Posts tagged with "KieranTimberlake":
- Michelle Addington, Dean, School of Architecture, The University of Texas Austin Austin, Texas
- Jennifer Devlin-Herbert, FAIA, EHDD. San Francisco
- Kevin Schorn, AIA, Renzo Piano Building Workshop, New York
- Julie V. Snow, FAIA, Snow Kreilich, Minneapolis
- Susan Ubbelohde, LOISOS + UBBELOHDE, Alameda, California
"When we designed Eden over twenty years ago, this was the largest installation of ETFE, which had principally been used for small sports buildings," said Andrew Whalley, Partner & Deputy Chairman at Grimshaw Architects. Whalley was, of course, referring to the Eden Project in the U.K.'s southwest, the project that put ETFE and its use for buildings on the map. Previously, the material had been used mostly in the aerospace industry, with the odd agricultural project thrown in. Now it was being used for huge, bulbous "biomes" that drew inspiration from Buckminster Fuller.
"I think the Eden project certainly gave it a much higher profile, which led quickly to its use on several high-profile buildings. This rise in popularity has lead to a continual refinement in the product, and with secondary applications," added Whalley.Grimshaw has since gone on to be a pioneer of the polymer in architecture. Their U.K. National Space Center in Leicester was another landmark project, and, more recently, the firm has stepped it up a level, with the dazzling Disney resort, "Tomorrowland," in Shanghai. Whalley continued, "Current ETFE is much more transparent than its earlier version, is available in a range of color tints. It can be fritted, and combining this with variable air pressures can change the amount of light passing through the envelope." Light and colour certainly abound at Tomorrowland. David Dennis, Associate Principal at Grimshaw explained how this was achieved through a double-layered ETFE cushion that spans 164 feet across a complicated twin-gridshell canopy. This is then held in place by custom-formed aluminum clamps that respond to the tight bending and twisting of the structure. "ETFE’s inherent flexibility permitted spanning these complex forms. Meanwhile, advancements in imbedded color and custom-applied ‘frit’ patterns enabled a backdrop suitable for both daytime and nighttime light shows," elaborated Dennis. "The canopy structure required a lightweight cladding that could keep guests dry and comfortable in Shanghai’s wet summers. At the same time, it also needed to be an expressive and iconic canvas for lighting effects and projections that celebrate Disney’s stories and capture the Tomorrowland theme of an optimistic future," he added. "ETFE met these needs, providing flexibility of form and advanced capacity for showcase." But how is ETFE being used on U.S. shores? Alloy Kemp, a Senior Project Engineer at Thornton Tomasetti's New York office, was on hand. The engineering firm has already worked on numerous ETFE facades, including Banc of California Stadium (for the Los Angeles Football Club, MLS), the U.S. Bank Stadium (for the Minnesota Vikings) and the Hard Rock Stadium (for the Miami Dolphins) in Florida. Right now, Thornton Tomasetti is working with Diller Scofidio + Renfro (DS+R) and the Rockwell Group on The Shed at Hudson Yards which, yes, you guessed it, has an ETFE facade. According to Kemp, The Shed uses a pneumatic system, whereby three foils made into a panel are inflated with air. "The air is not structural; it serves to stabilize the foils," said Kemp. "The outer foil is fritted (printed with silver ink in a dot pattern) to reduce the light transmission of the panel into the space." The middle foil, meanwhile, is clear, and the inner foil is white, with 20 percent opacity. Kemp remarked that the "overall effect is to diffuse and scatter the direct sunlight into the space." ETFE is also representing the U.S. on foreign soil, too. Back in the U.K., Philly-based studio KieranTimberlake Architects recently used the material to clad the U.S. Embassy in London. Partner at studio Matthew Krissell told AN how the "single layer tensioned membrane," arranged in an array of sails on three sides of the building, optimized natural daylighting with a high level of transparency. Meanwhile, the scrim also provided a second air gap to give further resistance to thermal transfer.
