Posts tagged with "Glass":

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ODA's 10 Jay Street in DUMBO shines with a faceted facade

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Over the last two decades, Brooklyn's DUMBO neighborhood has undergone a significant degree of development, including the restoration of historic warehouses that dominated the neighborhood for centuries and plenty of new construction. ODA, which has a number of projects across the borough, recently completed the restoration and partial recladding of a decrepit 19th-century refinery and warehouse with a lively, iridescent glass curtainwall. The 130,000-square-foot development, which reaches a height of 10 stories, was originally built in 1898 as a sugar refinery for the Arbuckle Brothers and relied on a steel structural system with the brick elevations largely serving as curtainwall. Similar to other structures throughout the neighborhood, the building has undergone significant changes since construction; in 1925 it was converted to a winery, with the west elevation shorn off a decade later. The site was left vacant and in a state of continual decline from the middle of the 20th century until 1991.
  • Facade Manufacturer KPA Studio Hankuk Glass Industries
  • Architect ODA
  • Facade Installer KPA Studio
  • Facade Consultant SURFACE DESIGN GROUP
  • Location Brooklyn, New York
  • Date of Completion April 2019
  • System Custom KPA Studio unitized curtainwall
  • Products Hankuk Glass custom Low-E glass
The design from ODA draws from this history with a crystalline western elevation which shimmers and reflects the skyline of Lower Manhattan and the East River. According to ODA communications director Juan Roque Urrutia, "besides the construction challenges of dealing with an old structure, one of the main challenges was to actually convince the Landmarks Preservation Commission about the values of the original building and how a modern incorporation of a kaleidoscopic facade was not only respectful but also appeals to heritage stories." The glass modules are split between rectangular and triangular units, which rise perpendicular to the floor plate or inflect inward to effectively create concave bay windows. Minor segments of brick are interspersed throughout the western elevation and are located adjacent to the branch-like mullions. The average dimensions of the glass modules are approximately 11-by-5 feet, and each module was treated with a low-e coating to boost their reflectivity. Each panel spans from floor-to-floor and is held to the top of each floor slab with an aluminum anchor plate and hook. Grafting an entirely new skin onto a historic structure is a remarkably complex procedure, and ODA turned to facade consultant SURFACE DESIGN GROUP (SDG), who have established a particular expertise in facade retrofit and historic preservation. The retrofit uses a unitized glass and aluminum curtain wall system with angular facets and spandrel panels located at the slab edge. "As part of the north façade retrofit, the existing historic brick and terra cotta arched floors were extended with reinforced concrete to meet the new profile of the faceted facade," said the SDG team. "Given the complexity of both the curtain wall panel and edge of slab geometry, which is also faceted to mirror the form of the panels, standardizing the anchoring method aided in the efficiency of panel installation." Standing derelict for decades, the former sugar refinery also required an extensive degree of restorative work. First, stucco coating from the 1990s, and layers of old paint which hastened the decay of the brick masonry, had to be peeled away. The east elevation suffered the worst of the building's deterioration and required the complete reconstruction of the brick facade and the underlying steel structure. The remainder of the restorative work entailed brick replacement—nearly a third of them recycled, steel spandrel repairs, mortar repointing, and the application of a new weather resistant coating. The project is located in the DUMBO Historic District and required the input and approval of the Landmarks Preservation Commission throughout the design and construction process.
 
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RIBA sustainability chairman urges London to consider a glass tower ban

