Search results for "SHoP"

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A Pretty Penny

SHoP’s American Copper Buildings wear a skin designed to age gracefully
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The aptly named American Copper Buildings, two copper-clad towers designed by SHoP Architects on Manhattan’s First Avenue between East 35th and 36th Streets, rise to 48 and 41 stories respectively. The two towers, “bent” in the middle, are linked by the first new sky bridge in New York City in more than 80 years.
 
  • Facade Manufacturer Jangho, ELICC Group
  • Architects SHoP Architects
  • Facade Installer Jangho, ELICC Group
  • Facade Consultants Buro Happold Engineering
  • Location New York City
  • Date of Completion 2018
  • System Unitized aluminum frame system mounted to slab edges
  • Products SEFAR® VISION Fabric, Copper composite panel with fire-retardant core and stainless-steel backing
The panels that give the buildings their name are made with a copper composite that includes a fire-retardant core layer and a stainless-steel backing. The facade system is a unitized aluminum frame mounted to the buildings’ slab edges. When asked about the material choice, Ayumi Sugiyama, director of cultural projects at SHoP, told AN, “We love our ‘live’ materials at SHoP, using metals that continue to oxidize and have an evolving appearance and where the oxidation of the material protects or preserves itself.” The project team considered many metal alloys for the towers but chose copper because of its transition over time from a bright, shiny material into a darker brown finish and finally to a green patina. “It’s a material New Yorkers are familiar with—we see it on our Statue of Liberty and the roofs of iconic buildings such as the Woolworth Building,” said Sugiyama. Along with the richness and patina of the copper, SHoP aimed to create a facade that used texture and variation to accentuate the form of the buildings. The firm did this by staggering the patterns of the panels emanating from the sky bridge. The overall pattern seems complex at first glance, however, the system was standardized for ease of fabrication and installation. Each unit used one of four typical window sizes. The sky bridge itself, a 100-foot-long, three-story structure, is clad in glass with an aluminum mesh interlayer. The mesh fabric is a contrast from the copper of the two towers and seems opaque from the exterior. The aluminum finish faces the exterior, while the interior is painted black and visually recedes, allowing for views of the city. The fabric interlayer also improves thermal performance by reducing solar gain.
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Undulating Fins

SHoP Architects adds aluminum luster to Nassau Coliseum
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  • Facade Manufacturer Alucobond; Sobotec Ltd.
  • Architects SHoP, Gensler
  • Facade Installer Crown Corr; Hunt Construction Group (general contractor)
  • Facade Consultants SHoP Architects
  • Location Uniondale, NY
  • Date of Completion 2017
  • System Aluminum screen
  • Products Alucobond® PLUS naturAL Brushed
Originally opened in 1972, the old Nassau Veterans Memorial Coliseum on New York's Long Island was given a facelift and interior renovation by SHoP and Gensler respectively in 2015.  SHoP’s team relied on the concrete massing of the 1970s structure to shape a new facade composed of over 4,700 brushed aluminum fins that wrap the building in broad sweeping curves. The project, which benefitted from a rigorous digitally-conceived workflow, delivered the new undulating facade geometry by precisely varying each of the fins in profile and dimension. Two primary fin shapes are designed from one sheet of aluminum composite material (ACM), minimizing waste while highlighting SHoP’s commitment to a design process that is tightly integrated with fabrication and assembly processes. John Cerone, associate principal at SHoP, told AN that one of the successes of the project is the new facade's reflective effects that pick up on colors of the surrounding landscape. This is especially evident during sporting events where crowds wearing the home team’s colors reflect onto the facade. The project in many ways mirrors SHoP's success with Barclays Center over five years ago—same client, same building type, similar design process. When asked what, in this project, arose as a surprise or a challenge to the design team working on Nassau, Cerone candidly said, "Nothing!" He elaborated, "As we continue these projects, it's a continuous iteration: We recycle process. I don't think this industry does enough of that." "Don't ignore fabrication constraints and input from contractors," Cerone said. The fins are planar and negotiate a ruled digital surface, which was informed by early feedback from fabricators and contractors. "An intelligence builds from doing other projects like this. While the componentry and hardware differ, the actual process of how you structure the model and develop methods of automation improves with experience." The architects cite simple definitions which they adopted and advanced from prior projects which help to automate the generation of parts for geometrically complex assemblies. "This to us was a proof. It's a great testament to not being surprised by the process," Cerone said. The design process for SHoP was initiated with a laser scan of the existing arena, resulting in a highly detailed topographic mesh surface that became the base geometry for forthcoming design and fabrication models. The framework of the new skin was designed as a long-span space frame, springing off massive existing concrete piers that were, in the words of Cerone, impressively over-structured. The resulting structural subframe was assembled on the plaza level of the stadium and craned into place. Only 32 “mega-panels” were required. "Facades are the closest you can get to manufacturing in architecture," Cerone said, "but we are looking towards using this process throughout the building. How can it inform the superstructure and the interior? We are working to scale this process up."
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Jealous, St. Paul?

