Posts tagged with "Rainscreen":

Placeholder Alt Text

University of Oregon's Tykeson Hall announces a campus presence with a terra-cotta and brick facade

facadeplus_logo1
Brought to you with support from
Tykeson Hall, currently wrapping up construction, is nestled in the center of the University of Oregon’s Eugene campus. Designed by Portland’s OFFICE 52 Architecture, the intervention consolidates classrooms, academic advisors, counseling, and tutoring for nearly 23,000 students under one roof. The 64,000-square-foot academic building carefully inserts itself into the campus with a variegated terra-cotta and brick facade with moments of glass curtain wall. The building, like much of the campus, rises as a rectangular mass with a series of incisions and setbacks for daylighting and programmatic purposes. To match with the cornice height of the surrounding structures, Tykeson Hall tops out at four stories.
  • Facade Manufacturer Shildan Group Mutual Materials Hardscape and Masonry Kawneer Vitro Hartung Viracon
  • Architects OFFICE 52 Architecture Rowell Brokaw Architects
  • Facade Installer Streimer Sheet Metal Davidson's Masonry Culver Glass Company
  • Location Eugene, Oregon
  • Date of Completion Summer 2019
  • System Kawneer 1600 Wall System Open-joint rainscreen system with a fully thermally broken aluminum window system
  • Products Custom extruded terra-cotta tiles by Shildan Group Mutual Materials Hardscape and Masonry Columbia Red and Autumn Blend Vitro Solarban 60 & 70 Viracon VE-1-2M
The principal material for the exterior envelope is a terra-cotta rainscreen system composed of 3,100 vertical tiles manufactured in Germany by the Shildan Group. This is the first application of terra-cotta on the historic campus in over eighty years—and earlier examples are chiefly decorative rather than performative. All of the terra-cotta tiles roughly measure six inches by three-to-five feet and are clipped to an aluminum grid at both their top and bottom. In using such a straightforward fastening method, the tiles can be easily removed, repaired, or replaced. Visually striking from multiple vantage points across the campus, the pattern of the matte-glazed terra-cotta tiles was developed from the study of Oregon's natural landscape and the architectural context of the University of Oregon's campus. "We looked at numerous color combinations and determined that five colors were necessary so that no color was ever repeated adjacent to itself on any side," said Office 52 founding principal Michelle LaFoe and principal Isaac Campbell. "We then produced keyed drawings that called out every one of the 3,100 tiles, and we made full-scale mock-ups of the final options in our studio. The final resolution of the palette came down to a gray palette that had both warm and cool colors." The most common material element found throughout the campus is brick, loadbearing in the case of historic structures, curtain for the contemporary. The existing brick color palette is largely brownish-red and arranged according to the simple Stretcher bond pattern—bricks overlaying each other midway on each successive course. For the project, the university required OFFICE 52 Architecture integrate this overarching aesthetic into the design of Tykeson Hall. To this end, the design team researched prospective brick layouts to enliven the facade along the east, north, and south elevations of the project. "During our research, we discovered an interesting pattern known as an English Cross bond, which creates a diagonal pattern by staggering the vertical mortar joints from course to course," continued LaFoe and Campbell. "Intrigued with this pattern and seeking to increase its scale, we added a course of longer Norman bricks to the pattern, creating a new pattern which we called a Norman Cross bond." For the coloring of these three elevations of brick, OFFICE 52 Architecture worked with Mutual Materials Hardscape and Masonry to develop a custom-blend of their Columbia Red and Autumn Blend brick types. In total, 78,000 bricks were used for the project, with the design team using building information modeling software to ensure the pattern corresponded with window returns and corner finishes. The bulk of the project's fenestration is composed of punched window openings. However, one-story glass curtainwall projects from the prevailing sedimentary mass along the north, west, and south elevations. Tykeson Hall is estimated to be completed in July 2019.
Placeholder Alt Text

