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architectural record
Renzo Piano’S ‘Cube’ Lands Aside One Of London’S Busiest Rail Hubs
So focused were Londoners on its height, many missed one of the successes of Renzo Piano’s Shard, completed in 2012. At just over 1,000 feet, the United Kingdom’s tallest building incorporated a radical upgrade to London Bridge railway station and a new transport hub beneath it. Photo © Hufton+Crow When Piano, working again with the Sellar Property Group, submitted a proposal for an 880-foot-tall cylindrical tower in 2015, dubbed the “Paddington Pole,” it was a clear attempt to apply the same logic to West London, with improvements to the cramped area around the celebrated Paddington Station—the second busiest in the U.K.—being the main public benefit. Set between the Grade I-listed station, designed by the great Victorian engineer Isambard Kingdom Brunel, and a series of Georgian terraces laid out along the northern fringe of Hyde Park, the proposed development was notably not part of any cluster of other high-rises. Partly because of the paradigm shifting height of The Shard, the wider cultural attitude to tall buildings in London had changed and the Pole was ultimately scrapped in 2016 following protests from local and city-wide campaign groups. Fast-forward nearly a decade: the newly completed 18-story, mixed-use building at the site, also designed by Renzo Piano Building Workshop (RPBW) for Sellar, is such a delight that the original 72-story residential tower proposal seems like the acme of greed it clearly was. Paddington Square—or the Cube, as first the architects and developers and now apparently the public call it—is by no means contextual in scale or architectural language to the Georgian condition to the south, although it is stepped back from Praed Street. Yet there is local context here. From this main street, it is a building with a 21,100-square-foot footprint on a wider 73,000-square-foot site, populated by new public space and a limestone-ribbed extension to an existing hotel in front. Photos © Hufton+Crow Even from the exit of the station there is an immediate sense of local familiarity. Paddington Square is clearly a Piano building, legible as a ribbed glass cube that rests on a three-stage plinth of subterranean concourse, ground-floor retail, and a lobby. From levels three to 16 (it is topped with a two-story rooftop restaurant pavilion), the building is predominantly made from 12-foot-by-two-and-a-half-foot glass panels separated by powder-coated aluminum fins. The facade cladding system is subtly evocative of Brunel’s astonishing station roof that one has just passed through (or about to enter) in which wrought iron arches support a secondary structure of thin mullions and narrow glass panels. Paddington Square exists in a continuum with this pioneering structure: lighter and more translucent than the Italian architect’s New York Times Building, veiled, as that building is, in 3-inch-diameter off-white ceramic tubes. Photos © Hufton+Crow It is, of course, a potentially overly repetitive system to deploy across a flat 177-foot building width but the RPBW team has added several devices to either heighten or soften the effect. Each floor provides 25,000 square feet of office space, with columns kept to the facade. Eleven of the 14 floors are already occupied by Los Angeles–headquartered financial services company, Capital Group, but any new tenant must keep interior space at the edge of the floor plate free from partitioning to ensure the facade is lit in a uniform way. At times, Piano’s team has mediated the regularity. The aluminum fins are perforated, softening their definition from below and allowing more light into the building. Corners are inverted, not only shortening the facade system to 147 feet in width but avoiding a sharp intersection of planes. Loads here are transferred onto a main column by a cross-bracing system that gives these inflection points a High-tech feel, almost as familiar to London as red brick. From below, The Cube doesn’t feel overly large either. Nine small balconies stacked one on top of the other on the northeast side along with the elevator core to the rooftop pavilion on the southwest side help to break down the scale of the building when viewed from the new public spaces beneath. The main structural steel columns are integrated into the facade at street level so that the retail level is not screened off but rakes outwards to form part of the facade, avoiding extra transfer beams. A glass roof above the double-height retail level also makes the building above seem less overwhelming. These are marginal gains which cumulatively make the public space beneath the building seem even more generous than it is. Photos © Hufton+Crow The improvement to the public realm at the station’s exit when compared to the previously cramped ramp, largely unchanged from the days of horse drawn carriages, is dramatic. An access road that ran parallel to the narrow ramp from the station to Praed Street was rerouted around the north and east of the new building, standing as it does on the site of a former postal sorting office. This move allowed Piano and his team to create a generous pedestrian exit ramp that is now experienced as a limestone-paved public square. The space beneath Paddington Square is as public as well as the area around it. At ground level, a concourse threads between concrete support columns, placed to avoid subterranean infrastructure, providing an alternative route to Praed Street. In the basement, a new and wider entrance to the Bakerloo Line, previously one of the most cramped and dangerous spots on the London Underground system, has been created. Photo © Hufton+Crow Photo © Hufton+Crow Paddington Square is the product of a delicate balancing act in which private capital creates public utility. For this to work, there must be genuine determination on the part of the architect and developer to deliver on the quality of the latter as Piano and Sellar have done. In many nuanced ways, this building has created generosity at a pinch point where the Georgian street grid meets major infrastructure. The Victorian station is now the key public transport connection point for Heathrow Airport as well as Wales and the west of England. From the city side, the building, set back from the main thoroughfare, is a calm presence within a larger public square. From the station exit, it is a layered yet coherent image of London at its most dynamic.