Following NYC Mayor Bill de Blasio’s "ban" on glass-clad buildings in April, a leading sustainability expert in London has spoken out against London mayor Sadiq Khan’s refusal to enact the same legislation—Simon Sturgis, an adviser to the Greater London Authority and a chairman of the Royal Institute of British Architects' (RIBA) sustainability group, believes that England's capital should follow suit. While de Blasio’s "ban" was in actuality proposed as a check on excessive use of glass and steel, glass is an inherently problematic building material to use in a world facing a climate crisis and rampant carbon emissions. Sturgis told the Guardian that, “If you’re building a greenhouse in a climate emergency, it’s a pretty odd thing to do, to say the least.” The two cities of New York and London are home to iconic skyscrapers like The Shard and the World Trade Center, both considered pinnacles of glass and steel construction, but while their uninterrupted views and the striking skyline aesthetic attract architects and high-profile tenants at the moment, the environmental irresponsibility may soon phase the desirability out.  “Big commercial tenants don’t like standing up in front of their shareholders and saying they’re doing embarrassing things,” said Sturgis. Glass facades have a short life span, only about 40 years, so the impact of their embedded carbon (how much carbon a product will emit over the course of its entire life) is significant, as a building's glazing is nearly impossible to recycle and inevitably necessary to replace. However, the more immediate consequences of these glass facades is a heavy need for air conditioning. The amenity's adverse environmental impacts are well documented—almost 14 percent of total global energy use stems from air conditioning, and the heat captured and retained in building interiors by glass curtain walls is significant, especially in the summer heat.  In the same article, head of sustainability at Mitsubishi Electric, Martin Fahey, stated that rising temperatures across the globe has led to AC equipment needing to work much harder than in the recent past. “Most air conditioning equipment is designed to give an internal temperature between seven-to-ten degrees lower than the ambient temperature,” he said. But when the recent heat waves struck London and New York this summer, cooling from 100 degrees Fahrenheit to a more comfortable 70 took a toll on local electrical grids as well the air conditioners themselves. Broken AC units and their subsequent replacements add to the embedded carbon footprint of our built structures.  Advanced glazing and passive cooling options exist today that can minimize the greenhouse effect of glass, like darkening to let in less light in the warmer months, for example, the double- or triple- glazing systems are still hindered by the short life span and non-recyclability, and often not nearly at the level needed to amend the footprints of commercial emitters. Sturgis warns that “the connection needs to be made between the climate emergency and all-glass buildings. But the connection hasn’t been made yet.”
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Renzo Piano crowns the Academy Museum of Motion Pictures with a sweeping glass dome

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When it opens in 2020, the Academy Museum of Motion Pictures, located in the heart of Los Angeles, will be the world’s premier museum dedicated to movies. Designed by Renzo Piano Building Workshop (RPBW), the building consists of a renovation and restoration of the 1939 May Company Department Store—now known as the Saban Building—and a new, concrete and glass spherical addition.
  • Facade Manufacturer Saint Gobain Group
  • Architect Renzo Piano Building Workshop
  • Executive Architect Gensler
  • Facade Installer Josef Gartner Permasteelisa MATT Construction
  • Facade Consultant Knippers Helbig
  • Consulting Engineer Knippers Helbig
  • Structural Engineer BuroHappold Engineering
  • Location Los Angeles, CA
  • Date of Completion 2019
  • System Permasteelisa Gartner system
  • Products DIAMANT Eckelt
The project was inspired by the capacity for cinema to transport viewers to a new world, and the architects think of the 45,000-square- foot sphere as a spaceship. More specifically perhaps, the project evokes the TARDIS—Doctor Who’s time-and-space-traveling police box that’s famously bigger on the inside than appears possible from the outside. As Mark Carroll, partner at RPBW notes, “We didn’t want it too large, because it could overpower the Saban Building. So we tried to keep it small and compact but still big on the inside.” The sphere’s two primary programs drove its design: the spacious 1,000-seat David Geffen Theater and the Dolby Family Terrace. The majority of this cinematic starship is clad with 680 precast-concrete panels attached to a shotcrete structural frame. The concrete is the visible part of a “box in a box” assembly that was designed to acoustically insulate the theater from within and from without. Behind the precast shell, a floating gypsum box completely encloses the space to provide additional soundproofing. Atop the sphere, a glass dome covers the Dolby terrace, which offers expansive views toward Hollywood to the north. The dome comprises exactly 1,500 overlapping low-iron glass shingles set over a graceful steel frame—a solution arrived at after “many interactions,” according to Carroll. Among the 146 unique shapes of shingles are glass vents, arranged at the top of the dome to help keep the open-air terrace cool. To ensure the structure stays rigid during a seismic event, cables crisscross the frame’s 4-inch structural supports, which span 120 feet across the roof and over the dome, casting dynamic shadows onto the curving facade. RPBW carefully coordinated the construction of the glass and concrete elements, which were cast with openings to attach the dome’s “egg cutter” structure. The project is the latest blockbuster building on L.A.’s Miracle Mile, joining a collection that includes RPBW’s additions to the Los Angeles County Museum of Art. The futuristic dome is not only an apt addition to the neighborhood but to the original structure, whose Streamline Moderne design offers an optimistic vision of the future from another era. As Piano said, “The Academy Museum gives us the opportunity to honor the past while creating a building for the future—in fact, for the possibility of many futures.”
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New Glass Now paints a full picture of contemporary practice at the Corning Museum of Glass

