Posts tagged with "perforated panels":
"It has never looked the same on any two times I have been to site."JCY Architects and Urban Designers have created a student services building on the Australian campus of Edith Cowan University that acknowledges the cultural identity of local Aboriginal community while providing sculptural infrastructure linking the campus community through a series of landscaped environments. The major elements of the building are an elevated concrete podium helping to negotiate a steep grade change, and a perforated aluminum solar shade. The project acts as a web with a central internal vertical spine atrium linked to various programs with a set of interconnected timber clad stairways. An elevated concrete podium navigating a significant grade change is formally derived from fluid dynamics studies of the flow of water through Australian billabong waterways. The podium's folded and sculpted white concrete soffit and faceted columns create their own seductive landscape, 'eroded' and opened up as would be found in nature when stone is sculpted by water. The architects designed the building in a way that makes future conversion to classroom space possible. This was achieved by incorporating “bubbledeck” concrete floor plates. This voided-slab forming system reduces the weight of the slab, increasing efficiency and reducing overall cost. The long span system allows for more slender columns, a generous structural grid spacing of around 30 feet by 30 feet, and a reduction of the shear walls required within the open plan layout. The architects also accounted for the maximum future utility spaces that would be required with a future change of use, which they say required over 30 percent redundant floor area. Embedded within the fabric of the interior and exterior skins are a number of themes which were developed through a collaboration between the architects and ECU’s Cultural Liason Officer from Kurrongkurl Katitjin and the local Noongar community. One outcome is a gold anodized perforated aluminum screen that folds around three upper levels of the building. Patterning is derived from curved, overlapping patterns of the chest feathers of a Carnarby Cockatoo, and creates a layered undulating effect. The perforation of the panels derived from manipulations to photographs of chest feathers from a black cockatoo. Hole diameters correspond to light values on the photograph – the darker the pixels, the larger the openings. Data from the open percentage of each panel was used in shading calculations to comply with Building Code Glazing Performance Criteria. Will Thomson, Principal at JCY, says the major constraints with this shading system were related to costs: “We could have no more than 8 different hole punch diameters to fit the project budget, and once these had been determined they were carefully set-out at 1:1 shop drawing over the panel drawings. They varied between 20-40% open area to meet the ESD requirements.” This aesthetic is introduced to the interior glazing system through a custom ceramic frit pattern and textile design of the carpeting. The fabrication and assembly process included several full size prototypes, which helped to resolve panel geometry. Thomson says the mockups resulted in many fabrication changes to allow for tolerance, movement of dissimilar metals, panel assembly details, material selections, and structural connection details. The anodized finish of the aluminum skin is inspired by the shimmering scales of a butterfly wing. Thomson says the anodized finish consists of a range of colors: “This has created an amazing patina of differing gold panels across large swatches of elevation and added a texture to the facade that would otherwise be lacking. The way the building changes color during the day, across the seasons is always a welcome delight. It has never looked the same on any two times I have been to site since the cladding works have been completed.”
