The facade and roof serve as a the graphic identity for the 20,000 sq. ft. building while acting as a veil which reveals and conceals views.The Groove provides an extension to CentralWorld, the third largest mall in the world. At 6,000,000 sq. ft., the mall is comprised of three towers: an office tower, a lifestyle tower (including a gym, dentist and doctors offices, schools, etc.), and a hotel tower. The main shopping center includes four department stores and a convention center. Sited at an existing entry plaza to the office tower, which feeds an underground parking garage, the project came to Synthesis’ office with several structural design constraints. The weight of the addition was limited, causing the design team to incorporate a specific steel frame with a grid coordinated to the bay spacing of the parking garage immediately below grade. Alvin Huang, Founder and Design Principal of Synthesis Design, says this helped save time at the start of the design process. At 20,000 sq. ft., the project, jokes Huang, is “the punctuation on the paragraph.” The design team approached the project with a concept aimed at providing an intermediary space – an “intimate atmosphere” – within Bangkok’s predominant shopping district. Their strategy was to depart from a traditional single monolithic building (more of the same), developing instead an indoor/outdoor atrium space to link a series of buildings inspired by the Bangkok "soi" (Thai for side-streets) for their comfortable café-like pedestrian atmosphere. The building envelope of the Groove peels open to organically reveal openings rather than incorporating typical punched openings. An aluminum composite panel rainscreen system incorporates gradient patterning and integrated lighting to produce an exterior that is “intense, active, and slick” according to Huang. “The skin replicates the intensity of a specular effect of continually pulsating lights along Ponchet Road.” A warm interior spills out to the exterior via CNC-milled timber soffits, whose geometry peels outward, overlapping openings as a sort of exaggerated detailing found in an airplane window trim. The rainscreen panels were CNC milled by a local fabricator who utilized geometry from Huang’s office to produce a custom perforation pattern. “We didn’t want the architecture and the identity to be two different things,” says Huang. “The signage appears and disappears – a gradient that pulses and draws your eye toward openings.” Huang says as an office, Synthesis is generally interested in the relationship between the digital and the hand made. “We are highly digital in our design process. but in Thailand, most construction components are hand made and ultimately assembled by a labor force of limited experience, requiring simplification, not complexity.” Synthesis’ design office focuses on "digital craft" with a body of work that is driven by the relationship between fabrication and the act of making as part of the design process, says Huang. “What we are not interested in is designing, and then figuring out how you are going to make it.” The Groove is one of 37 projects currently nominated for "Building of the Year 2015," a poll open to the public through the end of January, 2016.
Posts tagged with "LEDs":
From Functional to Fashionable: glass blocks used to create a glowing facade in Shanghai.Located in a high-end fashion district in Shanghai, this storefront was dramatically reclad in a custom glass block assembly by Toronto-based architecture studio UUfie. The facade is part of an adaptive reuse project, converting an old office building into a new flagship store for fashion house Ports 1961. Eiri Ota, the Director and Principal Architect of UUfie, says the design concept evokes the idea of a landform that resembles an iceberg floating freely in the ocean, “During the day, [the facade] mutes the surroundings, while subtly reflecting the sunlight. In the evening, the view is icy and crisp, and the surface illuminates with embedded LED lights integrated into the joints of the masonry.” The iceberg concept is inspired in part by the fashion brand’s celebration of the spirit of travel. The facade is composed of two types of glass blocks, a standard 12” (300mm) square block and a custom mitered block of the same dimensions. The use of corner blocks offers a seamless uninterrupted materiality. From a distance a larger grid emerges, registering the facade control joints and steel frame beyond. The grid acts as an organizing element for the building envelope, controlling the limits of the material while providing a basis for formal adjustments to the massing of the facade. At key moments, the building face pulls and pushes, establishing the main pedestrian entry and billboard displays for passersby. Ota relates these design moves to the building’s context, “the building has a sense of being undulated, expanding and contracting, as if it is shaped by its environment.” UUfie was able to achieve a three-dimensional “corbeling” look for the glass block by carefully integrating steel plates into the design. As the facade tapers, the blocks rest on a stainless steel plate of the same dimension, which extends to a steel frame. LED lighting, inserted into the masonry joints casts light toward the interior, which is indirectly reflected back to the exterior, establishing a soft glow effect and conveying the depth of the assembly. UUfie’s Toronto-base office worked to refine the detailing of the wall system to ensure that the on-site assembly process would operate as smoothly as possible, which meant condensing the number of connections in the modular assembly down to a set of standard details. This effort doubly helped to establish a rigorously refined aesthetic and efficient construction process, reflecting Ports 1961’s approach to carefully honed craft production. The finishes selected for the facade were a thoughtful addition to the project. The glass block is a satin finish, and the underside of the exposed steel plates is shot blasted to create a soft matte finish. These deliberately “soft” finishes operate contextually to contrast with Shanghai’s electric chaos. Ota attributes the success of the project to the facade’s materiality and formal massing: “The differing geometries and changing perspectives of the facade express the transformative nature of the city and the people of Shanghai.”
