IGS Summer 2022 - Out now!

Bird friendly made beautiful

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Ideal for:

For more information on our Publishing Partnership, contact lewis@igsmag.com

CHANGING THE WORLD IS ALWAYS

Now more than ever, industry is in need of innovation. The climate crisis, pandemic and rising populations have made us fundamentally rethink the functioning of our cities, public spaces, buildings, and homes. The mantra of “businessas-usual is not sustainable” is now a clear reality for most of us. As Dr. Hossein Rezai said in our Summer Edition in 2021, “The AEC industry is no exception to this tsunami of change”. We are not only changing the manner in which we work, but also questioning the merits of architectural design and material selection processes by introducing circularity and by squeezing waste and carbon out of them.

There is widespread belief that the glass industry is traditionally quite conservative and perhaps slow moving compared to others – marred by stagnant innovation and any meaningful breakthroughs, is an association that seems to have been stuck with our industry.

The reality is that the glass industry refuses to stagnate and its history reveals an unceasing trajectory of transformation. Changing material technologies, architectural design, construction methods and environmental conditions exert profound influence on the development of our sector. When the industry has sought to harness these external conditions, they have developed and produced ground-breaking technologies that have firmly disrupted architecture and boundlessly expanded the possibilities of design and function in our built-environment.

In this Summer Edition of 2022, readers will gain foresight into intelligent technology and cutting-edge glass products that are disrupting the status-quo (NOW) and expanding the possibilities of architecture and façade design. From developments in energy-generating glass, bird-safe and fire-resistant glazing to smart glass and AI, you will be privy to the innovative spirit of modern glass vanguards.

The built environment is experiencing seismic innovations in technology, from the metaverse to the ingenuity highlighted in the future focused façade of the Museum of the Future and The Net, one thing is certain: we are just scratching the surface.

Our next issue will be published in the Autumn of 2022 where we take a look at those individuals and companies pioneering circularity. Through project case studies, thought leadership, and an analysis of current research and thinking, we look at best practices in circular design, uncovering the massive potential of our industry to affect permanent and sustainable change in our world.

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! Should you wish to address the industry in this edition please feel free to contact us for a more personal and tailored discussion at your earliest convenience.

This is IGS, the world’s most popular and beloved glass industry magazine. Nothing more, nothing less....nothing else!

Lewis Wilson Marketing Director and Editor for IGS Magazine Email: lewis@igsmag.com

CONTENTS

IGS SUMMER EDITION 2022

EXECUTIVE BOARDROOM COMMENTARY

8 LET THERE BE LIGHT

Alicja Kurzajewska - Senior Façade Consultant, AESG

Alicja explores current innovations and progress in glass technologies through the lens of a façade specialist.

16 THE NEW FACE OF SUSTAINABLE ARCHITECTURE

Carol Phillips - Partner, Moriyama & Teshima Architects (MTA)

Changing design and construction culture in the climate emergency with high-performance sustainable facades.

34 HOW ARCHITECTS AND DESIGNERS CAN HELP DEFINE THE METAVERSE

John Gilmore - Principal and Senior Writer, HOK HOK design and technology leaders share their thoughts on navigating the metaverse.

44 I HAVE SEEN THE FUTURE…& IT’S MADE OF GLASS

Prof. Shams Eldien Naga – Principal and Mahmoud Alaa EldinSenior Design Architect, NAGA Architects

Playing with glass, light, space and connectivity at the luxury Palm Jumeirah in Dubai; where transparency meets modern, minimalistic architecture.

TRANSPARENT ARCHITECTURAL STRUCTURES

52 FUTURE FOCUSED FACADE

Louise Sullivan - Associate Façade Consultant, Buro Happold Pushing the envelope: designing and engineering the dramatic façade of Dubai’s new Museum of the Future.

64 THE NOVARTIS PAVILLON: A ZERO-ENERGY MEDIA FAÇADE

POWERED BY ORGANIC PHOTOVOLTAICS

Hermann Issa - Senior Vice President Business Development & Project Management, ASCA

Collaboration across multiple disciplines and cutting-edge photovoltaic technology turned vision into reality for this creative net-zero media façade.

73 THE NET: A NEXT GENERATION HIGH RISE

Justin Cochran - Senior Associate and Designer, NBBJ Setting a precedent for skyscrapers of the future, the Net’s elegant massing, articulated façade and structural system prioritize holistic occupant health.

84 SLOPING FIRE-RESISTANT GLAZING FOR REMARKABLE SLUISHUIS

AGC Glass Europe and Pyrobel Delve into the cantilevering façade and fire-resistant glazing of the asymmetric Sluishuis, designed by Bjarke Ingels Group and Barcode Architects.

DISRUPTIVE TECHNOLOGIES

92 CREATING A SUSTAINABLE BUILT ENVIRONMENT FIT FOR PURPOSE

Bruce Nicol - Head of Design, eyrise B.V.

A deep dive into the sustainability and efficiency benefits of liquid crystal dynamic glazing with exemplary case studies from eyrise’s portfolio.

101 BIRD-FRIENDLY GLAZING SOLUTIONS TAKE FLIGHT

Saflex and Eastman

Mitigating bird-collisions with a new cutting-edge PVB interlayer for laminated glass without compromising views or aesthetics.

110 MAKING CLEAN ENERGY LOOK GOOD

Wouter van Strien – CEO, Solar Visuals BV

Powering cities of the future: renewable energy, aesthetics and performance drive the technology behind Solar Visuals BIPV panels.

120 SMART GLASS & ARTIFICIAL INTELLIGENCE

Manoj Phatak - Founder of ArtRatio and Smart Glass World Manoj takes us on a journey into adaptive, truly intelligent smart glass and AI; destination unknown.

GLASS RESEARCH

128 LAYERED LAMINATED GLASS ELEMENTS WITH HIGH LOAD-BEARING CAPACITIY Octavian Bunea - Josef Gartner GmbH, Julian Hänig - Technische Universität Dresden, Timo Saukko – Finnglass Oy and Ingo Stelzer, Kuraray Europe GmbH

An investigation into the design and application of layered laminated glass as primary load-bearing elements.

Image courtesy: © Courtesy of UAE Government Media Office

Intelligent Glass Solutions

is Published by Intelligent Publications Limited (IPL)

ISSN: 1742-2396

Publisher: Nick Beaumont

Accounts: Jamie Quy

Editor: Lewis Wilson

DISRUPTING THE STATUS QUO

THE GLASS WORD

136 BUILDING ENVELOPES OF THE FUTURE: REDUCE - REUSE – RECYCLE AND THE TIME OF DEED Dr Werner Jager has “The Glass Word”

As the climate crisis becomes the priority driver for the future of our sector, Werner unpacks current and potential glass façade solutions that address the idiosyncratic challenges of our era.

Production Manager: Kath James 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.

Inside this

Dr. Werner Jager has “The Glass Word”

With the need to decarbonize materials, transport, and processes, use cities as urban mines, and increase the use of renewable energy, on-site, while maintaining the architectural design intent, our construction industry may be beginning its most significant change process in decades.

ALICJA KURZAJEWSKA

Senior Façade Consultant, AESG

The progression of the glass industry over the past years is undeniable. However, if the progress becomes untethered from the globally evident environmental concerns at hand, or if the cost, aesthetics, or novelty are prioritized over sustainability, we may find it very hard to deal with the wavelengths of light.

8

CAROL PHILLIPS

What remains to be seen is what we hope to be true, that once the projects are realized and occupied, the inhabitants will be influenced by the visible intuitive operations of the façade, use of renewable materials, and low- and high-tech approaches to sustainability.

16

LOUISE SULLIVAN

The Museum of the Future is all about innovation. Occupying a prime urban location adjacent to the Emirates

Towers, Dubai’s new landmark attraction is conceived not as a repository for ancient artefacts, but as an incubator of new ideas, a catalyst for innovation, and a global destination for inventors and entrepreneurs.

52

Principal and Senior Writer, HOK Designers of one-dimensional, digital-only buildings aren’t constrained by codes, materiality, constructability or even gravity. The rules architects are accustomed to following vanish in the ether of the metaverse, where a building doesn’t even need to look like a building.

HERMANN ISSA

Extremely light-sensitive, ASCA´s modules generate energy from light coming from all directions, even in low light conditions, and produce energy during a long period of time. Thanks to this, the media façade consumes only the energy it can produce, resulting in a zero-energy media façade.

glass solutions

Partner, Moriyama & Teshima Architects (MTA)

JOHN GILMORE

Associate Façade Consultant, Buro Happold

Senior Vice President Business Development & Project Management, ASCA

THERE BE

Alicja Kurzajewska, Senior Façade Consultant, AESG

Throughout the history of humankind, innovation has always started with the process of creative thinking. One of its most infamous measures that exist is the "uses-for-a-brick" test (also known as the Alternative Uses Test, by Guildford, 1975). How many uses of brick can you name in a matter of few minutes? Most people list common and apparent ones. Divergent thinkers, however, come up with different, innovative, and sometimes odd ways this resource can be used, like weighing down crime evidence thrown into a lake.

The most evident way to observe and experience humankind's innovation and creativity would be to look at the evolution of electronics. Remember your "brick phone" that came out in 1983 and made its way to

Hollywood movies? Well, now it talks to you, measures your heartbeat, and reminds you to drink enough water - all within 29 years.

The rapid pace of innovation is a contagion that affects all businesses. Even though construction has its own pace of moving forward, façade engineering does not hold back and finds its place in the forefront of the fastest advancing sectors of construction. This can be attributed to the inherent adaptive characteristics of the glass.

Façade consultants have to keep up. They are always on the search for the best systems, products, and materials for their clients. Part of that process includes staying in a close relationship with glass and coating manufacturers who keep them up to speed with the newest developments.

Glass manufacturers are currently offering and developing very impressive products, providing an enormous number of ideas, research data and delivering products with new functions. This interaction also helped shape the specialty glazing available in the market, which can do much more than just being a see-through thermal barrier between the interior and exterior. Selective filtering of desired solar radiation, modification of reflectivity and aesthetics, and dynamic functions of changing into an opaque panel or harnessing power by including solar cells are a few examples of innovative progress within the industry.

Architects and investors can select glazing for the building’s envelope from a wide range of products that meet the code's requirements and offer a selection of appearances and additional exciting functions. However, if we want to go beyond mere aesthetics and novel functionality, we cannot disregard sustainability. The climate challenges of the current times created the need to improve processes and technologies by reducing the use of energy. It is noticeable the glass industry aims to respond to the fast-evolving world and ecological challenges we face, which combined with people's creativity, gave birth to several remarkable glass products.

AG-ri-CULTURE

When selecting the glazing for the project, Façade consultants consider the requirements of the indoor space and its habitats, as well as climatic conditions on the outside. Depending on the geographical location, buildings like botanical gardens or greenhouses, which are intended for indoor vegetation growing, face different challenges - from excessive heat to insufficient lighting. The specific needs of flora vary from the ones characteristic to the spaces occupied

The synergy between the demands of architects and consultants, together with the innovative attitude of the glass companies was the catalyst that launched the industry of architectural glazing to another level.

by people, hence the glass used in residential spaces cannot be utilized in buildings intended for growing vegetation.

A solution to this challenge is provided by the AGCULTURE glass series by AGC Glass, which offers three types of glazing for different climatic conditions, that help increase the production and quality of indoor vegetation while reducing the energy used to control the indoor environment. The company has researched and developed its products to filter and optimize the behaviour of the light entering a greenhouse.

Glass called Brilliant and Fountain is a high emissivity glazing (does not trap the heat inside) that utilizes coatings and chemical treatment of the glass surface.

Special anti-reflective coating (AR) of Brilliant, placed on two sides of the glass, was designed to selectively allow the Photosynthetically Active Radiation (PAR) necessary for the plants to enter the greenhouse while reflecting the Near Infrared light (NIR). The importance of reflecting the NIR relates directly to overheating the conditioned space as a result of solar heating. Reflecting NIR reduces the inside temperature, which translates into lesser demand for space cooling. However, the type of anti-reflective coating used in Fountain does not make any selectivity in light transmission and improves the PAR transmission as well as other wavelengths of the entire solar radiation.

When a double anti-reflective coating is used, PAR transmission can reach up to 96.5% with Fountain and up to 98.5% with Brilliant.

Variables such as the position of the Sun in relation to the Earth, season, location, and orientation of the greenhouse, as well as the time of the day, are all significant influencers on the quality of light inside the greenhouse. The two AGCULTURE’s glass products offset these variables with anti-reflective coating, which maximizes the hemispherical light transmittance, reaching 85.5% with double AR in Fountain and 91.5% with double AR in Brilliant. It is important because a 1% increase in hemispherical transmission corresponds to 0.8% more production in weight per square meter, as researchers were able to demonstrate according to the large dataset acquired over many on-field experiments [1].

Figure 3. Relationship between PAR and NIR transmittance of low iron and Brilliant glass.

Figure 2. Brilliant glass and its effect on the wavelengths of light.

Figure 1. Botanical garden. Photo credit: James Orr

THE SCIENCE OF LIGHT

AGC Glass addressed another challenge of indoor vegetation with their AGCULTURE glass. Direct sunlight that enters spaces and creates shadow from the structural framing and other elements, results in less than optimum sunlight exposure to overlapping leaves. The need to create a homogenous climate, where highly diffused light disperses the shadow and enables the leaves at a lower level to receive sufficient lighting and avoid the hot spots, gave rise to hortiscatter – a property of glass affecting the production of the crops.

In the past, the level of light distribution was measured in terms of haze - the amount of light

Figure 5. Hortiscatter vs haze.

Figure 6. Analysis of the shadow in the greenhouse performed by AGCULTURE Lumination Study.

Figure 4. Project precedent –Kaust Greenhouse in Saudi Arabia, utilizing glass with a high level of hortiscatter. Note that the roof's structure does not project any shade onto the surface of the greenhouse.

scattered by more than 2.5° from an incoming angle. However, it is not complex enough to describe the phenomena of light diffusion that influence greenhouses' productivity. Therefore, a broader definition of the light diffusion process was recently introduced as hortiscatter. It is a mathematical formula that describes more comprehensively the homogenous distribution of the light inside a greenhouse, and similarly to haze, it is expressed as a percentage between 0 and 100%. The clear glass has a hortiscatter of 0%, meaning a single beam of light is not diffused or scattered at all.

To influence the level of hortiscatter, the surface of Fountain glass is chemically etched, which

significantly increases the dispersion of sun rays. Such alteration of the glass surface results in hortiscatter of up to 63%, which according to the Wageningen University and Research, each percent of hortiscatter can result in a 0.3% increase in greenhouse production [2].

The current innovative technologies enable AGC to analyze the light in the building with surgical precision by modeling how the light will diffuse while passing through different materials. Analysis of etched glass in both, dry and wet conditions and adjusting for hortiscatter level is conducted to match the outside weather conditions. All of that is done while also considering the building's

shape, the local weather data, and even the shape of the plants, giving optimized glass products perfectly aligned with the outdoor environment.

Reading about greenhouses, tomatoes, AGCULTURE glass' selectivity for PAR and reflectivity to NIR, its hortiscatter, and hemispherical light transmittance properties, one's thinking probably does not diverge to who is going to pollinate the tomatoes. However, AGC Glass knew bees would do that. Although tomatoes are capable of selfpollination, it did not stop the glass manufacturer from researching the influence of different wavelengths of light on bees, which are an essential part of the pollination process. While humans see the light in wavelengths ranging from 390 to 750 nanometers, bees are sensitive to the range from 300 to 650 nanometers, hence noticing the ultraviolet-B spectrum of light invisible to people. Therefore, the glass used for greenhouses and botanical gardens is typically an extra clear glass, which allows more UV light. This process is further increased by adding 1 or 2 layers of antireflective coating.

AGC also improved the hydrophilic properties of the glazing to mitigate issues associated with condensation (reduced light transmission and reduced moisture content in the air). While Fountain and Brilliant glass are great solutions for warm and hot weather and amazingly

Figure 7. Dynamic model of the tomato plant used for the Lumination study conducted by AGCULTURE.

Figure 8. Levels of UV spectrum light transmittance for different types of glazing.

manage the sunlight, growers in a cold climate can also benefit from the innovative glass products. They may consider not only Fountain glass but also Geysir – a glass with a low-E coating designed to keep the heat inside while providing 90% PAR light transmission. Such a product reduces the energy used for heating the space by 23%, recently demonstrated in an experiment by Wageningen University and Research [3].

A DIFFERENT SPECTRUM OF LIGHT

The sustainability challenges that the glass industry faces are not limited to optimized efficiency and improved well-being of building occupants, whether it be people, bees, or plants. In October 2020, the state of Philadelphia in the USA brought to the forefront an ecological concern of a different magnitude. Approximately 1500 migratory birds died from a collision with a glass skyscraper

Figure 9. Ranges of wavelengths of light visible to humans, bees, and birds.

Figure 10. Façade with the bird-safe glass by Pilkington – view from the outside.

during a single day. It is estimated that 1 billion birds die each year from similar accidents in the US only. Counterintuitively, according to research conducted in 2014 by Smithsonian Conservation Biology Institute, most bird mortalities are caused by low-rise buildings and only less than 1% happen because of collisions with skyscrapers [4]. Needless to say, it is a significant environmental concern and a major risk to ecosystems since birds, similarly to bees, are pollinators, spread seeds of vegetation, control the populations of certain insects and pests and contribute to soil formation.

It is a common practice to apply a safety glass where otherwise, the safety of people would be at risk. Glazed walkways and frameless glass balustrades are designed to provide a great level of safety. The good news is that the glass industry provides architects and investors with choices that can maintain the required performance while mitigating the risk for birds. Birds collide with glass because of several reasons, but the ones most closely related to glass are reflection and transmission, which form images either reflected or seen through the glass. Due to the inherent reflectivity of glass, birds perceive the object it reflects as

an actual object (i.e., a sky or vegetation), while with highly transparent glass, birds simply do not see the glass as a barrier and may perceive it as a continuation of an outdoor environment. Moreover, birds' vision can perceive the UV spectrum that is not perceivable to people. Therefore, a UV treatment for glass is used as a bird protection practice.

There are several UV glass products on the market which are safe for birds, Pilkington AviSafe™ being a good example. The technology is focused on the two parameters that affect birds: transparency and reflectivity. Bird-safe glass is made by stripe coating on the external surface, which enhances UV reflection (the light spectrum visible to birds), making the glass noticeable. At the same time, the coating maintains high visual light transmittance, remains aesthetically appealing from the exterior side, and the coating stripe pattern is only slightly noticeable by the human eye from the interior. The width of the coating pattern is approximately 25mm, with the spacing that was tested to pass the rigorous WIN test (a European test, similar to the American Bird Conservatory tunnel test).

THE BIRDS AND THE BEES

The progression of the glass industry over the past years is undeniable. However, if the progress becomes untethered from the globally evident environmental concerns at hand or if the cost, aesthetics, or novelty will be prioritized over sustainability, we may find it very hard to deal with the wavelengths of light. Therefore, a balance between financial benefits and sustainability must be reached with the help of innovative glass manufacturers and divergent thinking façade specialists so that we can tell future generations the story about the birds and the bees.

References:

[1] Marcelis, L.F.M., Broekhuijsen, A.G.M., Meinen, E., Nijs, E.M.F.M. and Raaphorst, M.G.M. 2006. Quantification of the growth response to light quality of greenhouse grown crops. Acta Horticulturae 711, 97–104. doi:10.17660/ ActaHortic.2006.711.9.

[2] Li, T., Heuvelink, E., Dueck, T.A., Janse, J., Gort, G. and Marcelis, L.F.M., 2014. Enhancement of crop photosynthesis by diffuse light: quantifying the contributing factors. Ann. Bot. 114, 145-156.

