Commercial Archives

Cooling large commercial buildings with ice

Spotted: In the US alone, around 74 per cent of all energy is used by buildings, and of that figure, 50 per cent of the peak hour consumption is used keeping buildings cool with air conditioning. This is where startup Nostromo Energy comes in, with its new methodology for energy storage that could relieve the power grid of some of the strain – and environmental cost – of cooling buildings. The company’s ‘IceBrick’ system utilises off-peak hours energy to freeze water in an ice brick array, which can then be used to chill water for cooling at a later point.

Today’s commercial-scale air conditioners are energy-intensive because they constantly run ‘chillers’ to cool water, which then circulates in a building, cooling the air. Nostromo’s system reduces the use of chillers by creating ice in an array of capsules at off-peak times – a process that ‘stores’ cooling energy. The building’s circulated water can then be passed through the array to be cooled at peak times, without the energy drain of constantly running the chillers. In fact, the chillers can be turned off when the IceBrick is in use, reducing electricity consumption at key moments.

The system is extremely modular and can be fitted to a building’s available rooftop and basement space. The technology also has good longevity as water can be frozen and unfrozen for many years with only minimal degradation.

A cloud-based management platform is used to control the system and make adjustments depending on the business’s particular goals. For example, the system can be optimised for financial gains or to reduce carbon emissions, maximise electric vehicle charging capacity, or provide enhanced backup. Nostromo works with a business’s engineers to install the IceBrick system on new builds or as a retrofit, with the company taking care of permitting and installation.

Springwise has also spotted other innovations using ice for cooling, such as fridges for areas without constant power. The Springwise library also contains other innovations reducing the impact of air conditioning, such as a system that uses salt water to remove moisture, and a 3D-printed air conditioning system.

Written by Archie Cox and Matthew Hempstead

Reference

Sustainable News

Heating commercial real estate with geothermal power

By Zarkon Group,08/11/2023

Spotted: Geothermal energy is one of the most energy-efficient methods for providing HVAC (heating, ventilation, and air conditioning) for businesses and communities alike. But the problem that has traditionally faced geothermal power is the high upfront cost of establishing boreholes to tap into this energy in the ground, especially in contrast to other readily available energy infrastructure. And for tall commercial properties or apartment blocks, traditional geothermal systems have also not been able to provide enough energy to heat or power the entire building. This is where US startup Bedrock Energy comes in.

The company has developed new autonomous drilling and subsurface modelling technology that allows borefield construction to be around three times quicker and cheaper. Crucially, unlike existing boreholes, which are often drilled 300 to 800 feet below the Earth’s surface, Bedrock drills 2,000 feet underground where the temperatures are much hotter.

Because of this, the company reduces the number of boreholes required for a project – from as much as 28 down to just eight – meaning tall commercial buildings with limited land space can still make use of this abundant energy source for their heating and cooling systems.

Using its advanced algorithms, Bedrock can accurately predict the energy transfer to buildings from the geothermal site. The company then specially designs a project’s geothermal loop field to optimise borehole location for the best long-term energy returns.

Bedrock is ready to start deploying to commercial projects soon and is currently working on a pilot project. The company recently raised $8.5 million (around €7.9 million) in seed funding, which will be used to help accelerate the manufacturing and deployment of its technology.

Many more innovators are recognising the potential of geothermal energy, and Springwise has also spotted one company that’s using Kenya’s geothermal resources to power direct air capture as well as a system that makes geothermal less water-intensive.

Written By: Archie Cox

Reference

Architecture

Seamless Integration: The Revitalization of 712 Fifth Avenue Lobby

By Zarkon Group,16/08/2023

712 Fifth Avenue Renovation – Returning to one of our projects more than 30 years later, we were challenged with how to reimagine the entry and lobby to a prestigious postmodern building. This led to bigger questions; how do we engage with the discourse of history today? And how do we discuss postmodernism through built work? Our response was to generate a fundamental dialogue between glass, stone, and human occupation; to utilize advanced modern technology to fabricate the materials in a way that is both futuristic yet grounded in traditional historic construction methodologies; and to change everything without changing anything.

Architizer chatted with Hugh Trumbull, Design Principal at Kohn Pedersen Fox (KPF), to learn more about this project.

Architizer: What inspired the initial concept for your design?

Hugh Trumbull: Without changing the program or layout of the space, we countered the original proposition of placing ornate objects within a room with the concept of making space that integrate people and room.

Originally, the lobby was designed with postmodern ornamental columns clad in many types of stone, objects within a grey granite room. The object-ness of these elements restricted the ease of movement in and out of the building.

Our new proposition embraced a more tactile approach. The columns and wall are unified with one material, a soft welcoming stone detailed in a curving shape so that its vein and form are its sole ornament. Walls seamlessly transform into benches and a reception desk, inviting people to interact with one another and the architecture. At the entry, the sinuous structural glazing promotes a clear view and a seamless, organic flow in and out of the space.

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

We’re thrilled that our work has been recognized in the A+ Awards. There are so many beautiful components of this project, but I think the way they work together is what makes this project truly stand out. The combined effect of the sinuous glass wall and unified stonework creates a clean and elegant space that simultaneously feels light yet solid. And I think the use of advanced technology to manipulate classical material is particularly successful.

What was the greatest design challenge you faced during the project, and how did you navigate it?

