Peeking into the toolkit of a digital designer you’ll find an unruly mess of apps and code, a reflection of the rapid changes now taking place in the field. From the beginning of the digital boom SOM, the architecture firm, has witnessed this development, not as a mere bystander, but as a creative partner. As early as the 1980s, the firm has been collaborating with digital specialists like IBM; back then, info modeling options were sparse and keeping up-to-date with innovations typically involved updating your AutoCAD. Fast-forward to the present, and the floodgates have been released.

Kids are now writing their own code for school projects and the position of ‘programmer’ in archi-firms has been virtually absorbed by the designers themselves. In essence, the barrier for entry into developer circles is almost zero. SOM, now in collaboration with CASE (a building information modeling consultancy based in New York City), are now faced with the question: “Why are we inventing tools that already exist?”

This collaboration has given birth to a new interface, AEC-APPS, described as “part Wikipedia, part GitHub,” which will create a library of digital tools for both users and makers alike. Additionally, there is also a strong social component that makes it easier to find the perfect tool, and begins to outline the collaborative mentality among the BIM community, much like that of contemporary programmers. Through crowd sourcing from members, users not only stay informed but also feed a community voice that, if loud enough, could sway software vendors to the demand of the users.

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Winning an award should be in and of itself good enough, but the satisfaction of the win inevitably deflates when you’re stuck with a plastic trophy to put on your desk. That was not the case when our Game Changers received their Corian, laser-engraved, geometric trophies by Tietz-Baccon at this year’s Game Changers awards ceremony.

The awards presented at the ceremony were custom designed, assembled, and graciously donated by the digital fabricators, based out of Long Island City. They were laser-carved out of Corian, with the seven sides of each award carved simultaneously. Their heptadronal shape allows for each model to sit on any side. Put together, they create an entirely different symphony of shapes and capture the spirit of our Game Changers.

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The international design competition, sponsored by HP and Microsoft, in partnership with the creative platform Talenthouse, was called the HP/Microsoft Smart Office Challenge. The challenge was nothing less than to design the ultimate office space of the future. No pressure. The only requirement was that the design had to feature existing HP technology.

Our team won both the judges’ and the people’s choice awards. We are MulvannyG2 Architecture and industrial design firm Zac & Co., formed as collaborators on a design called HP MIMIC, a movable workplace that can be customized by touching a screen. With this design, users will be able to transform their offices to match their individual work styles and requirements, in addition to incorporating their company’s culture. Made of rigid aluminum and fully wired, the “plug and play” design features a collapsible system of rotating electrochromatic glass modules, controlled via a HP tablet interface. Last month, a prototype, built by HP, was presented at the Alt Design Summit in Salt Lake City. This animated video, created by MulvannyG2, illustrates the concept.

Here Alan Feltoon and Zachary Feltoon – in real life they’re father and son – discuss their design process for the HP MIMIC, the rapidly expanding role of flexible technology in the workspace, and the importance of design competitions in pushing forward new ideas.

Alan Feltoon: Collaboration can be wonderfully messy, particularly when crossing disciplines, with the potential for creating big ideas and concepts. Our two firms had previously worked together on the Battery Park Conservancy Design Competition, “Draw Up a Chair.” Through that process we realized how well we work together and were eager to do it again. The HP/Microsoft Smart Office Challenge presented an ideal opportunity.

Zachary Feltoon: I found it fascinating how much the language surrounding various types of creative design can differ. At first, it was like having a multilingual charrette. We were using different terms, yet trying to get to the same place. But soon we progressed to conversations that would include all aspects of the user experience while also using other mediums to inform our own work. When you collaborate you open yourself up to new ideas, and in that regard you’re never working solely within your own medium.

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Entrance:  As visitors enter the new Patricia and Phillip Frost Museum of Science, they will be surrounded by lush landscaping that is built into the structure itself. The 250,000 square-foot complex is intended to act as a demonstration of ecological and sustainability principle, with the building harnessing energy from water, sun, wind and even museum visitors to power exhibits and conserve resources.

