October is upon us, which means that the Chicago edition of Facades+ PERFORMANCE is only a few weeks away! Be there as leading innovators from across the AEC industry converge on Chicago from October 24th and 25th at AN and Enclos' highly anticipated event to discuss the cutting-edge processes and technologies behind the facades of today’s most exciting built projects. Don't miss your chance to take part in our groundbreaking lineup of symposia, keynotes, and workshops, and work side-by-side with the design and construction visionaries who are redefining performance for the next generation of building envelopes. Our Early Bird special has been extended until Wednesday, so register today to save on this unbeatable opportunity! Join Neil Meredith of Gehry Technolgies as he examine the relationship between digital design methodologies and real-world construction and fabrication constraints in the complex, wooden ceiling of the Burj Khalifa’s lobby. With representatives from Thornton Tomasetti and Imperial Woodworking, Meredith will lead an intimate, interdisciplinary discussion of the innovative, on-site solutions that his team developed in order to deliver one of the most visible features of the world’s tallest building, so don’t miss out on this rare opportunity! With the deadline fast approaching, Mederith and his team at Gehry Technoligies worked with SOM, Imperial Woodworking, and Icon Integrated Construction to develop new systems, mid-construction, for the design and fabrication of the large, double-curved, wooden ceiling of the Burj Khalifa. Coordinating the work of architects, fabricators, and construction professionals through complex, shared parametric models, Meredith redesigned the ceiling system from the ground up using pre-fabricated, unitized panels to create its astounding, wooden forms. Join in the discussion to hear the rest of this dramatic AEC industry saga in the not-to-be-missed dialog workshop, “Designing for Wood Fabrication in Complex Geometries: The Burh Khalifa Ceiling,” and learn the technologies and techniques behind the creation of this historic project. After earning his Masters in Architecture from Univeristy of Michigan Taubman College of Architecture and Urban Planning, Neil Meredith taught and ran the Digital Fabrication Lab at his alma mater. Meredith earned hands-on experience with cutting edge design technologies and real-world construction challenges with Detroit-based design/build firm M1, the European Ceramic Workcentere in Holland, façade consulting office Front, and as founding partner of design and fabrication studio Sheet. In 2007 Meredith joined up with Gehry Technologies, the go-to design technology and consulting company for the industry’s leading architects. Through the pioneering use of the latest digital tools and processes, Gehry Technolgies has worked with world-class, visionary architects, like Zaha Hadid, David Childs, Jean Nouvel, and of course Mr. Gehry himself, to triumph in the realization of the truly innovative forms of some of the era’s most ground-breaking projects. Register for Facades+ PERFORMANCE today to take part in this and other exciting workshops and symposia. Featuring representatives from SOM, Morphosis, Thornton Tomasetti, and other industry-leading firms, this is one event that is not to be missed. Check out the full Facades+ PERFORMANCE site for the schedule of events and book your tickets now to start the next chapter in your professional career!
Posts tagged with "Ceilings":
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Gensler’s design at the University of Houston is realized in a cloud-inspired, sound-absorptive ceiling solution.Gensler and Ceilings Plus have brought a touch of the Big Apple to the University of Houston’s recently completed Quiet Hall in the Classroom and Business Building. Gensler drew its design inspiration for a ceiling in the new building from the New York Central Library’s Rose Reading Room. The firm hired the California-based Ceilings Plus to translate its interpretation of this classical interior, which includes perforations and geometric folds, into an affordable, buildable, and installable ceiling solution. Ceilings Plus used digital software to marry the design architect’s vision with a workable model that offered minimal joint tolerances and maintained compatibility with HVAC systems. “Since the architect was interested in doing something completely new, it was important to realize that process together,” said Michael Chusid, who works in marketing and business development for Ceilings Plus. Gensler produced three conceptual renderings in Revit, then turned them over to project engineer Robert Wochner, who developed sound-absorptive perforations and a suspension system that could support the various angles of the Quiet Hall’s multi-planar ceiling. Wochner used AutoCAD to reconcile Gensler’s rendering, which depicted a cloud of perforations across the ceiling for sound absorption. Acoustically there was an ineffective number of apertures, so Wochner filled in the original design with smaller, carefully angled perforations. By leaving an ample amount of space between the dropped ceiling and the planchement, the perforations are able to absorb vibrations in an efficient and lightweight system. Nearly 50 configurations were considered before arriving at a final design, which was modeled in SolidWorks. Ceilings Plus fabricated the panels using stock products and a CNC router. The architect’s chose the company’s PVC-free Saranté laminate in a henna-toned wood finish, which is affixed to an aluminum sheet. A punch press knocked out the perforations, revealing a blue felt backing. Despite the ceiling’s complex appearance, Ceilings Plus developed a suspension system based on a conventional T-bar system, making it easy to install. Since the ceiling is not flat, attachment points were individually set to hang each of the 280 panels from between six and eight torsion springs. “With this firm pressure downward, you can extract the panel and lower it out of place to gain access to the ceiling cavity to maintain the HVAC system, ductwork, and other mechanicals,” said Chusid. Custom-fabricated brackets help support the unique angles. Ceilings Plus deployed several expert installers to assist the installation process. “Any time there’s a slope on the ceiling and it interfaces with something round, like a column, it goes from a circle to an ellipse,” said Wochner. “Though we have precise information about the field location, it’s not uncommon to make adjustments on site.”
