The Gates and Hillman Centers

Gates and Hillman Centers

Mack Scogin Merrill Elam Architects

Pittsburgh, PA Olivia Lau Danielle Norton Monika Oum Rensselaer Case Studies Project 2010 1

Rensselaer Case Studies Project Mark Mistur, AIA Associate Professor Christopher O’Neil Assistant Rensselaer School of Architecture Troy, New York 2010 Š 2010 Olivia Lau, Danielle Norton, Monika Oum, and Rensselaer Polytechnic Institute 2

PREFACE: Buildings embody cultural knowledge. They are a testament to the will and forces that affect their conception, realization, use, and experience. They bear cultural and professional significance and possess within them and their constituent components important lessons for anyone wanting to discover what a work of architecture is in its larger context, what brought it about, and how it contributes to an ever evolving architectural and cultural discourse. As Emeritus Professor Peter Parsons points out, “their [building] forms and spaces are invested with traces of habitation and beliefs through the employment of materials wrought by craft and technology.� They are manifestos of habituated practice and progressive intentions, and range in their influence from reinforcing obsolete patterns and meanings at one extreme, to innovating and provoking yet unconsidered ones, at the other.

They are beholden to the methods of their conceiving and development, and owe, at least in part, their aspirations to cultural preoccupations and priorities.

The Rensselaer Case Studies project examines contemporary works of architects in relation to what influenced them, and seeks to expose innovations in thinking, technique, and technology that contribute to architectural knowledge, scholarship, and progress in contemporary practice. The project is designed to reveal the technological and cultural knowledge embedded within each selected project through questioning and analysis, probed through the dis- and re-assembly of drawings and models to uncover the larger significance of the artifact and how it came to be.

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Table of Contents: The Big Picture...................................................................................................7 Multi-Scalar Urbanism.......................................................................................8 Pittsburgh - A City Reborn.......................................................................11 Carnegie Mellon univerCITY..................................................................23 From Concept to Design..................................................................................33 Architects and Practice...........................................................................35 Manifesting the Gates and Hillman Centers..................................................57 Visions and Aspirations...........................................................................59 Connecting with the Campus..................................................................65 Program Organization.............................................................................89 A Network of Social Space....................................................................101 Interior Exteriority............................................................................................111 Verticality.................................................................................................113 Final Reflections.............................................................................................129 Appendices.....................................................................................................132 Image Credits.................................................................................................140 Bibliography....................................................................................................146

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The Big Picture The Gates and Hillman Centers, funded by the Bill and Melinda Gates Foundation and Henry Hillman, form a major resource on the Carnegie Mellon University campus in Pittsburgh, Pennsylvania. Pittsburgh is a city reborn on technology and CMU is a crux to this continuing progression.

The Gates and Hillman Centers encourage interdisciplinary academic achievement through open programming of space. The project is a testament to this, in that it consists of two buildings devoted to two different disciplines (the Gates Center for the Department of Computer Science and the Hillman Center for the Department of Future Generation Technologies) linked through circulation and a network of collaborative social spaces.

Architectural features such as the helical space within the Gates Center play a prominent role in circulation throughout the building, providing stolen views further into the interior for the navigating user. The building visually cracks open to show vertical and lateral circulation. Project rooms with either vertical circulation or views are placed strategically throughout the building to accommodate and encourage collaboration.

In addition to visual cracking within the G+HC, transparency and layering play a large role in the user’s experience. Glass, color, and vertical space are used strategically throughout the centers in order to create distinct regions for collaboration or privacy. Moreover, the distinct zoning of the building creates another lure to wandering.

Figure 0.1 : collaborative work space in Gates and Hillman Centers, image courtesy Nic Lehoux.

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Multi-Scalar Urbanism

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Pittsburgh - A City Reborn

“Pittsburgh entered the core of my heart when I was a boy and cannot be torn out.�

- Andrew Carnegie

Figure 1.1 : present-day view of the Edgar Thompson Works in Braddock, PA, within the Pittsburgh metropolitan region

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Coming into the Modern Age Pittsburgh, PA is historically known as “The Steel City” because it developed on the back of the steel industry during the Industrial Era. In the 1980s, the steel industry declined, forcing the city to find a new outlet for economic stability.

The emerging industries that came to support Pittsburgh were healthcare services and other life sciences; advanced manufacturing and materials; environmental, energy, and information technologies; and educational institutes,1 such as Carnegie Mellon University, which have attracted younger populations to the city.

Steel production blanketed the city with smog and pollution from the late 1800s through World War II. After the war, Pittsburgh underwent an urban ‘renaissance’, implementing a clean air plan and redeveloping various neighborhoods. The redevelopment projects displaced many businesses and residents, turning once vibrant districts into blighted areas. Eventually, all the steel mills within the city closed down.2 While blighted areas still remain in Pittsburgh, one such space in the downtown area has been transformed into the Cultural District. Since 1984, the Pittsburgh Cultural Trust has been restoring historic theaters and sponsoring new art venues, public parks, and commercial development.3 Downtown Pittsburgh has developed into a dense district, home to office skycrapers and new residential towers. Among the most distinctive buildings are the U.S. Steel Tower and the PPG Place glass skyscraper.

East of the downtown area are the University of Pittsburgh and Carnegie Mellon University, two of Pittsburgh’s most recognizable academic institutions. As higher education has become more affordable over the past century, the city has seen an influx of college-aged students who participate in the local culture and commerce. A number of students from Pittsburgh’s various universities and colleges remain in the city for some time after graduation, contributing to the growth of the new economy. As an institution noted for its advances in technological and business education, Carnegie Mellon University has the potential to produce graduates that help fuel Pittsburgh’s vision as a modern city with advanced industries.

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Figure 1.2 : present-day view of downtown Pittsburgh, with skyscrapers and other high-rise towers defining the skyline

Figure 1.3 : Heinz Hall for the Performing Arts in the Cultural District has been completely restored and opened in 1971 as the base for the Pittsburgh Symphony Society

Figure 1.4 : the PPG Place is a glass Gothic Revival skyscraper, built as part of Pittsburgh’s Renaissance II urban development plan in the 1980s

Figure 1.5 : view of Carnegie Mellon University campus, with the Gates and Hillman Centers situated to the left of this photograph

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1750

1800

1812 : Iron foundries, rolling mills, machine shops, and forges developed along the Allegheny and Monongahela rivers to supply iron for the War of 1812.

1850

1845 : The Fire of 1845 destroyed most buildings in Pittsburgh, ending the practice of timber construction.

1761 : Coal mining began on Coal Hill, now known as Mount Washington, located south of Fort Pitt across the Allegheny River.

1758 : The British army built Fort Pitt where the Allegheny and Monongahela rivers meet and turn into the Ohio River. The village of Pittsborough began to develop

1875 : Andrew Carnegie opened the Edgar Thomson Works steel mill east of Pittsburgh, bringing inexpensive, mass-produced steel to the city.

1816 : Pittsburgh was designated as a city.

around the fort.

Figure 1.6 : view of the city of Pittsburgh from Mt. Washington, circa 1920, courtesy of Altwater & Bro.

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2000

1912 : The Carnegie Technical School became the Carnegie Institute of Technology.

1967 : The Carnegie Institute of Technology merged with the Mellon Institute and became Carnegie Mellon University.

1900 : Andrew Carnegie founded the Carnegie Technical School.

1950s - 1960s : The urban development plan, Renaissance I, was implemented. As a result, the lower Hill District and the East Liberty neighborhood become blighted areas as businesses and residents are displaced.

1990s : Pittsburgh transitioned from a heavy manufacturing city to one with new, mostly high tech industries.

1980s : The urban development plan, Renaissance II, was implemented. Steel mills shut down because of the recession.

Figure 1.7 : view of the city of Pittsburgh from Mt. Washington, 2007, courtesy of Matthew Field.

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Economy and Industry Throughout the 19th-century and into the 20th-century, Pittsburgh thrived as an industrial city. Although boat building was the city’s largest industry in the early 1800s, today Pittsburgh is known for its leading role in steel manufacturing. The War of 1812 propelled the area to the forefront of the nation’s manufacturing economy because of the region’s iron resources and its strategic location for the transport of materials and products.

Figure 1.8 : the city of Pittsburgh at the junction of the Allegheny and Monongahela Rivers, circa 1890, courtesy of the Pennsylvania State Archives

Pittsburgh earned the moniker “The Smoky City” because of its use of charcoal and coal for fuel.4 Coal was essential to the steel industry, which entered its boom in the city with the opening to the Edgar Thomson Works. This steel mill, opened by Andrew Carnegie, founder of the Carnegie Technical School, transformed steel from an artisan craft to an unskilled labor focused on massproduction.

Figure 1.9 : Edgar Thomson Works, 1905

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Pittsburgh’s steel industry began to decline in the late 1970s due to the oil crisis and competing foreign companies. The recession from 1981 to 1982 caused many steel mills to close down. Some of these abandoned factories were demolished to make way for urban redevelopment projects.

As the manufacturing industries weakened, high-tech industries began to dominate the city’s economy. Led by the educators and graduates from Carnegie Mellon University, which had stressed research and broader education for engineers and scientists throughout its history, these industries included advanced manufacturing and materials; energy, environmental, and information technology; and life sciences.

Figure 1.10 : the city of Pittsburgh at the junction of the Allegheny and Monongahela Rivers, 2005, courtesy of Jennifer Yang

In 1993, the Pittsburgh branch of the Green Building Alliance was established.

According to Franklin Toker, “the city has embraced the ideals and philosophy of environmentally friendly building”.5 This indicates a move towards reversing the negative effects wrought upon the environment by Pittsburgh’s industrial golden age. This also must account for the design of the Gates and Hillman Centers, which was meant to meet the requirements for a minimum LEED (Leadership in Energy and Environmental Design) Silver rating.6

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Andrew Carnegie - Captain of Industry Andrew Carnegie is renowned as a major philantropist in American history. His family emigrated from Scotland to Allegheny, Pennsylvania right across the Allegheny River from Pittsburgh city proper. Carnegie’s life epitomizes the classic American dream: that of an immigrant who escaped poverty through hard work and shrewd decisions.

Despite not having received any formal education in America, Carnegie quickly advanced in his early career working at a telegraph office. With a keen eye

Figure 1.11 : portrait of Andrew Carnegie, courtesy of Harris & Ewing

for investment, he bought stocks in railroad companies just as the industry began to take off, which proved more profitable than his regular job. Carnegie then turned his attention to the burgeoning steel industry, selling all of his other interests in 1873 to acquire the components of his future Carnegie Steel Company. In 1875, he opened his first steel plant, the Edgar Thomson Works, named after J. Edgar Thomson, the president of the Pennsylvania Railroad. This tactic convinced the Pennsylvania Railroad to grant Carnegie a large commission for the production of steel rails. By 1900, Andrew Carnegie controlled about one quarter of the steel output in the United States.

After J.P. Morgan bought all of his steel holdings for $500 million, Carnegie became the richest man in the world and focused his attention on philanthropy.7 He funded about 3,000 libraries worldwide, including a public library in Pittsburgh with a donation of $500,000.8 In 1900, Andrew Carnegie established the Carnegie Technical Schools, providing higher education for the sons of Pittsburgh’s steel mill workers. The school began to offer four-year degrees in 1912, changing its name to “Carnegie Institute of

Figure 1.12 : cartoon of Carnegie from Harper’s Weekly, April 11, 1903; The illustration simultaneously shows Carnegie’s philantrophic nature of building libraries and his whimsical, boyish personality.

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Technology.� Just as he implemented vertical integration in his business, involving his practice in all aspects of the steel production process, Carnegie also emphasized integration and interdisciplinary collaboration in his school.

Students could study to become craftsworkers and apprentices while being afforded the opportunity to conduct research and being exposed to the arts.

The Carnegie Institute of Technology merged with the Mellon Institute in 1967, forming the Carnegie Mellon University.9

Figure 1.13 : cartoon of Carnegie, circa 1901; Andrew Carnegie donated 2 million pounds to establish free education at four Scottish universities. Although he made his profits in the United States, as symbolized with the American flag kilt, Carnegie never forgot his immigrant background and returned frequently to his home country.

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Topography Pittsburgh is located in southwest Pennsylvania on the Allegheny Plateau where the Allegheny and Monongahela rivers merge into the Ohio River.

The inclines along the river valleys and inland ridges make for a dramatic topographic landscape, so many of Pittsburgh’s neighborhoods are steeply sloped.10 The topography requires architectural strategies for dealing with the changing ground condition, such as split-level buildings and structures suspended above or inserted into the ground.

