With its combination of warm temperatures, low humidity, bright sun, and vulnerability to earthquakes and fires, Southern California presents a unique set of opportunities and challenges to facade designers and builders. "It's way more forgiving here than in most places," said Larry Scarpa, principal at Los Angeles-based Brooks + Scarpa. "I've been on design reviews in various parts of the country where you have to do things much differently with the building envelope. In Southern California you have a lot of freedom to explore things that you don't in other parts of the world." Scarpa and other AEC industry movers and shakers will gather in early February at Facades+ LA to discuss possibilities and trends in building envelope design, both in Los Angeles and beyond. Scarpa, who will deliver the afternoon keynote at the Facades+ conference series' Southern California debut, says that Los Angeles' temperate climate allows architects to simplify building envelopes, shifting resources from insulation and humidity control to lighting and materials. "Condensation is a big concern, but it's less of an issue here," he explained. "Generally speaking, we can be a lot less high tech with the actual wall construction. We then tend to spread it out: you still make it perform, but in a way where it's more like a rain screen." Southern California architects need not incorporate large thermal cavities, as at Herzog & de Meuron's Walker Art Center, in Minneapolis. The attendant freedom "becomes a way to deal with light in a much more significant way—how facades harvest light, or shade the building, or how you can make them function as public or private," said Scarpa. Brooks + Scarpa also use the flexibility engendered by their location to experiment with materials. "The materiality is a big thing for us," explained Scarpa. "We tend to use a lot of non-traditional building materials." The firm's Broadway Housing project, for instance, features a building skin partially clad with building blocks made from recycled aluminum cans. Benchmark Builders Showroom similarly incorporates an outer wall constructed from industrial brooms. "Because we have a certain amount of freedom here, we look to use ordinary materials in a way we're not used to seeing them," said Scarpa. Of course, Los Angeles is not all sunshine. Multiple active earthquake faults in the region place constraints on architects and builders. Earthquake codes require particular structural systems, which in turn impact the buildings' facades. "You wind up with large amounts of columns or moment frames. If you have glass or curtain walls, they're going to be exposed—you're going to see it. It's very hard to conceal it in a wall." To learn more about designing and building high performance facades in Southern California and worldwide, register now for Facades+ LA. More information, including a list of speakers and the complete lineup of hands-on dialog and tech workshops, can be found on the conference website.
Posts tagged with "Facades Conference":
As AEC professionals who have practiced in different cities know, each place has its own unique architectural culture. That is one of the lessons Mic Patterson, VP of Strategic Development at Enclos, has learned during his years of involvement with the Facades+ conference series. “Instead of holding one annual conference, we’ve been doing three a year in different cities,” said Patterson. “My observation is that each of those has been different.” The newest event in the Facades+ stable, Facades+ AM, was inspired in part by a desire to bring the conversation about high performance facade design to more locales. The inaugural Facades+ AM four-hour program takes place next week in Seattle. “Everywhere makes sense to talk about building envelopes,” said Kerry Hegedus, architect at NBBJ and seminar chair of Facades+ AM Seattle. At the same time, he added, “in Seattle, we have a great architectural community that can be very experimental and, most importantly, aspirational. We need a forum like this to share these thoughts and developments.” A prime example of the seaport city’s aspirational architecture is the Bullitt Center, the subject of one of three panels at Facades+AM Seattle. Designed by Miller Hull and often referred to as “the greenest office building in the world,” the Bullitt Center embodies a no-holds-barred approach to sustainable design. “The Bullitt Foundation is that missing link the profession needs to evolve to a new, higher density, sustainable future,” said Hegedus. “We will find, I suspect, that this is not just a skin, but an integral part of the strategy of how this living building became a success. We need to build on this project’s great success.” But while some of the Facades+ AM program next week will be specific to Seattle, much of the discussion will hold value for designers and builders working in different contexts. More importantly, the lack of a script makes way for spontaneous, collaborative problem-solving. Speaking of another panel, on innovations in facade design and construction, Hegedus observed: “The beauty of this format, with this wildcard ‘Facade Futures,’ is that we don’t know what is going to come out of this.” To learn more about Facades+ AM or to register, visit the event website.
