Stop the Presses: Can Adapting an Abandoned Newspaper Facility Revitalize the Suburbs?
CategoriesArchitecture

Stop the Presses: Can Adapting an Abandoned Newspaper Facility Revitalize the Suburbs?

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.  

When you think of the American suburbs, what words come to mind? 

No matter how much affection you have for your hometown, one of those words is probably “bleak.” While many millennials, including this author, are still moving out to the suburbs to raise children — a pattern first established by their grandparents in the post-war era — few see these car-centric communities as ideal. The charmless strip malls, the big box stores, the neglected highway medians filled with litter from passing cars — how can one contemplate all this without crying out in despair?  

The question isn’t really if the suburbs are bad but why they are this way. Are the people who live in the suburbs really more boring than the people in cities? Or does the archetypal suburban ambiance of loneliness and fatigue stem instead from poor urban planning? 

Tract housing in a suburb of Cincinatti, Ohio, 2005. Photo by Derek Jensen via Wikimedia Commons. 

My feeling is that it is the latter. Culture happens in places where people have the opportunity to move around, observe each other, and interact. The flâneur, that prototype of the modern artist or bohemian, emerged in mid 19th century Paris at the same time that the arcades were constructed, and this was no coincidence. As Baudelaire understood, the arcades provided the first modern artists with a stage on which to observe la comédie humaine firsthand. He argued that this new way of relating to society produced modern subjectivity as we know it. 

It stands to reason that the suburbs, by removing would-be flâneurs from their stage, sapped their creativity as well. A life that moves from home, to car, to cubicle, to drive-through and back provides few chances for people to observe and interact with one another. Over time, the suburbs have led to an epidemic of loneliness in America — a fact that has been recognized since at least 2000, when political scientist Robert D. Putnam published his best-selling book Bowling Alone.

This trend has only been exacerbated during and after the pandemic, as more Americans have begun not only to work from home, but to have their groceries, entertainment and other consumer goods delivered straight to their doorstep, obviating the need to go outside altogether. This has led to a shuttering of retail spaces in the suburbs, among other changes. Suddenly, people are nostalgic even for those commercialized, “fake” public spaces like the mall that were widely derided in the 90s. 

The Press won the 2023 A+ Jury Award for Commerical Renovations and Additions.

So how to fix it? What the suburbs need, most of all, are places where people can work, shop, wander and simply be. One project that tries to restore some of this urban energy to the suburbs is The Press, a former Los Angeles Times printing facility in Costa Mesa, California that was “reincarnated as a multidisciplinary workspace with a dining Canteen and a public Rail Trail on its 23.4-acre site” by Ehrlich Yanai Rhee Chaney Architects. Located in Orange County, California, Costa Mesa is a small city with a decidedly suburban feel, a place where people sit in traffic for twenty minutes to reach the In-N-Out Burger drive through. 

This project, which won the 2023 A+ Jury Award in the Commercial Renovations and Additions category, stands out for seeming like a truly inviting, interesting place to spend time. Not just an office building, and not just a place to shop or eat, The Press avoids the sense of falseness or contrivance that plagues most suburban workspaces and shopping centers. While this is of course a privately owned campus, it feels more public than, for instance, a mall. 

Industrial details elevate The Press above most commercial spaces one finds in the American suburbs.

Part of this is due to the sense of history that is preserved in the space. As the architects explain in their project notes, “precise cuts through precast concrete walls and roofing bring in fresh air, daylight and views. This subtraction exposes the beauty of the existing, reviving what has since been neglected and inviting the landscape to enter in through and around the campus.” Like a repurposed Bushwick warehouse, or even a Parisian arcade, The Press preserves a sense of place that pushes against the anonymity of “cookie cutter” suburbs. 