Figure 1.14 : topographic map of Pittburgh; Downtown Pittsburgh remains relatively flat while the inland city varies topographically. The terrain played an important role in city planning; neighborhoods were named with descriptors that reflected the topography, such as Hill District and Middle Hill to the northeast of the University of Pittsburgh and Squirrel Hill to the east of Carnegie Mellon University.

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The varying topography offers people provocative views into and within the city. In 2006, Martin Aurand, the architectural librarian and archivist at Carnegie Mellon University, published his writings on the visual appreciation of Pittsburgh’s geography in The Spectator and the Topographical City. In discussing the topographical qualities and history of the city, Aurand writes, “The countless vantage points of the topographical city encourage the active perception of its visual qualities. In Pittsburgh, everyone is a spectator.”11 The terrain has greater variations as one moves inward from the downtown and riverfront areas. Within this topographic inner city are located the University of Pittsburgh and Carnegie Mellon University campuses. Because these universities have developed above the city and are surrounded by other hilly neighborhoods, they are historically detached from the local city culture.

Leslie Clague, a Carnegie Mellon alum, points to Pittsburgh’s disconnected topography and the patchwork of separated neighborhoods as reasons why college students rarely left campus during her time at CMU. She remarked, “They never got out and weren’t aware of the city. There’s this weird Pittsburgh phenomenon [that keeps people from exploring the city].”12 Today, efforts are being taken to make the universities a part of the new emerging, vibrant urban culture. Carnegie Mellon University’s open campus, in particular, allows people to freely pass through the campus while blurring its boundaries for expansion into the city.

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Carnegie Mellon univerCITY

“Carnegie Mellon will meet the changing needs of society by building on its traditions of innovation, problem solving, and interdisciplinarity.”

- Carnegie Mellon University. “Vision & Mission.”

Figure 1.15 : view of the traditional Mellon Institute at Carnegie Mellon University

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Campus in the City Carnegie Mellon University is located in the heart of the city of Pittsburgh.

The campus is approximately 4 miles away from the site of Fort Pitt in the downtown area; 5 miles from Mt. Washington, the site of the first coal mine in the Pittsburgh area; and 6.5 miles from the Edgar Thomson Works, the first steel mill founded

by Andrew Carnegie, in Braddock.

Adjacent to the CMU campus is the University of Pittsburgh and the neighborhood of Squirrel Hill.

This residential neighborhood is known as the home of many affluent Pittsburgh families.

Downtown

CMU has an open campus that allows people to travel freely across and out through the city. The university is also able to expand into the urban context; its borders are flexible and permeable. The open campus expresses Carnegie Mellon’s desire to connect with the city outside while developing its own urbanism within the institution.

Mt. Washington

Figure 1.16 : map showing the location of Carnegie Mellon University’s campus in relation to other places of interest in the Pittsburgh area

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University of Pittsburgh

Carnegie Mellon University

Squirrel Hill

Braddock

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Campus as a City The Gates and Hillman Centers are situated in the center of Carnegie Mellon University, integrating with other buildings and spaces across the campus. The network formed by these connections echoes the university’s philosophy of integrated and interdisciplinary research and practice.

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Most of CMU’s major academic buildings [including the Gates and Hillman Centers] and its outdoor social spaces are contained within the traditional campus, bounded

by Forbes Avenue to the north, Frew Street to the south, South Neville Street on the west side, and Margaret Morrison Street on the east side. These buildings and the outdoor recreation areas form a social network where students spend most of their day. The dispersal of social nodes across campus is interiorized within the Gates and Hillman Centers; multiple social and informal working spaces are spread throughout the buildings.

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Figure 1.17 : map of social nodes across the CMU campus, including major academic buildings, dining halls and cafes, and outdoor green spaces and sports fields

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Campus Legend 13 : Morewood Gardens 14 : Warner Hall 15 : Purnell Center for the Arts 16 : The Cut 17 : The Fence 18 : Hunt Library 19 : College of Fine Arts 20 : University Center 21 : Tennis Courts 22 : Posner Hall 23 : Margaret Morrison Carnegie Hall 24 : Gosling Stadium 25 : Resnik House and Tartans Pavilion 26 : Intramural Fields

1 : Mellon Institute 2 : Roberts Engineering Hall 3 : Hamerschlag Hall 4 : Smith Hall 5 : Hamburg Hall 6 : Newell-Simon Hall 7 : Wean Hall 8 : The Mall 9 : Skibo Gymnasium 10 : Hillman Center for Future Generation Technologies 11 : Gates Center for Computer Science 12 : Doherty Hall

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The School of Computer Science follows the theme set by our founding fathers, Allen Newell, Herbert Simon, and Alan Perlis, that the field of computer science covers the theory and design of computers, as well as all phenomena associated with them.

Its research and educational programs span a range of disciplines.

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maintains active collaborations with many other parts of the university, as well as with industry and other universities.

It

also

- Carnegie Mellon University. “School of Computer Science.�

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Endnotes 1. Pittsburgh Technology Council. “State of the Industry Report Executive Summary 2009: The Pittsburgh Region.” Accessed September 20, 2010. <http://www.pghtech.org/news-and-publications/state-of-industry-report. aspx> 2. City-Data.com. “Pittsburgh: History.” Accessed September 20, 2010. <http://www.city-data.com/us-cities/The-Northeast/Pittsburgh-History.html> 3. The Pittsburgh Cultural Trust. “A history of the Pittsburgh Cultural Trust.”

Accessed December 14, 2010. <http://www.pgharts.org/about/index.aspx> 4. City-Data.com. “Pittsburgh : History.” Accessed Sept. 20, 2010. <http:// www.city-data.com/us-cities/The-Northeast/Pittsburgh-History.html> 5. Toker, F. Buildings of Pittsburgh. Society of Architectural Historians, 2007. p.10.

6. Gates and Hillman Centers Information and Blog. “Overview.” Accessed Sept. 22, 2010. <http://gateshillman.blog.cs.cmu.edu/?page_id=31> 7. United States History. “Andrew Carnegie.” Accessed December 6, 2010. <http://www.u-s-history.com/pages/h981.html> 8. The Carnegie Committee. Cornell Alumni News, Volume II, Issue 10.

November 29, 1899. p.6.

9. Carnegie Mellon University. “Carnegie Mellon University History.”

November 1, 2009. p. 1. <http://www.cmu.edu/about/history/history.pdf> 10. Toker, F. Buildings of Pittsburgh. Society of Architectural Historians, 2007. p.ii.

11. Rosenblum, Charles. “Martin Aurand Re-Views Pittsburgh.” Pittsburgh City Paper. November 30, 2006. <http://www.pittsburG+HCitypaper.ws/ gyrobase/Content?oid=oid%3A20111> 12. Kyeyune, Sanyu. “Mapping Pittsburgh.” The Tartan. April 9, 2007. <http:// thetartan.org/2007/4/9/pillbox/mapping_pittsburgh>

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From Concept to Design

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Architects and Practice

â&#x20AC;&#x153;Transcending the basics, touching on the extraordinary, allowing the idea of the artful to enter the processâ&#x20AC;?

- Mack Scogin and Merrill Elam, Philosophy

Figure 2.1 : project room, Gates and Hillman Centers, image courtesy Nic Lehoux.

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Practice The architectural firm Mack Scogin Merrill Elam Architects, Inc. takes the names of its two principal partners, Mack Scogin and Merrill Elam. This husband-wife firm offers services in architectural design, exhibit design, graphic design, interior design, planning, programming, and research. Scogin and Elam’s practice focuses on a variety of projects, including civil, commercial,

Figure 2.2 : Mack Scogin and Merrill Elam, the happy couple.

corporate, galleries, government, libraries, museums, and residential buildings.

While both principals received a Bachelor of Architecture degree, Merrill Elam also has an educational background in management and business administration. Coupled with their long-time experience at Heery and Heery, Architects and Engineers, Inc., Scogin and Elam excel not only in design but also in “the techniques of controlling the time, cost and project delivery processes for complex and demanding projects.”1 Mack Scogin continues to work within the educational realm at Harvard GSD, where many connections with his studies and colleagues can be seen. Scogin’s creative signature is easily seen within much of their work’s geometry and conceptual understanding of internal and external connectivity. Their design styles differ in that Elam produces work that reinterprets conventional building typologies while Scogin adheres to “an elaborate yet rigorous formalism” that is primarily plan-based.2 In their practice, both architects are involved in every single project from conception to realization.

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Firm Structure Scogin and Elam Architect, Inc. is balanced between hierarchical and horizontal structures. While Merrillâ&#x20AC;&#x2122;s business background helps in the hierarchical management of the firm, in order to achieve design continuity, all working members of a project communicate and collaborate in a horizontal fashion.

Principals Mack Scogin + Merrill Elam

Staff

Senior Project Architects Lloyd Bray + Kimberly Shoemake-Medlock

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Project Players Principals Mack Scogin + Merrill Elam

Local Architect EDGE Studio

Associate Architect Gensler

Landscape Architect Michael Van Valkenburgh Associates

Civil and Environmental Consultants Civil and Geotechnical Engineer ARUP

Pausch Bridge Lighting Design C & C Lighting

Surveyor Gateway Engineers

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Geotechnical Engineer Construction Engineering Consultants

Parking Consultant Tim Haahs

Construction Manager P.J. Dick, Inc.

Facade Assessment Wiss, Janny, Elstner Associates Figure 2.3 : Mack Scogin and Merrill Elam in front of Branch Library, Principle Architects

Digital Assets Manager CHBH

Cost Consultant Heery International

Figure 2.4 : EDGE Studio, Local Architects

Hardware Consultants Ingersoll Rand Security and Safety

Specification Consulting Collective Wisdom

Figure 2.5 : Ove Arup, Founder of ARUP, Civil and Environmental Consultants, Civil and Geotechnical Engineers

Figure 2.6 : Michael Van Valkenburgh of Michael Van Valkenburgh Associates, Landscape Architects

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1960

1980

1970

1961 - 1980: Scogin and Elam worked together at Heery and Heery, Architects and Engineers, Inc. (multi-disciplinary architectural and construction management firm) in Atlanta, GA. 1966: Scogin: Graduated from Georgia Institute of Technology with a Bachelor of Architecture

1971: Elam: Graduated from Georgia Institute of Technology with a Bachelor of Architecture

1969 Elam: Architect and Senior Associate at Heery and Heery, Architects and Engineers, Inc. 1967-1969: Elam: Intern at Taylor and Collum Architects 1967- 1981: Scogin: Vice President and Coordinator at Heery and Heery Architects and Engineers

Figure 2.7 : Carroll A. Campbell Jr. Graduate Engineering Center, Clemson University

1978-1984 Scogin: President and Chief Operating Officer, Director of Design at Heery and Heery Architects and Engineers

Figure 2.8 : Knowlton School of Architecture, Ohio State University 40

1982: Elam: Graduated from Georgia State University with a Master of Business Administration

1980: Elam: Graduated from Harvard Graduate School of Design with Management of Design and Planning Firms Short Course

Figure 2.9 : Ernie Davis Hall, Syracuse University

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2010

2000

1990- Present: Scogin: Kajima Adjunct Professor of Architecture at Harvard Graduate School of Design

2000 - Present Established firm as Mack Scogin Merrill Elam Architects, Inc.

1986-2000 Established firm as Scogin Elam and Bray, Inc.

1984-2004: Established firm as Parker and Scogin Architects, Inc.

Figure 2.10 : Mountain Tree House, Dillard, GA

Figure 2.11 : Lulu Chow Wang Center, Wellesley College

Figure 2.12 : Health Services Building, Yale University

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Philosophy There are a few important things we are certain we have learned in our experiences in architecture.

We travel well and find the discovering of new places invigorating. We have heavy overcoats and galoshes and we are fond of tulips. Place has everything to do with the character and outcome of a project. [1] We enjoy genuine, ongoing, in-depth, mutually satisfying exchanges with our clients. [2] There is nothing more rewarding than a pat on the back from a client and agreement that we have all done well.

We work hard and long on every project and have the experience and maturity that leads to solid decision-making. [3] Solving programmatic and functional requirements is fundamental to our thought process. Sound planning is basic. Transcending the basics, touching on the extraordinary, allowing the idea of the artful to enter the process, weighing the specific against the generic, pushing the edges, relishing the challenge of â&#x20AC;&#x153;nowâ&#x20AC;? conditions, recognizing cultural forces and influences, and searching for the broader meanings in architecture are the phenomena of architecture that continue to fascinate us. While our work reflects these interests and may appear extreme, the spaces of our projects are paradoxically peaceful. [4] Finally, the common ground, the essential reason that a client and an architect should join forces is simply this: that they share common values and respect each other. [5] Authenticity and quality, intelligence and the search, fairness and a good debate, originality and excellence in architecture are among other things we value.3

Figure 2.13 : Merill Elam giving a tour of her office in Atlanta, GA to a student group.