• The Beacon: A permanent LED facade connected to the ribs of the historic Palm House. The Beacon will be the focal point of the exhibit and will be visible from both inside the Conservatory and from the grounds in front of the building. • Florescence: A sculptural canopy of red and blue petals that will cast colorful shadows throughout the Show House by day and by night. The Show House color panel installation will reveal the spectrum of light necessary for plant growth. • Seed of Light: A continuous interaction between water and light will create a ripple of shadows that will play out across the Conservatory’s Horticulture Hall floor. • Prismatic: An immersive prism sculpture in the Desert House will refract natural and LED lighting. A sound installation using plant material from the Conservatory collection will accompany the sculpture and lighting. • Portal: A series of mirrored sculpture panels will frame the Palm House reflection pond and the Fern Room’s waterfall. • Lobby: A light box that will play on Jens Jensen’s concept of the Midwest Prairie as a sea of all colors.
Curved metal facade embodies spirit of mobility at LAX.The commission to design a new Central Utility Plant (CUP) for Los Angeles International Airport (LAX) came with a major caveat: the original 1960s-era CUP would remain online throughout construction, providing heating and cooling to adjacent passenger terminals until the new plant was ready to take over."We had to keep the existing CUP up and running, build the new one, do the cutover, then tear down the old CUP and build a thermal energy storage tank in its place," explained Gruen Associates project designer Craig Biggi. "It was a very challenging project from that standpoint—working in a 24/7 environment, and getting everything up and running within a small footprint." But despite these and other hurdles, the design-build team (which included Clark/McCarthy, A Joint Venture as general contractors, Arup as A/E design lead, and Gruen Associates as architect) succeeded in delivering the new CUP in time to support LAX's newest terminal. Its curved stainless steel and glass facade captures the airport's spirit of mobility, and helps restore a sense of cohesion to an otherwise fragmented built landscape. LAX is a busy place, both aesthetically and with respect to passenger movement. "There's a lot of visual activity happening there," explained Biggi. "It's been built up over time, so there's this layering effect. This was meant to be an architectural design that not only simplifies some of the visual confusion, but addresses the context of the airport itself as a site that has a lot of movement." When shaping the building envelope, the designers looked at concepts of laminar flow, of which one example is the passage of air over an aircraft wing. "What we came up with was a streamlined architectural expression that ties together three distinct programmatic elements," said Biggi. "The project uses this expression to tie into the existing context by flowing around corners, then opens up at certain locations to allow the program to have ventilation and views." The CUP's primary facade is clad in stainless steel composite panels within a pressurized rain screen system. The architects chose stainless steel, explained partner-in-charge and project manager Debra Gerod, to respond to the potentially corrosive effects of jet fuel and other chemicals as well as the salty Southern California air. In addition, "we had to work to get a finish that wouldn't create reflections," said Gerod. "We're right underneath the control tower. Being mindful that the sun can be at any angle, bouncing off airplanes, that [became a] careful performance-based element" of the design. Non-curved sections of the CUP's envelope feature corrugated aluminum panels, which reduce the risk of reflection and help camouflage functional components including large doors that allow the installation and replacement of equipment. "How we were able to put these giant openings into the side of the facade and have it be blended in and aligned with the corrugated metal paneling—these were some of the things we really paid a lot of attention