Posts tagged with "Glass":

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The International Spy Museum is veiled in cantilevered glass megapanels

The International Spy Museum presents a striking figure in the relatively staid streetscape of Washington, D.C. The building opened in May 2019 and was designed by London-based Rogers Stirk Harbour + Partners (RSHP) in collaboration with architect-of-record Hickok Cole, and replaced the original home of the Spy Musem that was constructed in 2002. The project is a demonstration of high-tech architecture; notably, the pleated glass veil shrouding an atrium and circulation space—both cantilevered off the primary black aluminum-clad exhibition-space structure. L'Enfant Plaza is not the most exciting corner of Washington, D.C.—the megaproject, designed by I.M. Pei and developed by William Zeckendorf, is often derided for its overwhelming massing and dearth of pedestrian amenities. The International Spy Museum is located within a forecourt of the megaproject and, in its idiosyncrasy, establishes a formidable presence in the area. The project rises to a height of 130 feet, the height limit within the city, and is primarily encased in a tapered aluminum black box lifted off the ground by pilotis. Total square footage for the museum comes out to approximately 120,000 square feet divided across seven stories.
  • Facade Manufacturer AGC Interpane Roschmann Macalloy Sadev Sika
  • Architect Rogers Stirk Harbour + Partners Hickok Cole Architects (Executive Architect)
  • Facade Installer Custom Glass Services
  • Facade Consultant Eckersley O'Callaghan
  • Location Washington D.C.
  • Date of Completion December 2019
  • System Custom glass veil system
  • Products AGC Interpane Ipasol Neutral 74/42 Macalloy stainless steel tensions rods
The location proved a challenge for the design and construction teams; the museum stands atop the L’Enfant Plaza metro station, a subterranean shopping mall, and, for good measure, a parking garage. To minimize operational disruption to the sites below, the design and structural teams opted to use lower impact hollow-bar micropiles for the foundation and established a schedule to allow multiple construction crews to operate simultaneously. Harking back to the design of Richard Rogers and Renzo Piano's 1977 Centre Pompidou, all of the structural elements and principal routes of circulation are fully presented at the primary west elevation. Sloped red steel fins rising from the collonade of pilotis that ring the structure and, quite literally, do the facade’s heavy lifting. Each rises to a height of 70 feet and were shipped from Virginia to the site in two pieces and assembled in-situ. “From these five points, the facade is suspended on a trapeze of bespoke steel fabrications, that collectively resolve the gravity loads and lateral forces, in addition to the potential differential drift,” said Hickok Cole senior associate Bryan Chun. “Along with RSHP, we engaged Eckersley O’Callaghan as the facade consultant from the onset of the design process, their expertise and acumen were essential to define the limits of each member, and we selected Roschmann Glass specifically for their ability to engineer in a design-assist capacity.” The panels for the fritted-glass veil are massive and measure 7'-6" by 18'-6" each, and stacked, the total height of the glass curtainwall is 60 feet. In lieu of mullions, the veils are held together with stitch plates that lend sufficient stability to allow the laminated glass to run less than an inch thick. While the primary elevation is the project’s showstopper, the curatorial spaces are equally impressive. Aided by 3D-modeling software used during the design process, each structural beam is outfitted as a conduit for the museum’s MEP and HVAC systems, a strategy that allowed for nearly undisrupted 22-foot floor-to-floor heights as well as clear 60-foot floor spans. Hickok Cole senior associate Bryan Chun will present The International Spy Museum at Facades+ Washington, D.C. on February 20 as part of the “Curved and Pleated: Advanced Applications of Glass” panel.
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UN Studio enlivens a storefront in Amsterdam with flowing glass

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Completed in December 2019, The Looking Glass is a four-story mixed-use renovation for developer Warenar Real Estate that offers a thoughtful solution for merging contemporary design within the centuries-old Museum Quarter of Amsterdam. Designed by Dutch architectural practice UN Studio, the approach addresses both the contextual and use demands of the site with finely curved glass panels and well-crafted brick masonry. The project faces the Pieter Cornelisz Hooftstraat, one of Amsterdam's primary retail corridors. Like much of the Netherlands’ architectural vernacular, the area is composed of three to four-story structures of sober restraint. Ornament is largely limited to spandrel brickwork detailing and carved wood brackets at the cornice—this is not a setting for ostentatiousness. UN Studio’s design respects this heritage while heightening the streetscape with a constrained aesthetic flourish, that, in its curvaceousness and subtle steelwork, bears resemblance to a playful Art Noveau storefront in the style of Victor Horta or Frantz Jourdain.
