EDITH GREEN– FEDERAL BUILDING Portland, -Wendell Wyatt Federal Building in Portland, Oregon, was renovated under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve outstanding public buildings that will be used and enjoyed now and by future generations of Americans.

April 2017 EDITH GREEN–WENDELL WYATT FEDERAL BUILDING Portland, Oregon

6 Origins of Edith Green-Wendell Wyatt Federal Building 10 Preparing for Modernization 16 EGWW’s Mutually Reinforcing Solutions 24 The Portfolio Perspective 28 EGWW’s Arts Legacy 32 The Design and Construction Team 39 U.S. General Services Administration and the Design Excellence Program 2 Each facade is attuned to daylight angles; the entire solution is based on the way the sun moves around the building.

Donald Eggleston Principal, SERA

3 4 5 ORIGINS OF EDITH GREEN-WENDELL WYATT FEDERAL BUILDING

At the start of the Great Depression, the Public Buildings Act of 1959 initiated half a million civilians worked for the hundreds more. Of the 1,500 federally United States. In 1965, approximately owned buildings that PBS manages today, 2.7 million Americans held non-uniformed more than one-third dates between 1949 jobs. Federal civilian employment multi- and 1979. plied five times in less than four decades thanks to the New Deal, and Edith Green- GSA’s mid-century building boom almost Wendell Wyatt Federal Building (EGWW) unanimously embodied the democratic stands 18 stories above Portland, Oregon, ideas and sleek geometry of modernist as a long-drawn consequence of that architecture. Not only had modernism historic transformation. achieved popular acceptance by the time, but the movement also resonated with GSA While the New Deal expanded government in deliberate terms. The agency was tasked services to benefit the nation’s economy, with harnessing mass production and other it plagued federal real estate operations, means of achieving economical real estate which could not keep up with demand for development; modernism asserted that offices and other facilities for the growing industrialization could provide high-quality federal workforce. The U.S. General Services buildings for all people. Administration (GSA) was founded in 1949 to furnish this workspace in a The visual language of modernism served systematic, efficient manner. GSA’s Public GSA equally well. As the statesman Daniel Buildings Service (PBS) would specifically Patrick Moynihan argued, architecture oversee new construction and renovations. “reports faithfully for ages what the political values of a particular time were.” A rush of construction followed the Stripping buildings of unnecessary volumes founding of GSA. The Public Buildings and ornamentation communicated a Act of 1949 allotted $70 million to the responsible, sparing use of taxpayer funds. agency for construction and improvement Clean-lined, glass-clad buildings conveyed projects halted during World War II, and the accessibility of federal services, too.

6 Suited as it was to federal building, employees at the least expense to taxpayers. modernism yielded next-generation Indeed, Skidmore, Owings & Merrill, the landmarks across government. Ground- same architecture and engineering firm breaking designs from the 1950s and 1960s responsible for the Air Force Academy include the U.S. Air Force Academy Cadet chapel, commenced work on EGWW Chapel, numerous foreign embassies, and, in 1969. That design team balanced in GSA’s real estate portfolio, the U.S. Tax innovation and pragmatism, in turn—it Court by Victor Lundy, John F. Kennedy cunningly placed a lush public park above Federal Building by Walter Gropius, and EGWW’s subterranean garage, but also the Chicago Federal Center by Mies van replaced a concrete structure with more der Rohe. Moynihan encapsulated these affordable steel framing faced in single- successes in the Guiding Principles for pane glass and precast concrete panels. Federal Architecture. The 1962 document states that “[m]ajor emphasis should Whether soaring or suitable in appearance, be placed on the choice of designs that all buildings perform less well over time, as embody the finest contemporary American systems like ventilation approach functional architectural thought.” It doubly endorsed obsolescence and occupancy standards forward-looking designs that were dignified become more rigorous. In 1997, the for the government and sensitive to region. Portland-based firm SERA Architects contracted with GSA to solve deficiencies For less prominent public buildings, the emerging at EGWW. As SERA principal federal government preferred a quieter Donald Eggleston recalls, need began expression of social optimism and cultural outpacing its improvements: lobby security patronage. Completed in downtown Portland installed after 9/11 forced queuing outside in 1975, EGWW exemplified this restraint. the building, and the tower’s uninsulated glass and concrete made interior climate The workmanlike modernism behind control difficult. GSA subsequently planned EGWW and similar buildings was intended a thorough upgrade to EGWW’s mechanical to house burgeoning federal civilian systems, security, and seismic resistance.

