IGS Magazine Autumn 2021: Glass Retrospective by IGS Magazine

Intelligent Glass Solutions

“Glass is the most visually animated, expressive material that exists” – Eran Chen, Founder, ODA New York has The Glass Word

BIOMIMETIC-INSPIRED FAÇADE RETROFITS Design-thinking with UNStudio

A TRANSPARENT VERTICAL CITY Twenty-three vertical glass planes at 22 Bishopsgate

FROM HOLE IN THE FLOOR TO PANORAMIC VIEWS

Autumn 2021

Renovating Seattle’s iconic Space Needle

TURNING FORMER WASTE INTO FUTURE VALUE

Autumn 2021 www.igsmag.com

Glass recycling initiatives capture the spirit of urban mining

GLASS RETROSPECTIVE Rethinking the possibilities of façade retrofits and adaptive reuse

An IPL magazine

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INTELLIGENT GLASS SOLUTIONS

Autumn Edition 2021 A heartfelt thank you to ALL our wonderful contributors who put pen to paper for this issue of IGS Magazine

The shimmering scale-like skin of Raffles City Hangzhou, designed by architects UNStudio. Discover more about this aweintelligent glass solutionsinspiring | autumn 2021 project on page1 8

PUBLISHER’S WORD

The Only Constant in Life is Change

n the architecture industry and in the media, most of the attention focuses on new buildings, often designed to meet high environmental and performance standards. At the same time, some of our greenest buildings may be hidden in plain sight: they’re the ones we already have. Today, we are witnessing a new awareness of the benefits of retrofitting buildings, rather than demolishing and replacing them with new builds. Rethinking the possibilities of adaptively reusing available building stock has slowly but surely become a commonly embraced approach in the field of architecture and engineering. Glass has its role to play in this story, indeed a protagonist, in the evolution of existing buildings to prepare them for the future. In this penultimate edition of IGS Magazine in 2021, we delve into glass facade renovations, retrofitting and adaptive reuse, unraveling the complex nature of the modern retrofit building envelope. From ground-breaking glass technologies to best practice, the industry speaks! Indeed, as you dive deeper into this theme and issue, it will become apparent that renovating existing building facades is highly complex, subject to multifaceted considerations. From considerations of

sustainability and energy-efficiency to respecting heritage and culture, economic viability and aesthetic concerns, the authors in this magazine delineate a blueprint to best practice in and for our industry.

Our eternal gratitude goes to those who sacrificed much of their valuable time spending hours preparing articles exclusively for all the beautiful men and women who read IGS - Thank you!

The edition is opened by Astrid Piber, Partner at the renowned architecture practice UNStudio, who explores biomimicry and its application to design thinking; drawing some fascinating parallels between the evolution and adaptation inherent in nature to the renovation of existing and future facades. In this editions ‘Glass Word’, the closing article of the Autumn issue, I had the privilege of interviewing Founder of ODA New York, Eran Chen, who imparts his words of wisdom and unfiltered thoughts on architecture, technology, and glass.

Should you wish to address the industry in the winter edition or in 2022 please feel free to contact me for a more personal and tailored discussion at your earliest convenience. This is IGS, the world’s most popular and beloved glass industry magazine.

Our next issue, the coveted ‘Glass Supper Special Edition’ will be published in the Winter of 2021. Released in conjunction with our event on the 9th of December at the Skygarden in London, we immortalize the conversations well beyond the date as the speakers and sponsors put pen to paper for the last publication of the year. These vanguards of the industry, who relentlessly challenge the limits and applications of glass will impart their unparalleled knowledge for the readers of IGS.

intelligent glass solutions | autumn 2021

Nothing more, nothing less....nothing else! Lewis Wilson Marketing Director and Editor for IGS Magazine

PUBLISHER’S WORD

“At its best, renovation engages the past in a conversation with the present over a mutual concern for the future” - William Murtagh

Image credit: Photo by Sébastien Jermer on Unsplash

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CONTENTS IG S AU T U M N E DI T ION 2 0 2 1 E X E C U T I V E B OA R DRO O M C O M M E N TA RY 8

FROM BIOMIMETIC TO CHAMELEONIC DESIGN-THINKING FOR A BETTER PLANET Astrid Piber – Partner, UNStudio Astrid explores biomimicry and its application to design thinking and the remodelling of existing façades through exemplary project case studies from prolific architecture firm UNStudio.

25 THE REAL ESTATE HOT POTATO-CHALLENGES AND SOLUTIONS FOR WHOLE-BUILDING RE-CLADDING PROJECTS Scott R Armstrong - Project Principal, Building Sciences, WSP Scott gives us a glimpse into the economic and technical challenges in realizing façade renewals with choice examples from WSP’s portfolio. 35

SECOND SKIN, 63 MADISON AVENUE, NYC Co-authored by: Simon Pierce - Associate Director and Carmelo Guido Galante, Eckersley O’Callaghan; Giles Martin – Director, WilkinsonEyre; Timo Bühlmeier - Lead Concept Designer and Bernhard Rudolf - Head of Engineering at Josef Gartner GmbH The challenge: upgrading an aging, energy-inefficient high-rise office building in New York. The solution: an ‘adaptive net’ that responds to the idiosyncrasies of a building’s locale and orientation.

35 4

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T R A N S PA R E N T A R C H I T E C T U R A L R E N O VA T I O N S A N D R E T R O F I T S 42

FROM HOLE IN THE FLOOR TO PANORAMIC VIEWS: A BELOVED SEATTLE LANDMARK LOOKS AHEAD TO ITS NEXT 50 YEARS Blair Payson - Project Architect for The Century Project at the Space Needle and Principal, Olson Kundig Blair provides IGS readers with exclusive insight into the untold tale of renovating the iconic Space Needle as glass celebrates and recaptures the innovative and creative spirit of the original tower of 1962.

A SERIAL YET BESPOKE FAÇADE RENOVATION OF THE DIOCESAN MUSEUM Michael Seele - Sales Director, seele GmbH An oversize glass façade and variable sunshading system combines high-performance tech with historic architecture and ensures an ideal climate for light-sensitive relics and exhibits.

RESTORING THE KAHN: AN IN-DEPTH CARBON ANALYSIS ON THE OPTIONS FOR A HISTORIC WINDOW Kyle Sword – Business Development Manager and Kayla Natividad - Architectural Technical Service Engineer, Pilkington North America Kyle and Kayla investigate the restoration of the 1931 Albert Kahn Building and the impact of retrofitting windows and material reuse on embodied carbon; both viable environmental solutions to dealing with the energy-efficiency of existing buildings.

72 CONTEMPORARY GRIDSHELL ENCLOSES MONUMENTAL COURTYARD Koos Fritzsche – Senior Sales Engineer, Jort Winkel – Structural Engineer and Iris Rombouts – Project Manager and Structural Engineer, Octatube Octatube take a deep dive into engineering the complex 30 x 30-meter geometric glass dome that spans this historic building. Old and new are literally connected; And where these two meet, challenges arise.

82 GAME-CHANGING SUSTAINABLE REUSE AT ONE TRITON SQUARE Nick Jackson – Director and Matteo Lazzarotto – Senior Engineer, Arup Discover how Arup’s whole life carbon strategy saved more carbon in One Triton Square’s design and construction than it will use over the next 20 years of operation. 94

TAMMANY HALL’S HIGH-TECH GLASS DOME HONORS NEW YORK’S HERITAGE Todd Poisson – Partner, BKSK Architects An articulated dome of glass and steel now rises from the historic Tammany Hall, honoring the building’s namesake and heritage while providing a showcase for the technology of today.

GLAZING AN ICON 106

22 BISHOPSGATE: A VERTICAL CITY AGC Glass Europe, written by Marc Everling – Founder, Marc Everling Nachhaltige Kommunikation AGC Glass Europe tell the story of 22 Bishopsgate, a skyscraper completed in the midst of the COVID-19 pandemic. Faceted into twenty-three vertical planes, the towering state-of-the-art glass façade supports an abstract design approach that places light as the focal point.

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GLOBAL CASE STUDIES AND TRENDS GAINING TRACTION 120

WHEN FACADES MEET CARBON NEUTRAL SILICONES Markus Plettau, Global Marketing Manager FAÇADE High Performance Building, Dow Performance Silicones From facade design and material selection to packaging and carbon neutral silicones, Dow provides a holistic overview and pragmatic blueprint to the mitigation of operational emissions, adding value to the industry’s rapidly growing experience and knowledge in this field.

129 ENDLESS POSSIBILITIES MADE POSSIBLE WITH BENTELER GLASS PROCESSING EQUIPMENT Olaf Patsch- Berkemann - Head of Sales, Architectural Glass, BENTELER Find out how BENTELER, a fourth-generation, 140-year-old family company combines commercial success with social responsibility and ecological awareness. In this article, you will be privy to the innovative products and processes that will shape the future of glass processing equipment – sustainably. 136

TURNING WASTE INTO VALUE: FROM GLASS RECYCLING TO CIRCULAR ECONOMY Andreas Bittis - International Market Manager, Saint-Gobain Glass, BU Facade Andreas inspires us and tasks the industry to pursue the recycling and reuse of glass, outlining Saint-Gobain’s progressive global initiative to turn former waste into future value.

THE GLASS WORD 142

Intelligent Glass Solutions

“Glass is the most visually animated, expressive material that exists” – Eran Chen, Founder, ODA New York has The Glass Word

BIOMIMETIC-INSPIRED FAÇADE RETROFITS Design-thinking with UNStudio

A TRANSPARENT VERTICAL CITY Twenty-three vertical glass planes at 22 Bishopsgate

FROM HOLE IN THE FLOOR TO PANORAMIC VIEWS Autumn 2021

Renovating Seattle’s iconic Space Needle

TURNING FORMER WASTE INTO FUTURE VALUE

Autumn 2021 www.igsmag.com

Glass recycling initiatives capture the spirit of urban mining

GLASS RETROSPECTIVE Rethinking the possibilities of façade retrofits and adaptive reuse

An IPL magazine

Image: Raffles City Image courtesy: © Hufton + Crow Intelligent Glass Solutions is Published by Intelligent Publications Limited (IPL) ISSN: 1742-2396 Publisher: Nick Beaumont Accounts: Jamie Quy Editor: Lewis Wilson Production Manager: Kath James

IGS INTERVIEWS ERAN CHEN Eran Chen - Founder, Owner & Design Director, ODA New York In this exclusive interview for the final edition of “The Glass Word” in 2021, we delve into the mind of one of New York’s most acclaimed contemporary architects as he imparts his words of wisdom and unfiltered thoughts on architecture, technology, and glass.

Director of International Business Network Development: Roland Philip Manager of International Business Network Development: Maria Jasiewicz Marketing Director: Lewis Wilson Page Design Advisor: Arima Regis

Design and Layout in the UK: Simon Smith Intelligent Glass Solutions is a quarterly publication. The annual subscription rates are £79 (UK) , £89 (Ireland & Mainland Europe), & £99 (Rest of the World) Email: nick@intelligentpublications.com

Published by: Intelligent Publications Limited, 3rd Floor, Omnibus House, 39-41 North Road, London N7 9DP, United Kingdom Tel: +44 (0) 7703 487744 Email: nick@intelligentpublications.com www.igsmag.com

The entire content of this publication is protected by copyright. All rights reserved. None of the content in this publication can be reproduced, stored or transmitted in any form, without permission, in writing, from the copyright owner. Every effort has been made to ensure the accuracy of the information in this publication, however the publisher does not accept any liability for ommissions or inaccuracies. Authors’ views are not necessarily endorsed by the publisher.

intelligent glass solutions | autumn 2021

Astrid Piber

Partner at UNStudio When we are given the possibility to remodel buildings, the opportunity for architects is in the staged approach, and therefore in an evolution of the project – an evolution that is safeguarded by a technical and aesthetic upgrade. The opportunities for safeguarding the planet are in the reduction of waste, careful sourcing of materials and the life-long added value that keeps such remodelled buildings in use for years to come. Page 8

Eran Chen has ‘The Glass Word’

Founder, Owner & Design Director of ODA New York A lot of people think of glass as a transparent material, or that it almost doesn’t exist because it’s transparent, but it’s actually exactly the opposite. Glass is the most visually animated, expressive material that exists because of its reactivity and the light and colors that transfer through it. Page 142

Inside th 6

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Nick Jackson

Director at ARUP One Triton Square is a game-changing example of sustainable building reuse. A whole life carbon strategy has saved more carbon in the building’s design and construction than it will use over the next 20 years of operation. Page 82

Todd Poisson

Partner at BKSK Architects Juxtaposing a classically proportioned yet contemporary glass and steel form above Tammany Hall’s Neo-Georgian masonry base allows the dome to complement the landmark building below, yet provide a showcase for the technology of today. Page 94

Karen Cook

Founding Partner of PLP Architecture 22 Bishopsgate is faceted into twentythree vertical planes. We are pleased that the glass supports an abstract design approach of playing with light. The light silvery coating on the outer skin of lowiron glass achieves our objectives by changing the appearance of the glass skin according to sky luminescence and sun angles, the vertical facets alternately transparent, milky white or highly reflective. Page 106

Scott R Armstrong

Project Principal, Building Sciences at WSP While the phrase “it’ll last forever!” may express our aspirations for new and existing buildings, the reality is very different. Enduring buildings must be well designed, durably constructed, and regularly maintained – and maybe, just maybe they will last forever. Page 25

his Issue 10 Jay Street featured in ‘The Glass Word’ Interview with Eran Chen on page 142 Image courtesy of ODA New York © Pavel Bendov

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From Biomimetic to Chameleonic design-thinking for a better planet Astrid Piber, Partner at UNStudio

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BIOMIMICRY AND DESIGN THINKING Design Thinking has long drawn creative inspiration through biomimicry. One of the first examples was the design for the Crystal Palace by Joseph Paxton at the end of the 19th century. Inspired by the leaves of water lilies, and following structural testing, it became possible for the engineer to develop a fully glass building that set the bar for what was possible for many of the world exhibitions that followed. By sourcing his inspiration directly from a natural structure, Paxton was able to develop, not just a new type of building, but a new style of architecture. Following the construction of the Crystal Palace, many biomimetic-inspired structures became part of well-known and iconic works of architecture: the buildings of F.L. Wright, the Eden Projects, the Aquatic Stadium and the Bird’s Nest, to name just a few. Yet alongside structural performance, there is so much more that can be learnt from nature and it has become a seemingly bottomless pool of inspiration for many design disciplines. One of the most fascinating strategies that nature has revealed is the fact that some species can change and adapt to their immediate circumstances, be it through colour, texture, or mechanisms of mutation or bifurcation. These are biomimetic strategies that involve remodelling and adapting, thus serve as perfect examples and inspiration for design thinking for remodelling building projects. REMODELLING TOWARDS A BETTER PLANET The remodelling of existing buildings and structures has become one of the ‘greenest’ and more sustainable approaches adopted in recent decades. Rethinking the possibilities of retrofitting and adaptively reusing available building stock has slowly but surely become a commonly embraced approach in the field of architecture and engineering. While the technical requirements and energy saving benefits of such an approach have long been known, until recently the constraints and unpredictable risks served to work against its widespread adoption. While these constraints have not changed, a growing awareness of the extent to which demolition and the construction of new buildings impacts our planet has considerably changed attitudes as to how we can design-think buildings in such a way that they not only better fit their 10

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purpose, but can also be better constructed and dismantled. And of course, remodelling existing buildings saves both costs and energy. In recent years, thinking about the waste streams of construction, CO2 emissions and lifecycle costs has triggered a process of considering old buildings in a new way. But what does either retaining or transforming the look and identity of such buildings mean for the creative aspects of the architectural challenge? In a sense, this new awareness requires that architects – instead of designing from scratch – need to bring a great deal of technical and detail knowledge into the remodeling project right from the start. For many, questions arise concerning the overall importance of aesthetics, or which fresh ideas could be added to the mix to create outstanding projects on multiple levels.

Crystal Palace, London Exhibition, 1851. Frank Norton, Editor, Public domain, via Wikimedia Commons

Paxton’s daughter Annie standing on a Victoria amazonica leaf in the lily house at Chatsworth. By Unknown (Illustrated London News) [Public Domain], via Wikimedia Commons

SO WHAT ABOUT BEAUTY? How does nature approach remodelling? Shark’s teeth always grow back, while human teeth only grow once. We have learned that this is due to natural evolution, on a need to survive basis called divergent evolution. However, when it comes to remodelling buildings, we look for a form of design thinking that is based on the need for adaptation. Adapting to the environment, to external circumstances and integrating technical requirements and solutions in such a way that the remodelling will always improve the performance of the building. This leads to best practice applied in reference to what we know as convergent evolution. The fascinating thing about nature however, is that next to the natural evolution of the characteristics inherent to a particular species, there is also a form of evolution of beauty in nature. In his theory of evolution, Darwin proposed a separate process alongside natural evolution that he called ‘sexual selection’: “Females choose the most appealing males according to their standard of beauty” and, as a result, “males evolve toward that standard, despite the costs”. Darwin did not think it was necessary to link aesthetics to survival. Many scientists however disagree still. How and why beauty has been one of the characteristics of evolution is still an area for research and many scientists remain fascinated by this subject. Translated to the evolution of a building, and thus a remodeling project, the aesthetic appearance of such design may originate from the underlying technical characteristics, or it may have been sparked by some external source of inspiration.

CHAMELEONIC DESIGN THINKING Through evolution, nature has provided much evidence of the fluid development of many different species. The chameleon is the perfect example of a species that has the ability to adapt its skin colour almost instantaneously, in order to protect itself and survive. What if our buildings could adapt to changing seasons, changing weather conditions and changing energy requirements as instantly as nature prompts them to do so? But even if our buildings are not yet capable of such immediate adaptation, should not we, as designers and architects, at least think and design in such way that one day such transformations could be possible? After all, one day the new buildings of today will become the old buildings of tomorrow, and will themselves require retrofitting. This is a new reality that architects need to face and it requires a wealth of background knowledge concerning the constraints of building and remodelling, in addition to design thinking in a chameleonic way. In essence, we need to approach any new build we design today as if we are creating a chameleon: a building that may well be retrofitted and altered in the future, and we have to incorporate this thinking into the design from the outset in order to facilitate such transitions. At UNStudio we continuously learn from nature and over the years have explored how biomimetic design strategies and natural phenomena can provide clues and direction to the design of new builds, remodelling and retrofitting projects.¬ More often than not, glass has played a leading role in these design solutions. A number of the following examples are remodelling projects, while a few are new builds - which one day will eventually themselves be remodeled and upgraded, and therefore require a strategy to enable this in the future.

Examples of biomimetic inspirations: • Abalone • Optical illusion • Pangolin • Ecdysis • Bioluminesence

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ABALONE Galleria Department Store, Seoul, South Korea Nacre (/ˈneɪkər/ NAY-kər also /ˈnækrə/ NAK-rə), also known as mother of pearl, is an organic–inorganic composite material produced by some molluscs as an inner shell layer; it is also the material of which pearls are composed. It is strong, resilient, and iridescent.

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Galleria Department Store, Seoul, South Korea The concept for the new facade of the Galleria Department Store in Seoul was to think of it as a new dress for the building, a dress that is made up of shimmering pailettes with a constantly changing surface, inspired by the iridescent qualities of mother-of-pearl. To create such an effect, a special dicroic foil was laminated between the two layers of glass on each of the 4330 discs that are mounted on the existing concrete skin of the building. The effect is based on the perception and reflection of light and the spectral colours scheme. At nighttime, each disc is illuminated from behind by controllable LED lighting and the effect of the iridescence of the glass discs adds to the overall appearance of the mediated facade.

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OPTICAL ILLUSION Galleria Centercity, Cheonan, South Korea and Talee Star Place, Kaohsiung, Taiwan A moiré pattern is a basic optical illusion in which two similar (but not exactly the same) patterns are placed over one another. When the topcover is moved, the pattern comes to life.

The facade of the Galleria Centercity shopping plaza in Cheonan, South Korea was inspired by the simplicity of the trompe l'oeil effect of overlaying patterns to create a visual distortion. For this project we experimented with a glass, double-skin facade comprising an outer shell and inner skin, both of which feature linear patterning from vertical mullions. The layered profiles generate three-dimensional depth and a moiré effect, which changes depending on the viewpoint. By day, the building has a monochrome, reflective appearance that changes depending on the location from which it is viewed. This effect becomes animated as you move alongside the building and the fluid waves appear to come to life all across the facade.

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Talee Star Place is located on a busy roundabout in Kaohsiung, Taiwan. This location and the constant flow of passersby generated the idea to create the perception that the building was constantly changing. Due to its curvature, and the view lines to and from the interior void of the building, the facade is set up with a twisted frame system that acts as a sunscreen and weather barrier. This frame system consists of horizontal aluminium lamellas and vertical glass fins that are combined with the curtain wall

glazing into a fully glazed and curved skin. The concave front of the building displays different fluent forms when seen from varying distances and directs the visual field of the customers traveling on the spiraling escalators. Edge lighting on the vertical glass fins spreads soft colours onto the facade at night. The lighting intensity and colour effects are choreographed and controlled digitally, which adds an additional layer of fluidity to the building’s skin.

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PANGOLIN Raffles City Hangzhou, China Pangolins are the only mammals that are wholly covered in scales and they use those scales to protect themselves from predators in the wild. If under threat, a pangolin will immediately curl into a tight ball and will use their sharp-scaled tails to defend themselves.

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The design of the tower and podium facades of the Raffles City Hangzhou project in China interplay contrasting textures. The cladding elements act as a protection shield for the building and create recognisable scales for the different areas of the facades. Clad in a shimmering scale-like skin of aluminium tiles, the podium facades offer pixelated perspectives and reflect the building’s activity and surrounding landscape. The two twisting towers feature an outer layer of rotated, vertical solar shading fins that are placed atop the curtain wall system. Accentuating the towers’ characteristic twists, these fins also frame internal views.

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ECDYSIS Hanwha HQ, Seoul, South Korea Ecdysis comes from the Greek word ekdusis, which means “put off.” It describes the process by which arthropods and insects shed their outer cuticle (exoskeleton), or how reptiles shed their old skin. This process is necessary in order for the organism to grow.

The building skin of the existing Hanwha HQ building in Seoul became technologically outdated and required a number of upgrades with respect to changes within the interior. The new skin for the building had to take the inherent structural parameters as a given and the new facade skin had to be based on existing constraints. The existing facade consisted of horizontal bands of opaque panelling and single layers of dark glass. In the remodelling, this is replaced by clear insulated glass and aluminium framing to accentuate views and daylight. The geometry (pattern, size and reveal) of the framing is further defined by the movement of the sun and further orientation factors, to ensure user comfort for the occupants and reduce the energy consumption of the building. This led to the design of a new pixelated field of varying elements that follow a smaller division of the base grid and come in various sizes and combinations. These elements are allocated at various areas in the facade, depending on where they would best benefit the performance of the new building skin.

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BIOLUMINESENCE Hanwha HQ, Seoul, South Korea

Glow worms derive their name from their ability to produce light naturally, a process known as bioluminiscence. Their blue-green glow of light is emitted as a result of a chemical reaction between several components: a waste product called luciferin, the enzyme luciferase, an energy molecule called adenosine triphosphate (ATP), and oxygen.

As the renovation of the building skin included a solar analysis of the tower, a study was first carried out into the effects of sunlight on the new facade. Direct solar impact on the building is reduced by shading which is created by angling the glazing away from direct sunlight, while the upper portion of the south facade is angled to receive direct sunlight. The window to wall ratio achieves 55% transparency across the entire facade. Based on the ambition for better energy performance, the next step was to investigate the possibilities for energy generation. As a result, PV cells are placed on the opaque panels on the south / southeast facade to harvest the most direct sunlight possible. Further PV panels are angled at strategic points on the facade, where energy from the sun can best be harvested. The bioluminescent character of the facade would then come into play at nighttime, when some of the energy harvested during the day would be used to bring the intricacy of the facade to life. intelligent glass solutions | autumn 2021

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In our most recent renovation projects on the famous P.C.Hooftstraat in Amsterdam, we worked for two different clients on two neighbouring shopfronts. The design for both ‘The Looking Glass’ (No. 138) and ‘The Brick Pixelation’ (No. 140-142) had to strictly adhere to the style of a typical old Amsterdam townhouse. As such, we were required to follow both the three-windowed vertical division and the horizontal stacking of a plinth-zone. A transition zone and a residential facade were also a strict requirement. The desire for transparency and impressive show windows in both projects led us to focus on the magical properties of glass. We saw opportunities in the possibility to create small-scale effects and in how the new facade elements could be crafted to ensure both buildings would have their own unique expression. In the case of The Brick Pixelation, we devised a layered facade, where bricks made of stainless steel were inlayed with milky glass to create a 22

layer of semi-transparency; a sort of exoskeleton that could be experienced differently from relational distances, while keeping in step with the architectural heritage of the city. In the case of The Looking Glass, we focused on the fluidity of glass, its inherent liquid properties and the optical effects that the three double-storey high glazed boxes could generate. Flowing down from the second floor, the three glass panels curve as they pass the retail plinth, reminiscent of a flowing stream, while simultaneously referencing billowing fabrics. This fluid design expands on the idea of absolute transparency with seamless detailing and the structural abilities of glass. CONCLUSIONS/ TOWARDS A BETTER PLANET When considering the examples of the pangolin and the ecdysis, there is a strong relationship between the design concept inherent to an existing structure and the

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transformation into the next stage of a chameleonic process; a consideration that eventually leads to designs that can one day be disassembled, re-used or recycled. When we are given the possibility to remodel buildings, the opportunity for architects is in the staged approach, and therefore in an evolution of the project – an evolution that is safeguarded by a technical and aesthetic upgrade. The opportunities for safeguarding the planet are in the reduction of waste, careful sourcing of materials and the life-long added value that keeps such remodelled buildings in use for years to come. Unlike the renovation and restoration of buildings which must remain true to their ideal (designed) form and be preserved for their monumental and cultural value, the more recent projects requiring a retrofit offer the potential to approach remodelling as a staged sequence. If we design for the benefit of our clients, we have to design with the future in mind and for future generations also. Chameleonic design thinking is therefore

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required. In such a process, it would seem that the magical properties of glass lend themselves in the most versatile ways to creating special design features for building facades. Whether these design features are visual effects inspired by nature, or glass combined with other materials to display media, block the sun or harvest energy, ultimately the designs

P.C. Hooftstraat 138 and 140-142 © Eva Bloem

must consider how these building skins will be perceived, how the performance of the buildings will affect and benefit their users and the cities that host them, and how they will eventually become part of the circle of resources. So let’s be inspired by the metamorphosis from a caterpillar to a butterfly and bring design and construction in cyclical sync with nature!