VIB Architecture has constructed a mixed-use program of student housing and a nursery along a narrow site in a busy neighborhood in Paris.In a Parisian neighborhood known for its pedestrian-scale passages and small alleys, VIB Architecture has constructed a mixed-use project skillfully incorporating student housing and a nursery program into a complex of several new construction and renovated properties. The project is located in Belleville, a historically working class neighborhood with strong arts community and a heterogeneous mix of architectural scales arranged along a hilly topography. This latest addition to the neighborhood adds to the mix by combining contextual strategies with a bold contemporary material palette and massing scheme. The project is generally organized around two 8-story buildings that are bisected by an exterior passageway that leads to a courtyard space. Apartments are located along the active street front, protecting a rear sunny courtyard, lined with smaller scale buildings, for use by the nursery. An existing building links the two programs. The most recognizable building is wrapped in a custom-designed perforated aluminum skin, with a massing composed of slightly staggered floor plates with rounded corners. The skin of the building becomes panelized into operable shutters at window locations, allowing for users to control desired levels of shading, privacy and ventilation. The horizontal patterning of the perforations tracks downward into the courtyard, aesthetically integrating the housing and nursery programs, says Franck Vialet, Partner of VIB Architecture. “The perforations give depth and the horizontal stripes vibrate and link the street to the inner gardens.” The building interestingly was originally designed with a wooden rainscreen system, but was dropped early in the design process due to strict fire regulations. Vialet says the resulting aluminum facade became a natural choice due to its material qualities and design flexibility with fabrication processes. “We looked for a skin that could be unique and could be textured or machined into both large scale and smaller pieces. Anodized aluminum was the ideal solution because of its great ability to reflect light and to be perforated easily.” Positioned next to an historic garden, the bronze anodized building acts as a landmark, providing a sense of depth to the urban fabric of Belleville. Immediately adjacent to this building sits a second which is designed to be compatible with existing context, clad in a white plastic coating, the massing of the building is more ubiquitous than the first, while strategically stepping down at the rear facade to gently meet the courtyard. By altering the tectonics of the two buildings, the overall impact of the scale of the project is reduced while reinforcing a central circulation “spine” through the length of the plot, linking two successive courtyards. Vialet says the most successful part of the project is the urbanism it fosters: “its ability to naturally blend into the city and to bring together people from the street, the park, and the courtyards.”
In 2006, the 28th St. YMCA was added to the City of Los Angeles Historic-Cultural Monuments List, and in 2009 it was added to the National Park Service’s National Register of Historic Places.In 1926, just three years after becoming the first African-American member of the American Institute of Architects (AIA), Paul R. Williams designed a landmark YMCA building on 28th Street in Los Angeles. Nearly ninety years later, the building has been restored, and transformed, into a modern multi-family housing complex. Koning Eizenberg Architects (KEA) worked on the project for Jim Bonner, FAIA, architect and executive director of the nonprofit affordable housing organization Clifford Beers Housing. The architects restored the historic 52-unit building, reorganizing the layout into 24 studio apartments, and constructed a new 5-story, 25 studio apartment building next door. The project features a perforated metal screen scrim wall, an integrated photovoltaic panel wall, restored historic stone work. and a shared roof deck that programmatically connects the historic building with it’s modern neighbor. There were two very different projects involved: a substantial restoration and a 5-story new infill construction building. Brian Lane, Managing Principal at KEA says these two projects were “married at the hip”: “We were digitally analyzing Paul Williams’ work on top of crafting our own work.” The architects carefully looked at shadow lines to understand the restored, cast-stone balcony and other components, generating drawings from a careful analysis from historic photographs, looking at shadow lines to understand profiled depths of the historic work. This commitment to digital analysis is most noticeably exploited on a new perforated metal scrim wall, visually buffering the apartment buildings’ circulation system from the sidewalk. The patterning and tabbing of the aluminum metal panels are derived from digitally-controlled abstractions of historic ornamentation found on Williams’ building. In addition to the two-dimensional surface treatment of the aluminum, the panels are assembled on a sub-frame that incrementally rotates outward to provide views of nearby downtown Los Angeles. Julie Eizenberg, Founding Principal of KEA, says that this move creates an effect that is “less rigid,” and “loosens where things begin and end.” The wall system is the result of a collaborative and iterative design process with LA-based C.R. Laurence who, among other