Verge: Opacity Series 03

VERGE Empowering Our Ethos

ISBN: 978-0-9997633-2-2

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Introduction Letter from the Editor

02

About the Opacity Event

04

Juror Comments

05

Day-by-Day Summary

10

Infographics

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Projects Selected Works 20 Mentioned Works 112 Cited Works

146

Conclusion Afterword: Learning from Washington, D.C.

150

Tribute: Vince R. Ellwood

152

Credits and Acknowledgments 154

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What is the best way to foster innovation? It’s a question that yields many answers. Consider Facebook, which for years was guided by the mantra, “Move Fast and Break Things.”

Employees were urged to think boldly and work swiftly, to make mistakes and fix them later. In CEO Mark Zuckerberg’s view, missteps were inevitable on the path to innovation, and he wanted his developers to feel emboldened to take chances. In 2014, Facebook revealed a modified (and much tamer) mantra, “Move Fast with Stable Infrastructure.”

But the company’s original credo made a lasting impact on business culture in America and beyond. Be nimble, be daring—this advice has become synonymous with innovation and progress in our fast-changing, tech-driven world.

But does that advice resonate within the field of architecture? Whether working at a global practice or a boutique studio, architects tend to play it safe—and for good reason. Creating a building is a complex, lengthy, and expensive undertaking. Each stage of the design and construction process requires scores of people and countless steps. Threats and vulnerabilities are ever-present; even a few days of rain can set a project back.

Moreover, mistakes can result in severe

consequences. Given these conditions, taking a chance and trying something new can seem daunting. How can a firm, particularly one as large as HDR, encourage its designers to step off the well-trodden path and venture into uncharted territory?

I believe the answer is an initiative like Opacity, which seeks to catalyze exploration and growth through a thoughtful and iterative process.

Launched in 2011, the program entails bringing in outside critics to objectively evaluate the firm’s work and select a handful of exemplary projects for recognition. The benefits of Opacity go far beyond generating pride among the “winners.” Opacity facilitates open discourse and self-reflection throughout the firm. It recognizes good ideas and stimulates new ones.

It illuminates existing strengths and identifies areas for improvement.

It inspires not a revolution but an evolution in how the firm operates and progresses toward the future.

I have admired the Opacity initiative since its commencement. I was one of three jurors who participated in the inaugural event in 2011, held on a fall day in Phoenix. In 2016, the firm reintroduced the program with a full-blown, three-day event in Minneapolis and the publication of

03 LETTER FROM THE EDITOR

Risk: Out Looks In, edited by Katherine Allen. As the title suggests, the first Opacity book captured an important and laudable aspect of the program: HDR’s willingness to step outside of its comfort zone and invite appraisal from outside experts. It is unusual for any firm, let alone one of HDR’s stature, to open itself up to this type of critical inquiry.

following the juried review, HDR determined that its most profound challenge is an internal one. The firm must work with conviction to define, strengthen, and promote its “ethos”— the values, aspirations, and practices that constitute its character. This ethos must permeate all facets of the firm, from its design studios and engineering divisions to its executive offices.

In 2017, the firm held its next juried review, this time in Chicago. I was invited to serve as guest editor for the second book—a great honor, particularly given my early involvement in the program. The Windy City event resulted in the publication of Rigor: Working With Intent, which focused on the discipline and diligence that are required to produce enduring architecture. In 2018, the next Opacity gathering was staged in Washington, D.C. The outcomes from that event are featured in this book.

Through the Opacity initiative, HDR’s ethos is being crystallized and disseminated. Key principles include a rigorous approach to every aspect of every project; a convergence of disciplines working together to push the limits and achieve excellence; and a genuine appreciation for the power of architecture. These principles, among others, are being steadily integrated into the firm’s DNA. The process is neither rushed nor rash. It is a continual and studious process that reflects the great responsibility held by those who shape our built environment.

The title of Opacity’s third volume, Verge: Empowering Our Ethos, stems from comments made during the 2018 jury deliberations. A recurring remark was that HDR is on the verge of realizing its full potential and reaching a heightened level of design mastery.

A new era awaits, but how does HDR get there? What are the obstacles that hinder its passage? In discussions

HDR is not moving fast and breaking things, but it certainly is not sitting still. With each edition of the Opacity program, the firm strengthens its culture and advances toward a bold new horizon.

—Jenna M. McKnight, Editor

WASHINGTON, D.C.

For our fourth Opacity event, we traveled to America’s capital, a place where the pages of an architectural history book come to life. Washington, D.C., is filled with iconic buildings designed in a range of styles— Neoclassical, Gothic Revival, and Modernism, to name a few. Moreover, the city’s layout is based on the famed L’Enfant Plan, created in 1791 for the nation’s first president, George Washington. We felt this diverse and storied city would be the ideal setting for Opacity, which aims to promote exceptional and enduring architecture.

Held in July 2018, our three-day event took place at three different venues.

We started at HDR’s Arlington office—a dynamic space featuring an open layout, industrial finishes, and dashes of color. On the second day, we convened at The Phillips Collection, a museum with works by Monet, Picasso, and many other celebrated artists. We hunkered down in the Carriage House, which offered an intimate atmosphere for a rigorous day of deliberations.

For our final day, we headed to the National Building Museum, which is housed within a Renaissance Revival structure dating to 1887. Whimsical installations by the firm Snarkitecture were on view in the Great Hall, where awe-inspiring Corinthian columns soar to a height of 75 feet. The museum certainly served as an exciting backdrop for our Reveal ceremony.

On the following pages, we present an overview of the 2018 program.

We share constructive feedback from our esteemed critics, provide a behind-the-scenes look at the jury proceedings, and present a series of fascinating infographics. Like prior years, the 2018 event left us with a trove of illuminating insights. As our firm continues to enrich our culture and elevate our design practice, the Opacity program is proving to be an invaluable guide.

For the 2018 jury, we brought in five experts from the fields of architecture, interiors, engineering, graphic design, and business management. On the following pages, they share their insights on HDR’s work and the Opacity program.

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advancements being made?

The work has been consistently good—and now we see that some of it is great. It appears to me that the firm is expanding from designing buildings to designing experiences. This has a profound impact on users.

It’s also the secret to making design matter.

Q What did you think of this year’s jury? Was it helpful to have a graphic designer and an engineer serve as jurors?

JAMES P. CRAMER Chairman and Co-Founder, Design Futures Council, Founding Editor, DesignIntelligence Atlanta, Georgia, USA

This year’s jury was so much fun to work with. I think it was the most human-focused jury over the past three years. In my view, the jurors showed an appreciation for project details, but gravitated toward a focus on the sum of the components, the gestalt. They were also curious (and critical) about how sustainability was incorporated into projects, and they were always looking for authentic responses to context.

It was certainly valuable to have jurors from varied disciplines, as they each brought their own perspective to the deliberations. Taken together, the jury was uniquely supportive of a diversity of ideas. One thing I greatly appreciated was the dialogue between Lance (the engineering dean) and Debra (the interior designer) about economics and valueadds. There was great discourse about benefits to owners and users.

Overall, our discussions were rich and incisive.

Q What are recurring qualities that you see in the firm’s work?

An educator, author, and business advisor, James has made profound contributions to the design profession during his esteemed career. He is the founder and chairman emeritus of the Design Futures Council and DesignIntelligence, and the former CEO of the American Institute of Architects. He has authored hundreds of articles and six books, including Design Plus Enterprise: Seeking a New Reality in Architecture. James is an honorary member of the AIA and the International Interior Design Association, and he has received presidential citations from the Royal Institute of Australian Architects and National Council of Architectural Registration Boards, among other organizations. HDR has been fortunate to have James serve as the jury chairperson since 2016.

Clearly, much of HDR’s architecture captures the life force of design and its transformative power. We see this design excellence all over the world, and especially in the healthcare sector. That said, the firm is so much more than a leading healthcare firm. Its strengths span a diversity of markets. The firm seems very open to possibilities, and very committed to supporting knowledge flows and engendering a healthy culture. It's obvious to me that HDR is hungry for continuous improvements.

Q You clearly admire HDR’s work. If you had to put on a critic’s hat, what is one area for improvement that you saw this year?

If I go into the weeds for a moment, the firm has been a bit heavy-handed in its use of bright red on so many projects. I would advise toning this down a bit. I mentioned this during the Reveal ceremony, and it brought some laughter to the room.

JUROR COMMENTS

Q You’ve now served on three Opacity juries. Have you observed any

Q What is your view of HDR? I have always admired the multidisciplinary approach that HDR employs in its projects. Also, the firm is a design leader in the healthcare industry, which will be a massive benefit moving forward.

Q What qualities led to a project being chosen for recognition?

DEBRA LEHMAN-SMITH Founding Partner, LSM Washington, D.C., USA

Clarity of design and purpose. Innovation. Sustainability. A collaborative approach. The best projects embraced the nature of problem-solving using an integrated approach.

Q What about the interior spaces you reviewed? Did anything stand out in your mind?

We saw great moments in many of the submissions. Lighting, daylighting, a connection between inside and outside, wonderful programmatic areas, a skillful shaping of space—these elements were present in many projects. At HDR, there seems to be a focus on interiors right now that is commendable.

Q Imagine for a minute that you are the director of design at HDR. What would you do next with what was learned at the Opacity event?

Debra Lehman-Smith is one of the leading figures in interior design today. Widely respected within the business world, Debra’s firm, LSM, has worked with top international companies such as Bloomberg, Covington, Milbank, Google, and Gulfstream. Debra is a Design Excellence Peer Reviewer for the General Services Administration, in addition to serving on the Industry Advisory Panel for the State Department’s Bureau of Overseas Buildings Operations and the American Institute of Architects. She has also served as an officer for the executive board of the Washington, D.C., chapter of the International Women’s Forum, which is dedicated to promoting better leadership for a changing world.

I would encourage the different disciplines to understand that their strength is in working together and not in silos. By moving toward one strong, collaborative platform, the firm can help generate future success.

Also, HDR has advantages to exploit, such as its talent and experience in the fields of healthcare and engineering. These are unique attributes in our discipline, and they’re on trend with rising client needs. HDR should embrace what it does best.

Q What do you think of the Opacity program? What are the potential benefits and consequences of bringing in outside critics?

It is an outstanding program, and I commend the leadership at HDR for supporting it. The consequence is that it could generate a sense of competitiveness among the firm’s internal teams. However, that competitiveness could morph into a true spirit of collaboration. Working together and challenging each other can result in the best ideas and best outcomes.