7 This project has the ability to inspire building owners and private developers to think more creatively.

American Institute of Architects

8 9 PREPARING FOR MODERNIZATION

GSA authorized EGWW’s upgrade Accepting Eggleston’s invitation prompted through the Design Excellence Program, Cutler to scrutinize EGWW’s 1975 con- which it had founded in 1994 to realize the struction drawings, and on this closer look Guiding Principles for Federal Architecture. he identified an opportunity precisely in Among the methods by which the program the re-engineered structure of the half- accomplishes this task is overseeing million-square-foot office. Because precast procurement of design services. The concrete panels wrapped the steel frame process steers the agency to the architect in U shapes, “the thickness of the U was that has a proven record of efficient, just a subtraction from the usable area,” dignified, regionally sensitive buildings. Cutler recalls. Penciling calculations on the back of an envelope, he realized that Eggleston remembers feeling enthused replacing the concrete with a taut, energy- about the larger-scale EGWW moderni- efficient glass curtain wall would add zation, albeit unsure that SERA’s portfolio approximately 24,000 net rentable square alone would strike the GSA evaluation feet to the building, reduce stress on the board as sufficiently visionary to get the job. refreshed heating and cooling systems, and To bolster the firm’s chances, Eggleston unload enough weight to make seismic approached Cutler Anderson Architects repairs almost incidental. The architect to submit credentials as its partner and also imagined training Boston ivy and design architect. The Bainbridge Island, Virginia creeper up the sunniest exposures Washington–based design studio had of EGWW by way of a trellis mounted in recently completed a land port of entry front of the glass curtain wall. The vines’ for GSA whose simple massing and visible shade and insulation would unburden the construction possessed a functionality and mechanical systems even more. Pacific Northwest spirit that embodied the Guiding Principles for Federal Perhaps not taking the existing scope Architecture. Cutler Anderson principal of work for granted could be more James Cutler agreed to vie for a second advantageous for citizens? SERA and federal commission. Cutler Anderson posed this bold question

10 to GSA and, impressed by its vision, in to lead the effort upon its revival. Brunner 2003 the agency hired the team to design had spent the previous five years pioneering EGWW’s renovation. “The best architect- a collaborative approach to designing client relationships are ones in which and constructing GSA projects known colleagues explore ideas outside of their as integrated delivery: the method allows comfort zones, and trust one another’s an architect to flesh out the most salient expertise,” David Insinga, chief architect aspects of a design; it then introduces a of GSA, remarks of the procurement general contractor and other construction decision. “The Design Excellence Program professionals to advise the completion of encourages that knowledge exchange, that scheme. Established objectives like because it produces more value for the energy efficiency or renewable power American people. SERA and Cutler production serve as benchmarks through Anderson’s early work on Edith Green the completion process, Brunner says, illustrates these best practices.” “and all parties work on the details, iterating solutions and giving and taking Two years later, funding for EGWW’s on budget allocations, to achieve as many upgrade was halted, and construction requirements as possible.” documents remained half complete. The project would not become eligible The open dialogue and tangible successes for funding again until passage of the of Brunner’s recent GSA projects “convinced American Recovery and Reinvestment me that this was really the only method Act of 2009 (ARRA), which apportioned to use on a complex assignment.” When $4.5 billion to GSA for high-performance EGWW came back online, he proposed, modernizations of existing federal properties. it should proceed by integrated delivery. SERA and Cutler Anderson enthused to The delay ultimately helped clarify what de-compartmentalizing responsibilities the EGWW modernization should achieve, when that time arrived, and GSA approved and how. In 2007, for example, GSA the necessary acquisition and contracting regional executives tapped Patrick Brunner tools to make it happen.