Astrid Piber Partner / Senior Architect UNStudio Astrid Piber is a Partner at UNStudio and Senior Architect in charge of several design projects globally. Since joining UNStudio in 1998, she has worked on numerous projects, from the initial urban study and competition phases through to realisation. In projects such as the Arnhem Central Station masterplan and the Raffles City mixed-use development in Hangzhou, China, the interdependency of functional, economic and future-proofing criteria has led to building organisations that go beyond segregated typologies. Working with a trans-scalar approach from large-scale projects to their interiors - designing to add value through user experience has been key. The completed projects in China, Singapore, Taiwan, South-Korea, Germany and the Netherlands display this holistic approach to buildings and their envelope connect the scale of the environment with the scale of the user. In all cases, the projects are designed to be inherently contextual, while commanding their own unique presence.

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The Real Estate Hot Potato

-Challenges and Solutions for Whole-Building Re-Cladding Projects Scott R Armstrong, WSP

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First Canadian Place, Toronto ON, re-cladding complete. Credit: B+H Architects and MdeAS Architects

130 Adelaide Street West, Toronto ON, re-cladding in-situ performance testing. Credit: WSP

INTRODUCTION While the phrase "it'll last forever!" may express our aspirations for new and existing buildings, the reality is very different. Even the most enduring buildings likely will require large-scale renewal or retrofit during the useful life.

THE BUILDING LIFE CYCLE The life cycle approach to building enclosure design, maintenance, and renewal is not new. Unfortunately, there is not an established procedure for a nuanced evaluation of building enclosures that encompasses carbon emissions, physical condition, anticipated

Figure 1 (WSP Canada, 2016)

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future maintenance, market forces, and the occupant experience. Further, existing building studies such as condition assessments, capital plans, and reserve fund studies typically exclude invasive review or physical testing, which can leave large gaps in the knowledge required to contribute meaningfully to the decision arc of façade renewal. As building age, it is important to look beyond reactionary repairs and 10- and 30-year capital forecasts and to start analyzing opportunities for building renewal. Figure 1 (WSP Canada, 2016) illustrates our lifecycle approach to buildings, underpinned by effective planning and centred around proactive solutions. Building owners need to understand existing asset condition and have a clear sense of their direction for the asset to navigate the façade renewal process. This process should encompass every building system, including: structural, mechanical, electrical, vertical transportation, and façade access; however, to simplify, this paper will focus primarily on the building enclosure. BUY – HOLD – SELL: THE HOT POTATO Market forces such as capitalization rates, vacancy rates, Class categorization, and lease terms can be dominant in the journey toward

façade renewal. Commercial real estate professionals see assets as revenue tools: they are intended to make money. Capital expenses must be weighed against ongoing revenues, building value, and ongoing maintenance requirements. In our experience, comparing facade renewal / recladding to business-as-usual maintenance or even accelerated component replacement (such as glazing) fails to capture the complexity of real assets and to unlock untapped value. Further, seeking return on investment for facade renewal using standard value propositions such as energy savings is not possible. Facade renewal is an often an opportunity to: • Reduce or eliminate ongoing maintenance for the long term • Modify or upgrade aesthetics to compete with new development • Improve energy performance, occupant comfort, and, in some instances, public safety • Increase asset value The following three case studies are not technical reviews; rather, they provide realworld examples of different approaches to an asset depending on the Owner’s position for the property.

120 Adelaide Street West, Toronto ON, interior view of completed re-cladding. Credit: WSP

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CASE STUDY 1 – COMMERCIAL OFFICE – MAINTAIN & HOLD EXAMPLE This building occupies a prominent urban site and is located next to a major commuter hub. The building has been in the Owner’s portfolio for approximately 15 years and is adjacent to a large contiguous urbanized land area under the same ownership. Table 1 provides a summary of the project, including a brief service history. Table 1: Project summary - Case Study 1 Project History Date of construction:

Early c1980s

Enclosure system:

Aluminum-framed curtain wall, minimal thermal break, EPDM sheet horizontal expansion joint

Vision units:

6mm clear outer lite with reflective low-e on surface #2, 12mm air-filled cavity with aluminum spacer, 6mm clear inner lite, fully captured

Spandrels:

Insulated metal back pan, air cavity, stainless steel composite panel cladding, hung from vision sill mullion and laterally restrained

Service history (pre 2006):

Delaminating panel skins identified c1995; retrofit fasteners installed to secure panel skins c1999; retrofit fasteners failing and panel skin deformation occurring; low rate of IGU failure.

options for this site and whether other aspects related to the occupant experience could be addressed. A subsequent re-cladding study included options for improving daylighting, improving views to the exterior, addressing cooling capacity concerns, and significantly extending the service life of the cladding system. Since much of the cladding system was performing satisfactorily, the client determined that their preferred approach was to proceed with a smaller intervention that included securement of the remaining panels. As such, the decision arc for this property includes potential future re-cladding, building redevelopment, or site intensification. CASE STUDY 2 – COMMERCIAL OFFICE – FAÇADE RENEWAL EXAMPLE This study involves two adjacent high-rise office buildings, located in the financial core of a large urban centre. The buildings have been in the Owner’s portfolio for many years and occupy a portion of a large urban site containing two other buildings and a recently-completed new high-rise office tower. Table 3 provides a summary of the project, including a brief service history.

The Owner required a cladding assessment in response to continued deterioration of the cladding panels. The deterioration generally consisted of retrofit fasteners becoming dislodged, panel skins becoming deformed, and panel skins continuing to delaminate. Based on our assessment, a securement plan was developed to address safety concerns at vulnerable locations on the building. With immediate concerns addressed, we helped the Owner evaluate whether recladding or façade renewal were viable 28

609 Granville Street, Vancouver BC, re-cladding in progress. Credit: Scott R Armstrong

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Table 3: Project Summary - Case Study 2 Project History Date of construction:

Tower 1: Mid c1960s Tower 2: Late c1970s

Enclosure system:

Aluminum-framed curtain wall, minimal thermal break, back-pan deflection interface at stack joint

Vision units:

6mm grey-tinted outer lite, 12mm air-filled cavity with aluminum spacer, 6mm clear inner lite, fully captured

Spandrels:

Insulated metal back pan, air cavity, 3mm thick aluminum cladding panel, hung from vision sill mullion and laterally restrained

Service history (pre 2012):

Water infiltration, high rate of IGU failure, localized panel deterioration (failed clips)

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The Owner requested a detailed cladding assessment in response to ongoing performance issues such as water infiltration, IGU failure, and cladding panel deterioration. The assessment included an interior and exterior visual review, exploratory openings, infrared thermography, and frost-point testing of the glass in accordance with ASTM E576: Standard Test Method for Frost/Dew Point of Sealed Insulating Glass Units in the Vertical Position. This review highlighted that the current maintenance strategy of selective IGU replacement was insufficient: current IGU replacement rates were below the rate of failure; the short remaining service life for IGUs would mean 100% replacement in the next 5-10 years; the cladding panels were aged and retrofit fasteners had negatively affected their appearance, and; chronic water infiltration required face sealing and periodic maintenance or holistic retrofit.

With the leasing team on board, the project moved forward. Design documents were prepared by the consulting team and tendered as a design-build project. This approach allows the design-builder to develop their own unique and innovative solution while meeting the aesthetic and performance requirements. This approach also puts the onus on the designbuilder to be fully responsible for the design solution, reducing the Owner’s risk. All told, competitive tendering yielded pricing that was 20%-30% lower than earlier indicative pricing

with each bidder providing their own unique solution for the project. This project highlights the information and timeline required to develop a renewal solution, including two years’ work by the designers and approximately five years of extensive site investigation data. The project’s financial metrics were achieved beyond expectations, and the project was delivered within budget with minor schedule adjustments and minimal tenant disruption.

555 Robson St, Vancouver, BC, overcladding and vegetated wall screen. Credit: Scott R Armstrong

The neighbourhood context for these towers further influenced discussions regarding cladding renewal. Over the past 10 years, upgrades had been conducted on several neighbouring buildings, including: re-cladding to two adjacent towers, redevelopment and restoration of an adjacent mid-century mid-rise, restoration of an early 20th century masonry office block, and the construction of a new all-glass, Class AAA high-rise commercial office building. Within this context, the existing buildings appeared ripe for renewal since re-cladding would provide an updated visual aesthetic and could be designed to address all ongoing performance concerns. To address the technical challenges related to overcladding, a detailed investigative and design process commenced including tabletop and in-situ mock-ups to determine how overcladding could be achieved with minimal occupant disruption and within the desired aesthetic. Concurrent to this technical effort, the Owner’s team analyzed four variables to justify the investment, which included: • • • •

Higher rents to cover the incremental spend Shorter lease-up time Higher stabilized occupancy Lower cap rate intelligent glass solutions | autumn 2021

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CASE STUDY 3 – COMMERCIAL OFFICE – MAINTAIN EXAMPLE This study involves a large site with two commercial office buildings linked by a low-rise podium, located in a large urban centre. The buildings have been in the Owner’s portfolio for several years and are adjacent to a large potential development site. In general, the site is underdeveloped based on current density patterns in the city. Table 4 provides a summary of the project, including a brief service history.

955 Bay Street, Toronto ON, cladding removal for major retrofit, expansion, and re-skinning. Credit: Scott R Armstrong

Table 4: Project summary - Case Study 3 Project History Date of construction:

Tower 1: Early c1960s Tower 2: Early c1970s

Enclosure system:

Aluminum-framed curtain wall, localized precast cladding on Tower 1

Vision units:

6mm clear outer lite, 12mm air-filled cavity with aluminum spacer, 6mm clear inner lite, fully captured

Spandrels:

Single lite, back painted spandrel glazing, fully captured. Tower 1 includes insulation adhered to spandrel glazing with no backpan assembly; Tower 2 includes an insulated backpan assembly

Service history:

Face sealing

Ontario Association of Architects, 111 Moatfield Drive, Toronto ON, completed a deep retrofit including enclosure, mechanical, and electrical system, including a rooftop solar PV system. Credit: Scott R Armstrong

The Owner required a detailed cladding and structural assessment of this newly acquired asset to help understand how the cladding condition may affect the near- and long-term development plans for this site. Our work was aimed at determining the composition of the cladding systems, identifying moisture management and thermal performance, summarizing functional defects, and determining the remaining useful life for cladding assemblies. We also analysed whether either tower could accommodate a structural ‘top out’ to add value to the existing building footprint. This project is nascent and is included here to highlight an inflection point: the preferred direction for cladding maintenance or renewal 30

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is highly dependent on the Owner’s plans for the asset. A desire for full-building renewal for Tower 1 may lead to a path of temporary hazard mitigation and eventual tower demolition – or to cladding demolition and re-cladding. A desire to renew or ‘top out’ Tower 2 may lead to a path of temporary water leakage control while implementing a plan for re-cladding, integrating the new vertical expansion.

80 St. Clair Avenue East, Toronto, over-cladding (in lieu of re-cladding) in progress. Credit: Scott R Armstrong

CONCLUSION The decision arc to façade renewal is often protracted: extended investigative periods, technical and logistical challenges, nontechnical experiential realities, financial analyses, changes in ownership, temporary hazard mitigation, and interim repairs. Cladding specialists can also deploy creative solutions to extend the life of commercial cladding systems for years and allow Owners to delay their decision on renewal – or to sell the building and move on to different opportunities. All along, there are many things that can complicate the decision to execute. Is it worth executing a $30M re-cladding if the building is valued at $150M? How does the work affect future value or protect existing values in the context of adjacent new developments? Can the market support a lease rate increase to improve paybacks on cladding improvements? Will improved aesthetics, performance, and occupant comfort

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reduce vacancies or help in retaining existing tenants? Can we develop full-building renewal strategies to integrate HVAC and drive down energy consumption, costs, and carbon? Two of these cast studies represent engagement with the same existing owners, managers, developers, and maintenance staff over a 10+ year timeline. The third case study provides a glimpse of a site at the beginning of their decision arc – and there are many questions left to answer. Ultimately, they all highlight the necessity for accurate and consistent reporting, technical rigour, creativity, and a necessary understanding of Owner-driven redevelopment realities. They demonstrate how interim solutions can

address ongoing performance issues while permitting future potential redevelopment or re-cladding. And they provide a sound perspective on the processes and technical challenges in realizing renewal. REFERENCES The Building Life Cycle, WSP Canada, 2016 Greater Toronto Office Market Research & Forecast Report, First Quarter 2017, Colliers International, June 2017 Scott R. Armstrong, CET, BSS, LEED AP Project Principal, Building Sciences

399 Park Ave 2nd floor, New York, NY, recladding in progress. Credit: Scott R Armstrong

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Scott R Armstrong Scott is passionate about buildings: their design and construction, ongoing performance, deterioration and failure, and, ultimately, their renewal. His projects have spanned commercial, institutional, heritage, recreational, residential, and neighbourhood development in Canada, the Caribbean, and the Middle East. He brings over 20 years’ experience to WSP’s building science and sustainability projects with expertise in high performance buildings, building enclosures, façades, existing building repair and renewal, roofing and green roofs, and integrated design. A LEED Accredited Professional, Building Science Specialist (BSS), and Certified Engineering Technologist (CET), Scott bridges the traditional gap between Architectural and Engineering disciplines and presents frequently on topics such as enclosure design, high performance buildings, and existing building retrofits.

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IGS Magazine Copywriting Service for Architecture, Glass and Facade Engineering Industries IGS has a passion for creative thinking and highquality content that makes a real impact. Our team of journalists and designers have over 30 years’ experience in publishing, writing and editing content specific to architecture, glass and facade engineering. Our aim is to deliver carefully considered, well executed content that builds your brand profile and connects you with your customers. So, if you’re looking for a creative content provider with a powerful injection of creativity to freshen the global face of your company, IGS Copyrighting Service could be just the tonic you need.

The greatest writing is clear and concise, consequently getting your message across effectively is sometimes easier said than done. Our experienced team of in-house journalists and editors raise your profile with thoughtful and intelligent copy that trumpets your story, hitting the right note every time: 1. Whitepapers 2. Case studies 3. Project write-ups 4. Editorials + Advertorials 5. Blogs 6. Press releases

“I am irritated by my own writing. I am like a violinist whose ear is true, but whose fingers refuse to reproduce precisely the sound he hears within.” – Gustave Flaubert If you can relate to this quote, contact Lewis to find out more: lewis@igsmag.com

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22 Bishopsgate | 2020

Skygarden 20 Fenchurch Street | 2017

Engineering Visions in Glass, Steel and Aluminium As a facade specialist, Josef Gartner GmbH creates engineering solutions in aluminium, steel and glass, helping the world’s best architects and aspiring builders realise their ambitious ideas. For the past 150 years, Gartner has shaped the skyline of metropolises all over the world - from the Elbphilharmonie in Hamburg to the Academy Museum of Motion Pictures in Los Angeles, California. With its headquarters in Gundelfingen, Germany, the company is a proud member of the Permasteelisa Group - a leading global contractor in the design, engineering, project management, manufacture, installation and after-sales service of architectural envelopes. 34

www.josef-gartner.de

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Second Skin, 63 Madison Avenue, NYC Eckersley O’Callaghan, Josef Gartner GmbH and WilkinsonEyre

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he Metals in Construction 2020 Design Challenge was an international ideas competition that invited proposals to upgrade an aging, energy-inefficient high-rise office building at 63 Madison Avenue. The brief was to comply with NYC’s Green New Deal, the mayoral initiative to reduce carbon emissions in the city by 30% by 2030. A secondary objective was to render an existing building more attractive for companies competing for highly skilled employees. The initiative responds to the considerable

challenge of how to transform New York City's high-rise office buildings, most of which are now more than a half a century old, but will still be standing in 2030, a milestone year on the city's road to carbon neutrality. The competition invited innovative cladding solutions that would half the building's energy consumption, bring daylight deeper into the building and afford access to outside space. The site and building were chosen as typical of a large swathe of American real estate of a similar type and period, with great potential replicability across the US for the right solution.

A team comprised of WilkinsonEyre architects, façade consultants Eckersley O’Callaghan and façade contractor Josef Gartner GmbH won the competition with their Second Skin proposal. The team were commended for a solution that was simple, with applicability to a wide range of buildings, cost effective and adaptive, so it can be further tailored to suit different environments and orientations. The team were also commended for considering the carbon impact of the system over its life cycle and ensure that it makes a net positive contribution though its application; the design has the

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capacity to be developed further to address de-construction and re-use.

Architectural response The scheme employs the concept of an 'adaptive net' facade; creating additional, habitable area outside the existing building footprint within a highly efficient, simple and regular cladding system. A rationale for the precise functions of the net was derived by mapping the building’s façade to exploit site conditions. Manhattan provides a harsh urban environment, with factors like noise, wind, air pollution and solar radiation, which can be mitigated where the problem is most pronounced. Similarly, there are environmental assets that can be exploited such as stepping out to enjoy fresh air, views of nearby parks and low winter sun. Once mapped, a kit-of-parts approach was taken to designing elements – both protecting the façade and allowed external access - that could be suspended from the net The ‘adaptive net’ allowed the design to respond to the specifics of the building's locale and orientation and protect against seasonal environmental conditions. Views can be optimised, accessible external space and natural greening introduced; all with the capacity to enhance occupants' wellness. A system of external shading and reflector devices was developed to provide shade, reduce glare, increasing the quality of daylighting and improving the usable area by 20%, while preserving views out. The engineers demonstrated through thermal modelling that this concept (combined with an improvement in the efficiency of M&E equipment), would offer a 50% reduction in carbon emissions as well as offer an embodied carbon offset after only four years. The proposed planting and vegetation has the capacity to respond to light, heat, humidity and seasonal variations, and the baseline materials palette can also help increase biodiversity and ecological resilience. Façade solution The proposed facade concept consists of an aluminium unitised curtain wall with triple glazed vision infill panels and highly insulated spandrels. Secondary features of the ‘Adaptive Net’ include an external cable net, providing structural support for shading elements, photovoltaic panels and vegetation. intelligent glass solutions | autumn 2021

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Eckersley O‘Callaghan mapped the façade and the perimetral (passive) zone of the existing building, according to a set of key environmental variables, most notably solar radiation and daylight patterns, and derived bands of performance (e.g. most and least exposed areas to solar radiation) across the facades. This highlighted the most important environmental factors and opportunities with a high granularity, ensuring retrofit measures could optimise performance metrics and solutions that were the most appropriate for the building type and its setting.

providing occupants with amenity and direct access to the outside.

The modular facade concept used a range of components as climate mitigators and providers of amenity and occupant wellbeing. These include new aluminium unitised curtain walling with triple glazed infill panels and highly insulated spandrel panels to significantly reduce cooling loads. A second (external) facade layer, the Adaptive Net, includes external light shelves to the South-West and North-West elevations, capable of controlling solar heat gains, while allowing deep daylight penetration into the floorplate. The external shading devices remove the need for solar control coatings, allowing to adopt instead low-emissivity coatings which offer higher light transmittance and better colour rendering index, ensuring good daylight penetration and clear views out. Furthermore, the Adaptive Net allows for winter gardens,

Triple glazing brings further benefits in acoustic performance, providing greater attenuation from external noise and improving occupant comfort.

Calculated energy savings The new facade and Adaptive Net are at the heart of a strategy to lower building operational carbon emissions by reducing the energy needed for heating, cooling and lighting. Heating loads are reduced by significant improvements in the thermal transmittance (U-value) of the facade with the introduction of triple glazing and highly insulating opaque areas.

The proposed facade retrofit is expected to reduce the operational energy consumption for the building by approximately 20%, with a further 12% possible in combination with additional installation of energy-efficient appliances, including LED lighting, and demand/control ventilation with heat recovery. As air quality improves in the city, the proposals anticipated that the building can be retrofitted with a natural ventilation system by removing the opaque spandrel panels and inserting operable insulated louvres in their place. These

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would connect to a ventilation duct running into the space between the slab and flooring. This could potentially reduce the steam space cooling loads which represent some 35% of the refurbished building’s carbon emissions in 2030 – the largest contributor to the carbon emissions by some margin. The existing building energy consumption is fulfilled by electricity and steam supplies. As future decarbonisation of the steam grid is not expected, the proposals minimised the building’s reliance on steam by reducing heating and cooling loads. As a result, annual operational carbon emissions were estimated to drop to 4.3 kgCO2/sqft by 2030, which is below the LL97 target of 4.5 kgCO2/sqft by 2030. With these calculated energy savings, carbon payback of the facade retrofit alone was estimated to be 4 years. From that point forward, the facade retrofit creates a net saving in carbon emissions. Structural benefits and reduced thermal bridging of the adaptive cable net The envisioned engineering approach of the adaptive cable net is a pre-tensioned exterior cable structure. Relying on tension only, cables are highly efficient load transferring members

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with minimal use of material. The cable net provides the opportunity to span with a filigree design from street level to the roof. This hybrid structural approach - internal unitised curtain wall and external cable net (second skin) – provides additional exterior support, meaning traditionally cantilevering systems like solar shades, balconies, etc. can be designed using much less material and reducing thermal bridging to an absolute minimum. The technical feasibility of the cable net is verified by the façade contractor. As well as the structural benefits and the relative flexibility of the proposed solution, the ease of the installation through lightweight, wide-spanning cables adds further suitability for various facade retrofit scenarios by avoiding the extensive use of heavy components. The proposed adaptive cable net consists of pre-tensioned cables (Open spiral strand; dia. approx. 1 1/2in) spanning between roof and street levels in a vertical formation. The cables transfer all wind forces directly to struts located at each slab level. The dead load of the adaptive cable net and all external elements, balconies, louvres, PV, etc. is hung from the top of the building and transferred in Steel A-frames (approx. CHS dia. 6in). Reactions are distributed to the buildings primary structure. The inner curtain wall is designed so that wind load support of the adaptive net would not require penetrations through the curtain wall. The support struts are located close to the fixing provisions of the curtain wall units and loads are transferred via the curtain wall members and not through "holes" that would compromise air tightness and the moisture barrier. Doors, vents and any other service penetrations (electric current, water supply or whatever is needed in the Adaptive Net) in or through the curtain wall are already integrated in the curtain wall and will be pre-assembled in the units. Steel clamps are used to attach the various features, glass and shading to the cable net.

At roof level, cantilevering steel struts (approx. CHS dia. 8in) anchored in the existing building structure pull up and transfer the cable forces to the top of the building. In the lateral direction, in-plane stability will be achieved by the diagonal cables. Support reactions at the top and the base of the net are balanced as much as possible in order to reduce the impact on the existing building structure.

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A simple standardised curtain wall, with good recycling potential The curtain walling itself is a simple unitised system on a 5’ module. Vertical column casings and floorplate spandrels have been removed and replaced with matching flush aluminium closer panels, reducing the building’s surface area. Each four-panel bay has a desk height spandrel panel for three glazed bays, and a double glazed door for the fourth. As solar shading is dealt with within the Adaptive Net, all glass is Low E coated only, maximising light transmittance, and triple glazed to maximise thermal insulation. Circularity has been embedded in the concept. Modern aluminium extrusions can be fabricated with 75% recycled content. 40

Aluminium is highly recyclable, particularly when the technical information (alloy, corrosion treatment etc) is well recorded in the as-built information. Material passports would be used to retain this information, either in a centralised database such as Cirlinq or embedded into the products themselves using NFC technology. Industry reports that architectural glass currently contains 30% recycled material. Whilst glass is mostly downcycled to glass bottles or granular subbase for pavements, significant effort is being made by the industry to increase the recycled content of architectural glass. In principle glass can be endless recycled with no loss of quality.

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The whole facade would be designed for disassembly to maximise the potential for reuse or recycling of the components. Long Life, Loose Fit The Adaptive Net creates a conceptual framework, which allows to draw on specific site conditions and address various challenges posed in re-cladding our cities office stock with efficient curtain walling systems that can address evolving needs over an increased life-time and at the same time contribute to achieving carbonneutrality. The Adaptive Net – initially developed for a fictional project – is a framework that should be extrapolated across a far broader reach.

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Simon Pierce With 15 years of professional experience in the built environment, Simon joined Eckersley O'Callaghan in 2015 and leads project teams within our structural and facade groups, where he undertakes the engineering of some of our most challenging buildings. Simon is skilled in complex parametric modelling and analysis. Having worked previously for specialist facade contractors, Bellapart and structural engineering consultancy, Expedition Engineering; he has also collected a wide breadth of knowledge in materials and fabrication processes, notably in glass, metals, and composite-fibre plastics. Simon plays an integral role of the running of the facade group with a particular focus on developing improved working practices and systems. Most recently he has developed a training scheme to contribute to the group’s ongoing evolution. Carmelo Guido Galante Carmelo has a multidisciplinary background, with a deep understanding of building physics, structural facade and glass design. With a double MSc in energy engineering, Carmelo is passionate about environmental design applying this through the use of digital parametric tools for shading systems optimisation. As a member of Eckersley O'Callaghan's Digital Design Group and a lead in our R&D program, he has technical excellence in the modelling of complex 3D building envelopes, where he has written bespoke analysis tools to evaluate solar protection systems parametrically.

Timo Bühlmeier Timo Bühlmeier joined Gartner in 2008. He is a Design Development Manager and became a Lead Concept Designer in 2018. Timo conceptualizes, designs and consults internationally in the field of architectural envelopes for signature landmark buildings. He realizes performance-driven design visions and goals with a focus on custommade facade solutions, structural glass applications, filigree steel facades and roof constructions on the cutting edge.