Capturing the zeitgeist of contemporary glass practice, the New Glass Now exhibition at the Corning Museum of Glass brings together work from 100 emerging and established talents across 32 nationalities. Exhibited pieces, ranging from large scale installations to delicate miniatures, were democratically selected based on an open call submissions process by a curatorial committee comprised of leading culture-makers and experts Aric Chen (Design Miami Curatorial Director), Susanne Jøker Johnsen (artist and head of exhibitions at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation, Denmark), and Beth Lipman (American artist). Susie J. Silbert (Corning Museum of Glass Curator of Modern and Contemporary Glass) headed up the jury and exhibition curation. Addressing relevant themes such as gender inequity and environmental degradation, the highly-curated exhibition reveals what glass can achieve through various expressive and conceptual interpretations, as well as new translations of age-old techniques like flameworking, glassblowing, and casting. Exhibition sections :in situ, :(infra)structures, :body politics, :embodied knowledge, :011001111 01101100 01110011, and :phenomena incorporate works that transcend disciplinary conventions. On view are sculptures, functional objects, photographs, videos, technological speculations, scientific experiments, architectural maquettes, and full-scale mockups. Through various strategic stagings, Silbert sought to establish sharp dialogues between different, seemingly unrelated, works. Fredrik Nielsen's "macho" I was here installation sits in the direct vicinity of Deborah Czeresko's emphatically feminist Meat Chandelier sculpture, a piece very similar to the final work she created during the Corning Museum of Glass-supported Netflix competition series Blown Away Pieces such as Liquid Sunshine / I am a Pluviophile by Japanese artist Rui Sasaki reveals how glass can be implemented in expressing conceptual meaning, while Smokey Comet Installation I by Toots Zynsky challenges the perception of what the medium can physically achieve. The Bahá'í Temple of South America project by Jeff Goodman, and Crystal Houses (Chanel Flagship Store) by MVRDV showcase glass's potential in an architectural application. Reservoir by C. Matthew Szösz and Promise by Nadège Desgenétez demonstrate how far the material properties of glass can be pushed. Other notable artists, designers, and outright creatives represented in this comprehensive survey include Miya Ando, Atelier NL, Ans Bakker, the Bouroullec Brothers, Monica Bonvicini, Mathew Day Perez, Martino Gamper, Katherine Gray, Jochen Holz, Helen Le, Erwin Wurm, Dustin Yellin, Dafna Kaffeman, Bohyun Yoon, and Mark Zirpel. The main show is joined by New Glass Now | Context, an annex exhibit that explores the changing nature of glass-specific curation through the history of two past iterations of the New Glass exhibition series, in 1959 and 1979. Historic documentation, period-specific works, and related ephemera are displayed in the Corning Museum of Glass's Rakow Research Library and collectively reveal some clear differences in terms of method and focus but also socio-political and cultural influences.
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3XN's Olympic House undulates with a parametrically designed glass curtain wall

