Two Architects Check the Pulse of Sustainable Building Practices | 2019-11-27 | Architectural Record This website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more. This Website Uses CookiesBy closing this message or continuing to use our site, you agree to our cookie policy. Learn MoreThis website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more.

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Two Architects Check the Pulse of Sustainable Building Practices - Architectural Record

A few years ago, according to architect Jeffrey Mandyck, the McKnight Foundation and AIA Minnesota decided to establish an award that would honor those who excel at producing design for developments that are regenerative (more about that later) and resilient for people, communities and for the environment.

That effort stemmed from a need to establish a clear definition and common language among developers, design professionals, general contractors, public agencies and the general public.

An AIA Minnesota task force that includes experts and researchers from the professional architecture community worked closely with Richard Graves and the team he leads at the University of Minnesotas Center for Sustainable Building Research (CSBR) to develop a new model. That team also collaborated with the Us Minnesota Design Center and New Orleans-based Colloqate Design.

The result? The 21st Century Development (21CD) model and matrix. Mandyck explains more about this cutting-edge program.

Q: What does it mean to be regenerative community?

A: 21CD strives to provide a healthy environment for all people and living systems now and in a dynamic future. It is part of AIA Minnesotas broader effort to inspire agency and accelerate action toward a better built environment for all.

Q: Whats the overall goal of the 21CD model?

A: The model is primarily focused on guiding developers private, public and nonprofit but we crafted it with policymakers and community leaders in mind, as well. We need policy solutions that accelerate our progress along the path, and the public needs to be able to envision and advocate for a better built environment. Weve started to identify how much running room there actually is before major barriers impede progress along the path to regenerative development in each of the performance areas: Place, energy, water, health and happiness, materials, equity and beauty. Our advocacy efforts will work to address those barriers.

Q: Are the requirements just suggestions?

A: Lets call them prescriptive suggestions each cell in the matrix includes a description, as well as approaches needed, to achieve a specific outcome. The desire with 21CD is to make all of these approaches more commonplace in private, public and nonprofit development. In defining and measuring success, we have to start accounting for the whole of how a development project is initiated, designed and executed, and the broad array of near-term and long-term impacts of that development.

Q: Does compliance cost more?

A: That depends on what degree of performance one is striving to achieve, and on some external factors. The performance matrix does note where one might encounter financial limitations. Its often due to implementation of infrastructures and systems that extend well beyond a developments boundaries, and yet the benefits and outcomes of that approach have positive impacts that reach beyond the borders of the development as well. Approximately 75 to 80% of the approaches in the matrix are adaptable with little to no additional development cost.

Q: Is Fields of St. Croix the only local case study so far?

A: There are several exciting public and private developments underway in our region that are making progress in areas relevant to 21CD. In the past year, we have established research teams who have been working closely with private developments and public/government agencies leading the way in 21CD practices. These research partners include Towerside Innovation District and its Malcom Yards development, Rochester Destination Medical Center and the City of Minneapolis 2040 Plan.

Q: Most of the cases you cite are in Europe, why?

A: Europe is ahead of us. They have more than three times the density; a more equitably distributed per capita income and greater subsidies retaining agricultural lands surrounding cities.

Q: Are these case studies being tested?

A: Not at this time. Having said that, as design professionals, we always advocate for our clients to have their completed designs/systems tested to verify that they are performing as designed. 21CD is not intended to be another certification system that requires analysis; we have many of those in place already. It can be used in concert with those other certification systems and to enhance development projects from planning through execution. Richard Graves describes the potential impact of 21CD as radical incrementalism. Every project can be plotted on the matrix, and every project can find opportunities to move up the scale in resilient development. And every advancement helps us improve our built environment.

Q: How was the 21CD model developed?

A: After reviewing a wide array of frameworks and certifications, we chose the Living Community Challenge as our base. We worked to make the living level of the Living Community Challenge more actionable, showing that we can get there one step at a time. We worked with CSBR to add the regenerative level to the framework, because this is whats possible today its what we can all be working toward. And we collaborated with Colloqate Design to strengthen the equity performance area at all levels. It is intended to address regenerative potential across more than environmental performance to create welcoming, sustainable communities for all.