SHoP Architects set to design Minneapolis’s riverfront performing arts center
Minneapolis will be getting an elevated amphitheater on the banks of the Mississippi River courtesy of New York’s SHoP Architects. The firm was chosen by Minneapolis music institution First Avenue Productions to design the new Upper Harbor Terminal Community Performing Arts Center (CPAC); a combination park-performing arts center-event venue. CPAC will create a new 2.3-acre public park on the waterfront on city-owned land that will double as a performing arts space. SHoP’s “Gantry,” a multi-story metal seating structure, will float most of the venue’s 6,000 seats above ground level and free the park up for public use when not scheduled for events. The stage, segmented into its own separate building, can also be enclosed during inclement weather for smaller performances. The Gantry leaves its structural elements exposed, and the catwalk-like design is a callback to the waterfront’s industrial past—a past that, from renderings, will be heavily referenced in the new park’s design. CPAC will seat up to 10,000 visitors, with room for 4,000 standing attendees, and 10 private boxes. “Minneapolis and First Avenue have a long history of creative transformation, and a rich legacy of music and culture,” said founding partner of SHoP Architects Gregg Pasquarelli. “We are thrilled to be working together to expand upon this tradition. In designing the UHT CPAC, we were inspired by what makes First Avenue one of the country’s most intimate and special music venues, focusing on the idea of creating an inclusive venue where everyone feels like a VIP, while also allowing for a larger, open park and green space open year-round for the North Minneapolis and surrounding communities to enjoy.” The renderings released last Wednesday were the public’s first look at plans for the north Minneapolis site, of which CPAC is just a small part. If the plan is approved by the City Council and Minneapolis Park and Recreation Board, the 50-acre Upper Harbor development would bring residential and office buildings to the waterfront as well. Construction on the project’s first phase, including CPAC, could begin in 2020 depending on how fast the development clears the approvals process. In the meantime, developers United Properties, Thor Companies, and First Avenue will be soliciting public feedback on their current scheme.
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Keeping Up A-Pier-Ances

