Fall 2022 Source Material by The Architect's Newspaper

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42 Case Study: Snøhetta’s SUMMIT One Vanderbilt

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7 Facades

18 Case Study: REX’s Ronald O. Perelman Performing Arts Center

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43 Products: Decorative Glass; Bird-Safe Glass; Barriers, Coatings & Films; HighPerformance Glass; Insulated Glass

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28 Case Study: Kengo Kuma & Associates’ Grand Morillon Student Residences

38 Case Study: Huntsman Architectural Group’s Uber Headquarters, Mission Bay Buildings 3 and 4

41 Glass

One of the most fun parts of editing this publication is selecting the cover pho tograph, and for this edition we found a doozy. Sourced from a case study written by Catherine Chattergoon, one of Pratt and AN's New Voices in Architecture Journal ism fellows, the image depicts SUMMIT, the Snøhetta-designed experience construct ed within the top floors of KPF’s One Van derbilt (p. 42). It also shows Clouds by art ist Yayoi Kusama. Installed in front of the Manhattan skyline, the artwork's blob-like forms, rendered in reflective chrome, catch and bend the light of the setting sun. It looks every bit like the T-1000 in Terminator 2: Judgment Day, in its liquid metal primary state, just prior to assuming an identifiable form. It’s hard to imagine a more fitting visual metaphor for a publication called Source Material

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10 Face Off

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In this issue, we collect Focus sections from three recent issues of The Architect’s Newspaper: Facades (p. 7); Windows, Walls & Doors (p. 27); and Glass (p. 41). The Fa cades section will be of special interest, as our popular Facades+ conference series re cently celebrated its 10-year anniversary (p. 8). Be sure to attend a version when it trav els to your city, as it’s a great way to learn about the latest in high-performance build ing enclosures, earn credits, and meet your peers. Also of note in this issue: We cover the latest in bird-safe glass (p. 44) and offer five case studies of recent adaptive reuse projects that lead to facade innovations (p. 4). We hope you enjoy it. Aaron Seward

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8 Facades+ at Ten

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27 Windows, Walls & Doors

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On the cover: Snøhetta designed SUMMIT One Vanderbilt as an arts-forward experience at the top of a new Midtown tower by KPF. Read more about this project on page 42. Photograph courtesy Snøhetta.

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nological transformation of materials from raw stuff to finished components, which are then, hopefully, assembled into beau tiful buildings. Tracking and document ing the cutting edge of these architectural products—as well as how they are used in actual building case studies—is what this publication is all about.

This sci-fi reference is hardly frivolous. From the time of hand-made mud bricks to today’s computer numerically controlled robot manufacturing facilities, the creation of architecture has always involved the tech

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The choice of copper shingles for the exterior was initially inspired by the copper roof of a nearby church and Finland’s coastal landscape, but as Kurkela added, was also based on the material’s longevity; copper’s sustainability comes in its lifespan. (Meanwhile, the original floors and exterior walls had to be demolished, as they weren’t worth saving.)

4 The Architect’s Newspaper

TODD MASON

JKMM Architects’ expansion of the 1980s Kirkkonummi Library adds a copper-and-glass expansion to the building’s original concrete structure. Doubling the existing space of the library, the expansion’s new facade opens views to the surrounding public area around the cafe and provides more privacy over the reading rooms. Recognizing the utility of libraries as not only reading spaces, but places for the community, JKMM sought to design a building that could harmoniously provide for multiple uses. JKMM founding partner Teemu Kurkela likened the en trances, which are recesses framed in white, to “lanterns” that welcome the public in. The recladding and expansion of the building also served as an opportunity for JKMM to emphasize the importance of a civic center in a growing community, in contrast with commercial development.

TODD MASON

Above, from top: The library's copper facade in context; the glazing opens the cafe to the outside; a light-filled reading room.

TUOMAS

PAULIINAUUSHEIMOSALONEN

The metallic exterior paired well with the reuse of the concrete structure, which not only saved materials, but “allowed for a new, environmentally tight envelope that fulfills current envi ronmental standards,” said Kurkela.

Above, from top: The new glazed facade and its red aluminum frame; the alphabet frit references the building's original use.

Bulletin Building KieranTimberlake

One widespread conversation that many architects and clients are less willing to have is whether we should be con structing new buildings at all. Debates around this question are not wholly architectural and vary widely across different sectors, markets, and cultures. To build ground-up in Manhattan, is different when compared to Suzhou or Kinshasa, two rapidly growing metropolitan areas in significantly different economies.

In the Global North, however, considerations are a bit clear er. The need to adapt existing buildings for changing needs— especially considering housing and infrastructure demands across the United States—is pressing. Considerations around embodied carbon have become the focus of much of the en vironmental discussion around adaptive reuse in America. The reskinning of buildings to meet changing needs, among other adaptations, marks a shift in how architects approach the build ing envelope. Facade design, broadly, will change as a result, as often the products used to realize facades are derived from petrochemicals. The following five case studies explore how ar chitects are leading the way for creativity within adaptive reuse projects. The examples offer a few paths forward amid—but not in place of—the need for larger changes in how we build.

MARC GOODWIN

Despite a renovation in the 1990s, which KieranTimberlake partner Richard Maimon felt had mitigated the building’s signif icance, the design team sought to restore the building’s original monumentality reflected in its large sign and heavy masonry eastern face. Wanting to open the east facade to views of the city without adding to the building’s energy load, workers demol ished the east facade and installed a high-performance curtain wall system shaded by an outboard aluminum frame. Workers additionally insulated existing windows on the north and south facade and increased the R-value of the roof insulation to R-41. The upgraded glazing marked a 40 percent improvement from the preexisting glazing, and the building has a “predicted energy use intensity of 75 kBtu/ft²,” outperforming the city’s energy code. Where masonry was not demolished, KieranTimberlake worked with brick manufacturer Glen-Gery to match a new brick to the original 1955 brick.

As the climate crisis accelerates and the built environment continues to be a major emissions driver, architects are under pressure to meet environmental performance standards in an industry where the dominant strain of thought is to build groundup. Meeting these metrics—set variously by individual firms, clients or codes—is not often a technological challenge, but one of balancing requests (and budgets) with design decisions.

adaptivefacadearchitectsshowcaseFiveSkinNewBones,Oldcasestudieshowleadwithinnovationduringreuseefforts.

The glazing on the east facade brings in substantial light to Howe’s open floor plates, while a frit pattern on the glazing mit igates heat gain. The facade is topped with a sign naming the site “SCHUYLKILL YARDS,” harkening back to the prominent lettering from the building’s early days.

