Posts tagged with "Terra Cotta":
The Ringling Museum of Art in Sarasota, Florida, is famed for its ornate Venetian-Gothic Cà d’Zan mansion. Translated, “Cà d’Zan” means “House of John,” referring to John Ringling, who shared the residence with his wife, Mable.
In 1924, construction started on the mansion that was designed by New York architect Dwight James Baum. His design embodied the palazzos that line the Venice canals, emulating the Italian decor that the Ringlings fell in love with on their many trips to the Mediterranean. The building also typified the Roaring Twenties. More than 90 years on, however, the Cà d’Zan remains the showpiece structure on the Ringling Museum site. Boston firm Machado Silvetti used it as a precedent for the building’s recently completed extension of the Asian Art Study Center.
This new project includes the conversion of approximately 18,000 square feet of preexisting gallery space from a temporary exhibition area to permanent galleries. Catering to the museum’s developing Asian collection, the scheme also includes a gut renovation of the west-wing galleries, located to the southwest.
The most visually striking aspect of the project, though, is the shimmering terra-cotta-tiled facade. Craig Mutter of Machado Silvetti said the facade is meant to act as a guide to visitors, highlighting the entrance to the building.
“People would often be lost and wander into the loading-bay area,” Mutter said. “There was no visual key to tell you where to go, and so the mission of the project was to provide this clear marker and definitive entrance.”
The client had asked for a “monumental” entrance, for “something that did not currently exist on the site.” What resulted were more than 3,000 jade-colored ceramic tiles cladding the elevated extension. Their color, Mutter said, is a nod to the natural surroundings and opposes the original pink Italian campus.
In terms of procuring the tiles, the firm sought the help of Boston Valley Terra Cotta, who also worked on the renovation of the Cà d’Zan in 1999. Such experience gave Mutter and his team confidence that they could work successfully to deliver the facade they wanted.
In fact, a ceramic skin was something that had intrigued Machado Silvetti for quite some time. “We had done a number of facade screens in the past where we had been interested in using ceramic but for one reason or another were not able to do so, usually because of the available technology at the time,” said Mutter.
Originally, they had planned for the tiles to be both larger and thicker. However, the dimensions were reduced by four inches on each side and two inches in thickness to allow Boston Valley to fire more panels inside their kiln.
The tiles also enabled the firm to deliver a high-performance envelope. Their large mass helped combat heat gain while also acting as a barrier between the envelope and the elements. “The program demanded a constantly monitored climate control; that meant we really wanted to ensure that there was a continuous insulated seal,” Mutter explained. “By using the panel system that we adopted, we essentially used a rain-screen system to allow the continuous insulation and air-vapor barrier to wrap the museum.”
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."
Wine supplier to the British royal family unveils enchanting new cellar by MJP Architects and Short & Associates
Terra cotta rain screen transforms brutalist eyesore into energy-efficient community space.Considered an aesthetic and functional failure almost since its construction in 1974, the old public library in Lawrence, Kansas, was overdue for a renovation four decades later. Gould Evans' challenge was to transform the low-slung brutalist behemoth, a poor environmental performer lacking both adequate daylighting and a sense of connection to the community, into an asset. "The desire was to try to come up with a building that basically reinvented the library for the community," said vice president Sean Zaudke. Rather than tacking an addition on to one end of the existing structure, the architects elected to wrap a 20,000-square-foot reading room and open stacks area around the old facade. In so doing, they altered the exterior for the better, swapping bare concrete for an earth-hued terra cotta rain screen punctuated by plentiful glazing. They also significantly enhanced the library's environmental performance, with early estimates suggesting that the new Lawrence Public Library will see a 50 percent reduction in energy usage despite a 50 percent increase in square footage. The decision to entirely enclose the old building within the addition was a critical component of the architects' sustainability strategy. "It allowed us to come up with a continuous facade utilizing a continuous insulation system," explained Zaudke. "It helped a lot with energy performance." Gould Evans chose a terra cotta rain screen from NBK to better tie the library to its surroundings. The building is located in an interstitial zone, immediately adjacent to buildings constructed in the 1950s but not far from Lawrence's thriving historic downtown. "We selected terra cotta because it could play by both sets of rules," said Zaudke. "It has an historic connotation, but it's also a much more modern-looking material." Daylighting was another of the architects' key concerns. "Because there were so few windows in the old library, wherever you went there was a sort of phototropic behavior," said Zaudke. "People just gathered around the windows. The rest was not as utilized." Gould Evans significantly altered the user experience by creating an open reading room within the wraparound