At first glance, the glass-observation boxes that jut out of the Willis Tower’s 103rd floor don’t look all that safe—and that is exactly the point. The SOM-designed attraction, known as the Ledge, opened in 2009 and offers “thrill seekers,” “death defiers,” and “people who can wait in a really long line” the chance to step outside of the iconic skyscraper and look straight down at the streets of Chicago, 1,353-feet below. The floor of the suspended structure is comprised of 1.5-inch laminated glass panels, which can hold 10,000 pounds and withstand four tons of pressure. So, the danger is all imagined, right? Well, it certainly didn't feel that way for a California family who visited last night. When Alejandro Garibay and some of his family members stepped onto one of the boxes, they noticed cracks on the glass floor, which, remember, is suspended 1,353 feet above ground. Garibay, told NBC 5 Chicago that it was a "crazy feeling and experience." You don't say! According to Bill Utter, a spokesperson for the Willis Tower, there was nothing to fear. He told the Chicago Sun Times that it was only the coating that cracked and that the structural integrity of the Ledge was not impacted. “Occasionally this happens, but that’s because we designed it this way,” he told the paper. “Whatever happened last night is a result of the protective coating doing what it’s designed to.” NBC 5 Chicago reports that the Ledge is closed today for what an official calls a "routine inspection."
Posts tagged with "Glass":
Whether concealed or out in the open, hinges, handles, and railings enhance both the safety and aesthetics of the well-considered interior. Here's a selective survey of hardware culled from the AN files. GKD Metal Fabrics Futura 3110 This stainless steel metal mesh is ideal for interior and exterior applications, such as balustrades, screens, and space dividers. Woven for flexibility in one direction, the product weighs just less than 2 pounds-per-square-foot and is 0.37 inches thick. Its 65 percent open area makes it ideal for sun shading applications. CARVART Railings Hardware A unique system of concealed fasteners for various applications—from top mounted to countersunk point fittings—is designed to support CARVART’s glass offerings. Rigid and durable stainless steel, bronze, and aluminum elements can be customized with satin or brushed finishes, powder coatings, or oil rubs. Assa Abloy IN120 Wi-Fi Lock Corbin Russwin and SARGENT brands’ wireless electronic lock can interface with existing IT systems and a range of access control systems. Customizable from a kit of parts, the lock includes features to facilitate operation regardless of network status, and privacy and lockdown modes for both cylindrical and mortise lock designs. Sun Valley Bronze Novus Collection Sun Valley Bronze’s Novus Collection of mortise-lock entry sets features a slim, 2-inch faceplate with no visible hub, a square key cover, and the company’s modern Elle lever. Its white bronze construction boasts 93 percent pre-consumer recycled copper, manganese, nickel, and zinc elements for a nickel hue. Dorma Tensor Hinge Tensor features a self closing, double acting hinge that is suitable for a variety of door designs and sizes up to 143 pounds. When doors open to 90 degrees, Tensor’s inlay is engineered to protect the technical core and function as a mechanical stop. Hawa Concepta 25/30/50 A uniquely engineered pivot-slide hardware system facilitates bi-folding glass and wood pocket doors as wide as 9 feet. Guiding tracks produce gaps of 20 mm from floor to door, and 40 mm from door to ceiling. Doors are flush with the wall when closed. An aluminum fascia conceals hinges when open doors are tucked into the cabinet. Omnia 721 Modern Door Pull A solid, brushed stainless steel 20-mm rod (above) is the defining component of Omnia’s 721 Modern Door Pull. Two lengths—15¾ inches and 31½ inches—affix seamlessly to notched supports that attach directly to the door. It can be installed as a single door pull or doubled up back-to-back. Krown Lab Ring Pull Constructed from solid stainless steel with a radial brushed finish, the Ring Pull is suitable for wood and glass doors. Measuring up to 3 ¼-inches in diameter, open and closed variations can be specified in natural brushed metal and black stainless. The open style features an interior rubber lining for user comfort.
