On a hot day in June, a jury convened to review nearly 400 entries to The Architect’s Newspaper first Best of Products competition. Submissions, divided over eight categories, abounded in new materials and exciting technologies, provoking a lively dialogue during the evaluation process. Colin Brice of Mapos, Barry Goralnick of Barry Goralnick Architects, Harshad Pillai of Fogarty Finger Architecture, and architect Alison Spear generously contributed their considerable expertise and insight to the judging. While the complete roster of winners can be found in our just-published print edition, AN will be publishing the results daily over the next week. The entries in today’s categories, Facades + Structural and Openings, show a joint interest in streamlining the installation process while expanding aesthetic possibilities. View all of the published categories here. FACADES + STRUCTURAL “Good technology, exciting optics.” —Barry Goralnick Winner UniQuad Unitized Daylighting System CPI Daylighting The UniQuad system is a unitized assembly of two independent, translucent, insulated panels, joined by a mechanically interlocking structural connection that eliminates the need for vulnerable adhesives. Factory pre-fabricated for efficient installation, the panels’ long-span capability (up to twelve feet) allows them to be clicked into place on site, providing a seamless, flush look without metal seams. UniQuad features Removable Skin Technology (RST), which protects the interior panel from exterior weather conditions, UV radiation, impact and other hazards and provides indefinite building envelope protection. RST allows the replacement of the exterior skin while keeping the interior skin sealed and intact. As a result, building operations are uninterrupted during exterior panel replacement. Honorable Mention Metal Composite Wall Panels Kovabond Kovabond is a metal composite material designed to provide extensive design options for exterior cladding and wall panels. Kovabond consists of two outer skins, available in aluminum, zinc, copper, and stainless steel, that surround a solid core of low-density, fire-retarding, polyethylene compound. Available in a broad palette of colors, the lightweight panels are highly bendable, yet retain their rigidity and strength. Honorable Mention Glass Fiber Reinforced Concrete Panel seele A tour de force of design and fabrication, this glass fiber reinforced concrete panel is attached to a back-up steel frame that allows for installation. With a section view slightly resembling an upside-down letter "L", the soffit panel gently curves inward. The abnormally long leg of the "L" shape is a parallelogram with a bowl-shaped depression on the surface. It’s one of 2,500 panels made from 313 different molds that will wrap the Broad Museum in Los Angeles. OPENINGS Winner 2C Window Weco Windows S.L. Developed by a team of Spanish architects, this re-envisioning of the traditional wood window features a sash that combines glass and hardware in a single assembly, without a frame. The self-supporting glass becomes a sheer, transparent plane, maximizing light and transparency. Wall openings are framed in wood, the glazing fitting hermetically over the frame using advanced technology in hardware and sealants. Triple gaskets assure maximum thermal and acoustical performance. The double- or triple-glazed window is available in fixed, tilt-and-turn, sliding, and hinged versions. The sliding window allows unbroken openings up to 19 ½ feet long. The interior face of the unit is finished in baked enamel in black, white, or any RAL color. “Up to a 48-foot opening: That presents outstanding options.” —Colin Brice Honorable Mention JELD-WEN Custom Wood Folding Window JELD-WEN Windows & Doors A novel solution for residential or light commercial projects, this accordion-folding window assembly folds off to the side of the opening to connect the kitchen—or any room—to a backyard, deck, or patio at counter height. The system, with up to eight panels, is available as a top-hung application and can be designed as either a flush sill that smoothly meets the stretch of counter or as a standard outswing sill. The maximum opening width is 48 feet, achieved by combining two 24-foot installations. Available in multiple configurations, the folding window is offered in 42 exterior paint finishes, three copper panel options, and a variety of wood species. Honorable Mention Entice Series Premium Entrance System CRL-U.S. Aluminum While this system retains the elegant appearance of a frameless glass entrance with minimal vertical lines, it has the strength to support door handle hardware on one-inch-thick insulating glass panels. Designed for use with all high solar- and thermal-efficient glass options, including low-E coatings and tints, Entice delivers contemporary heavy-glass storefront aesthetics while satisfying energy code requirements and ASHRAE 90.1 air infiltration criteria. Patent-pending vertical stiles with ultra narrow sightlines and door rails feature thermally broken cladding that provides U-factors as low as 0.33. In addition, configurations with prewired LED lighting systems provide commercial environments with striking accent lighting that enhances the function and appearance of the facade.
Posts tagged with "Seele":
Rarely has the removal of a building's scaffolding caused as much hubbub as when Diller Scofidio + Renfro's The Broad in Downtown Los Angeles removed its temporary covering on December 31, revealing its "Veil," composed of 2,500 fiberglass-reinforced concrete panels. Those panels, you may remember, are the subject of an ongoing lawsuit against fabricator Seele. Unfortunately for the museum, which will open this fall, much of the media reaction (admittedly not the best indicator of public opinion) has been lukewarm. The Los Angeles Times likened the veil to a cheese grater and called responses to it "less than ecstatic;" Curbed LA announced that the museum had revealed its "newly disappointing facade," emphasizing how much clunkier it looked than the elegant renderings; and LAist compared its indented "Oculus" to the "Eye of Sauron" from Lord of the Rings. Of course, minds could easily change once the museum is running and full of art (and people). Stay tuned. This thing has to open eventually, right? And so you get to see more than the flat, frontal view, here are some new angles, below.
