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ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) January 2024, Vol. 212,
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JANUARY 2024
DEPARTMENTS
14 EDITOR’S LETTER
16 HOUSE OF THE MONTH: Berghaus Eller, Blons, Austria INNAUER
MATT ARCHITEKTEN By Pansy Schulman
21 BOOK REVIEW: Vincent Scully: Architecture, Urbanism, and a
Life in Search of Community, by A. Krista Sykes
Reviewed by Kyle Dugdale
21 BOOK EXCERPT: Portal: San Francisco’s Ferry Building and the
Reinvention of American Cities, by John King
25 PRODUCTS: Cladding & Building Envelope
27 CASE STUDY: Shading Strategies By Matthew Marani
51 GUESS THE ARCHITECT
53 EXHIBITION: In Light of Major Expansion, A Historic Look at the
Paris Metro By Andrew Ayers
55 NEWS: A Multibillion-dollar Package to Improve American Rail
By Matthew Marani
FIRST LOOK
32 Faith Museum, Bishop Auckland, England NÍALL MCLAUGHLIN
ARCHITECTS By Chris Foges
40 Ledger, Bentonville, Arkansas MICHEL ROJKIND &
CALLAGHAN HORIUCHI WITH MARLON BLACKWELL ARCHITECTS
By Matt Hickman
46 Sint-Martens-Latem Public Library, Belgium
OFFICE KGDVS By Andrew Ayers
117 Dates & Events
120 SNAPSHOT: Capitainerie de Calais, France ATELIER 9.81
By Andrew Ayers
CONTINUING EDUCATION
REIMAGINED INFRASTRUCTURE
59 Introduction
60 Ellinikon Park, Athens FOSTER + PARTNERS WITH SASAKI
By Andrew Ayers
63 Southern Gateway Park, Dallas HKS & SWA By Matt Hickman
65 North Park, Freshkills Park, Staten Island, New York FIELD
OPERATIONS By Victoria Newhouse & Alex Pisha
BUILDING TYPE STUDY 1,060
TRANSPORTATION
70 Logan International Airport, Terminal E, Boston AECOM &
LUIS VIDAL + ARCHITECTS By Joann Gonchar, FAIA
76 Grand Quai and Port of Montreal Tower, Canada
PROVENCHER_ROY By Matthew Marani
82 LaGuardia Airport, Terminal B, Queens, New York HOK
By Leopoldo Villardi
88 Kempegowda Airport, Terminal 2, Bengaluru, India
SKIDMORE, OWINGS & MERRILL By Clifford A. Pearson
94 Kendall/MIT Gateway, Cambridge, Massachusetts NADAAA
WITH PERKINS&WILL By Leopoldo Villardi
100 Campanhã Intermodal Terminal, Porto, Portugal BRANDÃO
COSTA ARQUITECTOS By Izzy Kornblatt
COVER: KENDALL/MIT GATEWAY, BY NADAAA WITH PERKINS&WILL. PHOTO © JOHN HORNER.
THIS PAGE: LEDGER, BENTONVILLE, ARKANSAS, BY MICHEL ROJKIND & CALLAGHAN HORIUCHI WITH
MARLON BLACKWELL ARCHITECTS. PHOTO © TIMOTHY HURSLEY.
Expanded coverage at architecturalrecord.com.
9
 LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com*
CONTINUING EDUCATION

IN THIS ISSUE

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 From the EDITOR

Back on Track
AS SOME PEOPLE may remember, there was a time when trans-
portation hubs could be quite glamorous. Rather than the sweats
and virtual pajamas many travelers wear to get to their destinations
nowadays, men suited up and women wore their finest outfits. Old
photo albums of my extended family are filled with scenes of trans-
atlantic arrivals and departures, first at ports for ocean liners and
later in airport lounges—to wish journeyers either “bon voyage” or
“welcome home.”
Needless to say, times have changed. Yet airports, train stations,
cruise terminals, and other similar venues can still elicit strong emo-
tions. The sheer volume of people moving through these places pro-
motes chance encounters—some meaningful or memorable, and

PHOTOGRAPHY: © JILLIAN NELSON

others, let’s face it, at times a bit menacing.
The structures themselves could be awe-inspiring. Having lived in
Rome and started many rail trips across Europe from there, I never
ceased to be impressed by the often architecturally overlooked
Termini Station—oddly one of my favorite buildings in the Eternal
City—its cantilevered and slickly undulating roof an apt embodiment
of speed, movement, and modernity.
Completed in 1950, and designed by two teams of architects,
Termini was one of many such structures that ushered in a postwar
era celebrating travel. Somehow, over more recent decades, with few
exceptions, that celebration has been muted, and once-spectacular
designs for transportation hubs became humdrum exercises in shuf-
fling people as efficiently and cheaply as possible.
This issue of record examines recent projects—a cruise ship and
bus terminal, a subway headhouse, and major airport overhauls—that
attempt to bring some level of dignity back to transportation facilities.
LaGuardia Airport, for instance—the condition of which in 2014
then-Vice President Joe Biden famously described as the kind found in
a “third-world country”—is an airport I always did my best to avoid
using. A few months ago, my return flight to New York landed in
LaGuardia, and I was pleasantly surprised. We take a closer look at part
of that $8 billion transformation, as well as new or revamped structures
across North America and Europe, and in India—where an airport
design still considers family members who gather to greet traveling
relatives. We also look at examples of obsolete or unsightly infrastruc-
ture—from former airports to freeways to landfills—that are being
A family photo of Rome’s Termini Station circa 1960s.
converted into parkland or lushly planted mixed-use developments.
And—who knows?—perhaps this push to upgrade the aesthetics of
the contemporary travel experience may influence travelers to sharpen
their travel wardrobes.

Josephine Minutillo, Editor in Chief

14 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
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 HOUSE of the Month
A MODEST ABODE PERCHED AMONG THE AUSTRIAN ALPS HONORS THE REGION’S ARCHITECTURAL LEGACY. BY PANSY SCHULMAN
BERGHAUS ELLER, designed for a couple
with two children nearing university age,
nestles among the Austrian Alps in the minute
mountainside municipality of Blons—in
Vorarlberg, the country’s westernmost state. A
neutral exterior, made from cross-laminated
spruce, allows the small three-story house to
blend gently into its Alpine scenery in the
winter months, especially with its seasonal cap
of snow. While its clean lines and simple mate-
riality indicate a modern aesthetic, the archi-
tects relied, to design and construct the high-
altitude project, on centuries-old wisdom that
marks the region’s traditional architecture.
At an elevation of 2,963 feet, which attracts
hikers and skiers, Blons is part of the pictur-
esque valley region of Großwalsertal, named
after the Walsers, a nomadic people of Ger-
manic origin who settled among various high-
altitude sections of the Alps in the 12th and
13th centuries.
16 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
“The Walsers were known for living among
these steep-sided mountains, where you have
to deal with extreme topography,” says Sven
Matt of Innauer Matt Architekten, the local
firm that designed Berghaus Eller—and on a
tight budget. “They couldn’t modulate the
landscape, as they didn’t have the manpow-
er—or the machines—to move a lot of earth.”
So, following the Walsers’ example, the
design team worked with the existing terrain
by stacking the 1,420-square-foot house
upward from a small footprint, with the bot-
tom level wedged into the slope’s sharp angle
and its main gabled facade oriented downhill,
toward the south, to maximize sunlight and
minimize windchill.
The Ellers hail from Germany but have
lived in Vorarlberg for nearly 20 years. Like
the Walsers, the family has done their own
wandering, renting apartments throughout the
region—making the Berghaus their first
A detached garage is adjacent to the house’s
north entrance (above), which leads directly
into the living/dining space (opposite, top left)
and the south-facing terrace beyond (opposite,
top right).
permanent home in Austria. Claudia, who
teaches at a local school, and Edgar, who runs
an urban-development consulting firm, chose
to settle in the 330-person community for its
sunlight, unobstructed views, and proximity
to nature. Surrounded by a scattering of
neighbors, near the end of a winding moun-
tain road, Berghaus Eller is only an hour from
PHOTOGRAPHY: © DAVID SCHREYER
the borders of Germany to the north and
Switzerland to the west, offering both isola-
tion and access.
The entrance is on the building’s north side
and leads directly into the second level of the
house, which contains the family’s shared
space in an open plan, with areas for cooking,
dining, and gathering. This living room
The terraces on the house’s south side offer majestic valley views
(left). Stairs lead above and below to the bedrooms (above).

17
 HOUSE of the Month

includes an integrated wood-burning stove,

which heats the entire house, with water
heated by solar panels on the roof. The pri-
mary bedroom is on the third floor, and two
smaller bedrooms for the children are on the
bottom level.
“The main idea was to have this shared
middle floor as a meeting space,” says Matt.
“The family has private spaces above and
below, but they come together in this space
for daily life.” On the south side of the house,
each level has a semi-enclosed terrace—a
traditional feature of houses here that expands
interior living spaces to the outdoors—con-
structed with glulam columns and beams.
Prefabricated walls and ceilings are made
from solid fir and joined together largely
using wooden joints instead of screws.
Innauer Matt modernized this traditional
hand-built method by fabricating the joints
using CNC machinery. The furniture is also
made from wood, with the built-in kitchen
Cross-laminated, locally sourced spruce makes up the slats of the facade (above), which is layered counters, dining table, and benches custom-
with a subtle indent at each floor. built from ash by local craftsmen. “Our
S TA N F O R D B A S S B I O LO G Y C A F E

18 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 facade. Each level of this cladding, which
envelopes the entire building, is made up of
vertical, slightly spaced timber slats. On the
2
6 south side, the resulting gaps allow light to
permeate the terraces and interior, while on
the other elevations, the slatting covers an
8 1 5 8-inch layer of wood fiber insulation. “We are
most proud of the facade,” says Matt. “There’s
a fineness to it, and the wood gives it a soft
quality.”
3 4
Perched among the peaks, Bergaus Eller
continues an age-old architectural legacy, and
revives it for future generations. n
0 10 FT.
SECTION
3 M. Credits
ARCHITECT: Innauer Matt — Markus Innauer,
1 ENTRY 3 STORAGE 5 KITCHEN/LIVING ROOM 7 TERRACE Sven Matt, principals; Simon Moosbrugger,
2 STAIRWAY 4 BEDROOM 6 PRIMARY BEDROOM 8 GARAGE project lead; Alexander Sparr, construction
manager

portfolio covers a wide range of typologies tion, regarding both construction technique ENGINEER: ZTE Leitner

and scales, but timber is the line that runs and craftsmanship.” GENERAL CONTRACTOR: Zimmerei Heiseler
through all of our projects,” says Matt, who The Ellers requested that all of the timber CLIENT: the Eller family
cofounded the firm in 2012 with Markus used for the project be locally sourced, in- SIZE: 1,420 square feet
Innauer. “We work in a timber-centric loca- cluding the cross-laminated spruce on the COST: $430,000

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BOOKS
Vincent Scully: Architecture, Urbanism, and
a Life in Search of Community, by A. Krista
Sykes. Bloomsbury Publishing, 278 pages, $115.
REVIEWED BY KYLE DUGDALE
SPECIALIZATION, according to a famil-
iar quip, is the condition of coming to know
more and more about less and less, until one
knows everything about nothing.
The historian and
critic Vincent Scully
(1920–2017) did not
suffer from this condi-
tion. He may have refused
to write about places he
had not visited in person,
but in other regards his
work was staggeringly
expansive. Over the
course of his long career,
he published on the
orientation of ancient
Greek temples and the
rituals of Pueblo architec-
ture, on Palladian villas
and French gardens, on
Frank Lloyd Wright and
Louis Kahn, on Modern-
ism and New Urbanism.
Possessed of an infectious enthusiasm for
architecture as the setting for humanity’s
aspirations writ large, he refused to compart-
mentalize his commitments, allowing his
critique of the present to inform his reading of
history and his hopes for the future. He pub-
lished prodigiously. But above all, he taught.
At one point, nearly a fifth of Yale’s under-
graduates took his courses each year.
Vincent Scully: Architecture, Urbanism, and a
Life in Search of Community, a carefully re-
searched biography written with sympathy
and style by A. Krista Sykes, allows all of us
to witness the impact of a teacher upon the
lives of his students. It invites us into Scully’s
darkened classroom as the slides advance and
the story of architecture unfolds. The careful
reader becomes Scully’s student. This is, in a
sense, a book for those of us who did not
complete an undergraduate education at Yale.
Sykes sets the story of Scully’s career into
its larger context—from the childhood of a
working-class New Haven boy who did not
obviously belong at Yale to the experience of
a Marine Corps officer hurtling across the
landscape of North Africa on the back of a
motorcycle during World War II. Sykes nar-
rates the expanding relationships of a critic
who was friend and, sometimes, adversary to
the figures who shaped America’s architec-
tural culture during the second half of the
20th century. She also introduces the women
who made possible his extraordinary celebrity.
She describes the convictions of a professor
who was able to criticize the institution that
nurtured him while defending the principles
for which it stood, and she assesses the char-
acter of an academic who remained willing to
learn as he grew older, changing his mind as
the world changed around
him. In telling this story,
Sykes establishes Scully’s
place within the narratives
of architecture’s pedagogy.
Though some might like
to take their history in the
form of textbooks, this book
covers the ground of the last
century’s architectural de-
bates through the more
accessible genre of the biog-
raphy, humanizing a story
that is often presented in a
drier, less personal voice.
Along the way, Sykes
makes the case for preserv-
ing—despite the relentless
growth of academic special-
ization—a broader and more
generous approach to architectural history,
one that draws connections
across boundaries of space
and time in order to extract
meaning from the brute
violence of history and that
proves to be engaging not
only to emerging profession-
als, but also to a nonspecialist
audience. Such an approach
bears witness not to disciplin-
ary divisions but to a shared
humanity, while still recog-
nizing architecture as an
agent of change. It is eager, in
other words, to do nothing
less than to explore what it
means to be human.
There are dangers here, to
be sure. The author is con-
scious, for example, that attention to similari-
ties across cultures can obscure meaningful
differences. But advocates for the underlying
humanism of Scully’s pedagogy might note
that our own cultural moment can supply
specialists aplenty, but rarely errs on the side
of empathy. Indeed, the fact that Scully’s
lessons could stand to be reinforced, now
more than ever, makes this book unusually
pertinent. As William Jordy once put it in a
review of Scully’s 1955 The Shingle Style,
“Everyone interested in American culture
should read this book, the more so because
Mr. Scully’s theme has implications for our
cultural future as well.” n
Kyle Dugdale is an architect, historian, and
senior critic at Yale School of Architecture.
Portal: San Francisco’s Ferry Building and the
Reinvention of American Cities, by John King.
W.W. Norton, 320 pages, $30.
In his latest book, two-time Pulitzer finalist and
record contributor John King explores the history
of American urbanism through the rise, fall, and
rebirth of San Francisco’s Ferry Building. Con-
ceived during the Gilded Age, this showcase of civic
ambition was completed in 1898. Following is an
excerpt from the first chapter.
THERE WAS no pressing need for a gran-
diose ferry terminal in the San Francisco of
1890, particularly one topped by a sky-pierc-
ing clock tower, and nobody back then
claimed otherwise. Some people on arriving
ferries were here to see the exotic metropolis
that in 45 years had grown from a ramshackle
hamlet of a few hundred residents into the
nation’s eighth-largest city,
but the vast majority of the
riders spilling out toward
Market Street were com-
muters en route to work
from bayside cities to the
east and north. They
disembarked from stout
vessels with wooden hulls
and paddle wheels, belch-
ing smoke from dark chim-
ney stacks. Passengers then
strode briskly to cable-
pulled street cars designed
to ascend hills too steep for
horse-drawn vehicles.
Even if someone were
inclined to linger along the
bay, there was little in the
way of recreation or genteel attractions to
reward their interest. This was the largest port
on the West Coast, a cacophony of commerce
with carriages rumbling back and forth over
cobblestones and dirt, piled high with boxes
and burlap sacks filled with everything from
coffee beans to fresh pineapple. Some of these
raw treasures had arrived from across the
Pacific, perhaps Hawaii or the Philippines,
others from the agricultural fields of Cali-
21
 BOOKS

Shayle™ PANEL ©2023 modularArts, Inc.

The Union Depot and Ferry Building were designed by A. Page Brown.

Kahn™ PANEL ©2022 modularArts, Inc.

fornia’s central valley. Across the way from the ferries was the produce
district, a haphazard terrain of narrow, crowded streets.
Sights and sounds aplenty. Not a place for a casual stroll.
Nor was there anything majestic about the spot where most ferries
had pulled in or departed for the past 15 years: Ferry House, a string
of sheds behind a wooden front, the one embellishment being the
Bizbee™ PANEL ©2015 modularArts, Inc.

names of destinations served by the Southern Pacific Railroad that

were painted along the cornice. The railroad was the biggest tenant
Dune™ PANEL ©2003 modularArts, Inc.

in the modest structure run by the Board of State Harbor Commis-

sioners, the state agency that owned the Port: the Board had built
this facility on the shoreline between Market and Clay streets in
1875 to remedy the “very inadequate accommodations” that existed
prior, a polite reference to the wharves that jutted out from the
muddy edge of the city wherever an operator had secured a perch.
As for the structures the Ferry House would displace, the San Fran-
cisco Chronicle dismissed them as “a miserable lot of old tumbledown,
rickety buildings,” and said that, with their departure, “it is
to be hoped the fragrance of this neighborhood will be changed for
the better.”
Compared to excess and westward expansion, the low-slung sheds
that constituted the Ferry House soon lost whatever novelty they had
possessed. A full remake of the waterfront where ferries pulled in “can-
not be pushed too rapidly to please the public-minded citizen,” wrote
one local publication, the Criterion, in 1889. “The old rookeries that

PHOTOGRAPHY: COURTESY THE CALIFORNIA HISTORICAL SOCIETY

now stand in front of the city are its disgrace. They should be torn away
with all possible speed.” And what might replace them? “A structure
suitable to the great growth that the city is experiencing,” the Criterion
Ventanas™ PANEL style: Walnut modularArts, Inc.

proclaimed. “The city cannot have too many attractive edifices.”