Kirkkonummi Library JKMM Architects

KieranTimberlake’s restoration of a 1950s newspaper head quarters in Philadelphia brought light into a building that was reused for the life sciences. The Bulletin Building, designed by notable Philadelphia modernist architect George Howe, was named for its original tenant, The Evening Bulletin . After changing hands a few times, the building will now be home to Class A life science spaces, including research laboratories, ground-floor retail, and office spaces.

Avenier and Cornejo said that a brick facade was also desired for its durability and symbolism. The Kolumba brick— wrapping the building’s entire facade apart from windows—was chosen to “give the facility and its users a sense of nobility and dignity, doing away with negative preconceptions about care homes,” said Avenier and Cornejo.

CO redesigned some interior spaces, with the most sig nificant intervention happening on the ground floor. Workers sandblasted the exposed concrete frame, refurbished the exterior terrazzo flooring on the ground level, and painted the “character-defining” cement-plaster banding. CO designed a heightened lobby to rise the full two stories of the hall’s arcade, “creating a new presence for the building,” White told AN Working with historical consultants Page & Turnbull, CO de termined that heavy-duty external bracing and framing would have been the most cost-effective solution for seismic-proof ing the building but would have ruined much of the 1967 design. Ultimately, two-story dampers were installed on each exterior corner of the arcade, and at the perimeter of the core on the upper floors, reinforcing the building while retaining the primary features of Williams’ modernist design.

Avenier Cornejo’s expansion of the Sara Weill-Raynal Nursing Home in Paris expands the facility and wraps it in a new Kolum ba brick facade. Avenier Cornejo principals Christelle Avenier and Miguel Cornejo told AN the reuse design intended to “es tablish a sense of programmatic coherence and urban legibility.”

CHARLY BROYEZ

MIGUEL DE GUZMAN @ IMAGEN SUBLIMINAL

Above, from top: The brick was chosen for its length, durability, and color; the facility includes an accessible backyard garden.

KIM RODGERS KIM RODGERS

After a 12-year-long process, Scalar Architects’ renovation of 202 East 29th Street in Manhattan recently wrapped up, revealing a triangular composite metal facade that updates a building from 1915. Home to The Nuthouse—a famed hardware store in Kips Bay—the original brick and cast-iron building had fallen into disrepair. Working with the client, who wanted “more local control to experiment with construction materials and techniques,” according to Principal Julio Salcedo, Scalar Archi tecture sought to establish a geometrically unique facade. Moving away from an initial all-glass proposal, Scalar’s design sought to bring in sunlight without constructing a wholly glazed facade.AsSalcedo explained, “the facade orientation facing north-northeast along its commercial use were key determi nants in the design impetus to facilitate oblique relationships to the street and solar azimuth.” The design took inspiration from “Manhattanhenge,” a biannual occurance in which the rising and setting sun aligns with the island’s east-west streets. Although the design inspiration was clear, challenges came in designing an envelope around the building’s original cast-iron columns. The design team started with a fiberglass substruc ture, which significantly limited thermal bridging and could be attached to cast iron with mechanical fasteners. This structure was filled with dense insulation and holds the PVC multiglazed wall of operable windows.

The design team sought to retain as much of the remaining structure as possible for both financial and environmental rea sons. Keeping the original shell and foundation of the building allowed the team to not only retain the original size—save for the expansion on the two uppermost floors—but to “recycle its structural skeleton,” paying off considerably in carbon costs. The design team further ensured that with the new facade, living spaces would be exposed to ample daylight, but that shading capabilities would allow residents control over their privacy.

Sara Weill-Raynal Nursing Home Avenier Cornejo

Workers repainted the structural concrete in a white-ish, sandstone color chosen to reflect surrounding campus build ings, painted the cement-plaster headers in a lighter shade in order for them to remain legible, and painted cement-plaster infills with a high-sheen dark gray in order to “help unify the fa cade … simulating the reading of a window,” said Phillip White, associate principal at CO.

202 East 29th Street Scalar Architects

CHARLY BROYEZ

Above, from top: The facade seen from the street; the triangular, panelized facade contains both fixed and operable windows.

5 Fall 2022

Pritzker Hall CO Architects

In selecting panels, the team had to be careful to choose a product that would not be too heavy to attach to the cast iron and brick. This excluded many molded fiberglass and concrete fiber panels, leading Scalar to choose lightweight composite metal panels which were fabricated locally and were primarily made from recycled material. Chris Walton

While many reuse projects are focused on expansions and programmatic conversions, CO Architects’ refresh of Paul Revere Williams’s Pritzker Hall at UCLA reminds us of the reuse potential when aging projects are structurally insufficient. While receiving more aesthetic touch-ups, and a new podium, crucially, the tower was seismically deficient. Upon discovering this, UCLA chose to renovate the building under the condition that the intent of Williams’s 1960s design was maintained.

MIGUEL DE GUZMAN @ IMAGEN SUBLIMINAL

Above, from top: The seismic bracing is visible from the plaza; the window recess is painted in a darker color to highlight its frame.

While renovations were spurred by the necessity to upgrade ex isting living facilities, the architects took it as an opportunity to expand the building, adding 4,950 square feet on the recessed upper two floors without expanding the building’s footprint.

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Facades

SETH POWERS PHOTOGRAPHY 7 Fall 2022

From our first event in New York City, Facades+ has grown to host conferences in nearly 20 cities across the country. Architectural solutions, especially those related to energy perfor mance, are regional by neces sity. In extending Facades+ to include more cities, we always partner with local practices to discuss significant local projects in ways that are meaningful for that location. Each event includes a symposium with keynote speakers and panels, in which projects are shared; an exposition, in which manufacturers exhibit their products and systems; and a series of workshops in which designers learn about the latest tools and strategies for improving performance and design quality. Facades+ is also committed to providing continuing education to architects and offers AIA credits to attendees.

As we celebrate this ten-year anniversary, it’s clear that Facades+ is as relevant as ever. Over the past decade, the reality and severity of climate change have only become more and more apparent and the need to leverage technology to safeguard against further destruction has become all the more urgent. For architects and other building designers wishing to move the needle of the built environment in the direction of ecological responsibility, there’s no better way to be fueled with inspiration and armed with the latest advances in design and technology than by attending Facades+. Chances are, we’ll be appearing in your city soon.

There are many more! To all of the facades tribe—all the sponsors and attendees who have joined us throughout the years—thank you. We hope Facades+ has elevated your knowledge as the industry continues to evolve.

10 The Architect’s Newspaper

In 2012, AN launched the first Facades+ event based upon a simple but incontrovertible observation: Buildings account for 40 percent of global carbon emissions, and one of the best ways to mitigate that impact is through boosting the energy performance of facades. We surveyed the field only to find that there were no conferences focused on improving facade performance with the aid of emerging parametric software or computer-assisted fabrication techniques. And so we created Facades+ (the plus signaling the tie to technological innovation), with the mission of bringing together leading architects, engineers, facade consultants, contractors, and manufacturers—the whole circle of the world of facades— to share information and forge connections leading to the next generation of high-performance building enclosures.