Despite the fact that most state licensing boards require registered architects to pursue continuing education, not all AEC professionals take full advantage of the educational opportunities available. That’s a shame, says Mic Patterson, VP of Strategic Development for Enclos, given the value of the many workshops, seminar programs, and conferences aimed at practicing architects. The Facades+ conference series, co-sponsored by Enclos and AN, is one such offering. “The intent was to start a dialog involving the building skin that bridged the various fragmented sectors of the building industry,” said Patterson. “We’ve been very successful in doing that. Now I’m interested in taking this dialog to other locations.” Accordingly, Facades+ will launch a new initiative next month: Facades+ AM, a half-day forum debuting in Seattle on November 11. “Skin in the Game: Seattle 9-for-19” distills the best of the Facades+ 2-day conference into a four-hour event including nine 19-minute TED-talk-style presentations by the movers and shakers of building envelope design and construction. The speakers, who include Kjell Anderson, Architect and Sustainability Coordinator for LMN Architects, Perkins+Will’s Carsten Stein, Miller Hull principal Brian Court, and Brad Liljequist, Technical Director for the Living Building Challenge, are grouped into three themed sessions. “Biting the Bullitt: Facade Futures and Living Buildings” will take Seattle’s own Bullitt Center as its focus, while “Facades Futures: Drivers, Innovations, Integrations, and Renovations” will examine dominant trends in facade technology. The third session, “Bright Lights Big City: Daylight and Glare in the Urban Environment,” will explore the challenge of balancing competing concerns in designing energy-efficient skins. In addition to participating in the Q&A period following each panel, Facades+ AM attendees will have the opportunity to network with speakers and fellow audience members at a continental breakfast and mid-morning networking break. To learn more, or to register for Facades+ AM’s Seattle premiere, visit the event website.
Dialog, whether between teacher and student, master and apprentice, or a group of peers, has been an essential element of architectural practice throughout history. At next week's Facades+ Dallas conference the tradition continues, with a series of dialog workshops following day 1's symposium. Facade geeks from around the world will gather at the premier conference's Dallas debut to chew over both abstract and concrete challenges, from designing envelopes for resilience to dealing with the problem of glare. Attendees can create their own dialog workshop experience by selecting from one morning workshop and one afternoon workshop. All three afternoon workshops include a field trip to one of Dallas' many architectural destinations. The morning offerings include "Next Gen Passive: Exploring the Links between Passive Strategies, Smart Design, Sustainability, and Resiliency," coordinated by Atelier Ten's Emilie Hagen. Panelists Z Smith (Eskew+Dumez+Ripple) and Ryan Jones (Lake|Flato) will join Hagen to discuss contemporary developments in passive design and question the conflation of sustainability with the elimination of resilience, with reference to specific examples from the three firms' work. The field trip-oriented afternoon workshops include "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research," with Brad Bell of TEX-FAB and HKS LINE's Heath May. Participants will tour UT Arlington's fabrication lab facilities, hear from Bell and May about their work combining academic research and studio practice, and talk to SMU student James Warton about his doctoral research on metallic alloys. Do not miss this opportunity to rub shoulders with the movers and shakers of the AEC industry: register for Facades+ Dallas today, and reserve your spot in two dialog or tech workshops before they sell out. Besides the hands-on, immersive workshops, the conference offers two full days of exciting keynotes, roundtable discussions, exposure to cutting-edge technology, and networking galore. Learn more at the Facades+ Dallas website.
Dallas is growing up. And just like the rest of us, the city is doing some soul-searching on its way from adolescence to adulthood. "Growing up doesn't necessarily mean growing out; bigger isn't necessarily better," said Heath May, director of HKS LINE and co-chair of the upcoming Facades+ Dallas conference. "People are starting to understand that it's time to start thinking about public policy and the way it relates to placemaking." May points to recent events, including the New Cities Summit and "Building the Just City," the third annual David Dillon Symposium, that have brought architects, city planners, and policymakers together to discuss the Big D's urban future. At the end of this month, experts in the field of facade design and fabrication as well as representatives from the City of Dallas, Dallas Morning News critic Mark Lamster, and other influential Dallasites will continue the conversation at the Texas debut of the Facades+ conference series. At the top of the list of local concerns, said May, is the idea of the connected city. When he recently saw 1930s footage of downtown Dallas, May was struck by "the sheer amount of people on the sidewalks in contrast to what you see today. Downtown is coming alive now, but it's struggling." Part of the problem is the lack of physical connectivity to adjacent neighborhoods, especially Deep Ellum, stranded on the other side of IH345, and the Trinity River. Groups like A New Dallas, which proposes tearing down the decrepit IH345, and AIA Dallas "are looking at how we can stitch the city back together—at how we can provide workforce housing to live, walk, and enjoy downtown," said May. In terms of facades, said May, the challenge is to "understand architecture as part of a system." The theme of the Facades+ Dallas is resilience; resilience, May insists, depends on various scales of design as well as on the cooperation of clients and policymakers. "We're inviting clients, developers, and members of the community to participate in these discussions when we're looking at things the city is wrestling with," said May. "Things like glare: how do you balance that with other criteria such as mitigating solar heat gain?" May is co-leading a dialog workshop on day 2 of the Facades+ conference, with TEX-FAB's Brad Bell. Participants in "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research" will take a field trip to the University of Texas at Arlington, where May and Bell are involved in a consortium designed to bring together academic research and professional practice. The workshop includes a tour of UTA's fabrication facilities and a discussion of how new tools are shaping practice, as well how practice and research exist in symbiosis. Other events at Facades+ Dallas include a symposium panel on glare, plus "Balancing Cost and Performance Through Simulation," a hands-on tech workshop offered by HKS LINE's Tim Logan and Paul Ferrer. To register for dialog or tech workshops and to learn more, visit the Facades+ Dallas conference website.
