The glass, stone, and metal exterior of the Hatfield-Dowlin Complex evokes the strength and agility of a college athlete.The superhero and the Samurai. That’s where Zimmer Gunsul Frasca Architects (ZGF) began their design of the Hatfield-Dowlin Complex at the University of Oregon. The football player, the architects imagined, is like Batman: stealthy and strong, he came to his powers not by supernatural accident, but through relentless training. At the same time, the athlete is a highly skilled warrior, the modern-day equivalent of Japanese military nobility. The facade of the new football training facility materializes these ideas in glass, stone, and metal. Dominated by horizontal expanses of tinted glass, it is powerful but not foreboding. ZGF offers the analogy to a suit of armor: the building’s skin balances protection and connection, solidity and agility. The most direct expression of the armor metaphor is on the Hatfield-Dowlin Complex’s west exterior. In Eugene, the real solar challenge comes not from the south, but from the west, where the sun hovers near the horizon for long periods all winter long. To minimize glare, the designers placed a floating sunscreen across the western face of the building. Using elevation studies and interior models, they determined the optimal placement of a series of tinted glass panels held in an aluminum frame developed by Benson Industries. The result is seemingly random arrangement of overlapping rectangles, which ZGF’s Bob Snyder likened to scales on a Samurai’s costume. On the other three sides of the building, ZGF installed a curtain wall of fritted, triple-pane insulated glass units supplied by SYP. The frit pattern was inspired by the nearby John E. Jacqua Academic Center for Student Athletes, which ZGF also designed. The Jacqua’s facade comprises two layers of glass, five feet apart with a stainless steel wire screen in between. At the Hatfield-Dowlin Complex, the designers achieved a similar texture on a single layer of glass. “We saw that as a microcosm of the five-foot wall [at Jacqua],” said Snyder. The frit pattern was developed to be visible from both outside and inside the building, and to suggest movement as one passes along the facade. The final components of the Hatfield-Dowlin Complex exterior are stone and metal cladding. ZGF chose granite and basalt from Western Tile & Marble, which was treated with water jets for a striated texture. The designers used stone primarily on the first three floors of the building. “We established that as the stone zone, we wanted the weight of that material, the high durability of that material down low where folks would come into contact [with it],” said Snyder. Above, the stone transitions to aluminum panels for a lighter feel. “We worked with [Streimer Sheet Metal Works] to get the tightest radius we could get on the ribs of the metal panel,” explained Snyder. “We really struggled with that material [to make it] as fine as the stone, so it didn’t look like you were wearing tennis shoes with your tuxedo.” Plate-steel fins at the mouth of the parking garage and near the entrance sidewalk suggest the hard back of a dinosaur—yet another reference to armor. For Snyder, the combination of materials on the building’s facade achieve a balance between groundedness and ambition. Like the athletes inside it, the Hatfield-Dowlin Complex remains tied to the earth even as it appears to float above it. “The idea is that to be really good at football, you need to be right on the edge,” said Snyder.
Posts tagged with "University of Oregon":
With their winning design for the Association of Collegiate Schools of Architecture’s "Timber in the City" competition, three students from the University of Oregon have imagined wood’s viable potential in prefabricated low-cost housing. Wood construction has been a popular topic at AN recently and the topic of our recent feature, Timber Towers. Benjamin Bye, Alex Kenton, and Jason Rood entered the design competition last year with the mission to create a community of affordable housing and wood technology manufacturing in Red Hook, Brooklyn. Awarded first place, Grow Your Own City proposes the use of CLT (cross-laminated timber) for construction of nearly 183,000 square feet of mid-rise housing, a bike share and repair shop, and a wood distribution, manufacturing, and development plant. The site itself was chosen as a residential and industrial area “in flux;” it is a waterfront neighborhood and competitors were required to balance these elements in a mutually beneficial way. Grow Your Own City designs a mixed-use community of wood production and housing construction, considering a variety of needs. Cost efficient and sustainable, the community is meant to manufacture its own wood, then use onsite development power and technology to build the final product: affordable modular housing units that can be prefabricated in the factory and fit together to form the mid-rise complex. A “supersize plywood” technology that can be prefinished before construction, cross-laminated timber is stronger than regular wood construction and possesses a low carbon footprint. When forested correctly, wood can be a very sustainable and environmentally friendly building material. Most units include windows on two sides and vary in size from a 325 square feet studio to a 990 square feet three bedroom apartment. Impressed with the students’ “mature sensitivity to zoning, politics, and concerns of gentrification” unique to this Red Hook site, the jury of architecture professors, green design architects, and a real estate venture praise the project for several specifics of design. A “green alley” allows for biking, timber education, and sustainable rainwater retention and reuse. And the CLT pods are attractive, livable, and realistic for a variety of occupants and their families. “Overall, the project is strong because it maps out the terrain of the site while remaining consistent to the larger neighborhood in terms of plan, context and materiality,” the jury commented in a statement.
SubDivided provides a unifying element in Fenton Hall's three-story atrium, tying each level together visually.In December 2012, the University of Oregon completed a renovation of Fenton Hall (1904), which has been home to the mathematics department for the past 35 years. In addition to sprucing up the interior and upgrading the mechanical systems, the institution hosted an open competition for the design of an installation to hang in the building’s atrium. Out of roughly 200 initial applicants three were shortlisted, and of those the university selected a design by Atlanta-based architect Vokan Alkanoglu. Composed of 550 uniquely shaped aluminum sheets, the 14-foot-high by 10-foot-long by 4 ½-foot-wide sculptural form is derived from the curving geometry created by several opposed ellipses—a nod to the discipline that calls Fenton Hall home. “We wanted to create something that would be visible on all three floors of the atrium to connect the levels and create flow in the space,” said Alkanoglu. “We also wanted to have an interior to the piece, so that you could see inside and outside, to give it a real sense of three dimensionality.” Alkanoglu and his associate Matthew Au modeled the piece, named SubDivided, in Rhino, using algorithms to define the curved surfaces that link each open ellipse. In addition to giving the sculpture a sense of depth, the curves also add to its structural integrity. Alkanoglu tessellated the surface with perforations to keep it lightweight and increase its visual permeability. Once he had defined the form, Alkangolu transferred it into Grasshopper, breaking the model down into 550 unique sections. Each piece was given tabs with holes in order to make connections with rivets, and assigned an identification number. Alkanoglu transferred this subdivided version of SubDivided as .dxf files to local fabricator, MAC Industries. MAC fed the files into its CNC routing machines, which cut the profiles out of .04 aluminum sheets pre-painted in two colors—the University wanted the sculpture to have a duotone appearance, matte gray on the outside and white on the inside. Once cut, the sections were given a non-scratch coating and labeled with stickers. To assemble these puzzle pieces, Alkanoglu recruited three architecture students from U of O. In a shop, the team set about the work of peeling off the non-scratch coating, rolling the sections to give them the requisite curve, and connecting them with rivets. The team assembled the piece in four chunks, which they then transported to the site, where a scaffold had been erected in the atrium. The four larger pieces were connected atop the scaffold and the entire assembly was attached to the ceiling with three narrow-gauge galvanized cables crimped to steel plates inside the sculpture. According to the calculations of the project’s structural engineer, Buro Happold, SubDivided weighs a mere 56 pounds. “It’s kind of like a research project," said Alkanoglu. "A small prototype that could move into a larger building, maybe a facade, or an atrium for a bigger building, which hopefully will come in the future.”