By engaging in advanced technical fabrication for the stone and glass, we were able to engage in a dialogue between the future and the past and examine the postmodern condition in a new way.

For the stone, the challenge was the fabrication of very large pieces. We utilized modern CNC milling techniques, yet also relied on age-old craftmanship of stereotomy found in medieval gothic construction. To ensure a seamless grain flow from one stone to the next, pieces were rotated ever so slightly in three dimensions.

For the glass, the challenge was to build a high-performance double wall cavity that utilized the inherent structural capabilities of large curved panels while simultaneously defining an artful threshold that immerses the user into the architecture. The 14- foot-tall panels encase a mechanically isolated conditioned space that mitigates temperature differentials and humidity.

How did the context of your project — environmental, social or cultural — influence your design?

An interesting aspect of the context is that we were returning to work on a building that our firm designed. I think that touches on a really powerful idea, that buildings need to evolve and change with the cities around them, and it is up to architects to help achieve this goal. When presented with the project, we had to determine how we wanted to interact with the style today, and how to make this a more usable space without undermining the integrity of the original building. Because of the postmodern aesthetic, albeit fairly minimal version of postmodern work, this was a loaded problem full of historical references and thought history.

What drove the selection of materials used in the project?

We selected Magny Le Louvre limestone for the interior as a continuation of the tower’s Indiana limestone exterior. We wanted the interior to offer a sophisticated take on stone and give people the opportunity to touch and engage with it directly.

For the exterior wall, we shaped glass to create an immersive experience for the user as they pass through. They become part of the building as they enter or exit, and that process is completely visible, though distorted, to others passing by or pausing in the lobby. We also removed metalwork to unify the experience between the spaces.

What is your favorite detail in the project and why?

It’s always hard to pick a favorite anything when it comes to one’s own project, but one the things I think came out best here is this dialogue between materials that we’ve created. I think the way both the stone and glass are shaped and formed ergonomically enables the project to achieve its goal of serving as a point of engagement with users. Similarly, I think the contrast we’ve created between these materials – the solidity of the sedimentary veined stone and the transparency of the sculpted glass. Notably, both materials are created from sand, linking them in an essential way.

How important was sustainability as a design criteria as you worked on this project?

Sustainability is a key aspect of all of our firm’s work. In this case, as a renovation project, we were starting out with an existing structure. We upgraded mechanical systems in the lobby to be more efficient, and we designed the new a high-performing façade for the entry.

How have your clients responded to the finished project?

We’ve been fortunate to work with a great and truly supportive client, Paramount Group, on this project. Since we first brought them our design concept all the way through construction and project completion, the Paramount team believed in our vision and remained dedicated to seeing it through. It has also been exciting to see the positive reaction from the building’s tenants as they experience the new space.

What key lesson did you learn in the process of conceiving the project?

Creating an architectural dialogue with the past, present, and future, though challenging and ever-evolving, is a great foundation for developing new designs, particularly within existing projects.

How do you believe this project represents you or your firm as a whole?

I think our work on this project represents KPF’s commitment to the evolution of cities and urban spaces. By reimagining this space, working within its constraints and addressing its challenges, we have enhanced the usefulness of this entire office building and met the needs of its current users. And, as a renovation, this project also reflects a commitment to sustainability and which is a core aspect of our work.

Team Members

Design Principal: Hugh Trumbull / Managing Principal: Richard Nemeth / Project Manager: Greg Mell / Team: Chris Dial, Xi Chen, Alex Lightman, Parker Russo

Consultants

AECOM Tishman (Construction Manager) / ETMA (Stone Fabricator) / Front Inc. (Facade Consultant) / Wilkstone (Stone Installation)

Photographer credit: Michael Moran / OTTO

Products and Materials

Magny Le Louvre limestone, Cristacurva glass

For more on 712 Fifth Avenue Renovation, please visit the in-depth project page on Architizer.

712 Fifth Avenue Renovation Gallery

Reference

Architecture

Adaptive Reuse Revolution: 7 Commercial Projects Potently Preserving the Past

By Zarkon Group,22/07/2023

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available. Order your copy today.

One of the biggest questions architects and designers face is: what do we do with the buildings we inherit? While demolition yields a blank slate, it erases the historic roots of our built environments and is a wholly unsustainable practice. Extending the lifecycles of existing structures dramatically reduces the energy consumption and carbon emissions generated by constructing anew.

The benefits of adaptive reuse are deeply social as well as environmental. Imbuing the fabric of the past with a purpose for the future is a special kind of alchemy. This collision of architectural timelines can result in astonishing spaces that revive a region’s unique cultural heritage.

These seven winning commercial projects from the 11^th A+Awards exemplify how radical reuse can elevate our skylines. Combining reverence for the past with pioneering designs, there’s much to learn from these extraordinary structures…

The Press

By Ehrlich Yanai Rhee Chaney Architects, Costa Mesa, California

Jury Winner and Popular Choice Winner, 11^th Annual A+Awards, Commercial Renovations & Additions

The Press by Ehrlich Yanai Rhee Chaney Architects Left to languish since 2010, the former Los Angeles Times printing plant has been masterfully reincarnated as a daring commercial workplace. Precise incisions have unfurled the monolithic concrete volume, drawing in daylight, air and views of the picturesque surrounding landscape.

