Ascent Concept #2

MID-CENTREL EDITION

ASCENT DESIGNING WITH PRECAST

WWW.PCI.ORG

Designer’s Notebook: Terra Cotta-Faced Precast Architect Profile: Matt Jobin of Richie & Associates Building: CONRACs Speeding Mass Transit Projects

FALL 2015

INSIGHT

NEW FACES. ENTERTAINING PLACES. Hello! Allow me to introduce myself. My name is Dawn Parker and I am the new executive editor of Ascent Magazine, as well as the new Managing Director, Market Development at PCI. My background includes serving as the Region Director for PCI of Illinois and Wisconsin; where I honed my knowledge of precast, working in the economic development field with multiple targeted industries, as well as spending several years in the construction industry.

But, enough about me, let’s talk about the rest of the team here at Ascent. Producing a magazine takes the work of many and couldn’t come to fruition without the contributions of my esteemed colleagues. First, I want to thank and welcome Jim Lewis, the new Editor of Ascent magazine and the Manager, Architectural Services at PCI, his architectural background made a huge contribution to this first issue that we produced together. I see an exciting future for Ascent based on our collaborative partnership. Additionally, on the team is another new face, Brenda Banks, who is our editorial assistant and the new Marketing Assistant at PCI. Are you seeing a theme here…New. Fresh. Visionary.

Our purpose here at Ascent magazine is to bring you a variety of building projects that you can explore, design and build with precast concrete. As you will notice in this issue, we are exploring an assortment of entertainment venues. We all have our favorites; sports, players, teams, getting lost in the beauty of a theatrical production, or bowling on league night. Imagine enjoying your favorite form of entertainment in a setting that is unique, built to last, comfortable and embodies all of the qualities of a high performance structure; versatility, efficiency and resiliency. You will find all of this portrayed in the following pages.

If you noticed the “built to last” in that last paragraph and how that applies to a precast concrete structure, it also applies to the rest of the team here at Ascent Magazine. Craig Shutt, who has been with Ascent for many years, as our primary writer and managing editor and Tressa Park who handles the Ascent layout, graphics and publishing, both are an integral part of our magazine.

Our Ascent team looks forward to delivering you, a magazine that is relevant, exciting and allows you to DREAM of what you can achieve with precast concrete.

4

ASCENT | WINTER 2016

Dawn Parker, MBA Executive Editor dparker@pci.org

Register early for best rates.

www.aia.org/convention

PROJECT CASE STUDY

LOOKING BEHIND THE VEIL

Intricate ‘veil’ precast façade creates dramatic

appearance for The Broad in Los Angeles.

BY CRAIG A. SHUTT

Creating a dramatic design statement for a new art museum produc-

protagonist of the design, a hovering, opaque mass that shapes the

es two key challenges: provide the functional display needs required

lobby below and provides the literal ground for the galleries above.”

for a sizable art collection and enclose that space with an impressive

This space works with the “veil,” which introduces the facility to

appearance that holds its own against neighbors with formidable

visitors and helps the smaller building stand out beside the dramat-

aesthetic designs that could overwhelm it. To achieve these goals,

ic Disney Hall. “The five-side veil nests over the vault and acts as

designers of The Broad in Los Angeles created a “vault” to hold the

a foil to Disney’s exuberant form,” Rice explains. “Where Disney is

art and then wrapped it in a “veil” constructed of more than 2,470

reflective and metallic, the veil is matte and mineral, absorbing and

honeycomb-shaped pieces of Glass Fiber Reinforced Concrete

controlling light through its coral-like apertures.” All of the museum’s

(GFRC).

spaces exist between these two elements, with circulation flowing

“All of our projects are unique and use the materials that best

under, around, and through them.

support the overall concept of the building,” says Kevin Rice, project director and associate principal at Diller Scofidio + Renfro, the

GFRC ADDS INDIRECT LIGHTING

design architect on the project. “This is our first project using GFRC,

The GFRC veil, constructed on a steel lattice, provides indirect

though we will be using it in different ways on other upcoming

lighting to the galleries inside, creating a dramatic visual setting to

projects.”

display the art. The veil rises at the corners to direct visitors through

The “vault,” which stores the 2,000-work collection, was de-

the entry into an active lobby and bookshop. They then are drawn to

signed contrary to many such layouts, he notes. “Instead of being

an escalator and whisked up into the 23-foot-tall, column-free view-

relegated to the basement or back of the house, it becomes the

ing spaces. The façade also features a funnel-like “oculus” point

THE BROAD LOCATION Los Angeles, CA PROJECT TYPE Art museum SIZE 120,000 square feet COST $140 million (plus $19 million for plaza and streetscape improvements) ARCHITECT Diller Scofidio Renfro, New York, NY Executive Architect Gensler, Los Angeles OWNER The Broad, Los Angeles, CA STRUCTURAL ENGINEER Nabih Youssef & Associates, Los Angeles, CA CONTRACTOR MATT Construction, Santa Fe Springs, CA PCI-CERTIFIED PRECASTER Willis Construction Co., San Juan Bautista, CA GFRC COMPONENTS 2,470 panels, encompassing 93,220 square feet.