Facade Tectonics and facade contractor Enclos were an integral part in the early days of getting the conference up and running on the right track. Gary Higbee of the Steel Institute of New York was our first sponsor and really got the ball rolling. Edward Peck has been a supporter for the past ten years and hasn’t missed an event. Heath May of HKS has offered consistent support. Jason Kelly Johnson helped us kick off our West Coast events. Our friends at TEX-FAB— Andrew Vrana, Kevin McClellan, Kory Bieg, and Brad Bell—have kept us in the know about the latest in digital fabrication. Jeff Haber of W&W Glass has always lent us his ear and his advice. William Kreysler of Kreysler & Associates has taught us all about composites. Erik Verboon of Walter P Moore and Ronnie Parsons of Mode Lab have helped keep us on the cutting edge of developments in engineering and computational design and manufacturing (also, thanks, Erik, for all the great cocktail parties). And certainly we have to thank our premium sponsors, YKK AP and Vitro, which have bestowed their support and contrib uted know-how to our learning environment.

Celebrating a decade of presenting the AEC industry’s leading conference on building enclosure design and fabrication

8 Feature

Facades+ at Ten

Of course, we haven’t done it all on our own. In addition to our local partners, throughout the history of Facades+ we’ve teamed up with industry stakeholders and innovators leading the development of ever-more-efficient facade design and fabrication processes. We’d like to take this opportunity to acknowledge them and express our deep gratitude: Mic Patterson of

Since 2012, AN Media has hosted the Facades+ conference series, whose aim is to highlight the state of the art in building enclosure design and technology. Certain facade techniques and assemblies have predominated during this period. Many were necessitated by evolving climate standards and an awareness of the impact of buildings on carbon emissions. Others emerged from new economies of scale or more effective computational tools permeating the field. All display certain aesthetic affinities, pointing both to architecture’s past (e.g., stone and terra-cotta) and its future (bird-safe glass). To celebrate Facades+’s anniversary, AN looks back at enclosure trends that defined the past decade.

By Drew

FlintstoneZeibaModern page 11 The Fin-essed Facade page 15 Tinkering with Clinkers page 12 At the Cutting-Edge page 14 Alt-Glass page 13 Not Your Mama’s Terra-Cotta page 16 ALEX FRADKINBRAD FEINKNOPFTIMOTHY SCHENCK COURTESY STUDIO ANNE HOLTROP VIVEK EADARA IWAN BAAN The Architect’s Newspaper

10 FaceFeatureOff

TIMOTHY SOAR

Above: Cast-concrete panels at Studio Anne Holtrop’s 35 Green Corner in Muharraq, Bahrain

Similar to 35 Green Corner, Foster + Part ners’ Narbo Via Archaeology Museum (2021) in Narbonne, France, balances earthy grit and glassy sophistication. The building features warm-colored concrete walls striated as if

Though offset from the building’s envelope, the limestone lattice remains integral to its performance; Taha claimed that it led to a reduction in embodied carbon by as much as 90 percent, as compared with typical concrete

COURTESY STUDIO ANNE HOLTROP

Far left: The clay-hued walls of Foster + Partners’ Narbo Via museum in Narbonne, France

FlintstoneFeature Modern

Top left: Amin Taha’s 15 Clerkenwell Close in London

Bahrain- and Amsterdam-based firm Studio Anne Holtrop has also exhibited a Neolithic bent, with buildings that are primitive and sleek at the same time. One of the office’s most recent projects, 35 Green Corner in Muharraq (2020), uses on-site sand-cast concrete panels indented with impressions of the surrounding landscape; this textural relief continues inside the narrow art storage space. Holtrop has said that he has “a strong wish to work directly with material and the way I can form it,” which can also be seen in the sand

Take Amin Taha’s 15 Clerkenwell Close in central London, completed in 2018. The apartment building overlays its glass curtain wall with uneven limestone and load-bearing masonry. Taha left the edges of the stone rough and preserved the scoring that indexed quarry cuts and stoneworkers’ treatments.

NIGEL YOUNG/COURTESY FOSTER + PARTNERS Fall 2022

Against a high-tech culture of the smooth and unspecific, some architects turned to more textured, archaic forms and materials.

blasted forms of his Cutting and Casting (2018) exhibition and his runway and retail designs for Maison Martin Margiela.

excavated from an ancient site. To achieve this dig-site look, Foster + Partners used local aggregates in different compositions, which resulted in a reddish clay hue. Insulat ing rammed-earth composites from Sirewall yielded a coarse texture while also upping the building’s thermal performance.

COURTESY STUDIO ANNE HOLTROP

and steel frames. Critically hailed, the project was unpopular with neighbors, who unsuc cessfully sued to have it dismantled.

Left: The exposed concrete panels inside 35 Green Corner

TinkeringFeaturewith Clinkers

Left: Brick corbeling at the Sienna apartment complex in Hyderabad, India

JAMES EWING

bespoke Danish brickmaker Petersen Tegl to arrange the 600,000 hand-fired and -laid clinkers that make up the facade; extruded modules at the corners add a spiny texture. Downtown in the West Village, David Chipper field Architects’ Jane Street apartment build ing (2021) toys with neighbors, placing thin artisanal redbrick atop chunky, custom-red concrete lintels. Across the East River, at SO–IL’s recently opened Amant Art Campus in Brooklyn, white cement bricks are wielded in uncanny ways.

The windswept look has proved incredibly popular, with differences largely coming down to color and technique. In Sydney, the con torting facade of a 13,000-square-foot gallery (2019) by John Wardle Architects and Durbach Block Jaggers (literally) leaves an impression; the design team applied all sorts of tapers and cambers to get the gray, handmade bricks to cooperate. A project in Hyderabad, India, by Sameep Padora and Associates (also 2019)

Brick is millennia old, but it achieved ubiquity only in the mid-19th century, when artisanal firing methods gave way to industrial manu facturing. The same standardization guided the material’s use in building design, where it was laid out in prescribed bond patterns. But thanks to new construction and computational techniques, brick has taken on renewed life.

RAFAEL GAMO

Top left: David Chipperfield Architects’ 11-19 Jane Street Apartments in New York

In London, Bureau de Change’s five-story Interlock apartment building (2019) illustrates this evolution nicely. The outermost edge of the facade is set flush with that of its neighbor, whose sandy-colored bricks are arranged in a running bond. But then things start to happen: The Interlock’s blue-clay bricks appear to ro

Far left: The flared corners of the DDG- and HTO Architect–designed 180 East 88th Street in New York

VIVEK EADARAWILL FEMIA

Above: Overlapping bricks at the SO—IL-designed Amant Art Campus in New York

tate like the teeth of a gear, as if the apartment face received an electric jolt. Using computa tional modeling, Bureau de Change generated 44 unique, interlocking brick types to achieve the rippling effect.