With its limited financial resources, Philadelphia can’t save all the buildings in the city that deserve protection. But one structure that city officials are preserving is the 1960 Fairmount Park Welcome Center at JFK Plaza/LOVE Park, a round pavilion that locals have dubbed the “saucer” due to its Jetson-like qualities.
Designed by Roy Larson of Harbeson, Hough, Livingston & Larson, the building renovation is part of a $16.5 million upgrade to LOVE Park, at John F. Kennedy Boulevard and North 15th Street, well known for its Robert Indiana LOVE sculpture. The work is being described as a retrofit rather than a pure restoration.
Local firm KieranTimberlake will head the Welcome Center upgrade and prepare the building for use as both a visitor center and setting for a food and beverage operation. Hargreaves Associates is the landscape architect leading the park makeover, slated for completion by spring 2017, and Pentagram is the graphic designer.
The Welcome Center is getting energy-efficient glazing, a green roof, upgraded systems, and improvements to make it more accessible to the disabled. As part of the project, Philadelphia’s Office of Arts, Culture and the Creative Economy commissioned Chromoscope, a ceiling mural by husband and wife artists Tom Drugan and Laura Haddad of Seattle, under its “percent for art” program.
According to the artists, who are working with local lighting design firm The Lighting Practice, the ceiling mural is made with aluminum panels printed in saturated colors with archival ink. The image is composed of distinct patterns in separate colors, layered and blended to create an abstract pattern. In daylight, all of the layered images will be visible at once, resulting in an abstract pattern.
At night, red, green, and blue LED lights will transition through a variety of hues, durations, and sequences on the mural. The timing, speed, and type of color fades can be composed to create a variety of effects for different times and events. As the light color changes, the imagery changes, resulting in a kinetic optical effect that appears to animate the structure itself.
“The art reinstates the pavilion’s original lighting concept as a ‘lantern,’ but will be visually dynamic and compelling at all times,” the artists said. “From a distance, the dynamic pattern will embody the motion and modernist power of the original Welcome Center, which was conceived as an emblem of futurist ambition.”
The facility will serve students, building operators, building energy auditors, and will be used to support the development of new business ventures in energy efficiency.The Consortium for Building Energy Innovation (CBEI)—formerly the Energy Efficient Buildings Hub—at Philadelphia’s Navy Yard, is a research initiative funded by the Department of Energy and led by Penn State University that seeks to reduce the energy usage of commercial buildings to 50% by 2020. KieranTimberlake, a Philadelphia-based firm located three miles from Navy Yard, was selected by Penn State to renovate a 1940’s Georgian-style brick building to be a living laboratory for advanced energy retrofit technology. Included in the brief was an addition to the building, which evolved into a new stand-alone building across the street on Lot 7R, which aptly became the name of the building. The new 7R building, literally tied to the ground with groundwater-sourced heat pumps, is also formally and tectonically organized around passive solar strategies. A number of daylighting studies drove a re-shape of the building. An initial four-story cube was introduced in Robert A.M. Stern and Associates’ masterplan for the site, but became a long linear east-west oriented low-lying building. This configuration maximizes daylighting while minimizing over-shadowing on the site, establishing a framework for campus growth. 7R is loaded with environmental features including a green roof, a gray water reuse system, integrated daylighting strategies, and geothermal wells. These environmental priorities influenced an approach to building envelope design that balances performance with overriding aesthetics and compositional goals. David Riz, a partner at KieranTimberlake, says the composition of the facade is integral to the siting of the building: “In a large number of our projects, we accentuate the orientation of our buildings with facade treatments.” Brick, chosen for its relationship to a historic Navy Yard context, is utilized as a ‘solar shade,’ opening and closing along the south facade to manage direct heat gain, while eliminating the need for mechanized shades. ‘Rips’ in the brick fabric reveal a transparent glazing system adorned with horizontal sun shade louvers. To the north, the building visually connects to adjacent League Island Park by maximizing glazing along an elevated second floor ‘tree-top’ interior walkway. Arguably the most significant feature of the building envelope is a twin-wall assembly of insulated