Search results for "morphosis"

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Fiber Cloud

Morphosis Architects created a cloud-like facade using reinforced fiber modules
  • Architects Morphosis
  • Facade Contractors/Suppliers POSCO (Steel Curtain Wall), ALU EnC (Aluminum Curtain Wall), Korea Carbon (GFRP), Korea Tech-Wall (GFRC), Han Glass (Glass), Steel Life (Interior Liner)
  • Facade Consultants Arup, FACO
  • Location Seoul, South Korea
  • Date of Completion 2018
  • System Brise-soleil system on the main, west-facing facade
  • Products Fiber reinforced polymer (FRP) using one of Kolon’s own high-tech fabrics, Aramid
Magok is an emerging techno-industrial hub located on the outskirts of South Korea’s capital, Seoul. In 2013, The Kolon Group—a multinational corporation and leading Korean textile manufacturer—approached Morphosis Architects for a new consolidated headquarters within the district. The goal? A wholly unique design capable of housing the conglomerate’s diverse divisions while showcasing its array of manufactured products.

After half a decade of design and construction, the 820,000-square-foot Kolon One & Only Tower opened on August 23, 2018.

The project follows Founding Principal Thom Mayne’s preference for hyper-engineered, non-traditional forms. Sloped planes and yawning fissures wave across the facade and interior.

Carbon fiber–reinforced concrete piers, rising at acute and obtuse angles, are the primary compressive support for the structure.

The atrium is a vast space measuring approximately 140 feet tall and 330 feet long and provides inward and outward views. Dubbed “The Grand Stair” by the design team, the centrally-placed path of movement is meant to serve as a quasi-public space and a facilitator of vertical and horizontal circulation. Morphosis has lined the entire height of the atrium with 400 fiber-reinforced translucent polymer panels measuring 30 feet wide. Produced by Kolon, the panels are fastened to the interior structure by stainless steel armatures.

The west-facing facade has a dramatic inflection that defines the structure’s exterior. Morphosis describes the main facade as “an interconnected array of sunshades that form a monolithic outer skin, analogous to woven fabric.” The woven embellishment—featuring the Kolon-produced Aramid, a reinforced fiber with a greater tensile strength than iron—was designed parametrically to balance the interior’s need for outward vistas and shading requirements. Stan Su, director of enclosure design at Morphosis, views the sprawling sunscreen as carrying a “cloud-like plasticity in form while maintaining a remarkably high tensile strength.”

Each knot of “woven fabric” is fastened to the curtainwall with traditional stainless steel brackets that cut through exterior joints to the steel mullions that ring the structure.

While the western elevation is the primary face of the development, the facility was designed holistically. Stan Su states that “the pared-back embellishment of the three other elevations is a response to their interior functions; lab and office blocks comprise what can be considered the rear of the building.” The curtain wall wrapping these elevations largely consists of Han Glass’s low-iron glass and ALU EnC produced aluminum cladding, a measure to match the clear view and visibility requirements of the client.

In a bid to secure LEED Gold Certification, Morphosis added a number of sustainable and environmentally-friendly interventions; Kolon One & Only Tower is decked with a green roof, solar photovoltaic panels, and geothermal heating and cooling mechanisms. Additionally, Morphosis reduced concrete use by 30 percent through a bubble deck slab system which uses plastic balls as a form of reinforcement. Further projects by Morphosis Architects will be discussed during Facades+ LA October 25-26.
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Mighty Morphin Museum