  • Facade Manufacturer Cricursa Octatube Van der Sanden Group
  • Architect UN Studio Gietermans & Van Dijk Architecten (executive architect)
  • Facade Installer Octatube Nederland Wessels Zeist
  • Facade Engineer ARUP
  • Structural Engineer Brouwer en Kok
  • Location Amsterdam, The Netherlands
  • Date of Completion Decembr 2019
  • System Custom glass-and-steel system
  • Products Low-iron Cricursa glass Van der Sanden Group brick slips
Each bay is comprised of two primary features, low-iron glass boxes and brickwork. At the second story, the glass boxes protrude significantly from the facade before curving and overlapping the groundfloor’s glazing. The maneuver lends a flowing quality to the facade while maintaining full transparency of the lintel and brick-chevron frieze. Each of the glass panels is bonded with structural silicone, and their seams are obscured by narrow and polished stainless steel frames. On the ground floor, the concave underbelly of each curved panel transitions to a broad stainless steel strip that furthers material differentiation at street level. The windows were assembled off-site—no small feat considering that their average height is approximately 27 feet—and installed as prefabricated pieces. The renovation, which removed the first three stories of brick in favor of glazing, required the insertion of narrow columns of glass-fiber reinforced concrete (GFRC) panels between the window bays. Following the installation of glazing, the GFRC components were covered in a rigid insulation layer. The new masonry is entirely comprised of hand-molded, reddish-brown brick slips produced by the Van der Sanden Group; the brick slips are glued to the insulation membrane and largely follow a Dutch-bond pattern. Although the inclusion of brick on the renovated facade is only surface level, their hand-molded fabrication lends an imperfect and wrinkled surface with slight variances in dimension—a gradient of patina blending with the overall streetwall. UN Studio founder Ben van Berkel will discuss The Looking Glass, and other projects, at the opening keynote for Facades+ New York City on April 2nd.
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REX and Front's 2050 M Street stands lightly with fluted glass

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Set to open in mid-March, 2050 M Street is a novel commercial project located in the Dupont Circle neighborhood of Washington, D.C. REX, an architecture and design firm based in New York, is the design architect for the project. In contrast to the imposing massing of Beaux-Arts, Brutalist, and droll mid-century Miesian bootlegs that dominate the capital, the project presents a subtle and refined approach to the office block typology with its array of fluted glass panels. Founded two decades ago by Joshua Ramus, REX has led an impressive array of completed and ongoing projects, including the Ronald O. Perelman Performing Arts Center at the World Trade Center, Brown University's Performing Arts Center, and the retrofit of 5 Manhattan West. An instrumental collaborator in over thirty of their projects is facade consultant Front Inc., with whom they share an office space in DUMBO, Brooklyn. “Both companies share a mutual understanding of the other’s values, aspirations and skillsets with each practice leveraging the other to create opportunities for innovation within real and tight project constraints,” said REX founding principal Joshua Ramus and Front Inc. founding principal Marc Simmons. “REX and Front also share a rigor and discipline during an always iterative design process but also as pertains to creative procurement, in close cooperation with owner and construction manager, and focused quality review during the shop drawing, prototyping, testing, assembly and installation phases of the work.”
  • Facade Manufacturer Fabbrica Tianjin North Glass AGC Asia Guardian Glass Gastaldello Sistemi YKK
  • Architect REX
  • Facade Installer TSI Wall Systems
  • Facade Consultant Front Inc.
  • Developer Tishman Speyer
  • Structural Engineer LERA Consulting Engineers
  • Location Washington, D.C.