Q What advice can you offer those wanting to enter submissions for future Opacity programs?

Define the problem and the solution. Use fewer words and more images—plans, renderings, etcetera—to describe the overall project. I felt that too much time was spent trying to describe the project in words rather than imagery. Visuals can tell a powerful story.

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I was impressed with the commitment to quality that was evident across such a broad portfolio of projects. No matter the scope or size of the project, it was done well and completely.

Q Did you see any recurring themes?

LANCE C. PÉREZ Dean, College of Engineering, University of Nebraska-Lincoln Lincoln, Nebraska, USA

I identified two themes. First, aspiration. In those projects that had been conceived/designed but not built, I sensed a real effort to come up with designs that were statement pieces and would be at home in the studios of the most prominent and provocative architects. I could sense the desire to be bold and to push the envelope on forms, shapes, materials, structures, and purpose.

A second theme was execution. In those projects that were built or being built, there was a real commitment to designing and delivering projects that more than met the client’s needs. Most projects strove to deliver a level of design, in both architecture and engineering, that exceeded the client’s expectations while being respectful of their real-world constraints. I suspect that clients with completed projects find that they perform well and age well. I really came to appreciate this as I studied the projects.

In my opinion, the projects that the jury chose as selected works articulated both of these themes, and those that were not chosen were less successful in doing so. These themes were vibrant in the best of the best and clearly demonstrated HDR’s design and engineering acumen.

Q How is HDR doing in terms of integrating architecture and engineering?

Lance serves as dean of the College of Engineering and Heins Professor of Electrical and Computer Engineering at the University of Nebraska-Lincoln, where he has taught for over two decades.

A distinguished scholar, Lance has conducted important research in wireless communications, information processing, and engineering education. From 2008 to 2010, he served as program director for the Division of Undergraduate Education at the National Science Foundation (NSF), where he managed a portfolio of awards totaling more than $30 million and worked on projects involving the National Academy of Engineering and the White House Office of Science and Technology Policy. Lance has received numerous honors, including a prestigious CAREER Award from the NSF.

This was project-dependent. For projects that had not progressed beyond the conceptual stage, there was little evidence of engineering, particularly in the narratives. For example, the engineering headquarters building was a beautiful concept, and I was longing for more about how the architects and engineers would actually realize the connections between floors on the building’s edges. In other projects, there were lost opportunities to incorporate prominent engineering features into the visual design. The best projects manifest high-quality design and engineering, and their integration.

Q As you reflect on the Opacity event, how would you describe the experience and the program overall?

The Opacity program is a bold initiative that suggests HDR is a company that strives to improve and evolve. There is clearly some risk in inviting a set of jurors to see a collection of work that is not curated; the projects are presented unevenly and there is considerable variation in the visual and narrative quality. However, I ultimately found this to be a strength of the event. I left feeling that I had real insight into HDR’s work, its employees, and its culture and values. It is a very authentic event and one that I hope has a positive impact on each team that submitted a project and on the company as a whole.

JUROR COMMENTS

Q What stood out during your review of the submitted projects?

Q How was your view of HDR impacted by the Opacity event?

HDR has long been known in the profession as an A/E firm that provides quality service. Now, because of the Opacity event, it is evident to me that they are committed to developing a design-oriented culture. Given the firm’s characteristics, its many global offices, and its organizational complexity, it is remarkable how quickly this transformation is proceeding.

Q Can you describe your overall impression of the work you evaluated?

DAVID CRONRATH

There was a wide range of projects, from conceptual designs to executed works, and there was an equally wide distribution of quality. To take a critical perspective, it might be useful to focus on three aspects that would advance design quality:

AIA, Architect / Professor University of Maryland, School of Architecture, Planning & Preservation

First, I recommend a more thorough analysis of the context. It was often unclear in the reviewed projects how the design proposal was addressing site concerns and helping to shape an experience that magnifies the context. The less successful projects were often mere objects in space that were primarily described by abstract geometries.

College Park, Maryland, USA

Two, provide an emphasis on the craft of building and the assemblage of parts. The stronger projects were able to communicate design ideas through the haptic details of construction.

Lastly, use form to make a clearer statement of the project’s intentionality. Intentions are often first conveyed through a diagram that guides the design process. Quality design circumscribes the mundane so one can find a way to achieve lofty aspirations.

Q What qualities led to a project being chosen as a winner?

David has been a practicing architect and educator for over 30 years. During his distinguished career, he has served as dean at two institutions: the College of Art & Design at Louisiana State University; and the School of Architecture, Planning & Preservation at the University of Maryland, where he currently holds the positions of professor, associate provost, and liaison with The Phillips Collection. David’s areas of focus include active student learning, expanded design thinking, and advancing the role of the designer within the broader community. He has received numerous honors, including the AIA Paul H. Kea Medal and the NCARB President’s Medal.

There was a clear intention evident in the project, from the overall plan to the execution of design details. In every case, the winners made it possible for the jury to determine why the project had a particular form and how that form was responsive to the client, site, and construction technique. The less successful projects often did not follow through on the outlined intentions with an obsessiveness that is required for great projects.

Q What are the benefits of bringing in outside jurors?

I cannot commend HDR enough for the demonstration of courage the Opacity program represents. Asking external design leaders to peruse a self-selected sampling of firm work is bold. It unequivocally displays to internal and external audiences the firm’s commitment to design excellence. It still is too early to tell, but I would think it is a tool that can hasten the desired change.

It does one other thing that I believe is not trivial: It provides a space for reflection. The current speed of the design business means that critical reflection on one’s work is a precious commodity. It is necessary if designers and design firms are to avoid the formulaic and preconceived—two partners of haste but enemies of design excellence.

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Opacity is an ambitious program and introspective endeavor that reflects on the collective work of a large global practice. Even with the diversity of projects presented, I sensed an overall stewardship and commitment to HDR’s strong programmatic approach, shared culture, and high standards. It was also refreshing to see finishing details and purposeful surprises that turned a good project into great architecture.

Q In general, what did you think about the projects you reviewed?

ANN WILLOUGHBY Founder and Chief Creative Officer, Willoughby Design Kansas City, Missouri, USA

I responded to projects designed with sensitivity for the local community and natural environment. I was also struck by the sculptural quality of buildings when engineering was integrated with architecture to create elegant and luminescent visual forms.

Q Were there certain attributes that led to a project being chosen as a winner?

The winners conveyed an organizing idea that permeated every detail of the design, resulting in architecture with a distinctive character and timeless quality. There was a sense of respect and concern for the community, environment, and the people who would experience the architecture in everyday life.

Q Can you offer feedback on the graphic design work you saw?

An acclaimed designer and influential voice, Ann has practiced, lectured, and taught about the critical imperative of having women leaders in design. She began her own career in 1968, inspired by the social, political, and aesthetic movements that were transforming America. In 1978, she founded Willoughby Design, an awardwinning creative team of designers, writers, and strategists. Renowned for both its design work and progressive employee culture, the firm has attracted a range of prominent clients, including the Kauffman Foundation, Hallmark Cards, Panera Bread, Kansas City Area Transportation Authority, and Hershey’s. In 2014, Ann was the recipient of her profession’s top honor, the AIGA Medal.

While this was not one of the submissions, I am quite impressed with the Opacity book series. I am reviewing a copy of Rigor: Working With Intent, which is representative of the series. This is my area of expertise, and it is rare to see this quality of design in most graphic design firms. The content, writing, photography, and layout are elegant and spare, bringing clarity to the design and message.

I wish that the entry submissions reviewed by the jury had used the same design restraint. The book designer, Dana, is remarkably talented. Her choice of materials, heavy matte stock, and coptic binding with a die cut that reveals the edge of a rhombus pattern are beautifully crafted. The book represents HDR’s commitment to great design, and it is a pleasure to hold and read.

Q What are the advantages of having outside critics evaluate HDR’s work?

It takes a combination of humility and confidence to expose a firm’s design to outside experts and to invite criticism. Over time, Opacity should inspire more internal collaboration and a willingness to push through the barriers of design convention that is a hallmark of great design. Opacity will continue to create a shared sense of belonging and purpose, which is the foundation of a global practice’s strength— its people.

JUROR COMMENTS

Q What struck you about the Opacity program?

DAY 1 Similar to prior years, we kicked off the 2018 event at an HDR office. This time, we assembled at our Arlington studio located in the heart of the bustling Clarendon neighborhood. All 99 submissions were pinned up on the wall in a gallery-walk format, enabling both jurors and HDR staff to comfortably peruse the projects. Late in the afternoon, the jury convened in a room to discuss which entries merited advancement to the next round of deliberations.

Forty projects ultimately made the first cut.

D AY - B Y - D AY S U M M A R Y

Please see credits for list of project names

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99

TOTAL NUMBER OF SUBMISSIONS

DAY 2 The second day of deliberations started bright and early at The Phillips Collection, an esteemed art museum in the Dupont Circle neighborhood that was established nearly a century ago. We convened within the museum’s intimate Carriage House, where the jurors meticulously reviewed the semifinalists and engaged in lively debate. Several entries emerged as clear winners early on, while others required prolonged discussion. In the end, 20 projects were chosen for commendation.

D AY - B Y - D AY S U M M A R Y

Please see credits for list of project names

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40

SUBMISSIONS ADVANCED

DAY 3 The final day of activities took place at the National Building Museum, which is housed within a magnificent, late 19th-century edifice. The jurors met in the morning to review their selections and prepare for the Reveal event. Following lunch, the ceremony got underway, with HDR Design Director JasonEmery Groen serving as emcee. Jurors discussed the virtues of each winning project and provided overall feedback on the work they evaluated. Their critical commentary was both incisive and inspiring.

15 D AY - B Y - D AY S U M M A R Y

20 PROJECTS RECOGNIZED

BY THE JURY

STRENGTHENING OUR PRACTICE Using a computer program, we systematically evaluated the transcripts from the 2018 jury deliberations to see if we could identify any recurring themes.

Our analysis uncovered the data captured in this infographic. The grey bars represent areas for improvement, while the pink bars indicate areas in which our firm is excelling.

Strong concept Materials Spatial organization Responsive to context Facade Focus on user Simplicity + restraint Representation (renderings, models, etc.)