Texas Tech taps Morphosis to design museum expansion
Morphosis has announced that it is developing a design and masterplan for a 150,000 square-foot expansion of the Museum of Texas Tech University. Established in 1929, the museum moved to its current 238,000 square-foot facility in 1970 and is cited as the largest and most diverse university museum in the nation. In its main building, it houses a massive collection of 8 million objects representing the range of subjects taught at Texas Tech and provides students and community members with relevant programming. Also part of the museum’s facilities are the Lubbock Lake Landmark, the Natural Science Research Laboratory, and the Moody Planetarium. According to a press release, the new Morphosis-designed masterplan will expand the focus of the museum beyond its permanent collections and will reflect the breadth of innovation happening at the university. The design of the “Universiteum of Texas Tech” will be led by firm founder Thom Mayne and principal Arne Emerson and will add 40,000 square-feet of flexible gallery space, a community engagement center, more laboratories, work areas, and a collection of storage facilities to the existing museum on the university’s campus in Lubbock, Texas. “We envision our design to act as a connector that knits together the existing museum and cultural buildings with the larger Texas Tech campus,” Emerson told The Architect’s Newspaper, “while providing a new gateway that engages the existing building and planetarium in a dialogue.” The architects will draw upon the rich history and ecology of the Western High Plains to develop a masterplan that highlights the school’s leadership in research and creativity across its various disciplines including STEM, health sciences, humanities, and the arts. The project is expected to also showcase a new model for university-community engagement. The new Universiteum will add additional research space for students within the university's Museum Science and Heritage Management programs, and it will also act as a gathering place for the public to further engage in special exhibitions and programming. In addition, it will feature the first large traveling exhibition gallery capable of housing major blockbuster shows in West Texas. The Museum of Texas Tech University is Morphosis’s second museum project in Texas. Their design for the Perot Museum of Nature and Science opened in Dallas in 2012.
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Striated and Stepped

Morphosis unveils striated, sculptural design for Orange County Museum of Art

Morphosis has unveiled renderings for a new 52,000-square-foot facility for the Orange County Museum of Art (OCMA) in Newport Beach, California.

The new museum complex has been in the making for decades under various designs by several architecture firms; the current proposal represents the third design put forth by the Culver City-based architects. The Morphosis-designed proposal, once built, will increase exhibition space at OCMA by 50 percent, compared with the museum’s current location, according to the Los Angeles Times. Plans call for the complex to include: 25,000 square feet of dedicated exhibition space, 10,000 square feet of multipurpose, educational, and performances spaces, and a sculpture terrace with capacity for 1,000 occupants.  The proposal aims to stitch together an existing cultural campus in the Pacific Ocean-adjacent enclave that already contains a concert hall and repertory among other uses by activating and extending a grand pedestrian plaza located on the site with a monumental staircase inspired by the steps at the Metropolitan Museum of Art in New York, according to Thom Mayne, principal and founder of Morphosis.  The museum, tucked into a hillside beside the staircase, would connect a lower plaza marked by a vertically oriented, Richard Serra-designed sculpture with the new sculpture plaza located atop the stairs. The upper plaza will hold another large sculptural element, according to the renderings. A linear tree promenade will extend horizontally from the upper plaza over the southern edge of the site, cantilevering over ground floor areas. Under the current proposal, roughly 70 percent of the site will be left open or contain public outdoor spaces.  Inside the complex, a variety of multi-functional public spaces like a public amphitheater and flexible gallery spaces will invite the public into the building. Renderings of these spaces depict multi-story volumes framed in glass and striated paneling, with sky-bridges and monumental stairs carving through many of the spaces.  The striated, shape-shifting structure will among be the final components of the arts complex in the city and is being planned with a future 10,000-square-foot expansion in mind. As such, its design will reflect the urban nature of the complex site, according to the designers. Plans call for OCMA to vacate its existing facilities this fall, with temporary facilities opening in 2019 nearby. Construction on the new museum is slated to begin in 2019 with the complex expected to be complete by 2021. 
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The Unicorn's Horn