New York is replete with revisionist takes on classic masonry. Apart from its height, a 50-story residential tower on the Upper East Side (2021) stands out thanks to an almost fetishistic flourish. Design architect DDG and architect of record HTO Architect worked with

riffed on a similar motif, only here the corbeled redbrick bulges around windows for added protection from the hot sun. Stateside, for a northern Illinois residence (2018) Brooks + Scarpa and Studio Dwell created a 28-foot-tall twisting screen wall using a relatively simple method: They threaded reclaimed Chicago bricks onto steel rods following a computergenerated pattern.

The Architect’s Newspaper

ethylene, isn’t glass but is increasingly being used in place of it. At the Illinois Institute of Technology in Chicago, John Ronan Architects designed an ETFE cushion envelope for the school’s innovation center (2018); the milky white facade was the perfect foil for Mies van der Rohe’s moody Crown Hall next door. When Diller Scofidio + Renfro looked to shed weight from the Shed in New York (2019), the firm reached for ETFE, which presented a far lighter alternative to glazing.

IWAN BAAN

Forbuilding.thenet-zero ArtLab (2020) on Har vard’s Cambridge, Massachusetts, campus, the Berlin-based design office Barkow Leibin ger worked with Sasaki to create high-perfor mance polycarbonate rainscreens. Common in European construction, polycarbonate offers a ghostly, but also cool, aesthetic that

At the Le Monde headquarters in Paris (2020), Snøhetta improved on a pixelated ap proach to glass facades that French architect Jean Nouvel had tested out at a Chelsea, New

should be exploited more stateside. Steven Holl Architects has found great success with translucent glass in numerous projects, particularly those in hotter, sunnier climes. The firm’s design for the Nancy and Rich Kinder Building (2020) at the Museum of Fine Arts, Houston, combats heat gain and glare through a bundle of semiopaque, custom laminat ed-and-acid-etched glass tubes. Holl wittily refers to the tubular screen as a “cold jacket.”

Left: The tubular facade of the Nancy and Rich Kinder Building at the Museum of Fine Arts, Houston, by Steven Holl Architects COURTESY STEVEN HOLL ARCHITECTS

JARED CHULSKI

Alt-GlassFeature

The Toronto-based architectural collective PARTISANS reached for a similar metaphor—a “building raincoat”—when it debuted a proto type for a deployable arrangement of ETFE in 2019. Of course, ETFE, or ethylene tetrafluoro

Top left: The Snøhetta-de signed Le Monde headquar ters in Paris

Far left: Barkow Leibinger and Sasaki’s milky facade for the ArtLab in Cambridge, Massa chusetts

York, condo tower (2010). In Paris, Snøhetta reduced the envelope to a thin assembly of patterned and printed glass titles—20,000 in all—strung together with bent clips. Though the pixel metaphor embraced by the archi tects is by now old hat, the rainscreen seam lessly mapped onto the curvilinear form of the base

Fall 2022

Above: The Shed in New York was designed by Diller, Scofi dio + Renfro

IWAN BAAN

Almost as soon as it appeared at mid-century, transparent insulated glass revolutionized building design. Transformative though it was, it had its downsides—energetically taxing, the material became a death trap for birds in urban settings—which we’re only coming to full grips with today. As a result, architects began in the past decade to play with translucency and opacity, opting for printed and bird-safe glass, as well as silicas, polycarbonate, and ETFE, over traditional glazing.

LIANG XUE ADAM MØRK/COURTESY 3XN

The Architect’s Newspaper

TIMOTHY SCHENCK

14 Feature

Hundred residential tower (2020) in St. Louis, they interspersed low-E glazing with anodized aluminum panels across tiered floors. The tower’s fluted footprint multiplied the number of glazed corner units, which gave the unitized curtain wall a particularly sharp character.

If glass seems outré to some, the material is hardly on the outs. In fact, architects have rethought applications and assemblies for glass with an eye toward combating its environ mental defects. Their cutting-edge solutions have aimed at the same goal: transforming the building envelope from a plane to a three-di mensional field, with plenty of shadow-creating folds, edges, and soffits.

But faceting isn’t only for glass. At the University of Cincinnati’s Gardner Neurosci ence Institute (2019), Perkins&Will worked with Structurflex to devise a tensile polyester mesh that pulls away from a curtain wall. Saw toothed in profile, the screen minimizes glare and solar load, while also obviating the need for internal shades.

In Guangzhou, Zaha Hadid Architects’ (ZHA) design for the headquarters of Infinitus China (2021) sums up the faceted fetish of the 2010s, made possible by parametric modeling software. Over the years, the firm has courted complexity with every one of its projects, and things were no different at Infinitus Plaza.

Bottom, middle: 3XN’s cube berlin

Left: A carved-out corner of Studio Gang’s 40 Tenth Avenue in Manhattan

MARK HERBOTH

TOM HARRIS

Bottom, far left: The diamondsharp facade of the Zaha Hadid Guangzhou,InfinitusArchitects–designedPlazacomplexinChina

angles. While typical double skins often require maintenance, the pressurized, closed cavity SOM developed for JTI prevents condensation and dust capture and minimizes air leakage.

Above: The Studio Gang–designed One Hundred residential tower in St. Louis

Formally, these facades approximate the appearance of diamond facets or crystal fractals. A case in point: SOM’s design for the Geneval headquarters of Japan Tobacco International (JTI) Headquarters (2015), whose double-skin facade comprises interwoven tri

At the Cutting-Edge

In New York, the Studio Gang–designed 40 Tenth Avenue (2019) bares its crystalline teeth to passersby on the High Line. Two of the tower’s corners have been abraded into geodelike arrangements of diamond-shaped glass panels (12 types in all); the complex massing allows for afternoon sunlight to reach the elevated park directly behind the building. In recent years, Jeanne Gang and her team have applied a similar carving procedure to many of the studio’s glass projects. At the One

Top left: Perkins&Will’s Gardner Neuroscience Institute in Cincinnati, Ohio

ZHA outfitted a double-curved facade with perforated, lozenge-shaped aluminum panels that programmatically pull apart or tighten up where sunlight is least or greatest.

Over in Berlin, Danish firm 3XN worked with facade engineer Drees & Sommer and structur al engineer RSP Remmel + Sattler to scale up the faceted trend for the ten-story cube berlin (2020). Rather than chisel away at the edges of the building mass, 3XN set itself the task of working within a more regulated whole, i.e., a cube. From there, the design team applied a se ries of pinches and tucks, realized through great triangular swaths of solar-control glass that sometimes pull away from the perimeter to cre ate terraces. From afar, the office building looks like a monolithic block, but when viewed closer up, it has a much more dynamic presence.