After speculation, delay, and even a blockbuster lawsuit, the $140 million Broad Museum finally announced last week that it will be opening its doors in Fall 2015, about a year behind schedule. Designed by Diller Scofidio + Renfro, the Downtown Los Angeles museum will contain more than 2,000 works of contemporary art—part of the Broad Art Foundation's growing collection—and admission will be free to the public. AN West Editor Sam Lubell talked with Broad Art Foundation Director Joanne Heyler to get the latest on the project. And to get you keyed up for the eventual opening, here are some of the latest construction images. It's getting close! Sam Lubell: So what's left to do at The Broad? Joanne Heyler: Everything that’s happening in the building is even better than I anticipated from the renderings and plans. The cylindrical glass elevator leading from the lobby to the third floor galleries is in and can operate, and its floor is lit up. To go from the first floor up to the top is really spine-tingling. The relief portions of the Veil (aka the lattice-like facade), wrapping around the Hope street side of the museum, are in and successful. The porous parts of the Veil, where scaffolding is still wrapped around, are going to become the image for the public. They're still covered, but the scaffolding is coming down from the insides of the Veil. So on the third floor you can now stand in that expansive space and look towards Grand Avenue. Through the glass panels that are at the perimeter of that space you can see the inside surface of the veil exposed and that’s very exciting. The building is very sculptural because of the Vault form (the Vault will contain the museum's collection) creates the heart of the building, and that sculptural form is in place. Because of that it’s getting very close to complete and it’s very exciting. I’ve taken artists in the collection inside and gotten and incredibly enthusiastic response. The (24,000 square foot) plaza is very very close to being partially opened. It’s meant to open in November. The oculus or dimple or fold that’s in the Grand Avenue portion of the Veil is coming together and there's quite a view from inside. Really we’re making enormous strides. Because the building is so sculptural and dramatic it’s a more exciting hardhat tour than the usual. What were the project's biggest holdups? The fabrication and installation of the Veil took far longer than was anticipated. However we’re at a stage now where we feel confident enough to at least name the season in which we’ll open, so we’re feeling pretty good about the progress that's being made. We had a difficult time. But we’re on track now. Has the lawsuit with Seele (the facade engineer) been settled? It’s not settled, but I can’t comment on the lawsuit. Is there now a new engineer working on the Veil? No there’s no new engineer. Seele was taking care of that, and still is. Besides the Veil losing its structural capabilities, have there been any major changes since the project started? This building really has and is going to be completed very much the way that architects intended. I’ve seen other buildings go through many more twists and turns than this one has. Since the Veil issue there haven’t been any other major changes. Early on the elevator was added, but that was decided on a very long time ago. The other decision taken was to to expand the first floor public gallery space, but that decision was made early on as well. Do you believe the museum, and its plaza, will finally help enliven Grand Avenue? I think that it will. Our plaza offers a rare green space for the area. The olive trees that have gone in are 100-year-old trees curated one-by-one by the design team, and I am very proud of how atmospheric the plaza is as a result. It's even better than I expected. I think it will be a very welcoming place for people. When the restaurant goes in there will be much more activity. I think we will play a big role in enlivening this stretch of Grand Avenue. It's not yet full of day-to-day pedestrian activity, but I think those days are numbered. Given what’s happening at Grand Park (For instance Jay Z's Made in America fest drew 35,000 people there) and as it becomes more residential that’s bound to become a factor in every part of downtown. We and the other institutions and Grand Park are increasing the number of reasons to come to Grand Avenue, not just for performances, but to linger and to get a meal. When the Grand Avenue Project moves ahead that will change it even more. The museum will be free of charge? The museum is fully funded by the Broad Foundation. Eli has always talked about having a populist approach to art museums and to making it possible for people to connect to contemporary art. When we looked at what made sense to us we felt free admission was the way to go so people could take in the collection in one visit or in several. To have that kind of relationship with the museum. That’s what we hope to foster. We’ll also have a robust scope of engagement programming such as artist talks and film screenings. We’ve already had audiences of up to 2,000 for those. That kind of response is very exciting and we hope a signal of things to come. What's the biggest challenge moving ahead? I don’t really anticipate any more major architectural challenges. We’re too far down the road. Operationally we’re interested in putting together programming and visitor amentities that make as much use of digital technology as possible. We’re looking to see what form that will take in the museum. There will be more information. The emphasis will be on the building and on the exhibitions. How will you be programming the museum? The inaugural exhibition is very much in place. But the rest is very hard to pin down because we continue to add works week by week. Will the Broad Foundation maintain a presence in Santa Monica, its current home? The building’s always been intended as the headquarters and home of the Broad Art foundation. That means we’ll be leaving Santa Monica. We’re all thrilled to be located downtown. When we launched this project downtown was buzzing, but it wasn’t what it is today. The whole array of residential units and restaurants and retail starting to percolate in interesting ways downtown—it’s just an incredibly dynamic time to be there. Does Eli have other architectural plans in the works? We’re pretty pre-occupied with this building. But you never know with Eli.