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Minnesota architect talks of the need to promote a better built environment for all - Minneapolis Star Tribune

in the dutch village of lijnden, arjen reas architects has realized house akerdijk for a single family. due to the site position on the akerdijk dyke, the project challenged the design team to create a building that embraces views out across the water and works with the level difference that is present because of the embankment.

early evening shot of the front faade

all images luc buthker

the form of the building has been designed by arjen reas architectsto reflect the context and conditions of the site. a steeply pitched roof mirrors the adjacent house but the new intervention also takes on a more contemporary expression by means of the black wooden ventilated faade and the black metal standing seam clad roof. the front elevation is punctured by two large protruding windows, which offer views over the water.

the entrance from the dyke

to the rear of the house, a large glazed faade opens out to a deep garden and the city of amsterdam in the distance. this expansive window works to emphasize the horizontality of the broad ground floor while also blurring the line between indoor and outdoor space, effectively making the interior of the house feel larger than it actually is.

back view of the terrace

the program of house akerdijk is split over two storys. due to the difference in ground elevation, the first floor is split in two levels, with an office and tv room on the dyke level and through a wide staircase you can reach the sitting area with the kitchen, where there is a view of the deep back garden and adjoining terrace. on the first floor, the family has two kids rooms, two bathrooms and a large master bedroom with a view out across the dyke.

room to read/watch tv or just to relax

height differences because of the dyke

main stairway with a direct entrance to the living

open connection from the bedroom to the bathroom

bedroom view

view from the dyke

early evening view from the dyke

view from the rear

view of the front elevation across the water

project info:

project name: house akerdijk

location: lijnden, netherlands

architect: arjen reas architects

client: private

phase: build

year: 2019

photographer: luc buthker

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readershere.

edited by: lynne myers | designboom

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blackened timber clads arjen reas architects' dyke house in the netherlands - Designboom

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Chinatown LA. Photo by flickr user Raymond Yu

A group of architects atNAC Architecture in Chinatown LA have come together to raise money for the students at Castelar Elementary School located just a few blocks from their office.

We are a community-focused practice, and we love the community were in. So a chance to help our neighbors and learn from each other is a valuable investment of our time, said Helena Jubany, FAIA, a Principal at NAC Architecture, There are lots of talented artists at design firms, so why not mobilize them for a cause?

After identifying a need for laptops at his kids' school, Edwin Fang, an architect at the firm, foundedBoundary/Threshold,an art show and silent auction that will be held at the Eastern Project Gallery in Chinatown. As its name suggests, the theme of Boundary/Threshold centers around an idea of transition.

The art for the event explores this notion by examining aspects such as geometry, rhythm, color, materiality, and more. In addition to NAC's staff, the exhibition will also feature the donated work of Taiwanese-American visual artist James Jean, Hong Kong native and LA local illustrator Victo Ngai, and international artist/painter/muralist Tommii Lim.

The exhibition and auction will be on December 11 @6pm.

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Los Angeles architects band together to raise funds for local elementary school - Archinect

