Posts tagged with "zinc":
Zinc and glass unite riverfront pavilion and pump house.In 2009, just as construction on its Principal Riverwalk pavilion was about to begin—and following years of funding-related stops and starts—Des Moines-based Substance Architecture received some unexpected news. The firm was commissioned to design a second building, a pump house, on an abutting plaza. At that point, recalled Substance's Paul Mankins, it had been about three years since the firm started work on the pavilion. "There was some discussion in the office about whether the pump house should be an independent piece, or whether it should be formally related to the pavilion," he said. "Our decision was that the pavilion would be stronger if it had this piece as a foil." Using a limited material palette of zinc and glass accented by Jun Kaneko's artwork, Substance succeeded in creating a dialogue between the two small riverfront buildings, despite their differing programs and dates of origin. The pavilion's form was shaped as much by practical circumstances as by a particular aesthetic vision. The Wallace Roberts and Todd (WRT) master plan for the Principal Riverwalk, a joint development of the City of Des Moines and the Principal Financial Group, determined the wedge shape of the site. "We're not a firm that typically does triangular buildings," noted Mankins, "but the inner workings of the floodwall were already in place before we started." The architects were further constrained by a tight budget. Rather than distribute the program across a single floor, said Mankins, "we were able to convince WRT to manipulate the plaza, tip it up to stack the program." The move cut the pavilion's footprint in half and allowed Substance to push the service functions down into the plaza itself, thus decreasing the cost of the envelope. The pavilion's focal element is its glass-enclosed cafe, stacked directly atop the cast-in-place concrete box housing the service functions. The architects created an outdoor seating area by pulling the building ten feet away from the floodwall. This gesture, too, was in part a pragmatic one, as it "eased conversations with the Army Corps of Engineers," said Mankins. "The end result produces an exterior terrace, which is fantastic. But it was not purely a design-driven decision; it was also a political decision." To mitigate solar gain, Substance shrouded the pavilion in folded black zinc that serves as both roof and wall. A broad overhang to the south provides shade in summer without sacrificing the view downriver. On the west side of the cafe, the zinc facade is louvered. "It's basically like an enormous blind with the fins oriented north," said Mankins. "It allows you to view directly north, which is upriver, unobstructed, but it blocks the western sun." The second project, the pump house, entered the mix following the flood of 2008. "We have a storm and sanitary sewer system that's cutting-edge technology for 1750," quipped Mankins. After two 500-year floods in less than two decades, the city decided it was high time to upgrade its flood management system. The pump station designed by Substance contains three pumps, one of which already existed. "There are other pump stations in Des Moines, typically just cinderblock walls around an emergency generator and several propeller pumps," explained Mankins. The architects took a different tack, echoing the neighboring pavilion with a two-part design. They encased the existing pump in translucent glass, then wrapped a triangular zinc wall around the two new pumps and associated components. Below the pump station's zinc walls, Substance used a type of Minnesota limestone deployed by WRT throughout the Principal Riverwalk development. Substance had already worked with artist Jun Kaneko on several pieces for the pavilion. The firm returned to ask for a final artwork, a multicolored glass mural. "When we were designing the pump station, we always wanted this glass mural," said Mankins. The designers collaborated with Kaneko and Germany's Derix Glasstudios on the mural itself, then engaged C3 Lighting Solutions and Commonwealth Electric to design and install an LED system for internal illumination. With the language of limestone uniting them with the rest of the Principal Riverwalk, said Mankins, the pavilion and pump station appear as "two objects placed on plazas formed by flood walls." Their relationship to one another is a (happy) marriage of opposites, thanks to the architects' strategic use of zinc and glass. "One is closed, the other open," said Mankins. "But they're clearly related to one another."
University of Arkansas addition celebrates the future with a contemporary rewrite of Neoclassicism.As head of the architecture department and distinguished professor at the University of Arkansas Fay Jones School of Architecture, Marlon Blackwell was uniquely qualified to oversee the renovation and expansion of the school's home, Vol Walker Hall. To unite the school's landscape architecture, architecture, and interior design departments under one roof for the first time, Blackwell's eponymous firm designed a contemporary west wing to mirror the east bar on the existing Beaux-Arts style building, constructed in the 1930s as the university library. But the Steven L. Anderson Design Center—which tied for Building of the Year in AN's 2014 Best of Design Awards—is more than a container for 37,000 square feet of new studio, seminar, and office space. It is also a teaching tool, a lesson in the evolution of architectural technology writ in concrete, limestone, glass, steel, and zinc. "Our strategy was to create a counterweight to the existing building," explained Blackwell. Rather than a layered steel-frame construction, Marlon Blackwell Architect opted for a post-tensioned concrete structure to convey a sense of mass and volume. "We also wanted to demonstrate what you can do with new technology like post-tensioned concrete, such as introducing a cantilever and introducing a profile that has minimal columns in the spaces," he said. "All of that is a didactic tool for our students to contrast and compare with the load-bearing technology of the existing structure." The exterior of the Steven L. Anderson Design Center also reflects on changes to architectural practice during the last 80 years. "We really wanted to develop a strong profile of the building, in contrast to Vol Walker Hall," said Blackwell. He describes the effect as a figure-ground reversal: where in the older structure the mass of the building is the ground and the windows and ornament act as figure, in the new wing the mass is the figure and the fenestration the ground. To create what Blackwell terms a "condition of resonance" between the Design Center and Vol Walker Hall, the architects engaged Clarkson Consulting to develop an architectural concrete to match the color of a local Arkansas limestone no longer available. They echoed the Indiana limestone on the older wing with panels sourced from a quarry only 50 miles from the original. But instead of grouting the limestone cladding on the new wing, Blackwell chose a limestone rain screen system from Stone Panels. "That allows us to go much thinner but much larger," he said. "Again, we're using the same materials but showing how the advancement of technology allows for a different expression of architecture." The defining feature of the Design Center is the more than 200-foot-long glass and steel curtain wall on the western facade. Knowing that the western exposure would provide the only source of natural light for the new wing, the architects worked to balance the need for light against the threat of solar gain. To complement the existing building, they chose a fascia steel curtain wall custom-fabricated by local company L&L Metal Fabrication. With curtain wall consultants Heitmann & Associates, Blackwell developed a brise soleil comprising 3/4-inch by 18-inch frit glass fins, angled to filter sunlight into the Design Center's 43-foot-deep studios. "What we like about it, too, is that it's one big window," said Blackwell. "It allows it to feel as if we've cut a section right through the building. At night the entire facade becomes a beacon, allowing for a nice interface between the school of architecture and the rest of the community." Other details, including the monolithic concrete pours designed to lighten the Design Center's connection to the ground, and zinc cladding used on the top floor to sharpen the profile of the main body, continue the dialogue between the new structure and its Neoclassical neighbor. "There are a lot of little things that give a tautness to the expression of the new addition, and give it its own identity," said Blackwell. "But at the same time, one of the things we were faithful to was trying to analyze and uncover units of measure and proportion on the old building, and apply that to ours." Perhaps more importantly, the building works as a design school—and Blackwell would know. "There's certainly contrast on the outside," he said. "But there's an almost resonant seamlessness on the inside."