11 Aluminum reeds on the west elevation provide 50 percent shading

12 Rigorous energy- and water-conservation and construction prices falling, cost-benefit requirements of the Energy Independence analysis favored GSA’s entirely vacating & Security Act of 2007 (EISA) had also EGWW and modernizing it. The project taken effect in the intervening years, and would create temporary tenancy to support ARRA’s own sustainability requirements the local real estate market, as well as for shovel-ready projects exceeded achieve superior performance, within its EGWW’s existing scope. In order for the original budget. modernization to restart in 2009, then, GSA had to align the benchmarks of Presented with updated environmental integrated design to the ambitious goals of and occupancy parameters, SERA and legislation. “We modified the contract to Cutler Anderson collaborated intensely include 16 high-performing green building on a redesign through 2009. In January specifications,” Brunner says. In addition, 2010 they were joined by general compliance with EISA and ARRA “meant contractor Howard S. Wright and first- exploring the previous design and making tier subcontractors to give feedback on sure it could hold its own against all the scheme and refine it for completion. the new measures, and especially those Numerous stakeholders co-located in a dedicated to energy conservation.” field office inside EGWW to complete design work in as coordinated a fashion ARRA was a response to the Great as possible, and demolition started nine Recession, and the project team took that months later. EGWW was rededicated in crisis under consideration as it readied May 2013. ARRA required funding to be the modernization for new environmental obligated no later than September 2010 specifications. In the plan that had been and spent by the end of September 2015. shelved, EGWW was to remain partially occupied during construction, which would have lengthened the project schedule and disrupted those tenants who remained. With private-sector office vacancies rising

13 View of building before renovation

14 View of building after renovation

15 EGWW’S MUTUALLY REINFORCING SOLUTIONS

The vegetated building envelope that penetration to interiors, and circulating Cutler proposed to SERA, and which unrecycled air through those spaces earned the partners their GSA contract, promised a healthier indoor environment was sweeping in its potential benefits: for all building users. additional square footage, fewer seismic retrofits, and less stress on the mechanical Yet the team also was aware that hydronic systems. During the redesign of EGWW, radiant heating and cooling is carefully the project team embraced a cutting-edge tuned. To prevent EGWW’s system mechanical system that could similarly do from becoming overtaxed, it would have good on many levels. to minimize the building envelope’s exposure to temperature extremes— In sustainable building modernizations, excessive thermal gain from the sun, in mechanical systems offer the greatest particular. So the collaborators returned improvement of performance, and in 2009 to the proposed curtain wall and shading the EGWW team determined to replace system, subjecting the pairing to rigorous the original forced-air heating and cooling computer simulation to optimize its design. with hydronic radiant heating and cooling. As Brunner puts it, “The original idea of The latter system is dramatically efficient, a shaded envelope inspired the change as it allows warmth and cooling to emanate in mechanical plan, but then we had to from panels and convect naturally; here backtrack and ensure that that shading the reduced energy consumption would was as effective as possible.” equate $2 million in operations savings over its life cycle compared to traditional The team employed two advanced digital means. Eggleston adds, “Shifting to a models to analyze possible configurations radiant system eliminates ducting and air of the glass curtain wall. One evaluated recycling, which would allow us to raise peak thermal gain for all four elevations of the ceilings as high as possible and rely the tower; that model varied percentages of completely on fresh air.” Increasing ceiling vision glass to confirm the facade area that height simultaneously improves daylight required shading, as well as the amount

16 17 of time those surfaces would need to be the size, angle, and spacing of every shaded during the day. The other explored shading device to solar orientation. “Each the relationship between a shading system facade is attuned to daylight angles; the and daylight harvesting, in order to strike entire solution is based on the way the sun the right balance between preventing moves around the building,” Eggleston says. thermal gain and providing employees and visitors with natural light. Today, This iterative process epitomized integrated EGWW’s high-performance glass curtain delivery as much as regional sensitivity. wall comprises 43 percent vision glass. “You don’t expect this from architects, but I told the engineers they were in charge,” The completed building envelope also Cutler says. “If they gave me the areas of incorporates sunshade elements—most open and closed, heat transference values, notably aluminum reeds that run the entire amount of reflection, and any other data, height of the west elevation, and which then I would come back with a handsome lend EGWW its new, organic silhouette. product.” After Cutler crafted a design, Individual reeds are attached to one of six SERA studied its metrics and daylighting armatures, two of which fan out from the ramifications, and curtainwall fabricator curtain wall to identify EGWW’s public Benson Industries would deem it buildable entrance and exit. An orthogonal assembly or not. Since EGWW’s 2013 rededication, of sunshades and daylight harvesters dance vines have been weaving up through the along the south- and east-facing glass, and completed aluminum reeds with the passing the north elevation is unadorned. seasons, though building performance does not depend on their growth. The metal elements replace Boston ivy and Virginia creeper, which would have Just as EGWW’s building envelope required several years of growth to and climate-control systems engage in adequately protect the curtain wall. The a mutually reinforcing relationship, so designers sought a manmade substitution do its other high-performance systems. that mimicked plants’ behavior by tailoring Take the 25,000-square-foot roof canopy