[3] https://www.kasalsenergiebron.nl/nieuws/proef-met-low-eglas-is-goed-op-weg/

[4] Bird–building collisions in the United States: Estimates of annual mortality and species vulnerability, January 2014, Scott R. Loss, Tom Will, Sara S. Loss, Peter P. Marra

ALICJA KURZAJEWSKA, MSc Eng Alicja is a Senior Façade Consultant at AESG with extensive international façade consulting experience, which she gained while working as a Façade Consultant USA, UK, and UAE. She has comprehensive knowledge about façade systems and materials and sound skills in façade design, from concept to construction stages. Holding a degree in structural engineering, Alicja is interested in the subject of structural analysis of glass. While working closely with the Architects, she is committed to delivering high-quality design, and assuring the practicality and efficiency of the applied solutions.

Figure11. Façade with the bird-safe glass by Pilkington – view from the inside.

CHANGING DESIGN AND CONSTRUCTION

Fig. 1. View of Limberlost Place from Queen’s Quay St., courtesy of Moriyama & Teshima Architects – design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

Carol Phillips, FRAIC, OAA, MAIBC, AAA, NSAA, LEED AP

Context

To have meaningful impact on the urgent climate emergency, building design must not only adapt and innovate but aspire to change the culture and expectations of all those connected to the building. This includes those involved in the act of building and design, to the end users. Architecture can influence our daily lives and behaviours and architects, builders, and clients not only have responsibility but have agency in shaping this. Recently the conversation on sustainability has been shifting from energy to carbon - this is a sound and necessary shift, however the job of reducing energy consumption is not done yet and it will be years before the transference to clean grids in our urban centres is realized. Holistic approaches to reducing consumption and seeking renewables in all aspects of a building must be considered as industry and infrastructure makes its transition to decarbonizing.

Moriyama & Teshima Architects have been working on a number of high-performance buildings that take a multi-pronged approach to achieving sustainable targets. In two of these, the façades play a significant role in not only the performance of the building, but in making the building operations intuitive for its users and occupants. We feel this is one way of addressing the issue of changing expectations and culture.

The duo projects which are currently under construction are the Ontario Secondary School Teachers Federation (OSSTF) Headquarters (and multi-tenant commercial) Building and Limberlost Place (formally The Arbour) for George Brown College designed in collaboration with Acton Ostry Inc., both located in Toronto.

Both buildings are mass timber structures, and both achieve the highest levels of our

Fig. 2. View of OSSTF Headquarters and Multi Tenant Commercial Building exterior, image by Doug and Wolf and design courtesy of Moriyama & Teshima Architects

municipal targets, well in advance of the 2030 TEDI, TEUI, and GHGI reductions. Key project team members in achieving these are targets are Fast + Epp structural engineers, Transsolar KlimaEngineering and the Integral Group. The constructors are Eastern Construction for the OSSTF which is project managed by the BTY Group, and for Limberlost Place, it is PCL Construction with internal George Brown College Project management.

OSSTF Headquarters and Multi-Tenant Commercial Building

The headquarters for the Ontario Secondary School Teachers Federation designed by

Moriyama & Teshima Architects is 124, 000 sq.ft. three-storey commercial office building at the edge of a major ravine system. The building is intended to house the offices of the OSSTF and represents all the educators in the secondary school system in Ontario, as well as additional tenants. This hundredyear-old organization is fiscally responsible to its membership and all design decisions associated with this design were rigorously assessed for long-term value, health and wellness of employees and operational savings. Despite perceived premiums for a mass timber structure, after analysis under the lease of these values, the OSSTF invested in a mass timber LEED Platinum solution that also invested in naturalized restoration of the ravine edge.

The design prioritizes democratic access to light and view as well as access to outdoor space and communal connection to the ravine. The exposed timber environment, beyond the commitment to renewable, carbon sequestering construction, creates an enveloping connection to nature in the daily life of the employees.

The mass timber structure of the building uses a 9m x 9m grid of glulam columns, beams, and purlins with a CLT infill panel for the general floor system. This is an optimal grid for office layouts and was chosen for its optimization of the timber volume. Flexibility for tenants and future changes is facilitated using a raised floor system that also assists with acoustics and wire control and is a fully integrated UFAD system delivery.

Fig.3. View of level 3 terrace, image and design courtesy of Moriyama & Teshima Architects

Fig.4. View of level 1 open office, image and design courtesy of Moriyama & Teshima Architects

The LEED Platinum design achieves significant reductions in energy consumption and a reduction of Green House Gas Emissions. The building systems are comprised of geothermal heat exchange, passive natural ventilation system used together with a decoupled active mechanical system, and energy generation from the rooftop photo voltaic array. The key player in the building performance is the façade that contributes most significantly to the environment and experience for the building occupants.

The building is first and foremost an efficient compact form with a well-insulated envelope that is comprised of a CLT backup panel rain screen assembly protected by a metal cladding system. The overall energy modelling performed by Transsolar KlimaEngineering NYC revealed that the key energy drivers for the project were plug loads and lighting loads. This was critical to the design process and resulted in the following envelope decisions:

Fig.5. Hybrid structure, concrete basement, mass timber with steel cores and concrete topping, image and design courtesy of Moriyama & Teshima Architects

Fig.6. OSSTF Headquarters and Multi Tenant Commercial Building Sustainable Strategies, image and design courtesy of Moriyama & Teshima Architects

• Atrium design with a glazed skylight for daylighting deep into the building

• Atrium design with operable vents and fan assistance to function as a solar chimney for natural ventilation design

• Operable windows throughout

• 50% window to wall ratio to maximize daylight

• Shading on 3 façades to mitigate heat gain, depth of shade varies based on sun exposure

The window shade became the principal design expression for this modestly budgeted building. The building is under construction and as a post-design analysis, it was one of the subjects of a University of Toronto graduate studio research project called Half Studio, under the direction of principal researcher and educator Kelly Doran. The research was to examine the embodied carbon of a number of mass timber buildings across Canada and Europe.

Fig.7. View of ground floor atrium and mobile café, image by Doug and Wolf, design by Moriyama & Teshima Architects

Fig.8. View of entry at dusk, image courtesy of Office in Search Off…, design by Moriyama & Teshima Architects

Fig.9. Façade sectional details with carbon metric values, courtesy of Ha/f Research Studio.

The Ha/f Research Studio was conducted at the John H. Daniels Faculty of Architecture, Landscape, and Design. It was led by Adjunct Professor Kelly Alvarez Doran, co-founder of Ha/f Climate Design, and Senior Director of Sustainability and Regenerative Design at MASS Design Group. The project team included graduate students Saqib Mansoor, Bahia Marks,

Robert Raynor, Shimin Huang, Jue Wang, Rashmi Sirkar, Ophelia Lau, Huda Alkhatib, Clara Ziada and Natalia Enriquez Goyes.

The analysis revealed that while the overall carbon performance of the building was admirable, the construction of the shading device with a steel substructure worked at

cross purposes with the timber and contained a significant carbon footprint. While the overall project achieves ambitious targets and commits to renewable resources and significant energy reductions, the modelling and analysis teaches us that we can continually improve as we turn our attention to embodied carbon reductions in the selection of materials and in construction.

Fig.10. View Overlooking the OSSTF Headquarters and Multi-Tenant Commercial Building in its city context, image by Office in Search Of…, design courtesy of Moriyama & Teshima Architects

Limberlost Place (formally The Arbour) for George Brown College

Limberlost place is a ten-storey exposed mass timber, net zero carbon emissions, assembly occupancy education building for George brown college in Toronto Ontario. Procured through an international design competition, Moriyama & Teshima Architects in collaboration with Acton Ostry Architects Inc. were selected to realize a building that was a highly aspirational vision to introduce mass timber into the Toronto lexicon of public buildings and to achieve sustainability targets a decade in advance of the Toronto step plan to 2030 carbon reductions (Toronto Green Standards Tier 4). The remarkable aspiration of

this building is the use of exposed mass timber in an educational building where the assembly occupancies and the teaching spaces, occupy the full verticality of the building, with research centres at the top of the building and classrooms on every level. To our knowledge, this is a first of its kind in the world use of exposed mass timber to this height for this occupancy.

Limberlost Place is organized sectionally around “breathing rooms” or social spaces distributed throughout the vertical expanse of the 10-storeys of the building. Recognizing the challenge of vertical campuses to draw the student life up and through the building,

we distributed higher volume spaces at a variety of scales to have the social life of the community permeate all levels rather than contain it solely to a centralized volume. The “breathing rooms” are located at the perimeter of the building on the north, east, and west sides, animating Queens Quay Boulevard and offering views to Lake Ontario and the developing East Bayside waterfront community. The first “room” is the learning landscape, a tiered space that rises three-storeys along Queens Quay Boulevard. From the fourth floor onward, rising in a skip pattern, are cozier two and three-storey rooms, bookending each floor, and meant as informal gathering spaces for students.

Fig.11. View from Queen’s Quay St., image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

The project is organized around a 3-bar plan. The dark program, cores, services, and vertical circulation, occupy the middle bar protecting the perimeter for classrooms and breathing rooms. In doing so we arranged the building to be able to maximize access to daylight and reduce artificial lighting loads in the occupied areas rather than placing the public and teaching spaces deep into the floorplate. This organizational pattern fits well into a regular repeating grid as the classrooms are only restricted in one direction by structure. This contributes to the futureproofing or resiliency of the project whereby lightweight nonstructural demising walls can be relocated

over time as needs and programs change contributing to the long-term life of the building. The planning is further refined to limit all computer labs to the north side of the building to avoid the large energy draws from being further taxed by southern heat gain.

Despite the focus on flexibility and the communal space of the project to organize the design, the critical success factor for this building was to achieve excellent classrooms to support the core function of the building. The criteria for a typical section module, 40 to 50 student classrooms, was to achieve the following:

• Column-free spaces for good sightlines

• Acoustic separations

• Access to daylight and view

• Generous supply of fresh air

• Comfortable thermal conditions

• Good lighting for writing surfaces

• Flexible use and accessible furniture

• Advanced audio-visual equipment

The most challenging of these in the context of a mass timber building was to achieve a 9m span which would allow for these columnfree spaces for 40-50 students within the cost and height restrictions on the site. In the East Bayfront community at Waterfront Toronto

Fig.12. Sectional diagram of Limberlost Place, image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

there is a strict 38m street wall along Queens Quay Boulevard, the main thoroughfare, that is intended to establish continuity of the urban fabric in the newly developing area.

The resulting solution was to seek a “beamless” system that could liberate and maximize space for use but achieve a minimum 9m span in 1 direction. Fast + Epp Engineering created a 3-component mass timber solution that is extremely shallow for this span, with a system that is comprised of bespoke glulam columns and main CLT/concrete composite spanning elements called “slab bands” and standard CLT infill panels. As described by Fast + Epp Engineering: From level 2 to level 9, Cross Laminated Timber (CLT) panels are used as

the primary floor system. To eliminate the use of beams and create more head clearance as well as the space for mechanical and electrical components, 7-ply CLT panels span 9.2m in the north-south direction to act as slab bands on which thinner 7-ply CLT panels will bear in the perpendicular direction. The typical 430x1178 columns, supporting the main CLT “bands” are designed to resist their weak axis bending induced by the thinner CLT panels. As shown in Figure 1 below, 50mm non-structural and 150mm structural concrete topping is added on top of the CLT panels not only for an architectural purpose, but also to further reinforce the panels. The engagement of the concrete topping with the timber below will be maximized using various steel connections.

Fig.13. 3 Bar planning diagram, image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

Fig.14. Typical Floor Section Detail, courtesy of Fast + Epp Engineering

Fig.15. Load Calculations for Cross Laminated Timber (CLT) panels, courtesy of Fast + Epp Engineering

The connections to the concrete were the subject small-scale, half-scale and full-scale testing conducted in collaboration with UNBC and Beiberech University. This research which is publically accessible through the Federal agency NRCAN who funded the research has further advanced our collective understanding of timber concrete composite systems and the connection details between the two materials. The research demonstrated that the most economical of the systems, a metal bar friction fit into the top lamination of the slab band was the preferred connector.

The next step in the process was to design a great envelope. This involved an integrated design team approach obtaining feedback from all team members. The appropriate massing and building orientation also played a key role in the envelope design, ensuring passive before active design. The thermal envelope requires continuous insulation to prevent thermal

bridging, an air-tight envelop to prevent infiltration, and careful selection of the amount of glazing, type of glazing, and shading devices (both external and internal). Energy modelling provided valuable feedback to the design team to ensure the energy targets were being met and multiple iterations were required and will be on-going as part of the design process.

The design of a great envelope transitioned into the next step which was the maximizing light and fresh air. It is important to find the right mix of not too much glass but enough glass to provide good daylighting so that artificial lighting can be turned off as much as possible. In terms of fresh air, the building is designed to have an engineered natural ventilation system so that the building can be ventilated using fresh air when outside air conditions are suitable (mainly spring and fall seasons).

Fig.16. Limberlost Place sustainable heating and cooling strategies, image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

Perhaps one of the unexpected revelations about the design of Limberlost Place is that one of the primary elements contributing to the sustainability of the project is the form of the building. While, from a planning and design perspective, the project’s proximity to Sherbourne Commons – a public park, gives opportunity to consider a striking profile that will be legible in perpetuity because the adjacent property will not be developed. The most striking form, the significant peak of the project, is derived from 3 major sustainability measures:

1. The east and west façades of the building act as passive solar chimneys allowing fresh air to be drawn from operable windows in classrooms and offices, through the corridors and then out to the solar chimney at each floor. This solar chimney starts on the second floor and continues up above the building roof creating a non-fan enabled stack effect and becomes part of the architectural profile.

2. The building stretches up to the north to maximize the north light to the upper floors and slopes to the south to minimize heat gain on the upper floors from the south.

3. The slope becomes a natural armature for the solar PV, utilizing attachments to the standing seam roofing rather than a full secondary armature to create the slope.

The building envelope is also organized to consider the future needs of the project. There are expanses of curtainwall strategically located to take best advantage of the views and contribute to an active waterfront community. The main body of the building is envisioned as a protective high performance prefabricated envelope to protect the timber and provide a

Fig.17. Solar chimney operation modes, image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

well-insulated sealed envelope targeting just over a 40% window to wall ratio. Windows placed every 3 meters support the idea that demising walls can move. Even the smallest foreseeable unit, an office space, could have access to natural light and air. The R-value of the solid portions of the envelope are designed to R-30. In the context of a prefab envelope the weak point are the seams between panels currently under careful development as the design progresses and are resolved through use of gasketed seams.

As both these projects proceed, we are achieving the first part of changing culture –the design and construction team continues to utilize 3-D modelling together with full scale mockups and testing to validate assumptions, continuously improve, and work collaboratively. The BIM model in this case becomes a shared resource for continuous swapping in of trade models for clash and interface troubleshooting between the steel, concrete, and timber and testing performance of the physical mockups will also be part of the on-going refinements of both process and performance in the realization of these nascent systems in the North American context.

Fig.18. Limberlost Place north entrance, image courtesy of Moriyama & Teshima Architects, design by Moriyama & Teshima Architects and Acton Ostry Architects Inc.

What remains to be seen is what we hope to be true, that once the projects are realized and occupied, the inhabitants will be influenced by the visible intuitive operations of the façade, use of renewable materials, and low- and high-tech approaches to sustainability. This we hope will be enabled by design and attention to the placement of social spaces near to and within the spaces where the passive systems and sustainable features are located. By creating these environments and immersive opportunities where in the daily lives of workers, educators, and students there is exposure and value in naturally ventilated, daylit innovative places, there is the potential to change expectations broadly in communities. It isn’t the buildings themselves that can change the future trajectory of how we build and live constructively and sustainably, nor does this erst solely with designers and builders, but rather with the keen minds that occupy the buildings that are influenced and will raise expectations and demand change because they see it is not extraordinary but expected in their daily environment. This potential is no more obvious than in Limberlost Place where the youth of Toronto will be educated as they become the next generation of decision makers and contributors in society.

Carol Phillips

Carol Phillips is a Partner at Moriyama & Teshima Architects (MTA) and a Fellow of the Royal Architectural Institute of Canada. Her passionate drive for powerful and graceful architectural solutions has been honed over a span of more than 20 years. Carol's projects reinforce principles of generous, regenerative, and inspiring spaces that not only serve their communities, but also address their historical and urban contexts. Her portfolio includes MTA’s most ambitious, low-carbon, mass timber, LEED Platinum, and Net Zero targeted projects, including Limberlost Place (a joint venture with Acton Ostry Architects) for George Brown College, and the Ontario Secondary School Teachers’ Federation Multi-Tenant Commercial Building. Other notable and award-winning works that she has been involved in include Toronto Metropolitan University's Centre for Urban Innovation, the University of Toronto Multi-Faith Centre, and Algoma University’s Mukwa Waakaa’igan, a facility committed to creating a welcoming and inclusive space for cross-cultural teaching, learning, healing, and reconciliation.

Fig.19. Limberlost Place ‘Breathing Room’ collaboration area adjacent to solar chimney, image courtesy of Moriyama & Teshima Architects

How Architects Can Help Define

Architects and Designers

Define the Metaverse

John Gilmore, Senior Writer and Principal, HOK

HOK design and technology leaders share their thoughts on navigating the metaverse.

Is it an overhyped buzzword co-opted from a 1990s sci-fi novel or a multi-trilliondollar opportunity that will affect nearly every part of our lives? And what exactly is it?

There are nearly as many working definitions of the metaverse as there are opinions about what it will mean to architects and designers. But it’s often used to describe a future iteration of the internet that immerses people in a 3D virtual reality world where people can interact and conduct real-world activities.

Whatever the definition, the metaverse is coming. Consider ubiquitous smartphones and watches, AR/VR headsets, immersive videogames, Peloton screens and futuristic Tesla dashboards. In many ways it’s already here. As Moore’s Law kicks in and technology continues to accelerate this convergence of physical and digital environments, the design profession will need to stay one step ahead.

The 3D, immersive metaverse will facilitate changes in how design firms work, the services they provide and the products they deliver. The

opportunities range from creating a parallel digital universe that mimics the physical world to developing entirely new universes—and revenue streams.

Designers of the built environment are poised for immediate engagement with the metaverse. “All the physical spaces we design— interiors, buildings, campuses and cities—are born as meta spaces,” says Brian Jencek, HOK’s San Francisco-based director of planning. “We just call them 3D models. We’re already using many of the tools that game designers use—

including Blender, Unreal Engine, Unity and Twinmotion—to create realistic-looking virtual environments.”

Of Digital Sandboxes and Connected Sensors

HOK has long used virtual reality (VR) and augmented reality (AR) tools to immerse clients in a proposed space, be it a stadium, hospital office or lab. These tools can simulate building performance and play out various scenarios. They can model New York City, for example, to show what it will look like if the population grows by 10 million and the sea level rises by 6 feet.

Emerging technology will make it possible to meet with a client inside a proposed or existing building and alter the design in real time. Or for firms to host virtual spaces where, via realistic avatars, designers scattered all over the world can come together to collaborate. It also will be possible to create a true digital twin—a virtual model that accurately reflects a real building and is updated with real-time data. “A digital twin will receive data from connected Internet

of Things sensors to tell the story of a building’s performance throughout its life cycle, from design through operations,” says Chloe Sun, design technology specialist in HOK’s Toronto office.

For now, however, virtual buildings predominantly remain read-only environments that only change as their owners publish updates. “The technology doesn’t exist yet to replicate 3D space in a fidelity that captures anything more than static elements with data links,” says Greg Schleusner, HOK’s New Yorkbased director of design technology. “We don’t even have ways to model something as simple as a person walking through a door.”

At what point will the metaverse be realistic enough to simulate reality? “People are really good at spotting fakes,” says Jencek. “I could show you a rendering where I have used Photoshop to change one digital asset and you would see it in seconds. Though the technology has never been better, we have a lot of work to do if the metaverse is intended to twin reality.”