Dutch firm MVRDV is creating a new office building in Hong Kong, and by the looks of the renderings, people will be really happy to work there. The project actually entails the transformation of the Cheung Fai Warehouse, a 14-story industrial building that currently sits on a busy corner in the city's designated business area of East Kowloon. MVRDV will be stripping the structure to its concrete infrastructural core before filling the frame with glass and stainless steel in order to define the new office spaces. Glass dominates the exterior as well, as large sheets are inserted into the white concrete frame of the structure. The largely clear facade is punctuated by small explosions of greenery, which spills out of select rectangular sections. The rooftop has been set aside for a terrace meant to serve as a communal gathering space. The glass spills over into the interior, bringing with it large amounts of light and also meaning that the building's concrete skeleton is readily visible throughout the offices and circulation areas. The Cheung Fai building is MVRDV's first foray into Hong Kong. In addition to 37 office units, the structure is also slated to house retail space and restaurants. At its rear the site faces a disused service alley that the firm hopes to one day convert into usable public space in keeping with the development of the surrounding area. The transformation is scheduled to be completed by 2015.
A renovation and addition bring an historic church complex into the 21st century.The Diocese of Toronto approached architectsAlliance (aA) about renovating the St. James Cathedral Centre with two objectives in mind. On a practical level, they wanted more space for the cathedral’s outreach program and the Diocesan archives, as well as quarters for the Dean of the Cathedral and visitors. At the same time, the Anglican leadership wanted to make a statement about the Church’s relevance to contemporary Canadian society. “The idea of the addition was to convey an image of the Church itself as a kind of more open institution, much more transparent and contemporary,” said aA’s Rob Cadeau. “[It was] really driven by the dean, who wanted to refresh the image of the Church.”The architects designed the addition to the Parish Hall as a glass cube. “There’s a lot of use of glass, both as a contemporary material, but also to convey that idea of transparency, for the symbolism of the project,” said Cadeau. At the same time, the see-through extension “defers to the old building. It doesn’t take away from the presence of the old building as opposed to solid masonry construction.” The upper stories of the stick system curtain wall are wrapped in a floating sunscreen comprising repeating bands of laminated glass. “It was very important to the church that there be a sort of green aspect to the design in the way it’s conceived and constructed,” said Cadeau. “So the sunscreen was designed as a passive means of providing shading.” To maximize shading during the summer and solar gain during the winter, aA ran the sunscreen design through shadow analysis testing in ArchiCAD. They worked with Stouffville Glass to engineer both the sunscreen and the curtain wall. The sunscreen hangs on a vertical system of stainless steel brackets anchored to the HSS beams surrounding the slab edge of the second and third floors. The glass panels’ interlayer is printed with a linear pattern recalling the original building’s narrow button bars. “The idea of the lines within the sunscreen was to create a finer grain of detail on the glass,” explained Cadeau. The curtain wall itself is built of Solarban 60 glass. “It still provides the U value we wanted, but we didn’t want too much reflectivity because it’s a fairly small building,” said Cadeau. The firm also improved the thermal performance of the original Parish Hall building, which opened in 1910. With help from a building envelope consultant, they ran a thermal analysis of the structure to determine how much spray foam insulation to insert between the masonry wall and a new stud wall. The goal was to boost insulation while allowing some heat transfer. “That’s very important in heritage upgrades,” said Cadeau. “[T]he mistake you can make is over-insulating. Masonry walls rely in some sense of heat loss so that the water [trapped inside] never freezes. If the water absorbed in the brick freezes it will start to crack the brick.” The new St. James Cathedral Centre unites a previously disconnected cluster of buildings across an enclosed courtyard. In that way, aA suggests, the glass addition functions as a contemporary cloister. “In a larger, urban planning sense [the objective] was to complete the ensemble of buildings, create more of a connection between the buildings as a whole,” said Cadeau.
