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.
Posts tagged with "Glass":
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.
Glass-clad, cable-net structures are one of today's leading forms of high-transparency facade technology. Since 2009, Enclos has been an authority in the design, engineering, fabrication, and assembly of custom curtain wall systems and structural glass facades. The company has published a number of reports about building skin systems. Volume 1: Skylights of the Facade TecNotes Series focuses on glass in overhead applications and the unique opportunities it brings. On September 11th, Enclos’ Mic Patterson will join AN to discuss glass facades at GlassBuild America: The Architects Forum in Atlanta. Mr. Patterson will share several examples that show how optimal transparency and aesthetic elegance can work together. He will discuss projects such as 51 Louisiana in Washington, D.C., two existing buildings that have been joined by a glass-clad atrium, and Station Place: Security & Exchange Commission Headquarters, also in Washington, D.C., which consists of a 55-foot-long and 60-foot-wide skylight. Mr. Patterson has lectured internationally on various aspects of advanced facade technology and is the author of Structural Glass Facades and Enclosures.
Join AN, in collaboration with Glass Magazine, at the Georgia World Congress Center in Atlanta on September 11 for The Architect's Forum Glass+Performance, an exciting symposium featuring keynote speaker Neil M. Denari. In addition to lunch and three-day access to the GlassBuild America trade show floor, the gathering place for North American glass, window, and door industries, attendees will have the opportunity to learn from Denari, who has taught at UCLA, Columbia, the Bartlett, UC Berkeley, Princeton, and Harvard GSD, and is the author of two bestselling books, Interrupted Projections (1996) and Gyroscopic Horizons (1999). Symposium keynote Neil Denari earned his B.Arch. at the University of Houston and his M.Arch. from Harvard University. Upon graduation, Denari worked as a technical intern in Paris for Aerospatiale Helicoptres (now Airbus). Denari relocated to New York in 1983 where he worked as a senior designer at James Stewart Polshek and Partners (now Ennead Architects), presented his speculative work at many museums, and was the youngest member of 40 Architects Under 40 in 1986. Since then, Denari has led a noteworthy career as an educator and is a tenured Professor in the Architecture and Urban Design Department at UCLA. He has also amassed a lengthy list of awards: in 2002, he received the Richard Recchia Award and the Samuel F.B. Morse Medal for architecture from the National Academy of Design in New York. In 2008, he received an Academy Award from the American Academy of Arts and Letters. Then, in 2009, he received a Fellowship from the United States Artists organization. Two years later, Denari earned Los Angeles AIA’s Gold Medal, the highest honor for an individual architect. His firm Neil M. Denari Architects is based in Los Angeles. A registered architect in New York and California and member of the American Institute of Architects, his position as featured keynote at The Architects Forum will make for an exceptionally educational Glass+Performance symposium.
Live At Glassbuild Architects Forum: Experts Talk Engineering Big Glass For Herzog & de Meuron's Miami Art Museum
There are many reasons not to miss the new Architects Forum at Glassbuild this year. For one, Neil Denari will be giving the keynote speech. For two, members of the project team will be giving a presentation on the design, prototype testing, and construction of the facade of Herzog & de Meuron's new Miami Art Museum. This unique building features integrated plantings, multiple micro climates, and some of the biggest expanses of glass in all of Miami Dade County. The presentation will be led by Peter Arbour, a facade designer with a Master of Architecture from Yale University who currently works in the New York office of German facade builder seele. Peter has worked for Israel Berger and Associates, Dewhurst Macfarlane and Partners and RFR Consulting Engineers in Paris. Peter’s project works include 40 Bond Street, with Herzog & de Meuron; the Times Square TKTS booth in with Nick Leahy; the Tour Phare, Paris, with Morphosis; the Grand Museum of Egypt, with Heneghan Peng Architects; and the Broad Museum with Diller Scofidio + Renfro. Peter is the designer and patent holder of the Liquid Wall curtain wall system.
