Moshe Safdie: Utopian Ideals vs. Contemporary Practice

The Great Hall of the National Gallery of Canada (my photo).

I thoroughly enjoyed my recent trip to Montreal, Quebec City, and Ottawa, having not previously visited any of these cities. All three are historically rich, presenting ample and fascinating evidence of their beginnings as French or British colonial settlements. While I admired the distinctive urban morphology and many landmark buildings (some dating back as far as the early 17th century) each city can boast, some of the more prominent recent developments attracted me as well. Of these, the projects designed by Israeli Canadian architect and urban planner Moshe Safdie stand out.    

Moshe Safdie’s architectural career presents a fascinating blend of utopian ambition, humanistic principles, and the inevitable compromises that arise from large-scale projects in a globalized world. His work, from the visionary Habitat '67 in Montreal to the iconic Marina Bay Sands Resort in Singapore, reflects both the ideals he established early in his career and the evolving demands of contemporary architecture.

I aimed to visit some of Safdie’s notable works during my trip—or at least that was my goal. I brought my well-worn copy of Safdie’s 1982 book Form & Purpose to (re)read during downtime at the airport and on the plane. I wanted to revisit Safdie’s critique of present-day architecture, particularly his call for a return to human-centered, environmentally responsive design. As he states in the book, “. . . when it comes to design—the design of our environment, cities, buildings, houses, utensils, clothes, furniture, cars, and planes—there is one overriding test: Is it done with a deep sense of commitment to people, a commitment in the broadest sense to man in all his complexities—his desires, hopes, fears, and, above all, his well-being? It is a surprisingly simple test.” This perspective remains deeply relevant in discussions about architecture today. I hoped to apply this test to the Safdie projects I wanted to see.

Habitat 67 (photo by Parcours riverain - Ville de Montréal from Canada, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)

One of my targets was Habitat '67, the modular housing project that first brought a precociously young Safdie international acclaim. Unfortunately, my time constraints and the project’s relative inaccessibility precluded seeing it up close. Built for the 1967 World’s Fair (Expo 67), Habitat '67 (an adaptation of his thesis project while an undergraduate at McGill University) emerged during a time of social and political upheaval. Safdie envisioned an inclusive community, reflecting the optimism of the era while addressing the challenges of urban density. However, critics called attention to its shortcomings, pointing out that despite its ambitious intentions, the project is isolated from the urban fabric it aimed to enhance, revealing the complexities of translating visionary concepts into practical, livable solutions. I fully agree on this point.

National Gallery of Canada (my photo)

One of the National Gallery of Canda's top floor rooms (my photo).

While in Ottawa, I visited the National Gallery of Canada, one of Safdie’s most celebrated projects. Completed in 1988, the building resonated with me on many levels. The extensive use of glass, particularly in the Grand Hall, floods the space with natural light and creates a profound sense of openness. Safdie’s design emphasizes transparency, allowing the surrounding landscape to frame the architecture itself and fostering a connection between the building and its environment. This alignment with Safdie’s belief that architecture should serve both human needs and the natural world struck a chord with me.

The National Gallery stands as an exemplary representation of Safdie’s principles. It avoids the pitfalls of excessive symbolism or aesthetic novelty that he critiques in Form & Purpose, instead offering clarity of form, light, and cultural sensitivity. The massive building is “of” Ottawa, fitting in while punctuating the cityscape in a way not unlike the capital city’s other landmarks. The building encourages public engagement, blending truly grand, monumental spaces with more intimate areas that prevent overwhelming visitors. The project is an example where Safdie’s utopian vision seems fully realized, merging functionality, beauty, and environmental responsiveness into a coherent whole.

John G. Diefenbaker Building. I struggled to find a satisfactory perspective from which to take a photograph. This shot, taken from a vantage I did not have access to, is by JustSomePics, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons.

I also visited Safdie’s expansion of the John G. Diefenbaker Building in Ottawa. This project sparked controversy during its design and construction, particularly due to disagreements between Safdie and the City of Ottawa regarding both design and cost. The friction during its development reflects the compromises architects often face when tackling complex public projects. The Diefenbaker Building is a thus a balance between ambition and practicality, and perhaps belies Safdie’s claims of working without arrogance.

