SFA News - ULI Philadelphia Rouse Award for Excellence

Spillman Farmer Architects is pleased to announce that the Urban Land Institute Philadelphia has awarded a Willard G. "Bill" Rouse Award for Excellence to the SteelStacks Arts and Cultural Campus. Our work at the ArtsQuest Center, which recently won an AIA Pennsylvania Silver Medal, is a key component of this large-scale, multidisciplinary revitalization project. We're proud to be a part of this revitalization effort in our own backyard!

The Urban Land Institute Philadelphia is a branch of the national Urban Land Institute (ULI), a nonprofit research and education organization dedicated to responsible land use and community support. ULI Philadelphia serves the greater Philadelphia area's public and private sectors through education, advocacy, and expertise. The Institute held their first annual awards reception on June 18th, where nine of our region's most exemplary projects were awarded the inaugural Rouse Awards. Head over to ULI's blog to see the full list of winners, including eight other winners across our region.

Of the nine winners, the SteelStacks Campus is the only finalist for the Urban Land Institute's Global Awards for Excellence, an awards program that's been recognizing excellence in land use practices for nearly 40 years. The Global Excellence Award winners will be announced at ULI's fall meeting in October 2014. The finalists for this prestigious award include 10 other North American projects, as well as 12 projects from around the globe. Check out the winners at ULI.org.

Our project at SteelStacks, the ArtsQuest Center, also received an inaugural A+ award from architizer.com and was featured as a top 5 Cultural Building of the Year on archdaily.com. The ArtsQuest Center was also featured in CASABELLA magazine and ARCHITECT magazine.

More information:
Urban Land Institute
Urban Land Institute Philadelphia

SteelStacks Campus Buildings:
ArtsQuest Center, Spillman Farmer Architects
Levitt Pavilion, Wallace Roberts and Todd
PBS 39, URS
Bethlehem Visitor's Center, Legacy Architecture & USA Architects

The SteelStacks Team:
Spillman Farmer Architects
Wallace Roberts and Todd
URS
Legacy Architecture
USA Architects
Artefact
L'Observetoir
Boyle Construction
Alvin H. Butz, Inc.
Bethlehem Redevelopment Authority

Material Process Product - A Building That Transcends Time

Last month, it was our honor to be interviewed for the Seaton Hall project at Kansas State’s College of Architecture, Planning, and Design. Seaton Hall, home to K-State’s design school, is a hallmark of the University and one of the oldest buildings on campus.  At the interview, we focused on the way that architectural education and techniques have changed throughout history; our thesis suggested, however, that high-quality spaces are timeless and always relevant. In the vein of Gottfried Semper, we referenced both tectonic and stereotomic examples of natural “architecture” in the Kansas landscape, making an architectural argument for a building that joins a heavy, carved stereotomic mass with a lighter, additive tectonic frame. The tension between these two opposing yet complementary systems became the parameter through which we conceived the project.

As with all our buildings, we began to approach Seaton Hall by immersing ourselves in the broader history of K-State and the character of the Kansas landscape. At Seaton Hall specifically, issues of historicism and contextual reference began to raise questions about the stylistic character of new built interventions. Rather than tying our thinking to one particular architectural time period, we moved toward developing an architectural language that transcends time. This language, marked by timelessness and material history, weathers and changes along with time, improving its appearance and developing an attractive patina that speaks to its age. Deployed into an architectural model that unites Semper’s ideals of stereotomic mass and tectonic construction, a timeless architectural language could bring a deep meaning and an appropriate identity to Seaton Hall.

Kansas has perhaps the greatest example of natural stereotomic mass, formed over time and by forces of nature, and characterizing a specific landscape and sense of place. The Chalk Pyramids of Monument Rocks are a natural chalk formation in Western Kansas, reaching nearly 70 feet into the air and defining an iconic profile in the otherwise flat Kansas landscape. Their character, influenced by their immense scale, creates an experience for visitors: an experience shaped by sunlight raking across their complex texture, rain streaking their ragged faces, and deeply impactful space formed from nothing more than chalk, water, wind, and time.