translucent panels, seen prominently along the length of the north facade, allowing the architects to maximize the level of daylight. David Riz says the panels are notably used both performatively and compositionally, spanning 19’ tall from the plenum to the roof coping: “We wanted to create syncopation in the patterning. We were trying to get a dual read on a long linear building introducing key moments as your eye moves along the building.” The panels are incorporated into the west facade as a primary material to help manage a harsh late-afternoon sun in the large auditorium’s break out space. Riz celebrates the success of the facade in managing a difficult western orientation through diffusing harsh sunlight into a soft glow: “When you’re in the break out space, you simultaneously sense the daylight from the west, a view to the north park, and also a view through the flying brick screen to the south. That’s where it all comes together.” Riz considers the quality of daylight filtering through the building envelope to be one of the project’s greatest strengths: “There are very nice moments as you walk through the building because its so narrow where you experience a simultaneity of the south facade and the north facade: a hint of the brick screen through the classrooms, and bays of transparent panels to the other direction.” KieranTimberlake, who recently received an award for Innovative Research at ACADIA 2015, continues to monitor for thermal performance and storm water analysis. In this regard, the 7R building is a blend between high tech data monitoring, paired with low-tech passive strategies and off-the-shelf products. The project, completed within the last year, will be utilized by Penn State for various research programs.
ARO, KieranTimberlake, Mack Scogin Merrill Elam make shortlist for Washington University in St. Louis
From the AIA: The historic YMCA (1926) had been a focus of African-American life in the era of segregation but had fallen into severe disrepair. The design re-establishes the building’s role as a community focus, restores principal spaces for youth training programs, brings existing living quarters in compliance with contemporary standards and adds new housing units. Inventive integration of new building systems released the existing rooftop for outdoor social space that connects and anchors old and new. The new addition is thin and cross-ventilated. It is shaded to the south by a vertical photovoltaic panel array and wrapped to the north with lightweight perforated metal screens that contrast with the heft of the original masonry building.Brockman Hall for Physics, Rice University; Houston KieranTimberlake
From the AIA:The campus of Rice University is a continuously studied and managed “canvas” that represents an intensive ongoing collaboration between architects, planners, and administrators. Its park-like environment—with live oaks, lawns, walkways, arcades, courtyards, and buildings—comprises a clear and timeless vision. The Brockman Hall for Physics needed to fit within this distinctive setting, to gather together a faculty of physicists and engineers working in as many as five separate buildings, and to house highly sophisticated research facilities carefully isolated from the noise, vibrations, and temperature fluctuations that could destroy experiments.California Memorial Stadium & Simpson Training Center; Berkeley, California HNTB Architecture; Associate Architect: STUDIOS Architecture
From the AIA: The historic stadium is one of the most beloved and iconic structures on the UC Berkeley campus. The key goals for this project were to restore the stadium’s historic and civic prominence, integrate modern training and amenity spaces, and address severe seismic concerns. By setting the new athlete training facility into the landscape, a new grand 2-acre public plaza for the stadium was created on the roof. A new press box/club crowns the historic wall; its truss-like design acts as a counterpoint to the historic facade.Cambridge Public Library; Cambridge, Massachusetts William Rawn Associates; Associate Architect: Ann Beha Architects
From the AIA: The Cambridge Public Library has become the civic “Town Common” for a city that celebrates and welcomes its highly diverse community (with over 50 languages spoken in its schools). With its all-glass double-skin curtain wall front facade, the library opens seamlessly out to a major public park. This double-skin curtain wall uses fixed and adjustable technologies to ensure that daylight is infused throughout the interiors and to maximize thermal comfort for the most active patron spaces looking out to the park.Danish Maritime Museum; Elsinore, Denmark Bjarke Ingels Group
