Posts tagged with "Facades+ Conference":

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John Cetra of CetraRuddy talks recent projects and Facades+ New York

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On April 2 and 3, Facades+ is returning to New York for its largest annual conference, which is split between a full-day symposium followed by the second day of intensive hands-on workshops led by dozens from across the country. Co-chair John Cetra, founding principal of New York-based practice CetraRuddy, collaborated with The Architect's Newspaper in the curation of panels themes and speakers. Panels include; “Materiality & Fabrication: Bespoke Facade Solutions,” “Scaling up Passive House | For the Greater Good,” “Optimizing the Form,” and “Adaptive Reuse Challenges in NYC Historic Icons.” UNStudio founding principal Ben van Berkel and WXY principal-in-charge Claire Weisz are leading the morning and afternoon keynotes, and Jesse Reiser and Nanako Umemoto of Reiser + Umemoto will dive into their spate of recently completed projects. Prior to the conference, AN sat down with Cetra to discuss architectural trends reshaping New York City and the firm’s recent body of work. AN: Over the last thirty years, CetraRuddy has successfully navigated New York's real estate landscape to deliver scores of projects across building scales. What lessons have been learned and what advice would you give young firms today? John Cetra: We’ve learned a lot of lessons over the past 30 years. One of the most salient is that to successfully navigate the New York real estate landscape, architects need to understand the unique context we have to work in and in particular, the zoning resolution and its nuances. In our practice, an advanced understanding of the requirements has allowed us to create unique buildings forms like One Madison and ARO. This applies across the board, whether in contextual zones, landmarked districts, or not. We value context and history, but we are also open and receptive to new thinking, and we like to weave the two together through design. At Fotografiska, we created a new multi-use event space on the top floor of an 1890s-era building by exposing the structural beams holding up the roof. This is an entirely new space—but it celebrates the original materiality and design of the building in a very respectful way. One of the panels will include your recently completed ARO. Can you explain the significance of the project from the perspective of facade design and engineering? ARO’s facade is crucial to its design—it enhances and clarifies the building’s massing, and works in harmony with the tower’s shape. The signature fenestration pattern is comprised of a glass curtain wall with a light metal net that creates a singular graphic overlay or a ‘second skin.’ This net employs 18-inch-deep “fenders" that act as an integrated solar device, reflecting light as the glass areas absorb light. In this way, the sun is a friend of this building—the sky is reflected in its glass and the metal fenders protect the interiors from sunlight at high angles. As the light changes throughout the day, the articulation of the facade creates depth and visual interest, responding to the time of day and weather. From a technical perspective, the unitized curtain wall system required the design team to minimize the number of custom panel sizes and conditions. Even though the massing undulates and projects forward in cantilevered sections, there are only six different shapes and unit sizes that made up the entire facade. You worked closely with AN to co-curate the upcoming conference. What do you hope will be the primary takeaways of the conference? I think the conference will show that there are no set, universal rules, and that building facades can be of very high quality because of the tools we as architects and designers have at our disposal. Digital technology combined with architectural creativity, a thoughtful understanding of context, and understanding of program can result in beautiful buildings that are sustainable, a pleasure to live or work in, and thoughtful additions to our built environment. Additionally, in terms of contextuality, façade design can successfully contribute and respond to the local built environment. The technology exists now to create site-specific, context-aware facade solutions that are also really attractive and, most importantly, climate-responsive. This is a heartening advance that will be discussed in detail at the upcoming conference. Further information regarding Facades+ New York can be found here.
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Hickok Cole and Facades+ will spotlight D.C. architectural design and technology