“There is no Plan B, because there is no Planet B,” said UN secretary-general Ban Ki-Moon at Stanford University earlier this year. In the decades since we first glimpsed Earth suspended in space and seemingly without boundaries, we’ve been learning to become aware of the fragility of life. We now know that the planet can quite happily continue without us. Bacteria and probably cockroaches will survive most disasters, but with a population of 7 billion and growing, it’s not so evident that our species can do the same.

Promenade: The open plaza of the new Patricia and Philip Frost Museum of Science will lead visitors to the Energy Playground and the adjacent Jorge M. Perez Art Museum of Miami-Dade County.

Life depends on energy for every necessary exchange. At each stage of that exchange, some energy is lost as heat or as increased disorder or entropy. Most of this energy comes from the sun. Life depends on how well we manage this exchange.

We live in that very narrow interface where conditions are hospitable to human life and, as the sun slowly runs out of energy; if we waste it, we hasten our demise. Of course, in geological terms, this is a long way off. We can, however, address the issues here and now and see what we can do to make our planet a great place for more of us to live – hence the importance of earth sciences.

Evening signage: At night, the new Museum of Science will be illuminated with various colors of light and signage, reflected on the planetarium and building structure.

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Mineirao sketch by Bruno Campos

Superbowl might attract North America’s largest TV audience, but the biggest sporting event is still World Cup Soccer. Like the Olympics, they happen only every four years, and involve massive logistics. What does this mean to the hosting countries? There’s no time to waste in getting the venues ready. This is just what’s happening in Brazil, the country hosting the 2014 World Cup. An exhibit in New York,  “Brazil + 2014: Sustainable Stadiums,” shows that Brazilians are hard at work to build spectacular buildings that are also sustainable.

Brazil and soccer are inextricably linked. The country can boast of being the home to legendary players and winning an unparalleled five championships. Now it will, once more, try to make history by making 2014 the greenest, most sustainable World Cup ever. To that end, the architects of the stadiums are putting forth their best creative efforts to make their buildings as functional and iconic as they will be eco-friendly.

Mineirao field and bleechers view, rendering courtesy BCMF Arquietos

Scattered throughout the country, in 12 cities, the stadiums are a mixture of new structures and comprehensive renovations of existing ones. One thing connects them all: the push to make sustainability taken to its highest standard, from traffic logistics to the smart use of water. All strive to deliver buildings that are in keeping with the country’s strong architecture heritage. Incidentally, among the well-known projects in the show, the Mineirao Stadium, is a renovation of a stadium adjacent to Oscar Niemeyer’s  early seminal project, the Pampulha Complex in the city of Belo Horizonte.

Mineirao birds-eye view rendering, courtesy BCMF Arquietos

The Mineirao, as it’s known, is a Brutalist structure designed in 1945 by Eduardo Mendes Guimaraes. The building is now protected as a historic landmark, thus its main shell cannot be altered. How, then, to make the massive concrete structure useful beyond the sporting events?

Mineirao plaza rendering, courtesy BCMF Arquietos

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Moving earth is always exciting to watch. For me, it was even more so as I watched them break ground on the Colorado State University Engines and Energy Conversion Laboratory’s (EECL) expansion into the Powerhouse Energy Institute. This development is the latest step in a march of innovative progress that has characterized the lab since it’s beginning in 1992. Three years ago, when I decided to attend CSU for Mechanical Engineering, the lab with its innovative, student-involved research approach played a major role in my choice. Interestingly the EECL was named one of the top 25 ‘Awesome College Labs’ by Popular Science in 2011 – Wow!

The great research environment within the EECL may have pushed me to apply for a position at the lab, but it is the building that has made the lab comfortable and inspirational. The 1936 Art-Deco brick structure with its large, welcoming doors and multitude of windows, combined with the work and people, houses the true spirit of ‘The Engines Lab’ as a location that has served to unite private and university research and development with the goal of innovation to improve human life.