Another vision for the metaverse looks past digital tools, sensors and data to focus on the creation of immersive environments that bear no semblance to reality. “It’s strange to escape gravity only to re-create it in virtual buildings,” says Jencek. “What if we designed a digital-only stadium where you were floating above the field and there were people around you in every direction: up, down, left, right and everywhere? Do you want to fly to the International Space Station? Or own an NFT of a virtual chateau on a virtual piece of land in the Swiss Alps? We’ll even include the goats! As someone anchored in reality, I’m torn. But one of our roles in the metaverse can be to design these fantastical environments.”

A digital building twin also could be used to enhance people’s experiences in its real-life counterpart. “Imagine an arena that holds thousands of people for a live concert,” says

Sun. “By using a digital twin, the performer will be able to accommodate a much larger audience—potentially millions—to attend virtually and interact with each other.”

Epic Games has already hosted a series of interactive musical performances, including Travis Scott and Ariana Grande, in its “Fortnite” video game. “We could design 20 different skins for that concert venue where the users choose their preferred thematic experience,” says Rashed Singaby, senior project designer for HOK in Kansas City. “Or we could design our own digital art assets that have value for sale as NFTs. Not to mention how our portfolio of projects can be experienced differently in the metaverse, with viewers able to virtually tour the buildings we designed. Between designing for the metaverse and leveraging its capabilities, the potential is almost limitless.”

Designing a Better Metaverse "As someone anchored in reality, I’m torn. But one of our roles in the metaverse can be to design these fantastical environments.”

Brian Jencek, Director of Planning, HOK

The challenge for architects accustomed to overcoming constraints will be to free their imaginations to think on the level of fantasy possible in the virtual world. “There are no rules for buildings in video games,” says Singaby. “Architects can tap into what video game designers have been doing to create captivating, fantasy experiences. More of us may need to learn to code.”

“Every designer has amazing designs sleeping in their hard drives,” adds Sun, who already knows how to code. “We can revitalize them in the metaverse, where we have more opportunities to share our creativity with the world.”

As building designers monitor the patterns and needs of this growing virtual world, they can begin cultivating design standards. When HOK started to build its knowledge about designing for Esports, designers studied several popular video games, like “League of Legends,”

to understand how their competitive events worked. “We then examined the traditional sports market—from venue layout and amenities to how these sports were being produced for broadcast—for cues,” says Singaby. “From this we developed design standards for venues to accommodate Esports. And as traditional sports leagues noticed the blend of physical and digital in Esports events, they were able to learn from and capture some of that magic.”

Will the same type of evolution toward immersive computing experiences also transform the design of other building types? “It’s already starting to happen across workplace, healthcare, education, entertainment and retail projects,” says Singaby. “Designers for every market should be thinking about how the metaverse could dramatically change what their clients need over the next 10 years.”

ESG in the Metaverse

“I worry about the overall effect on humanity of disengaging from nature. We are biological beings, not digital objects.”

David Weatherhead Design Principal, HOK

There will be a host of environment, social and governance issues to grapple with in the metaverse.

On the environmental side, the increased data processing and network traffic required to power the virtual world could vastly increase consumption of electricity. At the same time, conducting more of our activities in the digital world would reduce carbon emissions from transportation while curbing resource use and waste. “I worry about the overall effect on humanity of disengaging from nature,” says David Weatherhead, a design principal for HOK in London. “We are biological beings, not digital objects.”

The metaverse will be more accessible for designers. “We all have relatively equal opportunities in the metaverse market regardless of gender, race, nationality or sexual orientation,” says Sun. “We also can design culturally inclusive, accessible environments.”

Maintaining actual digital twins of physical buildings could advance equity. “This hybridization of a building will offer people on- and off-site access to many of its resources,” says Mark Cichy, director of design technology in HOK’s Toronto studio.

As more real people engage in the virtual worlds of the metaverse, designers will have to consider issues related to governance, security, safety and privacy. A crime that can be committed in the real world—like harassment or theft—most likely has a parallel in the metaverse. “What are the rules and laws people in respectful virtual communities need to abide by?” asks Singaby. “It’s not our issue as architects to solve, but the stewardship and safety of that space is part of our responsibility as advocates for humanity.”

Balancing Act

"We want to keep advocating for the version of the metaverse that maps to and helps the real world.”

Greg Schleusner Director of Design Technology, HOK

Designers of one-dimensional, digital-only buildings aren’t constrained by codes, materiality, constructability or even gravity. The rules architects are accustomed to following vanish in the ether of the metaverse, where a building doesn’t even need to look like a building. “Yet as architects in the real world, we spend a lot of time optimizing the restrictions we’re given,” says Weatherhead. “When I was part of a team designing the world’s tallest building, our goal was to make it as tall as we could while ensuring it was technically feasible and affordable to build. Without those practical limitations, our skills and ability to innovate could be somewhat devalued and engineering goes away.”

Cichy agrees that there’s a risk in the metaverse of commoditizing the role of architects. “We’re there with our clients from the beginning of a building’s design all the way through occupancy and ongoing operations,” he says. “What architects do is so much more powerful and rich than just aesthetics.”

The idea of using the metaverse solely as an escape from reality—a fictional world where people don’t have to physically interact—also sounds dystopian to some designers, who tend to be optimistic by nature and would much prefer to build a better reality. “We don’t just want to reject the real world because it’s difficult

or has problems,” says Schleusner. “That’s the ‘Ready Player One’ version that’s so popular in movies. We want to keep advocating for the version of the metaverse that maps to and helps the real world.”

Imagine AR providing a 3D modeled overlay on what we see in the physical world. Perhaps we could be walking through a park and see how healthy a tree is. Or view information about an historic building. “The bi-directional flow of information between digital worlds and the built environment offers tremendous value,” says Cichy.

John is a senior writer for HOK, covering design and technology. For the past 15+ years at HOK, he has led the content strategy and production of all types of business communications, including websites, social media, books, magazines, articles, videos, news releases, executive messages, intranet content and marketing material. Before joining HOK in 2007, he was a freelance journalist covering design, technology, business and sports. Based in the firm’s St. Louis office, John works with HOK teams around the world. He holds a B.A. in English from Saint Louis University.

Rashed Singaby, Senior Project Designer, HOK

Though he admits to being intrigued by the infinite dimension of user experiences that architects could create in the metaverse, Weatherhead has yet to be moved by a digitalonly design. “But I can easily feel moved by experiencing a great piece of architecture,” he says. “We have a long way to go before we can imbue digital buildings with that kind of emotional power and meaning. For now, we can use these tools to keep making the real world a better place.”

The discussion about the role of architects and designers in connecting the physical and virtual worlds has only just begun and will keep evolving as new layers emerge. Though acknowledging it can be frightening for some because it’s new, Singaby believes designers must embrace this opportunity. “It will be better for us to help define this new digital world than to ignore it,” he says. “It’s happening. And it’s up to us to decide how we want to participate.”

Museo of Metaverse image above courtesy of Mirabella, CC BY-SA 4.0 via Wikimedia Commons

"It will be better for us to help define this new digital world than to ignore it. It’s happening. And it’s up to us to decide how we want to participate.”

John Gilmore, Principal and Senior Writer, HOK

I Have Seen the Future…

Dr. Shams Eldien Naga and Mahmoud Alaaeldin, NAGA Architects

& It's Made of

Future… Glass

EXECUTIVE BOARDROOM COMMENTARY 45intelligent glass solutions | summer 2022 All images courtesy of NAGA Architects

I nnovations in glass design is becoming a catalyst for change in the architectural world. It might be farfetched to think of glass as a part of rapid technology evolution, but it is indeed at the heart of central technologies and will continue to bring us incredible transformations over the next few years. A combination of new technologies and innovative designs will always provide for sensational architecture.

While aesthetic beauty is always the pursuit for an architect, one must remain mindful of climatic conditions and how glass is able to address that. The much talked about ‘global warming’ phenomenon and the extreme weather conditions it brings, warrants the need to focus on various architectural elements to reduce the heat and emissions, and one of the key elements is glass. In the UAE, where temperatures can rise to above 50 degrees celsius, careful thought is given to glass cladding and the nature and type of glass to be used whether the structure in question is a small house or a skyscraper. Highly efficient glass systems help regulate temperatures within the structure while also providing adequate natural light. It also helps conserve energy and contribute to sustainability.

NAGA Architects is one of the leading architecture consultants in the MENA region. It focuses on modern and minimalistic architecture using the latest architectural trends and technologies in its projects to create grandeur and luxury. The use of glass is of prime importance, given the impact it has on modern architecture.

Glass has always been an integral part of NAGA Architects’ designs as it opens up spaces, connects buildings to their environment, and provides an adequate amount of security. The use of glass in our designs depends on the site conditions; studying the surroundings to

determine the exposure of the project to its neighboring plots and how optimum levels of privacy can be maintained. Consideration is also given to the direction of the sun to gain the benefits of natural light during morning time and preventing or minimizing the exposure to direct sunlight during the afternoon time. Technologies such as Smart Glass technology aid in developing our thought process and creative intent. In certain cases, site conditions and the direction of the sun may not allow for the use of large sheets of glass and accordingly one has to integrate other architectural elements such as louvers screen or canopies. Floor to ceiling glass panels is a feature that we always consider given that it creates more expanse and amplifies the magnificence of the interior spaces.

NAGA along with its sister company DHB Holding, recently developed high-end luxury villas at one of Dubai’s most popular addresses, the Palm Jumeirah. The first of these villas sold for a record price and stands out from all other luxury residence on the Palm. One of the main architectural features in these villas is the play on glass and the ability to achieve visuals of the sea and other water elements in the house from every space within. Seamless visual connectivity between the outdoors and indoor areas was one of the unique selling points for us.

Skylights

Starting with the main entrance area, a 7-meter double height space greets visitors with stunning views of the central courtyard and the sea beyond the pool. Whilst standing within the lobby area, one immediately notices a glass bridge on the first level above. A skylight sits atop the second level thereby allowing sunlight to penetrate right through to the ground level. The surface of the skylight is filled with water that casts mesmerizing shadows through the day that move around the house with the movement of the sun and at night cleverly designed cove lighting allows for beautiful reflections of the water throughout the house.

This effect blurs the boundary between the insides and the surrounding sea by mimicking the effect of sunlight moving through water ripples and sea waves, thus creating an underwater effect within the heart of the villa. While this play of light and water on the above skylight creates an experience like no other, it also cleverly regulates the heat and keeps control over ultraviolet rays.

Walkable Glass

Glass is mostly used as a means of allowing light into the space and creating views - but what about glass that you can walk on? In this villa, we made use of glass flooring to create transparency and rich layering within the space.

As mentioned, the use of the glass bridge in the main atrium enhances the experience of light within the space, where the sunlight is allowed

to penetrate the glass bridge, thus flooding the entire space with the beautiful rippling water effect.

Another use of glass flooring is in the show kitchen, which connects to the wine cellar in the basement. Not only does the glass allow more sunlight into the basement space, but it also elongates the space vertically which increases its grandeur.

Double Height Glass

Moving within the space, the double height glass panels open to the central courtyard which is the main natural light source in the heart of the villa. The double height glass can be seen from the first two floors surrounded by the bedrooms and the other living spaces within the villa.

Double height glass is also used alongside a feature screen that filters sunlight into the master dressing room, creating an exquisite shadow and light effect that enhances the quality of the space while creating a strong sense of privacy. The large glass panels ensure that the effect created by the perforated screen is fully exploited and that views to the Zen Garden are maintained in order to further bring the outside in.

Corner Glass

Corner glass serves to create panoramic views of the sea and the view ahead that further enhances the experience within the space. The use of corner glass is complementary to an sea view due to natural feature’s horizontal qualities and limitless nature. By opening the view in two or more directions, the view is not restricted to one planar direction only; It is given a panoramic feel that maximizes the experience of the sea. This feature is also used in the main living and dining areas of the house.

Cubic Glass

An essential element to any natural scene, such as the sea, is the sky. The use of cubic glass adds another layer to the view. It is a three-dimensional corner window that engages the XYZ direction in order to make full use of the view outside, including the sky above. This feature is used in many spaces throughout the villa, and one of its advantageous qualities is its ability to maintain privacy in cases where the cubic glass is a higher up within the space, such as in the bathrooms.

Furthermore, cubic glass is taken full advantage of in the master suite, where the double height glass wraps above the ceiling of the suite alongside the feature perforated screen. The play of light and shadow, couples with the glass, allows for light to be filtered in from all directions, creating beautiful shadows within the space and enhancing the experience inside.

Smart Glass

As a luxurious villa located by the sea, all the spaces within should be given special and careful treatment. Bathrooms and powder rooms are often neglected when it comes to glass and light due to issues relating to privacy. However, the design ensured that most bathrooms within the villa are taking full advantage of the outside views while maintaining full privacy within the space. This was done utilizing Smart Glass technology, which uses electric currents in order to control the properties of the glass. Depending on what is desired by the user, the glass can go from transparent to opaque by simply locking the door.

Acrylic Plexiglass

The use of glass alongside the edges of the pools also helps in creating a visual connectivity from the pool to the beach. The layers of water help in enhancing the beach-side feel and the glass maximizes that effect as much as possible and immerses the user into a ripple filled, soft blue environment that provides a strong sense of tranquility.

Conclusion

Overall, glass plays a very important role in this villa. Different types and forms of glass create different effects within the spaces. Skylights coupled with water adds a beautiful effect to the space from above; double heights shower the space with filtered and unfiltered light that enhances the feeling of nature within the space; corner & cubic windows create panoramic and three-dimensional views to the outside. All these mentioned features come together to create a space that utilizes glass in a way that is innovative and futuristic. At NAGA, glass isn’t simply a medium that allows light and views, it is a tool that is used to enhance the building in terms of views, spatial and light quality, and the overall experience.

Prof. Shams Eldien Naga PHD, AIA RIBA | Principal Dr Naga is NAGA ACHITECTS' founder, Principal and Managing Director. Before formalizing Naga Architects in 2000, Dr Naga has run a private architecture practice since 1992 and held senior positions at several architecture offices in the US and Egypt. In addition to Dr Naga's extensive work experience, he has carried out extensive research while in academia, holding a Bachelor, three Masters and a PHD in Architecture and Planning. He has also held full professorships in universities in the US, Egypt and the UAE. At NAGA Architects, Dr Naga is involved in all aspects of the office operations, but he focuses primarily on directing the Architecture, Interior Design and Landscape departments.

Mahmoud Alaa Eldin

Senior Design Architect Mr. Mahmoud Alaa Eldin is currently a Senior Design Architect at NAGA. With over 7 years of experience in the architectural design and concept development, in the last 7 years, Mahmoud has been Prepare design layouts, architectural design sketches, provide assistance in integrated project design and development based on client’s requirements. Manage both the Design/Rendering team and the design process itself. In addition, Mahmoud has also integrated his creative expressions in graphic design and into an all-encompassing passion: Painting & sketching. This multidisciplinary approach has allowed him to draw from a variety of different skills to promote bold new solutions for create and develop new designs within NAGA for Architecture and Interior Design.

Mahmoud Alaa Eldin

Senior Design Architect

Mr. Mahmoud Alaa Eldin is currently a Senior Design Architect at NAGA. With over 7 years of experience in the architectural design and concept development, in the last 7 years, Mahmoud has been Prepare design layouts, architectural design sketches, provide assistance in integrated project design and development based on client’s requirements. Manage both the Design/Rendering team and the design process itself.

In addition, Mahmoud has also integrated his creative expressions in graphic design and into an all encompassing passion: Painting & sketching. This multidisciplinary approach has allowed him to draw from a variety of different skills to promote bold new solutions for create and develop new designs within NAGA for Architecture and Interior Design Experience: Teaching Assistant, AUST University, UAE Senior Design Architect , Naga Architects, Dubai, UAE University, UAE

Autodesk certified

Future-focused Façade

-focused the Future

Louise Sullivan, Associate Façade Consultant at Buro Happold, explains some of the challenges in creating Dubai’s dramatic new Museum of the Future

The Museum of the Future is all about innovation. Occupying a prime urban location adjacent to the Emirates Towers, Dubai’s new landmark attraction is conceived not as a repository for ancient artefacts, but as an incubator of new ideas, a catalyst for innovation, and a global destination for inventors and entrepreneurs.

The design and development of this distinctive torus-shaped building required its own share of innovative thinking. Buro Happold was appointed as the lead consultant, working closely with architect Killa Design, providing provided all major engineering disciplines up to the end of stage 4. The core engineering disciplines, including façade engineering, were then engaged for all steps up to the handover of the building to the client. Concept design commenced in April 2015 and handover to the client Dubai Future Foundation was achieved in June 2021.

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

The main building is an elliptical annulus with a façade area of approximately 17,000m2 formed by large format double curved Glass Fibre Reinforced Plastic panels (GFRP), covered with double curved stainless-steel sheets, which provide the geometry and shiny metallic appearance.

Its unique shape, the façade calligraphy, the well-integrated lighting that transitions from day to night-time and the public art help to make this building unique. The 78m high building accommodates six exhibition floors, a storey for administration, a three-storey podium housing an auditorium, and an entrance hall.

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

Pushing the envelope

The building sits on a mound formed by a living wall, which raises the building well above the level of the busy adjacent Sheik Zayed Road to the level of the metro line and provides a backdrop of greenery to the busy road and bypassing metro. The building connects to the adjoining Emirates Towers and the nearby metro station by two bridges.

During the concept, schematic and detail design phases, our façade engineering work required close design development with the structural team to coordinate the façade with the steel diagrid (the primary structure which also supports the façade). The project “pushed the envelope” of use of composite materials to achieve a unique/complex geometry including curvature with very large spans.

Buro Happold developed a bespoke meshing algorithm to design the steel elements of the diagrid which make up the main steelwork structure of the torus shape. The resulting complex diagrid framework directly aligned to the digital surface form of the building using non-curved steelwork and had to be capable of supporting the façade panels. The MEP services also had to be incorporated in places or within this zone, which had to bypass all areas of calligraphy in order for it not to be visible.

Parametric/computational analysis was extensively used to rationalise the steel diagrid and panelise the façade/glazing. The façade was panelised in 1000 unique double-curved GFRP panels typically 2.5m wide x 9m high and up to 18m in length.

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

The vision glazing and spandrels take the form of the Arabic calligraphy, which is lit at night along the edge of each calligraphy letter to form an integral part of the façade experience. The calligraphy reads extracts of a poem or quotes written by the Ruler of Dubai, HH Sheikh Mohammed’s, written about the future.

Future vision

The primary inspiration for the building and the client’s vision of the future is translated in the façade shape: the physical building with its exhibition floors represents the understanding of the “future” as we know it today and for the

next 5/10 years and the void represents the unknown promise of the future.

The vision glazing and spandrels are formed of dark grey laminated body tinted glazing with flat rectangular and triangular panels, rather than curved. Each panel is unique, resulting in approximately 4,500 unique double-glazed units, sized, and positioned within the façade surface through parametric modelling to approximate the curved surface. The double-glazed units were made as rectangular shaped as possible to simplify production.

intelligent glass solutions | summer 2022

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

Due to the geometry of the façade resulting in the glazing being used in multiple angles, it was decided to use heat strengthened laminated glass in both the inner and outer panel. SGP was used as the interlayer, due to the unique shape of the double-glazed units.

To achieve the architectural concept of providing a strong contrast between the calligraphy or vision glazing and the stainless steel, it was decided to use multiple layers of body tinted and low iron glazing rather than a solar control coating to meet the G-value requirement. This kept the solar radiation

entering the building low whilst maintaining an acceptable level of visible light transmission but avoiding the use of cutting or edge deletion of solar control coatings on complex or irregular shapes.

The public viewing platform using cantilevered low iron glass balustrades at level 03 allows visitors to directly experience the elliptical void in the façades.

The building has been designed to achieve LEED Platinum certification, one of the few examples in the Gulf Region. It currently uses

some dedicated renewable energy sources (Photovoltaics) and will eventually use its own when completed and in use.