mixed-use
Oct 15, 2024
architectural record
Wrns Studio’S Mixed-Use Brickline Feels Right At Home In San Mateo
Visit almost any growing city in the country and a monoculture of residential architecture will likely become apparent—a proliferation of five-over-one apartment buildings, meant to meet a growing demand for commuter-friendly units amid nationwide housing shortages. When San Francisco–based WRNS Studio was approached by longtime client Prometheus Real Estate Group, the firm saw an opportunity to push back against this trend: the apartment developer, who had first met WRNS through the firm’s pro-bono work with the Trust for Public Land, wanted the studio to design a mixed-use housing and commercial project in San Mateo, California, just steps from a regional transit hub in the city’s walkable, vital downtown. The site, formerly occupied by a grocery store and surface parking lot, was ripe for development for young professionals seeking amenity-rich urban housing. It would also be the new headquarters for Prometheus, which wanted to convey its nearly 60-year history in the Bay Area with bespoke offices. Brickline spans a whole city block in downtown San Mateo. Photo © Jason O'Rear As the WRNS team and their clients toured the city’s streets during initial project meetings, “We looked at how to connect from a material perspective, but also on the massing side because San Mateo has a certain scale, and there’s a 55-foot height limit to this site,” says partner Brian Milman, who led the project for WRNS along with founding partner Bryan Shiles. Stair leading to rooftop deck. Photo © Jason O'Rear The finished building, spanning an entire block, respects the city’s pedestrian experience with a headhouse form on its North B Street–facing side, which gradually tapers and cedes to a widened sidewalk and end-of-block plaza sheltered by a pronounced roof overhang. The program’s elements are broken down by material cues: brick, wood, and ribbed metal facade panels mark five stories of studio and one-bedroom apartments, which residents enter from a tree-lined street. Referencing brick buildings nearby, corbeled brick and punched windows distinguish the four-story office volume, which contains Prometheus headquarters as well as spec office space, accessible from the busier side. At street level, the Prometheus office entrance is flanked by wood-framed windows and fluted terra-cotta panels. To connect that aspect of the building to the area’s history, the firm looked to the land’s original inhabitants, the Ohlone people of Northern California, for inspiration. “The cast terra-cotta was essentially an abstraction of the patterns that some of the Ohlone tribes had used when they built their grass and reed houses,” explains Milman. Entrance to Brickline Flats, the residential component of the building (1); terra-cotta facade detail (2). Photos © Jason O'Rear (1), Celso Rojas (2). These material considerations continue inside the Prometheus offices, also designed by WRNS, where textiles, wood accents, and metals evoke coastal California. “Sometimes we refer to it as the ‘summer Armani suit,’” jokes Milman. “Everything feels very light and refreshing, but most importantly timeless, because they saw themselves as fitting into the fabric for a very, very long time.” Brickline’s Rooftop deck. Photo © Jason O'Rear Though the climate is temperate year-round, it is unusual for Northern Californian office buildings to have operable windows. Prometheus’ offices buck this trend, opting to let employees enjoy fresh air indoors. The building also incorporates two large private terraces and a rooftop deck for additional office social space, and a private terrace and courtyard for residents. “Many clients would not go as far as Prometheus did on this,” says Shiles. “This building does not look like a spec building; they had a real pride of placemaking.” Ground-level retail storefronts connect the development to the surrounding streetscape. Photo © Jason O'Rear The architects also note that the building’s ground-floor retail space is demised to accommodate small businesses that have proliferated in San Mateo, seeking to become part of the varied local framework rather than overwrite it. Adds Shiles: “You get the vibe of a village, but it’s metropolitan in that it’s chock-a-block with the best noodle house in the Bay Area, adjacent to a traditionally Latinx shopping street that could be plucked out of San Francisco’s Mission District; then across the street there’s a German brewhouse, and so forth.” While so many of today’s apartments rely on the appeal—and code-compliant ease—of what many call “anytown architecture,” WRNS hopes that the Brickline will give San Mateans pride in their town as it continues to grow.
mixed-use
Aug 20, 2024
architectural record
Oklahoma City’S Legends Tower Could Be The Tallest In U.S. Following City Council Approval
In Oklahoma City, the seemingly improbable Legends Tower has passed a major hurdle towards its realization. On June 4, the city council approved in an eight-to-one vote the rezoning of the three-acre development site, dubbed Boardwalk at Bricktown, of which the 1,907-foot-tall tower is the most conspicuous component. The skyscraper, if built, will be the tallest in the United States, a distinction currently held by One World Trade Center in Lower Manhattan. It would also be the fifth-tallest in the world, trailing behemoths such as Dubai’s Burj Khalifa and Merdeka 118 in Kuala Lumpur. Boardwalk at Bricktown will span more than three acres, and its podium would include a host of retail and entertainment establishments. Image courtesy AO Orange County, California-based Architects Orange (AO), a firm with expertise in entertainment districts, is leading the design of the 5 million-square-foot mixed-use development, which will include a retail-and-entertainment podium, and three other 345-foot-tall towers. The towers would house some 900 hotel rooms and 1,776 residential units, approximately doubling the amount of housing in downtown Oklahoma City. As reported by RECORD in March, the $1.2 billion project has been in the works for at least two years—and, according to Boardwalk at Bricktown’s developer Scot Matteson, founder and managing partner of Matteson Capital and Centurion Partners, it is fully financed. The Legends Tower would stand out in the relatively muted Oklahoma City skyline. Image courtesy AO Naysayers abound for the Legends Tower. Many question the economics of a supertall in America’s 20th-largest city, and the wisdom of building such a lanky edifice in the often-windblown Tornado Alley. For the design team, these concerns are misplaced, if not misguided. “Oklahoma City is the sixth-fastest growing city in the country right now, and if you look at a map, this property is dead center of substantial new developments, like the city’s new convention center; the planned $900 million downtown arena for the Oklahoma City Thunder and a 10,000-seat soccer stadium for the Energy FC, and others,” says AO managing partner Rob Budetti. “The city has invested a lot of money into this entertainment district, and Boardwalk at Bricktown is another piece of that puzzle.” Although there is plenty of work to be done before the Legends Tower’s design is finalized, determining the structure is fairly straightforward, according to Ola Johansson, senior principal at Thornton Tomasetti, which is serving as the project’s structural consultant. The structural system being developed by Thornton Tomasetti will likely consist of a concrete-and-steel building core, outrigger concrete columns and steel trusses, and post-tensioned concrete floor framing. Image courtesy Thornton Tomasetti “Thornton Tomasetti has completed a number of skyscrapers in areas with very high winds, like Taipei 101 (1,667 feet) and Shanghai Tower (2,073 feet). It’s really just a matter of understanding wind forces, through, for example, wind tunnel analysis, and designing for them,” Johansson explains. “Controlling the movement of the tower, for occupant comfort, is the greater challenge.” To that end, the tower will likely be built atop a concrete mat foundation grounded into the earth by a grid of drilled piers, with a central core of high-strength concrete and reinforcing steel, that, in turn, reaches out to a system of perimeter columns with outrigger steel braces—post-tensioned concrete floor framing fills the gaps in between. The engineering team is still studying the efficacy of adding a mass damper to further reduce projected building sway, and, in terms of tornado events, the curtain wall can be strengthened at the lower levels against flying debris. The project is still awaiting approval for its luminous LED display, which will also ascend the tower's curtain wall system. Image courtesy AO With approval in hand, the design team is aiming to break ground before the end of the year on the larger development; work on the tower itself will likely only commence once two of the shorter towers planned for the site are at least 50 percent leased. And while the site is now rezoned to permit the incredible height of the Legends Tower, Boardwalk at Bricktown still requires city council approval for the proposed luminous LED display at the building podium, which, according to the design team, could be embedded within the tower’s curtain wall mullions, like Burj Khalifa.
