National Museum of African American History and Culture, west facade. Image © Darren Bradley

This article, originally titled “DC’s Museum Of African American History Is The City’s Greenest,” was originally published on Lance Hosey’s Huffington Post blog. It is part of a four-part series about the Smithsonian National Museum of African American History and Culture.

Fifteen years ago, when I worked on the design of a high-performance museum, the concept was considered so unusual that the media questioned the very idea. The US Green Building Council (USGBC) had only very recently introduced its Leadership in Energy and Environmental Design (LEED) rating system, so much of the public wasn’t familiar with the concept. Over the following decade, it became more and more popular in every building type, including museums. A watershed year was 2008. The Water + Life Museums in Hemet, CA, became the first LEED Platinum museum, quickly followed by the California Academy of Science, which has been called “the world’s greenest museum.” The same year, the Grand Rapids Art Museum became the first LEED-certified art museum. By 2016, International Museum Day could highlight ten LEED-certified museums in the US alone.

Now the Smithsonian has completed its first LEED Gold project, the National Museum of African American History and Culture (NMAAHC). (The Silver-rated National Museum of the American Indian [NMAI] was the first Smithsonian project to become a certified green building, although it wasn’t designed to this standard and didn’t achieve it until seven years after opening in 2004.) By many measures, the NMAAHC is easily the greenest museum in Washington.

© Darren Bradley

But the bar isn’t very high, unfortunately. Last year, the Smithsonian completed its renovation of the Renwick Gallery, but it’s not clear from public records when or if LEED certification will be completed—although reportedly the building systems originally were designed to be very efficient. Earlier this year, the Smithsonian also reopened the historic Arts & Industries Building after a 12-year closure and an extensive renovation, but it didn’t pursue LEED, I’m told. The National Gallery also reopened the iconic East Building after a three-year refurbishment. No LEED. The Newseum opened in 2008. No LEED. Washington is said to be “in a class of its own when it comes to high quality museums,” but an article last year highlighting “must-see green museums” around the world included none in DC. What’s the problem?

Interior of the museum, with views of the exterior through the latticework. Image © Alan Karchmer/NMAAHC

At the time it opened, the Newseum’s director told the press that it didn’t get LEED certification “for reasons of cost.” This is a common misperception. In a 2008 survey of over 700 construction professionals, 80% cited “higher first costs” as the biggest obstacle to green building. Yet, even a dozen years ago the average surcharge for LEED projects was only 2%, and the additional investment typically yielded operational savings worth ten times that much, according to a widely cited report back then. By 2007, studies showed that LEED need not cost more at all, and now green building actually can cost less than conventional construction. The LEED-Platinum 1225 Connecticut Avenue, here in DC, cost about 5% below market rate construction in 2009 and sold for the highest price per square foot ever paid for an office building in the city.

© Darren Bradley

Regardless, the fact that so few museums in DC are exemplars of sustainability makes the NMAAHC all the more remarkable. Its systems include “low-impact” materials, a nearly 100-kW solar array to produce energy on site, and efficient infrastructure connected to surrounding buildings to avoid redundancy. But the most impressive aspects of the building are how the basic design gestures conserve resources and enhance the visitor experience. The bronze-color metal tracery enveloping the façade is carefully calibrated to avoid undue heat gain while bathing the interior in soft light and allowing views in every direction. This lowers energy needs while improving occupant comfort (although the decision not to extend the screening to the ground floor results in occasionally heavy glare and uncomfortable temperatures when the sun is low, as I experienced one morning this winter). The latticework has another appeal that has been overlooked by reviewers and possibly by the designers themselves. As I documented in my book, The Shape of Green: Aesthetics, Ecology, and Design (2012), research shows that people generally crave the image of irregular tree-like patterns mimicking natural fractals—so much so that the pattern can lower stress by as much as 60 percent, just by being in our field of vision. The Japanese practice of forest bathing (Shinrin-yoku)—spending time immersed in wooded settings—can lower blood pressure, heart rate, and concentrations of stress hormones. Could the interior of the NMAAHC, like an artificial forest, have a similar effect?