  • Date of Completion August 2019
  • System Custom flush-glazed curtain wall system
  • Products Guardian SunGuard SuperNeutral 68 low-E coating Guardian UltraClear low-iron glass AGC Stopsol Supersilver Gastaldello Sistemi aluminum framing
Tishman Speyer is the developer of 2050 M Street, whose construction was overseen by the managing director of design and construction, Rustom Cowasjee. The non-concrete block structure construction began in March 2018 and facade installation wrapped up in August 2019. The massing of the twelve-story office building is rectangular and boxy, a common trait in D.C. to maximize square footage within the city’s zoning constraints and height limitations. For REX, one of the challenges of the project was to establish a lightness and verticality for what is an overwhelmingly horizontal project. To heighten the sense of verticality of 2050 M Street, the design team turned towards the architectural technique of fluting; a feature stemming from antiquity, where shallow vertical grooves were largely applied to columns and pilasters. In place of detailed masonry, the enclosure is composed of approximately 900 curved IGUs, their outward-facing concave surfaces treated with a pyrolytic coating, and form a high-relief facade with a striking kaleidoscope-like impression of the surrounding streetscape and weather features. Each floor-to-ceiling panel measures 11'-3" by 5'—those at the top two floors are 12'-10" and 12'-13" tall and form a quasi-cornice above the top slab edge—and have a 9'-6" radius formed through a heat roller tempering process. The project is topped by a separate row of 4'-tall panels that serve as a parapet.  The curvature of the panels also plays a critical role in the office building's remarkable degree of transparency; the compressive strength of the curves allowed for the panels to be mullion-less, and only supported by brackets anchored to the floor slab and laterally restrained at the head to allow for differential movement. As an additional measure to heighten the lightness of the facade, the structure’s perimeter columns are set back over 12 feet from the glazing to permit nearly undisrupted outward views. Following REX’s design intent for 2050 M Street, Front Inc. developed a comprehensive system with prescriptive specifications for all aspects of the glass assembly. The design and analysis package was the basis for the facade bid package for prospective fabricators and sub-contractors—Tishman Speyer funded full-scale mockups from each bidder for on-site evaluations by the design team. Ultimately, two firms were signed on to handle fabrication: Tianjin North Glass handled the fabrication of the IGUs cut from Guardian Glass and AGC Asia glass sheets, while Fabbrica managed the aluminum-and-glass modules at their Connecticut facility and handled shipment to Washington, D.C. “The engagement with the glass fabricators started during schematic design and continued even after the last piece of glass was shipped to the site,” continued Ramus and Simmons. “The actual design of the panels remained unaltered when we received manufacturer feedback; the focus was confirming the viability of cost, quality and schedule of fabrication.” REX founding principal Joshua Ramus, Front Inc. founding principal Marc Simmons, and Tishman Speyer managing director of design & construction Rustom Cowasjee will present 2050 M Street at Facades+ Washington, D.C. on February 20 as part of the "Curved and Pleated: Advanced Applications of Glass" panel.
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James Carpenter Design Associates lets the light into Nordstrom with gargantuan double-curved glass panels

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Over the last four decades, James Carpenter Design Associates (JCDA) has been a pioneer in advanced glass installations and facade design, with projects ranging from the Museum at the St. Louis’ Gateway Arch to the Fulton Center Sky Reflector Net. The new Nordstrom flagship store in New York is located at the podium of the Adrian Smith + Gordon Gill Architecture-designed Central Park Tower, the world’s tallest residential structure. The storefront is yet another demonstration of JCDA’s proficiency in lightness and transparency, evident in the undulating curtain wall of double-curved and supersized glass panels. The JCDA-designed curtain wall is the public face for the retailer along the store's south and north elevations—the store also includes several buildings located on adjacent Broadway. Reaching a height of seven stories, the translucent exterior presents a striking streetwall that, in certain respects, resembles the articulated stone-and-brick massing of abutting historic structures, and, according to JCDA, its wavelike form is an homage to the East and Hudson Rivers bounding Manhattan.