The tension between his utopian ideals and the demands of a global, commercialized architectural landscape have marked Safdie’s career. His early work aimed to create architecture that responded to both human and environmental needs. Habitat '67 sought to humanize urban housing by offering privacy, green spaces, and individuality in a dense environment. Yet, as with many utopian projects, economic and logistical challenges complicated efforts to implement such a vision on a broader scale. Habitat’s cost and complexity have made replication difficult, and while it remains an architectural landmark, its inaccessibility and lack of integration with Montreal’s urban fabric are problematic.

Marina Bay Sands, Singapore (photo by Someformofhuman, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)

Safdie’s later work increasingly reflects the commercial realities of modern architecture. Projects like Marina Bay Sands in Singapore primarily serve as luxury developments aimed at global tourism. Although these designs (the Jewel Changi Airport, also in Singapore, is another example) remain visually stunning and innovative, they prioritize commercial appeal and iconic status over the social idealism that characterized Safdie’s initial work.

Despite this shift, Safdie’s commitment to human-scale design and environmental responsiveness shines through many of his projects. The National Gallery of Canada thoroughly impressed me. It exemplifies Safdie’s belief that architecture should serve the community and its cultural context while maintaining a connection to nature. It stands as a monument to his early ideals, offering a coherent blend of beauty, functionality, and public engagement.

Habitat '67 challenged conventions of urban living. The National Gallery of Canada demonstrates how humanist and environmentalist principles can apply to architecture on a grand scale. At the same time, the challenges and compromises of more recent projects, like Marina Bay Sands, illustrate the complexities architects face in balancing visionary ideals with the realities of contemporary practice. The work of Moshe Safdie speaks to his enduring belief in the potential of architecture to shape society for the better.

Architecture and Identity

Aerial view of Parliament Hill, Ottawa (photo by tsaiproject from Canada - Parliament Hill from a Hot Air Balloon, Ottawa, Ontario, Canada, Y2K, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=80214317)

I’m writing this from Ottawa, Canada, the last stop on a trip that has also taken me to Montreal and Quebec City. As a Canadian who has lived in the U.S. on and off since I was 21 (I’m now 65), I’ve often found myself reflecting on the differences between the two countries—especially since so many people, particularly those who have not lived in both, see them as essentially the same. While Canada and the U.S. share a common border, a language, and many cultural similarities, their fundamental distinctions lie in their political histories, social values, and approaches to governance. Being in Ottawa has me thinking again about these contrasts, particularly as they’re expressed through architecture. Specifically, the Gothic Revival style of Canada’s Parliament Buildings stands in stark contrast to the Neoclassical design of the U.S. Capitol Building. What does this contrast reveal about each nation’s unique history and identity?

The Gothic Revival architecture of Canada’s Parliament Buildings in Ottawa is a significant marker of national identity, even as its meaning has evolved over time.(1) The Gothic Revival style reflected Canada’s status as a British dominion, aligning with architectural trends across the British Empire and symbolizing continuity with Britain’s political and cultural heritage. In contrast to the Neoclassical architecture of the U.S. Capitol, which celebrates ideals of democracy and republicanism rooted in ancient Greece and Rome, Canada’s Gothic Revival style conveyed values of tradition, order, and a constitutional monarchy—a system that balanced democratic governance with a respect for historical continuity. 

U. S. Capitol Building, east front (photo by Senate Democrats, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)

While the Neoclassical style might have suggested a desire for a break from monarchical rule or a shift toward republicanism, the Gothic Revival style affirmed Canada’s unique path as a country that evolved within the framework of the British Commonwealth. This architectural choice helped differentiate Canada from the United States, which had already employed Neoclassical design to emphasize its revolutionary break from Britain. By embracing Gothic Revival, Canada signaled its commitment to a distinct political culture, one that favored gradual evolution over radical change. 

Today, this architectural distinction continues to be relevant, underscoring the differences in national identity and political culture between Canada and its southern neighbor. The Gothic style of the Parliament Buildings serves as a physical reminder of Canada's separate path, reflecting its evolution from a colony to a sovereign nation with its own democratic traditions. The buildings’ pointed arches, ribbed vaults, and intricate detailing evoke a sense of history and permanence, reinforcing a collective identity rooted in a shared past while also symbolizing Canada’s values of stability, continuity, and inclusivity. 

