inviting terraces, plazas, and outdoor therapy spaces offer refreshment and respite, and serve as seamless conduits to campus and community by providing familiar surroundings and everyday moments.

To further enhance the rehabilitation experience, transparency is articulated throughout the facility; options are enhanced through a wide variety of rehab environments; personalization is incorporated in both public and private spaces; and the facility adapts to the various transitions patients make during their stay.

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161

P R O J E C T L O C AT I O N

Toronto, Ontario, Canada CLIENT

Humber River Hospital STUDIOS

Denver, Colorado, USA; Princeton, New Jersey, USA; Toronto, Ontario, Canada TEAM MEMBERS

Frank Daharsh, Kevin Ditto, Norman Fisher, Jerry Jeter, Brian Norkus, John Salisbury C AT E G O R Y

Graphic Arts CONCEPT

Geographic Link

Inspired by Toronto’s contemporary architecture, the digital hospital is expressed with clean rectilinear lines. The building’s massing and the “Aspen Grove” graphic design respond to the vehicular speed and noise of King’s Highway 401 to the south and the calming, residential character of neighboring Wilson Avenue to the north. Accordingly, the southern perimeter presents a generous green space to buffer the hospital from traffic noise. In contrast, the northern perimeter offers a tree-lined promenade, healing gardens, and

an artfully crafted waterway to engage the residential character of Wilson Avenue.

The building’s mass is articulated as three components reflecting the hospital’s essential functions: ambulatory block; diagnostic and treatment podium; and inpatient tower.

Comprised of insulated vision and spandrel glass panels, the graphic design’s ceramic frit pattern is calibrated to permit daylight and views through vision panels to offices and circulation spaces located behind the installation.

MENTIONED

H UMB ER RIVER HOSPITAL MU R AL

R ADIATION ONCOLOGY CENTER

P R O J E C T L O C AT I O N

Jiddah, Kingdom of Saudi Arabia CLIENT

Saudi National Guard STUDIOS

New York, New York, USA; Charlotte, North Carolina, USA TEAM MEMBERS

Sabine Aoun, Jim Atkinson, Mohammed Ayoub, Brian Cheng, Steve Goe, Brooke Horan, Tom Hughes, Jake Levine, Yelena Polyakov, Michael Roughan, Cole Wycoff C AT E G O R Y

Architecture CONCEPT

Public / Private

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BUILDING FOOTPRINT

CONNECTIONS TO EXISTING HOSPITAL

SUNKEN HEALING GARDEN

This addition to the existing King Abdulaziz Cancer Hospital reflects an inward-facing parti.

To streamline the connection with the existing facility, the two connect in only one place, diagrammatically cutting the primary program in two parts.

The incision itself is articulated as circulation space, within which patrons can move

both between the buildings and within the addition. Waiting areas are located along this spine and look out onto recessed internal gardens. This approach—unlike typical buildings of this type— floods the interior with natural light while also maintaining privacy through the use of a curved exterior wall.

ENVELOPE AND PROTECT

TRIM OUTER WALL TO CREATE VIEWS

WOMEN & CHILDREN ’S HOSPITAL This project seeks to bridge the client’s history of excellence with its plans for an innovative future, and balances a formally challenging exterior with the best practices in clinical planning. The structure rests on a raised plinth which facilitates views out and establishes a hierarchy among the four zones (public, research, outpatient, and inpatient.) Shifting floorplates further emphasize these divisions and add visual interest to the façade.

P R O J E C T L O C AT I O N

Minnesota, USA CLIENT

Confidential STUDIO

Minneapolis, Minnesota, USA TEAM MEMBERS

Mike Rodriguez, Jim Thomson, Kyle Lacek, Dan Williamson, Isaac Bros C AT E G O R Y

Research (Parametric) CONCEPT

Public / Private

Most notable, however, is the ‘birds-nest’ façade.

The parametrically designed exterior balances needs for daylight, views, and privacy. The most public spaces favor wider windows and are located closer to the ground (as privacy is less crucial.)

Private inpatient rooms are clustered on the upper floors, providing the high acuity spaces with views and light.

BUILDING FORM PROCESS

1 ESTABLISH

Tripartite building mass established to match the basic divisions of program.

4 EXTRUDE

Top mass extruded to fit program’s spatial requirements.

2 INDENT

3 SHIFT

Indent front facade for added visual interest.

