Posts tagged with "Facades Plus":

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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.
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Facades+ Los Angeles will scale the heights of Southern California design

From October 25 to 26, Facades+ will bring local and national leaders of the architecture, engineering, and construction industry to Los Angeles for the fourth year in a row. The first day of the conference features keynotes by Thom Mayne, founding principal of Morphosis Architects; and Heather Roberge, principal of Murmur.

Founded in 1972, Morphosis has spread its distinctive presence internationally. In recent years, the firm has completed the Bill & Melinda Gates Hall at Cornell University, 41 Cooper  Square in New York City, and Kolon One & Only Tower in Korea. Opening in late August, the 123,000-square-foot Kolon One & Only Tower features a sweeping primary facade built of high-tech fiber manufactured by the client. Each fiber appendage is latched to the curtain wall with traditional stainless steel brackets that knife through exterior joints to steel mullions that ring the structure.

Heather Roberge founded Murmur in 2008. The firm’s work is characterized by its experimentation with a broad range of materials to create projects unique in layout and form. In 2015, Murmur unveiled En Pointe, a group of conjoined, aluminum-paneled columns standing atop razor-like fulcrums. According to the architect, “to achieve a balanced state, the mass and silhouette of each column are eccentrically distributed to stabilize its adjacent columns.” Other realized projects, such as the pentagonal Vortex House and a multi-sided addition to a Beverly Hills Residence, highlight Murmur’s unique approach to facade fabrication and design.

Over the last decade, Downtown Los Angeles has experienced an upswell of high-rise development. At Facades+, Skidmore, Owings, & Merrill (SOM) and century-old Los Angeles–based firm AC Martin Partners will discuss the immense change underway. SOM’s Olympia complex is one of the boldest being undertaken in the area, composed of three towers of stacked terraces clad in translucent and clear glass wrapping visible concrete piers. AC Martin, with its long Angeleno history, has continually left its imprint in the downtown area with projects such as the twin-towered City National Plaza built in 1972 and the contemporary 73-story Wilshire Grand Center.

Representatives from Walter P. Moore, CO Architects, HKS Architects, and Renzo Piano Building Workshop, will also be on hand to discuss the assembly of complex facades at ever-rising heights as well as significant projects shaping the cultural scene of Los Angeles, such as The Academy Museum of Motion Pictures.

Further information Facades+ Los Angeles can be found here.

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BIG’s Shenzhen International Energy Mansion looks better than the renderings

Long after the golden era of corporate modernist skyscrapers (think Mies van der Rohe’s Seagram Building, SOM’s Lever House, and so on), many contemporary office skyscrapers are still designed with traditional glass curtain walls that have low insulation and cause overheating from unnecessary direct sunlight. Bjarke Ingels Group (BIG) conjured an otherworldly alternative for Shenzhen International Energy Mansion: a sawtooth, zigzagging curtain wall comprising glass panels and powder-coated aluminum that blocks direct sunlight, thereby reducing solar gain by up to 30 percent. The 1-million-square-foot structure is composed of two towers and a nine-story connecting block complete with a shared cafeteria, conference rooms, and various retail shops: The uppermost 13 floors of the 42-story north tower houses the Shenzhen Energy Mansion headquarters. As a starting point, BIG considered the subtropical climate in Shenzhen, gauging how they could create comfortable working spaces in hot and humid conditions while at the same time reducing energy consumption. The solution? A passive facade. “Our proposal for Shenzhen Energy Mansion enhances the sustainable performance of the building drastically by only focusing on its envelope, the facade,” said Andreas Klok Pedersen, partner and design director at BIG. Collaborating with Transsolar, the design studio dedicated to addressing climate change, the firm employed various solutions to reduce solar-derived heat and glare without relying on machines or heavy glass coating (which would make views out seem gray and bleak). The building has achieved two out of three stars with the Chinese Green Building Evaluation Label and a LEED Gold rating. BIG and Transsolar developed a multifaceted passive program with a facade folded in an origami-like shape consisting of closed and open subsections. The closed sections provide high insulation values by blocking direct sunlight. “With solid facade panels on the southeast and southwest side for shading, the glazed facade facing northwest and northeast is able to achieve high sustainability requirements with more clarity and less coating,” said Pedersen. All in all, the effect enhances the environmentally sustainable performance of the building and creates an office mise-en-scène bathed in soft light reflected from the direct sunlight diffused between interior panels. Meanwhile, the double glazing applied to the low-e tempered Super Energy-Saving Insulated Glass Units (IGU) by Shanghai Yaohua Pilkington Glass on the folded facade provides open views through the clear glass in one direction via a series of simple deformations in the geometry that allows for larger openings. These interjecting pockets of glass create cavernous folds that interrupt the smooth facade in various interior areas, including lobbies, recreational areas, and meeting areas. This seemingly precarious arrangement of views is made possible by the aluminum cladding's comprising full-height extruded panels that form a meandering profile. The setup enables the panel system to interlock smoothly, creating a uniform surface with almost seamless joints. A profile of twists and turns accentuates the reflections of light. In effect, these solid facade panels located on the southeast and southwest sides directly obstruct solar penetration. “The amount of insulation used in the curtain wall is a result of optimization between visibility and sustainability,” said Pedersen. Location: Shenzhen, China Architect: Bjarke Ingels Group Consulting Architect: SADI Shenzhen Architecture and Design Institute Contractor: CSCEC Engineer: ARUP Facade Consultants: Front, Inc. and Aurecon Facade Contractor: Fangda Group Sustainability Consultant: Transsolar Glass Manufacturer, Supplier, Glazing: Shanghai Yaohua Pilkington Glass Group Co., Ltd Windows: Aumüller Exterior Cladding Panels: Xingfa Aluminum