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As the nation's capital, Washington, D.C., is home to a thriving architectural culture, grounded in both historic and contemporary design. The upcoming Facades+ AM conference on February 20 will provide a forum for the city's design community to dive into the intricacies of some of the region's most significant architectural projects. The conference is co-chaired by Hickok Cole, a local firm with a significant body of work within the capital and across the country. Participating firms include the Center for the Built Environment, Front Inc., Heintges, REX, Steven Holl Architects, Thomas Phifer and Partners, Tishman Speyer, and Transsolar. Prior to the conference, AN sat down with Hickok Cole associate principal and co-chair Elba Morales, and director of sustainable design Holly Lennihan, to discuss the firm's ongoing projects and the programming of the morning symposium. AN: Over the last few months, Hickok Cole has guided the curation of Facades+ Washington D.C. What aspects of the capital's design culture do you hope are captured in the three panels, and what lessons do you hope are learned?  Elba Morales: As the Nation’s capital, DC is at the center of the news cycle spotlight. We say that national news is our local news because it unfolds blocks away from where we live and work. We understand that decisions at the federal level have a huge impact on our everyday lives. Because federal buildings—traditionally in light stone and with a monumental, institutional quality—dominate how DC is perceived architecturally, there is a misconception that the city’s new architecture is either stylistically undifferentiated from the traditional or is restrained. And the reality is that there are very interesting and forward-thinking buildings being built here, right now. There is a wide range of materials, scale, and placemaking power in a good number of buildings recently completed. We have very exciting and technically daring glass facades in the pleated glass veil of The International Spy Museum and in the fluted curved glass facade of 2050 M Street for example, which we’ll discuss in our first panel “Curved and Pleated”. On our second panel “Placemaking and Monumentality” we will feature two new civic buildings defined by their sculptural quality made possible by the use of solid facades. These buildings claim their place as objects in the landscape. The REACH at The Kennedy Center does so in an urban setting, while Glenstone emerges out of its pastoral setting. Both usher in a new contemporary monumentality that makes the case for classic modern and minimal architecture. And as a result of Mayor Bowser’s mandate, with the Clean Energy Act DC, we will transition to run on 100% renewable power and reduce carbon emissions by 50% by 2032. This will require efficient and sophisticated facades that respond to the orientation and positively contribute to the overall energy efficiency of the building. In our “High-Performance Facades” panel, we will discuss case studies and assemblies that will be relevant to this effort of melding climate change mitigation goals with stunning architectural design. The convergence of these challenges and potential will inspire our planners, architects, engineers, and owners to keep elevating the quality of the architecture we produce. One panel, "Curved and Pleated: Advanced Applications of Glass," will feature the International Spy Museum. Which aspect of the project are you most excited to dive into, especially in juxtaposition to the second case study of the panel, 2050 M Street? We are thrilled that our first panel will feature two of the most daring and tectonically unique glass buildings in the city, The International Spy Museum and 2050 M Street. Hickok Cole is very excited to have partnered with Rogers Stirk Harbour + Partners to collaborate on The International Spy Museum, because of its impactful architecture and the transformation of L’Enfant Plaza and 10th Street. The facade—designed by RSHP—draws inspiration from espionage by “hiding in plain sight” the program. The exhibit space is surrounded by an angled “black box” which is in turn, layered with an oversized pleated glass veil, supported by red fins and cantilevered over public space. The strong urban move creates a landmark at the peak of 10th Street that is visible from the National Mall. Internally, the veil houses the atrium and a grand staircase that connects the exhibits. As Architect of Record, we want to share the complexity of this feature facade, its tectonics, detailing, procurement, and construction to give the audience a sense of what it takes to follow through on a vision this bold. In parallel, we want to discuss with Tishman Speyer, REX, and Front, the stunning curved glass facade of 2050 M Street. This new office building features oversized, floor-to-floor, concave glass panels that take advantage of the structural properties of curved glass in compression to eliminate the vertical mullions typical in office building facades. The form of the glass panels—as well as the coatings— create an unusual pattern of transparency and modulated reflections that articulate the overall form. We are delighted to gain insights from the perspective of the client, the architect, and the facade consultant. The capital is no stranger to monumental design. From your perspective, what role does opacity place in the poignancy of The REACH and the Glenstone Museum? The most evident quality of opaque facades is the way in which the material itself reacts to natural light, the way it registers sunlight and shadows distinctly throughout the day and the nuances of the seasons. Opaque facades can convey weight and solidity, plasticity and sculptural qualities, scale, and monumentality, that afford them strong placemaking potential. The weathering of solid, opaque materials is distinct and specific. Natural forces continuously add architectural meaning and register the passage of time. And even though both of these buildings sit within—and relate to—the landscape differently, the openings in their facades frame views deliberately. The materiality, the sculptural qualities, and the solid to void interplay create a new kind of monumentality in the city, one that is minimalist and classically modern. We are thrilled to be able to hear from the designers at Steven Holl Architects and Thomas Phifer and Partners, as well as from Heintges, the facade consultant at Glenstone. Washington D.C.'s city council recently passed a stringent clean energy act. What techniques and methodologies is Hickok Cole practicing to meet the code, and how do you perceive Transsolar and the Center for the Built Environment's participation in the third panel, "High-Performance Facades and Materials Research" informing the processes of local firms? Holly Lennihan: There are several significant changes in Hickok Cole’s design process due to the experience of working on the American Geophysical Union headquarters renovation to Net Zero Energy. First, we now insist that the full engineering team start concurrently with the design team. This early participation is furthered by staging a conceptual design charrette that lays out the potential strategies to achieve net-zero energy. Second, we seek partners that are willing to undertake new technologies. One example is when we considered heated mullions for a glass facade. A D.C. colleague put us in touch with a New York City-based engineer and a fantastically useful conference call ensued. The facade was detailed and evaluated; ultimately the system worked better on a colder environment than in our region. Third, we connect with universities that host research around the built environment. We collaborated on a graduate-level course for the University of Oregon’s Institute for Health in the Built Environment master’s program and we participate in monthly calls to discuss their diverse research projects. We are part of the University of Washington’s Embodied Carbon Network because we know that carbon will soon play a bigger role in how we think about the materials that go in our buildings. Locally, we have partnered with George Mason University’s Center for Real Estate Entrepreneurship on grant funding for cross-laminated timber research and indoor air quality studies. Transsolar conveys a certainty that design and engineering should produce elegant, effective, smart, and cost-effective solutions. We believe that their projects will provide enlightening information and show their dedication to doing work that goes beyond ‘building-as-usual’ and will energize the audience to aspire to do better work in the DMV. The Center for the Built Environment plays a key role in providing practitioners data and in-depth analysis of building components, especially facades. Their rigorous and unbiased look at high-performance case studies creates a means for architects to adopt groundbreaking facade systems knowing the benefits and challenges. This information is also useful for owners, developers, and end-users. We hope that in the future, case studies from DC will make their way to the Center for review! Further information regarding the speakers and websites is found on the conference website.
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Facades+ returns to New York April 2-3