18 that crowns the federal office. Angled had envisioned, and a ventilator system for maximum sun exposure, the canopy recovers heat from exhaust and transfers it is embedded with 180 kilowatts of to incoming air. In a similar vein, elevators photovoltaics that fulfill 4 percent of regenerate power as they descend, and EGWW’s energy demand. It provides the employment of a demand-dispatch system building with another protection from allowed GSA to reduce the total number solar thermal gain, as well. of elevators from eight to six. Low-flow plumbing fixtures and automatically The roof canopy also plays a key role in adjusting lights populate the interiors. collecting rain. The expansive surface channels precipitation into a former In all, EGWW’s performance strategies basement-level rifle range, which has been reduce resource consumption to save converted into a 165,000-gallon cistern. approximately $400,000 in annual The collected stormwater is then reused operations expenses. And together for toilet flushing and irrigation, and it they have reinvented an aging, largely is the hydronic medium for heating and unremarkable building as a national cooling. Measured in concert with drought- symbol of visionary thinking and tolerant landscaping and a more efficient efficiency. The American Institute of mechanical cooling tower, reclamation Architects (AIA) called the modernization reduces potable water consumption by of EGWW “heroic” in 2014, when 65 percent compared to a typical office it included the building among the building. Committee on the Environment Top Ten Projects. In giving EGWW this venerable Even seemingly small strategies at EGWW award, the jury commented, “It takes a represent cutting-edge and best practices really challenging building type, a generic in sustainability, and contribute to goals of high-rise office building, and rethinks reducing energy and water use. A dedicated it. This project has the ability to inspire outside air system supplies the interior building owners and private developers with 100 percent fresh air, as Eggleston to think more creatively.”

19 20 21 Neighborhood Plan

22 Site Plan

23 THE PORTFOLIO PERSPECTIVE

In addition to the EGWW moderniza- Ongoing measurement of EGWW’s tion’s sustainability accomplishments, its performance is validating the awards contributions to contemporary city life, and plaudits. After two years of use, the construction, and business have been an building met and exceeded its projections: inspiration to the real estate community. gas and electrical utility bills demonstrated In 2014, the Council on Tall Buildings 45 percent energy savings; the former rifle and Urban Habitat honored EGWW as range collected almost 90,000 gallons an exemplar of 21st-century skyscraper more water than expected; radiant climate architecture. Portland-based writer Brian control should reach $2 million in savings Libby echoed that praise in the magazine well ahead of schedule. More than three- Architect, stating that the “design...embodies fourths of EGWW’s occupants are satisfied the interlocking GSA goals of commis- with the renewed space. sioning visually compelling architecture while advocating leading-edge sustainability. Consequently, the project’s influence is This is not architecture as sculpture, but now becoming discernible in the field. In with a racecar-like beauty rooted in 2016 the City of Portland tapped Howard function.” In the world of construction, S. Wright to co-lead the modernization of the trade organizations Lean Construction its landmark municipal building, and it Institute and Construction Users Round- has asked GSA to advise the undertaking. table have incorporated EGWW in its Other project team members like SERA education materials concerning integrated are now widely respected providers of delivery—the very series from which integrated delivery, and the method itself Brunner first learned about the subject, he is becoming popular in institutional and says. And by moving the building envelope commercial real estate. outward as Cutler originally envisioned, as well as reclaiming mechanical housing no Insinga believes that such direct impacts longer required by hydronic radiant heating will only expand. “There are thousands and cooling, the project increased leasable of mid-century offices that no longer area by 33,000 square feet. enjoy Class-A status, and Edith Green’s