Facades+ Returns to NYC April 19+20, 2018

Facades+ unites top professionals from the worlds of design, fabrication, and construction to consider how high performance envelopes contribute to and are shaped by NYC’s unique architectural landscape. Be inspired and learn how to innovate all steps of facade implementation—from systems and materials to designs and delivery strategies. Hear about the latest and greatest projects in NYC and around the world at Facades+. We provide proven insights on how to make your ideas become reality. We bring together some of the world’s most productive building professionals and leading researchers to share insights on how facades ideas are brought to life. On April 19th, join us for a stellar lineup of speakers and network with top manufacturers from across the AEC industry in our Methods+ Materials gallery. Keynotes by international, award-winning architects Francine Houben (Mecanoo) + Ian Ritchie (Ian Ritchie Architects) Join us on April 20th for your choice of deep-diving workshops lead by industry leading designers, engineers, and specialists. For more, visit facadesplus.com.
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A skin for the spectacular? It has to be ETFE.

From biodomes to Disney resorts, "Sheds" and stadiums, ethylene tetrafluoroethylene, better known as ETFE, has become the material of choice for architects designing a venue for the spectacular. Appealing to designers as an affordable, translucent building skin, the material is now the go-to polymer for flamboyant facades. The Architect's Newspaper (AN) spoke to three firms leading the way to get the lowdown.

"When we designed Eden over twenty years ago, this was the largest installation of ETFE, which had principally been used for small sports buildings," said Andrew Whalley, Partner & Deputy Chairman at Grimshaw Architects. Whalley was, of course, referring to the Eden Project in the U.K.'s southwest, the project that put ETFE and its use for buildings on the map. Previously, the material had been used mostly in the aerospace industry, with the odd agricultural project thrown in. Now it was being used for huge, bulbous "biomes" that drew inspiration from Buckminster Fuller.

"I think the Eden project certainly gave it a much higher profile, which led quickly to its use on several high-profile buildings. This rise in popularity has lead to a continual refinement in the product, and with secondary applications," added Whalley.

