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We’re not sure why, but we’re a little behind this year. Maybe it’s the economy, maybe it’s the changes RTKL has been shouldering, maybe it’s just the way things have unfolded, but this year’s edition of WIP—our sixth! (and we’re not one to use exclamation points!)—has been slow to awaken. We apologize. But we’re here. Another year. Another monograph of great work.

WIP continues to be our most compelling showcase of what has become a truly eclectic portfolio. That seems most evident in the geographic spread it represents, as well as the broadening diversity that continues to be one of this practice’s greatest strengths. We received entries from all of our offices on projects that dot six continents (alas, Antarctica) and in all of our core project types. This diversity made the judging no small undertaking, and it makes defining RTKL an elusive pursuit at best; but the jury soldiered on, debating, discussing, even arguing until they arrived at what they felt were the strongest candidates and a solid, representative body of work.

In that process, three threads emerged:

The first, of course, is China, which is a critical and ever-expanding market for us. Some of our most progressive (and impressive) work is coming from this part

of the world, and it continues to test some of our brightest and most enthusiastic professionals. The scale of it, the warp and woof of it, is different than anywhere or anything else, and this makes for some exciting propositions and no small plans. Everything seems bigger, taller, faster.

The second has to do with the notion of cultural appropriateness. This year’s jury, among our most out spoken and candid of the six, agonized over the ramifications of what they perceived as Western-style approaches in distinctly non-Western locales. Was this cultural imperialism or the reality of a burgeoning population of global consumers? Was this a good thing? A responsible thing? The inevitable consequence of a shrinking world? Can we blame the Internet? Or was something else at work here? The questions hung over the room.

Finally, the sustainability thread. This, thankfully, went beyond the materials and systems debate into something with a larger, more socially relevant tenor. Efforts like the Power of Less and Zero Waste have a tinge of activism to them, as if process and product are now inextricably linked in a way that suggests we may need to re-think our conventional approaches to—well, everything if the world expects to make any progress in this area. The good news, though, is that we seem up

to the challenge—virtually every project embraces some sense of environmental awareness or stewardship. And that, without a doubt, is very much a good thing.

This year’s jury was an eclectic bunch, and included a mix of practitioners as well as academics—conscientious, sincere and matter-of-fact—just what you want in a jury. We were pleased that Paul Jacob, RTKL’s chairman emeritus, was able to participate, which brought WIP full circle—PJ played such an instrumental role in launching and nurturing WIP that it only seems right he should come “out of retirement” to serve as a full-fledged member of the jury.

And, as suggested above, they were no bouquet of shrinking violets. They pored over each entry, probed and dissected the accompanying text and imagery, and mixed it up with a passion and zeal that we haven’t seen in some time. They were especially intrigued by the culture issue, which is something that is worth exploring within the commercial context of much of our work, and were uncompromising in their standards and review. We thank them for their time, their insight and their brutal honesty…and for selecting a fine collection of RTKL’s best work.

Enjoy.

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Paul Jacob served as RTKL’s Chairman from 2003 until his retirement in May of 2009. In his four-decade career, he helped guide the expansion of RTKL’s international reputation and scope and strengthened the firm’s creative culture. A recognized leader in the design of urban retail and entertainment districts, Jacob began his career working with such development visionaries as Jim Rouse to establish the design and definition of the suburban shopping center. Jacob helped start RTKL’s Los Angeles office in 1986, where he worked extensively with such clients as Universal Studios, the Irvine Companies and Trizec, and helped RTKL move into China and Southeast Asia. He earned a bachelor’s degree in architecture from Carnegie-Mellon University. He lectures frequently on design issues, especially those involving retail and entertainment, as well as the management of creative professionals.

Paul JacobSuzane Reatig, FAIA founded her practice in 1989 with the conviction that a creative and socially responsible small office could prosper. Her work addresses the needs of nonprofit groups and individual clients that often build in disadvantaged neighborhoods, and demonstrates that modest budgets and big dreams can still support high-quality architecture with distinct character. Reatig has received numerous national and international awards and lectures widely. She has a passionate commitment to education, and serves as a studio critic at the School of Architecture and Planning at The Catholic University of America in Washington, D.C. She received a Bachelor’s of Science in architecture and urban planning from The Israel Institute of Technology.