BRAD FEINKNOPF

Above: Harvard’s Science and Engineering Complex, designed by Behnisch Architekten

Fall 2022

In New York, studio Archi-Tectonics assem bled prefab panels into a trellis to passively shade a Soho townhouse (2020). Principal Winka Dubbeldam refers to the partly operable, mixed-material facade as a “climate skin.” It’s a moniker that could easily apply to all these projects, which no longer parse out the armor from the epidermal layer beneath.

PARK/COURTESY MORPHOSIS

Far left: IwamotoScott’s 3rd Street Garage in San Francisco

Left: Rotating fins at ArchiTectonics’ 512 Greenwich Street townhouse in New York

the 2010s, Morphosis, the experimental Los Angeles architecture studio, invested heavily in this research. For the headquarters of The Kolon Group (2018), a Korean conglomerate and leading textile manufacturer, Morphosis conjured a sunscreen of interlocking, paramet rically designed knots using its client’s own fiber products. (Though pillowy in appearance, the elements have a tensile strength greater than iron.) For a Casablanca, Morocco, office tower (2019), the firm developed a striking, diagonal lattice screen crucial to the project’s LEED Gold certification. But Morphosis upped the ante at its conference center (2021) in Nanjing, China, whose unfathomably complex brise-soleil con tains 90,000 unique metallic panels.

Elsewhere in Southeast Asia, we find maybe the most self-conscious display of the trend. The Museum of Modern Aluminum (2022) in Nonthaburi, Thailand, seems frozen right at the moment of an explosion. Hundreds of aluminum shards—the museum’s namesake material—jut out from all sides of the building to form a dynamic composition. Eschewing a

COURTESY IWAMOTOSCOTT

TheFeatureFin-essed Facade

Meanwhile, the Miller Hull–designed Hans Rosling Center for the University of Washington (2020) deploys angled glass fins to balance daylighting and glare concerns; fixed to a unit ized curtain wall system, the projections appear to wave in the breeze. At Harvard, the LEED Platinum–certified Science and Engineering Complex (2021) sports a high-tech brisesoleil comprising hydroformed stainless-steel elements, a first of its kind. The project was designed by Behnisch Architekten, which made extensive calculations to determine the profile of each of the 14,000 facade panels.

COURTESY ARCHI-TECTONICS

ARCHITECTS

Many buildings today mount giant protective armor on their exteriors, as if they were due to enter battle. All manner of prickly protuberanc es—spikes, fins, radial notches—characterize the Buttrend.there are plenty of chinks in this armor, and intentionally so: These buildings don’t want to battle the sun as much as make a pact with it. Noted for their solar shading abilities, the devices seem especially popular with institutional and educational clients. The facade of Payette’s Interdisciplinary Science and Engineering Complex (2016) at Northeast ern University showcased tightly spaced and angled aluminum panels in a moiré pattern.

Computational modeling is key to the success of all these schemes. Throughout

Top left: The Morphosisdesigned Kolon One & Only Tower in Seoul

computational approach, HAS, the Bangkokand Shanghai-based office behind the design, resorted to analog means such as scale mod els and 1:1 Returningmockups.totheStates, San Francisco studio IwamotoScott has finessed facades for that most neglected yet ubiquitous typology: the parking garage. For the 3rd Street Garage (2020) in the Golden City, the firm created a po rous envelope of bent, petal-shaped aluminum panels, arranged vertically in the manner of a DNA coil. The project builds on an earlier 2015 garage commission at the Miami Design Dis trict, where IwamotoScott fashioned a delicate folded screen from staggered aluminum fins.

JASMINE

Albert Museum a year later. In New York, Sell dorf Architects set off a terra-cotta trend when it wrapped a Soho apartment building (2015) in the stuff, colored a deep russet to match its brick-clad neighbors. Morris Adjmi Architects opted for charcoal porcelain panels for a wedge-shaped mixed-use block (2018) in the NoHo district. The SOM-designed 28&7 res idential development in Chelsea is positively gleaming, thanks to its elegant black, glazed terra-cotta grid.

Not Your Mama’s Terra-Cotta

CHRIS COOPER ALEX FRADKIN

The Architect’s Newspaper

Above: Gleaming black terra-cotta at SOM’s 28&7 in Manhattan

HUFTON+CROW/COURTESY AL_A

On the opposite coast, Kevin Daly Ar chitects developed a composite terra-cotta rainscreen for UCLA’s Herb Alpert School of Music (2015) that helped the building perform

Berke Partners created volumetric “baguettes” that were manufactured by Shildan. A more complex case study is the Health Sciences Innovation Building at the University of Arizona (2019), designed by CO Architects. For the building facade, the firm modeled ten types of terra-cotta, which were used to generate 3,000-plus panels; they add a distinctive texture that recalls adobe construction. SHoP Architects played a similar game at 111 West 57th Street (2022) in Manhattan. The firm developed 13 unique dies that NBK Terracotta used to fabricate the 43,000 glazed panels that snake up the supertall’s facade.

20 percent better than state codes. And in Denver, the Olson Kundig–designed Kirkland Museum of Fine & Decorative Art (2018) of fered another lesson in modifying off-the-shelf components. The firm worked with John Lewis Glass to devise gold leaf–backed glass inserts set between honey- and flaxen-hued glazed ceramic strips, with the result mimicking the mottled color of autumn leaves.

One of the most surprising things about terra-cotta is how readily it lends itself to bespoke shapes and dynamic compositions. The ribbed facade of the Meeting and Guest House at the University of Pennsylvania (2021) sets a baseline; to realize the design, Deborah

Top left: AL_A’s swooping design for the MAAT Museum in Libson

Left: The Olson Kundig–designed Kirkland Museum of Fine & Decorative Art in Denver

The London architecture office AL_A clad the swooping form of Lisbon’s MAAT Museum (2016) with custom glazed porcelain tiles, just as it would for its expansion of the Victoria &

DAVE BURK/COURTESY SOM

16 Features

Terra-cotta, that low-tech-seeming ceramic cladding with ancient roots, has made a huge comeback in recent years. New climate stan dards have bolstered interest in time-tested and more natural materials, with fired clay and glazed porcelain rising to the top. Today, tiles and panels in sizes ranging from a foot to 10 feet are readily available from companies such as Terreal North America, Shildan Group, and Boston Valley, though some architecture firms prefer to come up with their own solutions.

Far left: Deborah Berke Partners’ Meeting and Guest House at the University of Pennsylvania

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Stone fabricator: LSI

the exit of the Joyce Theater and Signature Theater as stakeholders, the commission passed to REX and Davis Brody Bond in 2014.

