Posts tagged with "aluminum":

SHoP Architects adds aluminum luster to Nassau Coliseum

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

The Missouri Innovation Campus ripples with an angled aluminum skin

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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.  

Aluminum panels injected with air make EarthCam’s new campus glow

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For nearly 20 years, EarthCam has documented projects by many of the world's top design firms: Zaha Hadid ArchitectsBjarke Ingels Group (BIG)Foster + Partners, Gehry Partners, LLP, The Ateliers Jean Nouvel, Renzo Piano Building WorkshopShigeru Ban, Snøhetta, and Weiss/Manfredi. The company, founded in 1996, is a global leader in providing webcam content, technology, and services. An expansion of their current headquarters, located on a 10-acre campus in northern New Jersey, is the result of a recent collaboration between Steven Davis of Davis Brody Bond and Spacesmith. This expanded corporate headquarters joins 12 additional EarthCam offices worldwide.
 
  • Facade Manufacturer ALUSION by Cymat Technologies (facade panels); Nvelope (panel framing); Kawneer (curtain wall)
  • Architects Davis Brody Bond; Spacesmith
  • Facade Installer EarthCam (panel installation); County Glass and Metal Inc. (glazing)
  • Facade Consultants David L. Kufferman P.E. (structural engineering); OMDEX (MEP Engineer); GK&A (LEED consultant); EarthCam (A/V engineering); Ten Foot Digital (LED screen)
  • Location Upper Saddle River, N.J.
  • Date of Completion 2018
  • System steel frame with curtain wall
  • Products Large Glass by Viracon; Aluminum Curtainwall by Kawneer; custom LED exterior lighting by EarthCam
The project, dubbed 'EarthCampus', involves an extensive renovation to an existing 26,000 square-foot cement block building housing technology and manufacturing divisions, along with the addition of a new entryway, connecting atrium, and office workplace. Key features of the project include an uplit translucent aluminum facade. The architecturally stabilized aluminum foam panels were added to the existing office building, installed on a subframe that mechanically attached to the existing block wall. The lightweight panels, manufactured by Alusion, were produced by injecting air into a molten aluminum liquid that contained a fine dispersion of ceramic particles. These particles stabilize the bubbles formed by the air, resulting in a porous but strong surface. The sheets are manufactured in custom sizes, but also are commercially available in standard four-by-eight-foot sheets. The textural aluminum panels frame an entryway pavilion housing a 25-foot-tall LED video wall that showcases live EarthCam feeds from around the world and leans over the interior of the room. This surface extends beyond a curtain wall enclosure where it is clad with flush metal panels, precisely tapering to a sharp edge. “We wanted the building’s facade, one of the first things a visitor sees, to reflect our company values. At the top of the list are innovation and transparency,” said Bill Sharp, senior vice president at EarthCam. “We apply these principles in our business practices, products, services and relationships with clients and employees. The entry is made of three stories of transparent glass where visitors can view from both inside and out a floor-to-ceiling video wall featuring our live streaming camera feeds and construction time-lapse movies.” A steel-clad tunnel leads visitors to the new 11,000 square foot employee workplace where floor-to-ceiling windows and skylights offer ample daylighting. The workplace environment prioritizes a strong connection to nature and the art housed both within the building and throughout the campus grounds. Energy efficiency targets were achieved through the integration of sustainable equipment. Reclaimed building components and new materials made from recycled content contributed to the LEED certification of the facility, highlighting EarthCam’s commitment to corporate sustainability.

At Arizona State University, pixelated aluminum louvers shade residence hall

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The newest residence hall at Arizona State University in Tempe, the Tooker House, creates an impactful addition to the campus while addressing the intense solar radiation in Arizona. Solomon Cordwell Buenz’s (SCB) design consists of two parallel masses running east to west and interlocking diagonally in the middle. While the building has an expansive south-facing facade, the project mitigates solar radiation through multiple approaches.
 