Frank Gehry's Walt Disney Concert Hall in Los Angeles, Scott Johnson's Museum Tower in Dallas, and Rafael Viñoly's Vrada Hotel & Spa in Las Vegas have at least one thing in common. All three provoked the ire of their neighbors when glare from their reflective facades raised sidewalk temperatures, blinded drivers, or—as in the Museum Tower case—jeopardized the nearby Nasher Sculpture Center’s collections. Glare is increasingly a problem in facade design, says Curtainwall Design Consulting president Charles Clift, in part because of the tools contemporary architects have at their disposal. "The conclusion I came to is that the digital age of architecture has allowed designers to create anything they can imagine, but with that comes some unintended consequences." Clift and other experts in high-performance envelope design, including George Loisos (Loisos + Ubbelohde) and Luke Smith (Enclos), will dig into the problem of glare in a symposium panel at this month's Facades+ Dallas conference. Nasher Sculpture Center director Jeremy Strick, David Cossum of the City of Dallas, and the Dallas Morning News' Mark Lamster will join them to discuss the reflectivity challenge within the local context. The conversation will continue on day 2 of the conference at the "Curating Daylight: Effective Control of Interior Illumination & Issues of Exterior Reflectivity" dialog workshop (led by George Loisos and Susan Ubbelohde), which meets at the Nasher Sculpture Center. Advancements in building materials offer one solution to the glare challenge, which exists in tension with the demand to reduce thermal gain. "An easy way for the facade to accomplish sustainability goals is to use highly reflective glass, but obviously that rejected glare goes back into the environment," said Clift. Happily, innovations by today's glass manufacturers, including low-e coatings, boost performance, reduce glare, and allow a decent amount of visible light transmission. External or internal sunshades can also do double duty as thermal barriers and glare blockers. But both specialty glass and shading structures come at a cost, and are often the first to go when the budget gets tight. "A lot of the time, the issue of glare has been taken into account in the design process, but it’s one of the first components that might get value-engineered out," said Smith, who will moderate the panel. Municipal-level regulation is another possible fix for the reflectivity problem. Clift reports that some Dallas builders he’s talked to are confident that the market will sort things out. They say that the Museum Tower/Nasher Sculpture Center debacle "is such a bad situation that a savvy developer won’t do that in the future." Smith is not so sure. "This is an urban problem, but as soon as the city tries to step in, people say, 'No, this has nothing to do with the city,'" he said. "I think the problem is getting worse because density is increasing in cities, and right now glass is predominantly the building material of choice." Dallas, he notes, is the perfect place to explore the glare issue. "The city’s going through a regeneration: the place is coming back. Plus, it’s sunny, and they like glass buildings." To hear more from Smith, Cliff, and the other panelists about the problem of glare, register today for the Dallas Facades+ conference. The complete lineup of symposium speakers, dialog workshops, tech workshops, and networking events can be found on the conference website.
If Dallas is not already on your list of top United States architectural destinations, it is past time to make a correction. The city boasts the largest concentration of Pritzker Prize–winning architects' work anywhere, including Philip Johnson's Thanks-Giving Square, I.M. Pei's Dallas City Hall, Fountain Place, and Morton H. Meyerson Symphony Center, Renzo Piano's Nasher Sculpture Center, Foster+ Partners' Winspear Opera House, and Morphosis' Perot Museum of Science. The thriving Dallas Arts District is bursting with performance venues and architectural gems like Edward Larabee Barnes' Dallas Museum of Art, SOM's Trammell Crow Center, and REX/OMA's Dee and Charles Wyly Theatre. And more projects are in the works: Cesar Pelli is designing an office complex for Uptown, and a second Santiago Calatrava-designed bridge is planned to span the Trinity River. Attendees at this month's Facades+ Dallas conference will have a chance to experience the Big D's outstanding architecture scene in person. The conference's dialog workshops, in particular, were designed with Dallas' built environment in mind. All three afternoon dialog workshops incorporate a field trip to either the Perot Museum, the University of Texas at Arlington (where participants will tour the fabrication lab), or the Nasher Sculpture Center. To learn more about Facades+ Dallas or register for a dialog workshop field trip, visit the conference website.