Some of the details in this project are just extraordinary. As the architects explain, “The design celebrates both material and organic markers of time. Paint chips, rail spurs and conveyor belts are left as is and an existing tree is placed to grow through the structure itself — hinting at history, site and context.” My favorite detail is probably the rail trail, a partly shaded walking path that follows the course of a former rail line. Like the now iconic New York High Line, the Rail Trail repurposes outdated infrastructure in a way that both feels perfectly natural and encourages health and interaction. 

The Rail Trail gives Costa Mesa, California its own version of the High Line. A stunning feature of the project is that its campus extends over 23 acres.

Time will tell how The Press evolves with its environment. Currently, the complex has fifty-five tenants, including a number of incredible artisans and local restaurants. My hope is that, with this project, Ehrlich Yanai Rhee Chaney Architects have created a template for a new kind of suburban redevelopment, one that works with existing architecture to imprint the faceless suburbs with a vibrant sense of place. 

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.  

Reference

Recompose human composting facility transforms bodies into soil
CategoriesInterior Design

Recompose human composting facility transforms bodies into soil

American startup Recompose has opened a funeral home in Seattle designed by architecture firm Olson Kundig, where human remains are composted and turned into a nutrient-rich soil that can nurture new plant life.

Set in a converted warehouse in the city’s SoDo district, the facility is one of the first to make use of a burgeoning practice known as natural organic reduction  – or human composting, which was legalised in the state of Washington in 2019.

This sees the body of the deceased placed on a bed of plant materials inside a stainless steel vessel, purpose-built to accelerate the natural process of decomposition.

Shrouded body in a black tunnel
Recompose has opened a human composting facility in Seattle. Above photo by Austin Wilson

Over the course of 60 days, their remains are converted into one cubic yard of fertile soil – enough to fill the bed of a pickup truck. Loved ones can then take this compost home and use it to nourish their garden, plant trees in memory of the deceased or donate it to a local conservation area.

The aim is to offer a less polluting alternative to cremation or burial, which are hugely emissions and resource intensive, and instead create a meaningful funeral practice that allows people to give back to nature.

“Clients have shared with us that the idea of their person becoming soil is comforting,” Recompose founder Katrina Spade told Dezeen.

“Growing new life out of that soil is profound and the small ritual of planting, using soil created from a loved one’s body, is so tangible.”

Composting vessel inside Recompose facility in Seattle designed by Olson Kundig
Remains are left to decompose in cylindrical stainless steel vessels

Recompose’s 19,500-square-foot flagship facility in Seattle accommodates an array of 31 cylindrical composting vessels, stacked inside a hexagonal steel framework.

This vertical construction helps to conserve space in a bid to overcome the land-use issue associated with traditional burial and make human composting feasible even in dense urban areas.

“Recompose can be thought of as the urban equivalent to natural burial – returning us to the earth without requiring lots of land,” said Spade, a trained architect who developed the vessels as part of a residency at Olson Kundig‘s Seattle studio.

Lobby of Recompose human composting funeral home
The building’s lobby brings in elements of nature including plants and wood

The building itself was designed in collaboration with the architecture studio to reimagine the experience of being in a funeral home, making the process more transparent and bringing in elements of nature instead of overt religious iconography.

In the spirit of regeneration, much of the warehouse’s original shell was preserved. Warm wooden flooring and a planted wall enliven the central lobby, while strips of green glass are inset into the walls to provide glimpses of the intimate ceremony space beyond.

Here, loved ones can participate in a “laying-in ceremony”, similar to a traditional funeral service.

Ceremony room of human composting facility in Seattle designed by Olson Kundig
Green glazing provides glimpses into the main ceremony room

“The Gathering Space has floor-to-ceiling coloured glass windows that let light in, similar to the way light filters between trees in a forest,” said Olson Kundig design principal Alan Maskin.

“In a way, Recompose is a funeral home turned inside-out. There’s a suggestion of transparency and openness about death – including the ability to see and understand the entire process – that’s very different from a traditional funeral home experience.”