The Gothic Revival style has also taken on broader, more contemporary meanings. While originally chosen to emphasize Canada’s ties to Britain, the style now represents the nation’s unique democratic heritage, independent of its colonial associations. The Parliament Buildings have become a symbol of Canadian sovereignty, multiculturalism, and the country's commitment to its own democratic principles. They also serve as a backdrop for political life and public debate, embodying the openness and inclusivity that are central to Canada’s identity. 

The Centre Block in the process of restoration (my photo).

Canada’s approach to preserving and modernizing the Parliament Buildings further reflects its current values. The current restoration project(2) balances the need to maintain heritage and historical integrity with a commitment to accessibility and sustainability, mirroring the country’s broader goals of environmental stewardship and inclusivity. These efforts demonstrate a respect for the past while embracing progress, ensuring that the Parliament Buildings remain relevant to future generations. 

The distinctive Gothic Revival architecture also plays a crucial role in national pride and cultural identity. As one of Canada’s most iconic landmarks, the Parliament Buildings are instantly recognizable and prominently featured in national imagery, tourism, and public consciousness. Their unique architectural style not only sets Canada apart from other nations but also celebrates its diversity and its status as a bilingual, multicultural country where diverse voices are represented. 

Ultimately, the choice of Gothic Revival architecture continues to reinforce Canada’s distinct path in the world. Unlike the revolutionary origins of the United States, Canada’s nationhood was shaped by negotiation, compromise, and a gradual evolution toward independence. The Parliament Buildings embody this balanced approach, an avatar for a country that honors its heritage while looking toward the future. They are a testament to Canada’s historical continuity, its political evolution, and its commitment to both tradition and democratic values, creating a bridge between the past and the present that continues to shape the country’s unique place in the world.

(1) The original Canadian Parliament Buildings in Ottawa were designed by the British architect Thomas Fuller and his partner Chilion Jones. Their design, completed in the Gothic Revival style, was chosen through a competition held in 1859. Unfortunately, the original buildings were destroyed by fire in 1916. The current Parliament Buildings, completed in the 1920s, were rebuilt based on Fuller and Jones's designs but with some modifications to modernize the structure while preserving its original Gothic Revival aesthetic.

The timing of the construction was strategic, as the buildings were designed to represent the newly formed Confederation and its aspirations. By the time Canada was officially a confederated nation in 1867, the Parliament Buildings were already well underway, helping to establish Ottawa as the political capital of the new Dominion. The buildings' completion and the formal establishment of Confederation were closely aligned, symbolizing the nation's emerging identity and governance. 

(2) Unfortunately, the main Parliament Building (the Centre Block) is closed for rehabilitation during my visit. The West Block is serving as the temporary seat of the House of Commons, which I was able to tour.

Design :: Resilience - The 2024 University of Oregon Reynolds Symposium

October 18-19, 2024 

Oregon State Treasury Building (photo by Tom Hahn).

The 2024 Reynolds Symposium will bring together a diverse group of designers, academics, researchers, public servants, and others to explore resilience in the face of shifting ecologies, communities, and climate disruptions. 

This event will feature keynote speakers, panel discussions, and an interactive design activity focused on resilience. Attendees will also have opportunities to network with presenters and peers during extended breaks. A highlight of the symposium includes an optional tour of the Oregon State Treasury’s new U.S. Resiliency Council (USRC) Platinum-rated headquarters in Salem. 

The discussions will address the immediate challenges posed by storms, wildfires, and earthquakes, alongside the broader, long-term impacts of climate change on water, food systems, and migration. The symposium will delve into how professionals in architecture, landscape, and interior design can shape environments that not only withstand these challenges but also foster thriving communities. 

Key topics include real-world examples and strategies for resilient design at various scales, from neighborhood resource hubs that strengthen social ties to urban infrastructure that maintains critical services. The symposium will also explore the relationship between resilience and sustainability, examining whether these two concepts are complementary or distinct. 

Dynamic and interactive sessions will allow participants to engage deeply with these ideas through exhibitions, workshops, and panel discussions led by experts in the field. Attendees can earn up to 8 AIA LU/HSW continuing education credits. 

Attend the symposium October 18-19, 2024 and leave ready to help shape the future of resilient design. 