This Berlin house stays dry under a cork skin

facadeplus_logo1
Brought to you with support from
Timber is an increasingly common building and cladding material, but rarer is the use of timber byproducts. But the Cork Screw House, a three-story residential commission in a Berlin suburb designed by rundzwei Architekten, is clad and roofed with one of the most renewable tree-derived materials: cork. The project is located on a fairly modest lot within a suburban area. Due to zoning and height restraints, the design team had to maximize the total square footage of the building—roughly 3,200 square feet—with a few clever tricks. The massing of the structure bears a loose resemblance to the early 20th-century American Foursquare style, relatively boxy in character and restricted in ornament. The ground floor, a half-basement, is effectively burrowed in an excavated ditch ringed by rammed concrete.
  • Facade Manufacturer Amorim Isolamentos
  • Architects rundzwei Architekten
  • Facade Installer Johannsen Timber Constructions
  • Location Berlin, Germany
  • Date of Completion 2018
  • System Cork cladding of timber frame construction
  • Products Cork slabs custom-fabricated into facade panels
The fabrication process of cork panels is similar to that of other cork products produced by Portuguese manufacturer Amorim Isolamentos. Cork is extracted from the bark of the Cork Oak every seven to nine years, a process that leaves the tree trunk undamaged, allowing for further harvests. "The bark is rinded into granulate and formed into the panel shapes by adding pressure and heat," said the design team. "The heat releases the naturally inherent resins of the cork, avoiding the use of adhesive additives." Once solidified, the cork slabs can be cut using standard timber tools into various cladding sizes. In the case of the Cork Screw House, the standard dimensions of the cork panels are approximately 20 inches by 40 inches. The panels are fastened to the building's structural timber framing with a combination of permeable glue and mechanically fixed screws. Apart from the environmentally-friendly production of cork, the design team also opted for the material due to its weather barrier, thermal, and acoustical properties. Owing to the cork's near impenetrability, the panels serve as an effective rainscreen for the structure's timber framing to prevent mold and water damage—similar to wooden drop siding. The panels are just over an inch-and-a-half thick, providing a significant boost to the building's insulation values while keeping out environmental sound.
 
Placeholder Alt Text

1100 Architect blends the new and old with the sensitive use of fiber-cement boards

facadeplus_logo1
Brought to you with support from
1100 Architect's East Side Lofts is located in the Osthafen, or East Harbor district, of Frankfurt, Germany. Heavily damaged during World War II, the district is composed of historical vestiges and contemporary infill. The East Side Lofts effectively combines the two with a restoration of the landmarked Lencoryt Building and a six-story addition clad in fiber-cement boards. The imposing massing of the Lencoryt Building—a former office and textile factory—is enlivened by four-story Corinthian columns, classical detailing, and generous fenestration, and topped by a soaring mansard roof. At first glance, the asymmetrical location of the principal entrance suggests something is awry with the historic building. It is, in fact, incomplete, and would have been twice its size had World War I not drained the country of building resources and labor.
  • Facade Manufacturer Eternit Schueco
  • Architects 1100 Architect
  • Facade Installer Popiolek Fassaden Metallbau Wolf
  • Location Frankfurt, Germany
  • Date of Completion 2016
  • System Single fiber cement rain screen
  • Products Eternit Fiber Cement, Schueco Aluminum Storefront
"Our addition doubled the size of that building (bringing it to scale at which it was originally designed)," said 1100 Architect Founding Principal Juergen Riehm. "The form responds directly to that historic structure, adapting the shape, scale, and proportions of the original, but rendering it in contemporary language." Located adjacent to the bustling port of Frankfurt, it was imperative that the cladding of the new addition obstruct unwanted sound cascading off the waterways. 1100 Architect achieved this objective with an interplay of toned fiber-cement panels and recessed window bays highlighted with yellow window reveals for visual effect. In line with the 1100 Architect's portfolio of high-performance facades, the design of the East Side Lofts followed stringent sustainable techniques. Reihm continued, "together, with the manufacturer, we designed the envelope of the addition as a cohesive system—a single rainscreen that encloses the facades and roof." To reduce the carbon footprint of the project, the design team also sourced the concrete from Eternit's facilities approximately 60 miles south of Frankfurt. The construction of the contemporary addition was accompanied by the painstaking restoration of the Lencoryt Building. The design team, collaborating with the Frankfurt Landmarks Department, pored through archival drawings and imagery to determine the historic structure's original detailing. Based on historical evidence, masonry was repaired, window frames rebuilt, and mosaics relaid. Conference Co-Chair Juergen Riehm will be joining a panel, “Facade Syntax: Changing Context and International Regulations,” at The Architect’s Newspaper’s upcoming Facades+ New York conference, a two-day event at the beginning of April focused on the design and performance of facades.
Placeholder Alt Text

