Posts tagged with "Downtown Los Angeles":
The building's pleated glass envelope contains 1,672 energy efficient panels that uniquely responds to its location.SOM has floated a glass cube above a large stepped civic plaza negotiating a sloped site in downtown Los Angeles for their United States Courthouse project, scheduled to open July, 2016 with an anticipated LEED Platinum rating. The 633,000 square foot, 220 foot tall facility includes 24 daylight-filled courtrooms and 32 judges’ chambers. José Luis Palacios, Design Director at SOM Los Angeles, says this structural configuration was integral to the success of the project: “Our challenge was how to make a transparent building, both metaphorically and structurally.” The project is being labeled as one of the nation’s safest buildings in regards to bomb threats and earthquakes due to an innovative structural engineering concept which allows a large volume of building to “float” over a stone base protected with hardened-concrete shear walls. The outer 33 feet of cantilevered building is suspended from a three-dimensional steel “hat truss” system, freeing the need for columns at the perimeter and ground level. The trusses are efficiently designed through an optimization process which resulted in a material savings of over 13 percent when compared to conventional trusses. The facade is comprised of a unitized 6’ wide by 20’ tall panel, organized into a ‘pleated’ zigzagged surface. By reconciling the downtown Los Angeles street grid, which runs 38 degrees east of true north, with optimum solar angles, the facade managed to reduce solar heat gain, harvest natural daylight, and maximize views into and out of the building. The pleating of the facade allows for a reduction in the radiant heat load of the building by 47 percent compared to a flat surface. Signage to the building is applied as a ceramic frit pattern to the glass of the pleated facade. The two-dimensional graphic, the ‘Great Seal of the United States,’ is projected onto the three dimensional facade, reinforcing the civic plaza and a frontal approach to the main entrance. As a result of the pleating, facade panels were broken down into two types: a “hot panel” and a “cold panel” side. Additional variation was introduced through internal program requirements, such as the Broadway and Hill Street facades where courtrooms consists of three internal layers of shades help to manage daylight from both sides of the courtroom. The modular, shop built assembly of panels is something Palacios says SOM is incorporating into an increasing amount of their projects today: “This gives us long-term durability, and seismic responsiveness: a great flexibility and resiliency.”
The veil functions both as the primary facade and the daylighting system, providing a sense of connection between the gallery spaces and the city.The Broad Museum will open its doors to the public on Sunday, 5 years after after Diller Scofidio + Renfro won a small invite-only design competition to design a space for Eli Broad’s immense contemporary art collection. All of the public spaces in the museum are created between the building's two enclosure systems, coined the “vault and veil” by DS+R. The veil, a daylight-absorbing concrete exoskeleton balances performance with fashion, while an interior vault protects a nearly 2,000 piece art collection. Visitors move over, under and through the vault, which consumes almost half of the 120,000 sq. ft., 3-story building. The exterior facade assembly consists of a steel frame clad with 2,500 glass fiber reinforced concrete (GFRC) panels which were precast on custom CNC formed molds. Evidence of the GFRC's digital fabrication process can be prominently seen on the main elevation where a large dimple provides a smooth undulation in the facade. Kevin Rice, Project Director for DS+R, explains this formal move was a deliberate reaction against the repetitiveness of the elevation: “We were studying the capabilities of digital fabrication and wanted to move the design of concrete facades beyond the brutalist facades of the 60s and 70s.” To construct the interior portion of the facade panels, seen below, the project team worked with Kreysler & Associates to develop a lightweight alternative to the exterior cladding. Fiber Reinforced Polymer (FRP) panels were fabricated with a finish to match the adjacent GFRC panels. Galleries on the third floor sit under 328 skylights supported from a 200’ long span structure composed of 6’ deep plate girders. The skylight monitors are designed to encapsulate the structure of the roof, the lighting system (a combination of daylight and LED), the waterproofing and drainage system, and the fire & life safety systems. All of these functions have been coordinated by DS+R to fit seamlessly within the language of the vault. Rice speaks of the benefits to this rigorously designed roof system: “The skylights are designed to maximize the reflected light from the north sky while eliminating all direct sunlight from entering the space. This allows for the tight conservation controls for the art while eliminating the need for electric light for much of the day.” The building’s siting across the street from Gehry’s Walt Disney Concert Hall notably had an influence on the aesthetics of the facade. Elizabeth Diller said she wanted the building to be strikingly different from Gehry's building: "We realized it was just useless to try to compete – there is no comparison to that building," Diller said. "We just had to do something that is mindful and that knows where it is […] Compared to Disney Hall's smooth and shiny exterior, which reflects light, The Broad is porous and absorptive, channeling light into the public spaces and galleries." What results is a wall system which functions both as the primary facade and the daylighting system, providing a sense of connection between the gallery spaces and the city.