24 modernization provides a road map for first high-rise to be entirely overclad in elevating those buildings’ desirability,” a new glass facade; the new surface creates says the chief architect. The group poised an insulating cushion of air in the gap to most quickly benefit from the lessons between it and the original building of EGWW’s modernization may very well envelope. GSA’s work in this arena has be the 1,500 mid-century buildings that carefully melded performance innovation GSA owns. and historic merit, too. In one example, the social importance of the Byron Numerous factors justify reinvestment G. Rogers Federal Office Building in in the federal buildings, such as their downtown Denver led GSA to modernize consistent proximity to public transit, that facility as a potential landmark. and, Insinga adds, “Since the 1990s, GSA has treated this building stock as an So while EGWW is only the most enduring legacy, earning wide recognition visible recent example of GSA’s ensuring for that vision.” As functional obsolescence the longevity of federally owned mid- slowly descends on the agency’s mid-century century buildings, its transformation inventory, GSA has begun shepherding these also culminates the knowledge and valuable assets into the 21st century. This collaboration of that years-long effort. initiative dates at least to 1999, when the The modernization’s commitment to agency conducted a seismic upgrade of the environmental performance and users’ 1963 Wallace F. Bennett Federal Building well-being illustrates the full potential in Salt Lake City. That project employed of any mid-century retrofit. And for unbonded brace frames, in a first-ever use GSA in particular, EGWW shows how of the technology in a public building, and an entire era of modest federal buildings included curtain-wall replacement. More can be remade both in the service of recently, the ARRA-funded modernization frugality and of local and national pride. of the Anthony J. Celebrezze Federal Building in Cincinnati bears resemblance to the EGWW renovation, as it is America’s

25 26 Architecture is inescapably a political art, and it reports faithfully for ages what the political values of a particular time were.

Daniel Patrick Moynihan

27 EGWW’S ARTS LEGACY

GSA allocates a small portion of a major As installed in the federal building, Forest is federal building project’s construction cost both photographic and sculptural. By using to fine arts. Through its Art in Architecture a photographic negative, which reverses and Fine Arts programs, the agency areas of light and dark, Lutter has made commissions and stewards public art. a familiar scene appear unfamiliar. That By enhancing the civic meaning of federal surprise all but guarantees the attention architecture through art, the programs of EGWW’s occupants and visitors. celebrate American culture and art’s The artwork’s physical engagement with contributions to democracy. GSA helped architectural space and the always-changing other Percent for Art programs gain daylight further involves viewers, focusing momentum nationwide, and the Fine Arts their thoughts to the complex relationship Program manages one of America’s oldest between humans and nature. and largest public art collections. Known for creating vibrant, abstract The modernization of EGWW allowed artworks based on music samples, GSA to leverage both of its art programs Tim Bavington translated the rock-and- for the benefit of the American people. roll classic “Louie Louie” into an Art in Through Art in Architecture, the artist Architecture commission of the same name Vera Lutter created Forest, a translucent for EGWW. Richard Berry’s original song screen of four acrylic panels that are was relatively unknown until 1963, when printed with an image of an ethereal both The Kingsmen and Paul Revere & the woodland. Lutter used a room-size camera Raiders cut separate versions at the same obscura to expose an image of a forest recording studio in Portland. Louie Louie landscape onto a large sheet of silver gelatin comprises 80 cast-acrylic panels, which paper, to produce a photographic negative. are three-dimensional depictions of the She then re-photographed the negative sound waves that make up the 80 bars of and heightened the image’s tonal contrasts the song. Bavington also assigned colors to digitally, and printed the final depiction spectrographic images of the music, and onto the acrylic panels. the resulting color combinations of the

28 acrylic correspond to the song’s changing to be a monolith, it is actually five separate chords. Viewed from different angles and at sections of hand-worked stone, which are various times, the forms appear fluid. pinned together to form a monumental arch. Originally placed on the east side of GSA has commissioned nearly 500 EGWW, the sculpture was relocated to its artworks through Art in Architecture current site in 2013. since its establishment in 1972. Two of the program’s earliest commissions date Jack Youngerman collaborated with Gloria to 1976, when Dimitri Hadzi and Jack F. Ross to translate his bold design into Youngerman were invited to create an tapestry. The composition’s central yellow outdoor sculpture and a tapestry for the shape is surrounded by swirling red forms plaza and lobby of the original EGWW. that are anchored by more subdued green As part of the high-rise’s modernization, elements in each corner of the deep blue the Fine Arts Program conserved and field. The green elements also interrupt reinstalled these two artworks. the tapestry’s primary-color triad of yellow, red, and blue. For many years, Youngerman Dimitri Hadzi initially had planned to cast had been intrigued by the writings of the a bronze sculpture for this commission, 13th-century Persian poet and mystic but a trip along the , Rumi. The tapestry’s whirling forms during which he admired the natural and vibrant colors, balanced by a strong geological formations, inspired him to use underlying structure, recall a dervish dance native Oregon basalt. The resulting arch- pattern and prompted Youngerman to title shaped, free-standing sculpture unites art the piece Rumi’s Dance. and environment. The title River Legend refers to a Native American myth about a natural bridge that had crossed the river, but for Hadzi it also alluded to man’s power over nature and the taming of the wilderness. Although the sculpture appears