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Principles and special emphases included: 1. A site/context-specific/responsive approach to design 2. A collaboration with the client at all scales and phases of the project and a willingness [on both sides] to compromise 3.

4.

5.

Openness to a collaborative process and architecturally significant and polemical design while operating on a rational results-based project management model Functional, convenient, and aesthetically pleasing architecture that also makes strong and bold statements, has a deeper significance and effect beyond its physical construct, and provokes thought and wonder Clients need to â&#x20AC;&#x153;do their homework to know and understand their true needs and desires for a project AND the architectâ&#x20AC;&#x2122;s approach and process. It is also important for the client to at least have a keen awareness of every step of the process - from conception to realization.

Architects need to realize that they are not above those for which they design; we are all human, therefore we all need and deserve good design even though many of us [the clients] cannot understand or recognize it.

If a client has any input to offer to the process, the architect should be open-minded and tactful in considering this input.

Figure 2.14 : Model of Gates and Hillman Centers

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Architectural and Philosophical Influences Mack Scogin Merrill Elam Architects, Inc. is a firm based in Atlanta, Georgia.

Mack Scogin and Merrill Elam are the husband-and-wife principal team known for “modernist buildings that often address polemical themes.”

Both received their Bachelors of Architecture from the College of Architecture at the Georgia Institute of Technology; Scogin in 1966 and Elam in 1971. Elam also received a Masters Degree of Business Administration from Georgia State University in 1982.

Even before they established their own firm, Scogin and Elam were deeply involved in the architectural tradition and culture of Atlanta, GA. The city itself is relatively young; it started out as a railroad terminus in 1836, and the oldest buildings still standing date back to 1869.4 Dana F. White claims that “commerce is the city’s sole reason for being,” and Rem Koolhaas has described the city as an “invisible metropolis” shaped mostly by private capitalistic enterprise up until 1989, when its first official land-use laws were drawn up.5 In terms of architecture and urbanism, Atlanta is characterized by two distinct identities: that of a “traditional city” preserving its southern heritage and that of a thriving modern city of commerce.6 Atlanta is also home to the College of Architecture at the Georgia Institute of Technology, graduates of which have went on to redefine Atlanta’s - and all of Georgia’s unique brand of urbanism and architecture.

The College of Architecture and Georgia Institute of Technology was founded in 1908; currently offering undergraduate programs for degrees in architecture, building construction, and industrial design, in addition to graduate programs for masters and doctorate degrees in architecture and city planning. For the first few years after its inception, the College of Architecture was directed under a Beaux-Arts Figure 2.15 : Georgia Institute of Technology, tradition, where special emphasis was College of Architecture placed on drawing, picturesque design articulated through hand-rendering, historical study, and a liberal education. Graduates of this era established a strong classical tradition in Atlanta. The general pedagogy of the school took a turn when Harold Bush-Brown assumed leadership in 1925. He introduced a Bauhaus-inspired modern practice based on ideas of functionalism and engineering. This was further solidified through the formation of the industrial design department (1940), the city planning program (1954), the building construction program (1958), and the Construction Research Center (1975). 7

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Heery and Heery George T. Heery is one of the most accomplished graduates of the College of Architecture and a prominent figure in a first generation of architects to shape a modern architecture for the state of Georgia. He graduated in 1951. During the early 1960s, he began to develop advanced construction. In 1975, he wrote Time, Cost, and Architecture, which is regarded by many as one of the most important books on construction management. Throughout the sixties, seventies, and early eighties, Heery practically built an empire of design and consulting services, which included architecture, interior design, project management, graphic design, mechanical, electrical, structural, and civil engineering, and landscape architecture.8 Mack Scogin and Merrill Elam both got their start as architects for Heery and Heery, Architects and Engineers, Inc.

Figure 2.16 : Heery and Heery project at Southern Polytechnic State University. The building utilizes transparency and color to help organize space.

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Connections within Scogin and Elam Works Gates and Hillman Centers

Transparency

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64 Wakefield

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Linearity

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Buckhead Branch Library

Public v. Private

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High Museum

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Daylighting

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Knowlton School of Architecture

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Layering

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Transparency is used throughout Scogin and Elam’s work, challenging the notion of spatial singularity; encouraging collaboration and interaction.

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Building layout and circulation is often linear in many of Scogin and Elam’s works. Linearity is used to help create predictable circulation patterns and allow for wandering off the linear path.

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Scogin and Elam use different spatial configurations with strategic transparency and vertical connectivity to challenge the conventional understanding of public and private space.

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Daylight is crucial in nearly all of Scogin and Elam’s work. Aside from standard windows, techniques used to allow for daylighting to leak through into a building include diffuse lighting, clerestories, and skylights.

In the G+HC lighting is used in every office and to connect vertical spaces.

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Layering is a common technique used throughout Scogin and Elam’s work to create spatial depth and richness in programmatic interaction.

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Mack Scogin at Harvard University Beginning in 1989, Mack Scogin has acted as a visiting critic and professor of architecture at Harvard University Graduate School of Design. Since then, a number of other notable architects have worked alongside Scogin, potentially influencing each other’s design concepts and philosophies. The academic program emphasizes contemporary global and environmental issues as parameters that can inform the construction of alternative and sustainable futures. Scogin’s personal design interests are evident in the content of the studios he has directed.

Contemporary Faculty at GSD Preston Scott Cohen is the Chair of the Department of Architecture. In addition to teaching advanced studios and design thesis, he is also the coordinator of the first year design studios and teaches the foundation course in projective and topological geometry. Cohen heads the firm Preston Scott Cohen, Inc., based in Cambridge, MA. His professional designs are recognized for innovative geometries and approaches to integrating architecture with its environment.

These qualities also characterize many of Scogin and Elam’s projects - a joining of geometric volumes and a connection with the surrounding context.

Figure 2.17 : Preston Scott Cohen

K. Michael Hays has served as a professor at the Graduate School of Design since 1988, one year before Scogin joined the faculty. He teaches courses in architectural theory and history and is co-director of doctoral programs.

Hays has published writings about European modernism, critical theory, and contemporary architectural practice. In the 1980s, he worked as a consultant in architecture for numerous design firms, most of which were located in Boston, MA. Many of the courses Hays has taught in Harvard discuss the historical and cultural contexts of the built environment. Scogin and Elam also place particular emphasis on linking architecture back to these contexts.

Rem Koolhaas is the founding partner of the Office for Metropolitan Architecture (OMA). His focus on urban architecture throughout his 35-year career is also reflected in “Project on the City,” the research program he directs at the Graduate School of Design. This course investigates the changing urban conditions around the world, in places like Rome, Lagos, Moscow, and Beijing. While OMA produces physical projects for the built environment, Koolhaas has created AMO as the conceptual branch of his firm, focusing on social, economic, and technological issues within architecture. Scogin and Elam’s Gates and Hillman Centers is one of their few projects that operate in the urban condition; they look to Koolhaas and his experience in urban architecture to draw from his methods of connecting to the city at large.

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Figure 2.18 : K. Michael Hays

Figure 2.19 : Rem Koolhaas

Mohsen Mostafavi was a professor at the Graduate School of Design from 1990 to 1995, and returned in 2008 as the school’s dean. He is recognized for his innumerable publications, including Landscape Urbanism: A Manual for the Machinic Landscape (2003), Surface Architecture (2005), and Structure

Figure 2.20 : Mohsen Mostafavi

Figure 2.21 : Farshid Moussavi

as Space: Engineering and Architecture in the Works of Jrg Conzett (2006).

Scogin and Elam pull elements from each of these books and apply them to the Gates and Hillman Centers. The project operates in the urban context at the macroscale and integrates with the landscape at the microscale.

The facade simply hangs off the structure like a curtain while its layered construction transforms it into an architectural surface. The composition of volumes requires an engineered architecture as structural columns form exterior spaces and are also articulated in the interior spaces.

Farshid Moussavi received her Master in Architecture from the Graduate School of Design. She then returned as a visiting design critic in 2005 and became a professor in 2006. Moussavi is the co-founder of Foreign Office Architects (FOA), which has produced a number of critically-acclaimed international projects. The firm’s projects integrate urban design and landscape architecture, as exhibited by the Yokohama International Ferry Terminal in Japan. Moussavi has published two books based on her research and teaching at the Graduate School of Design: The Function of Ornament (2006) and The Function of Form (2009). These works explore the structural and formal clarity of various projects, making them contemporaneous with the Gates and Hillman Centers’ clear expression of structure and geometric forms.

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Connections between Harvard Faculty and Scogin and Elam Works Mack Scogin and Merrill Elam

Geometric Volumes

Preston Scott Cohen

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2

Contextual Connections

K. Michael Hays 4

Urbanism

Rem Koolhaas

Landscape Mohsen Mostafavi

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Farshid Moussavi

Structural Clarity

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Studio Works at GSD Mack Scogin has directed a number of advanced design studios since 1992.

Many of them focus on connecting with the exterior environment, responding to either the landscape or the historical context. Scogin also emphasizes creating an architecture of various spatial configurations and realizing the cultural consequences of design. These topics - connecting to contexts and composing geometric volumes - are exemplified in Scogin and Elamâ&#x20AC;&#x2122;s works.

In the spring term of 2006, Scogin directed a studio that sought to design a new School of Computer and Robotic Sciences at Carnegie Mellon University.

This studio investigated the phenomenon of iconography, specifically looking at how an iconic building can respond to the traditional campus designed by Henry Hornbostel. Undoubtedly, the work produced reflected the principles that drove Scogin and Elamâ&#x20AC;&#x2122;s creative design for the Gates and Hillman Centers. Some of the proposals simultaneously dig into and hover above the landscape, as well as offer linking pathways between the designed building and the surrounding campus.

Figure 2.22 : Studio Works GSD, Student: Chad Burke

Figure 2.23 : Studio Works GSD, Student: Hye-Young Chung

Figure 2.24 : Studio Works GSD, Student: Steven Gartner

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Captions Pages 46-47 1. Gates and Hillman Centers, Pittsburgh, PA 2. 64 Wakefield, Atlanta, GA 3. High Museum of Art at GeorgiaPacific Center, Atlanta, GA, Transparency 4. Knowlton School of Architecture, Columbus, OH 5. 64 Wakefield, Atlanta, GA 6. Buckhead Branch Library, Atlanta GA 7. High Museum of Art at GeorgiaPacific Center, Atlanta, GA, Transparency 8. Knowlton School of Architecture, Columbus, OH 9. Gates and Hillman Centers, Pittsburgh, PA 10. 64 Wakefield, Atlanta, GA 11. Buckhead Branch Library, Atlanta GA 12. High Museum of Art at GeorgiaPacific Center, Atlanta, GA, Transparency 13. Knowlton School of Architecture, Columbus, OH 14. Gates and Hillman Centers, Pittsburgh, PA 15. 64 Wakefield, Atlanta, GA 16. Buckhead Branch Library, Atlanta GA 17. High Museum of Art at GeorgiaPacific Center, Atlanta, GA, Transparency 18. Knowlton School of Architecture, Columbus, OH 19. Gates and Hillman Centers, Pittsburgh, PA 20. 64 Wakefield, Atlanta, GA

Pages 50-51 1. Gates and Hillman Centers, Mack Scogin and Merrill Elam

21. Buckhead Branch Library, Atlanta GA 22. High Museum of Art at GeorgiaPacific Center, Atlanta, GA, Transparency 23. Knowlton School of Architecture, Columbus, OH

2. Tel Aviv Museum of Art, Preston Scott Cohen 3. Surface Architecture, Mohsen Mostafavi 4. Gates and Hillman Centers, Mack Scogin and Merrill Elam 5. Tel Aviv Museum of Art, Preston Scott Cohen 6. Unprecedented Realism, K. Michael Hays 7. CCTV Headquarters, Rem Koolhaas 8. Ecological Urbanism, Mohsen Mostafavi 9. CCTV Headquarters, Rem Koolhaas 10. Landscape Urbanism, Mohsen Mostafavi 11. Yokohama International Port Terminal, Farshid Moussavi 12. Gates and Hillman Centers, Mack Scogin and Merrill Elam 13. Landscape Urbanism, Mohsen Mostafavi 14. Yokohama International Port Terminal, Farshid Moussavi 15. Gates and Hillman Centers, Mack Scogin and Merrill Elam 16. Surface Architecture, Mohsen Mostafavi 17. Yokohama International Port Terminal, Farshid Moussavi

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Endnotes 1.-2. Mack Scogin Merrill Elam Architects. “Firm Profile.” Accessed Sept. 6, 2010. <http://msmearch.com/firm/firm_profile.html> 3. Mack Scogin Merrill Elam Architects. “Philosophy.” Accessed Sept. 6, 2010. <http://msmearch.com/firm/philosophy.html> 4.-6. Gournay, I. Preface to AIA Guide to the Architecture of Atlanta, edited by Gerald W. Sams. Athens, GA : The University of Georgia Press, 1993.P xxv 7. The New Georgia Encyclopedia. “Georgia Institute of Technology : College of Architecture.” Accessed Sept. 7, 2010. <http://www.georgiaencyclopedia. org/nge/Article.jsp?id=h-696> 8. The New Georgia Encyclopedia. “George T. Heery.” Accessed Sept. 7, 2010. <http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-1079&hl=y>

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Manifesting the Gates and Hillman Centers

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Visions and Aspirations

â&#x20AC;&#x153;The School of Computer Science follows the theme set by our founding fathers...that the field of computer science covers the theory and design of computers as well as all phenomena associated with them.