TimeofWater: Water as a dimension of time.The theme of the third Pisa Biennale has really hit the nail on the head right now, with so many parts of Italy suffering from the consequences of so much rain with floods, mudslides and landslips.Alfonso Femia, guest director of the organisation LP - Laboratorio Permanente per la Citt - said, in fact, that the theme was defined on the basis of the full awareness of a critical situation that has a huge impact on the territory and on the environment, on buildings and on future - and present - prospects.This sets the scene for the contribution of the Rome-based studio,SET Architects, completed in collaboration with theMuseum of Architecture and Design (MAO), Ljubljana, which had developed the Living with Water installation for the Slovenia pavilion at the 16th Architecture Biennale in Venice. For Pisa, SET Architects further developed its Floating Life project, conceived for Ljubljansko Barje, a former marshy area along the Ljubljanica river, in reference to the cyclical nature of water. They used high-end technology to transform these dried out wetlands into amphibious-hybrid buildings.The installation by SET Architects evolves the concepts of Floating Life intoThe Cyclical Time of Watertherefore focuses not so much on harnessing the forces of an increasingly unpredictable nature caused by the climate crisis, but on how we can tenaciously respond to a changing environment. So,we should be able to develop habitats based on synergy between man and nature ... that are capable of adapting to changing environmental conditions.On the one hand, these ideas have been transposed into the project for the Barje district in the southern part of thecity of Ljubljana, where the idea is to turn these existing dried-up wetlandsinto an active system of liveable and navigable bases thanks to innovative urban development. On the other, to reach a wider audience, SET Architects worked with multi-award winning director and Visual Designer,Miruna Dunuto create a really outstanding brief that addresses this cyclical time of water.Mirunu Dunu uses her creativity as a storytelling device for the idea of the cyclical nature of this element that brought life to our planet, and to get across the thoughts of the design team in less than 3 minutes:Water nourishes all things; it is a matrix, a mother, and the principle of genesis. Everything is born from water and returns to water, while it remains eternal, the source and end of all things.She didnt resort to harrowing images of disasters, which were all used to seeing in a world where photography is the order of the day. She works withthe apparent simplicity of the graphics created ad hocfor the video to get across the importance of water and its effect on our future.The viewer is mesmerised by the primordial charm of the water and this almost playful approach to one of the major issues that will decide the future of the human species: are we capable of adapting to the rhythms of the Timeofwater?Christiane Brklein

Biennale di Pisa Tempodacquafrom 21 November to 1 December 2019Arsenali Repubblicani, Pisa, ItalyImages: SET Architects, screenshots Miruna DunuContribution ofSET ArchitectswithMiruna DunuFind out more:https://www.biennaledipisa.com/

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SET Architects with Miruna Dunu at the Pisa Biennale Tempodacqua | Livegreenblog - Floornature.com

Financial Architects Inc grew its stake in shares of iShares Gold Trust (NYSEARCA:IAU) by 168.9% during the third quarter, according to the company in its most recent disclosure with the SEC. The fund owned 13,406 shares of the exchange traded funds stock after buying an additional 8,420 shares during the quarter. Financial Architects Incs holdings in iShares Gold Trust were worth $189,000 as of its most recent SEC filing.

Several other hedge funds and other institutional investors also recently bought and sold shares of IAU. First Allied Advisory Services Inc. increased its position in shares of iShares Gold Trust by 17.2% during the third quarter. First Allied Advisory Services Inc. now owns 106,183 shares of the exchange traded funds stock worth $1,499,000 after acquiring an additional 15,584 shares in the last quarter. Signet Investment Advisory Group Inc. increased its position in shares of iShares Gold Trust by 51.3% during the third quarter. Signet Investment Advisory Group Inc. now owns 478,490 shares of the exchange traded funds stock worth $6,747,000 after acquiring an additional 162,290 shares in the last quarter. Cetera Advisor Networks LLC increased its position in shares of iShares Gold Trust by 29.1% during the third quarter. Cetera Advisor Networks LLC now owns 235,017 shares of the exchange traded funds stock worth $3,319,000 after acquiring an additional 52,960 shares in the last quarter. Tiedemann Advisors LLC increased its position in shares of iShares Gold Trust by 15,407.9% during the third quarter. Tiedemann Advisors LLC now owns 1,550,788 shares of the exchange traded funds stock worth $21,867,000 after acquiring an additional 1,540,788 shares in the last quarter. Finally, D.A. Davidson & CO. increased its position in shares of iShares Gold Trust by 35.0% during the third quarter. D.A. Davidson & CO. now owns 124,578 shares of the exchange traded funds stock worth $1,757,000 after acquiring an additional 32,268 shares in the last quarter.

Shares of IAU stock opened at $13.98 on Friday. iShares Gold Trust has a 52-week low of $11.66 and a 52-week high of $14.90. The company has a 50-day simple moving average of $14.16 and a two-hundred day simple moving average of $13.78.

iShares Gold Trust (the Trust) is to own gold transferred to the Trust in exchange for shares issued by the Trust (Shares). Each Share represents a fractional undivided beneficial interest in the net assets of the Trust. The assets of the Trust consist of gold held by the Trusts custodian on behalf of the Trust.