Light Sustainability Integration of disciplines Scale

Simplicity + restraint

Proportions

Light

Consistency

Color Cost-effective

Sustainability

Integration of disciplines

Pushing the envelope

Originality

Embrace of opportunities

Graphics

Photography

Execution of ideas

Spatial organization

Rigor + intentionality

Submission material

Details

17 INFOGRAPHICS

SIZE, STATUS, LOCATION Our 2018 jury recognized a wide range of projects. This infographic shows the size of winning projects (based on square footage) and whether they are built or unbuilt.

It also maps where the projects are located in terms of urban/rural context (based on population) and their placement on the globe.

NORTHERN HEMISPHERE

RU Un

Un

Un

Un

UR

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er 1

,0 0

0 ,0

1 ,0

00

,0 0

50

0 ,0

100

,0 0

2, 5

L

00

0

00

0

00

EASTERN HEMISPHERE

WESTERN HEMISPHERE

Ov

der

der

der

der

RA

N

SOUTHERN HEMISPHERE

Built

Extra Small

Small

Medium

Large

Extra Large

(0-10,000 SF)

(10,001- 100,000 SF)

(100,001-500,000 SF)

(500,001-1 million SF)

(Over 1 million SF)

UnBuilt

PROJECT TYPOLOGY From office towers to single-family homes, our firm creates architecture that spans all dimensions of life.

These infographics reveal the functions performed by projects submitted to the 2018 Opacity program. Below is the programmatic breakdown for all 99 entries; the adjacent page shows the breakdown for jury-commended projects.

99 Submissions

Live

Learn

Work

Play

Heal

Move

19 INFOGRAPHICS

20 Selected, Mentioned, Cited

5 1

2 4 3

7 8 6

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

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1

2

3

Creating a sustainable home for a forestry program that mimics the structure of trees

A sculpted performing arts building that engages with the surrounding landscape

A university laboratory that fosters collaboration and puts science on full display

FR ANKE COLLEGE OF FORESTRY AND CONSERVATION, UNIVERSITY OF MONTANA

STR AUSS PERFORMING ARTS CENTER , UNIVERSITY OF NEBR ASK A OMAHA

R . JOE DENNIS LEARNING CENTER , BELLEVUE UNIVERSITY

Missoula, Montana, USA PG 92

Omaha, Nebraska, USA PG 62

4

5

Omaha, Nebraska, USA PG 102

6

Uniting 1,200 employees within an elegant tower bathed in natural light

An inspired campus plan that heralds a new generation of energy infrastructure

Catalyzing advancements in virtual reality and robotics within a dynamic new center

ENGINEERING COMPANY HEADQUARTERS

CANADIAN NUCLEAR LABOR ATORIES: NEW BUILDS

Omaha, Nebraska, USA PG 42

Chalk River, Ontario, Canada PG 72

THE BRENDAN IRIBE CENTER FOR COMPUTER SCIENCE AND INNOVATION, UNIVERSITY OF MARYLAND

7

8

College Park, Maryland, USA PG 22

9

Transforming an industrial building into a vibrant learning environment and social hub

An urban hospital that merges thoughtful architecture with sophisticated engineering

A distinctive facility that responds to the ever-changing nature of medical research

BUILDING B TR ANSFORMATION PROJECT, LEHIGH UNIVERSITY

UNIVERSITY OF PENNSYLVANIA HEALTH SYSTEM, PATIENT PAVILION

HELMHOLTZ DIABETES CENTER

Bethlehem, Pennsylvania, USA PG 52

Philadelphia, Pennsylvania, USA PG 82

Munich, Germany PG 32

THE B RENDAN IRIB E CENTER FOR COMPU TER SCIENCE AND INNOVATION

23 SELECTED

L O C AT I O N

College Park, Maryland, USA CLIENT

University of Maryland STUDIOS

Princeton, Arlington SERVICES

Architecture, Interiors, Engineering

TEAM MEMBERS

Diego Samuel, Simon Trumble, Rachel Park, Michael Vinkler, Steve Waller, Tara Jasinski, Danielle Masucci, Tung Nguyen, Dave Bechtol, Paul Kopperman, Jeremy Wei, Mike Konsko, Tom Lyman, Louis Ondreyka, Ryan Pedrotty, Kyle Unruh, Marika Mavroleon, Peter Carideo, Richard Mulder, Sally Lee, Tyler Dye, Paul Daniel, Jeff Zoll, Melissa Gasway

The Iribe Center will serve as a kinetic hub for computer sciences on the University of Maryland campus—a place where students, faculty, and outside partners can collaborate and innovate.

Situated in the heart of a new innovation district, the center aims to catalyze advancements in high-tech fields such as virtual reality, artificial intelligence, and robotics. The building is composed of two main elements: a six-story volume for instruction and research, and a

300-person auditorium.

On the exterior, an inventive curtainwall system controls solar gain while also creating an optical illusion of movement, expressing the dynamic activities conducted within the center. The building features a range of spaces for learning, working, and socializing, from flexible classrooms and specialized labs to outdoor plazas and courtyards. Atop the building is a rooftop terrace that delivers expansive views of the campus and city.

GATEWAY

25 SELECTED

The Campus

The City

KNOWLEDGE EXCHANGE

18

14

15 4 9 10

18

10

17

12

16

8

11

10

13

1 6

8

1

12

3

2

10

10 19

1 2 3 4 5 6 7 8 9 10

Collaborative Classroom Open Flex Makerspace Hacker and Makerspace Workshops Open Study Room Open Tutoring Center Tutoring Center Huddle Spaces Student Workstations Department Support Offices

11 12 13 14 15 16 17 18 19

Kitchenette Core Elevators Auditorium Plaza Roof Terrace Park Entry Entry Plaza

27 SELECTED

The building is located on a high-profile site that lies adjacent to a major city thoroughfare and the university’s historic campus gateway.

Composed of two architectural masses connected by a transparent lobby, the distinctive building will set the tone for a new type of architecture on campus.

29

SELECTED

J U RY FE E DBACK

“We really liked this project. One thing architecture can do for a campus is be a symbol of innovation, and that’s what this building achieves. We were struck by the kinetic curtains that create a sense of movement as the sun traverses the sky. We also like how the two buildings interact with each other; they are nestled together in a very

human way. Another strength of the project is how it addresses the complexity of the site.

There are three different entrances: One marks the main gateway to the campus, while the others address residence halls and the community.

We thought this was handled very well. This is a building that respects its context while pointing toward the future.”

31

SELECTED

HEL MHOLT Z DIAB E TE S CENTER

33 SELECTED

L O C AT I O N

Munich, Germany CLIENT

Helmholtz Zentrum München GmbH STUDIOS

Stuttgart, München SERVICES

Architecture, Interiors

TEAM MEMBERS

Guido Meßthaler, Urs Klipfel, Sabine Heemskerk, Katja Klenk, Rebekka Stöcker, Stefanos Kioftetzis, Elise Mandat, Alfred Schellewald, Daniela Ziemann

Dedicated to diabetes research, this center marks an important milestone in the development of a Helmholtz Association campus in Munich, where leading scientists work to solve major problems facing society.

Prominently located, the new building consists of two rectilinear forms that are connected by a central spine running east to west. Glazed walls usher in natural light, while vertical louvers help mitigate solar gain on the facades with increased sun exposure. Inside, the building has a clear and fluid layout. In the south wing, communication areas are situated along the main spine, with laboratories positioned near a spacious garden courtyard. In the north wing, the spine leads into large, versatile laboratories. The building also contains offices, meeting rooms, and “thinker cells.” All spaces are highly adaptable in order to accommodate new ways of working and the ever-evolving nature of medical research.

ELEVATION

35 SELECTED

1

2

3 4 5

SITE PLAN

1 2 3 4 5

SECTION

Park Lab Wing Glass Roof Office Wing Entry

Vertical exterior fins help mitigate solar heat gain while still allowing natural light to penetrate the research facility.

37

SELECTED

The glazed building is composed of two wings: one for offices, the other for laboratories.

39 SELECTED

Small working spaces

Mixed working spaces

Extensive working spaces

1

1

8

3

1

1 7

6 4 2

2 5

GROUND FLOOR PLAN 1 2 3 4 5 6 7 8

Lab Offices Courtyard Lobby and Reception Conference Communication Zone Write-Up Space Auxiliary

41 SELECTED

J U RY FE E DBACK

“We were struck by several aspects of this project. For one, it is a research building, but the elements on the exterior are joyful and playful, which is an interesting dichotomy.

We also appreciated how the building hovers ever-so lightly above the earth, giving it a wonderful quality.

Within the facility, the laboratories are lit by an inner courtyard, and

it feels like every area receives sunlight during the winter months. This would be a really nice place to work. Moreover, there is a clear idea that is carried throughout the building, even in the MEP elements. If you look at the ceiling, you can see how well organized everything is. It is very hard to pull off this level of rigor and have it come off so beautifully.�

43 SELECTED

ENGINEERING COMPANY HE ADQ UARTER S L O C AT I O N

Omaha, Nebraska, USA CLIENT

Confidential STUDIOS

Omaha, Chicago SERVICES

Architecture, Engineering

TEAM MEMBERS

Bruce Carpenter, Mark Jamison, Tom Lee, David Lempke, Tom Trenolone, Kevin Augustyn, Debbie Schwartz, Lisa Miller, James Bayless, Matthew Whaley, Min Hoo Kim, Mohammed Ayoub, Ross Miller, David Thomas, Cole Wycoff

This glazed tower is envisioned for a global firm aspiring to bring together 1,200 employees spread across multiple offices into a single, landmark building. Conceived as a continuous floor of offices, folded in upon itself to fit the confines of its downtown site, the 20-story tower contains a series of alternating double-height collaboration spaces with communicating stairs at each end.

Diagonal bracing obviates the need for corner columns, allowing

each collaboration space to “float” in the city. The tower’s core is offset to the north to buffer winds, while the building’s narrow profile ensures adequate daylight and natural ventilation. A brick-covered plinth is nested into the gently sloped site, setting an elegant stage for the tower, along with its adjoining parking garage wrapped in bronze mesh. Performance and craft were prioritized by the design team, which is made evident in the building’s distinctive aesthetic.

45 SELECTED

Ideally, a single floor

Folded to fit the site

Collaborative culture

1

5

5 5

2 4

TYPICAL FLOOR PLAN

3

47 SELECTED

1 2 3 4 5

Elevator Lobby / Lounge / Copy Room Open Offices Collaboration Space and Kitchen Open to Below Conference Room

49

SELECTED

J U RY FE E DBACK

“This project really gained momentum during our deliberations.

