Developers use cutting-edge technology to restore Ralph Walker crown.When JDS Development Group and Property Markets Group purchased the 1927 Ralph Walker high-rise in Manhattan’s Hell's Kitchen neighborhood in order to transform it into the Stella Tower condominiums, they realized that something was not quite right about the roofline. "The building had a very odd, plain parapet of mismatched brick," recalled JDS founder Michael Stern. "We were curious about why it had this funny detail that didn't belong to the building." The developers tracked down old photographs of the property and were pleasantly surprised by what they saw: an intricate Art Deco thin dome crown. "We were very intrigued by putting the glory back on top of the building," said Stern. They proceeded to do just that, deploying a combination of archival research and modern-day technology to recreate a remarkable early-twentieth-century ornament. The developers, who had previously worked together on 111 West 57th Street and Walker Tower, another Ralph Walker renovation, began with what Stern calls "archeology" or "surgical demolition" of the crown area. The excavation revealed that the entire base of the crown remained behind the bricks added by Verizon, the building's previous owner. They also tracked down original drawings of the building, which showed the shape of the crown and some of its dimensions. "We didn't have shop drawings—we didn't have a road map," said Stern. "My team had to basically reverse engineer the crown using the drawings as a guide." They also leaned on 3D scans of the base to fill in the missing dimensions, and constructed a 3D model of the crown in SolidWorks. The SolidWorks model helped the developers answer important questions, like how many new pieces should be cast, how they would be installed, and what support would be required. JDS Construction, who led the reconstruction effort working with CetraRuddy architects, called on Corinthian Cast Stone to fabricate the new pieces. Corinthian cast a total of 48 pieces for the upper half of the crown in colored concrete. To support the new work, JDS designed a complex steel structure for the inside of the crown. They assembled the entire structure offsite before disassembling it and lifting it to the top of Stella Tower using a custom pulley and lever system. Eight craftsmen installed the precast pieces one at a time over the course of approximately five weeks. Each precast piece was clipped to the steel structure, then mortared to its mates. The design and fabrication process, which began with the decision three years ago to reproduce the crown, culminated this September. "The crown is so spectacular," said Stern. "It's better than the invention of the wheel." Besides his pride in the crown in and of itself, Stern sees the Stella Tower project as a chance to restore Ralph Walker's place in the architectural canon. In addition to recreating the crown, JDS and Property Markets Group recast every piece of cast stone and replaced every window and every mismatched brick on the building's exterior. "We've fixed some of the wrongs history has done to the building," he noted. "This was a great telecom building by one of the fathers of New York architecture, but over the years his buildings have been lost in the landscape. With Walker Tower and Stella Tower, we're trying to bring attention back to his legacy."
Posts tagged with "SolidWorks":
Strength and softness meet in a metal mesh room divider.Interior dividers can be functional to a fault. If a partition is all you need, then even drywall would do the trick. A custom-built metal curtain in the University of Baltimore’s new law building, however, brings an architectural sensibility to the problem of dividing one space into two. The curtain bisects the lobby with stainless steel, woven into mesh for a unique and uncharacteristically soft texture. Maryland-based Cambridge Architectural engineered and installed the custom mesh curtain for the John and Frances Angelos Law Center at the University of Baltimore. The building, designed by Behnisch Architekten and Ayers Saint Gross, won best facade in AN's first annual Best of Design Awards. The divider is a continuous 33-foot curtain of architectural stainless steel in the building’s seventh-floor lobby. (A second divider, also designed by Cambridge Architectural, is located near the snack bar on the ground floor.) Made of small triangular volumes between a mesh weave, the curtain’s opacity varies based on the angle of the viewer. The Angelos Law Center curtain is longer than previous applications of similar systems, said Cambridge Architectural’s engineering manager Jim Mitchell. Many dividers the company has installed are less than 20 feet long, and are often split in the middle. The tabs and aluminum tracks that hold the 500-pound curtain in place are marine-grade—that is, they are fit for sailing rigs. The metal curtain can be pulled open and closed like a security gate, but it retains the smooth movement and look of a curtain. “It gives it the appearance more of a tapestry than a panel, which typically is tensioned and rigid,” said Mitchell. The fabric-like texture is made possible by the closely woven pattern. “The larger ones look more industrial, and they’re a little bulky when they fold up. But the smaller spirals tend to fold and roll together.” To make the tightly knit weave, Cambridge Architectural flipped the typical orientation of mesh curtains, running metal crimp rods vertically across the mesh instead of horizontally. The crimp rods, welded once they are woven through, join the triangular volumes of the curtain. The designers modeled the curtain components in SolidWorks before sending the data to production. In the Angelos Law Center, the orientation of the weave was especially important because of the lobby's tall ceilings. Whether it is locked closed as a true divider, or left partially open like a less substantial curtain, the stainless steel weave is durable and elegant. “The architects didn’t want the standard security grate that you see at the shopping mall,” said Mitchell. “They wanted something with that architectural look to it. Our mesh kind of fits that bill. It’s durable and it’s metal so it’s going to last forever, but yet it still has that look. So it doesn’t look like you’re pulling down a screen in front of RadioShack.”