Suzane Reatig

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Jennifer Cole Phillips is associate director of the Graphic Design Masters of Fine Arts program and undergraduate professor of graphic design at the Maryland Institute College of Art. Previously, Phillips served as a tenured associate professor in the publication design graduate program at the University of Baltimore. She is principal of J. Cole Phillips Design, which specializes in visual identity and branding, as well as packaging, environmental and new media design. Phillips has received honors from the American Center for Design 100 Show, AIGA 50, the AIGA Design Annual, the Art Director’s Clubs of Metropolitan Washington and New York, Graphis Design, Graphis Poster and Print Magazine. She co-authored Graphic Design: The New Basics, published by Princeton Architectural Press. Phillips holds both a master’s and bachelor’s degree in fine arts from the Rhode Island School of Design.

Jennifer Cole Phillips

A native of greater Washington, D.C., Mark Lawrence serves as an adjunct faculty member at the Corcoran College of Art and Design and at the School of Architecture at The Catholic University of America. Lawrence has worked on a broad range of projects with architecture firms in D.C. and Los Angeles, including the U.S. Federal Courthouse in San Diego and the UCLA Broad School Art Center reconstruction and expansion. Lawrence graduated from the Harvard Graduate School of Design with a Master in Architecture. He earned a bachelor’s degree in architecture from The Catholic University of America, where he won Best of Thesis. In 2000, Lawrence received the Leonard Kagan Travel and Design Fellowship for his work to mitigate environmental damage threatening the town of Gros Morne, Haiti. He helped organize the National Building Museum symposium, Framing a Capital City.

Mark Lawrence

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RTKL received an honorable mention for the general appeal, cost effectiveness and marketability of its entry to a design competition sponsored by the Santa Fe City Government. The competition called for a multi-unit, green housing compound that included affordable homes.

The city designated a quarter-acre vacant lot in downtown Santa Fe as the building site. Among other requirements, the submissions had to meet Santa Fe’s green building code, conform to historic design standards and incorporate community feedback so that the final product would reflect the aesthetic of the surrounding neighborhood.

According to architect Aaron Au AIA, Altor Street is based on four core values: affordability, approachability, convertibility and sustainability. Au says the design team walked a fine line so the homes would not feel too historical or modern. Altor Street’s adobe-style buildings reference local architectural vernacular, while its modern amenities and sustainable design respond to more contemporary concerns.

“I think it is a good example of architecture that belongs to the place,” said Suzane Reatig.

Overcoming RoadblocksTight budgets and small spaces presented challenges as the team selected materials for the design’s wall systems, says Chialing Khoo ASID, IIDA, LEED AP. Ultimately, they picked inexpensive, plentiful and locally sourced renewable materials, such as clay and straw bale.

“Our design promotes fundamental values of sustainability to the Santa Fe community, thereby inserting it as a

learning tool in the local cultural exchange,” said Garrett Seaman AIA, IIDA, LEED AP.

Due to the site’s height restriction and sloping topography, the team’s design incorporates a step-down approach, which places each unit according to the site’s terrain. This improves all unit views and takes advantage of the building’s height sequence to generate privacy, while sharing common resources to reduce impact. The team also increased functionality in the small space by designing flexible areas throughout the community, with features such as retractable and transformational furnishings.

“We learned that less is more,” Au said.

A linear, open space connects all the units and serves as the internal focal point for the community. The space utilizes the site’s topography and integrates a storm water management system to collect, filter and reuse the natural precipitation.

“The size of the site and its topography made it very hard to provide efficient public space with the given program,” said Alex Lo APA, ULI.

Both Khoo and Lo agreed that strong collaboration between the architects, designers and planners yielded a successful result. Lo felt it made a critical difference that architects were involved in the initial site planning and that planners offered their perspective for the building typologies.

“That was the goal of this competition—to bring all the different talents from RTKL to collaborate outside of regular, work-related projects and think outside the box,” Khoo said.

Altor StreetAaron AuErin Bordelon Chialing KhooAlex LoGerrett Seaman

“That was the goal of this competition—to bring all the different talents from RTKL to collaborate outside of regular, work-related projects and think outside the box.”Chialing Khoo ASID, IIDA, LEED AP

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OLD SCHOOL, NEW SCHOOL

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The Jitegemee School is a partnership between American volunteers and Kenyan educators to provide access to formal and vocational education to street children in Machakos, Kenya. In August 2009, Mark Palmer LEED AP traveled to Kenya with a team from Architecture for Humanity DC (AfH DC) and led a design workshop with a planning committee which consisted of students, teachers, parents and community members.