The harbor commissioners were of similar mind—eager not just to
Topaz™ PANEL ©2021 modularArts, Inc. U.S.

crowd in more slips and sheds, but to erect a structure with an architec-
tural character fitting for the city struggling to move beyond its rau-
cous past. The commission put out a contract for a more substantial
seawall section at the foot of Market Street that would include a solid
concrete retaining wall to provide the beginnings of a foundation for a
depot that was intended to serve as nothing less than “a stately passen-
ger depot at the gateway to the ‘Metropolis of the Pacific.’ ” n
...than the sum of its parts.
John King is the urban-design critic for the San Francisco Chronicle.
 Building
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Kinetic Single Point Flappers

A slight breeze is all that’s needed to make
this kinetic cladding developed by EXTECH
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unlike the company’s two-pin and rod-mount
predecessors, use a new one-pin suspension
system that allows these flappers—customiz-
able in both shape, color, and perforation—to
move in any direction. The system is light-
weight and easy to install and is often used for
transit facilities and parking garages, among
other typologies.
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Interno 9
These porcelain slabs offered
by ABK Stone’s Interno 9
Collection are suitable for
exterior cladding and finishes.
The panels are available in
several earthy tones, such as
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lengths, and profiles. Notably,
Interno 9 is made with ABK
Stone’s CONTINUA+ fabrica-
tion technology, which re- Bellara
duces the amount of raw Bellara, part of Dri-Design’s EN-V Collection,
material required, without is a steel cladding designed to mirror authen-
sacrificing durability. tic timber siding. The process starts with
abk.it
high-resolution imagery of various wood
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acteristics. The scans are printed on the
panels and protected from the elements by a
Sto GPS Board low-sheen clear coat and base coat.
This rigid graphite-enhanced polysty- dri-design.com
rene insulation board by Sto Corp is
suitable across climates and seasons.
The GPS Board is available in 2' x 4' Blue Smooth Ironspot
formats with a range of thicknesses, In November, Glen-Gery announced
and its thermal resistance per- its 2024 Brick Color of the Year, Blue
forms best when tempera- Smooth Ironspot. The extruded brick
tures drop, going from R4.7 was introduced as part of the Sioux
per inch at 75°F to R4.9 per City Blues Series, and, with its
inch at 40°F. The board is deep blue tones and rough
also semi-permeable, finish, its look varies according
which allows for moisture to weather and lighting. It is
egress within wall systems, available in three formats:
and, without the need for Modular (35/8" x 21/4" x
mechanical fasteners, 75/8"), Norman (35/8" x
mitigates thermal bridging. 21/4" x 115/8"), and Utility
stocorp.com (35/8" x 35/8" x 115/8").
glengery.com

25
 PRODUCTS Cladding & Building Envelope

Elevate Isogard HD
Elevate ISOGARD HD, offered by
Holcim, is a ½"-thick cover board
fashioned from polyisocyanurate
foam core, laminated to a miner-
al-coated fiberglass facer. It is
ideal for protecting insulation
boards—or, owing to its thermal
performance—it can be thrown
on existing roof systems as a
recovery board. The board
is also straightforward to cut
and install, and, thanks to its
light weight, can be transported
with ease.
holcimelevate.com

CornWall
In October, StoneCycling and Circular Matters announced a partnership to
manufacture building components out of plant-based materials. Their first
biobased product, CornWall, is an alternative for ceramic cladding, fash-
ioned from corncob cores otherwise destined for field burns or fermenta-
tion. The bio-coated product is also 100% reusable and biodegradable.
CornWall is available in eight colors and two sizes.
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Window Wall
This patent-pending window-wall system manufactured by
KOVA is handy for its straightforward installation and
energy performance. The units are ideal for large to mid-
rise commercial and residential projects, with dimensions
ranging from 5' to 8' x 10' to 12', and are fully installable
from the building interior, saving on the cost and time
associated with crane-placed facade panels.
kovaproducts.com

Pixel
The production of concrete with
cement that binds aggregates is a
significant source of carbon emis-
sions. Rieder is seeking to reduce
its own impact on the environment
through a zero-waste strategy, and
their newest product, Pixel, is
made from factory scraps of glass-
fiber-reinforced concrete. The
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offer a variegated appearance.
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PAC-CLAD
Modular AL
PAC-CLAD Modular AL, manu-
factured by Petersen, provides a
range of configurations and colors from
their existing cassette-style aluminum cladding
systems. Panels can be treated in up to 46 PAC-
CLAD finishes, or custom hues. Standard panel sizes
are 16" x 72" and 16" x 120", with a depth of approxi-
mately 11/2" to 3".
pac-clad.com

26 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 CASE STUDY Cladding & Building Envelope
Facing Off
Two projects mitigate glare and solar heat gain with inventive shading strategies.
BY MATTHEW MARANI
THE U.S. SUNBELT runs roughly from
Southern California through Florida and the
Carolinas, an area, due to its intense heat and
solar radiation, where building energy loads are
at their highest, the result of excessive artificial
cooling in what are often fully glazed structures.
Growing emphasis on climate change and sus-
PHOTOGRAPHY: © BILL TIMMERMAN (LEFT); TIM GRIFFITH (RIGHT)
tainability have impelled architects and devel-
opers to explore alternatives to all-glass curtain
walls to maintain enticing outward views while
reducing energy consumption and improving
user comfort. Sunshades are one passive strategy
design teams are increasingly taking advantage
of to mitigate solar heat gain and glare.
The Applied Research Building (ARB), at
the University of Arizona (UofA) in Tucson,
designed by SmithGroup with McCarthy
Building Companies, opened in April 2023
with a price tag of $85 million. At 89,000
square feet, it is home for UofA’s applied
physical sciences and engineering programs,
and serves as the school’s key research incuba-
tor for ongoing collaboration with NASA and
other federal agencies. The mechanical load
of the laboratory building, and the subsequent
costs, required a finely tuned enclosure to
reduce solar gain. The team developed a
pleat-like arrangement—not unlike the solar
arrays of the International Space Station—of
protective aluminum-composite panels alter-
nating with laminated-and-fritted glass fins.
The reddish-brown color of the metal mirrors
the prevailing masonry found on campus.
“We went through exhaustive research of
campus buildings, documenting the specific
color of each brick, which ranges from a
muted tan to a very saturated red,” notes
SmithGroup vice president and design direc-
tor Mark Kranz.
The design-build team worked closely with
facade fabricator and installer Kovach—a
frequent collaborator of SmithGroup with
prior project experience on the campus—to
develop the sunshade system, modulating the
The ARB blends into its context with reddish-
brown sunshades (above, left). Thirty75 Tech
keeps glare at bay with airfoil-shaped louvers
(above, right).
position of the fin angles across the building
through many rounds of energy and parametric
modeling. The resulting ACM panels are
braced and fastened to a steel angle and struc-
tural steel beam, while the glass fins are held
by an aluminum plate that also fastens to the
structural steel. The building’s southwest
corner—which wraps a two-story, fully glazed
entrance and lobby—features what the design
team refer to as a “solar skirt” of shades offset
approximately 11 feet from the facade, a ges-
ture that maintains high visibility while sig-
nificantly cutting down on heat gain in the
large volume.
This general strategy proved to be a chal-
lenge, however, in meeting California’s Title
24 energy-efficiency standards, which permit
27
 CASE STUDY Cladding & Building Envelope

Shading the ARB’s two-story lobby was a

primary concern for the design team (above).
Thirty75 Tech’s louvers allow for glazed facades,
while meeting energy standards (opposite).

a maximum of 40 percent window to wall. For

Verse Design LA’s Thirty75 Tech, a Class A
2
office space, the program for a 260,000-
8 square-foot building in Santa Clara would
6 emphasize floor-to-ceiling glazing for all
5
4 elevations. But that preference proved to be a
7
1
test, especially since nearly half the building
3
envelope faces south and west. With these
considerations in mind, the architects—in

PHOTOGRAPHY: © BILL TIMMERMAN; TIM GRIFFITH (OPPOSITE)

collaboration with engineering firm Glumac
4
and fabricator/installer Architectural Glass &
Aluminum—developed an aluminum louver
system that hangs, like metallic draperies,
1
9
from diagonal steel outriggers located above
the building roofline. This move also allows
space for 3-foot-wide catwalks, which not only
ACM FIN DETAIL GLASS FIN DETAIL provide maintenance access to the curtain
wall, but additional reinforcement to make the
1 ACM CLADDING 4 FASTENERS 7 SEALANT
louver system more rigid.
Envisioned by the design team as a 38-foot-
2 STRUCTURAL STEEL 5 STEEL ANGLE 8 THERMALLY BROKEN GIRT
tall screen of vertical strands of pixels, the
3 ALUMINUM EXTRUSION 6 INSULATION 9 LAMINATED GLASS FIN
surface is variegated by the positioning of
2-foot-long airfoil-shaped aluminum louvers,

28 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 1 LOUVERS 2
2 DIAGONAL OUTRIGGER
FOR CATWALK & 1
SUNSHADE

3 INTERMEDIATE STEEL AND 3

CROSS-BRACING
1
4 CATWALK SYSTEM

4
15°
30°
45° 60°

LOUVER ORIENTATIONS LOUVER SYSTEM SECTION

which, at 15-degree increments, range from 15
to 60 degrees in rotation. “We were looking at
triangulated billboards, and the digital rain at
the introduction of the Matrix film series, and
sought a shimmering solution that changes
according to one’s perspective,” says Verse
Design LA principal Paul Tang. All in all,
there are 24 variations of vertical seams inter-
spersed throughout the expanse to maintain
visual differentiation. The result is a vivid yet
static facade with an approximately 70 percent
window-to-wall ratio that, with the help of
shading and mechanical systems, meets Title
24’s energy-efficiency requirements. n

29
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 FIRST LOOK
A Leap of Faith
Níall McLaughlin Architects returns to north England to give religion a new face at a 12th-century castle.
BY CHRIS FOGES
THE FAITH MUSEUM in Bishop Auck-
land is a small building for a client with
outsize ambitions. Built to tell the tumultuous
story of spiritual life in Britain over 6,000
years, it is the brainchild of philanthropist
Jonathan Ruffer, whose mission is to rejuve-
nate this small postindustrial town in the
north of England through tourism. A constel-
lation of new cultural attractions is arrayed
around the magnificent Auckland Castle, the
hilltop home of the Bishop of Durham for
850 years, until Ruffer bought it and admitted
the public. Níall McLaughlin Architects was
appointed to design two additions—a timber
viewing platform standing like a medieval
32 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
siege engine at the entrance gate (2017), and
the nearly 11,000-square-foot museum, a
modest yet somehow monumental stone wing
extending from the castle itself.
The architects’ first concern was to make a
contemporary extension that seems at home in
its protected historic setting, avoiding either
pastiche or jarring contrast. With its steep
pitched roof and rectangular plan, the two-
story museum resembles an English tithe barn
from the Middle Ages. “A utilitarian storage
building seemed plausible on this site,” says
McLaughlin, “but it could also have a feeling
of permanence and a strong presence.”
Like the crenellated castle, the concrete-
framed structure is faced in a local yellow
sandstone, which continues over the roof.
Concealed gutters and tight joints preserve the
simplicity of the form. At first glance, the
heavy carapace looks to have been carved from
a single block. McLaughlin likens it to an
ingot, or to ancient reliquary boxes designed to
resemble temples. Look more closely, however,
and the monolithic impression is relieved by
subtle details in the masonry. Split stones on
the gable end that faces arriving visitors are
finely honed and reveal rich patches of pink
veining, while rougher blocks ground the flank
walls. Variety in their size and orientation is
causing the surfaces to weather differently.
PHOTOGRAPHY: © DAVID VALINSKY
THE ARCHITECTS designed Auckland
Tower (opposite, completed in 2017)
and an extension to the Faith Museum
(this image).
 FIRST LOOK

Although Ruffer is a committed Christian, his brief was that the

museum should represent all faiths. That is reflected in two architec-
tural accents that seem to serve some symbolic purpose, even if their
precise meaning remains mysterious. The planes of the side walls and
roof project forward of the gables in slender, tapering blades of stone.
There is a faint but deliberate echo, McLaughlin says, of the way that
early Christian churches adopted the form of secular basilicas but
added sheltering temple fronts to demonstrate their sacred purpose.
At the apex, these projecting eaves overlap to make distinctive
cross-shaped finials. They were inspired by a surprising correspon-
dence he noticed between the prominent forked wooden rafters of
Shinto shrines in Japan and those recreated in a branching ornament
atop a 10th-century stone church on St. Macdara’s Island in Ireland.
Both have their origins in pragmatic construction techniques that

A
4

2
A 3

GROUND-FLOOR PLAN 0 100 FT.

30 M.

0 50 FT.
SECTION A - A
15 M.
1 WAR MEMORIAL 4 FAITH MUSEUM (NEW EXTENSION) 7 FAITH MUSEUM (SCOTLAND WING)

2 AUCKLAND TOWER 5 GREAT GARDEN 8 AUCKLAND CASTLE

3 ROBINSON ARCH 6 FAITH GARDEN 9 CHAPEL

34 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
THE FACADE is clad in yellow sandstone (above), while interiors
are more muted (above, left and right).

became invested with sacred meaning. “It illustrates some-

thing very deep in human culture, in which all faiths are
situated,” says McLaughlin. “Our embellishments are an
attempt to connect them all without connoting any one or
merely generalizing.”
Visitors enter and exit through the bishops’ palace, fol-
lowing a looping route that conjures a remarkable variety of
spatial experiences and curatorial options over its short
length. A vaulted corridor within the 14th-century Scot-
land Wing leads into the first floor of McLaughlin’s per-
pendicular extension, where 250 exhibits illuminate the
influence of belief systems from Celtic paganism to Islam.
Laid out as an enfilade of three galleries with stairs at each
end, the low-ceilinged, windowless space feels intimate and
protective, and well suited to the display of small objects.
One tiny silver ring set with an engraved red stone was
recently excavated nearby; dating from the 3rd century, it is
among the country’s oldest Christian artifacts. Another
vitrine holds an oil lamp that would fit in the palm of a

35
 FIRST LOOK
VERTICAL ELEMENTS echo the finials and
crenellated walls of the castle and arch.
hand, but confirms the practice of Judaism in
Britain a century later.
Much of the fabric of these rooms is ob-
scured by the exhibition design, delivered by
another firm. That is unfortunate, says
McLaughlin, but was always anticipated, and
the architects opted to concentrate their
efforts where it counts. At the far end of the
enfilade, a terrazzo staircase inlaid with brass
winds up between oak-paneled walls to a
small “contemplation space” flooded with
light from a picture window in the gable
wall. Looking out, visitors get an elevated
view over 16th-century walled gardens that
step down into a wooded valley below. After
the immersive journey through enclosed
galleries, it has a heightened effect.
The rest of the upper floor is given to one
voluminous gallery, intended for architectural
fragments, large tapestries, or art installa-
tions. Stepping inside is a moment of dra-
36 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
matic revelation. The inclined planes of the
roof—so heavy-looking from outside—are
supported on close-spaced steel trusses of
almost impossible delicacy. Light fixtures
positioned underneath them cast tangled
shadows on the textured plaster soffits and
emphasize the upward thrust of the structure.
There’s a clear resemblance to the intricate
oak frames of tithe barns but also, perhaps,
some subtle suggestion of the numinous
found in many places of worship.
This ambiguity in the building—its ability
to be two things at once—is its defining qual-
ity. McLaughlin presents an enjoyable archi-
tectural fiction, but one firmly rooted in the
history of the place, and of architecture. The
Faith Museum deftly serves the needs of
curators and the day-tripping visitors on whom
Bishop Auckland now depends, while retain-
ing hints of a higher purpose that gives this
small building unusual richness and depth. n
Credits
ARCHITECT: Níall McLaughlin Architects —
Níall McLaughlin, principal; Jacqueline Stephen,
project architect, Anne Scroell, project associate
ENGINEERS: Morton Partnership (structural);
TGA Consulting Engineers (m/e/p)
CONSULTANTS: Purcell (lead and heritage); Pip
Morrison (landscape); Studio MB (exhibition);
Sutton Vane Associates (lighting)
GENERAL CONTRACTORS: Meldrum (main);
Classic Masonry (stonemason)
CLIENT: The Auckland Project
SIZE: 10,760 square feet
COST: withheld
COMPLETION DATE: November 2021
Sources
MASONRY: Cop Crag Sandstone
WINDOWS: Schueco
RAISED FLOORING: Kingspan
CONVEYANCE: Kone
ACOUSTICAL CEILINGS: Vogl
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 FIRST LOOK

Ramping Up
A switchback cycling path extends from the ground to the roof at Ledger in Bentonville, Arkansas.
BY MATT HICKMAN