mixed-use
Jun 17, 2024
architectural record
Revamped Zoning Laws Allow Asap To Deliver Mixed-Use Infill In A Buffalo Historic District
Buffalo has had a rough go of it for the last 70-odd years. The Rust Belt city on the banks of Lake Erie has suffered decades of deindustrialization and demographic decline, losing some 55 percent of its population since 1950. In recent years, the city, with the help of fast-growing eds-and-meds industries and refugee resettlement, has seen a measured, but vital, revival of its fortunes; 15 Allen Street is a product of that upswing. The three-and-a-half-floor mixed-use infill building designed by Los Angeles–based Adam Sokol Architecture Practice (ASAP) is deftly inserted into the city’s Allentown neighborhood with contextual massing and straightforward, well-detailed materials. The eclectic Allentown Historic District is located just west of Buffalo’s Main Street and runs along the de facto border of the city’s formerly redlined eastern half. In 2017, the Buffalo Common Council passed the Green Code, the first major revision of the city’s land-use and zoning policies since 1953. The bill effectively ratified what had previously been noncompliant, the mixed uses that organically emerged in Buffalo’s historic neighborhoods, and eliminated minimum parking requirements to enable infill development. In 2015, developer May Wang purchased 15 Allen Street, a dilapidated two-story retail building constructed in the 1920s, hoping to capitalize on the prime location steps from the city’s light rail system and the Buffalo Niagara Medical Campus. “It was absolutely trashed, with rotting wood, and past the point of complete conservation,” explains Adam Sokol, whose firm was a 2019 Design Vanguard. The site could only accommodate six residential units under existing zoning laws, a financially prohibitive proposition, considering the cost of restoration, even with the associated tax credits. However, the project was made viable by the subsequent passage of the Green Code, and the State Historic Preservation Office and National Park Service signing off on the partial demolition of the historic building, with just the brick and cast-stone facade incorporated into the new structure. It received approval from the city in 2017, one of the first projects in Buffalo to do so under the new code. The building’s roughly rectangular footprint covers approximately 90 percent of its lot. The 10 rental units consist of 650-square-foot one-bedrooms, with one two-bedroom apartment and two loft-style duplexes. Residents share a courtyard and bicycle storage with adjacent 19 Allen Street, a mixed-use project also owned by Wang—it formerly housed ASAP’s studio before the firm decamped to the West Coast in 2018. Three contrasting faces mark the project’s exterior. The historic facade was almost entirely rebuilt with new brick chosen to match the old. Parts of the existing cast-stone trim were taken down, cleaned, and reinstalled. In accordance with the city’s fire code, the east elevation is a concrete-masonry-block party wall shared with a privately owned and undeveloped parcel. That left the courtyard-facing and rear elevations as the primary avenues for architectural expression. There, the dark-gray steel-clad massing staggers upward and folds onto itself as the building steps back from the street wall, in a move that affords six private patio and balcony spaces across all floors. The historic facade was rebuilt with brick chosen to match the old. Photo © Brett Beyer, click to enlarge. The multifaceted character of the building exterior is echoed in section. The new structure, with primarily 10- and 12-foot-tall ceilings in the apartments, needed 15-foot-tall ceilings for the 1,400-square-foot retail space, which occupies just under half the ground floor. That expansive ceiling, supported by glulam posts and beams—the rest of the building is standard light-frame wood construction—took up valuable room for the residential units, so ASAP turned elsewhere to maximize leasable space. The building’s two ADA-compliant apartments are located on the ground floor, so there was no need for an elevator, and the design team was permitted to include just one point of egress for the apartments above—an orange-splashed stairwell. The second levels of the two loft units are classified as mezzanines, to fit in a half floor, and the skylight for the stairwell, which reaches nearly 60 feet tall, skirts height limits by taking advantage of a decorative-tower zoning allowance. 1 2 A single point of egress saved valuable square footage (1). Glulam columns and beams support the retail space (2). Photos © Alexander Severin (1), Brett Beyer (2) Apartment finishes are kept simple. Features like the light-colored hardwood flooring and white cabinetry and solid-surface countertops contrast with the building’s dark exterior. With the party wall to the east, and the retail storefront to the south, the west elevation, facing the courtyard, is the main source of daylight, with generous high-performance casement windows. The apartment finishes are light and simple. Photo © Brett Beyer Notably, 15 Allen Street is one of the first all-electric buildings in Buffalo, with ultra-efficient heat pumps and solar water heaters, all of which help keep energy use and costs down. But, without all of the bells and whistles, it may just be 15 Allen Street’s location that provides the greenest credentials. “The most important aspect of the project’s sustainability is that it is an infill building, with no vehicular parking, that’s far bigger than almost anything else you could do,” Sokol concludes. Click plans to enlarge Click section to enlarge Architect: Adam Sokol Architecture Practice Engineers: Siracuse Engineers (structural); Foit Albert Associates (civil) Consultant: Joy Kuebler Landscape Architects (landscape) General Contractor: Peyton Barlow Company Client: May Wang/Mayflower Allen Property Size: 12,000 square feet Cost: $4 million Completion Date: May 2022 Exterior Cladding: Watsontown Brick (brick); ATAS (metal panels); A. Jandris & Sons (architectural concrete masonry) Roofing: Holcim Elevate (elastomeric) Windows and Doors: Kolbe (wood frame and entrances) Hardware: Emtek (locksets); Zweil (pulls); Sugastune (hinges) Interior Finishes: Sherwin-Williams (paints and stains); Daltile (floor and wall tile); Roppe (resilient flooring) Lighting: Kuzco, Nora (downlights)
mixed-use
May 07, 2024
architectural record
Versatile Trim Creates Modern Look Without Blowing The Budget
Like a lot of projects that were shelved during the housing crash, the mixed-used development called 3900 Adeline in Emeryville, Calif., had some trouble getting restarted when it was resurrected in 2010. Located in a transitioning industrial neighborhood, the project called an existing one-story light industrial building to be replaced with 101 for-rent residential and live/work units as well as 1,000 square feet of retail space — if architects could make the budget work. “It was right when people were emerging from the crisis, but banks were still nervous about rental properties,” says Toby Levy, FAIA, principal at Levy Design Partners, which designed the project. “Since it wasn’t a premier location, it was very scrutinized.” So Levy had to make some tough decisions. Rather than the extensive use of metal siding she had planned, she had to go with more budget-friendly cement fiberboard. But she was still determined to maintain the clean, modern lines she originally envisioned. “Once you make the decision to use mostly cement fiber, the question is, how do you make it look a little different and how do you do it to scale?” Levy found answers to both questions in Tamlyn’s XtremeTrim extruded aluminum trim. “You’re always looking for inventive ways to create interest and scale while not blowing the budget,” she said. “In this case, it did all those things.” Part of the reason the trim worked so well was that it came in a wide variety of shapes and sizes to fit with the cement panel’s varied range of thicknesses, Levy says. “We were pleased to find there were some unusual trim pieces as well as regular trim pieces that worked with it,” she says. “This was not a project where we could have invented our own. It had to be off the shelf.” Levy relied most on Tamlyn’s 4-inch trim pieces. She placed those between the 2-foot-wide cement fiberboards to add interest and break up the siding. Then she used Tamlyn’s corner V trim pieces to give the edges a thoroughly modern square edge. “You would have the trim piece anyhow and we got an extra bit of look with that same piece,” she says. “That’s the name of the game — making these inherently flat-looking cement panels have more interest.” Getting all the trim from the same manufacturer also helped keep costs — and construction problems — low, she says. “There’s nothing worse than getting one piece of trim from one place and another from somewhere else,” she says. “You don’t know whether they’ll take paint the same, bend the same, or work the same.” Now that Levy knows herself how well the trim works, she plans to keep it in her architectural bag of budget tricks. “It did what it said it was supposed to do and it performed like we expected it to perform. It gave more scale. It gave more interest,” she says. “And it was a very inexpensive way to do it.” To learn more about Tamlyn’s XtremeTrim go to https://www.tamlyn.com/.