  • Facade Manufacturer Kovach Building Envelopes
  • Architects Solomon Cordwell Buenz
  • Facade Installer Kovach Building Envelopes (perforated aluminum louvers, perforated aluminum screen, aluminum window enclosure, sandstone panels), Diversified Interiors (exterior EIFS)
  • Facade Consultants Field Verified, Inc. (exterior wall consultant)
  • Location Tempe, AZ
  • Date of Completion 2017
  • System Perforated aluminum louvers with vertically suspended truss, perforated aluminum screen, sandstone panels
  • Products Custom fabricated perforated aluminum screen and louvers, custom fabricated sandstone panels with aluminum window surrounds, Kingspan metal panels, Dryvit exterior EIFS
There are two primary facade systems at work on the southern-facing portion of the residence hall. The first is a system of perforated aluminum vertical louvers. The second system is a sandstone panel facade with punched aluminum windows. The remaining portions of the building are clad with insulated metal panels and perforated aluminum screens that link the building’s massings together. SCB chose a material palette which was reflective of the surrounding desert context. Due to Tempe’s climate, the solar shading strategies were particularly important in the design approach. SCB conducted an intensive sun shading analysis on all facade exposures. The goal was to create a facade which achieved a 20-25% reduction of solar heat gain and offered visual transparency to the student rooms behind. The perforated aluminum louver system wraps one portion of the south facade in an intricately textured design. The louvers are spaced twenty-two-inches apart on center on the south facades, with a more generous spacing on the  southeast-facing side. The louvers are then attached to a vertically suspended steel truss anchored into steel plates embedded in the concrete structure. A drainable exterior insulation finishing system (EIFS) is applied to the concrete as a backdrop to the aluminum louvers. Each louver has a unique rotation which results in an pixelated pattern stretching across the three continuous facades. Every louver’s angle of rotation is set with screws and required coordination with the subcontractor to achieve the specific angle. As seen in the diagrams, when viewed as a whole, the facade emulates the waves of sand dunes and other natural patterns contextual to the region. In coordination with the facade manufacturer, Kovach Building Enclosures, the project team analyzed different louver shapes and monitored overall effectiveness and design aesthetics but also worked to make sure the design was cost efficient. The louvers ended up with a unique “airfoil” shape which softens their visual profile, opening up the facade to increased daylighting and views of the campus. The material transitions to sandstone on the eastern portion of the south facade, and provides a change in scale in opposition to the louvers. It also delineates the dining hall program on the first level. The facade contains punched windows with aluminum surrounds extruded out, effectively creating external solar shading devices. Additionally, perforated aluminum cladding on stairs, bridges and terraces provides extra solar protection while maintaining ventilation in the open air spaces.

AIA speaks out against Trump’s proposed steel and aluminum tariffs

New tariffs on steel and aluminum proposed by President Donald Trump will have negative effects on the American design and construction industries, American Institute of Architects (AIA) leadership has said in a statement. The Trump administration's plan would impose tariffs of 25 percent on steel and 10 percent on aluminum, something that experts say will have wide ranging effects on both trade and the domestic economy. And while the issue is being hotly debated on the national and international stage, the AIA is weighing in with a striking warning that a rise in material costs could mean major losses for the U.S. economy. "The Administration’s announcement of new tariffs on steel and aluminum imports threatens to drastically increase the prices of many building materials specified by architects. These metal products are some of the largest material inputs in the construction of buildings. Structural metal beams, window frames, mechanical systems and exterior cladding are largely derived from these important metals," AIA President Carl Elefante, FAIA, and EVP/Chief Executive Officer Robert Ivy, FAIA, said in a statement in response to the proposed tariffs. “As creative problem solvers, architects rely on a variety of these materials to achieve functional and performance goals for their clients. Inflating the cost of materials will limit the range of options they can use while adhering to budgetary constraints for a building," they said. "By the same token, the Administration’s proposed infrastructure funding will not achieve the same value if critical materials become more expensive. Furthermore, the potential for a trade war risks other building materials and products. Any move that increases building costs will jeopardize domestic design and the construction industry, which is responsible for billions in U.S. Gross Domestic Product, economic growth, and job creation.”