40 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 THE FACT that Ledger, the “world’s first”
bikeable building, was completed in late 2022
in the small Arkansas city of Bentonville—
and not Copenhagen, Boulder, Portland
(Oregon), or a Dutch university town—is
ultimately the least surprising thing about it.
Located two blocks south of Bentonville’s
downtown square, the defining feature of the
230,000-square-foot coworking and event
complex is a switchback ramp that zigzags up
the entire length of its eastern facade, carry-
ing cyclists and pedestrians at an incline
under 5 percent from a street-grid-connected
breezeway to a rooftop terrace. Publicly acces-
sible, it’s an easy ¾ of a mile to the top and
back down. This flashy new arrival in the
birthplace of Walmart was set to debut as a
WeWork project—the company’s first foray in
the Natural State—during the short-lived
reign of inaugural chief architect Bjarke
Ingels. That fizzled out with the 2019 col-
lapse of the office-sharing giant. Realized
instead as more of a multifaceted community
anchor than a straightforward mixed-use
commercial building, Ledger is a bellwether
project of sorts: an early entry in the transfor-
mation of Bentonville from sleepy company
town to a 21st-century hub for innovation and
commerce befitting the retail mega-corpora-
tion that calls it home. Bentonville’s growth is
evidenced by the multiple construction cranes
throughout town, including those at the sites
of two new hotels going up just down the road
PHOTOGRAPHY: © TIMOTHY HURSLEY
from Ledger and, farther out, at Walmart’s
under-construction 350-acre flagship campus
and at the Crystal Bridges Museum of
American Art, which is undergoing a major
expansion. Fittingly, the best views of
Bentonville’s shifting landscape can be had
from 66 feet above the street on the sixth-
floor patio of Ledger, a building—now
Bentonville’s tallest at six stories—that man-
ages to look both completely out of place and
right at home in a small town on the cusp of
big change.
A long rectangular volume framed in steel,
sheathed in glass, and clad with patinated-
copper panels, Ledger’s design is the intitial
result of a collaborative effort between
Marlon Blackwell Architects, based in nearby
Fayetteville, and WeWork’s Ground Up
Studio. During its relatively brief existence,
the studio was co-led by WeWork’s then
senior vice president of architecture Michel
Rojkind and vice president Christian
Callaghan, joined by design director Haruka
Horiuchi. After WeWork’s exit from the
project, the same team saw it through to
completion for clients City Center, Kyleton
Development, and Walton family–backed
Blue Crane. Mexico City–based Rojkind,
Callaghan Horiuchi (the duo’s post-WeWork
The six-story building has a ramp for cyclists
and pedestrians built into its east side, with
large terraces flanking its north and south ends.
41
 FIRST LOOK

Rising above S. Main Street, Ledger steps

back with each ramp level to create urban
massing (left). Interior spaces, including the
lobby (opposite, top) and common areas
(opposite bottom), look out to the street
and ramp.

practice), and Marlon Blackwell Architects all

share credit as design architect for the core
and shell construction phase; Callaghan
Horiuchi also serves as interior design archi­
tect and design manager.
“This is the sum of our parts,” says
Rojkind. “When we started working, the
first thing that we put on the table was that
the building doesn’t belong to any one of
us—it’s not a Marlon Blackwell building or a
Michel Rojkind Arquitectos building. This is
a building that’s going to belong to Benton­
ville, and so it has to look like a building for
Bentonville.”
Ledger’s communal­terrace­interspersed
bike ramp, envisioned as an extension of the
street that activates the entire exterior of the
building for pedestrians beyond the ground
level, is very much of Bentonville. In 2020,
city leaders proclaimed it “mountain­biking
capital of the world” to draw attention to its
robust infrastructure for that purpose that
includes more than 150 miles of trails in the

3
1
3

5 2 4

0 30 FT.
LONGITUDINAL SECTION - RAMP CUT
10 M.

1 RAMP 5 RETAIL
8
2 BREEZEWAY 6 MEETING & WORKSPACES
3 COMMUNAL TERRACES 7 EVENT SPACE
1
6 4 RECEPTION/CAFÉ/ 8 ROOFTOP TERRACE
1
WINTER GARDEN/
6
CONFERENCE CENTER
1
6
1
6

0 30 FT.
TRANSVERSE SECTION - BREEZEWAY
10 M.

42 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
city, linking to a larger regional network
weaving throughout the rolling foothills of
the Ozarks. (As with many aspects of life in
the northwest corner of Arkansas, the region’s
mountain-biking credentials have benefited
from the largesse of Bentonville’s most prom-
inent family, the Waltons.) As Rojkind notes,
because of the building’s imposing size, it ran
the risk of being “super-bulky and awful,” but
the ramp acts to “push the building back, to
make it be more at ease with the existing
houses around it.”
The 1,900-foot-long concrete-paved ramp
that forms the stepped eastern facade of the
building is akin to a series of stacked stairs,
with each section of the ramp serving as the
roof for the level directly below it. “It’s one of
my favorite things about the building—when
you’re on the ramp, you see the level that
you’re on and the next one down, but that’s
it,” says Horiuchi. And, because the building
is glazed, ramp-users can see in along most of
the route: this blurring of interior and exterior
spaces lends Ledger an almost-voyeuristic
fishbowl quality. (The more private western
side of the building, which faces a small city
park, does not feature a setback.)
In addition to the novelty of being able to
pedal one’s way straight from a trail to an
upper-floor terrace that provides direct access
to a work or event space, Ledger boasts myri-
ad cyclist-friendly amenities that are exclusive
to coworking members, including secure bike
storage, lockers and changing facilities, e-bike
charging stations, and an “experience center”
operated by high-end bike manufacturer
Specialized on the ground floor. Yet not
everyone is rolling in on two wheels to the
building’s mix of coworking spaces, reservable
meeting and event rooms, and private of-
fices—the presence of a detached eight-level
parking garage, featuring a “fishy” large-scale
kinetic art installation by Stefan Sagmeister,
is a reminder that we’re still in Arkansas, not
Amsterdam.
While Ledger’s embrace of Bentonville’s
cycling culture takes the bike-to-work con-
cept to a literally new level, the building’s
most impressive function is that of a vertical
linear park. By permitting public access to the
building’s ramp and outdoor terraces during
“recreation hours,” from sunrise to sunset,
Ledger has been adopted as an all-purpose
hangout space for the Bentonville community.
When I visited last fall, there were only a
handful of cyclists zipping up and down the
side of the building. At 12½ feet wide, the
ramp is easy enough to navigate for more
casual cyclists (and an assist from the added

43
 FIRST LOOK

Depicting regional insects, Stefan

Sagmeister’s glass mosaics begin within
the breezeway and travel up the ramp.
Another installation by the graphic
designer can be found on the east facade
of the parking structure (below).

thrust of an e-bike, which can be borrowed on-site, certainly

made the trek less taxing). But apparent in greater numbers were
teenagers socializing and snapping selfies on the terraces, neigh-
borhood residents walking their dogs, senior citizens enjoying
late-afternoon strolls, and visitors taking in another major instal-
lation by Sagmeister, Now is Better, Bentonville, a series of 95
glass-mosaic insects embedded in the concrete along the full
length of the ramp.
“It was the cherry on the cake for the ramp, which already has
this generosity of the street going up the building,” says Rojkind
of Sagmeister’s work. Public art, curated by local arts and culture
nonprofit CACHE, is found throughout the building’s interior,
including the public lobby with its coffee bar and greenery-
infused winter garden and extending to the members-only work-
spaces and meeting rooms; each of Ledger’s bookable spaces is
home to a signature piece of art.
Thoughtful and playful in equal measure, the design of
Ledger is the result of egos’ being set aside and collaboration
taking the front seat. Seemingly a surprise, it’s a building that, at
this moment, wouldn’t make sense anywhere but Bentonville. n

44 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
YO U R I N D U S T R Y VA L U E S YO U R E X P E R T O P I N I O N

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 FIRST LOOK
Balance the Books
OFFICE KGDVS uses simple geometry to accommodate the growing needs of a library in Belgium.
BY ANDREW AYERS
“OUR BUILDINGS tend to appear very
simple, which is both a winning and a losing
factor in competitions,” laughs architect
Kersten Geers, founding partner, alongside
David Van Severen, of Brussels-based
OFFICE KGDVS, a 2009 record Design
Vanguard. “When we lose, the judges say,
‘We don’t trust you. A figure that simple
cannot settle all the issues.’ And when we
win, they say, ‘This is weird—you wouldn’t
think a figure that simple could resolve all
the problems!’ ” Among the basic shapes
OFFICE uses to compose its plans, quadri-
laterals loom large, but circles also appear
from time to time, often enclosing a square.
An inversion of the classic motif of a circle
inside a square—found, for example, in
Palladio’s Villa La Rotunda, Hardouin-
Mansart’s Dôme des Invalides, or Louis
46 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
Kahn’s National Assembly of Bangladesh—
this combination first entered OFFICE’s
repertoire in its 2006 competition proposal
for an annex to Gunnar Asplund’s Stockholm
Public Library: in response to the Swede’s
Palladian drum-on-a-box, OFFICE imag-
ined a cylinder enclosing a square courtyard.
In 2017, the firm returned to this motif,
albeit at a far more modest scale, when com-
peting to build the village library at Sint-
Martens-Latem in Flanders.
Today a suburb of Ghent, Sint-Martens is
a paradoxical place: Belgium’s richest munici-
pality in terms of per-capita income, it is
among its poorest in terms of public services,
since residents pay very little tax. As a result,
cash for the library was short—construction
cost was just $2.7 million—and the building,
located next to the village primary school,
had to work hard: in addition to 2,500 linear
feet of shelving (almost three times the capac-
ity of the cramped and unsuitable library it
was to replace), the brief requested an outdoor
reading space, as well as two small classrooms
and a school dining room that could double
up as a small village hall.
Since there was talk of rebuilding the
primary school, OFFICE made its building a
cloistered, autonomous object, circular and
compact, with “no front or back or any kind
of clear orientation,” as Anne van Hout, the
PHOTOGRAPHY: © BAS PRINCEN
project architect, explains. At the center of its
98-foot-diameter circle, OFFICE drew a
square, one half of which contained the
dining hall, with classrooms above, and the
other a courtyard garden. In this way, open-
air reading could occur without building
fences, and the grounds outside the library
Looking like the biggest house in town, the
building nonetheless gives a peek (opposite) into
its many linear feet of books (below and right).

remain entirely accessible for public use.

Since the building’s raison d’être was books,
OFFICE combined shelving and structure,
with the envelope’s timber frame carrying
both bookshelves (515 feet more than re-
quired) and the roof. For the latter, the archi-
tects chose a classic pitched gable, because,
explains Geers, “a public building in a rural
context is not the same as in a city, where
libraries tend to be transparent glass boxes.
We imagined ours as the biggest house in the
village.”
The competition jury was convinced, aside
from one practical issue: rather than floating
in the middle of the building, the dining
room should connect with the perimeter. To
achieve this, OFFICE inserted another sim-
ple figure—a circle sector, a portion of the
disk delimited by two radii—into their plan
so that, on the ground floor, it creates a space
for the dining hall and, where it intersects
with the central square, two triangles, one of
which contains staff offices and the other
bathrooms and a kitchen. “This change made
the project stronger,” says Geers with a smile,
“and much more interestingly complex.”
At once strange and familiar, as though
Japanese contractors had built an American

47
 FIRST LOOK

A rectangular cutout at the center of the round
building’s roof creates a glass-enclosed reading
garden.
round barn and dropped it in Flanders, the
completed library exhibits typical OFFICE
idiosyncrasies in the use of metal—zinc for
the roof, aluminum for doors and external
window frames—and in a certain blankness
A
of detailing, which is in fact the product of
extreme attention to detail (hats off to the
contractor who prefabricated the envelope’s
frame with its curved shelves). While one
senses that functions have been shoehorned
into predetermined shapes, the proportions
are generous enough that you never quite
feel the squeeze, space appearing to expand
thanks to the reading room’s soaring volumes
and to the generous courtyard, which floods
the building with daylight, proving its worth
even on the dark fall afternoon I visited.
Though it may appear to a certain extent
universal, this deceptively simple project is
the product of conundrums inherent in a very
particular time and place. n

8 9
5

6
7

3 1

2 0 15 FT.
SECTION A - A
5 M.
PHOTOGRAPHY: © BAS PRINCEN

1 ENTRANCE 4 MULTIPURPOSE HALL 7 READING GARDEN

3
2 INFORMATION DESK 5 KITCHEN 8 CLASSROOM

A 3 STACKS 6 STAFF 9 COMPUTER ROOM

0 15 FT.
GROUND-FLOOR PLAN
5 M.

48 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 The DESIGN:ED Podcast by Architectural Record takes you inside
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 School
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 Guess the Architect Contest
ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.
PHOTOGRAPHY: © RAMA, WIKIMEDIA COMMONS (TOP); ARCHITEKTURMUSEUM DER TECHNISCHEN UNIVERSITÄT BERLIN, VIA WIKIMEDIA COMMONS (BOTTOM)

THIS VEHICULAR BRIDGE, LOCATED IN A MOUNTAINOUS AREA OF A SMALL

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By entering, you have a chance to win a $500 Visa gift card. See the complete rules
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51
 Record EXHIBITION

In Light of a Major Expansion, a Historic Look at the Paris Metro

BY ANDREW AYERS

DESPITE ITS REPUTATION—per

Walter Benjamin—as the “capital of the 19th
century,” Paris came a little late to under­
ground mass transit: after London (1863),
Budapest and Glasgow (1896), Boston (1897),
and Vienna (1898), the City of Light opened
its first stretch of subway on July 19, 1900,
halfway through that year’s Exposition Univer­
selle. Initially six miles long, Line No. 1 linked
Paris’s eastern and western extremities.
Today, as this new exhibition recounts, it is
part of the French capital’s 124­mile­long
underground and elevated Métropolitain
network, which, if all goes according to plan,
will be extended to a mammoth 250 miles
between now and the 2030s.
Timed to coincide with the opening of the
first new tracks—initially scheduled for late
2023, six stops on the extended Line 11
should come into service this spring—Métro!
Le Grand Paris en mouvement traces the net­
BORDAS+PEIRO/SOCIÉTÉ DU GRAND PARIS (BOTTOM, LEFT); ABDELKADER BENCHAMMA/FRÉDÉRIC NEAU/SOCIÉTÉ DU GRAND PARIS (BOTTOM, RIGHT)

work’s history from the hand­dug tunnels of

the 1890s to the automated boring machines
of the 2020s. Coproduced by Paris’s Cité de
l’Architecture et du Patrimoine and the
Société du Grand Paris (the publicly owned
company overseeing the $46 billion project), Completion of the metal
IMAGES: © CHARLES MAINDRON, COLLECTION GROUPE RATP (TOP); GÉRARD ROLLANDO (MIDDLE); MIRALLES TAGLIABUE EMBT/

the show was co­curated by the Cité and deck in 1899 for the
Concord station on Rue de
architect Dominique Perrault, who is not only
Rivoli (above). Installation
building one of the 68 new stations (Villejuif­ of a tunnel-boring machine
Institut Gustave Roussy, due 2025), but was a at the Triangle de Gonesse
member of the 2008 think tank that advised station on Line 17 (left).
President Sarkozy on the future of the greater­ Renderings of the future
Paris region. In the wake of that consultation, Clichy-Montfermeil station
by EMBT (bottom, left) and
the government launched the Grand Paris
Vitry-sur-Seine Town Hall
Express, as the suburban Métro expansion is station by Atelier King Kong
known, in 2011. (below).
Before you even enter the Cité’s galleries,
the scale is set: on the square outside, over­
looking the Eiffel Tower, a 33­foot­diameter
tunnel­cutter wheel rises menacingly into the

53
 Record EXHIBITION
The proposed Saint-Maur–Créteil station (Line
15), by ANMA Architectes Urbanistes.
sky. Footage of today’s boring activities then
engulfs us in the first room, after which we
step back 140 years to the Métro’s begin-
nings, when Paris’s public transport was still a
horse-drawn affair. This first section of the
show, which recounts the planning and con-
struction of the historic network, is by far the
more compelling, with its oil paintings of
heroic engineering efforts, scale models (such
as the fiendishly complex Opéra station),
fragments of historic subway cars, drawings
by Hector Guimard of his alien-eyed en-
trances, excerpts from the Métro’s many
movie appearances, not to mention an 1886
caricature titled The Embellishment of Paris by
the Métropolitain, which shows a feminine
personification of the city spewing steam
trains from her mouth and ears.
Where the first section was the work of
professional curators, the second, which deals
with the Grand Paris Express, was organized
CC10O
54
Metal-Columns in Classic True Brass Silk
A R C H I T E C T U R A L R E C O R D J A N UA R Y 2 0 24
by Perrault and the Cité’s director of architec-
tural creation, Francis Rambert. Though the
content is physically similar—scale models and
digital renderings of 16 of the new stations,
details of the public artworks that will adorn
them, life-size mockups of seating and sign-
age—this half is confusing to negotiate and
smacks of a marketing exercise. Among the
IMAGE: © SUSANNA FRITSCHER/CYRIL TRÉTOUT/SOCIÉTÉ DU GRAND PARIS
architects featured are BIG, Kengo Kuma, and
Benedetta Tagliabue, but by this time visitor
fatigue has set in to the point that even Prune
Nourry’s army of earth mothers, chosen to
decorate Kuma’s Saint-Denis Pleyel station
(due 2024), fails to wrest a smile. French
speakers can continue the journey at home in
the richly illustrated catalogue, whose essays
and interviews explore the enormous ramifica-
tions—ecological, environmental, sociological,
cultural, and political—of what is currently
Europe’s largest civil-engineering endeavor. n
Métro! Le Grand Paris en mouvement is on
view at the Cité de l’architecture et du patrimoine
until June 2, 2024.
•�at)
mozdesigns.com
piring Architectural Metal Solutions
Columns· Walls· Ceilings
Record NEWS