Facade fabricator: Permasteelisa Gartner

Above: Granoguli’s stone quarry in Portugal

The REX-designed Ronald O. Perelman Performing Arts Center is clad with a stone-glass facade that masks its structural complexity.

Structural engineer: Magnusson Klemencic Associates

shipped to Permasteelisa Gartner’s plant in Gundelfingen, Germany, where they were semiunitized into 5-by-12-foot megapanels, four tiles tall. This size is similar to unitized glass curtain wall panels found on any standard commercial office building, which simplified packaging, shipping, and, ultimately, installation in LowerDrawingManhattan.inspiration from Yale’s Beinecke Library, designed by Gordon Bunshaft in the early 1960s, the PAC facade also glows at night. The stone goes almost to the end of the panel, except for “a small edge sealant to protect the stone from any kind of delamination,” noted Marc Simmons, a partner at Front. This ar rangement “allows the transmitted light to glow around the steel and aluminum [structure], which is a key aesthetic element, as opposed to a huge amount of visual shadowing from the opaque frame.”

When the PAC opens next year, it will add a geologic glow to the galaxy of New York’s cultural destinations. Matthew Marani

18 Case Study

This heroic feat is concealed behind the project’s intensely mesmerizing marble facade. Each elevation is nearly identical and employs both horizontal and vertical symmetry whose center lines define a turbulent zone of densely veined panels. The design of the facade marks yet another partnership between REX and facade consultant Front, continuing a nearly two-decade partnership.

The project was originally awarded to Gehry Partners and Snøhetta in 2004, but following

Facade contractor: Gartner

Sharing a block with One World Trade Cen ter, whose tapered curtain wall quickly became a symbol of 21st-century New York, the PAC sounds a marmoreal, if not funerary, note. Its semitranslucent stone-glass facade, continu ous on all four sides, masks serious structural sorcery under a veil of purist simplicity.

The 90,000-square-foot complex is named for philanthropist Ronald O. Perelman, who donated $75 million to the cause in 2016. Building works, led by Sciame Construction, commenced in 2019 and are expected to wrap in 2023.

Once quarried, the marble was processed by Portuguese stone fabricator LSI. Then the nearly 5,000 5-by-3-foot marble tiles, each 12 millimeters thick, were shipped to France by AGC; the individual pieces were triple-laminat ed on their exterior faces, double-laminated on their interior faces, and treated with a low-e coating. Their trek continued to Germany, where fabricator Interpane placed them within insulated glazed units. Then the panels were

The lively marble array, set between layers of glass, “exceeded our wildest dreams,” said Prince-Ramus, who recently presented the project at AN’s Facades+ New York confer ence. Achieving the facade patterning is noth ing short of miraculous, considering the great lengths that the stone had to journey, beginning at a mountainside quarry in Estremoz, Portugal.

For REX’s founding principal, Joshua Prince-Ramus, the most important aspect of the PAC’s design “was to create a concept that was simultaneously respectful yet managed to have an important identity that conveyed the building as the object signifying the restor ative powers of art.” He noted that the scheme needed to be conscious of its context and possess a certain sober deference.

recalled. The team “had to reverse-engineer the building and develop a concept that started with the foundation,” which “evolved into a system to engage all of the points that support a building. Basically, it’s a three-dimensional vertical truss system that takes all the loads to those seven points of support.” (The structure also incorporates base isolators to dampen the rumble of public transit below so as not to ruin performances above.)

Marble Beacon

Design architect: REX Executive architect: Davis Brody Bond Location: New York

Construction manager: Sciame

The Architect’s Newspaper

Jay Taylor, senior principal at MKA, ex plained what this process entailed. “We were provided a spreadsheet that listed the load capacity at every one of those points, so we generated what we called the “red dot diagram” to illustrate what was going on below grade,” he

The PAC rises from a highly complex site in New York. It is, in effect, the tip of the prover bial iceberg for approximately four stories of subterranean operational space belonging to the Port Authority, which include a PATH rail line and truck loading bays. This sunken infrastruc tural knot ruled out a conventional foundation. Instead, the design team, in collaboration with structural engineer Magnusson Klemencic Associates (MKA), was handed a predeter mined foundation system by the Port Authority that dictated seven load paths to the concrete structure below—all of which are located out side the building footprint.

IGU fabricator: Interpane

That same attention to detail is applied to the programming and layout of the PAC’s three auditoriums. But this count is misleading, Prince-Ramus said; in fact, the PAC has “three primal configurations that can be conjoined into 22 different configurations.” Similarly, the circulation is flexible, so “any portion of it can be defined as front of house or back of house. You can share the Wagnerian experience where the public circulates around an auditorium, or you can stage an intermission zone between different auditoriums in simultaneous use.”

Left: Installing the east facade's bookmatched marble panels

More than two decades after the terrorist attacks of September 11, the reconstruction of the World Trade Center complex remains a work in progress. The effort mixes the politics of collective trauma and memory with struc tural and infrastructural complexity, plus the interests of real estate developers. Dozens of master plans and architectural schemes have been pitched and shelved over the years. Today, the area is home to both memorials and shimmering corporate edifices. The Ronald O. Perelman Performing Arts Center (PAC), designed by New York–based architecture firm REX with executive architect Davis Brody Bond, is a crucial addition.

Glass fabricator: AGC

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of 19th-century architecture was surface-level. That’s not a criticism. The facades of these buildings—whether in New York, St. Louis, or elsewhere—were intricate tapestries of ceramic tile, carvings, insignia, and other ornamentation. In recent years, manufacturers have returned to this time-tested material, and architects have begun using terra-cotta in ways more complex than their Victorian counterparts could have ever dreamed of. These products deliver dynamic and durable ceramic options for new projects looking to tie into this long lineage. Sophie Aliece Hollis

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“From the complicated corner-pocketing multi-slide door to the butt-glazed corner units to the sheer size of some of the picture windows, Western Window Systems was able to provide everything we needed for the project.”

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IWAN BAAN 27 Fall 2022

Above: The operable screens cast shadows on the eleva tions

Facade consultant: Sottas SA

A dormitory in Switzerland by Kengo Kuma & Associates threads a public pathway across its gridded facade of operable windows and shutters.

MEP: Weinmann.Energies

Featuring a stepped promenade that cuts through an otherwise uniform grid of op erable screened windows, Kengo Kuma & Associates’ (KKAA) residences for students at the Graduate Institute of International and Development Studies in Geneva challenges the separation of public and private spac es of a traditional dormitory. Rather than reserving the ground floor for public spaces and sequestering student rooms on upper floors, the promenade of this approximate ly 330,000-square-foot building allows for shared access up through the building to its rooftop via a common circulation route.