  • Facade Manufacturer Cricursa Tvitec
  • Architect James Carpenter Design Associates
  • Facade Installer Permasteelisa
  • Facade Consultant Surface Design Group
  • Facade Structural Engineer schlaich bergermann partner
  • Location New York
  • Date of Completion 2019
  • System Custom curtwainwall system
  • Products XXL Cricursa Curved Glass
Spanish glass manufacturer Cricursa—one of the few with the technical capacity to produce extra-large curved glass panels—was pulled into the project at an early stage. According to JCDA, “The design started with the glass itself and worked out to the surrounding frame system, so ensuring the bent profiles were achievable both in terms of structure, manufacturing, handling, and shipping was important in the early design stages, most critically in the visual mockup and the performance mockup stages.” In total, there are five typical profiles and four unique corner profiles, and their dimensions range in height from 17'-6" to approximately 19'-6", and in width from 3'-10" to 6'-2". The result is a striking succession of convexities and concavities following an A-A-B-B rhythm, with occupiable spaces similar to that of bay windows. It is difficult to overstate the complexity of the curtain wall system, and New York-based facade consultant Surface Design Group played an essential role in balancing aesthetic concerns, thermal performance, structural behavior, and code compliance. “The final glass composition was developed as a slump formed, complex curved, insulated glass unit, comprised of various layers of laminated, low-iron glass and a subtle, custom ceramic dot frit pattern,” said Surface Design Group partner Benson Gillespie. “Aluminum mullions were stretch-formed to an exacting tolerance that matched the glass.” The curtainwall is backed by a diaphanous steel mesh veil, that, similar to the now-defunct pool room of the Mies van der Rohe’s Four Seasons, filters daylight and adds a layer of depth, with shadows and iridescence, to the facade.  
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Studio Gang's MIRA Tower twists with alternating window bays

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Located just south of San Francisco's Financial District and blocks away from the bay, MIRA Tower is a housing development that grabs your attention with a highly detailed geometric form. The project joins a spate of recently completed and under construction towers in the Transbay Development Zone, including Pelli Clarke Pelli Architects' Salesforce Tower and the Heller Manus Architects' 181 Fremont. Designed by Studio Gang Architects in collaboration with facade consultant Heintges and fabricator Permasteelisa, the tower presents a spiraling aluminum-and-glass facade arranged in a panoply of bay windows and terraces. Developed by Tishman Speyer, the size of the project is formidable and consists of both a tower and a terrace of townhouses—with a footprint of 50,000 square feet and spanning 700,000 gross square feet. To comply with FAR constraints and rules set out by the district zoning guidelines, the initial design reached a height of 300 feet. Following a request to the city government, the allowable height of the tower was raised to 400 feet with the inclusion of 156 below-market-rate apartments, or just under half the total number of units.  
  • Facade Manufacturer AGC Interpane Alucabond Euro Sabbiature Ductal Permasteelisa
  • Architect Studio Gang Architects
  • Facade Installer Permasteelisa
  • Facade Consultant Heintges
  • Location San Francisco, CA
  • Date of Completion 2020
  • System Custom aluminum curtainwall system
  • Products AGC Interpane Planibel Clearlite with Ipasol Shine 59/32 & Planibel Clearlite ACM Panels by Alucabond L01 UHPC Ductal Panels
Studio Gang turned towards the architectural vernacular of the San Francisco-area for the overall form and massing of the tower and townhomes, reinterpreting classical bay windows into a contemporary gesture. There are ten different bay geometries: each is an isosceles triangle 14-feet wide and with differing spandrel and glazing dimensions, and with a maximum depth of six-and-a-half feet. Thirty bay window units are found at each level, adding up to, in total, over 1,000 across the tower. Shifting the bay geometries was not the initial direction of the project but a discovery during the design phase that, through offsetting and repeating a set of variations every 10 floors, a profound level of detail could be added to the project without causing undue complications in fabrication and construction. Through the inclusion of bay units across the facade, each residence is afforded daylight from multiple directions and sweeping views of the city at large. Facade consultant Heintges joined the project during the early schematic design phase to both conceptualize the enclosure design and develop a facade system with sufficient waterproofing and compatibility with locational seismic requirements. “In this system, the windows act like a freestanding window wall, loaded at the sill and allowing movement at the header,” said the Studio Gang design team. “The spandrel panels, on the other hand, are rigid enough to take the wind loads and transfer the window loads down to the slab.” The resiliency of the tower is further strengthened by a heavy central core that allows for exterior pieces to move independently of another during seismic events. For the longterm maintenance of the facade (specifically window washing at great heights) Studio Gang and Heintges incorporated a number of intermittent stabilization anchors across the bay units. In collaboration with building maintenance consultant CS Caulkins and cleaning device fabricator Sky Rider, the design team developed a custom platform capable of being lifted between the bays by integrated attachment points. The project broke ground in late 2017 and topped out in mid-2019; Permasteelisa handled the fabrication and installation of the facade panels and typically fitted out each floor in four days, completing the job at the tail end of 2019. The bays were fastened directly to the slab edge from within the building, a measure that, along with the division of spandrel and infill, reduced the use of a crane on-site and in turn lessened energy consumption and neighborhood disruptions stemming from site logistics. “Three-dimensional aluminum spandrels cover the slab edge and are anchored to the post-tensioned slab with steel embeds that extend vertically,” continued the Studio Gang design team. “Behind the aluminum panels are stiffeners that resist wind loads, reduce deflections, and control flatness. In order to realize the steps between bay geometry variations, there is always a horizontal portion of the panel which either faces up as a sill condition or down as a soffit condition.” Studio Gang principal Steve Wiesenthal and Heintges senior principal Karen Brandt will present MIRA Tower at Facades+ San Francisco on January 31 as part of the “Twists and Stacks: Assembly Innovations” panel.  