Printed metal panels clad new healthcare facility in Minneapolis

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Reorganizing nearly two million square feet to offer centralized and accessible care for people who need convenient access to a doctor, same-day surgery, or cancer treatment, Hennepin County Medical Center’s latest project is a new six-story building that consolidates over 40 primary and specialty clinics currently spread across nine buildings. The healthcare project, led by local architect BWBR, has resulted in Minneapolis/Saint Paul’s largest teaching hospital. The project prominently features corrosion-resistant metal panel cladding printed with a “corten” patterning.
  • Facade Manufacturer McGrath, Pure + FreeForm (provided finished flat sheets only)
  • Architects BWBR
  • Facade Installer McGrath
  • Facade Consultants Ericksen Roed & Associates (Structural), Dunham Associates (MEP/Energy)
  • Location Minneapolis, Minnesota
  • Date of Completion 2018
  • System aluminum panels
  • Products Pure + Freeform Lumiflon (FEVE) off-set graveur direct paint system, AMA 2605 rated, Class A finish on 2mm thick Aluminum in custom finishes
BWBR’s design team said they worked closely with Pure + FreeForm from schematic design through construction administration to ensure the custom finish met aesthetic and budgetary criteria. “The early and constant collaboration was, in fact, what allowed BWBR to comfortably select and realistically defend a more radical solution to represent the character of the client and their facility.” The design team started out by creating a high-resolution mapping of rust steel and wood grains and manipulated them digitally to be suitable for an application massive in scale. The specific coloration, toning, and detailing of the imagery was finalized through an extensive process requiring several rounds of physical samples and on-site reviews. The collaborative design and manufacturing process allowed BWBR to control precisely the pattern and color that eventually was realized on the facade. Pure + FreeForm said the scale of the patterning and reflectivity of the samples played a role in final selections. “This process included examining the various conditions of natural light on the surface of the panels and how each condition would affect the perceived color, texture, or pattern. There is also a custom wood grain finish, for which we played with scale so that the pattern would be visible from the user’s point of view. By the end of our design process, we had completed five rounds of proofs and matching to arrive at the final design.”
The panels were “printed” using a Lumiflon ink, allowing for bright orange and red tones in the final finishes while offering corrosion-resistance, which would not be possible with other fluoropolymers. The refining of the panel configuration was a process of designer-contractor collaboration, which Pure + FreeForm’s custom finishes enabled: to blend patterns on a larger area in a way that was not visually repetitive. The team was able to downsize the metal panel to an economical dimension without sacrificing the perceived large pattern on the facade. This was achieved by combining three narrower panels with butt-joints and using the custom pattern to disguise the seam in between. Originally, the system was conceived as 3-millimeter plate panels, but moved to 2-millimeter flush panels, which more appropriately suited the budget. By varying the widths and locations of the panel joints, the team was able to create the appearance of larger panels. The 2-millimeter flush panels were attached to the building structure using #14 TEK 3 Long Life coated exterior fasteners. Coordination with the glazing manufacturer was required for the areas requiring flashing. There were two fabrication challenges, for which McGrath worked extensively with BWBR in the preconstruction and construction phases. First was the actual forming of the flush panels and creating the female pocket in 2-millimeter gauge. The second challenge was the panel layout and alignment with windows, in which BWBR required a layout for the panel reveals to align with the windows throughout. This meant panel sizes had to be carefully coordinated, adjusted both in fabrication design and in the field. The miscellaneous trims in the building did not use custom patterning, but rather a solid paint to match. This was achieved by working closely with McGrath and Mortenson to ensure the solid lines were not distracting from the primary jointing pattern and panel finishes.

Designer Wonmin Park explores aluminum and resin in his first solo furniture show

Wonmin Park is known for his furniture, which is thoughtfully subdued and delicately intentional, much like the South Korean artist himself. His work takes patience, as his concept-driven design process involves creating works where the aesthetic notion is formed by combining all the material characteristics and particulars. Park was born in Seoul and had a brief encounter studying architecture in Korea until he moved to Europe—where he has spent nearly half of his life. At 35, he presents his first solo show, Plain Cuts, at The Carpenter’s Workshop Gallery in Manhattan. The exhibit highlights new iterations from his 2013 Haze resin series, characterized for being geometric, translucent, and textured. The collection was Park’s first exploration of a material that turned into a full-on collection of art objects and produced an anthology that expressed a material's elemental qualities. Plain Cuts is his survey of aluminum, a compilation of stoic metallic sheets in figure-ground-like compositions. AN spoke with Wonmin Park about how he works, materiality, and what is most important in his work. The Architect’s Newspaper: How do you feel about aluminum as a material, both conceptually and physically? Wonmin Park: Aluminum has an interesting history. This material was considered a luxury for awhile, and after new ways of invention and production, the price has dropped. Aluminum is considered an ordinary material today, but I found that there are still many things left undiscovered. It is has a strong strength but is also lightweight; therefore, I was able to create light forms and structures with it. The raw colors and textures are beautiful, but so is the color variation with patina and the raw color itself and texture. How is this collection different from what you have done in the past? What are you most proud of? The idea of my new collection Plain Cuts is cuts of plain aluminium sheets that are reconstructed. I’m known for my Haze series, which I worked on with resin. [Plain Cuts] is my first work with metal. I like resin because of its color, transparency, and texture, but it is not a strong material. Therefore, I needed to create a certain form of structure. I'm trying to create essential forms. For me, simple forms are more difficult because it has to be reasonable and still be interesting. I believe it brings the most powerful result. Plain Cuts aluminum patina series by Wonmin Park is on view at Carpenters Workshop Gallery through March 10th. You can learn more about the exhibit on the gallery website.