The campus’s buildings are outfitted with folding metal mesh shutters

the large expanses of its operable facade. Each apartment has two windows covered by four foldable metal mesh screens, “conceived to be coherent at all scales,” Villar Ruiz said. Stu dents can open windows for air circulation and, separately, adjust the outer screen for shading.

IWAN BAAN IWAN BAAN

Location: Geneva

Structure: 2M Ingénierie Civile SA

Left: The architects specified triple glazing for thermal insu lation and sonic isolation

Project management: IHEID The Graduate Institute

Electricity: SRG Engineering–Scherler SA

The finalization of the modules late in the design process was possible only because of the uniformity of modules across most of the facade. After fabrication, installation was com pleted quickly. The modules contained three parts: wall with insulation, glazing elements, and operable metal screen shutters. Wall installation was “straightforward,” according to Villar Ruiz, though finding a glazing manufac turer posed challenges. It was not easy to find a fabricator that would meet the specification for a fixed bottom portion, allowing “clean” views when seated, and the operable upper portion without further division in the grid de sign. Furthermore, the off-size width and the weight of both the triple glazing and shutters complicated the hinging mechanisms that enable operability. Still, a solution was found, and the project benefits from the architects’ dedication to the rigorous expression of this operable facade. Chris

After constructing a series of partial mock-ups, a final full mock-up of one module, about 9 feet wide and almost 11 feet high, was fabricated, tested, and adjusted accordingly.

28 Case Study

To keep the promenade open across floors, KKAA’s design team worked with the project’s engineers to keep the space free from structur al and mechanical elements. The floors above the open promenade cantilever overhead for nearly ten feet in most locations; the longest span is about 17 feet. This posed a structural challenge, but because the apartments were realized in a modular assembly, the shared walls were used as “wall beams” to support the cantilevers, Villar Ruiz told AN. Showers and re strooms were placed in the back of apartments to keep the promenade free of mechanical, electrical, and plumbing elements.

described the intended effect as creating a sense of community for students who arrive from around the world to study in Geneva. In particular, the design avoids circulation that is overly reliant on elevators. By providing public access through this single route, the promenade brings visitors, workers, and other members of the public through the dormitory in the same way that students enter and exit the building, breaking the isolation that many dormitories and campuses have from their surrounding communities.

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The 700 student apartments, each just over 9 feet wide, follow a strict grid. From the exteri or, the building’s surfaces are defined by

IWAN BAAN IWAN BAAN

Architect: Kengo Kuma & Associates

Local architect: CCHE

Contractor: Complex Bau

KKAA partner in charge Javier Villar Ruiz

Above,Waltonleft:

Lighting design: Light IQ

Open, Closed, and In-Between

The design team initially wanted to shift the screens' permeability across the facade according to solar radiation analysis, but this was not permitted by Swiss regulations. Villar Ruiz cited the uniformity of the elevations as being crucial in the goal of inviting the public up to the roof. The pattern of open and closed shutters varies with the seasons and the time of day, creating a shifting expression of collective student life. Villar Ruiz described this effect as “crisp, clear, and Cartesian” in the morning, with “ever-changing” shadows emerging throughout the day as students adjust their Conversationswindows. about whether to make the windows motorized or manually operable went on for months. After the client, KKAA, and local architects CCHE visited several sites to inspect options, a manually operable window manufac tured locally by Sottas was selected. Material decisions were also not finalized until later in the design process, as aesthetic desires were complicated by national energy regulations.

Landscape: EMF Paisatge

Far left: The retracted metal shutters seen from a shared study room

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and graphic patterns. Yet, as capably realized as these open offices are, they can’t match the punchy sensibility of the auxiliary spaces.

Aligned north to south along 3rd Street, the buildings are grouped in pairs and separated by a cross street. Buildings 1 and 2, designed by SHoP Architects, are glazed blocks connect ed by crisscrossing pedestrian bridges and feature accordion windows that, when opened, lend the envelope a prismatic shimmer.

ERIC LAIGNEL

Graphics: THERE

Interiors: Huntsman Architectural Group

Uber’s Mission Bay campus opened last year, but the buildings remain at partial capac ity. Nevertheless, Woolf attests to a change in the company culture; evidently, many of the staffers in Buildings 3 and 4 are spending a lot of time on the terraces, which are planted with berms to block the city’s consistent wind. The outdoor space “shows some forethought on Uber’s part,” she said. “The terrace and the social areas not only are COVID ready, but they also make the office a much more spatially interesting place to be. Everything is geared toward staff.” Samuel Medina

Art: Keehn On Art

In its new headquarters in San Francisco’s Mission Bay district, Uber focuses on the needs of its employees.

ERIC LAIGNEL

also helps connect with what’s happening in the SHoP buildings.”

Clockwise from top left: Reception coffee bar; reception seating from Carl Hansen and Skag erak, among others; custom-commissioned art by Leah Rosenberg; the Wellness Suite; bleachers areas with programmable TLS Lu micloud Bespoke Vega ceiling; a threaded art work by Nike Schroeder that spans two floors

Architect: Perkins&Will

Structural engineer: Thornton Tomasetti

Woodwork: Montbleau

Turning Inward

In early March, Super Pumped: The Battle for Uber, a dramatization of the start-up’s disgraced disrupter-in-chief Travis Kalanick, premiered on Showtime. The series’ flashy set pieces have their basis in news reports about the toxic work environment Kalanick and his close associates oversaw at Uber’s Market Street campus. Under pressure from investors, he stepped down as CEO in 2017, and executive team members quickly set about repairing the company’s image.

The push started with its own offices. Looking for a fresh start, Uber acquired four semi-adjacent lots in the Mission Bay district and tapped the local office of architecture and interiors firm Huntsman to develop a unifying master plan. “When we got involved, they were in a real transition,” Alison Woolf, associate principal at Huntsman, told AN . “They were looking to emphasize their employees and the connectivity between them.”

Location: San Francisco

In section, the 11-story structures appear to devote as much real estate (584,000 square feet in total) to work as they do to nonwork activities. According to Woolf, there are close to 30 break rooms across the buildings, each one outfitted with a different decora tive scheme. Numerous cafes and snacking stations supplement a full-service cafeteria and a food pop-up program. Wood-paneled bleachers offer a natural point for assembly and socializing, while lounges double as spaces for self-directed work. Employees are given laptops, allowing them to stretch their legs and float from home base to the top-floor “chill space” or seventh-floor library, with pit stops at juice or coffee bars on the way.