Seven tons of glass and steel clad a structural stainless frame on the Western Hemisphere’s tallest building.Brooklyn-based metal fabrication company Kammetal and DCM Erectors of New Jersey were selected to fabricate and install the crowning beacon atop the spire on 1 World Trade Center. The fabrication team executed SOM’s design for a dynamic and complex adornment to one of the country’s most anticipated buildings, along with the help of engineers at Buro Happold to ensure safety at 1,776 feet. To craft a 15-ton, 50-foot beacon that accounted for thermal expansion and movement, Kammetal modeled and drew their designs in SolidWorks. The company’s team laser cut 48 triangular 316 stainless steel panels with ¼-inch thickness in a nondirectional finish to clad DCM’s square tubular steel frame. “Before we started the project, we had the structural frame 3D scanned to generate a point cloud,” explained Sam Kusack, president at Kammetal. “Because the structure was so dynamic—it contains zero right angles or reference points—we had to verify the conditions.” Once the angles were defined, multiple processes were employed to achieve the gentle curves of the cone. In order to ensure even bumping, or bending on a press break, the fabricators laser-scribed lines at every 1/8-inch along the panels’ interior. And to securely fasten each panel to the complex angles of the frame, Kammetal also devised a proprietary clip system that affixes each panel without obstruction. Clips that fell along certain angles could not be bent safely and had to be welded into place. To install tempered and laminated heat-soaked glass panels from Oldcastle, Kusack designed a proprietary vacuum panel lifting mechanism to adjust the panels without affecting the edges. “There’s a gap of just 3/8-inches, so it was the only way to handle the panels,” he told AN. The arm required a unique radius and capacity for strength to pick up each panel in a balanced manner and evenly align the gaps. Custom gaskets fabricated in London seal the glass from the elements. Kammetal also realized SOM’s original design for a rainscreen, which serves as a ventilation component. The beacon houses various mechanicals, including FAA lighting, so slots were laser cut to allow for air-cooling. To install the beacon, DCM Erectors fabricated a series of frames, supports, platforms, and transportation devices to safely place the beacon on top of the spire. “The owner of DCM invented a lot of gear and technology to realize this installation,” Kusack marveled. For example, a holding location was constructed at 1,700 feet to assemble the final interior and exterior components that all had to be raised an additional 70 feet so the apex could be lowered into place.