The Wilshire Grand, a 73-story tower under construction in downtown Los Angeles, hasn’t yet risen out of the ground, but it’s already in the Guinness Book of World Records. That’s thanks to a February 15–16 event promoters called the Grand Pour, in which construction crews poured 21,200 cubic yards (82 million pounds) of concrete in 18 hours—the largest continuous concrete pour in history. Why all the fuss? The idea for the event originated with AC Martin's design itself. Unlike most of Los Angeles’ other high rises, the Wilshire Grand will be built around a concrete core rather than a steel frame. “As we worked through all of those things,...[AC Martin CEO Christopher Martin] realized this was going to be an absolutely huge technical event. It involves a lot of coordination and almost theater in terms of getting [the trucks in and out],” said design principal David Martin. “Then everybody really got behind that [and said], ‘let’s get a marching band and have a parade with the concrete.’” “There was really a buzz downtown about the whole thing,” added project manager Tammy Jow. The parade included 100 members of the USC marching band, representatives of the building’s owners, Korean Airlines, and, of course, the concrete trucks. “Whenever you have the Trojan marching band there you can’t go wrong, they’re all about the party,” said Jow. “What was really incredible [was that] as it got dark there were these huge spotlights, and it almost looked like a stage set,” said Martin. “So we were all having this huge party in the plaza next door, and these big trucks would go through the background.” The Grand Pour was only the beginning of the Wilshire Grand story. “I think what comes next is even more exciting,” said Jow. “Now that the mat is successfully in place we’re going to start seeing vertical.” At 1,100 feet in height, the $1.1 billion building is projected to be the tallest skyscraper west of the Mississippi River. Its office and hotel floors will be covered in floor-to-ceiling glass, another feature that sets it apart from its granite-clad neighbors. For the skyscraper’s crowning sail, as well as on portions of the east and west facades, AC Martin will use an ultra-clear, low-reflectivity glass. On the north and south sides, a radiant coating will boost performance and give the facade a more mirror-like aspect. The designers experimented with new coating technologies to ensure that hotel guests will be able to see out at night without glare from interior lights. The building’s other highlights include its unusual roofline, which was made possible by negotiations with the fire department regarding helipad requirements. “That allowed this building to be different, and hopefully will leave a legacy so that buildings can get back to being more interesting,” said Martin. The designers also worked to maximize the connection to the outdoors, and to tailor the mechanical systems to Los Angeles’ hospitable environment. Finally, the Wilshire Grand prioritizes urban design. “The lower parts of the building reach out and really embrace the city,” said Martin. “There’s a lot of ballrooms and big windows and terraces that reach out to the city.” For Jow, one of the best parts of working on the Wilshire Grand has been the people involved. “We were able to create a team in our office of fresh talent out of school, with skills some of us older people couldn’t dream of.” She pointed to the design of the tower podium, which was generated parametrically using Rhino and Grasshopper. The younger architects’ digital prowess meshed well with the older designers’ experience in construction, said Jow. “We’re able to work together and rationalize forms to make it affordable and buildable.”
The glass, stone, and metal exterior of the Hatfield-Dowlin Complex evokes the strength and agility of a college athlete.The superhero and the Samurai. That’s where Zimmer Gunsul Frasca Architects (ZGF) began their design of the Hatfield-Dowlin Complex at the University of Oregon. The football player, the architects imagined, is like Batman: stealthy and strong, he came to his powers not by supernatural accident, but through relentless training. At the same time, the athlete is a highly skilled warrior, the modern-day equivalent of Japanese military nobility. The facade of the new football training facility materializes these ideas in glass, stone, and metal. Dominated by horizontal expanses of tinted glass, it is powerful but not foreboding. ZGF offers the analogy to a suit of armor: the building’s skin balances protection and connection, solidity and agility. The most direct expression of the armor metaphor is on the Hatfield-Dowlin Complex’s west exterior. In Eugene, the real solar challenge comes not from the south, but from the west, where the sun hovers near the horizon for long periods all winter long. To minimize glare, the designers placed a floating sunscreen across the western face of the building. Using elevation studies and interior models, they determined the optimal placement of a series of tinted glass panels held in an aluminum frame developed by Benson Industries. The result is seemingly random arrangement of overlapping rectangles, which ZGF’s Bob Snyder likened to scales on a Samurai’s costume. On the other three sides of the building, ZGF installed a curtain wall of fritted, triple-pane insulated glass units supplied by SYP. The frit pattern was inspired by the nearby John E. Jacqua Academic Center for Student Athletes, which ZGF also designed. The Jacqua’s facade comprises two layers of glass, five feet apart with a stainless steel wire screen in between. At the Hatfield-Dowlin Complex, the designers achieved a similar texture on a single layer of glass. “We saw that as a microcosm of the five-foot wall [at Jacqua],” said Snyder. The frit pattern was developed to be visible from both outside and inside the building, and to suggest movement as one passes along the facade. The final components of the Hatfield-Dowlin Complex exterior are stone and metal cladding. ZGF chose granite and basalt from Western Tile & Marble, which was treated with water jets for a striated texture. The designers used stone primarily on the first three floors of the building. “We established that as the stone zone, we wanted the weight of that material, the high durability of that material down low where folks would come into contact [with it],” said Snyder. Above, the stone transitions to aluminum panels for a lighter feel. “We worked with [Streimer Sheet Metal Works] to get the tightest radius we could get on the ribs of the metal panel,” explained Snyder. “We really struggled with that material [to make it] as fine as the stone, so it didn’t look like you were wearing tennis shoes with your tuxedo.” Plate-steel fins at the mouth of the parking garage and near the entrance sidewalk suggest the hard back of a dinosaur—yet another reference to armor. For Snyder, the combination of materials on the building’s facade achieve a balance between groundedness and ambition. Like the athletes inside it, the Hatfield-Dowlin Complex remains tied to the earth even as it appears to float above it. “The idea is that to be really good at football, you need to be right on the edge,” said Snyder.