Contemporary adaptations to the building are thoughtful and restrained. In the atrium at its center, an architectural metal staircase pays homage to the original fabric. Historic elements such as paint chips and conveyor belts have been preserved in situ, yet these emblems of industry are softened by biophilic details. Shrublands pepper the floors of the communal spaces and one of the site’s existing trees now grows through the metalwork of the structure itself.

Ombú

By Foster + Partners, Madrid, Spain

Jury Winner, 11^th Annual A+Awards, Sustainable Commercial Building

Ombú by Foster + Partners In another life, this magnificent early 20th-century edifice supplied energy to its local district in Madrid. Having fallen into disuse, it was purchased and saved from the wrecking ball, unlike many of its contemporaries in the region who weren’t so lucky. Fittingly, it’s now the offices of Spanish infrastructure and energy company ACCIONA.

Designed by architect Luis de Landecho, the exquisite building envelope has been preserved in all its glory and sensitively reworked without compromising the original fabric. In a stroke of architectural genius, a free-standing structure crafted from sustainably sourced timber was inserted beneath the breathtaking pitched steel trusses to accommodate new offices. The platform is recyclable and can be dismantled, so the spatial layout can be effortlessly rewritten in the future. Compared to the lifecycle impact of a new construction, this compassionate design reduces the building’s embodied carbon by 25%, while saving a culturally significant local landmark.

SEE MONSTER

By NEWSUBSTANCE, Weston-Super-Mare, United Kingdom

Popular Choice Winner, 11^th Annual A+Awards, Pop-Ups & Temporary

SEE MONSTER by NEWSUBSTANCE After 30 years in the North Sea, this retired oil rig was brought ashore and transformed into an astounding public art installation. A challenging feat, the ambitious project channeled the expertise of scientists, engineers and artists. Now, it stands as a poignant catalyst for conversations about our treatment of inherited structures and the potential for creative regeneration.

While it may be anchored on dry land, the rig’s origins are articulated via a 32-foot-high (10 meter) waterfall, which cascades into a shallow pool at the structure’s base. The platform itself is encircled with kinetic wind sculptures and artworks, as well as wildflowers and trees that balance out the angular, metallic form. This unconventional space inspires unconventional circulation. A playful slide snakes through the middle of the rig, offering an alternate way to navigate the platform.

DB55 Amsterdam

By D/DOCK, Amsterdam, Netherlands

Jury Winner, 11^th Annual A+Awards, Coworking Space

DB55 Amsterdam by D/DOCK Formerly a timber warehouse in the Houthaven neighborhood of Amsterdam, the airy proportions of this vast building have been utilized to create a blended commercial and recreational venue. Flexibility is at the core of the remarkable project – multipurpose work zones and elevated platforms feature furniture on castor wheels for a fluid and easily adaptable floor plan.

It’s not just the warehouse that’s been given a new lease of life. The interior aesthetic was led by the availability of reclaimed materials. The wood flooring planks comprise domestic roof boarding, and the concrete and glass walls were recycled, while the tiling from the bathrooms was salvaged. 70% of the furniture is second-hand too, including the audiovisual and kitchen equipment.

Kabelovna Studios

By B² Architecture, Prague, Czechia

Popular Choice Winner, 11^th Annual A+Awards, Commercial Interiors (<25,000 sq ft.)

Kabelovna Studios by B² Architecture This ground-breaking project is setting a new precedent for the design of recording studios and post-production spaces. Nestled in the bustling heart of Prague in an old factory building dating back to 1908, the structure has come full circle. Once a place where electrical cables were manufactured, somewhat poetically, it’s now occupied by professionals who utilize an abundance of cables every day.

The scheme fuses the industrial past with modern functionality. The original restored brickwork envelops the work zones is rich in history and texture, offering an ideal acoustic environment for recording. Modern interventions are sensitively negotiated. Large skylights and sleek glass walls flood the studio with light and allow the bones of the factory to shine.

Casa Pich i Pon. LOOM Plaza Catalunya

By SCOB Architecture & Landscape, Barcelona, Spain

Popular Choice Winner, 11^th Annual A+Awards, Coworking Space

Casa Pich i Pon. LOOM Plaza Catalunya by SCOB Architecture and Landscape This extraordinary coworking space in Barcelona is an eloquent exercise in unearthing the past. The empathetic remodel is the latest in the building’s long history and sought to create a palpable connection between past and present.

The original heritage skin of the structure has been rediscovered and brought into focus once more. Compelling interior windows offer a portal back in time through the building’s history. Overhead, coffered ceilings and undulating ribbons of brick frame the work zones in an enigmatic canopy. Elsewhere, the prevailing crisp white walls give way to pockets of exposed brickwork. The past is a striking presence in this enchanting reuse project.

GRiD

By Spark Architects, Rochor, Singapore

Jury Winner, 11^th Annual A+Awards, Retail

GRiD by Spark Architects Older commercial buildings are often threatened with demolition in the name of urban development. However, this whimsical reuse scheme is a masterclass in reinvention. Once a neglected structure on the corner of a busy thoroughfare, its story has been drastically rewritten.

Far from business as usual, this retail space is now a pulsing hub that draws in content creators and the digital generation. Threads of vibrant neon lights outline the graphic, cubic structure, creating a glowing beacon amid the melee of gray tower blocks. Street food outlets and social zones occupy the staggered levels, while an outdoor staircase, dubbed the ‘social stair’, carves out a space for live performances and screenings.