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Innovations in facade technology and, subsequently, New York's architectural landscape occur at a quick clip. On April 2+3, Facades+ is returning to New York in a robust two-day dialogue focused on the materials and techniques driving the next generation of enclosure design and engineering. This year, CetraRuddy founding principal John Cetra collaborated with The Architect's Newspaper to develop a robust program featuring architects, contractors, engineers, and fabricators. The first day of the program features two hour-long keynotes, delivered by UNSense founder Ben van Berkel and WXY principal-in-charge Claire Weisz. Additionally, Jesse Reiser and Nanako Umemoto of Reiser Umemoto will dive into recent case studies, including a spate of projects coming online in Taiwan. Both keynotes will be followed with a moderated discussion where audience members will be provided the opportunity to directly ask the keynote speakers questions. The remainder of the day will be split between four panels: "Materiality & Fabrication: Bespoke Facade Solutions," with REX founding principal Joshua Prince-Ramus and OMA director Shohei Shigematsu; "Scaling up Passive House | For the Greater Good," featuring Handel Architects managing partner Gary Handel, Steven Winter Associates director Lois Arena, and Dattner principal John Woelfling; "Optimizing the Form," with Studio Gang design principal Weston Walker, Arup principal Markus Schulte, and Hatfield Group technical director Manan Raval; and "Adaptive Reuse Challenges in NYC Historic Icons," with ODA founder & executive director Eran Chen, Surface Design Group partner Russ Newbold, BKSK partner Todd Poisson, and BuroHappold Engineering associate principal John Ivanoff. The bulk of the panels are case study-based and will be split between two presentations led by the architect and facade consultant of each individual project, including the ongoing expansion of Tammany Hall and the recently completed ARO. For attendees looking for a further dive into facade technology and design, the second day of the conference will feature 14 separate intensive workshops. Participants choose one morning and one afternoon session, during which attendees will have an opportunity to learn from and interact with industry leaders in tutorial- and discussion-based seminars. Firms leading workshops include BKSK, BuroHappold Engineering, Büro Ehring, Diller Scofidio + Renfro, Green Facades, HKS LINE, International Masonry Institute, Local 1 Bricklayers and Allied Craftworkers, MG Mcgrath, Morphosis, Oza Sabbeth, Pelli Clarke Pelli Architects, Roschmann, Sasaki, Simpson Gumpertz & Heger, SOM, Surface Design Group, Studio NYL, and Walter P Moore. Further information regarding Facades+ NYC can be found here.
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The 2019 Facades+ Conference in Los Angeles discussed high-performance envelopes in depth

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Now in its seventh year, the Facades+ Conference in Los Angeles was held on November 14 in the California Ballroom of the L.A. Grand Hotel and offered a wide range of lectures, symposia and networking opportunities for top professionals from the worlds of design, fabrication and construction. The subjects addressed over the course of the conference were sprawling to suit a wide range of interests yet unwaveringly focused on the importance of high-performance envelopes in the growth of cities, civic pride, and the reduction of the industry’s carbon footprint. The day began with an opening keynote lecture from Fokke Moerel, a partner at Dutch firm MVRDV, whose personal focus is on global public and cultural works, transformations, and interior design. Moerel's lecture, The Skin is the Message, elaborated on the unique challenges the firm has met developing unique facades in the pursuit of uncompromised architectural expression. Crystal Houses, for instance, featured an entirely transparent ground-floor glass facade made to appear like the brickwork common of buildings in its area of Amsterdam. By developing a novel technique for combining glass bricks, glass window frames, and glass architraves, the firm challenged the structural and aesthetic limits often assumed of the materials to “offer the store a window surface that contemporary stores need, while maintaining architectural character and individuality, resulting in a flagship store that hopes to stand out among the rest.” Moerel then highlighted the luxurious facade of the Bulgari flagship store MVRDV designed in Kuala Lumpur, Malaysia, which was developed in collaboration with Technical University Delft, with Tensoforma as the facade production team. To achieve the illusion of overscaled marble, Glass-Reinforced Concrete (GRC) was cut into a marble-like pattern, with its crevices filled in with resin and illuminated with LEDs. After her lecture, AN executive editor Matt Shaw joined Moerel on stage to moderate a discussion on the relationship between criticality and sense of humor present in the firm’s facade designs. A four-person panel, Reducing the City’s Carbon Footprint through Facade Design, elaborated on the role high-performance envelopes can play in the global initiative to reduce the industry’s carbon emissions. Given that the global building floor area is expected to grow to approximately two-and-a-half trillion square feet by 2060, more than double the current worldwide building stock, Fabian Kremkus of CO Architects advised members of the audience to “be willing to learn and get into the science” of sustainable construction techniques. The moderated conversation that followed considered how building manufacturers could develop methods that reduce material extraction, site demolition, manufacturing emissions, and the need for active heating and cooling within large-scale buildings. Michel Rojkind provided the afternoon keynote speech titled Transmutation: From Digital Design to Local Fabrication. “Where does craft sit in a world,” Rojkind asked the audience, “ruled by technology, and where digitized, mechanized fabrication is becoming more sophisticated?” He then elaborated on how he has employed hand craftsmanship “to slow things down” in his own practice, most notably with the Foro Boca concert hall in Veracruz, Mexico. Using a concrete facade “able to withstand and respond to the harsh conditions of the site,” the concert hall was constructed by a team of local dedicated craftsman.
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Bohlin Cywinski Jackson talks Facades+ and the future of Seattle