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MVRDV's Depot houses a national archive behind mirror glass

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The Museum Boijmans Van Beuningen (MBVB), located in Rotterdam's 10-acre Museumpark, is receiving a striking new addition designed by MVRDV. The Depot will house up to 125,000 of the museum's artworks not currently used for exhibitions, with over 70,000 of the pieces being made accessible to the public in a semi-curated format. In response to the site and the functional requirements of the project, Depot's spherical concrete shell has been clad with over 1,500 curved mirrored glass panels. For MVRDV, the location of the seven-story archive drove the decision to use mirror glass for the facade. "The project is situated in a piece of parkland between many cultural and medical institutions, so we did not want to turn our back to any of the neighbors, we wanted to visually enlarge the park," said MVRDV associate architect Arjen Ketting. "A piece of the park has been sacrificed to make space for this building, we visually reintroduce the setting in the facade." This effect is maximized by The Depot's circular massing which allows passing pedestrian to see around the corner of the structure towards the park's greater landscape.
  • Facade Manufacturer ShenZhen ShenNanYi Glass ODS Walasco Kingspan
  • Architect MVRDV
  • Facade Installer Sorba
  • Facade Consultant ABT
  • Location Rotterdam, Netherlands
  • Date of Completion 2021
  • System Custom system of brackets
  • Products ShenZhen ShenNanYi Glass Mirror Glass
Depot broke ground in 2017 and rises from an approximately 22,000-square-foot concrete foundation that supports a seven-story, poured concrete sphere that cantilevers over 30 feet in every direction. At its thickest, the sphere is one-and-a-half-feet in section—a built-in anti-burglary measure—and is punctured by just a handful of window openings to prevent sunlight from reaching the interior. Brackets were anchored into the structure during the concrete pour, and are further supplemented by a secondary network of small black frames; Rotterdam's municipal code requires secondary safety measures for facade cladding. Installation of the mirrored panels began in April 2019 and are arranged into 26 horizontal layers consisting of 64 identical panels, with each layer conforming to the curvature of the concrete shell. Prior to fabrication, the design team digitally unfolded the sphere's surface into a two-dimensional format inlaid with the cutting pattern, which was in turn exported to the manufacturer. Each panel consists of two layers of glass separated by multiple layers of reflective foils, which were curved together during the fabrication process. A layer of insulation produced by Kingspan backs the panels and facade installer Sorba incised the membrane using a 3D model of the supporting brackets to reduce thermal bridging. Although the bulk of the mirrored panels are subject to the same treatment, there are certain segments that correspond to nearby structures. For example, a significant block of the eastern elevation is composed of a less reflective coating to guard the privacy of patients found at the adjacent Erasmus Medical Center. Additionally, mirrored glass panels abutting windows are treated to transition to those transparent moments. The project is expected to be completed in Spring 2020 and will open in 2021.
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Pelli Clarke Pelli Architects' Centrale nods to the Jazz Age with chevrons of terra-cotta

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Midtown East is a competitive Manhattan neighborhood to design a new tower; the skyline is crowded with an assembly of jostling skyscrapers and landmarks constructed over the last century. Completed in 2019, The Centrale is an 803-foot-tall residential tower designed by Pelli Clarke Pelli Architects and developed by Ceruzzi Properties. The building strikes a middle ground between the surrounding Art-Deco icons and post-war glass curtain walls with panels of terra-cotta chevrons and solar-control glass. The 220,000-square-foot tower is located mid-block and is flanked on either side by pre-war midrises of stepped massing and clad in detailed yellow brick, limestone, and ornamental masonry. The challenge for the architectural team was how to incorporate these historical elements into a contemporary mold for a remarkably slender project.