Reference

Architecture

How Ice Cubes by Zone of Utopia + Mathieu Forest Architecte is Changing the Skyline of Northern China

By Zarkon Group,26/03/2023

Ice cubes – The question we were asked was that of the spirit of a place. The client imagined a flat building, we proposed a tower: to conquer the sky, mark the territory and put the whole commercial district in tension with the future ski slope on the other side. In this commercial environment, our cultural center says “I am here!“. You can see it everywhere, day and night. The city is conceived from landmarks and vanishing points.

Architizer chatted with Mathieu Forest, Founder of Mathieu Forest Architecte, and Qiang Zou, Design Principal at Zone of Utopia, to learn more about this project.

Architizer: What inspired the initial concept for your design?

We are starting from a virgin site with only fields and sky as the landscape. We wanted a building that captures the “thickness of the air”, the only tangible context, which by its material and its form is anchored in the sky: the gray and misty skies, the sunbeams which pierce it, the snowy skies, the steely blue skies so characteristic of northern China, the skies overwhelming with light in summer, the golden evening horizons, the bluish mornings… our building continually changes its appearance with the rhythm of the seasons, the variations of the climate and hours, and like a mirror reveals the beauty of a changing sky and landscape. Its facades are a gigantic glass printed fresco according to a unique design, without any repetition. It is also an echo of the representations of landscapes in Chinese painting, whose mystery arises from the immensity and detail.

© Zone of Utopia + Mathieu Forest Architecte

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

It is a poetic architecture, for which the technique, as advanced as it is, is at the service of emotion. We think that we must refuse generic, cloned, sanitized, standardized architectures, such as the current world produces too much. We must rediscover the sense of geography and context and never forget that the only goal to be achieved is that of the pleasure of living. As urban art, architecture must address everyone. We are looking for several degrees of mystery: we can see in this architecture the evocation of a mass of ice floating on a lake or that of a lantern and marvel at it, but going deeper, there is a more impressionist vision of capturing the effects of light, with a certain form of abstraction and constant renewal.

What was the greatest design challenge you faced during the project, and how did you navigate it?

The greatest challenge was the realization of the facade supposed to evoke a form of immateriality. Many prototypes had to be made to properly adjust the quality and color of the glass, the density and the color of the printed patterns. It was also necessary to work closely with the engineers to design the most absent structures possible. The nicest compliment we often get is that people think when they see the photos that they are perspectives when the building is well constructed!

How did the context of your project — environmental, social or cultural — influence your design?

We started from an almost virgin site, the most difficult situation for a contextual architect. There was only a master plan and a bird’s eye view of a future residential area organized along the lake, headed by a tourist area and shops and, as a highlight, a future artificial ski slope to attract future residents and tourists. This district of 10,000 housing units will accommodate approximately 30,000 inhabitants and will be part of the future new town of Pinyuan which will accommodate a total of 500,000 inhabitants.

We took advantage of the incredible dynamism of Chinese industry: in the glass sector in particular. Large samples manufactured in record time allowed us to develop the exact colors and ink densities desired, with exceptional thermal performance.

What drove the selection of materials used in the project?

It is a steel and glass building. Steel is adapted to an architecture of lightness and audacity, but also to allow prefabrication and great speed of implementation. We used glass for its advantages while avoiding its disadvantages, taking into account the continental climate, with cold and dry winters and hot and rainy summers. We have designed a waterproof double skin with controlled ventilation: in winter, the double skin is closed and the greenhouse effect makes it possible to avoid almost any heating. In summer, the air cooled by evaporation at the water surface is collected and circulates in the double skin to evacuate heat accumulations and cool the thermal facade and therefore reduce air conditioning needs.

What is your favorite detail in the project and why?

We want the structure to disappear so that only the effects remain. The details of the suspended facade were the most sensitive to develop, in the common parts as much as for the details of angles, overhangs and transition between volumes. We worked with our facade engineer on minimalist principles. Each glass of the double skin is only held by 4 pieces of steel of a few centimeters and a simple bead of transparent silicone ensures the seal.

How important was sustainability as a design criteria as you worked on this project?

This question is of course a major one at the present time. This is why we have designed a double-skin façade which considerably reduces energy requirements. In winter, there is no need to heat the building. Dynamic thermal studies have shown that our design saves 50% energy compared to a traditional double-glazed facade. After a few years, the investment in the double glass skin is fully compensated and after 50 years, the gain is considerable.

In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?

We collaborated very efficiently, mainly through video conferences. The engineers for the structure and the facade were particularly called upon to be able to build the project and in general, all the actors worked very intensely with the will to be able to achieve this result.

Were any parts of the project dramatically altered from conception to construction, and if so, why?

Surprisingly, nothing has changed. The process was very fast and the building constructed is very faithful to the sketch.

How have your clients responded to the finished project?

The client is extremely satisfied with the project and its numerous publications. More generally, all the feedback tells us that the building is very well received by visitors and users.

What key lesson did you learn in the process of conceiving the project?

Having to go fast does not prevent designing with complexity and accuracy.

How do you believe this project represents you or your firm as a whole?

It is a contextual project, even if the urban context was almost non-existent. It exactly answers a question asked by a program and a site. In this, it represents our architectural philosophy well.

How has being the recipient of an A+Award evoked positive responses from others?

It is a great honor for us to receive such a distinction. Especially because we are a young architecture firm and that encourages us enormously to continue our work. This also contributes to our positive image for clients and our partners. It is very important for us.