Colored concrete and perforated fins keep this downtown school cool

facadeplus_logo1
Brought to you with support from
Completed in November 2017, the Perkins Eastman–designed School of Nursing and Science Building occupies a former parking lot in downtown Camden, establishing a new institutional heart for Rutgers University in the slowly reviving city. The design inhabits a formidable full-block mass, reaching a height of four stories with a multidimensional facade of high-performance concrete and glass curtainwall shaded by perforated panels.
  • Facade Manufacturer Kawneer, Taktl, Glazing Concepts
  • Architects Perkins Eastman, NELSON Architects (architect of record)
  • Facade Installer Glazing Concepts, Robert Ganter Contractors
  • Facade Consultants Atelier Ten
  • Location Camden, New Jersey
  • Date of Completion November 2017
  • System Kawneer 1600 with concrete panels and curtain wall window modules
  • Products Kawneer 1600 Wall System, TAKTL Architectural Ultra High Performance Concrete, Glazing Concepts window modules
Similar to other urban centers across the Rust Belt, Camden has undergone a significant period of economic stagnation and demographic decline since the mid-20th century. However, the continued expansion of healthcare institutions, such as the Nursing and Science Building, is fundamentally reshaping the city’s character. The project is located on a triangular site adjacent to Camden City Hall, and the residential neighborhood of Lanning Square. Owing to the irregularity of the site, each elevation of the 101,000-square-foot project is a different length. Rather than attempting to establish conformity across the Nursing and Science Building, Perkins Eastman’s design plays with each facade's unique dimensions. The southwest elevation features a hollowed-out frame filled by a three-story glass facade, while the northeast elevation recalls the more traditional masonry punched window style found around the area. For the rainscreen, Perkins Eastman turned to TAKTL, a design and manufacturing operation located in the Greater Pittsburgh Region, to produce rectangular high-performance concrete panels. To blend in with the prevailing use of stone ashlar and brick for historic buildings in downtown Camden, the concrete panels are colored reddish-brown and finished to resemble non-glazed terra-cotta. The panels, measuring one-by-three feet, are face-fastened with color-matched screws to the light-gauge structural steel stud framing. While the rainscreen serves as an oversized framing device, the bulk of the 110,000-square-foot project resides behind glass curtain wall. Sections of the curtain wall bulge from the assembly, providing room for a variety of functions within. “The facade is composed of two distinctive wall types,” said James Butterfield, RA, design Principal at Perkins Eastman. “One which employs a full-height, vertical perforated metal shading system, and a second which introduces opacified shadowbox panels to minimize the quantity of unshaded vision glass.” Each curtainwall module reaches a height of 30 feet and is anchored at the end of each concrete slab. Aluminum brackets project from the Kawneer-produced wall system and are fastened to the 1/4-inch-thick vertical perforated panels at four points. The overall goal of these devices is the mitigation of solar incidence and internal glare associated with typical large-scale curtain wall design.
Placeholder Alt Text

Morris Adjmi gives classic New York terra-cotta cladding a modern twist

facadeplus_logo1
Brought to you with support from
Morris Adjmi Architects has just completed its wedge-shaped 363 Lafayette mixed-use development in New York City. The project is located in the heart of the NoHo Historic District, a context known for its mid-rise store-and-loft buildings clad in detailed cast iron and stone.
  • Facade Manufacturer Boston Valley Terracotta, Belden/Tristate Brick, Vitro Glass, Tristar Glass
  • Architects              Morris Adjmi Architects
  • Facade Installer PG New York (terra-cotta), IHR1 (brick), TriStar Glass
  • Facade Consultants Frank Seta & Associates
  • Location New York
  • Date of Completion Fall 2018
  • System Terracotta rainscreen on a frame wall system flanked by brick piers
  • Products Win-vent series 850 frames, Solarban z60 glass, custom-made rainscreen produced by Boston Valley Terra Cotta, and installed with TerraClad clip system
363 Lafayette’s site is prominent, with three visible elevations to the north, south, and west. The ground floor of the building is dedicated to commercial space and extends from Great Jones to Bond Street. Due to zoning and site constraints, the massing of the west facade is set back, with eight floors of office space rising midway through the elevation. The development’s facade is defined by horizontal and vertical bands of white brick, produced by Belden/Tristate Brick, which frame a charcoal-colored terra-cotta curtain wall. For the color scheme and materiality of 363 Lafayette, Morris Adjmi reinterpreted the area’s historically narrow terracotta mullions, window surrounds, and brick piers, into a much wider layout. Designed by the firm and crafted by Buffalo’s Boston Valley Terra Cotta (BVTC), the geometric pattern of the terra-cotta reliefs was conceived by the design team as an abstraction of neighboring Classical and Richardsonian Romanesque detailing. The custom-made terra-cotta rainscreen was installed on BVTC’s TerraClad clip system that attaches to a perimeter concrete beam and a medium-gauge framing wall. A series of gaskets and isolators allow the system to adjust to thermal expansion while reducing wind-induced vibration. Elongated rectangular windows, fabricated by TriStar with Win-Vent frames and Vitro Glass, are placed between chamfered terra-cotta mullions. Why does the building twist? Lafayette Street used to proceed north from Great Jones Street until the end of the 19th century when the street was excavated from the IRT subway. The excavation of the street led to the creation of odd-shaped sites, such as 363 Lafayette. According to the design team, “the building’s twist serves to reflect the cut of the street and to architecturally engage the setback with the lower portion of the building.”
Placeholder Alt Text

