In 2015, the Norwegian Trekking Association announced a decision to construct two warming huts along the mountains that ring the town of Hammerfest to encourage hiking for both residents and tourists. The project brief called for a straightforward structure with a working wood-burning stove, an excellent view of the surrounding landscape, and suitability for the mountainous terrain. Norwegian-based practice SPINN Arkitekter and Britain’s Format Engineers answered this call with a cross-laminated timber shell with exterior Kebony panels.
SystemCross-laminated timber frame with Kebony panels
ProductsCross-laminated timber, Kebony wood
One of the initial challenges of the project was to design a form that both blended in with the rugged setting and endure the harsh mountainous weather conditions. The first step in addressing these conditions called for the 3-D mapping of the two sites with a drone and photogrammetry software. With this territorial information plugged into Rhino Kangaroo and Grasshopper files, the team was able to craft a series of visual models for the project and a series of components that could be easily transported across the mountainous terrain for erection.
"Snow simulations were performed to ensure that the entrance will remain snow-free as intended," said the design team. "Structural forces between the panels were determined to specify the correct type of screws and fasteners for the construction. Additionally, 3-D printing was used extensively to test out how the construction would fit together, and to test cladding options for the exterior."
The rock-like cabins effectively consist of three layers: a 3-inch-thick CLT shell, a 1/8-inch-thick membrane, and a Kebony skin with a thickness measuring just under 1 inch. A system of frames and blocks are located between the exterior cladding and the CLT core. Two sets of 3.5-inch-thick screws are found on each tile edge, connecting to adjacent tiles and the overall structure.
An initial prototype of the $100,000 cabin was constructed in a controlled warehouse environment to allow for the uninterrupted testing of component assembly. Over the course of four workdays, two groups of volunteers assembled the cabin's shell and cut the cladding panels. Following construction, the cabin was split in two and transported via flatbed truck to the site and craned into position for final assembly.
Construction of the second cabin is currently in the works.
Last week, the New York City Landmarks Preservation Commission voted unanimously to approve a memorial dedicated to the 146 victims of the Triangle Shirtwaist Fire of 1911. Reframing the Sky, designed by architects Uri Wegman and Richard Joon Yoo, will debut next year if supporters can raise $850,000 to cover long-term maintenance costs.The commission’s approval is the latest step in what’s been a six-year-long process to install the project in commemoration of the tragedy. Gina Pollara, a consultant with the Remember the Triangle Fire Coalition, said now is the perfect time to get it done due to heightened awareness on labor rights issues in the United States. “Given the current political climate, I’m hoping this project begins to really open up the conversation about the importance of unions, workplace safety, and how we can address certain social justice issues today,” said Pollara. “For all of their imperfections, unions still perform a vital duty and are an important piece of the American labor force.”The factory’s infamous fire, now 108 years ago, set off a series of historic legislative reforms to protect workers’ safety. The employees who died there, many of which were young immigrant women, were trapped on locked floors of the multi-level facility at 29 Washington Place. Today, the structure, known as the Brown Building, is owned by New York University and though it’s a local and national landmark, many people don’t know its history. The coalition seeks to change that through a public memorial that shines a light on the tragedy and details its significance for blue-collar workers in the 21st century. According to the project statement, the future memorial will mimic the mourning ribbons that were traditionally draped on building facades as outward expressions of a community’s collective sorrow. It will feature horizontal stainless-steel bands that wrap the southeast corner of the building and a textured panel that lines its vertical edge. The names of the victims will be laser cut into the elongated panels where daylight will shine and reflect the letters off a highly-polished, steel surface placed at hip level. Through this, visitors will be able to see the names reflected in the sky.The project has already received widespread support since its announcement in 2013. Three years ago, Governor Andrew Cuomo approved a $1.5 million grant for its design and construction, but money is still needed to maintain it. The coalition is organizing a two-day upcoming event in collaboration with the Fashion Institute of Technology to raise awareness of the project and offer people the chance to contribute to its design. Anyone interested will be able to bring an individual piece of fabric that will be used to create a large ribbon that the designers will cast in metal and mount onto the building for the textured vertical panel.“The public engagement piece of this memorial is the most important part to us,” said Pollara, “because the legislation that came from this tragedy has affected us all personally whether we know it or not. The design features a very subtle thread of stitching the past and present together.”