As the buzzword "transparency" gains greater meaning in product specification, glass is an energy-saving, sustainable, and aesthetically pleasing option. Strand 3form 3form’s Pressed Glass is newly available in the Strand pattern (above), a compressed interlayer of fine gauge threads in three monochromatic colorways. It can be further customized through color matching, etching, and fritting options. Available in widths as large as 48 inches and lengths of 120 inches, it can be specified in either a 5/16-inch or 1 5/16-inch gauge thickness. Its inherent strength meets ANSI Z97.1 standards. DF-PA Dichroic Film 3M Architectural Markets 3M’s Dichroic films can be applied to any smooth surface with a pressure sensitive adhesive; the DF-PA is recommended for glass applications. Two color values—Chill and Blaze—span color ranges from blue to magenta to gold, in either a fully covered opacity, or as a decorative graphic. Durability complies with interior and exterior use, and the film can be easily removed from architectural screens, window fronts, curtain walls, or glazing when it is time for an update. Railings and Floors CARVART This structural laminated glass can be safely specified for floors and railings. Flooring can be installed as a freestanding finish or incorporated into another system with specially engineered mounting hardware, and stair treads can appear to “float” or integrate into stringers. For railings, top and side mounting options can be affixed to most structures, or can be suspended from coordinating adjustable point fittings. Railing caps are available in round, oval, or square profiles. Alice General Glass Digital printing directly to glass provides customization options as broad as the imagination of the architect or designer. Bespoke patterns or imagery can be specified, in addition to a selection of bright and monochromatic colors and patterns for glazing, curtain walls, or interior applications. Fully opaque backing is also available, enhancing the contrast and crispness of any printed design. SunGuard Super Neutral 68 Triple Glaze Guardian Industries Guardian SunGuard SuperNeutral 68 glazing offers improved solar control and abundant natural light. The Valley View project shown here uses SunGuard SN 68 triple glaze, providing a visible light transmission of 52 percent and a solar heat gain coefficient of 0.32. SunGuard SN 68 can also be laminated for noise reduction and hurricane protection. KnollTextiles Glass Collection Skyline Design Seven designs from KnollTextiles are rendered on glass through two production techniques: Eco-etch achieves varying levels of opacity, and AST Digital Glass Printing introduces color to partial transparency. These options provide for customization of classic patterns like Divine and Enchantment, designed by Dorothy Cosonas, or the mid-century Cyclone and Fibra, designed by Eszter Haraszty. Liquidkristal Lasvit Designed by Ross Lovegrove, Liquidkristal was inspired by dynamic forms found in nature. The design was first modeled digitally to simulate thermo induction, which can imbue the qualities of water to glass under very high temperatures. A large-scale mold system was formed from the study’s results, to produce multiple pattern variations over multiple sheets. In addition to interior applications, Liquidkristal is also suitable for glazing and facades. Olivia Joel Berman Glass Studios The circular, three-dimensional pattern of Olivia is enhanced with subtle reflectivity to inflect motion into any space. Back painting options are available in a range of colors on panels measuring 53 by 108 inches. Produced for interior applications, it can be tempered for safety and impact resistance on exteriors as well. ClearShade Glazing Unit Panelite A honeycomb-like insert fits between two sheets of glass and redirects up to 70 percent of natural light, reducing solar glare and heat gain for midday-SHGC measurements as low as 0.11. The cellular configuration is made from a durable but transparent polymer that is resistant to UV rays. The product’s bi-directional scattering distribution capabilities are compatible with Radiance, Energy Plus, and SketchUp modeling programs. Sungate 600 PPG This double-glazed insulated glass unit boasts an efficient configuration tailored to the region of application. In climates where heat gain is optimal, coating on the Number 3 surface blocks heat loss for a U-value of 0.33, while maintaining a 0.65 SHGC and visible light transmittance of 71 percent. For higher insulation values, the Sungate 600 coating can be placed on the Number 4 surface when combined with a solar control low-e glass, for a net gain in U-value of 20 percent. SageGlass Simplicity Sage Electrochromics This electronically tintable glazing is available in a solar-powered, wireless format. In lieu of low-voltage wired connections, a