Posts tagged with "rainscreen":
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.”
"To make sure that all sustainability criteria are considered, we coordinate an integrated general planning team with clear communication structures and a customized working process from the first conception until the phase of use." - kadawittfeldarchitekturKadawittfeldarchitektur has built a modern energy efficiency center on the campus of Hochschule Niederrhein in Mönchengladbach, a city in North Rhine-Westphalia, Germany. The zero emission building is constructed to Passive House standards which require thermal bridge free design, superior windows, ventilation with heat recovery, quality insulation and airtight construction. The driving idea behind the project was to unite the science and energy industry with the university in a collaborative effort to share innovative energy technologies with the public. The building accommodates an energy center for NEW, an energy and water utility company, along with an academic library, a startup center for new business ventures, and an energy laboratory for students. The building is designed to be an object in the landscape – a “solitaire” according to Mathias Garanin, Project Manager for kadawittfeldarchitektur. “Due to its conception as a solitaire, it is a building without a rear elevation, a building that faces public space in all directions.” Garanin and the kadawittfeldarchitektur project team say the building volume was based on setback distances from neighboring buildings, creating a compact, five-sided volume clad with oppositely inclined blue tinted glass and photovoltaic panels coordinated with the orientation and incidence of solar radiation. “The NEW-Blauhaus building is kept at a distance in order to establish new relationships.” Benefits to the volumetric shape of the building include a favorable volume-to-surface ratio for energy efficiency and a relatively short interior travel distances to maximize collaboration. While the architects have produced a formally engaging homogeneous skin, loaded with performative features acknowledging insulation requirements, acoustics, durability, and user comfort, perhaps the most important role of the building is to clearly communicate a high performance energy agenda. This is achieved in two ways: in the facade, which is clad with photovoltaic panels, and at the base of the building, where an energy center doubles as a showroom visible to onlookers from the exterior. Here, visitors can engage in displays showcasing sustainable energy, along with a specialized highly efficient reversible heat pump system involving an ice storage tank and chiller plant. kadawittfeldarchitektur says the facade is the building’s most exclusive means of expression. “As a significant part of the advanced energy concept, it communicates the approach to conserving resources to the outside and determines the identity of the architecture and its users in the urban environment.” A 4-foot structural grid establishes stacks of window and photovoltaic units that are variably rotated to most effective solar angles. Soundproofing panes located in front of the widow units work to compositionally complete the building envelopes patterned ornamentation. The window units are operable, providing individualized user comfort as required. The north facade receives enameled glass in place of the photovoltaic panels along the north facade were omitted from the design due to performative issues, and replaced with an enameled glass. The elegance of the envelope system inspired an interior design scheme of clarity and communication through “color blocking.” Based on the activity of the building as an energy generation system from dusk to dawn, the coloration of interior spaces combines hues of a defined color spectrum found in sunset and sunrise conditions.
The new pavilion features 2750 individual terra cotta modules, weighing in at 60-70 pounds each.The John and Mable Ringling Museum of Art, part of a historic 66-acre estate in Sarasota, Florida has received a striking new pavilion designed by Machado Silvetti to house new gallery and multi-purpose lecture space. Officially called the Center for Asian Art in the Dr. Helga Wall-Apelt Gallery of Asian Art, the project features a custom glazed sculptural terra cotta clad volume elevated off the ground, and attached to the museum’s West Wing galleries via glass bridge. The new 7500 sq. ft. pavilion establishes a new monumental entrance to the museum, and assists in the reorganization of site circulation and infrastructure systems. Teaming with Boston Valley Terra Cotta, the architects developed a cladding strategy to respond to specific environmental, programmatic, and budgetary criteria. The project is inspired by lush foliage and historic architectural ornamentation found within the Ringling estate. Craig Mutter, Principal at Machado Silvetti, says the gallery-based program of the new addition led the project team to considering a conventionally constructed box with very few windows, to reduce glare: “We put our design energies into creating a high performance building envelope.” Machado Silvetti teamed with Boston Valley Terra Cotta, an upstate New York-based architectural terra cotta manufacturer. “We were involved very early in the process," says Bill Pottle, Boston Valley International Sales Manager. "We went from hand sketches to a 3D digital format where we were able to go back and forth with the architect and talk about different sizes. This helped us rationalize and execute the project to fit into both manufacturing and budget parameters." The tiling of the facade was achieved with three primary shapes optimized to the rack size of the kilns utilized in the production of the modules – a 24” square, a 24” portal framing a window opening, and an 18” square. All together, with custom pieces at corners and end conditions, no more than 10 unique shapes were required. The repetitions allowed for efficiencies in the production process, which paired digital modeling and fabrication with hand craft. The modules were made one at a time, weighing between 60-70 pounds apiece. In total, 2750 three-dimensionally shaped ceramic modules were installed on the building. This manufacturing method became a significant constraint on the architectural design, said James Smokowski, Project Manager at Boston Valley. "The size limitation of the RAM drove a number of design changes from the architect.” Initially calling for a 60" x 60" tiled piece, the architects revamped their design to fit within the dimensional constraint of the kiln equipment. Rhino3D models were prototyped into shells using a 5-axis mill, which became the formwork for a hydraulically operated RAM press. A sense of depth was established both by the chiseled three-dimensional form of the ceramic modules and a custom green glaze developed by Boston Valley. Due to the geometry of the modules, the glaze pools in the concavities creating a coating with variable depth. The terra cotta modules were installed on a modified version of Boston Valley’s standard Terraclad stainless steel track and clip system over a standard wall construction of concrete framework infilled with concrete block units. This detailing allowed for cost savings and assisted in the pre-qualification of terra cotta installers. Adjustments to the stock rainscreen system were made to create a consistent 3/8” gap around the full perimeter of each modules, ensuring individual pieces are able to be removed and replaced in the event of any damage. Windows were used sparingly on the facade, composed into clusters where interior program can accommodate some glare. These “clouds” of windows occur in the third floor meeting room along the north facade, and are distributed throughout the facade with careful attention to reducing glare within the gallery space. Despite having significant views to the picturesque Sarasota Bay, windows are used sparingly as accents – tiny portals which nearly disappear into the tiling of the facade. Rodolfo Machado, Principal at Machado Silvetti, says this compositional decision was deliberate: "Perhaps the most effective windows are in the third floor conference room. Here, small windows carefully framing the landscape are quite effective – almost like looking at a painting. In this case, fewer smaller windows work better." Through this modern addition to the Ringling Museum campus, the architects were able to solve programmatic day to day operational issues at The Ringling, which was a big win says Craig Mutter, Principal at Machado Silvetti: “We are particularly proud of this project because our mission was to create a striking addition to this area of the museum that would be a beacon to the visitors on the campus. But we were also able to solve day to day problems the museum was facing, from way finding to operations, to conservation lab connections. We feel this project will have a very big long term impact for the Museum."