The AfH volunteers explained the design process and taught the planning committee to analyze the school’s needs and the necessary steps to develop a new school. Palmer says encouraging the planning committee to frame the design discussions in the context of their own experience emboldened them to take ownership of the process. It also helped AfH DC gain an intimate, first-hand account of the committee’s ideas and aspirations.

“As designers, we bring a lot of ideas to the table that are strictly about design methodology and detailing,” says Palmer.

“But what we don’t necessarily have—especially in a project like this—is a full understanding of the local culture, the specific school program and the way it functions,” Palmer said.

Lesson PlansDuring the four-day workshop and subsequent interviews, surveys and discussions, AfH DC and the planning committee generated a conceptual program for the new school development. Several major themes emerged: improved learning environments, student and community access to technology, sustainable design and community programs.

AfH DC and the planning committee visited examples of school developments in Kenya and discussed how responsible design could impact the future of the Jitegemee School. Palmer also noticed the parents discussing how they could implement sustainable techniques into their homes.

“We saw the great side effect of sustainable concepts spreading out into the community,” Palmer said.

Progress ReportAfter the planning committee finished the workshops, they separated into teams and designed their own school campus. Palmer says he found the results extremely encouraging.

“The plans put forth by the participants included not just buildings and program spaces, but complex ideas such as solar orientation, water collection and shared community space,” Palmer said.

The jury unanimously selected the Jitegemee School submission. Paul Jacob appreciated seeing architects bring sustainable solutions to communities that wrestle with basic issues of shelter and civic infrastructure.

“It’s rewarding to see RTKL recognizing that we, as shapers of the world, are willing to help formulate sustainable environments in those places that would normally not hire us,” Jacob said.

AfH DC will present these findings to the Jitegemee School planning committee and work with them to create a phased master plan for the new school.

Jitegemee SchoolWorkshop Presenters in Machakos:Mark Palmer (RTKL) Emily GasoiRayya Newman

AfH DC Team:Serra DevranChris GichuhiSarah Mehaffey

“We saw the great side effect of sustainable concepts spreading out into the community.”Mark Palmer LEED AP

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“Parametric technology enabled us to create unexpected forms and determine the relationship between them.”Paul Anstatt NCARB

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The Mall of Italy’s client had one stipulation: the building needed to blend with the larger landscape. In response, the design team melded a series of connecting paths and public zones into an undulating form that mimics the topography of a rolling hillside.

According to Elizabeth Waters AIA, LEED AP, the team treated the retail spaces, pedestrian walkways and building façade as a series of ribbons that intertwine with nature. The team also embraced the building’s surroundings by extending a lagoon to hug key retail space and planting greenery on the mall’s roof to mask the visual impact of the project within its environment.

“As we developed the project, the landscape took a leading role,” said Waters.

Paul Jacob admired how nature informed the building’s design.

“It’s very organic,” he said.

A Silent PartnerThe team used parametric technology to create the building’s initial form, which they later molded and reshaped with

more traditional design techniques. Paul Anstatt NCARB says the software generated surprising juxtapositions between the different elements of the mall. Anstatt believes these relationships enriched the final product.

“Parametric technology enabled us to create unexpected forms and determine the relationship between them,” says Anstatt. “It provided a lot of inspiration at an early stage in the process by allowing us to create the main shape of the project,” says Anstatt.

As part of their WIP submission, the Mall of Italy team included animation of the software generating the vector form. However, juror Jennifer Cole Phillips felt the animation did not help clarify how the team arrived at the building’s final shape. Jacob agreed, and added that he had hoped the digital component would provide insight as to how the software led to the forces behind the design.

“I really would’ve loved more explanation,” says Jacob. “I don’t understand how they got from the organic shapes of yellow in their video to the final form.”

Mall of ItalyCarlos AlbaJason AmbrosePaul Anstatt Carolina Ardiles Julia AzzoneJorge Beroiz Estelle CourandRob DaviesAleksander DimitricMike DoolingAva FernandezXavier Garaud

James LaiPiers MohanRupert PlumptonArancha RiestraMonica Sanchez MaciasJulijana SteimleRichard Esono SuguitanLingyun TaoSomya TewariManfredi ValentiElizabeth Waters

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The Panambi CollectionDallas BranchJeff GunningBarry Hand

An aging hypermarket with sublevel parking sits on a steep, sloping hill in São Paulo, Brazil. RTKL designers transformed this market into an enclosed shopping center that maximizes daylight and city views.