Even though it has a simple, vertical form, the building has a structural lightness that appears almost cloud-like, making you want to go inside. As we examined the project in

Vertical louvers shade east / west light

Building envelope

closer detail, we started finding all of these other remarkable features.

In particular, we were fond of the effort to foster collaboration by connecting the floors.

The connections are very elegant and skillfully engineered, and they humanize the experience

of working in a tall building in a downtown area. We could all imagine ourselves easily exchanging ideas across the floors. We also admired the rooftop garden and the beautiful curtain wall.�

Wind / ventilation

Self-shading

51

SELECTED

B UILDING B TR ANSFOR MATION PROJEC T

L O C AT I O N

Bethlehem, Pennsylvania, USA CLIENT

Lehigh University STUDIOS

Princeton

SERVICES

Architecture

TEAM MEMBERS

Dan Rew, David Kurten, Thomas Hughes, Marc Carola, Anisha Kothari, Peter Aloisi, Dylan Coonrad, Marc Sohayda, Paul Halamar, Dale Peterson, James Bates, June Hanley, Peter Carideo, Shiguang Chen

53

SELECTED

Years ago, Lehigh University acquired a former machine shop that sits within its picturesque Mountaintop Campus.

Built in the 1950s for Bethlehem Steel, the 76,000-square-foot structure features lofty ceilings with wide-span trusses and industrial elements like hoists and gantry cranes. As the university seeks to

repurpose the facility, HDR has conceived a scheme that transforms the historic building into a dynamic learning environment. Cafes, huddle rooms, and open zones are among the rich mix of spaces for working and socializing.

A new communicating stair enhances connectivity, while demountable partitions allow for rooms to be

easily reconfigured. To accommodate lectures, performances, and other events, the team has envisioned a large gathering area with bleacher seating and an acoustic shroud. The design also calls for upgraded mechanical systems, increased amounts of natural light, and a strong connection to the surrounding landscape.

1 2 3 4

Old Bethlehem Steel Site Lehigh University Main Campus Mountaintop Campus Building B

55 1

SELECTED

2

3

4

57 SELECTED

2

9 10

7

12

1

3

13

4

11

8

6 5

INTERVENTIONS

1 2 3 4 5 6 7 8 9 10 11 12 13

Amphitheater New Building Core Flex Lab Zone Work Yard PV Array Trellis Plaza Drop-off Skylights Glass Porch Wind Cowls Entry Plaza Theater Seating Mezzanine Plug-and-Play Modules

9

1

10

6 1

1

3

7 4

2 8

5 5

5

5

13 14

2

12

11

UPPER PLAN

1 2 3 4 5 6 7

Entry Plaza Lab and Workshops Cafe Studio Flex Space Plug-and-Play Modules Gallery Space Lecture

8 9 10 11 12 13 14

Core Courtyard Shared Plaza Bus Stop Work Yard Loading Porch Overlook

59

SELECTED

Building Program

Decoupling the program

Predicted EUI

Savings

Energy-use intensity zoning

EXISTING LOW PERFORMANCE

MEDIUM PERFORMANCE

HIGH PERFORMANCE

HIGH PERFORMANCE + PV PANELS

76 kBtu/sf/y

45 kBtu/sf/y

26 kBtu/sf/y

8 kBtu/sf/y

N/A

41%

66%

89 %

5

2

1

2

3

1

6

4

4 6

7

61 SELECTED

DAYLIGHTING

PLUG + PLAY MODULES

NATURAL VENTILATION

PV ENERGY

J U RY FE E DBACK

1 2 3 4 5 6 7

Photovoltaic Array Clerestory Fan Utility Zone Kalwal Operable Windows Geothermal Heating

"This building is located on a mountaintop campus. One thing that struck us about the project is that by taking advantage of an existing building’s inherent features, the team was able to transform not just the building but the entire campus. They gave the client more out of an existing building than one typically anticipates.

The interventions are limited but powerful.

The amphitheater exposes the lower level and gets light into that floor, and then connects to a quad that is shaped by this building and two adjacent structures.

Strategic incisions create “holes” that link the two floors, helping overcome stratification.

Also, the way the roof has been analyzed and used to achieve sustainability is very clever and well done.”

STR AUSS PERFOR MING ARTS CENTER L O C AT I O N

Omaha, Nebraska, USA CLIENT

University of Nebraska Omaha STUDIOS

Omaha

SERVICES

Architecture

TEAM MEMBERS

Tim Wurtele, David Lempke, Taylor Nielsen, Xin Zhao, Tyson Fiscus

63

SELECTED

2017

New addition begins

SCORDATURA

The technique of altering the normal tuning of a stringed instrument to produce particular effects.

4 4 1973

Strauss Performing Arts Center completed

65 SELECTED

This project entails the expansion and renovation of the Strauss Performing Arts Center, which opened in 1973 and houses the School of Music at the University of Nebraska Omaha.

Despite increasing enrollment, the building has undergone only minor upgrades over the decades. The new, four-story addition fills a void on the southeast

2019

New addition complete

corner with a sculpted form that gestures both upward and outward.

Through its composition and materiality, the simple volume enters into dialogue with the surrounding architectural landscape.

Inside, the addition is bisected by a northsouth circulation path, with the primary programmatic elements located on the west,

and lounge areas and service functions situated on the east.

The centerpiece of the expansion is a 100-seat recital hall with a large, glass wall overlooking an active pedestrian spine. This feature, along with other glazed apertures, provides outward views, while also putting the school’s internal activities on proud display.

Situated along a pedestrian spine, the sculptural addition will enlarge the School of Music and amplify its presence on campus.

1

2

3

1 2 3

Major Vehicular Highway 1973 Existing Building Campus Pedestrian Spine

67 SELECTED

Common addition strategy

Manipulate form for circulation spine

Stack volume vertically

Carve openings into mass

LEVEL 1 Recital

01 RECITAL

LEVEL 2 Piano

01

02

03

RECITAL

PIANO

RECORDING

02

03

04

PIANO

RECORDING

PERCUSSION

N

02 PIANO

LEVEL 3 Recording

03

04

RECORDING

PERCUSSION

N

03 RECORDING

04

LEVEL 4 PERCUSSION Percussion

N

69

SELECTED

71 SELECTED

J U RY FE E DBACK

“This is a jewel on campus. It feels immediately familiar yet distinctive. It is the front door to the campus; however, because of the existing structure, the main entrance is around the corner. By creating these glass features and making the performances so visible, the building serves as an invitation. It makes you

willing to walk around and go find the actual entrance. It’s a very clever use of the site. We also were enamored by the sections. They are so simple, yet they tell everything. We don’t get to see sections like these very often. They are very well done and really capture the spirit of the building.”

C ANADIAN N U CLE AR L ABOR ATORIE S: NE W B UILDS

73

Chalk River, Ontario, Canada CLIENT

Canadian Nuclear Laboratories STUDIO

Toronto

SERVICES

Architecture

TEAM MEMBERS

Susan Croswell, Dathe Wong, Ross Ferries, Walter Gaudet, Warren Hendrickson, Min Hoo Kim, Dean Mapeso, Abel Solana Morales, Chris Routley, Clare Swanson, Sebastian Wooff, Scott Barron, Paul Harrison, Kayla Csaszar, Michael Malleson

SELECTED

L O C AT I O N

As 20th century-era nuclear facilities are decommissioned, what qualities will define our new generation of energy infrastructure?

This project addresses that critical question by proposing a trio of resilient and terrainfriendly buildings for a 1950s energy campus along the Ottawa River.

Each building performs a different function: One acts as a business and innovations hub, another contains maintenance and support facilities, and the third serves as a gatehouse and warehouse. All three

share a careful attention to detail, a respect for the natural setting, and a highly adaptable design. They also employ advanced wood construction, which honors the region’s logging heritage. The buildings are linked by pedestrian pathways that weave through courtyards. The assemblage makes the case for “utility urbanism,� a novel approach to energy campus planning that emphasizes connectivity, integration, and a view toward the future.

1

1

Main Gatehouse and Logistics

This dual-function facility will encompass an inspection area and a high-security warehouse.

75 SELECTED

2 3

2

Business and Innovation Centre

3

Maintenance and Support Building

Organized around a central courtyard, this multi-level building will accommodate a skilled and diverse workforce.

Featuring a sculpted form, this large-format building will house service areas, offices, and meeting rooms.

Business and Innovation Centre Planned for a gently sloping site, this dynamic hub provides multiple “ground levels,� along with an underpass leading to a central courtyard and all-season loggia.

77

SELECTED

Main Gatehouse and Logistics The building is thoughtfully designed to promote the seamless flow of people, vehicles, and materials.

Grafted onto the warehouse volume, a large canopy structure defines the security and clearance area.

79 SELECTED

Maintenance and Support Building Long sides and hard corners are reduced through a process of “smart clipping� pure-structured volumes. A portion of the gabled roof extends outward, enabling perimeter building uses.

J U RY FE E DBACK

LEVEL 3

LEVEL 2

LEVEL 1

“We thought this project was remarkable. We were enamored by the way in which the three buildings come together to form a very dynamic campus. We really appreciated the quad that was established by the buildings. We also liked the courtyard created at the larger building, and how that courtyard connects to the campus circulation, which

skewers its way through the site. Another thing that is carefully thoughtout is the faceted plan of the buildings. As you walk through the campus, the buildings are always presented in three-quarter view rather than planar view. That is a very different way of thinking about a campus.

It results in spaces that are more dynamic and less static.�

81

SELECTED

U NIVER SIT Y OF PENNSYLVANIA HE ALTH SYSTEM , PATIENT PAVILION

L O C AT I O N

Philadelphia, Pennsylvania, USA CLIENT

Penn Medicine STUDIOS

Princeton, Omaha SERVICES

Top-level healthcare will be provided within this new, sophisticated hospital at the University of Pennsylvania. The 16-story, 1.5-millionsquare-foot facility will contain more than 500 patient beds, dozens of operating and procedure rooms, an emergency department, and a 690-car parking garage.

Occupying a prominent spot on campus, the building will link to nearby facilities and will feature a promenade, plaza, and gardens. An advanced engineering system plays a central

role in the hospital’s design. Above the first two floors, the steel-framed building cantilevers 50 feet over the site, opening up views and sheltering passage to a train station. The upper levels of the cantilevered volume hang from a 27-foot-deep truss; the lower portion sits upon a W-shaped transfer truss supported by two “super-columns.” The below-grade parking structure, made of precast concrete, will support the weight of the tower above.