A Multibillion-dollar Package to Improve American Rail

BY MATTHEW MARANI

IN THE EARLY 20th century, the United
States possessed the world’s most advanced
network of intercity rail. Decades of disin-
vestment and subsidy of other means of trans-
portation left vast swaths of the country with
inadequate rail-transportation options. But, in
a welcome turn, the Biden administration has
recently committed nearly $25 billion to the
revitalization of intercity rail in two rounds of
funding.
The U.S. Department of Transportation
(U.S. DOT) announced the first batch of
funding, $16.4 billion, on November 6, pro-
vided through the Federal Railroad Admin-
istration’s Federal-State Partnership for the
Intercity Passenger Rail program. It is directed
toward several Amtrak Northeast Corridor
improvements. Big-ticket items include the
$4.7 billion replacement of the 150-year-old
Frederick Douglass Tunnel, in Baltimore,
which is currently plagued by water ingress and
a sinking floor, among other structural issues,
with two high-capacity tunnel tubes and
related infrastructure; the $2.1 billion replace-
ment of the Susquehanna River Rail Bridge,
also in Maryland; the long-awaited Penn
Station Access project, with $1.6 billion ear-
marked for the improvement of the Amtrak-
operated Hell Gate Bridge to accommodate
Metro-North Railroad commuter traffic; just
over $800 million for the replacement of the
century-old and blighted Connecticut River
Bridge, which spans from Old Saybrook to
Old Lyme; and, last, a further $4 billion—the
project has already received nearly $3 billion—
in funding for the Hudson Tunnel Project,
which will see the boring of two new passen-
ger-rail tunnels between New York and New
Jersey under the Hudson River.
On December 8, the U.S. DOT announced
$8.2 billion in funding for the Federal State
Partnership for Intercity Passenger Rail pro-
gram, which includes 10 projects across nine
states and 69 corridors for potential financing
through future grant rounds. In the western
United States, the program will see funding for
high-speed rail in California’s Central Valley,
and between Las Vegas and Southern Califor-
nia. Amtrak’s existing operations on the East-
ern Seaboard will be substantially upgraded to
improve connectivity. The Pennsylvania Key-
stone Corridor, running from Philadelphia to
Pittsburgh, will undergo expansion and have
more frequent trains. The Piedmont Corridor
of North Carolina will be fastened to the Cap-
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route. Chicago Union Station will be renovated
to accommodate planned rail improvements in
the region. Maine, Montana, and Alaska will
also see an increase in service. n

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 CEU
TRANSPORTATION &
INFRASTRUCTURE
It is the journey, not the destination—so the saying goes. But on the
following pages,  turns this aphorism on its head, looking at
the points of arrival (and departure) for traveling by plane, train, and sea.
We examine innovative transportation buildings, at a range of scales, from
a diminutive subway headhouse for a station in Cambridge, Massachusetts,
to a vast, greenery-filled airport terminal in India. We also explore
efforts to breathe new life into defunct infrastructure, including the
transformation of what once was the world’s largest landfill into a sprawling
park for the people of New York. Reading about these projects and taking
the online quiz earns one unit of continuing-education credit.

REIMAGINED BUILDING TYPE STUDY 1,060

INFRASTRUCTURE TRANSPORTATION CONTINUING EDUCATION
To earn one AIA learning unit (LU), including one hour of health,
60 Ellinikon Park 70 Logan, Terminal E safety, and welfare (HSW) credit, read the “Transportation &
Athens | Foster + Partners with Boston | AECOM and luis vidal + Infrastructure” section on pages 59 to 106 and complete the quiz
Sasaki architects at architecturalrecord.com. Upon passing the test, you will receive

63 Southern Gateway Park
Dallas | HKS and SWA
65 North Park, Freshkills Park
Staten Island, NY | Field Operations
PHOTOGRAPHY: © EMA PETER
76 Grand Quai & Port of a certificate of completion, and your credit will be automatically
reported to the AIA. Additional information regarding credit-
Montreal Tower
reporting and continuing-education requirements can be found at
Canada | Provencher_Roy
continuingeducation.bnpmedia.com.
82 LaGuardia, Terminal B Learning Objectives
Queens, NY | HOK
1 Discuss the environmental challenges and benefits involved
88 Kempegowda, Terminal 2 in transforming underutilized transportation facilities and
Bengaluru, India | Skidmore, Owings industrial infrastructure into parkland.
& Merrill
2 Outline architectural approaches for reducing traveler stress
94 Kendall/MIT Gateway and promoting well-being at airports.
Cambridge, MA | NADAAA with
3 Describe strategies for overcoming the logistical and
Perkins&Will

construction challenges of expanding and upgrading existing

100 Campanhã Intermodal transportation infrastructure without disrupting operations.
Terminal 4 Discuss the civic, community-building, and placemaking
Porto, Portugal | Brandão Costa opportunities of transportation buildings.
Arquitectos
AIA/CES Course #K2401
LOGAN, TERMINAL E, BOSTON,
BY AECOM AND LUIS VIDAL + ARCHITECTS

59
 CEU TRANSPORTATION & INFRASTRUCTURE
Ellinikon Park
Athens | Foster + Partners with Sasaki
BY ANDREW AYERS
WHEN IT OPENED, in 1938, Kalamaki
Airfield, as it was then known, stretched out
between the Aegean Sea and the countryside
of East Attica, five miles south of central
Athens. By the time it closed, in 2001,
Ellinikon International Airport, as it had
become, was in the middle of the city, en­
gulfed by an ocean of apartment buildings.
Operating at well over capacity and unable to
expand, it was replaced by Athens Interna­
tional Airport Eleftherios Venizelos, which
entered service in anticipation of the 2004
summer Olympics. After closure, in prepara­
tion for the games, the section of the disused
airport nearest the city center was converted
into sports facilities—the grass between
runways became hockey, baseball, and soft­
ball fields, the aircraft­repair hangar trans­
formed into a basket­ and handball arena,
while a whitewater course for canoe and kayak
slaloming was dug where cargo services once
operated. But, following the Olympics, the
sports facilities were abandoned, after which
the 2008 financial crash and the ensuing
60 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
Greek government­debt crisis saw to it that
the future of the 1,500­acre site would hang
in the balance for well over a decade.
All of that changed in 2020 when demoli­
tion work began as part of a 25­year redevel­
opment program, master­planned by Foster +
Partners, that will see Ellinikon become a new
residential neighborhood, coastal resort, and
600­acre park. “The largest urban regenera­
tion project in Europe,” according to Lamda
Development, the Greek real­estate company
behind the estimated­$8 billion scheme, it will
include thousands of new homes, upmarket
shopping malls and hotels, a business park,
sports facilities, a mega­yacht marina, and
other leisure destinations such as a cultural
center in Eero Saarinen’s East Terminal build­
ing (1960–69), one of several airport struc­
tures that will be preserved and repurposed. In
2021, in a shrewd marketing move, Lamda
opened the Ellinikon Experience Park, a tiny
chunk of the much bigger Ellinikon Metro­
politan Park (slated for completion in 2030), as
well as a giant visitor­information center inside
 the renovated Air Force Hangar C (one of
three hangars at Ellinikon landmarked by the
Greek culture ministry).
Today, as depollution and infrastructure
works continue, ground has broken on Foster
+ Partners’ Riviera Tower—one of two water-
front skyscrapers planned for Ellinikon—
which, at 650 feet, is set to become Greece’s
tallest building when the luxury residential
complex completes in 2026. In its shadow,
next to the marina, Kengo Kuma’s wave-
canopied Riviera Galleria, “the finest luxury
retail and leisure development in Athens”
according to Lamda’s promotional blurb, will
IMAGES: COURTESY SASAKI, EXCEPT AS NOTED

follow at an as-yet-unspecified date. Just

inland, and therefore slightly down-market,
the recently announced Little Athens, one of
the Ellinikon’s new residential neighbor-
hoods, will consist mostly of 66-foot-high
apartment buildings as well as a handful at
164-feet-high, one of which, the BIG-
designed Park Rise, will form the sector’s South of central Athens, the Ellinikon Park development (opposite, bottom) will replace a disused
centerpiece with a “concave facade [that] cre- airport with a residential area, coastal resort, and 600-acre park (above and top). As part of the
atively reimagines the classic Greek column.” project, an Eero Saarinen terminal will be preserved and adapted as a cultural center (opposite, top).

61
 CEU TRANSPORTATION & INFRASTRUCTURE
In a low-wage Greece, where the eco-
nomic situation remains precarious and
young Athenian families have great diffi-
culty buying homes, the Ellinikon project
has been criticized for catering only to the
rich foreigners who will be able to afford its
upscale living. In response, the project’s
backers stress the need for overseas invest-
ment and the jobs that the development will
create. But the cash-strapped Greek authori-
ties can perhaps claim one unalloyed victory,
namely that so much of the Ellinikon site
62 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
has been earmarked for parkland. In a city
notoriously lacking public parks—Athens
comes second to last in the European
Environment Agency’s ranking of urban
green space and tree cover in the continent’s
capitals, and its densely built neighborhoods
already broil in average July temperatures of
91 degrees Fahrenheit—a huge green lung
has the potential to make a palpable and
lasting difference. According to American
landscape architects Sasaki, who are master-
minding the park, it will not only increase
The BIG-designed Park Rise (left) will be at the
heart of one residential sector. A beachfront
promenade (above) is also part of the plan.
the allocation of open space per inhabitant
by 44 percent but will also “have a signifi-
cant impact on Athens from a climate per-
spective.”
As commercial passenger aviation passes
its centenary, Ellinikon joins a growing num-
ber of obsolete airfields—among them
Berlin’s Tempelhof, Quito’s Mariscal Sucre,
Shanghai’s Longhua, and two former airports
in the Taiwanese city of Taichung—that have
been wholly or partly repurposed as public
parks. But this is perhaps the first time that
such care will have been taken to make the
project as low-carbon as possible. Besides
recycling all demolished concrete and using
the Olympic whitewater course as an orna-
mental lake, to be filled with stormwater, IMAGE: COURTESY BJARKE INGELS GROUP (BOTTOM)
Sasaki plans to pile up chunks of marble-
aggregate runway to form a fountain of con-
crete menhirs that will be fed, like the park’s
irrigation system, with treated wastewater.
Thirty percent of the park is planned for
higher-maintenance frequent human-contact
use, while the remainder will be landscaped
so as to reestablish local Mediterranean eco-
systems. Setting “a new standard for ecologi-
cal restoration,” the park will “resonate for the
next 1,000 years,” claims Sasaki. n
 Southern Gateway Park
Dallas | HKS and SWA
BY MATT HICKMAN
ALTHOUGH it does have a celebrated park
built directly over a major freeway, Dallas
cannot claim bragging rights as the first city
IMAGE: COURTESY HKS AND SWA FOR THE SOUTHERN GATEWAY PUBLIC GREEN FOUNDATION
to create one. (Per the Federal Highway
Administration, Seattle maintains that dis-
tinction with its aptly named Freeway Park,
which opened in 1976.) Since debuting in
2012, the OJB Landscape Architecture–de-
signed Klyde Warren Park, which spans a
below-grade section of the Woodall Rogers
Freeway to unite the downtown Dallas Arts
District with the fast-growing Uptown dis-
trict, has served as an exemplar of infrastruc-
ture-topping parks that (re)connect freeway-
sundered neighborhoods while generating
new open public space for recreational and
cultural pursuits.
Beginning in 2025, Texas’s interstate-
tangled third-largest city will be able to boost
two freeway-lid parks with the planned first-
phase completion of Southern Gateway Park.
Designed by the Dallas offices of HKS and
SWA with Pacheco Koch, the new park will
cover a section of I-35E between Ewing and
Lancaster avenues adjacent to the Dallas
Zoo. Capping 5.5 acres of freeway and ex-
tending to Marsalis Avenue when fully com-
pleted, Southern Gateway Park will stitch
together long-severed sections of Oak Cliff, a
sprawling patchwork of communities collo-
quially referred to simply as South Dallas and
originally developed as a separate township,
before its annexation in 1903. Like far too
many interstate construction projects initi-
ated during the mid-20th century, I-35 bi-
sected a historic Black community in the
southeast of Oak Cliff, taking with it prop-
erty and prosperity.
“In following years, lack of capital invest-
ment and adequate services contributed to
generational poverty, social isolation, envi-
ronmental injustice, and economic despair
for much of southern Dallas,” summarizes
SWA in a statement, adding that this “park
with a purpose” is an opportunity to “knit
historic Oak Cliff back together and to
create a physical connection and public space
that drives equitable community revitaliza-
View of Southern Gateway Park’s first phase,
including its playground and escarpment
feature, looking toward downtown Dallas.
tion and economic mobility.”
As notes April Allen, a longtime Oak Cliff
resident who serves as president and CEO of
the nonprofit Southern Gateway Public
Green Foundation, this is what sets Dallas’s
next freeway-deck park apart from its cel-
ebrated predecessor. “Klyde Warren Park has
been a runaway success, but what’s different
about our project is the community that we’re
in,” she says. “We’re really about reconnecting
a neighborhood that was divided by the inter-
state system.”
Work on the $82 million first phase of
Southern Gateway Park kicked off last
November, following the completion of the
deck structure by the Texas Department of
Transportation as part of a multiphase recon-
struction/widening project along I-35E.
Like Klyde Warren Park, it is being executed
through a public-private partnership.
63
 CEU TRANSPORTATION & INFRASTRUCTURE
With construction on the initial 2.8-acre
section of the park under way, Allen hopes it
will be aspirational for similar projects in
more preliminary stages seeking funding
from the U.S. Department of Transpor-
tation’s first-of-its-kind Reconnecting Com-
munities and Neighborhoods Grant Pro-
gram. “We feel like we’re kind of the poster
child for the program,” says Allen. “There
are a lot of other communities looking at
grant funding for planning purposes at this
stage, but, in terms of actual construction, we
are, to my knowledge, the furthest along for
a project located in a historically under-
resourced neighborhood impacted by the
freeway system.” (Late last year, the North
Central Texas Council of Governments
applied for a total of $95 million in grant
13
1
3 12
15
14
1 16
PHASES 1 AND 2 SITE PLAN
64 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
funding through the program for the second
phase of Southern Gateway Park, along with
three other freeway-lid park projects.)
What can be expected when the first phase
of Southern Gateway Park opens next year?
The design, guided by an equitable develop-
ment plan with vital input from the commu-
nity, references the unique topography of Oak
Cliff through undulating-pathway-laced
landforms dotted with mature trees. Locals
will recognize that the design echoes the
area’s signature geographic feature, a craggy
limestone escarpment. The park “visually
matches the neighborhood, its vegetation and
topography,” says Chuck McDaniel, lead
designer and founding principal of SWA’s
Dallas studio.
Within this rolling interstate-blanketing
4 1
2
6 7
10 3
5 8
9 6
7 11 7 1
8 11
Deck construction over 1-35E in Oak Cliff was
completed by the Texas DOT last year.
landscape, the design team packs in myriad
amenities: a terrace-topped restaurant and
retail building tucked beneath a manmade
hill, water features, a wide public promenade
cutting diagonally through the park, and
flexible gathering and performance spaces,
including a sprawling open lawn and a stage
pavilion. On the south side of the park will be
the first part of a destination playground,
which will double in size with the completion
of phase two. Play equipment is being built
from natural materials, going for what
McDaniel calls “a playhouse-in-the-woods
notion, as if the children themselves cobbled
it together in the ravine.”
There are also plans for features through-
out the park that relay the history and culture
of Oak Cliff, including what Allen calls an
“Oak Cliff Walk of Fame” on the main prom-
enade, where the names of notable commu-
nity members would be engraved in bronze
pavers, complete with QR codes that will lead
to biographical information about them on-
line. There’s also the potential for a public art
program, although details of that have yet to
be ironed out.
Along with Southern Gateway Park’s
primary role as a community-unifying green
space in a pocket of Dallas starved of walk-
ing-distance public parks, there are hopes
that, like Klyde Warren Park, it will serve as a
catalyst for economic growth.
“The community felt that a deck park was
very equitable—it’s new ground that every-
body can celebrate,” says McDaniel. “And it
was really refreshing on our end to think that
this could become something that local resi-
dents would rally around.” n
1 ICONIC ELEMENT
2 STAGE PAVILION
3 LAWN
4 PARK DRIVE/FOOD TRUCKS
5 12TH STREET PROMENADE
6 ESCARPMENT FEATURE
PLAYGROUND
ZOO BRIDGE
PHOTOGRAPHY: © DAVID LLOYD/SWA
9 HISTORY STAIRS
10 WATER FEATURE
RESTROOMS
12 FLEX BUILDING
13 OAK CLIFF PORCH
14 PAVILION
15 PARK DRIVE
16 PRAIRIE GARDEN
 CEU TRANSPORTATION & INFRASTRUCTURE
North Park, Freshkills Park
Staten Island, NY | Field Operations
BY VICTORIA NEWHOUSE AND ALEX PISHA
“A BIG CHUNK of nature in the city, wild
and strange”—James Corner’s description of
Freshkills Park hits the mark on several
fronts. Big chunk of nature? At almost four
square miles (2,300 acres) in western Staten
Island, Freshkills is roughly three times the
size of Central Park and almost certainly the
last large designed park that will be built in
New York City. Wild? The vast tract is cov-
ered in profuse growth, mostly self-propagat-
ing, having been produced by seeds carried
onto the site by wind or birds. And strange?
Not as strange as it was when the site served
for over half a century as the world’s largest
PHOTOGRAPHY: © MONA MIRI
landfill, but it remains an unusual scene, with
its four steep mounds of collected waste that
are capped and undergoing remediation.
It is hard to believe, when viewing Fresh-
kills Park (the name derives from the Dutch
Kille, or channel), and its vast grasslands,
stands of trees, woodland edges, wetlands, and
tidal creeks, that it is a mere 12 miles from the
southern tip of Manhattan. One observer, the
landscape architect Matt Urbanski, has de-
scribed Freshkills as closer to a Midwestern
prairie than to an east-coast green space. Cer-
tainly it is a park like no other. While Mark
Murphy, administrator of Freshkills Park and
president of the Freshkills Park Alliance, notes
that it has been designated a large designed
park—the first in over half a century in the city
and the last one that will be built there—
Corner considers his work at Freshkills as
being “more like a farmer cultivating land than
traditional landscape architecture.”
Unlike a farm, however, the site handed to
Corner’s New York–based Field Operations,
with the four mounds named according to the
four cardinal directions, was heavily contami-
nated. These piles of collected waste had to be
remediated before work could begin. Since the
mid-20th century, innumerable industrial sites
around the world have been converted to
parkland. In every case, the site’s previous use,
be it factory, quarry, or railroad, left brown-
fields in need of decontamination. But the
condition left by the Staten Island landfill
marked a particularly aggressive assault on
nature. The NYC Department of Sanitation,
which controls Freshkills in collaboration with
the city’s Department of Parks & Recreation,
has undertaken the Herculean job of capping
the mounds, which requires collecting and
treating methane, the combustible gas pro-
duced by the decomposition of organic matter.
The steel-cased gas wellheads that occasion-
ally poke up from the grass-covered slopes
attest to the process. (The city sells the puri-
fied natural gas to the local utility.) Hazardous
materials have been removed, and between 6
to 16 feet of topsoil have been added to North
Park; 100,000 cubic yards of clean soil com-
prised 70 percent of the cost.
65
 CEU TRANSPORTATION & INFRASTRUCTURE
SITE PLAN
Bike trails are among the park’s most popular features.
The main feature is an outsize bioswale,
which extends from the parking entrance
through the whole length of the park. This
stepped landscape element, part of the storm-
water infrastructure that feeds into the wet-
lands, matches the huge scale of the mounds
and the scattered industrial remnants that
have been left in place. The same scale and
industrial aesthetic inform the robust galva-
nized-steel tables and benches designed by
Field Operations; the signage, by Wkshps, is
66 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
0 1 MILe
1 KM
neat and informative. Attention to ongoing
sustainability is evident in the comfort sta-
tions’ composting toilets (prefabricated by
Clivus Multrum) and the solar panels that
provide power for lighting in the parking lot
(the only area with illumination).
The park offers numerous activities. A
wide asphalt biking strip and an equally wide
gravel pedestrian path run along either side of
the bioswale. The bike and pedestrian trails
will eventually connect with those in the 3.2
mile Springville Greenway (2015) and the
Staten Island Greenbelt. A pristine bike-
repair station in the parking lot provides a
gamut of up-to-date tools for bicycle mainte-
nance. Judging from the number of cyclists of
all ages swarming through the park, this will
undoubtedly be one of its most popular at-
tractions. At the far end of the paths is a
galvanized-steel lookout tower that signals
North Park’s other favorite attraction: watch-
ing the numerous bird species—bald eagles,
19 families of osprey, red-tailed hawks,
American kestrel, and northern harrier—that
have moved, together with deer and foxes,
into the renewed landscape.
A planned seed nursery of native plants
will serve the park and sell to the public. The
nursery will also support an existing curricu-
lum that teaches the ecological importance of
grasslands to approximately 3,000 schoolchil-
dren, primarily from Title 1 schools that serve
students from low-income families. So far,
this is the only program scheduled for Fresh-
kills, which, unlike other urban parks with
their multiple activities, is simply about enjoy-
ing nature in this unnatural site.
North Park’s relationship to the commu-
nity is most evident at the entrance from
Schmul Playground at its northwest.
Renovated by Field Operations in 2012, this
8.5-acre open space contains a playground,
picnic lawn, and sports facilities. Peripheral
projects of this kind—another is Owl Hollow
Soccer Fields, part of the future South Park—
were meant to attract attention to the mam-
moth Freshkills. A long, elegant pedestrian
avenue planted with oak and sweet gum trees
connects Schmul Park and North Park. The
nearby entrance hill, bordered by swaths of
dense switchgrass, raises the visitor into the
quiet vastness of the whole. The view encom-
passes William T. Davis Wildlife Preserve, a
tidal wetland, and the cleanest estuary in the
tristate region, which is understandably popu-
lar with kayakers.
North Park’s mini-taste of Freshkills is
something of a tease—South Park, slated to be
next to open, has not yet started construction,
according to Corner—and while Freshkills as a
whole is scheduled for completion by 2036,
there is no definite timeline. Corner points out
that a great deal more time-consuming prepa-
ration is needed to assure healthy, safe condi-
tions, and accessibility. Stay tuned! n
Author Victoria Newhouse wrote Parks of the
21st Century: Reinvented Landscapes,
Reclaimed Territories, with Alex Pisha, a
landscape architect and architectural designer.
 © Osman Rana
Every day, materials that are made
with forced labor make their way into
our buildings, homes, and landscapes.
Design for Freedom is a movement to address this pressing humanitarian
crisis by reimagining architecture, raising awareness, and inspiring responses
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 ACADEMY
OF DIGITAL LEARNING
Focus On: Wood Structures