How do you imagine this project influencing your work in the future?

We believe that projects always ask new questions for new answers. Each project teaches us, of course, but we will never do the same thing twice.

Is there anything else important you’d like to share about this project?

The project was designed and carried out during the COVID, in a very short time. There were 20 months between sketch and delivery. Challenge increased by the pandemic which banned travel and stopped the construction site for 4 months. We had to invent, like others, new methods. We worked and checked the site from photos and videos. We had daily video meetings. Paradoxically, the COVID has reinforced the good coordination between all.

For more on Ice cubes, please visit the in-depth project page on Architizer.

Ice cubes Gallery

Reference

Architecture

Ergon Agora East Re-Interprets the Supermarket Experience

By Zarkon Group,12/02/2023

Ergon Agora East – The challenge was to re-interpret the common supermarket experience, by introducing a new vocabulary of materials and forms. An additional challenge was to intervene in an existing, old industrial shell and create a new, modern and of high-quality space.

Architizer chatted with Tasos Georgantzis, Managing Director at Urban Soul Project, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Tasos Georgantzis: ERGON already has a visual identity in terms of spatial design so we had in our hands a range of elements to shape Agora’s identity. This identity is based on greek materiality, tradition, architecture colours and forms. This identity is always the starting point in every ERGON project. Specifically in this case, we were inspired by our own experience in markets, both open and closed. We wanted to design a space that combines different uses, for different hours and different age groups.

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

ERGON Agora East is innovative for two reasons: not only it proposes a new way to design a supermarket but also proposes a way to re-use an existing industrial shell. Regarding the second point, the changes made to the building were subtle but significant: the roof was opened in order for the daylight to enter the building, and also with the opening of the southwest side the building becomes integrated with its environment. ERGON Agora’s design is minimal, respects the existing structure and creates a new narration using old materials.

What was the greatest design challenge you faced during the project, and how did you navigate it?

The greatest challenge in ERGON Agora East design process was the request to fit in one space different uses, define a hierarchy among them and achieve to keep them connected, not separated. ERGON Agora East is at the same time a super market, a winery, a restaurant, a bakery and a garden.

Consultants

Electromechanical Study: Charalambos Charalambidis / Metalwork: Damon Sidiropoulos / Woodwork: Aris Iliadis / Landscape Design: FYTRON, Urban Soul Project

For more on Ergon Agora East, please visit the in-depth project page on Architizer.

Ergon Agora East Gallery

Reference

Architecture

Revitalizing a Contaminated Site: The Ford Calumet Environmental Center

By Zarkon Group,28/01/2023

Ford Calumet Environmental Center – Once a dumping ground from nearby steel mills, Big Marsh park opened in 2016 on the southeast side of Chicago. The Chicago Park District asked Valerio Dewalt Train to design an environmental center that serves as an education hub and a gateway to eco-recreation opportunities throughout the region. The design responded to the park’s past by marrying the industrial with the natural. The exterior is clad in a rain screen of weathered steel that recalls the site’s steel mill history, with an exposed mass timber interior. Two large rooftop light monitors, clad in exposed Nail-Laminated-Timber, flood a double-height exhibition area with daylight.

Architizer chatted with Tom Daly, Project Manager and Joe Valerio, Design Principal at Valerio Dewalt Train, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Tom Daly: Historically, Chicago’s Southeast Side has been burdened with the effects of industrialization and left with remnants of steel production in the region of the city. The building’s materiality serves as a metaphor to the site’s industrial past and forward-thinking future: the corten steel that wraps around the building is an acknowledgement of that past, while the two wooden forms cantilever dramatically to both mark the entry and frame a view of the interior, while from the inside they focus your attention on small but significant vignettes of the restored natural landscape. They deliver a message about an environmentally responsive and conscious future.

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

The design serves as an example for a progressive future of building in the City of Chicago, a city known for design innovation. The center was the first wastewater wetland system in the city, and the first mass timber building for the Chicago Park District. The building also actively improves living conditions for its surrounding inhabitants. Its highly bird-safe design rates a 4 out of a 100 level scale, with 0 being the highest, and provides a resource for the surrounding communities who have suffered from a lack of investment and park services for decades. It’s sculptural form and rich materiality serve as a gateway to the park at large.

What was the greatest design challenge you faced during the project, and how did you navigate it?

The overall project budget was $6.6M, and was made possible by a major contribution from the Ford Motor Company. The Design Team was immediately challenged when it was discovered that the nearest sanitary sewer line was 1.6 miles from the site. The cost of bringing a sanitary sewer to the site was $2.0M – threatening the viability of the entire development. Working with our civil and plumbing engineers, we developed a design for an on-site black water treatment system where the outflow was clean water. The Ford Calumet Environmental Center is the first time a wastewater wetland system has been permitted by the City of Chicago.

How did the context of your project — environmental, social or cultural — influence your design?

The project’s environmental, social and cultural context are intertwined. Historically, Chicago’s Southeast Side has been financially underserved and burdened with the effects of industrialization. The Ford Calumet Environmental Center is a bold statement of how we can re-inhabit landscapes destroyed by 20th Century technology. A major focus were local residents of the four surrounding neighborhoods including South Deering, Pullman, Trumbull Hill and Hegewisch. Our Media-Objectives Studio reached out to community leaders and developed an award winning exhibit which focuses on their past and optimistic future. Through environmental education and eco-recreation, the center serves as a community resource and cultivates advocacy for positive change across the Calumet Region.