Applied architecturally, tectonic elements complement this stereotomic mass. When searching for a precedent in the history and culture of Kansas, we turned to the center-pivot agrarian machines that dot the Kansas landscape. Though manmade, these machines are exercises in utility and practicality; they contain no superfluous parts, and their relationship to the land is straightforward and uncomplicated. They mark the land carefully and deliberately, leaving a geometric footprint that has become part of the identity of the Midwest.

We believe that, like fine art, good architecture has the ability to transform a person’s thinking. Both art and architecture are concerned with the essential elements of form and space, and the principles that influence them: mass, void, balance, scale, texture, rhythm, movement, and proportion. These fundamentals of great architecture are grounded in a deep understanding of the history of a place. When combined, these principles create unique experiences for visitors: thoughtful programming, manipulation of light, impactful materials, and high-quality spaces. At the K-State interview and with all our projects, we explored the architectural idea that these experiences, brought together in a quiet, confident idea, have the power to enhance the human experience.

Material, Process, Product - On Mushrooms, Part 1: Mycelium Lessons

 detail of "Unimaginable Proof" Jim Toia

Architecture has a lot to learn from the intricacies of our natural world: from scientific thermal properties to all scales of biomimicry, nature is full of lessons in form, structure, and beauty. Mushrooms, as one of the oldest life forms on the planet, have some of the deepest lessons to teach: while they are traditionally known for their nutritional and medicinal benefits, we continue to discover the mysteries kept by this ancient species. The mycelium structure of mushrooms is pound for pound stronger than concrete,[i] and engineers are beginning to explore its characteristics to create biodegradable foam packaging[ii] and eco-friendly car parts such as dashboards and bumpers.[iii] When spread over disturbed soil, mycelium can act as a binder, holding new soil in place and preventing erosion until woody plants can take hold.[iv] Additionally, Paul Stamets, author of Mycelium Running cites this vegetative component to fungus as having potential as a biological filter, removing chemicals and microorganisms from soil and water.[v]

"Metablossom" Jim Toia

Nature-based artist Jim Toia is fascinated with mushrooms. Toia is currently the Director of Community-based Teaching at Lafayette College, and his art is focused on mushrooms and their unique mycelium structure. Jim’s works are produced in a scientific, “spore drop” fashion, but with a far less traditional, less clinical approach: his production relies on a careful choreography and manipulation of nature in documenting spore patterns.  He acts as a maestro of sorts, conducting environmental conditions and various mushroom species by directing air currents around a carefully-positioned mushroom composition.  He also layers different species, moving the mushrooms around to activate the full potential of the canvas. Unlike the recording of brush strokes on canvas, Toia’s medium is invisible. The mushroom’s spores are microscopic and impossible to detect until they have landed in large quantity on the paper. In this way, Jim literally works blindly; he waits patiently, relying solely on his experience and knowledge of spore behavior.  The end result is both deliberate and surprising; a work of art is created through a dance between nature and the human hand. As a result, Jim’s works are a delicate balance of form, light, texture, and depth that could transcend a traditional abstract masterwork.

Jim Toia at work

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[i] Stamets, Paul (Speaker) (2008). Six ways mushrooms can save the world. TED Talks. Retrieved from http://www.ted.com/talks/paul_stamets_on_6_ways_mushrooms_can_save_the_world.html

[ii] Bayer, Eben (Speaker) (2010). Are mushrooms the new plastic? TED Talks. Retrieved from http://www.ted.com/talks/eben_bayer_are_mushrooms_the_new_plastic.html

[iii] Alsever, Jennifer (2011). Innovation Nation: Car parts made of mushrooms. CNN Money. Retrieved from http://money.cnn.com/2011/04/01/technology/ecovative/

[iv] Stamets, Paul and David Sumerlin (2003). Mycorestoration of Abandoned Logging Roads. Fungi Perfecti. Retrieved from http://www.fungi.com/blog/items/mycorestoration-of-abandoned-logging-roads.html

[v] Stamets, Paul (2006). Mycelium Running: How mushrooms can help save the world. (1 ed.) Ten Speed Press, USA.