Grimshaw has since gone on to be a pioneer of the polymer in architecture. Their U.K. National Space Center in Leicester was another landmark project, and, more recently, the firm has stepped it up a level, with the dazzling Disney resort, "Tomorrowland," in Shanghai. Whalley continued, "Current ETFE is much more transparent than its earlier version, is available in a range of color tints. It can be fritted, and combining this with variable air pressures can change the amount of light passing through the envelope." Light and colour certainly abound at Tomorrowland. David Dennis, Associate Principal at Grimshaw explained how this was achieved through a double-layered ETFE cushion that spans 164 feet across a complicated twin-gridshell canopy. This is then held in place by custom-formed aluminum clamps that respond to the tight bending and twisting of the structure. "ETFE’s inherent flexibility permitted spanning these complex forms. Meanwhile, advancements in imbedded color and custom-applied ‘frit’ patterns enabled a backdrop suitable for both daytime and nighttime light shows," elaborated Dennis. "The canopy structure required a lightweight cladding that could keep guests dry and comfortable in Shanghai’s wet summers. At the same time, it also needed to be an expressive and iconic canvas for lighting effects and projections that celebrate Disney’s stories and capture the Tomorrowland theme of an optimistic future," he added. "ETFE met these needs, providing flexibility of form and advanced capacity for showcase." But how is ETFE being used on U.S. shores? Alloy Kemp, a Senior Project Engineer at Thornton Tomasetti's New York office, was on hand. The engineering firm has already worked on numerous ETFE facades, including Banc of California Stadium (for the Los Angeles Football Club, MLS), the U.S. Bank Stadium (for the Minnesota Vikings) and the Hard Rock Stadium (for the Miami Dolphins) in Florida. Right now, Thornton Tomasetti is working with Diller Scofidio + Renfro (DS+R) and the Rockwell Group on The Shed at Hudson Yards which, yes, you guessed it, has an ETFE facade. According to Kemp, The Shed uses a pneumatic system, whereby three foils made into a panel are inflated with air. "The air is not structural; it serves to stabilize the foils," said Kemp. "The outer foil is fritted (printed with silver ink in a dot pattern) to reduce the light transmission of the panel into the space." The middle foil, meanwhile, is clear, and the inner foil is white, with 20 percent opacity. Kemp remarked that the "overall effect is to diffuse and scatter the direct sunlight into the space." ETFE is also representing the U.S. on foreign soil, too. Back in the U.K., Philly-based studio KieranTimberlake Architects recently used the material to clad the U.S. Embassy in London. Partner at studio Matthew Krissell told AN how the "single layer tensioned membrane," arranged in an array of sails on three sides of the building, optimized natural daylighting with a high level of transparency. Meanwhile, the scrim also provided a second air gap to give further resistance to thermal transfer.
And so what of the future of ETFE? Whalley shared that Grimshaw is currently looking at new versions that integrate high-efficiency photovoltaic cells and low-emission coatings. He, along with Dennis, Kemp, and Krissell, will be talking about ETFE (and the projects mentioned here) in greater detail at the Facades+ NYC conference this April 19. Whalley is the event's co-chair while the rest will form a panel specifically on the material.
For more information and tickets please visit www.facadesplus.com. Seating is limited.
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How can architects design facades for the age of climate change?