Organizing Committee 

• Tom Hahn, UO Career Instructor, Architecture 
• John Reynolds, UO Professor Emeritus, Architecture 
• Alison Kwok, UO Professor, Architecture 
• Nicholas Rajkovich, Associate Professor, University at Buffalo 
• Maria Coronado Cabrera, UO PhD Candidate, Architecture 
• Lindsay Ahmed, BARCH & Sophia Blatnik, MARCH, UO student coordinators 

Symposium Sponsors

• UO Architecture Reynolds Endowment 
• UO Architecture Davis Family Fund 
• AIA Oregon 

Registration Information

Early-bird registration closes Monday, September 16. The registration includes all sessions, keynotes, panel discussions, the building tour, and meals. Up to 8 AIA LU/HSW credits are available. There will be no live streaming of the event. 

REGISTER NOW through Eventbrite: click Link: HERE

Eugene Civic Park – Phase 2 Update and a Project Interview

Civic Park, Phase 2 under construction, September 7, 2024 (drone photography by Levi Connelly, Chambers Construction)

Travel along Willamette Street past Civic Park and you’re certain to notice the flurry of recent construction activity occurring there. Rapidly taking shape is the second and final phase for Civic Park. As they did for project’s initial phase, Chambers Construction is leading the construction effort for Phase 2, which will see the completion of the facility’s stadium seating, spectator concourse, press box, public restrooms, and more. Chambers anticipates wrapping everything up before the turn of the calendar to 2025.

As I described back in 2017, Skylab Architecture of Portland led the design effort for Civic Park, while Robertson/Sherwood/Architects (RSA) served as the architect-of-record. The key members of the talented Skylab team were Design Principal Jeff Kovel, AIA, and Senior Associate Jamin AAsum, AIA. I enjoyed the privilege of working alongside them as RSA’s project manager.

Following is a terrific interview with Jamin, conducted in-house this past spring by Skylab’s marketing team. In it, he recalls the project’s genesis, his key role in assisting the Eugene Civic Alliance and KIDSPORTS with the development of the earliest concepts for the project, and subsequently helping to resurrect it in the aftermath of the June 2015 fire that reduced the old Civic Stadium to ashes. Skylab regards this transcript of the interview as source material for use in their future proposals and marketing efforts. I thank them for kindly allowing me to publish it here on my blog.

PROJECT INTERVIEW CIVIC PARK 

Interview with Jamin AAsum, Senior Associate
5 April 2024
 

Jamin AAsum, AIA

How did the project come to us?
So, it all started with my wife. She's involved with a non-profit back in Eugene, where she lived for two decades, and that's where this whole project unfolded. There was an iconic old wood baseball stadium from the 1930s, a true landmark in the city. It had been a community effort back in the Depression, a place with a rich history. People remember going there for Fourth of July celebrations and local baseball games for decades. All the high schools even held graduations there. But by the time I got involved, things were rough. The Eugene Emeralds, a Minor League team, had left a couple years prior, and the stadium itself was in disuse and disrepair. The city even wanted to tear it down. There were other proposals on the table, like selling it to Fred Meyer for a new store.
 
That's when I got connected with a local non-profit called KIDSPORTS. They had allied with a local group that wanted to preserve the stadium they idea was to build a new fieldhouse next to the stadium and keep using the field and the stadium itself for community events. They asked me to help design it pro bono. For a year, I did just that—designing the fieldhouse, creating renderings, and even helping them put together proposals for the city.
 
Out of all that effort, a new non-profit called Eugene Civic Alliance (ECA) was formed. They raised enough money to buy the stadium, which was fantastic news. We were just getting ready to move forward with the design and construction when disaster struck. Five or six kids playing with matches accidentally started a fire in the fieldhouse. It was all wood, and, although the fire station was just a few blocks away by the time they arrived, the place was a complete loss.
 
This huge setback called for a quick response. They called me right away, asking if I could come down the next day to help them re-imagine the whole project. So, over that weekend, I basically sketched out a whole new plan on the fly—a new stadium and a new fieldhouse. It actually turned out to be a better solution in the end.
 
That's when things really took off. Skylab was invited to submit a proposal for the design work, and I already had a history with the project. We teamed up with a local architect and a landscape company that I'd been doing pro bono work with—basically the perfect team already in place. I already knew all the key players, so it was a natural fit. That's how we landed the job.
 

Jeff Kovel (left) and Jamin AAsum (seated) of Skylab Architecture, and Matt Scheibe of Cameron McCarthy Landscape Architecture & Planning during a Civic Park design charrette at Skylab's office in Portland.