Average panel had a surface area of 38 square feet. 2.5- by 15-foot projected panel surface

PROJECT CASE STUDY

LOOKING BEHIND THE VEIL Intricate ‘veil’ precast façade creates dramatic appearance for The Broad in Los Angeles.

BY CRAIG A. SHUTT

Creating a dramatic design statement for a new art

was designed contrary to many such layouts, he notes.

museum produces two key challenges: provide the

“Instead of being relegated to the basement or back of

functional display needs required for a sizable art

the house, it becomes the protagonist of the design,

collection and enclose that space with an impressive

a hovering, opaque mass that shapes the lobby below

appearance that holds its own against neighbors with

and provides the literal ground for the galleries above.”

formidable aesthetic designs that could overwhelm

This space works with the “veil,” which introduces

it. To achieve these goals, designers of The Broad in

the facility to visitors and helps the smaller building

Los Angeles created a “vault” to hold the art and then

stand out beside the dramatic Disney Hall. “The five-

wrapped it in a “veil” constructed of more than 2,470

side veil nests over the vault and acts as a foil to Disney’s

honeycomb-shaped pieces of Glass Fiber Reinforced

exuberant form,” Rice explains. “Where Disney is reflec-

Concrete (GFRC).

tive and metallic, the veil is matte and mineral, absorb-

“All of our projects are unique and use the materials

ing and controlling light through its coral-like apertures.”

that best support the overall concept of the building,”

All of the museum’s spaces exist between these two

says Kevin Rice, project director and associate principal

elements, with circulation flowing under, around, and

at Diller Scofidio + Renfro, the design architect on the

through them.

project. “This is our first project using GFRC, though we will be using it in different ways on other upcoming

GFRC ADDS INDIRECT LIGHTING

projects.”

The GFRC veil, constructed on a steel lattice, provides

The “vault,” which stores the 2,000-work collection,

indirect lighting to the galleries inside, creating a dra-

L

THE BROAD LOCATION Los Angeles, CA PROJECT TYPE Art museum SIZE 120,000 square feet COST $140 million (plus $19 million for plaza and streetscape improvements) ARCHITECT Diller Scofidio Renfro, New York, NY Executive Architect Gensler, Los Angeles OWNER The Broad, Los Angeles, CA STRUCTURAL ENGINEER Nabih Youssef & Associates, Los Angeles, CA CONTRACTOR MATT Construction, Santa Fe Springs, CA PCI-CERTIFIED PRECASTER Willis Construction Co., San Juan Bautista, CA GFRC COMPONENTS 2,470 panels, encompassing 93,220 square feet. Average panel had a surface area of 38 square feet. 2.5- by 15-foot projected panel surface

controls on the amount and types of daylight that could

Construction, who provided the GFRC components.

penetrate were required, leading to development of the

“GFRC could be manufactured in the quality-controlled

shapes of the panels and openings and the tolerances to

environment to ensure the accuracy of all the different

which they were fabricated.”

shapes,” he says. “The sprayed process of GFRC has the

Designers initially considered using a total precast

ability to be formed on a curvilinear

concrete system for the façade, as it would have mini-

surface without additional back forms or the concern

mized trades on the site but the seismic requirements for

of the cement slumping. GFRC proved to be the only

handling the weight and the complexity of the mold-

choice to meet these design demands.”

ing process for that situation led to the use of a lighter

The high flexural capacity of the GFRC skin ensured

system with steel tubing and GFRC connected to it. “This

the strength necessary for the unique shapes to work

resulted in a lighter, simpler, and more aesthetically pure

structurally. The skin strength and durability allowed

system.”“GFRC proved to be the most cost-effective of

smaller tube framing to be used for the skins. The smaller

all the materials analyzed, while meeting the schedule

tube frames in turn helped to accommodate the tight

and durability requirements,” says David Pakshong, Arts

tolerances needed to fit the panels onto the frame. The

& Culture Practice leader at Gensler, which served as the

panel strength also met the service-life and durability

executive architect on the project.

requirements needed at the ground floor, at pedestrian

The material offered the plasticity of design required for the three-story building, adds Mark Hildebrand, president and chief engineer at Willis

level A key design challenge arose in balancing the size of the openings required to allow light into the building

PROJECT CASE STUDY

LOOKING BEHIND THE VEIL Intricate ‘veil’ precast façade creates dramatic

appearance for The Broad in Los Angeles

BY CRAIG A. SHUTT

Creating a dramatic design statement for a new art

the facility to visitors and helps the smaller building

museum produces two key challenges: provide the

stand out beside the dramatic Disney Hall. “The

functional display needs required for a sizable art

five-side veil nests over the vault and acts as a foil

collection and enclose that space with an impressive

to Disney’s exuberant form,” Rice explains. “Where

appearance that holds its own against neighbors with

Disney is reflective and metallic, the veil is matte and

formidable aesthetic designs that could overwhelm it.

mineral, absorbing and controlling light through its

To achieve these goals, designers of The Broad in Los

coral-like apertures.” All of the museum’s spaces exist

Angeles created a “vault” to hold the art and then

between these two elements, with circulation flowing

wrapped it in a “veil” constructed of more than 2,470

under, around, and through them.

honeycomb-shaped pieces of Glass Fiber Reinforced Concrete (GFRC).