strip of solar photovoltaics interfaces with a low-profile electronic controller and battery pack that can provide power for up to two days without a charge. The wireless system also configures with light and building management programs from Siemens, Lutron, Schneider, and Johnson Controls. Bistro Green Vetrazzo Vetrazzo, the recycled glass division of Polycor, has been diverting glass from the waste stream since 1996. The surfacing material uses consumer beverage containers, waste from glass manufacturers, building demolition, traffic light lenses, windshields, shower doors, and more. It takes nearly 1,000 bottles to make one 5- by 9-foot panel that is 85 percent glass by volume and bound with Portland Cement. Sixteen of Vetrazzo’s product lines are Cradle to Cradle certified. Dynamic Glass View Glass Insulated glass units as large as 5 feet by 10 feet feature programmable electrochromic levels of 60, 40, 20, and 4 percent tinting with user controls from a smart device app to reduce heating and cooling loads, electric lighting, and solar glare. An intelligent setting can be programmed for sensory occupancy to optimize energy usage as well as user comfort. All four tint levels can be achieved in one unit, with adjustment times akin to the passing of a cloud overhead.
You asked, and we extended the Early Bird Special Registration pricing for the Chicago edition of the Facades+ PERFORMANCE conference an extra five days! But act fast, as the discount ends today at midnight for good. Discover the latest high performance building technologies that are revolutionizing the next generation of facades at Facades+ PERFORMANCE! Join AN and Enclos as we present the latest installment of our groundbreaking conference series October 24th-25th at the Mies van der Rohe designed Illinois Institute of Technology campus in Chicago. Be there as leading innovators from across the AEC industries gather to share the cutting-edge strategies and technologies that are redefining performance. Expand your career with our exciting series of symposia, panels, and workshops, and work side-by-side with the industry’s leading professionals. Register before midnight tonight to catch our Early Bird special and save on this incredible opportunity. Space is limited, so act fast! Join our Materials Panel on day one of the conference to learn how to apply the hottest breakthrough materials technologies to your next project. For a preview of the discussion to come, check out this exciting white paper provided by Facades Plus panelist and VP of Sage Glass, Dr. Helen Sanders, in which she explains the cutting-edge technologies and sustainable applications of dynamic electrochromatic glazing. With representatives from SOM, GKD Metal Fabrics, and YKK-AP, this panel is not to be missed. Head over to the full Facades+ PERFORMANCE site to view our highly anticipated roster of presenters and explore the thrilling schedule of workshops, panels and symposia. See you in Chicago!
On September 11th, the Architects Forum Glass+Performance in Atlanta, Georgia presents some of the biggest names in architecture for a symposium of diverse programs, esteemed speakers, and informative dialogues, all in the name of glass. As part of GlassBuild America: The Glass, Window & Door Exposition, The Architect’s Newspaper and Glass Magazine have teamed up to develop a spectacular lineup addressing the multiplicity of uses of architectural and decorative glass. Registration allows attendees access to the exciting events of the day, including a keynote address by architect Neil M. Denari, as well as entrance to the three day GlassBuild America Trade Show Floor and five Continuing Education Units from the American Institute of Architects. With a diverse program featuring Emil Hoogendoorn of John Moriarty & Associates, Philip Vourvoulis of Triview Glass Industries, Peter Arbour of seele, and similarly esteemed designers, architects, and innovators within the high-performance glass construction and design industry, this exciting event will draw professionals and experts for a forum of concentrated thought and experience. Throughout the day-long symposium, the Architects Forum Glass+Performance provides opportunities for networking and dialogue, and attendees may continue these engagements with those in demo of cutting-edge technologies on the GlassBuild America trade room floor. Lunch is provided and conversation is encouraged. Topics in presentation include: · Architectural Glass Materials Panel · Functional Appeal and Aesthetic Challenges of Glass Design for Today's Building Facades · Structural Glass: Ancient Material Modern Treatment · The Biggest Glass in Miami Dade County: Construction of the Miami Art Museum Facades Register today for a value offer and join the conversation in glass. See the complete September 11th tentative schedule here.