Giles Martin Giles joined WilkinsonEyre in 2004 and has since led a number of the practice’s high profile commercial and infrastructure projects. He became an associate director in 2005 and a director in 2011. Giles has extensive experience within commercial, transport and urban design sectors, working as design team leader on several large city centre projects in the UK. Currently, Giles is leading 21 Moorfields, a 64,000m² over-site development incorporating a new headquarters for Deutsche Bank, new public space and improved pedestrian permeability to the Barbican. His previous commercial projects include a new development for British Land at 10 Brock Street, Arundel Great Court on the Strand in Central London, and the new BBC North Headquarters in Salford. He has a sustained expertise in over-site developments, stemming from his work on key infrastructure projects such as the Euston HS2 masterplan and Central London Coach Station. More broadly, his vested professional interest in the sector has seen him lead projects such as Aldgate Tower and New Street Square Bridges. Having worked predominantly on London based projects throughout his career, Giles has strong knowledge and experience of the complexities involved in completing high-profile projects throughout the city. He is adept at establishing working relationships between multiple design team members. Giles believes that adopting a problem-solving approach within a project, and sustaining an open dialogue leads to beautiful, functional design.

Bernhard Rudolf Bernhard Rudolf joined Gartner in 1991 and held various positions since then, contributing his engineering expertise to push the boundaries of what is technically feasible by developing bespoke façade solutions for landmark buildings worldwide. From 2001 to 2003 he led Gartner’s first steps in the United States as General Manager and since 2009, as Head of Engineering, he is responsible for all engineering related services for project execution like structural engineering, building physics and testing.

The first prize of the international The Metals in Construction magazine 2020 Design Challenge was awarded in March 2020 to architectural firm WilkinsonEyre, in a team including façade consultants Eckersley O'Callaghan, facade contractor Gartner, MRG Studio and Level Infrastructure.

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

From hole in the floor to panoramic views A beloved Seattle landmark looks ahead to its next 50 years Blair Payson with Cate O’Toole, Olson Kundig

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo credit: Hufton + Crow

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

ot long after Olson Kundig was hired for the renovation of Seattle’s iconic Space Needle, I had the opportunity to explore behind-the-scenes portions of the building with Alan Maskin, the project’s Design Principal. It was our first chance to study the existing interior and exterior conditions of the tower; we started from the top of the roof antennae platform and worked our way down to the revolving floor of the restaurant. To observe the cavity below the floor, we descended through an access hatch and crawled across HVAC conduit, plumbing lines and structural members.

We were drawn to a ray of light piercing the darkness of the space, a baseball-sized hole in one of the floor panels. For a moment, Alan and I forgot we were crawling on deteriorating, soon-to-be-replaced metal decking 500 feet in the air. We sped to the hole and peered down. It was breathtaking. Through the hole we could look down on the elegant legs of the Space Needle stretching to the ground and watch the elevators raise and lower, shuttling visitors along the 500-foot length of the tower. We’d seen a

Photo credit: Hufton + Crow

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similar view in historic photos, captured by local photographers during constructure in the early 1960s, before the exterior façade was installed. But seeing it in person was incomparable. Those early photos didn’t capture the incredible thrill of the sight before us; we were enthralled. The hole was just large enough for my camera lens, and I took a picture to share with our team back in the studio. Alan and I took turns looking through the hole until we remembered we were laying on a panel already rusted through. We shared a nervous laugh and cautiously backed away.

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

That experience – a new perspective on a familiar landmark, the full-body thrill of vertigo – would come to be our guiding star through the work that followed.

Photo credit: Hufton + Crow

The Century Project Originally built for the 1962 World’s Fair, the Space Needle remains an iconic, internationally recognized feature of Seattle’s skyline. Around the tower’s fiftieth anniversary, visitor surveys revealed that the experience wasn’t matching up with expectations. The Century Project, a renovation that aimed to position the tower for its next fifty years, sought to recapture the original thrill that visitors felt when they first

stepped off the Space Needle’s elevators in 1962 and saw breathtaking views of Seattle and the surrounding landscape. In many respects, our design approach was more subtractive than additive, peeling away the many decades of additions and modifications that deviated from the purity of the original design. The original building was a monument to an era of technological optimism. Its renovation offered the opportunity to renew that sense of optimism, while better reflecting Seattle’s technological prowess and know-how. The challenge for us was to identify and edit the elements that obscured or limited the expansive views of the constantly changing city below. The solution was 176 tons of glass. intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Open-Air Observation The renovated Space Needle incorporates 196% more glazing throughout the upper levels of the tower (known as the “top house”). This is especially impactful on the Observation Deck, where visitors first experience the thrill of the redesigned tower and incredible views across the city of Seattle. From the moment the elevator doors open, a new 360-degree wrap of full-height glass is revealed. Throughout this level, interior barriers and low walls have been removed – widening views by 65%.

Photo credit: Hufton + Crow

The added glass has the benefit of democratizing access to that incredible panorama, replacing obstructions that kept visitors in wheelchairs or children in strollers from seeing out and sharing in the experience. As father to two young children – who have now visited the Space Needle many, many times – I know first-hand how enthralling the view can be, especially for children. It’s deeply satisfying to know that the view is now more universally accessible. Outside, metal security cages and solid walls have been replaced by 11-foot, 7-inch panels of glass. Angled outward at 14.5 degrees, the glass showcases advances in building technology since 1962. The only thing separating visitors from unobstructed views is a transparent barrier made of three, 15-millimeter panes of ultraclear, low-iron glass, with two 2.28-millimeter SentryGlas® (from Trosifol/Kuraray) interlayers that provide structural strength without sacrificing clarity. A sequence of 24 integrated glass benches along the perimeter act as perches for visitors. The benches are high and angled toward the open air – sitting, your feet dangle above the floor. It creates a deeply engaging environment rarely seen in architecture, where people use their whole bodies to experience the building – they sit, stand or even lay down, leaning over the edge of the deck, the city hundreds of feet below. From Hole in the Floor to Oculus Stair Previously, guest access between the upper and lower levels of the top house was limited to the elevators or a cramped stair. The renovation inserted a wide, airy central staircase, circulation reimagined as sculpture. The new stair, made of steel, glass and warm wood, celebrates the connections between levels and adds to the sequence of views from the tower. As it gently 46

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Photo credit: Hufton + Crow

Photo credit: Blair Payson The original photo through the floor!

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo credit: Hufton + Crow Blair and his daughters pictured

intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo credit: Hufton + Crow

curves between floors, the stair preserves space for a new window at its base – inspired by that early view through the rusted floor panel. The Oculus Stair continues the design ethos introduced at the Observation Deck, removing obstructions to make the original structure more legible to visitors. In doing so, it provides a new method for understanding the Space Needle, showcasing the sweeping lines of the tower’s legs and the cheerful gold elevators that travel its length hundreds of times each day. Like the exterior panels upstairs, the curved oculus is made of many layers of glass, creating a surface visitors can walk, stand, lay or sit on. The World’s First Rotating Glass Floor Arguably the most dramatic addition is a few steps away from the oculus: the world’s first rotating glass floor. Known as The Loupe, the transparent floor gives visitors never-beforeseen views of the elevators, the mechanical apparatus powering the floor’s rotation and the Space Needle structure itself. Like the glass wall of the Observation Deck, the Loupe’s signature glass floor inspires a full-body interaction with the architecture; on any given day, I’ve seen people tip-toeing gingerly along the seams and fully stretched out on their stomachs, intently watching the world below.

Photo credit: Hufton + Crow Blair and his daughters pictured

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo credit: Notion Workshop / Olson Kundig

intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo credit: Eirik Johnson

Though it can be scary to step onto the glass floor for the first time, we worked closely with a team of engineers and fabricators to ensure that it only feels risky. The floor includes a 6-millimeter annealed glass “scuff ply” top layer that can be easily replaced if scratched by extensive foot traffic over time. An added layer of security film on the underside cushions lower layers of glass and, in the event of damage, contains any loose glass fragments. Below the “scuff ply,” three, 10-millimeter plies of heat-strengthened glass laminated with two, 2.28-millimeter SentryGlas® ionoplast interlayer create the floor’s structural deck. This stack also forms the upper half of insulating glass units with low-E coating that act as the thermal boundary between the interior and service space. To further improve thermal performance, an additional layer of low-E coating was added to the underside of the floor. Views From Below As a historic building and protected landmark, the Space Needle was subject to a rigorous design review process, including oversight from the local Landmarks Preservation Board. Their

approval of the design was contingent on not altering the tower’s original look and profile, so the new glass floor had to appear opaque from the exterior, just like the original metal decking being replaced. The challenge became how to make the glass floor transparent in one direction and opaque in another. We modeled and tested a variety of approaches, ultimately using glass with a soft grey frit pattern applied to the underside of the floor, similar to wraps used for advertisements on city buses. The frit pattern density is fine enough to be imperceptible from the interior, as higher levels of light from the outside causes the human eye to focus on the exterior environment. Conversely, lowering the light levels inside the Needle causes viewers’ eyes naturally stop at the exterior face of the glass. Although the interior visitor experience is dramatically altered, from the ground below it’s almost impossible to tell that anything’s changed. Additional Considerations Glass is a familiar material, but deeply complex.

Our decision to incorporate so much glass drove the technical work forward on many other fronts. We studied the effect of wind on the new glass barrier, from the increase of the building’s lateral load to how the wind patterns would affect the ability to open or close the exterior doors to the observation deck. We analyzed the added heat gain from the additional transparency, which in turn informed decisions about HVAC systems. And, of course, we worked with Richard Green, who led a team including Front Inc, Magnusson Klemencic Associates and Herzog Glass, to test our ideas, build mock-ups and generate extremely robust project drawings. Getting all of that glass – 176 tons, with individual panels weighing up to 2,300 pounds – to the top house posed its own challenges. While some pieces could be brought to the worksite in the elevator, others – including the Oculus Stair panels – were too large to transport there. In one of my favorite examples of worksite innovation, Hoffman Construction, the project general contractor, devised a system in which drone engines were attached

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

to the oversized panels. As the panels were craned to the top of the tower, the engines could be controlled remotely to steer the glass, keeping the panels from swinging and hitting the tower legs. Once they arrived, a specialized glass-setting machine – developed specifically for this project – hung over the side of the tower and kept them in the correct position for installation.

our region. The tower includes some of the most exciting modern advancements in design craft, materials science, seismic engineering and building technology, incorporated in both obvious and unseen ways. It’s a case study for the impact of collaboration, as well as an exercise in optimism and – for a city that feels a deep sense of personal ownership over the Needle – incredible trust.

A View of the Future Just as the original tower did in 1962, the renovated Space Needle celebrates the creativity and innovation that characterizes

The view from the Space Needle offers such transformative potential. In fact, local historians believe that giving people an elevated view of the city in the 1960s actually impacted on

Seattle’s growth, urban development patterns and regional connectivity. But the personal impact is more immediate. The first time I took my daughters to the newly renovated Space Needle, my youngest – about 2 years old at the time – went straight to the rotating glass floor, laid down and looked straight down to the ground below. Toddlers aren’t known for stillness, but there she was, motionless and engrossed, for easily 15 minutes. She was completely mesmerized by the view – just as Alan and I had been several years before, peering through a hole in the floor. BLAIR PAYSON, AIA, LEED® AP Project Architect for The Century Project at the Space Needle and Principal, Olson Kundig

Photo credit: Hufton + Crow Blair and his daughters pictured

Blair Payson joined Olson Kundig in 2004 and has worked on both architectural and exhibit design projects, including the Century Project for the Space Needle, the Bill & Melinda Gates Foundation Discovery Center and [storefront] Olson Kundig, as well as several residential projects across the Western United States and Mexico. A maker at heart, Blair is an architect who revels in the details. From large cultural projects to temporary design interventions, Blair is able to distill large, complex projects into distinct culminating moments. Lately, Blair’s research has taken him on site visits to a subterranean cavern deep underground in one week, to hundreds of feet above an urban landscape the next. This demonstrates not only the range of Blair’s interests, but also his proclivity towards risk and experimentation. Blair holds a Bachelor of Architecture from Rice University, and he is the recipient of several design awards for his work on the Space Needle, Gates Foundation Discovery Center, among other projects. Headshot photo credit: Rafael Soldi

PROJECT CREDITS Olson Kundig Project Team: Alan Maskin, Design Principal; Blair Payson, AIA, LEED® AP, Project Architect; Marlene Chen, AIA, LEED® AP, Crystal Coleman, LEED® AP, Alex Fritz, Julia Khorsand, Hayden Robinson and Nathan Boyd, Architectural Staff; Naomi Mason, IIDA, LEED® AP, Interior Design; Laina Navarro, Interior Design Staff Key Consultants & Project Partners: Seneca Group, Development Manager; Battle Management Consulting, Owner’s Representative; Hoffman Construction, General Contractor; Front, Inc., Glazing Consultant; Magnusson Klemencic Associates, Glazing Engineer of Record, Seismic Improvements Structural Engineer; Fives Lund Engineering, Turntable Engineer; Herzog Glass, Design Assist Glazing Contractor; Arup, Structural Engineer and Mechanical, Electrical and Plumbing Engineer of Record; Holaday-Parks, Inc., Mechanical and Plumbing Design Assist Subconsultant; Holmes, Electrical Assist Subconsultant; Niteo, Lighting Design; RDH, Building Envelope Consultant; Tihany Design, Restaurant and Café Furniture and Finishes Designer; McVey Oakley, Restaurant, Café and Kitchen Architect of Record; BRC, Acoustical Engineer; Karen Braitmayer, Accessibility Consultant; T.A. Kinsman Consulting, Code Consultant; Eric Tuazon, Fire Protection Consultant; O’Brien & Company, LEED Consultant; FS2, Inc., Vertical Transportation

intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

A Serial yet Bespoke Façade Renovation of the Diocesan Museum

Michael Seele, Sales Director at seele GmbH The ISOshade® façade provides a welcoming and pleasant experience. ©BECKER LACOUR

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

he City of Augsburg in Germany is the oldest city in Bavaria and second-oldest in Germany. It is well known for its buildings, churches and idyllic ramparts with towers from the Renaissance era. Augsburg was founded in 15 BCE by the Romans and was named after the Roman emperor Augustus.

Therefore, the old part of the city has numerous museums to help visitors discover 17 centuries of art and history. One of them is the St. Afra Diocesan Museum. The St. Afra Diocesan Museum is located in the city centre and is home to a modern, permanent exhibition and temporary special

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exhibitions. The building is a marvel in itself, harmoniously combining a modern complex with mid-twentieth-century architecture and a Romanesque chapter house as well as the late Gothic cloister and Chapel of Saint Ulrich of Augsburg. On display in the museum are Roman relics, the famous Ottonian bronze portal of Augsburg Cathedral, precious

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

The new ISOshade® façade ensures an ideal climate for the light-sensitive relics and exhibits. ©BECKER LACOUR

medieval textiles, the extraordinary funerary arms of Holy Roman Emperor Charles V, Gothic and Baroque church treasures from Augsburg and the surrounding region plus modern-day works of art. Reducing high energy costs Recently, the museum underwent a major renovation, primarily to reduce very high energy costs. The museum was suffering from severe temperature fluctuations inside the building caused by high solar gains via the east façade and the glass roof. To keep the interior climate as constant as possible and protect the exhibits, humidification-dehumidification units were installed, which have a high energy consumption.

An oversize format (2.2 x 6.7 m) was chosen so that the ISOshade® elements could extend uninterrupted from floor to roof. ©BECKER LACOUR

The solution was obvious: Install insulating glazing to replace the existing east façade with its mullions and transoms. In addition, a variable sunshading system was required to protect the museum’s exhibits from sunlight, but at the same time allow enough light into the interior

during other times – especially to present and protect the heart of the exhibition adequately: the famous bronze portal. The old bronze door of Augsburg Cathedral is one of 12 important Romanesque bronze portals in Europe and is one of the best examples of medieval foundry art north of the Alps. Refurbishment of the façade Local architectural practice Schrammel was appointed for the renovation work, including the refurbishment of the glass façade. The design brief proposed a transparent glass façade that combines solar, thermal and sound insulation. A double-skin façade seemed a good solution as this technology is one of the most advanced forms for enabling maximum use of solar energy by allowing heat gains and preventing thermal energy losses in buildings. However, a conventional double-skin façade appeared much too expensive and oversized for the façade to the museum’s lobby. So façade specialist seele was brought in and promptly suggested ISOshade®.

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

The elements are assembled in cleanroom conditions. ©seele

Reduced to the essentials Façade specialist seele is famous for its profound research activities and its work on solutions to reduce material usage and energy consumption. A focus on environmental, architectural and social qualities is needed in addition to the functional properties of a façade design. Ventilated double-skin façades emit more greenhouse gas equivalents than a double-glazed curtain wall, taken over its lifetime. Therefore, ISOshade® is designed much more consciously with regard to reducing the consumption of resources, and the options for prolonging the lifetime of the façade are rigorously considered. Each unit is designed to be overhauled several times and thus extend the lifetime of the energy-consuming parts. Conceived like insulating glass, ISOshade® fulfils the requirements of a double-skin façade with sunshading. ISOshade® is a compact insulating glass unit consisting of triple glazing and a sunshading system integrated in one cavity. The 56

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The built-in sunblinds regulate the amount of incoming heat and light regardless of wind and weather. ©BECKER LACOUR

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

built-in sunshade can be in the form of a louvre or roller blind. An outer glass pane protects the blind against dirt, wind and weather, at the same time eliminates wind noise and cleaning costs. The blinds protect, in fact shield, against excessive solar gains depending on time of year and climate zone. The seele solution for the museum offers a decisive advantage: A specially developed pressure equalisation system regulates climate loads and pressure differences due to temperature fluctuations and minimises the moisture in the cavity. Desiccants fitted in the frame prevent condensation between the panes. That means ISOshade® reduces the complexity of façades with integral sunblinds and can be planned and installed just like normal insulating glass units.

The city-centre location and cramped site conditions in a narrow alley called for a perfectly coordinated logistics and erection concept. ©seele

The advantages convinced the client, the Diocese of Augsburg. This façade type was chosen as its double-skin design provides the perfect solution for regulating the internal climate through the façade. “Inside the museum, we face different challenges. We want to provide visitors with a pleasant interior with ample daylight, but at the same time protect sensitive exhibits against sunlight. An insulated glass façade was the right solution for us. The integral louvre blind can be adjusted regardless of the weather conditions. Even during a snowstorm or high winds, it is possible to adjust the angle of the slats, and they make no annoying noise,” says Museum Director Melanie Thierbach. Big formats for a unique design seele built a mock-up of the proposed sunblind so that various settings could be presented,

a lighting atmosphere generated or different visitor perspectives simulated. This convinced the architect and the client, and so seele was commissioned with the design and fabrication of the ISOshade® elements. An oversize format (2.2 x 6.7 m) was chosen so that the elements could extend uninterrupted from floor to roof, thus permitting unobstructed views of the area in front of the museum. The museum’s elements have an identical glass make-up: triple glazing on the inside and laminated safety glass on the outside to ensure intruder resistance. The integral louvre blinds (80 mm flat slats, RAL 9006) are bespoke, oversize products supplied by Warema. This museum façade demonstrates that a complex façade form does not necessarily have to be expensive. Elements cleverly designed and combined by seele follow a different line, achieving more at lower cost. Particularly worth mentioning is another example of serial production by seele: the hyperbolic façade surfaces of the European Central Bank in Frankfurt. Despite the individual symmetry of the 6,081 façade elements, seele developed a system that enabled serial production. It’s the same with ISOshade®: seele designs all elements – and assembles them in cleanroom conditions – to suit the prevailing conditions (climate, location) and the specification. The glass itself (heat-strengthened, laminated safety glass), acoustic interlayer and solar-control coatings are chosen to match the performance brief. Easy installation method In the case of the museum, seele was involved in the planning, design and production process, but just served as the “supplier”. Installation was carried out by a local metalwork contractor. Although the elements were somewhat larger, lifting the oversized panels with a suctioncup system was no problem. The city-centre location and cramped site conditions in a narrow alley called for a perfectly coordinated logistics and erection concept. Transport frames were used to transport the units safely. On site, the ISOshade® elements had to be manoeuvred with millimetre accuracy, as the space available was very limited. Within a day, the oversized, but compact, ISOshade® elements were installed with maximum precision. The compact design is particularly beneficial when it comes to the typical site circumstances often faced in big

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

cities such as London, New York, Berlin or Hong Kong. In such cities especially, where space is tight, quick and easy installation with prefabricated and preassembled units enables fast-track procedures. Structural glazing, silence and shade The special feature of the design is that the façade essentially consists of only a few parts. Each element is clamped to structural members top and bottom. The vertical joints between the three elements were sealed after installation. After connecting the integral sunblinds to the building services, the exhibition space could be furnished once again.

Today, an attractive, homogeneous entrance façade welcomes visitors. The built-in sunblinds regulate the amount of incoming heat and light regardless of wind and weather. Excess solar energy can therefore be screened off right at the window or directed into the furthest corners of the room for maximum interior comfort without glare, depending on the time of year. The amount of incoming light can be controlled individually at any time by adjustable slats to achieve an optimum energy transmittance of 8 to 50%. The new façade ensures an ideal climate for the light-sensitive relics and exhibits.

The lifting and installation of the oversized panels with a suction-cup system was no problem. ©seele

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Visitors to the museum can now also enjoy a pleasant interior climate. The double-skin design comprising low e glass and external pane achieves Ug values as low as 0.5 W/(m2K) and outstanding sound reduction index values of 44–52 dB, which results in an agreeable, quiet interior. Additional comfort is assured by the adjustable sunblind. In summer the heat stays outside, but in winter the solar gains can be exploited. With its new façade, the museum now benefits from reduced costs for heating and cooling the building’s interior. A removable panel allows access to the cavity for maintenance, which prolongs the lifetime of the museum’s façade.

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

About ISOshade® -the façade with the built-in sunblind >130 mm*

1,000 - 5,000 mm*

ISOshade® consists of triple glazing plus a sunblind fitted in a cavity. The slim ISOshade® elements (min. 130mm thick) are ideal for densely builtup areas and at the same time enable smaller façades to benefit from all the advantages, too. An ISOshade® façade is tailored to the specific conditions of a project. seele provides a full range of services comprising design, fabrication, transport and erection. Advantages • Protected sunshading elements • Prefabricated units • Plug & Play façade • Excellent sound insulation • Lower heating and cooling costs • Energy efficiency • Recyclable • Zero maintenance

* light guidiance slats > 5m = special sizes

Predictive maintenance For continuous monitoring purposes and early detection of faults and damage in order to carry out targeted maintenance work, the façade elements are equipped with sensors that measure important characteristic values in the cavity. Information on the condition of the ISOshade® component can be retrieved using the built-in sensors, changes detected via time series analyses and the sunshade operated via the digital model. This kind of predictive maintenance was part of the refurbishment project and will also extend the lifetime of the museum’s façade. Serial but bespoke Although the façade for the Diocesan Museum is not a conventional seele façade, being more or less a product of serial production, it still captivates through its bespoke design, which combines aesthetics and functional criteria. No horizontal members interrupt the glass, which helps to create lightness and transparency despite the dimensions. Nevertheless, this modern façade fits perfectly into the existing wall openings and does not steal the show from the impressive old building of the St. Afra Diocesan Museum. Following the renovation, the museum and façade are worth a visit any time of the year.

Michael Seele, Sales Director at seele GmbH Michael Seele is the Sales Director at façades specialist seele, one of the world’s top companies specialising in the design and construction of façades and complex building envelopes made from glass, steel, aluminium, membranes and other high-tech materials. His many years of experience in the field of façade engineering already includes numerous high-profile projects such as King’s Cross station in London, ICONSIAM in Bangkok and the K11 Musea Tube Façade in Hong Kong. In his role as Sales Director he develops sales activities all around the globe. Michael Seele is also responsible for pushing the development of seele’s ISOshade® and GSP® products throughout the whole group of companies.

intelligent glass solutions | autumn 2021

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EXECUTIVE BOARDROOM COMMENTARY

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From hole in the floor to panoramic views A beloved Seattle landmark looks ahead to its next 50 years Blair Payson with Cate O’Toole, Olson Kundig

T HFROM E GTHE LA SS W ORD EXECUTIVE BOARDROOM COMMENTARY MIDDLE EAST

T H EXECUTIVE E G L A SBOARDROOM S W O R COMMENTARY D FROM THE MIDDLE EAST Photo credit: Hufton + Crow

intelligent glass solutions | autumn 2021

A true visionary, in his own words

IGS Interviews

Eran Chen . “Glass is the most visually animated, expressive material that exists”

©Methanoia

Tokio Marine (Photo CSYA)

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Restoring the Kahn

An in-depth carbon analysis on the options for a historic window Kyle Sword and Kayla Natividad, NSG Pilkington

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Restoration of an icon The Albert Kahn office building in Detroit, Michigan was completed in 1931 by the renowned architect Albert Kahn. This building was originally home to his architectural firm as well as a prominent department store and other office suites. The 11-story, 320,000 square-foot office building was constructed by the Fisher Brothers and went on the National Register of Historic Places in 1980.

Lutz Real Estate Investments and Northern Equities Group worked to develop this property along with the Kraemer Design Group into mixed-use and mostly residential condo conversions on the upper floors. One significant challenge was what to do with the double-hung bronze windows. Although these 700 windows roughly 54 x 88” in size were mostly operational, they were badly leaking air and only single glazed with clear glass so

horribly inefficient. Allen Architectural Metals was contracted as the glazing contractor and worked to create some innovative ideas in the space. The original development plan was to clean up the existing windows and then add fixed secondary glazing to the inside to improve the energy efficiency. However, secondary glazing was being added to make the space © Northern Equities Group and Lutz Real Estate

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

more comfortable and the team was looking for other ways to keep the design truer to the original construction and improve function for residential customers. Kate Allen (Vice President of Allen Architectural Metals) reached out to her network from Columbia GSAAP (Graduate School of Architecture, Planning, and Preservation) to look for alternatives and they started researching vacuum insulating glazing (VIG) as a reasonable alternative to re-glaze the existing bronze windows. This would allow the existing design to ring true while exceeding the performance expectations they could achieve using secondary glazing. As an added benefit to the new design for VIG reglazing, the space/footprint by avoiding the secondary glazing now makes the space more open / accessible and allows for operable windows which is a big plus in residential spacing. Vacuum insulating glazing (VIG) Although VIG has been commercially available since 1997, there still isn’t great recognition by the architectural community of this technology. Most modern windows today are unavoidably thick since the standard window product is an insulating glazing unit (IGU). IGU’s typically take two pieces of glass and add a ~1/2” air space between the panes of glass. Through a combination of air-space thickness, gas fill, and Low-E coatings, IGU’s improve heat gain in the summer and avoid heat loss in the winter. The glazing components of most windows today are ¾” – 1” thick and therefore cannot be used to improve the energy efficiency of older windows as they are too thick to be used in the existing framing. As such, the owners are often faced with the dilemma to either live with poor performing historic windows, partially improve the performance with storm windows, or just replace the windows altogether with new replacement windows. In contrast to the thickness of a traditional IGU, VIG can create a high-performance insulating product at thin overall profiles. The use of a vacuum gap mitigates heat transfer that occurs through convection and conduction. Due to this mechanism, VIG can achieve better insulating values than a traditional ½” air space at even a 0.2mm (1 /128”) gap. This allows the overall VIG unit to be ~1/4” thick but insulate better than a typical 1” IGU. This technology, therefore, opens the option of restoring original windows and sash to modern performance.