All GFRP panels are unique due to the calligraphy. A pattered or dimpled surface in the stainless-steel finish was selected together with consideration to the surface gloss to minimise the risk of “solar dazzle” to motorists and occupants of the nearby buildings. However, due to its high yield strength, the material was very challenging to double -curvature. The surface tension was released by laser cutting a hex pattern into the surface

of the flat sheets which allowed it to be formed and adhered to the surface using mechanical means in conjunction with pressure under bagging in the curing oven and further use of a composite layer.

As GFRP is not non-combustible, extensive fire testing was prescribed and undertaken, including small-scale material testing and largescale assembly testing (both as a façade and roof system) to demonstrate its viability.

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

Double curvature

The oversized format of the façade panels, their double curvature and the calligraphy being both recessed and crossing the panel joints (in order for it to read continuously), resulted in a challenge to incorporate a typical façade gasket system. After trial and error, it was decided to utilise a wide silicone foam gasket system, which relied on compression from the adjacent panel to achieve weathertightness.

The façade was designed to be supported by the primary steel diagrid. Due to its very high strength-to-weight ratio, the use of GFRP façade panels meant they could

Image by Phil Handforth, courtesy of Buro Happold

Image by Phil Handforth, courtesy of Buro Happold

be considerably thinner and lighter and transfer reduced loads to the steel diagrid or structure (than if comparative materials suitable for double curved façade had been used). Composites such as GFRP are used in the marine and aerospace industries. It took significant design development, engineering and testing to validate the material for use as a façade system.

The façade design is unique and there was no built precedent for the design/specification/ manufacture in façades. The GFRP panels are clad in stainless steel which was selected due to its durability and ability to achieve the architectural intent of a “shiny surface” whilst

intelligent glass solutions | summer 2022

Image by Phil Handforth, courtesy of Buro Happold

achieving an homogenous appearance that would not be possible using typical materials such as PPC. However, due to its high yield strength, the material was very challenging to double curvature.

The resolution of technical and design issues required close collaboration with the specialist contractor and manufacturer; the process relied heavily on prototypes, mock-ups and trails, often large scale. These culminated in

a full-size (2-panel high and wide) visual mock-up that was approved prior to start of manufacture. The final façade panelisation was undertaken by the specialist GFRP contractor Affan, based in the UAE to utilise their expertise in the mould making process, whilst deciding on the optimal panel sizes.

Close collaboration

In addition, close co-ordination with the

Buro Happold Lighting team was necessary in order to integrate the lighting design, which was conceived to illuminate the edge of each calligraphy letter. After trial and error through mock-ups, it was decided that LED strips would be installed directly into the panel for the entire permitter length of glazing, which was approximately 15km in length, resulting in the requirement for considerable sequencing and coordination of cabling.

Image by Phil Handforth, courtesy of Buro Happold

The project faced challenges with regards to installation on site due to the oversized nature of the panels, which were typically installed from a tower crane but required rope access workers to install the façade at the inner ellipse, with the panels being hoisted from the level below. The main contractor was BAM International.

Transferring the Arabic calligraphy from the printed page to the curved surface of the façade posed significant challenges for the architect. This was overcome with 3D modelling. The overall output was monitored by a local artist and calligrapher to ensure it remained aesthetically pleasing and true to the Arabic tradition of calligraphy.

The project required very close coordination and collaboration with the architect Killa Design to achieve their vision, but also with the Buro Happold structural engineering, lighting, fire and MEP teams. The façade build-up or zone was kept to a minimum, from the outer skin to the internal lining which had to accommodate the steel diagrid.

The design challenges could not have been resolved without digital tools. The project was created and delivered entirely within the BIM environment.

Louise Sullivan Associate Façade Consultant, Buro Happold Limited I joined Buro Happold in 2009 and currently work within the London Facade Engineering team. I have a genuine interest in resolving challenges in complex facade designs, with a particular focus on materials, testing, and getting buildings built. I have a specific passion for the middle east and relish the unique opportunities and challenges working in that region brings.

Image by Phil Handforth, courtesy of Buro Happold

The Novartis Pavillon is the latest addition to the campus of the pharmaceutical company Novartis in Basel. Opened in April 2022, the circular two-level building houses the permanent multimedia exhibition Wonders of Medicine and offers, furthermore, open space for learning, meetings and events. This curved landmark of contemporary architecture embodies the biggest installation in the world with solar modules from carbon-based organic materials, designed and produced by the organic photovoltaics global leader ASCA. The zero-energy media façade of the building, powered by solar electricity, illuminates the pavilion and displays content from various artists.

intelligent glass solutions | summer 2022

Credit: Laurits Jensen

From David Chipperfield and Frank Gehry to Tadao Ando –several famous architects have already realised their visions and designed specific buildings at the Novartis Campus in Basel, situated directly on the river Rhine. In 2017, Novartis announced an international competition for a new building to host an exhibition which could visualise and explain the process of developing medicine.

The Milan-based studio AMDL CIRCLE won the contest. The architects collaborated closely with local architect and general planner Blaser Butscher Architekten AG, who were responsible for planning, tenders, technical design, construction, and delivery of the project. The Basel-based studio for media architectures iart and one of the world’s leaders in exhibition design ATELIER BRÜCKNER won a second Novartis competition to set up the exhibition.

From a donut to a dome

“At first, we developed a circular looping building with a mirror surface, floating in the landscape. In the course of the project, we simplified the building and shaped it like a donut, but Novartis asked us to make the building more expressive and contemporary”, Nicholas Bewick, project architect at AMDL Circle, explains. So together with the studio for media architectures iart, AMDL CIRCLE developed the idea of a media façade.

Credit: iart

“It was our goal to produce enough solar electricity to power the façade”, iart´s founder and chairman Valentin Spiess explains. For this reason, iart approached the organic photovoltaics global leader ASCA in 2019. “The translucency of ASCA´s solutions was key for us. It enabled us to create layers and illuminate the building with direct and indirect light by using the metal façade as a reflector”, Spiess says. “In addition, ASCA´s solutions convinced us because they are light and flexible – and can therefore easily follow the

curves of the dome-shaped building – and can be manufactured in a wide range of colours”, he adds.

“Silicon solar cells look like television screens and that is not what we wanted. Novartis wanted to make a statement, and thanks to our collaboration, we managed to realise this stunning project. With this expressive design, we broke down barriers between artists and scientists and were able to visualise the scientists´ work”, Bewick says.

Infinite freedom for designers

ASCA started to develop the solar modules in 2020. The requirements were to create solutions that are transparent and designable, can be produced in scalable processes, installed on curved surfaces, integrated into polycarbonate and have different forms and shapes. To simplify the installation on the dome-shaped building, it was also important for the architects that the solar modules could be bent in a cold forming process. And ASCA succeeded, without any compromises.

glass solutions

Credit: iart

Credit: iart

Credit: Laurits Jensen

While technology-driven compromises are always necessary with silicon, ASCA´s carbonbased organic solutions create an infinite freedom of design. In contrast to silicon solar cells, they are printed, can be integrated into any material and can take any shape.

Within 15 months, ASCA planned, designed and produced more than 10,000 semi-transparent blue diamond- and triangle-shaped solar modules with ten different sizes and laminated them into polycarbonate. The company developed them to be perfectly integrated in the structure according to the ideas of iart. To achieve this goal, they incorporated holes in the middle of the panel to let the light from the LEDs go through, and curved angles at the corners leave some space for the screws of the mounting system. These details were important to provide a full design freedom of this technology for the architects.

The same is true for the connection points: ASCA did not work with classical junction boxes as used with classical silicon modules. Instead, the company designed the connection point together with iart. As people can see everything shining through the transparent

ASCA: Reinventing the use of solar energy into the building envelope

ASCA modules generate energy from light coming from all directions and even in low light conditions, allowing solar energy to be used on façades, balustrades, skylights and shading systems, regardless of their form or material. The solutions can be produced in any shape and in different colours, and can be integrated into glass, polycarbonate or textiles, making it possible to produce energy on any surface. Based on organic materials, the solar modules do not use rare earth materials and have a very low environmental footprint.

Besides diamond and triangle shapes, ASCA has already produced hexagons for solar trees and green stripes for glass balustrades, for example. Sizes can vary from small projects with 1, 2 or 3 square meters up to 2,500 square meters as realised for the Novartis Pavillon in Basel. Thanks to the printing process, the scalability is infinite, and ASCA is not limited to any quantity or size.

On top of design and production, ASCA takes responsibility for integrating the architectural and technical design of the printed solar cells. The aesthetical low-carbon energy solutions are based on 100 percent recoverable organic materials, a technology that improves the sustainability of architecture and is a key for energy transition.

ASCA offers solar solutions that reinvent the use of solar energy on a building because they can be seamlessly and aesthetically integrated into any new architectural structures and designs, thus becoming part of the structure itself. With ASCA´s solutions, architecture is not driven by the technology anymore, and solar modules can become part of the building envelope.

Credit: iart

panel, iart and ASCA decided to hide the connection in a ring on the backside of the panel.

ASCA handed over the fully connected and laminated modules to iart, who built the structure and the mounting system for the façade and constructed sub-units with 16 modules before installing them on the building façade. Thanks to the lamination in polycarbonate, the modules were flexible and could be cold-bent to follow the lines of the building.

Like a puzzle

The architects had to face many challenges.

“The steel mesh had to be attached to the standing seam of the metal façade. This was very tricky, and we had to be very precise”, Spiess says. Timing and logistics were challenging as

Credit: AMDL CIRCLE

Credit: iart

well. “To solve this, we started a just-in-time production and assembled the units in an old Novartis factory on the campus, just behind the construction site. Then, we attached the units with a crane.”

The media and organic photovoltaic solutions were embedded as one solution and with one wiring harness. To build the façade, iart used hundreds of different tubes, bent them to follow the lines of the dome. “The assembly was like a puzzle and very complex”, Spiess reports.

Thanks to the collaboration with the German manufacturer SolarInvert, iart was able to use bidirectional solar inverters, especially developed for this project. All inverters were attached to the ceiling inside the building and had to be very quiet. Thanks to the bidirectional solar inverters, the modules power the LEDs that display digital art animations and inject surplus energy into the building grid.

Zero-Energy Media façade iart developed more than 30,000 two-sided LEDs and embedded them in the façade facing both outwards and in the direction of the metal shell beneath. The light reflects from the shell and shimmers outwards through the transparent modules, creating a visually multilayered membrane that can display content.

The lighting effect of the façade is created by a minimal light contrast to the environment. The ambient light is constantly measured, and the building lighting, which is slightly more intense, is continuously adjusted. In this way, energy consumption can be reduced.

Credit: iart

Credit: Laurits Jensen

Extremely light-sensitive, ASCA´s modules generate energy from light coming from all directions, even in low light conditions, and produce energy during a long period of time. Thanks to this, the media façade consumes only the energy it can produce, resulting in a zeroenergy media façade.

“The arrangement of the solar modules on the dome-shaped building perfectly enables us to measure the electricity produced in all directions”, Spiess says. Data that iart has collected during the first few months of operation has already shown that the façade produces enough power to display text in the daytime – when the exhibition is open – and digital art animations for up to two hours after sunset. The display images from the world of medicine and environment were specially designed by the video installation artists Daniel Canogar from Spain, Esther Hunziker from Basel

and the artistic duo Semiconductor from Great Britain.

“With this project, we have learned a lot about organic photovoltaic technology. Thanks to the freestanding building with different angles and

inclinations, we have the perfect conditions for measuring the energy generated”, Spiess says.

ASCA: www.asca.com

AMDL CIRCLE: www.amdlcircle.com Iart: www.iart.ch

Hermann Issa Hermann Issa studied architecture in Stuttgart from 1994 to 2000. After four years as a Director for Sales and Marketing at Luxor Solar GmbH, a manufacturer for crystalline PV modules, he started his career in organic photovoltaics in 2009, first for Konarka Technologies Inc. from Lowell, Massachusetts (USA), then for Belectric OPV GmbH from Nuremberg (Germany), then for OPVIUS GmbH from Nuremberg (Germany).

Since 2019, Issa has been Senior Vice President Business Development & Project Management for the global market leader of organic photovoltaics ASCA, an ARMOR GROUP company.

Credit: Laurits Jensen

Credit: iart

Justin Cochran, Senior Associate, Designer at NBBJ

The three story roof garden is nestled into the articulated facade. Image courtesy of NBBJ

As our global population increases, high-rise buildings are essential to reduce society’s physical and environmental footprints. Yet as beneficial as these structures can be for planet health, tall towers often hinder human health. Their requirements for structural and mechanical systems make access to fresh air and outdoor landscapes difficult. Their verticality isolates inhabitants and reduce connectivity. Ironically, most tall buildings fall short. However, the Net—a next-generation tower in Seattle—challenges the typical high rise, serving as a model for a new generation of office buildings. By focusing on wellness, community and building performance, the project rethinks what a high-rise can be, from its innovative structure to the humancentered tenant experience. Designed to influence five pillars of wellness, The Net elevates emotional, physical, organizational, social, and environmental health. Each of these focus areas contribute to the unique structural expression, elegant massing, and articulated façade of this thirty-six floor high-rise at the corner of Third and Marion in downtown Seattle.

Expression Through Structure

At the heart of the Net’s design is a structural expression that reflects how the building performs. In traditional high-rise design, the core is the heart of the tower. Taking a prominent stance in the middle of the building and surrounded by concrete, the core often restricts users’ connectivity to daylight and each other while also limiting future adaptability. The Net, however, is designed using an offset core that increases visibility among tenants by 20 percent. By locating the bulk of core obstructions to the north end of the floor plate, the Net creates open, flexible floor plates that allow tenants to focus on how their organization works best.

Using an offset core, the Net required a structural solution that did not rely on the mass of a typical center core building. Steel brace frames wrap the building’s perimeter, establishing lateral bracing that maximizes structural efficiency while reducing steel tonnage. For most of the tower, the braces follow a repetitive four-floor module that optimizes resource use. Braces on the east and west façade tighten on the north where the core falls within the tower floor plate. As

The fins flare at the street to accentuate the main entrance. Image courtesy of NBBJ

Image courtesy of NBBJ

The double height ground floor opens itself to the public. Image courtesy of NBBJ

the braces move to the south they expand in scale, allowing for views to West Seattle, Puget Sound and Mount Rainer. The north façade has the tightest grouping of braces on the tower, opening in the center to reveal a communicating stair rising all 36 floors. The structural braces are eliminated at the top of the tower, leaving unhindered views from the top.

As important as the bracing is for the stability of the tower, the design team worked hard to reduce the number of braces at the ground floor. Here, the structural expression emphasizes transparency and connectivity throughout to emphasize a commitment to

social health. While buildings typically have a private office lobby with individual retail stores and heavy structural impact, the Net prioritizes community and connections to the city. The design allows the building to feature a ground floor that openly flows from the office lobby to a public retail market hall.

Elegant Massing

The Net’s massing is subtle in shape, yet makes for a unique expression within Seattle’s skyline. Just like the structural bracing, the 220 foot-long east and west facades have distinct massing moves. The east façade, which faces downtown, folds inwards to ease its presence against Third Avenue. This move is

articulated by structural braces which change scale to tighten while adding a dynamic façade movement that is accentuated by a large notch at the building top. As the east façade pushes in to give relief to the city, the west façade pushes out, utilizing a 15-foot cantilever that offers diversity to the floor plate and a unique occupant experience. This cantilever is column-free, providing ultimate flexibility for tenant use. Moving to the south, the massing steps down and away from the city, providing incredible views to the Olympic Mountains and Puget Sound. At the southeast corner, a two story chamfer softens the edge and provides additional distinction to the tower profile.

The Net sits at the south west end of downtown Seattle Image courtesy of NBBJ

Image courtesy of NBBJ

The stepped massing creates an unparalleled experience at the top of the building. With the core moved to the side, the rooftop becomes a three-story exterior garden. Focusing on emotional health, the Net seamlessly directly connects users to the restorative benefits of nature without ever leaving the building. A series of berms feature luscious planting and trees, giving tenants areas to gather in large groups or find a moment of respite. The rooftop features amenities such as a 40’ tall executive lounge on level 36. Using double-stacked unitized curtainwall units, the executive lounge offers clear views to both downtown and the Olympic mountains. One level below, the Net features a fitness center that links exercise to commanding views from the natural setting of the terrace. This space reinforces an intent to create restorative spaces that enhance the emotional and physical health of occupants. A more secluded outdoor experience occurs on Level 34, where a smaller terrace and larger useable floor area create a natural location for C-suite activities. Tucked elegantly behind the 15-foot extended façade, all rooftop terraces are protected from high winds to maximize the days these amenities can be used throughout the year.

Detail of the fin articulation Image courtesy of NBBJ

The level 36 executive lounge Image courtesy of NBBJ

Image courtesy of NBBJ

The three story roof garden is nestled into the articulated facade. Image courtesy of NBBJ

Articulated Façade

Leveraging the innovative structural expression and elegant massing, the Net façade design emphasizes both. Oriented forty-five degrees off north, the building is ideally situated to utilize vertical fins. The fins not only add to the strong structural language of the building, but also create a five percent reduction in solar exposure. Within each of the bracing diamonds lies a series of aluminum fins that project and taper to reflect the elegant structural expression on the exterior of the building.

At the smallest projected dimensions, the fins stand a little more than three inches, serving as a fundamental building block of the design concept. The profile grows to twelve inches, developing a subtle curve that softens the façade across the entire building. The fin expression is repeated every four floors, finishing in a top and bottom of the tower that stress two distinct expressions. At the crown, the fins stretch away from the façade to a depth of two feet that slope with the massing to create variety. At the base, the expression takes a grander approach, meeting the street with a dramatic flare over the sidewalk that expands ten feet outward. This element not only creates a pronounced pedestrian experience but also becomes a welcoming shelter that meets the City of Seattle’s street use canopy requirement.

Image courtesy of NBBJ

Ground floor market with grand staircase taking the public to second floor retail. Image courtesy of NBBJ

Under the deep projection, the fins support glass to provide a continuous covered walkway along 3rd Avenue that leads to an inviting main entrance. All the fins terminate at the base with a one-foot depth, providing scale and reinforcing the massing above. On the north end, the project features a solarium where the fins fold around, completing the expression to the ground.

With the fins high above the street, the Net opens itself to the public. The base of the project is clad in large glass panels, with the largest ten feet wide by 25 feet tall. This highly transparent glass is supported by laminated glass fins that support both the exterior wall and glass canopies. Unlike typical canopy systems that require beams that span from interior columns and cause unsightly sight lines behind the glass that disrupt views and access to daylight, this system eliminates the beam from the interior space. As a result, the all-glass podium creates a welcoming transparency, housing diverse ground floor amenities from a restaurant to a public market to an office work lounge located in the solarium.

At the north and south ends, the ground floor is expressed as double height volumes. The north end complements the main entrance of the Net, where a 45-foot transparent façade reveals glass-enclosed elevator shafts, creating an open, inviting environment. The additional transparency works to dissolve the core to emphasize visibility to ground floor amenities. The solarium is located at the north, taking advantage of the softer northern light, while the south end becomes the main entrance to the public market hall. The Net’s holistic ground floor design provides an engaging retail experience that seamlessly extends to the second floor via a striking grand stair.

Through its massing, structural system, and articulated façade, The Net serves as a valuable precedent for how tall buildings can visually express their commitment to holistic health. This high-rise demonstrates the ultimate potential of design approaches that are wellness and community-centered design while showcasing opportunities for other high-rises in the future.

Justin designs world-class workplace, mixed-use and hospitality projects that advance client goals and benefit the greater community. A creative designer with an international portfolio, Justin is known for designing extraordinarily customized environments by keeping an organization’s culture and business drivers at the heart of any project. A versatile team leader and effective project manager, Justin has the organizational and technical aptitude to drive and deliver projects on a variety of scales, from design to construction phases.

Over the past 17 years, his focus on budgetconscious solutions includes sustainable design and the use of materials that have yielded LEED Gold and Platinum facilities across North America.