Floorplates shift to emphasize divisions in program.

5 TWIST

6 SOFTEN

The three building masses twist to ensure patient privacy and views out.

Facade edges are softened to create a more welcoming atmosphere.

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India is moving toward mobile, communityfocused healthcare to reach its widespread population. As a result, versatility was crucial to the design of this building as it is intended to be not only a mixed-program, but a pilot facility. Uncertain patient traffic and conditions precipitated a modular design that can be adapted for any change in future needs.

For example, within the clinical module patient rooms are organized in clusters of three; two are dedicated for clinic use, while the third is left programmatically flexible (clinics, meetings, etc.)

The building functions

not only as a primary care clinic, but also as a community wellness center for surrounding villages. Work by local artists fosters a welcoming and local spirit in the space and generates a sense of pride and ownership.

Private

Mixed (clinical)

Public

SEPARATION OF PUBLIC/PRIVATE SPACES

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OPTIMIZE HE ALTH CLINIC

P R O J E C T L O C AT I O N

Raghogarh, India CLIENT

30 / 30 Project Initiative STUDIOS

New York, New York, USA; Princeton, New Jersey, USA TEAM MEMBERS

Sabine Aoun, Mohammed Ayoub, Brian Cheng, Tom Hughes, Jake Levine, Ellen Randall, Cole Wycoff (in conjunction with Construction for Change) C AT E G O R Y

Architecture CONCEPTS

Geographic Link Attention to Materiality Public / Private

EAST ELEVATION

1 Workplace 2 Write-up 3 Laboratories 4 Support Laboratories 5 Collaboration Space 6 Main Atrium 7 Entry Atrium

5 7

1 6 2 3 3 4

U NIVER SIT Y OF SYDNE Y LEE S 1 B UILDING

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P R O J E C T L O C AT I O N

Sydney, New South Wales, Australia CLIENT

University of Sydney STUDIO

Sydney, New South Wales, Australia TEAM MEMBERS

John Daubney, Ron Hicks, Paul Reidy, Alex Matovic, Chuck Cassell, Regina Filipowicz, Jordan Murray, Chloe Zeng, Kaden Ball, Alexia Courdurie, Rashi Prashar, Mark Schoolman, Kieran Kartun, Anthony Rastrick, Rahul Butala, Quincy Ye C AT E G O R Y

Architecture CONCEPTS

Public / Private Geographic Link

Working within the constraints of a thin wedge-shaped site, this project defines a new campus entry sequence for the University of Sydney. To make the most of the small footprint (and avoid damaging the protected fig trees), the building’s upper levels cantilever in a series of tessellations, orienting interior views toward the city. Lower levels, by contrast, look inward toward the existing campus’s heritage garden.

The building itself houses the new School of Life

and Environmental Sciences, and is primarily composed of laboratories (teaching and research). The interior plan centers on an optimal laboratory core layout, with all “soft” (e.g. offices, classrooms, etc.) functions oriented around it. Indeed, it puts “science on display,” a conceptual motif reinforced in the jagged and glazed City Road façade. Eye-catching and practical, this public face reorients the building’s geometries to better connect to the campus and allow drivers a passing glance inside.

RIVER ’S EDGE

P R O J E C T L O C AT I O N

Council Bluffs, Iowa, USA CLIENT

The Noddle Companies STUDIO

Great Plains Studio Omaha, Nebraska, USA TEAM MEMBERS

Lisa Miller, Matt Stoffel, Matt DeBoer, Kevin Augustyn, Tom Trenolone, Susan Johnson, Todd Feldman, Andy Gorham, Trevor Hollins C AT E G O R Y

Architecture CONCEPT

Geographic Link

ENCROACHING FLOODPLAIN

BIFURCATION OF MASS

CONNECTION TO CITY, PARK

The Missouri River has an undefined edge that shifts depending on the amount of precipitation.

The River’s Edge development embraces this fluctuation by placing permeable parks in the floodplain and placing built elements directly behind the levy. In this sense, the levy becomes the newly established edge and the park can be considered an extension of the river (bed).

This focus on the landscape is also carried through in the River’s Edge building. The formal programmatic elements are raised from the ground plane, allowing the natural elements of the surroundings to move throughout the site. Terraces and a green wall extend the landscape along the exterior of the upper levels, allowing each resident a small garden space.

