Posts tagged with "Glass":

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Trend Spotting at Salone del Mobile in Milan: Chromatic Glass

There have been plenty of color and style trends occurring in Milan but the one that really took us by surprise was rainbow spectrum glass.
This collection of mirrors, side tables, and dining tables is a collaboration between Glas Italia and Patricia Urquiola (who herself seemed to be trending at the fair, with products designed for multiple brands).
At SuperDesign Show 3M, the maker of post-its collaborated with Stefano Boeri Architetti on an installation that uses films, nonwovens, and adhesives to create a kaleidoscopic tree that reflects light in colorful patterns and allows guests to recharge.
Eli5e designer Elise Luttik debuted a pair of chairs (at Salone Satellite) that really stood out—one stationary and another that swivels. The pair reflects geometric shapes on the wall and would liven up any office or home.
AGC Glass, a Japanese company that's a leading manufacturer of glass, chemicals, and high-tech materials, crafted an art installation at SuperDesign Show entitled Amorphous. It was inspired by amorphous molecular structures that don't have a definite shape. The installationis made with 5,000 pieces of thin, chemically-strengthened glass that fracture the light and creates a stunning display.
Also showing in the Satellite was Ini Archibong, who had been commissioned by design label Amen&Amen to create a collection inspired by literature and fantasy called The Secret Garden.
 The COG installation at Spazio Orlandi was designed by Moritz Waldemeyer for watch brand Panerai.
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Product>Don't Forget to Gloss

New developments in technology and updates to customizable options for façade products are allowing for countless ways to make an outstanding first impression. Dekton XGLOSS Cosentino

The XGLOSS series is an incredibly resilient high-gloss surface that is suitable for both interior and facade treatments. Nanotechnology lends Dekton’s new colors their luxuriously shiny finish. The five new color options are available in large format slabs in three different thickness options.

  Translucent Color Portfolio 3Form

3form has expanded its range of translucent color panels to offer 250 options that can be layered with different colors and textures to allow for infinite combinations. The colors can be applied to any of five material options including resin, polycarbonate, glass, recycled acrylic, and recycled resin.

Krion Porcelanosa

This exterior wall cladding system is particularly useful against adverse weather conditions, and the development of advanced fixing systems allows Krion to be used in ventilated facades. In addition, it can be thermoformed to create different curves, shapes, or textures. Krion is 100 percent recyclable, and made of an ecological material that is available in a wide range of colors.


UltraClear Guardian

UltraClear glass offers maximum clarity and color neutrality, making it virtually invisible. Without the green tint of standard glass, UltraClear allows for picture-perfect views. It can be combined with low-e coatings, and is fabricated, laminated, and heat-treated like standard glass.

Trosifol Kuraray

The Diamond White PVB interlayer is a single-layer film that offers the safety of a laminated construction as well as a uniform opaqueness and highly reflective surface. The optical properties are better than that of coated or fritted glass, because the glass does not need to be tempered, which results in less optical distortion.

3Seal JE Berkowitz

Composed of a warm edge spacer, primary PIB seal, and two-part silicone secondary seal, 3Seal is robotically applied to ensure an extremely straight sightline, improve thermal performance, increase condensation resistance, promote sound attenuation, and maximize heat-flow resistance.

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Construction underway on SO-IL–designed UC Davis Art Museum

UC Davis is set to open the Jan Shrem and Maria Manetti Shrem Museum of Art to the public on November 13. After choosing SO-IL to design its on-campus museum in 2013, the school has been hard at work constructing what it envisions as a "hub of creative practice." Working alongside San Francisco-based firm Bohlin Cywinski Jackson and Whiting Turner, the museum features a 50,000-square-foot canopy made from aluminum triangular beams. The canopy is supported by straight and curved glass walls interweaving both open and closed spaces. Its shape, according to SO-IL, represents a "new symbol" for the campus with its natural surroundings of long, green plains making up the sensory landscape of UC Davis. In its designs, SO-IL emphasized the importance of capturing the essence of the California Central Valley. Changes in season and lighting will be reflected from within the museum which will play host to a variety of activities and programs both informal and formal. The inaugural show will feature work from artists Arneson, William T. Wiley, Manuel Neri, Wayne Thiebaud and Ruth Horsting among others. And with the date for its grand opening months away, the Jan Shrem and Maria Manetti Shrem Museum looks set to become a site of interactive and cutting edge learning.
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Rafael de Cárdenas on the facade as an opportunity for identity and seduction

The 2800 sq. ft. flagship store opened ahead of Baccarat's 250 year anniversary.