Mecanoo interprets Moorish vernacular architecture for Spain’s Palace of Justice

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Constructed adjacent to a UNESCO World Heritage site, the new Palace of Justice in Córdoba, Spain delivers a contemporary take on the traditional courtyard typology and Moorish screening techniques found throughout the city. Led by Dutch firm Mecanoo and Spain's AYESA, the 51,000-square-foot super dense project was initially awarded after a competition in 2006, and after a long delay, it was designed and built from 2014–2017.
  • Facade Manufacturer Prehorquisa (GRC); Riventi (aluminum); Schüco (windows)
  • Architects Mecanoo Architecten; Ayesa
  • Facade Installer Ute Isolux Corsán-Copcisa (contractor)
  • Facade Consultants Ayesa Seville (Structural, mechanical and electrical engineer; fire safety, sustainability, lighting, acoustics; and roofs and facade consultation)
  • Location Córdoba, Spain
  • Date of Completion 2017
  • System GRC panels; anodized aluminum screen
  • Products GRC sandwich panel by Prehorquisa, composed of approx. 3-1/2" expanded polystyrene insulation between 3/8" GRC sheets; custom bronze anodized aluminum screen system by Riventi
The exterior cladding is responsive to large massing blocks that accommodate deep courtyard recesses for daylight admittance. These voids in an otherwise imposing monolithic block doubly function as spatial dividers for various internal zones serving civic, judicial, administrative, and institutional spaces. The resulting semi-public patio spaces offer up an opportunity for admittance of natural light and ventilation deep into the core of the block, where a central circulation “spine” runs. The cladding strategy is precisely coordinated with the massing of the building, relying on 33 versions of white glass fiber reinforced concrete (GFC) panels, articulated with a loose grid of punched window openings and recesses in the facade for texture. The depth of this system offers solar shading at glazed openings to help buffer the building’s occupants from southern Spain’s subtropical climate. A large cantilevered entry, and numerous courtyards, assist in the self-shading strategies of the building massing. A bronze-anodized aluminum lattice composed of vertical plates and horizontal tie rods clads the courtyard walls. These screens sit outboard of various window configurations to accommodate the office program beyond. While the Córdoba city center is located south-east from the site, the building volume was condensed to create a generous ramping entrance square to the north which connects the Palace of Justice with the existing Huerta del Sordillo gardens. The building contains a courthouse with 26 courtrooms, a wedding room, a Forensic Institute, offices, a cafe, an archive, a prison, and a parking garage.
"One can say that the sustainability of the building is not achieved by expensive technological mechanisms but by an intelligent interpretation of the vernacular architecture," said Mecanoo, referring to the unique shaping of their building, in a press release. "The massing strategy creates urban integration through fragmentation. It follows a similar strategy to the spontaneous growth process of medieval cities resulting in a volume which is carefully sculpted to adapt to the surrounding context. This results in a puzzle-like structure which hints its process of formation and emulates the experience of the dense historical center of Córdoba." Francine Houben, a founder of Mecanoo, will be delivering a keynote presentation at The Architect's Newspaper's (AN) upcoming Facades+ New York conference, a two-day event in mid-April focused on the design and performance of the next generation of facades. More information on the conference, along with registration details, can be found at facadesplus.com.

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

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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.