VIG for the Kahn In the case of the Kahn, the VIG was a great fit. The use of VIG enabled the restoration of the original bronze sash which brought the windows up to an insulating value better than that of replacement windows. Because the glass is ~1/4” thick, even the counterbalance weights could be reused as the new VIG weighed the same as the ¼” plate glass which was removed. Aesthetically, the window framing and panes look the same as they did on the installation back in 1931. The operation and view from the inside and outside are the same as Kahn designed for the space. However, the energy performance is that of a modern replacement window. The VIG also reduces sound transmission since noise doesn’t travel

well through a vacuum. The VIG edge seal has longer potential durability as this is a glass frit sealing the glass edge of the unit. As a result, there are no organic materials that could break down with time/temperature as is common with the organic IGU seal. The potential life of this restoration should be able to withstand the expected lifecycle of replacement windows as well which is important in determining how frequently you’ll have future maintenance in a historic building. Pilkington Spacia™ 6.2mm was ultimately chosen as the VIG product due to the >20-year history of manufacturing, improvement of energy performance, and color neutrality/aesthetics which are often extremely important in historic restoration projects.

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environmental impact of a particular building treatment or construction.

Existing condition of windows before restoration. © Northern Equities Group and Lutz Real Estate

To understand the environmental impact of a project, we’ll need to examine the impact of CO2 production both from the embodied carbon impact as well as the operational impact. By evaluating both, we’ll understand both the absolute impact of the choices being evaluated and the time-based impact of these decisions. Window options for the Kahn Although the options being pursued were practically driven from the development standpoint of what makes the space usable, functional, and comfortable based on cost and capabilities, we’ll evaluate the potential alternatives that were considered for the project and the full energy impacts of each option. The scope of the analysis is to look at the full carbon and environmental impact of the different options that could have been used including replacement windows. For the analysis of the project, the following options were considered; Alternatives considered 1. Existing building design as-is – ¼” monolithic clear (reference) 2. Add internal secondary glazing – (Steel storm windows) 3. Add internal secondary glazing – (Aluminum storm windows) 4. Re-glaze existing windows with VIG Impact of material reuse In addition to restoring the original bronze windows and improving the energy efficiency of the building, the project was a National Park Service (NPS) tax credit project. This meant it had to maintain the original historic look and feel of the building to qualify for the tax credits. The aesthetics met the NPS criteria and the improved energy efficiency made the space is much more comfortable for potential occupants as well. In addition, there are significant benefits in terms of sustainability and environmental impact when considering this type of solution. Building and material reuse will be a key component in the push to achieve carbon and 64

energy reductions around the world. Building reuse is energy conservation as you can avoid the significant impacts of new construction and the energy associated with new material creation. Energy efficiency is a key metric in creating sustainable operable buildings, but this alone is inadequate to capture all the needed gains required to achieve the Paris Agreement 2050 goals. The focus today is beginning to examine both the impacts of the overall energy usage of a project from material procurement, manufacturing, installation, building operation, as well as the end of life use. In simpler terms, these components are being further defined and measured through the analysis of operational carbon and embodied carbon to understand the full

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5. Replacement Aluminum windows – replica appearance Embodied carbon impacts In evaluating the above alternatives, the embodied carbon impact of each design was considered. For alternative #1, leaving the existing windows as is would add no embodied carbon as it required no up-front materials or work, but would result in the worst overall operating performance and higher energy bills with a less comfortable space. To evaluate the other options, we looked at the project in detail. 700 window openings all with an existing size, frame, glass and glazing volume, and finite material listings meant

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

we just had to compare the potential input materials. For each solution, we evaluated the glass and glazing components as one potential carbon input and the framing or support materials as a secondary carbon input. By adding these two together, we could then better understand the potential embodied carbon impact of the alternatives. As can be seen in Table 1, re-using the existing framing and just adding the VIG material has the least impact on embodied carbon additions in terms of total metric tons of CO2 eq required. This should make intuitive sense as it adds the least amount of material by weight and volume. The other alternatives show that adding steel, aluminum, or new replacement windows all add progressively more materials. Table 2 shows that by weight Aluminium generally has a higher impact of kg CO2 eq per ton of material, but this is offset significantly by the fact that aluminum is generally lighter weight than similar design steel framing. Table 3 shows the embodied carbon impacts of different framing materials in terms of kg CO2 eq/m2 of glazing area and aluminum framing was chosen as this is a common treatment in the historic metal sash to maintain the look and thin sightlines of the historic sash. In all cases, adding the least amount of upfront materials results in a lower embodied carbon impact solution.

intelligent glass solutions | autumn 2021

fact that aluminum is generally lighter weight than similar design steel framing. Table 3 of aluminum glazing area andcarbon aluminum framing wasframing chosen as this a common treatment fact that is generally lighter weight similar design steel framing. Table shows the embodied impacts of than different materials inisterms of kg3CO2 eq/m2 in the showsof the embodied impacts of different framing materials termsof oftreatment kg CO2 eq/m2 historic metal sash to maintain the look andas thin the historic sash. In all cases, glazing area carbon and aluminum framing was chosen thissightlines is aincommon in the TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS of glazing area and aluminum framing was chosen as this is a common treatment in the historic metal sash to maintain the look and thin sightlines of the historic sash. In all adding the least amount of upfront materials results in a lower embodied cases, carbon impact historicadding metal the sashleast to maintain theupfront look and thin sightlines historic sash. In all cases, amount of materials results of in athe lower embodied carbon impact solution. addingsolution. the least amount of upfront materials results in a lower embodied carbon impact solution. Table 1– –Embodied Embodied carbon impact of glazing solutions for the Kahn Table 1 –1Embodied carbon impact of glazing solutions for the Kahn Table carbon impact of glazing solutions for the Kahn Table 1 – Embodied carbon impact of glazing solutions for the Kahn

Al Storm Storm Al storm Al storm Al Reglazing Reglazing windows windows Storm window Alwindow storm Alreplacementreplacement with VIG (1/4") windows windows Reglazing window windows replacement with VIG(1/4") (1/4") (1/4") with VIG (1/4") (1/4") windows Embodied carbon of glass Embodied carbon of glass 25 20 20 25 (metric tonsofCO2 25 20 20 25 Embodied carbon glasseq) 25 20 20 25 (metric tons CO2 eq) carbon of (metricEmbodied tons CO2 eq) Embodied of framing (metric tons CO2 0 21 39 74 Embodied carbon ofcarbon framing (metric 021 74 framingeq) (metric tons CO2 tons CO2 0 3921 74 39 eq) eq) Total (metric tons CO2 eq) 25 41 59 99 Total (metric tons CO2 eq) 25 41 59 99 Total (metric tons CO2 eq)

Table 2- EPD impact of different materials 2- EPD impact of different materials Table Table 2- EPD impact of different materials

Table 3 – Framing material impact Table 33– Framing material impact Table – Framing material impact Frame impact Operating carbon impacts Table 2- EPD impact of different materials Table 3 – Framing material impact EPD - Environmental Product Declaration Frame impact In addition to the impacts of the materials and EPD - Environmental Product GWP Declaration kg CO2e / m2 glazing chosen treatment solution, we also have to look Frame impact GWP kg CO2 eq kg CO2e / m2 glazing DGU TGU closely at the impact the windows will have EPD - Environmental Product Declaration kg CO2 eq 1430 per ton Glass DGU TGU on the overall energy and carbon usage of the Wood 40 64 GWP kg CO2e / m2 glazing Glass Steel 1430 per tonper ton 1220 building operations. Wood PVCu 40 52 64 76 CO2 eq DGU TGU Steel Aluminium 1220kg per ton 6570 per ton PVCu Aluminium 52 76 76 100 Glass 1430 per ton Wood 40 To develop 64 a better understanding of the Aluminium 6570 per ton Aluminium 76 100 impact of glazing selection on building energy Steel 1220 per ton PVCu 52 76 use, model Aluminium 6570 per ton Aluminium 76 100 building energy analyses were Operating carbon impacts performed using the U.S. Department of Energy © Northern Equities Group and Lutz Real Estate Operating carbon impacts (DOE) commercial reference building models In addition to the impacts of the materials and chosen treatment solution, we also have to and EnergyPlus simulation software. The In addition to the impacts of thethe materials andwill chosen treatment look closely at the impact windows have on overall solution, we also have to comparative energy use analyses are intended Operating carbon impactswill have on overall look closely at the impact the windows to show the level of energy savings that can To develop a better understanding of the impact of glazing selection on building energy use, model be achieved by replacing the monolithic glass building energy were the U.S. Department of Energy (DOE) commercial To develop a better understanding of performed theof impact of glazing selection on building energy use, model In addition toanalyses the impacts the using materials and chosen treatment solution, we have to VIG while retaining the withalso high-performance building were models and EnergyPlus simulation software.ofThe comparative energy use analyses buildingreference energy analyses performed using the U.S. Department Energy (DOE) commercial look closely at the impact the windows will have on overall existing sash. The energy comparison uses the are building intendedmodels to show theEnergyPlus level of energy savings that canThe be comparative achieved by replacing the monolithic reference and simulation software. energy use analyses US DOE commercial reference building model glass with high-performance VIG while retaining thebeexisting sash. energy are intended to show the level of energy savings that can achieved by The replacing thecomparison monolithic uses the To develop a better understanding of the impact of glazing selection on building energy use, model for a large-office building constructed before US DOE commercial reference model for a large-office 1980. glass with high-performance VIG whilebuilding retaining the existing sash. Thebuilding energy constructed comparison before uses the 1980. Reference building located in Chicago, energy analyses were performed using the U.S.constructed Department of Energy US DOEbuilding commercial reference building model for a large-office building before 1980. (DOE) commercial Illinois’s cold climate zone 5a was selected reference building models and EnergyPlus simulation software. The comparative energy use analyses to model similar climate effects as Detroit, are intended to show the level of energy savings that can be achieved by replacing the monolithic Michigan. The total building area of large-office glass with high-performance VIG while retaining the existing sash. The energy comparison uses the structure is 46,318 m2 (498,558 ft2).

US DOE commercial reference building model for a large-office building constructed before 1980.

Fixed (picture) window materials performance parameters used in the glazing model were determined using Lawrence Berkely National Lab WINDOW7.5 and NFRC 100-2010 environmental conditions. Total window results of U-factor, SHGC, and visible transmittance (VT) are based on bronze or aluminum (with thermal break) framing materials. Glazing systems compared are 6mm (1/4”) monolithic clear glass in bronze frame, 6.2mm (1/4”) VIG in bronze frame, 6mm (1/4”) clear glass in bronze frame with interior 6mm (1/4”) clear interior storm, and 22mm (7/8”) IGU in aluminum frame w/ thermal break. Total window performance used in the 66

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Total window results of U-factor, SHGC, and visible transmittance (VT) are based on bronze or aluminum (with thermal break) framing materials. Glazing systems compared are 6mm (1/4”) monolithic clear glass in bronze frame, 6.2mm (1/4”) VIG in bronze frame, 6mm (1/4”) clear glass in TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS bronze frame with interior 6mm (1/4”) clear interior storm, and 22mm (7/8”) IGU in aluminum frame w/ thermal break. Total window performance used in the energy model is seen in Table 4.

4: Total Window Glazing Performance Table 4:Table Total Window Glazing Performance

6mm Clear (Bronze Framing)

U-factor ( W/m2-K)

5.136

22mm Replacement 6mm Clear (Bronze Framing) w/ 6mm Spacia (Aluminum w/ Break interior Storm [modeled as 6mm (Bronze Framing) [modeled as 5mm Clear / 2” air / 6mm Clear (Bronze Framing) 2x silver sputter / 12mm air Framing)] / 5mm clear]

1.806

2.804

2.493

SHGCbuilding located 0.704 in Chicago, 0.598 0.382 Reference Illinois’s cold climate 0.609 zone 5a was selected to model similar climate effects as Detroit, Michigan. The total building area of large-office structure is 46,318 m2 Visible Light (498,558 ft2). (VLT) 0.738 0.645 0.656 0.586 Fixed (picture) window materials performance parameters used in the glazing model were determined using Lawrence Berkely National Lab WINDOW7.5 and NFRC 100-2010 environmental conditions. energyTotal modelwindow is seen in Table 4. of U-factor, SHGC, principal heating source based on energy as a base results and visible transmittance (VT) are based onthreshold bronze for orenergy usage, the Building performance comparison usage. results showed a include significant impact on heating and cooling energy Building performance comparison results Total End Uses heating, cooling, percent reduction of aluminum (with thermal break) framing materials. Glazing systems compared are 6mm (1/4”)energy use is provided Forimpact simplification of interpretation, analysis results into5.heating, cooling, showed usage. a significant on heating and interior andenergy exterior lighting, interior and are broken in Table By replacing 6mm (1/4”) clear monolithic clear glass in bronze frame, 6.2mm (1/4”) VIG in bronze frame, 6mm (1/4”) clear glass in cooling energy usage. For simplification of exterior pumps, water heating monolithic with on 6.2mm (1/4”) VIG, and total end-use categories. Natural gasequipment, appears fans, to be the and principal sourceglass based energy bronzeenergy frame with results interior 6mm (1/4”) clear interior storm, and 22mm (7/8”)natural IGU in aluminum frame interpretation, analysis are systems. gas consumption for heating is usage. Total End Uses include heating, cooling, interior and exterior lighting, interior and exterior thermal break.and Total window performance used in the energy model is seen in Table 4.and electricity consumption brokenw/ into heating, cooling, total endreduced by 41% equipment, fans, pumps, and water systems. use categories. Natural gas appears to be the

Using 6mm (1/4”) monolithic clear glass system

for cooling is reduced by 5%.

Using 6mm (1/4”) monolithic clear glass system as a base threshold for energy usage, the percent reduction of energy use is provided Table Large Office Energy Usage in Table 5. By replacing 6mm (1/4”) clear monolithic glass with Table 5: Large 5: Office Energy Usage 6.2mm (1/4”) VIG, natural gas consumption for heating is reduced by 41% and electricity consumption for cooling is reduced by 5%. 22mm Replacement 6mm Clear (Bronze Framing) w/ 6mm Clear 6mm Spacia (Aluminum w/ Break interior Storm [modeled as 6mm (Bronze (Bronze Framing) [modeled as 5mm Clear / 2” air / 6mm Clear Table 5: Large Framing) Office Energy Usage Framing) 2x silver sputter / 12mm air (Bronze Framing)] / 5mm clear] Heating Natural Gas (GJ) Cooling Electricity (GJ) Total End uses (GJ)

22mm Replacement 6mm Clear (Bronze Framing) w/ 6mm Clear 6mm Spacia (Aluminum w/ Break interior Storm [modeled as 6mm 10043 (-41%) 7267 (-28%) 6733 [modeled (-33%) as 5mm Framing) (Bronze 5949(Bronze Clear / 2” air / 6mm Clear 2x silver sputter / 12mm air Framing) Framing) (Bronze Framing)] / 5mm clear] 2166

2061 (-5%)

2055 (-5%)

1827

(-16%)

34323

29934 (-13%)

31271 (-9%)

30249 (-12%)

Using the data from these analyses, we then carbon and embodied carbon impacts of both the total GJ of gas usage for the building and the data we thenThis looked to expected understand how these glazing wouldin gas usage lookedUsing to understand howfrom these these glazing analyses,solutions. takes the cooling/ compare thesolutions potential savings impact overall energy efficiency heating and carbon oftype thisofbuilding over time. Table 6 solutions. shows both solutions would the impact the overall energy savings usage from each solution and with each of the You can then theand operating carbon embodiedestimates carbon the impacts offuture bothusage solutions. the efficiency carbon usage of thisand building potential for each This takes calculate theexpected CO2 savings of the GJ of gas usage over time. Table 6 shows both the operating type of Forand gas usage, we estimate intofuture an absolute metric CO2 eq for the cooling/heating savings from each type ofsolution. solution estimates the potential usage forton each

type of solution. For gas usage, we estimate the total GJ of gas usage for the building and compare the potential savings in gas usage with each of the solutions. You can then calculate the| CO2 savings intelligent glass solutions autumn 2021 of the GJ of gas usage into an absolute metric ton CO2 eq for the gas usage. Similarly for electrical

type of solution. For gas usage, we estimate the total GJ of gas usage for the building and compare the potential savings in gas usage with each of the solutions. You can then calculate the CO2 savings the GJ of gas usage into an absolute ton CO2 eq for the gas usage. Similarly for electrical TRANSPARENT of ARCHITECTURAL RENOVATIONS ANDmetric RETROFITS cooling, we measure the kW usage of the cooling systems and convert them into CO2 savings for each of the different solutions. For each solution, you then add the CO2 savings for both the gas and electrical consumptions savings.

gas usage. Similarly for electrical cooling, we For comparison, we then add up the overall carbon and operating carbon in the first year measure the kW usage of the cooling systems carbon debt from the glazing solution of use. Using the rough estimates of cost/ For comparison, we then add up the overall carbon debt from the glazing solution embodied carbon and convert them into CO2 savings for each of embodied carbon impacts and subtract out kw and MJ of gas, we can also estimate the impacts and subtract out the potential operational energy savings to see the carbon impact over time. the different solutions. For each solution, you the potential operational energy savings to annual energy savings for this type of solution Table 6 shows ofcarbon the total embodied carbon then add the CO2 savings for both the gasthe and addition see the impact over time. Table 6 and operating as well. carbon in the first year of use. the rough estimates ofthe cost/kw ofembodied gas, we can also estimate the annual energy savings electrical consumptionsUsing savings. shows additionand of theMJ total

for this type of solution as well.

Table 6 – Embodied carbon carboncarbon savings and Tableand 6 operating – Embodied

operating carbon savings

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

In terms of overall carbon impact, the VIG re-glaze results in the largest overall carbon savings in Year 1 after the installation. The savings in operation carbon from improved energy efficiency pays off the embodied carbon debt of the installation within about 1 month. The replacement windows offer the largest savings in operation carbon of all the options considered. This makes sense because we achieve both a lower SHGC (solar loading) and a fairly low U-factor (insulation) with this design. The combination of savings in both heating and cooling will result in a lower carbon impact of the operational carbon of all the options evaluated. However, the payback of the embodied carbon debt in terms of savings in operation carbon would take 11 years before the new windows would exceed the carbon savings of a restoration of the existing windows.

We also did not extrapolate the future carbon savings of these different alternatives, but keep in mind that future savings also must account for additional embodied carbon impacts. If the windows have to be replaced every 20 years, we’d have an additional increase in embodied carbon with each subsequent window replacement.

windows. The current operating carbon usage of 931 metric tons of CO2 per year is significantly more than even the largest embodied carbon impact of 99 tons. The logical conclusion from this analysis is that savings of operational carbon should be the focus of a window restoration as the embodied carbon is only a small incremental portion of the project.

The key comparison from this analysis though shows that the operating carbon greatly outweighs the embodied carbon impact of

Conclusions The analysis did confirm that a re-glaze of the existing materials will result in the lowest

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embodied carbon impact of this project. In addition, a re-glaze of the existing conditions also results in a much more historically accurate looking and feeling building. The VIG glazing solution also provides some significant operational benefits in terms of comfort level, noise abatement, and space/form factor/ operability of the windows that would have changed with the other solutions. In terms of the time value of carbon, these low embodied carbon solutions have immediacy as well as stop carbon growth in the short term. There is a break-even point in the carbon analysis where replacement windows start to potentially outweigh the carbon savings of restoration, but all of these time, carbon, aesthetic, comfort, and performance factors need to be evaluated to make the appropriate treatment choice. The analysis also showed that the operational impact is a much more significant factor for consideration in terms of the overall energy consumption of a project. Not only do we look at the absolute savings of carbon in a given year, but by evaluating the savings over time we can understand the long-term impact and the cumulative impact we see of a given solution on these solutions helping achieve the climate goals of a particular building. The VIG solution calculations show this has the lowest overall carbon impact over a 1-year time span and would correlate to the lowest overall impact of the alternatives considered given a timeframe of 2030 climate goal achievements. The VIG re-glaze resulted in a 40-75% in reduction in overall embodied carbon impacts versus the other potential glazing solutions. The VIG re-glaze results in at least 20 metric tons CO2 eq less added embodied carbon compared to the lowest other alternatives. In terms of operational savings, the overall carbon impact of this solution reduces the building carbon impact by ~226 metric tons of CO2 eq per year, which is the same as taking ~49 cars off of the US roads each year. Based on this analysis, the business case for historic window restoration appears to go beyond the typical drivers of preservation and aesthetics. The results show a compelling case that this treatment can result in outstanding time-based carbon and environmental solutions to deal with the energy usage of existing buildings.

References • https://www.dbusiness.com/daily-news/ renovation-of-historic-albert-kahn-buildingin-detroit-into-apartment-communitycomplete/ • https://www.energy.gov/eere/buildings/ commercial-reference-buildings • https://www.epa.gov/energy/greenhousegases-equivalencies-calculator-calculationsand-references • https://www.convert-measurement-units. com/convert+Million+BTU+to+Gigajoule. php • https://www.dkhardware.com/bronzeuniversal-sash-storm-window-frame-bs1brzproduct-4943.html • https://www.aisc.org/why-steel/resources/ leed-v4/ • https://www.nrel.gov/docs/fy13osti/55219. pdf • https://adfs.nsg.com/adfs/ls/wia • https://www.engineeringtoolbox.com/ density-solids-d_1265.html

• https://finance-commerce.com/welcomead/?retUrl=/2019/06/the-carbon-footprint-ofmodern-construction-is-huge/ • https://www.energy.gov/eere/buildings/ commercial-reference-buildings • https://issuu.com/intelligentpublications/ docs/igs_spring2021.hi-res_ singles/s/12041237 • https://www.epa.gov/energy/greenhousegases-equivalencies-calculator-calculationsand-references • https://gbdmagazine.com/buildingmaterials-and-climate-change/ • https://beta.epa.gov/greenvehicles/ greenhouse-gas-emissions-typicalpassenger-vehicle • https://mailchi.mp/thekraemeredge/kdghistoric-project-spotlight-the-albert-kahnbuilding?e=81c7f13bd3 • Gensler on Building Materials and Climate Change (gbdmagazine.com)

Kyle Sword Bio Kyle Sword is the Business Development Manager for Pilkington North America and heads the company’s interests in business development, marketing, and historic restoration. Has worked for NSG Pilkington for 20+ years, mostly in glass manufacturing. Ceramic Engineering degree from The Ohio State University and an MBA from California State University, Sacramento. Kyle is involved with a variety of different technological developments in the glass industry including VIG, BIPV, and transparent conductive materials. Main business function is to spread glass education and look for new opportunities to provide value for customers creating products with coated and flat glass products. Dr. Kayla Natividad Dr. Kayla Natividad, WELL AP, LEED Green Associate has been with Pilkington North America as an Architectural Technical Service Engineer since 2016. She received her PhD in civil engineering with a focus in structures and research in glass design. Since joining Pilkington North America, a major focus of her work has been directed towards sustainability and green building initiatives. She is an active member of many industry organizations and participates in codes and standards development for North America. Kayla has and continues to promote green building through education and advocacy of glass technology.

intelligent glass solutions | autumn 2021

It is clear that there are a multitude of key considerations when deciding whether a retrofit is the most viable option for existing building stock: carbon-impact, energy-performance, costbenefit, aesthetics and cultural value (to name a few) are all part and parcel of the decision process driving a contemporary renovation wave. As Astrid Piber so accurately states, retrofitting has come to the fore in our industry: “Rethinking the possibilities of retrofitting and adaptively reusing available building stock has slowly but surely become a commonly embraced approach in the field of architecture and engineering”. Indeed, glass has played an essential role in the proliferation of façade renovations. The versatility of this material and constant innovations surrounding performance, applications and its adaptable nature have cemented glass as the backbone on which retrofits are greenlit and built. These innovations are exemplified in the preceding pages; the worlds first rotating glass floor at Seattle’s Space Needle, the game-changing whole life carbon strategy of 1 Triton Square and the complex glass geometry by Octatube are just the tip of the iceberg in terms of this materials potential. In the second chapter of this edition, you will be introduced to more exemplary minds and projects, including the glass-clad vertical city that is 22 Bishopsgate. Discover how carbon neutral silicones are contributing to a sustainable future in glass façade design. Last, but by no means least, Eran Chen has ‘The Glass Word’ in an exclusive interview with the ODA New York Founder who leads one of the most prolific architecture firms, altering the landscape of the city.

Global case studies and trends gaining traction: AGC

“The overall twenty-three-sided, faceted building form of this "vertical city" expresses an impressive aesthetic in which the wellbeing of the users was placed at the centre”.

Page 106 Dow

“the European Green Deal will require more consideration to be given to how buildings of the future will be constructed, which materials are selected and their ease of removal, salvage and their reclaim potential”.

Page 120

PLENTY MORE TO COME

In the first half of our Summer Edition, the authors delved into the complex nature of façade retrofits. You have been privy to top-tier thought leadership on the design, engineering and adaptive reuse of some truly outstanding projects from across the globe. From the biomimetic inspired design-thinking of UNStudio and the economic and technical challenges in realizing renewals with WSP to the adaptive net' façade, ‘Second Skin’, IGS has shared with you the knowledge and expertise that are shaping the world we live in.