In a recent interview, Diller Scofidio + Renfro Senior Associate Kevin Rice told AN that the "veil" at Los Angeles' Broad Museum—a facade made of hundreds of molded Glass Fiber Reinforced Concrete (GFRC) panels, had been delayed by over a year. "Some of the things took longer to make than they thought, but there aren’t really problems with it," Rice said. But now it looks like the issues with the museum's facade are more severe than initially thought. The LA Times has reported that the Broad Collection and contractor Matt Construction are suing Seele, the engineer of that facade, seeking $19.8 million in damages relating to the delay. Other damages, according to the complaint (PDF), include breach of contract, fraud in the inducement, and fraud and deceit. The lawsuit, filed in Los Angeles Superior Court, alleges that Seele "violated the important 'aesthetic aspect' of the architect's design," and its mockups were "unsightly and wholly unacceptable for use on the project." As a result the firm was not able to meet its October, 2013 deadline to design, fabricate, and install the facade, setting the project's timeline way back. The Broad's lawsuit also names Zurich American Insurance Company and Fidelity and Deposit Company—backers of a bond guaranteeing Seele's work—as defendants. "Seele did not possess the necessary skill, experience, resources, commitment or ability to perform the work at The Broad museum," the complaint stated. Broad Foundation spokesperson Karen Denne told AN, "we're not commenting—the lawsuit speaks for itself." As of now the museum is still set to open in 2015, but the exact date remains up in the air.
Earlier this year, AN assembled a list of the most prominent projects rising in Miami. One of the developments, the Herzog & de Meuron–designed Pérez Art Museum (PAMM, formerly the Miami Art Museum), is nearing completion and is scheduled to open to the public by the end of the year. At The Architects Forum Glass+Performance on September 11th in Atlanta, key participants, including Peter Arbour of seele, Vinu Abraham of Architectural Testing, and Emil Hoogendoorn of John Moriarty & Associates will present on the ambitious design and construction process of the Miami Art Museum facade, calling the endeavor The Biggest Glass in Miami Dade County. Positioned on Museum Park overlooking Biscayne Bay, upon what has been declared the Magic City’s “last big piece of public land downtown,” the new museum’s concrete and glass structure gestures to Stiltsville, a vernacular 1930s form of architecture built on the bay. Various column-free exhibition galleries within the 200,000-square-foot, three-story building accommodate works of differing scales. The museum contains an educational complex, auditorium, and digital workspaces, along with a restaurant and store. Shaded by a canopy, the museum is situated on an elevated plinth open to a landscaped veranda and plazas. The Architects Forum is hosting a session at GlassBuild America filled with short presentations of the design, prototype testing, and construction of the museum's state-of-the-art facade. Arbour, Abraham, and Hoogendoorn will explain the multifaceted and impressive process, focusing on the use of glass as a facade material. A panel discussion and audience Q+A will take place after the presentation. Register to learn about the process behind the Pérez Art Museum's glass facades and discover more information about Session 3: The Biggest Glass in Miami Dade County: Construction of the Miami Art Museum Facades.
The West Coast edition of AN’s 2012 Facades Conference, “The Art and Science of Building Facades,” held at the UCSF Mission Bay Conference Center on July 26 examined the state of the art in building envelope design. The common thread: collaboration. The first speaker, Phil Williams, VP of Webcor Builders, set the tone by emphasizing early team integration in developing innovative design. Dennis Sheldon, CTO of Gehry Technologies, spoke on how their software facilitates a deeper and more integrated collaborative process between architects, contractors, and fabricating teams. Several consultants and fabricators were represented, including Enclos, Kreysler, Thornton Tomasetti, Front, Element, Seele, Cambridge, and Firestone, who similarly called for early input into the design process. Academic innovators in fabrication and parametrics included Jason Kelly Johnson and Andrew Kudless from CCA, Lisa Iwamoto from UC Berkeley, Chris Lasch from University of Arizona, and Marcelo Spina from Sci-Arc. The highlight was keynote speaker Craig Dykers of Snøhetta, who presented projects ranging from their Alexandria Library in Egypt to the upcoming addition to SFMOMA. Dykers touted the idea of reversing the conventional design process, using a "geological approach—materials before form." He also emphasized the importance of talking to others in fields outside of architecture, long before any lines are drawn. The third segment in AN's Facades Conference will take place later this year in Chicago.