Justin Cochran, Senior Associate, Designer at NBBJ

Level 35 roof deck overlooking Puget

and the

Image courtesy of

In the first half of our Summer Edition, the authors, top authorities in glass, architectural design, and façade engineering, have emphasized the present agenda of our industry. It is clear that glass can no longer be considered a passive construction material. There are more demands being made on building envelopes and the businesses that design and construct them, including lowering energy use and carbon emissions and providing transparent security, comfort, and improving occupant well-being. These expectations are fueling an unprecedented wave of "responsible façade innovation," which is intrinsically related to concerns about global sustainability. The built environment is experiencing seismic innovations in technology, from the metaverse to the ingenuity highlighted in the future focused façade of the Museum of the Future and The Net, one thing is certain: we are just scratching the surface of what we thought was possible. In the second chapter of this edition, you will be privy to the technologies that are disrupting the industry and pushing the boundaries of glass façade and building design. Smart glass and Artificial Intelligence, dynamic liquid crystal glazing and sloping fire-resistant glass for the Bjarke Ingels Group designed Sluishuis are uncovered by industry experts in the pages to come. Last but by no means least, Dr Werner Jager has the “The Glass Word” where he gazes into the glass industry crystal ball to unearth the building envelopes of the future.

To come:

Bruce Nicol, eyrise

“To reduce emissions and embedded carbon, research efforts have been made to develop new materials and technologies into sustainable construction options”.

Page 92

Manoj Phatak, ArtRatio and Smart Glass World

“Our journey into adaptive, truly intelligent smart glass building facades, smart glass showcases and smart glass enabled transportation has just begun. We have merely scratched the surface”.

Page 120

PLENTY

COME

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

The windows of the cantilevered apartments with walkable fire-resistant glass with the highest classification (EI60). Artist impression: Image courtesy of Barcode Architects

Sloping fireresistant glazing for remarkable Sluishuis

The Sluishuis rises at the place where city, countryside, and water come together in Amsterdam. This 46,500-square-metre housing project being built by the BIG - Bjarke Ingels Group and Barcode Architects will soon rise over the water. Which was reason enough to provide the windows of the cantilevered apartments with walkable fire-resistant glass with the highest classification (EI60). The installation of the glass was completed in November and the completion of the complex is scheduled for mid-2022.

The design of the Sluishuis, which will rise over the water near the Enneüs Heerma Bridge, is a nod to traditional inner-city courtyards. By tilting a corner of the block toward the water creates an inner courtyard that connects to the surrounding water and offers scenic views of the IJmeer (a bordering lake). In the vicinity of Steigereiland, the block slopes down in steps, which creates terraces and pleasantly 'scales' the building in proportion to the surrounding area. All apartments receive plenty of daylight illumination due to the shape of the building. Both residents and visitors can use the courtyard, the pontoon promenade around the building, and the public walkway to the top of the Sluishuis.

ASYMMETRIC

When you look at the floor plan, the structure looks like a traditional rectangular building block. But if you look at it from any other viewpoint, the building suddenly takes on a completely

Jan Liebeton and Ronald Struik with a view of two sloping sections with fire-resistant glass in the background Photo courtesy of AGC Glass Europe

asymmetric character. A series of islands with houseboats and floating gardens will surround the building. The ground floor has a variety of facilities that include a central lobby for residents, a sailing school, a water sports centre, and a restaurant. The building will have 442 apartments that are intended for different target groups, income levels, and age groups. All homes are accessible via the central courtyard. Special floatin and water sports apartments are located on the ground floor. The other floors have a diversity of residences, from apartments with outdoor spaces and water views to penthouses with front gardens opening onto the courtyard.

The Sluishuis will be a passive building with an Energy Performance Coefficient (EPC) of -0.01. This means that the building produces more energy than it uses. The building's heating requirements were minimised by combining insulation techniques, triple glazing, heat recovery from the ventilation systems, and waste water collection. District heating and heat pumps for hot water and cooling also reduce energy consumption even more. About 2,200 square metres of solar panels offset the remaining energy consumption for heating, heat pumps, ventilation, and LED lighting.

The floor plan is traditionally rectangular, but from every other point of view, the Sluishuis is completely asymmetric.

Artist impression: Image courtesy of Barcode Architects

The precast window frames were lifted through the façade of the apartment ceilings using a special hoisting device

Photo courtesy of AGC Glass Europe

Ronald Struik (left): 'The fire-resistant windows are walkable and in keeping with our series of special projects. It was a terrific collaboration with AGC Pyrobel.'

Photo courtesy of AGC Glass Europe

Image courtesy of Barcode Architects

The Sluishuis is still under construction. Completion is scheduled for mid-2022

Photo courtesy of AGC Glass Europe

MC KERSTEN

Ronald Struik is the project leader/installation manager at MC Kersten in Amsterdam. This company specialises in conceiving and developing complex metal structures, stairs, elevator shafts, fencing, window frames, doors and, works of art. Kersten is a family business founded in 1959 under the leadership of Robert and Jeroen Kersten, the sons of the founder. In the meantime, a third generation now also works at the company. 'The Sluishuis fire-resistant windows is in keeping with our series of special projects,' says Struik. 'It was a terrific collaboration with AGC Pyrobel who supplied walkable EI60 glazing for the windows in the apartments that slope over the water. There are a total of 42 frames that were precast at our production facility. We incorporated the glass into a Jansen VISS Fire profile. And the composition was specially tested for this application. This all sounds simple enough, but it certainly wasn't. There was the fire resistance and walkability and, for instance, the required high-quality airtightness to handle the massive energy performance of the building.'

With VISS Fire, Jansen offers a universally applicable, insulated, and modular façade construction system. The standard system is suitable for vertical interior and exterior walls rated for all fire resistance classes (E30, EW30/60/90, and EI30/60/90). An important feature is the small viewing width of 50 millimetres for the post and batten structures. The construction depths are 50 to 140 millimetres. This makes the profile system

suitable for façade elements that exceed floors of up to a height of 5 metres and an unlimited width. In the Sluishuis, the window frame dimensions are 1,250 x 3,000 millimetres. 'The requirement of 60 minutes of fire resistance with the highest classification EI,' explains Struik, 'is based on need to prevent fire spreading from one apartment to another that are located diagonally above it. Furthermore, the apartments slope above the water, which makes them difficult for firefighters to reach.'

DEDICATED TEST

EI refers to the flame-resistance (E) and thermal insulation (I). It is the criterion that measures the temperature rise of the glass on the protected side. The 30 per cent gentle slope of the window frames meant the glass had to be both fall-through resistant and walkable. The glass package is 74 millimetres in thickness. It has a Pyrobel T EI60 35H outside pane combined with an 888.8 laminated tempered-glass inner pane. The fire-resistant window is on the outside, where it would normally be used on the inside. This has to do with its walkability. The cavity with argon gas is 12 millimetres thick and the package has a UG value of about 1.1 W/m2K. The total area amounted to 140 square metres. As mentioned earlier, as standard, Jansen VISS Fire is suitable for vertical applications. Sloping structures need special testing, especially when the composition of the glass is different from usual.

Jan Liebeton is the Sales & Marketing Manager for Fire Resistant Glass of the Netherlands at AGC Glass Europe and explains why the test was done horizontally. 'The fire test was carried out at Efectis and the maximum size tested was 2,967 x 1,226 millimetres. This is a dedicated test, which was especially for this project with Kersten as the principal. If you test it vertically, you may only use the frame vertically for this specific composition with a deviation of 10 degrees. If you test it at 45 degrees, you can only do so with a slope of 15 to 80 degrees. When you do the test horizontally, you may do so for a slope of 0 to 80 degrees. This allows for wider scope for future use. This choice is partly based on the confidence in our product shown by both the contractor BESIX and MC Kersten. If you do not pass test, you have to take it again, which will cause a considerable delay. But all went well in one go and we passed it with over 90 minutes.'

CHALLENGING INSTALLATION

The precast frames with the thick glass package weigh about 600 kilograms and were too large and heavy to transport indoors. So, they had to be installed from the outside. The artist's impression of the end result showed the façades cantilevering out over the water. But there is just solid ground where the water will eventually be, so it is an 'ordinary' construction site. This made the installation of the frames somewhat easier although it was still a challenging job. Struik: 'We had to come up with a special installation method where we used a hoisting device. In fact, we lifted the

Photo courtesy of AGC Glass Europe

Photo courtesy of AGC Glass Europe

Image courtesy of Barcode Architects

PROJECT DETAILS

Development: BESIX en VORM

Principal: Municipality of Amsterdam

Architect: Bjarke Ingels Group (BIG) and BARCODE Architects

Main contractor: BESIX Nederland

Fire-resistant frames: M.C. Kersten

Fire-resistant glass: AGC Pyrobel

Construction period: 2017 - 2022

Total value: €70 million

Capacity: 442 energy-efficient apartments and 4,000 m2 of commercial and/or communal spaces

Size: 46,500 m2

frames from the ceiling through the façade into the homes. We designed the hoisting device inhouse and also had it certified. It's seven storeys and we used a telescopic aerial platform for the first three storeys. Starting at the fourth storey, we were able to work using a mobile scaffold. And we also used a kind of grandstand scaffold from the contractor, which was there anyway as a supporting base for the concrete work.'

Results-oriented collaboration is a borrowed term that is used increasingly more in the construction industry. But where firms may be at odds with one another, it is Struik's job to get all parties onboard. 'Kersten was involved in the work from start to finish, design to completion,' he says, 'so, I'm a pivotal figure bringing work like this to a successful conclusion with all of our colleagues, suppliers, contractor, and architect. The cooperation with AGC in the preliminary, test, and implementation phases were also terrific. That's also what AGC is all about. They give advice based on their knowledge and expertise and are always great at providing support. An inherent thing with glass is that imperfections can occur. AGC resolves this competently and satisfactorily. The advantage in terms of manufacturing the steel structures

is that we do the complete fabrication and assembly in-house, so if anything must be adjusted, we also do this in-house. We are always keep in mind agreements made also with AGC. So, the work went perfectly according to plan with a state-of-the-art result that we can all soon be proud of.'

Article written by Marco Groothoff

AGC Glass Europe, a European leader in flat glass

Based in Louvain-la-Neuve (Belgium), AGC Glass Europe produces, processes and markets flat glass for the construction industry (external glazing and interior decoration), car manufacture and other industrial sectors (transport, solar power and high-tech). It is the European branch of AGC, a world leader in flat glass. It has over 100 sites throughout Europe and employs around 15,200 employees. More information on www.agc-yourglass.com

Pyrobel

Our Fire-Resistant Glass Department has nearly 250 experienced members of staff and we work with agents and distributors across Europe. Pyrobel glazings are manufactured at three industrial sites: Seneffe in Belgium, and Oloví and Sokolov in the Czech Republic.

We also collaborate closely with researchers at the AGC Technovation Center to design innovative products with unrivalled performance levels. Pyrobel makes living and working environments safer with the widest range of fire-resistant glazings on the market. We supply reliable and sustainable fire-resistant glazing solutions renowned for their outstanding quality. We support our customers with technical expertise, flexible service and short lead times.

Pyrobel captures AGC's Look Beyond vision: we aspire to become your partner of choice in building a brighter, safer world. More information on: www.agc-pyrobel.com

Photo courtesy of AGC Glass Europe

Creating a Sustainable Built Environment Fit for Purpose

Bruce Nicol, Head of Design, eyrise B.V.

The increasing attention to sustainability in the architecture and construction industry is leading to the development of innovative, high-performance solutions. To reduce emissions and embedded carbon, research efforts have been made to develop new materials and technologies into sustainable construction options. For the industry it is indeed pivotal to mitigate energy requirements and emissions, but also to increase the wellbeing of occupants.

One relevant example in façade and interior design is represented by liquid crystal dynamic glazing. While the most common areas of use for liquid crystals are electronic displays in smartphones, personal computers and flat-panel TVs, switchable windows are a new area of application in architecture and construction. Dynamic glass alters its optical and thermal properties when voltage is applied and is rapidly gaining popularity as an easier alternative for blinds and curtains, with far less maintenance. Building designers are considering this technology for its ability to provide sustainable opportunities for insulation, solar control, energy performance and visual comfort.

After pioneering work for over 100 years, the market leader for liquid crystal Merck KGaA equipped the architecture and construction industry with an unprecedented standard combining this technology with glass. eyrise®, a subsidiary of Merck based in The Netherlands, developed dynamic and switchable glazing for interiors and exteriors. This technology can block part of the light and heat, turning the glass into a dark state, or allow more incoming light, leading to a bright state. This transition is possible in less than a second, creating instant shading and temperature regulation while preserving natural light and outside views in all situations.

The construction industry is acquainted with switchable glass based on electrochromic technology, but this material shows slower switching speed and blue glass appearance in the tinted state. On the opposite, dynamic glazing based on liquid crystal technology is instantaneous and colour neutral. When also compared to standard sun blinds or louvered systems, it additionally offers reduced maintenance and mechanical breakdown, thanks to an estimated lifetime of over 25 years. Liquid crystal dynamic glazing therefore represents a higher-performing alternative because of its differentiating materials and technological competitive advantage. But its

contribution to sustainability does not stop there, being able to increase the score on various certification categories on multiple green standards.

Most of these certifications are based on the Sustainable Development Goals (SDG) of the United Nations, which are more than only ecological goals. A building needs to score points in three pillars: Society, Economy and Ecology. Programs such as the Building Research Establishment Environment Assessment Method (BREEAM) and Leadership in Energy and Environmental Design (LEED) have set a high bar in building performance.

copyright BAFTA & eyrise

Achieving the highest rating delivers benefits on both a financial and environmental front, with tenants willing to commit to premium fees. In other cases, as for Estidama in the Middle East, they are initiatives and methodologies for building design. Nonetheless, their goal is to spread a sustainable mindset for environmental, economic, cultural and social value creation.

eyrise® liquid crystal glazing can increase the score on various certification categories of multiple green standards, with a contribution to the three pillars and to both embodied and operational emissions. To achieve the most abatement potential the building industry

should indeed select materials wisely, not only for how much energy they help saving, but also because of their reduced embodied carbon footprint. eyrise® has a reduced carbon footprint being produced with renewable wind power and minimised waste. Operational carbon reduction is instead addressed through the thermal regulation properties of the glass that offer control over the amount of light and heat absorbed or dispersed, with buildings needing less air conditioning. More to the environmental impact, liquid crystal dynamic glass also shows significant implications to humancentered design. As it maximizes solar gain and ensures the best natural light conditions

with no glare, eyrise® provides wellbeing and comfort to the end-user. The color neutrality supports occupants’ natural circadian rhythms throughout the day, offering a more positive impact on health and wellbeing.

A versatile advanced material that helps the industry advance towards a sustainable ethos, dynamic liquid crystal glazing will contribute to creating a built environment that fits for purpose.

CASE STUDY 1: BAFTA 195 PICCADILLY, LONDON, UK

One example comes from what The British Academy of Film and Television Arts (BAFTA) achieved after its reopening to the public in 2022. Built in 1883, the prestigious Victorian location at Piccadilly 195, London, has served as BAFTA’s headquarters since 1974. Its aim is to support and promote the next generation of performers and talented individuals helping them build careers in the creative industries.

During the seven year renovation, BAFTA wanted ideas to improve the building’s contribution to their wide charitable remit. The UK-based studio Benedetti Architects, who

won the commission and was in charge for the redesign, had discovered forgotten structures and decorative plasterwork of two huge rooflights from the original 1883 building. These structures had been covered in 1976 when BAFTA moved-in to create a theatre, a dark space for a 227-seat cinema.

Benedetti proposed to create an additional new floor, that would generate the extra area BAFTA needed while preserving the existing theatre. The orientation given, glazing ratios became crucial to the design.

copyright BAFTA

copyright BAFTA & eyrise

However, a fully glazed floor turned out not to be ideal for a members’ bar or multi-purpose restaurant area in the additional floor. Crucially, removing up to 80% heat and glare necessary for the new top floor to function, eyrise® liquid crystal glazing system proved the right solution. To glaze the rooftop, 82 dynamic liquid crystal windows were installed, of varying shapes and sizes. By raising the roof and re-integrating the roof lights with such innovative technology, the facility has been enriched by a bright new space doubling the building’s capacity. This increase in floorspace enables BAFTA to expand its cultural offer, with a greater variety of initiatives and activities.

The most visible and immediate impact of dynamic glazing to the building was however to provide instant solar shading without compromising natural daylight. Remaining uniquely clear, the glass allows users to view the extraordinary St. James’s churchyard tree canopy, now embraced in the view from the 4th floor. The windows increase the wellbeing of the occupants through visual comfort, thermal regulation and color neutrality, while also helping to reduce energy consumption. Despite the dramatic increase in glass used, the renovation has indeed paid back in terms of energy efficiency. “At the start of the project, our Victorian heritage building had old technology and original features which leaked heat, giving us a high EPC rating. Putting in a fully glazed roof was a challenge if we wanted

to concentrate on sustainability,” said Pauline Campbell, BAFTA’s Head of Property. “The new rooflight structures developed by eyrise® can automatically adjust the shading of the glazing to reduce solar gain, resulting in a lower cooling requirement. This is controlled so that the solar gain can be limited when not needed but can also be actively allowed to heat the space, when heating is required. Working the eyrise® glazing into our project ensured BAFTA’s certification has been upgraded from a G (the least efficient rating) to a UK EPC rating of 48, which corresponds to a B and is comparative to a new build, something that would never have been possible without the technology.”

While traditional glazing has historically lowered a building’s energy efficiency, implementing the latest developments in glass technology has helped BAFTA reduce its ecological footprint and create a sustainable centre of excellence.

PROJECT NAME: British Academy of Film & Television Arts (BAFTA) Headquarters LOCATION: 195 Piccadilly, London UK CLIENT: British Academy of Film & Television Arts (BAFTA)

ARCHITECT: Benedetti Architects, London OTHER CONSULTANTS: Façade Contractor - IPIG Ltd., Main contractor - Knight Harwood Materials used for façade & fenestration: eyrise® s350 Instant Solar Shading Glass

copyright BAFTA & eyrise

CASE

CAMPUS GERMANY AT EXPO

The contribution of advanced building materials to sustainability is particularly pivotal in geographies facing specific climate conditions. In the Middle East, for instance, solar protection is not a luxury. It can contribute to create a comfortable light and temperature environment while reducing the need for air conditioning energy. In line with the imperative of undertaking a sustainable path towards a future where the environment and communities are protected and preserved, Expo 2020 Dubai, made “Connecting Minds, Creating the Future” its central theme. Within the exhibition space, the Sustainability district showcased the world’s most advanced

scientific, technological, economic and social progress from over 190 countries, each with a national pavilion.

Designed by Berlin-based architects LAVA, Campus Germany was the German representation aligning with the Expo’s central theme and built around the principles of the Sustainability district, where it was positioned. The structure is an interactive display of creative sustainable solutions alongside new innovations. The architecture is an ensemble of suspended cubes and steel poles covered by a floating roof and shelled with liquid crystal glass elements. The hybrid façade creates a dynamic

effect where every material is sustainable and designed to respond to the different weather conditions during the six-month Expo period.

“The German Pavilion puts an important spotlight on one of the key issues of our time,” said Céline Glipa, CEO at Eyrise® B.V. “Our instant solar shading glass contributes to this focus on sustainability by creating a comfortable environment for visitors to the exhibition while supporting the building’s energy efficiency ambitions.” Campus Germany approach was indeed bottom-up and humancantered. The purpose of the building was to achieve visitors’ comfort and ease the interaction

between people and physical space. The design principles indeed focused on having a structure that could adapt and change. Even after sunset, when the Expo was still open, the architects wanted to create mystery around the inside of the pavilion. A dynamic façade perfectly contributed to the scope, being capable to switch between unveiling and hiding light coming from the inside of the building. This way, the German Pavilion provided visitors with a true spatial experience, where functionality, structure and technology blended harmonically.

