Posts tagged with "Houston":
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Gensler’s design at the University of Houston is realized in a cloud-inspired, sound-absorptive ceiling solution.Gensler and Ceilings Plus have brought a touch of the Big Apple to the University of Houston’s recently completed Quiet Hall in the Classroom and Business Building. Gensler drew its design inspiration for a ceiling in the new building from the New York Central Library’s Rose Reading Room. The firm hired the California-based Ceilings Plus to translate its interpretation of this classical interior, which includes perforations and geometric folds, into an affordable, buildable, and installable ceiling solution. Ceilings Plus used digital software to marry the design architect’s vision with a workable model that offered minimal joint tolerances and maintained compatibility with HVAC systems. “Since the architect was interested in doing something completely new, it was important to realize that process together,” said Michael Chusid, who works in marketing and business development for Ceilings Plus. Gensler produced three conceptual renderings in Revit, then turned them over to project engineer Robert Wochner, who developed sound-absorptive perforations and a suspension system that could support the various angles of the Quiet Hall’s multi-planar ceiling. Wochner used AutoCAD to reconcile Gensler’s rendering, which depicted a cloud of perforations across the ceiling for sound absorption. Acoustically there was an ineffective number of apertures, so Wochner filled in the original design with smaller, carefully angled perforations. By leaving an ample amount of space between the dropped ceiling and the planchement, the perforations are able to absorb vibrations in an efficient and lightweight system. Nearly 50 configurations were considered before arriving at a final design, which was modeled in SolidWorks. Ceilings Plus fabricated the panels using stock products and a CNC router. The architect’s chose the company’s PVC-free Saranté laminate in a henna-toned wood finish, which is affixed to an aluminum sheet. A punch press knocked out the perforations, revealing a blue felt backing. Despite the ceiling’s complex appearance, Ceilings Plus developed a suspension system based on a conventional T-bar system, making it easy to install. Since the ceiling is not flat, attachment points were individually set to hang each of the 280 panels from between six and eight torsion springs. “With this firm pressure downward, you can extract the panel and lower it out of place to gain access to the ceiling cavity to maintain the HVAC system, ductwork, and other mechanicals,” said Chusid. Custom-fabricated brackets help support the unique angles. Ceilings Plus deployed several expert installers to assist the installation process. “Any time there’s a slope on the ceiling and it interfaces with something round, like a column, it goes from a circle to an ellipse,” said Wochner. “Though we have precise information about the field location, it’s not uncommon to make adjustments on site.”
Re:site and Metalab's site-specific installation for Texas A&M's 12th Man Memorial Student Center uses 4,000 networked LEDs to create an animated display that speaks to tradition as well as to the future.The Corps of Cadets. Kyle Field. The 12th Man. Reveille. Texas A&M has more than a few strong traditions, most of which are centered around and given expression by the university’s football games and its alumni’s illustrious history of military service. At the same time, the school is well known for its robust and forward thinking science and engineering departments. Both of these characteristics factored into the conception for a permanent sculpture to inhabit A&M’s new Memorial Student Center (MSC). Created by art collaborative RE:site and design and fabrication studio Metalab (both located in Houston) the sculpture, titled Memory Cloud, is a chandelier of 4,000 white LEDs that are animated by two distinct feeds: one derived from archival footage of the Fightin’ Texas Aggie Band, the other from live infrared cameras that monitor people passing through the center’s atrium. “To interpret tradition visually we thought of moving patterns of people,” said Norman Lee of RE:site. “A&M has a strong marching band. If you remove the specifics of what the band is wearing and focus on the movements, they’re the same from 1900 to now. Once you reduce the figures from archival footage to silhouette patterns, you can’t identify the different points in time. Time and space collapse and bring together the school’s tradition in visual terms.” The archival silhouettes interlace with silhouettes from the live feed, generating ambiguous patterns that take time to sink in. “We envisioned incoming freshmen seeing the shadows and after three or four weeks realizing what the figures are in a powerful ‘ah ha’ moment,” said Lee. Memory Cloud is composed of a 14-foot-wide by 21-foot-long diagrid 1/8-inch powder-coated carbon steel frame and 220 LED arrays housed in clear acrylic tubes that hang in 21 rows from 16 gauge aluminum raceways carrying the data cables and electronics. The arrays are between 9 and 13 feet long and end in acrylic disks that are angled to give a billowing profile to the bottom of the sculpture. The