Today’s AEC professionals are more to reach for a computer mouse then they are a drafting pencil. Understanding and being able fully utilize cutting-edge digital design tools is essential to contemporary architectural practice, particularly the design of high-performance building skins. Attendees at next month’s Facades+ Dallas conference can choose among four hands-on tech workshops in a unique program designed to deliver in-depth exposure to platforms including Autodesk Revit, Autodesk Vasari, and Grasshopper. The tech workshops, all of which focus specifically on building enclosures, “are heavily attended by professionals, by people wanting to take that next step and participate in a more active dialogue,” said Mode Lab’s Ronnie Parsons. “They are at once about learning, and about taking on the role of a leader who could potentially shape what’s happening—who could be on the podium next time.” The Dallas lineup includes “Computational Design for BIM,” taught by Parsons and Erick Katzenstein, also of Mode Lab; “Balancing Cost and Performance Through Simulation,” with HKS LINE’s Tim Logan and Paul Ferrer; “Parametric Facade Design Fundamentals,” led by Andrew Vrana of Metalab; and “Environmental Analysis and Facade Optimization Strategies,” taught by Colin McCrone and Mohammad Asl, both of Autodesk. Participants in “Computational Design for BIM” will also receive a one-month complimentary subscription to Mode Lab Academy. The tech workshops take place on the second day of Facades+ Dallas at CityPlace Events. They are designed to draw from and extend the discussions begun during the symposium on day 1, explained Parsons. “The way that the Facades+ conference has been crafted is in terms of a holistic experience.” For information and to register for tech workshops, visit the conference website.
The Antoine Predock–designed Canadian Museum for Human Rights opened in Winnipeg last Friday with a ceremony featuring an indigenous blessing, performances by Ginette Reno, The Tenors, Maria Aragon, and Sierra Noble, plus remarks by several Canadian government officials as well as representatives of the museum. With its Tyndall limestone ramparts, layers of curved glass, and projecting Tower of Hope, the museum evokes the wings of a dove—the symbol of peace—enfolding an ancient mountain. The carefully choreographed entry sequence leads visitors from the building's rocky base down into the carved-out Great Hall, through a hidden winter garden, and, finally, up to the Tower of Hope, whose structure frames views of the city and beyond. Geological and astronomical references abound, from the 450-million-year-old limestone itself to the orientation of the stone-clad Roots, whose apertures welcome the solstice and equinox sun. The brainchild of the late philanthropist and entrepreneur Israel Asper, the Canadian Museum for Human Rights is the world's only museum focused exclusively on human rights. It opens to the public on Saturday, September 27. Antoine Predock will deliver the opening keynote address at next month's Facades+ Dallas conference, during which he will discuss the conceptual and technical drivers of the museum's design. For more information or to register, visit the conference website.
Marlon Blackwell, principal of Marlon Blackwell Architects and distinguished professor and department head at the Fay Jones School of Architecture at the University of Arkansas, practices in Fayetteville, Arkansas, where the temptation to design according to a derivative vernacular—and the risk of descending into quaintness—is great. Blackwell seeks instead to operate in the space between the vernacular and the universal, to create buildings that are simultaneously both and neither. "What emerges is something that I like to call the strangely familiar," he said. "We're working with forms in a cultural context that have a first reading of being familiar, but on a second, third, or fourth reading are clearly transgressive to either the local typology or the vernacular. What we try to do is kind of de-typify things—it's really about trying to find or develop an idea about performative surfaces." When Blackwell, who will deliver the afternoon keynote address at next month's Facades+ Dallas conference, talks about "performative surfaces," he does not necessarily mean high-tech building skins. "What I'm really talking about is something that's both sensual and sensible," he said. Blackwell prefers a more commonsensical approach to performance. "It's like the chicken farmer," he explained. "Chicken farmers have figured out that if they orient their large chicken sheds so that the narrow part faces east and west, the chickens don't cook before their time." In Arkansas, even high-profile projects like his Vol Walker Hall and Steven L. Anderson Design Center require careful attention to costs. "Given the modest budgets here, most of what we have to achieve is passive," he said. "I'm trying to instill this into buildings that don't necessarily come with honorific programs: they're everyday sorts of buildings, so consequently they're modest in their application or execution, but they're very high in their aspiration." Blackwell's early passion for drawing resonates through his work today. "I grew up as a cartoonist, so everything I've ever conceived of artistically or architecturally has been conceived of as a visage—as a profile or a silhouette," he said. "I really think of the buildings that we make as figures in a place—as having a figural presence. They become the expressive character of a place, and that expressive character is achieved through things like the envelope, rather than trying to achieve expressive character merely through form. As a result, we're able to build things." Blackwell hopes his own career can serve as a positive lesson to Facades+ Dallas attendees. "I'd like them to walk away thinking: I can do that," he concluded. "Not everybody can be Renzo Piano. There's that everyday kind of work that we do—there's no reason the aspiration has to be any different." To learn more about Facades+ Dallas or to register, visit the conference website.
