The Berlin-based Barkow Leibinger, with the help of the Boston-based architect of record Sasaki, has created the adaptable, translucent ArtLab for Harvard. As the university expands across the river into Boston’s Allston neighborhood, they’ve been developing an ArtYard—a contemporary, arts-focused answer to the walled Harvard Yard in Cambridge. Barkow Leibinger’s brief was to create an adaptable, net-zero-energy building that offered space to meet the many programmatic needs of different disciplines working side-by-side. The 9,000-square-foot ArtLab is arranged in a pinwheel configuration, providing spaces for artmaking, research, classes, and performances. It also has studios for artists-in-residence, a sound lab and recording studios, and an open workshop in the building’s center. “We were designing the building, but also designing the programming,” explained Frank Barkow, cofounder of Barkow Leibinger. “Different programs had to be in close adjacency to each other: studios, workshops, film editing suites, those sort of things.” Previously, disparate creative fields were spread across the campus, many with limited space, said Barkow. In the ArtLab, “different arts are in close proximity to each other,” he said. “You've got fine artists working close to film, close to performance, close to dance. It was important that the ArtLab acting as an incubator with different creative practices in close proximity to each other.” The ArtLab also had to be temporary, or at least portable. Made of a steel frame that’s been mechanically fastened and clad in insulated glass and polycarbonate panels, the building is not only lightweight in visual character, but in physical design. Placed on grade on a concrete slab, it can be quickly dis- and re-assembled as the spatial needs of the expanding campus evolve. “It’s what I call basic Kmart construction,” joked Barkow. “It’s open web, steel joints, glazing, polycarbonate, chipboard, plywood. It’s quite simple.” He added that the firm is used to designing factories and inflected the art building with an industrial element. “It’s robust. They can knock it around. They can beat it up. In a way, it’s much less precious than the historical buildings that make up much of the Harvard campus.” While a polycarbonate envelope is common for industrial construction in Europe, it’s used less frequently in the United States, which was a challenge for the local architects of record. Sasaki undertook “a lot of research and testing,” according to Sasaki principal Lan Ying Ip. “To our knowledge, there has never been a net-zero building designed with a polycarbonate facade,” she said. Sasaki’s director of technical resources, Brad Prestbo, added that when working with the material “all the fundamental design moves that you normally make really have quite an impact on the overall performance of the envelope.” Sasaki also worked to create a custom system that could meet the solar heat metrics required by the energy model. And, not only is the continuous envelope well-insulated, but every aspect of the building is electric-powered by photovoltaic cells on the roof and requires no fossil fuels for heating. The polycarbonate was used throughout as both a barrier wall and as part of a rain screen assembly. “Oftentimes, the same piece of polycarbonate would transition between those two states,” explained Prestbo. The project had to use both opaque and transparent polycarbonate to hide mechanical elements and while creating an overall translucent effect, and making it appear as a “light box” at night. More than purely aesthetic, transparency is also a guiding conceptual feature. “[Harvard] wanted the building to be a kind of mediator between the neighborhood’s community and the campus,” explained Barkow. “It’s meant to be open. It's meant to be inviting. The public can come in and see what’s going on.”
Posts tagged with "Barkow Leibinger":
Bjarke Ingels and four others unveil designs for the 2016 Serpentine Pavilion and adjacent summer houses
Bjarke Ingels Group (BIG) is unveiling high-profile projects at an unprecedented rate. The Copenhagen- and New York–based firm today released the rendering for its Serpentine Pavilion in London’s Kensington Gardens. The “un-zipped wall” features fiberglass, brick-like elements that pull apart to form space for visitors to stroll through. The design is more linear than most past Serpentines. https://www.youtube.com/watch?v=_wb_zuxSzQE "As you can see from the architect's renders, Bjarke Ingels has responded to the brief for a multipurpose pavilion with a supremely elegant structure that is both curvaceous wall and soaring spire, that will surely serve as a beacon – drawing visitors across Hyde Park and Kensington Gardens to visit the pavilion, the summerhouses and our major exhibitions by Alex Katz and Etel Adnan," said gallery directors Julia Peyton-Jones and Hans Ulrich Obrist in a statement. Four the first time, the pavilion will be complemented by four summer houses. Those will be designed by Berlin architects Barkow Leibinger, Nigerian architect Kunlé Adeyemi, Paris-based architect Yona Friedman and English architect Asif Khan. All of the designs play off of Queen Caroline's Temple, a nearby 18th-century Neo-Classical garden folly. Khan’s design is a series of undulating timber spikes, while Yona Friedman has put forth a modular design meant to reference how cities grow, a reference to his La Ville Spatiale. Barkow Leibinger’s design references a now-demolished building that once sat on the site. Adeyemi references the folly in a void-like negative impression.