Three years and many great projects later, the power of the building has come to the forefront of the lab with the development of the new Powerhouse Energy Institute. Led by architect Bob Hosanna, the Neenan Company has worked collaboratively with the Powerhouse Energy Institute staff to design a highly sustainable solution for its expansion. The new building is a 65,000 square-foot addition onto the south end of the former Fort Collins power plant in North Old Town Fort Collins.  The new workspace is exciting in itself. But this addition is especially meaningful to the lab as the design (and present construction) has been in complete alignment with the innovative, yet historically respectful tradition of the lab. The current structure is an awesome tribute to the individuals who made the building, Fort Collins, and Colorado so great.  As a result, the design team was inspired to create an addition that complements the building, mimicking the original structure while still making it cutting-edge (LEED Platinum rating is expected).  Fittingly, the facility will be a laboratory for the development of green building technologies.  The vertical-axis wind turbines and a woodchip hopper for a gasifier system will stand where four smokestacks and a coal-hopper once stood, creating a modern study tool for the historic building’s former structures.

1936

2013 Rendering

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Art and architecture thrive on influence, an asset that knows no boundaries, geographic or disciplinary. It is in this spirit that we welcome new voices, perspectives and interpretations.
 National Building Museum and Metropolis Magazine contributor, Andrew Caruso, begins the 2013 run of Inside the Design Mind with an emerging voice: Yang Yongliang.  At only 32, this Chinese born graphic designer-turned digital artist has come of age in one of the most pivotal (and controversial) times in his country’s history. His digital-collage reinterpretations of China’s cities present explorations of the built environment that are simultaneously critical and aspirational, dark and foreboding yet filled with light. Already showing in galleries from Shanghai to Paris, we think he’s one to watch.



Andrew Caruso: What parts of your childhood influenced the way you approach art?


Yang Yongliang: I grew up and learned about art in an old town that had retained its traditional Chinese character. My teacher made oil paintings and he taught me basic exercises in drawing and watercolor. I remember him telling me on his deathbed that he was thinking about painting. His manner and attitude toward art had a far-reaching influence on me and his death had a profound impact. 



AC: You originally studied very traditional forms of art making. Why then did you begin your career with digital media?

YY: My childhood education included traditional paintings and calligraphy and at university I learned graphic design. I began using different software programs and studied photography and shooting techniques. Combining these skills became natural. 



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We had modest goals when we first took on the “ideas competition” to design the office building of the future. All we wanted was to use the tight deadline—the discipline and structure that comes with a competition—to organize our ideas about the future of office buildings. In the beginning we saw this as a way to engage in an internal debate about a myriad of related topics. We began as we always do, asking many questions. This time, though, we went beyond our usual inquiry:  Will there even be office buildings in the future?  How will people want and need to work in an office 15 or 20 years from now?  What impact will technology have on design and engineering?  But we never once asked, “What will it look like?”

As principals, we calculate the risk against the rewards for our architecture practice. Naively, we guessed that this project would involve a few weeks of work for those staff members who weren’t fully employed on other projects. Our economic risk would be minimal. Our reward would be a 10-minute presentation to show our developer clients, inspiring their thinking about office buildings. With no clear vision of what could happen, we nevertheless pushed our team to reach for something beyond what they already knew.  If we were going to enter this competition, then we were in it to win. Go big or go home.

The effect on the office was profound. We took the opportunity to look over the horizon, unfettered by the normal project restrictions and, in the process, energized everyone. Suddenly they all wanted to get involved. We engaged the best engineers to contribute their ideas. We decided to do a video (which we’d never done before).  Most importantly, we would allow ourselves to dream. Suddenly the risk expanded far beyond a monetary risk. Now we were taking an emotional risk as well, pouring our hearts and minds into a collaborative effort and then, perhaps, ending up being disappointed with the outcome. When we announced to the office, over champagne, that we had been named one of four winners nationally, everyone cheered!

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Our introductory Green Team blog addressed a common misconception: There is no space left for new landscapes in New York City, the dense urban expanse that is our home turf. In fact, there are available spaces, but they’re likely to come with some complex problems. Finding ourselves wrestling with small, challenging, and limited spaces, we sometimes take an unexpected approach. We look up!

