Fossil fuel dependency is now a thing of the past for this municipality on Colorado's Western Slope. Aspen has just announced that it's only the third city to kick the habit and is fully reliant on renewable energy sources. Earlier this month, the Aspen Times reported that the city had reached the landmark after it signed a contract with electrical energy provider Municipal Energy Agency of Nebraska. As part of this process Aspen swapped coal for wind power to make up for the non-renewable energy deficit with its energy also coming from hydroelectric, solar, and geothermal. Prior to this, Aspen had been running on an estimated 75 to 80 percent renewables. The feat was also able to be realized due to the recent drop in solar energy prices. In fact, the cost of solar energy is predicted to fall further still, dropping below $0.50 per watt in the next few years. Solar energy is not alone in this trend. In what's a good economic indicator of renewable energy's growing popularity, wind power is also much cheaper than it was just a decade ago. This trend toward renewables was likely aided by Obama's carbon regulations which made renewable energy alternatives increasingly competitive against fossil fuel sources such as coal. According to ThinkProgress, "already, more than one-third of American coal plants have been shuttered in the past six years, and the new carbon rules make it quite possible that no new coal plants will ever be built in the United States." “It was a very forward-thinking goal and truly remarkable achievement,” Aspen's Utilities & Environmental Initiatives Director David Hornbacher said. “This means we are powered by the forces of nature, predominately water and wind with a touch of solar and landfill gas. We’ve demonstrated that it is possible. Realistically, we hope we can inspire others to achieve these higher goals” Renewable energy has long since been on Aspen's agenda going back to the 1980s with the Reudi and Maroon Creek hydroelectric projects. Highlighting the accomplishment, former Project Coordinator Will Dolan said Aspen only began working toward its goal of 100 percent renewable energy about a decade ago. Beating Aspen to the 100 percent renewable landmark were Burlington, Vermont and Greensburg, Kansas.
Posts tagged with "Colorado":
Ultra efficient curtain wall system marries transparency and sustainability.For some institutions, building "sustainably" means doing the bare minimum—checking the boxes of government or in-house requirements and then moving on. Such was not the case at Colorado State University, where campus officials aspired to a higher standard for the new Suzanne and Walter Scott, Jr. Bioengineering Building. Though mandated by state law to achieve LEED Gold on new construction, the dean urged the architects—design architect RATIO Architects and architect of record Hord Coplan Macht (previously SLATERPAULL)—to aim for Platinum. At the same time, school authorities placed an extra emphasis on a tight envelope, having had difficulty maintaining pressurization in another recently-constructed facility. Thanks to a combination of an ultra-efficient curtain wall system, spray foam insulation, and exterior and interior sunshades, the designers exceeded the client's performance expectations without sacrificing the program's focus on visibility and connectivity. The ultimate goal of achieving LEED Platinum directly shaped the facade of the classroom and office building. "[The dean] wanted to get to Platinum," recalled Hord Coplan Macht's Jennifer Cordes. "We knew the only way to get there was if we had a significant building envelope designed to add photovoltaics." The PV panels themselves would have to wait, due to budget constraints. In the meantime, Hord Coplan Macht focused on two other challenges: the desire to prevent any loss of pressurization; and the need to rectify the design architect's vision of a glass box with the reality of the Colorado climate. "When we added these issues together, we had to get creative with the building envelope," said Cordes, who also acknowledged the role local municipal rebates played in incentivizing a high-performance design. The design concept for the Suzanne and Walter Scott, Jr. Building, said Cordes, "was to create the space in between. The space between the research laboratories and the student classrooms was really where the students were going to learn from the researchers." The architects arranged the labs along the north side of the building; faculty offices and teaching spaces line the south elevation. The programmatic separation allowed them to sequester the two components' mechanical systems—a boon to efficiency—and to carve the center of the building into a naturally-ventilated three-story atrium that is a perfect space for casual interactions among students, faculty, and staff. Elsewhere, the focus on connecting students with faculty and researchers is materialized in large expanses of glass. Hord Coplan Macht's principal challenge was to rectify the emphasis on transparency with the mandate to minimize thermal gain. "We started to look at the