addition, all of which is exposed to daylight. Other library functions are contained within the core, which in turn is lit both by a continuous clerestory and a series of Solatubes. The clerestory also prevents glare within the reading room by illuminating the inside of the facade. Gould Evans used prescriptive data to determine the overall balance of terra cotta to glass on the new facade—about 60/40—as well as on each exterior wall. To reduce thermal gain on the east and west faces, the architects placed terra cotta baguettes over each horizontal slit window. Together, the baguettes and the depth of the wall act as sunshades. As for Lawrence Public Library's old concrete facade, "we didn't want to just pretend it wasn't there," said Zaudke. Instead, Gould Evans partially overlaid it with a tongue-in-groove system of unstained wood. "The concrete had a harsh feel to it," explained Zaudke. "By wrapping it with wood and revealing it in places, there's this nice dialog that occurs. Everywhere it opens up is where some core function reveals itself—it's an interesting dynamic." At the library entrance, the architects brought the wood outside, encased in glass to protect it from the elements, said Zaudke. "That vocabulary of cracking open the library, of making it accessible, is present at the entry."
A tight budget and short timeline inspired an innovative concrete and terra cotta facade.BNIM and Moore Ruble Yudell approached the design of the Henry W. Bloch Executive Hall for Entrepreneurship and Innovation at the University of Missouri-Kansas City with two objectives. The first was to express the creative spirit of the university’s program in entrepreneurship, which at that point lacked dedicated support spaces. The second goal was to tie the contemporary structure to its historic surroundings. Moore Ruble Yudell, who developed many of the project’s interior concepts, tackled the former, creating flexible classroom and laboratory spaces and a multi-story amphitheater that doubles as casual seating and a venue for school-wide gatherings. As for the latter, BNIM designed a multicolored terra cotta envelope that balances singularity with connection. “The idea was to create a building that sat by itself, but somehow bring it into context in terms of materials,” explained BNIM senior project architect Greg Sheldon. Because so much of the existing campus architecture featured masonry construction, the architects “had a desire to use a fired earth material, but to try to do it in a more contemporary way,” said Sheldon. Inspired by a project in London that combined different colors of terra cotta to blend it into its surroundings, BNIM began working with architectural terra cotta manufacturer NBK to design a rain screen for Bloch Hall. But budget and time constraints soon intervened. To cut costs and enclose the building as quickly as possible, BNIM approached Enterprise Precast Concrete about the possibility of casting the terra cotta components directly into insulated concrete panels. “There was a lot of back and forth between Enterprise Precast Concrete and NBK,” said Sheldon. “This was one of the very early projects to use this technique.” To further streamline construction, BNIM and Moore Ruble Yudell decided to integrate the concrete into the interior aesthetic, so that the inside face of the panels required no additional finishing beyond sandblasting. General contractors JE Dunn Construction “loved that if we could pull this off, the insulation’s in place and the inside’s finished,” said Sheldon. “They bring it out, put it on the building, and that’s it.” For glazing, the design-build team ordered a YCW 750 XT high performance curtain wall from YKK, sized to slot into the opening between the building’s masonry components. Together, the insulated concrete-terra cotta panels and high performance glass helped put the building on track to earn LEED Gold certification. The patterns in the terra cotta “weren’t accidental, but were studied and studied,” said Sheldon. The south end of the building is a deep red, like the adjacent Bloch School Building. To the north, the colors fade to a buff yellow, reflecting the lighter tones of the nearby student center. To perfect the patterning, the designers first looked at the range of colors available through NBK and chose the six most compatible with the surrounding buildings. They then unfolded the elevation of the building and plugged the different shades into their digital model. BNIM experimented with different combinations, printing each and pinning it to the wall before making adjustments. “I don’t know how many iterations they did,” said Sheldon. “It just went on and on.” The final scheme achieves the desired effect. In color and materials, it creates a dialogue with the older buildings around it. Yet the bold patterning simultaneously marks the facade as a 21st century creation. Upon receiving the $32 million gift from Henry W. Bloch that made building the new Bloch Hall possible, then-Dean Teng-Kee Tan observed that “the path of innovation is never a straight line.” The architects manifested the analogy in the building's architecture and landscaping, carving the interior into a series of curvilinear spaces, and connecting the building to its neighbors via a meandering path. But the statement applies equally to the design process itself, in which a tight budget and 14-month construction timeline encouraged an innovative combination of concrete, terra cotta, and high performance glass. A successful sublimation of limitations into opportunity, the story of Bloch Hall’s envelope is the story of entrepreneurship in microcosm.
