Posts tagged with "curtain wall":
This Boston research facility is one of the first U.S. projects to employ large format GFRC fins and panels
The 35,000 sq. ft. building celebrates three artisanal crafts significant in Bulgaria: textiles, wood carving, and glazed ceramics.Lee H. Skolnick Architecture and Design Partnership has designed a new children’s museum called "Muzeiko" in Bulgaria’s capital city of Sofia to balance complex form, regional relevance, and whimsical fun. Their client, the America for Bulgaria Foundation, wanted international expertise paired with state of the art materials. The architects responded to the geography of the Sofia Valley, a region surrounded by mountain ranges, with abstracted forms referring to the nearby Balkan mountains, triangulated in a "scientific" manner. This thematic element, coined “Little Mountains” by the architect, is composed of a rainscreen assembly consisting of high pressure laminate (HPL) panels with printed graphics clipped onto a wall system framed by a combination of a primary steel framework, and a fiber reinforced concrete shell. The panels are differentiated with color and patterns unique to traditional artisanal Bulgarian crafts. Textiles and embroidery, wood carving, and glazed ceramics were studied by the architects, and reduced into three color-saturated patterns which were ultimately applied to three forms. Another feature of the building is a “super insulated” curtain wall assembly of triple glazed low-e glass, custom built locally by TAL Engineering. The glass panels were some of the largest available in the region at the time, sized at 7’-4” x 10’-10.” A custom ceramic frit pattern, developed by the architects, creates a “cloud-like” effect while establishing view control and addressing solar gain concerns on the south facade. The curtain wall extends beyond the roof to form a parapet guard at the roof deck, where the frit pattern dissolves enough to catch a glimpse of the sky beyond the facade from ground level. Also notable is a custom gray coloration on the mullions, which is the result of numerous mockups studying the least visually distracting color to the overall system. Beyond the curtain wall assembly, notable sustainable features include solar panel array on the south wing, recycled grey water for irrigation, and interpretive sustainable features on display throughout the interior of the building. A key precedent for the project is the University of Mexico City, says Lee Skolnick, FAIA, Principal of LHSA+DP, which has an “incredible facade of mosaic tile.” Skolnick says the project was an attempt at the time to marry modern architecture with cultural significance. "It’s a concept that has been used rarely throughout recent architecture history. 'Interpretive content' on the face of the building is coming back, but it is not universal. We much more often see patterning that is geometric or structural — a geometric blanket that wraps a form. We are looking for something that is more highly specific than that.” At key moments along the building envelope, the colorful “little mountain” forms visually penetrate beyond the curtain wall system into the interior, establishing specialized programmatic spaces such as a gift shop, cafe, eating area, restrooms, and multipurpose workshops. One challenge the design team faced was developing a patterning for the rainscreen panels. They began by considering a variety of materials and fabrication methods available, from ceramic materials, to fabrics, to etched metal panels. Ultimately the architects chose a high pressure laminate (HPL) material for maintenance, manufacturing quality and consistency, detailing control, and lifespan of material. Through a process of "continual sampling, processing, and refining," the architects arrived at a set of patterns which boldy abstract the colors, patterns, and textures of Bulgarian artistry.
The 10-story courthouse includes ten courtrooms for the District Court of Utah, fourteen judges’ chamber suites, administrative Clerk of the Court offices, the United States Marshal Service, United States Probation, and other federal agencies.Thomas Phifer and Partners recently completed a United States Courthouse in Salt Lake City for the General Services Administration (GSA). The 400,000 sq. ft. project consists of a blast resistant shell clad with a custom designed anodized aluminum sun screen. The screen is arranged in four configurations dependent on solar orientation, performing as a direct heat gain blocker on the south facades, while subtly changing to a louvered fin configuration on the east and west facades. The architects won the project in a national competition in the late nineties, however it was just recently completed. Thomas Phifer, Director of Thomas Phifer and Partners, says that during the duration of the project various site changes occurred, and the building design naturally evolved into a particular focus: “We began to think about a building that embodied light as a metaphor for the enlightenment of the courts. It began to fill these spaces inside the courtrooms, the judges chambers. The design came from a sense of light.” Phifer said a precedent for the project is Donald Judd’s 100 untitled works in mill aluminum (1982-1986). In Judd’s project, each of the boxes he crafted have the same outer dimensions, with a unique interior offering up a variety of tectonic conditions. Some of the boxes are transected, while others have recesses and partitions. Phifer says the project inspired an interest in detailing of the aluminum sun screen: “What’s interesting about his [Judd’s] boxes is their extreme simplicity: it’s important how the plates come together…the beautiful screws. You see the thickness of the aluminum, and the construction honors the material,” says Phifer. “The boxes begin to honor the light surrounding it.” The architects worked with the curtain wall contractor to develop a custom designed louver system from extruded and milled aluminum components to manage daylight. Everything had to be designed with calculations and technical documentation, including plenty of mock-ups. Phifer says this level of detailing is at the heart of their office’s production: “the facade system developed here was completely new.” This system is punctured in selective places on the facade with a polished stainless steel portal celebrating very specific spaces within the interior such as the judge’s chambers. “It has the character of receiving light and being a real part of the environment,” says Phifer on the outcomes of the decade-long project. The project could be considered a super-scaled descendant of one of Judd’s well-crafted boxes, but also should be a sophisticated addition to Thomas Phifer and Partners’ repertoire of working with light (a portfolio that includes a 2011 AIA Honor Award for the North Carolina Museum of Art). The results are a robust box, with a beautifully simple, passive performative agenda.