What drove the selection of materials used in the project?

The building’s materials reinforce its mission. The 20th Century industries that so damaged this region were major sources of carbon released in the atmosphere. The weathered steel cladding is recycled – which has a low level of embodied carbon compared to other building materials. The decision with the most impact is the use of a mass timber structure. The embodied carbon is lower than almost any other material, in addition the timber sequesters carbon leading the way to an environmentally-responsive future.

What is your favorite detail in the project and why?

Early in the design process our focus was on creating an open and welcoming architecture with a daylit interior. Big Marsh Park is also on one of the major migratory routes for birds, drawing attention from an important constituency for the Park – bird watchers.

The two wooden forms that cantilever over the corten facade, bring daylight from above into the exhibit space. The eight foot cantilever results in eliminating the reflection of the sky in the large clerestory windows, bird safe glass is also used for these window. There are six large windows around the perimeter that bring daylight into all the interior rooms. Each is equipped with large doors, covered in perforated corten steel. In the open position, the doors shade the glass reducing the reflection of the sky. During the migratory season, the doors are kept closed, with the perforated metal still providing adequate light

How important was sustainability as a design criteria as you worked on this project?

Sustainability was a driving factor in the design and overall project mission. Sustainable features like the wastewater wetland system are put on display, demonstrating how it takes inspiration from the marshes’ natural processes to treat the building’s blackwater and release clean water back to the site via a leach field. Renewable resources in the project include Nail Laminated Timber, giving the building warmth and a lower carbon footprint. An eco-friendly alternative to aluminum, weathered steel has a lower carbon footprint as well, reducing the building’s overall embodied carbon while providing a durable layer of protection with a beautiful orange patina.

In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?

Collaboration was critical to the success of the FCEC. It began with the Chicago Park District who were willing to explore new solutions to old problems. In addition, from the beginning one of the Districts goals was to engage the adjacent minority communities.

Designing and permitting the wasteland wastewater system involved many members of the design team, the Park District, and the Chicago Building Department.

Finally, our Media-Objectives Studio brought leaders and residents of the surrounding neighborhoods into the design of the exhibit which includes the history of these communities including photographs of some of the residents including their own words about the past and future of the region.

Were any parts of the project dramatically altered from conception to construction, and if so, why?

There were a number of changes, but nothing that represented a dramatic change.

How have your clients responded to the finished project?

The FCEC is one of the most widely recognized buildings completed by the Chicago Park District. Among the awards and publications the most significant is first place in the yearly Driehaus Foundation Award for Architectural Excellence in Community Design was established to recognize the importance of great architecture and craftsmanship to city life.

How do you believe this project represents you or your firm as a whole?

Good design is always the answer.

Team Members

Steffan Schoenauer – Project Manager (Chicago Park District); Joe Valerio – Design Principal Mark Dewalt – Principal-in-Charge, Tom Daly, Alexander Raynor – Project Manager, Lauren Shelton, Matt Gamache, Michael Johnson, Susan Crockett, Nina Cackovic, Haydyn Jones, (Valerio Dewalt Train); Joe Lawton – Principal, Allison Rokusek, Jacob Goble, Rafael Barontoni, Stephen Killion – Graphic Designers (Media–Objectives)

Consultants

Chicago Commercial Construction – General Contractor; Primera – Civil Engineer; Jacobs Ryan Associates – Landscape Architecture; Matrix Engineering – Structural Engineering; dbHMS – MEP Engineering; Tom Harris – Photography; TetraTech – Environmental Consultants; BioHabitats – Green Infrastructure

Products and Materials

ReSawn Timber Co; Axis Lighting; Dri Design; Arborwood; Shaw; Crossville; Steelcase;

For more on Ford Calumet Environmental Center, please visit the in-depth project page on Architizer.

Ford Calumet Environmental Center Gallery

Reference

Sustainable News

The world’s first commercial CO2-to-methanol plant

By Zarkon Group,24/11/2022

Spotted: Methanol (CH3OH) is a chemical building block used in hundreds of everyday products, including plastics, paints, and car parts, as well as a clean-burning fuel. However, methanol production itself is not clean – it is produced in an energy-intensive process that usually begins with natural gas: a fossil fuel. Now, Carbon Recycling International (CRI) is working on a way to change this with a production process that uses captured waste carbon dioxide and hydrogen gases.

CRI has recently completed the world’s first commercial-scale CO2-to-methanol plant, located in Anyang, Henan Province, China. The cutting-edge facility uses Emissions-to-Liquids (ETL) technology developed by CRI and first demonstrated at its pilot plant in Iceland. This process uses carbon dioxide that is recovered from existing lime production emissions, and hydrogen recovered from coke-oven gas. The waste gases are captured at their point of emission and transferred to the gas conditioning system, where impurities are then removed to produce carbon dioxide. At the same time, hydrogen is generated by water electrolysis using a renewable electricity source.

Björk Kristjánsdóttir, CEO of CRI, explains, “We are proud to have successfully realised this important project and to bring our environmentally friendly, ETL technology into the global market. This technology can support large-scale reduction of carbon emissions and help facilitate the energy transition.”