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On December 6, The Architect's Newspaper is returning to Seattle for the third year in a row in a dialogue of the architectural trends, technologies, and materials reshaping the Seattle metropolitan area. Bohlin Cywinski Jackson, a national firm with a significant presence in Seattle, is co-chairing the conference. Panels for the morning symposium will discuss the complex geometries of the Temple of Light, the GNW Pavillion, and The Mark; the longstanding collaboration between Bohlin Cywinski Jackson, Su Development, and Morrison Hershfield in the design and construction of residential towers in Bellvue, Washington; and the future of fenestration technology. The second half of the conference occurs in the afternoon and will feature intensive workshops. Participants for the conference symposium and workshops include Arup, Blackcomb Facade Technology, Bohlin Cywinski Jackson, Eckersley O'Callaghan, Green Facades, Robert McNeel and Associates, Microsol Resources, Morrison Hershfield, Office 52, Olson Kundig, Su Development, Walter P Moore, and ZGF Architects. In this interview with The Architect's Newspaper, BCJ's associate principal Patreese Martin and principal Robert Miller, the conference co-chairs, discuss their firm's ongoing projects, the symposium panel "Optimizing Residential Design: Pursuing a Housing Model for the Seattle Area," and the overall architectural direction of Seattle and its impact on the conference program. AN: Bohlin Cywinski Jackson is one of the leading architectural practices in the United States. What are you currently working on and what can we expect to see in the next few years? Patreese Martin and Robert Miller: Our days are filled with opportunities at widely varying scales with Brio and Yesler High Rise Towers, University of Puget Sound Welcome Center, two fire stations for the Bellevue Fire Department, and even a 200 square foot Studio Cabin in Point Roberts. We are experimenting with methods of documentation, component design, and physically assisting with construction of the tiny studio to train staff and remind ourselves of the nuances of materials and tolerances and the decisions that occur in the field despite anyone’s best efforts to pre-think and document. Through ongoing discussions, we look forward to incorporating lessons learned to improve value and design of larger projects. We believe this attention to detail and mentoring will continue to advance our work on the diverse range of project typologies we are involved with such as makerspaces, high-rises (including Social Good Components/ Urban Interface), single-family residential, and food and beverage. As we continue to find new methods of optimizing processes, such as integrating technologies such as cloud scans, we will leverage current and new technologies to make more specific architecture and experiences for the users. While there is no substitute for intuition and creativity, the balance of rigor and process will result in consistently powerful solutions for our clients. One of the panels, "Optimizing Residential Design: Pursuing a Housing Model for the Seattle Area," focuses on your long-term collaboration with Su Development. What can we expect from this presentation and discussion? BCJ has leveraged collaboration to develop the strongest work possible and unique to each project's circumstance. This team’s collaboration is a stellar example where we were brought into a new building typology with little direct experience and through our strengths in innovation, problem solving, and principles of design we were able to rethink the kit of parts to develop a fresh language for high rises. I believe this will be a fascinating discussion with a client who is the owner, developer, and general contractor. Together we are reconsidering many components of his projects and the window wall exemplifies the benefit of this process. The discussion will focus on our combined experiences of rethinking standard components and processes to achieve iconic creative solutions and superior value. The Seattle metropolitan area continues to experience a tremendous level of growth. What do you perceive to be the most interesting trends in the area today, and how do you perceive the Facades+ program ties into those trends? The unprecedented growth in Seattle has led to increased interest and support for design quality, social quality, and innovation. The diversity of companies locating in the region is also leading to better collaborations across disciplines and within our own. To develop these opportunities further it will require new methods, from liability agreements to effective communication of information including modeling data communicated direct to a shop for fabrication. One intriguing example is the advancements in Artificial Intelligence (AI) which could positively impact the methodologies of programming and information gathering and we have a fascination with its potential. This could become a very powerful tool to find efficiencies in the construction and performance of architectural components such as the facade of a building. Incorporating data regarding environmental conditions, user interfaces, intelligent glass, and cloud-scan information to capture views and context, it is quite possible the power of AI could dramatically alter our abilities to fine-tune the skin of a project. A well-developed AI tool could greatly benefit the advancement of aesthetic, energy efficiency, and occupants' comfort, leading to a whole new frontier of facade development. Further information regarding Facades+ Seattle can be found here.  
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Gensler's Michael Volk and Olivier Sommerhalder discuss Facades+ LA and the trends reshaping their city