The Glass Word with Eran Chen

“glass is the only material that I can think of that totally transforms throughout the different hours of the day and even the seasons of the year. And that is a very exciting tool for a designer to have at their disposal”.

Page 142

This is IGS – Nothing more, nothing less…NOTHING ELSE Image credit: The Fulton Center, New York. Photo by Christian Perner on Unsplash

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Contem gridshell en monum cou

Photo © Evabloem

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

mporary ncloses mental urtyard Koos Fritzsche, Jort Winkel & Iris Rombouts, Octatube

n 1916 the foundation stone was laid for the head office of the Batavian Petroleum Company (BPM), one of Shell's forerunners. A stately office building erected at the Carel van Bylandtlaan 30 in the Hague that, in terms of style, evoked memories of Dutch architecture from the 16th and 17th century. Over the course of 2020 and 2021 the complex, now Shell's head office, is undergoing a large-scale renovation. Just like a century ago, this renovation will bridge the gap between old and new. An eye-catching feature of the renovation is the state-of-the-art gridshell that covers one of the monumental courtyards. Old and new are literally connected. And where these two meet, challenges arise. Introduction The dome-shaped gridshell consists of a double curved steel grid of approximately 30x30 meters with a height of 3.5 meter. The grid is covered with 141 insulated glass panels of ca. 2,6x2,6 meter which were cold twisted on site. The grid size is defined as a result of a meticulous, parametric optimization game. Engineering a complex geometry The first step towards realisation of this roof is studying and optimizing the geometry. The courtyard’s perimeter is non-orthogonal, and thus introduces complexity into the gridshell’s geometry. Every element of the steel structure is unique, as well as every glass panel. In close collaboration with the design team a parametric model was made using Rhino combined with Grasshopper. This model was used to define the ideal geometry. An interplay of engineering and structural design leading up to a free-form gridshell with an optimized ratio of feasibility and cost-efficiency. Optimization in this case means the balance between the largest possible glass panels combined with the least amount of steel (due to the weight on the existing structure) and the boundaries of cold twisting of the glass combined with live loads on the panels. The bigger the glass, the more twisting is needed to stay within shape – and higher stresses will occur, due to the bigger surface for live loads. In other words; finding the optimum between the weight and the transparency of the roof.

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Cold twisting of the glass All glass panels, every panel a unique parallelogram, are produced as flat panels and twisted on site using clamping plates at the corners of the glass. In addition to significant cost savings, this technique results in a more attractive glass surface, mainly better visual quality, than with hot bent panels. Precise structural calculations validated the maximum torsional deformation. This maximum torsion determines the thickness of the glass and, indirectly, the shape and grid distribution of the dome. A monumental building and its structural capacity In an early stage of the design, the height of the dome was decided. This had implications on the structural scheme. A downward load on the roof (e.g. snow) makes the ends move outwards: the dome behaves like a three dimensional arch structure. So, the higher the dome, the less deflection and movement at

intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo Octatube

Photo © Evabloem

intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo © Evabloem

the ends. Usually, the corresponding forces are absorbed by the connection to the surrounding building. However, in the case of C30, the buildings are monumental and no forces may be exerted perpendicular to the courtyard’s perimeter. This resulted in a series of hinged connections between the edge beam and the monumental structure, which are able to slide in a horizontal direction. To fix the roof for horizontal wind loads, four connections are fixed in line with the facade. By doing this, the roof is able to ‘breathe’ under thermal loading. Interrupted by turrets The rigid edge beam is crucial to keep the dome in its shape, you can see it as a sort of colander. It is stiffness that defines a gridshell. Getting the stiffness under control in this particular project was like doing a structural obstacle course. One of the obstacles being the three turrets at the edge of the monumental roof, interrupting the edge beam. This results in a loss of stiffness, but can be solved by the use of tension rods that keep the edge beam in place. 76

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These rods are relatively thick: 45mm. With this diameter they can withstand much greater forces than they have to endure in reality. The chosen diameter is determined by the slight elongation of the rod, which limits the deformations of the roof and keeps the structure stable. The length and pre-tensioning of the rods is very important. The rods are made up of several components and precisely calibrated. Balancing rotational stiffness with a sleek structure Another point of attention was how to make the connections between the various frames and beams. A lot of stiffness is achieved by welding frames. However, it is undesirable to weld beams between frames on site. These connections are therefore bolted and thus have a specific rotational stiffness.

Photo RKB + Verschoor

The question is whether a bolted connection is rigid or pinned. More rigid means larger forces, thus larger dimensions. More pinned means creating more freedom of movement and transferring less force to the joint. But if all connections are pinned, the roof structure becomes unstable as a whole.

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Photo Octatube

This has been approached by using two structural models. In one model, the connections are rigid, to check if they are strong enough. In the other model, the connections are semi-rigid, to check the stiffness and stability of the roof structure. By using these two models together, one representing a lower limit of stiffness and the other an upper limit, the structural sufficiency of the structure could be ensured. Bringing the roof to life using prefabrication After the theoretic optimization and verified structural design, the practical part followed: bringing the roof to life. Due to the location and accessibility of the works, rapid assembly of the steel structure was of great importance. For a roof that consists of so many unique parts, prefabrication is an ideal method. The dimensions can be closely monitored and deformations that may play a critical role during assembly can be identified. This allows for high 78

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Photo Octatube

Photo RKB + Verschoor

Final design of the grid Image Octatube

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Impression of the glass torsion. The color indicates the size: from pink to light blue – highest to lowest torsion. The number indicates the movement in the corner (dZ) in millimeters, Octatube

Image Octatube

assembly speed on site. Additionally, welds and finishes applied in a controlled environment achieve a higher and more consistent quality. File-to-factory The steel ladder frames were produced in Octatube’s workshop in Delft. Each profile has a different length and position to the connecting profiles due to the double curved shape of the roof. Therefore, each profile requires a unique cut to allow for a welded connection. A file-to-factory method was implemented to achieve this. With software developed by Octatube, all parts were generated from a line model in Rhino. These digital parts were then produced file-to-factory by a laser cutter, without additional drawings. The cut of the unique angles could be set precisely and weld pre-cuttings were included as well. Laser cutting, as opposed to sawing, guarantees correct dimensions and ultimately results in a more efficient and swift assembly. 80

Reciprocal frame Even though a quick assembly time could be realized by means of prefabrication, the roof would only function structurally after all steel was installed. Normally, in the erection of gridshell structures, the individual elements are supported temporarily. However, in the case of C30, the monumental courtyard is carried by a basement structure which was not able to take any loads during installation. As a result, the steel structure could not rest down on the scaffold. Since the only connection to the existing building structure is the edge beam, the steel grid was divided into the largest possible selfspanning ladder frames. They were defined with limiting factors of transport and coating in mind. In the centre of the roof, a square-shaped gap of 21x21 meter is filled up with a self-

intelligent glass solutions | autumn 2021

supporting reciprocal frame division. Without making use of any downward support, four ladder frames support each other and close the roof. To place these frames, two cranes worked together simultaneously. Despite the complexity of the roof structure and the assembly, everything fit perfectly because of the prefabrication. This made it possible to install the roof in just two weeks. Around the table with all disciplines A bright future lies ahead for retrofitting existing buildings. But realizing new architecture, introducing new materials with contemporary detailing, in existing buildings is a challenge by definition. Sometimes all relevant preconditions are figured out beforehand, but more often than not, a number of them appear during the process.

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

Image Octatube

For the C30 project, an integral and multidisciplinary working method was introduced in an early stage. This made it easy to identify all issues and work them out. With all disciplines (design, engineering, production and assembly) around the table, crucial questions could be asked and included in the joint exploration of possibilities and solutions. During the technical and structural elaboration of the design, questions were already answered such as: how to pair a high-tech structure with the monumental character of the building, how to connect contemporary steel and aluminium to the existing masonry ornaments, how to mount large steel elements without causing nuisance to the users of surrounding buildings, and how to realize a double curved gridshell without temporary supports? This resulted in a very effective way of working. And a stunning end result. Credits Architect: Jacobs Client: Shell

Koos Fritzsche is a senior sales engineer at Octatube, a Netherlands-based Design and Build company specializing in bespoke building structures with an emphasis on advanced applications of glass and steel. With a background in structural engineering, he brings his technical knowledge to the table in the first phase of the project – often when the design is still in development. Collaborating with the architect, consultant or contractor, Koos uses parametric design tools as Grasshopper and Rhino to analyse variants and optimize the design. He specializes in complex geometries. Past projects he has worked on are: the C30 gridshell in the Hague, the Netherlands and Central Plaza in Dublin, Ireland. For C30, Koos was involved as a sales engineer from the first sketches to the final construction. Jort Winkel is a structural engineer at Octatube. He is driven to solve the most complex structural challenges. With a thorough understanding of structural principles, and an eager to learn mentality, Jort has worked on several projects within Octatube and managed to tackle a range of structural hurdles. Besides his work as structural engineer, Jort is also coordinating and guiding Octatube’s journey towards becoming more sustainable. In the past year, one of the most important milestones in that journey was Octatube receiving the B Corp certification. For C30, Jort was involved as a structural engineer. Iris Rombouts is project manager and structural engineer at Octatube. She has a fascination for glass calculations and complex structural designs and has been involved in the company for over 6 years. Iris started at Octatube as a structural engineer, but has taken up the role of project manager over time as well. By pairing these two disciplines she carries very broad knowledge of a project: an advantage to clients as well as herself. Projects she has worked on within Octatube are a complex undulating canopy of glass and steel in Tilburg, the Netherlands and a full-glass façade with hanging fins in Dublin. For C30, Iris was involved as project manager.

Main contractor: De Vries en Verburg Bouw Structural design, engineering, production and installation: Octatube Photos: © Evabloem

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Game-changing Sustainable Reuse at 1 Triton Square Nick Jackson and Matteo Lazzarotto, Arup

Triton Square is a game-changing example of sustainable building reuse. A whole life carbon strategy has saved more carbon in the building’s design and construction than it will use over the next 20 years of operation. The new building provides three new floors, twice as much net office area, a BREEAM Outstanding sustainability rating, retained façades and superstructure and no increase to plant space. Five panoramic terraces provide space for events, socialising, meeting, working, exercising and relaxing. 492m2 of green roofs and 536 cycle spaces, along with lockers and showers, encourage active lifestyles and green travel. BREEAM awarded it the Best Commercial Project (Design Stage) in their 2020 awards.

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intelligent glass solutions | autumn 2021

TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

View from terrace of new unitised system © Simon Kennedy

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TRANSPARENT ARCHITECTURAL RENOVATIONS AND RETROFITS

A focus on circular economy principles guided the redevelopment. The team used a ‘marginal gains’ approach to understand what could be retained, reused or replaced, designing, refining and optimising dozens of systems, components and strategies that, together, delivered deeply significant results. Triton Square also exceeds the ambitious carbon reduction targets set by the UK Climate Change Act, which are required to meet the UK’s commitment to the Paris Climate Agreement and is one of the only commercial buildings across the whole of the UK to do so. Assessing the existing building Part of a campus development at Regent’s Place, in the West End of London, 1 Triton Square is located within London’s ‘Knowledge Quarter’, a focused centre for academic, cultural, research, scientific and media organisations. Designed in the mid-1990s by Arup Associates for the banking sector, the original building featured trading floors and a vast central atrium. British Land invited Arup to reimagine and adapt the structure for today’s work styles. Lendlease, the original contractor, was also brought back in. Gartner was the façade contractor.

Circular Facades © Arup

Illustration showing new additions and remodelled atrium © Arup

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Completed façade blends reused and new materials © Simon Kennedy

1 Triton Square had achieved the biggest pre-let in the West End for over 20 years. British Land, an all-Arup design team, Lend Lease and the prospective tenant formed Team Triton to develop a vision for its future, guided by British Land’s Brief for Developments which sets targets for exemplary Wellbeing, Community, Futureproofing, and Skills and Opportunities. From the beginning, they were looking to achieve a significant increase in floor area and volume, along with tenant-specific requirements for improved circulation and interactivity throughout the building. The team recognised several aspects of the building that would work to its advantage. Its rational geometry, which repeated from elevations to individual façade panels, lent itself to further extension. The original structure was built for the high loads demanded by dealing floors and building service systems were designed for high capacity. The façade was a pioneering example of a double-skin system. The building was designed to be disassembled, 86

and as an adaptable asset, the team could more easily apply circular economy principles to facilitate its regeneration. The team took a rigorous risk-based approach to assess whether components could be safely retained, refurbished, or replaced. Where necessary, the team would upgrade elements to align with contemporary performance and safety regulations and standards. The original layout featured a square plan with corner cores. The approach was essentially one of recalibrating the original design. Regents Place had grown over the intervening years, and newer buildings had established a higher horizon line. The proposal was to add three floors, to build the cores up to reinforce these, setting back the upper storeys to create terraces and sliding up the outer skin by one storey to allow the building to interact with the square at ground level. The corner facing the square was reconfigured to give it better prominence and engagement.

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The vast 36m x 36m atrium would be reduced and infilled with a new steel structure to increase the available floor area. Large openings were introduced that vary on each level and allow natural daylight to flood onto the floorplates. The original facade design solution was a performance-led, integrated mechanical/ façade system, featuring a pioneering doubleskin system, a single glazed outer screen and an inner screen of double-glazed ribbon windows with a 1m cavity in between where the mechanical systems ran. Stair cores would be placed outside the thermal line, with nominal heating for frost protection, to improve airtightness and energy efficiency. The MEP systems were also reviewed to improve efficiency whilst retaining some of the primary principles of the original MEP strategy.

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Team Triton and Marginal gains The success of 1 Triton Square resulted from many years of individual pieces of work by Arup and others around design for a circular economy by reusing buildings, materials or components. Bringing these ideas together into one building demonstrated that a combination of a small number of interventions could achieve significant carbon reductions. This approach was inspired by ‘marginal gains’ strategy, pioneered in the world of competitive cycling by Dave Brailsford, manager of Team GB and then Team Sky. It works on the principle that even minor improvements can combine to create a significant impact, using data to identify where and how tweaks can be made. Team Triton, as they then modelled themselves, quickly reached a point where they could get from BREEAM Excellent to BREEAM Outstanding for a minimal extra cost. As it turned out, this was roughly 0.3% of capital expenditure, compared to a perceived industry norm of around 5%. This collegiate approach was an integral part of 1 Triton Square’s success. Team Triton delivered the project through a commitment

South-east view of the original building @ Alan Williams

to partnership and embracing innovative ideas from everyone involved. It is true to say that the circular economy approach couldn’t have worked without it. Marginal gains were achieved through several strategies. These included high performance unitised facades with retained and refurbished facades where appropriate; extensive energy

modelling and MEP systems optimisation; an advanced method for reducing waste generation with 100% construction waste diverted from landfill and innovations by the team to produce extra Environmental Product Declarations. The project also pioneered British Land’s first carbon fibre column wraps rather than adding additional columns to support the new floors. This method saved on installation

Marginal gains strategy © Arup

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time, minimised visual impact and, at only 4mm thick, saved around 55% of floor space compared to a traditional approach. For the foundation strengthening, the introduction of mini-piles and a piled raft saved 30% of new piling and £1 million in cost compared with piles and pile caps. The decision to create a pop-up factory in Essex, instead of returning the façade panels to Germany for cleaning, saved 25,000 transport miles and had the added benefit of creating local jobs. Team Triton’s innovative approach achieved an 85% uplift in net floor area without increasing the basement area or the need for additional plant space. Threading together old and new facades The existing double-skin façades comprised an outer screen of monolithic glass fixed to 3m wide unitised storey-height frames, hung at the top and restrained at the bottom. The inner screen, a double-glazed ribbon window system, was installed into a strong-back system.

The most significant advantage of this system was its performance. The outer screen helped to modulate the solar gains through the glazing. The inner screen adequately insulated the building, which meant it could meet today’s energy and sustainability targets and achieve the targeted BREEAM Outstanding rating. The strategy was to dismantle the external screen, assess the design life of its elements, refurbish and reinstall. The outer screen was moved up one storey to maximise daylight on the ground and first floors and re-engage the ground floor with the square beyond. The entire outer screen was demounted with the lightweight, prefabricated units sent to a pop-up factory 30 miles away in Essex. There, the units were disassembled, cleaned, inspected and returned. End of life components such as gaskets and seals were replaced, and the glass and framing were kept. The glass and carrier frame for the ribbon windows were replaced with new panels for the internal screen.

The team identified 25 façade types, including both primary and sub-types. Using the Unitybased ‘Arup Street’ application, a digital model was prepared to map out the primary cladding systems, identifying the type, the materials and whether it was a new or reused façade. The new facades on the upper floors were designed for future disassembly. The 3m-wide double glazed, thermally broken unitised curtain walling system was dry glazed with external horizontal and vertical cover caps and high-performance solar coating to reduce solar gains. 300mm-deep aluminium fins at 9m centres vertically and 4.05m horizontally created a mega frame. Within this frame, shallower horizontal fins on the south facade and vertical fins on the east/west facades provided shading. For the entrance glazing, a double-height facade was created using a minimal aluminium stick curtain-walling system. The mullion profile was structurally bonded to low-iron triple or quadruple laminated glass fins, which span the full height of the entrance. Curved glass corner Pop up factory © Arup

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Arup Street digital model of façade types @ Arup

panels completed the facade. The doubleglazed insulating units were toggle fixed to the mullions. The system also includes operable structurally glazed, insulated glass louvres, motorised and connected to the building management system. A stand-out feature of the original building is the French limestone cladding. With the additional storeys, new areas of cladding were required that, visually, would match.

Unitised system with GRC features © Arup

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visually tested against the mock-up, off-site tested at Gartner, then shipped to the site and installed as a unitised module.

Unitised panel with GRC © Arup

The team focused on a strategy to blend the old and new stones. With access to the built information for the building, Team Triton returned to the original quarry in Val de Nod in France, taking one of the original and now cleaned panels with them. They agreed on an acceptable colour range and Arup developed a programme for the stone placement to ensure that there was no apparent distinction between the new and existing stone panels. The original stone cladding was fixed back to an existing precast panel system. A lightweight system was designed with the new cladding fixed back to a unitised curtain wall to avoid reinforcing the structure significantly. The team saved 3,300 m2 of limestone by retaining materials, equating to a reduction of 1,060 tonnes of embodied carbon. Granite panels on the ground floor were also kept.

At the southeast corner, the reconfigured core introduced a new feature entrance to bring visitors into the double-height atrium. The unitised cladding system incorporated external horizontal and vertical shading elements of an aluminium structure with GRC cladding panels and with the potential to be fully disassembled, thereby ensuring future opportunities for upgrade and regeneration. The units were

For the reduced atrium rooflight, the team undertook extensive daylight studies and glare analysis to determine the impact on the office spaces. A self-stabilising structure was used that would not require support from the primary structure, thus saving on concrete. 18m portal frames were developed with deep, tapered steel sections to minimise deflections without recourse to increased material. The largest available glazing modules were used to bring maximum light into the atrium and contributed to the efficient installation of the frames, which were brought in as large single units, thereby minimising on-site lifts. The design was subjected to extensive weather performance and impact testing, including construction sequencing and disassembly methodologies. We reviewed British Land’s policy on double laminated glass build-ups concerning flat glass in rooflights. We proposed changing the outer pane material from laminated to monolithic, which reduced the embodied carbon of the glazing by over 20%. This transition was supported by a risk assessment, which detailed the failure modes and the resilience of the design, and an impact testing regime. The team also used proprietary systems and standard components in the design to minimise cost and reduce lead times.

Highlighted areas of existing and reused external screen, strip window and stone @ Arup

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Glare and daylight studies for rooflight © Arup

Existing and proposed elements knitted together © Arup

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Nick Jackson Nick Jackson is a Director within Arup’s architecture group with a focus on commercial property and workplace sectors. He has led teams on many successful major projects over the last two decades including office, mixed use, and residential developments, as well as green field and urban regeneration masterplans. Nick has a focus on expanding the opportunities for the group to undertake sustainable commercial property projects, with a priority on exploring opportunities for low carbon refurbishment and retrofit projects of major assets.

Embodied carbon reduction © Arup

Conclusion Key to the project was the wealth of information available to the team, from design stages to construction. As-built drawings were fundamental to understanding the original system, its performance, and how to successfully interface between old and new elements. Early conversations with the original façade contractor, Scheldebouw, and review of the existing building’s works drawings and specifications offered an insight into the existing façade and the possibilities for retaining or reusing without requiring intrusive surveys. The result has been a resounding success. Removal, refurbishment and reinstallation of over 3,000 sqm of façade and other façade interventions contributed to almost a quarter of the whole-life carbon reduction. Reuse of the aluminium-glass units gave a 66% cost reduction compared with similar replacement units, and the refurbished outer screen is designed to last another 35 years.

1Triton Square performs exceptionally well compared to the existing building and the latest building standards and benchmarks. The building received nine energy credits, exceeding the eight needed for its BREEAM rating. In total, it has produced 48% less carbon than British Land’s typical London new-build office model. Overall, the scheme’s carbon footprint per unit area is 136kgCO2e/m2, and it achieved a SCORS A rating. It was also delivered 30% faster than a new build with 6,000 fewer lorry journeys. It is also important to note that 1 Triton Square exemplifies the ‘golden thread’ of information. Robust design and construction documentation, from the original building to the recent additions, is enhanced by new elements that are designed to be disassembled. It means that continued regeneration will be possible, making the building as adaptable in the future as it has proved to be in the present.

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Matteo Lazzarotto Matteo Lazzarotto is a Senior Engineer in Arup’s London Façade team. He has worked on a wide mix of new-build and retrofit projects ranging from residential and commercial developments to high rise, cultural and mixed-use projects in Africa, Middle East, India, Australia, UK. Matteo integrates complex environmental analysis and simulation, focusing on building physics, CAD advance modelling, and BIM. His specialist knowledge includes optimisation for daylight and visual/thermal comfort, passive design, fabric performance and energy efficient design.

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Shaping sustainable futures

www.arup.com intelligent glass solutions | autumn 2021

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Tammany Hall’s High-tech Glass Dome Honors New York’s Original People By Todd Poisson, AIA, Partner at BKSK Architects

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n articulated dome of glass and steel now rises from the historic Tammany Hall, honoring the building’s namesake on the northeast corner of Union Square in Manhattan. Seen from below, the dome appears to be an iconic rooftop addition. In fact, the dome is the visible top of a new 6-story building rising from within the restored century-old street walls of the New York City landmark. The undulating, turtle-shell-like dome honors the source of Tammany Hall’s name, the legendary Native American Lenape Chief Tammanend. Known for supporting peaceful coexistence with 17th century European settlers, Tammanend inspired pre- and post-revolutionary political clubs to listen to all voices while they debated what a new republic could be. Dozens of populist Tammany societies dotted the young United States during the 1800’s, but only New York City’s Tammany Hall survived into the 20th century as an active political 96

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organization. By then, the name Tammany had become synonymous with corruption and greed due to various scandals in its past, especially those during the infamous Boss Tweed era of the 1860’s and 70’s. We felt this project presented an opportunity to provide an overdue correction to the legacy of the Tammany name. By turning the building into something it never was, we could tell the story everyone had forgotten. To refocus public awareness on Tammany Hall’s namesake, BKSK studied the organization’s history of using the chief’s name and other Lenape iconography. We took inspiration from the image of a great turtle rising from the sea—Chief Tammanend’s clan symbol and a scene from the Lenape origin story—to give the Neo-Georgian building the grand dome many Georgian and Neo-Georgian buildings originally had or acquired over time. Almost immediately, and continuing to this day, we consulted with the founders of Manhattan’s Lenape Center to ensure an appropriate use of cultural symbolism.

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A Brief History The Tammany Hall building on Union Square was not the organization’s first building; however, it was their last. It was designed in 1928 by the Philadelphia architectural firm of Thompson, Holmes and Converse. At the time, the design of the new building was an opportunity to move away from the scandals of the 19th century, and to rebrand the organization with quasi-governmental credibility by cloaking itself in an architectural language familiar to the country’s founding fathers. The building’s Neo-Georgian façade design was modeled directly from the original Federal Hall on Wall Street, where George Washington was inaugurated as the first President of the United States. Unlike Federal Hall’s bold cupola roof profile, however, Tammany Hall was topped by a tepid slate hipped roof.

The Tammany Hall organization occupied the building from 1929-43, when it sold the building to the local chapter of the International Ladies’ Garment Workers’ Union. ILGWU started renting the Tammany auditorium to off-Broadway theater companies in the 1980s. One of these, Liberty Theaters, bought the building outright in 1998. Liberty Theaters’ parent company, Reading International Inc. (RDI), decided to rebrand the building as a commercial retail and office property in 2012 and invited BKSK to a limited design competition, organized by Edifice Realty Services. The overall goals of the project were clear: Reimagine the landmark for commercial use and increase the square footage as much as possible through a vertical expansion (taboo territory for New York City individual landmarks). BKSK’s design won the competition, and in 2015 was approved unanimously by the city’s Landmarks Preservation Commission.

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The Collaboration The complicated history of Tammany Hall’s use of Lenape culture presented us with an opportunity to bring attention to the relationship of New York City to its original inhabitants. As early as the 1700’s, the political organization incorporated a romanticized notion of a chief and other Lenape positions of honor within Tammany’s structure without caring for the Lenape people. We recognized the misappropriation of these cultural symbols and saw an opportunity to bring an authentic voice and representation back into the story. After modeling preliminary turtle shell-like domes as a device to add square footage to the building for RDI, we contacted the founders of the Lenape Center in Manhattan to discuss our proposal to use the Lenape symbol of a rising turtle in this context. We were thrilled with their positive reaction and

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benefitted from their support throughout the public regulatory approval process. We kept the Lenape Center updated on the design and construction process and were honored when two of the organization’s cofounders, Hadrien Coumans and Joe Baker, performed a traditional blessing ceremony inside the dome in October of 2020. The blessing acknowledged the past, present, and future inhabitants of the site with prayer and song. At the conclusion of the blessing ceremony, we told the crowd, “We hope Tammany’s new glass dome appears forever frozen at the very moment that the turtle is breaking through the surface of the sea, shedding water from its shell. Because it is at that moment, this moment, that anything is possible.” We are gratified the completed project exhibits both technological prowess and emotional strength. The Design Process Juxtaposing a classically proportioned yet contemporary glass and steel form above Tammany Hall’s Neo-Georgian masonry base allows the dome to complement the landmark building below, yet provide a showcase for the technology of today. To create a parametric mesh evoking an amphibious shell breaking through the surface of water, BKSK used various cross-discipline computer modeling and image-rendering software used in automotive, industrial, architectural and video-game design.