Home to Morphosis' Perot Museum of Nature and Science, the Santiago Calatrava–designed Margaret Hunt Hill Bridge, and a starchitecture-studded cultural district, Dallas is increasingly an architectural destination in its own right. This fall, AEC industry professionals have one more reason to visit: the inaugural Facades+ Dallas conference, taking place October 30–31 at CityPlace Events. The Facades+ conference's Dallas debut is a homecoming of sorts for the native Texans on the planning team, who include AN founder and publisher Diana Darling, AN managing editor Aaron Seward, and Mode Lab founding partner Ronnie Parsons. The not-to-be-missed event begins with a symposium featuring the movers and shakers of high-performance envelope design, like keynote presenters Antoine Predock and Marlon Blackwell, plus special appearances by Jeremy Strick, Director of the Nasher Sculpture Center, and City of Dallas Assistant Director of Public Works Zaida Basora. The symposium is followed by a day of dialog and tech workshops—intimate opportunities for hands-on exposure to real-world examples and cutting-edge design tools. All three afternoon dialog workshops incorporate field trips to either the University of Texas at Arlington or the Renzo Piano–designed Nasher Sculpture Center. Facades+ Dallas attendees will have the opportunity to earn up to 16 AIA CEUs over the course of the two-day conference, as well as to meet and mingle with the leading lights of facade design and construction. To learn more and to register, visit the Facades+ Dallas website.
Despite his reputation for designing buildings with aesthetically and technically interesting envelopes, Antoine Predock, who will deliver the opening keynote address at next month's Facades+ Dallas conference, does not spend a lot of time thinking about the facade as a separate entity. "I never use the term facade, because I work spatially," he said. "I work from an inner process; then all of a sudden, whoops, there's a facade." Rather than designing from the outside in, Predock digs deep. "I talk about strata—like geologic strata," he explained. "Every project has layers of meanings and understandings that finally culminate in this physical thing, but there's all these strata below that." "I want to go as far back as I can to remember that this building has a responsibility to a far deeper time, than even before human habitation," he continued. The point, said Predock, is to avoid superficial formal gestures. "I start with the underpinnings, with the investigation of the cultural layers that occur on the site rather than buying into some stupid style. It's too easy to do that—so I make things really complicated for myself because I think there's more meaning when you do that." In accordance with Predock's distinction between style and substance, the facades designed by his eponymous firm do more than protect the interiors from the environment. "The goal is to keep away from the facade as a mechanical thing," said Predock. "Instead, the facade is a poetic thing; you want to keep more of that edge." Predock, an avid motorcyclist, uses the example of two famous bike brands to illustrate his thoughts on the function of a building's skin. "Harley Davidsons have decent engines. They're these iconic elements that, for me, embody the idea of a Souljah," he said. "Then there's a bike like a Ducati, with really out there technical intentions, because they're proven on the racetrack." The skin on a motorcycle, continued Predock, may have had its origins in aerodynamics, but also serves aesthetic ends—he cites the Ducati 916, "which was just a total breakthrough of what a motorcycle could look like," because its skin covered the engine. "My point is, if you're going to make a skin on something, whether it's a bike or a building, then what is its content? What is it besides a high-performance assemblage?" Facades with power beyond their tectonic responsibilities, said Predock, appear as apparations, mystifying the observer. "Some people look at my building and think it's a UFO base," he said. "The exciting notion of a building having an ambiguity in its appearance and not being completely understood is a good thing, a plus." In the best cases, the experience can be transporting. Take Predock's Venice House, which features a vertical slot window set into a concrete recess in the beach-facing wall. "When you put your eyeball up to it," said Predock, "it's sort of a threshold to another realm." For more information on Facades+ Dallas or to register, visit the conference website.