Boston Valley Terra Cotta restored the Alberta Legislature Building's century-old dome using a combination of digital and traditional techniques.Restoring a century-old terra cotta dome without blueprints would be a painstaking process in any conditions. Add long snowy winters and an aggressive freeze/thaw cycle, and things start to get really interesting. For their reconstruction of the Alberta Legislature Building dome, the craftsmen at Boston Valley Terra Cotta had a lot to think about, from developing a formula for a clay that would stand up to Edmonton’s swings in temperatures, to organizing just-in-time delivery of 18,841 components. Their answer? Technology. Thanks to an ongoing partnership with Omar Khan at the University at Buffalo’s School of Architecture and Planning, the Orchard Park, New York, firm’s employees are as comfortable with computers as they are with hand tools. On site in Edmonton, technicians took a 3D laser scan of the dome prior to disassembly. They also tagged specific terra cotta pieces to send to New York as samples. These pieces, which ranged from simple blocks to gargoyles and capitals, went straight to the in-house lab for scanning into Rhino. The drafting department combined the overall scan with the individual scans to create a total picture of the dome’s surface geometry and depth. The individual scans, in addition, were critical to making the approximately 508 unique molds employed on the project. To compensate for the eight percent shrinkage clay goes through during drying and firing, the craftsmen at Boston Valley used to have to perform a series of calculations before building a mold. “[Now we] take the scan data and increase by eight percent by simply doing a mouse click,” said Boston Valley national sales manager Bill Pottle. In some cases, the craftsmen converted the scan data into a tool path for the five-axis CNC machine used to make the molds. “We’re doing that more and more in some of our mold making. It also allows us to ensure that we’re recreating them to the most exacting tolerance and dimensions that we can,” said Pottle. The data from the 3D scans also helped the craftsmen replicate the dome’s complicated curvature. “Between the scanned pieces and the scan of the dome itself, we were able to figure out some very complex geometry where each of these individual pieces had the correct shape to them,” said Pottle. For sustainability and durability, the designers at Boston Valley reconfigured the dome as a rain screen system, with terra cotta components attached to a stainless steel frame. But while the rain screen boosts environmental performance, it also demands incredible precision. Again, the 3D models proved invaluable. “The models allowed these tight tolerances. [We] could explode it and make sure everything was connected. It would have been impossible without that level of sophisticated software,” said president John Krouse. The Alberta Legislature Building dome restoration is the first major project on which Boston Valley has unleashed its full array of digital design tools. Krouse hopes its success—he estimates that the digital tools speeded fabrication by 200 percent—will send a message to designers interested in experimenting with terra cotta: “What we’re trying to say to the architecture and design community globally is don’t be afraid to start designing domes with complex geometry, because we’re equipped with all this technology. It doesn’t have to be a square box.”