From floor to ceiling, and all planes in between, these interior surfacing solutions are durable and work across a variety of applications. I Frammenti Brix This micro mosaic of 2,304, 5-millimeter-square ceramic blocks on a 12- by 12-inch sheet of fine mesh provides a full range of flexibility, perfect for finishing curved or irregular walls. Available in both glossy and matte treatments, I Frammenti comes in mixed colors of sand, gray, and black; blue, white, and azure; white, gray, and black; white, sand, and black; and blue, gray, and azure. DI-NOC 3M Architectural Markets The color and texture of a naturally unwieldy material can be applied to irregular or gravity-defying surfaces with an 8-millimeter architectural vinyl film from 3M (above). The lightweight material comes in rolls for a smooth application and can be heat-stretched over corners and sharp edges for a monolithic look. It comes in more than 500 patterns and textures, thanks to a combination of digital printing and embossing techniques. Pyne Arborite A bold, graphic faux bois is rendered on high-pressure laminate for Pyne, one of three patterns in the INK series. Designed by Giona Maiarelli, the pattern is a wink to his Italian view of 1960s America, refined by years of graphic work for the likes of Milton Glaser and Harper’s Bazaar. The product comes in 4- by 8-foot panels and is available in inverse combinations of Purple and Orange. Biobased Xorel Carnegie Seven years of research went into reimagining the Xorel line of wall coverings and upholstery fabric—traditionally a petroleum-based product—in sugar cane. The U.S. government grants a bio-based label to any product with at least 25 percent biomaterial, but Xorel is composed of between 60 and 80 percent sugar. Ninety-one colors are available in three existing and three new patterns. SilentMesh GKD Metal Fabrics GKD has developed a ceiling solution from its line of metal fabrics. The multi-layered system features a lightweight aluminum honeycomb core that is stable, sound absorbing, and maintains strong architectural edges and finishing details. While large-format panels are compatible with the drop ceiling framework prevalent in North America, it also comes with a custom T-grid suspension system for clean, flush seams that conceal traditional joints. Deconstructed Patcraft Deconstructed embraces the foundation of carpet. It integrates the backing of either a modular or broadloom format into the face of the floor covering. Monochromatic thread fibers at varying heights are variegated by exposing the matrix pad for pops of color and texture. The product is material efficient, lightweight, and soft. All components are 100 percent recyclable and Cradle-to-Cradle certified. Krion Porcelanosa Aluminum trihydride and highly resistant resins form an antibacterial and durable surfacing material that is highly resistant to UV radiation, fire damage, staining, and extreme environmental exposure. It can be cut similar to wood or marble, scored for dramatic backlighting, and thermoformed for seamless corners and irregular shapes. Warm to the touch, Krion is available in nearly 50 colors and styles, including a white that boasts more than 99.8 percent purity. Maglia Pulp Studio To achieve a smoother surface than traditional woven metal materials with additional sound-blocking capabilities, Pulp Studio developed Maglia, a laminated glass sheet embedded with architectural mesh for interior applications. Low-iron glass highlights metallic details in both annealed and tempered formats while complying with Category I and II of the Consumer Product Safety Commission standards. Any of Pulp Studio’s meshes are available and custom weaves can also be specified.
Follow the Architecture Chicago Plus blog as Lynn Becker raises an eyebrow at the new sculpture that quietly popped up in the lobby of downtown Chicago’s celebrated Inland Steel Building. The 1957 SOM icon seems to have acquired a consortium of ice hunks, courtesy Frank Gehry. Ostensibly a formal counterpoint to the elegant energy of Richard Lippold’s Radiant I, the original lobby art, Gehry’s glass agglomeration (fabricated by the John Lewis Glass Studio of Oakland, California) frames Radiant I and responds to its angularity with carved blobs. It’s admittedly atypical in the setting of the modernist masterpiece, but doesn’t overpower the space or the original artwork.