Become an expert on Wood Structures through

Architectural Record’s Academy of Digital Learning.

Upon successful completion of the Wood Structures

Academy, you will earn 8.5 AIA LU/HSW + 0.8 ICC CEU
+ 4 GBCI CE Hour + 2 IDCEC CEU/HSW and a digital
badge that demonstrates your mastery and achievement.

Earn your digital badge and showcase your expertise!

CREDITS: 8.5 AIA LU/HSW + 0.8 ICC CEU + 4 GBCI CE Hour + 2 IDCEC CEU/HSW

The popularity of wood in design and construction continues to rise as architects and
designers take advantage of its positive attributes including natural beauty, strength,
and versatility. The 2021 International Building Code (IBC ) allows new tall wood
buildings up to 18 stories, which has opened the door to a multitude of new designs
for fire- and strength-tested products such as cross-laminated timber (CLT). Biophilic
design featuring exposed wood and paneling are helping to elevate commercial
spaces to address the health and well-being ambitions of companies seeking to
create more natural work environments since returning from pandemic shutdowns.

ce.architecturalrecord.com/academies/wood

Brought to you by
 WHERE ARCHITECTS GO TO FIND
AND REQUEST LUNCH AND LEARNS
Find these and many more available Lunch & Learn presentations at

ce.architecturalrecord.com/ee

CHANGING THE WAY WE DESIGNING ADA-COMPLIANT

THINK OF PREFABRICATION COMMERCIAL SHOWERS & BATHROOMS
1 AIA LU/HSW; 1 IIBEC CEH 1 AIA LU/HSW; 1 ADA State
Presented by Georgia-Pacific Accessibility/Barrier-Free
Building Products Presented by Inpro®

EVOLVING THE AGELESS ELEGANCE: STEEL

CONCRETE JUNGLE WINDOWS AND DOORS
1 AIA LU/HSW; 1 GBCI CE Hour 1 AIA LU/Elective
Presented by Holcim (US) Inc. Presented by Euroline Steel
Windows & Doors

LINEAR DRAIN SYSTEMS: DESIGN, POROUS PAVING

INSTALLATION, & APPLICATION 1 AIA LU/Elective
1 AIA LU/Elective; 1 IDCEC CEU;1 ADA Presented by Invisible
State Accessibility/Barrier-Free Structures, Inc.
Presented by Infinity Drain

INNOVATIVE DESIGN APPLICATIONS BUILDING THE IDEAL RAINSCREEN:

USING ADVANCED FIRE-RATED ADVANTAGES OF EXTRUDED
GLAZING TECHNOLOGY CONCRETE PANELS
1 AIA LU/HSW 1 AIA LU/HSW
Presented by SAFTI FIRST Fire Presented by Rieder North America
Rated Glazing Solutions
 CEU TRANSPORTATION & INFRASTRUCTURE

LOGAN INTERNATIONAL AIRPORT, TERMINAL E MODERNIZATION I BOSTON I AECOM AND LUIS VIDAL + ARCHITECTS

Paint the Town Red

Flashy on the outside, Logan Airport’s new terminal is all about reducing passenger stress on the inside.
BY JOANN GONCHAR, FAIA
PHOTOGRAPHY BY EMA PETER

70 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
THESE DAYS, air travel is mostly filled with aggravation and indig-
nities, with long queues, having to remove your shoes for security
screening, and jostling with fellow passengers for the limited overhead
baggage space. It wasn’t always so. Flying used to be glamorous. And if
any buildings epitomize that long-faded romance, it would be those of
Eero Saarinen—the TWA Flight Center at Idlewild Airport in New
York (now JFK) and his terminal at Washington Dulles, both of which
opened in 1962—with their gravity-defying winglike forms in poured-
in-place concrete. Now Boston Logan International Airport has a
building that alludes to that era, with an addition to Terminal E. It
seductively swoops and curves, but instead of volumes defined by
concrete, the new structure has a lipstick red chassis, like a sports car.
The $800 million expansion and renovation project has been de-
signed by infrastructure specialists AECOM and, as the project’s
“vision architect,” luis vidal + architects (LVA), a Madrid-based firm
known for airport buildings with expressive skylit roofs, including
Zaragoza, in Spain (2008) and Terminal 2 at London’s Heathrow
(2014). Their scheme adds 320,000 square feet and four gates, bringing
the total at Logan’s international terminal to 16. (The project was
originally conceived as seven new gates, but, due to pandemic-related
revenue losses, the three additional gates have been postponed).
So why red? Luis Vidal, LVA founder, says it was inspired by
Boston itself: by the city’s brick buildings, the Red Sox, and the
school colors of several of its universities. The hue for Terminal E’s
cladding was developed with the coating’s Swiss manufacturer spe-
cifically for the project, and, because the paint contains glass par-
ticles, it has a prismatic effect, ranging—depending on the angle of
the sun—from intense candy apple shades to orange tones.
If Vidal’s contextual argument seems tenuous, coming off as a justi-
fication, the surprisingly bold choice is effective. The color adds a sense
of excitement to what had been a rather humdrum airport and makes
the addition unmissable: from Boston’s Seaport district, you can appre-
ciate its full 1,350-foot-long horizontal sweep; depending on the side
of the plane you might be sitting on and its flight path, the sculptural
71
 CEU TRANSPORTATION & INFRASTRUCTURE

FROM BOSTON’s Seaport District, one can appreciate the addition’s full
horizontal sweep (above). Clerestory windows (left) help create a
daylight-filled interior (opposite).

roofscape can be spotted from the air; and you can catch oblique views
of the brightly hued structure when arriving in an Uber or while mov-
ing between terminals over one of the airport’s connecting sky bridges.
Just like the sexy curves of a classic sports car, Terminal E’s addition
seems designed to get your heart racing—at least on its outside.
On the inside, however, the effect is intentionally just the opposite.
Here one is hardly aware of the adrenaline-inducing red. Instead, the
environment is cool and calm, with ample daylight and finishes ren-
dered primarily in white, including terrazzo floors, perforated metal
ceiling panels, and curving drywall. Seemingly every move has been
made with the idea of reducing the anxiety associated with air travel.
To understand travelers’ typical pain points, the team worked with a
behavioral psychologist, says Terry Rookard, AECOM project direc-
tor. Some of the outcomes of this collaboration are amenities, including
a roomy “recomposure” area after security with plenty of seating, a
lactation room, a pet-relief area, and a calming room where neurodi-
vergent travelers can acclimate themselves before a flight. But the main
factor is the openness of the addition and its boomerang-like footprint.
By avoiding the use of right angles on the L-shaped site, designers have
produced a departures level with clear sight lines and intuitive circula-
tion. For instance, the configuration allows travelers to see almost all
the gates while they are waiting to go through security, even though
the distance from the screening area is more than 1,000 feet. Mean-
while, the scale of the interior expands and contracts to accommodate
the flow of passengers: the ceiling is highest (reaching nearly 60 feet)
and the floor plate widest at the addition’s midsection, with the volume
becoming appropriately shorter and skinnier, tapering where foot
traffic is the lightest—as one approaches the final gate.
Helping guide passengers past the duty-free shop, the restaurant,
other concessions, and to the gate waiting areas are two roughly
parallel “streets,” demarcated with change of floor finish or colors.
These circulation paths track with the contours of the ceiling and are
further articulated by the structural grid comprising pairs of
V-shaped steel columns (filled with concrete to avoid the need for
fireproofing) marching down the length of the terminal.
The interior has an airy feel that is in no small part due to its day-

72 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
lighting scheme, which includes two tiers of
clerestories. Because they are predominantly,
but not entirely, north-facing, they are shield-
ed from direct sun by overhangs that Vidal
refers to as “eyelashes.” Similarly, the gener-
ous curtain wall looking out onto the runways
includes electrochromic glazing, which dark-
ens to reduce heat gain and glare. The day-
lighting, along with features such as building-
integrated photovoltaics on the south facade,
displacement ventilation (which supplies
conditioned air only to the occupied portions
of the tall terminal volume), and all-electric
building systems are part of the addition’s bid
for LEED Gold certification.
The sustainable strategies also contribute
to the net zero goal set by the Massachusetts
Port Authority (Massport), the airport’s
owner, to reach net zero by 2031. But before
that can be achieved, the central heating plant
will need to be overhauled, since it is the
facility’s largest carbon emitter, according
Luciana Burdi, Massport director of capital
programs and environmental affairs.
The project team faced several construc-
tion and engineering challenges, including
building over an existing baggage-handling
system, whose operation could not be dis-
rupted. To deal with the problem, structural
engineers from Thornton Tomasetti devised
a mega-truss to span the baggage-handling
system and support the portion of the ter-
minal above. And then there are the expan-
sion’s signature curves. There are so many,
in fact, that Jonathan Rushmore, AECOM
design manager, likes to joke that the only
flat surface is the floor plane. Most bend in
more than one direction, and with different
radii, creating the potential for a fabrication
and construction nightmare. But Sam Slei-

73
 CEU TRANSPORTATION & INFRASTRUCTURE

1 EXISTING TERMINAL

2 EXISTING BAGGAGE HANDLING

3 NEW BAGGAGE HANDLING

4 BACK-OF-HOUSE

5 DEPARTURES & ARRIVALS CURB

6 TICKETING

7 SECURITY SCREENING
13
8 RECOMPOSURE AREA

9 DUTY FREE
11 9 10
10 RETAIL

11 DEPARTURE LOUNGES
14
12 RESTAURANT 15
3
13 AIRLINE CLUB

14 INTERNATIONAL ARRIVALS CORRIDOR

15 GATE PIER 0 20 FT.

SECTION A - A
6 M.