PROJECT NAME: Campus Germany

LOCATION: World Expo 2020 Dubai, UAE

CLIENT: German Federal Ministry for Economic Affairs and Energy

ARCHITECT: Lava Architects, Berlin

OTHER CONSULTANTS: Future Architectural Glass LLC, Ras Al Khaimah, UAE, ARGE Deutscher Pavilion EXPO 2020 Dubai GbR

MATERIALS USED FOR FAÇADE & FENESTRATION: eyrise® s350 Instant Solar Shading Glass

COMPLETION DATE: September 2021

About eyrise® eyrise dynamic liquid crystal glazing from Merck KGaA, Darmstadt, Germany enables premium architecture through advanced technology and human-centred design. Powered by proprietary Licrivision liquid crystal technology, eyrise’s solar shading glass creates light-filled buildings while improving energy efficiencies. Windows can be tinted to provide instant solar shading without compromising on natural daylight, visual comfort, thermal regulation and colour neutrality.

eyrise’s instant privacy glass provides secure working and social environment for agile interior space planning. Fully transparent dynamic liquid crystal glass partitions can be switched on demand to create a private space.

Architects and building designers worldwide use eyrise to create premium glass structures and facades. Recent projects include BAFTA’s headquarters in London, the German Pavilion at the World Expo in Dubai, Orkla City in Oslo, FC Campus in Karlsruhe, Germany, and the Niemeyer Sphere in Leipzig, designed by Oscar Niemeyer. eyrise won the innovation award at Material Prize (MaterialPreis) 2020 and was named CES 2021 innovation award honouree.

Bruce Nicol, Head of Design, eyrise B.V. Bruce Nicol, is an Architect with longterm interest in glass technologies. After completing his Diploma in Architecture at Mackintosh/Glasgow his first project was a groundbreaking curved point-fixed project at Criterion/Piccadilly, which sparked a life-long passion. Followed by a year at Atelier Burgstaller, he continued with Eckelt Glas whereby the team undertook glass projects worldwide. Eg Chanel Tokyo, Prada, Tokyo, NYC TKTS Times Square, The Gherkin, London. Following stints at Arup Façades in London and Dow Corning he now holds the position of Head of Design at eyrise B.V. bringing visibility for Merck’s liquid crystal dynamic glazing to the design community.

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

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Bird-friendly glazing solutions take flight

Birds colliding into buildings is one of the primary design considerations facing architects

Billions of birds unknowingly impact glass windows, glasslink bridges, and glass facades worldwide each year. Birds that have successfully migrated thousands of miles can die in seconds on impact with glass. As a result, many cities and countries around the world are now requiring that new construction include glazing solutions that provide added safety for birds. In response, glass manufacturers have stepped up to the challenge with various bird-safe glazing solutions.

An alarming problem

Birds are essential to the ecosystem. They consume vast quantities of insects and control rodent populations, which helps reduce damage to crops and forests and limit the transmission of diseases like the West Nile virus, dengue fever, and malaria. Birds also regenerate habitats by pollinating plants and dispersing seeds.

Among the drivers for bird collisions in architecture is an overall increase in glass as a design medium. Technical improvements and performance capabilities have made glass more accessible for architects; however, its transmissive and reflective nature can confuse birds. They cannot distinguish that the glass is there in transmittance, so they attempt to fly through, and in reflectance, glass can have an oasis effect, drawing birds into a reflection of the world around them that isn’t real.

Glass is undetectable to birds. Glass on lower levels closest to the ground can reflect vegetation or landscapes, posing just as much risk for bird strikes as upper-level glass that reflects clear skies or provides seemingly pass-through corridors for flying. Birds attempt to reach habitats, open spaces, or other attractive features visible through glass surfaces or free-standing glass.

Beyond city limits

While the blame for bird collisions is often equated with tall buildings, it is only part of the equation. Lower levels reflecting vegetation pose a great risk. According to a statistic from the American Bird Conservancy’s website, “Most collisions take place during the day, and almost half occur at home windows; low-rise buildings account for almost all of the rest. Because of their relative rarity, buildings over 11 stories cause only 0.1% of all building collisions in the United States.”1

That being said, tall buildings, buildings with green balconies and rooftops, and wide buildings with large expanses of glass cause enough bird collisions to make bird-safe glazing a priority for all levels of architecture, from suburban homes to city skyscrapers.

Dangerous flyways

Bird migration patterns are worldwide, with eight major migratory bird pathways through the Pacific Americas, Central Americas, Atlantic Americas, East Atlantic, Black Sea-Mediterranean, East AsiaEast Africa, Central Asia, and East Asia-Australia.

However, even without these migratory paths, birds residing in the same location all year are just as much at risk of window collisions.

Most birds’ first encounters with glass are fatal, as birds have weak skeletal systems. Healthy birds are just as impacted as young and vulnerable birds, having a serious impact on populations, which, in turn, can have an ecological chain reaction.

New building codes for the birds

The growing interest in bird-safety awareness and the need for solutions has been a long time coming. Bird conservationists and environmentalists have worked to draw attention to the issue through articles, news stories, dedicated topics at global events, and coordinated calls for change.

What started at the local level is moving up through various governing bodies. Local laws, codes, and city building permits have helped pave the way for institutional change.

Buildings that have a less negative impact on the environment, including reducing bird strikes, are on everyone’s agenda.

Cities and countries worldwide are passing legislation that requires new construction to include bird-friendly glass as part of green building initiatives and sustainability standards. These building regulations are becoming the

© Saflex

© Saflex

norm among countries, legislative bodies/ governments, and the building industry.

In 2011, the U.S. Green Building Council (USGBC) added Pilot Credit 55—Bird Collision Deterrence to its Pilot Credit Library. A revised version of the credit in 2015 expanded its availability to all LEED® rating systems except neighborhoods. The credit contributes to LEED points with Pilot Credit SSpc55 in Core and Shell.

“Even if your municipality doesn’t require birdfriendly buildings but you are in a known flyway zone, it’s the right thing to do,” said Heather Singler, commercial director of Eastman’s global architecture business.

Builders and birders unite To meet new building requirements for sustainability and eco-friendly products, manufacturers have teamed up with the experts—ornithologists who have studied and understand how birds live and adapt to their surroundings.

Saflex

Product development from several glass and glazing manufacturers has received insight from such agencies as:

• American Bird Conservancy (ABC), United States

• Wiener Umwaltanwaltschaft (WUA), Europe

• Collision Laboratories (Collab), Austria

The USGBC, which issues LEED® Certification Points and Credits when buildings achieve specific standards in a number of sustainable building categories, has also been influential in creating bird-friendly glass and glazing solutions.

Testing and ratings

Most bird-friendly glass and glazing solutions have been tested in flight tunnels. Collab’s and ABC’s tunnels have been used to test products from several countries in addition to the United States, including Brazil, Germany, South Korea, Turkey, and the United Kingdom.2

Earlier this year, ABC doubled its capacity to test and rate glass and other materials for their ability to deter bird collisions. Now with two flight tunnels, ABC can accommodate more of the demand for product testing from glass manufacturers.

The two North American testing facilities can issue a bird-friendly rating called a Material

Threat Factor. Developed in 2010, a threat factor is a way to assign scores measuring a bird’s ability to see and avoid patterned glass and other materials. These scores allow architects to design buildings using rated glass and permit the evaluation of products that can be applied to existing glass (retrofits) to reduce collisions.3

A lower threat factor score means the product is more effective at reducing collisions. ABC uses a threat factor ≤30 to correspond to at least a 50% reduction under real-world conditions. Glazing product manufacturers strive for a threat factor of 30 or under.

In Europe, the Collision Laboratories WIN tunnel test classification corresponds to the Austrian Standard for Evaluating Freestanding Glass (ONR 191040), first developed for evaluating glass at the Hohenau Bird Banding Station in Austria in response to high rates of bird deaths on highway noise barriers.

Seeing patterns

Through research, ABC has learned that visible patterns applied to the outside of glass work well to deter birds from striking windows. While humans see patterns, birds focus on the spaces within patterns. Therefore, prescriptive guidance on patterns and sizes has been developed. The visual noise the patterns create must appear to the bird as solid objects with adjacent spaces too small for birds to fly through.

In general, the researcher has found that birds avoid glass with vertical or horizontal stripes spaced 2 in. apart. The stripes should be at

least 1/8 in. wide. Also, given a choice between translucent or white stripes, white stripes perform better than translucent stripes since white better reflects light and is visible against more background reflections.

Dot patterns have been found to work well if the dot diameter is at least ¼ in. Again, spacing is important to create a visual that birds see as a solid object.

In the traditional offerings, bigger has been deemed better, allowing birds to see them at greater distances.

Multiple approaches

Whether applied as retrofits on existing windows or incorporated into new building plans, window products designed to prevent bird strikes include coatings, decals, printing either frit stripes or frit dots, or etching on the surface of the glass. Many of these are in the form of two-dimensional dots and stripes.

Some solutions are more successful than others. For instance, product comparisons from exterior views show that black dots may need to have 24% coverage while vertical stripes may only need to have 12% coverage; these guidelines are only valid for two-dimensional solutions.

New technologies are being developed all the time. One such technology reinforces the dot pattern by creating a three-dimensional dot that catches and reflects light. This twinkling effect is very good at helping birds see and avoid glass surfaces.

Saflex FlySafe 3D grid pattern consists of rows and columns of 3D sequins that are 9 mm (0.35 in.) in diameter, separated on all sides by 90 mm (3.5 in.).

© Saflex

Saflex FlySafe 3D exterior view

© Saflex

Filling an unmet need

Eastman, in partnership with SEEN AG, has introduced a new polyvinyl butyral (PVB) interlayer for laminated glass: Saflex® FlySafe™ 3D, a highly effective solution to avoid bird collisions without compromising the view or beauty of glass facades.

This interlayer does not compromise on aesthetics. The 3D sequins are 9 mm (0.35 in.) in diameter. They are separated on all sides by 90 mm (3.5 in.) and placed in a grid pattern of columns and rows equal distance apart.

Due to the 3D nature of the sequins, less coverage is required; the discreet sequin pattern covers less than 1% of the glass area. Other solutions considered highly effective have at least five times the coverage and can be greater than 25%. And because the sequins are layered between glass, it is a long-lasting bird-protection solution. Product comparisons from exterior views show that FlySafe™ 3D has less than 1% coverage.

“Given the prevalence of glass in modern architecture, bird collisions are a global problem,” said Singler. “Too often, birds fail to see glass, misjudge reflections, or are attracted to internal lights—all leading to avoidable collisions. And we can indeed avoid these collisions. Saflex FlySafe 3D has proven to be highly effective as a bird collision deterrent.”

Key benefits to look for in a bird-friendly interlayer:

• Highly effective in reducing bird strikes with a low threat factor of less than 10

• Minimal visual obscuring, covering less than 1% of the glass

• Durability and long-term effectiveness

• Design flexibility to accommodate all species interacting with the building

Bird safety solutions: a step in the right direction Whether coatings, decals, printing, etching, or three-dimensional dots are used, the objective is the same: to use a product that will protect birds from colliding with glass surfaces while maintaining an aesthetic desired by the architect and building owner. How that result is achieved lies in the hands of architects; however, product manufacturers have done their homework. No matter what type of product is selected, its intention is a move in the right direction.

¹Christine Sheppard, Vassar Bridge Science Building, “Glass Collisions: Why Birds Hit Glass,” https://abcbirds.org/glasscollisions/why-birds-hit-glass/

2“American Bird Conservancy Doubles Its Capacity To Test Bird-Friendly Glass: There is more opportunity than ever for manufacturers to get bird-friendly ratings for their glass— and save birds’ lives,” ABC Press Release, March 24, 2022, https://abcbirds.org/article/bird-collision-testing-tunnelmd-launch/

3American Bird Conservancy, “Bird Collision Deterrence Material Threat Factor Reference Standard,” https://abcbirds.org/wp-content/uploads/2020/09/ABCMaterial-Threat-Factor-Reference-Standard-draft-9-29-2020. pdf

Saflex

Since 1937, glass fabricators have counted on Saflex® polyvinyl butyral (PVB) interlayers and Eastman for high-quality products, reliable service, and expert advice. We deliver world-class technology for laminated glass.

Today, our interlayers can be found in award-winning buildings around the globe as architects and engineers specify Saflex products for the inherent benefits PVB brings when laminated between two pieces of glass.

Saflex interlayers are valued in architectural applications for their structural integrity, protective advantages, and added comfort for occupants. As an extra layer between two sheets of glass, Saflex helps protect people and property by keeping shattered glass in place.

Saflex interlayers also enhance structural performance, enable weight reduction, provide effective acoustic and solar control, protect from damaging UV rays, and more.

Combined with our Vanceva® Color PVB interlayers, which offer more than 17,000 color options, our high-performance films improve the safety, security, and beauty of glass.

Because Saflex FlySafe 3D is an interlayer, your bird protection glass will last.

© Saflex

Coming Soon

IGS Autumn 2022

Circular by

The Circular Economy: A world without waste

The Autumn edition is a call to arms to all architects, designers and built environment professionals. To avoid a climate crisis and achieve a truly closed loop, regenerative built environment, a change in mindset and practice is required across the entire value chain and by all stakeholders; shifting industry mindsets away from the antiquated linear model that has historically driven architecture and toward a circular ethos that prioritizes durability, adaptability and the elimination of waste in its entirety. Enter the circular economy…

A circular economy is an economic system aimed at eliminating waste and the continual use of resources. Looking beyond the current “take-make-waste” extractive industrial model, a circular economy aims to redefine growth, focusing on positive society-wide benefits. It entails gradually decoupling economic activity from the consumption of finite resources and designing waste out of the system. Underpinned by a transition to renewable energy sources, the circular model builds economic, natural, and social capital.

From the biomimetic approach of Cradle-to-Cradle Fabrication, building information modeling, remanufacturing to modularity, circular building and material passports, the Autumn Edition of IGS Magazine takes a look at those individuals and companies pioneering circularity in the glass, façade and architecture industries. Through project case studies, thought leadership, and an analysis of current research and thinking, we look at best practices in circular design, uncovering the massive potential of our industry to affect permanent and sustainable change in our world.

Design

"Eliminate the concept of waste - not reduce, minimize, or avoid waste, but eliminate the very concept, by design”

- Michael Braungart

nothing less…NOTHING ELSE

Solar Visuals: Making clean energy look good

Wouter van Strien, CEO at Solar Visuals

Tours Duo in Paris, designed by architect Jean Nouvel. Solar Visuals provided a gold colour monochrome design to match the building aesthetics. For this project, 1500m2 of Solar Visual’s panels were sold through partners AGC Active Glass and ISSOL

In accordance with the Paris Climate Accords, the EU aims to establish a net-zero greenhouse gas emissions economy by 2050. Particularly important to this goal is the building sector which currently accounts for 40% of total European energy consumption. This means that the share of renewable energy locally generated and self-consumed in buildings building must be markedly increased.

The most popular way to increase the generation of renewable energy in the built

environment is to place solar panels on roofs. The amount of roof surface, however, is substantially smaller in densely populated urban areas than what is required for energy needs. Accordingly, for some time now, the accepted practice has been to install solar panels in high-rise building facades. The majority of these installations, however, have encountered opposition from architects and designers due to the subpar aesthetics of the blue and black solar panels. This prompted Solar Visuals to create a solution that integrated a solar panel with color versatility.

Solar Visuals was subcontractor for the active facade installation on the renovation of the TNO Solar laboratory. The triangle was optimized for performance and mimics the aluminium profile cladding. The TNO logo and artwork was also designed to be optimized for colour brightness. The total surface area of active facade is 110m2

Presently, facades with built-in glass solar panels can be found in a variety of colors and designs. It is now possible to create an energy-generating façade with complete architectural freedom in terms of appearance, hues, textures, and sizes. Combining solar panels and custom façade cladding material into one product means the built environment can be simultaneously sustainable and aesthetically pleasing while also reducing the amount of materials needed for construction. Solar Visuals developed a patented method for incorporating design visuals and colours into a solar panel with the best available performance and aesthetics ratio. The panels are produced by its partners in the AGC Active Glass consortium. Several projects have been realized in Europe already in the growing market of building integrated photovoltaics (BiPV).

This solution is distinct in that it offers a wider range of colors for glass printed technologies. The special dot grid pattern was created to provide a strong color experience when viewed from a distance, while only covering a small portion of the printed surface of the solar panel. Because color is a reflection of light, any visible image printed on a solar panel will reduce its efficiency. Thus, due to the low surface coverage, the power loss caused by the visible layer is minimized.

Blending in or standing out

Solar Visuals' ability to replicate the appearance of other building materials allows solar panels to almost disappear from view on building facades. The same color or pattern will be applied to each panel. The Tours Duo project is one illustration of this, as you will see from the detail below. The solar panels have the ability to both blend in and stand out. The entire façade or only a portion of it can be an artwork or company emblem, with each panel representing a single "pixel" of the overall design. The installation on the Shell Technology Center's Amsterdam façade serves as a recent illustration of this. In both instances, the general onlooker wouldn't be aware that these facades are also producing energy.

Blending in: Jean Nouvel’s Tours Duo In order to maximize energy utilization and reduce the carbon footprint of the structures, Ateliers Jean Nouvel chose Solar Visuals' energygenerating façade panels for its project Tours Duo, two 180-meter and 125-meter high-rise buildings in Paris, that were finished in 2021. 825 Solar Visuals panels were used to cover the

1500 square meters of the building's exterior in a specially created "gold effect." The 1500 square meters of energy-generating cladding material and the 825-panels are divided between DUO-1 and DUO-2. These buildings are now a significant source of renewable energy generation as a result of this integrated building solution. Solar Visuals specifically created and crafted the Artlite Active Doré panels for this project.

The Artlite Active Doré panels used in the Tours Duo project are made of 4mm matte structural tempered glass with a matt anodized gold frame and produce 250Wp of power per panel by utilizing premium technology in the module: The monocrystalline cells blend aesthetics with outstanding performance and efficiency.

©Ateliers Jean Nouvel

Together with other members of the AGC Active Glass SunEwat consortium, Solar Visuals and SOLSTYCE designed, installed, and supplied the panels. The grid layout created by Solar Visuals is utilized to achieve the ideal balance between the visuals and an optimal energy yield by partly covering the full black PV module, including the black busbars. In the case of Tour Duo's gold façade, viewing it up close reveals the Star pattern, while viewing it from a distance causes the human eye to perceive the gold façade as a whole.

Tours Duo, commissioned by global real estate company Ivanhoé Cambridge Europe, brings new office space, restaurants, retail, a hotel, and an auditorium to the 13e arrondissement on the east side of Paris.

“This project is about building the east side of Paris, its summit, its culminating point for the beginning of the century. It is also about creating a character, a singularity that is in relation with the reality of the site that reveals the particular beauty that relies on it to invent and strengthen the attractiveness of the place”, as released by Ateliers Jean Nouvel.

The commission by the renowned French architecture firm is an exciting new step for the Dutch renewable energy company and AGC’s Active Glass series.

“This project, in collaboration with an incredible team and partners, is the starting point of a future with endless possibilities for the aesthetic integration of solar panels in the built environment”, says Solar Visuals.

In each project, the glass composition and size are customized to meet required structural and aesthetic standards. The panels can be as large as 2m by 4m, and each glass pane can be as thick as 12mm. Any sort of AGC Glass structured or textured product can be utilized to create the required look and feel for the front glass sheet.

Standing out: A façade for Shell in Amsterdam and the ProRail Streetcabinet in Naarden-Bussum The Solar Visuals panels were used to construct a bespoke design visualization on the southwest façade of the Shell Technology Centre. Every grid component of the project, which falls under Solar Visual's option "Branding," is finished and formatted with two

rows of eight panels 680 x 1335 mm in size. Each grid segment uses icons in the company's corporate brand colors to communicate its sustainability goals. With the use of our special rasterization technique that covers the solar cell, we are able to produce full-color visuals that are great for branding a business while

also reducing energy expenditures. 13.944 kWh are expected to be produced annually by the complete system.

