Transforming a Baltimore silversmith foundry into a world-class academic research lab

We worked in an occupied building during construction—the users on the floor above performed work that could not be interrupted. They had various services running overhead to their space that we relocated at night or on the weekends. It took an amazing amount of coordination. We also had to raise the 1970s structure by one foot. First, we replaced the open bar joists with thick steel beams, then we cut out those deeper joists. The instruments also presented many logistical challenges. For example, if the university buys an instrument from vendor A, they provide a list of room requirements. If the university buys from vendor B, it can be a different list. This makes settling on one design solution difficult.

The university said, “We don't know all the instruments we're going to buy yet. We have some ideas.” We asked, “Can we select three different instruments that you might buy? Then, let's look at their characteristics.” These are serious instruments with stringent requirements. To provide the university flexibility, we developed typologies of space around them—Type 1 was most sensitive, Type 2 was less sensitive, and Type 3 was the least sensitive. Characteristics like electromagnetic interference, vibration, acoustics, and temperature guided our design.

The engineering school challenged us to show that moving into an existing building can be powerful. Sometimes, it’s hard for people to envision how something can be renovated. In the 1924 building, the new office space had this cool riveted steel structure with wooden joists, so we wanted to expose that. In the 1970s addition, the space leading to the instrument rooms is called the quiet corridor. We didn’t want footsteps or noise impacting the rooms, so we put carpet on the floor. The more sensitive instrument rooms don't have windows, so we have control rooms and monitors outside with cameras showing what's inside. We also installed circadian lighting because people could be sitting there running an image for 12 hours or more. These spaces are typically so white and sterile, so a “starry night” ceiling and wood slats add warmth to the space. It's really about the experience of walking through the quiet corridor, which is intended to be a showcase.

In most of the rooms, we needed to incorporate acoustic panels to absorb sound. Normally, that's a flat panel you put on the walls and the ceiling. The lab’s director of operations, who’s a geologist, wanted something different. He showed us an image of a geodesic dome and various rock formations. We came up with a cost-effective, one-size sloped panel that can rotate to create that geometric aesthetic. It can also help break up the sound waves easily and quickly. It’s both aesthetic and functional, just like everything in the lab.