Do you remember what year that was? And what was the scope?
I want to say that it burned down in 2015, and the first phase was constructed in 2018. The whole project was a massive undertaking—around $35 million. It was a huge fundraising effort for a non-profit in Eugene. They couldn't raise everything at once, so they prioritized the fieldhouse and the field itself. Building the field was a challenge in itself—the ground turned out to be a swamp, requiring expensive dewatering work. They secured federal funding from a local congressman who got them federal money, and they secured $6 million from Oregon lottery funds. The plan was always to raise the rest for the stadium in a second phase, but that proved difficult. However, a seemingly small detail proved crucial—the permits for the entire project had to be obtained all at once. This meant they had to do some minor construction along the way, every year, just to keep the permits valid. This turned out to be a lifesaver, as it essentially kept the project alive over the course of several years. They never lost sight of the ultimate goal, and remarkably, they're building the second phase of the project exactly according to the design we originally created.

 
So, what are they building now?
Construction of the stadium itself is underway. It's built into the side of a hill, with major streets flanking both sides of the site. The fieldhouse is already up on the east side. On the west side, the ground slopes to meet the west side street and the stadium's concourse level. The stadium will seat just under 3,000 fans, and construction is progressing. The field level area will house locker rooms, referee rooms, storage, laundry facilities, and the like. Up on the concourse level, we have restrooms that cater to the stadium crowd and a press box. They're also planning concession areas that could potentially host food trucks and other vendors.
 
Who's going to use this facility in addition to them?
The key thing to remember is that this is a community facility. But it's also designed to be self-sustaining for the Eugene Civic Alliance non-profit. Their financial projections showed that renting the stadium out for various events would be a viable income source that might make them self-sustaining. This includes all the things that used to happen there – high school games, for example. There's even a local semi-pro soccer team that will call it their home field. So, it'll be a multi-use space, accommodating both soccer and football, allowing the high schools to continue their football tradition there as well. Why did they feel Skylab was the right fit for them? Nancy Webber(1), who had managed Obama's presidential campaign in Oregon, played a pivotal role in the project. Her political experience made her a shrewd fundraiser and negotiator, and she was determined to achieve a top-notch design. Nonprofits often operate with limited resources and settle for what they can afford. But Nancy believed KIDSPORTS, a remarkable organization serving 16,000 kids annually through after-school programs, deserved the best design. She knew my work and Skylab's reputation for design excellence, and she championed our involvement. There were additional connections: the builder of both our houses in Eugene and Portland also built hers. Nancy's familiarity with me spanned various aspects of our lives and created a strong foundation for collaboration. She actively sought Skylab's participation and advocated for us throughout the process.
 
What else can you tell us about their goals? For the project? What did the client do other than just the programming you have already mentioned? What did they need this project to do?
The name "Civic Alliance" reflects the project's focus on serving the community. While KIDSPORTS is the primary tenant, acting as the flagship program, the park's vision extends beyond youth athletics. Once the stadium is complete, it will cater to a broader range of users, transforming the perception of the space.
 
The location is truly prime real estate. Situated directly across from South Eugene High School—the largest, oldest, and arguably most esteemed high school in Eugene—Civic Park sits at the heart of a recreational hub. The surrounding area boasts a city pool, miles of bark dust jogging trails, softball fields, tennis courts, community pools and a YMCA. This central location ensures the project's high visibility, making it a landmark recognized by everyone in Eugene.
 

Aerial view looking southwest. Visible in the foreground are the footings for the yet-to-be-installed aluminum & steel grandstand. Team locker rooms/showers, mechanical & electrical rooms, and storage facilities are located below the concourse.

From a design perspective was there anything that this project needed to do, or was dictated as part of the creative brief from the client?
There was definitely an initial element of surprise about the process of designing. I believe everyone involved gradually became design enthusiasts as the project progressed. Once construction was complete, their appreciation for design truly solidified.
 
Nancy Webber played a crucial role advocating for design excellence. She functioned as our voice throughout discussions, emphasizing the importance of exceptional design. Our Eugene-based partner architect, Robertson/Sherwood/Architects, while serving as the Architect-of-Record, also championed our design vision. Although we were the design architects, they fiercely protected our work and meticulously guided all design aspects through the project. Their dedication continues even now, as they still reach out for our input on details like color choices and implementation methods.
 