Architecture at Large, a multi-disciplinary practice working within the architecture, interior, art, and branding fields, recently transformed a blackstone Madison Avenue facade into a flagship store for Baccarat, a French manufacturer of fine crystal renowned for their craftsmanship and innovative designs. The facade draws inspiration from said craftsmanship of the 250-year-old brand. Composed of three-layers of custom frit glass, a large-scale, faceted pattern abstracts the cutting of crystal glass into a super scale pattern.  "One of the most difficult techniques in the cutting of crystal is the diamond cut," says Rafael de Cárdenas, founder of AAL,  "and one of the key attributes that sets Baccarat apart from their competition is the level of intricacy to their cuts." Through various densities of fritting applied to the three layers, ranging in density from 25-75%, a dynamic shifting image is created for passersby and visitors to the building. The Baccarat facade affords limited views of the interior walls, lined with a disorienting blend of dark Macassar ebony wood interspersed with mirrored strips folded into a zig-zagged, corrugated surface. These walls—along with a large centralized chandelier hanging over the entryway—reflect daylight in the space. Cardenas says the sharpness of this feature wall was inspired by the brand itself. “We liked the idea of creating a mystery - of obscuring the interior to create a sense of seduction.” Specific portals utilizing clear glass were framed out on the ground level to establish storefront display zones, and selectively above to reveal the chandelier from the exterior.
  • Facade Manufacturer Pilkington Planar by W&W Glass, LLC
  • Architects Architecture at Large (design architect), Gensler (project architect)
  • Facade Installer W&W Glass
  • Facade Consultants W&W Glass, EBM Engineering (structural engineering)
  • Location New York, NY
  • Date of Completion 2013
  • System point supported structural glass system with custom ceramic fritting
  • Products Pilkington Planar
The retail project was composed of a notably significant project team, pairing two architecture firms with a code consultant, structural engineer, and project manager. The team ultimately influenced the identity of the facade through performative analysis. Fritting pattern densities were adjusted, and ultimately increased during the design process to promote greater heat retention within the interior space, helping to reduce HVAC loads on the building. The existing floor plates of the building were modified to create a large, two-story entrance to the store, resulting in a significantly altered facade opening, infilled with a two-story glass storefront. Through custom frit patterns and layering of material, Cárdenas’ team was able to produce an architectural effect that behaves like crystal itself. “The tradition of having a very holistic identity that has a street presence was definitely honed in Asia,” says Cárdenas, who cites Shiro Kuramata's work with Issey Miyake in the late 1970's as triggering a particularly dynamic retail design culture. "In Asia, all of the brands have their own buildings. Here in New York, on Madison Avenue, the architecture already exists. The facade has no relationship to the interior. With this being said, we were able to create a very strong identity using only glass."
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Ingalill Wahlroos-Ritter shares lessons learned through teaching architecture