The shopping center had to accommodate automobile and pedestrian traffic within its relatively small size. According to Dallas Branch AIA, NCARB, LEED AP, the design team’s initial plan to renovate the project in its current location did not maximize the site’s potential. Ultimately, the team bulldozed and constructed a new shopping mall on the existing below-grade parking infrastructure.

“[This] produced a more efficient and economically competitive project for the owner,” said Branch.

Connecting the BoxesThe project’s façade consists of a series of loosely arranged boxes that connect to a wall that allows pedestrians to see inside. Each box is clad with its own material and pattern that reference local building techniques, such as using precast concrete and locally quarried stone. According to Branch, the team named the project The Panambi Collection to unify, yet individualize its interdependent elements.

“Often, the best concept is a fusion of several designs,” says Branch. “This project developed from melding three distinct concepts, which resulted in a ‘collection’ of experiences.”

“Its asymmetrical tension is stunning,” said Jennifer Cole Phillips.

When the team considered how to unify the loosely connected boxes, they found inspiration in pearls, which look alike, but are individually unique. Paul Jacob appreciated the concept.

“The boxes seem like a string of pearls, but unlike pearls, each of the component parts employ a lot of contrast,” said Jacob.

Suzane Reatig says she didn’t vote for the project because she felt the final product pulled from too many sources.

“It’s taken from everywhere. It’s hip hop,” Reatig said.

A Green InteriorTo engage the street and foster an inviting atmosphere, The Panambi Collection features functional spaces animated by the surrounding natural environment, says Branch. The roof is constructed of ETFE, a recyclable plastic that transmits more light than glass and costs less to install. Top-level dining areas merge with the outdoor environment through terraces which offer a connection to the sky above. Additionally, exterior landscaping extends into the interior space, inviting the outdoors inside.

The massing of the four story, 55,000 SM project faces the busy intersection and mimics the proportions of nearby apartment buildings. The tenant spaces scattered along the sides of the building have windows that face the street.

“Unlike most malls in the area—where the site is strictly dominated by the massing of an inward-looking building—this project is transparent, creating more window-shopping opportunities,” Branch said.

“This project developed from melding three distinct concepts, which resulted in a ‘collection’ of experiences.”Dallas Branch AIA, NCARB, LEED AP

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Hernan MolinaJulien MeyratAle Trevino

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“Though bold, the Sea Level Restaurant has simple, clean lines, and as a whole does not detract from the site’s natural beach setting.” Milagros Regalado LEED AP

Marriott Harbor Beach Sea Level RestaurantJohn BeckerJose BenitezJorge BernalAnna-Maria BulskaJavier Calle

To replace aging structures that fronted the largest private beach property in Ft. Lauderdale, RTKL embarked on a multi-disciplinary project for Marriott Harbor Beach which encompassed a new restaurant, pool bath building and freestanding children’s area.

The Marriott Harbor Beach project had a number of obstacles, according to Gina Goodin LEED AP. These included height restrictions; code-mandated, hurricane-resistant construction methods; lighting limited by turtle regulations and a complex list of programmatic elements that needed to fit within the limited footprint allowed by coastal regulations.

“The restaurant was designed and constructed to take advantage of the coastal landscape while having minimal impact on the environment,” Milagros Regalado LEED AP said.

Additionally, design and construction were accelerated because the hotel was slated to serve as media headquarters for the 2010 Super Bowl and the owner wanted the facility open for the event. Regalado credits the nimble collaboration between the Miami and Washington D.C. offices for finishing the project ahead of schedule. The Marriott Harbor Beach project opened a week before the Super Bowl.

“It was this joint effort that made it possible to meet the client’s demanding deliverables,” said Regalado.

A Subtle LookRegalado says the design team sought to complement the clean, contemporary aesthetic of the existing hotel structure with their addition. To overcome a tight budget, the team made dramatic design statements through sleek architectural forms and sophisticated materials, such as scored stucco, silver-toned metals, teak millwork and textured porcelain flooring.

“Though bold, the Sea Level Restaurant has simple, clean lines, and as a whole does not detract from the site’s natural surroundings,” Regalado says. “On the contrary, it’s a refreshing, modern environment, especially in contrast to the clichéd tiki hut aesthetics prevalent in this type of setting.”

All four jurors voted for the Marriott Harbor Beach project. Suzane Reatig says the natural beauty of the site and its landscaped grounds let the simple design shine. She admires how the building’s aesthetic does not interfere with the people and activities that typically populate a beach setting.

“You didn’t want something to spoil the sights. The low profile was not intrusive—that’s what I like about it,” Reatig said.