29 30 31 THE DESIGN AND CONSTRUCTION TEAM

Owner Design Architect U.S. General Services Administration Cutler Anderson Architects Public Buildings Service Seattle, Washington Northwest/Arctic Region Jim Cutler, design architect George E. Northcroft, regional administrator David Curtain, Pat Munter Patrick Brunner, project executive and Executive Architect senior contracting officer SERA Architects Paul Witherspoon, project manager Portland, Oregon Richard Broderick, senior project manager Donald Eggleston, partner-in-charge Chad O’Brien, contracting specialist Jennifer Taylor, Stuart Colby, project managers RJ Angeles, Luke Arant, Dawn Ashton, Jim Riley, project architect Barbara Bailey, Roselyn Bailey, Kim Baker, Donald Bednarz, Chaun Benjamin, Jessica Best, Suzanne Blair, tenant improvements project architect Kate Betz, Pete Blakely, Daniel Brown, Cathy Ballensky, Fernand Banna, Liatt Braun, Ross Buffington, Linda DeLap, Camron Doss, Clark Brockman, Audrey Craig, Logan Cravens, Susan Foster, Darin Frost, Kristy Frost, Todd Gillies, Travis Dang, Jon DeLeonardo, Trevor Elvey, Robin C. Graf, Susan Harrison, Stephanie Kenitzer, Jessamyn Griffin, Jessica Gracie-Griffin, Erin Chuck Koval, Frank Krawcyk, Darin Lenderink, Hastings, Russell Holzinger, Elizabeth Johnson, Michael Levine, Robert McCarty-O’Hairt, RJ Johnson, Natasha Koiv, Nick Mira, Kristie Frederick Moorehead, Carrie Mosher, Sonny Morrison, Carissa Mylin, Roberta Pennington, Lisa Neumiller, Paul Oresik, Bob Ortiz, Melanie Powers, Petterson, Matt Piccone, Joe Pinzone, Russ Pitkin, Kelly Sarver-Lenderink, Sue Saucier, James Silk, Priya Premchandran, Gauri Rajbaidya, Margo Rettig, Kay Lynn Smartt, Je (Richard) Sung, Story Swett, Craig Rice, Timothy Richard, Andrea Schultz-Winter, Judy Tomlinson, Chelsea Turnbull, Sue Turner, Anneliese Sitterly, Crawford Smith, Kate Turpin, John Vickers Sara Vonde Veld, Tuan Vu

32 General Contractor Mechanical Engineer Life Safety Commissioning Howard S. Wright, Stantec Consulting Aegis Engineers Glumac a Balfour Beatty Company Portland, Oregon Mukilteo, Washington Portland, Oregon Portland, Oregon John Andary, Brendon Steven Straus, Charles Blast Engineer Al Arguedas, Dan Currie, Michael Hedrick, Foreman, Todd McGuire Armstrong, Kenneth Ball, Bob Lauderdale, Kyle Weidlinger Protective Design Anson Borrows, Troy MacGillivray, Matt Nelson, New York, NY Curtainwall Subcontractor Boardman, Matthew Braun, John Paul Peterson, Tom Benson Industries Acoustics Troy Dickson, Rhonnda Phelps, Amarpreet Sethi, Portland, Oregon Cascade Acoustics Edmiston, Josh English, Al Spring, Joe Tai John Beaulieu, Scott Tualatin, Oregon Doug Greenwalt, Chris Gilchrist, Amy Hensley, Structural/Civil Engineer Hartson, David Henson, Bill Charles M. Salter Associates Jeremy Mucha, Jose Jensen, Jason Kribs, Frank KPFF Consulting Engineers San Francisco, California Rodriguez Lee, Ryan McGrew, Mike Portland, Oregon Landscape Architects McHargue, Nathan Miller, Nathan Ingraffea, Mechanical Subcontractor Brad Nydahl, Scott Passman, Deanna Hutchinson, Atelier Dreiseitl Architect McKinstry Eli Pratt, John Raglione, Lisa Erik Kabusreiter, Mark Überlingen, Germany Portland, Oregon Reber, Everado Saldana, Ken Reuland, Aladdin Villanueva Place Studio Spruit, Leslie Walker Damon Cannon, Doug Portland, Oregon Moore, Daniel Morrison, Electrical Engineer Artists Matt Nielsen, Eric Peterson, PAE Consulting Engineers Lighting Design Tim Bavington Jeff Sloan, Dave Stevens, Portland, Oregon Luma Las Vegas, Nevada Erik Teyema Portland, Oregon Dimitri Hadzi (1921–2006) Plumbing Engineer Graphics Vera Lutter Interface Engineering New York, New York Portland, Oregon Mayer/Reed Portland, Oregon Jack Youngerman Jon Gray, Sarah Austin, Bridgehampton, New York Daniel Buck, Rachel Defouri, Dennis Kangas, Steve Roberts