mixed-use
May 01, 2024
architectural record
Continuing Education: Affordable Housing And Energy Performance
It sometimes seems as though the affordable-housing sector—which is presumably watching every dollar to scrimp or scrounge—regularly achieves standards of energy performance and livability that much of the market-driven sector barely aspires to. The square footage of Passive House–certified multifamily development, for example, has more than tripled in the last five years, with affordable housing accounting for over 90 percent of the sector, according to Phius, a Passive House training, advocacy, and certification nonprofit. Similarly, the number of affordable-housing projects registered with one of the certification programs administered by the International Living Future Institute (ILFI) has more than doubled in the same period, with even more projects piloting the Living Building Challenge Affordable Housing Framework. Nearly 80 percent of multifamily projects that certified as GreenPoint Rated between 2020 and 2024 are affordable, with a dramatic upswing in the percent achieving the Gold or Platinum level. Under LEED, 438 affordable-housing developments, representing 6,521 units, achieved certification in 2023 alone. What’s driving the sector’s sustainability and livability achievements, how do ambitious goals fit into tight budgets, and are there lessons for fostering more environmentally and socially responsible multifamily housing nationwide? record put these questions to Phius, ILFI, and the design teams behind three outstanding affordable-housing projects: Betances Residence, a Passive House–certified senior residence in the Bronx, New York, by COOKFOX Architects; Coliseum Place, a Living Building Challenge Affordable Housing Pilot and GreenPoint Rated Platinum building in Oakland by David Baker Architects (DBA); and 981 Davie Street, a Passive House–aspiring tower in Vancouver, British Columbia, by ZGF Architects. The ambitions of all three projects, and similar achievements sector-wide, can be largely explained by three primary factors. The first is developers’ social mission: “It’s not only about housing—it’s about quality housing,” says Darin Reynolds, a partner with COOKFOX. And, even though housing is the core mission, adds Katie Ackerly, a principal and sustainable-design director at DBA, “that purpose often aligns with making the world a better place in multiple ways.” The health impacts of the built environment are especially significant in the affordable sector, “more so than for market-rate buildings,” says Susan Puri, affordable-housing director at ILFI, referring to data that correlate low-income communities with poor air quality and other environmental hazards, “because for a long time the built environment has perpetuated social inequities.” The second factor is social policy, especially when it’s expressed through funding criteria and incentives. For example, federal low-income-housing tax-credit programs (LIHTC), which provide a significant portion of many affordable developments’ budgets, are distributed through competitive programs (known as qualified allocation plans, or QAPs) run by state housing-finance agencies. A growing number of QAPs award points for environmental responsibility. In fact, Phius largely attributes the surge in the sector’s uptake of Passive House to incentives in the QAPs of more than 17 states. The third factor linking affordable housing and building performance is long-term ownership, which aligns both with social housing developers’ mission and with common funding requirements. LIHTC-funded projects, for example, are required to preserve their affordability for 30 years. With a long-term view, reduced operating costs can more than reimburse up-front premiums, if any, associated with developing a high-performance building (as long as funders’ caps on per-unit costs don’t get in the way). These three factors—client mission, funding-backed policy, and long-term ownership—pushed the performance goals of each of the three example projects. The specifics of the achievements and the strategies for realizing them on limited budgets vary with the circumstances unique to each project. Betances Residence, in the Bronx, New York, restores the urban streetwall at the front facade (above), but has a courtyard at the rear (top of page). Photo © Frank Oudeman, click to enlarge. For Betances Residence, requirements to provide below-market housing for seniors, to certify under Enterprise Green Communities (a point-based environmental standard for affordable housing), and to achieve exemplary energy performance came as conditions of funding. Built on two formerly empty lots, one owned by the New York City Housing Authority and the other by New York City Housing Preservation and Development, the Passive House–certified Betances provides 152 units of supportive housing for at-risk seniors and achieves a 69 percent reduction in energy-use intensity (EUI) compared to a baseline building (17.4 kBtu/sf/yr versus 56). The eight-story structure, completed in 2022, was built for $560 per square foot and $440,000 per unit. The developer, Breaking Ground, says the budget is in line with comparable affordable multifamily projects where requirements for paying the local prevailing wage apply, and Reynolds says it’s significantly lower than a market-rate development. To get the most bang for the buck, Betances is designed to maximize floor area within a tight zoning envelope. Much of the ground floor is recessed more than 50 percent below grade, a move that gains almost an entire story of usable space in addition to the zoning-allowed floor area. A central courtyard, also recessed, provides daylight and views that make the library, social services, and other common areas on this floor feel as though they’re at grade. Further boosting the buildable square footage, an economical block-and-plank structure, consisting of CMU bearing walls and precast concrete-plank floor slabs, makes a floor-to-floor height of 9 feet viable. This enabled more units to be constructed within the site’s height limit while still providing ceilings of 8 feet and higher for residents. Social spaces at Betances look out onto the courtyard (1) as does the lobby (2), where light from a generous window calls attention to the texture of its corbelled brick wall. Photos © Frank Oudeman A high-performance envelope and energy-recovery ventilators provide benefits beyond energy savings. These include quality indoor air in a neighborhood with some of the worst asthma rates in the country and quiet interiors despite the proximity of highway traffic. The building’s material palette was carefully selected to reinforce the project’s values. Cost-effective brick cladding conveys a sense of dignity and permanence that’s especially welcome in what may be residents’ first experience of housing stability in years. Brick also lines the walls of the lobby, where it is corbelled to create patterns and plays of shadow in the daylight from generous windows to the courtyard. The lobby brick doesn’t add significant cost, Reynolds says, “but it adds an incredible value for the people who are experiencing that space.” Other common-area materials, chosen for their evocation of nature, include wood slats along the lobby ramp and wood-fiber ceiling panels, a low-cost choice for softening the space’s acoustics. “We’re trying to achieve multiple things through simple choices,” Reynolds says. “For a client like Breaking Ground, which provides social services to their tenants, designing to support occupants’ health and well-being can help save money in the long run.” As with Betances, the social and environmental performance of Coliseum Place, completed in 2022, resulted from a combination of funding- and mission-driven priorities. Located beside a commuter rail station, the six-story, 59-unit development for low-income and formerly unhoused families is adjacent to what’s intended to become a larger transit-oriented development. With the nonprofit developer Resources for Community Development seeking to surpass the LEED Platinum rating that had become its standard, the project enrolled in the ILFI Affordable Housing Pilot. Pilot projects attempt a range of ILFI certifications (including Living Building Challenge, Core, Zero Carbon, and Zero Energy), with access to educational sessions, peer-to-peer discussions, and support from the institute’s technical staff, all with the goal of breaking down barriers to deep-green housing. “We learned a ton about what’s appropriate for affordable housing in terms