Jamie FranzJoelle FriedheimGina GoodinMarilyn JahnClaudia Machado

Kirill PivovarovChristie Ramos Milagros RegaladoGary Snyder Karl Stumpf

Greg WoodruffNah Jeong Yeh

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As the first phase of a new development and primary focal point of the waterfront skyline on the Xiangjiang River, the Northstar Showroom had to stand out.

“The showroom acts a visual gateway into the new development,” said Robert Berry AIA, CDT, CSI, LEED AP.

According to Berry, the design team’s greatest challenge came from the work site’s sectional plane, which had the potential to disconnect the streetscape and public realm. The development sits on a raised, pedestrian-only platform, six meters above the edge of the water, but the vehicular circulation is located at the base of the elevated plane, level with the water’s edge. The team sought to minimize and blur the distinction between building and landscape.

“We wanted to set a precedent whereby the change in elevation could serve as an opportunity for the creation of positive and usable public space,” Berry said.

The long and skinny triangular plot designated to host the Showroom presented another design challenge. However, this unusual shape prompted the team to design a folded exterior, reminiscent of waves on the Xiangjiang River. This solved many of the site’s design challenges. The undulating, landscaped forms ascend upward on both the promenade and street sides of the building, creating a visual statement that naturally connects the lower-level parking with the Showroom and other promenade- level activities.

“The angular lines allow the building to become an accessible platform,” says Berry.

Northstar ShowroomElizabeth BeckRobert BerrySung Hyun LeeQi Jin

“We wanted to set a precedent whereby the change in elevation could serve as an opportunity for the creation of positive and usable public space.”Robert Berry AIA, CDT, CSI, LEED AP

“We felt the lines could manage the transition from the harsher and angular context of the concrete jungle that surrounds our project.”

Berry says the team’s solutions created a naturally integrated composition. Pedestrian-accessible green roofs offer views of the river from dynamic vantage points, including an observatory tower. Additionally, the civic plaza lets pedestrians cross the bridge, walk the promenade and enter the Showroom.

“We engaged both the lower and promenade levels of the project, so neither functions in isolation,” Berry said.

Paul Jacob appreciated the translation of the wave shape. Suzane Reatig responded to the green roofs.

“I want to see someone mowing the lawn there,” Reatig said.

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The 2009 Burnham Centennial Exhibit celebrated the plans created by architect Daniel Burnham that have shaped Chicago over the past century. RTKL’s submission to the exhibition, Pier.02, responds to Burnham’s call for a continuous park along the Chicago lake front, with two grand piers extending symmetrically from the city’s axis.

Chris Michaud LEED AP says Pier.02 is not intended as a tourist destination. Rather, it functions as an extension of the city, combining existing museums, transportation and meeting spaces with new parks, a market, facilities for education and research, as well as structures for business start ups and think tanks.

“Pier.02 answers the city’s call for sustainable technologies and urban agriculture and serves as a center for research, development and production,” said Michaud.

Adding ValueThe Pier.02 plan adds value to existing space, instead of drawing attention away from it, Michaud says. It joins current railroad lines and portions of Lake Shore Drive, making the museums and Northerly Island more accessible, and strengthens Burnham’s intention of unimpeded access to Chicago’s lake front. The Pier.02 plan reorganizes Northerly Island into a more natural setting and

includes an elevated parkway, which adds additional bicycle paths, green space and recreational fields.

“Many current design trends deviate from their structures and surroundings and use abnormal geometries to draw attention to their presence,” says Michaud. “Pier.02 intentionally blurs the threshold between old and new, merging with its context, instead of claiming it.”

Navy PierPier.02’s tip is equidistant to the tip of Navy Pier, but it differs from its northern counterpart in both function and aesthetic, according to Michaud. Pier.02’s light and glassy buildings give it a clean and modern look, in contrast to Navy Pier’s heavy and massive architecture. Additionally, Pier.02 weaves through a collection of structures, which create an artificial topography of boardwalks, green roofs and park-like settings among the adjacent facilities.

“By producing a series of smaller buildings the scale of the pier is less monolithic and more pedestrian than Navy Pier,” says Michaud.

Paul Jacob considered Pier.02 the best planning project submitted to WIP.

“Knowing Chicago, a second pier is pretty bold. I think the way it thins the city is quite elegant,” Jacob said.