Our initial site analysis for New York projects—and others—entails, in part, identifying ALL available space than can be improved. Crisp, white walls may be de rigueur for the interior artist, but they are far too banal for a vibrant, metropolitan landscape. By using a site’s vertical surfaces, we can expand the benefits of a project to include increased planting areas, aesthetically appealing live or inanimate screens, thoughtfully designed edge conditions, improved views, reduced cooling requirements for adjacent buildings, and the mitigation of urban heat island effect (UHI), thus furthering the definition of “the space.”

The design of exterior vertical surfaces can take on many forms and configurations including green screens, green walls, cable trellis systems, wall-mounted planters, trellises, and planters housing fastigiate (columnar) species, to name a few. The selection of the proper treatment for these surfaces is based on sun/shade conditions, design intent, the structural capacity of the surface to receive the enhancement, available soil volume for plants, and so on. If we propose a woven wire or cable trellis system, we must consider the method of its attachment to the building’s surface as well as whether the receiving wall or support structure can sustain its weight load in addition to the living, twining plants that will grow over the plane. Some factors that influence plant selection, as well as the ultimate success of the installation, are planters, soil volume, irrigation, and solar orientation.

We work with a wide variety of systems and approaches on vertical landscapes throughout the city. At Spring Street Plaza, a 200-foot-long wall abutting the adjacent building was designed and installed to allow us to use a vertical screen system for vines. This wall provided the structural support for the vegetated system while ensuring that no portion of the work was attached to or interfered with the structure of the neighboring property (our post on property lines talks about the consequences of this). Once installed, the green screen, with its dense vine cover comprising six vine species, provided a sense of enclosure for the plaza, acting as a vegetated backdrop to the small “rooms” of the plaza design. The wire grid also provided structure for the installation of custom light tubes into the screen, creating a playful effect of illuminated planting at night. The 10-foot height of the new wall—a pedestrian scale intervention— also helps deemphasize the presence of the adjacent building.

A view south across one of the seating “rooms” of the plaza showing the vine-covered green screen along the western edge of the site. Photo courtesy Elizabeth Felicella

Light tubes inserted into pockets in the wire grid screen accent the vines and illuminate the site. Photo courtesy Elizabeth Felicella

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In Las Vegas, on February 26, at the Digital Signage Expo (through February 28) everyone will be talking about “New Design Directions: Dynamic Digital Environments.” In a session called “Transforming Architecture & Interiors Into Media-rich Environments,” Jeff Kovel, AIA, principal at Skylab Architecture in Portland, Oregon, will discuss, in some detail, his firm’s experience in building Camp Victory for Nike. From the conversation that follows, it seems that the ways and means of sustainable design are similar to integrating digital media into architecture. Both types of projects are organized around research oriented, multi-skilled teams. In my previous interview with Paul R. Levy, president and CEO of Philadelphia’s Center City, we explored the use of digital media in the large-scale urban environment. Here we dig down into one, very particular building and its media-rich message.

Susan S. Szenasy: As architects working in the physical world of tangible materials and expressions, did you need to make a mind-shift when you took on the Nike Camp Victory project? That project, from where sit, has a sophisticated digital component, way beyond what you’re used in architectural software programs. To begin with, please describe what the assignment was, and what you had to learn immediately upon accepting the commission.

Jeff Kovel: Camp Victory began in research and collaboration; there was no predetermined outcome. This approach of creating a vision, prior to defining a project’s limitations, is a testament to Nike’s commitment to innovation. The project began by meeting Hush, our digital partner, for the first time. Jointly we were briefed on the history of Nike, Eugene (Oregon), and the US Olympic trials. A full day insight into Nike’s upcoming innovations, to be launched at the Olympics, followed. We were some of the first people outside of Nike to see the Olympic Speed Suit and track spike, the Knit footwear, and the efforts being developed around Nike+ (digital). The task at hand was to create a temporary interactive exhibition around these innovations, immersing the viewer in Nike innovation. The limitation was that we could not penetrate or damage the newly laid artificial turf field that was out site.

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