All photos courtesy Jim Toia and jimtoia.com

Speaking of Architecture - Symbol of Progress 2013

Some timeless thinking about design and the civic heart of a city by Bob Spillman from 1967 to round out an excellent 2013 at Spillman Farmer Architects.  Happy Holidays and Best Wishes for 2014 from all of us at SFA.

Features Of New Library: Make It Leader Of Design

By ROBERT A. SPILLMAN - City Center Associate Architect

The Bethlehem Globe-Times – July 15, 1967

Construction of the new Bethlehem Public Library is on schedule for dedication in early October with the entire City Center project.

Painters are busy painting the exterior columns and windows, plasterers are working on the colonnade ceilings, and glaziers are completing the glass installation, while on the interior, workers are installing flooring materials, plaster walls, acoustical ceilings and ceiling light fixtures.

A new Public Library for Bethlehem will soon be a reality.

body of article found here, small excerpt about the art below (the entire article is worth the read!)

Place For Art

By contrast, the Children's Room will feature brighter colors and smaller scale furniture, while the Bethlehem Room will have wood stacks and walnut paneling to convey a sense of restful security.

Art will be used in the Library as elsewhere throughout the Center to represent the best of both traditional and contemporary artistic expression. The sixty-foot high sculpture by Joseph Greenberg, located on the plaza and constructed of welded steel, is said to represent the fusion and integration of the nationalities comprising our citizenry.

The wall sculpture by Joseph Cantieni in the Library stair hall is intended to represent three interconnected trees of knowledge beginning in the basement with the beginnings of life and cumulating at the top with man's exploration of space.

In contrast to the rough welded reinforcing bars of weathering steel in the exterior Greenberg sculpture, the playful Centieni wall sculpture will feature bright metals, polychrome, and colorful plastic forms.

And don't be too surprised in walking through the Library to find a simple woodcut here, and etching there, and a colored lithograph elsewhere. There will be ample room for additional works of art as the City's collection grows.

Now that the Library is reaching completion it is almost impossible to visualize the City Center without it. It is the cornerstone of the composition and the balance in both mass and function to the taller government buildings on the east side of the plaza.

It has become a reality only because the citizens of Bethlehem wanted it badly enough to personally subscribe to pay over one-third of its cost. An enlightened City Government with the power of veto resting in either political party chose to respond to this need by providing one-third of the cost from tax monies and by securing the balance needed through State and Federal funds.

All that remains is for the first bright-eyed youngster to walk through the main entrance door on Oct. 11 and officially open the Library that the citizens of Bethlehem made possible.”

Brief Notes on Joseph J. Greenberg – Sculptor of “Symbol of Progress”

“Joseph J. Greenberg, the sculptor of the black granite Bear and Cub at the Philadelphia Zoo and many other public sculptures.  Mr. Greenberg, a versatile and prolific artist, produced works ranging from realistic stone carvings of animals to stylized Fiberglas figures and abstract bronzes.

Many of his public sculptures are in Philadelphia, but he said one of his favorites was the 60-foot-high welded steel Symbol of Progress he made in 1967 for the Civic Center in Bethlehem, Pa.”

NYTimes  - 1991 – AP Obituary

Material Process Product - AIA Pennsylvania Firm Award

We are filled with gratitude this month, as we give thanks for a very special kind of Material Process Product: the Spillman Farmer team, collaborators and clients. In this case, the material is our team of critical thinkers, the process is our unending curiosity in finding unique solutions to problems, and the product is the inspiring environments we strive to make.

Our identity is tied to our state, its history, and the industrial roots that continue to influence our practice to this day. Our Firm Award application, much like our buildings, focused on material sensibilities and the human experience. At our core, we are regionalists: we believe that great place-making is reflective of the intricate history, materials, human emotions, and experiences of its site. Our practice, informed by the community we live in, is dedicated to reflecting these details in every site we approach. We have been shaped by the story of our region, and we seek to find those stories in every project.  

We are deeply humbled by the honor AIA Pennsylvania has bestowed on us. The inaugural Firm Award represents an affirmation of nearly a century of achievement. It also represents our continued commitment to growth, improvement, and exploration in the years to come. Today we stand as an 86-year-old startup company with boundless enthusiasm for the clients and projects (past, present, and future) that have enabled us to receive this award.