SHoP and Field Operations bring a mall, public space, and balloons to Lower Manhattan
As SHoP Architects and the Howard Hughes Corporation continue to put the finishing touches on Pier 17, AN took a behind-the-scenes look at the Manhattan seaport’s reinterpretation of the big-box mall and the massive rooftop gathering space above. The 300,000-square-foot mall and public space has been under construction since 2013 and has undergone several design tweaks since its original presentation before the Landmarks Preservation Commission (LPC). The proposed glass pergola on the roof has been cut, as has the lawn shown in earlier renderings. The roof is now covered in pavers and designed for flexibility; the planters are modular and can be moved to accommodate larger crowds, and a freight elevator allows food trucks onto the roof directly from the adjacent FDR parkway. According to Howard Hughes, the roof can accommodate up to 3,400 (standing) guests. SHoP took suggestions from the LPC and surrounding community into account when linking Pier 17 with the surrounding waterfront and in their decision to wrap the East River Esplanade around the building. The Esplanade extends into the interior of the first floor, as the building’s base is wrapped in double-height glass doors that can be fully raised if weather permits. The restaurant and retail sections have been reimagined as two-story 'buildings', separate from but still attached to the main structure and aligned on a grid that preserves views of the Brooklyn Bridge and surrounding skyline. SHoP has clad each building-within-a-building in materials that correspond to the area’s nautical heritage, including sustainably harvested tropical hardwood, corrugated zinc sheets, and overlapping zinc tiles. Howard Hughes has already locked down several big-name anchor tenants for Pier 17, including a two-floor restaurant from David Chang and upper-floor office space and a green room for ESPN. Outside, SHoP has collaborated with James Corner Field Operations for the landscaping and furniture, and global firm Woods Bagot has designed the Heineken pavilions. Visitors looking to soak in views of Brooklyn will also find a bar and lounge on the eastern side of the building in the shadows of artist Geronimo’s massive multicolored balloon sculpture. Her creative process is documented in the video below: The top half of Pier 17 has been clad in vertical panes of foggy green-gray channel glass, which rises and falls as it wraps around, in reference to the passing East River below. Some of the crazier renderings have shown the building’s upper floors lit up in technicolor at night, and internet-connected color-changing lights have been embedded in the facade. The public can experience Pier 17’s rooftop when it opens to the public on July 28, complete with an accompanying concert series.
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Setting Up SHoP

SHoP Architects tapped to transform Manhattan tower into haven for tech startups
New York firm SHoP Architects is hopping on the coworking train with a commission to design and renovate 335 Madison Avenue into the new home for Company, a vertical tech campus that combines working spaces and lifestyle facilities. Within the 350,000-square-foot space, Company will house “a curated community of top-tier companies that spans the innovation spectrum from venture-backed startups to large enterprises,” according to Company's description of the project. Company’s office building is located next to Grand Central Station in Midtown Manhattan. SHoP has recently unveiled a series of interior renderings that showcase the firm’s plan to renovate the atrium lobby and office floors of the building. They will also design supporting amenity spaces. The new spaces include “a bar, multiple dining venues, several event spaces, a two-story glass enclosed library, a wellness center and a gym, and a terrace.” The location will also create ample networking opportunities for the tenants of the building. The startup offices on the lower floors are furnished with “meeting rooms, phone rooms and breakout spaces optimized for productivity,” according to a statement from Company. Those offices range from 2,000 to 12,000 square feet. The enterprise offices will take up the upper floors of the 29-story building with open floor plans.
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Neo EU

Rem Koolhaas is leading a workshop to make the EU cool again
Say what you want about the European Union (pipe down, Brexit people) but nobody is praising its branding these days. EU officials know this and have commissioned none other than Rem Koolhaas to help reform its image in this time of nationalist and anti-globalist pushback. Koolhaas and German photographer Wolfgang Tillmans earlier this year put out a call for ideas to essentially re-brand Europe, and this week they are hosting Eurolab, a four-day workshop at the Forum on European Culture in Amsterdam to hone the best of these schemes. According to Eurolab's website, this will be a "4-day fact-finding mission exploring what has gone wrong in the last 25 years of communicating Europe and how to make a new start." Yoeri Albrecht, one of the forum’s organizers, told the New York Times that it was “a kind of jam session for the greatest cultural thinkers in Europe to tinker and work with the idea of Europe." Koolhaas told the Times that he wanted “to find a crystal clear language to talk about Europe and to give it a more coherent narrative.” He added: “I think that inevitably we also need to look at what’s causing this kind of persistent problem of the difficulty of communicating about Europe." The group plans to share their ideas after the workshop completes on June 3, presenting a "comprehensive toolbox of ideas, visuals and strategies that can be used to communicate the EU in times of rising nationalism, populism and the growing support of far-right parties." That's no small feat. Good luck, Europe.
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Harrison Fjord