of these aspirational goals,” says DBA’s Ackerly—“what it takes to get there, and also what it means when a certification is driving your goal-set versus supporting a set of inherent goals and quality assurance.” Coliseum Place in Oakland, California, has a landscaped podium (3) and is wrapped in a shade screen (4). Rooftop photovoltaics meet the energy needs of common areas, such as the lobby (5). Photos © Bruce Damonte Built for construction costs of about $500,000 a unit—“which was pretty typical and pretty alarming at the time,” Ackerly says, “and now of course costs in this market are even higher”—Coliseum Place consists of a simple stepped massing wrapped in a shade screen. A bamboo-filled exterior staircase connects common amenities, fosters active uses and social interaction, and provides both a close-up with nature and expansive views to San Francisco and the East Bay Hills. Rooftop photovoltaics supply the annual energy needs of common areas in the all-electric building. Decentralized heat pumps reduce domestic hot-water energy loads by about 40 percent compared to a conventional central water heater. And air-conditioning and air filtration improve resilience in the face of increasingly hot and smoke-filled seasons. In line with the pilot’s ambition of reducing negative health impacts, both for residents and for workers, DBA specified toxin- and plastic-free interior finishes; however, in what Ackerly calls “a value-engineering sob story,” a number of these were substituted out. Another aspect of the Living Building Challenge, the requirement that a building source all its water on-site and clean all the water it releases, was rejected from the outset. “There are good reasons that we have municipal-scale infrastructure,” Ackerly says. “In asking what to prioritize, you really have to start with, ‘What does this community need?’” A grant-funded study that DBA conducted after the completion of Coliseum Place, however, suggests that there is a way in which affordable housing may be suited to doubling as infrastructure. The study’s challenge was to design a multifamily building that eliminated all energy demand from the grid between 4 and 9 p.m., typically the period of maximum energy draw, when power plants have to ramp up production fast—burning fossil fuels to do so—and when, as a result, energy is dirtiest. Reducing energy use during this period can have a greater impact on carbon emissions than reducing energy use overall. The exercise revealed that an oversize central hot-water tank could serve as a thermal battery, heating water during off-peak hours and supplying it during peak hours without drawing further from the grid. (This is different from Coliseum Place’s decentralized system, which focused on reducing total energy consumption.) The additional thermal storage uses a system that is already in the building—oversizing it even adds a level of redundancy that owners value—and could eliminate 35 percent of the building’s afternoon peak for less cost than battery storage (another way of storing energy in buildings to reduce peak loads). “It’s a really high-benefit, low-cost way to achieve this kind of evening-out-the-peak goal,” Ackerly says, “and that should be the focus of everything right now.” Click plan to enlarge. Image courtesy of DBA Another project reevaluating the systems best suited to achieving affordable and environmentally responsible housing is 981 Davie Street, a 17-story hybrid mass-timber tower now under construction and targeting Passive House certification. Projected to cost $67 million, with federal, provincial, and municipal funding, and developed by the Community Land Trust in consultation with New Commons Development, the building includes a mix of units, from studios to three-bedroom, with 6,800 square feet of amenities and outdoor space. Located in a neighborhood known for its thriving LGBTQ community, the building includes 154 affordable units, with 31 of them designated as supportive housing for individuals and families living with HIV/AIDS, and houses in its two-story podium a nonprofit community center that works to improve queer, transgender, and nonbinary people’s lives. The City of Vancouver’s green buildings policy requires projects subject to rezoning to achieve exemplary energy performance by either of two paths: the penultimate level of the province of British Columbia’s Energy Step Code or Passive House certification. The 981 Davie team elected to target Passive House because the developer sees value in the quality assurance and reduced operations costs that achieving the standard represents, says ZGF project architect Daniel Wilson. A structural system combining CLT slabs and steel columns (5) should speed construction at 981 Davie (6), in Vancouver, British Columbia. The building will provide 154 affordable units. Photos courtesy of ZGF Because of the site’s densely developed urban context, which offered no staging room at all, the project uses prefabrication for both structure and envelope. The structure is pioneering a hybrid system, developed by its engineers, Fast and Epp, consisting of hollow-section steel (HSS) for the vertical members and cross-laminated timber (CLT) slabs for the horizontal. The HSS is cheaper and lighter, and the connection detail is faster and simpler than it would be with comparable-strength timber columns, and the flat slabs eliminate the need for beams and facilitate the installation of services. To keep pace with the structure’s speed of assembly while maintaining quality control and airtightness, the project uses a proprietary prefabricated envelope system, including operable triple-glazed windows and fixed shading devices. While there’s an associated cost premium, Wilson says, prefabrication offers the potential for robust and high-performing assemblies, as well as significant savings from a construction schedule slated to take a week and a half per level, including structure, envelope, and balconies. The use of prefabricated systems also affected the project’s delivery method, since consultants, contractors, and manufacturers had to be brought on board earlier than would have been typical with tendering through a conventional design-bid-build process. Instead, the project is being delivered under a construction-management contract, with the general contractor preselected for advisory services during preconstruction and subsequently retained for construction. Portions of the project’s scope were pre-bid by relevant subcontractors in advance of a comprehensive tender. “The provincial funding authorities weren’t used to having to lock in certain players,” Wilson says, “so that was an educational process.” Ultimately, however, “as required for a publicly funded project, technically speaking all portions of the project were subject to competitive bidding between multiple prospective subcontractors.” In addition to the housing it provides, 981 Davie serves a significant policy goal: modeling the viability of advanced building systems for broader market uptake. “This project forms part of the tradition of the federal and provincial governments providing funding in order to make experimental, cutting-edge projects possible that ordinarily would be dismissed as unviable by the market,” Wilson says. “If we want to create better living environments, the money for research has to come from somewhere. The argument here is that it doesn’t have to be somehow underpinned by market value—that it’s possible for the public sector to lead even market developments, and that it should do so.” In allocating their careful budgets for maximum social and environmental effect, all three projects, Betances Residence, Coliseum Place, and 981 Davie—as well as the many other high-achieving affordable-housing projects now being built—share in that leading role, showing what’s possible. Click plan to enlarge. Image courtesy of ZGF To earn one AIA learning unit (LU), including one hour of health, safety, and welfare (HSW) credit, read the article above and Living Building Challenge: Framework for Affordable Housing, International Living Future Institute, Pages 21-24. Then complete the quiz. Upon passing the quiz, you will receive a certificate of completion, and your credit will be automatically reported to the AIA. Additional information regarding credit-reporting and continuing-education requirements can be found at continuingeducation.bnpmedia.com. Learning Objectives AIA/CES Course #K2405A
mixed-use
May 01, 2024
architectural record
Oklahoma City’S Improbable Legends Tower Wants To Be Tallest In The U.S.