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From November 14 to 15, Facades+ LA will bring regional, national, and international leaders of the AEC industry to Southern California for the fifth year in a row. Hosted by The Architect's Newspaper and co-chaired by Gensler's local office, the conference is split between a full-day symposium and a second day of hands-on workshops. Conference keynotes include MVRDV principal Fokke Moerel and Rojkind Arquitectos principal Michel Rojkind. Other participants at the conference symposium and workshops will include Access Industries, Belzberg Architects, Christopher Hawthorne, CO Architects, FreelandBuck, Front, Gensler, Griffin Enright Architects, Grupo Anima Mexico, HGA, John Fidler Preservation Technologies, Morphosis, Neme Design Studio USA, Omgivning, PATTERNS, RDH, Rios Clementi Hale Studios, Walter P Moore, Trammell Crow, Sasaki, Shubin Donaldson Architects, Spectra Company, Studio NYL, WJE, and Zahner. In this interview with The Architect's Newspaper, Gensler principals and conference co-chairs Michael Volk and Olivier Sommerhalder discussed their firm's recent work and the architectural trends reshaping Los Angeles. AN: Gensler is the largest architectural and design practice in the world. How does this breadth of scale impact design at the regional level? Michael Volk & Olivier Sommerhalder: As an integral part of our firm’s philosophy, our 50 global offices practice as though we are one firm, and we have set up our infrastructure to fluidly support this behavior. We bring our global knowledge and a very deep bench to bear on every endeavor, from large scale international work to regional and local projects. Our dimension is such that it allows us to have in-house expertise in many relevant disciplines, including facade experts, and we bring this capability to the table wherever needed, at any time, making us nimble and innovative designers who add value to our client’s projects. What exciting projects is the Los Angeles office up to, and are you demonstrating any concepts tested at your research institute? In our Los Angeles office, as in all our offices, we are extending our thinking on building design to the scale of shaping the future of cities. At the forefront of this is a design that addresses energy, climate, and housing concerns. Like many things in design, we are finding, however, that low tech and simple solutions are most impactful and meaningful in addressing these issues. Projects such as our office building C3 in Culver City and upcoming projects now on the table for mixed-use and residential high rises downtown and in the Hollywood area are returning to simple passive solar and ventilation techniques, as well as significant integration of public and private green space, to reconsider the “First Principles” of their typologies. Living with nature and consuming less energy and water, while at the same time being in closer proximity to intellectual, economic and recreational capital, are among the positive aspects of urban life research shows to be most valuable and sustaining. Los Angeles is in a certain sense maturing as a city. What do you perceive to be the most interesting trends within the region today? Los Angeles is indeed maturing, and at the same time it’s dimension and urban condition make it an ideal city to be a testing ground for new urban innovations. Housing, density, and mobility are the leading topics, alongside climate change and energy considerations. These topics are often seen hand in hand leading to development in the city. For example, with the expansion of Metro-rail corridors, mixed-use and higher density projects are naturally emerging, bringing with them an integrated, urban lifestyle of live/work/play within a short radius that is somewhat new to Southern California. As another example, long-standing neighborhoods now connected by mixed-use corridors and transportation, are evolving into multi-faceted hubs, rather than the single-use bedroom communities they traditionally have been. This has had the consequence of shrinking the typical radius of commuting and the positive synergistic effect of an organic mix of programs supporting a vibrant daily life, increasing economic and cultural offerings within a denser fabric. Another surprising observation that may seem counter-intuitive considering Southern California’s envied climate: Over the past few years Los Angeles’ built environment seems to have rediscovered the connection to the outdoors. The mainstream has adopted outdoor patios for restaurants, the workplace has begun an extension of the workspace to the outdoors, and new apartment buildings and condominiums have generous balconies and roof terraces. This once-forgotten, but obvious, benefit is having a big impact on the design of buildings, envelopes, and landscapes. Which materials do you believe are changing facade practices in terms of design and performance? The most exciting material, surprisingly, is landscape. Projects like Second Home in Hollywood by Selgascano, and our projects for One Westside, Epic in Hollywood and several mixed-use and residential high-rises we are currently working on in the city are (re) introducing landscape as a major building and space-defining element. The notion of biophilia as a driving conceptual element has emerged internationally in the last years in places like Europe, South East Asia and significantly in Singapore. Now, in Los Angeles, we are beginning to see this design thinking taking place. Landscape as a design element is now becoming foreground - as it can and should in our climate, not just background as it often has been. More conventionally, timber and wood are also emerging on the horizon, not only as a primary structure but also as an envelope. Our project for the Headquarters of the company Alexandria in Pasadena includes a unitized curtainwall made of white oak with a second skin of wooden sunscreens. Further information regarding Facades+ Los Angeles can be found here.
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Architects and engineers will hone their skills during Facades+ L.A.'s Transitions Detailing Workshop

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Facades+ Los Angeles, taking place on November 14 & 15, is a two-day conference hosted annually by The Architect's Newspaper that highlights the region's most prestigious projects and advancements in facade technology. The second day of the conference is devoted to eight workshops that will provide a unique opportunity to dive into in-depth dialogues and tutorials with architects, contractors, engineers, facade consultants, and manufacturers. Since 2017, Facades+ has consistently featured the "Transitions Detailing Workshop: Where Systems Meet" workshop, this year led by Bradford J. Prestbo, associate principal of Sasaki; Chris O'Hara, founding principal of Studio NYL; Will Babbington, facade design director of Studio NYL, and Stan Su, director of enclosure design at Morphosis. The multi-year collaboration is a response to certain negative characteristics of the architectural community. "Historically, architects don't do a very good job of sharing knowledge or lessons learned," said Prestbo. "We saw this workshop as an opportunity to both share knowledge and teach others." The workshop is divided into three portions: Presentations, group work, and review. For the presentations, the instructors will largely draw from their own respective bodies of work and particular expertise. Prestbo begins with a discussion of opaque facade assemblies and their transitions to other systems. Su follows this demonstration with a dive into strategies for complex enclosure geometries—recent projects within this category include the Kolon One & Only Tower and the ongoing Orange County Museum of Art. Babbington and O'Hara wrap up the presentations with case studies stemming from Studio NYL's facade consultancy work, as well as their own takes on the projects already discussed. Over the next two hours, the attendees are broken up into a series of small teams, sketching systems solutions to mid-century modern projects and are supported with continuous feedback from the instructors. "These projects represent a variety of program and construction types, ranging from small residences to large commercial structures, using a mix of steel, concrete, masonry and wood construction," said O'Hara. "We chose Mid-Century Modern projects because of our love of the buildings, but it represents an era of great architecture that really did not consider building performance or energy usage. We are essentially protecting the guilty that era." Case studies include the Farnsworth House, by Mies Van der Rohe; Niterói Contemporary Art Museum, by Oscar Niemeyer; Saint-Pierre & Villa Savoye, by Le Corbusier; Healy Guest House, by Paul Rudolph; Alcuin Library & Hooper House II, by Marcel Breuer; Case Study House Number Number 9, by Charles Eames and Eero Saarinen; Fisher House, by Louis Kahn; and the Denver Art Museum, by Gio Ponti.  The final half-hour of the workshop will be dedicated to the review of 'solutions' for the case studies by both the instructors and fellow attendees. This year, the instructors will also guide attendees to case studies more relevant to the climate zone of Southern California and in keeping with the state's increasingly stringent performance standards. Further information regarding Facades+ LA workshops can be found here.
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Facades+ Toronto will dive into the trends of North America's fastest growing construction market