A visit with Olafur Eliasson’s art and architecture workshop, Studio Other Spaces
The Danish-Icelandic artist Olafur Eliasson’s multi-story studio is located in an old 19th-century brewery in Berlin’s Prenzlauer Berg district. The combination artist’s studio, materials research laboratory, and fabrication workshop is outfitted with elegant Hans Wegner furniture, displays of Eliasson projects, artwork prototypes, and a glass-walled kitchen for employees’ daily lunches. Inside this calm, but busy, workshop there is now an architecture office. Directed by Eliasson and architect Sebastian Behmann, Studio Other Spaces is a natural outgrowth of the large-scale public sculptures and installations that Studio Olafur Eliasson has been creating since the mid-1990s. Eliasson has long had an interest in architecture, running an art school called the Institute for Spatial Experiments and working for many years with Einar Thorsteinn, an architect and geometry expert who was a follower of Buckminster Fuller. Studio Olafur Eliasson was also part of the James Corner–Diller and Scofidio + Renfro design team for New York’s High Line park. For several years the art studio has had major clients commissioning projects that were really exterior curtain walls, like the Harpa Reykjavik Concert Hall, designed with Copenhagen-based firm Henning Larsen (and winner of the 2013 Mies van der Rohe Award), which has a facade of quartz-like hexagonal sections. Eliasson writes that he believes the “culture sector in our society is more likely to create change than the public sector, the politicians, or the private sector.” This new architecture office is perhaps a vehicle to combine his dramatic public art with a pragmatic social program. This desire by designers and artists to also be architects has a long lineage going back to the Renaissance through the Vienna Secession, and today we see it with artists like James Wines of SITE or industrial designers like Pentagram and Thomas Heatherwick. Given all the requirements of building, it is still not common for an architect to be grounded in art, but with the capabilities of today’s digital practice and the range of large-scale public art, we may start to see more of these professional distinctions erode. Studio Other Spaces’ recent projects and its facility with spatial design shown here is not just branding, but sophisticated architecture. Head of design in Studio Olafur Eliasson, Behmann is an educated and licensed architect and has been consulting on the studio’s architectural projects since 2001, though the studio only recently began to design major monuments all over the world. The architecture office currently has eight architects on staff, all with different backgrounds. Eliasson said he admires architects because “they build buildings for people who are not interested in buildings—they just work in them, or they just sleep in them, or they just eat in them.” This a very good start for practicing architecture. Ilulissat Icefjord Park Competition The park design uses melting ice to shape space based on a unique design strategy where ice is at once the formwork of a concrete structure and the focal point of the resulting space. Icebergs were harvested directly from the nearby ice fjord to create an exhibition building, called the Ice Void, which harbors the memory of the ice that was used to shape it in its walls. Linked to the Ice Void outdoors by a 360-degree path, the Sun Cone building defines the park. The light glass structure of the Sun Cone positions the visitor center directly in the landscape and offers guests a spectacular panoramic view of the surroundings and the Arctic sun. The park helps make the overwhelming experience of visiting the ice fjord comprehensible—providing visitors with a scale for contemplating and relating to the awe-inspiring ice fjord. Fjordenhus Vejle, Denmark The new headquarters of Kirk Kapital rises directly from the harbor of the city of Vejle, Denmark. Accessible by footbridge, the 75-foot-tall building is formed by four intersecting cylinders with brick facades that have rounded negative spaces, creating complex curved forms and arched windows. The brickwork incorporates fifteen different tones of unglazed brick, making a visually rich surface; blue and green glazed bricks are integrated into the carved-out sections to produce color fades that enhance the sense of depth. The ground floor is open to the public and includes two water spaces that are visible from viewing platforms. Facades of Harpa Reykjavik Concert Hall and Conference Centre Reykjavik, Iceland Olafur Eliasson and his studio designed the show-stopping facade of the Harpa Reykjavik Concert Hall and Conference Centre in collaboration with Henning Larsen Architects. Reminiscent of the crystalline basalt columns commonly found in Iceland, the facade was built from a modular, space-filling structure called the quasi-brick. The quasi-brick is a twelve-sided polyhedron consisting of rhomboidal and hexagonal faces. When stacked, the bricks leave no gaps between them, so they can be used to build walls and structural elements. The combination of regularity and irregularity in the modules lends the facade a chaotic, unpredictable quality that could not be achieved through stacking cubes. The modules incorporate panes of color-effect filter glass, which appear to be different colors according to how the light hits them; the building shimmers, reacting to the weather, time of day or year, and the position and movements of viewers. Your rainbow panorama Aarhus, Denmark In 2007 Studio Olafur Eliasson won a competition to transform the rooftop of Aarhus Art Museum in Denmark. It offers visitors sweeping views of the city, the sky, and the distant horizon. The elevated 360-degree walkway is 492 feet in diameter and glazed with rainbow-colored glass. Visible from afar, the work divides Aarhus into various color zones and acts as a beacon for people moving about the city—an effect that is heightened at night when lights running the circumference of the walkway illuminate it from within.
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SHoP 'til you Drop