BKSK then brought the mathematical representation of the curving 3-dimensional form to life by deploying a self-supporting freeform grid structural system, a system well suited to undulate effortlessly and enclose a great volume of space. Collaborating with engineers at Thornton Tomasetti and Buro Happold, BKSK produced an early construction document package that was bid on by 10 European fabricators familiar with free-form grid shells. Ultimately, construction manager CNY awarded a design-assist contract to Josef Gartner, a division of Permasteelisa. Working with BKSK, the engineering team optimized the dome’s geometry to achieve the most efficient use of repeated glass sizes and steel shapes. The Right Glass To maximize flexibility of tenable uses under a glass dome, the specification of the right glass became crucial to address occupants’ needs for a low-glare and thermally comfortable environment. The design team at BKSK was also challenged with mitigating sunlight reflecting intelligent glass solutions | autumn 2021

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off the convex form onto neighboring buildings, all while maintaining the imagery of a rising shell shedding water. With those issues in mind, the design team visited glass-roofed buildings near and far. Of the many local and foreign glass roofs visited, the most informative were Norman Foster’s groundbreaking covered courtyard of the British Museum, completed in 2000, and his 2007 encore covering the courtyard of the Smithsonian Portrait Gallery in Washington, D.C., as well as Helmut Jahn’s freestanding glass eggshaped Mansueto Library, completed in 2011, emerging from the grounds of the University of Chicago. 100

Coincidentally, the Mansueto Library’s form and use closely resembled our intentions to create a glass-domed workspace. We noted how the fritted glass of Mansueto’s dome performs exceptionally well and was virtually invisible, creating a very low-glare environment with the illusion of clear glass. Our team was inspired to use a similar strategy but quickly learned through sample and mock-up iterations back in New York the effortless effect achieved at Mansueto is due to the height of the fritted glass above the occupants; the higher the better. We learned when frit is closer to one’s eyes, direct sunlight can be perceived between

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fritted patches, reaching occupant’s eyes, rendering even very closely placed frit useless. We moved on to study combinations of frit, film, and tinted glass, and eventually chose two insulated-glass-unit assemblies using a combination of clear and tinted glass. The slightly clearer of the two assemblies encloses the lower areas of the dome where Tammany’s small slate shingled hipped roof once stood. Terra-cotta sunshades protect portions of the re-invented lower tier of the dome in the same inclined plane as the historic slate tiles once sat. Strategic placement of projecting painted stainless-steel fins on the exterior of the upper dome offer articulation to the shell and provide rain and snow control. The most rewarding aspect of the finished project was maintaining a legible image of a rising turtle shedding water throughout design and construction using cutting-edge technology and practical everyday elements. The glass-domed vertical enlargement encloses an additional 30,000 square feet of rentable space over three floors on the top of the historic building with dynamic views of Union Square and beyond. The dome is comprised of more than 2,000 3 by 6-inch steel tube purlins with customized node intersections and varying wall thickness depending on location. The glass product is a structurally glazed insulated glass unit comprised of a clear float glass panel with a high-performance sputter

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coat solar coating on surface two, an air space and two layers of laminated glass: a tinted gray panel and a clear glass panel facing the interior. The solar coating on surface two is an extremely high selectivity solar control with advanced thermal insulation properties for commercial glazing. It is applied by cathodic sputtering under vacuum conditions. The coating creates a low solar factor to reduce air-conditioning load and has a U-value of 1.0W/m2K, encouraging energy savings and improved thermal insulation. Neither too green nor too blue in appearance, the insulated glass units at Tammany Hall’s dome retain a neutral appearance. 102

A central challenge during the construction phase involved decoupling the historic 100-year-old street walls from the internal structure of the building, bracing them externally, restoring them and then securing them back to a newly poured concrete structure behind. Unexpectedly, it proved more efficient for CNY to remove the lot line walls against the adjacent neighbors as well, during demolition of the internal structure, leaving only the historic street walls as original fabric from 1928. The resulting building is truly a new Class A commercial mixed-use building referencing the past and ready for tomorrow. The building received a core and shell temporary certificate of occupancy in 2020 and is being actively marketed by ownership.

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Team Owner: Reading International, Inc., (RDI), www.readingrdi.com Owner’s Representative: Edifice Real Estate Partners, www.edificerealestate.com Architect: BKSK Architects LLP, www.bkskarch.com Structural Engineers: Thornton Tomasetti, www.thorntontomasetti.com,

Exterior Envelope engineers: Buro Happold, www.burohappold.com MEPS Engineers: Dagher Engineering, www.dagherengineering.com Acoustic Engineers: Lewis S. Goodfriend & Associates, www.lsga.com Lighting Design: Buro Happold, www.burohappold.com Vertical transportation engineers: IROS Elevator, www.iroselevator.com Construction Manager: CNY, www.cnygroup.com Dome Steel and Glass Fabricator/ installer: Josef Gartner, a division of Permasteelisa, josef-gartner.permasteelisagroup.com Historic preservation consultant: Higgins and Quasebarth & Partners, www.hqpreservation.com

Design Software

Todd Poisson As a Partner at BKSK with over 30 years of experience, Todd Poisson has been responsible for the design and construction of some of BKSK’s most ambitious projects, including adaptive reuse, mixed-use, residential, and institutional types. Todd is the Partner-in-Charge for some special LPC-approved recent projects in addition to 44 Union Square/Tammany Hall, including Gansevoort Row, a block-long redevelopment of a collection tattered lowrise commercial buildings near the High Line in the Gansevoort Market Historic District; and 16 East 16th Street, the conversion and expansion of a historic Ladies Mile building into a hotel. Recent award-winning, sustainable, NYC projects include The Jefferson and Citizen, two LEED Gold Certified high-end condominium projects, and 470 Columbus, a Passive House multifamily development on the Upper West Side. Todd’s interest in the tools of architectural practice, as well as his steadfast commitment to excellence in project delivery, result in his teams being at the forefront of today’s design technologies and processes. Todd received a Bachelor of Architecture degree from Cornell University.

Design Software: Rhino 3D, www.rhino3d.com; V-Ray by Chaos Group, www.chaosgroup. com; Autodesk Maya, www.autodesk. com/products/maya/overview; and Autodesk 3ds Max, www.autodesk.com/ products/3ds-max/overview, Autodesk Revit

Glass Clear and Tinted Glass: Eckelt, a member of Saint-Gobain, www.saint-gobain-facade-glass.com • Clear Float Glass Panel: PLANICLEAR • Tinted Gray Panel: Parsol Grey • Solar Coating: COOL-LITE XTREME

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Coming Soon….

IGS Winter 2021

10TH ANNIVERSARY SPECIAL ISSUE 104

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On the 9th of December, the awe-inspiring 20 Fenchurch Street, affectionately known as the Sky Garden, will play host to the 10th Anniversary of the Glass Supper. At the Supper, the industry once again comes together under one roof for one day, with one purpose - to hold the right conversation with the right people in the right place, to talk with individuals responsible for shaping our world, these are the moments we live for – THIS IS NOT A DREAM! As is tradition, many of the Speakers and Sponsors invited to attend the Glass Supper will be putting pen to paper for the Winter Edition of IGS, the final issue of 2021 where we immortalize these conversations well beyond the date. This issue gives you unrivaled access to the minds and unparalleled genius of those ‘unique few’ who relentlessly challenge the limits of our knowledge in terms of transparent architectural structures and façade engineering. From ground-breaking glass technologies and project case studies to insightful thought leadership and exclusive interviews, we also take a brief look at what’s in store for the year ahead, the International Year of Glass (IYOG 22). IGS Magazine engages with the intrepid pioneers of our industry to explore the present over mutual concern for the future - a future where glass will be clearly seen!

This is IGS – Nothing more, nothing less…NOTHING ELSE Image: Skygarden

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22 Bishopsgate:

A VERTIC 106

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CAL CITY © Hufton+Crow

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Eight underground lines within walking distance, five international airports, 20 million people within an hour's commute: the location of the "22 Bishopsgate" skyscraper, completed in the midst of the Covid-19 pandemic, in the centre of London's financial district could not be more ideal. The story of the project’s history, its special architecture and the building’s exemplary sustainability, designed by PLP Architecture, are equally impressive. The "closed cavity façade" installed by specialist façade contractor Josef Gartner with around 70,000 square metres of Cradle-toCradle certified glazing from AGC Interpane / AGC Glass Europe sets new technical and aesthetic standards. © Hufton+Crow

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very day a little bit more height, a new part of the façade glazed - architecture rising before your eyes. Historically, 22 Bishopsgate was the polar opposite. The 278-metre-high skyscraper, which was completed in 2020, passed through numerous design incarnations: In 2005, an earlier design for the same site by the architects Kohn Pedersen Fox was to have an externally vented double-skin façade and sufficient solar panels that it could generate up to 200 kilowatts of electricity. To achieve this, the building was to have a spiralling roof and curved tapering plan form. The first test drilling of the subsoil and demolition of the existing buildings on the site began in 2006, alongside archaeological investigations. In February 2007, a Middle Eastern investment consortium acquired the site and the building was renamed "The Pinnacle". Construction work began in 2008 and in March 2009 the largest foundation piles the United Kingdom had ever seen were sunk: 48.5 metres below sea level and 65.5 metres below the building site. A year later, excavation began for the construction of the basement levels, followed by the arrival of the first cranes in late 2009. In 2012, the construction was put on hold in the wake of the financial crisis, the subsequent recession and lack of preletting agreements. By then, only the concrete core of the first seven floors had been completed. Years of review and modification of the original designs followed. In 2013, it became clear that all previously constructed parts should be demolished and rebuilt from scratch based on a more cost-effective plan. This demolition was never carried out and core and basement were sold to a new owner. The building's site was sold to a consortium led by AXA Real Estate in 2015. A new design was worked up by PLP Architecture and submitted for planning permission in 2015. The central concrete core of the original design was completely removed in December 2015 - after which the design of the new building began utilizing as much of the existing basements and piling as was feasible. In 2016, it was announced that real estate company Lipton Rogers and its joint venture partner AXA IM - Real Assets were expected to complete the project in 2019. At 278 metres, it was to become the tallest building in the City of London to date. The City of London granted permission in June 2016.

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22 Bishopsgate is faceted into twenty-three vertical planes. We are pleased that the glass supports an abstract design approach of playing with light. The light silvery coating on the outer skin of lowiron glass achieves our objectives by changing the appearance of the glass skin according to sky luminescence and sun angles, the vertical facets alternately transparent, milky white or highly reflective. Karen Cook Founding Partner PLP / Architecture

Finally, the successful design In 2020, the design by PLP Architecture was, at last, completed: The overall twenty-threesided, faceted building form of this "vertical city" expresses an impressive aesthetic in which the wellbeing of the users was placed at the centre. The architects combined influences from art and craft, creating impressive spaces with maximised daylight control and fresh air to support the wellbeing of people working within the office spaces. A total of 128,500 square metres of net internal space is available, with more than 10% of the area devoted to facilities to optimise everyday life for its 12,000 regular users, such as a bicycle park with around 1,700 parking spaces, showers, lockers, a fresh food market, open kitchens, event areas and outdoor terraces, and even discounted rents for qualifying start-ups, co-working spaces and many facilities for networking and events. In "The Gym", athletes climb a glass climbing wall and find special training facilities such as a high altitude room. Users can find relaxation, Pilates, yoga and health services in "The Retreat". In "The Club", tenants and clients can socialise in an informal, bookable, flexible space. PLP Architecture aimed to create a positive relationship between the building, its occupants and the public. At the base of the building, pedestrians have free 110

access to a landscaped public open space. The architects promote a sense of wellbeing by maximising occupant views out across London and public views into the building. At street level large canopies were incorporated to minimise adverse wind effects and deliveries were reduced by bundling at an offsite facility. The multi-storey foyer is designed as a gallery for temporary art exhibitions, while at the same time permanent installations are intended to inspire visitors, such as the glass canopies incorporating artwork by Alexander Beleschenko. In addition to the two large canopies along Bishopsgate and above the main entrance with a total of 115 panes, the artist provided artwork for another 50 or so insulating glass panes for the lobby façade as well as several wind-migration screens. All the panes were printed by Sedak (Germany, Gersthofen) in a ceramic digital printing process according to the artist's file templates. The wind-mitigation screens are also technically unique: PLP Architecture worked with wind tunnel and CFD engineers to model the shapes of the building and its effects on wind circulation. Multiple designs of canopies and screens were explored to minimise possible negative effects on pedestrian comfort at ground level. Hundreds of designs were tested before the optimum solution was chosen.

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Other artistic applications in the building include the leather work in the reception library by Bill Amberg, sculptural wooden furniture by Pierre Renart and the colourful works of Bruce McLean, who designed a unique piece for each car in London's fastest lifts. Smart and sustainable technologies can be found in every corner of the building. Queues to enter and leave the building or use services are a thing of the past thanks to the use of opt-in facial recognition technology. State of the art Closed Cavity Façade For the special "Closed Cavity Façade"

manufactured by Josef Gartner (part of the Permasteelisa group), highly transparent glazing from AGC Glass Europe / AGC Interpane was selected to meet the design intent. The glazing units were manufactured to the highest quality in Germany at AGC Interpane plants in Belgern and Plattling in collaboration with Josef Gartner and the Design Team. The fully glazed façade utilises an intelligent blind system, which is the major contributor in mitigating solar gain and maximising energy efficiency. The glass façade sets new standard in terms of energy efficiency and day-light, contributing to the BREEAM rating of "Excellent". The basic

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philosophy behind the Closed Cavity Façade (CCF) is "simplicity and efficiency": the energysaving, closed and double-skin technology was developed by façade supplier Josef Gartner to maximise the economic / environmental balance and transparency of buildings. In the case of 22 Bishopsgate, up to 6,000 Millimeter storey-height units of varying widths were incorporated as the inner skin of the CCF units with an iplus Low-E coating. The outside skin of the CCF unit is formed by laminated safety glass panes with an "ipasol bright white" solar control coating. The external glass is bonded directly to the PPC thermally separated aluminium profiles with an anodised carrier frame. The maintenance-free interior of the Closed Cavity Façade is completely sealed and lightly pressurised with dry air, so it cannot become contaminated with dirt and moisture and consequently does not need to be cleaned. The need to clean the cavity of a conventional double skin façade would also have meant that the inner skin would need to be opened regularly, causing disruption to occupants and which would have required a large increase in framings, seals, fittings, etc. - the sustainability disadvantage of this large number of additional components is obvious. Since the Closed Cavity Façade is permanently conditioned with clean and dry air, which is generated by a centralised dry air plant, no condensation can form on the outer pane even when the temperature changes. The external skin of the CCF is made of daylight-optimised low iron float glass, which transmits more daylight into the building than standard float glass. The inner double glazed unit is formed from mid iron glass. The Closed Cavity Façade matches the performance of conventional double skin façades in terms of solar control and improves on the performance in terms of thermal insulation and soundproofing, which ultimately significantly increases comfort for the building's occupants. The path to perfect glazing Conceptually, PLP Architecture was concerned early on with the aesthetic effect of the largearea glass façade, especially in the choice of any coatings. To the outside, the façade was to have a slight, discreet reflection to give it "presence". Depending on the incidence of light, the viewing angle and the surroundings, the look should change in order to make the faceted character of the building more "legible", to break up the visual mass and to emphasise the verticality of the individual angular planes. The design team ultimately made the choice

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of exterior glazing together with the client and preferred façade builder Josef Gartner. This involved virtual prototyping by PLP to assess the look of the glass and coatings, both at a city-wide and local scale, using sophisticated CGI rendering software from OCEAN (now part of AGC Glass Europe). Samples and studies showed that an external reflectance of 22 per cent most precisely achieved the desired aesthetics. In the end, the choice fell to the "ipasol bright white" solar control coating on a laminated Clearvision low iron float glass. The individual panes were assembled into laminated glass in the non-tempered state to avoid the risk of visual problems such as wave distortions and anisotropies. Ultimately, the desired aesthetics were achieved: The look of the façade changes over the course of the day as a fluid reaction to the surrounding environment, alternating between opaque, translucent and completely transparent.

View out from typical floor blinds up © PLP Architecture

Facade in transparent mode © PLP Architecture

The choice for an active solar shading system was made by PLP in order to maintain exactly this variable aesthetic. Conventional façades are covered with multi-layer coatings to minimise heat loss on cold days and reduce the solar gain in summer. Due to the laws of physics, these coatings reduce daylight in the building - to a greater or lesser extent depending on the layer composition. The higher the reflection, the less daylight transmission. Daylight and transparency, essential to the concept of 22 Bishopsgate, could consequently only be achieved through an active system that adjusts the performance of the façade to ensure a high level of daylight when little solar shading is required and vice versa when it is, as well as fluid adjustment options in between. The traditional way to achieve this would be a ventilated cavity façade. The natural buoyancy of the warming air mass in the cavity automatically drives the ventilation. The main disadvantage of this system is that moist, contaminated air enters the cavity, which has to be cleaned regularly, for example by opening the inner skin. The consequence is that the space on the room side becomes compromised due to the need to open the inner skin. A Closed Cavity Façade (CCF) is a generic term for a double skin façade that has a shading device in the cavity, similar to a ventilated façade, where the cavity is tightly sealed and under slight pressure to prevent possible ingress of outside air. The façade regulates solar 114

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Close up of facets © PLP Architecture

Benchmark CCF Panel © PLP Architecture

radiation into the interior through a series of steps: First, some of the radiation is reflected by the outer surface of the exterior glazing. A reduced amount enters the cavity, where it is reflected outwards or absorbed by the blinds and heats the air in the cavity, which then radiates the heat back outside. The inner and low-E coated insulating glazing reflects some of cavity energy back to the outside. Only a small part of the warming solar energy finally enters the building as little as 10 percent when the blinds are fully closed.

Panel Assembly © PLP Architecture

The façade of 22 Bishopsgate is a top-hung system, spanning from floor to floor on a nominal module 1.5 metres wide and 4.0 metres high. On some upper floors these panels are up to 2.2 metres wide and 6.0 metres high. The frames of the glass façade are powdercoated in a matt, dark metallic grey and thermally broken. The outer glazing consists of laminated glass with the slightly reflective coating ipasol bright white, the inner double glazing has a thermally toughened outer pane, a 16 millimetre wide argon-filled cavity and a laminated glass pane with an iplus Low-E coating. The motors of the internal blinds are not located in the cavity, but are mounted above the ceiling on the room side in the ceiling void. This keeps them cooler, which extends their life and facilitates access for routine maintenance. Dry, clean air is supplied via pipes in the ceiling from a separate technical room. intelligent glass solutions | autumn 2021

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PLP had a very clear idea as to what the glass should look like on the completed building and the way we wanted it to change across the day due to varying light conditions and cloud cover. The building externally was to be all about the glass so ensuring it matched these expectations was critical. We found conventional rendering in house or by third party visualisation companies struggled to replicate this anticipated look, so we invested considerable resources into developing a method ourselves that would be accurate and technically defendable. This involved exploring various rendering platforms, finally settling on OCEAN’s software as part of our process, backed up with detailed waveband photometric data from AGC Interpane for the various glass products we were considering. We also undertook detailed laboratory scanning of glass samples ourselves where necessary to fill in the data we needed. This meant our representations were very accurate in terms of colour, optical transmission and reflection. As we undertook a lot of full size bench marking we were also able to cross check our rendering exercises to ensure they were producing reliable representations. This gave confidence well in advance of panel manufacture. It became clear very quickly as the facades were being installed that the glazing did indeed look and behave as expected. Now the building is completed and thankfully contributing to the city views as we had hoped, we can say that the time and effort put in by the various parties involved in this process was invaluable and wholly worthwhile. Rob Peebles PLP / Architecture 116

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BREEAM excellent A conventional good quality single-skin façade with a high-performance triple-silver coating has a g-value around 28 per-cent and a daylight transmission of about 56 percent, depending on the thickness of the glass and coating type. The U-value of the entire façade is usually around 1.4 W/(m2K). The closed cavity façade of 22 Bishopsgate has a g-value of 41 percent and a daylight transmission of 63 percent with the blinds fully open. When the blinds are lowered with the slats horizontal, the g-value is 18 per cent, and when they are at an angle of 45 degrees, it is 14 per cent. When completely closed, the g-value is 11 per cent. The building received BREEAM Excellent rating: compared to the requirements of the current building regulations, CO2 emissions were reduced by 35%. PLP aimed for a U-value (Uw) of 1.2 W/(m2K) for the entire façade system and were ultimately able to achieve 1.1 W/(m2K). The blinds can also be fully closed at night to further reduce heat loss in the colder months. The blind motors are fully addressable and are controlled individually via the building management system. The motors provide feedback on their position,

View up under main entrance canopy © PLP Architecture

Visual Mockup in flat light © PLP Architecture

enabling the recording of movement data and error logging. The software that controls the blinds has a detailed building model that takes into account the orientation of each of the 22 façade zones including shading provided by adjacent buildings and responds to information on air temperature and solar radiation collected by sensors. The blinds also provide a degree of glare protection if required. They consist of 60 mm wide powder-coated aluminium slats that are light grey on top to reflect heat outwards and dark grey on the underside to reduce inter-reflection. Building users can also control the louvres manually by switch, hand control or via electronic devices (computer, tablet, smartphone). The slats are 4% perforated to allow some visibility to the outside even when closed. 22 Bishopsgate form is complex: the building consists of 23 corners and 23 facets. The overlay of the 1.5 m office planning grid with the façade form determines the position of the mullions and thus the façade panel module width. The angle between the individual façade facets in conjunction with the mullion position determines the geometry of each individual panel. The panels can be divided into the following types: typical straight-line panels and

Visual Mockup in sunlight © PLP Architecture

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Image credit: © Josef Gartner

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Panel installation © PLP Architecture

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Written on behalf of AGC Glass Europe by Marc Everling

one-piece 90-degree corner panels, typical two-piece inner and outer corner panels, and the double-height room façade consisting of two vertically stacked CCF panels. Externally, these panels are indistinguishable from the single storey panels above and below. In addition, there is a double-height plant room façade consisting of two vertically stacked louvre panels. From the outside, these panels are partially glazed to ensure continuity of the glass surface across an otherwise abrupt interruption. As the quality of the float glass was of paramount importance to 22 Bishopsgate, all the manufacturing processes were meticulously monitored from float production and processing, through heat treatment and coating, to lamination and assembly of the insulating glass units. Quality benchmarks were carried out at all stages of production, from the individual components and materials to the

panels in production on the assembly lines and the finished panels before shipment from the Josef Gartner factory in southern Germany to the UK. High-temperature endurance tests were carried out on the blinds and motors over a three-month period to test the resistance of the motors and all moving parts to temperatures in excess of 90°C. During these tests, the blinds went through their full movement cycles more than 20,000 times. The materials and surfaces of the blinds were tested for wear, fading and failure. Full-size production units were tested for air and water tightness and structural properties in accordance with CWCT standards. These tests culminated in impact tests of the glass and frame. The loads were among the highest that façade manufacturer Gartner had ever tested. In the test, the glass was allowed to break, but not to detach from the frame. To the surprise of many, neither breakage nor permanent deformation occurred.

Marc Everling Marc studied humanities at the Technical University of Braunschweig (Germany) with a focus on the psychological and sociological contexts of internet-based communication. After a total of 14 years in PR agencies, he was Head of Marketing Communications in the glass industry for 6 years before starting his own business in spring 2021. With a clear focus on sustainability topics, he now supports companies from the construction industry and architects in matters of strategy, communication, networking and events with his agency "Marc Everling Sustainable Communication".

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When Facades meet Carbon Neutral Silicones Markus Plettau, Global Marketing Manager FAÇADE High Performance Building, Dow Performance Silicones

The headquarters of the International Olympic Committee (IOC), Olympic House is a symbol of openness and unity as well as an investment in operational efficiency, local economy and development, and sustainability. DOWSIL™ Silicones for structural and insulating glazing contributed to the attainment of three demanding sustainability standards: LEED, LEED v4 and SNBS.