A public event, A Collective Ribbon — Weaving Stories of the Triangle Fire, will take place on March 16 and 17 at the Fashion Institute of Technology. Those who are unable to attend can send in personal pieces of ribbon to the Remember the Triangle Fire Coalition at PO Box 1822, New York, New York 10113. Donors of $25,000 or more will have their names inscribed on the memorial.
College dormitories are sometimes drab affairs, utilitarian in their design and timid in their expression. But Deborah Berke Partners’s (DBP) Dickinson College High Street Residence, completed in September 2018, uses a limestone masonry and paneled-zinc facade to create a bright and confident presence on campus.
Rolling Rock Building Stone
ArchitectsDeborah Berke Partners
As the building's name suggests, the 42,000-square-foot dormitory is located on High Street, which runs through Carlisle, Pennsylvania's historic core. Wanting to blend the dorm into its context of limestone Federal-style residential and institutional buildings, the design team created a four-story, roughly-cut limestone elevation whose three-dimensional surface creates a play of shadows. Alverson Limestone cladding supplied by Rolling Rock Building Stone is fastened to the north elevation with a block-and-plank structural system using masonry anchors.
“The public-facing limestone mass of the new residence hall bookends the central campus on its western edge,” said project manager Aaron Plewke at DBP, “echoing the facades of its historic neighbors, but with a modern and minimal sensibility."
Many secondary structures within the town and region, such as warehouses and sheds, as well as other buildings on Dickinson College's campus, are roofed with weathered zinc. The three campus-facing elevations wear this material strapped in a vertical orientation by thermally-broken brackets and horizontal rails.
The building's restrained rectilinear massing is enlivened by moments of spontaneity in the facade. Irregular window openings are punched through all of the elevations, with those to the north deeply recessed within the limestone cladding. According to Plewke, "the pattern of the openings obscures the building's efficient, repetitive layouts, avoiding the undifferentiated facade that would have resulted from strict adherence to the plan."
While most of the dorm's skin is made of stone and zinc, vertical bands of Sapele mahogany wood line entrances and principal community areas.
Each of the three facade materials will patina into different hues while they are exposed to the elements over the coming years; the sun will bleach the dark-grey limestone ashlar, oxidization will darken the zinc paneling, and general exposure will darken the mahogany strips to a leaden complexion.
Diller Scofidio + Renfro (DS+R) and Rockwell Group's first skyscraper, 15 Hudson Yards, is now complete after four years of construction. The 88-story residential tower fuses the largest cold-warped glass curtain wall in North America with a louver and limestone base.
The tower is located on the southwestern flank of Hudson Yards's first phase located on 28 acres between 30th and 34th Streets, and 10th and 11th Avenues. One of the sites many towers, 15 Hudson Yards alone will enclose a whopping 980,000 square feet.
The 914-foot-tall project rises from a CNC-fabricated limestone base sourced from Carrara, Italy. According to the design team, parametric guidelines and 3-D modeling facilitated a seamless design-to-fabrication process for both the approximately 1800 stone panels and their steel support systems produced in Queens and New Jersey. The rear of each panel is studded with metal angles fastened to a network of bent plates attached to the steel support system.
ManufacturerNew Hudson Facades
Berardi Stone Setting
ArchitectsDiller Scofidio + Renfro
Rockwell Group (Lead Interior Architect)
Berardi Stone Setting
ConsultantsThelen Design Group
Glass & stone curtain wall assembly
ProductsInterpane Insulated Glazing Units
Bamco Ventilated Rainscreen Systems
Santucci Group Dimensional Limestone Cladding
CIG Architecture Formed Stainless Steel Cladding
The Shed, also designed by DS+R and Rockwell Group, adjoins the smooth limestone surface of 15 Hudson Yards along a diagonal seam defined by polished and formed steelwork by CIG Architecture. Incorporating the dynamic performance arts space into the base of the tower presented a number of mechanical and structural challenges for the design team. The 48.7-inch-wide modules all have both a glass and ventilation louver component. The designers varied the ratio of the two pieces parametrically to best ventilate interior mechanical equipment, with the widths of the louvers ranging from 4 to 31 inches.