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Financial Architects Inc Buys 8,420 Shares of iShares Gold Trust (NYSEARCA:IAU) - Mitchell Messenger

The Boston Planning & Development Agency (BPDA) has long kept 3D models of its city. However, cobbled together over the years, the files are at times cumbersome and as firms increasingly turn to 3D printing for model making and testing, not so useful. Printers dont know how to process them or they are not designed in a way that print with stability. MakeTANK, an initiative of the Boston Society of Architects (BSA) saw this as an opportunity.

MakeTANK was initially started to integrate maker culture into the design process, according to Sasaki director of technical resources Bradford J. Prestbo, who has been intimately involved with the project along with the rest of the firm. The hope was to leverage the many makers and maker spaces in the greater Boston area, and help architects increase client engagement and decrease contractor riskand costby testing their designs out first. Imagine going into a restaurant where the chef only wrote recipes and has never actually cooked them, said Prestbo, half-joking. Thats kind of like the architectural profession today, where we just do a lot of paper architecture and paper designs without going through the process to actually taste what weve coupled together to make sure its actually an effective solution that also will perform long term.

City Print is MakeTANKs latest project, just announced at ABX19, though its been under development for over a year. The collaborative team of architects that came together for City Print developed a series of scripts that helped turn the existing models of Boston into watertight solids, meaning that when processed in Grasshopper they can be effectively fed into 3D printers. They also added additional topographic details. The process, however, could not be fully automated.

The files have to be individually opened, the scripts ran, and all of it double and triple checked for quality control. To help convert the over 200 model tiles of the city to be 3D ready, MakeTANK has enlisted the whos who of Boston-area architects. We are engaging in the greater AEC community to help us process the tiles, explained Jay Nothoff, Sasaki fabrication studio manager, and then turning around and handing this resource back to that same community as a finished project for everyone to enjoy and use as they will further project work.

The revamped models will be added to the BPDAs free repository and the BSA is using them themselves. Theyll be replacing their lobbys current scale model of the citythe basis of which was originally designed in the 1980s and is mostly focused on the financial districtwith a new, modular replica made from these printed files. Were zooming out from the financial district, said Nothoff. Were including the City of Boston in its entirety and were making a model that is easily updated because it is built off a grid system. As portions of the city change and grow, these titles are semi-precious at best; theyre just going to be held in place with magnets so we can pull the tile and put a new one in its place to most accurately represents the City of Boston in its current state.

Felipe Francisco, an architectural designer at Sasaki, went on to explain that many community groups didnt feel represented by the previous BSA model. Were open to try and create a new dialogue with those groups, explained Francisco. We want to use this as a resource for community groups to be able to come in and use this model to diagram stories over it through projection mapping about their communities. By collaborating with visualization experts, the BSA is developing tools to use the re-built model as a storytelling and visualization device. The intention is to build a base projection for the model itself that delineates roads, waterways and what have you, said Nothoff. On top of that could be layered information on sea-level rise, income data, other metrics, or more abstract visuals. Were reaching out to various organizations throughout the greater Boston area, such as the Boston Foundation, to help us gather all the voices that are currently feeling underrepresented and give them equity with his model and teach them how to use the projection map on to the model and tell their story.

The process is ongoing. Interested area firms can check out tiles from a grid of the city, and for a dose of healthy competition, check out a leader board. You grab a tile, fill out a form, and submit it and shortly thereafter you get all the support files and the working files and scripting as well as instructions on how to process them, explained Prestbo.

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Boston architects come together to make a 3D-printable map of the city - The Architect's Newspaper

Prior to modeling software, architects needed a way to determine how the passing of the sun would affect houses they were working on. Are some parts of the house getting too much sun or not enough sun? Are weird shadows being created? Does the design work as well in summer, when the sun is higher, as in winter, when the sun's arc is lower?

To determine these answers, they needed two things:

1) An intern, to build the model and get everyone coffee to drink during the evaluation phase, and

2) A heliodon.

A heliodon was a big-ass contraption that a woman named Candace had to wheel into a room and set up.

There was a dial Candace could use to set the house's latitude.

Candace used this dial to set the month.

The varying rings corresponded with the sun's position in different seasons.

There was no motor. To move the sun from dawn to dusk over the model of the house, Candace had to put some elbow grease into it.