The Ballet Memphis building shines behind a corrugated copper curtain

facadeplus_logo1
Brought to you with support from
The new home for Ballet Memphis, designed by archimania, reveals itself in layers. It is an upgrade from their previous facility which the company had outgrown and was located outside of an urban context. The new Ballet Memphis building is designed to engage the public through movement, culture, and connection to the community. It houses rehearsal space for the professional dance company, a dance school for over 200 children, and community dance and pilates classes. The largest rehearsal studio also doubles as a performance venue.
 
  • Facade Manufacturer Ralph Jones Sheet Metal (corrugated copper panels), Oldcastle BuildingEnvelope (glazing), PAC-CLAD (metapanels)
  • Architects archimania
  • Facade Installer Ralph Jones Sheet Metal (metals), Cooper Glass company (glazing)
  • Facade Consultants Smith Seckman Reid. Inc (structural engineer)
  • Location Memphis, Tennessee
  • Date of Completion 2017
  • System Corrugated copper screen, metal rainscreen, curtain wall
  • Products Natural copper metal panels corrugated and perforated to specifications, PPG solarban 70XL glazing units, PAC-CLAD weathered zinc metal panels
The facade consists of a corrugated copper screen fronting the sidewalk and a series of courtyards, a glass curtain wall at ground level, and a weathered zinc rainscreen above. From the beginning, the project team at archimania wanted the building to extend the historic street promenade but current setback codes required the building to sit further from the sidewalk. The copper screen brings the building's presence to the sidewalk and ties back into the rest of the structure. The corrugated copper screen wraps around the entirety of the building. The portions of the facade facing the street are perforated to allow visibility and light into the building while also acting as a brise soleil and shading the building from direct solar radiation. Facing the parking lot at the back of the building, the copper consists of solid panels with punched windows. Although the copper screen is mostly freestanding, it is tied back to the primary structure through a robust steel frame. Structural members had to be larger than usual due to the building’s location in a seismic zone. However, the design of the screen reduces the visual profile of the structure through flush detailing and a copper trim that surrounds every edge. One of the challenges the architects faced with the screen was its length. When detailing an uninterrupted four-hundred-foot wall, they wanted to break up the scale so that it wouldn’t overpower the street. The design of the screen responds to the meandering path of pedestrians through specific cuts into the elevation. These apertures create unique urban spaces that exist between the ballet’s street presence and the primary mass of the building. A glass curtain wall clads the majority of the building’s ground level at a height of either twelve feet or twenty feet dependent on the size of the studio behind it. This creates a visual connection between pedestrians passing the ballet and allows for views of the performances and practice happening within the studios. The facade transitions to an opaque weathered zinc panel as the building rises in height. For the largest ballet studio, there is a layer of perforated zinc over the top half of the curtain wall that controls the amount of daylight permeating the space. Additionally, on the interior of the curtain wall, archimania included an operable shading system for another layer of both daylight and privacy control. At the moment where the zinc facade meets the sky, Ballet Memphis wanted a unique formal move to signify its presence. The largest studio space rises up to five stories and creates a swooping parapet inspired by the movement of dancers. This allowed the building to have a signature cap and redefined the scale of the largest studio as it rises on each corner.  
Placeholder Alt Text

The Missouri Innovation Campus ripples with an angled aluminum skin

facadeplus_logo1
Brought to you with support from a> ->
The Summit Technology Academy of the Missouri Innovation Campus, designed by Gould Evans and DLR Group, is a new education facility focused on bridging the gap between the workplace and the classroom. The building houses an innovative educational program developed by the University of Central Missouri, the local Lee’s Summit School District, and area industry participants. The collaborative nature of the program inspired the design team when planning the building’s facade.
 