Supertall skyscrapers, measured as 984 feet or taller, are on the rise globally—the Council on Tall Buildings and Urban Habitat affirms that there are 173 complete as of today. Such developments are herculean structural efforts, and often require immense sums of financing to build, and, as a result, are clustered in the world’s great metropolises where land is scarce and demand high, like within the Central Park–adjacent enclave known as Billionaire’s Row in Manhattan. However, a project out on the Great Plains, in Oklahoma City, is slated to buck that trend. This month, developers Matteson Capital and Centurion Partners announced to The Oklahoman that $1.5 billion in financing is now secured to build what would be the tallest building in the United States—and the fifth tallest in the world—the 1,907-foot-tall Legends Tower. The project ’s height is symbolic—1907 is the year that Oklahoma was admitted as the 46th state. Project architect AO describes Boardwalk at Bricktown as an "exciting architectural tapestry of modern design and a rich mixed-use experience at the heart of a vibrant entertainment district.” Image courtesy AO Currently, the Sooner State’s tallest tower is the Pickard Chilton–designed Devon Energy Center (2012), which rises above downtown Oklahoma City at 844 feet. Tulsa can claim Oklahoma’s second tallest skyscraper, Minoru Yamasaki’s 667-foot-tall BOK Tower (1976). The proposed site, in Oklahoma City’s Bricktown neighborhood, is currently used for surface parking. The tower would form the lankiest and largest component of the proposed 5 million-square-foot mixed-use development, Boardwalk at Bricktown, designed by Orange County, California–based firm Architects Orange (AO). Renderings suggest a splashy retail-and-entertainment podium, replete with a 17,000-square-foot lagoon and roof-decks with city views, and three other 345-foot-tall towers housing nearly 600 market-rate apartments, over 100 workforce apartments, just under 500 hotel rooms, and almost 100 condominiums. The Legends Tower, if built, will add a further 400 hotel rooms, 1,000 luxury apartments, nearly 100 condominiums, and just under 50 affordable apartments. Notably, according to The Oklahoman, the development’s projected 1,776 residential units, would effectively double the amount of housing in downtown Oklahoma City. The complex would join a burgeoning downtown Oklahoma City. Image courtesy AO. Plans for the development were first announced in December 2023, with a 1,750-foot-tall structure, that would have placed the Legends Tower second to New York City’s Freedom Tower, the current tallest building in the U.S. at 1,776 feet tall. The developers upped the ante with a redesign in January that adds over 150 feet of spire, which would place the tower well ahead of its New York City rival. The required zoning variance for its construction will be reviewed by the Oklahoma City Planning Commission in April, with a final vote by the city council in June. The project also requires a sign off from the Federal Aviation Administration. Additionally, the developer will only proceed with the Legends Tower once the first two shorter apartment towers are at least 50 percent leased—those are already approved by the City Planning Commission. The project will join a spate of new development projects in the city center, such as a new NBA arena for the Oklahoma Thunder and an expansive convention center. Skepticism remains regarding the feasibility of the project considering the relatively slack demand for a megaproject in a tornado-prone metropolitan area counting just under 1.5 million residents (the 42nd largest in the country), as well as mystery surrounding the two developers—neither Matteson Capital or Centurion Partners have websites or a social media presence. Despite the secrecy of Matteson Capital and Centurion Partners, Scot Matteson, founder and managing partner of both companies, did make a brief appearance in 2018 on The Real Housewives of Orange County as star Shannon Beador’s love interest. And, in 2019 his four daughters launched a $100,000 GoFundMe fundraiser to support mounting medical bills related to his stage 3 pancreatic cancer. There is also the question of technical knowhow. The architect, AO, while prolific in designing stadium-adjacent entertainment districts, award-winning multi-family developments, and shopping centers, including a Tuscan-style outlet mall in Busan, South Korea, has never completed a project of this complexity. Spanning more than 3 acres, the complex would include a host of retail and entertainment functions, as well as water features. Image courtesy AO
mixed-use
Mar 25, 2024
architectural record
Two Buildings By Cookfox Anchor A New Multi-Use Neighborhood With A Profusion Of Greenery
At the October 2016 project kickoff meeting for Water Street Tampa, the architects, landscape architects, engineers, planners, and consultants gathered in that Florida Gulf Coast city to hear what the client imagined for 56 underutilized waterfront acres sandwiched between downtown and the Garrison Channel. The visionary behind this proposed development was Jeff Vinik, businessman and owner of the hockey team, the Tampa Bay Lightning, who had started acquiring property around the Amalie Arena, where the Lightning play, in 2010. Occupied primarily by surface parking lots, the land was to be developed by Strategic Property Partners (SPP)—a joint venture between Vinik and Cascade Investments. At that meeting, as Rick Cook, founding partner of COOKFOX Architects recounts, Vinik painted a picture of a mixed-used district that would depart from the typical car-centric planning of the region. The lively and densely built precinct would have tree-shaded boulevards with generous sidewalks, ground-floor retail shops and eateries, and inviting open spaces, all of which would be a draw for people who work or live there and for visitors. Both buildings include ground-floor shops and eateries whose activity spills out into the public realm. Photo © Robin Hill, click to enlarge. Fast-forward to the present: this neighborhood has begun to take shape. COOKFOX’s two projects—the Cora, a 388-unit residential building, with apartments that range from studios to three bedrooms, and Thousand & One, a 404,000-square-foot office block, are now complete. Both are part of Water Street Tampa’s Phase 1, finished late last year. It encompasses 12 buildings, more than 1,500 new and renovated hotel rooms, 1,300 residential units, 600,000 square feet of office space, and a medical school facility for the University of South Florida. All have been designed by an impressive roster of architects, which includes—in addition to COOKFOX—Kohn Pedersen Fox, Morris Adjmi Architects, and HOK. Greenery is incorporated into both building’s outdoor areas, including Cora’s rooftop (1) and Thousand & One’s “verandas” (2). Photo © Robin Hill Water Street Tampa is the country’s first WELL Gold–certified community. It has also earned a LEED for Neighborhood Development Silver certification. Features intended to promote health, like a centrally located grocery store, strategically placed water-bottle-refilling stations, and outdoor programming for its 13 acres of public space, such as yoga classes and farmers’ markets, contribute to the development’s WELL status. Key to both ratings is the neighborhood’s walkability, as is the development’s