Morphosis reveals another winning design for China’s Unicorn Island
Morphosis Architects is one of the four winning design firms in the running to design Chengdu’s Unicorn Island in China’s Sichuan province, competing with Foster + Partners, a team of Arata Isozaki & Associates and Jun Aoki & Associates, and OMA. As China transitions towards a technology-oriented service economy, Unicorn Island was imagined as a centralized location where start-ups and established companies would be given the resources to grow. Whereas OMA’s plan for the island involved a crosshatch of different buildings for start-ups ringed by headquarters for the Unicorn companies (worth $1 billion or more), Morphosis has designed a series of curvilinear facilities that wrap around the island’s edge. While the island in Chengdu is small, Morphosis took the opportunity to bring big ideas, designing a campus that would be walkable, sustainable, and accessible via mass transit while also building up the city’s skyline. The firm broke the 165-acre island up into four quadrants, with each representing a stage of a Unicorn company’s growth. Flexible office space can be found in all four sections, as well as shared community amenities and a central park and hub for each. The northwestern quadrant has been set aside for education and will contain offshoots of the universities found in Chengdu proper, while the convention and showcase quadrant to the southwest will allow companies to demonstrate their wares. The eastern half of the island would be broken into north and south innovation quadrants, holding accelerator spaces, labs, and administrative support services. At the island’s core would be a massive “Unicorn Tower,” which would serve as the headquarters for the campus’s most successful companies. Other than the central tower, Morphosis chose to keep the other buildings low-slung and accessible from the ground level. Pedestrian access across the island was prioritized, and park-to-park walkways were overlain across the entire site. A proposed metro station near the Unicorn Tower would put most of the island within walking distance from mass transit. For their scheme, Morphosis worked with engineers Buro Happold. No estimated completion or start date has been announced yet.
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Morphosis-designed Bloomberg Center at Cornell Tech celebrates opening
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With the goal of becoming a net zero building, The Bloomberg Center, designed by Morphosis, forms the heart of the new Cornell Tech campus on Roosevelt Island, bridging academia and industry while pioneering new standards in environmental sustainability through state-of-the-art design.
  • Facade Manufacturer Island Exterior Fabricators
  • Architects Morphosis
  • Facade Installer W&W Glass, LLC (unitized curtain wall); Island Exterior Fabricators; Barr & Barr (general contractor)
  • Facade Consultants ARUP (facade, structural, MEP/FP engineering, sustainability; lighting; acoustical; av/it/smart building)
  • Location Roosevelt Island, New York, NY
  • Date of Completion 2017
  • System unitized continuously insulated rainscreen; photo voltaic solar canopy
  • Products Louvered ZIRA system from A. Zahner Company;  Custom Unitized Curtain Wall; Custom Curved Glass Enclosure
Spearheaded by Morphosis’ Pritzker Prize-winning founder Thom Mayne and principal Ung-Joo Scott Lee, The Bloomberg Center is the intellectual nerve center of the campus, reflecting the school’s joint goals of creativity and excellence by providing academic spaces that foster collective enterprise and collaboration. “The aim of Cornell Tech to create an urban center for interdisciplinary research and innovation is very much in line with our vision at Morphosis, where we are constantly developing new ways to achieve ever-more-sustainable buildings and to spark greater connections among the people who use our buildings. With the Bloomberg Center, we’ve pushed the boundaries of current energy efficiency practices and set a new standard for building development in New York City,” said Morphosis founder and design director Thom Mayne in a press release. The four-story, 160,000-square-foot academic building is named in honor of Emma and Georgina Bloomberg in recognition of a $100-million gift from Michael Bloomberg, who was responsible for bringing Cornell Tech to New York City while serving as the city’s 108th Mayor. A major feature of the building is an expansive photovoltaic canopy, with a low and narrow profile that frames views across the island. One of the building’s most distinctive features is its facade, optimized to balance transparency—maximizing daylighting and exterior views, and opacity—maximizing insulation and reducing thermal bridging. Designed as a rain screen system, the outermost layer of the facade is composed of aluminum panels surfaced in an iridescent, PPG polymer coating. Viewed from afar, the aluminum panels register a continuous image that merges the river-view scenery from Cornell Tech’s Roosevelt Island location and Cornell University’s idyllic campus in Ithaca, New York. Facing the city, the Bloomberg Center’s west facade registers the image of the Manhattan skyline as it is viewed directly across the East River. Along