Integrated Design

Integrated Design


“Design and technology, if considered separately, present opposing priorities and agendas for architects. Fortunately, their complementary nature allows for an endless variety of starting places and any number of resolutions.”

Leonard Bachman

“The integrated design approach asks all the members of the building stakeholder community, and ht technical planning, design, and construction team to look at the project objectives, and building materials, systems, and assemblies.”

Community Center, Ludesch Austria, 2005. Hermann Kaufmann

Works in a collaborative manner with all disciplines throughout the design process.

Community priorities (client as community): needed community center; mixed us public space; some retail; post office, library; covered public square; offices for local government; child-care center. Decided they wanted this 5 years before contacting Kaufmann. Considered budget, environmental controls, how it would be used and by whom.

Not a dense area. Decided in 1993 to use no PVC in their buildings (can only be down-cycled). Very design conscious community.

Strategies: almost all local materials; all wood used is untreated, no finishes (highly unusual in US, relatively common in Northern Europe), demands attention to detailing and wood selection (freeze and thaw cycles); almost all thermal insulation from renewable resources; no solvents or softeners; no products with PVC, fluorocarbons or formaldehyde (more expensive); built to passive house standard (objective: provide homes / buildings close to zero energy, do not require heating / cooling beyond what you get passively); careful shading strategies, solar hot water and photovoltaic systems.

[Covered village square]

Slots through the building. Beautiful use of interiors, emphasis on acoustics. Warms and materiality of wood. Crisp detailing. Hermann is an “Austrian rationalist.” Shades on back diffuse light in summer. Simple, conventional, timber frame. Clear control of structure of building andintegration of skin. Tests out details with large-scale model-making. Wood graying where it meets metal; eventually whole wall will gray.


21st Century Museum of Contemporary Art, Kanazawa, Japan, 2005

SANAA – Kazuyo Sejima + Ryue Nishizawa: True shared sensibility, similar design aesthetic and agenda. Working in the context of highly integrated Japanese building trade. Work with client from beginning, client’s design priorities deeply meshed in process.

Public, transparent building that would feel accessible to all. Not meant to be precious building for high art (though it does serve that function).

Serves local artists as well as international contemporary art.

Highly accessible public space except in center core of museum.

Stan Allen, “SANAA’s Dirty Realism

“Researching how to produce an atmosphere and how it is experienced.” SANAA

[21st Century Museum of Contemporary Art]

Relationship to subcontractors: growing emphasis in US, already embedded in Japanese design process.

Ongoing discussions about budget from the beginning. Helps to identify zones of innovation where cost is ambiguous but the rest of more or less resolved.

Architecture firms don’t always do more refined details.

Realized they had made a building that was difficult to navigate (pre-construction) despite transparency. So organized straight shots, SITE LINES, through space. Not only welcome to walk through building, but know where you’re going to go, what’s on the other end.

No hierarchy to building at all: no frontages.

Ground level almost entirely devoid of artificial light.

Division of public / private space contingent on paying a fee. Another courtyard which contains, is accessible, only to art.



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