Medical clinic in the Dallas suburbs features a contemporary facade of perforated metal panels.When Legacy ER commissioned 5G Studio to design an emergency care facility in Allen, Texas, the architects seized the opportunity to define an emerging building type. One of a growing number of freestanding emergency care centers (FECCs) popping up across the United States, the Legacy ER in Allen combines an emergency room and urgent care clinic under one roof. The Allen facility is the second collaboration between the care provider and 5G Studio, who also designed Legacy ER's FECC in Frisco. "Based on the Frisco project they saw it as a strength to their brand to design an outstanding facility," said partner Yen Ong. "Architectural identity is one of their brand hallmarks." Inspired both by traditional domestic architecture and the image of a physician's robe, Legacy ER - Allen's sculptural zinc facade punctures the monotony of its suburban surroundings. In Allen, "like in any suburban context, you have McMansions and little to excite you," said Ong. "We took the opportunity to reflect on the identity of the organization, and to try to create an episodic architectural intervention into that suburb." The architects looked at the site's context and saw a lot of single-family homes with pitched roofs. "We said, 'Let's start there,'" recalled Ong. "We began to take the idea of the sloped roof, but reflect it in a modern and a new way." They experimented with the form, and hit upon the idea of building a robe—like the physician's white coat—to enclose the program. The robe lifts at strategic points to create entrances and a mezzanine-level conference room. As at the Frisco facility, the designers chose zinc for Legacy ER - Allen's envelope. "In Frisco, we convinced Legacy ER that zinc is a good reflection on their brand," said Ong. "It's sustainable, very durable, and malleable. It had all the qualities we want and allows a lot of aesthetic freedom." Zinc holds up well under Texas's regular hailstorms. "What we found in the first building is that even if the hail scratches or dents it, it's surprising how resilient it is—it doesn't look like a damaged car body," said Ong. Ong also notes that zinc, despite its cool grey color, conveys an impression of warmth, an important consideration for a facility that serves people in crisis. In Frisco, 5G Studio found that the brightness of the interior lights at night rendered the exterior as dark and closed. To avoid a similar problem at the Allen clinic, they perforated the cladding and installed an efficient lighting system behind it. "The zinc panels essentially become light fixtures, emitting diffuse light on the exterior," said Ong. Gradients in the perforations insure a uniform distribution of light across the plane, to prevent glare. During the day, the perforations allow daylight to filter in through overhangs on the west and east sides of the building, where high-performance glazing (fritted or placed high for privacy) provides additional protection against solar gain. Both the cladding itself and the roofing challenge the notion that advanced forms necessitate advanced construction techniques. "The zinc itself employed a very typical assembly; the roofing is standard metal roofing," said Ong. "We purposefully selected the very common method of standing seam metal roofing, but express it in a different way. We felt like the achievement on the exterior is not, 'Here's a sculptural form with an advanced cladding system.' It's to reinvent a standard assembly system." In contrast to Legacy ER - Allen's dynamic facade, the building's interior features blurred edges and soft natural light. The dissimilarity is meant to embody the two sides of the physician's nature. "We know that the physician owners are very competent, but, more importantly, they are human, and they are very good people. We wanted to reflect that duality in the facility," said Ong. "To achieve that we employed two different architectural languages: on the exterior, the building has very sharp geometry, which is reflective of the physician's professionalism and their ability. On the interior, there are gentle curves, and the daylight is diffuse. It's very gentle on the inside." Legacy ER took a risk in selecting a cutting-edge design for a medical clinic located in the Dallas suburbs, said Ong. "As much confidence as our client had coming into the relationship with 5G Studio, we didn't know how far we could push this next project. Frisco was nowhere close to this," he said. But the gamble paid off, and the result is a building that, beyond boosting Legacy ER's brand, sets a new standard for healthcare design. "We felt like this piece will challenge the perception that healthcare architecture is a subset of practice so burdened with technical requirements that it's nothing more than healthcare architecture," said Ong. "We hope to contribute to the notion that healthcare architecture is just architecture."