  • Facade Manufacturer Boston Valley Terracotta Interpane Permasteelisa
  • Architect Pelli Clarke Pelli Architects SLCE Architects (Executive Architect)
  • Facade Installer Permasteelisa
  • Facade Consultant Vidaris
  • Location New York
  • Date of Completion 2019
  • System Custom unitized system
  • Products INTERPANE Ipasol Platin 52-36 Boston Valley Terracotta extruded terra-cotta panels
"We were cautious not to fall into the trappings of architectural style and appearance, but rather to emulate the repetition and movement of the Jazz Age and the expressive machinery that celebrated the still young industrial age," said Pelli Clarke Pelli principal Craig Copeland. "The chevron emerged as a key motif for the project; and we soundly incorporated it throughout from the scale of the skyline, to the touch of many close-up details." The base of the project begins with a 100-foot-tall metal screen that cloaks shared residential spaces and is indented with the tower's prevailing chevron detail. Lifting the residences measurably above street level and shrouding the podium with perforated metal is a clever aesthetic solution to engineering requirements. Similar to SHoP's 111 57th Street, the narrow profile of the tower—floor plates are approximately 3,000 square feet— required significant shear walls on the east and west elevations, and is further stabilized by a 400-ton tuned mass damper located at the bulkhead. A series of hinged setbacks occur as the tower rises, shifting the face of the primary elevation to the northeast and northwest in a playful nod to contextual massing. The orientation of the terra-cotta panels corresponds to the alternating facade planes, and are colored cream and dark brown. Using the latter was a practical solution to heighten the depth of a relatively shallow architectural detail, and the terra-cotta bands form something of an abstract impression of fluted buttresses. The design of the facade and the dimensions of the curtain wall units were impacted by the constraints of the site, and contractors relied on a hoist run rather than a conventional crane to install the panels. Typical curtain wall units measure approximately 5'-8" by 11' and 3' by 11', and the terra-cotta units are 4'-4" by 11'. According to Pelli Clarke Pelli associate principal Jimmy Chang, "The design team had to work with this limitation and modify the much more expressed facade (deep saw-tooth profile), to smaller and shallower profile units." Through scaling down the unit sizes, fabricator and installer Permasteelisa saved time in assembly and installation which ultimately translated to overall cost savings of the curtain wall. On the second day of Facades+ NYC, Pelli Clarke Pelli Architects, engineering firm BüroEhring, and Roschmann Steel & Glass Construction will lead an intensive workshop titled "(P)ReFabricate: An Interactive Reinterpretation of Prefabricated Building Enclosures." Attendees of the workshop will collaborate closely with the team of nine instructors to recalibrate the designs of one of eight prefabricated case studies according to a change in context, contemporary energy standards, and ease of assembly.  
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Olson Kundig's Jordan Schnitzer Museum reflects its surroundings with red mirrored glass

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With a permanent art collection of approximately 3,500 pieces hailing from the 20th and 21st centuries, the Jordan Schnitzer Museum of Art at Washington State University is arguably the most prestigious curatorial institution in Pullman, Washington, and joins a string of art museums founded by the Schnitzer family across the Pacific Northwest. The project opened in 2018 and was designed by Seattle's Olson Kundig, who stamped their presence within the campus with a bold crimson facade of mirrored glass panels. The museum consists of two volumes encompassing a total of 16,000-square-feet. Visitors arrive through an entry built of glass-and-metal casement windows that can be opened in a similar fashion to a garage door. The primary glass volume houses the museum's gallery spaces and is lifted off the ground by an arcade of pilotis and, in some respects, resembles a hovering cube. "A key design challenge was balancing the museum's dual needs for transparency and security," said Olson Kundig design principal Jim Olson. "The answer is a design that consists of two distinct parts: The first serves as an informal entry to the museum and the second space, the "crimson cube," is a climate-controlled space that houses the formal galleries and is enveloped by the crimson facade."