Its research and educational programs span a range of disciplinesâ&#x20AC;?

- Carnegie Mellon University, Vision and Mission

Figure 3.1 : Henry Hillman and Bill Gates at the Gates and Hillman Centers official opening ceremony on September 22, 2009

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The Client

Figure 3.2 : Looking westward towards the east elevation of the Gates Center from the Purnell Center for the Arts

Carnegie Mellon will meet the changing needs of society by building on its traditions of innovation, problem-solving, and interdisciplinarity.

[Our mission is]...To create and disseminate knowledge and art through research and creative inquiry, teaching, and learning and to transfer our intellectual and artistic product to enhance society in meaningful and sustainable ways. To serve our students by teaching them problem-solving, leadership, and teamwork skills and the value of a commitment to quality, ethical behavior, and respect for others. To achieve these ends by pursuing the advantages of a diverse and relatively small university community, open to the exchange of ideas, where discovery, creativity, and personal and professional development can flourish.

-- Carnegie Mellon University, â&#x20AC;&#x153;Vision and Missionâ&#x20AC;?

One of the major tenets of Carnegie Mellon University is a strong interdisciplinary academic culture. This is carried into the official intentions of the School of Computer Science : The School of Computer Science follows the theme set by our founding fathers, Allen Newell, Herber Simon, and Alan Perlis, that the field of computer science covers the theory and design of computers, as well as all phenomena associated with them. Its research and educational programs span a range of

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disciplines, [...] It also maintains active collaborations with many other parts of the university as well as with industry and other universities.

-- Carnegie Mellon University, â&#x20AC;&#x153;School of Computer Science The Gates and Hillman Centers are a testament to the principles of Carnegie Mellon University and its School of Computer Science in that they are two buildings devoted to two different disciplines (the Gates Center for the Department of Computer Science and the Hillman Center for the Department of Future Generation Technologies) that are linked to each other and to other buildings and public spaces on the campus through circulation, a network of collaborative social spaces, bridges, and connective landscaping.

Figure 3.3 : Looking westward, across â&#x20AC;&#x153;The Mallâ&#x20AC;? towards the Cathedral of Learning

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The Benefactors The Gates and Hillmans Centers were funded in large part by the Bill and Melinda Gates Foundation and the Henry L. Hillman Foundation. Bill Gates is known for founding the Microsoft Corporation, one of the most successful and well-known computer science and technology enterprises in history.

Henry L. Hillman is a Princeton graduate and son of Pittsburgh steel tycoon John Hartwell Hillman Jr. He established the Henry L. Hillman Foundation to enhance the quality of life in Pittsburgh and southern Pennsylvania.

Figure 3.4 : Melinda and Bill Gates

Figure 3.5 : Elsie and Henry Hillman

“The Gates Center will be a catalyst for computer science breakthroughs,” Bill Gates said in 2004 upon making the gift. “I hope it will be the setting for students and faculty at Carnegie Mellon’s School of Computer Science to push the envelope of human understanding and innovation.”

Gates Center for Computer Science Dedication Plaque, September 22, 2009 The Hillman Center for Future Generation Technologies will further Henry Hillman’s deep interest in innovative research, and his support for the building is a reflection of his generous optimism about the power and impact of what Carnegie Mellon students and faculty will accomplish here.

Hillman Center for Future Generation Technologies Dedication Plaque, September 22, 2009 62

The Designers

Figure 3.6 : Merrill Elam and Mack Scogin

Figure 3.7 : Michael Van Valkenburgh

The site chosen for the Gates Center has an unusually complex set of conflicting technical, functional, and aesthetic challenges that, with the addition of the Gates Center, can serve to transform the West Campus area into a visually and physically integrated campus precinct. [...] An inclusive process that reinforces reciprocity within the university, strengthens relations with its neighboring communities, and deepens its commitment to the stewardship of our natural resources will add richness and credibility to this project.

Mack Scogin Merrill Elam Architects The landscape emphasizes pedestrian connections through the campus as well as through the new Gates Center and sets the stage for an important connection to future campus expansion north of Forbes Avenue.

Michael Van Valkenburgh Associates, Inc. Landscape Architects, P.C.

Figure 3.8 : Carnegie Mellon University campus plan, with Forbes Avenue shown in red

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Connecting with the Campus

â&#x20AC;&#x153;An inclusive process that reinforces reciprocity within the university,

strengthens relations with its neighboring communities

and deepens its commitment to the stewardship of our natural resources will add richness and credibility to this projectâ&#x20AC;?

- Mack Scogin and Merrill Elam

Figure 3.9 : Looking eastward towards the Purnell Center for the Arts from the Gates Center

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Physical Bridging The Gates and Hillman Centers are situated in the center of the Carnegie Mellon University campus, setting up the complex for linkages with other buildings and spaces across campus. The network formed by these connections echoes the universityâ&#x20AC;&#x2122;s philosophy of integrated and interdisciplinary research and practice. The Gates and Hillman Centers are physically linked to each other and to other buildings by a series of pedestrian bridges.

Figure 3.10 : The Randy Pausch Memorial Footbridge, facing the east side of the Gates Center

The Randy Pausch Memorial Footbridge [1] The Randy Pausch Memorial Footbridge links the east side of the Gates Center to the Purnell Center for the Arts. It is an open air bridge constructed out of reinforced concrete. It is approximately 230 feet long and 35 feet above ground. The guardrails are treated with a thick metal sheeting perforated with an abstract pattern inspired by the silhouette of a penguin. This whimsical detail is meant to be an homage to the bridgeâ&#x20AC;&#x2122;s eponym, the late Dr. Randy Pausch, professor of computer science and co-founder of the Entertainment Technology Center at Carnegie Mellon University. At night, the sheeting is lit up in different colors through the use of LEDs.

Figure 3.11 : Multi-colored evening illumination

Figure 3.12 : Perforated sheet metal detail

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Figure 3.13 : The Newell-Simon Hall/Gates Center Bridge, facing south towards Doherty Hall

The Newell-Simon Hall/Gates Center Bridge [2] A 110-foot-long enclosed bridge links the west side of the Gates Center to the Newell-Simon Hall. More specifically, the bridge links the Gates Centerâ&#x20AC;&#x2122;s helical circulation space to the Newell-Simon Hallâ&#x20AC;&#x2122;s large atrium. This, plus the fact that the bridge is enclosed, makes for a seamless and somewhat unexpected circulatory transition between the buildings, giving the impression that the Gates Center and the Newell-Simon Hall make up a single building.

Figure 3.14 : The Newell-Simon Hall, Interior view facing east towards the Purnell Center for the Arts. The Newell-Simon Hall/Gates Center Bridge can be seen on the left side of the image.

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Figure 3.15 : The Gates and Hillman Centers Bridge, facing west towards the Winter Garden and the West Quad

The Gates and Hillman Centers Bridge [3] The Gates and Hillman Centers are also connected by an enclosed pedestrian bridge. This multi-level connection between the Gates Centerâ&#x20AC;&#x2122;s classrooms and the Hillman Centerâ&#x20AC;&#x2122;s research labs overlooks the Winter Garden and the West Quad to the west and the Purnell Center to the east. This connection mimics the effect of the Newell-Simon Hall/Gates Center bridge in that it unites the Gates and Hillman Centers into a single-building experience.

Figure 3.16 : The Gates and Hillman Centers Bridge, Exterior View, facing east towards the Purnell Center for the Arts [from the Winter Garden]

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Figure 3.17 : The Rain Garden Bridge, facing north towards the Hillman Center

The Rain Garden Bridge [4] The Rain Garden Bridge is situated at the northwest corner of the Gates Center. This short bridge spans the stormwater retention area, a feature of the landscape design. It leads up to the Winter Garden on the north side and the main entrance of the Gates Center on the south side.

Figure 3.18 : The Rain Garden, View from the Rain Garden Bridge

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Landscape as a “New Frontier” Mack Scogin and Merrill Elam worked with Michael Van Valkenburgh Associates, Inc., a separate landscape architecture firm, to synthesize the architectural form with the surrounding environment. MVVA designed the greenspaces around and on top of the Gates and Hillman Centers, treating the landscape as “the single linking element creating a continuous campus connection.”1 The new design more than doubled the greenspace area from 52,209 square feet to 120,100 square feet.

Hamburg Hall

MVVA considers the project as a design not just for the Gates and Hillman Centers, but also for the “backyards” of all the surrounding buildings. With at least 75 feet of grade change,2 the landscape addresses eleven points of entry into the Gates and Hillman Centers and mediates between the loading docks of the G+HC and the adjacent Purnell Center and Newell-Simon Hall. MVVA conceived the landscape as a composition of individual microclimates by planting different clusters of native vegetation, such as Black Locust trees to the south, Aspen trees along the western approach, and Honey Locust trees to the north. The intense plantings of trees, shrubs, and grasses create different, diversified conditions within the topographic landscape.

Smith Hall

Aspen Grove

Newell-Simon Hall

Between the Gates and Hillman Centers are two gardens: the Winter Garden and the Rain Garden. The Winter Garden is home to bushes

Figure 3.19 : plan of the landscape design around the Gates and Hillman Centers; the entrance by the Winter Garden is handicap accessible while the Aspen grove between the Gates Center and Newell-Simon Hall is a space of extreme topography. The area between the Hillman Center and the Purnell Center is a calm evergreen landscape while the meadow glades to the south can be described as more of a “wildscape.”

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Cyert Hall

Warner Hall

Honey Locust Grove

Evergreen Pines Hillman Center for Future Generation Technologies

[3] [4]

Winter Garden

Purnell Center

Rain Garden

Gates Center for

Meadow

Computer Science Volleyball Court

[1]

Roof Lawn

[2]

Roof Lawn

Aspen Grove

Meadow

Black Locust Glade

Meadow Glade

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and small trees that bloom in late winter, visually stimulating the landscape during a traditionally sedate season. Matthew Urbanski, design principal for the landscape of the Gates and Hillman Centers, described the Winter Garden as “this captured piece of landscape that would be very close to the building and very easy to access, especially even in the winter. And Pittsburgh’s winters are long, and that’s when the school year is, so maybe we should focus on that. So this idea of this Winter Garden spilling down to the west out into this courtyard, that big spill-down, that’s an idea we had very early on.”3

Figure 3.20 : view of the Winter Garden in the foreground, the Rain Garden, and West Quad in the background, taken from the glass-enclosed pedestrian bridge between the Gates and Hillman Centers, courtesy of Nyunny Kim

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above-grade overflow drainage

6-inch layer planting soil 12-inch layer horticultural subsoil impermeable layer

below-grade drainage

2’

compacted subsoil 1’

8’ 4’

Figure 3.21 : section of the Rain Garden stormwater retention area and its structural composition; stormwater collects at the bottom of the retention area and slowly filters through the soil before entering the storm drain. An impermeable layer underneath the Rain Garden prevents water from infiltrating the subsoil, thus protecting the sloped landscape from unsettling.

The Rain Garden is a stormwater retention area partly covered by a bridge that leads up to the main entrance of the Gates Center. The garden filters rainwater and decreases water flow to the storm drains by absorbing runoff.

Rain gardens in general can absorb as much as 30% to 40% more water than standard lawns,4 making these gardens an efficient way to naturally mitigate drainage. With drains to the south and swales in the north and west, the entire site manages water runoff and can harvest rainwater. The Rain Garden in particular highlights the idea of capturing water, exposing the concept to the public as they approach the Gates Center.