Dancing geometry wraps new Brooks + Scarpa transit hub in Seattle

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The Angle Lake Transit Station and Plaza is a seven-acre, 400,000-square-foot mixed-use complex for Sound Transit, a public transit agency serving the Seattle metropolitan area. The project was awarded to Los Angeles–based architecture firm Brooks + Scarpa after an international design-build competition was held. It was completed earlier this year. With over 4,000 people living within a one-half-mile radius of the station, the project offers community-focused exterior and interior spaces such as specially designed drop-off areas, retail spaces, bike storage facilities, and electric vehicle charging stations.
  • Facade Manufacturer APEL Extrusions and Intermountain Industrial Fab
  • Architects Brooks + Scarpa
  • Facade Installer Harbor Pacific/Graham
  • Facade Engineering Brooks + Scarpa, Lars Holte, P.E., Walter P. Moore
  • Location Seatac, WA
  • Date of Completion 2017
  • System cast-in-place and post-tensioned concrete structure
  • Products custom-formed anodized aluminum panels
The transit hub is a seven-story, cast-in-place and post-tensioned concrete structure with an exterior facade that uses over 7,500 custom-formed blue anodized aluminum facade panels. Using ruled surface geometry, the undulating facade is formed by connecting two curves with a series of straight lines to form the surface of the facade. Each of the custom aluminum facade elements was designed and segmented into standardized sizes for the most efficient structural shape and material form, while maximizing production, fabrication and installation cost efficiency. This technique allowed the design team to work with complex curved forms and rationalize them into simple, cost-effective standardized components, making them easy to fabricate and efficient to install. The entire facade was installed in less than three weeks without the use of cranes or special equipment. The architects say the facade concept was inspired by William Forsythe’s improvisational piece, ‘Dance Geometry,’ where dancers connect their bodies by matching lines in space that could be bent, tossed or otherwise distorted. Translating this into construction, the architects explored how simple straight lines can be composed to produce implied curvature. “This idea lessens the need to think about the end result and focus more on discovering new ways of movement and transformations.” Ultimately, Brooks + Scarpa provided analysis, constructability, and digital documents for direct and automated fabrication. Working from the assumption that automated fabrication techniques would not be utilized in the project, one of the challenges of the project was to develop a workflow that would result in constructable, rationalized geometry. To achieve this, the project team worked closely with fabricators to translate digital ruled surfaces into segmented standardized sizes responsive to material requirements and fabrication efficiency. The bottom and top chords of the facade surface were segmented, which reduced their profile to measurable arcs for a pipe roller, or straight-line segments for standardized shapes. Beyond the facade, Brooks Scarpa’s plaza design caters both to transit users and the community at large by accommodating community events, such as festivals, farmers’ markets, art exhibits, and other outdoor public gatherings. Ornately designed seat walls, pathways, paving, native planting, and storm-water catchment features help to engage transit users as they move through the space, creating quiet places for social interaction while waiting for a transit connection. Beyond this plaza, the parking structure is designed to best practice standards for future adaptive reuse. These design features, along with specific energy-efficient materials and systems, allowed Angle Lake Transit Station and Plaza to be an Envision-certified sustainable mixed-use facility. Envision is a rating system similar to LEED, administered by the Institute for Sustainable Infrastructure for infrastructure projects.

How aluminum can shape our world

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New aluminum casting technique creates Governors Island pavilion

Update 7/17/17: This article has been updated to more clearly depict the pavilion's construction and disassembly. The seventh annual City of Dreams Pavilion, dubbed Cast & Place and designed by Team Aesop, is now open to the public on New York City’s Governors Island. The interdisciplinary team, made up of architect Josh Draper of New York–based PrePost, Lisa Ramsburg and Powell Draper of engineering consulting firm Schlaich Bergermann Partner, Edward M. Segal of Hofstra University, Max Dowd of the Cooper Union, Max Dowd of Grimshaw Architects and sculptors Scot W. Thompson and Bruce Lindsay, won the competition back in March with their design that reimagines metal waste as a resource for the future of the city. The competition is run by FIGMENT, the Emerging New York Architects Committee (ENYA) of the American Institute of Architects New York Chapter (AIANY), and the Structural Engineers Association of New York (SEAoNY). The brief asks designers to rethink the environmental impact of their designs and to promote sustainable design strategies in light of a future that faces the depletion of natural resources. Cast & Place’s winning design proposed using material entirely made from waste: five tons of excavated clay for the structure’s framework and 300,000 recycled aluminum cans (that would be melted and re-cast) for the structured itself. The team had previously built a small-scale prototype of the panel to test out potential challenges, as the method of fabricating crack-cast aluminum had never been done before, according to Josh Draper. The prototype proved useful, highlighting difficulties that would have been hard to anticipate otherwise. Despite the team’s expectation that they were going to use solely aluminum cans, the melted mix of food trays, foil, and cans produced an inconsistent alloy. Instead, for their final structure, standard aluminum ingots were used to ensure consistent quality and timeliness. “There were metallurgical and production issues that we couldn’t take on with our schedule and budget,” Draper said. However, he added that “this project prototyped a new method that has potential.” The original proposal also featured two side-by-side aluminum frame structures, however, only one was installed on Governors Island (which worked out well, as the site was smaller than anticipated). The fabrication of the pavilion required a new mold technique: wet clay was laid out to dry and crack in plywood frames, where it was then transferred to a steel mold and secured with sheetrock and cement. Steel straps bound the mold assembly to control escaping steam. Once the aluminum cooled and solidified, it formed one cohesive panel. When the pavilion is disassembled, it will be recycled and turned into benches and trellises for the people who backed the project on Kickstarter. “It’s the beginning of a long conversation and collaboration with the public on waste, structure, and light,” Draper said. “We wanted to create a space for contemplation, to provoke questions about what material and waste can be, to invite people to touch and wonder.” The City of Dreams Pavilion is located on the North Side of Governors Island (across from Castle Williams) and is running until October 17.