disks also act as luminaires, picking up and diffusing the light of the lowest LED node via fiber optic effect. The piece is suspended from one point on the ceiling with a cable rigging. A winch can raise or lower it for maintenance. RE:site and Metalab used Rhino and Grasshopper to model Memory Cloud’s geometry as well as to develop quantitative data sets for the lighting purchase orders and assembly inventories. The diagrid structure was developed by Houston-based structural engineering firm Insight Structures using finite element analysis (FEA) software that determined a varying depth of profile to deliver the necessary support within the weight requirement. “We had a weight limit of 3,000 pounds,” said Andrew Vrana of Metalab. “At first we wanted to use 3/16 aluminum, which is light weight, but it deformed too much under welding. So we went with carbon steel and by optimizing the profile wound up with a final weight of 2,400 pounds.” The team also used the Lunchbox plugin for Grasshopper, which was developed by Nathan Miller of CASE, which helped to create clean data structures that retained their organization as the geometry of the cloud was refined. To create and program the LED matrix, RE:site and Metalab worked with Digital Media Designs (DMD), which did the digital lighting display for the 2008 Summer Olympics in Beijing. The company worked with a Chinese manufacturer to develop a custom LED product capable of meeting the sculpture’s size requirements while functioning within a broad range of daylight conditions. It also had to create a DMX control system that would take RE:site’s 2D silhouettes and replicate them in Memory Cloud’s 3D LED matrix, an unprecedented task from a software point of view. DMD worked with UK company Avolites Media to customize their AI software to this purpose. “With that software we were able to utilize a method called pixel mapping and find a way to interpret RGB values into black and white and also to transpose that into XYZ coordinates, creating a 3D virtual cloud,” said Scott Chmielewski of DMD. Memory Cloud was prototyped and fabricated in Houston, then trucked the 100 miles to College Station. The on-site assembly and erection process took 10 days to complete. Gig ‘em Aggies!
Topocast and Randy Twaddle used Rhino to produce a 3D version of a 2D pattern. The 3D model became a 3D print, which was used as a prototype for casting 65 sculptural tiles.The entrance portal of Mirabeau B, a 14-unit residential complex in Houston’s Hyde Park neighborhood, is home to a 7-foot-high, 25-foot-long white wall of deeply textural tiles. Each tile is 20 inches square and features on its surface a three dimensional pattern that resembles nothing so much as the carapace of a Sci-Fi race of crab creatures. In fact, the pattern was derived from a photograph of a power transformer and its tangle of intersecting wires atop an electric light pole. It was worked into its current condition through a collaboration between print and textile artist Randy Twaddle and Dallas-based design and fabrication studio Topocast. Twaddle had used this image to generate several of his designs for wall coverings and rugs and the like. In this instance, he manipulated the image until arriving at a pattern that could be repeated and assembled modularly in a system of tiles. Twaddle delivered the 2D pattern to Topocast, which began to develop a workable 3D version. “Most of the 3D was done in Rhino,” said Topocast founder Brad Bell. “We also used the Rhino plugin T-Splines to create the intricate curvature and geometries.” Topocast created a series of surfaces from the 2D image that could be extruded or manipulated to create the expressive curvature of the 3D tile. The fabricator then went through a process of prototyping with CNC milling machines and 3D printers. It also experimented with a variety of materials, including concretes, resins, and woods. In the end, the team decided on hydro-stone, one of the strongest of all gypsum cements. Topocast created the final prototype from a nine-part 3D print made directly from the Rhino files then assembled to appear as a single, seamless tile. This prototype became the cast for a series of silicone molds. “The reason we went with silicone rather than a urethane mold is that, while silicone is less durable than urethane, it does provide a greater range of material options,” said Bell. “Certain resins have a chemical reaction with urethane.” Topocast cast 65 of the tiles at its shop in Dallas. Each tile weighs 40 pounds and has a surface depth that varies from 2 ¾ inches to 5 ¾ inches. The fabricator prepared an A cast and a B cast, each with identical surfaces, but differently spaced bolts imbedded in the back. This variation allowed for exactly calibrated spacing on an off-the-shelf Unistrut mounting rack. The team attached 60 of the tiles to the Unistrut mounts in 15 separate columns, each four tiles high. The columns were then shipped to Houston and bolted onto the wall of Mirabeau B’s entrance portal. Twaddle and Topocast are currently working on refining the tile to make it viable as a commercial product. “We’re working on how to lighten the tile, how to make it smaller, and we’ve done some demonstrations with LED lighting that projects different colors across the surface,” said Bell.