Figure 3.22 : view of the Rain Garden bridge and the west entrance into the Gates Center, courtesy of Nyunny Kim

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Extensive Green Roof Tray System Extensive Green Roof: Tray:System Extensive Green Roof Roof Top System Extensive Green Roof: Roof: Top System Intensive Green Roof Roof Top System Intensive Green Roof: Roof: Top System Intensive Green Roof RoofSystem Lawn System Intensive Green Roof: Roof: Lawn

In addition to the increase in greenspace and the capturing of runoff, MVVA employed a number of other strategies to achieve LEED Silver certification. A drip irrigation system was installed to efficiently water the landscape, bicycle storage spaces were integrated into the design, and the green roofs reduce urban heat island effect. Compared with standard black top roofs, green roofs act as better insulators for buildings and prevent the building from absorbing excess solar heat.

Four different types of green roofs were used: two extensive roofing systems with a four-inch soil depth, an intensive roofing system with an eighteen-inch soil depth, and an intensive roof lawn system above the parking garage with a sixteeninch soil depth.

An extensive tray system was used for most of the green roofing because it was less expensive and easier to maintain than other systems, making it more attractive for the client. The extent of the green roofs was limited by budget and the buildingâ&#x20AC;&#x2122;s load capacity. The roof lawn above the underground parking garage was coupled with geofoam to meet structural requirements.

MVVA faced a number of challenges in the design and construction of the landscape. On the surface, they had to approach eleven different building entry levels with over 75 feet of grade change. Unforeseen complications proved more difficult, notably having to deal with poorly documented utility lines to the south

Figure 3.23 : plan of the four different green roofing strategies; a wild and varied intensive roof top was placed on top of the Gates Center while a more minimal tray system was used over the Hillman Center. This design decision relates back to the distinction between the two buildings, as the Gates Center is the more whimsical space while the Hillman Center contains more conventional building elements.

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of the site. As they kept uncovering utilities during the construction phase, MVVA had to redocument the existing conditions and redesign the project around the utilities. The project was budgeted in a “minimal way”; while creating five acres of new landscape with highly engineered grading and slopes, the budget remained inadequate. Limiting the use of retaining walls and other large reinforcing structures helped the landscape design team keep the expenses low. Despite these issues, Urbanski remarked, “I’ve never worked on a project that was this hard, or during the process as this, that actually came out well.”5 With two offices in the northeast - one in Brooklyn, NY, and another in Cambridge, MA - MVVA employs about fifty architects and landscape architects and eight administrative staff members. The firm organization strikes a balance between a hierarchy necessary for business and a horizontal structure that facilitates iterative design. The project team for the Gates and Hillman Centers was composed of five key people: Liza Gilbert, the planting

Pedestrian Bituminous Concrete Pavement

Vehicular Bituminous Concrete Pavement

Tree Soil

Vehicular Bituminous Concrete Pavement

Figure 3.24 : section of the landscape behind the Gates Center, looking north; MVVA has varied the hardscape and softscape ground conditions, using bituminous concrete pavement and soils of different depths.

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Lawn Soil

designer; Elizabeth Silver, project manager; Nyunny Kim, project manager and designer; Stephen Noone, a senior associate; and Matthew Urbanski, the design principal.

Urbanski and Michael Van Valkenburgh, the two principals in charge of design for the firm, both teach at Harvard Graduate School of Design alongside Mack Scogin. MSME and MVVA’s extended relationship strengthens their collaboration, allowing both to achieve the fullest expression in their designs. In addition to the Gates and Hillman Centers, MVVA has also worked with Scogin and Elam on the Knowlton School of Architecture at Ohio State University, the campus for Wellesley College, and the garden at the Nomentana residence in Stoneham, ME. In the design process, MSME will produce their proposal for the building, creating conditions for MVVA to respond to with their landscape design.

Soil on Existing Slopes

Tree Soil

Pedestrian Bituminous Concrete Pavement Lawn Soil

Pedestrian Bituminous Concrete Pavement Lawn Soil

10’ 5’

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40’ 20’

Aesthetic [Dis]Connection Most of the buildings on the Carnegie Mellon University campus are characterized by a similar faรงade treatment : beige brick and stone masonry and concrete.

Figure 3.25 : Doherty Hall

Figure 3.26 : Hamerschlag Hall

Figure 3.27 : Newell-Simon Hall

Figure 3.28 : The Purnell Center for the Arts

A visual dialogue is set up between the Gates and Hillman Centers and the rest of the campus buildings through a stark and thorough contrast between their general aesthetic effects. While a beige palette is used for the rest of the campus buildings, the Gates and Hillman Centers are characterized by a black zinc panel and aluminum faรงade and an irregular overall building form.

Figure 3.29 : Gates and Hillman Centers facade close-up

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Metal Facade Construction Metal facades offer design variation through the different metal types used in construction. As a building material, metal is commonly used for exterior facades because of its density. At 7.2 g/cm3, zinc is much denser than aluminum (2.7 g/cm3) and titanium (4.51 g/cm3), but slightly less dense than other facade materials like steel (7.8 g/cm3) and copper (8.92 g/cm3).6 Zinc is also ideal for exterior facades because it does not require additional protection against corrosion.

During manufacturing, metal products undergo a variety of processes, the first of which is the forming and shaping of metal into rolls and sheets. These semi-finished products are then cut in the separating process and assembled together on-site.

Metal facade systems use a variety of assemblages. Most assembly systems attach the facades to the support system with screws and bolts. Metal panels form the exterior surface of a layered facade system.

Figure 3.30 : Gates and Hillmans Centers (G+HC) facade close-up

Figure 3.31 : G+HC facade close-up

Figure 3.32 : G+HC facade close-up

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Oil Canning Flat, light-gauge, cold-formed metal products are subject to surface distortions.

This is known as oil-canning and affects, among other metal forms, the thin and wide metal facade panels of buildings.

Oil canning often results from the stresses during production when the metal is formed into a roll. The most common effect is known as â&#x20AC;&#x153;full center oil canningâ&#x20AC;?7, which occurs when the metal roll is longer in the middle of the strip, creating ripples and buckles near this middle area.

During panel fabriction, oil canning can result from two processes: slitting and forming, both of which can release new stresses and increase oil canning.

A number of factors can contribute to oil canning during the installation of facade panels. The misalignment of the structural support system can create non-planar surfaces and induce stresses. When fasteners are applied too intensely, stress appears along the fastener alignment in the metal panel.

Longitudinal and transverse thermal expansion can be restricted by fasteners or by installing the panels too close together. The results include slotting around the fasteners and bowing in the flat areas. Excessive deflection of the buildingâ&#x20AC;&#x2122;s structure itself can also cause oil canning.

Oil canning does not usually affect the structural integrity of the building. It is commonly regarded only as affecting the aesthetics of the building.

The first step to reduce oil canning would be to stretch the metal roll beyond its yield point during production, providing a flatter surface. A greater thickness to the metal also helps it resist oil canning.

Figure 3.33 : An example of oil canning

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Precedent Study : The Porter House The Porter House is a residential conversion and addition project designed by the NYC-based firm, SHoP Architects. On top of a restored 1905 brick warehouse sits a rectangular volume clad in a black zinc facade. Zinc was chosen as an easily-maintainable material because it is pre-weathered and does not require extra treatments such as galvanizing or painting.

The zinc panels were cut into three typical widths - one large sheet, two medium sheets, or three small sheets - from a standard sheet. This cutting system resulted in 4,000 custom-shaped panels, many of which were bent to perform as return profiles at windows or as parapet caps. The panels were attached on-site by clips to horizontal metal runners spaced two feet apart. The whole facade is a layered rainscreen system composed of the zinc panels, metal runners, vapor barrier, and gypsum sheathing hung off a structural steel frame.8 The zinc facade provides a stark and immediate contrast to the beige brick warehouse below - very similar to the contrast between the Gates and Hillman Centers and the rest of the Carnegie Mellon campus buildings. The historic brick base continues the traditional cultural context of the projectâ&#x20AC;&#x2122;s neighborhood in the Meatpacking District. The addition speaks to a more modern culture, not only superficially by being clad in black zinc panels, but also formally by misaligning itself with the traditional base.

Although the boxes of the Porter House are seemingly at odds with each other, Julia Mandell writes in Architecture magazine that the two volumes balance each other by evenly overlapping and through the proportions of their respective facades and the complimentary details of the zinc panels above and the ornate brickwork below.9

Figure 3.34 : The Porter House

Figure 3.35 : Oil canning on the Porter House facade

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Figure 3.36 : Fourth floor sampling of the Gates and Hillman Centers facade

Gates and Hillman Centers Facade With 72,100 square feet of exterior glazing, the Gates and Hillman Centers facade is 51% glass.10 The use of black zinc, which accounts for 46,300 square feet of the facade, is one of the most polemical design decisions.

Most of the surrounding campus buildings are faced with Hornbostel brick.

Although Scogin and Elam cite connectivity as a driving force behind the project, the conscious decision to use black zinc subverts the traditional spirit of the campus.

The zinc panels are cut into small square forms that prevent excessive stresses on any side, which eliminates oil canning and allows the facade to remain as true as possible to the design envisioned. The panels overlap in a 84

Figure 3.37 : Eighth floor sampling of the Gates and Hillman Centers facade

shingle pattern, giving the surface a subtle depth. This overlapping method gives the panels room for expansion due to temperature fluctuations without producing stresses that would lead to oil canning.

The black zinc facade of the Gates and Hillmans Centers is attached to the support system by horizontal metal runners. The airspace behind this rainscreen allows rainwater to flow into a cistern, supplying gray water for use throughout the facility. Behind the rainscreen, the enclosure is a standard layered system of vapor barriers and insulation.

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Zinc Cladding

Zinc Underlay

5 FT

Cementitious board with laminated aluminum backing

1.5” Aluminum Hat Channel

7.5” Aluminum Z-Channel

15 FT

Figure 3.38 : Exploded layered wall section of the Gates and Hillman Centers facade

The Facade as a Rainscreen The zinc facade consists of the following layers, beginning with the outermost layer: zinc cladding, zinc underlay, Cementitious Board with laminated aluminum backing, 1.5” aluminum hat channel, 7.5” aluminum z-channel, 3” rigid insulation, a vapor barrier, and DensGlass. The cavity between the insulation and the laminated Cementitious board is never less than 1”, allowing circulation of air and water within, in the manner of a rainscreen.11

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3” Rigid Insulation

Vapor Barrier

DensGlass

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Program Organization

â&#x20AC;&#x153;It is clear to us that there is a unique culture of intellectual generosity at Carnegie Mellon University. It is a characteristic of the School of Computer Science that has served to bring great distinction to its program for many years. The reinforcement of this culture of collective curiosity and openness as the school grows and evolves into its next form is at the very heart of this project. It is the one goal against which all other goals must be evaluated.â&#x20AC;?

- Mack Scogin and Merrill Elam

Figure 3.39 : view of interior condition, courtesy of Nic Lehoux; elements within an atrium create a sense of being outside. A staircase descends between a conventional office corridor on the left and a new interior office facade on the right.

Clerestories from above bring diffuse lighting into the atrium, illuminating the space.

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Program Organization The first two levels of the facility are dug into the steep terrain. Housed in these two levels are the parking garage, mechanical and service facilities, assembly rooms for student clubs and testing, and a designated project room.

The third level is considered the primary floor of entry, where the user is immediately met with a helical form and several open project spaces. The helical ramp system surrounds glass-enclosed classrooms and allow the user to venture off into the rest of the building. The helix terminates at the fifth level.

The Hillman Center manifests at the fourth level, holding an auditorium with two-hundred and fifty seats.

A significant number of offices also appear, and conference rooms, classrooms, and project rooms are varied throughout the buildings.

An open project space on the fifth Figure 3.40 : view looking into the Hillman Center auditorium on the fourth level, courtesy of Monika floor extends up through the Hillman Oum Center, creating a three-storey height space that is partially cut through with a staircase. In this space, offices that are not located on the perimeter of the building receive light from the large clerestories above. Moreover, the open project space allows for a great deal of vertical interaction and creates a sense of interior exteriority. This condition is repeated in the Gates Center from the seventh to the ninth levels.

The project rooms and open project and public spaces are spread throughout the Gates and Hillman Centers, encouraging connections between different students, faculty, and other occupants of the buildings. The project rooms are not designated to any specific group of people; therefore, anyone is able to freely access these rooms. Open project spaces allow students to publicly display their work. This composition of various working spaces promotes collaboration between students and an openness and transparency in their activity.

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Program Key Parking Mechanical and Services Assembly Office Classroom Project Room Open Project Space

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Figure 3.41 : level 1 program plan

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â&#x20AC;&#x153;The third floor [of the Gates Centers] is a popular social space. It is spacious and it has a cafe and comfortable furniture. Students like to hang out and do work either there or in the cluster spaces throughout the building.â&#x20AC;?