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The nature of “risk” that we have explored here is one tied to the idea of direction seeking; the path wends its way through calculation, anticipation, and realization (for good or bad). Risk keeps us sharp, focused, and interested. But it also forces us to gamble.

—Tom Trenolone, Director

173

I imagine that, at their genesis, design practices were not unlike these intrepid adventurers: after an initial discovery phase, they learned to improve the process. Only after traversing treacherous natural paths could the frontiersmen learn how to build their own safer, quicker, and more efficient roads to the west. As an architecture practice, it’s important to use the knowledge and resources we have developed over time to deliver innovative and effective work. But once that process is established, it is often all too easy to forget the possibilities that fresh exploration—and by extension, the fresh outlooks—we might miss.

Our hope is that Opacity (as an event) will help push us to rediscover those perspectives while also offering a moment of introspection from which we can learn. But how to frame these discussions in our search for authentic and credible work?

The idea of Opacity aims to chase expression and creativity within the context of our practice. It will not be limited to architectural or even built work. New horizons may be charted in large projects or small installations; in material research or graphic design; in Grasshopper scripts or vanguard sustainable strategies.

The nature of “risk” that we have explored here is one tied to the idea of direction seeking; the path wends its way through calculation, anticipation, and realization (for good or bad). Risk keeps us sharp, focused, and interested. But it also forces us to gamble.

This lack of assurance has led to companies establishing divisions whose sole purpose is to comb out the chances of risk. The unexpected twists inherent in possibility are often lost within this process. Opacity is a mechanism by which we can build some calculated and focused risk into the firm’s culture. It starts with inviting the “out” to “look in.” Then, together, we may begin to realize a more critical and defined body of work.

We’ll continue this process in Chicago in 2017. But, in a way, we’ll also be somewhere along Colorado’s Loveland Pass, making our way through exciting and unfamiliar terrain.

—Tom Trenolone, Director

AFTERWORD

On a recent autumn trip to Colorado, I took the opportunity to travel along scenic Loveland Pass (instead of the quicker but less interesting Interstate 70). Loveland is a high mountain pass that, at its peak, reaches an elevation of 11,990 feet. With a steep 6.7 percent grade and numerous hairpin turns, it is a harrowing journey at the best of times. But for those travelers willing to face their fears, they’re rewarded with breathtaking vistas. It must have been an astonishing sight to the early western explorers.

CREDITS

OPACITY INITIATIVE

FEATURED PHOTOGRAPHERS

Tom Trenolone, Director

Brett Boardman Chris O’Brien Lifehouse Wollongong Central

EDITORIAL

Katherine Allen, Editor Rachel Coffee Katie Sosnowchik GRAPHIC DESIGN

Dana Ball, Art Director Paula Brammier Dylan Coonrad Matthew Delaney Abbey Furlow OPACITY EVENT TEAM

Zach Brewster Rachel Coffee William DeRoin Taylor Nielsen Patty Rockwell

Tyrone Branigan Novartis Headquarters, Australia 67 Albert Avenue Illuminate Australian Defence Force Academy Learning Spaces Australian Defence Force Academy Auditorium James Brittain BBSRC National Virology Center Ari Burling Howard University Interdisciplinary Research Building Corey Gaffer HDR Minneapolis Design Studio Simon Grimes MH60R Squadron Headquarters and Training Facility Jonathan Hillyer Georgia Tech Carbon-Neutral Energy Solutions Laboratory Sarita Hollander pal-ate Andrew Pogue Galveston Fire and Rescue Dan Schwalm Lauritzen Gardens Marjorie K. Daugherty Conservatory Manter Hall School of Biological Sciences HDR Ottawa Design Studio Humber River Hospital DoSpace Omaha Conservatory of Music Ovations Lounge Holland Performing Arts Center Wietz Sideboard David Sundberg / ESTO Maryland Public Health Laboratory Ed White Photographics Black Hills Wine Experience Centre Jim Pattison Centre of Excellence in Sustainable Building Technologies

0070591 0117

The OPACITY Initiative is the “measure of our design conscience,� a way for us to revisit and understand our work from outside perspectives. In 2016, we were joined at the University of Minnesota by five outside critics who reviewed and critiqued a portfolio of work from our offices around the globe. This book traces that OPACITY event and the work the jurors recognized.

O PACIT Y S E R I E S 01

O PACIT Y S E R I E S 01

R I S K Out Looks In

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