Pier.02Keith CampbellBryan FinneganWilliam KwonChris MichaudKevin MontgomeryMike SchwindenhammerJohn Yancey

“Pier.02 answers the city’s call for sustainable technologies and urban agriculture and serves as a center for research, development and production.”Chris Michaud LEED AP

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A Unique Rewards ProgramGuests can participate in the ENDLESS

Benefits program, which awards points to those who minimize their carbon footprint.

1. Photovoltaic PanelsPhotovoltaic panels integrate with exterior

window shading and provide local power to each suite for charging electronic

media devices.

2. Recycled Frames, Operable WindowsRecycled aluminum frame windows have

a thermal break for decreased heat loss. Guests can open their windows and forgo

the building’s mechanical system altogether when outdoor temperatures are comfortable.

3. Solar Hot Water TubesA vacuum between the inner and outer

tubes provides insulation, making the outer tube cool to the touch when temperatures

in the inner tube reach over 300 F.

4. Brick’s Green QualitiesAs a natural insulator, brick keeps the

building’s temperatures low.

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In the hospitality industry abundance is king. In order to stand out from their competitors, hotels pile on amenities, which leads to unsustainable practices in the industry. To address this issue, the American Society of Interior Designers, HD Magazine and the US Green Building Council held a competition that called for green hotel interior design.

Laura Galbreath AIA, LEED AP says the Power of LESS team’s entry reverses the paradigm of excess prominent in hospitality and asserts that a great hotel stay should minimize the guest’s effect on the environment.

“The competition allowed many of us to pursue ideas that had not yet found a practical application in a tangible project. We could dream and create for the ‘what if ’ situation,” said Galbreath.

Value in the User ExperienceThe design team’s Livable Environmentally Sustainable Suite (LESS) encourages guests to participate in their suite’s functionality through ENDLESS Benefits. Guests earn ENDLESS Benefits points by using less energy than the targeted amount and can redeem these points for rewards, such as a free night’s stay.

“We believe that as consumers become more informed and aware of their environmental impact hotels will be required to respond to their demands,” said Galbreath.

Efficient Layout and Materials According to Galbreath, the team also increased efficiency through the design and construction process. They rejected the rectangular box configuration of traditional hotel rooms (which generally feature a bathroom buried along the interior corridor wall) in favor of a module one-third smaller than the typical suite.

The jury unanimously selected the project. Paul Jacob called the LESS floor plan powerful.

“I think the placement of the toilet and the lab up against the exterior wall is great. There’s still privacy,” Jacob said.

The team included sustainability concepts in the building’s mechanical systems and material sourcing. A thermal slab design substantially reduces construction material and its cost. Photovoltaic panels integrate with exterior window shading and provide local power to each suite for charging electronic media devices. The conductive façade also serves as a strong visual educational component to anyone who sees the building’s exterior.

“Our design provides real solutions, real technology and real answers. It creates collaboration between owners, designers, contractors and end users,” Galbreath said.

The Power of LESSAngela AcostaJohn BondesonTracy BragassaJavier CalleBenny ChuLiz ChungCody Clark

Vanessa EddenJoelle FriedheimLaura Galbreath Joanna Gonzalez-Guerra Gina GoodinMarilyn JahnTodd Lundgren

“The competition allowed many of us to pursue ideas that had not yet found a practical application in a tangible project. We could dream and create for the ‘what if’ situation.”Laura Galbreath AIA, LEED AP

Claudia MachadoShane McMichaelWendy Mendes John MunnMelvin SaundersJerry Szwed Brendan O’Grady

Gerry RenaudAndres RodriguezYohandel RuizKatie SpragueMaria VenturaGreg Walton

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buiLDiNg bLOCkS: HOuSiNg a bOOmiNg art COmmuNity

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buiLDiNg bLOCkS: HOuSiNg a bOOmiNg art COmmuNity

In Shenzhen, the southern economic hub of China, a vibrant cultural community has emerged. The Shenzhen Literature and Art Center serves this growing group and promotes civic arts and culture in the young metropolis.

“In China, fine arts and literature are usually for elites. However, Shenzhen differs because it’s an immigration city for adventurers and start ups,” says Xiaoguang Liu AIA.

The Shenzhen Literature and Art Center has an above and below ground footprint that fulfills a complex set of program and spatial requirements to host various activities such as exhibitions, conferences, performing arts and literature study. It also includes space for administrative offices, conference and social gatherings. According to Liu, the building is a miniature city of arts.

“The architecture not only had to accommodate the diverse program on a tight site and restricted planning envelope, it had to organize it in a way so the various parts would form a dynamic whole,” said Liu.