  • Facade Manufacturer Standard Sheet Metal, Kansas City
  • Architects Gould Evans (design architect), DLR Group (architect of record)
  • Facade Installer Standard Sheet Metal, Kansas City
  • Facade Consultants Standard Sheet Metal, Kansas City
  • Location Lee’s Summit, MO
  • Date of Completion 2017
  • System Metal rainscreen
  • Products Custom metal façade by Standard Sheet Metal over Green Girts support system, Midwest Masonry burnished CMU, Kawneer curtain wall
There are three primary systems on the facade. The majority of the building is clad with a custom-fabricated metal panel rainscreen across the second and third levels and a curtain wall glazing system between the metal panels. The first level is clad with burnished concrete masonry units and punched windows. In an interview, Sean Zaudke, associate principal at Gould Evans and member of the design team, told AN“We wanted the facade system to be something that was innovative and simple; something that was very specific to the project.” The metal panel facade was fabricated from standard anodized aluminum coil stock, which was bent diagonally at two locations on each panel. There was only one panel type, which was rotated and mirrored across the building envelope to create a rippling effect that responds to light in different ways. Each panel is ten feet long and two feet wide with a return at the edge so they lock into each other. The dimensions of the aluminum coil stock govern the height of the skin, so the metal facade is twenty-feet in elevation. The metal is a rain-screen system attached to a continuous insulation barrier with a horizontal girt system. At the very beginning of the project, Gould Evans was working with Standard Sheet Metal on the design of the panels. The team started with a series of paper mockup iterations to test different strategies to discover the most efficient panel design. The biggest challenge was maintaining a rectilinear edge while introducing two angular bends. After arriving at a solution, the project team worked with the metal fabricators to optimize the design. At the point where the facade meets the sky, the metal panels are met with custom bent closure panels. These close the building envelope at the back while maintaining its undulating profile. A simpler flat closure panel meets the bottom of the rain-screen system. Additionally, simple metal returns negotiate the joint between the complexity of the bent edge and the straightness of the glass curtain wall. Gould Evans designed the interior to be a flexible, adaptable space so that walls can move to respond to programmatic changes. The design of the curtain wall is adaptable in much the same way. Every piece of the curtain wall integrated into the rainscreen system is the same two-panel module and can be added, removed, or relocated. The system can be adapted as the needs of the educational program evolve.  
Placeholder Alt Text

Snøhetta’s Norwegian campus building features seawater-durable aluminum panels

  facadeplus_logo1
Brought to you with support from
Snøhetta’s design for the Faculty of Fine Art, Music and Design (KMD) consolidates six previously scattered academic buildings into one multi-use cross-disciplinary building. The cultural landmark offers new public space and symbolic connectivity between the university and its Norwegian town. The architects sought to produce a facility that offered an “ideal and malleable space for artistic expression." They utilized robust, durable materials to withstand harsh workshop-like interior environments and a climate that is notoriously rainy. “The objective is to free students and staff from limitations by surfaces and materials,” said Snøhetta in a recent press release.
  • Facade Manufacturer Metha (aluminum); Schuco (glazing)
  • Architects Snøhetta
  • Facade Installer Bolseth Glass
  • Facade Consultants Rambøll (structural engineering); Bolseth Glass (facade consultant)
  • Location Bergen, Norway
  • Date of Completion 2017
  • System Rainscreen wall assembly composed of approximately aluminum-clad 10-inch Rockwool sandwich panel, and 2-inch drywall cavity on interior side for electric infrastructure
  • Products Schuco glazing system delivered by Bolseth Glass; custom aluminum panels by Metha
KMD pairs two axes: an internal corridor dedicated to students and staff, and an external corridor open to the public. The two spaces intersect each other, forming what the architects call one of the most prominent features of the building: a 14,000-square-foot project hall. “It is here, in the transition zone between the public and the private sphere of the school, that the building offers exciting opportunities for students, professors, and visitors to connect, discover, and learn from one another.”  The building’s entrance is connected to a large outdoor public plaza, which together with the large glass wall of the project hall, makes KMD an inviting and open building in dialogue with the city center of Bergen. The building envelope features over 900 panels of pre-fabricated raw aluminum panels, specifically designed in variable dimensions and depths to produce a dynamic composition. The panels feature a custom patterning developed by Snøhetta and custom-made by local manufacturer Metha, based in the city of Røros just south of Trondheim.
The aluminum-folded rainscreen cladding panels offset approximately four, six, and eight inches from the insulation line. Each set folds at the same angle, creating variations in the sizing of the shadow gap between the cassettes. By varying the depth of the facade, the building offers unexpected shadows cast by dynamic atmospheric conditions along Norway’s west coast. The architects say durability and robustness were “keywords” that helped guide all decisions made throughout the facade design process. “The rainy and sometimes stormy coastal climate demands all exterior materials to not only withstand harsh conditions but to weather in a way that highlights their unique qualities over time. The crude aluminum surfaces will gradually age and naturally oxidize, heightening the variations in colors and textures.” This robust and playful expression gives great flexibility when planning for windows and lighting conditions. The windows of the building are set at different heights, slipping into Snøhetta’s intentionally varied compositional scheme. This seemingly haphazard positioning allows for opportunistic interior moments where usable wall space and daylighting considerations can be maximized based on programmatic necessities. Large delicately-detailed cantilevered glass volumes, the result of a successful collaboration with Bolseth Glass, interrupt the syncopation of aluminum at key moments in the building layout. Furthermore, a large glass roof aids in the distribution of daylight into the building. The building is currently in its inaugural academic year, having opened this past October 2017.
Placeholder Alt Text