If you have ever worked with us, thank you. If you have ever criticized, pushed, argued, cheered, supported, or encouraged us, thanks to you too; without our fantastic team of collaborators, we would have no history to honor. This recognition is a testament to the way you continually entrust your resources to us, and that commitment to us is just one more reason to say thanks.

Speaking of Architecture - SlatHouse

Special Guest blog by Elliot Nolter, Intern Architect at Spillman Farmer Architects and Team Leader for the AIA Eastern Pennsylvania Chapter Playhouse Competition & Design Showcase


As some of you know, Spillman Farmer recently completed work on SlatHouse, a full-size children's playhouse for the AIA Eastern Pennsylvania Chapter's Playhouse Competition & Design Showcase. The experience was a great one, and we're happy to use our passion for design to help out the Pediatric Cancer Foundation of the Lehigh Valley. You can read more about the competition here: wfmz.com

We wanted the playhouse to be something kids not only play in, but on, under, and around as well.  It has the elements of a house, but isn’t.  It has the materials of a pirate ship, without the scurvy crew.  And it has the protection of a fort, but can be invaded by Mom when it’s time for dinner.  The simple, yet versatile design of the SlatHouse allows for the child’s imagination to fill the voids, creating infinite opportunities for play.  The flexibility of the fabric adds another element to the otherwise static enclosure of the frame.  On a daily basis, or as a child ages, the playhouse may take on new forms and new uses by simply “dressing” it in a new way.  The durable fabric can provide protection from rain, a drawing surface for washable markers, or a picnic blanket when laid on the grass. 

Keeping the material palette simple is something Spillman Farmer prides itself on, and being able to do more with less is a valuable lesson to teach children of all ages.  The wood is thermally modified yellow pine - a common material for outdoor use because of its resistance to rot and insect damage.  No chemicals are used in the process, making the wood safe to touch, smell, and for some kids, even taste.  The fabric pieces are heavy-duty vinyl that will provide a bright color and durability that will withstand harsh winters and destructive children, alike.  Our hope is that children will use the SlatHouse in ways we (as adult designers who know what a house "should" look like) cannot imagine.  

SlatHouse is on display at Christkindlmarkt in Bethlehem starting today! Head over before December 22 to bid for a chance to take this playhouse home.  All proceeds from the auction benefit the Pediatric Cancer Foundation of the Lehigh Valley. 

The Spillman Farmer SlatHouse was built by Spillman and sponsored by:

PODS

3 Cubed Studio

EcoVantage Lumber

Stofanak Custon Cabinetry

Mann & Parker Lumber Company

SFA News - AIA Pennsylvania Citation of Merit

In addition to the Firm Award we announced last week, we’re honored to announce that the AIA Pennsylvania 2013 Awards Jury has selected the Lafayette College Arts Plaza to receive a Citation of Merit.

The Arts Plaza is a raw, open-air space for the arts at Lafayette College in Easton, PA. The structure transformed a former auto-repair facility into a dynamic outdoor teaching space that responds to its natural environment and built context.  The Arts Plaza is an urban “unfill” project; its formerly solid walls were removed to create an open, inviting place in Easton’s urban core. 

The Arts Plaza was selected among 93 project entries by 37 architectural firms in the state of Pennsylvania. Jury Chairman Victor F. Trahan III, FAIA of Trahan Architects said that the jury selected Arts Plaza to receive a Citation of Merit because they felt the idea of an urban unfill project was refreshing and compelling. “The power is in the restraint” Trahan said.

The jury, made of a group of colleagues from the New Orleans area, also commented on the project’s applicability to a variety of low-road urban cores in their home state. Their comments on the project’s humility and restrained vocabulary further contributed to the project’s recognition.

The AIA Pennsylvania Awards Jury:

Victor F. Trahan III, FAIA – Trahan Architects (Jury Chairman)

F. Macnaughton Ball, Jr., FAIA – Waggonner & Ball Architects

Wayne Troyer, AIA – StudioWTA

Cordula Roser Gray, AIA – crgarchitecture

Ammar Eloueini, International Associate AIA – AEDS