centralized district cooling plant, which is 30 to 40 percent more efficient than individual building mechanical systems, according to SPP. But the plant provides other advantages, such as reductions in noise pollution. Many of the features that helped the development earn its LEED and WELL certifications also enhance resilience. For instance, the cooling plant is designed with redundant power systems to prevent storm-induced outages. Other critical building infrastructure is elevated to help it withstand flooding. The landscape also plays a water-management role: “Much of the public realm is designed to capture stormwater and return it to the ground in a measured way,” explains David Manfredi, CEO of Elkus Manfredi, which designed the master plan in collaboration with landscape architect Reed Hilderbrand. The COOKFOX buildings have clearly embraced the district’s planning concepts: both have retail space at the base, deep overhangs to shield pedestrians and building occupants from the blazing central-Florida sun, and a profusion of greenery—not only on the ground plane, but on building ledges, canopies, and rooftops. Cook, whose own office in midtown Manhattan is known for its lush planted terrace, jokes, “we never saw a horizontal surface we didn’t want to put a garden on.” Thousand & One has emphatically gridded elevations (top of page), while the Cora (above) has softer, rounded edges. Photo © Robin Hill Though the Water Street COOKFOX buildings share DNA, they each have their own unique expression. Thousand & One reads like a 20-story extruded rectangle with emphatically gridded facades. In certain spots, however, this prismatic volume, supported by a post-tensioned, poured-in-place concrete structure, has been carved out to create double-height sheltered outdoor spaces, which the architects refer to as “verandas.” There, office workers can informally meet, eat lunch, or simply take a break. The Cora, also with a structure of post-tensioned concrete, has a softer aesthetic. Its apartment terraces are projecting slabs, seemingly very thin, that wrap the building’s corners, their rounded edges creating an effect reminiscent of Miami Art Deco buildings of the 1930s. Both Cora and Thousand & One have other refinements that put them well above the usual developer-led commercial or multifamily project. The grid of the office building facades, for instance, is made of sculpted precast elements that measure 30 inches from the face of the concrete to the glazing, creating deep shadows and visual interest. The components are further articulated with a subtle relief pattern inspired by the entangled root system of the mangrove—a native tree essential to the coastal ecosystem. At Cora, meanwhile, the corner insulated glazing units are curved, like its projecting balconies, allowing for uninterrupted views that include the downtown and surrounding waterways. The office building Thousand & One (3 & 4) has a precast-concrete facade with a pattern in relief inspired by mangrove roots (5). Photo © Robin Hill Water Street Tampa’s concept of smartly designed buildings set in an urban, people-centric neighborhood appears to be a formula for success. According to SPP’s Brad Cooke, senior vice president of development, the office space at Thousand & One is nearly fully committed and is “achieving the highest rents ever recorded in the Tampa Bay region.” And, he says, its residential buildings also “continue to perform at a robust pace.” Local news outlets have reported that Vinik sold his share of Water Street Tampa to Cascade in late June. But the sale does not seem to have dampened the development’s momentum. Planning for the next phase of Water Street Tampa is under way, according to SPP, with 2027 as the target date for full build-out, when the neighborhood will encompass 9 million square feet of commercial, residential, hospitality, and cultural space. Click plans to enlarge Click detail to enlarge Read about other office projects from the August 2023 issue. Architect: COOKFOX Architects — Rick Cook, founding partner; Darin Reynolds, partner in charge; Zach Craun, project architect Architect of Record: O’Donnell Dannwolf & Partners Architects Consultants: DeSimone Consulting Engineers (structural), Feller P.E. (m/e/p), Stantec (civil), Future Green Studio, Reed Hilderbrand, EDSA (landscape), Office for Visual Interaction (lighting) General Contractor: Moss & Associates Client: Strategic Property Partners Size: 402,000 square feet Cost: $114.4 million (construction) Completion Date: October 2021 Windows: United Glass Systems Architect: COOKFOX Architects — Rick Cook, founding partner; Darin Reynolds, partner in charge; Patricia Lozano, project architect Architect of Record: HOK Consultants: DeSimone Consulting Engineers (structural); JB&B (m/e/p), Stantec (civil), Nelson Byrd Woltz Landscape Architects (landscape); Lightbox (lighting) General Contractor: Coastal Construction Client: Strategic Property Partners Size: 404,000 square feet Cost: $105.6 million (construction) Completion Date: October 2021 Precast: Stabil Concrete Metal Panels: Reynobond
mixed-use
Aug 09, 2023
architectural record
One Embarcadero Center Lobby By Gensler
John Portman is known for the mixed-use complexes that transformed the downtowns of several American cities in the second half of the last century. The architect, who died in 2017 at the age of 93, had a peculiar brand of inward-looking urbanism that combined office space, retail, and hotels (often with thrilling atria) in interconnected, multi-building developments. The most famous such “city in a city” project is Peachtree Center in Atlanta, where his practice was based. In San Francisco, during the 1970s and ’80s, he completed Embarcadero Center, a Brutalist ensemble in the city’s financial district—initially developed by Trammell Crow and David Rockefeller—that grew to encompass nearly 10 acres, comprising five office towers and two hotels, on top of a shopping mall. The growth rings in the new end-grain wood-block floor (top) echo the circular pattern of the tiles (above) found throughout Embarcadero Center. Photo © Joe Fletcher, click to enlarge. A consequence of Portman’s insular approach is a sometimes confusing and uninviting entry sequence for the individual buildings that make up his developments. Such was the case for One Embarcadero Center, completed in 1971, and the first tower built at the complex. The 45-story office building had a minimal-size lobby, with just enough space carved out of its central core to provide elevator access. The entrance was almost hidden, raised off the street on the second level of the three-story retail podium it sits on. There was no waiting area for visitors and little security, with no control of who entered the building. The curvaceous ribbons, triangular in plan (1, center and right) are spaced about 1 inch apart, allowing glimpses of the core and its columns and beams beyond (2). Though each of the 230 undulant elements appears unique, there are only about 20 distinct shapes (1, left). Photo 2 © Joe Fletcher These problems have been remedied with a revamp by Gensler for Boston Properties, the owner of the complex’s four primary towers. (Gensler-designed renovations of the real-estate firm’s other three Embarcadero Center buildings are currently under way.) For the recently completed project, Gensler first stripped away