window to wall ratio," recalled Cordes. "Our first [number] was outrageous. [So we looked] at how we could insulate a curtain wall system and get an R-value of 20 even within that." The solution, which the architects developed in concert with Kawneer, involved back-panning, adding polyiso behind all the spandrel glass to effectively decrease the window to wall ratio. They then added a sheet metal back-panning system inside the curtain wall frame for vapor barrier, plus insulation and GWB. Large panes of stone backed with spray foam insulation provided additional energy savings. "Spray foam insulation is very cost-effective, and you get a high R-value per inch," explained Cordes. "It allowed us to get some significant walls into our system." On the vulnerable south facade, the architects deployed both external and internal sunshades. On the exterior, an integrated sunscreen helps cut back on solar gain. On the interior, the designers sloped the ceilings to help bounce light into the space. The internal light louvers they used, which Cordes compares to "good-looking mini blinds," are "pretty impressive and work really well," she said. The interior shading system "managed the glare and also increased the daylighting, pushing light deeper into the space." All of the exterior glass carries a low-e coating, but the architects chose a higher visibility glass for use on the south facade, to further enhance daylighting. Installing the thermally broken Kawneer 1600 curtain wall system proved trickier than Hord Coplan Macht had anticipated, said Cordes, in part because the contractors—working during the winter—installed the back panning from the inside out, rather than the reverse. But the extra coordination was well worth it, as the project's LEED scores and post-occupancy energy and water use data have demonstrated. "With the caveat that the building is being used a little more than was projected in the model, it's performing better" than expected, said Hord Coplan Macht's Ara Massey. "Per the facilities manager, it's one of the best performing buildings on campus." For Cordes, no reward could be greater. "I think the one [thing] we're most proud of is that it's performing so well," she said.
Nick Cecchi reflects on Doors Open Denver and the future of the city's architecture and public design
Doors Open Denver turned 11 this spring with the Denver Architectural Foundation hosting the showcase of Denver architecture and design from the recently renovated Union Station. The event ran April 25th and 26th and included open houses at some of Denver’s most notable historic buildings, as well as tours and open doors at many local firms. The event was headquartered at, and highlighted by, the newly renovated Union Station, a Beaux Arts masterpiece that has become the anchor of a vibrant and rapidly growing transportation district. Union Station’s renovated interior, by JG Johnson Architects, serves to enliven and activate the historic space, with the detailing and character of the many shops and restaurants forming a pleasing juxtaposition with the carefully restored and accented historical interior. Behind historic Union Station sits a new commuter rail terminal, designed by the San Francisco office of SOM. The soaring steel and fabric form is not to be missed and its nimble execution and tectonic expression does an expert job of subtly referencing Denver International Airport’s architecture, the destination of commuter trains departing the terminal. Other historical buildings that were open for visitors included the Oxford Hotel, the Historic Sugar Building with its two original Otis cage elevators, and Hotel Teatro in the Tramway Building. Distinguished contemporary buildings included the newly renovated Nichols Building, the deftly executed Clyfford Still Museum, and both Gio Ponti (North Building) and Daniel Libeskind’s (Hamilton Building) contributions to the Denver Art Museum. The theme of this year’s event was “Denver Classics: Then and Now” which Brit Prost, chair of Doors Open Denver and a partner at Davis Partnership Architects, described as, “ [a] showcase [of] how innovative new public spaces are transforming the urban landscape while complementing historically beloved buildings.” While Union Station and other select renovation projects have greatly improved the urban core, the small number of new public buildings cannot nullify the overwhelming onslaught of faceless residential mid-rise and high-rise towers assaulting the city’s aesthetic character. Jeff Sheppard’s (of SheppardRoth Architects) recent invective against this bland and developer-driven architecture should give pause to anyone celebrating the recent increase in Denver’s architectural cachet. One only hopes that as the citizenry experiences and learns about the exceptional public spaces being developed in Denver, the public will begin to demand the same level of design and civic and spatial engagement in residential architecture. Indeed, it is the role of events like this to educate the public and other designers and artist to the role good design plays in urban living.