- A Computer Science Major at Carnegie Mellon University

Figure 3.50 : View from the helical walkway of one of the lounges on the third floor of the Gates Center

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Nodes of Social Space A network of social space within the Gates and Hillman Centers is anchored by the third floor of the Gates Center. The third floor is the main point of entry for the Gates Center and it features a cafe, lounges conducive to socializing, studying, and schoolwork, and an entrance to the central helical walkway. The walkway is a means of vertical circulation that connects to the upper floors.

The upper floors feature a series of open project spaces or â&#x20AC;&#x153;cluster spacesâ&#x20AC;?, as they are called by users.

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Figure 3.51 : Nodes of Social Space - Third floor

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Figure 3.53 : Nodes of Social Space - Fifth floor

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Figure 3.56 : Nodes of Social Space - Eighth and Ninth floors

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Endnotes 1. Michael Van Valkenburgh Associates, Inc. “School of Computer Science Complex Carnegie Mellon University.” Accessed September 22, 2010. <http://www.mvvainc.com/#/PROJECTS/8/96/> 2. While their website states there is 75 feet of grade change, design principal Matthew Urbanski repeatedly stated that there are 90 feet of grade change during our interview.

3. Matthew Urbanski, interview with Olivia Lau. November 24, 2010.

4. Whole Building Design Guide. “Extensive Green Roofs.” Accessed September 29, 2010. <http://www.wbdg.org/resources/greenroofs.php> 5. Matthew Urbanski, interview.

6. Herzog, Thomas, Roland Krippner, and Wener Lang. “B 1.5 Metal.”

Facade Construction Manual. edited by Steffi Lenzen. Munich : Birkhauser, 2004. pp 155-163.

7. Metal Construction Association. “Technical Bulletin : Oil Canning.” No. 951060. January 2003.

8. Architecture-Page. “Porter House by SHoP Architects.” August 21, 2006. <http://www.architecture-page.com/go/projects/porter-house__3> 9. Reeser, Amanda. “Complexity and Customization: The Porter House Condominium.” Praxis. March 2004. pp 46-53.

10. SCS Complex Information and Blog. “Fall 07 Update.” Accessed Oct. 11, 2010. <http://gateshillman.blog.cs.cmu.edu/?p=22> 11. A detailed response to an interview query direct to Mack Scogin and Merrill Alam Architects regarding the Gates and Hillman Centers facade

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Interior Exteriority

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Verticality

“The interior plays with angles and voids in ways that would have given the contractor nightmares even if they hadn’t been arranged around, and inside of, a five-story helix.”

- The Chronicle of Higher Education, September 8th, 2010

Figure 4.1 : helical space and clerestories within the Gates Center, image courtesy Nic Lehoux.

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Interior Exteriority | Gates Within the Gates Center the primary program (offices, conference rooms, classrooms, etc.) resides along the perimeter of the building or within the helix. Spaces within the Gates Center that do not receive direct daylighting are provided alternative sources. Classrooms within the helix have windows that allow for diffuse lighting to enter. A large project room begins on the seventh level and ends on the ninth level. Within this space clerestories are used to bring in diffuse light to the multistory space. The staircases appear to be structurally isolated, which emphasizes the continuity of the vertical space as one. The adjacent rooms that do not have direct access to lighting have windows that open up into this space to gather light.

This large space also encourages happenstance encounters and collaboration, similar to many other project room spaces within the centers.

Figure 4.2 : (near right) vertical circulation within the Gates Center. The staircase is emphasized as a separate entity from the overall structure, yet a connection between the multi-story space.

Figure 4.3 : (far right) vertical circulation within the Gates Center, image courtesy Nic Lehoux.

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Interior Exteriority | Hillman Within the Hillman Center the majority of the program (offices, auditoriums, conference rooms, etc) resides along the perimeter of the building, and thus receive ample daylighting. Within the interior of the Hillman Center similar programs exist. In order for them to receive daylighting Scogin and Elam created light wells using skylights and clerestories that bleed into vertical â&#x20AC;&#x153;project roomâ&#x20AC;? spaces and into the windows of the adjacent rooms. The vertical project rooms are not only a space of daylighting collection, but also facilitate collaboration.

Within the Hillman Center the vertical project room stair stretches across from the sixth to the seven floor, never touching the interior walls, creating a sense of independent structure and space.

Figure 4.4 : (near right) vertical circulation within the Gates Center. The staircase is emphasized as a separate entity from the overall structure, yet a connection between the multi-story space.

Figure 4.5 : (far right) vertical circulation within the Gates Center, image courtesy Nic Lehoux.

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Helical Walkway Within the heart of the Gates Center stands the helical walkway, the centerâ&#x20AC;&#x2122;s signature architectural feature. The walkway ramps from the third floor to the fifth floor of the Gates Center, visually and physically connecting the program throughout.

The center of the helix houses classrooms that can be easily seen through the strategically placed glass windows. As the user stands outside the classrooms looking in, the sense of interior exteriority is emphasized by the layering of transparency.

The helix briefly grazes against intersecting floors as it rises through the Gates Center, allowing for glimpses of the spaces beyond and enticing the user to wander.

Figure 4.6 : inside of the helical ramp. Monika Oum

The helix is one of several integral vertical circulatory regions of the building that encourages interdisciplinary connectivity.

Figure 4.10 : helix in the Gates Center. The helical ramp spans from the third to the fifth floor.

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Figure 4.7 : concrete structure of the helix. Monika Oum

Figure 4.8 : view of the helix and into a classroom from the fourth floor. Monika Oum

Figure 4.9 : construction of the helix using scaffolding and pouring reinforced concrete.

Figure 4.11 : construction of the helix.

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Interior Cracking The Gates and Hillman Centers has many spaces that “crack” open and allow the users to navigate through by way of selective glimpses into other spaces. As users circumnavigate throughout the centers, the unique vertical organizations allow for multistory circulation to be witnessed; often providing views above, below and across the way of a particular path of navigation.

Streets The main circulation throughout the G+HC maintains a street-like quality. They are the main means of navigation and provide a unique perspective catered specifically for the walkable experience of the user..

The G+HC’s unique interior exteriority condition furthers this notion of interior “street” by emphasizing hierarchy of space through layering and color.

Figure 4.12 : (near right) circulation through the helical ramp in the Gates Center. Layering of space both vertically and horizontally are both attributes to the deconstructionist “cracking” experienced within the centers.

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Figure 4.13 : bridge between the Gates and Hillman Centers, image courtesy Nic Lehoux.

Figure 4.14 : narrowing and opening of â&#x20AC;&#x153;streetsâ&#x20AC;? in the Gates Center, image courtesy Nic Lehoux.

Figure 4.15 : stairs within the Hillman Centers, image courtesy Nic Lehoux.

Figure 4.16 : layering of space vertically and horizontally in the Hillman Center, image courtesy Nic Lehoux.

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Interior Transparency Scogin and Elam utilize verticality and glazing throughout the Centers to provide stolen views from within classrooms, project rooms, and offices, which encourages interdisciplinary collaboration.

The helix allots specific views into classrooms, down hallways, and into project rooms. These views may be through the layers of the building vertically and/or horizontally, in addition to through interior glass.

Vertical project rooms within both the Gates and Hillman Centers use a multitude of distinct layers, such as interior windows, vertical floors, and coloring, to reveal the activities within.

Figure 4.17 : transparency within the Gates Center, image courtesy Nic Lehoux.

Figure 4.18 : selective transparency with the helix in the Gates Center, image courtesy Nic Lehoux.

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Figure 4.19: classroom transparency in the helix, image courtesy Nic Lehoux.

Figure 4.20 : window in classroom space within the Gates Center helix, image courtesy Nic Lehoux.

Figure 4.21 : layering of space within the helix on the fourth floor of the Gates Center, image courtesy Nic Lehoux.

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Lighting through Atria

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Figure 4.22 : (above) Atria diagram Figure 4.23 : (bottom left) A rendering of an atrium cutting through the seventh, eighth, and ninth floors in the Gates Center Figure 4.24 : (bottom right) Looking up through the helical walkway in the Gates Center

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Final Reflections Upon initial exploration of the Gates and Hillman Centers they appeared to be astoundingly large and geometric buildings, with a very straightforward design intent. With further investigation, it became clear that this project was not only innovative, but also thoughtful in connecting with the larger CMU campus, its organization of user-based programs, and the creation of urban conditions within the interior.

Physical and implied conditions link the G+HC to the surrounding academic buildings, integrating the project into the urban context of Pittsburgh and the CMU campus. The interconnected campus acts as a city within the city proper; the G+HC is situated at the heart of this micro-urbanism. The main arteries and veins are the elevated bridges and landscaped pathways that allow people to flow freely through the campus. Because the G+HC stand in stark contrast to the traditional buildings, they set up provocative discussions about Carnegie Mellon coming into the modern age.

The Hillman Center is a formalized learning facility while the Gates Center offers more open informal spaces. Through the use of materials and program organization, the project becomes distinctly straightforward on one end and playful on the other. Specifically, the auditorium and multiple conference rooms in the Hillman Center are designed as formal assembly spaces while a helical walkway and classrooms in the Gates Center create opportunities for interactions. Still, project rooms and open project spaces are placed throughout both buildings, encouraging students, faculty, and the public to collaborate.

Urban conditions seep into the G+HC through the manipulation of circulation and lighting. As users walk through the buildings, they find themselves on the outside looking into rooms and across public spaces. A layering of transparency creates glass facades for classrooms, offices, and corridors and allows for stolen views. Open project areas serve as the base for vertical spaces that are flooded with diffuse lighting from clerestories. Office windows line the sides of these spaces, creating a streetlike condition that reinforces interior exteriority.

Scogin and Elam use similar design techniques as other successful projects throughout the architectural discourse. Such major players as Frank Lloyd Wright, Le Corbusier, Peter Eisenman, Steven Holl, and Preston Scott Cohen seem to have similar attitudes towards architectural design.

Figure 5.1 : Exterior of the Gates and Hillman Centers

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Composition of Preceding Innovations

FLW Helix

Le Corbusier Hovering

Peter Eisenman

Steven Holl

Preston Scott Cohen

Deconstruction Layering

Porosity

Geometry

Figure 5.2 : common design techniques

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Influences Frank Lloyd Wright - Guggenheim - Helix FLW utilizes the helical space in the Guggenheim as primary circulation throughout the museum. The helix houses both art exhibit space and also allows for exiting into additional gallery space. The G+HCâ&#x20AC;&#x2122;s helical space, similar to that of the Guggenheim, acts as a primary means of circulation from which occupants can branch off.

Le Corbusier - Villa Savoye - Hovering The Villa Savoye famously floats above the ground plane distinguishing the building interior from exterior. The G+HC hovers above the steep Pittsburgh terrain, in a similar manner to that of the Villa Savoye, distinguishing landscape from building interior and creating a more dynamic use of solid and void.

Peter Eisenman - House III - Deconstruction - Layer Peter Eisenman was one of the forerunners in the establishment of the deconstruction movement. The deconstruction movement was introduced

by Jacques Derrida and can be characterized by non-rectilinear geometry and fragmented views of building structure, circulation and envelope.

Deconstruction often distorts space, providing stolen views and a sense of spatial depth beyond the rounding corner. The G+HC building epitomizes this deconstructionist notion, not only in its geometric orientation, but within the helical circulation.

Steven Holl - Simmons Hall - Porosity In Simmons Hall, Steven Hall created porosity throughout the building with the use of light wells, creating sectional diversity. The G+HC utilizes multistory spaces to connect several levels vertically and to create an interior exteriority.

Preston Scott Cohen - Tel Aviv Museum of Art - Geometry The geometric compositions used in many of Preston Scott Cohenâ&#x20AC;&#x2122;s designs, may be attributed to influences from the GSD program he teaches. Similar geometric composition can be attributed to the G+HC building.

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Appendix Additional Reading Materials Books Baldwin, W. and V.E. Turk. Mantelpieces of the Old South : Lost Architecture and Southern Culture. Charleston, SC : The History Press, 2005.

Ball, Teresa, Margaret Fletcher and Todd Gannon. Mack Scogin Merrill Elam. New York : Princeton Architectural Press, 2005.

Beswick, P.G. and I. Gournay. AIA Guide to the Architecture of Atlanta. edited by Gerald W. Sams. Athens, GA : The University of Georgia Press, 1993.

Bray, Lloyd, Merrill Elam and Mack Scogin. Tips on House Design : Scogin Elam & Bray. Tokyo : EDITA, 1999.

Crosbie, Michael J. Architecture for the Books. Australia : Images Publishing Group, 2003. p.106-111.

Elam, Merrill and Mack Scogin. The 1999 Charles & Ray Eames Lecture.

Ann Arbor, MI : The University of Michigan College of Architecture and Urban Planning, 1999.