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Positioned adjacent to Lake Geneva and the Parc Louis Borget, the Olympic House is located on the outskirts of Lausanne, Switzerland. Opened in June 2019, the objective of the building's scheme was to bring the International Olympic Committee's hundreds of employees, spread across the city, under one roof. The project—which began as a competition in 2012—was led by the Danish architectural practice 3XN in collaboration with Swiss firm Itten+Brechbühl. For the facade of the new headquarters, the design team developed an undulating double-skin glass facade crafted with a custom-parametric script that produced thousands of models and drawings.
  • Facade Manufacturer Frener & Reifer Roschmann Schollglas MGT Mayer Glastechnik Schüco
  • Architect 3XN Itten+Brechbühl
  • Facade Installer Frener & Reifer
  • Facade Consultant & Engineer Emmer Pfenningr Partner AG
  • Location Lausanne, Switzerland
  • Date of Completion 2019
  • System Schüco AWS 90 (internal facade) Custom Frener & Reifer steel and aluminum system (external facade)
  • Products Schollglas 8 FT / 14 / 6FT / 14 / 1212.6 HS MGT Mayer Glastechnik 88.4 low-Iron, ceramic frit #2 NCS-S-3000N Ipasol 70/37
The building rises to a height of four stories and encompasses nearly 240,000 square feet, with the lowest floor burrowed into the landscaping. According to the design team, the primary stylistic influence for the enclosure was the form of the athlete—each perspective provides a different viewpoint of the building, as if it were in movement. To develop the form of the Olympic House, 3XN relied on a minimal data model defined by five parametric curves per elevation. A separate drawing was developed for each component of the facade assembly, culminating in approximately 33,500 individual drawings. The original design concept developed by 3XN called for the interior and outer skins to mirror each other, with both being comprised of distorted, diamond-shaped panels. Following consultation with facade manufacturer and installer Frener & Reifer, it was determined that such a layout could prove cost-prohibitive. Instead, the original complexity of the outer facade was maintained, while that of the interior was simplified to a more standard curtain wall format. Although the simplification of the double-skin enclosure reduced the cost and construction time of the project—construction began on May 2016 and the building was air- and- watertight by 2018—the assembly of the facade remained remarkably complex. "Every element in the facade, except the nuts and bolts holding it together, is unique," said the design team. "Each glass panel, each load-bearing column, is unique in its shape and in its relations to neighboring elements." There are 194 glass panels per floor for both the inner and outer facade. The inner facade is held at the top and bottom at each floor plate with base profiles and has a surface area of just under 25,000 square feet. Girder arms extend from the concrete roof slab, which in turn support the 388 aluminum-clad steel fins that line each elevation. According to Frener Reifer, "this made it possible to hang the fins from top to bottom and to transfer the load of the upper two floors to the roof." Additionally, the exact height of the fins could be altered on-site through the use of adjustable screws. To shade the broadly illuminated office space, the design team placed three-inch-thick aluminum Venetian blinds between the interior and exterior facades. Additionally, a catwalk is accessible from 24 points within the building between the two curtain walls, facilitating a straightforward maintenance program.  
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Studio Gang's Solar Carve tower meets the sun with sculpted glass

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The most recent addition to an already impressive collection of architectural characters inhabiting New York City’s High Line, 40 Tenth Avenue offers a sculpted massing that will maximize its solar exposure along the public park. The project, led by Studio Gang, is situated between the Hudson River and the High Line, with a primary west-facing orientation. To minimize the afternoon shadow cast onto the park, the architects developed a uniquely inverted, stepped setback shape to the building.
  • Facade Manufacturer Focchi
  • Architect Studio Gang
  • Facade Installer Walsh Metal & Glass
  • Facade Consultant & Structural Engineer Arup
  • Location New York
  • Date of Completion 2019
  • System Focchi EWT 1, EWT 2, EWT 3
  • Products Focchi Insulated Double Glaze Units Ipasol Neutral 38/23 & 70/37 coating
Clad in a high-performance curtain wall from Italian firm Focchi, the tower integrates 12 types of glass. Despite a rather complex massing, the geometry of the enclosure was refined into a canted, diamond-shaped panel, surrounded by triangulated panels set perpendicular to the slab edges. The overall effect is a faceted, three-dimensional version of the architectural corner—perhaps a recasting, or import, of the Miesian corner to one of Manhattan’s most significant public spaces. The project adds to a portfolio of high-rises designed by the Chicago-based practice (which also has offices in New York, San Francisco, and Paris) that explore “solar carving” as a formal and performative strategy. “'Solar Carving’ is one strand of a larger body of research about how we can make buildings responsive to the specific qualities if their context and climate,” said Studio Gang design principal Weston Walker. “To maximize sunlight, fresh air, and river views for the public park, we pushed the building toward the West Side Highway and carved away from its southeast and northwest corners according to the incident angles of the sun’s rays.” A growing issue for the High Line is the diminishing degree of sunlight caused by the development of Manhattan’s Far West Side. According to Walker, the city’s prevailing 1916 Zoning Resolution—legislation that mandated ziggurat-like setbacks to boost ventilation and light for city streets—did not anticipate the proliferation of midblock public spaces such as the High Line. “As-of-right zoning would have endangered rather than protected the park by allowing the tower to be built directly over the High Line.”
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SHoP's Midtown supertall brings terra-cotta and bronze to new heights