One of hospitality’s hottest hideaways is located—where else—on barren desert land solely accessible via a treacherously winding road. Booked to nearly full capacity for the first two years of operation, the Amangiri resort is nestled in a desert region called the “Four Corners,” where the borders of Utah, Colorado, New Mexico, and Arizona converge. The resort was crafted by architects and designers Wendell Burnette, Marwan Al-Sayed, and Rick Joy, and guest rooms overlook a sea of sand billows, presenting unhindered views of the Stud Horse Point of the Glen Canyon to the majestic Grand Staircase Escalante National Monument. A bird’s-eye-view of the estate hints at an unimpressive, boxy encampment, but staying in this luxury enclave will set you back $1,100 a night for a desert-view suite and $3,600 for the Amangiri Suite. Designed to blend into the surrounding monoliths, the building features natural materials and textures, with a concrete facade subtly tinted pink, ocher, and light yellow to soften the building’s profile. The pavilion and main pool (which is heated to more than 80 degrees at all times) are configured around a dramatic stone escarpment which is more than 150 million years old. Adjacent to it is a communal great room with four fireplace niches, which serves as a reception area, dining room, gallery, library, and living room—as well as an optimal vantage point for drinking in the sunset. Two accommodation wings stem from the pavilion—the Desert Wing contains 16 suites, with 18 suites and the Aman Spa located in the Mesa Wing. In designing the building the architects deferred to the geometry of the looming cliffs, often slanting walls towards each other to provide slot canon views of the desert and mesa. Desert-dwelling pastimes touted by the resort include hot air ballooning, helicopter rides, equestrian excursions, hikes, and day trips to Lake Powell. The luxury resort is the brainchild of Singapore-based company Aman Resorts, which specializes in developing small, exclusive properties in locations that stray from the beaten path. [h/t Fubiz.]
[ Editor’s Note: The following reader-submitted letter was left on archpaper.com in response to our critique of Shigeru Ban’s Aspen Art Museum (AN 05_10.15.2014_SW). Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ] Deja vu all over again. Your article is a thoughtful critical review. I add a few observations. It is always interesting when the architect attempts to explain away results by alluding to the client not allowing him to do something, therefore something not so good was done. A knowledgeable client is always a great aid to a project, and unenlightened clients can thwart good ideas, and unambitious clients can have different agendas, but no architect is forced to do something bad. At worst, certain good ideas are not implemented, and when that happens the project design must be rethought so that the result is at least coherent. There is a disturbing tendency these days (shades of Edward Durell Stone) to hide issues of irresolution in buildings by the application of a screen. In this case, it [Aspen Art Museum] fails at hiding the sins and robs the passerby of a sense of scale and what could be a richness of detail. As a result it reminds one of a wicker basket dropped over the top of something else. Moreover, the idea of wood being the only material which can relate to mountains boggles the minds of many, the great Swiss architects not the least of them. The design of the roof space frame is interesting but there seems absent from the result any rational justification for clear span. Museums are marvelous opportunities: a synthesis of light, systems, movement, and modulation of space. Paradise Lost, once more. Harry Wolf Harry Wolf Architect
If you haven’t seen or read the entirety of The Shining then you're going to want to fix that right away—like, right now. Use the time you would have spent reading this 225-word story with, say, watching the two-and-a-half hour film. It's great; you'll love it. Okay, with that disclaimer out of the way, let’s continue. You'll want to continue. The Stanley Hotel in Estes Park, Colorado—the inspiration for Stephen King’s Overlook Hotel—has launched a public design competition to create a 10,100-square-foot permanent hedge maze like the one that Jack chases Danny through at the end of the film. Designs for “The Stanley Maze” must be submitted by the end of this month and include 1,600 to 2,000 Alpine Currant hedge bushes. A ribbon cutting for the new maze will be on April 30th at the hotel’s third annual film festival. “There are few hotels in the world that share a history and story as unique as that of the Stanley Hotel,” said John W. Cullen, owner of the property, in a statement. “I am thrilled to share this special moment in my life and the hotel’s history. We have built this place together over the years and I'm excited to invite everyone to be a part of its legacy through this special design contest.” With one maze under his belt, we think Bjarke Ingels is an obvious front-runner in the competition. [h/t Colossal]