Together with our partners AGC Active Glass and the architecture firm UNStudio, Solar Visuals created a modest building with a beautiful

solutions

The Shell Technology Centre in Amsterdam utilized Solar Visual’s panels to incorporate their logo into the design. The total surface area is 140m2 and the panels were produced in partnership with AGC Active Glass and Soltech Project Management by Solar Visuals

DISRUPTIVE

historic feel for the Dutch railway infrastructure company ProRail at the Naarden-Bussum train station. It's fascinating to watch the rasterization pattern transform into a vintage image of the former station. The image is comprised of numerous bespoke solar panels that feature frosted reflection-reducing glass on their fronts. TNO is currently investigating the performance of the panels from all sides of the structure.

Optimizing the solar façade

During a project's design and engineering phase, Solar Visuals collaborates with the architects and engineers to optimize solar energy performance while balancing the needs for aesthetics and particular building characteristics.

Basic considerations include optimizing panel sizes to fit as many solar cells as possible onto the available surface and the color brightness. The areas that are fitted with Solar Visuals panels, however, should not be shadowed by other elements of the façade or of the building, such as balconies and louvres, for an optimized façade design. The majority of projects are erected as ventilated systems since ventilation

Dutch infrastructure company ProRail transformed a concrete electronics cabinet into a piece of art. Solar Visuals combined mat glass with mat aluminium for the areas that couldn’t be covered in glass solar panels. 36m2 of active area was covered

is a crucial need for the solar façade. In most cases blind glued mounting systems are used, however, other glass façade mounting systems can be used as long as there is some rear ventilation in the system.

Performance of a solar façade

The energy yield of solar in a façade installation is, of course, lower than in a roof system, ranging from 25% less to 45 % less in south and east/west facing facades, respectively. A benefit of this type of installation is, however, the relatively high yield in the times of the day and year when the sun is lower in the sky,

The European R&D centre JRC in Petten wanted a colourful design

190 kWh/m2 /yr

145 kWh/m2 /yr

115 kWh/m2 /yr

meaning higher yield in the times when energy requirements are often greater. The premise behind this is to utilize them when there isn't enough roof space available.

In the solar insolation diagram below, this situation is depicted using a case study in the Netherlands where we see the maximum energy yield for a sloped roof facing south and various directions and inclinations of the panels. The energy yield per year for the more traditional south facing facade is 145 kWh/m2/year whereas the more aesthetic solution yields 115 kWh/m2/ year. With these figures, a multistory structure's total façade area typically suffices to meet the requirements for renewable energy generation in near-zero energy buildings.

Cost of the solar façade

A comparison of the various components of the entire installation is done in order to calculate the additional cost required to construct a solar façade as opposed to a non-active façade. In both cases, be it for a renovation or a new construction, a façade cladding material will be needed. Since common mounting systems are used for the installation of active solar façade cladding, the cost of the mounting system, engineering and labor are similar to those of a comparable non-active façade. Thus, the cost difference for solar installations is tied to the price difference between active and non-active panels as well as the additional cost of the electrical inverter system.

The insolation diagram shows the relative energy yield in the different orientations on a building in the Netherlands. The energy yield of a Solar Visuals panel on the facade is only 20-25% less than a black solar panel on the same facade

Rooftop view of the gold coloured panels on the Tours Duo in Paris

In some instances, the cost of the non-active material isn't all that different. Colored glass could have been used as an alternate nonactive material in the projects mentioned above. Standard colored glass costs between 150 and 250 euros per square meter more than Solar Visuals energy-producing façade panels. A typical electrical system costs between 50 and 75 euros per square meter. The return on investment (ROI) for rendering the façade active at an additional cost of 200 to 325 euros per square meter depends on the local cost of electricity and the project's unique energy yield, but is normally between 10 and 20 years. Meeting the requirements for the “near zero energy buildings” target of the Paris Climate Accords can even be a good investment!

Making cities and buildings climate neutral by 2030

Solar Visuals fills a gap in the existing market of traditional solar panels. With the Paris Climate Agreement, the building industry will be confronted with huge challenges: in order to create a built environment that is energy neutral by 2030, 7 million houses and 1 million buildings in the Netherlands will need to be renovated and equipped with solar panels so that they can provide their own energy. This will have a huge visual impact on the built environment and demands new products and building integrated solutions like Solar Visuals.

glass solutions

Any design is possible. Solar Visuals also developed designs with the illusion of depth and 3D effects

Close-up detail of the design pattern on a solar cell

Designs can be made to have each

symmetrical

facade design with a single or unique design

each one

Rectangular pattern

Radial pattern

Star pattern

Power: Optimized (Ca. 172 Wp/m2)

The unique patented dot grid pattern in different variations and surface coverage percentages to optimize for aesthetics or performance

Power: Medium (Ca. 160 Wp/m2)

Power: Base (Ca. 145 Wp/m2)

The application of this cladding material in the façades and surfaces of buildings creates opportunities for energy production in the built environment on a large scale. With this technology buildings in the future will become

batteries that provide the energy needed for their own use and more. Their full-colour design prints make the Solar Visuals panels not only smart and efficient but also visually attractive.

Solar Visuals

Solar Visuals was founded in 2018 by the international architectural firm UNStudio, arch tech company UNSense, the Dutch printing specialist TS Visuals and Dutch Research institute TNO. The colour technology of Solar Visuals was developed in an R&D project by these companies and other partners from 2016-2018. For the production and distribution Solar Visuals partnered with AGC Active Glass in the SunEwat consortium. This means that the Solar Visuals product is being sold with warranties, guarantees and certification by AGC Glass under the name Artlite Active. At the same time Solar Visuals has become the representative of AGC Active Glass full product range in the Netherlands.

Wouter van Strien

After achieving his MSc in applied physics his graduation in 2006 Wouter van Strien started his career at ECN Solar Energy as a junior researcher, but soon changed his role to technology transfer consultant. In this role, he installed production processes developed at ECN SE in solar cells and solar panel production lines around the world, often in cooperation with Dutch and German machine builders. From 2012 to 2019 Wouter van Strien worked as business developer and business development manager at ECN SE and TNO Solar Energy. In this role he started working in the field of integrated photovoltaics and helped start Solar Visuals out of TNO. In 2019, together with an investor, he started the company Roofon that focused on the development and sale of various solar roof tiles to consumers. His focus in this was mainly on product development and sales. After that, he became the director of Solar Visuals in 2020.

Glass solar panels are extremely durable. The Solar Visuals pattern is inserted behind the glass during the assembly process

Smart

Artificial Intelligence

Smart Glass Intelligence

Smart Glass is only as smart as the control system that drives it. Whether it is for viewing the exterior world from within buildings or vehicles, or filtering incoming daylight onto interiors, smart glass systems will need to evolve to a state where they are continuously learning from their immediate environment in order to do their job better.

Manoj Phatak

Founder of ArtRatio and Smart Glass World

Let me explain Your smartphone can adjust its behaviour based on your personal data and local events, right?

Examples include:

• dimming down the screen when the battery is low,

• detecting the risk of a heart attack using a medical app, and

• finding the best sushi restaurant, near you, right now.

Similarly, a smart glass system should also be able to adjust its behaviour based on what is

happening in its local environment and what it is learning from global events as they unfold in real-time.

Use Cases

We have seen some excellent examples in the news recently from smart glass manufacturers such as View and Halio in which proprietary artificial intelligence (AI) algorithms adapt building facades to changes in sunlight, with clear benefits (pun intended) for sustainability, privacy and comfort.

Let us now consider some more advanced use cases that would take this one step further:-

Security Threats in Large Cities

Just as car doors unlock automatically on detecting an accident, smart glass facades could also default to a transparent state in emergency situations.

For example, if an AI agent monitoring social media chatter detected an imminent terrorist threat in a large city during a bright sunny day, it is probable that any building with a smart glass facade would be in its energy-filtering ‘dark mode’, to minimise glare and air conditioning costs.

This dark mode however would also impair visibility into the building for law enforcement and security agencies trying to ensure everyone has been evacuated from the building.

In this case, smart glass facades in the immediate vicinity of the security threat could automatically transition to an ‘emergency mode’ in which they are held indefinitely in a transparent state, aiding visual communication.

The same principle could also be applied to smart glass systems installed on transportation, enabling a visual line of communication with passengers trapped after an accident, or when the vehicle predicts the risk of a stranded infant or pet suffering possible dehydration.

Theft of High-Value Items

Whether in a private residence, a high-end jewellery store or an art gallery, if smart glass is being used on internal walls or in showcases, and if the AI algorithm monitoring CCTV cameras anticipates an imminent theft, the smart glass system could ‘go dark’, obscuring the items and slowing down the attacker from finding the most valuable pieces.

When the premises are closed, security guards still need to be able to see the displayed items while on patrol. However, if the building security is likely to be breached, the sensible solution would be to hide everything from view. Not just the most valuable items, but everything.

It may not necessarily stop the attacker but it can slow them down, giving security or law enforcement agents extra time to respond.

Reducing Light Damage in Museums and Luxury Retail

Global art and luxury retail inventories worldwide can amount to Billions of Dollars in assets, but excessive light exposure can cause severe damage to paintings, fashion textiles and even fine wines, thus hurting their market value.

If the smart glass control system ‘knew’ which materials were on display (and their sensitivity), it could dim the glass down a few notches.

This change in illuminance would be practically imperceptible since the eye is an approximately logarithmic sensor (Weber–Fechner law), but it would substantially reduce the long term damage from light, since light exposure is the time-integral of the light level.

(This is what ArtRatio display vitrines do, by the way, but more on that later.)

Future smart glass systems should also learn to automatically identify which items are most vulnerable to damage using machine vision, then adjust their behaviour proactively and intelligently to preserve their value.

Let’s now take a step back and break down the basic building blocks to understanding such AI-driven smart glass systems:-

Firstly, What is Smart Glass? Smart glass is not a product, but rather a family of technologies.

Broadly speaking, this family can be divided into two major groups: ‘passive’ and ‘active’.

In both cases, a stimulus triggers changes in certain properties of smart glass, such as its transmittance, reflectance, refraction (i.e. scattering) or its electrical conductivity.

Passive smart glass reacts to an environmental stimulus such as light or temperature. Examples include thermochromic and photochromic smart glass which dim when struck by heat or light (respectively).

Active smart glass, on the other hand, is driven electrically, by way of sensors or control commands from a building management system (BMS).

Examples of active smart glass technologies include:

• suspended particle devices (SPD-SmartGlass), created by Research Frontiers Inc.

• liquid crystal technology such as Merck eyrise or Smartglass International (note: when the crystals are dispersed in a polymer film this technology is called ‘PDLC’ smart glass),

• electrochromic glass (examples include View, Halio, SageGlass and Heliotrope) and

• micro-blinds, created by the National Research Council of Canada (NRC).

You can find more on Smart Glass World, a site we created to educate our customers in smart glass technologies.

Within the active smart glass category, we could also reasonably include ‘transparent photovoltaic’ (TPV) glass, which converts part of the electromagnetic spectrum into electricity (albeit not as efficiently as solar cells).

The advantage is that TPV glass is - welltransparent, thus allowing its use as windows in exterior building facades. When incorporated directly into the building facade, it is often referred to as Building-Integrated Photovoltaic (BIPV) glass.

Other materials which can be classified within the ‘smart glass family’ include smart mirrors, augmented-reality spectacles (think Google Glass or Apple Glass) and existing heads-up displays (HUDs) for transportation.

Where does Artificial Intelligence fit into all this? Artificial intelligence (AI) aims to predict future

outcomes based on historical data, rather than relying on pre-programmed rules.

The system is ‘trained’ to recognise patterns, behaviours or properties, and over time learns what response to execute.

Artificial intelligence (AI) is often seen as an umbrella term, encompassing Machine Learning, which can be specialised to Deep Learning and even further specialised to Neural Networks.

For the purposes of this article, we will not delve further into the differences between these sub fields.

Current examples of AI applications include automated stock trading, customer service chatbots, Netflix’s recommendation engine and self-driving cars.

The key aspect of AI systems is that they adapt in real time, as opposed to traditional systems which are pre-programmed to obey a static set of rules.

AI algorithms can drive smart glass facades or products more intelligently, and even preempt certain dangerous or undesirable circumstances.

Can Smart Glass learn?

Smart glass itself is just a material, like concrete, stone or wood, with the key difference being the change in its optical properties when driven by a stimulus, as described above.

However, when coupled with an AI system, the whole ‘smart glass system’ can indeed learn, but this depends on whether there is a dataset to teach the system what is ‘right’ and ‘wrong’.

And this depends on whether there are sufficient real-time sensors recording the events which feed this dataset.

Based on the use cases outlined above, these ‘sensors’ might include:

• bots that monitor social media chatter, alerting law enforcement agencies to increased risks of a threat to the public;

• a computer vision system recognising a known felon in the vicinity of likely targets of theft;

• light exposure monitors that predict an increased risk of damage to light-sensitive materials such as pharmaceutical drugs, phototoxic oils, perfumes and dyes.

At ArtRatio, we are not yet using AI but rather a modified version of a PID (Proportional–Integral–Derivative) algorithm, similar to what you would find in a cruise control system in a car.

Our algorithm is adaptive. It is real-time. But it is not AI.

It is sufficiently novel and ‘non-obvious’ though,

that we were granted a European Patent for it in 2021.

If you subject an unpainted stone sculpture to light levels of say 500 Lux, it will not suffer noticeable deterioration.

But if you put a silk antiquity under those same light conditions, it can deteriorate in a matter of days or weeks.

For this reason, ArtRatio smart glass vitrines modify their behaviour in real time based on what is being displayed, as well as local environmental variables and visitor engagement.

Some materials can be responsive to only temperature or humidity, but since about 50% of solar radiation is infrared (i.e. heat), incoming sunlight can increase the local temperature,

which decreases the relative humidity in an enclosed space.

So, light, temperature, humidity and even the electrical conductivity of air are all connected. But the damage is often triggered by light. And since active smart glass is an electricallycontrolled light filter, it seems obvious to use it to do just that.

ArtRatio Case Studies

ArtRatio has implemented smart glass display vitrines for museums, private collectors and luxury retailers, including most recently a private library in Boston and an exhibition of patrimonial jewellery for a major luxury house, which is due to take place in China in the summer of 2022.

Unfortunately, non-disclosure agreements prevent me from saying more right now, but stay tuned to our social media channels to see photos and videos when the abovementioned work can be officially revealed.

Our customers include the National Museum of Sweden, Sotheby’s Institute of Art and the Wellcome Trust.

The ArtRatio patented algorithm and our cloud-based analytics platform automatically balance the exhibition with the conservation of items, allowing our customers to decide whether to display, conserve, store, loan or sell the items.

What does the future hold for smart glass?

Our journey into adaptive, truly intelligent smart glass building facades, smart glass showcases and smart glass enabled transportation has just begun. We have merely scratched the surface of the available use cases.

Continued advances in materials and algorithms will benefit sectors where smart glass is already being used; from transportation to retail; from hospitality to heritage to healthcare.

What is exciting is that global initiatives such as sustainability and user privacy are driving us to a future that will be beautifully illuminated by smart glass.

A sponsored student with Ferranti Semiconductors in the UK, Manoj worked thereafter as a Trainee Patent Agent in London, representing semiconductor firms at the UK, European and US patent offices.

Manoj founded ArtRatio in 2008 to build smart glass display cases for museums and luxury retailers, and launched SmartGlassWorld thereafter to promote development in smart materials.

Manoj’s experience as a manufacturer of smart glass end-products and as a smart glass distributor & consultant allows for a deep understanding of what customers need in order to achieve a return on investment in smart glass technologies.

Manoj is a UK Chartered Engineer with a Bachelors in Electronics Engineering from Southampton University and a Masters in Software Engineering from Oxford University.

Manoj Phatak Manoj’s first experience with glass goes back to the fabrication of optical waveguides as a final year project at the Optoelectronics Research Centre (Southampton University) in 1989.

Layered

Laminated Glass High Capacity

Octavian Bunea

Julian Hänig

Abstract

Ingo Stelzer

In contemporary structural glass applications, laminated glass plays a key role, as it enhances elements beyond the dimensional limits of monolithic glass and ensures the required redundancy. As the size and expectations of glass as primary load-bearing elements increase, so do laminated glass sizes, and along with them, the manufacturing and production possibilities.

However, the design and application of layered laminated glass as primary load-bearing element such as transparent columns or masonry structures is still in its early phases compared to other structural glass elements. As a result, the Institute of Building Construction at the Technische Universität Dresden, in cooperation with Finnglass and Kuraray, investigated horizontal and vertical layered laminated glass elements through uniaxial compression tests. As the interlayer of laminated glass highly affects the loadbearing behaviour and can cause glass breakage due to induced tension stresses, different interlayers (StandardPVB, SentryGlas® and PVB without plasticizer) were examined in two specimen scales. This paper presents the main insights and conclusions.

Timo Saukko

Introduction

Glass develops remarkable compressive strength properties that qualify its usage as primary load-bearing elements subjected to compression loads. Theoretical compression strength estimates range from 1000 N/mm² [2], to 325 N/mm² [3], to even lower values used in design. The large scatter derives from no plastic yielding, testing conditions and local stress concentrations that lead to early failure. Glass exhibits nearly full elastic isotropic behaviour and fails brittle [4]. Therefore, the effective use of structural glass elements in primary load-bearing structures is inherently linked to the usage of laminated glass, due to the introduction of ductility and post-breakage behaviour.

The drive for transparency in buildings has prompted for the increase in spans, and subsequently increased sizes of laminated glass elements. The manufacturing and production industries are responding to this need by developing reliable thicker laminated glass elements (as pictured in figure 1). This consolidates the possibilities of classical (vertical) laminated glass elements loaded on glass edges and enables layered/ multi-stacked (horizontal) laminated glass elements.

for compression elements (such as columns, masonry) aswell, and if so, to what degree?

Materials and Test Specimens

Three interlayer types (see table 1) were assessed within the research. These consist of two already established interlayers in the construction industry – Standard-PVB and SentryGlas® – and a novel interlayer type, Trosifol® Thin Film, a transparent PVB without plasticizer content, with significantly higher stiffness and a lower breakage elongation, offering very high glass adhesion levels.

Table 1 Compilation of relevant interlayer properties according to [6, 7].

Throughout the article, the material in direct contact with the specimens will be referred to as intermediary. In table 2, the main material properties for the chosen intermediary materials are shown. According to previous research for suitable structural blocking materials [8, 9, 10], a Polyetherimide (PEI) plate was chosen as intermediary for the horizontal laminate specimens. Hilti HIT-HY 270, a hybrid mortar system was applied for the vertical laminated specimens to level the glass edge offsets introduced through lamination.

Table 2 Compilation of relevant intermediary properties according to [8, 10].

Hence, uniaxial compression tests and numerical simulations were performed on stacked layered laminated glass elements in vertical as well as horizontal configuration with different interlayer types [1]. The question that the work attempted to answer is: do the advantages of lamination for classical structural glass elements (such as beams, plates) apply

Table 3 Detailed list of test specimens (horizontal/ vertical laminated glass).

Figure 1 A 31-pane 500 mm thick laminated element (© Finglass)

Two scales of specimens were studied, to evaluate size influences on stiffness, stress distribution, strength capacity, deformation, fracture pattern and failure characteristics. All test specimens (as shown in table 3) were assembled from annealed glass panes. Due to the small sizes, only arrised (KGS) edge processing was possible for the specimens with an edge length < 100 mm. For vertical laminated specimens of scale 2 with an edge length > 100 mm, the edges were polished (KPO).

The mortar application and testing setup for the vertical laminated specimens was performed in three steps presented in figure 2. The mortar was poured in a Polytetrafluorethylene (PTFE) mould (step 1) and specimens were held in position until the mortar cured (step 2). After a minimum of 24 hours, the specimens were tested in a reusable aluminium mould of the same dimensions (step 3).

