The Poetry Foundation in Chicago is a place that works. “Let me count the ways,” as Elizabeth Barrett Browning has famously said.

The building, designed by John Ronan Architects, opened in June 2011. It’s an optimal environment to celebrate poetry—even on cold, cloudy almost-spring days like the one on which I visited it. Starting with the sidewalk, passersby are intrigued by views into the courtyard and the rest of the building. The very tall zinc wall between the sidewalk and that courtyard, is punctured by thousands of round holes that invite the curious to move in for a closer look, just as if you were to put your eye against a keyhole and see into a room. This “peeking” experience generates pleasant anticipation. Once you enter the courtyard, the wall helps to keep the city hustle-bustle at bay.

Upon entering the building, you pass through a well-ordered and luxuriously planted courtyard. Gazing out at this space from inside helps you restock your mental energy and focus your thoughts. The generous windows facing the courtyard make it hard not to look outside.

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Following our site visit to Via Verde in New York City, we headed west to brisk yet sunny Chicago to Inspiration Kitchens – Garfield Park, submitted by its founder and sponsor, Inspiration Corporation Inc. The restaurant is located four miles west of the Chicago Loop in East Garfield Park, across the street from the 185-acre Garfield Park and one block from the Garfield Park Conservatory. Opened in 2011 the facility, located in one of the city’s most distressed neighborhoods, is a nonprofit, social enterprise that provides healthy, free meals to the working poor as well as workforce training.

The dining room of Inspiration Kitchens - Garfield Park, Chicago.  Photograph: Steve Hall, Hendrich Blessing

The restaurant is close to Garfield Park, Garfield Park Conservatory, and public transit.  Illustration: Wheeler Kearns Architects

View looking past the restaurant toward the loop.  Photograph: Bruner Foundation

Among the smallest of the 2013 Rudy Bruner Award finalists in size, Inspiration Kitchens – Garfield Park, like Congo Street Initiative and Via Verde, is a LEED Gold certified project and shares the intent of encouraging healthier urban living and sustainable development. During our two days on site, we met with Inspiration Corporation staff representatives from the community and city agencies, the design team, and program graduates to learn more about the project. We also sampled the food, enjoying three meals at the restaurant along with other diners. Read more…

From LEED, the Cool Roof Rating Council, the ENERGY STAR program, all the way up to the U.S. Department of Energy, there is widespread belief that white reflective roofing systems, even on buildings in northern cities like New York and Chicago, are more efficient and cost-effective than dark roofing.

Based on studies done at the Lawrence Berkeley Laboratories, for the past 15 years white roofing systems have been the system of choice because it was believed that they also reduce global warming and the “heat island effect,” in which dark-colored building materials raise the ambient temperature in urban areas by a few degrees in summer.

But architects, engineers, building owners, and roof system designers, who were not consulted on the Lawrence Berkeley studies, are finding that reflective membranes are not always a panacea for energy savings. Moreover, a study done at Stanford University, which uses the latest advances in atmospheric computer modeling, shows that white roofs may actually increase, not decrease, the Earth’s temperature. White roof membranes have high reflectivity that directs heat upward into the atmosphere and then mixes with black and brown soot particles, which are thought to contribute to global warming.

Other studies show that white roofs increase average space heating use more than they decrease average air conditioning use in northern climates. Since owners have to spend more money heating their buildings with a white roof, they must consume more natural resources, thus increasing global warming. Read more…

Having followed Robin Guenther’s work for some time, when Fast Company named this FAIA and LEED AP one of “The World’s 100 Most Creative People in Business 2012,” I was delighted, but not surprised. The sustainable healthcare design leader at Perkins + Will is known as a strong and persistent advocate for human- and planetary health. Her crusade to increase her own knowledge about our material world gives her the authority of someone with genuine concern for her fellow creatures and long-term experience in the complex filed of health care design. Her advice to the magazine’s readers about the materials we live with every day, is dramatic in its simplicity:

“If they don’t tell you what’s in it, you probably don’t want what’s in it.”