A geometric corrugated metal and glass facade integrates industry and nature.Barkow Leibinger's original scheme for HAWE-Werk Kaufbeuren, developed for a competition several years ago, was "a completely crazy origami thing," recalled partner Frank Barkow. But upon winning the commission and learning that the factory's owners wished to build it in a single phase, "we had to be careful not to kill them with the budget," he said. "We really dumbed it down." The architects did, however, hold on to their original pinwheel plan, with production wings rotating around a communal courtyard. Inspired by Le Corbusier's "green factory"—a humanizing alternative to the "black factories" of the nineteenth century, which prioritized the flow of goods over the experience of the workers—Barkow Leibinger's design opens the HAWE plant to the Bavarian countryside with a geometric facade of corrugated metal and glass. In addition to drawing upon Le Corbusier's "green factory" concept, Barkow Leibinger also looked at industrial designs out of northern Italy in the 1960s and 70s, which in turn led them to experiment with a prefabricated concrete frame. "Usually we do steel," explained Barkow, "but in this case the client liked the precast concrete. It's a dirty industry—there's a lot of milling going on." The factory's exposed mechanical systems are integrated directly into the structure, passing through perforations in the horizontal beams. "It's not a very finicky factory," said Barkow. "We just put it where they needed it." Steel-framed shed roofs sit atop the concrete. Skylights look to the north, while the roof's south slopes are designed to accommodate photovoltaic panels. "The north-facing shed is a classical industrial solution," noted Barkow. "It brings in a lot of light, and saves a lot on artificial lighting." The arrangement of solids and voids on the facade emphasizes the resulting sawtooth profile. The architects carved the envelope into a repeating pattern of triangles and trapezoids, clad in glass and corrugated sheet metal, respectively. Most of the building's glazed surface is translucent white channel glass, with vision glass in the sliver of space closest to the ground. At the end of each wing, a broad horizontal window features a larger central section of channel glass framed by floor-to-ceiling panels of transparent glass to either side. "This is a kind of Corbusian idea: large end facades that look into the countryside," said Barkow. The factory wings are designed to be expansible, the end facade deconstructed and then rebuilt after the installation of additional bays. Barkow Leibinger gave HAWE-Werk Kaufbeuren's extra-production facilities distinct treatments. The lobby and office area is "a more blocky structure," said Barkow, with a transparent curtain wall. The cafeteria, too, plays up the connection to the courtyard with plentiful glazing. The architects designed the "edge spaces'" facades to contrast—but not clash with—the factory floor, explained Barkow. "They're adjacent spaces, but quieter and cleaner." HAWE-Werk Kaufbeuren earned a silver rating from the DGNB (German Sustainable Building Council) thanks in part to the architects' emphasis on daylighting and use of triple glazing, plus careful attention to the window-to-wall ratio. "Nothing spectacularly complex" was involved in the sustainability strategy, said Barkow. Indeed, the very simplicity of the design led to its success, practically and conceptually as well as in terms of environmental performance. From a complicated initial scheme to their final, streamlined, solution, Barkow Leibinger pared the plan and material palette to the bare essentials, with an eye to speeding construction while keeping the "green factory" ideal at the fore. "It's a large project in this landscape," said Barkow. "It's at a different scale, and more robust, than the factories we typically work on."
Barkow Leibinger designs a precast folded facade that puts a gentle spin on surrounding traditional architecture.On one of the last urban tracts of available land in Berlin, Germany, local architecture firm Barkow Leibinger recently completed an 18-story tower, Tour Total. Highly visible from a neighboring train station, and the first completed project in the site’s 40-acre master plan, the tower has a raster facade with precast concrete panels that were geometrically computed in Rhino to create twisting inflections, conveying a sense of movement around the building’s four sides. As a load-bearing facade, 40 percent of the surface is closed, and 60 percent is triple-glazed, with every other window operable. In addition to integrated energy management strategies—the first building tenant is French energy company Total—partner Frank Barkow said the firm’s extensive background in digital fabrication and research allowed the efficient development of the dynamic facade. Drawing from the surrounding, traditionally quadrilinear brick facades of the 1920s and 30s, the tower’s lines are imbued with an engrained depth that twists optically to read differently in direct sun or cloudy weather, without actually moving. The design team drew a series of T-shaped elements to create the exterior components, and K-modules for structural stability. “The folding K modules produce an in-and-out for continual diagonals that wrap around the corners,” Barkow told AN. Interior and exterior concrete components sandwich around glazing, windows, and insulation. To test the design, 3D models were fabricated on a CNC router. Many of the profiles in the facade assembly are repeated many times, though 160 are unique. Each cast could be used at least half a dozen times before another had to be fabricated. German fabricator Dressler milled plywood molds and white concrete was poured over an affixed release surface. Once solidified, each section was finished with an acid wash to expose the aggregate and transported to the building site. Steel pins, embedded within the structure’s poured concrete floors, connect the layers of the facade sandwich. Barkow and the concrete contractor had several discussions about eliminating an interior precast layer in combination with an Isokorb thermal break to mitigate expansion but, in the end, opted for the original design. “It’s the next technological step, for the facade to work like an exoskeleton, but we’re a few years away from that,” Barkow said. Despite budgetary and time restrictions, the LEED Gold-equivalent Tour Total was realized successfully, in part, through parametric design and advanced fabrication methods. “We’re taking advantage of northern Germany’s extremely proficient building culture and working with our fabricators here and in Switzerland as early as possible in the design process,” said Barkow. “There’s a lot of back and forth where we push them away from conservancy and they push us towards efficiency.”