Elam, Merrill and Mack Scogin. Mack & Merrill : the work of Scogin, Elam and Bray, Architects. Ann Arbor, MI : University of Michigan College of Architecture and Urban Planning, 1999. * Elam, Merrill and Mack Scogin. Mack Scogin Merrill Elam â&#x20AC;&#x201C; Knowlton Hall. edited by Todd Gannon. New York : Princeton Architectural Press, 2005. * Elam, Merrill, Mack Scogin and Jason Young. MAP 7 : Mack & Merrill (The Michigan Architecture Papers). Ann Arbor, MI : University of Michigan College of Architecture and Urban Planning, 2000. * Futagawa, Yoshio and Lisa Tani. Residential Masterpieces : Le Corbusier, M. Scogin M. Elam, H. Arima, K. Miyamoto, M.J. Neal, O. Ishiyama, Tsukamoto Lab. + Atelier Bow-Wow, Y. Tanabe, M. Ikeda, H. Sambuichi.

Tokyo : A.D.A. Edita, 2003.

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Futagawa, Yukio. [Works by] Frank O. Gehry, Richardo Bofill, Miralles-Pinos, Scogin Elam and Bray Architects. Tokyo : A.D.A. Edita, 1992.

Mori, Toshiko. Immaterial / Ultramaterial : Architecture, Design, and Materials. Cambridge, MA : Harvard Design School in association with George Braziller, 2002.

One Hundred Years of Architectural Education : 1908-2008. edited by Elizabeth Meredith Dowling and Lisa M. Thomason. Atlanta, GA : Georgia Tech College of Architecture, 2009.

Planet Architecture. Los Angeles : in-D, 1999.

Riley, Terence. The Un-Private House. New York : Museum of Modern Art, 1999. p.84-87.

Scogin, Elam, and Bray : Critical Architecture / Architectural Criticism. edited

by Mark Linder. New York : Rizzoli, 1992.

Seidler, Harry. A Dialogue with Editor : Harry Seidler : Scogin Elam Bray, Israel Callas Shortridge, H. Seidler, Engelen Moore, S. Godsell, Wood Marsh, Metier 3, N. Steinmetz & A. De Meyer, Cigolle & Coleman, J. Pardo.

Tokyo : A.D.A. Edita, 2002.

Articles Amelar, Sarah. “Bailey House Studio.” Architectural Record. April 2004. <http://archrecord.construction.com/projects/residential/ archives/0404_3bailey.asp> Amelar, Sarah. “Mountain Tree House.” Architectural Record. April 2003. <http://archrecord.construction.com/projects/residential/archives/0304scogin. asp> Biemiller, Lawrence. “At Carnegie Mellon U., a Gleaming Computer-Science Complex Worthy of M.C. Escher.” The Chronicle of Higher Education. Sept.

21, 2009. <http://chronicle.com/blogPost/At-Carnegie-Mellon-U-a/8137/> Blum, Andrew. “Building a Better Soundtrap.” The New York Times. August 29, 2004. <http://www.nytimes.com/2004/08/29/arts/art-architecture-buildinga-better-soundtrap.html?scp=1&sq=Building%20a%20better%20sound%20

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trap&st=cse> Bowen, Ted Smalley. “Buckhead Library Avoids the Wrecking Ball.”

Architectural Record. July 29, 2008. <http://archrecord.construction.com/ news/daily/archives/080729buckhead.asp> “Buckhead Branch Library.” A+U : Architecture and Urbanism. June 1992.

Futagawa, Yukio. “64 Wakefield.” GA Houses 61. October 1999.

Futagawa, Yukio. “A House In Maine.” GA Houses 58. January 1999.

Futagawa, Yukio. “Buckhead Branch Library.” GA Document 32. March 1992.

Futagawa, Yukio. “John J. Ross – William C. Blakley Law Library.” GA Document 38. February 1994.

Gerson, Bruce. “Carnegie Mellon Selects Architectural Firm for New Gates Center for Computer Science.” Carnegie Mellon Today. November 2005. <http://www.carnegiemellontoday.com/article.asp?aid=257&page=0> Green, Caralyn. “Carnegie Mellon dedicates $98.6M computer science center.” POP City. Sept. 23, 2009. <http://www.popcitymedia.com/devnews/ cmucompsci0923.aspx> Hart, Sara. “Knowlton Hall, Ohio State University.” Architectural Record.

May 2005. <http://archrecord.construction.com/projects/portfolio/ archives/0505ohioSU.asp> “Herman Miller Georgia Operations Consolidation.” Architectural Record. <http://archrecord.construction.com/projects/portfolio/ archives/0211hermanmi.asp> Iovine, Julie V. “Return to Innovation In a House That Dares.” The New York Times. July 2, 1998. <http://www.nytimes.com/1998/07/02/ garden/design-notebook-return-to-innovation-in-a-house-that-dares. html?scp=1&sq=Return%20to%20Innovation%20in%20a%20house%20 that%20dares&st=cse> “Law Library Expansion.” A+U : Architecture and Urbanism. June 1992.

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Levinson, Nancy. “Lulu Chow Wang Campus Center and Davis Garage, Wellesley College.” Architectural Record. July 2006. <http://archrecord. construction.com/projects/portfolio/archives/0607wellesley.asp> Lombardi, Candace. “Carnegie Mellon goes green with Gates-Hillman complex.” CNET News. Sept. 10, 2009. <http://news.cnet.com/830111128_3-10349214-54.html> Patterson, Rob. “ARRA Funding Stimulates Austin Federal Courthouse Project.” Architectural Record. May 15, 2009. <http://archrecord.construction. com/news/daily/archives/090515arra_austin.asp> Porter, Sabrina. “Gates Hillman Complex nears completion.” The Tartan.

Aug. 15, 2009. <http://thetartan.org/2009/8/15/news/gateshillman> “Scogin Elam and Bray Architects.” A+U : Architecture and Urbanism. March 1995.

Smith, Roberta. “Drop-Dead Beauty and Luxe, With an Intimate Index of Change.” The New York Times. July 2, 1999. <http://www.nytimes. com/1999/07/02/arts/design-review-drop-dead-beauty-and-luxe-with-anintimate-index-of-change.html?scp=1&sq=Drop-Dead%20Beauty%20 and%20Luxe&st=cse> Spencer, Ingrid. “Mack Scogin Merrill Elam Architects Designing New Austin Courthouse.” Architectural Record. May 3, 2006. <http://archrecord. construction.com/news/daily/archives/060503austin.asp> Templeton, David. “Innovative computer center debuts at CMU.” Pittsburgh Post-Gazette. Sept. 21, 2009. <http://www.post-gazette.com/ pg/09264/999551-298.stm>

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Mack Scogin and Merrill Elamâ&#x20AC;&#x2122;s National AIA Awards : 1988

National AIA Honor Award for Excellence (High Museum at GeorgiaPacific Center)

1989

National AIA Honor Award of Excellence (Clayton County Headquarters Library)

1991

National AIA / ALA Award of Excellence (Buckhead Branch Library) National AIA / ALA Award of Excellence (Clayton County Headquarters Library)

1992

National AIA Honor Award for Excellence (House Chmar)

1993

National AIA Honor Award for Excellence (Buckhead Branch Library)

1999

National AIA Honor Award of Excellence (Nomentana Residence)

2003

National AIA / ALA Award of Excellence (Lee B. Philmon Branch Library)

2005

National AIA / ALA Award of Excellence (Austin E. Knowlton School of Architecture at The Ohio State University) National AIA Honor Award of Excellence (Mountain Tree House)

2010

National AIA Honor Award of Excellence (Austin E. Knowlton School of Architecture)

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Interviews with occupants of the Gates and Hillmans Centers...

Saturday, September 25, 2010 1. Female, Computer Science, Gates Center On average, how much time per week do you spend in this building?

“A lot of time…I’ll be transferring into the Computer Science Department soon so I take classes in here. I also TA in here and the cluster spaces are good for hanging out, studying, and doing work.”

What are the buildings main social spaces?

“The third floor…It has the café and the lounge-y furniture…and the cluster spaces.”

How do the classrooms, offices, and social spaces compare and contrast to each other?

“They’re all equally comfortable spaces but they have a different nature” What were your first impressions of the building?

“It was a bit tricky to find my way around at first but you get the hang of it quickly. The building looks cool; I like the set-up with the central classrooms and I like the terraced façade.”

2. Male, Electrical Engineer, Hillman Center On average, how much time per week do you spend in this building?

“A lot of time; I have a lot of classes here” How do the classrooms, offices, and social spaces compare and contrast? “It depends on the space; they all feel different.”

What were your first impressions of the building?

“I don’t like the way it looks. The architectural style seems outdated; it reminds me of the Stata Center at MIT…nobody is going to like or care about this architecture in a few years. It was a pain to find my way around and it still is.

It doesn’t have a straightforward grid organization. I guess it wouldn’t be as fun or whimsical if it did but I don’t care about that, I just care about finding a classroom or an office.”

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3. Female, Computer Science, Gates Center On average, how much time per week do you spend in this building?

“Four to five hours a week” How do the classrooms, offices, and social spaces compare and contrast?

“They feel different from each other. Even if the classrooms are left unlocked and open, I would opt to study on the third floor or in one of the clusters.”

What were your first impressions of the building?

“I like the way it looks but it is difficult to find my way around”

4. Male, Hillman Center On average, how much time per week do you spend in this building?

“I have two classes here; I spend about six to ten hours a week here” What are the buildings main social spaces?

“The cluster spaces are really useful. I know the third floor of the Gates Center has a nice café and lounge; I’ve never spent a lot of time there but I’ve had a review for an English class there once and it was really nice” What were your first impressions of the building?

“It looks high-tech and futuristic on the outside but it’s aesthetically pleasing and nicely planned out/well-ordered on the inside…I know a lot of people like the furniture because of its interesting colors and shapes.”

5. Male, Information Systems Management, Gates Center On average, how much time per week do you spend in this building?

“About nine hours a week” How do the classrooms, offices, and social spaces compare and contrast to each other?

“Between the classrooms and social spaces…I’ll study/do work in either, it depends on what is free/unlocked/open” What were your first impressions of the building?

“I like the way it looks but it was difficult to get around at first.”

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Image Credits Figure 0.1 : Center for Future Generation Technologies”. Acessed December 15. 2010. <http://msmearch.com/type/academic/carnegie-mellon-universitygates-center-for-computer-science-and-hillman-center-for-future-generationtechnologies> Multi-Scalar Urbanism chapter image : Wikimedia Commons.

“File:PittSkyline082904.jpg.” Accessed September 20, 2010. <http:// commons.wikimedia.org/wiki/File:PittSkyline082904.jpg> Figure 1.1 : RailPictures.net. “CSXT 1 CSX Transportation (CSXT) GE AC4400CW at Braddock, Pennsylvania.” Accessed September 20, 2010. <http://www.railpictures.net/viewphoto.php?id=197390&nseq=2356> Figure 1.2 : Flickr. “IMG-0660.JPG.” Accessed December 14, 2010. <http:// www.flickr.com/photos/46742370@N00/1573927946/> Figure 1.3 : Flaherty Mechanical Contractors. “About Us.” Accessed December 14, 2010. <http://www.flahertymc.com/about_us> Figure 1.4 : PPG Place. “Wallpapers.” Accessed December 14, 2010. <http:// www.ppgplace.com/wallpaper.php#> Figure 1.5; 2.1; 3.39; 4.1; 4.3; 4.5; 4.13-4.21 : Mack Scogin Merrill Elam Architects. “Carnegie Mellon University – Gates Center for Computer Science and Hillman Center for Future Generation Technologies.” <http:// msmearch.com/type/academic/carnegie-mellon-university-gates-center-forcomputer-science-and-hillman-center-for-future-generation-technologies> Figure 1.6 : The Library of Congress. “View of Pittsburgh from Mt. Washington.” Accessed September 22, 2010. <http://www.loc.gov/pictures/ item/2007661483/> Figure 1.7 : Wikimedia Commons. “File:Pittsburgh dawn city pano.jpg.”