From the AIA: The design solution to the site’s inherent dilemmas was to wrap a subterranean museum around a dry dock like a doughnut, where the hole was the dry dock itself and the centerpiece of the museum’s collection. Three two-level bridges span the dry dock, serving as shortcuts to various sections of the museum. All floors slope gently, so that a visitor continually descends further below the water’s edge to learn about Danish maritime lore. The civil engineering and construction work for the museum were among the most complicated ever undertaken in Denmark.John Jay College of Criminal Justice; New York City Skidmore, Owings & Merrill
From the AIA: Located in Manhattan, John Jay College of Criminal Justice’s new building provides all the functions of a traditional college campus within the confines of a single city block. SOM’s 625,000-square-foot addition doubles the size of the college’s existing facilities by adding classrooms, laboratories, auditoriums, faculty offices, and social spaces. These functions are arranged within a new 14-story tower and four-story podium topped with an expansive landscaped terrace that serves as an elevated campus commons. A 500-foot-long cascade runs the length of the podium and functions as the social spine of the campus. SOM’s design places a premium on communal and interactive space so that students may enjoy the experiences of a traditional college setting.Krishna P. Singh Center for Nanotechnology at the University of Pennsylvania; Philadelphia WEISS/MANFREDI
From the AIA: Challenging the established model of laboratory buildings, the Krishna P. Singh Center for Nanotechnology is organized around an ascending spiral that hybridizes the tradition of the campus quadrangle with the public promenade. The Center for Nanotechnology twists its laboratories around a central campus green, opening the sciences to the University of Pennsylvania’s landscape while providing a suite of public spaces within the building for cross-disciplinary collaboration amongst scientists. Here, multiple types—courtyard, laboratory loft, ascending gallery—each with their own distinct histories, are grafted together to create a new, but recognizable hybrid.LeFrak Center at Lakeside Prospect Park; Brooklyn, New York Tod Williams Billie Tsien Architects
From the AIA: This project restored 26 acres of Brooklyn’s Prospect Park, designed by Frederick Law Olmsted and Calvert Vaux in the 19th century and added a new 75,000-square-foot, year-round skating and recreational facility. In the winter, the facility’s two rinks are open for ice skating, and in the summer one rink converts to roller skating and the other to a large water-play fountain. Clad in rough-hewn gray granite, the new LeFrak Center appears to be large stone retaining walls set in the landscape. Much of the structure is tucked into the land. The L-shaped plan consists of the east and north block, both one-story structures with roof terraces connected by a bridge.Sant Lespwa, Center of Hope; Outside of Hinche, Haiti Rothschild Doyno Collaborative
From the AIA: The Center of Hope, commissioned by World Vision, is located in a rural region in Haiti and provides support, education, and skill building opportunities. The design process involved the entire community from children to elders. Construction included on-the-job skills training for over 100 residents. The courtyard scheme and breezeway capture prevailing winds while opening expansive views to the mountains beyond. Careful planning for natural ventilation, daylighting, water collection, sewage treatment, and electricity generation resulted in a completely self-sufficient building. The participatory and empathetic process created an uplifting environment that inspires hope.United States Courthouse, Salt Lake City, Utah Thomas Phifer and Partners; Naylor Wentworth Lund Architects
From the AIA: The design of the new United States Courthouse in Salt Lake City emanates from a search for a strong, iconic, transparent, and metaphorically egalitarian form to symbolize the American judiciary system. The primary nature of the courthouse’s cubic mass projects grounded dignity, immovable order, and an equal face to all sides. The 400,000-square-foot, 10-story courthouse resides on a landscaped terrace that spans an entire city block, uniting the new and existing federal courthouses as a public-access amenity while fulfilling a required federal security setback from the street.Wild Turkey Bourbon Visitor Center; Lawrenceburg, Kentucky De Leon & Primmer Architecture Workshop
From the AIA: Located on a bluff overlooking the Kentucky River, the visitor center is the newest component of recent additions and expansions to the Wild Turkey Distillery Complex, one of seven original member distilleries of the Kentucky Bourbon Trail. The 9,140-square-foot facility houses interactive exhibits, a gift shop, event venues, a tasting room, and ancillary support spaces. Utilizing a simple barn silhouette (an interpretation of Kentucky tobacco barns common to the area), the building, clad in a custom chevron pattern of stained wood siding, presents a clear and recognizable marker in the landscape.