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Over the last two decades, SHoP Architects has pushed the envelope of facade design, leading a notable shift from predominantly glass-clad skyscrapers to supertalls incorporating a variety of materials. SHoP’s 111 57th Street is currently rising on Manhattan’s Billionaires’ Row—a stretch of dizzyingly luxurious towers. The tower stands out with a facade that incorporates three materials: terra-cotta, glass, and bronze ornamental work. The tower rises from a narrow lot located immediately behind and adjacent to the historic Steinway Building. In the mold of historic New York skyscrapers, the tower sets back and tapers upward along its south elevation. Both north and south elevations are clad in a glass curtain wall with vertical strips of bronze sprouting into finials at each setback.
  • Facade Manufacturer NBK Architectural Terracotta ELICC Americas Corporation SYP Glass Group
  • Architect SHoP Architects
  • Developer JDS Development Property Markets Group Spruce Capital
  • Facade Installer Parkside Construction Builders
  • Facade Consultant BuroHappold Engineering
  • Location New York
  • Date of Completion 2020
  • System Custom ELICC unitized system
  • Products NBK Architectural Terracotta custom terra-cotta rainscreen
As a result of the site’s constraints, the approximately 1,400-foot-tall tower’s width runs at a remarkably narrow 45 feet—the width-to-height ratio comes out to just 1:24. Partnering with BuroHappold Engineering, a key challenge for the project was developing a facade system capable of supporting the weight of cladding materials, notably the terra-cotta panels. Concrete shear walls back the facade for these two elevations with only select opportunities for punched window openings. “These select openings allow for vision glass to be used while the remaining glass panels contain shadow boxes,” said BuroHappold Associate John Ivanoff. “The unitized curtain wall panels are consistent in dimension across the width of the facade; the units are separated between different materials.” The composition of the east and west facades is formed by a trio of terra-cotta, glass, and bronze. Curtain wall–manufacturer Ellic Americas merged the three materials into approximately 4-foot-by-16-foot panels, with bronze filigree fluttering between vertical stripes of glass and terra-cotta. These panels were then delivered to the site, craned into position, and hung from concrete structural slabs similar to typical curtain wall systems. In total, nearly 43,000 terra-cotta pieces, mechanically fastened to a unitized aluminum curtain wall system, run across the two elevations. The design of the quasi-fluted terra-cotta strips was formulated using a 3-D wave geometry generated by a computational script. This geometrically focused design by SHoP was adapted by NBK Terracotta to conform to its specific fabrication parameters. The building is scheduled to be completed in 2020.
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Curtain-wall systems speed up construction and minimize solar heat gain

Prefabrication and new thermally-broken barriers are enabling curtain-wall systems that minimize heat transfer and minimize on-site construction time.

YUW 750 TU Thermally Broken Unitized Curtain Wall YKK AP

YKK AP improved the existing YUW 750 curtain wall system with a new advanced thermal barrier that minimizes heat transfer. The unitized system is glazed and assembled in a quality-controlled environment and then shipped on site for speedy construction.

2500 UT Unitwall Kawneer

Kawneer’s glass system is ideal for high- to mid-rise applications. The glass unitized curtain wall comprises a four-sided barrier block system designed for thermal performance.