74 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
BELOW THE portion clad
in fire-engine red panels,
the south facade includes
building-integrated
photovoltaics.

man, executive vice president at Suffolk Credits Sources

Construction, the project’s construction
manager, points to the “federated” BIM
model shared among the consultants,
trades, and subcontractors. As a result, the
building feels tightly coordinated and
cleanly detailed.
On the whole, the new interior is smart,
bright, and spacious. Its mood, however,
doesn’t quite match the drama of the exte-
rior—not to mention that of Saarinen’s termi-
nals. But drama-free flying is what today’s
travel-weary passenger desires. The expansion
of Terminal E succeeds in delivering the kind
of smooth airport experience most of us want,
while providing a burst of visual energy for
Logan and a new landmark for Boston. n
ARCHITECT: AECOM — Terry Rookard, project
director; Jonathan Rushmore, design manager;
Bernard Christopher, BIM project architect
VISION ARCHITECT: luis vidal + architects — Luis
Vidal, founder; Óscar Torrejón, design partner;
Javier Torrecilla, project director
CONSULTANTS: Thornton Tomasetti (structure,
new building), Simon Design Engineering
(structure, renovation), Arora Engineers (m/e/p,
fire protection), BNP Associates (baggage
systems), Collaborative Lighting (lighting), HNTB
(airfield simulations), RWDI (rain, ice, wind, snow)
CONSTRUCTION MANAGER:
Suffolk Construction
CLIENT: Massachusetts Port Authority
SIZE: 390,000 square feet (new + renovated)
COST: $800 million
COMPLETION DATE: July 2023
RAINSCREEN: Alucoil, Knightwall
PRISMATIC PAINT: Monopol Colors
MOISTURE BARRIER: Rockwool, Johns Manville,
Henry Company, Carlisle
METAL ROOFING: Kingspan
CURTAIN WALL: EFCO
GLASS: Vitro Architectural Glass
DYNAMIC GLASS: View
PHOTOVOLTAICS: Onyx Solar
CURVED METAL FRAMING: Radius Track
PAINTS AND STAINS: Sherwin-Williams, BYK
VERTICAL TRANSPORTATION: Kone
PANELING: Wilsonart
ACOUSTICAL CEILINGS: Armstrong
LIGHTING: Day-O-Lite, Lightolier, Prime, Signify,
Acuity Systems

75
 CEU TRANSPORTATION & INFRASTRUCTURE
GRAND QUAI AND PORT OF MONTREAL TOWER I MONTREAL I PROVENCHER_ROY
Cruise Control
A former industrial site at the Port of Montreal is transformed into a tourist destination.
BY MATTHEW MARANI
THE OLD PORT OF MONTREAL, like that of Buffalo and New
York, connected the Wheat Belt of the Great Plains to markets beyond
the continental shelf. In those cities, a complex web of shipping and
rail routes would transfer cereal crops for storage across an array of
piers and grain elevators and silos for export abroad. The completion of
the St. Lawrence Seaway in 1957, which provided direct maritime
access from the Great Lakes to the Atlantic Ocean, rendered those
silos and elevators redundant, and they were left to decay over the
succeeding decades.
The Grand Quai du Port de Montreal (the Grand Pier) is a site over
a century old within that defunct industrial ecosystem. Formerly
known as Alexandra Pier, it served as both a cargo facility and recep-
tion area for immigrants and travelers until its conversion into a cruise
terminal in 1967. But, like its surroundings, it too faded with time.
That is, until May 2023, when the firm Provencher_Roy, based in
Montreal, wrapped up a multiphase renovation and redesign of the
76 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
facility, including the newly opened Port of Montreal Tower.
The architects were awarded the commission back in 2014 following
a competition, and construction began in 2015. For Provencher_Roy,
the project not only entailed the rehabilitation of the existing two
terminals located on the nearly 350,000-square-foot pier, but also
opening the hermetic postindustrial site—entry was previously permit-
ted only for cruise passengers and the cars and buses ferrying them to
and from the city—to the public, through several gestures.
In collaboration with landscape architect NIPPaysage, also
Montreal-based, the architects linked the pier to the Old Port’s existing
park infrastructure through a planted, red cedar–paved esplanade atop
Terminal 1, the primary cruise depot. They also carved out a public
park at the eastern extremity of the pier, which slopes downward toward
the St. Lawrence River, as something of an outdoor amphitheater. The
Port of Montreal Tower is an additional visual landmark and experience
aimed to draw the public to the formerly inaccessible waterfront.
 THE GRAND QUAI extends into
the St. Lawrence River (opposite),
and the Port of Montreal Tower is
its most conspicuous landmark
(this image).
PHOTOGRAPHY: © JAMES BRITTAN (THIS PAGE AND OPPOSITE)

77
 CEU TRANSPORTATION & INFRASTRUCTURE

TERMINAL 2

3 3

5
1

TERMINAL 1

0 100 FT.
MAIN-FLOOR PLAN
30 M.

1 MAIN ENTRANCE

2 PARK

3 TAXI & BUS DROP-OFF ZONE

4 PASSENGER SERVICES 5
5 TOWER LOBBY

6 TOWER

12 7 ELEVATOR

8 MECHANICAL

9 MULTIPURPOSE ROOM 7
11
10 CATERING
10
11 BATHROOM
9
12 OBSERVATION DECK
8 0 30 FT.
MAIN FLOOR - TOWER LOBBY PLAN
10 M.

0 10 FT.
SECTION
3 M.

78 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 THE TOWER CORE is fully visible (above). The
terminal and tower interiors bear a minimal
material palette (above, right and right).
PHOTOGRAPHY: © OLIVIER BLOUIN (TOP, LEFT); STEPHANE BRUGGER (TOP, RIGHT); JAMES BRITTAN (BOTTOM)

“The Grand Quai and Tower project is

the realization of the Port of Montreal’s
vision to open the site to the public and give
Montrealers and visitors access and views
between two emblematic components of the
City of Montreal, the St. Lawrence River
and Mount Royal,” explained Provencher_
Roy principal partner Sonia Gagné, referring
to the promontory and park just west of
downtown.
The renovation of the hangar-like termi-
nals—each measures just under 70,000
square feet—entailed reworking the facility’s
program. Terminal 2 was converted into the
site’s parking garage, with an additional
ticketing pavilion and boat landing for
Croisières AML, a sightseeing cruise line
servicing Montreal. That move freed up
space at the ground level within the rede-
signed Terminal 1 for circulation of some
50,000 tourists streaming to and from 50
cruise liners annually.
Within both terminals, the design team

79
 CEU TRANSPORTATION & INFRASTRUCTURE

A STAIRWELL delivers visitors to the tower

summit (left). Terminal 1 now features an
entrance that faces the city (bottom) and a
landscaped esplanade on its roof (opposite).

opted for a degree of conservation. “We

sought to celebrate the heritage of the existing
rigorous and pragmatic infrastructure,” said
Provencher_Roy partner Sophie Wilkin. To
that end, damaged sections were repaired,
and, throughout, all lead-based paint was
removed and those areas repainted a luminous
white. Steel bracing was added to bring the
two terminals, which are linked by a newly
constructed pedestrian bridge, up to current
seismic requirements.
Unlike Terminal 2, which, as a parking
facility, is left partially exposed to the ele-
ments, Terminal 1 underwent a substantial
reorientation and recladding. A new entrance
pavilion announces itself to the riverfront
promenade with brash and playful signage
and a welcoming glass facade—the former
concrete-clad entrance was accessed on the
pier, behind a now demolished perimeter
wall—and that transparency is carried
through the approximately 760-foot-long
terminal with floor-to-ceiling insulated-glass

PHOTOGRAPHY: © JAMES BRITTAN (TOP); STEPHANE BRUGGER (BOTTOM AND OPPOSITE)

80 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
units and skylights carved into the esplanade above. That emphasis on wheat products. At the tower’s summit, one has unobstructed views in
lightness extends to the terminal’s cladding, which consists of horizon- all directions, of landmarks like Moshe Safdie’s Habitat 67 and
tally oriented bright-white aluminum panels. Basilique Notre-Dame, as well as to Mount Royal. This denouement is
The Port of Montreal Tower, the final component of the Grand a sweeping panorama, looking back and toward the city’s past, present,
Pier, is the facility’s principal homage to the Old Port’s commercial and future. n
past. The tower rests upon a raftlike concrete slab, supported below by
concrete caissons that reach down to the bedrock beneath the St. Credits Sources
ARCHITECT: Provencher_Roy — STEEL: Structures XL
Lawrence River. It rises to nearly 215 feet, and that height, coupled
Sonia Gagné, principal partner; CONCRETE: Coffrage Alliance
with its vertigo-inducing cantilevers to the north and west, resembles Sophie Wilkin, partner
the remaining rusted grain elevators nearby. The structure of the tow- DAMPER: Gerb
ENGINEERS: NCK (structural
er, like that of the terminals, is laid bare, this time by ultra-clear glass & civil); Pageau Morel METAL PANELS: Clermont
panels that frame its concrete core and steel hollow structural sections, (electromechinal) CURTAIN WALL: Vitreco
the latter supporting those daring protrusions. Care was taken to add CONSULTANTS: WSP Group GLAZING: Agnora
(maritime infrastructure); Elema
visual interest to the exposed concrete through a subtle play in form- DOORS: Alumico
(structural glass); CS Design
work, the inner edges of the pillars being angled inward to generate (lighting design); RWDI (wind ACOUSTICAL CEILINGS:
tunnel); NIPPAYSAGE (landscape Pinta Acoustic; Armstrong
further depth and shadowing.
architect) PAINTS & STAINS:
Visitors enter the tower through the ground-floor, river-fronting
GENERAL CONTRACTOR: Sherwin-Williams
lobby to a bank of elevators that whisk them directly to the 13th-floor Pomerleau HELICOIDAL STAIRWELL: Mirage
observatory. The observatory, along with the lobby and an executive (wood); Chemtal (balustrade)
CLIENT: Port of Montreal
room tucked into the 10th floor, can be rented as event spaces, sup- LIGHTING:
SIZE: 410,000 square feet (Grand
ported by a commercial kitchen on the 11th floor. At the observatory Quai); 11,000 square feet (Port of Luxtech; Hi-Tech Lighting
level, a sculptural helicoid staircase, fashioned of wood, nods to the Montreal Tower) WOOD TERRACE AND
spiral staircases that line Montreal’s historic streetscape and, with its COST: $29.5 million FURNITURE: Goodfellow
golden-hued balustrades, to the port’s heyday as a leading exporter of COMPLETION DATE: May 2023

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82 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
LAGUARDIA AIRPORT, TERMINAL B | QUEENS, NEW YORK | HOK

To New
Heights
A complex construction strategy helps reinvent
what was once the worst-ranked airport in the U.S.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY JEFF GOLDBERG

“HOW do you fly out of LaGuardia on time? Fly out of JFK instead.”
Until recently, that old joke always landed. Following a nine-year,
$8 billion campaign, it hardly rings true. The dark, cramped, and
seemingly universally detested Central Terminal that once stood at the
heart of LaGuardia Airport has been replaced with a spacious, brighter
headhouse: Terminal B. The about-face is all the more remarkable
considering the complexities of building in front of, behind, and over
existing roadways as well as an active concourse that continued to serve
roughly 45,000 daily passengers during the transformation.
“It was a bit like driving down the highway at 60 miles per hour,
getting a flat, and having to change the tire without being able to stop
the car,” says Peter Ruggiero, design principal at HOK, architect of the
1.3 million-square-foot, 35-gate project.
Despite its recent reputation, LaGuardia’s Central Terminal had
been heralded as the “air gateway to America” when it opened in April
1964, 25 years after commercial operations began at the airport. Locals
would visit the rooftop observation deck just to watch planes come and
go. Its arrival marked an exciting moment in New York history too—
down the road, the World’s Fair opened at Flushing Meadows, and the
Mets threw their first pitch at Shea Stadium. Harrison & Abramovitz’s
no-nonsense, quarter-mile-long building may have lacked the formal
niceties of Eero Saarinen’s freshly minted TWA Flight Center at John
F. Kennedy International Airport, but it brought LaGuardia into the
jet age, along with space for 8 million passengers annually.
But times change, as Shea Stadium (now demolished) and the former
exposition grounds (which have had their ups and downs) illustrate.
“LaGuardia, like other airports from that era, had difficulty re-
sponding to changing needs,” explains Ruggiero. As aircraft incremen-
tally increased in size, airports seemed to shrink, leaving less space for
pilots to maneuver on the ground and creating pinch points near jet-
ways. This was especially true at the Central Terminal, where a single
setback could cause delays to pile up while engines idled and passenger
patience plummeted. New security measures, introduced following a
slew of hijackings in the late 1960s and ’70s and especially after the
9/11 attacks, meant bulky screening devices crammed into facilities
never designed to accommodate them. “Everyone wants something to

DAYLIGHT fills the headhouse (left). A mosaic by Laura Owens uses 625,000
tiles, while Sarah Sze’s Shorter than the Day hovers over a floor opening.

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 CEU TRANSPORTATION & INFRASTRUCTURE

blame, but they don’t understand the forces—

in the market, in government, and in world
events—that really drove airports of this
vintage to fail,” he says.
LaGuardia didn’t have much room to
spread its wings, either. The same proximity
to Midtown Manhattan that first drew offi-
cials to the location has been, at times, a
crutch—residential neighborhoods surround
much of the airport, which is built on filled
marshland along Flushing Bay. After addi-
tional terminals were erected in 1983 and 1992
(recently reconfigured by Gensler and Corgan
into the new Terminal C, operated by Delta),
little room remained to expand. To ease con-
gestion, the Port Authority of New York and
New Jersey, the interstate agency responsible
for overseeing infrastructure in the New York

PHOTOGRAPHY: COURTESY THE QUEENS BOROUGH PUBLIC LIBRARY, ARCHIVES, CHAMBER OF COMMERCE OF THE BOROUGH OF QUEENS COLLECTION (TOP)
4
1 8
2 7 7
3

SECTION A - A 0 100 FT.

30 M.

8
1 DEPARTURES LEVEL
8
2 ARRIVALS LEVEL

3 BUS DROP-OFF
4 CENTRAL HALL

5 BAGGAGE CLAIM

6 PEDESTRIAN BRIDGE

7 APRON/AIRSIDE

8 CONCOURSE/GATES

9 FOOD COURT
9
10 ATC TOWER

11 GARAGE CONNECTOR

12 PARKING GARAGE

11

12

0 100 FT.
BRIDGE-AMENITIES PLAN 30 M.

84 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
PEDESTRIAN bridges (right) were built over the
old Central Terminal as part of the construction
strategy (above). LaGuardia’s Central Terminal
opened in April 1964 (opposite).

metropolitan region, implemented a six-day-

per-week “perimeter rule,” restricting flights
from destinations farther than 1,500 miles
away (Denver being the only exception).
And with two 7,000-foot-long runways,
LaGuardia was better suited to smaller,
narrow-body aircraft with shorter ranges—
making it a go-to hub for commuters and
regional business travel. (By comparison, the
longest runway at JFK is twice that length,
accommodating much larger planes that can
travel farther distances.) With quicker turn-
around comes more opportunity for sched-
ules to go awry.
During the last year of its full service, the
Central Terminal saw nearly 14 million
passengers—almost double what it had been
designed to support and about half of the
airport’s total passenger volume. “LaGuardia
Airport was the worst in the country, period,”
says Rick Cotton, executive director at the Port
Authority. “It was embarrassing, substandard,
and out of date.” Americans agreed—in Travel private financing,” says Cotton, who took would be built airside, and two bridges would
+ Leisure magazine’s inaugural airport survey, charge of the agency in 2017. This allowed connect the structures—all completed while
readers rated the airport dead last. the public partner to set quality and design closing no more than four active gates. The
In 2015, the Port Authority announced a standards, he explains, while the private old terminal would then be systematically
public-private partnership with LaGuardia partner brought “efficiency, operational skills, disassembled. “At times, it led to some
Gateway Partners (LGP), a consortium com- and attention to customer experience. The strange conditions, where passengers would
prising Vantage Airport Group, Skanska interplay of those two produces a much better land, walk through a brand-new concourse,
USA, Meridiam, and JLC Infrastructure, to product for the public.” cross a temporary bridge, and then emerge
completely overhaul the Central Terminal. HOK and engineering partner WSP into the old terminal,” recalls HOK president
The financing arrangement—valued at $5.1 collaborated closely with the design-build Carl Galioto, “but in the end it worked.”
billion, the largest such partnership in U.S. joint venture of Skanska-Walsh to develop an Construction began in 2016 with a
aviation history—was intended to reduce the ambitious but implementable scheme: a head- 3,100-space parking garage west of the
burden on taxpayers. “For every dollar of Port house would be erected in front of the exist- Central Terminal, which freed the team to
Authority capital, there were three dollars of ing Central Terminal, two island concourses demolish an existing one that, since the

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 CEU TRANSPORTATION & INFRASTRUCTURE

1970s, had become the unsightly public face

of the airport. With it gone, the new head-
house began to rise in its place, about 600 feet
closer to the Grand Central Parkway, helping
HOK echo the civic presence that the Central
Terminal once commanded. “The architec-
ture should start as soon as travelers approach
from the road,” Ruggiero adds. The team’s
work in this regard extended to advising on
the redesign of neighboring terminals, help-
ing to create a coherent, unified airport.
At Terminal B, a sweeping 1,200-foot-
long glass curtain wall ensures that the inte-
rior of the departures and arrivals hall re-
mains bright—in fact, engineers devised a
cable-supported facade system that mini-
mized mullion size—and clerestories along
the opposite wall balance that brightness. In
section, the architects punched through floor
plates, bringing daylight to the arrivals level
and baggage carousels (so often tucked into
the lowest and darkest floors, but here con-
ceived as a mezzanine, with another floor
underneath). Partnering with the Public Art
Fund, LGP filled the arrivals and departures
hall, as well as other spaces, with commis-
sioned artworks too.
After checking in and passing through
security, travelers glimpse the not-so-faraway
concourses and the soaring pedestrian bridges
that will transport them there. Although
similar crossings have appeared in other
airports—notably, at London’s Gatwick
Airport and Denver International Airport—
LaGuardia’s Terminal B is the first in the
world with two, and the first to use them as
an active part of construction phasing. “It’s
also a metaphor,” adds Galioto. “New York is
a city of islands and bridges.”
During the planning stage, designers
needed to sandwich the bridges between two
datum lines. Above, visibility from the air-
traffic control tower to the apron could not be
obstructed (this also led to the concourses’
gently tapered profiles). Below, the bridges
needed to hurdle the existing Central Ter-
minal, which, after demolition, would create
space for additional taxiways beneath them
to improve aircraft circulation. With 57 feet
of clearance, there is enough room for a
Boeing 767—a rare but occasional visitor at
LaGuardia—to pass by.
HOK’s internal engineering team, using
parametric software, studied over 100 truss
configurations in search of the right balance
of transparency, construction feasibility, and
THE SLOPED concourse ceilings maintain sight lines from the ATC tower (top), while indoor cost. Structurally isolated, the bridges flare
gardens, with hexagonal floor patterns echoing the pavers found in New York City parks (above), outward on either end with steelwork that
offer places to rest. Manhattan is visible from the airport (opposite). continues to the ground, where they are