The Vancouver-based New Buildings Institute (NBI) tracks energy efficient built work, and their 2014 update, “Getting to Zero”, provides a snapshot of the emerging U.S. market for net-zero buildings—those are structures that use no more energy than they can gather on site. In the United States, California leads in the number of low and zero energy projects with 58, followed by Oregon (18), Colorado (17), Washington (16), Virginia (12), Massachusetts (11), Florida (10), Pennsylvania (10), Illinois (8), North Carolina (8), and New York (8). NBI also compiled a database of all their buildings. They say architects and developers interested in pursuing net-zero design could find inspiration there, searching according to their local climate and/or building characteristics. The database includes energy-efficient and high-performance buildings that are not net-zero, as well. Though the trend has succeeded in garnering attention and excitement among many designers, true net-zero buildings remain elusive in the built environment. So far NBI has only certified 37 buildings as net-zero. That ranking is based on performance—each building underwent a review of at least 12 months of measured energy use data. If piece-meal projects aren't yet adding up to a groundswell of net-zero design, NBI is also pushing systemic change—rigorous energy efficiency standards recently adopted in Illinois took cues from the group's Core Performance Guide.
Plate tectonics, honeycombs inspire new Denver Botanic Gardens research center.For their new Science Pyramid, the Denver Botanic Gardens sought a design that delivered more than just aesthetic impact. "They wanted an icon, but they also wanted to show an icon can be high performance," said Chris O'Hara, founding principal of Studio NYL. Studio NYL and its SKINS Group worked with architect Burkett Design and longtime Botanic Gardens general contractor GH Phipps to craft a structure to house the institution's conservation and research efforts. "People think of the Botanic Gardens as a beautiful place to go, but what most of them don't realize is what happens behind the scenes," said O'Hara. "The whole concept was to showcase that, and to educate the public not just about what the Botanic Gardens are doing, but a little more about their environment." Clad in a Swisspearl rain screen that serves as both roof and wall, the Science Pyramid's biomimetic design reconsiders the relationship between the built and natural worlds. Tasked with building a pyramidal structure with dynamic glass elements, the Burkett Design team turned to two natural metaphors. The first was the tectonic shifts that created Colorado's mountains, the second, the defensive structures built by honeybees. The geological metaphor influenced the building's form, a twisting, reaching variation on a pyramid designed to take full advantage of its site. The biological metaphor informed the building's skin, dominated by cement composite panels cut into honeycomb-like hexagons. Though they originally imagined a heavily glazed facade, Studio NYL soon realized that transparency would be impractical, given the projection elements involved in the Science Pyramid's exhibits. They opted instead for a rain screen system comprising custom-cut Swisspearl panels. The rain screen reduces thermal gain by venting hot air before it reaches the building. It encases the roof as well as the facade's vertical elements, the second such use of Swisspearl panels worldwide, and the first in the United States. "Here you don't hear about rain screen roofs often," said O'Hara. "Using the technology as a roof system was a little different." Because they still wanted some glass, Studio NYL incorporated electrochromic glazing from View. "They can tune the building—the user has a flip switch to black it out," explained O'Hara. "At the same time, you can have a visual connection to the gardens." To further boost performance, Studio NYL worked with Cosella-Dörkin to layer a UV resistant weather barrier system under the open joint rain screen. "Whereas the form was about this iconic, biomimetic structure, on a technical level, everything was about performance," said O'Hara. Fabrication and installation were complicated by two factors: a compressed timeline, and a need to work around the Botanic Gardens' ongoing operations. To help with the former, the Burkett Design team leaned heavily on digital fabrication, including having the structural steel digitally cut. As for the latter, the construction crew was forced to develop creative solutions to spatial restrictions. "There were a lot of logistical problems given that we were in the center of an active botanic garden," said O'Hara, noting that only machinery below a certain size could be brought to the site. "The primary axis we had could only go up twelve feet, to the extent that we were pushing tree branches out of the way with a broom." The design-build team came through in the end. "It's really quite spectacular," said O'Hara. But while the Science Pyramid achieves the landmark status the Botanic Gardens had hoped for, it nonetheless defers to its context—the gardens themselves. "The building is very oriented to the paths you take," said O'Hara. "Everything has a different moment. If you enter one way, you see the glass spine; if you come another, you see the canopy. It's playing constantly against the juxtaposed landscape."