AN’s distinctive Facades+PERFORMANCE conference in Chicago provides participants the exclusive opportunity to engage in in-depth dialogue with frontrunners in the architecture, fabrication, and engineering industries. On October 25th at the Illinois Institute of Technology, workshop leaders such as Sophie Pennetier, Project Engineer at SHoP, will lead intimate discussions conducive to innovation and creative problem-solving. Topics including bent glass, designing for wood fabrication in complex geometries, and integrating performance are on the lineup. Leading a discussion focused on new and existing methods for designing and using cold formed, heat molded, or otherwise double-curved glass, Pennetier, along with Beatriz Fernandez of Cricursa and Franklin Lancaster of Eckersley O’Callaghan, will present real-world case studies. A structural engineer with five years of experience in design, detailing, and construction in complex structures, she specializes in non-conventional structures and envelope systems. Before joining SHoP Construction this year where she has worked on modular construction projects, she worked as a structural engineer at Guy Nordenson and Associates (GNA) in New York, and prior to that as a structural engineer at RFR Consulting in Paris, where she contributed to groundbreaking UHPC curtain wall system development with the Liquid Wall project. As a member of the ASCE-AEI Curtain Wall Committee and the ASTM Committee E06 on Performance of Buildings, she contributes to the development of US structural glass standards. Pennetier has earned a Masters in Mechanics of Materials and Structures at Polytechnic School EPF in Paris and a Bachelor of Science in Mechanical Engineering at Polytechnic School in Montreal.
For thousands of years, it has been widely acknowledged that glass is not only a compelling material, but is unbreakable in compression. More recently, glass as an innovative facade technology has steadily surfaced, propelled mainly by prominent international building designers pursuing transparency in building facades. At The Architects Forum Glass+Performance on September 11 at the GlassBuild America expo in Atlanta, Michael Ludvik of M. Ludvik Engineering will present about structural glass in a session titled Structural Glass: Ancient Material Modern Treatment. To explore glass as an appealing facade material, Ludvik will provide project examples including the TKTS Booth at Times Square, the Canopies at the Lincoln Center, and the Sky Dive Dubai wind tunnels. The work is characterized by an architecturally sensitive first principles approach. Ludvik is a structural engineer who gives particular attention to structural glass. Since graduating from the University of Sydney with a BE in Civil Engineering, he has worked as an engineer at notable firms such as Arup, Hardesty & Hanover, and Dewhurst Macfarlane & Partners. His Brooklyn-based firm M. Ludvik & Co. offers structural, glass, and facade engineering services for both architects and contractors. Register here to hear Ludvik speak about structural glass at Glass+Performance on September 11, 2013!
Earlier this year, AN assembled a list of the most prominent projects rising in Miami. One of the developments, the Herzog & de Meuron–designed Pérez Art Museum (PAMM, formerly the Miami Art Museum), is nearing completion and is scheduled to open to the public by the end of the year. At The Architects Forum Glass+Performance on September 11th in Atlanta, key participants, including Peter Arbour of seele, Vinu Abraham of Architectural Testing, and Emil Hoogendoorn of John Moriarty & Associates will present on the ambitious design and construction process of the Miami Art Museum facade, calling the endeavor The Biggest Glass in Miami Dade County. Positioned on Museum Park overlooking Biscayne Bay, upon what has been declared the Magic City’s “last big piece of public land downtown,” the new museum’s concrete and glass structure gestures to Stiltsville, a vernacular 1930s form of architecture built on the bay. Various column-free exhibition galleries within the 200,000-square-foot, three-story building accommodate works of differing scales. The museum contains an educational complex, auditorium, and digital workspaces, along with a restaurant and store. Shaded by a canopy, the museum is situated on an elevated plinth open to a landscaped veranda and plazas. The Architects Forum is hosting a session at GlassBuild America filled with short presentations of the design, prototype testing, and construction of the museum's state-of-the-art facade. Arbour, Abraham, and Hoogendoorn will explain the multifaceted and impressive process, focusing on the use of glass as a facade material. A panel discussion and audience Q+A will take place after the presentation. Register to learn about the process behind the Pérez Art Museum's glass facades and discover more information about Session 3: The Biggest Glass in Miami Dade County: Construction of the Miami Art Museum Facades.