From floor to ceiling, and all planes in between, these interior surfacing solutions are durable and work across a variety of applications. I Frammenti Brix This micro mosaic of 2,304, 5-millimeter-square ceramic blocks on a 12- by 12-inch sheet of fine mesh provides a full range of flexibility, perfect for finishing curved or irregular walls. Available in both glossy and matte treatments, I Frammenti comes in mixed colors of sand, gray, and black; blue, white, and azure; white, gray, and black; white, sand, and black; and blue, gray, and azure. DI-NOC 3M Architectural Markets The color and texture of a naturally unwieldy material can be applied to irregular or gravity-defying surfaces with an 8-millimeter architectural vinyl film from 3M (above). The lightweight material comes in rolls for a smooth application and can be heat-stretched over corners and sharp edges for a monolithic look. It comes in more than 500 patterns and textures, thanks to a combination of digital printing and embossing techniques. Pyne Arborite A bold, graphic faux bois is rendered on high-pressure laminate for Pyne, one of three patterns in the INK series. Designed by Giona Maiarelli, the pattern is a wink to his Italian view of 1960s America, refined by years of graphic work for the likes of Milton Glaser and Harper’s Bazaar. The product comes in 4- by 8-foot panels and is available in inverse combinations of Purple and Orange. Biobased Xorel Carnegie Seven years of research went into reimagining the Xorel line of wall coverings and upholstery fabric—traditionally a petroleum-based product—in sugar cane. The U.S. government grants a bio-based label to any product with at least 25 percent biomaterial, but Xorel is composed of between 60 and 80 percent sugar. Ninety-one colors are available in three existing and three new patterns. SilentMesh GKD Metal Fabrics GKD has developed a ceiling solution from its line of metal fabrics. The multi-layered system features a lightweight aluminum honeycomb core that is stable, sound absorbing, and maintains strong architectural edges and finishing details. While large-format panels are compatible with the drop ceiling framework prevalent in North America, it also comes with a custom T-grid suspension system for clean, flush seams that conceal traditional joints. Deconstructed Patcraft Deconstructed embraces the foundation of carpet. It integrates the backing of either a modular or broadloom format into the face of the floor covering. Monochromatic thread fibers at varying heights are variegated by exposing the matrix pad for pops of color and texture. The product is material efficient, lightweight, and soft. All components are 100 percent recyclable and Cradle-to-Cradle certified. Krion Porcelanosa Aluminum trihydride and highly resistant resins form an antibacterial and durable surfacing material that is highly resistant to UV radiation, fire damage, staining, and extreme environmental exposure. It can be cut similar to wood or marble, scored for dramatic backlighting, and thermoformed for seamless corners and irregular shapes. Warm to the touch, Krion is available in nearly 50 colors and styles, including a white that boasts more than 99.8 percent purity. Maglia Pulp Studio To achieve a smoother surface than traditional woven metal materials with additional sound-blocking capabilities, Pulp Studio developed Maglia, a laminated glass sheet embedded with architectural mesh for interior applications. Low-iron glass highlights metallic details in both annealed and tempered formats while complying with Category I and II of the Consumer Product Safety Commission standards. Any of Pulp Studio’s meshes are available and custom weaves can also be specified.
A system of 946 unique panels will produce optimal acoustics and aesthetics at the University of Iowa's new School of Music.For a 700-seat concert hall at the new School of Music at the University of Iowa, Seattle-based LMN Architects wanted to design a high-performing ceiling canopy that would unify the many features of traditional theatrical and acoustic systems. The result is a 150-foot-long by 70-foot-wide surface composed of 946 suspended, intricately laced panels that incorporate complex, interdependent, and at times conflicting systems—including lighting, theatrics, speakers, sprinklers, and acoustical functionality—in a unified architectural gesture. "The system is sculptural for sure, but it had to conceal structural truss work, which was a major cost savings as opposed to building an acoustic container," said Stephen Van Dyck, a principal at LMN Architects. The design team worked with both parametric digital and physical models to coordinate the structural system with the acoustic, theatrical, audio/visual, lighting, fire, and material elements of the canopy. "From Day One, it was a digital model," he said. "We needed a smaller physical model to get everyone's head around making this happen physically. A three-foot room model has a big impact on ability to conceive." LMN fabricated the scale model, as well as a few full-sized components, on the firm’s 3-axis CNC mill. The canopy is divided into hundreds of panels, each of which is unique to accommodate the needs of the many systems. Along the back of the canopy's perimeter, panels feature large openings so that the sound profile of each concealed speaker passes through unimpeded. Other panels along the perimeter are designed with varying degrees of acoustic transparency relative to the size of openings on surrounding panels. Medium openings toward the back of the canopy house stage lighting, while smaller openings accommodate house lights. Panels with the smallest openings, or those less than 70 percent open, conceal sprinklers, while the solid panels that droop down over the stage are angled to effectively reflect sound into the house. "From the audience, the intent is for sound to reach you quickly rather than for other sounds to arrive slower," Van Dyck explained, "so the sculptural gesture brings sounds right back to the audience." The many consultants who contributed to the design worked in different digital formats. The acousticians used SketchUp; the lighting designers worked in Revit; and theater and audio/visual specifications were saved as DWG files. Each program was compatible with Rhino and, with a Grasshopper plugin, LMN was able to incorporate information from all other platforms. "The parametric model was very flexible and let us accommodate changes all along as developments came from other contributors," Van Dyck said of the design process, which he described as more cyclical than linear. The parametric capabilities of the digital tools that the team used helped facilitate a smooth and efficient documentation process during the mock ups, making it easy to go back through any kinks that were uncovered. LMN built the mockup from aluminum composite paneling, a relatively inexpensive metal system composed of two layers of aluminum with a composite core. The material is highly flexible and it can be bent by hand after scoring on the CNC mill. This process could potentially eliminate on-site fabrication requirements. Fabrication data generated by this production model will be applied to all 946 of the unique panels in the final project. Documents will go to bid this summer, and the building is expected to open in 2016.