Assemble takes us behind the facade at Brooklyn’s A/D/O

facadeplus_logo1
Brought to you with support from
London-based collective Assemble has built a temporary “factory” at the A/D/O creative space in Greenpoint, Brooklyn, and clad its front with custom hand-made tiles produced on site. This is the Turner Prize–winning group’s first U.S. project, which forms part of the inaugural Design Academy at A/D/O, a center that allows the public to work, explore, and participate in design exhibitions and events.
  • Facade Manufacturer Assemble; A/D/O
  • Architects Assemble
  • Facade Installer Assemble
  • Facade Consultants n/a
  • Location Brooklyn, New York
  • Date of Completion 2017
  • System rainscreen 
  • Products galvanized steel frame, extruded clay tiles
The installation is inspired by utopian ideals of the factory as a healthy space shared by humans and machines for production, leisure, and education. Assemble designed an open steel frame structure that produces an outdoor courtyard. Clay tiles to clad the factory were steadily manufactured by a team using a single clay extruder and an electric kiln. A/D/O’s Design Academy participated as a collaborator in the process, which resulted in numerous additional items such as planters, dinnerware, and decorative objects. Louis Schultz, a member of Assemble, shares insights into their working process below: The Architect's Newspaper: Can you share any insights into the formal shape of the tiles used on the facade? Louis Schultz: The tiles work just like standard ceramic overlapping roof tiles. Each one overlaps covers half of two tiles below it as well as covering the seam between them. The difference is that because our installation was a rain screen on a vertical surface we didn’t need as much overlapping as roof tiles. The ribbed shape was partly about showing off the process of extrusion, but they also helped with airflow underneath the tile while the clay was drying, which reduced warping. The hook at the end of the tile was formed by hand after extrusion and it helps the tiles overlap neatly. How big is an individual tile unit? The tiles are approximately 16-inch by 6-inch. We noticed the tiles are installed with two fasteners at the top of each unit. Is it difficult to cut the holes into the tiles? The holes are cut while the clay is still soft using a tool called a hole cutter. The tool consists of a wooden handle with a small metal tube attached of the diameter of the hole you want cut. The business end of the tube is normally cut at 45 degrees. With one pug mill and an electric kiln, how long did it take you to produce the tiles for this installation? From conception to completion, it took about a month. We took delivery of the pug mill (which we had never used before) on the 14th of January and we had the whole exhibition completely finished by 12th of February. We spent a lot of time in the first couple of weeks playing around with the extruder, we made a couple of hundred cups and a couple of hundred other pieces, some useful, some less so. Once we had settled on a design for the tiles, it took about two weeks to manufacture and install them. The main limiting factor was the amount we could fit in the kiln. Were you concerned about the patterning of blue vs white? Is this something you planned or allowed to naturally occur? We weren’t sure exactly how it was going to look until we did it. We had long discussions about doing horizontal blue and white stripes instead while the first batch was firing in the kiln. In the end, we plumped for random because we thought it would be more forgiving of color variations and we knew we would have to use every last tile we made. We couldn't afford to reject any due to slight color discrepancies. We decided to embrace the discrepancies and make batches of lighter and darker blues. We chose the blue after comparing it to a few other pigments, the white we came to later as it was just plain uncoloured clay. It was an easy decision to make as white was the least amount of work to produce. We didn’t draw the random pattern, we just fixed the tiles on the building randomly. What was the most challenging issue to this project? The most challenging issue was probably navigating the NYC Department of Building (DOB) regulatory framework. As a foreigner, it seems like a very draconian and overly bureaucratic system. How did this project compare to Yardhouse? Obviously, that's a reference point. But process-wise it was completely different; the Yardhouse tiles were fibre-reinforced concrete applied into metal molds, whereas these were extruded clay.
Placeholder Alt Text