extraneous elements added in a 1990s renovation by Portman’s own office, including an imposing barrel vault that had “Postmoderned up”—and further cluttered—a space already congested with a “forest of concrete columns and beams,” says Doug Zucker, Gensler’s principal in charge of the project. Zucker and his colleagues next created a capacious waiting and reception area by claiming additional real estate in front of the core, within the retail podium. They defined the new 25-foot-deep and 96-foot-long space with a pristine, mullionless glass curtain wall. They also made the lobby easier to find for first-time visitors by removing escalators that had connected the second and third retail levels but obscured the entry, replacing them with a stair off to one side. Now that a set of escalators has been removed, the lobby is newly visible within the retail podium (3). Black glass-paneled walls and a black terrazzo floor (4) in the zone beyond the security turnstiles provide a contrast to the lightness and delicacy of the GFRC ribbons. Photos © Joe Fletcher These moves are both clever and practical, but what makes the project stand out is Gensler’s strategy for camouflaging the building’s core. The design team enveloped it in a veil of glass fiber reinforced concrete (GFRC) “ribbons” that extend 23 feet from the floor to the ceiling. They bend and curve to create the impression of a curtain, and near the bottom transform into benches. The elements, V-shaped in plan, with a 1 ½-inch-diameter steel pipe concealed inside for reinforcement, are spaced about 1 inch apart, screening the core beyond but providing glimpses of it between the narrow gaps. In some places the existing columns surrounding the core protrude from the sinuous veil, revealing the shared qualities of the ribbons and the original concrete. “The GFRC has crispness and warmth, and you can see the aggregate,” says Batya Keshet, Gensler design director. “It felt right for this building.” Although each of 230 ribbons appears unique, there are only about 20 distinct types. The shapes were developed with various computational tools and studied in virtual reality and with full-scale mockups. The architects and the local fabricator, Concreteworks, passed the digital files back and forth for refinement before molds were CNC-milled from rigid foam and then cast in GFRC. The ribbons are, of course, solid and immovable, but the lighting scheme dematerializes them, helping them to appear soft and fluid. In addition to illumination from behind, lights concealed in a cove at the ceiling’s edge and spots inserted in a slot running down its center wash the ribbons from above, making the installation glow. In juxtaposition to the delicate and undulant GFRC, the architects have created a muscular 19-foot-high steel portal to mark the access from the lobby to the elevator bank. The secure zone beyond—newly protected by turnstiles—has walls clad in black acid-etched glass. The darkness of the walls in this 16-foot-wide, 37-foot-long space, which Zucker refers to as a “sleeve,” focuses attention on its far end—now opened up with clear glazing that brings in daylight and provides previously obscured sight lines to the streetscape outside. This new visibility, the combination of darkness and light, and the contrast of rippling and orthogonal, represents more than a skillful resolution of functional challenges. At One Embarcadero, Gensler has created an entry sequence that is lively and gracious. Click plans to enlarge Architect: Gensler — Doug Zucker, principal in charge; Craig Slavsky, design manager; Batya Keshet, design director; John Bender, senior project architect; Luda Hoe, project architect; Caroline Duncan, Peng Jin, designers; Alan Sinclair, graphic designer Consultants: Glumac (m/e/p, security); Tipping (structure); Luma (lighting); RWDI (wind) General Contractor: Hathaway Dinwiddie Client: Boston Properties Size: 2,800 square feet Cost: Withheld Completion Date: May 2019 GFRC Ribbons: Concreteworks Curtain Wall: Novum Glass wall Panels: McGrory Endgrain Floor: Kaswell Flooring Systems Terrazzo Floor: Associated Terrazzo Stone Wall and Floor Slabs: Da Vinci Marble Lighting: Edison Price Lighting Controls: Wattstopper
mixed-use
Jun 02, 2020
architectural record
Craftsman-Style House Is Fitted With Zellige Tiles For A Vintage Look
Just off the main drag in Hudson, New York, in an early 1900s two-story Craftsman-style house sits an apartment reimagined into a creative studio for photographers on weekdays and a respite for city dwellers on weekends. The owner and designer, Anthony D’Argenzio of the New York-based creative agency Zio and Sons, wanted to reflect the 1,300-square-foot home’s period with a vintage look. The kitchen backsplash for example features a durable, hand-glazed tile called Zellige by Clé. Made from natural glazes, pigments, and terra-cotta clay, each tile varies in color, shade, and surface texture. Handcrafted in Morocco, the tile measures 4” x 4” and reflects a glossy finish described as a “sequin-like” surface. “Color kind of scares me, but I still wanted some texture and subtle qualities behind it, so these tiles worked out perfectly,” D’Argenzio says. He also likes the juxtaposition between old and new, so he updated the flooring using Loz Feliz 8” x 8” cement tile by Clé. “Don’t be afraid to include heavy texture in a simplistic environment,” he says. “It adds character, depth, and a sense of soul.” The budget-friendly tile is a charming and sophisticated addition that comes in any number of white color combinations.
mixed-use
Mar 08, 2018
architectural record
London'S Mixed-Use Building Accommodates Tenants With Wavy Glass Exterior
When Allford Hall Monaghan Morris (AHMM) was tapped to design 61-67 Oxford Street, London, the brief was to replace several buildings of disparate architectural styles with a single, seven-story, mixed-use building that could meet the needs of three types of tenants. To fulfill this brief, the architects designed a wavy glass wall for the exterior that would appear as a single element, but deliver different levels of visual and thermal comfort for the various tenants within. The simple and effective solution lay in varying the building’s glazing at different points—a fix which is not uncommon, but thoughtfully executed here. Twenty-foot-wide, single-glazed panels wrapping the ground and second levels, for example, allow for maximum visibility into retail spaces. Above, 10-footwide double glazing fronts offices; and five-foot bays of double glazing wrap the uppermost floors occupied by one- and three-bedroom duplexes. Bedroom windows had to be inoperable to keep out street noise. The architects balanced that measure with south-facing elevations that have access to a terrace through sliding doors. Meanwhile, the apartments’ north- and east-facing elevations have floor-to-ceiling window walls to allow natural light into each space. To add a rainscreen without covering up the glazing, architects relegated it to the building’s courtyard-facing side; they’re made out of white terracotta panels and cover the entire elevation on all floors. Together, these moves helped AHMM deploy the standout profile the retailer needs in this competitive shopping district. Says AHMM director Simon Allford, “As you walk past it, the building changes from reflective to solid mass to vitrine.”
mixed-use
Feb 08, 2018