33 Electrical Consultants Design Excellence Rosa Lowinger Dynaletric National Peers Rosa Lowinger & Associates Portland, Oregon Donald Stastny Miami, Florida StastnyBrun Architects Curt Sander, Rich Fry, Lawrence Rinder Portland, Oregon John Mieras, Todd Nichols, Berkeley Art Museum Randy Von Tungeln W. Cecil Steward and Pacific Film Archive University of Nebraska-Lincoln Berkeley, California Mark Day & Associates College of Architecture La Center, Washington Deirdre Windsor Lincoln, Nebraska Windsor Conservation Mark Day, Blake Bippes Michael Willis Dover, Massachusetts Building Envelope Consultant MWA Architects San Francisco, California Construction Excellence Professional Roof Consultants National Peers Portland, Oregon Art in Architecture Greg Cook National Peers Elevators Holabird & Root Elizabeth Brown Chicago, Illinois Otis Henry Art Gallery Portland, Oregon Paul Cossette Seattle, Washington M.A. Mortensen Company Demolition John Griswold Excelsior, Minnesota Nuprecon Griswold Conservation Larry Hopp Snoqualmie, Washington Associates Kiewit Construction Company Culver City, California Omaha, Nebraska Bruce Guenther Portland Art Museum Portland, Oregon

34 35 36 37 38 U.S. GENERAL SERVICES ADMINISTRATION AND THE DESIGN EXCELLENCE PROGRAM

Public buildings are part of a nation’s legacy. Guiding Principles for Federal Architecture: They are symbolic of what government is producing facilities that reflect the dignity, about, not just places where public business enterprise, vigor, and stability of the federal is conducted. government, emphasizing designs that embody the finest contemporary and Since its establishment in 1949, the architectural thought; avoiding an official U.S. General Services Administration style; and incorporating the work of living has been responsible for creating federal American artists in public buildings. In workplaces, and for providing all the this effort, each building is to be both an products and services necessary to make individual expression of design excellence these environments healthy and productive and part of a larger body of work represent- for federal employees and cost-effective ing the best that America’s designers and for American taxpayers. As builder for the artists can leave to later generations. federal civilian government and steward of many of our nation’s most valued To find the best, most creative talent, the architectural treasures, GSA is committed Design Excellence Program has simplified to preserving and adding to America’s the way GSA selects architects and engineers architectural and artistic legacy. for construction and major renovation projects and opened up opportunities for GSA established the Design Excellence emerging talent, small, small disadvantaged, Program in 1994 to better achieve these and women-owned businesses. The program mandates of public architecture. Under recognizes and celebrates the creativity and this program, administered by the Office diversity of the American people. of the Chief Architect, GSA has engaged many of the finest architects, designers, The Design Excellence Program is the engineers, and artists working in America recipient of a 2003 National Design Award today to design the future landmarks of our from the Cooper-Hewitt, National Design nation. Through collaborative partnerships, Museum, and of the 2004 Keystone Award GSA is implementing the goals of the 1962 from the American Architectural Foundation.

39 PHOTOGRAPHY: © JEREMY BITTERMANN / BITTERMANNPHOTOGRAPHY.COM (PAGES 2/3, 17, 36/37), NIC LEHOUX ARCHITECTURAL PHOTOGRAPHY (PAGES 4/5, 8/9, 15, 20/21, 26/27, 35, 38), CAMERON CUMING (PAGES 30/31) U.S. General Services Administration Public Buildings Service Office of the Chief Architect Design Excellence 1800 F Street NW Washington, DC 20405 202-501-1888 U.S. General Services Administration