LIT Workshop fabricated sleek lodge poles to complement the city’s heritage.When Starwood Properties began to reimagine a new living room concept for the W Seattle, the existing first floor space featured a disconnected bar, restaurant, and lounge area, much like the traditional layout of a formal home. Portland, Oregon–based architecture firm Skylab Architecture was charged with knocking down the visual barriers for an open floor plan that resembled a more modern, casual living space. Several preexisting columns could not be removed for structural reasons, so a truly open plan had to be amended. “In some ways you could see them as a negative, or they could be seen as a positive,” Skylab principal Brent Grubb told AN. “We try to turn those perceived negatives into a design element and make it unique.” Researching the city’s cultural and maritime history inspired the architecture team to combine the water-worn patina of shore-front pilings with the physical mass of wooden totem poles. The solution was a parametrically streamlined form that was fabricated in modular sections for swift installation. The team designed seven different variations on a crescent shape that rotates and stacks to create unique profiles: round, recessed, and beaked. Depending on the stacking pattern, the lodge poles provide downlighting or uplighting, or exist as a solid mass. Because the sections had to accommodate wiring, Skylab worked with their local fabricator, LIT Workshop, to find a solution for an open interior to the column casing that relayed the weight and size of solid wood poles. Similar to a boat’s construction, furniture-grade plywood was CNC milled from an interior radius to form ribs. The ribs were then wrapped with a kerfed core substrate, over which a walnut veneer was applied. Due to the irregular curves of each piece geometrically even cutouts would not suffice. LIT modeled at least two article parts in SolidWorks as a visual reference that was refined according to feedback from both the architects and the fabricator. Each section was clear coated and embellished with a nine-coat paint process to mimic the ombre appearance of waterlogged pier pilings. According to Jon Hoppman, Director of Manufacturing for LIT Workshop, CNC routers were instrumental in fabricating the framework of the lodge pole sections. “Due to the size and scale of the elements, as well as the process of installation, the sections were required to be produced and repeated under tight tolerances,” he explained. An extensive period of research, design, and prototyping—that included the development of a proprietary fastening system—resulted in an installation period of approximately one week. The resulting columns blend into the W Seattle’s surroundings like bespoke furniture components, at a fraction of the time and cost of traditional crafting techniques. “At once, they’re heavy and permanent, but also light and eroding,” said Skylab’s Grubb. “Technology tells us you can really do something customized with an economy.”
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Gensler’s design at the University of Houston is realized in a cloud-inspired, sound-absorptive ceiling solution.Gensler and Ceilings Plus have brought a touch of the Big Apple to the University of Houston’s recently completed Quiet Hall in the Classroom and Business Building. Gensler drew its design inspiration for a ceiling in the new building from the New York Central Library’s Rose Reading Room. The firm hired the California-based Ceilings Plus to translate its interpretation of this classical interior, which includes perforations and geometric folds, into an affordable, buildable, and installable ceiling solution. Ceilings Plus used digital software to marry the design architect’s vision with a workable model that offered minimal joint tolerances and maintained compatibility with HVAC systems. “Since the architect was interested in doing something completely new, it was important to realize that process together,” said Michael Chusid, who works in marketing and business development for Ceilings Plus. Gensler produced three conceptual renderings in Revit, then turned them over to project engineer Robert Wochner, who developed sound-absorptive perforations and a suspension system that could support the various angles of the Quiet Hall’s multi-planar ceiling. Wochner used AutoCAD to reconcile Gensler’s rendering, which depicted a cloud of perforations across the ceiling for sound absorption. Acoustically there was an ineffective number of apertures, so Wochner filled in the original design with smaller, carefully angled perforations. By leaving an ample amount of space between the dropped ceiling and the planchement, the perforations are able to absorb vibrations in an efficient and lightweight system. Nearly 50 configurations were considered before arriving at a final design, which was modeled in SolidWorks. Ceilings Plus fabricated the panels using stock products and a CNC router. The architect’s chose the company’s PVC-free Saranté laminate in a henna-toned wood finish, which is affixed to an aluminum sheet. A punch press knocked out the perforations, revealing a blue felt backing. Despite the ceiling’s complex appearance, Ceilings Plus developed a suspension system based on a conventional T-bar system, making it easy to install. Since the ceiling is not flat, attachment points were individually set to hang each of the 280 panels from between six and eight torsion springs. “With this firm pressure downward, you can extract the panel and lower it out of place to gain access to the ceiling cavity to maintain the HVAC system, ductwork, and other mechanicals,” said Chusid. Custom-fabricated brackets help support the unique angles. Ceilings Plus deployed several expert installers to assist the installation process. “Any time there’s a slope on the ceiling and it interfaces with something round, like a column, it goes from a circle to an ellipse,” said Wochner. “Though we have precise information about the field location, it’s not uncommon to make adjustments on site.”