Sunday, 11 May 2014

AE30: Wood Masonry

Back in 2011 I included logs as an installment in the "architectural element" series. In that post I looked at buildings, like Piet Hein Eek's study for Hans Liberg, that turned logs 90 degrees from what we usually think of in terms of log cabins. Therefore the exterior walls were made up of the center cuts of logs rather than their bark exteriors.


[Piet Hein Eek's study for Hans Liberg | Photo by Thomas Mayer]

In that post I also mentioned traditional stovewood (or stackwood or cordwood) buildings, where roughly one-foot-long logs were stacked, and the in-between space filled with lime mortar. The main difference between the study above and the more traditional building on the cover of Cordwood Building: The State of the Art by Rob Roy is the presence of mortar. While the study's logs are held in place in front of the steel frame with glue and copper brackets, the wood and masonry of cordwood buildings act together to create monolithic walls; they may not be structural but they bear their own weight.



The distinction can be seen in two more recent projects, one completed and one under construction.
Bert Haller's Seven Easy uses wood logs in a contemporary vein, as a means of creating an image and texture. This is befitting an interior application, where keeping out water, air and bugs is not necessary. The wood wall seen below separates the dining room from the bathrooms.


[Bert Haller, Seven Easy]

The second project is Studio Gang's Arcus Center for Social Justice Leadership at Kalamazoo College in Michigan, now under construction. The building is a "Y" shape in plan with curved walls spanning between the large apertures that are found at the end of each wing.




[Arcus Center | Renderings from Studio Gang website]

As can be seen in the top rendering, the walls sometimes peel in to allow for access to the building, and in other cases openings are created through slits in the wall (above) or with round openings sized similarly to the logs. The construction photo below reveals how the wood masonry basically functions like a brick wall, sitting in front of a wall that has insulation, waterproofing, and vapor barrier.


[Photo by Mark Bugnaski | MLive.com)

This photo of the construction reveals a lot about how the logs and mortar work together. According to Studio Gang, the "wood masonry [is] a low-carbon, highly insulating building method traditional to the surrounding region, updated by Studio Gang to respond to the needs of a contemporary institutional building for the first time." I'm sure when this building is done, these walls will be much talked-about.


[Photo by Mark Bugnaski | MLive.com)

Friday, 9 May 2014

Today's archidose #754

Here is a smattering of recent additions to the archidose Flickr pool – random except each photo includes one or two people, a rarity these days. Last summer I did a similar sampling with lone figures. Mouseover and/or click on the photos for more information on the project and photographer.

Untitled

IMG_8232

Zaha Hadid architects. Zaragoza bridge pavilion #2
Zaha Hadid architects. Zaragoza bridge pavilion #26
Zaha Hadid architects. Zaragoza bridge pavilion #18

IMG_0009

Operahuset i Oslo

2004-01-02_077

Voliere

LSE Student Centre, London by O'Donnell & Tuomey. 2

And a photo with three people...or is it four?:
Interior

To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose

Thursday, 8 May 2014

U.S.A. ARCHIMACHINE

In what seems like a monthly occurrence, Federico Babina has released another series of architectural illustrations: ARCHIMACHINE. Various countries are represented as "machines" with pipes, gears, and other doo-dads alongside some well-known buildings. Here is the U.S.A. ARCHIMACHINE:



I can't help but take a roll call of the buildings found in the above illustration, moving clockwise from top-left:
  • Solomon R. Guggenheim Museum in New York City by Frank Lloyd Wright
  • Empire State Building in New York City by Shreve, Lamb and Harmon
  • Kimbell Art Museum in Fort Worth, Texas, by Louis I. Kahn
  • SFMOMA in San Francisco, California, by Mario Botta
  • Golden Gate Bridge in San Francisco, California, by Joseph Strauss, Irving Morrow and Charles Ellis
  • Walt Disney Concert Hall in Los Angeles, California, by Frank Gehry
  • Arcosanti in Arizona by Paolo Soleri
  • Chemosphere House in Los Angeles, California, by John Lautner
  • LAX Theme Building in Los Angeles, California, by Pereira and Luckman
  • Case Study House No. 8 in Pacific Palisades, California, by Charles and Ray Eames
What comes to mind from seeing this list? Babina has something for the West Coast, with 7 of the 10 buildings in California, primarily, and Arizona. That leaves 2 in NYC and one in Texas. No Chicago. No Pacific Northwest. No Mies. It's a very West-leaning list that could have been more American with more geographic diversity. It would have been great to see a few of these buildings in place of a few California projects, like Botta's SFMOMA (Really, Federico?):
  • Air Force Academy Chapel in Colorado Springs, Colorado, by SOM
  • Denver International Airport in Denver, Colorado, by Fentress Architects
  • Seattle Public Library in Seattle, Washington, by OMA
  • Thorncrown Chapel in Eureka Springs, Arkansas, by E. Fay Jones
  • John Hancock Tower in Chicago, Illinois, by SOM
  • Seagram Building in New York City by Mies van der Rohe
  • Vietnam Veterans Memorial in Washington, DC, by Maya Lin
  • Gateway Arch in St. Louis, Missouri, by Eero Saarinen

Wednesday, 7 May 2014

Book Review: We Build the City

We Build the City: New York City's Design + Construction Excellence Program edited by Jayne Merkel
ORO Editions, 2013
Paperback, 488 pages



The role of New York City DDC's (Department of Design and Construction) Design + Construction Excellence Program (D+CE) in elevating the quality of architecture in all five boroughs in undeniable. When I pointed out the important factors in shaping NYC architecture in the 21st century in the introduction to my Guide to Contemporary New York City Architecture, D+CE was one of those. By prioritizing excellence in design via a shortlist of architects for projects under $50 million, the city has taken quality architecture – often the purview of parts of Manhattan where the most money is made – and distributed it throughout the city with libraries, firehouses, parks, museums, community centers, and even infrastructure projects.