the campus’ main entry and central circulation spine (the “Tech Walk”), the east facade registers an image of Ithaca’s famous gorges. Designed in collaboration with A. Zahner Company, an architectural metal fabricator, the facade utilizes Zahner’s Louvered ZIRA system to create the image patterning. Each pixel of the image is translated into the specific turn-and-tilt of a two-inch circular tab punched into the aluminum paneling; the depth and rotation of each tab determine the amount of light reflected. This pixel map was fed into a repurposed welding robot, which processed the digital information into the mechanical turning-and-tilting of the facade’s 337,500 tabs. The algorithm controlling the robot was developed in collaboration with Cornell and MIT students. “Our collaboration with the Cornell and MIT students to develop the building’s facade is an example of the type of connections that Cornell Tech will foster between academia and tech industries,” said Ung-Joo Scott Lee, Principal at Morphosis and Project Principal of the Bloomberg Center. “We were ultimately interested in demonstrating that designing for net-zero creates not only a more energy efficient building but, in fact, a healthier and more comfortable environment for its occupants. The very systems that provide our path to high building performance are the same systems that provide better control to its users while giving the building its distinct identity. Cornell University’s leadership in sustainability is central to their mission; we look to continue that leadership in both upstate as well as downstate campuses.”
Morphosis will be participating in the upcoming Facades+ Los Angeles conference on October 19 to 20, 2017. Stan Su, who contributed to Bloomberg Center as a member of Morphosis’ Advanced Technology team, will be co-presenting a morning workshop along with Brad Prestbo (Director of Technical Resources, Sasaki Associates), Chris O'Hara (Founding Principal, Facades Director, Studio NYL). The workshop will be divided up into three parts: a group discussion on fundamental detailing principals, case study examples of how those principles are employed, and a hands-on session where the group will reverse-engineer details from notable projects.
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Morphosis–designed Lawrence Residence in Hermosa Beach for sale
The Lawrence Residence, a historically significant Late Modern/Deconstructivist four-story home in Los Angeles designed by Pritzker Prize winner L.A.-based Thom Mayne of Morphosis and Michael Rotondi is now on the market for $5 million. The slender house is close to ten feet over the current height limit, which makes it the tallest home in Hermosa Beach. It contains lots of signature Morphosis materials, like stainless steel and concrete, with a focus on geometric forms, clean lines, and natural lighting. The 4,000-square-foot house features expansive windows with water views towards Malibu. There are three bedrooms and three bathrooms, but perhaps the most striking feature is the three-story atrium with brick glass. To maximize views, the Morphosis designers placed the dining and living spaces on the top floor. There is also an elevator and two fireplaces. (Though we must ask, does it really get that cold in L.A.?) “[The Lawrence Residence] features simple, pure lines that emphasize its verticality and upended-rectangle shape, and is clad in zinc-coated stainless steel for an efficient, industrial look. The simple front facade conceals the gabled roof of a volume that looks like a single-family house partially encased within the Deconstructivist design,” writes the Los Angeles Conservancy. The house, designed in 1984, emphasized the verticality of apartment living into a single family home, echoing the scale of the surrounding mixed-use waterfront neighborhood. Daly Genik Architects renovated some parts of the interior in 2002.
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The Metamorphosis: Marc Fornes breaks ground on a parametric amphitheater in Maryland
On September 12, New York–based practice Marc Fornes/Theverymany broke ground on its largest project to date, the Chrysalis Amphitheater project. The parametric structure's fluid form is intended to define a public space and live performance venue for outdoor gigs and shows. https://www.youtube.com/watch?t=3&v=cAphf_W4kYE With its classic Marc Fornes aesthetic of scale-like parts forming a larger mass, the transitional space has a form resembling a Taxodium distichum (the Swamp Cypress tree commonly grows in eastern U.S. marshland). The enormous roots create a multifunctional space with the back of the stage being available for children's performances and other openings facilitating the loading and unloading of goods for the performances. Located in Meriwether Park, Columbia, MD, the project currently has a budget of $3.1 million and is set for completion in 2016. The scheme's versatility is aided by the use of various arched openings and a grand proscenium framing the stage. Inside its scaly skin, a system of lightweight aluminum supports, itself with an organic organizational system, holds up the amphitheater shell. The undulating curves and pleated forms contribute to the structural integrity of the design, allowing it to support a