For Ingalill Wahlroos-Ritter, associate dean at Woodbury University School of Architecture, director of  WUHO Gallery, and co-founder of [WROAD], architectural practice and education are inextricably intertwined. Wahlroos-Ritter, who joins moderator Alexander Korter (CO Architects) and co-presenters Michael Fox (Cal Poly Pomona), Quinyun Ma (USC), and Neil Denari (UCLA) in a panel on "Facade Education: Preparing Future Practitioners for True Performance" at next month's Facades+ LA conference, first taught at Cornell University after her work as project architect on the Corning Museum of Glass attracted the school's attention. That initial seminar, on the innovative use of glass in building envelopes, helped her carve out a professional niche in the field and also led to an appointment at Yale. At the time, recalled Wahlroos-Ritter, Yale did not offer courses like hers—neither classes on glass, specifically, nor on the intersection of architecture and engineering more generally. "That has changed a lot, [especially] when I think back on when I went to school," she said. The contemporary accreditation process, for one thing, "has elevated the need for systems integration," explained Wahlroos-Ritter. While in the past it had not been unusual for students and faculty from other disciplines to consult on student work, she said, "to rely on engineers to complete a project is new." Her students' relationship to technology like the performance simulation platform Autodesk Ecotect Analysis has also evolved since Wahlroos-Ritter began teaching. "Students are conversant with Ecotect as part of learning BIM," said Wahlroos-Ritter. "That's something I'm seeing more and more in curricula." Meanwhile, students gain hands-on experience in fabrication by building mock-ups of building envelope components. "I think in some ways the academy is leading that part of the conversation," said Wahlroos-Ritter. "Students are learning tools that aren't necessarily part of the trade. Many senior architects don't have the skills these students do." Wahlroos-Ritter relishes her job molding young minds. "For me, one of the exciting moments is the epiphany where students begin to see systems as an intrinsic part of design" rather than something to consider as a postscript, she said. "I talk about Louis Sullivan a lot. He considered the building a living, breathing organism—then everybody forgot about it, of course. I think there's a renewed appreciation for the role building systems can have in the perceptual narrative of a building." Catch up with Wahlroos-Ritter and other facade educators, designers, fabricators, builders, and researchers at Facades+ LA January 28–29. Register today on the conference website.
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Product> Dynamic and Modern Architectural Glass Products

Architectural glass is making a big splash in the A&D industry. Featuring bold colors, creative design patterns, and crystal-clear views, architectural glass is quickly becoming an extremely versatile design material. Willow Glass Corning

This super thin, flexible glass can be rolled onto a traditional flat building material, such as MDF, to create a durable laminate that can be easily cut on-site.

SunGuard SNX 51/23 Guardian  

Designed to offer the most light with the lowest heat, triple silver SunGuard SNX 51/23 is a commercial low-e glass product with visible light transmission at 51 percent and a solar heat gain coefficient at .23 on clear float glass.

View Intelligence 2.0 View Dynamic Glass

The algorithm that controls the tinting process of this dynamic glass system works with advanced weather inputs, enabling it to predict not only the sun’s movement, but also short-term and long-term weather conditions.

Glascene Asahi Glass Company

A combination of glass and screen, this material allows images to be projected onto clear glass without blocking the view beyond. Available in a range of thicknesses and screen sizes of 100-inches and larger, the product can accommodate front- and rear-projection designs.

LightWise Pittsburgh Corning

These glass block units install like traditional windows with built-in nailing fins, so there is no additional assembly required. They provide privacy, security, and light-control while meeting Energy Star requirements.

Corning Med-X McGrory Glass

Architects can design medical X-ray viewing windows with a wider field of vision and improved comfort, thanks to the large 108- by 54-inch size of this glass. Other applications include screens for medical diagnostics, protection windows in laboratories, and airport security X-ray screens.

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Product> Glass Meets Tech: High-performance Architectural Glass

Architects and designers are taking design to the next level by incorporating technology-advanced architectural glass into both residential and commercial projects. From LED glass to sound-absorbing glass, architectural glass and technology are coming together to conceive new and innovative design options. Polymagic LED Glass Polytronix A conductive surface coating allows LED lights to be embedded into these glass panels without wires. The energy-efficient LEDs can be arranged into custom patterns. Available in five colors, the lights can be flashed or dimmed. The product can be laminated with many different glasses, including tempered, low-iron, and printed types. AviProtek Walker Textures It’s been proven that glass with specific visual markers can effectively prevent bird collisions in buildings. This collection of glazing solutions has been designed to meet both bird-friendly criteria as well as the aesthetic intents of architects and solar performance targets. Solarban 90 PPG SOLARBAN 90 glass is a low-emissivity glass that combines industry-leading solar control performance with a true neutral-reflective, clear-glass aesthetic. Solarban 90 glass has a solar heat gain coefficient of 0.23, visible light transmittance of 51 percent, and a light-to-solar-gain ratio of 2.22 with clear glass in a one-inch insulating glass unit. Liquid Crystal Window Technology Merck KGaA Darmstadt Liquid Crystal Window technology enables windows to be switched in seconds from light to dark and vice versa, creating a comfortable interior environment without employing conventional shading solutions. Trosifol Sound Control Kuraray This noise-attenuating PVB acoustic film offers an improvement of up to three dB in sound insulation values. Additionally, it has 88 percent light transmittance and a low yellowness index.
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Product> Glass as Art: Five Decorative Glass Masterpieces