Body being placed into transitional vessel in Recompose Seattle
At the end of the funeral service, the body is moved through a transitional vessel. Photo by Austin Wilson

During the ceremony, a simple wooden lectern allows the bereaved to share words about their loved ones while the body of the deceased is draped in a cotton shroud and presented on a dark green bed called a cradle.

Mimicking the ritual of throwing dirt on a casket, guests can place flowers and plant materials on their person, which will help their transformation into soil.

The funeral home also has dedicated rooms for those who want to perform more hands-on care for their deceased ahead of the ceremony by bathing the body or reciting prayers and songs.

At the end of the service, the cradle is moved through a so-called threshold vessel embedded into the wall and into the Greenhouse, where it will join the other vessels in the array.

“A tremendous amount of care was taken to consider the experience of the body,” Maskin said. “There’s even a bit of poetry inscribed along the inside of the transitional vessel used during ceremonies.”

“That poem isn’t for the living; it’s only visible inside the vessel.”

Array of composting vessels inside human composting facility in Seattle designed by Olson Kundig
On the other side is the Greenhouse – home to an array of 31 vessels

Each vessel in the array contains a mix of plant materials developed by Recompose that includes wood chips, straw and a cloverlike plant called alfalfa, with ratios adapted based on the person’s body and weight.

Over the course of 30 days, the natural microbes found in the plants and the body will break down the remains, with any unpleasant odours filtered out and fresh air – and sometimes moisture – pumped into the vessel, which is intermittently rotated to speed up decomposition.

At the end of this process, any remaining bone fragments are ground down using a cremulator and any medical implants are removed for recycling.

The remaining soil is placed in a curing bin to dry out for another two to six weeks before it can be collected by friends or family.

Body in cradle being pushed into human composting vessel at Recompose in Seattle
The body is deposited inside one of these vessels along with different plant materials

Unlike cremation, this process does not require huge amounts of energy and fossil fuels, Recompose says, while the carbon contained in the human body is sequestered in the soil rather than released into the atmosphere.

The process also forgoes the vast amounts of embalming chemicals and emissions-intensive materials like steel and concrete that are needed for burials.

In total, the process to “transform your loved one’s body into soil” saves around one metric ton of CO2 emissions per person compared to burial or cremation, Recompose claims.

Person holding a handful of dirt
Friends and family can collect the soil and use it as they wish. Photo by Austin Wilson

Since 2019, a number of US states have followed in Washington’s footsteps and legalised natural organic reduction, with New York joining Colorado, Oregon, Vermont and California last month.

This comes as people are increasingly becoming aware of the hidden environmental impact of the deathcare industry and moving towards alternative funeral practices from liquid cremation to burial pods that grow into trees.

“Members of the baby boomer generation have started experiencing the deaths of their parents and I think many are asking: was that the best we can do,” Spade said.

Exterior of Recompose human composting facility in Seattle
The facility is housed inside a converted warehouse in SoDo. Photo by Austin Wilson

“But what’s interesting is that it’s not only older folks,” she added.

“Over 25 per cent of our Precompose [prepayment plan] members are under 49. I think this is because the climate crisis has played a role, too. People are wondering why our funeral practices haven’t been considered when it comes to our carbon footprint.”

Recompose plans to expand into Colorado in 2023 and California in 2027, while rival company Earth Funeral has set its sights on Oregon.

The photography is by Mat Hayward unless otherwise stated.

Reference

Brazilian Firm Brings Passive Design Principles to New Production Facility
CategoriesArchitecture

Brazilian Firm Brings Passive Design Principles to New Production Facility

Judging is now underway for the 10th Annual A+Awards Program! Want to earn global recognition for your projects? Sign up to be notified when the 11th Annual A+Awards program launches.  

Aldous Huxley said that “springs and landscapes have a serious defect: they are free” and that “love for nature does not provide work for any factory.” Well, sorry to contradict the famous writer and philosopher but the new industrial complex for Nice — the Italian multinational leader in Smart Home, Security, Home & Building Automation solutions, designed by M CA – Mario Cucinella Architects  in Limeira, Brazil — proves exactly the opposite: namely, that an industrial building can concretely combine productivity, social and technological innovation, research and environmental sustainability.