substantial light rig above the stage which will serve the performance spaces. While the scheme almost feels like a temporary installation, like many of the designer's projects before, the Chrysalis is embedded firmly into a concrete foundation. Outside of events and concerts, the structure can be used as a shelter from rain and provide shading during the summer. When the stage is not in use, the space's wooden decking is easily adaptable as a destination for social gatherings and public interaction. Seating arrangements and the layout of the arches frame views across the city, creating a calm environment that dramatically contrasts to its alter-ego as a gig venue. Marc Fornes/Theveryman said that Chrysalis' distinct shape is achieved via mesh inflation, a form-finding process. As can be seen in the video below, the structure is almost stretched from its anchoring base points on the ground which are also the nodes of the arches, thus allowing it to look as if some parts are billowing in the wind. These anchor points are also carefully spaced around the trees in the immediate vicinity, which appears to give its woody surroundings a mark of respect. https://www.youtube.com/watch?v=oSRAKL9laH8 Finally, the complex structure has been colored in hues of bright green as a reaction to its setting in the park. The luminosity and brightness of these tones however, separate it from its natural environment, allowing it to stand out notifying passers by of its presence.
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Deafening Silence: Morphosis designs a skyscraper in the Alps next to Peter Zumthor’s famous Therme Vals spa
Can a 1,250-foot-tall skyscraper qualify as "a minimalist object” under any circumstances? It depends on who you ask—particularly if the building in question, the 7132 Tower hotel designed by Los Angeles–based architecture firm Morphosis for a site in Vals, Switzerland, would go up next to Peter Zumthor’s understated Therme Vals spa. Morphosis’ Thom Mayne said yes, calling the slender, reflective high-rise “a minimalist act that reiterates the site and offers to the viewer a mirrored, refracted perspective of the landscape.” The project’s critics, meanwhile, accuse Morphosis and client 7132 Limited of disrespecting the hotel’s surroundings, both natural and built. Zumthor, who completed the quartzite-walled Therme Vals spa in 1996, appears to be taking the “if you don’t have anything nice to say, don’t say anything at all” approach. BD Online quoted a firm spokesperson as saying, “He doesn’t want to comment on this hotel.” The tower—which would top Renzo Piano’s Shard by over 200 feet to become the tallest in the European Union—is still a long way from being built, requiring planning permission and a public vote prior to construction. Among the marks against it are the manner by which Morphosis received the commission. What began as a competition ended in February with a unilateral decision by 7132 Limited to narrow the three-firm shortlist down to one, over the jury’s objection. On the plus side, Mayne’s concept has garnered a vote of confidence from Tadao Ando, whose nearby Valser Path park is expected to be finished by 2017. “I believe it will harmonize in the beautiful landscape and will attract and impress various guests and visitors from all over the world,” said Ando.
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Eavesdrop> OMA, Piano, Morphosis rumored to be competing for Wilshire Temple addition
Wilshire Boulevard Temple, one of Los Angeles' historic gems, was just splendidly renovated by a team led by Brenda Levin & Associates. Now it appears to have shortlisted some of the world's top architects for its 55,000 square foot addition. The temple has declined to comment on the shortlist, but according to a source OMA, Renzo Piano, Morphosis and Kengo Kuma are now competing to design a 55,000-square-foot addition. Called The Gathering Place, the$30-35 million event and programming space will contain a banquets hall, cafe, meeting and conference rooms, and administrative spaces located at the northwest corner of Wilshire and Harvard boulevards. "The design must establish an iconic profile while taking into account the adjacent historic sanctuary building," noted the competition RFQ. That's not an easy task considering the phenomenal presence of the Byzantine revival sanctuary. Finalists' submissions are due at the end of January, and the winning team will be chosen in June. Members of the architect selection committee include philanthropists Eli Broad and Tony Pritzker, and one advisor to the committee is Richard Koshalek, who oversaw the competition for Walt Disney Concert Hall, among others.
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Eavesdrop> Kate Mantilini, Part II: Is Morphosis ready to revamp Beverly Hills?
In a previous Eavesdrop, we reported that the famous Morphosis-designed restaurant Kate Mantilini in Beverly Hills was chafing at city plans to landmark the premises. Well it appears the problem may have been resolved. Eavesdrop heard over cocktails that Morphosis itself has been tagged to do the restaurant’s renovation. No official word yet, but this seems like a natural fit, doesn’t it?
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Morphosis Computes a Facade for Cornell