[beforeafter] [/beforeafter] The perforated aluminum skin would replace the previously proposed glass facade. (Courtesy TJPA) It looks like Pelli Clarke Pelli's Transbay Transit Center, which stretches about three blocks through the city's Rincon Hill neighborhood, might go ahead with its first major piece of value engineering. According to the San Francisco Chronicle, the architects have suggested that the building's undulating glass skin become perforated aluminum. The move would meet federal safety guidelines and chop $17 million from the estimated $1.59 billion budget for the center's first phase. The Transbay Joint Powers Authority (TJPA) board will be asked to approve the change at its March 25 meeting. The structure is not expected to be complete before 2017. [beforeafter] [/beforeafter] "This is a dramatic change in material, but the philosophical change is not enormous," said Fred Clarke of the firm Pelli Clarke Pelli, who said the terminal would still feel light, not heavy. Chronicle critic John King warned that the move "could make the transit center less of a sinuous, snaking form—and more of a drab block—as it spans First and Fremont streets." On Pelli's side, Clarke argued that the wrapping would still be transparent. Of course he admitted: "Architects who do this kind of building must be very, very pragmatic."
You've got to have one. A facade, that is. So AN rounded up five leading glass and metal facade systems whose value is more than skin deep. For instance, Kalzip's FC Rainscreen, used on New Orleans' Superdome. These aluminum panels form a non-penetrative facade system that can be installed in two directions, from top to bottom or from the bottom up. Individual sheets can be removed and installed independently of the rest of the assembly. The system's quick, cost-effective installation procedure won it the job of renovating the Superdome in Louisiana in the wake of Hurricane Katrina. STILLA JOEL BERMAN GLASS STUDIO These three-dimensional kiln-cast glass panels are available in a low-iron version, which virtually eliminates the green cast inherent in clear float glass. They can also be tempered for safety and impact resistance for exterior applications. The panels can be installed with the studio's newly expanded line of hardware, which has been designed specifically for this glass product. OMBRA PULP STUDIO A wire mesh core surrounded by tempered glass obscures angled light, yet appears transparent when viewed head-on, allowing more daylight to enter a building in the morning and late afternoon when the sun is low on the horizon. It can filter up to 50 percent of transmitted light without tinting or special coating, and also acts as a moisture-resistant sound barrier with an STC rating of up to 49. REYNBOND ACM ALCOA REYNOBOND This lightweight Aluminum Composite Material (ACM) is as durable as it is pliable. It comes in interlocking panels that can be folded or curved while still retaining its shape, making it an ideal choice for challenging facades. Designers can choose among a variety of colors and also have the option of selecting a fire-retardant mineral core. YES 45 TU YKK This expansion to YKK's popular storefront system allows it to handle front-set glass applications, improving thermal performance and allowing for either interior or exterior glazing. The patented Thermabond Plus process creates a thermally broken system that reduces heat flow through the frame, saving energy and providing architects and designers with greater flexibility.
Financial giant Goldman Sachs has received lots of attention recently for its headquarters at 200 West St. New York Times architecture critic Michael Kimmelman waxed poetic about the building’s glass canopy by Preston Scott Cohen. The canopy, said Kimmelman, “elevates what is really just a gap between two buildings into something almost as inspired as the nave of a great Gothic cathedral. That’s the power of architecture.” Or, in this case, the architecture of power. The latest, and more critical, take on Goldmans’ HQ by Times writer N. R. Kleinfield outlines the firm’s impact on the surrounding area which at the time of the buildings completion in 2009, was short on shops and restaurants. So using its $1.65 billion in Liberty Bonds plus $115 million in tax breaks, Goldman just created a neighborhood in its own image.
Jorge Pardo Armory Center for the Arts 145 North Raymond Ave. Pasadena, California Through November 6 MacArthur-winner Jorge Pardo gained his reputation by blurring the boundaries between art, architecture, and design. In his temporary exhibit in the courtyard of the Armory Center, Pardo engages the surroundings, deploying four pepper trees to act as three-dimensional framing devices for groups of translucent hanging globes. What at first seems to be a festive environment becomes a contemplative one, as visitors sit on benches surrounding the base of the trees and take a closer look at the spheres. Each reveals an ethereal universe inside: delicate reflective materials sit protected from the surrounding activity, casting shimmering, changing light onto the world around them.