On Saturday, August 2, I had the opportunity to attend the ribbon cutting ceremony and member's opening of the new Aspen Art Museum (AAM), designed by this year's Pritzker Prize winner, Shigeru Ban. The event took place at the tail end of AAM's annual ArtCrush festival, which gathers artists, art collectors, curators, gallery owners, celebrities, and philanthropists from around the world to celebrate contemporary art and raise money for the museum through an auction. While the museum opening was well timed to take advantage of the glut of luminaries in town for ArtCrush, it did catch the building itself—Shigeru Ban's first permanent museum project in the U.S.—at an awkward moment in terms of its construction. Workers were still finishing up the last details—including installing a piece by Jim Hodges called With Liberty and Justice For All (A Work In Progress) that will occupy the sidewalk—but it was intact enough to get a good impression of what visitors will experience when it opens to the general public on August 9. To kick things off with a bang, AAM commissioned New York–based artist Cai Guo-Qiang to put together a day-time firework display known as Black Lighting, which was spectacular, though a little frightening in its resemblance to artillery fire. While you can wait for my critique of the museum (coming soon) for a full run-down of the design, the basic concept was to integrate the building respectfully within the built fabric of Aspen while at the same time taking full advantage of the natural beauty of its Rocky Mountain setting and providing ideal spaces for displaying an ever changing array of art. AAM is not a collecting institution. Its director, Heidi Zuckerman Jacobson, is always on the search for the next upcoming artist, and thus the gallery spaces had to offer a lot of flexibility. Shigeru Ban stacked three floors of galleries against the party wall (one below grade, two above), wrapped them in circulation and offices (at the back), enclosed it all in a white metal and glass curtain wall, and then wrapped the street faces (it's a corner lot) with a woven Prodeema screen whose wood veneer offers a warm, hand-crafted expression that cozies up to Aspen's masonry and timber context. (Front Inc. provided facade consulting services. The architect of record is Cottle Carr Yaw of Basalt, Colorado.) The screen is not uniform. Its apertures are larger toward the corner and top of the building, providing the best views there, while concealing the emergency stair and back of house spaces at the opposite ends. A glass elevator at the corner allows visitors to look out at the surroundings as they ascend or descend. A grand stair between the screen and glass curtain wall provides access directly to the top of the building, where there is a cafe and terrace/sculpture garden. (For the opening the terrace was occupied by another Cai Guo-Qiang installation called Moving Ghost Town, which involved a sort of barnyard pen where two African Sulcata tortoises with iPads mounted to their shells were free to wander, or hide their heads in the dirt, as one found it fit to do throughout the reception. The iPads played video that the tortoises had "filmed" while wandering through a nearby Colorado ghost town.) The rooftop/top floor spaces can be open to one another or closed off, depending on the weather, by way of a manually operated sliding glass wall. Another stair just inside the curtain wall, which mirrors the one outside, provides direct access to the gallery spaces. The idea behind this circulation scheme is that, like on Aspen's ski slopes, visitors can climb to the top before "sliding" down through the exhibition spaces. Structurally, the building is made up of a composite system that includes post-tensioned cast-in-pace concrete (which offered the most efficient floor-to-floor dimensions (about 16 feet), allowing the architects to provide 14-foot-high ceilings (to the bottom of the beam) in the gallery spaces while fitting the building within Aspen's 47-foot height limit), exposed structural steel pipes, and an exposed timber space frame for the roof. The timber space frame is, in my mind, the highlight of the architecture. Fabricated by Spearhead Timberworks in British Columbia, it features three types of wood: spruce chords, birch web members, and Douglas fir end caps. The webs have curving profiles that create flat interfaces with the top and bottom chords of the truss. This allowed the connection between web and chord to be made with a single steel screw—as opposed to a gusset plate connection—driven