Posts tagged with "Texas":
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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.”
Re:site and Metalab's site-specific installation for Texas A&M's 12th Man Memorial Student Center uses 4,000 networked LEDs to create an animated display that speaks to tradition as well as to the future.The Corps of Cadets. Kyle Field. The 12th Man. Reveille. Texas A&M has more than a few strong traditions, most of which are centered around and given expression by the university’s football games and its alumni’s illustrious history of military service. At the same time, the school is well known for its robust and forward thinking science and engineering departments. Both of these characteristics factored into the conception for a permanent sculpture to inhabit A&M’s new Memorial Student Center (MSC). Created by art collaborative RE:site and design and fabrication studio Metalab (both located in Houston) the sculpture, titled Memory Cloud, is a chandelier of 4,000 white LEDs that are animated by two distinct feeds: one derived from archival footage of the Fightin’ Texas Aggie Band, the other from live infrared cameras that monitor people passing through the center’s atrium. “To interpret tradition visually we thought of moving patterns of people,” said Norman Lee of RE:site. “A&M has a strong marching band. If you remove the specifics of what the band is wearing and focus on the movements, they’re the same from 1900 to now. Once you reduce the figures from archival footage to silhouette patterns, you can’t identify the different points in time. Time and space collapse and bring together the school’s tradition in visual terms.” The archival silhouettes interlace with silhouettes from the live feed, generating ambiguous patterns that take time to sink in. “We envisioned incoming freshmen seeing the shadows and after three or four weeks realizing what the figures are in a powerful ‘ah ha’ moment,” said Lee. Memory Cloud is composed of a 14-foot-wide by 21-foot-long diagrid 1/8-inch powder-coated carbon steel frame and 220 LED arrays housed in clear acrylic tubes that hang in 21 rows from 16 gauge aluminum raceways carrying the data cables and electronics. The arrays are between 9 and 13 feet long and end in acrylic disks that are angled to give a billowing profile to the bottom of the sculpture. The disks also act as luminaires, picking up and diffusing the light of the lowest LED node via fiber optic effect. The piece is suspended from one point on the ceiling with a cable rigging. A winch can raise or lower it for maintenance. RE:site and Metalab used Rhino and Grasshopper to model Memory Cloud’s geometry as well as to develop quantitative data sets for the lighting purchase orders and assembly inventories. The diagrid structure was developed by Houston-based structural engineering firm Insight Structures using finite element analysis (FEA) software that determined a varying depth of profile to deliver the necessary support within the weight requirement. “We had a weight limit of 3,000 pounds,” said Andrew Vrana of Metalab. “At first we wanted to use 3/16 aluminum, which is light weight, but it deformed too much under welding. So we went with carbon steel and by optimizing the profile wound up with a final weight of 2,400 pounds.” The team also used the Lunchbox plugin for Grasshopper, which was developed by Nathan Miller of CASE, which helped to create clean data structures that retained their organization as the geometry of the cloud was refined. To create and program the LED matrix, RE:site and Metalab worked with Digital Media Designs (DMD), which did the digital lighting display for the 2008 Summer Olympics in Beijing. The company worked with a Chinese manufacturer to develop a custom LED product capable of meeting the sculpture’s size requirements while functioning within a broad range of daylight conditions. It also had to create a DMX control system that would take RE:site’s 2D silhouettes and replicate them in Memory Cloud’s 3D LED matrix, an unprecedented task from a software point of view. DMD worked with UK company Avolites Media to customize their AI software to this purpose. “With that software we were able to utilize a method called pixel mapping and find a way to interpret RGB values into black and white and also to transpose that into XYZ coordinates, creating a 3D virtual cloud,” said Scott Chmielewski of DMD. Memory Cloud was prototyped and fabricated in Houston, then trucked the 100 miles to College Station. The on-site assembly and erection process took 10 days to complete. Gig ‘em Aggies!