The museum’s “porch” creates a comfortable microclimate at the entrance. Image © GGN

This research relates to the biophilia hypothesis, which suggests that people have an innate desire to connect with nature and other forms of life. An associated idea is the theory of “prospect/refuge,” which suggests that we seek out places that help us feel sheltered while allowing an uninterrupted view of our surroundings. A veranda or porch is a commonplace example. The main entrance to the NMAAHC is designed to act as a gigantic porch, inspired by traditions in African and African American vernacular building, as I pointed out in an earlier article. The prospect/refuge effect of this space is about as palpable as any I’ve ever witnessed. Additionally, the deep shade combined with a reflecting pool creates a cool microclimate intended to provide more comfort during the hot, humid summer months.

Smithsonian National Museum of African American History and Culture / Adjaye Associates

See more of the building here.

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Washington has been called the “epicenter of green building,” not just because the USGBC is located here. A decade ago, DC became the first major American city to require green building certifications for both public and private new construction. Annually for several years, the District has built the most LEED-certified square footage per capita of any state or district—nearly five times the next best location. My research for the AIA Committee on the Environment (COTE), published earlier this year, found that DC also has the largest number per capita of projects that have won a COTE Top Ten Award, considered the premier program celebrating sustainable design. So the city boasts an impressive track record for green. With the NMAAHC now, we have significantly raised the bar for museums in the city, and Washington could be well on its way to establishing itself as the national leader in sustainable design by any measure.

This article is part of a four-part series by Lance Hosey on the NMAAHC. Click the following links to read about how the museum reveals the complicated political history of Washington, DC, how the museum is an act of both celebration and political resistance for the African-American community, and what the museum reveals about architectural criticism.

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Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

A team composed of Feng Xue, Helen Chan, and Oscar Reyes (FOH) has won Director’s Choice Award in the AC-CA competition to design a contemporary footbridge in Dublin, Ireland. Entitled The Catalyst, the team’s proposal aims to become “a dynamic link which stimulates diverse urban activities and facilitates a spectacular cityscape.”

Designed around the idea of enhancing the surrounding Dockland neighborhood and Dublin as a whole, The Catalyst acts as both a physical link, as well as a new vantage point, encouraging passers-by to pause and reflect on the city.

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

The organic, curved form of the bridge is a response to significant buildings in the area, such as the Harp Bridge and Convention Center (CCD). Similarly, the design utilizes a symmetrical approach, in order to resonate with the local Georgian heritage architecture.

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

With a pivotal structure driven by a cylindrical motor, the bridge can move for passing boats and larger ships, as well as cultural activities like the Dublin Marine Festival. Moreover, the bridge itself can accommodate film and performances in its amphitheater.

Courtesy of Feng Xue, Helen Chan, and Oscar Reyes (FOH)

Functionally, the new bridge is a meeting place, a viewing platform for visitors, a worker’s break-out area, a lover’s dating spot, a shortcut for pedestrians and cyclists, and an amphitheater for buskers, said the design team. Despite the vast functional possibilities, our bridge proposal respects and realizes the rich historical context of Dublin by creating a space that looks back at its urban context. Our response to the enhancement of Dublin is to create a place that acts as a catalyst to activate and exhibit the transformation of the city. The bridge is a book to the stories of Dublin to be discovered.

News via: Feng Xue.

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© Roman Keller

• Architects: Michael Meier Marius Hug Architekten AG, Armon Semadeni Architekten GmbH
• Location: St Gallen, Switzerland
• Architect In Charge: Armon Semadeni, Marius Hug, Michael Meier – Anita Emele, Project leader 2009-2013, Martin Dennler, Project leader 2014-2016 – Jonas Krieg, Kirsten García, Anouk Trautmann, Daniel Hediger, Thomas Winkelmann (cand.), Tobias Uhlmann, Murielle Geel, Alexandre Figueiredo (cand.), Estelle Bertholet (cand.), Nina Fruhmann (cand.), Alain Walter (cand.)
• Area: 600.0 m2
• Project Year: 2016
• Photographs: Roman Keller

• Construction Management: Othmar Brügger, Davos; Baumed Bauleitungen, St. Gallen
• Landscape: Studio Vulkan Landschaftsarchitekten, Zürich
• Construction Engineer: Synaxis AG, Zürich
• Signage: BIV Grafik, Zürich
• Scenography: 2nd West, Rapperswil

© Roman Keller

From the architect. The new building of the Natural History Museum St. Gallen carries on the existing ensemble of public buildings and facilities surrounding the church St. Maria Neudorf and the botanic garden on the eastern limits of the city centre. Through the urban setting and the use of mostly lithic materials the building acts as a visual and representative landmark towards the street and the church complex. At the same time the new museum respects the strong presence of the church’s silhouette. The visible structure of the roof refers to the functional, modest expression of the existing architectures in the botanic garden. 