in from above so that it is invisible from below, giving the impression that it is an all-wood structure. Ventilation ducts, sprinklers, and lighting integrate well within the space frame structure as well. Four out of the six galleries feature some access to daylight, while two are completely artificially lit. (L'Observatoire International designed the lighting scheme.) This was one aspect where the collaboration between Shigeru Ban and Heidi Zuckerman Jacobson shows. Heidi originally wanted black box spaces where she could have total control over the lighting, in keeping with at least the past 50 years of curatorial thinking and gallery design in this country. Shigeru, however, convinced her (after a tour of naturally lit gallery spaces) that she could have the control she wanted while taking advantage of the dynamic qualities natural light. After all, art is created in natural light. Another place the collaboration shows is in the openness of the building (see the roof) and the variety of ways in which one can traverse it. Shigeru reportedly at first wanted a very controlled circulation sequence, providing one way to proceed through the museum, but Heidi put her foot down, explaining that in the U.S.A., especially in the West, people expect a little more freedom of movement.
Denver’s Union Station, a multi-modal transit hub built by architecture firm Skidmore, Owings & Merrill, opened up last month. The ribbon cutting ceremony severed the notion that transportation hubs are drab, gray places that smell suspiciously of food products and cleaning chemicals. What does the Union Station Bus Concourse do differently? Everything, apparently. Its sweeping design acts as a converging point for local commuters, airport bound travelers, and out-of-city destinations. Spanning the Amtrak train tracks is an outdoor canopy built from white arch trusses. The half-moon structures swoop up to 77 feet in height before touching back down 120 feet away on the opposite side. The majestic arches offer shade and weather protection to the platforms below. The interior’s design brings in terrazzo floors, yellow glass tile work, skylights, and glass pavilions. Beyond the terminal's attention to design, the station marks a critical economic and environmental breakthrough for transit systems. "This project represents a major investment in transit-oriented development with extraordinarily far-reaching social and economic consequences," said SOM design partner Roger Duffy. "The bus concourse is the result of nearly a decade of thoughtful public consultation and bold design. Its completion helps realize this community's aspirations for a truly transformational neighborhood and landmark public project." Union Station has the capacity for 200,000 daily trips—a number that officials expect to hit by 2030. Designers hope it sets a precedent not just for transportation abilities, but acts as a beacon for other public transit structures nationwide.
With only one month remaining before Facades+ PERFORMANCE opens in Chicago, our exciting lineup of the industry’s leading innovators is gearing up for an electrifying array of symposia, panels, and workshops. Be there for this groundbreaking, two-day convergence of design and construction professionals, presented by AN and Enclos, coming to Chicago, October 24-25th. Join Chris O’Hara, founding Principal of Boulder-based Studio NYL, for his day-one symposium, “Ludicrous Speed: the Design and Delivery of Non-traditional Facades on a Fast Track,” and learn first-hand from the experts the technologies and fabrication techniques that are revolutionizing the next generation of high performance facades. Register today to redefine performance for 21st century architecture, only at Facades+ PERFORMANCE. After graduating with a B.S. in civil engineering from the University of Notre Dame, Chris O’Hara began his career in New York with M.G. McLaren Consulting Engineers, where he was confronted with a host of unique structural engineering projects, from amusement park rides to New York’s Rose Center for Earth and Space at the American Museum of Natural History with Ennead Architects. Things really got going for O’Hara when he joined up with London-based Dewhurst Macfarlane Partners and began to work closely with visionary architect Rafael Viñoly. Leading high-profile projects like Viñoly’s David L. Lawrence Convention Center in Pittsburg and the Watson Institute for International Studies at Brown University in Providence, Rhode Island, O’Hara developed innovative structural solutions that allowed for the