The facade's stainless steel panels form a wave pattern, cutting down on glare and heat loads while representing the contribution computing has made to design.

The recently completed Bill & Melinda Gates Hall at Cornell University in Ithaca, New York, combines the schools’ Computing Science and Information Science departments under one roof. Designed by Morphosis, the facility encourages spontaneous interactions between these two disciplines with common spaces for comingling and transparent partitions that allow views, and daylight, to pass from space to space. The building envelope, a unitized glass curtain wall system, is wrapped in a band of perforated stainless steel panels that forms a dynamic, angular wave pattern across the surface. In addition to creating a sense of movement across the exterior, it serves as a fitting symbol of the contribution that computing has had on the arts and sciences: The architects used advanced digital modeling tools to design the geometry, pattern, and details of this additive layer, and made it to function both as an aesthetic gesture as well as a performance enhancing element of the architecture. “The goal was to establish a consistent level of daylighting throughout the interior,” said Cory Brugger, director of design technology at Morphosis. “We maximized the exterior glazing to get the light coming through. The design of the screen reduces the amount of glare and heat gain and starts to help with the performance of the facade system itself.”
  • Facade Manufacturer Zahner (perforated stainless steel panels), YKK AP (unitized curtain wall), W&W Glass (exterior cladding systems), Erie AP (curtain wall engineering and fabrication), Viracon (glazing), Wasco Products Inc. (skylights)
  • Architect Morphosis
  • Facade Installer W&W Glass
  • Location Ithaca, NY
  • Date of Completion 2014
  • System Unitized double-glazed and spandrel curtain wall with exterior perforated stainless steel panels
  • Products YKK YUW 750XT 4 sided SSG Unitized Curtain Wall system, perforated stainless steel panels from Zahner, Viracon VNE 24-63
Located between Cornell’s historic Barton Hall and Hoy Field, Gates Hall fits 100,000 square feet of program in fives stories on a site roughly 150 feet long by 80 feet wide. “It’s a fairly squat building with a large foot print,” said Brugger. “So what we wanted to do was find a way to give some break on the facade.” The metal screen forms a band that covers the second through fourth floors. The first and fifth floors are fully glazed. At the main entrance on the building’s west side there is a large cantilever covering an entry court with some indigenous plantings and sculptural precast concrete “rocks.” Here, the facade becomes an integral part the overall massing of building, breaking down proportions of footprint and creating a sense of motion, giving the sense that structure is coiled to pounce across the road. Morphosis specified a YKK YUW 750XT 4 sided SSG unitized curtain wall system outfitted with a Viracon VNE 24-63 double glazed insulated glass unit. Ithaca does have a heavy winter, and heating days predominate over cooling days for the facility. To optimize the daylight/insulation ratio, the architects intermixed fully glazed panels with insulated spandrel panels. “There’s an alternation between full glazing and spandrel panels that helped us balance the environment and meet our efficiency target,” said Brugger. “It’s not fully glazed everywhere.” The curtain wall’s aluminum mullions are reinforced with steel, giving them the necessary stiffness to support the screen system. Morphosis designed the screen system in its own proprietary software program and used Rhino with Grasshopper to do the visualization. To coordinate fabrication of the panels with Zahner in Kansas City, the architects worked with CATIA and Digital Project. Zahner fabricated the screen panels out of 316 stainless steel. There are 457 panels total, in 13 different types, that bolt back to the vertical mullions at one of three elevations. The perforated panels have an angel hair finish. “It’s a non-directional finish takes away most of the gloss of stainless steel and gives it a little more depth in reflectivity, kind of a clean, matte finish,” said Brugger. “It still has a certain luster and gloss, but it cuts down on glare.” W&W Glass installed the facade, first putting up the YKK curtain wall and then erecting the screen system in a second pass. “We couldn’t unitize the two systems because they’re quite large and differently sized,” said Brugger. “Each stainless panel takes up two curtain wall modules.” The curtain wall modules are 5 feet 9 inches wide, whereas the stainless panels are 10 to 12 feet wide. The panels are set at different angles across the facade depending on solar orientation, with those on the south face at the most obtuse angle to create the deepest ledge for shading. This variation around the building envelope creates visual interest and expresses the computational nature of the design.