Beginning at the 20th story, the tower dramatically curves using a cold-warped unitized glass curtain wall system. The individual glazing units, produced by German manufacturer Interpane, were cold-warped on site. To warp the glass components, the panels were held in trapezoidal frames with silicone seal joints that anticipated the final form of the panels once they were bent into place. While early renderings of the project depicted 15 Hudson Yards with anatomical undulations, cost constraints and manufacturer warranties straightened the design into its current form.
“We worked very closely with curtain wall fabricators from concept through execution, and the tower’s form is a product of this close collaboration,” said facade consultant Neil Thelen. “Using a collaborative parametric approach, we were able to iterate and analyze the impact of the tower’s curved forms on critical parameters such as IGU cold-warping, aluminum extrusion die option, unique part and assembly reduction, gasket engagement, and window operation.”
Above the amenity spaces located roughly halfway up the tower—which are clad with glass mega panels—the facade's curvature increases dramatically, effectively breaking into four turrets. The glass panels deflect up to 8 inches at the skyscraper's summit.
Although the dimensions and material of the facade differ throughout the tower, the cladding all attaches to the structural frame with a similar technique.
“There are embedded plates in the slab edges to which faceplates are bolted with adjustable screws to align bearing points for each wall unit. Each curtain wall unit has a pair of load bearing hooks at the top where the dead load is transferred to the building structure from the hooks,” said DS+R project director John Newman. “It hangs from there and interlocks with a large, gasketted tongue-and-groove extrusion at the top of the unit below.”
In response to river-borne gusts, the facade is designed to withstand 100-year wind loads with a system of structural silicone profiles, mullions, and steel reinforcements for spans greater than twelve feet. Additionally, testing conducted by an independent lab determined the placement of supplemental-load bearing aluminum extrusions.
This article originally appeared as part of our January 2019 print issue in the timber feature.
The timber industry has long thrived on its small-scale, local nature due to the sourcing of its materials as well as the limits on project size set by the building code. With this has come a good deal of fragmentation and disorganization, so we decided to map out the different schools, organizations, and manufacturers that are leading the way in the research and development of mass timber across the United States and Canada.
The San Francisco Bay Area is nourishing one of the country's most active architecture scenes. Fueled by a booming technology sector, rapid population and commercial growth are delivering exciting new projects to the region.
On February 7, The Architect's Newspaper is gathering leading local and California-based design practices for Facades+ San Francisco, a conference on innovative enclosure projects across the city, state, and country. Participants include EHDD, BuroHappold Engineering, CallisonRTKL, CO Architects, Heintges Consulting Architects & Engineers, and David Baker Architects.
Joe Valerio, founding principal of Valerio Dewalt Train Associates (VDT), will co-chair the half-day symposium. AN interviewed Valerio about what VDT is working on and the firm's perspective on San Francisco's architectural trends.
The Architect's Newspaper: San Francisco is arguably the nation's leading technological hub. How do you see this role impacting the architectural development of the city, and what do you perceive to be the most exciting facade trends in San Francisco today?Joe Valerio: Perhaps, the pressure that technology companies are creating on the building sector will finally lead to real innovation in how we build things. The San Francisco building sector does not have the capacity to move forward using conventional means. I believe that continual innovation will help the city catch up to its vast demand.
It’s an exciting time for design in San Francisco. With technology evolving at such a rapid rate, it has been interesting to see how it is beginning to manifest itself in architecture, both physically and experientially. For instance, in the physical sense, buildings like the de Young Museum or the Transbay Terminal are utilizing parametric modeling to create interesting forms and textures with metal mesh. Faceted glass is also being implemented in interesting ways in high-rise projects, such as the LinkedIn headquarters or the Oceanwide Center.
But on the experiential side, digital is becoming a new palette for architectural design. The Salesforce lobby, for example, uses digital projection mapping to draw people in from the street. Its translucent facade almost disappears from view, making the lobby feel like its extension. This is something that we have been experimenting with in our own work, in projects such as Art on theMart in Chicago or the YouTube lobby in San Bruno.
What projects is VDT working on, and what innovative enclosure practices are being used?JV: We are developing a graduate student village for Vanderbilt University in Nashville, with our partners at Lend Lease Communities, and are looking at a wide range of modular and prefabricated construction techniques to meet the speed at which we need to deliver this project. New modular techniques that implement cross-laminated timber and steel into their modules are allowing us to go higher than the five stories limited by wood stick construction. We’re also implementing modular prefabricated cold-formed steel panel systems for quick assembly on site.