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EXECUTIVE SUMMARY OF THE 2020 GLOBAL STATUS REPORT FOR BUILDINGS AND CONSTRUCTION

ustainability in modern glass has an obligation to actively contribute. Whilst facades and buildings is probably cost control is important, the price we would the most important contributor be forced to pay for not managing carbon towards a reduction in greenhouse emissions is unthinkable. gas emissions, where carbon dioxide represents the largest share. There legallyANDbinding targets for the EXECUTIVE SUMMARY OF THE 2020 GLOBAL STATUS REPORTare FOR BUILDINGS CONSTRUCTION reduction of net greenhouse gas emissions CO2 itself emissions from ofthe building around the globe. In particular, the European Carbon is a vital element everybody’s sector are the highest everwould DNA and without carbon, life on earth Union is targeting a 55% reduction by 2030 recorded. not be possible. and climate neutrality by 2050. The UK is targeting net zero emissions by 2050 including CO2 emissions from the building While the total final energy consumption of the global emissions from the buildings construction industry, sector are the highest ever commitments Conversely, if we emit significantly more carbon to reduce emissions in 2035 by at buildings sector remained atrecorded. the same level in 2019 this share increases to 38% of total global energyincompared the formtoofthe carbon dioxide (CO ) than our least 78%, (compared to the 1990lower levels). These 2 previous year, CO2 emissions from the slightly proportion related CO2 emissions. The While the total final energy consumption of the global emissions from the buildings construction industry, planet can absorb, at a certain point, we will targets cascade down to our construction value operation of buildings have increased toremained their highest ofinbuildings emissions compared withenergythe 39% seen in buildings sector at the same level 2019 this share increases to 38% of total global compared to the previous year, CO emissions from the related CO emissions. The slightly lower proportion level yetextinct. at around GtCO 2018 was due our to the increases in represents transport and other , balance or 28% ofistotal global 2operation become To 10 keep the not the chain where contribution a big of buildings have increased to their highest of buildings emissions compared with the 39% seen in industry emissions toin buildings. energy-related CO2 emissions. the inclusion of of total levelWith yet at around 10 GtCO , or 28% 2018 was due to relative the increases transport and other global responsibility of any one individual; everybody opportunity. industry emissions relative to buildings. energy-related CO emissions. With the inclusion of

TRENDS OF 2019

share of buildings and construction final energy and emissions, 2019 Global share of buildings andGlobal construction final energy and emissions, 2019

Non-residential 28buildings %

28%

Transport

5% Other

35%32%

Other Industry

2235%%

Residential buildings ENERGY

Non-residential buildings (indirect)

8% 3% Non-residential buildings (direct)

Non-residential buildings (indirect) 23 %

22%

23%

Residential buildings

Transport

Transport 7%

8% 311%%Non-residential buildings (direct)

38%

Other

32%

Buildings construction industry

Other industry

Other

32%

8% Non-residential buildings

38%

EMISSIONS

Residential buildings (indirect)

Residential buildings (direct)

10%

Buildings construction industry

ENERGY

Buildings construction

32%

The buildings sector emission increase is due to a industry Other continued use of coal, oil and natural gas for heating and cooking combined with higher activity levels in regions where electricity remains carbon-intensive,

11%

Residential buildings (indirect)

Residential buildings (direct)

10%

in a steady level of direct emissions but EMISSIONS Buildings growing indirect emissions (i.e. electricity). Electricity construction consumption in building operations represents nearly industry 55% of global electricity consumption.

resulting industry

Notes: Buildings construction industry is the portion (estimated) of overall industry devoted to manufacturing building construction materials such as steel, cement and glass. Indirect emissions are emissions from power generation for electricity and commercial heat. Sources: (IEA 2020d; IEA 2020b). All rights reserved. Adapted from “IEA World Energy Statistics and Balances” and “Energy Technology Perspectives". 10 Source: IEA. 2020 Global Status Report for Buildings and Construction. Prepared by Dr. Ian Hamilton and Dr. Harry Kennard, Oliver Rapf, Dr. Judit Kockat, Dr. Sheikh Zuhaib, Thibaut Abergel, Michael Oppermann, Martina Otto, The buildings sector emission increase is due to a resulting in a steady level of direct emissions but Sophie Loran, Irene Fagotto, Nora Steurer and Natacha Nass. All rights reserved. growing indirect emissions (i.e. electricity). Electricity continued use of coal, oil and natural gas for heating and cooking combined with higher activity levels in consumption in building operations represents nearly regions where electricity remains carbon-intensive, 55% of global electricity consumption.

Buildings make a significant contribution to global warming with about 39%* of carbon dioxide emissions, of which about 11% come from embodied carbon, so mostly construction materials used and the other approximately 10 is generated during building operation, 28% predominantly coming from the building’s energy consumption due to heating/cooling, lighting, cooking, water heating, etc.

A well-known source of CO2 emissions is fossil fuel combustion. So, looking at the building space, it is no surprise that construction material production, transportation, installation and energy generation during building operation, especially including the usage of fossil fuels, represents quite a significant level of CO2 or embodied carbon. A holistic view of the overall design and life cycle of a building or a façade is important. Building materials used in a façade

design are sometimes overlooked when they also deserve equally important consideration together with their durability, circularity, recycling and of course, carbon footprint.

Carbon emissions and building operations Innovation and new applications for existing technologies continue to emerge from the industry’s rapidly growing experience and knowledge for the mitigation of operational emissions. Building integrated photovoltaics (BIPV), for example, are increasingly selected for roofs, skylights and facades for both new and remedial projects. Whether BIPV is chosen as a principal or ancillary source of electrical power, confidence and reliability in system durability and longevity is critical with such systems expected to operate safely and efficiently for the duration of the other façade

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or roof components, typically exceeding the 25–30-year lifetime of conventional PV modules. The more exposed elements of PV modules and laminates can be afforded high levels of protection and safety thanks to the use of proven silicone coatings and sealants. For example, DOWSIL™ 895 Structural Glazing Sealant securely bonds frames and junction boxes to PV laminates and has proven stability and durability in all environmental conditions whilst offering excellent performance in demanding applications such as structurally glazed facades. Two component DOWSIL™ 993 Structural Glazing Sealant is used for rail bonding of frameless laminates enabling secure fixing and seamless photovoltaic facades.

It starts with the design

It starts with the design The carbon footprint of a building starts with its overall design, its functional requirements and how we can successfully integrate high performance materials, whilst considering both embodied and operational carbon emissions. Pure glass façade designs are structurally bonded and depending on the type of design and area specific requirements, energy efficiency can be enhanced. Structural bonding can also contribute to system rigidity in specific areas of the façade and therefore help to save potential additional material in the frame which can lead to a reduced final embodied carbon footprint. Different design options are available, from toggle systems to 4-sided structurally glazed systems.

The carbon footprint of a building starts with its overall design, its functiona we can successfully integrate high performance materials, whilst considerin operational carbon emissions. Pure glass façade designs are structurally bon the type of design and area specific requirements, energy efficiency can be bonding can also contribute to system rigidity in specific areas of the façade save potential additional material in the frame which can lead to a reduced footprint. Different design options are available, from toggle systems to 4-si systems. In 2-sided structural glazing, the glass elements are mechanically captured on the horizontal sides and bonded on the vertical sides with structural silicone.

Caption: In 2-sided structural glazing, the glass elements are mechanically captured on the horizon sides and bonded on the vertical sides with structural silicone. In 4-sided structural glazing, the glass elements are structurally bonded on all perimeters with structural

Caption: In 2-sided structural glazing, the glass mechanically captured on the horizon siliconeelements sealants. Theare structural silicone can also be to support the weight of the glass if required. sides and bonded on the vertical sides withdesigned structural silicone.

Caption: Toggle Systems combine SSG and waterproof embedded into the silicone joint and spaced according to wind load.

Toggle Systems combine SSG and waterproof plastic pockets which are embedded into the silicone joint and spaced according to wind load.

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Caption: In 4-sided structural glazing, the glass elements are structurally bonded on all perimeters with structural silicone sealants. The structural silicone can also be designed to support the weight intelligent glass solutions | autumn the2021 glass if required.

GLOBAL TECHNOLOGIES AND TRENDS GAINING TRACTION

Built in the 1970’s the Charlemagne in Brussels was renovated in 1990’s with the heavy concrete exterior replaced by a 4-sided structurally glazed curtain wall

Carbon emissions and construction materials Using low carbon or carbon neutral materials is a great thing, because concrete, glass, aluminium and other components with a potentially reduced carbon footprint can also contribute. The challenge is that at the moment, there are not that many materials with a lower carbon footprint available. It is fair to say that the European Green Deal will require more consideration to be given to how buildings of the future will be constructed, which materials are selected and their ease of removal, salvage and their reclaim potential. Interest is growing in renewable solutions with inbuilt lower embodied carbon, such as structural timber or timber framing, which can deliver systems with similar strength and as appealing aesthetics as conventional aluminium systems, yet with improved thermal properties and embodied carbon at a lower weight.

Development of new hydrophobers for wood treatment

ntal

s t of

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also helping customers to achieve circularity and meet their sustainability goals. Impacting carbon footprint with durability and long-term performance The longer facades last and the less repair or refurbishment that is required, the higher the impact on the long-term carbon footprint, which offsets the emissions incurred during production. How long is a typical life cycle of a façade? One of the key elements is the quality and the longevity of the different components and materials used. For sealants in structural glazing designs, typically silicones are the material of choice. The European Technical Approval Guideline (ETAG 002) refers to an average lifetime of a façade of 25 years although in

Mock-up to assess the impact of ageing on a wood-based facade

The use of timber construction has historically been limited to low to mid-rise construction due to performance and durability concerns such as moisture or fire resistance. Dow has developed silicon-based hydrophobizers which can help accelerate the adoption of timber construction in higher performing structures. Dow’s water-based impregnation solutions, which are tailor-made to suit specific wood species, enable the required durability to be reached without impairing aesthetics or compromising the timber’s recyclability.

In parallel, Dow is evaluating the possibilities of direct wood bonding and the performance of silicone structural glazing sealants (SSG) in particular. It is much easier to machine and adapt timber for increased creativity or performance in frame design than with extruded aluminium profiles. The addition of an SSG solution would serve to further enhance its sustainability credentials. Finally, Dow also develops solutions for structural timber to improve fire resistance. Please contact us for further details. Packaging – minimizing carbon footprint Performance and sustainability are not only coming from the product inside the packaging! We are working with our packaging suppliers for the production and supply of standard sealant cartridges that will use 80% recycled plastic resin pellets. This change is another example of our strong commitment towards sustainability and our ongoing efforts to minimize our environmental footprint, while 124

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reality, facades last much longer than that. Structural glazing designs were pioneered in the mid 1960s, early 1970s with 2-sided structurally glazed designs. 4-sided structural glazing started a little later.

longevity projection. Even a specially simulated 50 years of service life test combining sealant aging and joint stress and movement at the same time proved that it would last more than 50 years.

As the glazing of its almost 25-year-old façade at the IFT-Rosenheim Window Test Institute needed replacement to comply with current energy efficiency requirements, Dow took the opportunity to assess the performance of the bonding sealants after 25 years of work life, combining climatic, dynamic and permanent loads. The sealants have been re-tested according to stringent test procedures for structural glazing silicones (ETAG 002). The outcome confirmed that the aged sealants still fulfil the requirements and could function for at least another 25 years, hence a 50+ year

In addition, the first 4-sided structurally glazed building is still in operation, based in Detroit using Dow Silicones and is celebrating in 2021 its 50 years of service life. These projects are actually a great testimonial for this technology and a proof of the long-term durability, which can help contribute to long lasting facades.

kg CO2e / kg average silicone product Silicone production 10 0 -10

Longevity and end-of life carbon balance In a study commissioned by the Global Silicones Council titled Silicon-Chemistry Carbon Balance², various applications have been examined.

-40 -50

The GHG

Silicon metal production

GHG e end-of of the

Net abatement

-20 -30

The mark groups w

Average GHG benefits of using silicone products

GHG a clearly use of has an applica which

Ratio production impact vs. average benefit =1:9

End-of-life effects

The average benefits of a silicone until end of life 3 Scope and methodology have been assessed to be about 9 times higher versus the carbon dioxide emissions released The study generallyApplications follows the methodological during production. using silicones guidelines for life-cycle assessment under ISO in insulating glass even indicated a more than 27 14040/44. Overall market conclusions are based times higher benefit. on highly conservative extrapolations in order to avoid overestimating any benefits.

NotProfessor only from a performance perspective, but Adisa Azapagic at the University alsooffrom a carbon balance Manchester in the UK has perspective carried out anover critical review of the study. is key to theindependent whole lifetime, technology choice The relevant market (including silanes used to benefit from significant carbon savings. make photovoltaic-power cells) is estimated at 1.14 million metric tons per year, of which:

In the 26 are calcu alternativ historical applicatio

The GHG of the tot the GHG from the The bene the bene and end-

The building environment – green and 690,000 tons in Europe sustainable building certifications 331,000 tons in North America Various green and building 121,000 tons in sustainable Japan A figure s of produc certifications are available globally with LEED, greater t SGBC, BREEAM and DGNB amongst the silicone p most notable, which focus on reducing both alternativ the use o operational and lower embodied carbon. The in terms US Green Building Council (USGBC) recently produced the next generation LEED v4.1 standard for green building design, construction, Silicon chemistry covers polymeric siloxanes, which are commonly known as silicones operations and performance. This highlights polydimethylsiloxanes; and silanes, which are reactive, silicon-containing chemical int that such certifications are encompassing more and more sustainability aspects which will likely need to be underpinned with low or carbon neutral product offerings that can be integrated into building designs for lower embodied carbon as well as reduced energy consumption. This is notwithstanding the ongoing requirements for building safety, design and durability. In addition, whilst a significant part of a building’s lifetime carbon print is locked into the materials used in a structure, these embodied emissions are currently unregulated. However, Building Life Cycle Assessments (LCAs) that evaluate the potential environmental impact of different processes and substances in conjunction with external EPDs (Environmental Product Declarations) are set to become the only reliable way to appraise the sustainability of a building. That said, commitment of suppliers to the social responsibilities of environmental, social and governance is of equal importance. 1

The world’s first four-sided silicone structural glazing project was designed by architects Smith, Hinchman and Grylls. 455 W. Fort Street in Detroit, Michigan, USA. Photo Courtesy of SmithGroup JJR

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PAS 2060 verified carbon neutrality a journey and a commitment Product embodied carbon is primarily generated during production coming from energy consumptions using fossil fuels and waste. Various actions can be taken to offset the generated emissions. Two key elements are the continuous reduction of fossil fuels by using renewable energy (e.g., power coming from solar, water, wind, etc.) and, equally important, the ability to build additional natural sources absorbing the carbon dioxide produced (e.g., forestation, plantation, etc.). In reality, this journey has a much broader scope as social aspects come hand-in-hand with climate change, where efforts and investments need to be undertaken to address the impact on the economy, impact on society adopting climatic change as well as governance aspects. Therefore, Environmental, Social and Governance (ESG) are the key aspects to be considered when considering carbon emissions and carbon reduction. This is a journey which needs strong commitment. Returning to the indication that about 11% of the carbon equation are generated by building materials, it requires a huge and continuous effort of material companies to continually reduce

levels of embodied carbon AND this requires a significant contribution and investment into Environmental, Social and Governance (ESG) – the “ESG carbon”. Carbon neutrality it is not about buying offsets, it is a journey and a commitment towards continuously reducing material, hence the effect of the production carbon footprint. This does not happen overnight. Verified and credible carbon neutrality claims are needed to avoid the negative perception of “pure green washing”. The British Standard Institution with its PAS 2060 standard “Verified Carbon Neutrality” provides a guidance on how to quantify, calculate, reduce and offset GHG emissions. With its international recognition and reputation, it helps build market confidence and trust. Annual audits contribute to continuous progress in the journey of reducing and offsetting emissions. A key difference is that offsetting using certified credits emphasizes and requires the support of climate finance projects with the aim of adding social and environmental value. The PAS 2060 is an

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internationally recognized standard which includes an “ambitious commitment to climate action”. First Carbon Neutral Silicones High Performance Facades Dow High Performance Building Facade will be introducing the first ever PAS 2060 certified LOW CARBON silicone by end of 2021. This is a huge development and a revolutionary change that is strengthened by Dow’s environmental, social and governance (ESG) efforts, which is having a positive impact on the environment and the well-being of local communities. Our silicone materials already provide proven performance and durability in excess of 50 years, that is progressively impacting the carbon balance over the whole lifetime of a building in multiple applications. The introduction of carbon neutral silicone materials will bring a completely new dimension to this technology offer, with externally audited carbon emission (CO2) certificates which will be provided with a complete life cycle analysis and contribute toward green building certification. Available anywhere in the world, customers can get this low carbon range for façades on a project specific basis. It includes silicones for structural glazing, insulating glazing and weatherproofing. Key benefits are: • Individual project specific carbon neutral certificate – PAS 2060 with external EPDs • Contribution to achieving regional and global targets for CO2 reduction • Green Building Certification – supports getting additional points for LEEDS, SGBC, etc. • Enhanced circularity with long-term durable structural glazing silicone: > 50 YEARS of performance, for enhanced building life cycle • Reduced carbon footprint through smart structural glazing designs Silicone is a powerful enabling technology that is set to contribute to an evolution in curtain wall designs for a reduced carbon footprint. Looking globally at the huge numbers of different captive façade systems, structural glazing designs can help enhance energy performance, which can positively impact the carbon balance when looking to reduce the operational carbon footprint over the lifetime of a building. Moving forward, cross-disciplinary industry collaboration will further accelerate the adoption of fully integrated designs which will play an important role in the ongoing development of low carbon solutions.

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The ability of companies to bring to market truly low or carbon neutral products is one measure of corporate sustainability. Specifiers seeking products for designs or systems will seek authenticity backed up with genuine data or credentials that are underpinned by exacting certifications. Dow – silicone reduced carbon footprint Dow’s lower carbon footprint for silicon metal production at Breu Branco site in Pará, located in the Amazon Rainforest of Brazil, is a competitive advantage for Dow. The manufacturing complex plays a critical role in Dow’s integrated global supply chain, providing a reliable and cost-competitive supply of silicon metal to manufacture high-value silicone

products to serve our customers in diversified markets, including high performance buildings. At Breu Branco site, Dow uses more than 80% renewable energy, 100% audited woodchips and mineral sources, and 100% charcoal from FSC certified forest. We have invested millions of dollars in the Breu Branco site to make it safer and more efficient and will continue to invest strategically. This is another significant step on a challenging journey, but one that enables us to make a strong contribution to reforestation, sustainable forest management and protection of the native rainforest and its biodiversity.

help lead the transition to a sustainable planet, society and business environment. Our journey has evolved from focusing on operational efficiency (our footprint), to product solutions and world challenges (our handprint), to recognizing that only through collaboration can we accelerate our positive impact (blueprint thinking). Sustainability is not optional. Visit the Dow showcase for innovation and performance-enhancing technologies for sustainable and modern building design at www.dow.com/buildingscienceconnect. Adopted from IEA (2019a) World Energy Statistics and Balances 1

With its ambitious 2025 Sustainability Goals, Dow collaborates with like-minded partners to

²www.siliconescarbonbalance.eu

Markus Plettau Global Marketing Manager FAÇADE High Performance Building Markus Plettau is the global marketing manager for High Performance Building Façade emphasizing on market based, sustainable and high performance innovations. Based in Wiesbaden, Germany, he is tasked with developing product and system solutions for building envelopes that meet and exceed industry requirements and trends for energy efficient, sustainable, safe and durable facades. Markus.plettau@dow.com Dow.com/highperformancebuilding Dow.com/contactus

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BENTELER ARCHITECTURAL GLASS PROCESSING EQUIPMENT PROCESSING LINES BENTELER is one of the largest suppliers of complex and customized PROCESSING LINES from a single source. We can integrate glass loading automation to grinding, drilling, waterjet cutting, CNC processing, washing and unloading into a complete and very efficient turn key solution.

SEAMING-AUTOMATIC BATCHING-WASHING LINES SEAMING-AUTOMATIC BATCHING AND WASHING LINES can integrate glass loading automation, laser marking and edge deleting functions. With glass width measurement and automatic adjustment, long lasting diamond grinding wheels (fast, precise and almost dry glass) it batches automatically to feed the tempering oven.

WASHING MACHINES BENTELER offers a wide range of WASHING MACHINES for flat and curved glass and for all industry applications including float and coating processes. All BENTELER Washing Machines convince due to its excellent washing quality and are available on different and customizable washing/ drying configurations.

LAMINATING LINES BENTELER LAMINATING LINES offer a solution for many different glass laminating needs. From manual to a fully automatic operation for all common types of foil (PVB, SGP and EVA). Because of our long experience and a continuous development we offer lines which are state-of-the-art, energy-optimized and in proven quality.

BENTELER Maschinenbau GmbH Olaf Patschintelligent glass solutions | autumn 2021 Berkemann 128 Head of Sales Architectural Glass Processing Equipment

www.benteler-glass.com glass-processing@benteler.com

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Author

Endless Possibilities made Possible With BENTELER Glass Processing Equipment intelligent glass solutions | autumn 2021

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he architecture of major cities around the globe is characterized by modern glass facades. In today’s world, this diverse material contributes significantly in terms of design aspects in new buildings. Building design and engineering, as well as associated technologies, have developed substantially over the past 10 years, allowing architects the freedom to create awe-inspiring structures while benefiting from the functional advantages of glass. From sustainability, to highperformance, energy-efficiency and safety, glass is no longer just a transparent material that

blurs boundaries and connects occupants to the outside world – it is an integral component of the modern building’s composition. This multifaceted nature of glass has propelled its use in the retrofitting and renovation of existing structures, enhancing the aesthetics of historic buildings while harnessing the benefits of sustainability and performance. In addition, safety has become increasingly important when specifying glazing materials; not only can glass reduce or prevent the likelihood of burglary but it also lowers the risk of personal injury from unplanned interfaces between

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objects, end-users and the façade or windows. Safety glazing is commonly categorized into 3 distinct types: VSG - laminated safety glass, ESG - toughened safety glass and TVG - partially tempered glass. Arguably, there is no other material that we encounter as often as flat glass in our daily lives. This foundational material of modern construction is and will remain a fundamental design element into the future and will increasingly take on technical functions. Whether in a refrigerator, in the kitchen, the car windscreen or the window of an office, the

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possibilities of innovation and functionality are only limited by our imagination and creativity. With the development of cutting-edge display glass and switchable glazing, these technologies are no longer ideas confined to the realms of science fiction. Combined with the recyclability of glass, this material has been established as a viable means to a sustainable future. At BENTELER Glass Processing Equipment, we develop and produce machinery and equipment for glass processing used in architecture, the automotive industry and for diverse technical applications. With over

3,500 successfully completed projects in over 60 countries, we support our customers with innovative solutions and are a reliable and trusted global partner. BENTELER develops solutions that make a difference. As a fourth-generation family company, our focus for the past 140 years has been on combining commercial success with social responsibility, employee development and ecological awareness. We continually develop our company with innovative products and processes and our aim is to shape the future - sustainably. Diverse Applications The demand for innovative and sustainable flat glass solutions is reflected in our mechanical engineering activities: Finesse: In order to reduce the overall weight of automotive vehicles, we developed processing solutions that were required to produce ultra-thin glass of 0.5mm – half the thickness of a pin! Think BIG: A US technology company required architectural glass with unprecedented pane lengths of 20m, all bent to a specific radius. We developed this production line with our client and now these colossal panes can be admired in the futuristic headquarters of the American company.

Smart: More recently, we developed a production line for dimmable glass for a DAX company. Transforming from transparent to opaque, smart glass controls the amount of heat that enters or leaves a building, reducing the need for energy-intensive air conditioning units and contributing significantly to the energy-efficiency of a project. Particularly in hot climates, for retrofitting structures and expansively glazed facades, this is a viable solution for architects and developers pushing costeffective sustainable agendas. Sustainable: At BENTELER, we develop complete production lines that laminate a wide variety of glass packages up to 150mm thick. In line with our sustainable vision, the process is optimized for energy-efficiency. Since the process involves highly reflective coatings, it is essential that we ensure the right type of heat input during lamination in order to keep energy consumption low during production. Tailor-made: BENTELER provides customsized laminating solutions, individually designed to the requirements of our customers.

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Experience: With 4 machine options, BENTELER offers solutions for various glass laminating needs. From manual to fully automatic lines, we accommodate all common types of foil

including PVB and SentryGlass®. With the continuous development of laminating lines and our extensive experience, we provide state-of-the-art, energy-optimized and quality processing equipment for our clients.

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Behind the Glass – Interview with expert Olaf Patsch- Berkemann Design, flexibility in terms of size and processing speed are important aspects when producing architectural glass. What unique solutions does BENTELER offer to accommodate these considerations? We currently offer the fastest and most flexible line on the market. Our production is streamlined to ensure that the process is optimized – For example, the PVB storage is installed on the 1st floor, making it possible to handle cooled and interlayer PVB films. The storage allows for 6 to 24 PVB rolls with separate steel construction. The steel construction is also used for the isolating panels, assembly and storage room Our lines allow for significant flexibility for different glass sizes processed on one production line. A laminated glass line must be able to process large and small glass quickly, efficiently while maintain the highest quality. In order to meet these expectations, we have different programs and solutions that cater to various dimensions.

Apart from design, handling glass is an important aspect of production. How does BENTELER ensure smooth and precise handling? BENTELER is one of the largest suppliers of complex processing lines from a single source. This includes the linking of grinding, drilling and washing machines to complete processing lines, minimizing handling during manufacturing and reducing cycle times. The quality of our flat glass washer and machinery, the well thought-out and precise collating area and fast energy-efficient pre-laminating area all contribute to a flexible handling line. In addition, our production lines can be run in various program modes according to a client’s requirements: from manual to semi-automatic and fully automatic (without the need for a machine operator), this flexibility allows for effective production and minimal handling if required. Different architectural glass applications demand unique set ups. How does BENTELERS machinery make this possible? For over 60 years, BENTELER has supplied processing machines for architectural flat glass. In the last few years, the requirements for glass processing have surged, as have the demands from clients. Our experience and successful partnership with customers have ensured that we continue to develop sophisticated solutions that cater to a variety of glass applications and the setups required to fulfill them.

Today, many of our customers require laminated safety glass lines that are far longer than the usual 6m glass lengths. We have already delivered lines with lengths of up to 20m.

BENTELER offers individualized solutions. From small, fast VSG lines with glass dimensions of 1.60 x 2.40 m, or typical fixed dimension of 2.60 x 5.00 m to 20m long VSG glass and 3,30 x 16.00m cold bent glass. We have different solutions for the production of stock sheets (PLF or DLF) and split size (LES or SSS) for mass production in float glass plants, with full automation if required. Shuttle station for fast autoclave loading and unloading and re-packing and inspection lines are also part of our scope of delivery. Film storage for FRERICHS GLAS. © BENTELER

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A Unique Business Case for Architectural Glass FRERICHS GLAS is a premium manufacturer of insulating and safety glass units of exceptional quality. As a pioneer in the processing and finishing of glass with over 145 years of experience, FRERICHS GLAS is the proud supplier of customized glass solutions with outstanding technological expertise and visual appeal. The new production process supported by BENTELER allows numerous product specifications, thus addressing market needs and engaging customers effectively via enhanced performance in architecture, home and living, industry and retail. The exclusive range of FRERICHS GLAS safety glass is made to contribute to higher protection and increased efficiency. With regard to growing demand, FRERICHS GLAS made the decision to produce laminated glass inhouse. As Jan Wennemer, Managing Director, explains ‘Due to this new production line, FRERICHS GLAS is faster and can respond more flexibly to current requirements. In addition to improvements in response time and the company’s new found autonomy, particularly impressive is the quality of BENTELER’s glass processing equipment. This

leads to a subsequent improvement of the final product’. As Jan describes, ‘There is no room for compromises when it comes to safety. This special laminated glass is more robust and has remarkable shatter protection’, important factors when considering that the company’s target market is the construction sector. Behind the process - The manufacturing process explained FRERICHS GLAS offers various types of safety glazing, thus providing a full range of product specifications. An important element is the inhouse production of the toughened safety glass at FRERICHS GLAS’s headquarter in Verden, Germany, the ‘glass factory’. The recent implementation of laminated glass production is fully automated: desired sizes of glass are transported to the plant via conveyor belt; there, a film is applied and a second pane of glass is placed on top – exclusively under clean-room conditions. The unfinished glass panels are retained in a large transport carriage and then positioned in the autoclave which is heated to bonding temperatures between 120 and 140 degrees Celsius and overpressure of up to 13 bar (usually 12 bar).