Designers can enhance the look of any interior environment by incorporating expressive and unique decorative glass into the mix. From printed patterns to colorful and bold layers, decorative glass helps transform interior spaces into well-outfitted works of art. Cipher, Overlay, Check Skyline Design The three patterns in this collection are characterized by repeating, layered motifs in colors printed on both sides of the glass. The images can be executed in a variety of techniques, in opaque, translucent, and transparent options, allowing for different degrees of translucency and privacy. Designed by Patricia Urquiola. Alice General Glass Using direct-to-glass printing technology, patterns can be scaled and colored to spec for interior and exterior applications. Alight Pulp Studio Alight is not just a bas-relief glass product, but can be specified as a fully engineered wall system, inclusive of structural steel and other components. Created by Amses Cosma Studio. Expressions Collection Pittsburgh Corning The Expressions Collection enhances the cosmetic appeal of traditional glass block without compromising its functional benefits of security, privacy, light transmission, and fire ratings. A variety of stock images and murals are printed on eight- by eight-inch by four-inch nominal size glass block in the Decora pattern; custom design services are also offered. Wire In Glass Rudy Art Glass A variety of metal meshes are laminated into a range of textured and tinted glass, resulting in an unusually expressive collection.
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Product> Rose-Colored Glasses: Innovative Glass Comes in New Colors and Textures

Decorative glass is making a comeback in a big way thanks to new technologies that take patterns, textures, and colors to the next level. From watercolor prints to trippy, LED illuminated panels and graphic etchings; there are updated options for every room. Painterly Collection 3form Original hand-painted compositions are photographed and encapsulated into the Infinite Glass material. The collection comprises five designs in five complementary colorways. C1 Collection Carvart Taking hand-drawn lines as inspiration, these 12 geometric patterns are available in small and large scales, positive and negative designs, and single- and double-sided etched formats. Designed by Ferreira Design Company. Sizzle Stix Bullseye Glass Thin strips of dichroic glass form an eye-catching accent when set into a field of plain material. Available in two widths. Willow Nathan Allan Glass Studios A kiln-formed patterned glass that is texture-free, Willow is equally sinuous and structured. It is available tempered or laminated, and comes in several tints and colors. Illuminated Art Glass liquidoranges STUDIO These panels are created using two layers of low-iron PPG Starphire glass laminated with a high-resolution artwork interlayer. The edges are polished and the panels are face-mounted to aluminum frames and backlit with dimmable Fawoo Lumisheet LED panels. Isola Murano Glass Soli The rich colors and intricate patterns of authentic, handmade Murano glass can be combined into one-of-a-kind architectural installations.
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Are glass skyscrapers still the way forward?