Stapleton Library
[Stapleton Library in Staten Island, Andrew Berman Architect | All photos from DDC's Flickr page]

This sizable book collects many of the D+CE projects, grouped by typology: Streetscapes + Plazas + Parks + Recreational Facilities, Cultural Facilities, Health + Human Services, Public Safety, and Infrastructure. Understandably, the book is not comprehensive in its presentation of D+CE projects, since that would have required multiple volumes or undeservedly short documentation of each project. While the Ely Avenue Step Street (below) is an example of a project that didn't make it into the book – I'll admit it's not as flashy as other projects in the book, such as the library and fire station pictured here – the selection successfully conveys the different types of projects and the many creative responses by architects in creating public buildings and spaces in the city.

Ely Avenue Step Street
[Ely Avenue Step Street in The Bronx, Mathews Nielsen Landscape Architects]

Each project is discussed with at least two pages, a few photographs or renderings (depending on if the project was completed before the book went to press), the occasional drawing, and some text describing the design and any problems it needed to overcome. The presentations are fairly straightforward, making the book a guide of sorts to what the city has accomplished in the last 15-odd years. The color coding of each chapter gives the whole book a consistent graphic design that also illustrates how the different libraries, police stations and other projects are distributed throughout the city, through their mapping on some mylar sheets at the beginning of the book.

EMS Station 27
[EMS Station 27 in The Bronx, WXY Architecture + Urban Design]

While the book is a much-needed display of how the D+CE has improved architecture in New York City (as much or more than developers hiring big-name architects), its organization and self-referencing could have been improved. The book is missing an index and the table of contents only lists the sections and typologies, not the individual projects. Likewise, the architects' bios at the back of the book do not reference the projects. So the reader who wishes to find a particular project is left to flipping through the book, something that is easier if the typology is known but kind of a pain if not. But probably the best thing the book does is to whet our appetite for the buildings that are in the works, the ones that are represented by renderings and that will someday be realized alongside the other buildings that have, with the D+CE, made New York City's neighborhoods a canvas for contemporary architecture.

Monday, 5 May 2014

Sunday, 4 May 2014

Book Review: The Economy of Sustainable Construction

The Economy of Sustainable Construction edited by Ilka and Andreas Ruby, Nathalie Janson
Ruby Press, 2014
Hardcover, 415 pages


[Images courtesy of Ruby Press]

Any architect striving to design as green a building as possible has certainly run into resistance from a client who asserts that sustainable construction is too expensive and sustainable design is not profitable. These two positions – one in regards to up-front costs and one about post-construction profits – have decreased in validity over time as green building products have become more mainstream, but according to the editors of this book inspired by the Holcim Foundation for Sustainable Construction’s 2013 Forum, "sustainability's greatest obstacle is financial." While situated primarily within a European context, the contributions to The Economy of Sustainable Construction make strong arguments for rethinking these assumptions all over the world.



One of the best recent examples, included in the volume, that addresses both construction costs and profits is Lacaton and Vassal's transformation of the Tour Bois le Prêtre housing block in Paris (spread above). The architects, which have made a career of turning over assumptions about how buildings can be reused and to what extent new buildings must be created, reused an old residential tower, thereby saving demolition costs. After fixing up the existing tower, they added sun rooms to the exterior to expand the area of each apartment and provide an occupied thermal buffer. The extra space made the units more desirable, and the combination of reuse and thermal strategies reduced waste and long-term energy costs. It's no surprise that the project has been lauded considerably, even though its aesthetic architectural merits are subtle.



Lacaton and Vassal's contribution comes in a section of the book on Diversity; other sections include Resources, Density, and Value. These four sections tackle the main thesis of the book by addressing it from different perspectives; one or two even would not be sufficient for convincing developers and others on the client side that sustainable construction should be pursued. Of course, not every consideration can be addressed, but by presenting in-depth research on the replacement of steel reinforcing in concrete with bamboo reinforcing, for example (spread above), the book highlights some of the efforts being taken by academics, architects and manufacturers to reduce our consumption of resources in the construction and use of buildings.



Each of the four sections includes five or six in-depth essays that are followed by a focus on a single architect, including Lacaton and Vassal but also Francis Kéré (spread above), Alejandro Aravena, and David Chipperfield. Interspersed throughout the essays are case studies – "21 examples compiled and illustrated by the architecture practice Something Fantastic of how economy and sustainability go hand in hand." These pieces broaden the details that are presented (be it the energy efficiency of washing machines in Rio, car-sharing in Berlin, or how hot lunches are delivered in Mumbai – spread below), while softening the fairly persistent academic tone throughout. Tying everything together is a subtly good graphic design and page layout that uses different font sizes, page colors and graphics to make the book as enjoyable as it is important.



Friday, 2 May 2014