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‘The thickness of the panes and dimensions are basically unlimited as the system is capable of processing glass panes of different sizes. In addition, multiple structures are possible.’ Jan emphasizes. Film change and quick provision of further film or working width are key mark of quality and simply better solved with the BENTELER line than with other lines. A total of 38 tons of steel were used for the implementation of these complex production facilities, resulting in a potential output of 345,600 square meters of laminated glass per year. The new production line is 42 meters long, delivering considerable skills. 'Across a whole spectrum of central requirements, we benefit from a high level of automation; only the autoclave is filled manually,' underlines Bodo Hagemeister, Sales Manager at FRERICHS GLAS.

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With acrylic glass and engineering plastic processing, both as additional core markets of the medium-sized company, FRERICHS

GLAS provides its products to customers throughout northern Germany and the greater Berlin area.

Jan Wennemer Managing Director, FRERICHS GLAS GMBH Siemensstraße 15-17 27283 Verden (Aller) Telephone: +49-(0)-4231 102 0 Email: info@frerichs-glas.de www.frerichs-glas.de

Olaf Patsch- Berkemann Head of Sales Architectural Glass Processing Equipment BENTELER Glass Processing Equipment Frachtstraße 10-16 | 33602 Bielefeld | Germany Tel.: +49 521 542 217 Mobile: +49 173 732 8748 olaf.patsch@benteler.com www.benteler-glass.com

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Turning waste into value From glass recycling to circular economy

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ecyclability (of glass) has become a mainstay in contemporary AEC discourse. There are some serious challenges to it that should not be overlooked; one driving element behind the topic is, of course, the European Green Deal with its taxonomy forcing the (glass) industry to rethink both: the embedded carbon of their products and the energy intensive way they are produced1. As a repercussion of these factors, we see a decreasing amount of demand for raw materials. Furthermore, 2030, the year in which the European Union committed itself to reducing emissions by at least 55% from levels in 1990, is just around the corner2! There is no time to waste. Considering how pressing the issues are, it is quite astonishing that, although established in the 1980s, the concept of “urban mining” has only recently come to the fore. The theory behind it is quite simple: turning former waste into future value. This change in mind-set, that the pre-existing built environment can have multiple lives and thus becomes part of a continuous, natural process of erecting and dismantling is momentous and will affect the entire construction industry. It has wide spread implications with regard to prefab builds, easyto take apart components, measuring the environmental impact of materials in their urban context and during their life time, valorising the monetary value of the “used” or rather “existing” materials, buying products and leasing services. The importance of recycling and retrofitting is validated by the European Construction Industry Federation, “investment in renovation represents almost 30% of total investment in construction. Having proven to be the least volatile segment over the last decade renovation and maintenance have served as a stabiliser in the aftermath of the financial crisis from 2009.”3

It seems that we are teetering on the edge of a paradigm shift. But the pragmatic question still remains – how do we get the ‘once used’ installed glass (post-consumer cullet) and transfer it back to our floats? To put the required scale into perspective: Saint-Gobain’s largest float plant in Cologne, Germany, produces up to 1000t of glass every day, 365 days a year. Having committed ourselves to manufacturing all our flat glass using 50% cullet by 2050, it is quite obvious that we cannot provide the necessary daily amounts by simply collecting “some” old windows or façade glass.

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©Klaus Wertz

Saint-Gobain has, for several years, led the industry in the recovery and use of postindustry and post-consumer glass cullet. Initially, this was on a project-by-project bases, however lately (and ongoing), partnership networks have been established with customers and industry partners. In the following article, we take a look at some examples of this continuing engagement. Among one of the first projects was Lloyd’s of London. In 2010, Lloyd’s decided that it required more daylight and improved views from the iconic Richard Roger’s designed building, originally completed in 1987. Some of the 138

patterned glass panes by Saint-Gobain were replaced with clear flat glass and 123 tons of the original glass was removed from the building and sent back to our float in Eggborough for remelting. Additionally, some of the patterned glass was reused; the panels were cut into the new required size, and installed back or stored for any replacements required in the future. Some of the “off cuts” were also used in furniture designs for the building, such as tops for coffee tables. The work on Lloyd’s demonstrates re-use and recycling of glass at the highest standards and with minimum environmental impact. The entire project was followed up by Arup.4

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The former SAS Headquarters in Frösundavik, north of Stockholm was recently completed. For Saint-Gobain Building Glass, it started as an “ordinary” specification project (5,000 m² of COOL-LITE® XTREME 70/33 II on DIAMANT processed by Saint-Gobain Glassolutions BALTIKLAAS) that quite soon developed itself into one of the largest glass recycling projects to date. Built in the late 80s, this 55,000 m² large complex for 2,000 employees needed an overall refurbishment. But what do you do with the glass of the old façade? Through engagement with all project stakeholders involved, the glass was dismantled by Swedish façade designers ScandiFront, broken and sorted by Ragn-Sells (a well-known waste management, environmental services 140

and recycling company) and transported with a special inloader to the Saint-Gobain float in Torgau, Germany5. Additionally, Research Institutes of Sweden (RISE) were heavily involved, and made a scientific follow-up on circular use of flat glass from Sweden. The most pertinent question remains: “Does it pay off?” The definitive answer is, yes, especially in terms of reducing a projects’ commercial as well as CO2 footprint. Consequently, Ragn-Sells, together with Saint-Gobain Glass Germany, will further develop their involvement in glass recycling by establishing a strong Swedish network of glass collecting locations. Similarly, Saint-Gobain Glass Bâtiment France is initiating a nationwide network of partners

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that dismantle, collect and do treatment of glass waste from facades. Seven partners have already been qualified, and more are going to be qualified in the coming months. Besides a strong commitment to closed-loop, key specific requirements for becoming one of those partners are mandatory: the integrity of glass during all the steps from dismantling to treatment of glass as a first condition needed to generate float-grade cullet in a defined quality, but also well fitted stillages and adapted logistics, and the ability to deal with both single and double glazings and even the materials of the frames (PVC, aluminium, wood, etc.). Saint-Gobain will not only take the cullet but will provide additional services like coaching of the different stake-holders, technical

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support of the treatment process, and the animation of the qualified partners. The first results are quite encouraging: starting from some 5,000 old windows (87 tons of recycled glass) in 2019, Saint-Gobain Glass France and its partners collected more than 15,000 old windows in 2020 (280 tons of recycled glass) and even more in 2021: more than 1000t of recycled glass, which is an equivalent to 50 000 windows… a successful beginning of a new era … and we can’t wait to see next year results! Furthermore, similar initiatives and partnership networks are being established in other countries. This progress should inspire us all

and task the industry to further pursue a circular economy in future endeavors. Recycling glass will become mandatory in the future. The benefits are not solely in reducing our CO2 footprints; urban mining has positive spillover effects that will generate opportunities in business development and employment. It is now up to us to decide how we continue; starting today, the opportunities to contribute positively to the world are available. SaintGobain are committed to a greener, sustainable future and we will continue to innovate, progress and develop initiatives to ensure this ideal is upheld. Let’s turn (glass) waste into value for the benefit of us all. Please contact us for further information and support.

(1) https://ec.europa.eu/info/businesseconomy-euro/banking-and-finance/ sustainable-finance/eu-taxonomy-sustainableactivities_en (2) https://ec.europa.eu/clima/policies/ international/negotiations/paris_en#tab-0-0 (3) https://fiec-statistical-report.eu/2021/eu-en (4) https://www.arup.com/perspectives/ publications/the-arup-journal/section/thearup-journal-2011-issue-2 (5) https://www.ri.se/sv/vad-vi-gor/projekt/ okad-cirkular-anvandning-av-planglas

Andreas Bittis, International Market Manager at Saint-Gobain Glass, BU Facade Educated as an architect and urban planner at the RWTH Aachen University in Germany, Andreas Bittis was editor for ARCH+ and a freelance journalist for various architectural magazines on and offline. Consequently he worked in several architectural practices; Rhinescheme (Beijing) ingenhoven architects, (Dusseldorf, Sydney, Singapore) and Eller + Eller Architekten (Dusseldorf, Berlin, Moscow) to name a few, as project manager in different domains. With this background he joined Saint-Gobain Building Glass in 2012 as Architectural Specification Manager working not only on advising architects and façade consultants but also on topics like Sustainability and BIM. In 2015 he joined the German marketing team as Product Manager for all coated glass and Market Manager for the glass façade projects. Most recently, Andreas joined the Business Unit Façade as Market Manager in Paris

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T HFROM E GTHE LA SS W ORD EXECUTIVE BOARDROOM COMMENTARY MIDDLE EAST

Eran C . “Glass is the most visually animated, expressive material that exists”

Tokio Marine (Photo CSYA)

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T H EXECUTIVE E G L A SBOARDROOM S W O R COMMENTARY D FROM THE MIDDLE EAST

A true visionary, in his own words

IGS Interviews

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THE GLASS WORD

In this final edition of ‘The Glass Word’ in 2021, IGS Magazine’s Lewis Wilson talks candidly with Eran Chen, Founder and Executive Director of ODA New York, a prolific architecture firm who are changing the landscape of the city. Many architects just consider the building they are working on. However, Eran takes a broader approach, seeking to recreate cities that function as a whole versus disassociated parts. His architectural intent focuses on the spaces a building creates, the way architecture affects the people that it serves and the vitality of a city, all equally as important as the structure itself. In this interview, we delve into the mind of one of New York’s most acclaimed contemporary architects as he imparts his words of wisdom and unfiltered thoughts on architecture, technology, and glass.

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THE GLASS WORD

Lewis: Having grown up in Israel, served four years in the Israeli army and attended architectural school in Jerusalem; how did these formative years shape your architectural vision and philosophy? Eran: Israel is a unique country in the sense that it's young but was established by a huge diaspora of Jewish people from all over the world. So, in a sense, it's a collection of people from very different cultural backgrounds united through religion and belief, but not necessarily current culture. Growing up, I was trained to think and communicate for that diverse audience. Architecture is similar to that, in being more about the celebration of human spirit and not as much the traditions of culture. My upbringing shaped my vision about building environments for people wherever they are, based on the elements that unite them, and not what separates them. The essence of what makes us human, from our relationships with one another, our relationship to our environment, is pretty much the same wherever you build. With this as your foundation, the narrative of a certain culture, time, and place becomes the tools that form the rest of your design decisions. Lewis: New York City is one of the densest urban environments in the world, often referred to as the concrete jungle. How do we rewrite this story/narrative in order to reconnect with nature and reconcile the conditions of vertical urban living with the well-being of those that inhabit it?

Eran: For a very long time now, humans have controlled the natural environment around us. Over time, we've transformed from being part of Mother Nature, to adapting ourselves into nature, to now, where humans are controlling and adapting nature to us. And once we understand that, we can realize that we can use nature to our advantage in a very dense, urban environment. The small bursts of green and nature in the urban environment used to seem artificial, but more and more now it is the norm.

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THE GLASS WORD

I’ve long advocated for accessible green space, and with increased density in cities like New York, there's an inherent need for it. Not only does this increase biodiversity, which is good for the planet and long-term sustainability, it makes for a better pedestrian experience and creates urban pockets of engagement for people to enjoy both one another and nature. One of my design inspirations is the theory of fractality, and seeing how that can be applied to urban architecture. Fractals are similar patterns, that reflect themselves across different scales, and are often found in nature. They are created by repeating a simple thing over and over again in an ongoing feedback loop. We find fractal patterns on every level of forest ecosystems, from the seas and river deltas to pinecones, tree branches and leaves. Studies have shown that these elements of fractality put humans at ease, causing an emotional reaction of safety and relaxation. So, translating this theory of fractality from nature into design and architecture in dense urban environments is another, more nuanced way of re-connecting us to nature and the natural world, in a way we have complete control over.

Lewis: The socio-economic context of architecture is in constant flux – from the Industrial Revolution that propelled Neoclassical Architecture to Modernism spurred on by wartime innovation and postwar reconstruction – architecture is, and will always be, a reflection of our society. So begs the question, what is architecture reflecting today? Eran: I think as humans we're at a turning point by which we recognize that we're in full control of this planet. And for the first time in our existence as humans, we're more concerned about the fact that we have been depleting our earth’s most essential resources. As a society, we have started to shift our attention to all elements of sustainability, not just environmental, but also social and economic. Humans are naturally ambitious, and now we’re aiming our ambition in advancing technology, science and architecture towards reconstruction and rehabilitation. Rather than following the historical pattern of humans taking, invading, and expanding, we’re making a concerted effort into shifting

our focus to nurturing and extending the life of our existing environments. Our society as a whole is having a moment of introspection and re-evaluation. We’re questioning ourselves as communities and our general relationships to one another -- and this in turn creates a type of architecture that is much more self-reflecting, more sensitive and more sensible. While there's still a huge amount of expansion needed to cater to the growth of our population, I think consciously we're shifting towards healing and creating more well-rounded environments. Lewis: Architects design buildings today, with an ambition that they remain relevant in an unknown future. What are the key considerations in your designs to ensure the longevity of a project? Eran: All we can do as architects is design in the present, based on the past, for the future. We're informed by our past experiences, past designs, past projects. We use that knowledge to address a problem that needs solving in the present, and we can only guess what the future might bring. The reason I design is for the idea of a better future. A better society and better 98 Front Street © Aaron Thompson

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human experience. My driving force to design for longevity is purely to better the human experience, not to follow fashion or style. Lewis: Could you give IGS readers a brief description of your ‘utopian vision’ of future cities and the buildings that define them? Eran: My utopian vision for future cities revolves around a major transformation of the ground floor as we know it today. I imagine the public realm we’re familiar with will shift dramatically – rather than the street level mostly catering to cars, trucks and other traffic, it would be primarily an open, naturally landscaped space. Drones and flying cars would replace the vehicles currently on the street. You can see this transformation happening slowly already with an increase in self-driving cars and other autonomous technologies. This year, ODA launched a new concept, Beyond the Street, a new idea for urban renewal that we believe can have a real positive impact on the way we live and build in New York City and beyond. It blends existing infrastructure with a proposed new zoning regulation that

would maximize the public realm, increase, and extend green spaces and improve the pedestrian experience on our streets. Coronavirus has only heightened the need and demand for a greener urban existence. The video is meant to communicate this idea to policy makers, developers, architects and the general public in the simplest way, visually. We

believe it has real practical application for NYC and beyond. It proposes breaking open existing city blocks, and creating interior courtyards and pathways that will over time, through a mix of adaptive reuse, new development and landscape design, create a more walkable experience filled with culture, leisure, affordable retail and community spaces.

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Lewis: As often proliferated by media and coverage, we’re in the era of the ‘iconic building’ and the ‘starchitect’. How do you work in a system like this and continue to create thoughtful, meaningful and inclusive architecture, when so many developers are looking for ‘the next Bilbao’? Eran: At ODA, we’re not so much concerned with how we're perceived, in terms of designing ‘iconic buildings’ or being called starchitects. Our focus is and always has been invested in the quality of the designs we generate and how our final product can improve peoples’ lives. We create architecture that we will look back on years from now and still be proud of. Our buildings are having a real impact on people’s quality of life. As cities decentralize and people work from home, we are creating new neighborhoods where people can find culture, commerce, nature and diversity at their front door. By changing the architecture of buildings, we are removing the barriers that keep people isolated and alone. We are creating new economic opportunities for local entrepreneurs to flourish. We are creating space for people to grow their own food, pursue creative passions, and connect to nature in a very urban setting. Lewis: Adaptive reuse of buildings can be an attractive alternative to new construction in terms of sustainability and a circular economy. How do you respect a buildings heritage and cultural context while positioning it into the modern era in terms of sustainability, performance and energy efficiency?

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Eran: I think the best way to respect a buildings heritage and cultural context is to design around the narrative of the group of people that historically used the space, and what that space meant to them. We used to talk about contextualism as a matter of formal materiality, but it truly means so much more than that. If contextuality only has to do with the shape and material of buildings, it doesn’t necessarily take into consideration the cultural meaning of a historic building. At ODA, what we try to do is to look at historical buildings not only for their f physical attributes but also for the type of activities and the story that existed

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within its walls. We look to the years spent in that building and weave that story into the new use of the space. We did this at 10 Jay Street - a historical renovation of an old sugar refinery. We worked with the Landmarks Commission to restore the building and designed a glass facade meant to represent sugar crystals and their fractal nature. It pays homage to the building’s history, while creating a threedimensional facade that builds on that story and invites the public to interact and engage with it.

Lewis: In 2019, your practice completed the restoration and façade recladding of 10 Jay Street, a historic refinery and warehouse nestled on the East River shore in Manhattan. Can you delve into the key aspects of the impressive crystalline facade? What role did glass play in defining the relationship between community, the East River, heritage and innovation?

Eran: What we discovered through the research was that the building used to be a sugar refinery, built by the Arbuckle Brothers at the turn of the century. The façade of 10 Jay is the romantic story of the making of sugar as an experience of an error. It was translated here into a formal shape of the curtain wall, which shape was inspired by the sugar crystal itself. The story behind the eyecatching façade, the inspiration and history behind it, was the convincing argument to the Landmark Preservation Commissioners.

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We argued that although the addition of the wall facing the East River was a totally new architectural language, it was still contextual to the neighborhood’s industrial past and tells the story, preserving it for the future. A lot of people think of glass as a transparent material, or that it almost doesn't exist because it's transparent, but it's actually exactly the opposite. Glass is the most visually animated, expressive material that exists because of its reactivity and the light and colors that transfer through it. And so here at 10 Jay, we've taken glass not as a minimalistic expression, but rather exactly the opposite, as an element that reflects the city like a kaleidoscope. 10 Jay’s glass façade brings the shimmering imagery and lights that come from the Manhattan across the water, and the movement of the East River into a visual symphony of lights, shadows, reflections, and colors. In effect, it’s a chandelier sitting on the river. Lewis: What aspects of glass appeal to you as an architect and are there any technological developments of this building material that you wish to see advanced in the future? 150

Eran: I love the ability with modern glass to control the level of reflectivity, or the balance of reflectivity and transparency throughout the day. In a way, glass is the only material that I can think of that totally transforms throughout the different hours of the day and the seasons of the year. And that is a very exciting tool for a designer to have at their disposal. In the future, I hope to see advancements of shape in glass. I wish glass products develop beyond the flat surface, and I think technology will allow us to reshape and bend glass almost as we do with panels or molded materials. I believe that the shape by itself, in addition to its attributes of reflectivity and transparency, would allow us to play with the ever-changing character of glass as a material. Lewis: COVID-19 has, to say the least, been highly disruptive to the world and AEC industry in 2020/21. In your view, what effects has the pandemic had on design thinking? Has it affected architecture and your key considerations in the design phase of a project?

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Eran: COVID-19 has put a spotlight on elements in our urban environments that were in desperate need of change. Crises like the pandemic have always been an accelerator of change in our history. During this particular pandemic, the need for change in our indoor/ outdoor relationships was highlighted. Cities have a natural barrier between public and private spaces, between your private apartment and the city, and nature below. For the past 15 years at ODA, we’ve been exploring this issue and pushing that boundary between public and private, indoor and outdoor. With landscaped rooftop decks, shared outdoor amenity spaces, and private terraces large

enough to furnish and enjoy life on. The devastation COVID has brought to our society is grave, but I think it will inspire good change. In retrospect, we’re going to look back and see this as the tipping point that pushed us towards progress and innovation. It allowed us to improve dramatically or urban systems. Lewis: ODA is one of the most prolific firms of our generation with a reputation for delivering imaginative and moldbreaking designs. What is the next step for the practice and what projects can we look forward to in the near future?

Eran: As a practice, ODA is starting to design a lot more master plans. In 2019, we won an international competition to design a 3.3 million square foot master plan in the MAZD territory right outside of Moscow. Almost immediately after the announcement of this, we started being invited to design a number of master plans all over the world. Our philosophy of the vertical neighborhood, which began with just one highly amenitized building in Brooklyn, and grew into dozens of large-scale holistic mixed-use projects from 500,000 to 1 million square feet, allowed us to practice what we preach and create a better quality of life for thousands of people. Within 10 Jay Street © Pavel Bendov

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these future cities and neighborhoods, we will be or have already designed over 16 million square feet. One of our innovative, human-centric ideas that fuels these plans is the idea of the fractal city, an idea that came from math about the repetition of form of a different scale. In the first twelve years of ODA’s existence, we had been reshaping and reformatting the generic sort of apartment building, the idea of living in a building, the expansion of breathing room, the relationship between indoor and outdoor. These ideas have grown now, and we are fascinated with how our neighborhoods are being formed. We’re studying the combination of true mixed-use buildings and neighborhoods that could be the foundations for 15-minute cities that would allow us to live, work, and play more locally. Part of our practice that is growing rapidly is interior design and landscape. As an integrated design firm, we’re able to address every level of urban projects, from the minute detail to the larger picture. We hope to bring our ideas and innovation to cities all around the world.

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Eran Chen Eran Chen is the founding principal of ODA. Since establishing the office in 2007 he has become one of the most prolific architects in New York. Chen has gained a reputation for delivering designs that are innovative as well as socially and fiscally responsible. His work has been widely published around the world and recognized amongst others by the American Institute of Architects and the Society of American Registered Architects. Chen graduated with honors from the Bezalel School of Art and Design in Jerusalem, where he serves on the board and as guest lecturer. He is a frequent speaker at design and development forums, as well as architecture schools including Columbia University, Clemson University, Syracuse University, Carnegie Mellon School of Architecture, and The Technion in Haifa. Recent projects include the renovation of the former Postkantoor in Rotterdam, the conversion of the Arbuckle Sugar Refinery at 10 Jay into offices and the 416-4120 Kent Ave towers in Williamsburg’s Waterfront. His writings on architecture have been published in ODA’s latest book, Unboxing New York. www.oda-architecture.com Instagram link: www.instagram.com/odanewyork/ Vimeo link: https://vimeo.com/oda

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AUTHORS DETAILS AU T U M N 2021

ASTRID PIBER UNStudio Partner Stadhouderskade 113 1073 AX Amsterdam The Netherlands info@unstudio.com +31 20 570 20 40 www.unstudio.com SCOTT R ARMSTRONG WSP Project Principal, Building Sciences 2300 Yonge St, Toronto, ON M4P 1E4, Canada +1 416-487-5256 www.wsp.com Eckersley O’Callaghan 236 Gray’s Inn Road, London, WC1X 8HB, United Kingdom london@eocengineers.com +44 (0) 20 7354 5402 www.eocengineers.com WilkinsonEyre WilkinsonEyre 33 Bowling Green Lane London EC1R 0BJ info@wilkinsoneyre.com +44 (0)20 7608 7900 www.wilkinsoneyre.com Josef Gartner GmbH Gartnerstraße 20, 89423 Gundelfingen an der Donau, Germany gartner@permasteelisagroup.com +49 9073 840 www.josef-gartner. permasteelisagroup.com

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BLAIR PAYSON Olson Kundig Principal 159 S Jackson St # 600, Seattle, WA 98104, USA info@olsonkundig.com +1 206-624-5670 www.olsonkundig.com

TODD POISSON BKSK Architects Partner 230 W 38th St 16th floor, New York, NY 10018, United States bkskinfo@bksk.com +1 212-807-9600 www.bkskarch.com

MICHAEL SEELE seele GmbH Sales Director Gutenbergstr. 19 86368 Gersthofen Germany info.de@seele.com +49 821 2494 0 www.seele.com

MARC EVERLING Marc Everling Nachhaltige Kommunikation Founder Heinrichstr. 40 D – 38106 Braunschweig me@marceverling.de +49 176 64076171 www.marceverling.de

KYLE SWORD Pilkington North America Business Development Manager Pilkington North America 811 Madison Avenue, Toledo, OH 43604-5684, USA Kyle.sword@nsg.com +1 419 467-7245 www.pilkington.com

AGC Glass Europe Avenue Jean Monnet 4 1348 Louvain-La-Neuve Belgium +32 2 409 30 00 www.agc-glass.eu

KOOS FRITZSCHE Octatube Senior Sales Engineer Rotterdamseweg 200 2628 AS Delft Netherlands info@octatube.nl +31 (0)15-7890000 www.octatube.nl ARUP 8 Fitzroy Street London W1T 4BJ United Kingdom london@arup.com +44 (0) 20 7636 1531 www.arup.com

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MARKUS PLETTAU FAÇADE High Performance Building, Dow Performance Silicones Global Marketing Manager Bachtobelstrasse 3, 8810 Horgen, Switzerland +41 44 728 21 11 www.dow.com

OLAF PATSCH- BERKEMANN BENTELER Head of Sales, Architectural Glass BENTELER Glass Processing Equipment Frachtstraße 10-16 | 33602 Bielefeld | Germany Almere olaf.patsch@benteler.com +49 173 732 8748 www.benteler-glass.com JAN WENNEMER FRERICHS GLAS GMBH Managing Director Siemensstraße 15-17 27283 Verden (Aller) info@frerichs-glas.de +49-(0)-4231 102 0 www.frerichs-glas.de ANDREAS BITTIS Saint-Gobain International Marketing Manager SAINT-GOBAIN Les Miroirs 18, avenue d’Alsace 92400 Courbevoie FRANCE +33 1 47 62 30 00 www.saint-gobain.com ERAN CHEN ODA New York Founder, Owner & Design Director 99 Hudson Street, Second Floor, NEW YORK, NY 10013 studio@oda-architecture.com +1 646-478-7455 www. oda-architecture.com

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