Universities present tremendous opportunities in housing, and we find that embracing challenging parameters leads to very exciting outcomes.
VDT is located in multiple cities across the country; what are the particular challenges and benefits of working in San Francisco?JV: One of the most exciting aspects of working in San Francisco is our client base. We work with companies that are constantly pushing the boundaries of technology, and for us, finding new ways to meet their needs with architecture is a thrilling prospect. Quite often, our work in the city deals with very interesting pre-existing buildings, such as in the case of Adobe Town Hall. Here we were challenged to both expand and reinvent the company’s dining experience all the while preserving a building that’s listed as a historic landmark. Its previous function as a tool factory became the driving force behind a new design, conceptually celebrating culinary tools developed by their new chef, and digital tools that Adobe continues to develop to this day. It’s opportunities like this that constantly pique our interest in San Francisco.
But on the other side of the coin, having such a highly innovative and skilled architecture community has created a severe labor shortage in the city—a constant reminder of how thankful we are to have such a talented team.
Is there a particular technique or materials that VDT is experimenting with?JV: There has always been a drive to bring new materials into our enclosures. Yet these systems are still dominated by old techniques and primitive materials such as glass. We have experimented with new materials such as ETFE, and we would forecast that assembling these old materials in innovative ways is the path forward. Remember the iPhone has a glass screen.
Additionally, cross-laminated timber (CLT) continues to show a lot of promise. We have been working with a company on modular prefabricated CLT housing at a larger scale, and we’re excited to see how we can begin to leverage cost and design with new techniques.
Further information regarding Facades+ San Francisco may be found here.
In California’s Long Beach, a new biomorphic mass has surfaced along the waterfront. The semi-reflective blue structure is not a beached endangered species, but the Esherick Homsey Dodge and Davis (EHDD)–designed Pacific Visions wing of the Aquarium of the Pacific. The 29,000-square-foot project, which is set for a May 2019 public opening, features a triple-laminated glass facade rain screen subject to three different treatments.
Unlike the preexisting wing of the Aquarium of the Pacific, the newly designed Pacific Visions places an emphasis on curatorial spaces—the facility will hold an art gallery, exhibition space, and an immersive theater. In effect, the internal program requires a black box experience to function accordingly.
ManufacturerWoodbridge Glass Inc.
Sentech Architectural Systems
InstallerWoodbridge Glass Inc.
Seeing as daylight is not needed for the wing’s interior spaces, glass was not the immediate choice for their facade cladding. Working with Buro Happold Consulting Engineers, EHDD experimented with a range of different materials following a planar cladding system envisioned as a continuous sinuous surface. According to the design team, they decided on “a completely unique glass assembly to evoke the effect of light on water, its depth, variability, and luminosity.”
The dynamic visual qualities of the glass paneling system rely on a trio of layered treatments by California manufacturer Pulp Studio. The manufacturer produced the glass panels over the course of four months, shipping them on A-frames to installer Woodbridge Glass Inc. Bernard Lax, founder of Pulp Studio, referred to the fabrication process as an "exercise in frustration," owing to the complexity in producing hundreds of unique glass panels with highly particular treatments.
“The innermost layer incorporates a subtle reflective finish that picks up changing light conditions and modulates the hue of the tinted middle layer,” said EHDD Senior Associate Quyen Luong, “the outer layer is made of low-iron, acid-etched glass, which eliminates direct reflection of the sky by diffusing light.”
In total, the facade features over 800 unique glass panels encompassing a surface area of approximately 18,000 square feet. EHDD worked with Sentech Architectural Systems to custom design an open-joint steel aluminum carrier frame painted with a stringent resistant coating. Fixing the cladding in place without disrupting the sinuous surface of the facade remained a stylistic obstacle for the project—the city of Long Beach requires all facade panels to be mechanically secured regardless of any use of structural silicone.
The design team took this challenge head-on by tapering the profile and size of the facade clips and examining their potential layout throughout the enclosure system. Through methodical research and adaptation, EHDD Senior
Associate Katherine Miller notes "the retention clips add a sense of scale and rhythm. What was initially considered a compromise resulted in an opportunity to add another level of articulation to the faceted geometry of the facade."