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On October 11, The Architect's Newspaper is bringing Facades+ to Toronto for the first time to discuss the architectural trends and technology reshaping the city and region. Toronto's KPMB Architects, an architectural practice with a global reach, is co-chairing the conference. Panels for the morning symposium will discuss KPMB Architects' decades-long collaboration with Transsolar Klima Engineering, the proliferation of timber construction across Canada and specifically its university campuses, and the adaptive reuse of Ontario's architectural heritage. The second portion of the conference, which occurs in the afternoon, will extend the dialogue with intensive workshops. Participants for the conference symposium and workshops include the Canada Green Building Council, the Carpenters' District Council of Ontario, the College of Carpenters, Diamond Schmitt Architects, ERA Architects, Kirkor Architects & Planners, Maffeis Engineering, Moses Structural Engineers, MJMA, NADAAA, RDH, and UL. In this interview with The Architect's Newspaper, KPMB's Director of Innovation Geoffrey Turnbull and Senior Associate David Constable, the conference co-chairs, discuss the theme of the symposium's first panel, "Dynamic Skins: A Conversation on Innovative Facades," an exploration of KPMB and Transsolar's use of double-glass facades. AN: KPMB & Transsolar’s collaboration began over a decade ago with the Manitoba Hydro Palace. Can you expand on the significance of the project, and how lessons learned from the collaboration were applied to future projects David Constable & Geoffrey Turnbull: Manitoba Hydro represented a turning point for KPMB in how the office approached sustainability, but more fundamentally, forced a re-think of the typical design process. This project demonstrated how building design and function may converge to become something greater than a sum of its parts. One of the first projects in North America to invest in a true IDP, or ‘Integrated Design Process’, the design team undertook a process with the client to bring all disciplines to the table at the very beginning of the project. Decisions were discussed and evaluated in detail with input from all disciplines, and the form and strategy for the project grew organically from that process. The first step in the integrated process was the development of a Project Charter, which became the guiding code against which all decisions were measured and validated. AN: How does the use of software inform Transsolar’s consulting during the design process? DC & GT: Transsolar has a high degree of in-house technical expertise in the physical sciences, as well as a deep well of experience on built projects. These capabilities, paired with advanced modeling tools, gives Transsolar a unique ability to develop strategies for projects from a first-principles perspective. As architects, this is transformative in terms of the possibilities that can arise from a collaboration with Transsolar. Where we would otherwise be limited to rules-of-thumb and best practices, working with Transsolar allows us to interrogate the particulars of a given project and derive solutions that are unique to that specific project. Manitoba Hydro Place is an excellent example of this… It’s not immediately obvious that, in a cold climate like Winnipeg, a glass office tower would make sense. By understanding the site, identifying what is unique about it (e.g. there is a very high degree of sunshine in Winnipeg for such a cold city), and then building a strategy around that, we were able to design a project that provides an exceptional degree of comfort for the occupants, a lot of natural daylight, and terrific views to the landscape, all while being one of the most energy-efficient buildings on the continent in a city with a seasonal temperature swing of 65 degrees. In addition, Transsolar uses Transys modeling software, which allows for robust, iterative testing of concepts at a small scale, allowing the team to quickly test assumptions and prove out specific relationships between building components. This process allows active components such as motorized operable windows and automated louver blind systems to be tested in a dynamic way. Elements such as wind, sun, and humidity can all be modeled and reviewed dynamically over the course of an entire year. AN: All of the projects to be discussed during "Dynamic Skins" possess double-glass facades. Can you elaborate on this feature and its merits? DC & GT: Ultimately, on any project where a double facade represents an optimal solution, this will be driven primarily by the desire to optimize the interior environment for occupants. These systems allow us to accomplish a host of optimizations that enhance comfort in the space: maximize daylighting while modulating glare, provide natural ventilation for a larger percentage of the year, minimize radiant asymmetries so that it’s comfortable to sit near the window in winter and summer, etc. Fundamentally the difference between a traditional facade and a double facade is this concept of static versus dynamic. Traditional facades are forced to implement one static condition throughout the entire course of the year. In a Canadian environment, this can represent a huge swing in conditions – temperature, radiance, wind, and humidity can all change radically and quickly. A double facade allows the building skin to become an active component in the life of a building. Windows and shading devices become active elements which remain in constant dialogue with both the interior and exterior environment and allow the building to adapt in real-time to its environment. Further information regarding Facades+ Toronto can be found here.
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Doriana and Massimiliano Fuksas discuss their work at Facades+ New York

At this week's Facades+ New York Conference, Doriana and Massimiliano Fuksas delivered the keynote address, giving a description of how their firm designs and conceives their innovative building skins. The Architect's Newspaper sat down with them after the talk to get more in-depth insights about their approach. Check out what they had to say, and why they don't like the term "facade" in this video interview: For more information about the Facades+ Conferences, click here.
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Doriana and Massimiliano Fuksas contemplate the emotions behind architecture at Facades+ New York