Gensler takes over from SHoP on Cleveland’s Quicken Loans Arena redesign
Gensler has replaced New York firm SHoP Architects on the design for the Quicken Loans Arena in Cleveland, Ohio. SHoP had revealed its designs for the Cleveland Cavaliers' basketball stadium, known as "The Q," in December 2016. Work was scheduled to begin on the $140 million project the following year; however, work was delayed for a number of reasons. A spokesperson for Gensler confirmed to AN that Detroit-based stadia specialists Rossetti, who worked with SHoP on the original project, remain involved. Renderings given to AN by Gensler show the arena's overall design is mostly unchanged. Gensler's design team will come mostly from its Washington D.C. office and be spearheaded by Ryan Sickman, who holds the position of Firmwide Sports Practice Area Leader at the firm. Len Komoroski, the Cleveland Cavaliers and Quicken Loans Arena CEO, commented that Gensler was "well-positioned" for the "extensive transformation" of the 24-year-old arena. "Their experience and global foot print are a great match for this project and the image of Cleveland that will be projected around the world from The Q" he continued in a statement, adding: "The project is off to a great start and we look forward to seeing this unique, impactful transformation come to life." Surprisingly, another collaboration between the two firms wasn't on the cards, despite Gensler and SHoP having previously worked together on the Nassau Veterans Memorial Coliseum in Long Island, another stadium revamp. The former was completed almost exactly a year ago today. In 2013, SHoP's design for a New York City F.C. stadium in Flushing Meadows Corona Park was given the boot amid opposition. "I like the idea of a soccer venue in New York City… What I'm not crazy about is the fact that they want to take public park land in the process," said New York City Comptroller John Liu at the time regarding plans to plonk the 25,000-seat stadium on up to 13 acres in the park. After scouting the Bronx, Columbia University and Belmont Park in Nassau County, and failing to secure a stadium site, New York City F.C. is still on the hunt for a home. Despite only being 22 years old, the Quicken Loans Arena is one of the oldest facilities in use on the National Basketball Association circuit. SHoP's design featured a new glazed facade which stretches the stadium’s footprint closer to the street edge. This fenestration reveals an undulating arrangement of what appears to be wood panels which, given their location well inside the facade and north-facing orientation, don’t seem to serve any shading purpose. Aside from aesthetics, entrance and exit gangway areas will witness an increase in space, thus aiding circulation—a necessity considering The Q hosts more than 200 events every year.
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Corb Your Enthusiasm