Quyen Luong will be presenting EHDD's Pacific Visions on February 7 at Facades+ San Francisco.
Solar panels are increasingly ubiquitous across a broad range of recent and ongoing projects. For the most part, this technology is applied along rooflines or as standalone installations supplying the energy demands of an adjacent complex. Completed in 2017, C.F. Møller’s Copenhagen International School bucks this trend with a facade composed of thousands of solar panels.
The Copenhagen International School is located in the city’s fast-growing Nordhavn district, a significant harbor area undergoing a range of mixed-use development. The school, surrounded by looming cranes and shipping containers, is not out of place with its box-like massing.
According to the architects, the overall focus of the new masterplan for the district emphasized the use of sustainable energy embedded in a newly built network of roads, commuter stations, bike paths, and pedestrian paths. After testing the practicality of water and wind energy, solar energy was chosen as the most suitable for the school's needs.
Rising from a ground flour base, the school building is divided into four educational towers ranging in height from five to seven stories. The facade of this unique arrangement is composed of over 12,000 custom-designed photovoltaic panels produced by Danish manufacturer SolarLab.
The panels, which additionally function as a rain screen cladding, are all colored the same shade of blue-green. Each panel is slightly angled and treated with a nanogel to add a layer of dynamism to what would otherwise be a static facade format, which gives the effect of different colors and shading due to shifting environmental conditions.
Each panel is approximately 2.5 square feet in area, and are mechanically held in place by a system of glass rails and aluminum cassettes, pitching each panel at an angle of 4° in relation to the facade. In total, the panels have a surface area of just over 65,000 square feet.
For the most part, the panels are formed of 16 solar cells linked by tinned copper threads. The facade is split into eight-panel modules, each connected to independent inverters suspended under the ceiling throughout the building, converting the solar energy into an alternating current of 230 Volts. In total, the panels are estimated to produce 300 MWh per year, fulfilling 50% of the school's energy requirements.
In 2017, the project was awarded Germany's Iconic Award, noting the school's innovative facade cladding, and C. F. Møller is currently designing a trio of floating classrooms adjacent to the Copenhagen International School.
Metropolitan Atlanta is undergoing something of an urban moment; new developments and towers are cropping up across the city at a dizzying pace in tandem with public parks, pedestrian zones, and new transit lines. Initiatives such as the BeltLine and The Gulch promise a discernible shift from the car-centric planning that has been the city's course for decades.
On January 16, Facades+ Atlanta will bring together the leading architectural firms executing projects within the city, including Beck Architecture, Mack Scogin Merrill Elam Architects, HKS Architects, Duda|Paine Architects, and John Portman & Associates (JPA).
In anticipation of the conference, AN interviewed JPA's conference co-chairs Gordon R. Beckman, principal and design director, and Pierluca Maffey, principal and vice president of design, to better understand a city in flux and the storied firm's role within this transformation.
The Architect's Newspaper: Atlanta is undergoing a period of incredible growth that is reshaping the physical character of the city. What do you perceive to be the most interesting facade and structural innovations in Atlanta today?Pierluca Maffey: Just like people in many other cities in the U.S., Atlantans are rediscovering the advantages that urban living means to everyday life. The idea of buying a big house with car garages that look like hangars is shifting towards the purchase of more efficient spaces possibly near or well connected to public spaces and activities where human interaction occurs and social experiences unfold. This is the sociological change at the base of the new urbanism that is shaping many cities in the U.S. Share more space instead of owning it; share a mean of transportation; share experiences instead of having exclusive ones and so on. Even the workplace is based on sharing more knowledge to spark innovation, and the hospitality business is doing the same by transforming exclusive hotel lobbies into urban hubs where people and events take place.
In that sense, Portman was way ahead of its time when in the early '60s, while America was abandoning every downtown to escape in the promise land of suburbia, he invested in redeveloping downtown Atlanta. Designing, developing and promoting the heart of the city was and is the best way to build the identity and the culture of a town. The less risky route of urbanizing more land in the outskirts of an older city is far more devastating to the development of a community. Today, we see people demanding for a higher quality of urban living and the administrations and the developers must cater to this “new” idea of a city, one in which people can feel safe to occupy and live during the day and night. Unfortunately, Atlanta does not have the same density as other important cities in the U.S. however, it is moving in the right trajectory to attract the new generations of citizens. Capitalizing on some of the major assets that the city owns like Georgia Tech and the busiest airport in the world, the city is becoming a hub for many industries, and it is attracting a cosmopolitan population that will enrich the experience and the development of this city. These newcomers, like myself, are bringing in new ideas and demanding more updated public space throughout the city.