In the wake of a slew of criticisms on numerous glass skyscrapers' over-reflective properties, some architects and critics are asking if it's time to reassess our view on using glass facades in the future. Contemporary architecture today is at a crossroads: Do we continue to enamor the structures that reach up into the sky in a display of corporate might with reflective sheaths of glass? Take advantage of the new technology that is allowing the sun to power these buildings? Or do we take a step back and re-evaluate our position on the all-glass facade altogether? Fred A. Bernstein of the Architectural Record laments that today the "relentless repetition of glass facades leads to a numbing sameness." "Is that a building?" said a designer to Bernstein , "I thought it was a pavilion for a plexiglass convention." It's no surprise that the person, who was passing by Fumihiko Maki's creation at 51 Astor Place, feels disillusioned. At one end of the spectrum, you have cities like Bath in England where such glass behemoths are nowhere to be found. You are surrounded by the Georgian works of John Palmer, who's Lansdown Crescent, despite its scale, is not overwhelming. At the other end, you have cities like Hong Kong and Shanghai, which are filled with an unprecedented amount of glass high-rise structures, their facades lost in the sky with light bouncing off one another. Where then, do we draw the line? With modern skyscrapers being the architectural product of an ever changing, neo-liberalist, globalization obsessed corporate society, such a line may even be impossible to draw. The case for glass—to pardon the pun—is clear. For companies, having floor to ceiling windows helps break down the stratified hierarchy that was once commonplace in such office buildings by giving all employees, not just the boss, a panoramic view. When used effectively, an elegant glass facade can convey honesty and open-mindedness and even perhaps financial transparency. This may be why the style is so popular amongst financial firms, despite the fact this isn't always the case. Developers are also under pressure to maximize space. Having a thin skin such as glass is an easy solution that enables the architect to sell the building's space as good value for money. Plus, the advancement of photovoltaic cells now means that they can be installed as windows, further advocating the facade style as an economically viable asset. PV company SolarWindow, which specializes in PV-based window solutions claims that when installed on four sides of a 50-story building, 1.3 gigawatt-hours of energy can be generated. Architect Ken Shuttleworth however, has different ideas. Despite being part of the team behind the glass clad Swiss Rae building in London, he has since done a U-turn by stating that he is "rethinking" everything he as done in the last 40 years. Shuttleworth's voice is echoed by many in what is an emerging discourse on the glass structures that run the risk of becoming the scourge of the skyline. "We need to be much more responsible in terms of the way we shade our buildings and the way we thermally think about our buildings," he told the BBC last year. The only thing that appears to be halting the perpetual rise of the glass facade in the United States is a shortage in the material. Failure of the market to produce however, has not stopped developers, who according to WSJ’s Robbie Whelan, have now delved into the glass manufacturing industry. Developer, Related Cos has even gone so far as to take production methods into its own hands—building its own glass factory to create the largest private development in American history. Bruce Beal Jr., Related’s president chose to embark on the endeavor for a handful of skyscrapers and apartments on Manhattan’s West Side as part of the Hudson Yards scheme. Across the Atlantic, the trade association "Glass for Europe" is understandably keen to dismiss the growing concern about the once ubiquitous glass facade and advocate the fact that glass is fully recyclable. Pressure from trade unions isn't enough it seems to sway architecture critic Tom Dyckhoff who, like Shuttleworth, isn't a fan of the glass skyscraper. Speaking to the BBC he said, "as someone who spends their entire life staring at buildings, I am a bit bored by the glass box. They were radical in the 1920s and now they are just cliches, expensive ones at that," he said. "Now we are having to be more thoughtful about how and where we use glass. Maybe architects will become more inventive in how they use windows, instead of plastering them across whole facades." Technological advancements may be the only way this question will truly be answered, but for now, money talks and that appears to be what governs the modern architectural style today.
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Who needs Paris? Chinese copycat culture strikes again with I.M. Pei's Louvre

China is no stranger to unashamedly ripping off landmark Western structures—the country has replicas of the Eiffel Tower and several renditions of the White House. However, this time they have copied one of their own architects, I. M. Pei, with a 1:1 duplicate of the Louvre in a Shijiazhuang theme park. The latest addition to the country's collection of replica Parisian architecture lies among overgrown shrubs and unkempt grass in an obscure amusement park in Hebei province. Perhaps unsurprisingly, it sits adjacent to an ancient Egyptian Sphynx. China has already created "Little Paris" in Yuhang, Hangzhou, Zhejiang (East China), which features more mock-Parisian style architecture replete with Tower de Eiffel (though not the real one, obviously). Is this latest piece of "mockitecture" a tipping point or a simply one of more to come?
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NBBJ's New Orleans hospital embodies resilience

High performance and cultural relevance meet in concrete, metal, and steel mesh envelope.