Skylab values Narrative, Strategy and Regeneration. What inspired the design that we ended up proposing to them?
Chambers Construction, a major Eugene firm and strong supporter of Civic Alliance and KIDSPORTS, was chosen as the general contractor (GC) for the project. We collaborated closely with them throughout the process.
 
Budget was a significant concern, especially for such a large building with four basketball courts requiring a vast open space. Chambers Construction initially proposed a pre-engineered metal building system from Butler, a common choice for cost-effectiveness. While hesitant about aesthetics, we saw an opportunity. We proposed a plan to "tweak" Butler's system while still reaping the cost benefits. The exposed structural elements inside became a unique feature. Unlike typical hot rolled steel beams, the Butler system consisted of steel plates assembled together to make beams and columns. This ended up creating a more substantial and almost athletic feel, and really reflecting the building's purpose.
 
A primary focus was the building's "skin"—its exterior. We utilized a commonly used box-ribbed metal panel system, but with a twist. We employed two different scales of the panels and strategically divided the building, creating a zipper-like effect that visually suggests movement. Additionally, we incorporated splashes of silver metal panels throughout, originally intended as windows but ultimately transformed into design elements that echoed the green accents in the glass.
 
The green theme continued inside. We opted for a fully immersive green color palette, incorporating over 20 different shades. Even the wooden gym floor received a green wash treatment. This extensive use of green, combined with the natural light filtering through the green-tinted glass, creates a cathedral-like atmosphere.
 
Finally, we addressed the conference room located on the second floor. My vision was to make it feel like the occupants of the room were a watchful presence overlooking the entire facility. This room, filled with portraits of donors and key figures, cantilevers over the entrance and out towards the field at an angle. Gesturing towards the youth. This unique element further enhances the dynamic interplay between functionality and design.

View from directly above Phase 2.

 
What were the challenges we encountered while designing the project?
The project wasn't without its challenges. Nonprofits are led by volunteer boards, and ours required regular presentations to ensure financial stewardship. Convincing them of the value of the design and keeping them on board throughout the process demanded a concerted effort.
 
To address these challenges, I started commuting to the architect's office in downtown Eugene by train with my bike. This fostered a strong personal connection with both the architect and the landscape architect. Weekly owner-architect-contractor meetings further solidified these relationships. This frequent and open communication proved invaluable in guiding our design vision through the construction phase.
 
Chambers Construction, thankfully, proved to be a respectful partner who understood our design intent. Notably, in collaboration with the landscape architect, Jeff played a key role in designing a cohesive system around the field. This system seamlessly integrated the building with the stadium and the surrounding site, which sits nestled into a hillside.
 
Can you say more about how we did that? How do we integrate it?
The landscape design incorporated the "Skylab touch"—where various angles harmonize to create a cohesive aesthetic. Originally, berms with trees were planned around the field, but this concept was rejected due to concerns about encroaching on playing space. Another alteration involved extending the artificial turf to the edges, eliminating the berms entirely.
 
Despite these changes, the overall landscape plan remains a prominent feature. The building's integration into the hillside is evident in stadium photos and construction updates. A significant expense was the massive retaining wall, stretching the length of a football field or even longer. This two-foot-thick wall with a complex drainage system was necessary due to the slope behind it, which previously channeled water into a nearby swamp.
 
To address this water challenge and contribute to ecological regeneration, a 150-foot swale was constructed along the building's east side. This swale collects and purifies water before it re-enters the ecosystem via Amazon Creek, which ultimately flows into the river.
 
Water management was considered a crucial aspect of the project, not just a challenge to overcome. The natural drainage system swales and restored habitat are key features. The field's layered drainage system, designed by the landscape architect with technical expertise, ensures the field remains consistently perfect in wettest winters.
 

View of the concourse, looking north. The restrooms building is to the left, and the press box is on the right.

What other hidden opportunity or moment did we uncover?
To achieve cost-efficiency and facilitate phased construction, the stadium design utilized a unique approach. Instead of traditional concrete construction for seating areas, a framework was built. This elevated the concourse 20-25 feet above the field, allowing for programmatic space below. We then adapted an off-the-shelf aluminum bleacher system to seamlessly integrate within this framework.
 