Engineering

TEAM MEMBERS

Joe Krzyzewski, John Savage, Dan Hahn, Robert J. Guinn, Victor Stoute, Jerry Holmes, Gregory Z. Aldrich

83

SELECTED

"W" TRUSS DETAIL

"SUPER-COLUMN" DETAIL

85 SELECTED

Truss and Column Joint

Advanced engineering enables part of the tower to float 50 feet above the site. The lower portion of the cantilevering volume is supported by two super-columns and a W-shaped transfer truss. The upper portion hangs from a 27-foot-deep truss.

4

1

2

1 2 3 4

Hospital of the University of Pennsylvania Children’s Hospital of Philadelphia Perelman Center for Advanced Medicine Penn Museum of Archaeology and Anthropology

3

87 SELECTED

LEVEL 1

2

1

3

4 5

6

Upper Mechanical Room Patient Floors Interventional Floors Lower Mechanical Room Public Space Loading Docks Emergency Services Parking

1 Northern Column Transfer Elements 2 Southern Column Transfer Elements 3 Upper Cantilever Truss 4 Lower Cantilever Truss 5 "Super-Column" 6 Plate Grinders

89

SELECTED

1 Upper Cantilever Truss 2 "W" Truss 3 "Super-Columns" 4 Plate Girders

1

2

3

4

91 SELECTED

J U RY FE E DBACK

“This building is immense, and the site is complicated. The project quickly gained support among us jurors because of the remarkable design solution. It is respectful of its context and

neighbors. It seems to fit in and contribute to a better quality of life in Philadelphia. Even the finishes enhance the connection and draw in adjacent buildings rather than dominate

the area. The building also features some clever engineering. For instance, an innovative truss and column design enables the large cantilever, which in turn allows for the creation of

a pedestrian promenade that preserves green space. The engineering is a real strength in this project.�

FR ANK E COLLEGE OF FORE STRY AND CONSERVATION , U NIVER SIT Y OF MONTANA

93 SELECTED

L O C AT I O N

Missoula, Montana, USA CLIENT

Franke College of Forestry & Conservation, University of Montana STUDIOS

Seattle

SERVICES

Architecture, Interiors, Sustainability + Resiliency TEAM MEMBERS

Thomas Knittel, Duncan Griffin, Rachel Meyers, Christopher Walling

Constructed of mass timber, this striking building is envisioned as the new home for the University of Montana’s forestry program. The facility is designed to house wet and dry labs, active learning spaces, classrooms, lecture halls, and a plenitude of offices. The spatial organization is inspired by the composition of a tree, with core elements placed at the center and growth areas situated at the perimeter. The core consists of research and teaching spaces with high ceilings, while the perimeter is composed of small, flexible work “cells.” Situated between the cellular components are mezzanines accessed by stairs and elevators, resulting in a highly dynamic interior.

The building has a number of sustainable features, including thermochromic glazing, which changes from clear to tinted based on environmental conditions. Intended to serve as a teaching tool, the building is targeting net-zero energy consumption.

Anchoring the east side of a science zone, the new school will tie together existing structures. Its copper cladding takes cues from historic buildings on campus.

Growth Ring

Vascular Ray

Heartwood Sapwood

Secondary Xylem

Vascular Cambium

Bark

Secondary Phloem Layers of Periderm CONCEPT: BUILDING AS A TREE

95 SELECTED

Structure at the center

Life at the edges

Filled with open and adaptable spaces, the building is designed to foster dialogue, synergy, and scientific discoveries. Ample glazing provides views and brings in natural light.

97

SELECTED

50' x 50' Core Floor Area: 2,500 SF

25' Floor Plate Extension Total Floor Area: 6,250 SF

CORE AND PERIMETER

OCCUPIED INTERSTITIAL ZONE

99

SELECTED

J U RY FE E DBACK

“This is a building you can really be proud of. The wood on the facades is beautiful and carries through to the interior, which is such a great use of the material. There is a human scale, there is interconnectivity, the building fits well within the campus—it

A B C D E F G H I J K

just hits all of the right notes. We really liked how the interior spaces are organized. The labs have two levels and are surrounded by stacked offices. This is very effective. What typically happens in a lab building is that offices are strung horizontally

along hallways, which doesn’t allow for much interaction. By stacking the offices, you intensify interaction and enable scientists to approach problems in a more holistic and collaborative way.”

Lecture Hall Classrooms Teaching Labs Commons Research Labs Mechanical Greenhouse Collaboration Bifacial Solar Array Heat Recovery and Ventilation Geothermal System

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G

J

C

I

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F

I

H H

E

B

A

H D

E

E

K

H

E

101 SELECTED

THIRD LEVEL

FIRST LEVEL

SECOND LEVEL

GROUND LEVEL

R . JOE DENNIS LE ARNING CENTER

103 SELECTED

L O C AT I O N

Omaha, Nebraska, USA CLIENT

Bellevue University STUDIOS

Omaha

SERVICES

Architecture, Interiors

TEAM MEMBERS

Michael Hamilton, Ross Miller, Mike Goertzen, Joe Hazel, Lisa Lyons, Andrew R. Wilson

Located at Bellevue University in Nebraska, this project entailed the complete overhaul of laboratory space within the R. Joe Dennis Learning Center, which dates to 1992. Providing architecture and engineering services, HDR developed a solution that increases opportunities for collaboration and puts science on display. A continuous glass wall offers views from the building’s science corridor into the renovated lab area, which is divided into four zones (chemistry

and biochemistry; microbiology; anatomy and physiology; and student research and demonstration). The space features a restrained palette of colors and materials, including grey rubber flooring, white walls, and light-toned maple cabinetry. Bright yellow columns and beams add pops of color and draw attention to the space.

Movable furniture offers heightened flexibility and helps foster connectivity among students and professors, in turn stimulating new ideas and discoveries.

105 SELECTED

10 9

6

7

8 8

2 3

4

5

8 8 8

1 FLOOR PLAN

107 SELECTED

1 2 3 4 5 6 7 8 9 10

Science Corridor Chemistry and Biochemistry Lab Microbiology Lab Anatomy and Physiology Lab Student Prep Room Shared Prep Room Chemistry Prep Room Office A / V Closet Mechanical

A glass wall provides views into the renovated laboratories, enabling learning and research activities to be put on full display.

109 SELECTED

The design team completely overhauled the outdated space, which previously featured a drab corridor and labs concealed behind solid walls.

3 1

2 5 4 7 6 8

9 10

1 2 3 4 5 6 7 8 9 10

Science Corridor Chemistry and Biochemistry Chemistry Prep Microbiology Shared Prep Anatomy and Physiology Superstructure Painted Yellow Learning on Display Student Research and Demonstration Low-iron Vision Glazing and Low-iron Back-painted Glazing

111 SELECTED

J U RY FE E DBACK

“This is one of the best interiors projects we reviewed. It does a remarkable job of fostering collaboration and providing engagement with the activities taking place within. The use of simple materials is executed at a very high level of precision. The floor is seamless as it runs from the hallway into the labs,

and then you have the taut vertical surfaces.

We particularly liked the way the ceiling plane was held by the arrangement of lighting. In some key areas, the space is given added height through the use of color accents.

Simplicity is extremely hard to do, and when it is done well, it appears effortless. This was A+ all the way through.�

1 3

5 4

6

7

2

MENTIONED WORK S These projects, while just outside of the winners' circle, are recognized for the significant amount of debate they elicited among jurors.

1

2

A picturesque home designed to tread lightly on the earth

An agricultural research building that draws inspiration from vernacular architecture

LEFEBVRE-SMY TH RESIDENCE

DON TYSON CENTER FOR AGRICULTUR AL SCIENCES, UNIVERSITY OF ARK ANSAS

Kaleden, British Columbia, Canada PG 114

Fayetteville, Arkansas, USA PG 126

8 3

A landmark tower that generates dialogue with the surrounding neighborhood [1917]

Omaha, Nebraska, USA PG 122

5

4

A parking garage that strays far from the norm PACIFIC CAMPUS PARKING STRUCTURE, UNIVERSITY OF NEBR ASK A OMAHA

Omaha, Nebraska, USA PG 142

6

A visionary facility that offers an exciting new model for power plants

Sparking collaboration and bolstering a firm’s culture through a new office design

HOLLAND ENERGY PARK

CLARENDON DESIGN STUDIO

Holland, Michigan, USA PG 138

7

Arlington, Virginia, USA PG 134

8

A bold medical center that respects the past while looking toward the future

Crafting a design language that communicates beauty, power, and stability

OAKLAND CAMPUS, NEW BED TOWER COMPETITION CONCEPT

HUAWEI CORPOR ATE FINANCIAL CENTER BUILDING

Omaha, Nebraska, USA PG 118

Shenzhen, Guangdong, China PG 130

LEFEBVRE-SMY TH RE SIDENCE

L O C AT I O N

SERVICES

CLIENT

TEAM MEMBERS

Kaleden, British Columbia, Canada Lefebvre-Smyth Family STUDIOS

Vancouver

Architecture, Interiors, Planning + Consulting, Sustainability + Resiliency Nick Bevanda, Dan Sawyer

115 MENTIONED

Designed to tread lightly on the land, this home is perched on a wooded hillside overlooking Skaha Lake in British Columbia. The two-story dwelling is oriented to capture expansive views of the water and the village of Kaleden. Portions of the home float over the landscape, which reduced environmental disturbance and lessened

the need for complicated foundation work. Facades are clad in contextually responsive materials, while the home’s framing consists of traditional lumber and masstimber elements such as glue-laminated beams.

Gently sloping roofs with deep overhangs provide shade and prevent direct sunlight from penetrating the living spaces.

Within the dwelling, a

centrally placed operable skylight enables natural ventilation and, through a stack effect, pushes out hot air during the warm summer months.

Other sustainable features include stormwater management, water-efficient landscaping, lowemitting materials, and maximized daylighting.

J U RY FE E DBACK

“We felt this project really takes advantage of its unique location. The home is nestled into the side of a hill and has expansive views of a lake.

Most of the living areas are on the top level, while the less-used rooms are downstairs. The home is filled with natural light and fresh air, and the interior organization is very clear. You can see

how this kind of “collar” turns down from the roof and becomes the dividing line between the public and private zone; we liked the idea of passing through that threshold. It’s a beautiful house. If there was a book featuring homes designed by large, global firms, this project could be on the cover."