For the stakeholders involved in building the new Rev. Avery C. Alexander Academic Research Hospital (also known as University Medical Center, or UMC) in downtown New Orleans, the project was about much more than replacing facilities damaged during Hurricane Katrina. "The grander story is the effort to rebuild New Orleans," recalled NBBJ principal Jose Sama. "There was a lot of emotional attachment to the original hospital, Charity Hospital, and also—rightly so—the pride the community has for the character of the city. Everyone wanted to make sure the project was going to be something that was of New Orleans." In a joint venture with Blitch Knevel Architects, NBBJ rose to the challenge with a design that subtly reflects the city's cultural heritage. The building envelope, a combination of precast concrete, metal panels, high performance glazing, and stainless steel mesh, contributed significantly to both the project's aesthetic aspirations and its performance goals. The overarching concept for UMC, explained Sama, was to "create a performance in place." For the architects, "performance" holds a double meaning. "Performance is embedded in [New Orleans] culture, but this is a more high-level sense of performance," said Sama. "Place," in turn, draws on the city's climate and character. "We looked at various clues in the urban environment and how those could affect the design," said Sama, recalling visits to the hospital's Canal Street neighborhood and the French Quarter. Then, of course, there are the environmental threats made all too clear by the Katrina experience. "We completed [the design] with the understanding that we had to create an envelope that could withstand hurricane-force winds and missile impact," said Sama. "That was an important piece of selecting the glass and the curtain wall system." In fact, most of the damage sustained by Charity Hospital was the result of flooding rather than high winds. As a result, the architects faced a mandate to elevate all critical hospital functions above 22 feet. "We envisioned this as a floating hospital," said Sama. "The notion was that the more public zones, the softer spaces like dining, registration, and the lobbies, would occur at the ground level. Then you move up to an elevated plane of critical services. That way they could function regardless of flooding." The building envelope reflects this programmatic move: The first floor of the central campus structure—the diagnostic and treatment center—is wrapped in a transparent curtain wall with a strong emphasis on the horizontal while the upper, critical floors feature a precast concrete facade. The two other project components, the medical office building and the inpatient towers, offer variations on the theme. The former is clad in an insulated metal panel system, the latter in precast concrete, glass, and stainless steel mesh.
  • Facade Manufacturer Harmon (window walls), Centria (metal panels), Cambridge Architectural (metal mesh)
  • Architects NBBJ, Blitch Knevel Architects
  • Facade Installer F.L. Crane & Sons (metal panels, diagnostic building), Crown Corr (metal panels, clinic), Harmon (glazing), River City Erectors (metal mesh)
  • Facade Consultants IBA Consultants
  • Location New Orleans, LA
  • Date of Completion August 2015
  • System precast concrete and metal panels with high performance curtain walls and stainless steel mesh accents
  • Products Harmon window wall systems, Centria insulated metal panels, Cambridge Architectural mesh in Mid-Balance, Scale, and Shade
A number of subtle gestures connect the hospital exterior to New Orleans' history and culture. One thing Sama noticed on his site visits was that "the notion of the garden is important, and the notion of getting outdoors." With that in mind, the architects created a central entry pavilion "designed such that you have a very pronounced sense of entry created by a porch, or a projecting eave—it almost has the effect of a trellis," said Sama. They also created informal gardens wherever possible. The signature garden, nestled between the towers and the diagnostic center, is water-based, and imagines the seating areas as lily pads floating on a pond. "The idea that here in the middle of New Orleans you find a water-intensive garden was really critical," said Sama. The patient towers, too, embody a strong connection to the outdoors via balconies for patients and staff. Metal scrims in Cambridge Architectural's Mid-Balance architectural mesh simultaneously provide aesthetic interest and fall protection. "We studied what we could do with the scrim," said Sama. "We think we picked just the right scale. It's appropriate for someone sitting on the balcony, but also for someone walking by." The mesh panels produce a "soft veil effect," he observed. "In the morning light, it glistens. The intent was to create a memory of Mardi Gras beads, in terms of color and glistening. People will pick up on that different times of day." Cambridge Architectural contributed to several other elements of the project. Mesh fins in the Scale pattern are attached with a custom cable tensioning system to the upper levels of the patient towers, to provide solar shading. On the parking garage portion, designed by Blitz Knevel Architects, 86 panels of Scale mesh again add both visual impact and fall protection without compromising ventilation. On the south elevation of the garage leading to the UMC helipad, a custom-built shade mesh fin system cuts solar gain and glare. Many of the references embedded in the new UMC hospital—the way in which the towers' orientations recall traditional New Orleans shotgun houses, or the connection between the stainless steel mesh and Mardi Gras beads—are so understated as to operate on almost a subliminal level. But like the city itself, the building comes alive at night, finally, and literally, revealing its true colors. "The building from the outside is very neutral," explained Sama. But thanks to accent colors on the inpatient tower stairs, revealed through translucent glass, plus accent lighting on the bulkheads above, after dark the towers shine, he explained. "The whole point was that at night they would glow with color from within."