Site Plan

© Roman Keller

The three-storey building occupies the parcel almost entirely. A new open-air exhibition space is defined and becomes an important part of the promenade between church, museum and botanic garden. Four precisely set incisions in the corners of the building volume interlock it with its surrounding. According to each specific situation they host several different functions – such as a quiet terrace for the café, a representative forecourt towards the street and a discreet delivery in the back. 

© Roman Keller

The museum premises are organised as an open sequence of spaces, beginning with the connection of the foyer facing the street and the secondary entrance hall towards the garden. The visitor follows the tour of the museum across two shifting floors, past the temporary exhibition, into the “relief room”. With its impressive height, its specific character and the connection to the gallery above, it reminds of classical exhibition spaces from the 19^th century. The space constitutes the heart of the two exhibition storeys and offers great possibilities to exhibit large objects. The second exhibition storey provides a vast unsupported skylight-lit hall, allowing a lot of flexibility for diverse exhibition concepts. Quiet lounges and educational spaces, such as the library and the youth lab are arranged around the core zones, inviting to individual studies and contemplation in a pleasant, private atmosphere.

© Roman Keller

© Roman Keller

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ZAO/standardarchitecture – one office interior photographed by Goodwin. Image © Marc Goodwin

Architectural photographer Marc Goodwin has recently completed the third collection of his “ultra-marathon of photoshoots” – this time in Beijing. Following his unique insight into the spaces occupied by Nordic architectural offices (based in Oslo, Stockholm, Copenhagen and Helsinki) and his look at studios both large and small lived in by London-based practices, Goodwin has turned his lens to the burgeoning number of offices in the Chinese capital. From MAD Architects’ magnificent old printing works to ZAO/standardarchitecture’s purpose-built studio, here is a view into the places that architectural offices call home.

© Marc Goodwin

Chiasmus Partners, Inc.

• In this space since: 2010
• Number of employees: 15
• Former use: classrooms
• Size: 120sqm

Chiasmus Partners, Inc.. Image © Marc Goodwin

Chiasmus Partners, Inc.. Image © Marc Goodwin

URBANUS Architecture & Design, Inc.

• In this space since: 2014
• Number of employees: 45 in Beijing
• Former use: offset printing factory
• Size: 860sqm (above and below ground)

URBANUS Architecture & Design, Inc.. Image © Marc Goodwin

URBANUS Architecture & Design, Inc.. Image © Marc Goodwin

C+ Architects

• In this space since: 2016
• Number of employees: 6
• Former use: studio
• Size: 52sqm

C+ Architects. Image © Marc Goodwin

C+ Architects. Image © Marc Goodwin

Vector Architects

• In this space since: 2014
• Number of employees: 25
• Former use: university administration office
• Size: 295sqm

Vector Architects. Image © Marc Goodwin

Vector Architects. Image © Marc Goodwin

MAT Office

• In this space since: 2015
• Number of employees: 10
• Former use: hostel (before that a factory)
• Size: 90sqm

MAT Office. Image © Marc Goodwin

MAT Office. Image © Marc Goodwin

Crossboundaries Beijing

• In this space since: 2015
• Number of employees: 25
• Former use: auditorium, bar, showroom
• Size: 350sqm

Crossboundaries. Image © Marc Goodwin

Crossboundaries. Image © Marc Goodwin

ZAO/standardarchitecture

• In this space since: 2015
• Number of employees: 30
• Former use: warehouse
• Size: 580sqm

ZAO/standardarchitecture. Image © Marc Goodwin

ZAO/standardarchitecture. Image © Marc Goodwin

anySCALE Architecture Design Consultants Co., Ltd.

• In this space since: 2014
• Number of employees: 25
• Former use: apartments for diplomats
• Size: 250sqm

anySCALE. Image © Marc Goodwin

anySCALE. Image © Marc Goodwin

MAD Architects

• In this space since: 2008
• Number of employees: 105
• Former use: printing works
• Size: 660sqm

MAD Architects. Image © Marc Goodwin

MAD Architects. Image © Marc Goodwin

LISPACE Design Ltd.