117 MENTIONED

2

13

15

3 4

1 5 6

10

7

16

12 20

11 8

14

19

18 17

9

UPPER FLOOR PLAN

LOWER FLOOR PLAN

1 2 3 4 5 6

Main Entry Garage Mud Room Central Spine Study Dining Room

7 8 9 10 11 12

Kitchen Living Room Exterior Deck Master Bedroom Master Ensuite Exterior Deck

13 14 15 16 17 18

Storage Workshop Laundry Gym Study Guest Bedroom

19 Guest Bedroom 20 Media Room 21 Lower Patio

OAK L AND C AMPUS , NE W B ED TOWER COMPE TITION CONCEPT

L O C AT I O N

Oakland, Pittsburgh, USA CLIENT

University of Pittsburgh Medical Center (UPMC) STUDIOS

Princeton, San Francisco, New York SERVICES

Architecture, Interiors, Engineering, Planning + Consulting

TEAM MEMBERS

Tom Smith, Jesse McCarter, Damian Wentzel, Chengbo Wang, Annette Veliz, Chris Bormann, Amy Mays, Richard Prakopcyk, Michael W. Street, Douglas Gordon, Brian Zabloudil, Bryce DeReynier, James Burton, Dylan Coonrad, Hollis Madara, Nibu Samuel

119 MENTIONED

The design of this striking addition to the University of Pittsburgh Medical Center takes cues from the city’s industrial heritage and iconic yellow bridges.

A steel-framed tower with glazed walls is wrapped in a faceted scrim composed of bright yellow triangles, making the building both recognizable and memorable. The tower floats over a podium that connects to the original hospital and contains a new entrance area with heightened visibility and functionality. The 944,300-square-foot addition accommodates

Symbolic presence

a diverse and complex program. The building will house 616 patient beds, emergency services, off-stage support, an interventional platform, and a variety of public spaces. In addition to its high-performance skin, the facility’s sustainable features include daylighting with glare control, chilled beams, an energyrecovery system, natural ventilation, and multiple green roofs.

The design succeeds at respecting the past while expressing the limitless possibilities of the future.

Maintaining the urban fabric

J U RY FE E DBACK

“This could have easily been a background building, but it is far from that. The building has a wonderful shape; it takes a lot of square footage and contains it within a graceful tower.

The design addresses the urban context, and the podium engages the streetscape in a great way. The plan is well considered. The hospital rooms have

privacy and access to natural light. There is integrity from beginning to end. We understand that healthcare projects constitute a major portion of your portfolio, and this building really shows that you are pushing toward design excellence. We were excited to see healthcare design being raised to such a high level."

Iconic approach

Integrated greenspace

121 MENTIONED

[1917 ]

In the center of a new urban development in Omaha sits one empty block: 1917. For this project, the task was to design a 10-story office tower with a retail base and an adjacent parking garage, all of which would engage the surrounding neighborhood. The first move was to place a “retail alley” between

the tower and garage, allowing pedestrians to circulate around the full perimeter of the office building. To draw visitors to the alley, the tower’s lower corners were sliced away, opening up walkable space at ground level while maximizing square footage up above. The tower also features generous

terraces and ribbon windows, which create a powerful dialogue between interior and exterior. Mindful of environmental concerns, the team incorporated strategies to significantly reduce water and energy use, enabling the building to earn LEED Gold certification.

123 MENTIONED

L O C AT I O N

Omaha, Nebraska, USA CLIENT

Noddle Companies STUDIOS

Omaha

SERVICES

Architecture, Interiors, Engineering, Sustainability + Resiliency TEAM MEMBERS

Tom Trenolone, Mike Moran, Lisa Miller, Matthew J. Stoffel, Kevin Augustyn, Emily Ciaccio, Mark Jamison, Debbie Schwartz, John Savage, James Savage, Austin Vachal, Andrew Gorham, Randy Niehaus, Rebecca Cherney, Joe Hazel, Justin Graeve, Matthew J. Obst

Optimized office block

Sliced corners for pedestrian movement

Cutouts promote interaction

TYPICAL CONDITION Disconnected arrival sequence

PROPOSED CONDITION Connected and activated arrival sequence

125 MENTIONED

J U RY FE E DBACK

“This building provoked a lot of discussion and spirited debate. One of its greatest strengths is the urban design approach. The project appears to be in an automobile-dominated part of the city. Making a pedestrian space in

the alley between the building and a parking garage is a very strong idea. One can imagine this space being inhabited and active, as opposed to being a broad, undistinguished walkway. The exterior stair that connects

to the garage is also intriguing. This building really anchors the neighborhood in a novel and exciting way.

We’re all interested to see how successful the project will be once it’s complete.”

Rural Arkansas is filled with picturesque views of rolling hills and verdant farms. This University of Arkansas research facility takes cues from its bucolic setting, specifically the barns and sheds that dot the countryside.

Encompassing 54,000 square feet, the building consists of two connected bars, with

their siting informed by natural topography and the path of the sun. Facades are wrapped in metal and stone, along with vast stretches of glass that open the building up to the environment and local community.

Inside, the center houses labs, workspaces, and meeting rooms for the university’s

DON T YSON CENTER FOR AGRICU LT U R AL SCIENCE S

Division of Agriculture; it also contains the administrative home for the Arkansas Agricultural Experiment Station. The landscape design was driven by the center’s research activities: Test crops anchor the south lawn, and a drainage ditch was reimagined as a bioswale for measuring water quality.

127

Fayetteville, Arkansas, USA CLIENT

University of Arkansas STUDIOS

Dallas

SERVICES

Architecture TEAM MEMBERS

Jim Henry, Vince Ellwood, Craig Jones

Shift for optimal views

Rotate for optimal solar and response to natural terrain

Massing and landscape

MENTIONED

L O C AT I O N

The landscape design is about more than aesthetics. The southern lawn, for instance, features a series of test plots that help advance agricultural research.

129 MENTIONED

J U RY FE E DBACK

“We had some healthy debates about this building. Mostly, we questioned the angle from which certain photographs were shot.

But overall, we felt this was a very successful project. It achieves a wonderful balance with the rolling hills, and it gives a nod to the area’s vernacular architecture

of barns and sheds.

The orientation of the building enables the right amount of sunlight to penetrate interior spaces throughout the day. It also has a strong street presence and grabs the attention of people driving by. This is a building that truly celebrates agricultural life.”

H UAWEI CORP OR ATE FINANCIAL CENTER B UILDING

L O C AT I O N

Shenzhen, Guangdong, China CLIENT

Huawei Technologies Company STUDIOS

Princeton, Boston SERVICES

Architecture, Interiors

TEAM MEMBERS

Diego Samuel, Shiguang Chen, Wei Wang, Peter Carideo, Marian Jacobs, Marc Sohayda, Michael Andrewsky, Chengbo Wang

131 MENTIONED

This project came with an unusual twist. The client, a top manufacturer of telecommunications equipment, set out to convert one of its research and development facilities into a new global center for financial enterprise.

Rather than preserve the building’s modern aesthetic, the client wanted the center to have a classical style. In response, the design team developed an architectural language rooted in three basic principles: beauty, power, and stability.

Complicated geometries were simplified and unified, and a clear-cut arrival sequence was created along a central axis. Facades were clad in stone and glass, and horizontal strip windows were replaced with glass bays framed by stone piers. Inside, rooms were organized around two stacked atria, both featuring classical proportions.

The interior feels uncluttered yet grand, with solid finishes and clean detailing conveying a classical spirit without being imitative.

Simplify and unify exterior facades

Create flexible community "rooms"

J U RY FE E DBACK

“This project grew on us. Initially, we were concerned that we couldn’t see any aspects of the original building.

But once we got past that, we started to see the beauty in the project.

The facade is quite fascinating in the way it adds thickness to the original structure. The detailing is very nice with a rich array of materials,

and there are different scales. Inside, one finds high-quality finishes, classical proportions, and a grand lobby. It has a timeless quality. This building could inform future projects in Rust Belt cities and on college campuses, where you are dealing with iconic buildings with a more classical look."

Reestablish the center and celebrate entry experience

133 MENTIONED

CL ARENDON DE SIGN ST U DIO

When a 120-person embraced by the staff. architecture studio Organized around a moved to Arlington’s dynamic open stair, Clarendon neighborhood, the two-story studio it seized the opportunity encompasses four staff to transform its work "neighborhoods," each of environment. Gone are which adjoins meeting the cubicles and private rooms, phone booths, offices that defined and technology stations. the old space. The The studio also contains new location features a resource library and an open, light-filled central cafe. Floating setting that embodies ceiling planes and floor the innovative and treatments delineate the team-centric spirit occupied areas, while

sealed concrete floors and exposed ceilings articulate circulation zones. Glass partitions transmit borrowed light into the core spaces and celebrate the creative process. Praised by employees, the new studio demonstrates the power of design to foster collaboration and to strengthen a company’s culture and vision.

135

STUDIOS

CLIENT

SERVICES

Arlington, Virginia, USA HDR

Arlington, Princeton Architecture, Interiors, Sustainability + Resiliency

TEAM MEMBERS

Kent Bonner, April Drake, Danielle Masucci, Michelle M. DiPenti, Anne Ullestad, Monica Perez, John Manovich

MENTIONED

L O C AT I O N

ISOLATION The former workplace was compartmentalized, enclosed, and hierarchical in its arrangement.

AMBITION A new location would allow opportunities to physically and visually connect the staff, both horizontally and vertically.

COLLABORATION The new workplace is an open, transparent environment that promotes collaboration and shared amenities.

137 MENTIONED

J U RY FE E DBACK

1 2 3 4 5 6 7 8 9

Lobby Library Staff Neighborhood Conference Room Huddle Room Collaboration Pod Cafe Flex Office Open to Below LEVEL 2

“This project gets high marks from all of us.

As you enter the office, you get a great first impression. As you keep going through the space, it gets even better. The quality and thoughtfulness go all the way through. The design is simple and sophisticated, and it avoids falling into any of the trendy traps that are so prevalent today. There are simple elements that

are used to good effect, including the concrete columns, ceiling planes, and integrated lighting.