Getty Institute to lead Le Corbusier conservation workshops
The Getty Conservation Institute (GCI) will host a workshop series on the three—and only—museums designed by Swiss architect Le Corbusier. The series will discuss the care and keeping of Sanskar Kendra Museum and the Government Museum and Art Gallery (in Ahmedabad and Chandigarh, India, respectively), as well as the National Museum of Western Art in Tokyo. Le Corbusier’s Three Museums: A workshop on their care and conservation is part of the GCI’s ongoing Conserving Modern Architecture Initiative, which is an international program to advance the conservation of 20th century heritage, specifically modern architecture. The conservation of modern architecture presents a number of issues outside of ideological constraints. Concerns stem from material and structural decay: Keeping it Modern, a conservation grant program associated with the Conserving Modern Architecture Initiative, notes that the innovational materials and structural systems found in modern architectural heritage were often untested, leading to their poor performance over time. According to the GCI, the three museums share a number of traits such as an exposed concrete frame, thick concrete pilotis, and surrounding public plazas. All three were designed around Corbusier’s “concept of a museum of unlimited growth,” a museum plan that allowed for the future expansion of the cultural institutions. The workshops, taking place from February 4–6 in Ahmedabad and on February 8 in Chandigarh, include representatives from all three museums and the Fondation Le Corbusier. Participants will discuss the potential paths of improvement for the architectural conservation and collections management for each building. Susan Macdonald, the head of GCI Field Projects, hopes the workshops will generate a conservation network for the three related sites. The events, she explained in a press release, are an opportunity for "museum participants to consider what is significant about their respective museums as individual buildings and as part of the larger collected work of a great architect, each can better develop the necessary conservation policies to care for these significant buildings and their important collections."
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SHoPping Spree

SHoP breaks ground on Michigan’s future tallest building
Michigan Government Rick Snyder, Detroit Mayor Mike Duggan, and Quicken Loans founder Dan Gilbert were on hand for the groundbreaking of what will be the tallest building in Michigan. The SHoP-designed project is now expected to rise to 800 feet, making it at least 70 feet taller than John Portman's Renaissance Center, currently the city's tallest building. New renderings show a slightly more conservative formal language for the project. Most notably, the once slightly twisting tower has been straightened out, and deep curving insets have been designed out of the second (lower) building of the project. New York–based SHoP is working with local architects Hamilton Anderson Associates on the project, which is being overseen by Gilbert’s Bedrock development company. The $900 million project will include well over 300 residential units in the 58-story tower, which sits next to an additional 12-story mixed-use building. The ground level of the lower building will include a large market and exhibition space, along with other retail and civic spaces. An observation deck will top the tower. “The building is conceived around a huge and inspiring new public space, a year-round civic square that, both in its architecture and its culture, will foster and convey the feeling we all share when we work together to imagine what this great city can become,” said William Sharples, principal at SHoP, in a press release. The project is being built on what was once the site of one of Detroit’s most popular department stores, Hudson’s. Once the tallest department store in the world at 25 stories, the Hudson’s building was closed in the early 1980s and imploded in 1998. “Ever since Hudson’s closed its doors in 1983, Detroiters have waited and wondered what would come next and what could possibly live up to the incredible history of that block,” said Mayor Mike Duggan at the groundbreaking. “It’s taken nearly 35 years to get that answer, but when people watch this incredible new building rise and see all of the jobs and opportunity it brings, it will have been worth the wait.” The groundbreaking earlier this week begins the three-year building process. Along with this new project, Bedrock is planning to invest $2.1 billion in four projects throughout the city.
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SITE On