things, fabricated the panels. KEA exploited design opportunities of die-cut metal fabrication after discovering a significant cost savings over newer water jet-cutting technology. This included experimentation with the perforation process: various radii were tested, and they developed a “hanging chad” perforation style that cuts and bends the metal at a controlled 37.5 degree angle. The architect’s iterative process during the design phase of the metal screen wall included studies of numerous digitally abstracted patterns, laser-cut study models in chipboard, and mock-ups of the panels. By selectively controlling which perforations remain connected to the panel, a secondary pattern becomes visible in the panel. Lane says there was significant value brought to the project through this low cost fabrication method: “We got a real richness and depth to the panel in a very affordable way.” One of the successes of the screen is the dynamic visual quality of the screen through various lighting conditions. Sunlight is reflected off of the perforated screen during the day, while a soft backlit glow is emitted through perforations during the evenings. On the south facade of the building, a “rainscreen” made of jet black photovoltaic panels is set one foot off of the stark white stucco building facade. While some efficiency was lost by orienting the panels in a vertical array, locating the panels on the facade was done out of necessity. With the rooftop area taken up by various building systems, the south facade became an opportunity to integrate renewable energy features. In the spirit of this “low-tech/high-value” type of project, the PV array helps to block direct gain, while promoting air circulation behind the assembly. Architecturally, the project has been celebrated for it’s novel organization of building systems, its “low-tech” approach to adding value to standard building components, and its dialog between old and new (namely its registering of a digitally manipulated image of historic architectural ornamentation prominently on a primary facade). Outweighing the architectural innovations are the social and cultural benefits to the design, which re-establishes this building’s role as an important cultural community resource by bringing living quarters in compliance with contemporary standards and offers a sense of dignity to low income housing residents and staff.
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A traditional brick condo gets unconventional in ChicagoIf such a thing as Gonzo Architecture exists, Kujawa Architecture has made a small contribution to the genre on Oakdale Avenue in Chicago. Their client, Ed Hoban, was a longtime confidant of journalist Hunter S. Thompson, and conventional proposals had fallen short of his desire for a balcony that would project from the second-story bedroom of his brick condo, allowing him to enjoy a blossoming crabapple tree in the garden below. The firm’s principal, Casimir Kujawa, took matters into his own hands after looking at unsatisfactory plans from a contractor Hoban had initially hired. The team, including firm members Mason Pritchett and Patrick Johnson, started calling the project the Gonzo Balcony. “The title seemed apt because of Ed’s friendship with Hunter, but primarily in the sense that the building itself as well as the balcony are a bit unconventional. For us the entire experience of working closely with Ed, and with Bill Tellmann and Collin Smith, of the metal fabricator Active Alloys, allowed for a more experimental approach which also seemed to resonate with the ‘gonzo’ term.” Rather than spanning between the condo’s existing brick walls with a single beam, Kujawa’s design mimics the shape of the angled building facade with a cantilevered truss-like element that supports a beam spanning back to anchor points set back 9 inches from the edge of the masonry wall. The resulting shape—with a long arm of 8 feet and a shorter arm of 5 feet—projects under the canopy of the adjacent tree and has enough room for a small table and chairs. “We arrived at those dimensions by trying to derive the geometry from the site conditions,” said Kujawa. “But they also happen to be the Fibonacci sequence, the golden mean.” Because the balcony is visible from the street and from the home’s courtyard, it was important that it not appear too bulky. To enhance the appearance of lightness, Kujawa specified 2-by-2 ½-inch steel angles as floor joists, over which a deck of ipe was installed. Kujawa’s collaboration with Active Alloys led to the design’s biggest refinement. Initially the architects had specified a low-cost expanded metal balcony material, but the fabrication team steered them toward perforated steel instead. Though more expensive, the perforated panel acts as a tension frame, eliminating the need for an exterior frame. Made with 11-gauge steel with 3/16-inch holes at ¼-inch centers, the balcony structure also lets more natural light into the master bedroom. The railing is one 14-foot-long perforated panel that was brake-formed at a 120-degree angle. The structure, which weighs about 500 pounds, was lifted into place by hand. Though the project was a small one for Kujawa’s firm, “it was a labor of love,” he said. It was also a good collaboration with the fabricators, whose shop was just down the road. “Working with materials like this at this scale you can get immediate feedback as opposed to always working with something as a facsimile or model,” he said. “Any time there was a question we’d just hop in the car and go over there. It was a luxury.”