Taking environmental stresses into account when designing a building is typical, but rising tides, heat waves, extreme winds and other climate change-driven conditions present new challenges to building envelopes. Ahead of the upcoming Facades+ conference in New York City on April 19 and 20, AN sat down with Yan Chu of Adamson Associates Architects to discuss what can be done differently. Chu will be presenting as part of a 2:30 PM symposium panel on April 19 titled “Re-evaluating Metrics: Thermal Performance of Building Enclosures and Future Climate Change.” Chu will be joined by Nico Kienzl of Atelier Ten, Ken Kunkel of NC STATE, and Elizabeth Tomlinson of TKDA. Architect’s Newspaper: As climate change becomes more of a factor, how does facade performance need to change? Yan Chu: We design our facades and mechanical systems based on certain climatic data for that region. For New York City, it’s 11 degrees Fahrenheit, 17-mile-per-hour [winds], this is data all of us use every day and know by heart. These numbers have changed very slightly over time. I wonder if there’s a more fundamental rethinking of these basic design functions that we need to make to attack climate change from multiple fronts, beyond just increasing insulation value and decreasing air leakage rate. The data is all based on historical weather data. Every fourth-year cycle when this weather design data comes out, it’s based on the last 20 years, and that’s how [The American Society of Heating, Refrigerating and Air-Conditioning Engineers] ASHRAE derives their design position that you and I and all of the engineers use. If we know that climate change is going to take us to a whole new level of weather conditions, why aren’t we using projected data? What are we actually using as our design basis? There is a whole sector of the design community trying to address resiliency and survivability. We need to find a way to fold that into the design process, and something we need to consider to holistically address climate change in terms of the building envelope. The idea of this panel is to talk about those issues. AN: Are there any big picture things that architects, engineers and designers can do? Chu: The passive house strategy is brilliant because it addresses the performance of the building together with the occupant’s comfort holistically. It really is a holistic way of thinking of design, and moving forward, it’s the kind of mentality we need to adopt. Whether we’re talking about glazed façades or more opaque facade elements, I think the challenge is to get owner incentives to adopt some of these holistic strategies into a larger scale. If we design a building today with the 2014 or 2016 energy code, I know for a fact it’s already not sufficient for when the next code comes. So I think the biggest challenge for us is, how do we incentivize buildings owners, occupants, and designers to address climate change without depending on the building code telling them to do so? The nice thing is that in Europe, the passive house movement is really being brought by the private sector. How can we bring that mentality to the U.S.? Especially for very large projects? AN: What will the impact of climate change be on envelopes? Chu: It depends on the climate and depends on what extreme events we’re being challenged with. On one hand, we have to re-evaluate the average condition; in some parts of the world, the temperature will increase, but in some locations, temperatures will actually decrease. The interesting thing is that certain wall systems have certain advantages in one climate region over another. That idea is limited because design is about flexibility, and you don’t want to prescribe a system that an architect has to design to. The idea of designing to what is the ‘norm’, and what extreme events are, that’s a huge question. Citing one example, flood resistance at storefronts at the ground level. That’s something new that all the architects in New York City are working on, not only specifying how this system works and what test criteria it conforms to, but also, how does it function in a normal day? We’re way in the beginning stage of understanding what that even is. It’s such a new thing that we know we’ll have to go on to full-on testing for this wall system to know what it can accommodate. Whether or not we end up with a standard IGU or something thicker is still something we’re working through. And how does that affect the interior conditions? It’s a big question mark, and it’s only one thing that we’re dealing with. Are we designing for a 50-year building, a 100-year building? The idea of durability has to come into play. That determines what extreme events we’re designing for, and results in a vastly different building. Facades+ in New York City will run from April 19 until April 20, 2018. Registration is still open and available at this link.

Facades+AM Dallas

Facades+AM Dallas is a morning forum which includes three sessions covering issues unique to building in Texas and the region These well-rounded, expert dialogues will inform and inspire. Learn and Earn 4 AIA Credits. The Facades+ conference series is a robust dialogue encompassing all things building skin—bridging the profession, industry, academia, operations, and ownership. We’ve distilled the best of the Facades+ 2-day event into quick-take morning forums with a strong local flair. Facades+AM is returning to Dallas February 20th, 2018 with the help of Perkins+Will & Corgan.
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Here’s what to expect from Facades+L.A. this week

The 2017 Facades+ Conference in Los Angeles, presented by The Architect’s Newspaper, will kick off later this week, offering two full days of stimulating presentations, panels, and workshops. Day one —Thursday, October 19th—will showcase presentations by key regional and national industry leaders, including Deborah Weintraub, chief deputy city engineer for City of Los Angeles; Stanley Saitowitz, principal of Natoma Architects; Lorcan O’Herlihy, principal of Lorcan O’Herlihy Architects; principals Julie Eizenberg and Nathan Bishop of Koning Eizenberg Architects; and Alice Kimm of John Friedman Alice Kimm Architects. The symposium will also feature panel discussions covering the design of SOM’s Los Angeles Federal Courthouse; changing perceptions of supportive housing covered in L.A.; advances in facade design that utilize computational research; and sporting facilities for the 21st Century. AN covered the panel presentations in a previous post earlier this month. Thursday’s presentations will also include sessions led by industry product leaders Vitro, Neolith, and YKK, as well as opening remarks by AN’s Diana Darling. Day Two—Friday, October 20th—is dedicated to industry-focused workshops with both morning and afternoon sessions. Russell Fortmeyer of ARUP will lead a discussion on zero-energy facades. Another morning session will cover advanced detailing for high-performance envelopes and is led by Chris O’Hara of Studio NYL, Brad Prestbo of Sasaki, and Stan Su of Morphosis. Another will explore facade design using the software engine Dynamo that will be led by Daniel Segraves and Gijs Libourel of Thornton Tomasetti. Some afternoon highlights include a stick-built curtain wall intensive led by Bart Harrington of YKK and a discussion on the future of ETFE skins by a team from Walter P Moore. For more information and to buy passes for the conference, see the Facades+ website.
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LOHA, JFAK, and top L.A. firms to present at AN’s Facades+ conference in Los Angeles