All images courtesy of MC A Mario Cucinella Architects

Nothing could be further from the apocalyptic and sooty atmospheres of Friz Lang’s film Metropolis (1927) in which the machines of productive dehumanization devoured the lives and identities of workers, reducing them to an automated mass swarming beneath the ground.

On the contrary, here, the building’s iconic roof appears like a large tropical leaf floating on light pillars, evoking the idea of an almost “maternal” architecture that is protective and enveloping, its organic forms in tune with the natural ecosystem. Unusually, equally strong themes of production efficiency and quality of work are combined with the strong emotional impact of this architecture.

The intervention is, on the one hand, a manifesto of cutting-edge technology aimed at increasing productivity according to a sustainable business model. Meanwhile, on the other, this is an architecture of social commitment to promote the professional growth of the local community by leveraging constant training and innovative work experiences.

The complex, covering an area of about 215, 278 sq ft (20,000 sqm) in a forest rich in underground water sources, houses the headquarters of the group with two floors of offices, common areas, showrooms, service and training areas. The production facilities, located at the back, are connected to the central atrium by a large window from which visitors can directly observe the industrial process.

Also at the back, a system of suspended paths, immersed in nature, connects to the building that houses services for employees, such as the gym and the inevitable “churrasqueira.” The working environment is a bit like a home, where it is also pleasant to spend moments of relaxation and socializing. 

The building has been designed to reduce energy consumption and toxic emissions through the use of active and passive measures that, thanks to the favorable local climatic conditions, allow the systems to operate completely off-grid for some periods of the year.

In general, the use of natural ventilation is possible for two thirds of the year, thanks to openable facade elements and the integration of mobile openings in the atrium patio that transform it into a giant “ventilation chimney”. The production area, thanks to the combination of thermal mass and natural ventilation, is operational all year round without the need for cooling or heating; showrooms and offices benefit from a mixed system that encourages natural ventilation while reducing overall cooling loads.

The roof, as well as a strong characterizing element of the project, is also an important passive device that provides shading to the large glass fronts during the hottest hours, reducing by 47% the incident radiation and avoiding the risk of overheating. 43 055 sq ft (4,000 sq m) of photovoltaic panels installed on the roof cover the electrical load of the entire building and potentially allow the systems to work off-grid during sunny days.

The landscape design is an equally important part of the intervention and is functional to increase the rich local biodiversity. The project proposes a playful interpretation of the variety of the Cerrado biome, the second largest in Brazil, ranging from grassy glades, to savanna, to forest formations, represented here in different expressive languages along the outdoor paths, inspired by local wild species and native vegetation. Small ponds and water basins mitigate runoff and direct rainwater to a large basin at the bottom of the area; a 2, 120 cubic foot (60 cubic meter) tank stores water to reuse for irrigation.

Image courtesy of MC A – Mario Cucinella Architects

Mario Cucinella, founder and creative director of MC A, states that “sustainability is a founding element of making architecture. Looking back at history, we have always needed a relationship with matter, and the energies brought into play were those of the climate: the sun, the wind, the light. The project re-establishes a symbiotic relationship between the architectural structure and nature, interacting with the landscape and reinterpreting the traditional Brazilian architectural elements and encouraging the use of all its passive characteristics.”

Love for Mother Earth — “our mother and sister who governs us and sustains us” as St. Francis of Assisi said — permeates the work, suggesting a broader reflection on the concept of sustainability that extends not only to environment but also to society and economy. MC A’s building encompasses a cultural approach in which ecology and industry coexist beyond hierarchies and commonplaces.

Judging is now underway for the 10th Annual A+Awards Program! Want to earn global recognition for your projects? Sign up to be notified when the 11th Annual A+Awards program launches.  

Reference