pioneering architect to exercise the breadth of his architectural expression. In 2004 O’Hara relocated to Boulder, Colorado to launch his structural engineering firm, Studio NYL, who have since become renowned for their diligent application of emerging technologies and inventive structural solutions. Their adventurous, detail-oriented work has drawn the attention progressive architects, both local and global, while O’Hara’s integration of multiple design software programs and use of complex geometries made him a literal poster-boy for Autodesk. In his daily practice, O’Hara oversees the use of BIM and other advanced analytic technologies and leads the design of innovative forms in BIM, REVIT, and direct-to-fabrication CAD/CAM softwares. Collaborating with fellow Facades+ presenters Rojkind Arquitectos, O’Hara has pushed the boundaries of structure and design on pioneering projects like the aluminum and glass enclosure of the Cineteca National and the digitally fabricated metal skin of Liverpool Flagship store in Mexico City. Designed and built in little over a year, the Liverpool Flagship store is a stunning product of international collaboration, technological instigation, and fast-paced delivery. Studio NYL lead the design for the structural elements of the atrium, rooftop park and pavilions, skylight, and stainless-steel facade for the 30,000 square meter shopping center. Using BIM software to coordinate the work of multiple trades on complex geometries, Studio NYL and Rojkind Arquitectos constructed the fluid folds and fine reliefs of the shopping center’s sound-blocking double-layer facade. Learn more about the secrets to delivering innovative, high-performance building envelopes on a tight schedule as O’Hara presents a series of dynamic new projects in his afternoon symposia, and don’t miss out as frequent-collaborator Gerardo Salinas, principal of Rojkind Arquitectos, presents his exciting keynote address earlier that day! Register now to cash in on our Early Bird Special, and check out the rest of the groundbreaking schedule of events at the full Facades+ PERFORMANCE site. See you in Chicago!
Between keynote sessions, awards presentations, and interviews at the American Institute of Architects' (AIA) National 2013 Convention, AN's editors joined 20,000 attending architects in the search for the newest and most innovative products on the floor of the Colorado Convention Center's exposition hall. Following are a few notable discoveries. SureClad Porcelain Stone Crossville The Tennessee-based supplier of interior ceramics has partnered with Shackerley, a British manufacturer of porcelain ventilated facade systems, for an exterior cladding solution that meets U.S. building codes, including all seismic and hurricane standards. The system (pictured above) is supported by an aluminum frame and is delivered to job sites as a prefabricated system to ensure fast and efficient installation. SunGuard Neutral 78/65 Guardian Industries Developed to passively retain heat in colder climates, Neutral 78/65's low-E coating facilitates high visible light and a neutral color. It can be used in double- or triple-glazed units and can also be combined with any of SunGuard's other low-E coatings. AA5450 Series OptiQ Window Kawneer The new series in the OptiQ line of windows maintains thermal continuity and reduces energy transmission in both single and double hung constructions thanks to a polyamide thermal break. The 4-and-5/8-inch aluminum frame maintains a minimal profile and can be outfitted with 1-inch double pane or 1-and-1/2-inch triple pane insulated glass. OptiQ Windows are also available with expanded configurations. Benchmark Facade Systems Kingspan A fully integrated line of ventilated exterior cladding debuted at AIA 2013 and is now available from Kingspan. The company supplies a complete system of metal rails, insulated panels with a Bayer-developed polyurethane, and fastening solutions. The cladding is available in aluminum composite material (ACM), metal composite material (MCM), plate, high pressure laminate (HPL), ceramic granite, terra cotta, and thin brick, and comes in a broad range of colors. YUW 750 XTH Unitized Wall System YKK Hurricane and impact mitigating glazing for low- to mid-rise commercial buildings can be applied to multi-span curtain and single-span ribbon walls with YKK's latest addition to its ProTek portfolio. The new wall system can be specified with visible exterior face covers, a four-sided structural silicone glaze, or in a combination of both. It also boasts U-factors as low as .30.