At The Architect’s Newspaper, we are busy getting ready for the upcoming Facades+ conference in Los Angeles taking place October 19th and 20th at the LA Hotel Downtown. The conference will bring together a wide collection of L.A.-based designers and practices ready to share their knowledge and expertise. Below, we bring you some highlights from AN’s recent coverage of some of our featured speakers! SOM, along with Los Angeles-based P-A-T-T-E-R-N-S and developer City Century, unveiled plans earlier this year for a three-tower complex named Olympia slated for a 3.25-acre site in Downtown Los Angeles. The mega-project plans to include 1,367 residential units, 40,000 square feet of retail space, and 115,000 square feet of open space, with the towers climbing to 43, 53, and 65 stories in height. Paul Danna and José Luis Palacios, Design Directors at SOM Los Angeles and Garth Ramsey, Senior Technical Designer, have been our partners in organizing upcoming Facades+ in Los Angeles. They will appear onstage with Keith Boswell—SOM’s Technical Partner—and Mark Kersey—from Clark Construction—to speak about the new Los Angeles Federal Courthouse. Architects John Friedman Alice Kimm (JFAK) recently completed work on the La Kretz Innovation Campus in Downtown Los Angeles. The 61,000-square-foot “sustainability factory” will act as a green tech-focused start-up incubator space that also collects rainwater to feed an onsite public park and is powered by sunlight. The complex is designed to facilitate daylight penetration into interior spaces and features public gathering areas and a robot fabrication lab. Alice Kimm, co-founder at JFAK will be giving an afternoon presentation at Facades+. A new four-story apartment complex designed by Lorcan O'Herlihy Architects (LOHA) is currently under construction at 1030 N. Kings Road in West Hollywood, California. The 30-unit condominium complex will feature cantilevered corners, faceted facades, and perforated metal panel and wood cladding as well as partial courtyards that will bring light and air into each unit and the building’s circulation spaces and common areas. The cut-outs will also hold balconies for the units. Lorcan O'Herlihy, founder of LOHA, will be giving a morning presentation at Facades+. Koning Eizenberg Architects (KEA) recently completed work on the new Temple Israel of Hollywood complex in L.A., a new addition to the 91-year-old Spanish Colonial style synagogue. The new wing carves out a communal courtyard for the complex that is wrapped on one side by a folded aluminum shroud. The addition’s main interior gathering space features a drop-down ceiling made from CNC-milled maple wood as well. Both co-founder Julie Eizenberg and principal Nathan Bishop of KEA will be delivering a keynote address at the conference. Visit the Facades+ website to learn more and sign up for the conference.
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Matthew Krissel of KieranTimberlake Architects on the coming Facades+ AM Philadelphia