Accessed September 20, 2010. <http://commons.wikimedia.org/wiki/ File:Pittsburgh_dawn_city_pano.jpg> Figure 1.8 : ExplorePAHistory. “Image.” Accessed September 20, 2010. <http://explorepahistory.com/displayimage.php?storyId=27&imgId=3462> Figure 1.9 : The Library of Congress. “The Slovaks in America.” Accessed September 21, 2010. <http://www.loc.gov/rr/european/imsk/slovakia.html>

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Figure 1.10 : Flickr. “Pittsburgh from Mt. Washington.” Accessed September 20, 2010. <http://www.flickr.com/photos/pianoforte/110303804/> Figure 1.11 : The Library of Congress. “CARNEGIE, ANDREW.” Accessed December 6, 2010. <http://www.loc.gov/pictures/item/hec2009003367/> Figure 1.12 : The Library History Buff. “A Philatelic Tribute to Andrew Carnegie.” Accessed December 6, 2010. <http://www.libraryhistorybuff.com/ carnegie-175th.htm> Figure 1.13 : ExplorePAHistory. “Image.” Accessed December 6, 2010. <http://explorepahistory.com/displayimage.php?imgId=3557> Figure 1.14 : Google Maps. “Pittsburgh, PA.” Accessed December 6, 2010. <http://google.com/maps> Figure 1.15 : Sabah Kadri. “Biography.” Accessed December 6, 2010. <http://www.contrib.andrew.cmu.edu/~sskadri/bios.html> Figure 2.2 : Architectural Record. “Bailey HouseStudio”. Acessed December 15, 2010. <http://archrecord.construction.com/projects/residential/archives/ images/0404-3scoginElam.jpg> Figure 2.3 : Schwartz, Jerry. Georgia Tech Alumni Association. “The Juggler of Harvard Architecture”. Accessed December 15, 2010. <http://gtalumni.org/ Publications/magazine/win94/jug.html> Figure 2.4 : EDGE Studio. “EDGE Studio | architecture. experience. identity.

Design” Accessed December 15, 2010. <http://www.edge-studio.com/> Figure 2.5 : Arup . “A better way |ARUP”. Accessed December 15, 2010. <http://www.arup.com/~/media/Images/About%20us/A_Better_Way/ AboutUs_ABetterWay_LandingPage_OveOnBench_c_Arup.ashx?bc=ffffff&a s=1&mw=218&thn=0&w=218 > Figure 2.6 : National Design Awards. “Jury Information”. Accessed December 15, 2010. <http://www.nationaldesignawards.org/2009/ images/182.jpg> Figure 2.7 : Hursley, Timothy. Mack Scogin Merrill Elam Architects.

“Clemson University – Carroll A. Campbell Jr. Graduate Engineering Center”.

Accessed December 15, 2010. <http://msmearch.com/type/academic/ clemson-university-carroll-a-campbell-jr-graduate-engineering-center> 141

Figure 2.8 : Hursley, Timothy. Mack Scogin Merrill Elam Architects. “The Ohio State University – Austin E. Knowlton School of Architecture”.

Accessed December 10, 2010. <http://msmearch.com/type/academic/theohio-state-university-austin-e-knowlton-school-of-architecture> Figure 2.9 : Mack Scogin Merrill Elam Architects. “Syracuse University – Ernie Davis Hall”. Accessed December 10, 2010. <http://msmearch.com/ type/academic/syracuse-university-ernie-davis-hall> Figure 2.10 : Hursley, Timothy. Mack Scogin Merrill Elam Architects.

“Mountain Tree house”. Accessed December 10, 2010. <http://msmearch. com/type/residential/mountain-tree-house> Figure 2.11 : Hursley, Timothy. Mack Scogin Merrill Elam Architects.

“Wellesley College – Lulu Chow Wang Campus Center and Davis Garage”.

Accessed December 20, 2010. <http://msmearch.com/type/academic/ wellesley-college-lulu-chow-wang-campus-center-and-davis-garage> Figure 2.12 : Hursley, Thimothy. Mack Scogin Merrill Elam Architects. “Yale University Health Services Building”. Accessed December 05, 2010. <http:// msmearch.com/type/academic/yale-university-health-services-building> Figure 2.13 : Ted Ullrich. “VIVA Studio / Industrial Designers Society of America” Acessed December 10, 2010. <http://tedullrich.com/projects/ project_14/ted_ullrich_design_9.jpg> Figure 2.14 : Wade, Bill. Post-Gazette. “Gates and Hillman Centers”.

Accessed December 05, 2010.<http://www.post-gazette.com/ images4/20060412bwmaggates1_450.jpg> Figure 2.15 : City-Data.com. “Georgia Tech College of Architecture”.

Accessed December 01, 2010. <http://farm2.static.flickr. com/1050/983787639_391f9909b0.jpg?v=0> Figure 2.16 : Heery International. “Southern Polytechnic State University: School of Architecture”. Accessed December 01, 2010. <http://www. heery.com/Images/Portfolio/data/Southern%20Polytechnic%20State%20 University_supersize.jpg> Page 46-47 Caption 1; 9; 14; 19 : Lehoux, Nic. Mack Scogin Merrill Elam Architects. “ Carnegie Mellon University – Gates Center for Computer Science and Hillman Center for Future Generation Technologies”. Accessed December 15. 2010. <http://msmearch.com/type/academic/carnegie-mellon142

university-gates-center-for-computer-science-and-hillman-center-for-futuregeneration-technologies> Page 46-47 Caption 2; 5; 10; 15; 20 : Hursley, Timothy. Mack Scogin Merrill Elam Architects. “64 Wakefield”. Accessed December 05, 2010. <http:// msmearch.com/type/interiors/64-wakefield> Page 46-47 Caption 3; 7; 12; 17; 22 : Hursley, Timothy. Mack Scogin Merrill Elam Architects. “High Museum of Art at Georgia – Pacific Center”.

Accessed December 01, 2010. <http://msmearch.com/type/museums-andgalleries/high-museum-of-art-at-georgia-pacific-center> Page 46-47 Caption 4; 8; 13; 18; 23 : Hursley, Timothy. Mack Scogin Merrill Elam Architects. “The Ohio State University – Austin E. Knowlton School of Architecture’ . Accessed December 01, 2010. <http://msmearch.com/type/ museums-and-galleries/high-museum-of-art-at-georgia-pacific-center> Page 46-47 Caption 6; 11; 21 : Hursley, Timohty. Mack Scogin Merrill Elam Architects. “Buckhead Branch Library”. Accessed December 01, 2010. <http://msmearch.com/type/libraries/buckhead-branch-library> Figure 2.17 : Harvard University. “Faculty Profile - Preston Scott Cohen.”

Accessed October 20, 2010. <http://www.gsd.harvard.edu/people/faculty/ cohen/index.html> Figure 2.18 : “Faculty Profile - K. Michael Hays.” Accessed October 20, 2010. <http://www.gsd.harvard.edu/people/faculty/hays/index.html> Figure 2.19 : Harvard University. “Faculty Profile - Rem Koolhaas.” Accessed October 20, 2010. <http://www.gsd.harvard.edu/people/faculty/koolhaas/ index.html> Figure 2.20 : Harvard University. “Inside GSD - Dean’s Office.” Accessed October 20, 2010. <http://www.gsd.harvard.edu/inside/deans_office/> Figure 2.21 : Harvard University. “Faculty Profile – Farshid Moussavi.”

Accessed October 20, 2010. <http://www.gsd.harvard.edu/people/faculty/ moussavi/index.html> Page 50 Caption 1; 4; 15 : Hursley, Timothy. Mack Scogin Merrill Elam Architects. “Carnegie Mellon University – Gates Center for Computer Science and Hillman Center for Future Generation Technologies.” Accessed December 13, 2010. <http://msmearch.com/type/academic/carnegie-mellonuniversity-gates-center-for-computer-science-and-hillman-center-for-future143

generation-technologies> Page 50 Caption 2; 5 : Preston Scott Cohen, Inc. “Projects.” Accessed December 13, 2010. <http://pscohen.com/projects.html> Page 50 Caption 4 : Kim, Nyunny. Michael Van Valkenburgh Associates, Inc. Page 51 Caption 3; 16 : The MIT Press. “Surface Architecture.” Accessed December 13, 2010. <http://mitpress.mit.edu/catalog/item/default. asp?ttype=2&tid=10505> Page 51 Caption 6 : isbnlib. “gandelsonas.” Accessed December 13, 2010. <http://www.isbnlib.com/listp/gandelsonas/> Page 51 Caption 7; 9 : OMA. “Projects.” Accessed December 13, 2010. <http://www.oma.nl/> Page 51 Caption 8 : Abitare. “Ecological Urbanism.” Accessed December 13, 2010. < http://www.abitare.it/tips/miessen/ecological-urbanism/> Page 51 Caption 10; 13 : Chronicle Books. “Landscape Urbanism.”

Accessed December 13, 2010. <http://www.chroniclebooks.com/index/ main,book-info/store,books/products_id,4520/title,Landscape-Urbanism/> Page 51 Caption 11 : Nieto, Enrique and Maria Jose Marcos.

“REFERNCIAS. Terminales maritimas, Oma, Foa.” Accessed December 15, 2010. <http://nieto-marcos.blogspot.com/2009/04/referncias-terminalesmaritimas-oma-foa.html> Page 51 Caption 14 : arcspace.com. “Foreign Office Architects – Yokohama International Port Terminal.” Accessed December 13, 2010. <http://www. arcspace.com/architects/foreign_office/yokohama/yokohama_index.html> Page 51 Caption 17 : Flickr. “yokohama international port terminal.”

Accessed December 13, 2010. <http://www.flickr.com/photos/caspar_ borkowsky/995224402/> Figures 2.22-2.24: Harvard University. “Studio Works | Harvard Design School.” <http://studioworks.gsd.harvard.edu/> Figure 3.1: Andreyo, Ken. “Gates and Hillman Centers Dedication Ceremony, September 22, 2009.” <http://www.cs.cmu.edu/photopages/ gh_dedication/>

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Figure 3.4: Davidson, Alan. Mail Online. “From geek chic to Downing Street smart, Bill Gates dresses up for meeting with David Cameron.” <http://www. dailymail.co.uk/news/article-1321671/Bill-Gates-dresses-meeting-DavidCameron.html> Figure 3.5: Beale, John. Post-Gazette.com. “An Ice Christmas.” <http://www. postgazette.com/seen/20011224event1224p1.asp> Figure 3.6: Architecture Record. “Bailey House Studio.” <http://archrecord. construction.com/projects/residential/archives/0404_3bailey.asp> Figure 3.7: American Society of Landscape Architects. “Interview with Michael Van Valkenburgh, FASLA.” <http://www.asla.org/ContentDetail. aspx?id=29648> Figure 3.9: Lampert-Greaux, Ellen. Live Design. “Memories in Light: The Pausch Bridge at CMU.” <http://livedesignonline.com/news/pausch_bridge_ at_cmu_100601/> Figure 3.25: Hill, Burt. Tradeline. “Doherty Hall.” <http://www.tradelineinc. com/profiles/42CC2144-2B3B-B525-8E6D7DEC556B31FE> Figure 3.26: Wikimedia Commons. “CMU Hamerschlag Hall.” <http:// commons.wikimedia.org/wiki/File:CMU_Hamerschlag_Hall.jpg> Figure 3.27: Jong Chul Park. “Newell-Simon Hall.” <http://www.ri.cmu.edu/ images/misc/nsh.jpg> Figure 3.28: Civic Images, Urban Photography. “Carnegie Mellon University (1): Purnell Center for the Arts.” <http://www.civicimages.com/category/ carnegie-mellon-u/> Figure 3.33: AllExperts. “Roofing / Metal standing seam - Oil Canning.” < http://en.allexperts.com/q/Roofing-1598/2009/6/Metal-Standing-Seam-Oil-1. htm> Figure 3.34: architecture-page. “Porter House.” <http://www.architecturepage.com/go/projects/porter-house__all> Figure 3.35: Guthrie, Peter. Flickr. “The Porter House.” <http://www.flickr. com/photos/pg/530114318/> Figure 4.9; 4.11 : Wahila Creative. “School of Computer Science Complex Construction”. Accessed December 01, 2010. <http://wahilacreative.com/ 145

scs-complex/> Figure 4.23: Gates and Hillman Centers Information and Blog. “Connections: The Bridges of Gates Hillman.” < http://gateshillman.blog.cs.cmu. edu/?p=87> Olivia Lau : Figure 1.16; 1.17; 3.8; 3.19; 3.21; 3.23; 3.24; 3.41-3.49 Danielle Norton : Figure 4.2; 4.4; 4.10; 4.12; 5.2 Monika Oum : full spread pp. 28-29; Figure 3.2-3.3; 3.9-3.10; 3.12; 3.133.18; 3.29-3.32; 3.36-3.38; 3.40; 3.50-3.56; 4.6; 4.7; 4.8; 4.22; 4.24; 5.1 Nyunny Kim : Figure 3.20; 3.22; full spread pp. 76-77

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Hillman Center for Future-Generation Technologies dedication plaque. Sept.

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The Gates and Hillman Centers are a manifestation of Carnegie Mellon Universityâ&#x20AC;&#x2122;s mission of interdisciplinarity. With the technique of cracking the form open, interior transparency is created and daylighting seeps through multiple sides of the project.

The signature element is a helical form that brings occupants up while revealing interior spaces.

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