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As two of the foremost contemporary Italian architects, Doriana and Massimiliano Fuksas know a thing or two about the trends reshaping international architecture today. As the day-one morning keynote speakers at AN’s Facades+ New York conference on April 4, the veteran design duo spoke about their four decades of experience creating boundary-breaking projects across the globe, why the right materials help evoke positive emotions in their buildings, and why they reject the term “facade.” Over 500 AEC practitioners gathered inside the Metropolitan Pavilion to hear the Fuksases, founders of Studio Fuksas, present the details behind 20 structures that for them, define the firm’s design sensibilities and best demonstrate its vast portfolio of building typologies and structural forms. “What is a facade for us?” Massimiliano Fuksas asked the crowd. “We don’t like the name ‘facade.’ We’ve never done a facade in our lives, much less just a plan.” Fuksas explained that a building’s exterior is simply something that the architect discovers as the project concept develops with the design. He said a piece of architecture is like a sculpture that is drawn from a mass and is formed through research, trial, and error until a final work of art is realized. To Massimiliano Fuksas, the end result is something mysterious. One thing that the architects do aim to have control over is emotion. In the case of Studio Fuksas’s projects located in dense urban environments, such as the 2010 Admirant Entrance Building in the Netherlands or the 2010 Rome-EUR Convention Center, the light and surrounding contexts reflected through the glass curtain walls project a happy tone for visitors both outside and inside the buildings. They expose the buildings’ skeletal envelopes, which allow people to clearly see the structures’ raw materials. “For the convention center, we built a container using a steel structure and a double glass facade that encloses the cloud, which you can see from the outside,” said Massimiliano. Studio Fuksas’s 2009 St. Paolo Parish Complex in Foligno, Italy, though a concrete cube, still utilizes light through unique cutouts that don’t fully brighten the entire interior, but instead create a thoughtful, soft environment for reflection. Massimiliano and Doriana Fuksas noted that the facade of the chapel is sliced at the bottom with a glass entrance. A visitor’s gaze moves from one side to the other side of the building in an effort to understand the windows across the various faces. Prior to designing the church in Central Italy, the Fuksases completed the massive, New Milan Trade Fair of Rho-Pero, which features pavilions of glass and mirrored stainless steel. The "veil," an undulating spinal column that covers 505,000 square feet atop the elongated building, is reminiscent of natural landscapes like waves, dunes, and hills. “Here we used a different kind of facade on the central axis,” said Massimiliano Fuksas. “When you pass through the stainless steel parts of the building to the glass, you feel happy. This is like sunshine.”   One of the most important components of Studio Fuksas’s work is sustainability. Details are designed to boost energy savings and reduce carbon emissions throughout buildings' lifetimes. Of course, this is a key aspect of designing advanced facades, and one that all of the Facades+ New York speakers showcased through their work. The Gensler team behind the recently completed renovation of Manhattan’s Ford Foundation building, along with Heintges Consulting Architects & Engineers, spoke about how to best maintain and improve the envelopes of mid-century icons. Representatives from Columbia University, Renzo Piano Building Workshop, and Permasteelisa Group discussed the newest additions to the university’s Manhattanville campus, all which have vitreous skins. Toshiko Mori, who gave the day-one afternoon keynote speech, challenged the crowd by expanding the topic of facades to the greater building envelope and the importance of the fifth facade, the roof. All these exterior elements, she explained, have a monumental impact on the performance and identity of a piece of architecture. Other symposium talks featured experts in net-zero building enclosures, climate responsive facades, and the changing international regulations in envelope construction. Juergen Riehm, founding principal of 1100 Architect, served as the co-chair of Facades+ New York and moderator for every panel.
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Facades+ Miami will examine facades in tropical environments

On October 4, The Architect’s Newspaper will be hosting Facades+ Miami for the third time. The morning event features talks and workshops by national and global leaders of the AEC industry covering a range of subjects relating to building envelopes within tropical environments and the architectural vernacular of the Miami metropolitan area. Allan Shulman, founder of Shulman + Associates, is co-chair of the event.

Over the last century, Miami’s population has grown from approximately 60,000 to just 6 million. This explosive growth of the southernmost major in the U.S. has fostered an architectural identity distinct to the region, one that often adapts modernist trends to suit local environmental performance. 

Founded in 1977, Arquitectonica has designed dozens of developments in downtown Miami, and they are bringing their expertise to this year's conference. In recent years, the firm has completed the Brickell City Centre, the American Airlines Arena, and Regalia. The Regalia is a nearly 500-foot-tall tower on the northeastern edge of the Miami metropolitan area described by founding partner Bernardo Fort-Brescia as a rectangular glass prism “wrapped by a sensuously undulating terrace” that simultaneously serves as a tool for interior shading.

Ateliers Jean Nouvel, a firm that works globally with an emphasis on facades, is also presenting. The practice is currently constructing a significant project in Miami’s South Beach. The residential complex will contain approximately 200,000 square feet, and will stand atop an 11-foot podium to avoid the increasing threat of storm surges in Miami. Significant segments of the facade will be clad in perforated screens, filtering natural sunlight while maintaining a degree of privacy for residents of the glass-faced residential tower.

While the lion’s share of high-rise construction is centered in Miami’s downtown and in a ribbon of development adjacent to the coastline, other local and international practices are advancing with sensitive residential and commercial projects throughout the region, such as Brillhart Architecture’s timber Surfer’s Outpost; Gelpi Projects’ proposed Coconut Grove Playhouse; Germane Barnes's public art installations, such as RAW POP UP / LAB at Brickell City Centre; and micucci arquitectos asociados' institutional projects across Latin America.

Outside of architectural practices, representatives from manufacturers and engineering practices such as the Al-Farooq, Crawford-Tracey, Terranova, STI Firestop, Gate Precast, and Valspar will also be on hand to lead workshops and panels.

Further information for Facades+ Miami can be found here.