Morse code facade wraps a skatepark in Norway

facadeplus_logo1
Brought to you with support from
The Oslo Skatehall, which opened earlier this year, is a new 25,000-square-foot indoor venue designed to be shared between professional and amateur skateboarders of all ages. The building, located on a sloping site near central Oslo, is the result of a close collaboration between architects at Dark, a Norwegian-based firm of landscape architects and skate park design specialists.
  • Facade Manufacturer Schüco (windows & doors); Hansen Sveis & Montering AS (structural frame); Stålbygg AS (aluminum panels)
  • Architects Dark Arkitekter
  • Facade Installer Varden Entreprenør AS (general contractor); Bjørnstad Prosjektering AS (construction management); Profilteam (facade contractor)
  • Facade Consultants Sweco (structural engineering); Hjellnes Consult AS (MEP); Borg Bygg AS (facade consultant); Høyer Finseth AS (construction consultant)
  • Location Oslo, Norway
  • Date of Completion 2017
  • System rainscreen
  • Products custom Schüco-System
Oslo Skatehall’s boxy massing is clad with aluminum panels punctured by a surface pattern of Morse code symbols. The patterning produces a literal transcription of the 1978 Norwegian law forbidding the use, sale, and advertising of skateboards. The architects say this ban, which was lifted in 1989, had the intention of preventing serious accidents but did not discourage people from taking up the sport. “When the ban was lifted in 1989 the interest exploded. Skateboarders went from being lawbreakers to celebrities and youth idols.” The Morse code patterning is introduced to the interior of the building as well, in the cafe and service areas, where its message conveys slang terms and tricks used by the skating community. The facade embraces materials and detailing that were purposefully designed for a “simple and crude expression,” said the architects. “There is a raw honesty to the materials selected, which creates variation in the surfaces and structures. Colors and materiality creates a diversified entirety and gives an extra dimension to the angled expression.” The architects say building information modeling (BIM) enabled a highly collaborative design, fabrication, and assembly process. “BIM has enabled all participants in the project to collaborate successfully, from service providers, management teams, contractors and advisors down to the actual users of the facilities, each contributing their individual expertise.” The hall has been constructed in accordance with Passive House standards, with a focus on recycled materials, life-cycle costs (LCC), air circulation, and sustainable energy sources. The end result is an integrated expression of function and space, in which sculptural static spaces for skating must alternate with effective evacuation routes. “Oslo Skatehall is a salute to youthful values, its fully-integrated holistic design oriented towards the future,” the architects concluded. “The interaction of the building mass with the outdoor venues and surrounding park landscape are symbolic of the interaction between different generations of users, both performers and spectators, now and for many years to come.”  
Placeholder Alt Text

Historic Tribeca warehouse meets its match

facadeplus_logo1
Brought to you with support from
This new 33-unit condominium in New York’s historic Tribeca neighborhood is composed of two buildings, a restored and converted 1905 coffee and tea warehouse on Washington Street and a matching addition on Greenwich Street. The new building produces a “double negative” effect, with identical facade detailing rendered in a matte metallic finish.
  • Facade Manufacturer Ferra Designs (base); Stromberg Architectural Products (middle); LITSCO (top)
  • Architects Morris Adjmi Architects
  • Facade Installer Mistral Architectural Metal (base); GEM (middle); GEM/LITSCO (top)
  • Facade Consultants Frank Seta Associates
  • Location New York City, NY
  • Date of Completion 2016
  • System Rainscreen
  • Products custom CNC-milled aluminum panel in a plasma finish; modular cast GFRC panels; zinc
Wesley Wolfe, director of design at New York City–based Morris Adjmi Architects, said this concept of the direct copy was influenced by both contextual and cultural factors. "Warehouses in the district often were extended as their needs for more space grew. These additions would often mimic the style of the original warehouse." Wolfe said the use of analogous materials is not uncommon, citing the tendency of industrial-era cast iron to replicate stone or brick. The project was also inspired by art and the idea of duplication in the work of pop artists like Andy Warhol. The project team used a combination of laser scanning and hand measurement to capture details in the base, middle, and top of the historic masonry facade. The base of the facade mimics it's neighboring limestone masonry, employing a marine grade aluminum panel with CNC-milled patterns. The material is finished with a plasma flame spray involving a mixture of nickel and stainless steel powder. The cost of this premium material and finish limited its use to the ground floor of the building where it's exposure is maximized to passersby. The upper floors employ a glass fiber reinforced concrete (GFRC) panel with spray on coating with aluminum particles that mimics the look of the plasma finish of the metal panels. The custom cast panels are installed onto the facade as a rain screen assembly using a standard clip and Z-girt system backing up to a stud wall. The facade is panelized with a "modular rationality" coordinated with the composition of the punched windows of the facade. An overlapping tongue detail developed by the project team helps to minimize panel joints. Beyond the facade, a landscaped courtyard cut into the two buildings helps to connect the old with the new. The interior aesthetic parallels the two structures as well, offering rustic exposed finishes in the original warehouse and a more contemporary streamlined finish for the new addition.
Placeholder Alt Text