86 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
supported on 150-foot-long piles. And, with each spanning a distance to best-in-class is something that we are very proud of,” Cotton says.
of about two Manhattan blocks, different scenarios—from routine “It’s not just that the airport is new, but that, as passengers experience
commuter foot traffic to simultaneous, multi-aircraft deplaning—were the architecture, interior design, public art, and multiple concessions,
analyzed to minimize vibration. they recognize that they’re in New York, too.” n
After crossing either of the bridges, travelers begin their descent
toward the gates. The Terminal B concourses may lack some of the Credits SIZE: 1.3 million square feet
finer material touches—slatted wood ceilings and marble accent ARCHITECT: HOK — Carl Galioto, COST: $5.1 billion
walls—that are flaunted next door at Terminal C, but in many re- project principal; Peter Ruggiero, COMPLETION DATE: January 2023
lead project designer; Jeannette
spects, the two facilities cannot be compared. One, operated and de- Segal, senior project designer; Paul
veloped by a single airline, reflects that company’s “brand”; on the Auguste, design manager; Matt Sources
other hand, Terminal B, hosting four major airlines, was always in- Breidenthal, engineer of record; EXTERIOR CLADDING: Navillus
James Christerson, senior project (masonry); Sobotec (metal panels)
tended to be more universal. architect; Peter Costanzo, Scott
When the ribbon was cut at Terminal B in 2022, some questioned Yocum, project architects CURTAIN WALL: Permasteelisa
the wisdom of its opening during a pandemic that had upended the ENGINEERS: WSP (m/e/p, civil, MOISTURE BARRIER: Carlisle
airline industry. Others wondered why the new facility had the same geotechnical); Arora and Engineers Coatings & Waterproofing

number of gates as its predecessor, and not more. Air travel has re- (fire); Thornton Tomasetti
(structural)
turned—as of December 2023, the airport is on track to eclipse its
CONSULTANTS: Vantage Airport
previous peak of 31.5 million passengers in 2019—and gate numbers Group (operations); Cerami &
alone do not tell the whole story. With common-use jetways and 57 Associates (acoustics); Cage
percent more space for passengers in Terminal B, plus an additional (baggage); WC3 Design (irrigation);
Supermass Studio (landscape);
two miles of taxiways across the airport, LaGuardia is operating more
Goldstick Lighting Design (lighting)
efficiently. According to the U.S. Department of Transportation, air-
GENERAL CONTRACTOR: Skanska-
port-wide flight delays have decreased from 26.62 percent four years Walsh Design-Build Joint Venture
ago to 20.75 percent, which translates to a lot of time and energy saved. CLIENT:
The accolades have steadily trickled in as well. Terminal B recently LaGuardia Gateway Partners
became the first in North America to receive five stars from airline- OWNER: Port Authority of New York
and New Jersey
and airport-rating service Skytrax. “The evolution from worst-in-class
DOORS: Nabco; Kawneer (sliding
doors); Rytek (rolling doors)
LIGHTING: 3G Lighting; Pinnacle
Architectural Lighting; Architectural
Lighting Works; Birchwood Lighting;
Cooper Industries; V2; Hubbell
Columbia Lighting; Electric Mirror
CONVEYANCE: Kone
INTERIOR FINISHES: Norton
(hardware); Armstrong (acoustical
panel ceilings); Modernfold
(operable panel partitions); Tarkett
(carpet); Dupont (solid surfacing);
Scuffmaster (paint)

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 CEU TRANSPORTATION & INFRASTRUCTURE

KEMPEGOWDA AIRPORT, TERMINAL 2 I BENGALURU, INDIA I SKIDMORE, OWINGS & MERRILL

Garden Variety
An airport terminal brings nature inside and provides spaces to enjoy the outdoors too.
BY CLIFFORD A. PEARSON
PHOTOGRAPHY BY EKANSH GOEL

WELL BEFORE Bangalore became known as a center of high-tech
and information industries, it earned the moniker “the Garden City of
India” in response to its plentiful public parks and a temperate climate
that nurtures a broad range of flora. The New York office of Skidmore,
Owings & Merrill (SOM) leaned into this horticultural legacy in its
design of Terminal 2 at Kempegowda International Airport, the rapidly
growing transit hub about 20 miles north of the city now known as
Bengaluru. “The streets in Bangalore are often lined with trees, and the
city has a rich history of landscape design,” says Laura Ettelman, the
managing partner for the project. “The idea was to create a terminal in a
garden,” says Roger Duffy, a former design partner at SOM.
From the moment travelers arrive at the new terminal to the time
they spend waiting to board their planes, they find themselves sur-
rounded by trees, plants, and flowers—many hanging from the termi-
nal’s bamboo-lattice ceiling, others growing on green walls, and some
in a “forest belt” between the building and the 11 new aircraft gates.
Landscaped outdoor spaces play a vital role in the project’s design,
establishing a remarkable degree of indoor-outdoor fluidity for a mod-

88 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
ern airport with all the standard security protocols. The greenery was
a response to Indian cultural practices, sustainability concerns, and a
local climate that’s comfortable for most of the year, thanks to Ben-
galuru’s altitude of about 3,000 feet above sea level.
The 2.75 million-square-foot terminal will handle 25 million pas-
sengers each year and help prepare the airport for additional growth,
including a 1.3 million-square-foot multimodal ground-transportation
hub on the west, now under construction, and an extension to the south
of the new terminal still on the drawing board. Much of the SOM team
BAMBOO CLADDING and hanging plants add warmth to spaces
throughout the terminal, including the drop-off area (above and opposite).
had previously worked on a new terminal at Chhatrapati Shivaji
International Airport in Mumbai that opened in 2014. While the
project in Mumbai offered a sculptural response to a complex pro-
gram—employing an enormous undulating roof—the terminal in
Bengaluru takes a more orthogonal approach to the roof structure.
Designed for modular construction and structural efficiency, it is one of
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 CEU TRANSPORTATION & INFRASTRUCTURE

5 7
2

4
A A
6

\屜屜屜屴1\屜屜屜屴 ARRIVALS PLAZA

7 \屜屜屜屴2\屜屜屜屴 INTERNATIONAL
BAGGAGE CLAIM
\屜屜屜屴3\屜屜屜屴 DOMESTIC BAGGAGE
CLAIM

\屜屜屜屴4\屜屜屜屴 DUTY FREE

0 150 FT.
ARRIVALS-LEVEL PLAN \屜屜屜屴5\屜屜屜屴 IMMIGRATION
50 M.
\屜屜屜屴6\屜屜屜屴 BAGGAGE SYSTEM

\屜屜屜屴7\屜屜屜屴 BUS GATES

\屜屜屜屴8\屜屜屜屴 DROP-OFF

\屜屜屜屴9\屜屜屜屴 CHECK-IN

\屜屜屜屴10\屜屜屜屴EMIGRATION

\屜屜屜屴11\屜屜屜屴SECURITY

13 \屜屜屜屴12\屜屜屜屴RETAIL

\屜屜屜屴13\屜屜屜屴GATE LOUNGES

14 14 \屜屜屜屴14\屜屜屜屴“FOREST BELT”
14

10

8 12
9 11

12

13

0 150 FT.
DEPARTURES-LEVEL PLAN
50 M.

90 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
the lightest large-scale terminal roofs in the world, according to the
architects. The portions above the check-in and retail halls use long-
span steel moment frames supported by steel columns set on a 59-foot
(18-meter) grid. Each column brings together a cluster of four steel posts
clad in bamboo, a material that grows rapidly and appears throughout
the project. In the gate areas, the design team used long-span steel
trusses that push columns to the periphery and keep walkways and sight
lines open. For the lower floors, the architects created a uniform grid of
reinforced-concrete moment frames that provides large column-free
spaces for the baggage-claim and arrival areas.
The experience working on the Mumbai airport helped SOM under-
stand how Indian culture affects transportation buildings. For example,
it’s common in India for families to accompany travelers to airports,
even though people without tickets are not allowed in terminals. So
SOM designed a large covered plaza between the multimodal transit
8 9 11
1
2
SECTION A - A
DAYLIGHT streams in above the check-in area. To help passengers
navigate the terminal, suspended “bells” and planters cluster most tightly
in high-traffic areas.
hub and the terminal at Bengaluru for families to gather, shop, eat, and
wish each other “bon voyage.” “We wanted it to be generous and wel-
coming,” says Peter Lefkovits, a design principal on the project.
Inside the terminal, the expansive grid structure and bamboo-lattice
ceiling provide adaptability so interiors can change as new technologies
for check-in and security are deployed. Already, some check-in coun-
ters use facial-recognition systems. Instead of installing planters on the
floor, SOM and landscape architects at Grant Associates suspended
an indoor jungle of plants and flowers from the ceiling, creating a more
flexible interior. Skylights above and large perimeter curtain walls
bring plenty of daylight inside. Fashion designers Abu Jani and San-
12
0 50 FT.
15 M.
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 CEU TRANSPORTATION & INFRASTRUCTURE

LANDSCAPED spaces such as the arrivals plaza (above) and the “forest
belt” (left) adjacent to the departure gates embrace the outdoors as
integral parts of the terminal, while green walls and suspended plants
bring nature indoors (opposite).

deep Khosla assisted with furnishings that use local materials such as
rattan and helped with the design of planters inspired by local bronze
bells and hanging baskets reminiscent of Ruth Asawa sculptures. To
underscore the seamless flow of outdoors and indoors, the suspended
planters extend from the deep roof eaves over the drop-off area in front
of the terminal all the way through the building. They also provide
directional cues to travelers, forming tighter clusters in high-traffic
areas and spreading out in less busy parts of the terminal.
Sustainability was a driving force behind the design, informing the
roof eaves shading much of the building’s glazed perimeter and a day-
lighting system that includes extensive skylights above the main public
spaces. The architects say the terminal will rely entirely on renewable
energy (mostly solar, supplied by on-site and off-site arrays). The proj-
ect captures, treats, and reuses rainwater from the building’s roofs and
the site to irrigate plantings both indoors and out. To complement the
glass, steel, and concrete of the building’s structure, SOM specified
brick for interior walls, local granite for flooring, and engineered bam-
boo (treated for fire protection and insect resistance) for many interior
surfaces and roof soffits. These materials give the large public spaces a
warm, tactile quality and connect them to the local building tradition.
In the retail area, water trickles down freestanding red-stone walls to
add another touch of nature. The project is the largest terminal in the

92 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
world to be precertified as a LEED Platinum building by the USGBC, Credits GENERAL CONTRACTOR:
before it opened. It also earned Platinum certification for sustainable Larsen & Toubro
ARCHITECT: Skidmore, Owings &
architecture and design from the Indian Green Building Council. Merrill — Roger Duffy, Colin Koop, CLIENT: Bangalore International
Indian airports operate 24 hours a day, so SOM designed Terminal design partners; Laura Ettelman, Airport Limited (BIAL)
managing partner; Peter Lefkovits, SIZE: 4.1 million square feet
2 to adapt to daily changes in the flow of domestic and international
Derek A.R. Moore, design principals; (including multimodal hub)
flights. All of the terminal’s gates offer “swing” capability, which Jason Anderson, Jordan Pierce,
allows them to handle either one large-body aircraft (most often used COST: $600 million
Seok Yoon, William Emenecker, Nick
for international flights) or two small planes (for domestic travel). Winter, Christoph Timm, Elizabeth COMPLETION DATE:
Sennott, Tamicka Marcy, Xialu Xu, September 2023
Perhaps the most striking aspect of the project is the so-called forest Blake Altshuler, Preetam Biswas,
belt, a 250,000-square-foot landscape separating the “landside” build- Charles Besjak, Georgi Petrov,
ing—the portion before security checkpoints—from the departure Alexander Jordan, Stanley King, Ece Sources
gates. Enclosed bridges cross the outdoor area, connecting the landside Calguner Erzan, Lauren Kosson, CURTAIN WALL:
project team Geotrix Building Envelope
structure to the gates, while two-story garden pavilions offer places for
ENGINEERS: Arup (m/e/p/f for ROOFING: Kalzip
travelers to relax before their flights take off. SOM worked with Grant Terminal 2); Buro Happold (m/e/p/f INTERIOR BRICK: L&T (locally
Associates on the outdoor feature, using native flora for the landscape for multimodal transit hub) made)
and bamboo pavilions inspired by traditional cane weavings. CONSULTANTS: Grant Associates RATTAN MILLWORK:
Airport terminals are essentially machines for processing travelers (landscape); Abu Jani and Sreeji & Rachana Art
and often glorify notions of speed and efficiency. “Don’t worry, we’ll Sandeep Khosla (interior design);
STUP Consultants (landside LIGHT FIXTURES IN GATE
get you there as fast as possible,” they try to say. The new building at LOUNGES: Rachana Art + Regent
infrastructure); BNP Associates
Kempegowda Airport has a different message for passengers: “Relax, (baggage); Ch2m Hill (airside (custom)
go outside, enjoy a bit of nature.” n facilities) ELEVATORS/ESCALATORS: Otis

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 CEU TRANSPORTATION & INFRASTRUCTURE
KENDALL/MIT GATEWAY | CAMBRIDGE, MASSACHUSETTS | NADAAA WITH PERKINS&WILL
Designed to a ‘T’
A geometric ensemble doubles as a mass-transit headhouse and marks a new gateway to MIT’s campus.
BY LEOPOLDO VILLARDI
PHOTOGRAPHY BY JOHN HORNER
THE RED LINE is the Massachusetts Bay Transit Authority’s work-
horse “T” line—as the Boston-area subways are colloquially known—
moving more commuters than any other in the system. Heading south
from Alewife Station, in north Cambridge, the Red Line passes by
Harvard University and the Massachusetts Institute of Technology
(MIT) before crossing the Charles River to service downtown Boston
and the South Shore. Earlier this year, NADAAA and the Boston
office of Perkins&Will inaugurated a new headhouse along the line at
the Kendall/MIT stop. Despite a rebrand in 1978 to include the insti-
tute’s acronym, most signs inside the station still only read “Kendall.”
That identity crisis was at the root of the problem.
Unlike the Red Line’s Harvard stop, which opens onto a public
square at the edge of that university’s Yard, MIT’s most recognizable
symbol—architect William Welles Bosworth’s domed Building 10—is
a half-mile away from its respective station. “You’d come up into a
CMU bunker and ask: Where’s MIT?” says Harry Lowd, associate at
94 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
NADAAA. In recent years, that venerable institution has expanded
eastward, toward the T stop, replacing parking lots with a burgeoning
tech and life-sciences hub. The central question became, as Lowd
explains: “How do we design a headhouse and gateway to MIT, but still
encourage passage through it and connect the Kendall Square neigh-
borhood with the rest of Cambridge?”
The team at NADAAA is no stranger to this slice of campus—the
“gateway” sits next to Site 4 (record, November 2021), which the firm,
again working with Perkins&Will, completed under a separate contract
three years ago. That faceted, glinting tower—Cambridge’s tallest—
houses graduate students and incorporates two century-old warehouses,
adaptively reused as group study and social spaces, an innovation and
entrepreneurship incubator, and a ground-floor admissions office,
which importantly sits exactly where travelers exit the station.
Opposite NADAAA’s building, on the other side of the gateway,
Weiss/Manfredi’s 17-story Site 5 accommodates the new MIT Press
PEDESTRIANS filter through the
gateway (this image), passing
beneath a semireflective underside
(opposite).

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 CEU TRANSPORTATION & INFRASTRUCTURE
D E F G

CANOPY EDGE DETAIL

A COLUMN E DRAINAGE

B STEEL PANEL F LIGHT AND DATA CABLES

AXONOMETRIC C COMPOSITE “HULL” G SNOW CLEAT

D HEAT-TRACING ELEMENT

1
3
2

SECTION A - A 0 30 FT.
10 M.
A

1 KENDALL/MIT STATION

2 BELOW-GRADE PARKING

3 RED LINE TRACKS

5 4 SITE 4
4
5 SITE 5

6 MIT ADMISSIONS

7 MIT MUSEUM
7
8 MIT OPEN SPACE

SITE PLAN 0 30 FT.

10 M.

96 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
 THE CANOPY’S two halves were shipped on a
barge (right) and connected in situ (above).

bookstore and the MIT Museum by Höweler

+ Yoon (record, December 2022). To the
north is Main Street (under which the Red
Line runs) and a Marriott hotel beyond, and
to the south is MIT Open Space, an often-
bustling, art-filled 4¾-acre urban park by
Hargreaves Jones that conspicuously hides an
astonishing seven levels of subterranean
parking. The location of the new headhouse,
along the town-and-gown boundary, is a
highly charged one.
PHOTOGRAPHY: © HARRY LOWD (BOTTOM)

The Kendall/MIT Gateway is not a portal

in the traditional sense. “Normally, it’s a
threshold, a door, a facade, a perpendicular
plane to one’s path of travel,” says NADAAA
principal Nader Tehrani. But that’s not pos-
sible here, he explains, because the distance
between Site 4 and Site 5 is 76 feet. Instead,
the team developed a geometric ensemble
through which people can filter.