Smart material choices, artworks, and eclectic touches (a dichroic glass ceiling and a programmable “sky”-light from TLS) identify each of these programs, which often span multiple stories. “We created as many punchthroughs as we could, which create openings for staircases and the bleachers, as well as art pieces and reception desks,” said Woolf. “It

Uber Headquarters, Mission Bay Buildings 3 and 4

General contractor: DPR Construction

MEP engineer and lighting: AlfaTech

ERIC LAIGNEL

Furniture dealer: Two Furnish

Landscape: SWA Group

Sustainability: Stok, SSR

ERIC LAIGNEL

The Architect’s Newspaper

38 Case Study

Acoustics: Salter

ERIC LAIGNEL

By contrast, Buildings 3 and 4, which share a plaza with Chase Center, home of the Golden State Warriors, are more traditional develop er fare. What’s notable about the pair is the wealth of densely woven programs, ranging from retail and care rooms to a yoga studio and outdoor terraces, that characterize their interi ors. Floor plates are broken up into “neighbor hoods” populated by various Uber teams; they are identified by proprietary color schemes

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Thanks to the partnership of the Public Art Fund and Empire State Development, Moynihan Train Hall is replete with artworks created by some of the most renowned artists working today. Among these, the remarkable Penn Station’s Half-Century series by Stan Douglas, which spans more than 80-feet of glass wall and was inspired by historical moments that occurred within the original station. GGI was honored to play a role in bringing this series to life. OF INGENUITY

A CELEBRATION

Penn Station’s Half Century By Stan CommissionedDouglasby Empire State Development in partnership with Public Art Fund for Moynihan Train Hall ©Stan Douglas. Courtesy of the artist, Victoria Miro and David Photo:Zwirner.Nicholas Knight, courtesy Empire State Development and Public Art Fund, NY

Glass MICHAEL GRIMM PHOTOGRAPHY 41 Fall 2022

Bottom: The intensity of the reflections is paired with smooth, rounded elements in the support spaces.

COURTESY SNØHETTA

MICHAEL GRIMM PHOTOGRAPHY

Located at the top of a new office tower adjacent to Grand Central Terminal in Midtown Manhattan, SUMMIT One Vanderbilt provides an array of attractions beyond “just” a pan oramic view. The four-story complex hosts four experiences: Air , an art experience created by artist Kenzo Digital; Levitation, two glass ledges above Madison Avenue; Ascent, a pair of exterior glass elevators; and Après, a foodand-drink concept with an outdoor terrace. Throughout, glass plays an essential role in both opening a transparent portal to the city and, at times, mirroring an interior into an infinite regression of reflections. Anne-Rachel Schiffmann, director and senior architect at Snøhetta, told AN that “glass and mirrors [are] elements that shape the visitor’s perception of the interior spaces” while also maintain ing visual connections, forming hand- and guardrails, and framing the overall perimeter of the tower. “In short,” she said, “glass makes SUMMIT One Vanderbilt possible.”

has two distinct settings: day and night. To pull all this off, Schiffmann explained, “having an integrated and multidisciplinary team of designers, architects, landscape architects, technicians, artists, retail and food and bever age consultants, glass fabricators, and build ers come together was necessary to achieve a seamlessSubsequentexperience.”galleries within Air showcase art by others (including Clouds , by Yayoi Kusa ma) before routing guests through a gift shop and depositing them in the upper-level eatery. Even there (and in the colorful restrooms), Snøhetta took a careful and integrated approach to lighting and materials. With the lounge’s wooden seating, the experience is meant to be totalizing—like the galleries, but instead “you are brought into something cozy and warm rather than into a somewhat existential mirrored infinity space,” Schiff mann said. “Here, you can envision yourself on a mountain summit, curled up around a fireplace, contemplating the view.”

Within One Vanderbilt, Snøhetta realizes SUMMIT, an immersive attraction which includes Air, an art experience by Kenzo Digital.

Acoustic consultant: Cerami & Associates

The journey to SUMMIT begins under ground before depositing viewers atop a skyscraper. Kenzo Digital shared that “the ele vator ride—both visually and sonically—serves as a palate cleanser and transition from Grand Central.” This movement allows “visitors to rise out of the hustle of trains and city to the elevated, calm transcendence of Air , which restores and reimagines visitors’ connection to both the city and the natural world.”

Collaborating artist/designer: Kenzo Digital Immersive MEP, FP, AV/IT: JB&B (Jaros, Baum & Bolles)

Catherine Chattergoon is a BArch student at the Pratt Institute School of Architecture. In 2021–22, she was one of three New Voices in Architecture Journalism fellows. The pro gram was sponsored by Pratt and AN

Top, right: Within Air , viewers experience the mirrored infinity through floors, ceilings, column claddings, and circular openings.

The Architect’s Newspaper

Signage & wayfinding: Syndicate Sub Rosa, Pentagram

Lighting designer: Arup

Top, left: SUMMIT's four floors, including its colorcoded bathrooms, can be read from the outside of One Vanderbilt.

The first room in Air is large, double-height, and fully mirrored. You probably have seen images of the space via social media. The reflective surfaces curve away, destabilizing one’s sense of floor, wall, and ceiling. Materi ally, it looks effortless, but the effect took the work of a dedicated project team. Kenzo said that once the concept was in place, “every thing—from how the heat from the sun would be managed to the reflective edge details and where to hide sprinklers and speakers in the ceiling—had to be carefully evaluated with that vision in mind.” Snøhetta documented this coordination. Schiffmann said that the firm “put a lot of care and attention into the design of the light fixtures and speaker covers, the mirrored floor grilles for the HVAC, and the access panels for maintenance and care of the mirrored spaces so that these necessary details don’t feel like background noise when you are immersing yourself in the skyline.”

Interior architect/architect of record/ landscape architect: Snøhetta Location: New York City

Base building architect: KPF (Kohn Pedersen Fox)

MICHAEL GRIMM PHOTOGRAPHY

Construction: AECOM Tishman

With daily life slowly returning after the pandemic’s distancing, SUMMIT’s enthusiasm is timely and welcome. New York, as seen from 93 stories up, is a masterpiece, and Air’s immersive experience blurs the distance between viewer and city. Through the power of glass, the room brings the metropolis inside while giving us a chance to see the skyline— and ourselves—in a new light.

42 Case Study

Structural engineer: Severud Associates

Glass manufacturer: Glassbe Mirrors: Mistral

Specialty technology & integration: Tad., Immersive Design Studios

Specialty glass engineer: Eckersley O’Callaghan

Sound design was also important. It “establishes—emotionally and psychological ly—that visitors have entered another realm,” Kenzo said. Additionally, the lighting design

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Fall 2022 Source Material

Articles inside

Case Study: Snøhetta’s SUMMIT One Vanderbilt

Face Off

Case Study: REX’s Ronald O. Perelman Performing Arts Center

Products: Operable Openings, Hardware Acoustic Treatments, Partitions, Shading Solutions

Facades+ at Ten

Case Study: Kengo Kuma & Associates’ Grand Morillon Student Residences