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A new cultural focal point takes shape in DallasWhen the Dallas Museum of Nature & Science was created from the 2006 merger of three city museums—the Museum of Natural History, The Science Place, and the Dallas Children’s Museum—the new institution set its sites on expanding programming with a new facility in the city’s Victory Park neighborhood. Now, the 180,000-square-foot Morphosis-designed Perot Museum of Nature & Science is slated for completion in 2013. Located at the northwest corner of Woodall Rodgers Freeway and Field Street, it marks the future crossroads of the city’s Trinity River Corridor Project and the city’s cultural districts. Floating atop an irregularly shaped plinth that will be the base for a one-acre rooftop ecosystem, the museum’s striated concrete facade offers a first glimpse at the dynamic transformation of the site. Early renderings show a smooth monolithic cube as the museum’s main volume, but the Morphosis team began working with the Hillsboro, Texas, branch of Gate Precast early in the project to develop a horizontally striped precast concrete panel design for the facade. “They wanted something different from everything else in Dallas,” said Gate sales and marketing manager Scott Robinson. “The architects wanted it to be true, raw, and modern.” To this end, Morphosis selected a plain gray concrete mix, without pigment or white cement, for the facade, knowing there would be natural mottling to each panel. “They didn’t want the building to look painted,” said Robinson. In total, the company will fabricate 655 precast pieces for the project. Gate created a series of mock-ups using random combinations of convex and concave shapes that would flow seamlessly from one panel to the next. After refining the design in Revit, Gate’s BIM operators modeled more than 100,000 square feet of precast cladding on the museum’s exterior for Morphosis’ 3-D models. Wood-framed concrete molds constructed in a range of set dimensions (the average size is 8 by 30 feet) helped keep facade costs lower. Within these, convex and concave rubber pieces based on the team’s digital models can be placed to achieve the desired striation. In the harsh Texas sun, the random shapes cast bold shadows across the building’s elevations, gradually giving way to smooth concrete surfaces on the higher levels. Because the pattern continues at the building’s corners, end panels required a two-step process: The short end was poured and set first, then rotated to allow the long section to be poured before the two pieces were attached with a cold joint. The curved precast panels for the museum’s base created another challenge—building formwork in multiple axes. Gate’s engineering department created a series of geometric points and calculations for its carpentry wing, and carpenters built the formwork by hand without any CNC equipment. “The hard part is that they get a picture of what the panel looks like, and they have to build the reverse of that,” said Robinson. The curved precast panels will require nearly 80 unique molds in all, comprising about 15 percent of the project’s precast concrete. For its final contribution to the project, Gate will cast several pieces that Morphosis is referring to as “sticks”—long precast beams that will decorate the site as sculpture or functional elements once the new museum’s rooftop ecosystem, with landscape architecture by Dallas-based Talley Associates, is in place.
In her speech, Meeks mentioned that since taking over leadership of the NTHP and meeting with preservationists and architects all over the country, three themes kept coming up: 1) The need to make preservation more accessible, 2) The need to make preservation more visible, and 3) The need to ensure that preservation is fully funded. By addressing those three things, she said, historic preservation can be a "visible, dynamic, broadly inclusive movement." However, I thought the most salient point she made was that places are powerful: Whether a landscape like the Hudson Valley or a historic site like the Alamo, every place has a story to tell and, as Meeks said, "they help us tell our stories, as individuals and as Americans."For his part, the New Yorker's Goldberger spoke about how Austin embodied the Next American City, making it a fitting location for the conference. Unlike Detroit and St. Louis, which represent the Old American City, Austin is both connected to history and “energetically forward-thinking” thanks to the presence of the University of Texas as well as the corporate headquarters of Dell and Whole Foods. He pointed out that it’s not a city dependent on the so-called "meds and eds" solutions -- healthcare and education -- that many cities rely on in postindustrial America, and that Austin does not have the “new pseudo-urban landscape" of Tyson’s Corner or the Buckhead section of Atlanta, or the Galleria area of Houston, which he cited as "new places that aspire to urbanity but don’t really possess much of it and which show us that a certain amount of density and tall buildings alone do not a city make.” Goldberger also pointed out that “poverty is a great friend” of historic preservation, simply because there’s less money and therefore less of an impetus for building big and tossing aside historic buildings because they aren’t shiny and new. In light of that, he felt that Austin was yet again a good role model for the Next American City, since it has prosperity but also pays heed to its architectural past: Its “solid economy has not led to a complete indifference to preservation.” Hopefully, as the city goes forward with developing a denser downtown, especially in the residential sector, the powers that be will remember that historic buildings or streetscapes are of significant value to the community.