“All of our projects are unique and use the ma-

indirect lighting to the galleries inside, creating a

building,” says Kevin Rice, project director and asso-

dramatic visual setting to display the art. The veil rises

ciate principal at Diller Scofidio + Renfro, the design

at the corners to direct visitors through the entry into

architect on the project. “This is our first project using

an active lobby and bookshop. They then are drawn

GFRC, though we will be using it in different ways on

to an escalator and whisked up into the 23-foot-tall,

other upcoming projects.”

column-free viewing spaces.

The façade also features a funnel-like “oculus”

tion, was designed contrary to many such layouts, he

point in which the GFRC honeycomb warps inward,

notes. “Instead of being relegated to the basement

creating a hole at its center that provides views to the

or back of the house, it becomes the protagonist of

exterior at strategic points. “Conceptually, the idea of

the design, a hovering, opaque mass that shapes the

the veil is that it modulates the light from the top and

lobby below and provides the literal ground for the

the sides of the top-floor gallery, and allows glimps-

galleries above.”

es and connections to and from the city,” says Rice.

This space works with the “veil,” which introduces ASCENT | WINTER 2016

The GFRC veil, constructed on a steel lattice, provides

terials that best support the overall concept of the

The “vault,” which stores the 2,000-work collec-

22

GFRC ADDS INDIRECT LIGHTING

“Due to conservation concerns for the art, tight

THE BROAD LOCATION Los Angeles, CA PROJECT TYPE Art museum SIZE 120,000 square feet COST $140 million (plus $19 million for plaza and streetscape improvements) ARCHITECT Diller Scofidio Renfro, New York, NY Executive Architect Gensler, Los Angeles OWNER The Broad, Los Angeles, CA STRUCTURAL ENGINEER Nabih Youssef & Associates, Los Angeles, CA CONTRACTOR MATT Construction, Santa Fe Springs, CA PCI-CERTIFIED PRECASTER Willis Construction Co., San Juan Bautista, CA GFRC COMPONENTS

controls on the amount and types of daylight that

of the cement slumping. GFRC proved to be the only

2,470 panels, encompassing

could penetrate were required, leading to develop-

choice to meet these design demands.”

93,220 square feet. Average

ment of the shapes of the panels and openings and the tolerances to which they were fabricated.”

Designers initially considered using a total precast

The high flexural capacity of the GFRC skin ensured the strength necessary for the unique shapes to work structurally. The skin strength and durability

concrete system for the façade, as it would have mini-

allowed smaller tube framing to be used for the skins.

mized trades on the site but the seismic requirements

The smaller tube frames in turn helped to accom-

for handling the weight and the complexity of the

modate the tight tolerances needed to fit the panels

molding process for that situation led to the use of a

onto the frame. The panel strength also met the

lighter system with steel tubing and GFRC connected

service-life and durability requirements needed at the

to it. “This resulted in a lighter, simpler, and more

ground floor, at pedestrian level

aesthetically pure system.”“GFRC proved to be the

A key design challenge arose in balancing the size

most cost-effective of all the materials analyzed, while

of the openings required to allow light into the

meeting the schedule and durability requirements,”

building with the structural and fabrication require-

says David Pakshong, Arts & Culture Practice leader

ments of the GFRC, says Rice. Willis had three engi-

at Gensler, which served as the executive architect on

neers working full time to analyze and fabricate more

the project.

than 300 unique molds to create the panels. Some of

The material offered the plasticity of design required for the three-story building, adds Mark Hildebrand, president and chief engineer at Willis

the molds were used hundreds of times, while others were used only once.

The panels were so curvy and twisted, we had to

Construction, who provided the GFRC components.

develop new ways to analyze the GFRC skin stresses,”

“GFRC could be manufactured in the quality-con-

says Hildebrand. Bob Steed, project manager at Wil-

trolled environment to ensure the accuracy of all the

lis, “GFRC frame size, location on the skin, clearance

different shapes,” he says. “The sprayed process of

from the funnel, and connection locations from the

GFRC has the ability to be formed on a curvilinear

frame-to-building or steel-lattice structure were sel-

surface without additional back forms or the concern

dom optimal, due to constraints in the building

panel had a surface area of 38 square feet. 2.5- by 15-foot projected panel surface

MID-CENTREL EDITION

ASCENT DESIGNING WITH PRECAST

WWW.PCI.ORG

Designer’s Notebook: Terra Cotta-Faced Precast Architect Profile: Matt Jobin of Richie & Associates Building: CONRACs Speeding Mass Transit Projects

FALL 2015

MID-CENTREL EDITION

ASCENT DESIGNING WITH PRECAST

WWW.PCI.ORG

Designer’s Notebook: Terra Cotta-Faced Precast Architect Profile: Matt Jobin of Richie & Associates Building: CONRACs Speeding Mass Transit Projects

FALL 2015

COLOR PALETTE