97
 CEU TRANSPORTATION & INFRASTRUCTURE

The approach architectonically acknowl-

edges the needs and motivations of two very
different clients. Falling under the jurisdic-
tion of the MBTA are three precisely canted
volumes—one enclosing a staircase, another
accommodating an escalator, and the last
housing an elevator—that peek up above the
ground plane and lead to the station below.
But beyond these access points, the street
level is ostensibly MIT’s campus. A sleek,
streamlined canopy, supported by a field of
26-foot-tall columns, hovers over the three
prismatic kiosks to unify the composition. It
is a fitting urban baldacchino for straphangers
and students alike.
Fabricating this winglike form, which is a
rounded parallelogram in plan, would have
proved daunting had the team relied on
traditional construction methods, with hun-
dreds, if not thousands, of pieces and all the
attendant precision. “Looking at composite
structures used in the maritime and aviation
industries reduced complexity tenfold,”
Tehrani says of the decision to partner with
Maine-based shipwright Lyman-Morse.
At almost 159-feet long, the assemblage is
the longest the boat builder has ever pro-
duced. The process largely resembled that of
crafting a ship’s hull, albeit one turned upside
down—fiberglass cloth, laid inside a CNC-
milled mold, is reinforced with carbon fiber
(where loads required it) and resin to create a
monocoque, a shell with inherent structural
properties. Bulkheads, or internal ribs, were
installed to provide additional lateral support
and to accommodate the canopy’s “guts”
(connections to columns, lighting and data
cables, and drainage). For logistical reasons,
the shell was made in two pieces and shipped
to Cambridge on an ocean-faring barge that
traveled along the Atlantic Coast and through
the locks of the Charles River. With the
columns already erected, the two halves were
hoisted, jostled into place, and connected in
situ in a single day.
Semireflective steel panels and program-
mable light strips enclose the underbelly. The
resulting effect is subtler and more atmospher-
ic than the spectacle of Norman Foster’s
Ombrière in Marseille, France (record,
August 2013), which Tehrani and his team
examined. But, given the many tall buildings
around the Kendall/MIT Gateway and the
high vantage points they provide, special
attention was paid to the canopy’s top—a
surface that, as a boat hull, would never be
seen, but here is on full display. A keel-like
spine accentuates its camber, while snow cleats
dot the edges of the shell like industrial rivets.

98 ARCHITECTURAL RECORD J A N UA R Y 2 0 24
THREE ACCESS POINTS are clad in fritted glass (opposite). A field of Credits
columns echoes the trees on MIT Open Space (above).
ARCHITECT: NADAAA — Nader
Tehrani, Katherine Faulkner, principals;
From a structural standpoint, the inverted hull essentially operates Harry Lowd, Tom Beresford, project
managers; Arthur Chang, Alex Diaz,
like an airfoil. “It takes very little to support the weight. The problem Tim Wong, Nick Safley, Elias Bennett,
is that it’ll fly away because of the wind. The columns work in com- Ali Sherif, Katie Solien, Ergys Hoxha,
pression, but they also work in tension to hold that baby down,” Luisel Zayas, design team
Tehrani adds. Although NADAAA explored a variety of column ARCHITECT OF RECORD:
Perkins&Will — Robert Brown,
configurations, the final scheme is airy, with a handful of hearty col-
principal; Sandy Smith, project
umns (that conceal drainage and heat-tracing systems) near the cano- manager; Ramsey Bakhoum, project
py’s center, slender ones at the ends, and suspended stalactites with architect; Marko Goodwin, Jeff Lewis,
integrated LEDs that strategically illuminate the ground. Matthew Pierce, Stephen Messinger,
Josh Rathbun, James Lee
Across Main Street, a different team of designers, with a different
ENGINEERS: SGH, McNamara
vision, is realizing another headhouse. The MBTA might have missed
Salvia (structural); AHA Consulting
an opportunity by not considering both sides of the stop as a single Engineers (m/e/p/fp); Nitsch
design problem—but, in the meantime, comers and goers can handily Engineering (civil); McPhail
amble underneath the Kendall/MIT Gateway’s lustrous soffit and take Associates (geotechnical)
in its tapered silhouette as they exit the station. It was never meant to be CONSULTANTS: Lyman-Morse
(canopy and design assist);
a gem, says Tehrani, but, coming near the conclusion of a campus ex-
Hargreaves Jones (landscape);
pansion, “it is like the period at the end of a sentence”—one that has as SoSo Limited, Lam Partners
much to say about urban planning as it does about local placemaking. n (lighting); Jensen Hughes (code)
GENERAL CONTRACTOR:
Turner Construction Company
CLIENT: MITIMCo
OWNER: MBTA
SIZE: 2,700 square feet (above
grade); 3,900 (below grade)
COST: withheld
COMPLETION DATE: July 2023
Sources
STEEL STRUCTURE: Capco Steel
CURTAIN WALL: Linel
CLADDING: QC Facades (canopy
underside)
CONVEYANCE: Otis (escalator),
Delta Beckwith (elevator)
PAVING: Hanover
LIGHTING: Standard Vision (canopy
downlights)
STONE: Neolith (sintered stone);
Commercial Masonry (granite)
99
 CEU TRANSPORTATION & INFRASTRUCTURE

CAMPANHÃ INTERMODAL TERMINAL I PORTO, PORTUGAL I BRANDÃO COSTA ARQUITECTOS

High Line
A bus station topped by an elevated walkway on the city’s edge cuts across the landscape.
BY IZZY KORNBLATT

100 ARCHITECTURAL RECORD J A N UA R Y 2 0 24

 BEHIND the Campanhã railway station on the eastern
edge of Porto, an elevated concrete walkway cuts north
across the landscape, turning sharply where it meets a
roundabout and then continuing on a viaduct over a hill-
side. From this vantage point, one looks out over a tangle
of tracks and platforms on one side and an old, low-rise
residential neighborhood, bitten into by an eight-lane
highway, on the other. The rush of traffic, the clash in
scales, the division of the city wrought by infrastructure:
Campanhã represents a familiar landscape defined by
conflicting ways of occupying and moving through space.
THE TERMINAL Below the walkway, in a cavern built into the 35-foot-
creates a large new high hillside and topped with a green roof, is the new
park (above) on a site Campanhã Intermodal Terminal, a 200,000-square-foot
squeezed between a bus station that is now one of the main gateways to
highway and railway Portugal’s second-largest city. Designed by architect and
tracks (right).
University of Porto professor Nuno Brandão Costa, who
won a public competition for the project in 2016, the
PHOTOGRAPHY: © RITA GUEDES (OPPOSITE);
terminal stitches together the heterogeneous conditions
on each side of the tracks, reconfiguring roadways to
FRANCISCO ASCENÇÃO (RIGHT)
create new public green spaces and opening up access to
two existing tunnels below the tracks for the first time.
The interstitial slice of land where it sits was what “the
urbanists of the ’80s and ’90s used to call the ‘non-place,’ ”
says Brandão Costa, and in designing the terminal, which
is organized on three levels around the gesture of the
linear path—elevated walkway at the top, arcade below,
and bus-access area underground—Brandão Costa under-
took an “urban intervention,” as he puts it, giving new
purpose to this disused piece of land.
The story of redemption that this calls to mind is
nothing new: the forlorn or vacant site given value
through the building of a good and stirring work of archi-
tecture. But such narratives carry with them a risk: that
the uncomfortable realities of modernity are made palat-
able in the realm of aesthetics, where they are answered
with “design solutions.” What Brandão Costa has done is
to realize a design solution—a clever organization of
spaces that benefits both its occupants and the adjacent
neighborhood—but without a pat sense of redemption.
Like the works of Álvaro Siza, another central figure at
the University of Porto, Brandão Costa’s building ear-
nestly seeks to reconfigure the built world for the better
while at the same time laying bare the realities of the
society that produced it. Rather than tempering the
harshness of the site, it makes the site—and the collision
of infrastructure and neighborhood that defines it—its
subject, so that as you arrive, buy tickets, descend into the
cavern, and board your bus, you remain ever aware of the
fragmented landscape, of the railway embankment as a
brutal unyielding datum, of the industrial reality of mod-
ern infrastructure, and of the contemporary reality that
public buildings must be built as cheaply and simply as
possible.
101
 CEU TRANSPORTATION & INFRASTRUCTURE

1
3

LOWER-LEVEL PLAN

1 VEHICLE ACCESS

2 ROUNDABOUT
A
3 BUS BAYS

4 PARKING

5 TUNNEL TO STATION

6 ARCADE
6 6
7 TICKET OFFICE

8 CONVENIENCE STORE
13 13
9 CAFÉ

10 WAITING ROOM

11 OPERATIONS ROOM

12 DRIVER FACILITIES

13 LANDSCAPE
13
A 14 ELEVATED WALKWAY

GROUND-FLOOR PLAN

0 50 FT.
UPPER-LEVEL PLAN 15 M.

102 ARCHITECTURAL RECORD J A N UA R Y 2 0 24

 A WALKWAY on the terminal’s upper level
continues north on an elevated viaduct
adjacent to the railway embankment.
PHOTOGRAPHY: © FRANCISCO ASCENSÃO (TOP); ARMÉNIO TEIXEIRA (BOTTOM)

MODEL

14

6 10

3
1 4

0 15 FT.
SECTION A - A
5 M.

103
 CEU TRANSPORTATION & INFRASTRUCTURE

In total, the terminal stretches roughly

2,000 feet, beginning, on its southern end, at
an existing passage to the railway station, and
continuing alongside the tracks as a single-
level covered walkway that then splits to two
levels. After another hundred feet, where the
site is finally wide enough to fit the bus infra-
structure below, the lower arcade widens,
station amenities (café, waiting room, rest-
rooms, ticket office, and more) appear on its
western side between the arcade and the
tracks, and staircases, escalators, and elevators
come into view. The arcade ends above an
access road; this is where the upper walkway
jogs back and continues north along a viaduct
leading to a narrow green space between
the embankment and the highway. There
Brandão Costa has renovated and restored a
19th-century farm building, turning it into a
public community space for the municipality.
The below-grade level is dominated by a
grand triangular space, lit through clerestory
windows set between deep concrete beams
that span eight bus-boarding bays and 30
storage bays; a second tunnel to the rail
station is accessed from here. But, apart from
the linear walkways and vehicle entrances,
the only aboveground indication of this
complex program is a circular portal in the
landscape that floods a below-grade vehicu-
lar roundabout with light—and helps provide
enough air to render mechanical ventilation
unnecessary throughout the complex. The
practical benefits of excavating into the
hillside are self-evident: idling buses, park-
ing, and even a drop-off area for passengers
are removed from the surface, enabling the
creation of some 300,000 square feet of park
space, designed in collaboration with land-
scape architect Rita Guedes.
Like Siza’s, Brandão Costa’s material
palette is spare to the point of asceticism.
Most of the structure is framed in cast-in-
place concrete infilled with concrete block
and glazing. Corrugated-metal roofing cov-
ers two small service structures at the north-
ern roadway portal as well as the restored
community building. Ducts and conduits are
exposed throughout. The only material
luxury is the dark granite pavers used for the
PHOTOGRAPHY: © FRANCISCO ASCENSÃO

underground roadway surface, which lends

the space the feel of a “covered street,” as
Brandão Costa puts it, and a dignity not
often accorded the most inexpensive form of
intercity transportation.
There is one other element of architectural
superfluity: the upper walkway itself, which in
the provision of pedestrian access is largely
redundant. “It has no utility,” Brandão Costa

104 ARCHITECTURAL RECORD J A N UA R Y 2 0 24

MONUMENTAL concrete beams span the bus
bays on the lower level (above and opposite,
top); natural light and ventilation are provided
by a circular oculus (right). Station amenities
are located along an arcade one level above
(opposite, bottom).

confirms, and was not included in his original

competition scheme. It is simply a “space you
visit to understand where you are”—it provides
the only vantage point from which one can
take in the vista of Campanhã in all its com-
plexity and is that rarest of things, a space
entirely free of program, for visitors to make
their own. Within the context of what might
be termed an “architecture povera,” an archi-
tecture that like the arte povera of postwar Italy
insists on placing the cultural impoverishment
of modernity on display, the generosity of this
gesture is striking, and telling.
The severe early works of Siza that the
terminal brings to mind have similar if small-
er moments of indulgence, like the famous
staircase leading nowhere at the Bouça hous-
ing complex just a few miles away. And
though the reality that Siza addressed in the
1970s—the literal poverty of post-dictator-
ship Portugal—is hardly the same as that

105
 CEU TRANSPORTATION & INFRASTRUCTURE

THE UPPER-LEVEL walkway offers a

vantage point and a place to pass time
(above). Concrete is the primary material
throughout (below).

faced by Brandão Costa today, it’s notable that both architects find
space for excess within austerity. In neither case is the excess trivial: it
is essential to the way in which both architects make use of aesthetics.
For, rather than proposing the usual redemption of experience through
beauty, these buildings instead offer new ways to occupy, and thus new
ways to think about, the quotidian, debased environments of modern
life. This is true throughout the Campanhã terminal, but nowhere is it
more true than the walkway, where one becomes aware of one’s own
place within this chaotic landscape. And in this substitution of reckon-
ing for redemption, the terminal illustrates a compelling method by

PHOTOGRAPHY: © RITA GUEDES (TOP); FRANCISCO ASCENSÃO (BOTTOM)

which ethics is restored to architectural form-making. n

Credits SIZE: 535,000 square feet

(gross, including landscape)
ARCHITECT: Brandão Costa
Arquitectos — Nuno Brandão Costa, COST: $14 million (construction)
architect; Francisco Ascensão, COMPLETION DATE: July 2022
project coordinator; Anna Kazimirko,
Beatriz Ferreira, Damião Franco,
José Pina, Luís Filipe Carreno, Rita Sources
Leite, Simon Ruey, team GREEN ROOF: LandLab
ENGINEERS: AdF Consultores WINDOWS: Eme Singular (metal
(structural); RS Associados frame); Tria (fire-control windows)
(mechanical); GET (electrical)
FURNISHINGS:
CONSULTANTS: Rita Guedes Gorka (chairs, tables)
(landscape); Cacao (road design);
United By (signage)
GENERAL CONTRACTOR: ABB
CLIENT: Municipality of Porto

106 ARCHITECTURAL RECORD J A N UA R Y 2 0 24

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DATES & Events
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Basel
May 4–August 25, 2024
An exhibition at the Swiss Architecture
Museum uncovers the modernist heritage of
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kent’s unique architectural heritage can be
traced back to 1966, when a devastating
earthquake allowed ambitious urban­redevel­
opment plans to be expedited and the city
remade in the image of a Soviet utopia.
Contributions from architects throughout the
Soviet Union included the Lenin Museum
(1970), the State Museum of Arts (1974), and
the Heliocomplex Sun (1987). Presented with
the Uzbekistan Art and Culture Development
Foundation, this exhibition introduces such
architectural masterpieces while presenting
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Through January 21, 2024
The Alvar Aalto Museum, in collaboration
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and Finnish sauna culture to modern archi­
tecture, as linked to works by Alvar Aalto.
Consisting of five displays designed and
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flects on posterity and impermanence in
cultural memory. See aalto2.museum/en.
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Through January 31, 2024
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18300 Central Ave, Carson, CA 90746-4008
ized projects by the Stuttgart, Germany–
based firm, the exhibition explores how these
“atmospheric water worlds” are sensitively
designed with place, budget, accessibility,
materiality, and sustainability in mind.
Displayed projects include the Freizeitbad
Stegermatt in Offenburg, which was co­
developed with the local population; the
Emser Therme, a wellness complex and with
hotel in Bad Ems; the energy­autonomous
Hallenbad Oppenheim; and the renovated
Mineralbad Berg in Stuttgart. For more, see
aedes­arc.de.
Print Ready Drawings
Los Angeles
Through February 4, 2024
An exhibition at the MAK Center for Art
and Architecture, which is headquartered in
R.M. Schindler’s landmark 1922 home in
West Hollywood, explores an era of architec­
tural print culture between 1950 and 1989,
when architects began to engage with tech­
nologies of printing and printmaking.
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DATES & Events
Displayed composite and mechanical prints—
which were reproduced via photographic
papers, Letraset transfer sheets, and Rapid­
ograph pen, among other methods—are
grouped into 12 “case studies” to investigate a
history of architectural authorship through
CRAWL SPACE WALL the supplies and techniques of drawing pro­
duction rather than individual practitioners.
For more, see makcenter.org.
Events
We Design Beirut
Beirut
March 4–7, 2024
Founded by Mariana Wehbe with designer
Samer Alameen and visual studio Banana­
monkey, the inaugural edition of Lebanon’s
design festival will feature established and
up­and­coming designers, craftsmen, experts
and educators from around the world. Held at
various locations throughout the city, the
four­day festival will host workshops, show­
rooms, installations, and talks that aim to
showcase themes of empowerment, preserva­
tion, and sustainability. For more informa­
tion, see wedesignbeirut.com
Real Places 2024
Austin, Texas
April 3–5, 2024
The Texas Historical Commission’s annual
conference returns for its 8th edition. Bring­
ing together architects, historians, and preser­
vation officers, among other professionals,
the three­day event will feature educational
seminars, talks, and networking opportunities
to enhance preservation efforts in Texas. See
thcfriends.org.
Competitions
2024 Lumen Awards
Deadline: January 12, 2024
Since 1968, the New York City chapter of the
NOW YOU DON’T Illuminating Engineering Society has recog­
nized originality and ingenuity of lighting
design in their annual awards program.
Submitted projects must have been completed
after January 2022 and must have been de­
• ArchitecturAl SPecificAtionS signed by a New York City–based designer or
• Pit & PAd drAWinGS be located in New York City. See iesnyc.org.
E-mail information two months in advance to
schulmanp@bnpmedia.com.
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 SNAPSHOT

THOUGH IT MAY seem paradoxical,

the Channel Tunnel linking England and
mainland Europe, which turns 30 this year,
has fueled an increase in maritime traffic in
the Strait of Dover, making Calais France’s
No. 1 ferry port. To handle demand, as well
as today’s larger ships, a new harbor
opened in Calais in 2021. Rising 125 feet
between the old and new ports, this
traffic-control tower, by Lille-based
architects Atelier 9.81, came into service in
early 2023. Fragmenting their concrete
structure, which is two-thirds prefabricated,
into a Jenga-like pile of cantilevered boxes,
the architects textured its surface with
evocations of dials, nautical charts, and
sedimentary rocks. Andrew Ayers

PHOTOGRAPHY: © NICOLAS DA SILVA LUCAS

120 ARCHITECTURAL RECORD J A N UA R Y 2 0 24

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