As with any Skylab project, we creatively treated these standard components. Additionally, a separate system incorporated flags, signage, and other graphic elements to unify the visual experience and connect it to the game atmosphere. For example, the exit passageways from the field to the underside of the stadium, sometimes referred to as "vomitoria," were incorporated with color and graphics.
 
Previously, KIDSPORTS and the stadium had minimal graphic elements. I collaborated with Nancy Weber to bring Downstream on board. Their task was to develop a comprehensive graphic identity for both the project and KIDSPORTS. Essentially, Nancy was urging KIDSPORTS to embrace a modern approach with a professional branding strategy, including fonts, colors, and a thematic look that would integrate with the architecture.
 
Amy DeVall, Interior Designer at Skylab, created a striking green color scheme with a tonal range. Initially, it was a challenging sell to the client and the board. Eugene has a certain aesthetic, and some people worried the design would be too similar to the University of Oregon's branding. There was a concern about straying too far from a perceived "Eugene identity." We argued that KIDSPORTS could have its own unique identity while maintaining consistency across its messaging and marketing materials. Thankfully, the green scheme has been very well-received, and even Skylab, with some initial reservations about the extensive green, now recognizes how effectively it unifies the entire space. The overall experience is one of complete cohesion, and I'm excited to see how the stadium integrates into this visual landscape.
 
What did you think was the coolest design solution that was kind of offered?
I'm particularly impressed by how Jeff's landscape design iterations introduced a sense of movement; what Nike might call "kineticism." The diagonal lines he incorporated became a recurring motif throughout the project. This is evident in everything from the signage to the monument street signs.
 
One of my personal favorites is the entry signage. It resembles a lightning bolt and serves multiple purposes. It prominently displays the building's main signage but also integrates the donor wall, a timeline, and some graphics silkscreened by Downstream. Multiple panels stretch roughly 60 feet, and guide visitors entering the building. As you pass the stairs, you transition into the main building area.
 
The project was completed a few months before the pandemic. During that challenging time, I received a call from Bev Smith, who had recently succeeded Nancy Weber as the leader of the Civic Alliance. Bev, a two-time Canadian Olympic basketball player and former UO coach, expressed her immense gratitude. She called our design "genius" and credited it with saving KIDSPORTS as an organization by allowing them to function during the covid lockdown.
 
Previously, KIDSPORTS relied on after-school programs delivered directly at various schools. Coaches would transport equipment from a central location, creating logistical challenges. With school closures and restricted access to fields during COVID, KIDSPORTS' entire operation was at risk.
 
Fortunately, the new facility, with its design and multiple entrances, proved to be a lifesaver. Separate entry points from the field, originally planned for coaches, kids and injured players, and a clear front entrance allowed for program segregation and safe operation outdoors and indoors. Bev couldn't contain her enthusiasm, calling me multiple times during COVID to express how perfectly the design functioned. It met all their needs and exceeded expectations.
 
Personally, this project ranks among the most fulfilling of my career. The positive feedback, the beautiful and innovative design, the sustainability aspects—it truly checks all the boxes. Most importantly, it serves as a valuable and cherished community resource.
 

Rendering showing the completed Phase 2.

Anything more you'd like to say about the sustainability strategies that we used on this?
Daylighting was a major consideration for the courts, but budget constraints ultimately led to a compromise. We utilized a daylighting model tested at the UO's daylighting lab to optimize natural light penetration. While initial plans included skylights for complete daylight operation, they were removed due to cost. However, the current design allows for play during the day using only natural light from the east wall, especially during early mornings when the sun doesn't hit the opposing side. This aligns perfectly with after-school program schedules.
 
The offices on the west side of the second floor have deep sunscreens integrated into the window system to manage afternoon sun exposure.
 

We previously discussed how the natural landscape influenced the stadium's nestled design. Here's another interesting detail: On the north side of the property, there was an existing pathway connecting the neighborhood on the hilltop to the high school. The city facilitated negotiations with Civic Lions Club, who donated a small triangular parcel of land for a park. This donation included a landscaped pathway dedicated to a local female cyclist, athlete, and youth advocate who tragically passed away. The pathway has a special name that I can't recall at the moment, but it holds significant meaning to the community. This Z-shaped path winds down the north side, separate from the fenced area around the field and stadium, creating a peaceful community space that beautifully integrates giving back to the community. An additional safety measure implemented was a stoplight to assist children crossing the busy Amazon Parkway. 