Here's what the process looks like on video:

Enter a caption (optional)

It should be noted that not all architecture firms had the heliodon operated by a woman named Candace; some firms went with a Victoria or Rebecca, and occasionally guys named Don, Peter or Thaddeus were allowed to touch it too.

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The Old-School Contraption Architects Once Used to Simulate the Sun Passing Over a House Model - Core77.com

Powder Coated Metal New York Chess Set. Image: Skyline Chess

Trained architects turning their hand to product design is not a new phenomenon. In the 21st century Sam Jacob Studio is producing t-shirts and Zaha Hadid Architects are producing everything from vases to shoes, at the turn of the previous century architect Charles Rennie Mackintosh was designing clocks. It is common for architects diversify into other careers, as polymathic architecture education fosters a wide variety of skills.

I spoke to Ian Flood, co-founder of Skyline Chess, a London-based company that was started when housemates and architectural designers Ian Flood and Chris Prosser would play chess in the evenings and concoct the architectural skylines of their dreams to compete in theoretical games. So far the pair have created architectural chess sets of London, New York, San Francisco, Dubai and Paris, with a special Brutalist London edition. Shanghai and Hong Kong chess sets are in the pipeline.

The project was started with a London chess set six years ago and has gone from strength to strength since. The chess sets are now stocked in such hallowed halls as the Guggenheim, MoMA, The British National Gallery and The Southbank Centre. The driving idea is that materials such as bronze, metals and marble combined with the knowledge and execution of an architect makes for a high quality product.

Founders Ian and Chris believe in using traditional production methods such as lost-wax casting and sketching. For example, the San Francisco chess set, available in solid bronze or powder coated metal has the following architectural make-up: The pawns are played by the famous Painted Lady houses, St. Marys Cathedral plays the Rook, with Columbus Tower playing the Knight. Coit Tower is cast as the Bishop, with the Iconic Transamerica Pyramid playing the most powerful piece on the board, the Queen. The King is played by the recently completed Salesforce Tower. The pair have also produced sets of playing cards for the London, Paris, New York and San Francisco editions.

I asked co-founder Ian Flood some questions...

In cities like New York and San Francisco where the architectural offerings are vast, it must be difficult to choose only a selection of buildings. Is there a specific process behind this?

Well start by looking at the city as a whole and begin to select buildings based on their form and height. In a traditional chess set the king is represented by the tallest piece, and then in descending order of height to the pawns. We try to retain that legibility in our games.

We aim to choose buildings which could be recognisable as the chess pieces they going to represent; for example the bishop in our London chess set is played by 30 St. Mary Axe and the Chrysler Building for New York, both of which have a similar silhouette not dissimilar from the mitred hat of a traditional bishop. This allows us to compete different cities against each other on the board as well.

We try and stay true to the relative heights of the pieces in each set, so they can be identified as a cityscape.

Alongside the city editions, you have the London Brutalist Edition which focuses on a particular architectural style. Are there any plans to do another style or is the focus in the future going to be on cities?

Were both big fans of Brutalism and this edition allowed us to showcase another side to Londons architecture which our first version didnt necessarily represent. Currently were focusing on new cities (Hong Kong and Shanghai will be launched next), however were definitely looking to do future editions based on other specific styles and periods of history.

For the bronze editions you collaborated with a small family business in Birmingham, England, where they manufacture the chess sets using an ancient lost-wax casting technique. Do you feel its important as a designer to support local craftsmanship?

Definitely. We have a close working relationships with 3 small manufacturers here in the UK which allows us to test new ideas and overcome any manufacturing issues a lot more easily than using overseas companies.

It also allows us to test new ideas on one-off editions, for the Paris Wireframe set we 3D printed in castable wax before using lost wax casting to create the pieces. As the tolerances were so fine we had a lot of input from the foundry about what was possible.

There is a high level of skill involved in the production of the sets and its great to see them at work first hand whilst helping to preserve these ancient techniques where possible.

You have had high profile clients such as NBC and Chanel, who has been the most interesting or surprising?

We currently have an exciting new edition in progress for a big institution in Rome, which well be sharing more details of in the coming months, and have a wide range of clients internationally. Closer to home were currently working on a proposal for a major UK sports team.