A Mountain of BooksTo address this challenge, the design team clustered individual elements to form functional blocks. They allocated these blocks according to their uses and characteristics, from public spaces on the ground level, to private research rooms on the upper levels. According to Liu, the gathered blocks symbolize a mountain of books, a nod to the building’s use as an arts center.

In many aspects, the Shenzhen Literature and Arts Center reflects themes in Chinese culture, adds Liu. The building’s

mountain of books and valley of arts pays homage to the mountains and valleys frequently found in Chinese art.

“It is a living cultural monument that echoes the nearby natural context, rooting it in a long cultural tradition,” said Liu.

Addressing the VoidThe void at the structure’s base forms a covered urban plaza, introducing pedestrian and vehicular circulation into the limited area. Cascading terraces and green spaces populate and interrupt the open space.

“These voids and green spaces activate an otherwise static building,” said Liu.

Liu says the empty space in the building’s design reflects the significance of the void, an important Taoist principle. The void refers to the mind, and Taoism teaches that silencing the mind can make practitioners more focused and considerate of others.

All four jurors voted for the Shenzhen Literature and Arts Center. Paul Jacobs appreciated the project’s evolution through the design stages.

“I thought it was quite elegant. It’s a project where the architecture really delivered on the idea,” Jacob said

Shenzhen Literature and Art CenterFu LiXiaoguang LiuHonghao Zhu

“In China, fine arts and literature are usually for elites. However, Shenzhen differs because it’s an immigration city for adventurers and start ups.”Xiaoguang Liu AIA

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Green RoofThe planted roof reduces solar gain and provides an amenity for penthouse residents.

Self-Shading FaçadeVertical fins made of perforated metal mitigate the harsh desert climate, direct views towards the surrounding vistas and provide habitable outdoor spaces between the units and the exterior.

Natural Ventilation Operable windows at both ends of the unit allow for natural cross ventilation.

Comfort and SolitudeDeep balconies offer a private, shaded oasis for residents and reduce solar gain on the building.

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The design team for the Valentino Residences in Dubai created a functional building skin that reflects the signature style of fashion designer Valentino Garavani. The project consists of a flagship Valentino store, as well as three individual buildings housing 160 high-end residential units.

Steve Galbreath AIA, ISHC, ULI, LEED AP says the team envisioned the façade as a luxurious fabric draped across the exterior. Much like a Valentino dress, the skin both conceals and reveals as it flows across the building. Although Paul Jacob wanted the skin to undulate even more, Suzane Reatig liked the shape it gave the building.

“It’s a good thing to see this look in Dubai for a change,” Reatig said.

The façade works as sunscreen for the building. Vertical fins made of perforated metal mitigate the harsh desert climate, direct views towards the surrounding vistas and provide habitable outdoor spaces between the units and the façade.

According to Galbreath, local culture and surroundings also informed the sustainable components of the skin. The self-shading design mimics a passive concept that naturally occurs in a cactus. The folds and skin of a cactus are oriented so as the sun moves through the sky the cactus

casts a shadow onto itself. This reduces its temperature and prevents moisture evaporation.

Galbreath says the team was also inspired by the thawb, a traditional Arab garment worn by men in the Middle East.

“Much like a thawb protects the wearer, the flowing building skin protects the residences and interstitial outdoor spaces,” Galbreath said.

Valentino ResidencesErin Bordelon Laura GalbreathSteve GalbreathHernan Molina John Munn Brendan O’GradyGerry RenaudGarrett SeamanAlix SibleyHarold Thompson

According to Galbreath, the Valentino Residences stand out in the context of Dubai architecture. He says typical buildings in the city seek iconic status through their bombastic forms or towering heights.

“This design becomes an icon simply by reacting to its climate,” Galbreath says.

“By taking on characteristics of a garment it creates a unique identity representative of the local culture and at the same time it becomes a symbol for sustainability.”

Jennifer Cole Phillips connected with the design team’s treatment of the building’s skin as fabric.

“It absolutely evokes that to me,” she said.

“This design becomes an icon by simply reacting to the climate and its environment.”Steve Galbreath AIA, ISHC, ULI, LEED AP

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Retrospect, an annual exhibit run by AIA Dallas, introduces architects to the public through free-standing display pieces. For their temporary installation, the RTKL team Zero Waste turned to the cardboard tubes found in rolls of plotter paper.

“The idea was to take commonplace office objects that were normally discarded and figure out how we could reinterpret them into something unexpected,” said Brendan O’Grady AIA, NCARB, LEED AP.