(1)  Sadly, Nancy passed away recently. She would have been so happy to see Phase 2 fully realized. 

Cascade Middle School Tour

Mark Young, AIA, LEED AP BD+C leading the AIA Eugene tour of the new Cascade Middle School, August 29, 2024 (all photos by me).

The Eugene Section of AIA Oregon hosted a tour last week of the newly completed Cascade Middle School. Designed by a team led by Rowell Brokaw Architects (RBA) and built by Todd Construction, the project replaces one of the Bethel School District’s oldest buildings. Bethel voters passed a $99 million bond measure in 2020 to fund the project, part of a broader effort to upgrade facilities throughout the district. I thoroughly enjoyed the tour of the new school, which stands as a showcase for RBA’s characteristically thoughtful and pragmatic approach to K-12 school design. 

Main entry.

Our tour guide was RBA senior principal Mark Young, AIA, LEED AP BD+C. Mark provided a thorough description of the project, from its initial programming through design and construction, while sharing insights and anecdotes illuminating the vicissitudes inherent in such a complex undertaking. He characterized the school as a “best practices project,” while emphasizing how RBA viewed every design decision through the lens of being good stewards of the voter-approved funds. The direct construction cost for the new building and site improvements totaled approximately $44 million.

Site Plan.

The new school makes a strong first impression. Its exterior materials are both handsome and crisply detailed, and the massing is modest enough to fit comfortably with the scale of nearby single-family homes. The decision to locate the building at the southeast corner of the site allowed the existing school to remain operational during construction, ensuring a smooth transition for students and staff. The old building has since been demolished to make way for an expansive green space that preserves several mature trees. 

Exterior view of the classroom wing that faces Wilhi Street.

The Commons. Note the mural by Patrick "Teak" Price.

The overall parti of the new building is refreshingly straightforward. The central Commons area is a double-height, daylit space that serves as the school’s multifunctional hub. It connects the main components of the building: the two-story classroom wing to the south, the music wing to the north, and the gyms and administrative areas to the west. Two exterior plazas flank the Commons, offering a welcoming environment at the building’s main entry on its west side and access to a covered outdoor area through a large garage door to its east. 

The new building houses 90,000 square feet of enclosed space, plus 3,000 square feet of useable covered outdoor space. In addition to a standard complement of classrooms, CTE (Career Technical Education) spaces, a media center, and music rooms, the design includes a community health clinic in the renovated former music building. This adaptive reuse minimized costs and waste while providing a valuable resource for the neighborhood. 

Shared learning area.

Sustainability was a key priority. The building easily meets energy code requirements, in part as confirmed by a blower door test that showed air leakage well below code standards. A photovoltaic array on the gymnasium roof fulfills the state’s green energy technology requirements, further enhancing energy efficiency. Although the window-to-wall ratio is relatively low at 13.5%, the design ensures that all classrooms receive natural light and have views to the outside. Skylights in shared learning areas help break up long hallways, providing dynamic spaces for circulation and informal learning. I certainly did not find the amount of light and views lacking, a testament to RBA’s skill with design for daylighting. 

Media Center.

Typical classroom.

Music room.

Art plays a notable role in the new school in the form of murals by Patrick “Teak” Price, a Tlingit artist from Alaska. His work, which depicts local flora and fauna and Native American cultural elements, connects the school to its place in the community and provides both aesthetic value and educational opportunities. 

A separate entrance to the gyms allows for secure after-hours access, accommodating community sports and activities without compromising the rest of the school’s security. 

One of the two gymnasiums.

The tour highlighted RBA’s approach to creating a functional, community-oriented school that fits well within its environment. The design is not about pushing architectural boundaries but rather about delivering a practical and effective solution that meets the needs of students, staff, and the broader Bethel community. Decisions such as the integration of natural light, efficient circulation, and flexible use of spaces, reflect careful consideration of how the school will operate daily. 

I appreciated seeing how RBA balanced modern educational design with practical and sustainable choices that align with the project’s goals and constraints. It will be interesting to see how the building performs over time and how it continues to serve evolving educational needs. 

Kudos to the entire Cascade Middle School team for their work on this project, and big thanks to Mark for leading such an insightful tour.