From the acoustics to the traffic flow, it appears to be a positive place to do both individual work and group work. It also serves as a great marketing and recruiting tool. When you bring in clients and job candidates, they can instantly get a sense of who you are and what you value.�

HOLL AND ENERGY PARK

L O C AT I O N

Holland, Michigan, USA CLIENT

Holland Board of Public Works STUDIOS

Chicago, Ann Arbor SERVICES

Architecture, Engineering, Planning + Consulting

TEAM MEMBERS

James Connell, Carrie Shuler, Scott Leigh, Dennis Bruce, Serguei Kouznetsov, Jeff Cummings, Chris Rogers, Jim Brigham, Albert Stolz, Aerin Klump, Olivia Schwartzfisher, Dale Burke, Chris Zuelch, Cristina Koss, Michaella Wittmann, Jennifer Ninete, Justin Fudge, Matthew Rohr, Colleen Scholl, Josh Prusakiewicz, Michael McMahon, Lance Thies, Brian Dennen, Tricia Billings

139 MENTIONED

This project offers an exciting model for a new generation of power plants. The natural gas facility occupies a prominent gateway site in Holland, located near Lake Macatawa and the city’s downtown district.

During the conception phase, the design

team and city officials gathered input from local education, environmental, and community leaders and hatched the idea to make the plant a learning destination. The building features a visitor center and museum, which are expressed as a red spine running the length

of the plant. Visitors are able to view the control room and power generation spaces, while also learning about sustainability, plant operations, and related topics through interactive exhibits. Outside, a new park surrounds the facility, with trails that

wind through native vegetation and lead to overlooks. Much more than a power plant, this building has become a community landmark that offers an inspiring vision for the future.

J U RY FE E DBACK

“Everyone was very intrigued by this project, particularly the visitor center. You are bringing the public into a type of facility that is typically surrounded by 10-foot-high fences. One of the great aspects of architecture is that it can be used to help educate people, and it can change hearts and minds. This project successfully makes people aware of how power is generated and where it comes from—and that kind of awareness is critical. As we try to deal with energy issues as a global community, the approach you took here could be a model for future power plants. We applaud you for doing projects like this and would like to see more of them."

141 MENTIONED

6

5 1 2

3 4

GROUND FLOOR PLAN 1 2 3

Public Entrance and Lobby Control Room Circulation and Gallery

FIRST FLOOR PLAN - OVERALL

1" = 20'-0"

4 5 6

Water Treatment Power Production Support Spaces

PACIFIC C AMPUS PARKING STRU C T U RE L O C AT I O N

SERVICES

CLIENT

TEAM MEMBERS

Omaha, Nebraska, USA University of Nebraska Omaha STUDIOS

Omaha

Architecture, Engineering David Lempke, Taylor Nielsen, Xin Zhao

143 MENTIONED

Facade module and passive daylighting

Situated on the University of Nebraska Omaha campus, this vibrant building marks a significant departure from the run-of-the-mill parking garage. Inspired by the natural environment— specifically, a stand of golden reeds—the facade is lined with vertical strips made of precast concrete.

Together, the strips form a screen that enables daylight to penetrate deep within the facility and increases the level of safety for users.

The stair and elevator towers are located at the building’s corners and midpoint. Featuring glazed walls, these vertical circulation elements further enhance the building’s transparency and distinctive appearance.

With 1,400 parking spaces, the sizeable garage accommodates students living in nearby residence halls, along with members of the broader university community.

The facility visually enriches the campus through its simple yet bold expression.

3

2 4 5

1 6

7

1 2 3 4 5 6 7

Permanent Earth Retention System Cast-In-Place Ramp Structure Entry Canopy Precast Concrete Facade Bus Shelter Entry Canopy Precast-Concrete and Curtain-Wall Stair Tower

145 MENTIONED

J U RY FE E DBACK

“All parking structures should be done this well. We really liked the articulation of the vertical units, the sense of texture, and the lighting. The precast fins add a playfulness and almost become the divide between materiality and art. At night, the fins are illuminated, giving them a totally different look. Also, there is no need for explicit wayfinding signage; the structure lets you know where to enter and exit.

We thought the circulation towers could have been more integrated into the materiality of the fins, but all in all, we felt this was a wonderful parking garage."

Passive security through transparency

CITED WORK S Throughout the proceedings, the jury remained captivated by the three projects featured in this special section.

Projects do not always fit neatly into preestablished categories.

While the following projects were not identified as Selected or Mentioned Works, the jury wanted to ensure they were recognized for their singular qualities and visionary spirit.

The first is a publication that proposes bold new ways for approaching healthcare delivery. The book features incisive writing, compelling visuals, and a disciplined layout. “We really appreciated this project because it shows a capability that is so important in today’s world: research,” the jury described. “This complements your different areas of practice, and we would like to see more of this.”

The second project is a temporary dwelling envisioned for Syrian refugees that is made of simple materials such as rocks and wooden pallets.

The jurors commended the project for its connection to humanity.

“Here is a real human situation occurring in the world; it demonstrates what a firm like HDR can do to address it,” they stated. “It is a very powerful thing to have your employees doing this type of work.”

Also socially driven, the third project is a redevelopment plan for a St. Louis community impacted by civil unrest. Noted the jury: “We applaud HDR for stepping up and trying to find design solutions for social issues. It is very uplifting.”

147 CITED

DELTA , VOLUME 2

L O C AT I O N

Nationwide CLIENT

HDR

STUDIOS

Omaha

SERVICES

Architecture, Interiors, Research TEAM MEMBERS

Caroline DeWick, Michael Joyce, Tom Lee, Amy Lussetto, Kaia Nesbitt, Susanne Pini, Roberto Seif, Elizabeth Zacherle, Dylan Coonrad, Katie Sosnowchik, Paula Brammier, Lou Ann Bunker Hellmich, Troy Parks, Hank Adams, Ashley Tucker, Zachary Brewster, Cally Larsen, Amy LaMar

Provocative and engaging, Delta, Volume 2 outlines an ambitious redesign of the healthcare delivery process and puts forward strategies for implementation. The content-rich publication is the result of a deep collaboration among writers, graphic designers, healthcare experts, and thought leaders. The book features streamlined layouts, highly readable text, and compelling visuals, helping it stand apart from traditional marketing material. Case studies elucidate concepts, while data visualizations within each chapter contextualize information and create pause points for readers to reflect.

SHELTER IN A FORE ST

L O C AT I O N

Boston, Massachusetts, USA CLIENT

Not Applicable

Housing for refugees is one of the most critical issues facing our global village. In response, this conceptual scheme envisions a temporary shelter for Syrian migrants traveling through western Turkey. Stone-filled gabion cages and wooden shipping pallets would be used to form the simple dwelling, with the same materials being deployed to fabricate interior furniture.

Reminiscent of a cairn, this basic shelter would serve as a welcoming landmark for refugees as they voyage through an unfamiliar landscape.

STUDIOS

Boston

SERVICES

Architecture

TEAM MEMBERS

Charles Hergrueter, Oana Pavunev, Christopher Shafer

149 CITED

WE ST FLORISSANT AVEN U E – LE AN U RBANISM RE VIVAL

L O C AT I O N

Dellwood, Missouri, USA CLIENT

CSRA / EPA STUDIOS

Omaha

SERVICES

Planning + Consulting TEAM MEMBERS

Andrew Gorham, Austin Vachal, Alex Robinson

Civil unrest in 2014 led to the destruction of 13 businesses along West Florissant Avenue in the town of Dellwood, which borders Ferguson. In the years following, a team led by HDR was charged with envisioning redevelopment plans for multiple sites along the avenue. Guided by the concepts of lean urbanism and

incremental sprawl repair, the team has imagined a series of small-scale interventions that will emerge over time, ranging from incubator spaces and micro-retail units to a community park. The incremental approach will help build density and market momentum, in turn catalyzing further investment in the area.

AFTERWORD LEARNING FROM WASHINGTON, D.C.

The Arlington Studio wishes to express our profound appreciation and lasting excitement for the opportunity to host the 2018 Opacity critique and celebrate the best design work from HDR studios around the world. We were enlightened by the collaboration with our academic partner—the University of Maryland—and the esteemed critics who shared their valuable perspectives. Among the 99 projects exhibited in our gallery, we experienced a diverse collection of typology, storytelling, and culture.

The diversity of the work reflects in many ways the diversity of the multidisciplinary teams responsible for authoring such forward-leaning ideas.

Washington, D.C., was a timely venue for this moment in the Opacity journey.

The District maintains a rich and storied history of inspirational vision and the struggle to uphold it. Its creation and ultimate escape from destruction is a testament to the spirit of partnership and the strength of believing that the whole is greater than the sum of its parts. Designed

by French-born architect and urban planner Pierre Charles L’Enfant, the District’s early years were beset by adversity that would continue to test people’s commitment to the charge.

It remained a work in progress until finally realized over a century later with assistance from notable architects Daniel Burnham and Charles McKim, landscape architect Frederick Law Olmsted, Jr., and sculptor Augustus Saint-Gaudens. The 18th-century quest for the “city of the future” started with a bold idea, was developed through collaboration, and was forged through human perseverance and fortitude.

More than 225 years into its own journey, the District can offer lessons on identity, retrospect, and ambition.

The identity of Washington, D.C., has long been that of a Federal City and the center of government. As a result, architectural focus often centers on well-known, symbolic structures such as the U.S. Capitol, the White House, the National Cathedral, the Library of Congress, and the iconic memorials and monuments that line the National Mall. While each of these historical landmarks is an important part of the narrative, their legacy tends to overshadow the infusion of new energy that is redefining many areas of the city.

External perception begins to shift toward a new identity as the community both embraces and illuminates the occurring changes.

Upon closer reflection, the District is a vibrant melting pot of culture with influence from across the country and around the world. It embodies and promotes diversity throughout its population, its institutional culture, and the style of its architecture. The local design aesthetic is an international blend that spans beyond the early examples of classical Greece and Rome, medieval Europe, and 19thcentury France to the more recent Scandinavian and Yoruban styles.

Contemporary forces of globalism, technology, and sustainability continue to influence the speed and trajectory of its evolution.

Similar to our design practice, momentum has accelerated and the District is on the verge of a new identity. Inspiring additions to the architectural landscape have stimulated a design discourse that challenges norms, influences attitudes, and stirs the imagination. They’ve become the catalyst from which future ambitions take flight.

—Kent Bonner, Design Principal

151

AFTERWORD

153 TRIBUTE

VINCE ELLWOOD HDR’s Design Council Chairman, 2005 – 2018

WITH GRATITUDE

In early 2005, HDR’s Architecture president at that time, Merle Bachman, sought a leader to add form and substance to a fledgling idea for a formal design council. The architecture practice had grown significantly in size, geography, and project types in the preceding years, and recent acquisitions magnified the need for a cohesive design approach and process.

Merle tasked Vince Ellwood, a landscape architect in our Dallas office, for the position of chairman of this new council because, as he recalls, “I knew that if Vince accepted the mission, he would give it his all.”