• In this space since: 2013
• Number of employees: 10
• Former use: factory boiler room
• Size: 180sqm

LISPACE Design Ltd.. Image © Marc Goodwin

LISPACE Design Ltd.. Image © Marc Goodwin

Haskoll Architectural Design Consultancy

• In this space since: 2015
• Number of employees: 45
• Former use: restaurant
• Size: 1000sqm

Haskoll Architectural Design Consultancy. Image © Marc Goodwin

Haskoll Architectural Design Consultancy. Image © Marc Goodwin

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Courtesy of Laurynas Avyzius

• Architects: NEBRAU
• Location: Giraitė, Lithuania
• Architect In Charge: Laurynas Avyzius
• Landscape Design: Domas Timinskas, Vaidotas Gudeliauskas
• Area: 145.0 m2
• Project Year: 2010
• Photographs: Courtesy of Laurynas Avyzius

Courtesy of Laurynas Avyzius

Idea
Lithuanian architecture studio NEBRAU main task was to create minimal architecture with clear lines and simple volumes, using long-live and natural materials, creating natural and minimal landscape surrounding where people can relax from their daily life routine. 

Site plan

Integration to the environment
The place of the house in the quarter: square-shaped land plot which continues the row of houses. The area contains a mix of large, contemporary homes and older dwellings dating to the 1970s and 1990s.

Courtesy of Laurynas Avyzius

The Function
The building is convenient to use and functional. The young family house is very comfortable by its planning functionality. House is one storey. The main entrance is in the middle of the house, where free-time zone (living room with kitchen) is separated from sleeping zone (bedrooms). 

Courtesy of Laurynas Avyzius

The Architecture
Family residence is located in Lithuania, Kaunas city.
House volumes are different height for it’s inside functionality and exterior dynamic. The finish is a solid concrete tiles on walls, which gives horizontal shadow structure for the house. Architectural volumes of the house are separated with a vertical larch wood planks, which left naturally to get grey. Dark colors and natural material merges into the surrounding.
Lithuania is in the weather zone, where temperature is from -35C till +35C. House insulation should be well prepared for all seasons and comfortable living. Energetical class of the house is A.
Heating – geothermal, Windows – wood frame with aluminum outside.

Floor plan

Courtesy of Laurynas Avyzius

The Interior
The interior was created as a warm, cosy atmosphere. Natural and reliable decoration materials shall be used such as natural wood look floor tiles of the greater part of the areas, guest room, kitchen, as well as kitchen. We love natural oak mass furniture, which used for table tops in the kitchen.

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Courtesy of FADD Architects

• Architects: FADD Architects
• Location: 1060 Vienna, Austria
• Architect In Charge: FADD Architects
• Area: 540.0 m2
• Project Year: 2015
• Photographs: Courtesy of FADD Architects

• Structures: GLÜCK ARKITECTURE
• Collaborator: LISA IDZIOREK
• Construction Management: KASWURM IMMOBILIEN & WOHNBAU GMBH

Courtesy of FADD Architects

This rooftop extension gave us the possibility to create 3 apartments with different size, 190/170/90mq, and 2 terraces with swimming pool. The interior of this penthouses, in one of most attractive district of Vienna, combine classic and modern design, respecting the artistic value of the historical context. For this project, we were responsible of the creative direction and interior project manager, working with local artisans to design bespoke furnitures.

Courtesy of FADD Architects

The main goal was to reach a sophisticated design, for a luxury real estate market, and to give the simple touch of the “made in Italy”. For that reason we went for brands like Varenna Poliform for the kitchen and Gloster for the outdoor furniture; this gave a distinct Italian flavour to the whole scheme. White walls and chevron oak parquet, minimal lines for the furnitures, wood and concrete materials for the fireplace, have helped us to create the right atmosphere. The terrace with teak floor, outdoor kitchen and pool, give the final touch for take the best of spring and summer.

Courtesy of FADD Architects

We also worked with an Italian greenhouse and used Atelier Vierkant for the vases, to create what a terrace should never miss: the green. 

Product Description: 

The grey oak wood panels we used for the the kitchen facade were also used for the doors of the bespoke fireplace and to hide the door of the staircase (see top 13). This solution combine with a unique design the living and the kitchen area and integrate them into one open space.

Courtesy of FADD Architects

Floor Plan

Roof Plan

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