The results are visible in many recent projects around town, from large to small, where the leading factor is no longer the efficiency and the return on investment, but the public demand for better public spaces and streetscapes where the building facades represent the edges like walls in a house. Unfortunately, the demand for cars is still high because the public transportation grid quality is still very weak but hopefully it will change in the future with the right policies and a good collaboration between public and private partnerships on how to address traffic and development in the city.
Gordon R. Beckman: It's a great time to be in Atlanta. The last two or three generations seem to have found a renewed interest in urban living and its associated benefits, culturally, socially, and environmentally. The result has been an influx of people, an influx of ideas, and a necessity to increase opportunities for living and working. This is a huge plus for the city as it demands increased density, further defining edges between private and public spaces resulting in a more walkable place-oriented city fabric.
Building enclosures fulfill numerous roles, the most basic being to separate us from the elements, but they also form a significant part of the building identity and in the best cases they integrate ideas and ideals of energy to boost occupant comfort while minimizing energy consumption. Importantly, they also become the enclosure system for the public realm and the public spaces of the urban environment. Atlanta, as most cities are, is composed of multiple distinct neighborhoods. As a result, there are numerous projects throughout the city both planned and completed that are unique in their image, form, and enclosure systems.
A key part of Tech Square, the JPA-designed Coda project, derives out of the idea of creating a public open space within the urban block. Its elegant glazed exterior wall defines the street edges, is modulated to define a pedestrian scale at the street and, together with the data center and historical Crum and Foster building, define the inner public space. High-performance glazing together with view glass in a unitized curtain wall contributes to the expectation of LEED Gold status.
Historic preservation is gaining in popularity in Atlanta. How do you perceive this trend altering the city, and how can architects embrace it?LM:Historic preservation is a must. Buildings of the past represent a culture and decisions that were taken at a certain time by people who came before us. That said, when a building loses its main purpose, I see an opportunity for us to reinvent that same structure and breathe new life into it without losing its richness and history. A lot of structures were torn down in the past decades, and that was the trend around the nation. Perhaps it was not the best thing to do, judging with today’s mentality, but we can’t change that anymore. What we can do is preserve what we have today and what was left from before.
Our 230 Indigo is a repurpose of the first office project designed by Portman in the '60s. We converted the first nine floors into a hotel and preserved the rest as an office. The massing composition of Coda was all based on the 1926 Crum and Forster building. It was a priority to preserve the structure as a jewel and that led to a decision to create active space around it and place all the higher structures away from it to create a neutral background for its classical unique architecture.
I am glad that the developers and designers are preserving a lot of the industrial structures bringing new life into them. Ponce City Market and Krog are the best examples we have in town, but there are many more done by other developers and very good architects who understand the richness and responsibility of preserving older structures. What I really do not like is new developments and designers promoting new buildings to look like industrial warehouses. That is tricking the customers, just like giving them a fake 1500 Tuscan Villa in the outskirts of a U.S. metropolis.
Atlanta's skyline is defined by your firm's projects. Can you expand on the relationship your firm has cultivated with the city? LM: Like many other cities in the U.S., Atlanta has seen the exodus of the middle class towards suburbia. The fact that Atlanta has no natural boundaries like mountains or water that could constraint its sprawl in the territory caused the “explosion of the city” into many other satellite cities. At a moment in which Downtown Atlanta lost most of its economic force and middle class, Portman decided to reinvest in the city and never left its core. The office never left downtown, and the investments that were made through the years into what is now a large master plan were able and still can bring millions of visitors to the city. The design aesthetic adopted at an era when brutalism was spreading around the world is seen today as very stark and not inviting. The decision to create an alternative to the open public space offered by the streets was a way to provide safety for people and businesses that were catering to the visitors coming to the conventions and to the fair held by America’s Mart and the Georgia World Congress Center. It is understandable how today we see those solutions as unfavorable to the evolution of the activity and safety of public open spaces however, they provided a viable solution at the time they were conceived and are still significantly successful today with thousands of people meandering through the food court of Peachtree center and the atriums of the Hyatt Regency and Marriott Marquis. Today Ponce City Market and Krog Street offer the more appealing “food hall,” but the concept is the same: an introverted world where the public space is privately owned and managed. We still can’t take a stroll down the street looking at shops and choose a restaurant out of hundreds available like you would do in Europe.