CW-250 Curtain Wall GAMCO

To accommodate insulated and monolithic glass, this glass structural system is offered in several back-member framing sizes. Flexible enough to actualize the most inventive facades, the system integrates doors, projected windows, louvers, and metal panel options.

PDR-225 Oldcastle BuildingEnvelope

This window wall is shop-assembled and sealed with a 3/8" polyurethane break to provide optimal thermal performance. It can be glazed for interior and exterior applications alike.

Planar Pilkington

Planar delivers maximum clarity to optimize the amount of light that enters the building envelope. Meanwhile, the entire system incorporates Pilkington’s various glass products to achieve thermal performance, solar control, and pristine views.

CW-7000 ESWindows

This unitized curtain wall system is designed to withstand a high-grade hurricane. The pre-glazed and preassembled glass unit system is available in large, trapezoidal, and inclined modules to realize the most imaginative facade designs. Meanwhile, the integrated vents offer nearly zero sightline interruptions.

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University of Oregon's Tykeson Hall announces a campus presence with a terra-cotta and brick facade

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Tykeson Hall, currently wrapping up construction, is nestled in the center of the University of Oregon’s Eugene campus. Designed by Portland’s OFFICE 52 Architecture, the intervention consolidates classrooms, academic advisors, counseling, and tutoring for nearly 23,000 students under one roof. The 64,000-square-foot academic building carefully inserts itself into the campus with a variegated terra-cotta and brick facade with moments of glass curtain wall. The building, like much of the campus, rises as a rectangular mass with a series of incisions and setbacks for daylighting and programmatic purposes. To match with the cornice height of the surrounding structures, Tykeson Hall tops out at four stories.
  • Facade Manufacturer Shildan Group Mutual Materials Hardscape and Masonry Kawneer Vitro Hartung Viracon
  • Architects OFFICE 52 Architecture Rowell Brokaw Architects
  • Facade Installer Streimer Sheet Metal Davidson's Masonry Culver Glass Company
  • Location Eugene, Oregon
  • Date of Completion Summer 2019
  • System Kawneer 1600 Wall System Open-joint rainscreen system with a fully thermally broken aluminum window system
  • Products Custom extruded terra-cotta tiles by Shildan Group Mutual Materials Hardscape and Masonry Columbia Red and Autumn Blend Vitro Solarban 60 & 70 Viracon VE-1-2M
The principal material for the exterior envelope is a terra-cotta rainscreen system composed of 3,100 vertical tiles manufactured in Germany by the Shildan Group. This is the first application of terra-cotta on the historic campus in over eighty years—and earlier examples are chiefly decorative rather than performative. All of the terra-cotta tiles roughly measure six inches by three-to-five feet and are clipped to an aluminum grid at both their top and bottom. In using such a straightforward fastening method, the tiles can be easily removed, repaired, or replaced. Visually striking from multiple vantage points across the campus, the pattern of the matte-glazed terra-cotta tiles was developed from the study of Oregon's natural landscape and the architectural context of the University of Oregon's campus. "We looked at numerous color combinations and determined that five colors were necessary so that no color was ever repeated adjacent to itself on any side," said Office 52 founding principal Michelle LaFoe and principal Isaac Campbell. "We then produced keyed drawings that called out every one of the 3,100 tiles, and we made full-scale mock-ups of the final options in our studio. The final resolution of the palette came down to a gray palette that had both warm and cool colors." The most common material element found throughout the campus is brick, loadbearing in the case of historic structures, curtain for the contemporary. The existing brick color palette is largely brownish-red and arranged according to the simple Stretcher bond pattern—bricks overlaying each other midway on each successive course. For the project, the university required OFFICE 52 Architecture integrate this overarching aesthetic into the design of Tykeson Hall. To this end, the design team researched prospective brick layouts to enliven the facade along the east, north, and south elevations of the project. "During our research, we discovered an interesting pattern known as an English Cross bond, which creates a diagonal pattern by staggering the vertical mortar joints from course to course," continued LaFoe and Campbell. "Intrigued with this pattern and seeking to increase its scale, we added a course of longer Norman bricks to the pattern, creating a new pattern which we called a Norman Cross bond." For the coloring of these three elevations of brick, OFFICE 52 Architecture worked with Mutual Materials Hardscape and Masonry to develop a custom-blend of their Columbia Red and Autumn Blend brick types. In total, 78,000 bricks were used for the project, with the design team using building information modeling software to ensure the pattern corresponded with window returns and corner finishes. The bulk of the project's fenestration is composed of punched window openings. However, one-story glass curtainwall projects from the prevailing sedimentary mass along the north, west, and south elevations. Tykeson Hall is estimated to be completed in July 2019.
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Brooklyn waterfront office building features brick and glass curtain facades