You use hand sketching as part of your creative process, do you feel that analogue skills are still important in the digital age?

Very much so, just as tracing over a floor plan can be the easiest way to solve a problem, we find that working by hand can sometimes lead you to a different outcome that you may have developed using a computer.

Is there any particular building which you have modelled that has either changed your opinion of it, or deepened your appreciation for it?

Were currently working on a range for the recent Hudson Yards development in New York The Vessel by Thomas Heatherwick is an incredible engineering feat and posed us with some unique challenges to make it work as a chess piece.

You offer a bespoke service and have created amongst others, a chess set to celebrate 100 years of The Bartlett School of Architecture. What is the most unusual request that you have received?

Working with the Bartlett really allowed us to be more unconventional with our thinking (as you would expect from them) and the final result is quite telling of this! We get all kinds of bespoke requests, from designs based on private islands to sets featuring peoples family members (and pets)

Lastly, if you could pick a favourite chess set, what one would it be?

I spent some time working in an architecture studio in Paris, so this edition is a particular favourite of mine. The set which myself and Chris play with most often is probably San Francisco.

Read more:
A Conversation With the Architect Who Is Bringing the World's Iconic Buildings to the Chessboard - Archinect

Industrial IoT processes increasingly base IoT implementations on the ISA-95 standard, which means organizations must understand what the standard does and doesn't define.

Anyone involved in developing industrial IoT (IIoT) products should be familiar with ISA-95, the standard from the 74-year-old International Society of Automation (ISA), but what is ISA-95 and how does it work?

As the name implies, work on ISA-95 started in 1995 and it continues to this day. ISA-95 defines the software interface between enterprise and control systems. Specifically, it defines semantics and operational models for how industrial control systems -- also called manufacturing execution systems -- exchange information with enterprise resource planning applications. ISA-95 comprises six key components, each of which builds on the other:

The six parts of ISA-95 create three key takeaways. First, ISA-95 is exclusively a software and information model. It describes how the underlying software applications and infrastructure -- such as databases -- should interconnect. Second, most manufacturing applications, software and services in the past 25 years have implemented ISA-95. Finally, experts continue to work on ISA-95. Parts two and five have been updated in 2017 and 2018 respectively to include capabilities required by IoT. These three takeaways lead to three tips that IoT architects and technologists must understand.

No need to reinvent the wheel. ISA-95 is already widespread in manufacturing and industrial organizations. Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up. That work has already been done and organizations considering IIoT adoption have likely already implemented the structure. IIoT architects should think in terms of integrating into ISA-95, not supplanting it.

Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up.

ISA-95 is silent on hardware and lower-level infrastructure, including network, security, compute and storage. A fundamental divide splits IT between software and infrastructure people. Even though organizations can implement infrastructure through software, the logistics of getting data from point A to point B, then processing and storing it effectively still comprises infrastructure. Similarly, virtual machines and containerized applications have replaced servers, and software-defined networks and software-defined WANs replace traditional appliance-based networking.

For most software developers, infrastructure stops at the database; they assume the mundane functions of data transport, storage and compute are handled elsewhere. In the world of IoT, there is no "elsewhere" yet. Developers must consider factors such as whether the factory-floor network should be 4G, 5G, Bluetooth or wireless, if IoT analytics should happen in the cloud or on-premises, or where edge computing fits in.

IoT architects and engineers should focus on infrastructure and cybersecurity requirements. Given the established framework of ISA-95, architects can best spend their efforts on network, compute, storage and cybersecurity for IoT and IIoT. The ISA has developed cybersecurity framework IEC 62443 that aligns with ISA-95, but it focuses more on the information and modeling or conceptual level and requires enhancement and extension to cover the entire IIOT. There's not yet an accepted cybersecurity framework governing how these underlying components work together securely and effectively. Standardization efforts are still nascent and chaotic. Organizations should aim to develop a consistent working infrastructure to slide in underneath and around ISA-95, rather than to replace it.

ISA-95 forms an excellent starting point for IIoT architects. However necessary, it's not complete per se, and architects should think in terms of supplementing ISA-95 with the appropriate infrastructure and cybersecurity.

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ISA-95 for IIoT gives architects a standard for integration - TechTarget