SHoP Architects’ SITE Santa Fe expansion is now open
Two years ago, SITE Santa Fe tapped SHoP Architects to expand and upgrade its home, a former beer warehouse turned museum in a rail yard. Now, images of the newly-opened museum expansion show how the low-slung building was transformed as a polished homage to its industrial surroundings. The contemporary art museum picked New York's SHoP for an addition to the home it has occupied since its founding in 1995. To access the new, 10,000-square-foot space, visitors pass under a metal prow and through an open forecourt to the main entrance. From there, the new program includes a bigger lobby, more outdoor space, 200-seat theater, a sculpture court, more space for education, and a new cafe and store. The extra room will enable the museum to host more exhibitions and reach a broader swath of visitors in Santa Fe, a city of 84,000, and the surrounding region. “We wanted the design to lend a quality of intimacy to the space but also open it up to the energy of the Railyard district,” SHoP Principal Christopher Sharples told CLADGlobal. “Together the new galleries, public gathering spaces, and the exterior entrance signal a mature sophistication throughout the space while also creating an iconic presence for the institution as it moves forward.”
The project broke ground in August 2016, and the museum opened early last month. In all, the expansion brings SITE Santa Fe's footprint to 36,000 interior and exterior square feet. Santa Fe, an artsy city already, is no stranger to adventurous architecture and design. In 2015, designers at Ouchhh, a Turkish studio, brought wild fractal projections to the Digital Dome of the Institute of American Indian Arts, the city's college and museum devoted to Native American art. Two years before that, WAMO Studio transformed a walk-in freezer into a new (dare we say "cool") office for its practice.
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Hands-on workshops cap Facades+ L.A. conference
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Facades+ Los Angeles was a two-day conference that brought together top professionals from the worlds of design, fabrication, and construction to consider how high performance envelopes contribute to and are shaped by LA’s unique architectural landscape.
  • Zero Energy Facades Russell Fortmeyer | ARUP
  • Advanced Detailing for High-Performance Envelopes Chris O’Hara | Studio NYL Brad Prestbo | Sasaki Stan Su | Morphosis
  • Creating the Textured Facade: Delivering Beauty + Function through Advanced Fabrication Anthony Birchler | Zahner Jon Bailey | HKS James Warton | HKS
  • Curtain Wall Systems from Sketch to Completion 101 Ivan Zuniga | YKK AP
  • Facade Rationalization and Management in Dynamo Daniel Segraves | Thornton Tomasetti CORE Studio Gijs Libourel | Thornton Tomasetti
  • Sustainability Through Data-Driven Design Pablo La Roche | CallisonRKTL Margaret Montgomery | NBBJ Andrew Reilman | Integral Group
  • Stick Built Curtain Walls Interactive 102 Bart Harrington | YKK AP Ivan Zuniga| YKK AP
  • The future of ETFE Skins – Innovation in Design, Engineering, Materials and Fabrication Kais Al-Rawi | Walter P Moore Steve Lewis | Walter P Moore Alexander Jafari | Vector Foiltec Martin Augustyniak | Walter P Moore
  • Agent-Based Facade Design Satoru Sugihara| Architectural Technology Laboratorial Venture
After kicking off with a full day 30-speaker symposium, day two offered 9 workshop sessions. The workshops provided a unique opportunity to have an in-depth dialog with leading architects, fabricators, developers and engineers. Class sizes ranged from 10 to 30 participants and offered a deeper dive into issues and discussions from the symposium. Morning topics involved energy efficiency, digital modeling techniques, and detailing fundamentals. Russell Fortmeyer, associate principal at Arup, led a discussion on the pursuit of “zero energy” facades, sharing insights into new tools being developed to “design for the long haul.” Fortmeyer discussed using UK-based weathershift.org and dynamic thermal modeling techniques to anticipate shifting weather patterns in an effort to deliver longer lasting projects. In a hands-on group session titled “Advanced Detailing for High-Performance Envelopes,” Brad Prestbo (Sasaki), Chris O’Hara (Studio NYL), and Stan Su (Morphosis), introduced participants to fundamental detailing issues then broke out attendees into groups to re-engineer iconic mid-century modern details with a renewed emphasis on energy efficiency. The afternoon session offered extended discussions into curtain wall installation and troubleshooting with Bart Harrington, field technical services manager at YKK-AP, and Ivan Zuniga, architectural services manager at YKK-AP. Attendees participated in assembly, installation, and glazing of curtain wall mockups. Satoru Sugihara, founder of collaborative computational design studio Architectural Technology Laboratorial Venture (ATLV), offered insights into how “agent-based” algorithms—complex organizing systems and patterns—can be applied to facade geometry through coding and computational exercises. Representatives from Walter P Moore and Vector Foiltec, a pioneer of Texlon Ethylene tetrafluoroethylene (ETFE) for the building industry, shared research and case study examples in a presentation that blended design, material science, and construction logistics. As a whole, the suite of workshops touched on a range of complex issues, interconnected by the increasing demand for an energy efficiency, that balance conceptual ideas about projected futures, rapidly evolving innovation in material science, optimization techniques for working with digital model geometry, and technical detailing to achieve long-lasting high-performance results.