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The Brooklyn waterfront is no stranger to development. Over the past two decades, swaths of post-industrial Williamsburg filled with warehouses and factories have been cleared in favor of glass-and-steel residential properties. One building, 25 Kent, an under-construction half-million-square-foot office tower designed by Hollwich Kushner as Design Architect and Gensler as Design Development Architect bucks the area's cliches with its bifurcated facades of brick, glass, and blackened steel. On a lot that measures 400 feet by 200 feet, the full-block project presents a formidable mass in comparison to its low-rise recent neighbors. Reaching eight stories, with floor to ceiling heights of 15 feet, the office tower is largely split between two staggered rectangular volumes linked by a hovering glass prism. Combining these three materials is not inherently novel, but the mix presented challenges in meeting increasingly stringent sustainability and LEED goals. "In lieu of brick returns, an aluminum perimeter trim was used in tandem with thermally broken window to achieve the best performance in a practical and cost-effective manner," said Yalin Uluaydin, senior associate at Eckersley O'Callaghan, the project's facade consultant. "Similar issues were addressed at the interface of the east and west facing aluminum curtain wall and underslung curtain wall. Mainly we had to address the offset mullions and how the curtain wall end panels are set in a brick opening on three sides."
  • Facade Manufacturer Summit Brick Pure+FreeForm Guardian Schüco
  • Architects Gensler Hollwich Kushner
  • Facade Installer CMI 
  • Facade Consultants Eckersley O'Callaghan
  • Location Brooklyn, New York
  • Date of Completion 2019
  • System Glass curtainwall with punched masonry
  • Products 25 Kent Blend Brick SCHUCO AWS 75. SI+ Guardian SN 70/41 Brooklyn Steel
The structure's facades are understated, rising with little in the way of outward ornament. The east and west elevations are clad in glass curtain wall modules tied to the structural slab edges with steel anchors. For the side-street elevations, the design team nods to the surrounding historic warehouses with multi-tone brick surfaces. Successive floors, which protrude and recess like an overturned-ziggurat, are clad in a custom blend of bricks patterned in a stretcher-bond format. Punched mullion-free window openings, measuring eight feet by ten feet, are rhythmically placed across these elevations to further daylighting while mirroring the stylistic qualities of adjacent structures. The windows, inset from the brick drape, are lined with custom 'blackened steel' finished aluminum. On the North and South streets, the retail storefront entrances are framed with printed 'blackened steel' aluminum portals, in a custom finish developed by Pure+FreeForm  The portal details were brushed with silver pearl and treated with a patinated gloss matte layer, providing subtle iridescent qualities. Proximity to the waterfront, although an amenity, also presented a structural challenge for the design team. "The foundation design is a continuous mat slab with thickened portions below the tower shear wall cores, and drilled tiedown anchors located outside the tower footprints to counteract hydrostatic uplift from groundwater," said Gensler Design Manager & Senior Associate Anne-Sophie Hall. "To accommodate the architectural intent of the vast column-free space in the central region of each floor plate, each of the six columns supporting the bridge slab has a 20-foot long rectangular drop panel to achieve the desired long span with a conventionally reinforced 12-inch slab, while eschewing post-tensioning or similar strategies which would have entailed additional costs or specialized subcontractors."
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Partnership announced to protect birds from death by architecture