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Shulman + Associates blends the vernacular and contemporary in hybrid facade systems

On October 4, Facades+ is coming to Miami. The conference features nine speakers from a broad range of AEC firms, ranging from architectural concrete supplier Gate Precast to Paris-based Ateliers Jean Nouvel, and Miami's own Arquitectonica. Allan Shulman, who founded Miami’s Shulman + Associates in 1996, will be co-chairing the conference. Over the last two decades, Shulman + Associates has been recognized with dozens of design awards stemming from the practice’s site-specific designs and ambitious forays into architectural preservation and urbanism. To learn more about Miami’s architectural development, AN interviewed Allan Shulman on the city’s burgeoning urbanism, adaptation to climate change, and preservation efforts. The Architect’s Newspaper: Miami is undergoing a significant period of development, with seemingly continual expansions of the Miami Design District and nationally-prestigious projects such as the Phillip and Patricia Frost Museum of Science. Shulman + Associates is a player in this current trend. What factors do you perceive as driving Miami’s architectural renaissance? Allan Shulman: I am a bit skeptical of the term “significant period of development” in this city, because it seems as though the development cycle, like the touristic cycle, has sprawled into a continuous blob, not a focused moment. The challenges are therefore fundamental and strategic, not localized. Overall, I see three themes driving Miami’s development: First, we are building today the infrastructure of a great city. The reality and ambition of the city are driven by the idea of being a global city, comparable and compared to other such cities around the globe. Is the city just becoming a better version of itself? I don’t think so. Great parks and public spaces, great cultural facilities, great transportation networks, ground-up public involvement in design questions by an empowered and informed public are all at play. Yet the frustrations about our failures in this regard are as intense as the optimistic ambition. But still, the global city is the emerging measuring stick, so I think the discussion is getting more interesting. Second, we are witnessing a remarkable densification and consolidation of neighborhoods throughout the metropolitan area. In a city as decentralized as Miami, the building is not happening in just one or two areas, but across a broad swath of the city. Certainly, it is uneven and driven more by the glam end of the spectrum: downtown, Miami Beach, Wynwood, and the Design District, but you can see it cropping up around Metrorail stations, extending along Miami’s commercial arteries and mushrooming around old neighborhood centers. Also, you can see it in the widespread use of historic preservation to conserve neighborhood character, and in the vast number of civic initiatives that are a part of the discourse. Finally, it seems as though the “tropical” and the “modern” are new again. This is extraordinary…it ties us to our roots, of course. Miami has a long tradition, and some of the greatest work produced here was inspired by these themes. But it also launches us into the future because it engages two relevant themes: How do we understand and relate to our particular context? And what is the appropriate architectural solution to address the problems of today? Miami is known for its distinctive modernist heritage. How does this architectural heritage contrast or complement contemporary facade systems? AS: Miami has often been a laboratory of contemporary building systems; it certainly was in the 1930s, when the city experienced an explosion of construction. Plate and Vitrolite glass products and new lighting systems were used in support of modern architecture. Today, it is difficult to be innovative because we have a more limited array of available facade systems, compared to other cities in North America. Our building codes require compliance with water-tightness and impact criteria, and each system must be tested and approved for a specific use in order to be used in Miami-Dade County. The process is expensive and time-consuming and limits choices. Manufacturers with a large market for their product invest, but certain niche players find it not worth it. Of course, choices have expanded a lot since the imposition of the testing requirement after Hurricane Andrew in the 1990s, but this requirement is still quite limiting. Certainly glass systems have improved, as well as rain-screens and louver systems. There are a number of modern-appropriate systems we can use, but others we can’t. Restoration projects, such as Shulman + Associates' Betsy-Carlton Hotel, allow for the retention of historic properties while bringing them up to contemporary standards. How do you approach blending the new with the old, and is there a specific intervention or facade treatment that your firm is particularly proud of? AS: At the most basic level, we try to blend serious research-based preservation with inventive approaches in areas we add or adapt. We aspire to make the finished project a legible record of the building’s development over time. Regarding historic facades, we try to use the same techniques as were used in the original building’s construction, to be true to the material culture of the period. In new facades, we are all about the contemporary. We are proud of the Betsy-Carlton, where we used laser-cut aluminum to feature poetry, and abundant transparent walls at the new wings of the building while preserving the old fabric of the structure. We also developed a spherical object (an “Orb”) that ties the Betsy and the Carlton, in order to abstract an otherwise utilitarian building connection over the alley. What is new is proudly idiosyncratic and situational. The rest is context. Hurricane Irma highlighted the environmental challenges that lie ahead for Miami with increased incidents of extreme weather. What methods and techniques are currently being used across Miami and by Shulman + Associates to confront this predicament? AS: The most important new techniques involve raising buildings and protecting the facade from flying debris. We have been raising buildings for some years now, following FEMA requirements, but now we are raising them more radically, enough to open the space under the building. This is a practical and low-tech solution. The other strategy, protecting facades from flying debris, overlaps with the objective of protecting the facade from sun and rain. So hybrid facade systems that are layered in depth and have resilience are preferred. Outside of the threat of climate change and extreme weather conditions, Miami is located within a tropical climate. How can firms best adapt their facade systems to this environment, and what techniques are Shulman + Associates utilizing? AS: Adapting facade systems to the tropics is the biggest challenge we have because it affects everyday use, performance, and comfort of the building. Although we get no or little credit for it in our energy calculations, we generally shade and/or screen our facades to the extent we can. This again leads to hybrid systems that provide some depth by which to filter and dampen the extreme effects of the environment. The materials are new, but the techniques for doing this have been around since at least the postwar period. I consider myself an avid student of history in this regard. To learn more about Miami Facades+AM click here.