“Consult your nose—if it stinks, don’t use it.”

“Use carbohydrate-based materials when you can.”

With this in mind, I asked Robin to talk about the Health Products Disclosure (HPD) initiative, and how it may change our material world for the better. Read her realistic, but optimistic observations on everything from HPD’s short and long term influence on the built environment, to the power of the design community in creating positive change in the marketplace, and more.

Susan S. Szenasy:  You have been an eloquent advocate for patients (in fact anyone who works or visits) in the healthcare segment for as long as I can remember. Your ammo has been finding the least toxic, most healthy products available for the interiors you design. In view of your long and inspiring campaign for healthy interiors, what does the formation of HPD signal to you?

Robin Guenther: The HPD represents a major milestone in the advocacy for safer and healthier building materials.  For the first time, we will have access to important, accurate information on the contents of building materials – “a nutrition label,” so to speak, that we can use to inform our specifications. As the HPD information is used to build Pharos, the Healthy Building Network comparative tool, it will accelerate the possibility of independent comparisons of products, another important aspect of this quest. Read more…

In our last post, you met the finalists of the 2013 Rudy Bruner Award, a biennial program that recognizes excellence in urban placemaking. This is the first of our dispatches from the field, as the Bruner Foundation team travels the country to examine the five selected projects. During our intensive, two-to-three-day visits to each site, we’re conducting interviews, taking photographs, and gathering information for our selection committee’s meeting in Oklahoma City this coming May, during which they will select the Gold Medal winner.

Congo Street, Dallas, TX

For our first trip, we headed south late last month, trading cold and snowy Boston for the relative warmth of North Texas to visit Congo Street Initiative in Dallas.

The project is among the smallest of this year’s five finalists. Located along a reconstructed block-long street in the East Dallas community of Jubilee Park, it involved the construction of a new “Holding House” and the reconstruction of five existing houses in collaboration with the street’s residents.

Congo Street Site Plan

The idea for the project emerged from a desire to stabilize home ownership for the families who live on Congo Street, many having occupied their homes for generations. The modest 640 square-foot houses, built in the 1920s, were in various states of disrepair, targeted for demolition and redevelopment.

Working with the residents, city, corporate, and nonprofit partners in the Dallas community, buildingcommunityWORKSHOP, a local nonprofit community design center that submitted the project, crafted an alternative strategy for redevelopment. It focused on rebuilding the existing homes and street infrastructure over the next five years without displacing a single inhabitant. Staff from bcWORKSHOP and architecture students from the University of Texas at Arlington began working with Congo Street residents in 2008, exploring approaches that would enable them to remain in place without undue financial burden. Read more…

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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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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Paul Rudolph’s Claire T. Carney Library at UMass Dartmouth, Western facade during renovation

When I read Robert Campbell’s recent article in The Boston Globe on designLAB’s sensitive renovation of a significant Paul Rudolph building at UMass Dartmouth, I was intrigued to learn more. The word that got me going was “Brutalism”. For some time now we’ve been covering this experimental, some call it aggressive or even willful and arrogant, form making. Our story on the ongoing struggles to keep Bertrand Goldberg’s iconic Brigham and Women’s Hospital in Chicago dates to 2009, our more recent blog on the last minute reprieve of Rudolph’s Orange County Government Center brightened my day even as I mourned the loss other important works from that optimistic period in our culture’s history. And so we welcomed Brunner/Cott & Associates’ ongoing blog series on the trials and tribulations of saving and adapting Brutalist buildings.

Eastern facade during renovation

It’s no surprise, then, that the Boston architecture firm, designLAB Architects’ success at the library at UMass Dartmouth re-awakened my evergreen curiosity about Rudolph, Brutalism, preservation, adaptation, research, and progress. So I went to the source and asked designLAB’s Robert J. Miklos, FAIA, to talk frankly about these and other issues swirling around one of the most controversial movements in architecture history. Here is what he said:

Susan S. Szenasy: Now that your renovation work on Paul Rudolph’s Claire T. Carney Library at the University of Massachusetts Dartmouth is nearing completion, it would be great to hear some of your reflections on the project. I believe that you and your firm, designLAB, consider Rudolph an architecture hero. That relationship can be intimidating to some architects. Did you struggle with Rudolph’s spirit? Or did his spirit seem to be at ease with your re-interpretation of his iconic building?