High-performance "science pyramid" at Denver Botanic Gardens

facadeplus_logo1
Brought to you with support from
A 23-acre public botanical garden in Denver—which contains North America's largest collection of plants from cold temperate climates around the world—has received a new science center inspired by biomimicry, technology, and the landscape. The project was a highly collaborative output from Burkett Design and StudioNYL. The appropriately titled “Science Pyramid” began formally as an inversion of an adjacent depressed triangulated amphitheater. The triangulated structure was initially planned as a self-supporting structural shell of honeycomb-shaped glass units, inspired by beehive structures. With a desire to control lighting for multimedia displays, the design evolved to an opaque shell with fiber cement panels, building integrated photovoltaics (BIPV), and electrochromic glass panels. Ben Niamthet, Associate Principal at Burkett Design, says the building was formally split into two halves, shearing down the middle of the pyramid to provide an opportunity for guests to locate themselves within the landscape of the gardens, and affording views to an adjacent historic fountain. The gap was clad with custom-made electrochromic panels that operate in coordination with rooftop light monitoring system to control daylight in the exhibition space below. Niamthet attributes this feature as one of the most successful aspects of the project. "It created a challenge, he said. "Not just an aesthetic challenge, but a structural engineering challenge." Niamthet said this challenge was met by a highly collaborative design process with StudioNYL's Skins Group—a team of facade designing structural engineers.
  • Facade Manufacturer Swisspearl (fiber cement panels) supplied by Specialty Architectural Panels; Cosella-Dörken (weather and air barrier systems)
  • Architects Burkett Design
  • Facade Installer NDF Construction (cladding), Alliance Glazing Technologies (glazing), Roadrunner Fabrication (perforated metal panels), United Materials (weather and air barriers)
  • Facade Consultants StudioNYL
  • Location Denver, CO
  • Date of Completion 2014
  • System steel frame with fiber cement rainscreen
  • Products Swisspearl® CARAT, Black opal 7020R; View Dynamic Glass (electrochromic glazing); Onyx Solar with customized hexagonal shape (BIPV); Cosella-Dörken DELTA®-VENT SA self-adhesive water-resistive and air barrier; Cosella-Dörken DELTA®-FASSADE S (UV-resistant barrier); Cascadia Clip fiberglass thermal spacers
The facade construction doubles as both a wall and a roof, and is technically understood as an open joint roof-mounted rainscreen system. The unique assembly is one of the first of it's kind in the world. A primary steel structure of 18" diameter HSS tubes provide the basis for a layer of plywood sheathing that forms the building's iconic tent-like structure. A secondary layer of structural thermal isolator standoffs set at 2-feet-on-center support for two layers of rigid insulation totaling 5-inches. This outboard insulation layer is protected by a gypsum cover board and a UV-resistant moisture barrier. A tertiary layer of cladding subframing systems provides standoffs for the final layer of hexagonal-shaped fiber cement panels. Will Babbington, principal at StudioNYL, calls the project one of the most iconic projects the facade engineering firm has completed: "The nice thing with all of these layers affords the tolerance that is required for what ended up being a very fast tracked project." To manage increased UV exposure from a slanted rooftop orientation, Cosella-Dörken's DELTA®-FASSADE S product was specified because of its properties as a highly stabilized material against damage from UV exposure. The product is designed for use in cladding systems that have open joints of up to 2-inches wide which expose up to 40-percent of the entire facade surface. Marrying the hexagonal grid with the buildings pyramidal form produced inherent alignment challenges for the design team. Babbington recounts, "we rotated that pattern well into the double digits... maybe even triple digits... [at] times trying to find a way to minimize tiny slivers of fiber cement board which were too small for standard fastening methods." StudioNYL says the greatest challenge associated from detailing a rainscreen on a sloped surface is the reduction of a natural "stack effect" ventilation—a performance requirement of typical open joint rainscreens. Babbington said the problem required research into fluid dynamics which accounted for specific environmental factors of the system. A digital model was able to conclude that the gap between the fiber cement panels and the exterior wall construction heats up enough to provide an efficient upward airflow. This—despite the slope of the pyramid's walls—promoted a passive method for circulating air in the manner rainscreens are designed to perform. The fluid dynamics model specifically accounted for solar orientation of the facade surfaces, local climate data, and the dark coloration of the Swisspearl panels. The project team is awaiting data from this high-performance building to evaluate the efficiency of the Science Pyramid's construction assemblies and systems, which have now been in operation for almost two years.