How are computational devices changing the way we approach design? Why is it essential to look at building envelopes as more than just an environmentally-focused skin? These are some of the questions that will be raised at the coming Facades+ AM conference in Philadelphia on September 25. Matthew Krissel, a partner at KieranTimberlake Architects, will be acting as co-chair throughout the conference. Krissel worked with The Architect's Newspaper (AN) on the program for each of the three panels due to take place. "There is a rich history of design here as well as a growing group of young and emerging design practices doing innovative work," Krissel told AN. "At KieranTimberlake Architects, we are seeking continuous improvement of not just what we design and make but also how and why." The first panel will look at how technology is changing the way architects work with facades. From both a performance and poetic perspective, computational design has meant that contemporary designers approach building skins differently. Krissel talked about "augmenting a rich tradition of design processes" and exploring new methods of design. "Beyond simply using computation for expedient production, we see it as a means to expanding the creative potential of the design team." "In panel two, we take on the WHY, expanding the definition of performance to include desire, poetics, and cultural identity [which] elevate the human experience in meaningful ways," said Krissel. The panel will also look at how facades can be both environmentally responsive (and responsible) but also contribute to the phenomenological experience of a building.  The final panel will address, in relation to the previous discussions, what is being done in Philadelphia, the city where KieranTimberlake Architects is based. Surveying Philly buildings of various scales, this discussion will touch on why the design community must see their individual projects as part of a larger urban collective where buildings give back more than they take from society.  "I wanted the conference to take on a similar trajectory and create a larger narrative about the transformative capacity of design and the built environment," Krissel added. "This conference is an opportunity to build that narrative that extends from process to outcomes and do it with a mix of established practices and emerging voices in design." Facades+AM Philadelphia is at the National Museum of American Jewish History September 25th. Information at am.facadesplus.com.
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David Manfredi on how democratic design principles shaped New Balance’s new headquarters

"Everybody values the opportunity to connect, it's changing the way we think about space," says David Manfredi, who is a co-founder of the Boston-based firm Elkus Manfredi Architects. His firm completed the New Balance headquarters, also in Boston, in 2015 and Manfredi this week spoke to The Architect's Newspaper (AN), discussing how democratic design principles such as openness and connectivity shape his approach to architecture.  When the owner of New Balance, Jim Davis, hired Elkus Manfredi Architects to design the shoe company's headquarters, he told the architects to visit an old textile mill in Lawrence, Massachusetts and report what they saw. There, David Manfredi encountered a four story high, 600-foot-long riverside former mill, now occupied by New Balance, who uses it as a factory. "It’s beautiful classic New England building," Manfredi told AN. (A short video on the building can be found below).  "We found this incredible work environment that was designed for all these people to sit at their machines," he continued. "What I really saw was that everything that we strive for in the modern workplace. [Jim Davis] wanted us to see the quality of the space, the high ceilings… and how open and collaborative the whole space was." The experience aligned with Manfredi's design ethos. At New Balance's headquarters, 650 people occupy the building yet there are only four private offices. "The historic traditional world of workspaces was related to stature. The boss’s room with a view, that’s all gone. We work now in environments where we now value connections to other people and not square footage," Manfredi argued. In addition to a new headquarters, Davis also wanted a new health and wellness district including offices, dwellings, wellness facilities and a world-class training center. "It's not just about making a building, it’s about creating a 360-degree environment," said Manfredi. The architect applied the same principles to address Davis' demands. Wellness (a topic that was featured in AN's recent print issue), openness, and connectivity all require the careful articulation of light, among other things. Apertures and openings, particularly in facade design, were crucial to these elements being successful. "We had to create a whole series of destinations, making sidewalks with uses that engage pedestrians, such as shops and usable open space where kids want to play."

"Our approach was that we wanted to be open, but this doesn't mean sprawling out with unnecessary surface parking," Manfredi added. "That way of thinking is in the past. Collaborating has changed, we achieve progress when connected, not in private. This is also a place for the next generation. Because of technology, we share everything online now—even my kids do it! My children and others won’t change when they get in the work workplace, they will expect to work in this environment of open innovation."

For this to happen, Manfredi argued that he had to "treat as much as the environment as publicly accessible, not trying to privatize, but instead to be democratic, so that spaces stay active past common hours of usage." An example of this can be seen with the Boston Warrior Ice Arena, where transparency facilitates a legible typological reading of the building. "How often to see an ice arena that has 40 feet of glass?" asked Manfredi. 

David Manfredi will be speaking at the upcoming Facades+ conference this June. There, he will discuss this project and others in greater detail. To find out more about the Facades+ Boston conference and register, visit facadesplus.com. Seating is limited.