Robert J. Miklos: Truthfully, we don’t see him as a hero.  His work is heroic, perhaps, but I am a product of 1970’s GSD and was conditioned to reject the work of Rudolph.  At designLAB, our ‘courtship’ of the hero was a long process of research and analysis before we were able to find any true ‘affection’ for his work.

Rudolph with the library site model

It started with a talented young designer on the team who studied his early work at the University of Florida. There, Rudolph truly is a hero, if not a cult figure. I traveled to Florida to tour all his work in Sarasota—it was inspiring. His career is filled with contradictions: rationalism vs. expressionism, structural determinism vs. a personal obsession for hexagonal form. While we were continually trying to understand the original intentions and spirit of this project, we always recognized it as one of many experiments filled with successes and flaws. A radical approach to the interpretation and transformation was necessary, yet we believe our approach is rooted in the spirit of Rudolph.

It’s also important to note that at designLAB, we are invested in expanding the language of a specific context, whether natural or constructed. In this project, the existing building was that context, which we termed ‘Post-Utopian’. Our methodology is similar to what we have used in other contexts, determining when to push back, when to be deferential. Throughout our design process we immersed ourselves in Rudolph’s ideas and process developing a dialog between existing and new where the interventions might amplify the power of his original ideas and compositional themes. We also were not afraid to correct inconsistencies in his approach.

Library’s eastern facade during renovation

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When I asked philanthropist Eli Broad what he was looking for amidst the many competition entries for the new Eli and Edythe Broad Art Museum at Michigan State University, his answer was clear. He wanted the most iconic design, one that could make a statement about the institution’s ambition. And what was that ambition? to make a difference in the community.

Eli Broad knows a thing or two about architecture and community, having been a cultural benefactor and funder of buildings by Frank Gehry, Diller Scofidio Renfro, and Renzo Piano. He’s also a creative and financial force behind countless educational programs around the U.S.

The chosen entry was by Zaha Hadid Architects (ZHA), known for their radical and cutting edge design, in line with Broad’s and the university’s desire to shake things up in East Lansing.

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Architecture is dominated by software, from pre-concept to construction administration. This is doubly so with sustainability – only with the advent of whole building simulation and building information modeling (BIM) could energy modeling, computational fluid dynamics, and daylight analysis be rigorously forecasted. These predictive simulations provide the necessary data to determine everything from indoor comfort to energy cost savings to potential glare on computer screens Yet, it seems that architecture is falling short as new applications and devices are created everyday. Is architecture able to embrace this change fast enough to advance the future of building design, or will it lag behind?

Image courtesy of Chambers Design

If you don’t know what Grasshopper is (or think it’s a reference to Kwai Chang Caine), you are already in the wastelands of the digital age. It is one of the leading factors of Architecture 3.0, the second computational revolution for building design. This new phase is shortening the design process from months to days , and allowing a new generation to envision, design, and execute major projects with a single laptop.

The era of hand drawing lasted for thousands of years, until the late 1980’s. That was Architecture 1.0. In the early 1990’s, AutoCAD and MicroStation shepherded in Architecture 2.0, the first computer-based upheaval in architecture. Truth be told, the first CAD programs weren’t much more than hand drafting with a mouse. Around this time is when the history of energy modeling began too. The first serious energy analysis tool was DOE-2. It was the transitioning point from having to calculate the sizes of HVAC equipment by hand to allowing for complex weather data to be integrated into the calculations. DOE-2 is still used, and is a favorite platform for many mechanical engineers, but it isn’t very user friendly or easy to learn. You have to be a mechanical engineer to even turn it on.

Image courtesy of Chambers Design

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