  • Facade Manufacturer Hunter Douglas Steinfort Glas Vanceva
  • Architect Olson Kundig
  • Facade Installer Hoffman Construction
  • Facade Consultant Front
  • Location Pullman, WA
  • Date of Completion 2018
  • System Hunter Douglas rainscreen
  • Products Steinfort mirrored glass Vanceva OECE Interlayer
Steinfort Glas, a manufacturer based in the Netherlands, produced the mirrored glass facade panels in three different dimensions which function as a relatively conventional rainscreen. The facade's composition achieves a patterned effect through alternating courses of square panels, measuring 3'-4" by 3'-6", and rectangular panels, measuring 3'-4" by 1'-8". The horizontality of each elevation is broken up by steps of larger square panels that are roughly double in size at 6'-6" by 7'-0". "I wanted the museum to have a highly reflective facade as a means of weaving it into its context," continued Olson. "While appearing rather solid and uniform from afar, the reflective crimson cube rewards viewers upon closer inspection, much like the artworks housed within." The effect is achieved through the placement of colored interlayer glass between the mirrored glass panels. The installation of the rainscreen was fairly straightforward and was handled by Hoffman Construction Company, a contracting firm based in the Pacific Northwest. A mounting clip adheres to the back of each individual glass panel, which is subsequently attached to an aluminum rainscreen system produced by Hunter Douglas. The rainscreen system allowed for minor adjustments on site via screws set through the panel joints. Olson Kundig principal Blair Payson will be co-instructing the workshop "Glass Design and Avoiding Catastrophic Failures: Design Choices, Practical Solutions, and Complex Engineering," at Facades+ Seattle on December 6.
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Safdie Architects-designed Changi Airport Jewel is enclosed by a sprawling toroidal dome

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The Safdie Architects–designed Jewel Changi Airport is a 144,000-square-foot toroidal-shaped glass-and-steel pavilion looping around the world’s tallest indoor waterfall. After four years of construction, the $1.3 billion project opened its doors in April 2019 as a bid to deliver a “paradise garden” amid the cacophony of Singapore’s largest airport. The structural system of the canopy is based on a highly complex stick-and-node mesh fabricated with over 50,000 distinct components assembled piece by piece on-site. The roof spans approximately 675 feet at its longest point and 510 feet at its widest. In total, the steel mesh weighs a colossal 6,000 tons.
  • Facade Manufacturer Vitro GnT Glass Company Yongnam Holdings Limited
  • Architect Safdie Architects
  • Facade Installer Mero Asia Pacific Choon Hin Stainless Steel
  • Facade Consultant BuroHappold Engineering
  • Location Singapore
  • Date of Completion October 2019
  • System Custom-shell gird
  • Products Vitro Solarban 70XL, Solarban 72, and Starphire Ultra-Clear
From above, the pavilion’s layout looks symmetrical, with many identical glass panels. This is not the case. “The design of the roof is a single-layer add-on system composed of 9,000 custom cut—no two panels are the same—double-glazed panels positioned over the triangulated steel diagrid structure,” said Safdie Architects principal Jaron Lubin. “The double-glazed panel sizes were determined to a maximum dimension of 8.5 feet measured diagonally, which was the size found commonly among several major suppliers.” The project is wrapped with Vitro Architectural Glass’s Low-E Solarban glass, while Vitro’s high-visibility Starphire Ultra-Clear is used for the interior’s pedestrian bridges. By using Low-E glass, the project is slated to receive a platinum rating from Singapore’s GreenMark program. Although the mechanics of the project are remarkably complex, Safdie Architects developed a design-to-construction methodology to ensure the timely completion of the pavilion. “The entire system, including glass panels, steel members, and the custom-shaped solid steel nodes, was fabricated directly from the design team’s computer model by CNC robots,” said Lubin. “The components were produced off-site and then shipped to Singapore in containers. Special labels with scan codes were used on all the components to assist in locating their final position in the building.” The centrally located Rainwater Vortex, the massive waterfall around an oculus approximately 33 feet in diameter, is the product of collaboration with BuroHappold Engineering and water-feature design firm WET Design. The oculus is topped with an ETFE cushion while a custom-designed circular valve controls water flow between a narrow gap in the glass facade’s surface.
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BKSK and BuroHappold crown Tammany Hall with a glass shell

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The neo-Georgian Tammany Hall located on the northeastern corner of Union Square has assumed multiple identities over the course of its nearly century-long existence: It has been the home of the notoriously corrupt Society of St. Tammany, a union headquarters, and a theater and film school. Now, BKSK Architects and BuroHappold Engineering are leading the conversion of the building into a contemporary office space, which will be topped by a bulbous glass dome ringed with terra-cotta panels.
