Posts tagged with "Resnick Pavilion":

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CTC Helps Piano Give LA’s Resnick Pavilion the Pompidou Treatment

Fabrikator

CTC realized Piano's design concept by designing and fabricating a cladding system of a structural steel tube framework covered by extensive FRP panels.

For his design of the Resnick Pavilion at the Los Angeles County Museum of Art (LACMA), Renzo Piano revived an idea he first explored with Richard Rogers in their design of the Centre George Pompidou in Paris: the idea of the building as an organic breathing machine. At Pompidou, the architects turned the museum’s mechanical systems into expressive elements, color coding the pipes, ducts, gantries, and escalators and pulling them to the exterior of the structure. At the Resnick Pavilion, Piano located the mechanical rooms and air handling units prominently outside the four corners of the 45,000-square-foot building, applying cladding to the ductwork in a bright red color used in circulation corridors throughout the LACMA campus. Piano turned to Capastrano Beach, California-based design/build firm CTC (Creative Teknologies Corporation) to realize his design concept. “We took in data from three parties,” said CTC president Eric Adickes. “Piano gave us perspective sketches of how he wanted the air handling units to look, the air conditioning contractor, Acco, gave us Revit drawings, and the general contractor, MATT Construction, gave us 2D Autocad documents of the building and concrete foundation.” From those sources, CTC developed 3D models of a cladding system for the ventilation ducts using CATIA.
  • Fabricator  CTC (Creative Teknologies Corporation)
  • Architect  Renzo Piano Building Workshop
  • Location  Los Angeles, CA
  • Date of Completion  2010
  • Materials  Structural steel, fiber reinforced plastic
  • Process  CATIA, CNC routing
The cladding system includes a structural steel framework that bolts to the ductwork, and fiber reinforced plastic (FRP) cladding that attaches to the steel. CTC coordinated with Piano’s office to refine the profiles of the system to achieve the architect’s vision. “Piano wanted flat surfaces with radiuses,” said Adickes. “FRP behaves in ways that you have to compensate for shrinkages and the material loosing its shape. If you’re not careful it can change its shape and not be what you think it’s going to be in the end result.” In order to ensure the flat-plane look, CTC relied on techniques commonly used in automotive construction, giving the material intentional crowns of as much as an inch or more. This technique applied double curves to all of the panels, which are as large as 10 feet by 15 feet. The intentional crowns produce the illusion of flatness and avoid any unintentional oil canning or puffing in the material, which would give the cladding a cheap appearance. “It’s part of the trade,” said Adickes. “You have to know the material to tactfully build the crowns in so you don’t go to far or too little.” Once Piano signed off on the models, CTC fed the CATIA data into its CNC routers, which cut the profiles from the FRP panels. CTC also installed the cladding system, attaching the steel structure to the ductwork and the FRP panels to the steel. Once installed, the firm painted the panels on-site.
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LACMA as Musical Instrument

Buildings, of course, have acoustic properties. But what about acoustic potential? Musician and recent high school graduate Ben Meyers has carved himself a niche by using buildings and their various surfaces and surroundings as musical elements. His most recent performance: a song performed with his mallets and drumsticks on Renzo Piano's new Resnick Pavilion at LACMA, which opens to the public early next month. A video of the piece, called Playing LACMA, was commissioned by the museum. “No one takes a second during the day and thinks of all the sounds that can be coming from their surroundings. Things that just seem so lifeless and things that you’re around every day,” Meyers said. The sounds he found at the Resnick include melodic tones from travertine tiles on the wall, booming lows from the building’s oversized metal ventilation structures, and some surprisingly hollow sounds from various palm trees on site. With about 11 or 12 tracks of audio and video recorded on site, Meyers pulled everything together into the two-and-a-half minute video. Meyers performed, shot and edited it himself. He composed the piece before seeing the building in person, memorizing the song’s rhythms on the plane ride to L.A. Once on site, however, the sounds he found didn’t exactly line up with what he had in mind during composition. "I was kind of a lost dog in the beginning, hitting things that just sounded completely dead. It was a lot of trial and error,” Meyers said. Meyers gathered some Internet fame this spring for his music video “Empty School," using various surfaces and objects at his Maryland high school as instruments in a song. The folks at the LACMA liked it, and asked Meyers to come out to interpret the Resnick. Meyers rrecently started his first year at the Berklee College of Music in Boston, where he hopes to study music production and engineering. He also wants to continue his architecture-based musical explorations. The school’s older buildings, he says, have a lot of potential. “There’s some pretty cool ringing, interesting sounding metal beams and all sorts of stuff,” Meyers said. “I’ve been getting ideas here already.”