With an inherent sensitivity to design at all levels, Vince had the perfect qualities to serve as chair: a passion for design excellence, an unparalleled attention to detail, a firm yet diplomatic leadership approach and a nearly 30-year devotion to HDR and its long-term legacy as a leader in the architecture community.

Vince accepted the challenge—and then he got to work.

His many accomplishments in those early years were both intentional and varied. Vince thoughtfully established a structure for the council to help identify and implement charter principles to enhance design excellence within the organization. He selected council

members who he believed would help champion culture change as well as educate, train, and recruit the best design talent for our future.

Vince implemented formal design reviews and conducted the firm’s first-ever employee opinion survey on design excellence.

Vince also revamped the way we managed design award submittals, and instituted a new process for project photography. Moreover, he was the driving force behind the creation of collateral highlighting our integrated architectural and engineering services.

Throughout his tenure, Vince organized annual summits for council members, establishing a format that encourages interaction and dialogue, while also providing healthy doses of inspiration and creativity. As the practice expanded worldwide through acquisitions, Vince ensured that each new member to the council felt both welcomed and valued. Working with Brian Kowalchuk, HDR’s global design director, Vince made sure that the energy generated by new ideas at the firm was shared throughout our ever-growing practice.

In fact, it is Vince’s unrelenting belief that one person truly can make a difference that inspires all of his colleagues to be proud of their work and to be accountable for the consequences of their actions. He has never expected more from anyone else than he expects from himself.

A widely regarded landscape designer, Vince founded and led the firm’s site design group, propelling our work forward while also mentoring new designers. He has taught us all that with hard work, great design can be

accomplished and nurtured without compromise. His thoughtful and authentic designs reflect his relentless pursuit to be a better steward for our clients and for the natural environment.

Above all, Vince has continually demonstrated to each and every colleague that their contributions are relevant and crucial to the firm’s success. This was especially evident during gatherings in both New York and Dallas held to celebrate Vince’s career and contributions to HDR. Among the many glowing words proffered were these: "amazing teacher and mentor," "humble," "steadfast and selfless," "creative," "energetic," "well-connected," "kind."

“You are what we all aspire to be," Doug Wignall, HDR Architecture president, told Vince at the Dallas event. "You care deeply about your work and the people who you work with. You have one of the strongest connections to family that I have ever seen. It’s all wrapped up in a package we identify as you. You are one of a kind.”

We are called to make the world a better place in all we do in our allied design professions. No one epitomizes this mission better than the man who enthusiastically steered HDR’s design council these past 14 years.

With Vince’s retirement in December 2018, we said farewell to the man who helped build the bridge connecting our past with our future. Our gratitude is exceeded only by his own very generous spirit.

—Jason-Emery Groen, Design Director

CREDITS EDITOR Jenna M. McKnight

Jenna M. McKnight is a leading architectural journalist and editor.

Her work has taken her around the globe, from touring skyscrapers in Manhattan to reporting on humanitarian work in Haiti and Burkina Faso. Jenna has held senior positions at major print and online publications, in addition to being the first digital editor at the global architecture firm Skidmore, Owings & Merrill. She currently is a contributing editor at Dezeen and helped launch the influential media company’s office in New York. Beyond this publication, Jenna served as editor of Rigor: Working With Intent, the second volume in the Opacity book series.

2018 OPACITY TEAM Tom Trenolone, Director Jenna McKnight, Guest Editor Dana Ball, Art Director Lyndsey Akers Kent Bonner Paula Brammier Zach Brewster Matthew Delaney Ella Feng Jason-Emery Groen Danette Hunter Mallory Lane Desiree Mervau Kelsey Pierce Patty Rockwell Katie Sosnowchik Ian Thomas Greg Wells

FEATURED PHOTOGRAPHERS Rouse Photography Group Opacity Event Stefan Mueller-Naumann Helmholtz Diabetes Center Dan Schwalm Holland Energy Park Pacific Campus Parking Structure R. Joe Dennis Learning Center, Bellevue University Halkin Mason Photography Clarendon Design Studio Dero Sanford Don Tyson Center for Agricultural Sciences, University of Arkansas Paul Dingman Huawei Corporate Financial Center Building Ed White Lefebvre-Smyth Residence SPECIAL THANKS To the University of Maryland Center for Art and Knowledge at The Phillips Collection and The National Building Museum for providing inspiring spaces to host this event.

155

[1917]

A Shelter in the Forest Abu Dhabi Animal Veterinary Clinic & Research Center Advocate Condell Outpatient Center Advocate Des Plaines Outpatient Center Advocate Dreyer Outpatient Center Alexandria Police Memorial Almoosa Rehabilitation and Long-Term Care Hospital Analogical Projections, Metaphor and Resistance Baxter Arena, University of Nebraska Omaha

Franke College of Forestry & Conservation, University of Montana

Northern Avenue Bridge

Fred & Pamela Buffett Cancer Center

Office Beta

Fremantle Gang Tou International British School GE Oil and Gas Technology Center Gordie Howe International Bridge Ports of Entry Guian Huawei Cloud Data Center

Northside Cherokee Hospital Olayan Long-Term Care Hospital Optus Pacific Campus Parking Structure, University of Nebraska Omaha Pediatric and VIP Cardiac Hospital

Guilin Medical School Affiliated Hospital

Penticton Lakeside Resort West Wing Addition

Hamburg Center for Translational Immunology, University Hospital Hamburg

Performing Arts + Science Renovation Project

Hartford Hospital Bone & Joint Institute

Prince AbdulAziz bin Musa’ed Hospital, Arar

Helmholtz Diabetes Center Holland Energy Park

R. Joe Dennis Learning Center, Bellevue University

Brendan Iribe Center for Computer Science and Innovation, University of Maryland

Huawei Bantian Campus, G-1 Building Renovation

SAC Federal Credit Union

Bristol-Myers Squibb’s Module E Renovation

Huawei Corporate Financial Center Building

San Bernardino Transit Center

Huawei Taiwan Park International School

Seimens Lobby Renovation

Building 3 Communications Technology Laboratory, National Institute of Standards & Technology

Innovative and Interdisciplinary Lecture and Learning Center for Medical Students

Shellcove

Inova Center for Personalized Health

Sigma Alpha Epsilon House

Building B Transformation Project, Lehigh University

Jiangning Campus Laboratory Building of China Pharmaceutical University

SLAC Photon Science Lab Building

Calw Health Campus Canadian Nuclear Laboratories: New Builds

Johnny Carson Center for Emerging Media Arts, University of Nebraska-Lincoln

Cedars Sinai Biomanufacturing Center

Joslyn Art Museum Art Works

Strauss Performing Arts Center, University of Nebraska Omaha

Centralized Research Services Facility

Kaneko Atrium Addition

Century/Hybrid Warming Hut

King Saud Medical City Master Plan

Chengdu Wanda Hospital

King Saud Medical City Towers

Clarendon Design Studio

Le Carrefour Santé d'Orléans

Coleman College Health Sciences Building, Houston Community College

Learning Crossroads Building, University of Ottawa

Comal County Jail

Lefebvre-Smyth Residence

Confidential Laboratory and Office Building

Lenox Hill Hospital

CVL Iraq, Germ and Biological Research Lab

Manter Bench

Delbrook Community Recreation Centre

Maryland Public Health Laboratory

Delta, Volume 2

Melbourne Student Precinct

Don Tyson Center for Agricultural Sciences, University of Arkansas

Mobile Acute Services Hospital

Edmondson Park Engineering Company Headquarters Eppley Airfield Rental Car Facility Everbright Life Center ExoCORE Tower Fort Bliss Replacement Hospital

NASA Human Health and Performance Laboratory Building 21 National Guard Health Affairs Long-Term Care Hospital National Guard Health Affairs Mental Health and Addiction Hospital

Shirley Ryan AbilityLab Outpatient Center

Stapleton Parks

Sydney Olympic Park Town Centre Concept Taikang Hospital Talavera Road Think Whole Person Healthcare UCSF Benioff Children’s Hospital Pediatric Outpatient Center University of Ottawa Heart Institute Life Support Capital Project University of Pennsylvania Health System, Patient Pavilion: Structural Engineering University of Pittsburgh Medical Center, Oakland Campus, New Bed Tower Competition Concept University of Texas Southwest Medical Center Campus Restoration Valley Hospital Vertical Campus Volkhonka Mansion Hotel West Florissant Revival: A Lean Urbanism Approach

CREDITS AND ACKNOWLEDGMENTS

PROJECTS FEATURED, PG 11,

left to right

PROJECTS FEATURED, PG 13, left to right

[1917]

Holland Energy Park Huawei Corporate Financial Center Building

A Shelter in the Forest

Innovative and Interdisciplinary Lecture and Learning Center for Medical Students

Abu Dhabi Animal Veterinary Clinic & Research Center

Johnny Carson Center for Emerging Media Arts, University of Nebraska-Lincoln

Advocate Condell Outpatient Center

Le Carrefour SantĂŠ d'OrlĂŠans

Advocate Dreyer Outpatient Center

Lefebvre-Smyth Residence

Brendan Iribe Center for Computer Science and Innovation, University of Maryland

Manter Bench

Building 3 Communications Technology Laboratory, National Institute of Standards & Technology Building B Transformation Project, Lehigh University Canadian Nuclear Laboratories: New Builds Cedars Sinai Biomanufacturing Center Century/Hybrid Warming Hut

National Guard Health Affairs Long-Term Care Hospital Olayan Long-Term Care Hospital Optus Pacific Campus Parking Structure, University of Nebraska Omaha Performing Arts + Science Renovation Project

Clarendon Design Studio

R. Joe Dennis Learning Center, Bellevue University

Coleman College Health Sciences Building, Houston Community College

San Bernardino Transit Center

Delbrook Community Recreation Centre

Strauss Performing Arts Center, University of Nebraska Omaha

Delta, Volume 2

Sydney Olympic Park Town Centre Concept

Don Tyson Center for Agricultural Sciences, University of Arkansas

University of Pennsylvania Health System, Patient Pavilion: Structural Engineering

Engineering Company Headquarters

University of Pittsburgh Medical Center, Oakland Campus, New Bed Tower Competition Concept

Franke College of Forestry & Conservation, University of Montana Hamburg Center for Translational Immunology, University Hospital Hamburg Helmholtz Diabetes Center

Volkhonka Mansion Hotel West Florissant Revival: A Lean Urbanism Approach

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