Coda is opening to the city again and it reflects the current city culture. We deliberately created an open plaza easily accessible from two major streets and widely open to the sidewalks. It's a place for gathering and connecting with other people. It's still a privately owned and managed place but exposed and available to everyone to experience. That said, the owner decided on building an adjacent food hall to energize the outdoor space and activate it throughout the day. We are still far from the great public urban space seen in other cities in the U.S. or elsewhere in the world, but those are not developed by private companies. Those public spaces are built by the administrations and they reflect the culture of the society at a particular time. We might not be there yet, but we are certainly ready to play our part in designing them.
GB: Atlanta has a rich and varied architectural legacy. Our founder John Portman contributed to the vast array of projects that define this city. He recognized that for Atlanta to remain a vital urban place, the energy of the urban core needed to be maintained through comprehensive economic planning, as seen in the offices and hotel of Peachtree Center. At the time these projects were being executed, the city was blighted by suburban flight that challenged the primacy of urban living.
Portman and his internal public squares recognized the need for public spaces within the city. Now, our practice is seeking to blur the boundary between interior and exterior. The contrast between the Marriott Marquis and the new Coda project demonstrate this idea in a powerful way.
Atlanta is on fire with its growth, with the metropolitan area projected to grow to nine million residents by 2040. This exponential growth means more work, more housing, more cultural projects, more urbanism, transportation systems, infrastructure, and so on. The future vision of the city largely rests on Atlanta's community of architects, planners, and developers.
Further information regarding the Facades+ conference can be found here.
With a wine-producing history stretching back three millennia to Greek colonization in the 6th century B.C., the French region of Provence is nearly synonymous with viticulture. Winemaker Les Domaine Ott Chateau de Selle has called the region home since 1912 and last year completed a full-scale revamp of its facilities by Paris-based Carl Fredrik Svenstedt Architect (CFSA) featuring a facade of self-supporting one-ton blocks of local stone.
The 47,000-square-foot winery is partially nestled into the hillside, rising from a stepped concrete foundation. The two primary elevations of the structure run adjacent to each other, with that to the east following a gentle curve. Each stone block of the facade is approximately 3 square feet in area and 1.5 feet in height, stacked to reach a total height of nearly 33 feet. Each stone block weighs approximately a ton, allowing for the insertion of certain load-bearing elements into the blocks for interior slabs and beams.
ManufacturerCarrier De Provence
ArchitectsCarl Fredrik Svenstedt Architect
InstallerPrintemps de la Pierre
LocationTaradeau, Provence, France
SystemSelf-supporting limestone facade with a concrete core
ProductsLa Pierre du Pont-du-Gard limestone
Soleal Evolution Technal aluminum window frames
The arrangement of the self-supporting stone blocks dilates and contorts according to interior function; the central body housing dozens of stainless steel and wooden wine barrels must be guarded from UV rays, while gaps in the imposing elevations crop towards the north and south for office spaces and screened courtyards.
For French vineyards, the concept of terroir, or the unique qualities of local mineral and environmental conditions, is directly credited for the final palette of each vintage. For CFSA, it was imperative that the design of the new winery similarly reflect the surrounding geography. To this effect, the design team procured the beige limestone blocks from quarrier Carrières de Provence who source from local a limestone quarry dating back from the Roman era. The large-grain stone, known as La Pierre du Pont-du-Gard, was first roughly harvested from the quarry and subsequently fashioned in an on-site workshop with diamond disc rotors.
“Using stone quarried nearby was coherent for the insertion of such a large building into the landscape,” says Carl Fredrik Svenstedt, “at the same time the stone has fantastic thermal properties for a winery in a hot climate, with great mass inertia and hygrometry, while also being very accessible financially.”