The design team decided their project would be a cross-disciplinary examination of the firm’s core values, including sustainability and collaboration.

“Our goal was to bring people together from different sectors so we could create something that represented everyone in the company, as well as the time we live in,” O’Grady said.

Material ManipulatorsTo embrace sustainability, the team used 100 percent recycled materials in their construction. In addition to the cardboard plotter tubes, the team adopted particle board from discarded storage shelving to serve as the base and borrowed LED lights to illuminate the sculpture from within. Suzane Reatig admired the team’s surprising material selection.

“It used something from the office that you see every day but you don’t appreciate,” Reatig said.

The team constructed their sculpture from over 300 plotter paper tubes cut into four different lengths, each at a 45 degree angle.

They then assembled the tubes into square layers that rotated so the final form could be viewed from 360 degrees. To account for transportation and rapid site assembly, the team created three different modules. According to O’Grady, the various angles of the tubes and chromatic shifts of the LED lights made the installation look different from all angles.

“It does not have a perceivable front or back. Instead, it encourages people to circulate,” says O’Grady. “The design offered different perspectives to all who experienced it.”

Getting ResultsZero Waste attracted over 100,000 visitors during its installation at a Dallas shopping center. O’Grady says the project stood out from the other AIA entries because its abstract nature provoked individual interpretation and interaction.

“This installation is about what we represent as a firm: new solutions, creative thinking and collaboration,” O’Grady said.

Zero Waste received unanimous votes from the jury.

“It has fantastic, elegant complexity with an economy of means,” Jennifer Cole Phillips said.

Mark Lawrence appreciated the team’s video submission, which showed them assembling the project.

“It was one of the few that had a digital component that strengthened its entry,” Lawrence said.

Zero WasteDallas BranchJenny HuangJason LittSarmistha MandalHernan MolinaBrendan O’GradyHector Perez

“Our goal was to bring people together from different sectors so we could create something that represented everyone in the company, as well as the time we live in.” Brendan O’Grady AIA, NCARB, LEED AP

Jason PhillipsAarohi PilankarDaryl QuickMelvin SaundersRick Smith Pheba ThomasDustin Wekesser

25

26

Xuhui New WaterfrontShanghai, China

Tanggu West New Eco-CityTianjin Binhai New Area, China

27

Long Yang StationShanghai, China

Saudi Food and Drug AuthorityRiyadh, Saudi Arabia

What’s My Motivation to Share?Baltimore, Dallas, London and Washington D.C.

AirocycleDallas, Texas

28

Sichuan Aviation PlazaChengdu, China

Qingdao Shinan Mixed-Use CenterQingdao, China

Honorable Mentions (continued)

29

Wuxi Suning PlazaWuxi, China

Greenhaven HouseChicago Area

Now in its sixth year, Works In Progress (WIP) is an annual collection of ideas and design concepts from across all services, geographies and practice groups of RTKL. The work has been selected by a jury of experienced professionals whose comments appear in each case study. You can access an interactive version of WIP and download a PDF of previous editions at www.RTKL.com/WIP.

© 2010 RTKL Associates Inc. RTKL is a member of the ARCADIS network. Printed on 100% Post Consumer Fiber

now in its fourth year, works in progress is an annual collection of ideas across all disciplines from rtkl offices around the world. the projects have been selected for this publication by a panel of experienced professionals. they are featured here alongside the designers’ observations and insights into their work, the firm, and the industry as a whole.

© 2008 RTKL. RTKL Associates Inc. is a wholly owned subsidiary of ARCADIS-US

100%

w50261 51 1/4/08 2:41:12 PM

Printed on 100% Post Consumer Fiber

now in its fourth year, works in progress is an annual collection of ideas across all disciplines from rtkl offices around the world. the projects have been selected for this publication by a panel of experienced professionals. they are featured here alongside the designers’ observations and insights into their work, the firm, and the industry as a whole.

© 2008 RTKL. RTKL Associates Inc. is a wholly owned subsidiary of ARCADIS-US

100%

w50261 51 1/4/08 2:41:12 PM

Printed on 100% Post Consumer Fiber

now in its fourth year, works in progress is an annual collection of ideas across all disciplines from rtkl offices around the world. the projects have been selected for this publication by a panel of experienced professionals. they are featured here alongside the designers’ observations and insights into their work, the firm, and the industry as a whole.

© 2008 RTKL. RTKL Associates Inc. is a wholly owned subsidiary of ARCADIS-US

100%

w50261 51 1/4/08 2:41:12 PM