According to the U.S. Fish and Wildlife Service, between 365 million and 988 million birds die each year in the United States as a result of window collisions. To lower this horrifying statistic, the American Bird Conservancy (ABC) recently announced a partnership with the Insulating Glass Manufacturers Alliance (IGMA). Their first joint project is the construction of a testing tunnel to help develop innovative materials and other anti-collision design solutions. It’s tempting to blame bird deaths on the increasingly tall, increasingly banal glass skyscrapers that make up an increasing portion of U.S. cities. But birds crash into high-rises and low-rises alike, as well as glass barriers, balustrades, and bus stops. Birds just can’t see glass, and as the material plays a bigger role in human lives, it inevitably plays a bigger role in birds’ deaths. So designers and advocacy groups need to think bigger about how to tackle this problem. The tunnel developed by the ABC is based on an Austrian system designed for testing highway noise barriers. Modified to study architectural glass, the test works by introducing wild birds into a 30-foot long tunnel, in which they fly toward one of two exits: a perfectly clear pane of glass or the experimental glass (don't worry, a net protects the subjects—the test is very safe). Their movement and responses to the materials are watched, taped, and measured. In addition to not having windows or not washing windows, current bird-friendly design solutions include frosted, filmed, and fritted glass. The new partnership hopes to create new options. The ABC also hopes to expand a rating program it developed in 2009, which is referenced in LEED Pilot Credit #55 and in legislation across the country. Soon, in addition to being rated for insulation and strength, it may be common for glass products to be rated for bird deterrence. “Demand for testing and rating materials already exceeds ABC's capacity,” said Chris Sheppard, director of ABC's Glass Collisions program. “In recent years, interest in bird-friendly design has grown, as architects and others realize that bird safety does not mean depriving people of light, views, and attractive building design.” The IGMA is currently leading fundraising efforts and offering donors priority testing of new materials. To learn more about how you can help hashtag-save-the-birds without sacrificing aesthetic intent, visit the American Bird Conservancy for online resources.
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Eero Saarinen's Bell Labs stays bright with the largest photovoltaic skylight in the U.S.

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The Bell Labs Holmdel Complex, completed by Eero Saarinen in 1962, is a sprawling former research building clad in reflective glass and topped with a quarter-mile-long roof. After approximately a decade of real estate juggling, the property was purchased by New Jersey's Somerset Development in 2013, which began an extensive renovation of the property, including the replacement of the roof with the largest photovoltaic glass skylight in the United States. In December 2018, The Architect's Newspaper took a private tour of the renowned mid-century research lab with Somerset Development President Ralph Zucker. Much of the interior is still under a painstaking conversion designed by Alexander Gorlin Architects into contemporary tech-focused office space.
  • Facade Manufacturer Onyx Solar
  • Facade Installer Elite Industrial & Commercial Roofing
  • Facade Consultants Somerset Development
  • Location Holmdel, New Jersey
  • Date of Completion 2017
  • System Custom-fit and installed glass panels over existing frame
  • Products Onyx Solar Building-Integrated Photo-Voltaics
The atrium skylight consists of 3,200 panes of glass subjected to 24 different glazings and assembled in a series of ridges. Replacing the windows was fairly straightforward; the original glass was removed, then the existing frames were cleaned and then fitted with advanced weather strips to seal the building-integrated photovoltaics. However, the sheer scale of the project and its historic importance required unique approaches to the installation of the glass panels. The installation team had to carefully install the right glazing in the correct bay and row. “To mitigate this risk, we created a model of each of the three sky roofs and identified every glazing and the position of the glazing with each bay and row of the sky roof,” said Bell Works Chief Energy Officer/Chief Technology Officer Joel Shandelman. "This model ensured we had the exact number of each glazing and the respective permanent position of the skyroof.” The panels are composed of a central silicon film of photovoltaic glass laminated on both sides by tempered safety glass—providing the added benefit of reducing solar heat gain with a 20 percent visual light transmittance. In total, the approximately 60,000 square-foot glass installation annually generates nearly 90,000 kilowatt hours. In June 2017, after the skylight installation, the complex was added to the National Register of Historic Places.