Following fabrication, the stone blocks were transported 125 miles from Carrier de Provence's facilities to the construction site and craned into position atop the perimeter of the concrete shell. Joinery of the blocks was fairly straightforward: they are held together by gravity and mortar. Since Provence is located in an active seismic zone, CFSA added two key elements to boost earthquake resistance: every sixteen feet, the stone piers were hollowed to facilitate the insertion of a vertical concrete pier directly to the foundation, while strategically placed pins are used to the same effect for areas with significant openings.
Similar to historic wineries that rely on a system of vaults to allow for flexible interior floor plans, the great halls of the facility are supported by a system of precast concrete beams and columns. CFSA relied on rebar and infill concrete between limestone columns and the core to tie the stone and concrete elements into a cohesive structural system.
Available in six custom finishes and stains, WOODWORKS Linear Solid Wood Panels are made of western hemlock. The 12-inch-by-96-inch linear panels attach to Armstrong’s Prelude EL Exterior system via screw fasteners. Perfect for creating seamless indoor-to-outdoor transitions, the exterior panels are designed to withstand the elements and are great for overhang and soffit applications.
Made by glue-laminating panels of Scandinavian pine together, Lunawood’s cladding boards are made in a thermal manufacturing process where wood is processed using only heat and steam, a technique nearly as natural as the wood itself. Available in planks with horizontal or vertical textures, the natural brown color of the wood can be retained using a surface finish or left untreated to patina.
Made of durable New Zealand-sourced pine, Exterior Wood Cladding is optimal for both large-scale commercial projects and detail-oriented residential designs. Accoya’s external wood siding is extremely durable, and it is available custom profiled to fit specific building designs and specifications.
Pairing the charming aesthetic qualities of wood with the strength and resilience of aluminum, Technowood’s aluminum panels are laminated with natural wood veneers. Using less wood than typical siding applications, AluSiding is environmentally sustainable, lightweight, and recyclable.
Characterized by the clearly defined lines naturally occurring in solid wood, Pure is FunderMax’s new color collection in its Nature collection wood-based cladding. Stark yet soft in its straightforward design, Pure is offered in four thicknesses and six finishes.
To ring in the New Year, AN dived into a year's worth of facade products to select the best of 2018. Ranging from operable vent windows to manually-embossed cement rainscreen panels, these products are sure to boost the environmental performance and aesthetic value of any new project.
SUNGATE 400 Vitro Architectural Glass
Sungate 400 is glazed with a passive solar control coating that improves thermal performance and reduces solar heat gain. This energy efficient solution helps to reduce winter heating costs and provides exceptionally clear views.
YOV SSG OPERABLE VENT WINDOW
Engineered for maximizing views, this curtain wall system is built around structural silicone glazing. It includes an operable vent for aeration without the unsightly aesthetics and sight blockage of traditional windows and openings.
Designed for historic window restorations, the NX-300 thermal window bestows an antique look updated to meet contemporary performance codes. It is available in a variety of casements: outswing, awning, fixed, and fixed-over-awning configurations.
SELF-CLEANING AND SUSTAINABLE FACADE
Neolith + Pureti
This facade system is treated with a photocatalysis-activated coating that is accelerated by light, which decontaminates the surface millions of times per second. As a byproduct, the autonomously cleaning cladding also improves air quality.
3D WALL PANELCorian Design
Undulating and virtually seamless, this 3-D surface can morph into almost any shape imaginable. Using a thermal-forming technology, it can be produced in varying levels of transparency and in countless colors.
The Texial facade panel is manually embossed to create a surface similar to that of fabric. Through manual input, each panel is different from the next, adding a layer of complexity to any facade.
NBK's TERRART baguettes can be customized in a number of shapes and uses, ranging from rainscreen to brise soleil. A wide range of color and glazing treatments are available for each project.
Perforated and embossed, this sheeting creates an ever-evolving, “living” facade. It can be used as screening or secondary cladding and in its natural coloring or in a range of colors that pass through the various stages of oxidation.
This kinetic metal fabric system is a solution that addresses all kinds of decorative and functional screening purposes—from signage, to sun shading, to exterior cladding. It is fashioned in laser-cut stainless-steel letters and it is offered in endless combinations of custom colors.
Dekton Stonika Collection
The Dekton Stonika Collection features a range of architectural surfaces suitable for both interior and exterior application. Each panel is a blend of glass, quartz, and porcelain, allowing for a high range of UV and environmental resistance.