To meet the goal of zero carbon, it is going to be necessary to find low-carbon methods for producing basic materials. Springwise has also spotted a method for making protein out of methane and turning waste CO2 into carbon fibre and wastewater treatment chemicals.

Written By Lisa Magloff

Reference

Architecture

Bringing the Outside In: Using Biophilic Design Principles to Transform Commercial Interiors

By Zarkon Group,23/11/2022

Modernism was all about clean lines, raw surfaces, and celebrating the uncompromising rationality of the machine. The vision of LeCorbusier was revolutionary in its time, and caught on in ways he would likely not have expected. Today, most of the public spaces we move through, from offices and schools to hospitals and transport hubs, owe something to the modern movement and its penchant for no-frills design.

Not everyone is happy with this state of affairs. Today, there is a renewed interest in the textures, patterns, and curves, the very features of classical architecture that modernists once avoided. Design-thinkers have learned that natural forms, from the vein patterns in leaves to the curves of the human body, are based on fractals rather than grids. As human beings, we find fractals pleasing to the eye and emotionally restorative. Right angles, in contrast, are harsh and even exhausting. This is why so many people describe modern spaces as feeling grim, sterile, or anxiety provoking.

Wall art by Inpro

For architects that are looking to warm a space with natural forms, bringing in some of that fractal energy people literally crave, the experts at Inpro are providing new, high-tech solutions. They create high-end, digital artwork optimized for spaces such as offices, schools, hospitals and more, bringing vitality to spaces that would otherwise be merely functional

Through their critical design research into art and biophilia, and from the inspiration that guides it, Inpro is looking to make art “work” for the occupants in any commercial building. How art, working through digital imagery or printed on an architectural product, can bring a brand, an idea or even a feeling to life.

Nick Cotter, Creative Director at Inpro, says: “The right image can have a calming effect, especially in healthcare environments where patients might be experiencing anxiety, fear or pain. Images of nature offer serenity in an otherwise sterile space, while bright and colorful artwork can stimulate interest and put smiles on faces.” Studies have shown that looking at images of nature is healing, much like spending time in nature. Art, then, is a crucial component of any healthcare space.

As the company explains in their Imaging Products brochure, “North Americans spend nearly 90% of their time indoors. . . Whether it be promoting healing in healthcare, productivity in office environments, stimulating creativity in education, triggering brand recognition in hospitality or reinforcing positive transactions in retail and restaurant, the use of imagery, pattern and color can have an influence. . . these influences are seen even in our sleep, diet and mood.”

Inpro offers six product types for people looking to bring art and photo prints into their office, including Aspex® Printed Wall Protection, a printed, protective wallcovering that can be applied directly to the wall at virtually any size, and printed wall art, which hangs on the wall just like a painting. The brand also produces printed signage, which allows art to be integrated in creative ways throughout the space, durable wall panels that can be used in high traffic spaces like elevator interiors, and printed window shades, which can turn any office into a room with a view. Made from fiberglass, polyester, vinyl, and acrylic, these high-tech Solar Shades help to block glare and unwanted heat while still allowing a degree of natural light.

Elevator interior with prestige gold trim and Aspex panels showcasing local artwork.

Each of these products is durable and super high resolution. Furthermore, they are fully customizable. Inpro works with clients to select imagery suited to their brand. If no stock images fit the bill, the brand can help facilitate collaborations between clients and local artists to curate unique artwork for their space. In 2023, Inpro is also launching curated art galleries that can be printed on products based on moods, including categories like “comfort”, “focus”, “restore”, “inspire” and “energize”.

The key is to think about your design needs, choose a theme, and stick to it. Like a real natural landscape, the whole is greater than the sum of its parts, and artworks function better when they are placed in harmonious relation to one another. Through the careful selection of Inpro products, shades can be integrated with wall coverings, art, and signage, creating a fully integrated space.

Personalized dorm room window shades by Inpro

“Adding imagery throughout your spaces brings continuity throughout your building and how people experience it,” Dan Roller, Product Manager at Inpro, explains. “For example, use an overall nature theme and create variations on each floor to help people remember different locations and change up the scenery.” This type of cohesiveness will strengthen your brand, whatever industry you are in, and elevate the experience of clients or other visitors to your professional space.

If biophilia isn’t your thing, Inpro can also create graphics that have a more streamlined, minimalist look. The key thing to remember is that with new digital imaging and printing techniques, the possibilities are endless when it comes to wall coverings. One is not limited to solid colors or patterned wallpaper. Any image you can think of can find a place on your walls, your signs or your window treatments.

Coordinated window shades and wall art by Inpro

Art is no longer something that hangs on the wall – an ornament for spectators to gaze at – but something that is ultimately functional, helping spaces work better for everyone. This sounds like something even LeCorbusier would approve of.

To learn more about Inpro’s extensive range of architectural products, check out their website and their brand profile on Architizer, or download their visual inspiration guide here.

Reference

Sustainable News

Retail Space of Zhima Health at the Universal Beijing Resort // Le Brand Strategy

By Zarkon Group,02/11/2022

Text description provided by the architects.

After a night-owl drink, you feel instantly refreshed, start walking in the air all the way up to the ceiling along the twists and turns of the spiral stairs and in front of your eyes is unfolding a world that sees no end…
While you chill out, you see four Chinese characters that read “Zhima Health” in front of a counter.

That’s when you let out a sigh of relief, realizing what happened was nothing but hallucination.

