Posts tagged with "Heintges":

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Nike’s new House of Innovation brings an undulating glass facade to Fifth Avenue

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On the corner of Manhattan's Fifth Avenue and 52nd Street, the Nike House of Innovation announces its presence on this stretch of largely historic masonry structures with a striking slumped-and-carved glass facade. The 68,000-square-foot recladding and interior design project replaces the avenue elevation of the concrete-and-glass Pahlavi Foundation Building (formerly owned by the Shah of Iran and recently seized by the Federal Government).
  • Facade Manufacturer Cricursa (glass), Seele GmbH
  • Architects Nike Global Retail Design, CallisonRTKL
  • Facade Installer Seele GmbH
  • Facade Consultants Heintges Consulting Architects & Engineers, Mode Lab
  • Location New York
  • Date of Completion November 2018
  • System Curved and annealed glass curtain wall units
  • Products Curved Annealed - Crisunid, Low-E / Selective Coatings - Crislan
For the six-story structure’s recladding, the design team reached out to Spanish glass manufacturer Cricursa. Based in Barcelona, the company has specialized in curved glass since the early-20th century. To give the glass its shape, the modules are slowly heated to the softening point, around 1000 degrees Fahrenheit, where the materials slumps into customized molds. Once the glass panels have achieved their desired geometry, they are slowly cooled in a process called annealing. Installed as a double-glazed curtain wall, a low emissivity coating was applied to each panel to reduce heat transfer on both sides of the glazing. The size of the glass modules is largely standardized, measuring approximately 8 by 14 feet. However, where the entrance tapers upward, Cricursa fabricated three variations of trapezoidal panels and a singular triangular panel. The glass manufacturer fabricated five full-scale mockups of the modules to allow for thermal and structural load testing prior to full production. After testing, approximately 100 windows were shipped to Seele GmbH's facility in Augsburg, Germany, for assembly. Novel in terms of architectural application, the slumped glass was also CNC-carved with a series of striations perched at a 23.5-degree angle in the style of Nike’s iconic Swoosh logo. Andy Thaemert, Nike senior creative director, described this effect as accomplishing the brand’s goal to “create static architecture that feels like it's in motion.” From street level and within the House of Innovation, views through the glass present constantly shifting refractions of adjacent buildings. As a re-cladding project, the facade’s assembly is relatively straightforward. According to Heintges, the facade consultants for the project, "the glass facade is hung from the existing roof level with a grid of custom shaped steel mullions and transoms, pinned back for lateral loads at the 5th, and 3rd floor, and just above the ground." In total, the exterior envelope went from steel to glass in roughly four months. The project follows the Nike House of Innovation 001 constructed in Shanghai in October 2018, while a third is planned for Paris in 2019
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Bing Thom Architects Takes the Stage in Washington, D.C.

A timber-backed glass facade provides transparency, acoustical isolation, and resiliency for a historic theater complex in the nation’s capital.

When the Mead Center for Performing Arts in Washington D.C. hired Vancouver-based Bing Thom Architects to double the institution’s square footage without disturbing two historic theaters designed by treasured architect Harry Weese, it was clear to firm principal Michael Heeney that standard solutions would not suffice. For one, the theater facilities were insufficient and outdated. More troublesome, however, was the fact that passenger jet liners taking off and landing at Regan National Airport across the Potomac River were so loud they were interrupting performances. The architects had to find a solution to mitigate this cacophony both for the existing structures as well as for the expansion—a new theater called Arena Stage. “We had to achieve acoustical separation and isolation from exterior noise in a way that was respectful and maintained the integrity of the original structures,” Heeney told AN. Building off an approach that originated from a project in Surrey, British Columbia, the design team decided to wrap the triangular-shaped complex in glass with timber column supports, topped off with a 500-foot cantilevered roof. With the help of structural engineers at Fast + Epp and facade consultancy Heintges, the team extrapolated the Surrey solution to provide even greater transparency for the existing Weese theaters, Arena Stage, and a variety of mixed use spaces totaling 200,000 square feet.
  • Facade Manufacturer Icon Exterior Building Solutions, DuPont, Viracon, StructureCraft
  • Architects/Consultants Bing Thom Architects, Heintges, Fast + Epp, StructureCraft
  • Location Washington, D.C.
  • Date of Completion late 2010
  • System timber-backed glass curtain wall with Krypton-filled insulated glass units
The system features a series of columns milled from parallel strand lumber to taper at the base with an ellipse-shaped section. Each column stands between 45 and 63 feet high with a diameter of 22 by 32 inches. Spaced on 36-foot centers, the columns effectively support the dead load of the glass curtain wall in addition to the weight of the roof overhead. The total perimeter of the complex measures approximately 650 feet in length. The base of each column tapers to a painted cast iron base featuring an ellipse-shaped cutout. “There’s enormous force coming down through those columns, but we articulated it gracefully like a ballet dancer en pointe,” said Heeney. The columns tilt four degrees to minimize glare. Icon Exterior Building Solutions custom designed and extruded the aluminum-framed curtain wall with 12- by 7 ¾-foot trapezoidal insulated glass units. A ½ -inch krypton-filled space is sandwiched by a 3/8-inch outer glass pane with a low # coating on the No. 2 surface, and a ¼-inch inner lite for optimal acoustic insulation. The entire system hangs from ½ inch steel cables connected to a structural steel top truss. Lateral loads are handled by a horizontal paralam mullion system (9 inches deep, 3/12 inches thick, 12 feet in length) that ties back to the columns with 5- to 6-foot paralam struts, depending on the curvature of the glass. “Normally with a curtain wall, you build the structure and it comes after, but here we used the columns to take the structure in addition to the glazing,” explained Gerry Epp, partner at Fast + Epp and president of StructureCraft. “It’s a super efficient scheme because we executed the structure at the same time as the facade.” According to Heeney’s estimation, the Mead Center’s large-scale commercial timber-backed glass facade was the first of its kind in the US and has performed beyond the designer’s expectations. When a 5.8-magnitude earthquake rattled the D.C. area in 2011, the glass curtain wall swung with the earth’s motion and then settled back into place. “Even though it’s not seismically designed, I think the West Coast designers’ inclinations made it inheritantly stable,” Heeney mused.