to," said Gerod. Similarly, the ribbon windows on the stainless steel facade help conceal exhaust louvers, in addition to providing views from the engineers' offices. "We always looked at opportunities for streamlining the aesthetic of the exterior," said Biggi. "We were looking for simple massing that looked fluid in its resolution." Gruen Associates designed the new CUP as a visual landmark for passersby, installing a massive window on the north facade in order to reveal the interior of the chiller room. "This is a bit of an homage to the old CUP," explained Gerod. "When it was first built, it was a really nice building: round, with lots of glass. By the time we got to it, things were spilling out in all directions. But as originally designed, it had a view into the inner workings of the plant." Meanwhile, the architects used blue-colored LEDs and reflectors moved by the wind to create a lighting effect on the adjacent thermal energy storage tank—which, like the nearby cooling towers, is also clad in stainless steel—that mimics the rippling motion of a swimming pool at night. "The lighting effect is meant to address passengers as they're driving down Center Way, and give some animation to the large mass of the storage tank," said Biggi. Here, too, the designers were careful to plan the lighting so as not to interfere with air traffic control functions. LAX's new CUP, which is targeting LEED Gold certification, promises a 25 percent increase in efficiency over the 50-year-old plant it replaces. With continued expansion in the offing, it did not arrive on the scene any too soon. Though much of the design was shaped by current conditions at the airport, including both functional considerations and an aesthetic embrace of the airport's hectic pace, Gruen Associates simultaneously thought ahead, to a larger—but hopefully visually more coherent—LAX. Should a proposed terminal extension to the west come to pass, the CUP's curved stainless steel facade will provide a backdrop for the newer buildings, setting the stage for a more deliberate approach to the airport's ongoing transformation.
This urban intervention in Chicago would let citizens control colorful lights under the “El” with their smartphones
For most people visiting or living in Chicago, Wabash Avenue in the Loop is a dark, noisy, sometimes scary place to either avoid or walk quickly through. Positioned between the history of State Street and the futuristic playground of Millennium Park, Wabash Avenue is an underutilized resource in the city for art, culture, and business.The design calls for 520 light tubes that are programmable every 1.2 inches, and Chicago residents can control the lights using a smartphone or computer. The project was initially entangled in a bit of a bureaucratic red tape, but it now has gained all of the approvals needed to move forward with a pilot outside of the Palmer House Hilton on Wabash Avenue. The duo has been working closely with the Chicago Transit Authority, the Chicago Department of Transportation, and the city government. To contribute to the project and see Chicago’s streets come to life, head on over to their Kickstarter page.
British architect Amanda Levete reveals weather-responsive “forest canopy” design for Melbourne’s MPavilion 2015
Other cities embarking on similar projects include Los Angeles, San Diego, Copenhagen, Glasgow and Bristol, England, among others. In Denmark, the Danish Outdoor Lighting Laboratory is testing many of the principles. Hamburg, Germany is using smart streetlighting to help it more efficiently run Europe's second largest port.Kansas City is no stranger to high-tech experiments. Google's pilot program for high-speed, fiber-optic broadband infrastructure kicked up the terms “fiberhood” and even “Silicon Prairie.”
Odis Jones, executive director of Public Lighting Authority of Detroit, said streetlights are being vandalized in some areas. The authority, he said, has been monitoring the incidents and working closely with police. “Any major city is going to experience some of that, so we’re no different,” he said. “Unfortunately, there are still some businesses that don’t enjoy operating in light.”