  • Facade Manufacturer Eckelt-St. Gobain Permasteelisa Gartner
  • Owner Reading International
  • Architect BKSK
  • Facade Installer Permasteelisa Gartner
  • Facade Consultant BuroHappold Engineering
  • Structural Engineer Thornton Tomasetti
  • Location Manhattan, New York
  • Date of Completion 2020
  • System Custom shell grid
  • Products Saint-Gobain Parsol Grey, SGG Cool-Lite Xtreme
The design of the glass dome derives from both international Georgian precedents as well as the historical origins of the Society of St. Tammany—named after renowned Lenape leader Chief Tamanend, whose clan’s symbol was a turtle. According to BKSK partner Todd Poisson, the design team interpreted Chief Tamanend’s tribal imagery “With a turtle shell-like dome rising from this neo-Georgian landmark building, reimagining its tepid hipped roof with a new steel, glass, and terra-cotta base supporting an undulating glass dome.” Austrian manufacturer Eckelt, a member of the Saint-Gobain group, produced the structurally glazed insulated glass units. To reduce solar exposure to the office space below, the outer shell is built of tinted Saint-Gobain Parsol Grey panels treated with a high-performance sputter solar coating. The second layer of the carapace, separated from the tinted panels by a layer of air space, is comprised of clear glass panels. The roof, made of 850 isosceles triangular panels ranging from a 5- to 9-foot base, encompass a total surface area of approximately 12,000 square feet. Rising from the rear of the cornice line, the glass panels are fastened to an undulating steel free-form shell grid fabricated by Gartner. To support the weight of the dome, and to facilitate the straightforward installation of structural members, the entire structural system of the historic building was replaced with a poured-in-place concrete core—effectively transforming the original load-bearing brick enclosure into a freestanding rain screen. The project is scheduled to wrap up in 2020. BKSK partner Todd Poisson and BuroHappold Engineering associate principal John Ivanoff will present the Tamanny Hall project at Facades+ NYC on April 2 as part of the "Adaptive Reuse Challenges in NYC Historic Icons" panel.
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SOM's Tianjin CTF Finance Centre meets the breeze with a biomorphic form

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For what will be the eighth-tallest building in the world when finished in Tianjin, China, later this year, SOM didn’t want to do a by-the-numbers glass facade. Which is good, because the designers couldn’t have even if they wanted to—the Tianjin CTF Finance Centre’s convex and concave surfaces, along with its tapered shape, meant to help shed the wind loads bearing on such a tall building (it will eventually reach over 1,700 feet), demanded an original solution.
  • Facade Manufacturer China Southern Glass Jangho
  • Architect SOM RLP (Executive Architect)
  • Facade Consultant Arup
  • Location Tianjin, China
  • Date of Completion 2019
  • System Custom unitized curtainwall
  • Products China Southern Glass IGU Jangho low-iron laminated glass
The building’s biomorphic form, reminiscent of the pistil of a hothouse flower, suggests it could have used curved glass panels, but it doesn’t—the client wanted something less risky. The architects instead chose flat glass panels—about 11,500 total—from China Southern Glass (CSG Holding Limited). The vision glass comprises Insulated Glass Units with heat-strengthened, laminated, low-iron outer lites, a double-silver, low-e coating, and tempered, low-iron inner lites. Spandrel panels are made of low-iron laminated glass. The use of flat glass panels meant that the designers had to get a bit more creative with the mullions to cover the doubly curved surfaces. They turned to an adaptable mullion system from Jangho, a major Chinese curtain-wall manufacturer, that could take over some of the formal gymnastics. In total, only 476 unique glass panel types were needed. The design team also wanted to find a way to minimize the window-to-wall ratio to reduce solar gain and increase insulative value while still providing ample daylight. They ended up with V-shaped mullions that are almost 11 inches wide on the exterior and narrow to a much smaller profile on the interior. The building’s taper gave each floor a different shape; therefore, the exterior panels fit differently around every level, which meant that the mullions couldn’t easily be arranged in perfectly continuous lines up the building. Rather than trying to approximate vertical stripes with the mullions, the designers staggered them to create a snakeskin-like effect that reads as organized but organic, a reflection of the flexible thinking required to erect this giant.
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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.