Then the architect is Antoine Predock. He designed the ASU art museum too, and he did something for PCC but I don’t remember what. There is a striking resemblance in your photo to the corridor just west of the Photo area at PCC. I did many Pt/Pd demo sessions there from the mid-'90s until a few years ago.
Apologies for the digression. 
Cyanotype is not my main focus by a long shot, but I did spend a good month or so doing it with a student last fall. Couldn’t get anything I felt was worth printing images with using the classic formula (FAC), but did get some lovely results with the Ware formula (FAO) especially on Platine. I made a successful linearization for Platine, but still found it to wander a bit in actual practice. It’s very sensitive to slight changes in process, even mundane things like wash time, and I suspect temperature as well. Recently, Christina Anderson has mentioned a variation on the concentration of part A of the classic formula that she has found to produce superior results. Normally, it uses a 20-25% solution of FAC, but Chris has reduced it to a 10% solution, which she says lengthens the tonal range significantly and also improves smoothness, both characteristics where classic cyanotype has always been lacking. The Ware formula is also superior in that regard, but is a bit more complicated.
I guess the gist of all this is that you really need to have all parameters pinned down before linearizing, because any change you make will require relinearizing.
Sorry if I’m just saying things you are aware of already.