As a leader in the transformation and upgrade of time-honored brands, Zhima Health, a brand owned by the renowned TCM firm Tongrentang, draws the wisdom of the interior designer Wang Yong from Beijing Wuxiang Space Architecture Design Studio to put two stores-zero store in Daxing District and No.1 store in Shuangjing area-in place, highlighting a lifestyle trend that values both punk and health preservation among the young generation.

Along with the grand opening of the Universal Beijing Resort, a new retail store “Beijing Youli” under the support of Beijing State-owned Assets Supervision and Administration Commission also made its debut as the first suggested stop for the park visitors after they get off from the subway station. As a shop-in-shop, a disruptive new retail experience area for Zhima Health was designed by Wang Yong for an independent space of 30 square meters in the store.

1.Design Challenges of Re-upgradeTwo Tasks for the DesignerIn response to the call of “carrying on the essence while pursuing innovations” of time-honored brands proposed by Beijing State-owned Assets Supervision and Administration Commission, Beijing Youli emerged as a multi-brand store that gathers a portfolio of traditional brands that represent the humanitarian spirit of a city.

Its opening at Universal Beijing Resort has pooled nearly 30 local or national time-honored brands as well as other recognized ones, which, spurred by China Chic and together with other fashion brands, have formed a synergy as the new limelight at the new landmark.
With the experience of two existing stores, Zhima Health has taken consumption experience to the next level-on top of functionality and social networking, the space is expected to also offer an ever more critical emotional value for consumers, which is what Wang Yong must address as the first challenge.
The second challenge comes from the space itself-a 6.5m×4m box area of less than 30 square meters.

Given its relatively compact size compared to the other two stores, Wang Yong has to figure out how to minimize the “small” feeling of the confined space through the addition of a “fourth” dimension based on a 3D design concept.2.Design ConceptThe Uniqueness of the SpaceWhat Wang Yong had in mind was to target a certain customer group for Zhima Health with a brand new architectural style, which should conform with the culture of Universal Beijing Resort, cater to the diversified consumption preferences of the young generation, comply with the brand genes of Zhima Health and fit in the limited space.As a result, Wang Yong and his team decided to incorporate inspirations from Inception, multi-dimension, fashion and traditional brand genes into the design to deliver a space which is on the one hand fashionable and sci-fi and on the other light and friendly.As Zhima Health features the display and selling of light drinks in the quasi-concept store, Wang Yong, considering its finite space with a raised ceiling, worked out a light and 3D product arrangement plan and circulation design, resulting in a new retail space with a devotion to a sense of infiniteness and preservation of functionality.3.pace PresentationA 30㎡Metaverse Taking advantage of the high ceiling, Wang Yong deployed numerous towering wood arches, which were designed to intersect on the ceiling and then extend all the way down to the bottom of the rammed earth walls where product shelves were mounted.Four pairs of life-size wood spiral stairs echo each other overhead, threading through arches from a height and dominating the shop-in-shop.

The entire space, thanks to the arches and stair structures, resembles an unfolded accordion which is waking up the folded time and space.
On both horizontal and vertical dimensions, the use of mirrors enhances visual spaciousness. A whole glass on the ceiling and one side of the wall, together with the stretching structures that present a distortion in time and space, seems to have eliminated the boundary of the space and distorted time in a dazzling way.

With light projecting from underneath the ground and structured light belts on the arches, a metaverse of new retail space is throwing its arms wide open to all customers.4.New ValueBrand Genes That Combine Tradition and InnovationAs all century-old brands denote a particular trend or fashion in a certain era, the rise of China Chic is more of the rebirth of culture and value than cultural revival.

In particular, the irreplicable culture and spirit in the brand genes have enabled the reinvigoration of time-honored brands. From Goji Berry Coffee to Night Owl Drink, Zhima Health has achieved continued success, celebrating the everchanging time and the aspiring young generation and asserting its say as a new brand under a time-honored one in the modern era.

For any young person who is looking for a trendy and healthy night owl drink, Zhima Health is poised to provide a most authentic solution.
Building on Tongrentang’s brand recognition over the past few centuries, Zhima Health, through the concept zero store covering an area of nearly 20,000 square meters and the new retail social space of merely 30 square meters, is extending its antenna with innovation and courage ingrained in the brand to reach the future market.

To meet the demands of the new market and new consumption groups, it is brewing a new interpretation for the genes of its parent brand through space, for which Wang Yong has led the interior design–In hopes that the retail space at Universal Beijing Resort can strike a chord with the young customers, heralding a brighter future for Zhima Health albeit a small beginning through the combination of tradition and innovation.Project DetailsProject Location: Beijing, ChinaCustomer: Beijing Tongrentang Health Pharmaceutical CompanyTime of Design: September, 2021Interior Design: Beijing Wuxiang Space Architecture Design StudioWeb：www.wuux.netBuilding Type: CommercialLead Designer: Wang YongDesign Team: Wang Yong, Yu Yue, Jia Zhiyong, Zhu Chenxu, Tan Wei, Zhang Guiying, Beijing Wuxiang Space Architecture Design StudioPhotography: Zheng YanProject Planning: Le Brand Strategy AgencyCopywriting Agency: NARJEELING.

Retail Space of Zhima Health at the Universal Beijing Resort Gallery

Reference

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Retail Space of Zhima Health at the Universal Beijing Resort Gallery

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