Figure 3 Horizontal laminated specimens (unstressed state) under photoelastic visualization

Test Setup and Scenarios

Figure 4 describes the test program of uniaxial compression force introduction. Due to testing machine limitations, two different test setups were used, in order to apply the necessary stress levels. Scale 1 tests were performed up to a maximum compression force of 200 kN. The scale 2 tests were performed until total failure at a bigger testing machine (up to 1700 kN force).

The Young’s moduli of the test specimens were evaluated from 20.4 to 40.8 N/mm2 for horizontal and 15.7 to 31.4 N/mm2 for vertical configuration (grey area in the graph) at a compression rate of 0.2 kN/s. All tests were performed at laboratory conditions [11].

Figure 5 shows the test setups for scale 1 and scale 2. A spherical articulation provided uniform load application. Four displacement sensors measured the vertical displacements. Stress distributions were observed via photoelastic visualization during the test program.

Figure 2 Vertical laminated specimen preparation: step 1 – mortar application (layer thickness > 5 mm) in PTFE mould, step 2 –Mounting and step 3 – test setup in aluminium plate.

Photoelastic visualization of the unstressed specimens shows the initial stress states of the test specimens (see figure 3). The stress patterns indicate stress introduction through the lamination process for SentryGlas® and Thin Film specimens. Such anisotropies are conventionally seen as defect, although for horizontal laminated specimens, this leads to confinement. For the vertical laminated specimens no initial internal stress states were observed.

Figure 4 Illustration of test program (grey area represents evaluation of linear Young’s modulus).

Figure 5 Horizontal laminated test setup for scale 1 and scale 2

To assess creep influences for the small-scale horizontally laminated specimens, additional medium-term tests over the duration of 5 hours at maximum force were performed on 2 specimens of each interlayer type. Measurements were taken every 30 minutes for the whole duration, or until failure of the specimen.

Results – Horizontal Laminated Glass Configuration

The load-bearing behaviour is presented by stress-strain diagrams with additional specification of initial fracture and total failure. Test results for horizontal test specimens are presented in figure 6 (A). The light lines represent the individual test results whereas the bright lines indicate the mean value.

Thin Film specimens developed the stiffest behaviour and highest initial fracture stresses

as well as failure resistance. Scale 1 specimens did not develop any cracks during testing. For SentryGlas® specimens, initial fracture occurred on the panes in direct contact with the intermediaries (see figure 6 (B)). The cracks were limited and concentrated on the outer sides of the specimen, practically unaltering the compressive load-bearing behaviour. No crack developments to other panes were observed at stresses up to 40 N/mm2 (scale 1 tests). This can be returned to good confinement of glass panes by the interlayer. All Standard-PVB

specimens failed within scale 1 medium-term tests and showed the lowest initial fracture stress of 21.2 N/mm2. A large scatter within the individual test results was observed. As seen in figure 6 (B), the cracks developed over the whole glass pane and proceeded to neighbouring panes on the whole specimen at a force level of 200 kN (see figure 6 (C)). Cracked panes caused tension stress peaks in neighbouring panes, progressing from the top and bottom.

mm2 by explosion of the specimen. The stiff and hence more brittle behaviour of Thin Film led to a non-ductile failure mode, whereas SentryGlas® kept the panes together after glass failure.

The creep results are shown in Figure 8. The deformation curve of the PVB specimen is only shown in the beginning for scale, as after 3.5 hrs. the specimen completely failed. The curves show correlation in terms of stiffness with the short-term results, as after Thin Film exhibits the least creep deformation, followed by SentryGlas® and PVB. Logarithmic models were used to project the results to the life span of a building. The resulting values of 0.343 ‰ for SentryGlas® and 0.198 ‰ for Thin Film are roughly 10 times lower than usual concrete levels (1.8 ‰ for a C50/60 concrete at similar stress levels according to [12]). Cracking of panes occured for both SentryGlas® and

Thin Film specimens, this however showing no distinguishable influence in the overall creep behaviour, or in the structural integrity of the specimens.

The ultimate failure mechanisms (scale 2 specimens) derived from high frame rate recordings are shown in figure 7. The initial cracks in SentryGlas® specimens progressed to the first top seven panes, just before failure. At 100 N/mm2, two panes crushed in a “pancake” manner leading to failure. Thin Film specimens showed crack development up to the first 15 panes. The failure occurred abruptly at 128 N/

Figure 6 Horizontal laminated specimen results; Sample cracked patterns for scale 1

Figure 7 Horizontal laminated specimen’s failure mechanisms (scale 2).

Figure 8 Horizontal laminated specimen creep results (scale 1).

Results – Vertical Laminated Glass Configuration

The averaged stress-strain curves are represented in figure 9 (A). No difference in load-bearing behaviour is apparent between the various interlayers. However, scale 2 test specimens behave significantly stiffer than those of scale 1. This can be returned to high influences of the mortar system. Since the mortar covered 10 mm of the top and bottom sides of the specimen, it highly influenced the scale dependent stiffness.

Initial fractures were evaluated after exceeding the embedding. However, after load release within scale 1 tests, minimal cracks along the edges were observed on all test specimens. Hence, the initial fracture is represented at the maximum force level of 200 kN (31.4 N/mm2).

Scale 2 specimens fractured at higher stress states. The tests were performed until all but one pane cracked. SentryGlas® specimens developed cracks over the whole height, as opposed to Thin Film specimens, where cracks concentrated near the top and bottom sides

with additional lateral glass breakage (see figure 9 (B)). The higher stiffness of Thin Film limited crack propagation over the full height.

In summary, cracks of one or more glass panes does not imply structural failure because laminated glass practically maintains unaltered load-bearing behaviour under compression and does not lead to full collapse due to compression of fragments.

Figure 10 Comparison of Young’s modulus, initial fracture and failure stresses (Standard-PVB values derived from scale 1 tests, others from scale 2).

Discussion

Figure 10 summarises the evaluated Young’s moduli of the layered laminated columns, the observed initial fracture and failure stresses. The global Young’s moduli are derived by an equivalent spring in series model. The results show a comparable stiffness of the horizontal laminated Thin Film specimens to the vertical laminated configuration. All horizontal laminated specimens presented lower initial fracture as well as failure stresses. Subsequent Finite Element Analysis showed that the choice of intermediary influences the load introduction. This can also be traced back to the experimental tests, as initial fractures were always initiated on the glass face in contact with the intermediary. Stiffer materials such as steel or soft aluminium result in a uniformly distributed force introduction and hence lower induced glass tensile stresses due to reduced lateral deformation and favourable friction properties.

Figure 9 Vertical laminated specimen results; Sample cracked patterns for scale 2.

No total failure was reached at experimental testing of vertical laminated glass configuration, although several glass panes cracked. For the horizontal laminated configuration, the Young’s modulus and failure behaviour showed highly different characteristics for the different interlayer materials. Thin Film specimens behaved brittle and SentryGlas® exhibited ductile failure, although for both cases failure was initiated with several fractured glass panes. Ductile behaviour was also observed for Standard-PVB specimens, although at significantly lower fracture stresses and crack progression to all over the specimen.

A comparison of the test results with horizontal stacked adhesively bonded glass elements from [6, 10] exhibits comparable results, as given in table 4. When compared to dry stacked glass, the results are significantly lower, although such elements exhibit brittle failure. In conclusion, promising results in loadbearing performances were obtained for both configurations, although vertical laminated elements achieved significantly higher stiffness and stress resistances than horizontal laminated specimens. A detailed design of intermediary arrangement for favourable load introduction would lead to higher limiting values.

Conclusions and Outlook

Within this paper, the load-bearing behaviour of layered laminated glass elements was experimentally investigated by uniaxial compression tests. To answer the question stated at the beginning of the article, lamination does enhance the properties of layered structural glass elements similar to how it does classical structural glass elements. The increase of ductility depending on the interlayer properties was confirmed. The global behaviour is, however, comparable to that of masonry – stiff “bricks” as glass panes and deformable “mortar” as interlayers in horizontal configuration, so optimization of mechanical properties should seek parallels to such applications.

The usage of Standard-PVB as interlayer for horizontal layered laminated elements led to crack progression to the full height of specimens at a stress level of 40 N/mm2. The observed crack propagation speed from pane to pane varied considerably and cannot be utilised as reliable warning for failure.

SentryGlas® interlayers in horizontal configuration limited crack development and exhibited a ductile failure mode. This allows for favourable post-fracture behaviour keeping the glass panes together and still performing structural capacities.

The usage of Thin Film for horizontal laminated specimens, as compared to SentryGlas®, improves the global mechanical properties and resistances under compression. The lack of ductility led to explosive failure modes. Such brittle failures are not adequate for structural glass applications.

Following FEA studies on stress distributions in horizontal laminated specimens [1], significant differences in stress distributions were observed depending on choice of intermediary material. Soft aluminium showed the lowest uniform

induced tension stresses on the glass pane in contact. The weak spots on the pane in contact with the intermediary are the glass edges, as shown both by crack initiation during tests and FEA stress concentrations. Therefore, as with classical structural glass applications, edge strength plays a key role. Furthermore, regardless of intermediary, the tensile stresses influence up to the fourth glass pane. To counteract this effect of tensile stress induction the use of tempered glass is recommended.

Vertical layered laminated glass specimens showed no significant differences in structural load-bearing behaviour in dependence on the interlayer type. Different crack developments were observed after initial fracture. The high stiffness of Thin Film hinders crack progression over the full height and instead concentrates the compressive failure near the load introduction, while also increasing the initial fracture stress. A levelling intermediary such as the applied mortar is required to perform uniform load introduction. An accurate application process is essential and additional component tests are necessary to guarantee safe operation in service life.

Based on the study, design proposals for layered laminated glass columns are illustrated in figure 11. These can make use of form freedom offered by individually processed glass panes and follow architectural and structural rationale, such as buckling design or stress distribution at load introduction. Such elements enable novel possibilities for transparent or translucent structural load-bearing or design elements in buildings.

Future research on the topic should assess the service life and post-fracture behaviour of layered laminated glass elements. Extending the lamination process to custom-fit intermediary application would result in increased loadbearing capacities, and a more efficient design of layered laminated glass elements.

Table 4 Comparison of results to adhesively bonded elements [6,10].

References

[1] Bunea, O.: Development of Layered Laminated Glass with High Load-Bearing Capacities. Master’s Thesis, Technische Universität Dresden – Faculty of Civil Engineering, 2020 (unpublished).

[2] The Institution of Structural Engineers, Structural use of glass in buildings, London: The Institution of Structural Engineers, 1999.

[3] van Heugten, R.: Load bearing glass columns: The stacked column; Part 2 – The stacked column. Master’s Thesis, Eindhoven University of Technology, 2013.

[4] Schittich, C.; Staib, G.; Balkow, D.; Matthias, S.; Sobek, W.: Glass Construction Manual, Munich: Institut für international ArchitekturDokumentation GmbH & Co. KG, 2007.

[5] Royer-Carfagni, G.; Silvestri, M.: A proposal for an arch footbridge in Venice made of structural glass masonry. In: Engineering Structures 29, 2007, pp. 3015-3025.

[6] Elastic Properties Data Sheet, Kuraray Europe GmbH, 02.2019 [Online]. Available: https://www.trosifol.com/fileadmin/ user_upload/TROSIFOL/support/downloads/ technical_information/Elastic_Properties_ Data_Sheet.pdf. [Accessed 23.10.2019].

[7] Personal correspondence with Mr. Thomas Sabel from Kuraray Europe GmbH, 04.2019

[8] Ebert, J.: Einleitung hoher Lasten in Glaskanten – Ein Beitrag zum Einsatz von Kunststoffen als Klotzungsmaterial. Dissertation, Technische Universität Dresden –Faculty of Civil Engineering, 2014.

[9] Bucak, Ö.: Gutachterliche Stellungnahme für die Verwendbarkeit von Hilti HIT®-HY 70 im Glasbau, 2009.

[10] Baitinger, M.: Zur Bemessung von SLbelasteten Anschlüssen im konstruktiven Glasbau. Dissertation, Rheinisch-Westfälische Technische Hochschule Aachen – Faculty of Civil Engineering, 2009.

[11] EN ISO 291: Plastics – Standard atmospheres for conditioning and testing (ISO 291:2008). Geneva: International Organization for Standardization, 2008.

[12] EN 1992-1-1 2004: Eurocode 2 – Design of concrete structures – Part 1-1: General rules and rules for buildings

Figure 11 Structural column designs using free form in horizontal as well as vertical layered laminated glass configuration.

has

A true visionary, in his own words

Werner Jager

Werner Jager

The construction industry is critical to our future since it consumes 40% [1] of all resources that are extracted globally and 40% [2] of the energy needed to operate those buildings accounts for approximately 40% of annual carbon emissions worldwide. Within 4 to 8 years, it is necessary to achieve the goal established to limit world average temperature increases to +1.5° [3]. The building industry is crucial in addressing the tasks andThe construction industry is critical to our future since it consumes 40% [1] of all resources that are extracted globally and 40% [2] of the energy needed to operate those buildings accounts for approximately 40% of annual carbon emissions worldwide. Within 4 to 8 years, it is necessary to achieve the goal established to limit world average temperature increases to +1.5° [3]. The building industry is crucial in addressing the tasks and challenges brought on by global warming.

challenges brought on by global warming.

What´s next?

It is the climate crisis that serves as the priority driver for the future of our sector:

a. Reduce – the volumes of materials used and of the energy needed to extract, transport, produce, fabricate, maintain and re-use after lifetime span. The remaining energy needed must be based on low to zero carbon energy

production means; a challenge, as today, close to 90% of this energy is produced with carbonbased materials fuels (gas, oil, coal).[4]

According to the International Energy Agency (IEA), air conditioning [5] will be a significant energy consumer and may eventually account for more than 10% of all world energy demand as a result of both temperature increases brought on by global warming and an increase in customer comfort expectations.

What´s next?

Picture 1 [I]: Global total material uses by resource type

It is the climate crisis that serves as the priority driver for the future of our sector: Reduce the volumes of materials used and of the energy needed to extract, transport,

Picture 1 [I]: Global total material uses by resource type

Picture 2 [II]: Global electricity growth 2018-2050 by energy use category

Picture 3 [III]: Empire State Building’s Window Retrofit

b. Reuse – Because some building components, after being disassembled from outdated building stock, are still in a state where they could be used for a second application, new business models may develop, creating a market for items like flat glass, windows, shading devices, or ventilation ducts, which can sometimes be given a new life after some maintenance and upgrading, of course.

new IGUs and the associated carbon emissions. Reusing and upgrading on site could also be considered as a new business model and potential for larger building complexes.

THE GLASS WORD Imagine how much less transportation was needed because all work was done in a temporary IGU factory placed inside the Empire State Building, reducing the demand for new IGUs and the associated carbon emissions. Reusing and upgrading on-site could also be considered as a new business model and potential for larger building complexes.

Werner Jager

Up to 235 million window units (WU) in Germany alone could from an energy efficiency update [7] .

Energetic renovation potential of windows in Germany 2020

Window types in the building stock of Germany [7]

Source: Univ. Prof. Dr. Ing. Gerd Hauser, Technische Universität München / Dr. Rolf Michael Lüking

Type 5 With thermal insulation glass

3 IGU

Type 4 With thermal insulation glass 2 IGU

Type 3 Uncoated with insulating glass

Type 2 composite and box windows

Up to 235 million window units (WU) in Germany alone could from an energy efficiency update [7] .

Units

Type 1 window with single glass

Window inventory in window units WU (1 WU = 1,69 m2) 90 309 185 39 11 235 million WU

Mainly installed by ... until...

UW value until 1978 g value 4,7 87

UW value up to 1978 g value 2,4 76 W/(m2K) %

UW value 1978 1995 g value 2,7 76 W/(m2K) %

UW value from 1995 (2 IGU) g value 1.8 1.3 58 63 W/(m2K) %

UW value from 2005 (3 IGU) g value 0.8 1.1 45 60 W/(m2K) %

With a degree day number factor of 75 kWh and an annual efficiency of the heating system of 85 % (eg = 1.2), taking into account solar gains, energy savings in kWh based on WU (1.69 m2) result:

Replacement does not give significant advantages in energy savings.

Sum of the renovation worthy Types 1 to 3

222,0 176,0 491,0 kWh /(WU*a)

Conversion to m3 natural gas 22,2 17,6 49,1 m3 /(WU*a)

Energetic renovation potential in billion kWh 41,0 6,9 5,4 53,3

Equiv. reduction in billion m³ of natural gas 4,1 0,7 0,5 5,3

Billion kWh/a

Billion m³ of natural gas/a

Converted into saving million tons of CO2 9,48 1,59 1,25 12,32 million tons CO2/ a

139 The refurbishment of the Empire State Building [6] in 2010 demonstrated how updating the building stock and refurbishing on site can quickly impact the energy demand of buildings during operations. All the glass units installed inside the building were upgraded, creating IGUs with a much higher thermal insulation performance while keeping the former flat glass units in service. More than 90% of all the originally installed flat glass were re-used again.

c. Recycle Too many of us make proposals for the future “we will when…” instead of “we act now…” or we argue on principles of “re cyclability” which amounts to displacing some

intelligent glass solutions | summer 2022

c. Recycle – Too many of us make proposals for the future “we will when…” instead of “we act now…” or we argue on principles of “re-cyclability” which amounts to displacing some necessary actions into the future. Only an almost 100% “closed loop re-cycling” approach can support a rapid decarbonization of our industry, among other actions.

As a result, just 10% of the world’s materials are currently recycled, yet recycling is becoming of growing importance [8]. Recycled end-of-life material will stay as an alternative but cannot serve all market needs short- or midterm. This implies that primary materials must also minimize, for example, their carbon footprint and environmental impact in the short term.

This is the first immediate step the worldwide construction industry needs to take. It is a “do it” and “now” mentality; even if it isn’t flawless, dare to attempt. If your organization does not start taking steps today, it may not be around in the market by 2030, and certainly not by 2050.

The importance of recycling is shown through the latest embodied carbon simulations done by Lendlease UK. To fulfil the 2030

Werner Jager

LETI[9] targets for new buildings in London, the façade area must not exceed a targeted embodied carbon value of 39 kg CO2 eq/ m² GIA (Gross Internal Area) [10] or - assessed per m² façade area- a maximum value of 75 kg CO2 eq/ m² façade area. In contrary to this target, todays installed aluminium unitized curtain wall constructions can reach values of up to 99 kg CO2 eq/ m² GIA which equals 190 kg CO2 eq/ m² façade area or more, as picture 4 [10] indicates. These values encompass the stages A1 to A5 of an Environmental Product Declaration (EPD).

The impact of various materials, including recycling schemes, was further modelled by Lendlease, and the results showed that only the lowest embodied carbon materials could be used to design, construct, and install new aluminum unitized curtain walls in London after 2030. Re-use of post-consumer scrap materials plays a vital role in that analysis, as picture 5 [10] shows.

Industry has started to lead the way, for example, by achieving such a high purity in the sorting of aluminium scrap, that today, the first aluminium extrusion billets with almost 100%

post-consumer (End-of-Life) Scrap HYDRO CIRCAL 100R are being made available.

These guarantee that extrusion plants operate at peak efficiency and comply to the alloy EW-6060 requirements. With at least 75 percent incorporated EoL post-consumer scrap and certification from the external DNV GL (Det Norske Veritas German Lloyd) organization, the usage of this material has been pushed in the markets under the tradename HYDRO CIRCAL 75R [11] from 2019.by the external DNV GL (Det Norske Veritas German Lloyd) organization.

According to a paper by Clay Nesler that was presented at the World Economic Forum in 2020 [12], projects that use DEED-embedded techniques will lead the road to Zero Carbon Buildings:

d. Decarbonization

e. Electrification

f. Efficiency Enhancements

g. Digitalization

This must not only include the operational period, but also material production and processes needed for the fabrication and

Picture 4 [IV]: Embodied Carbon of different façade types and Solutions. Values and Chart by Lendlease.

Picture 5 [IV]: Embodied Carbon of Facades – (EPD stages A1-A5) Values and Chart by Lendlease.

erection of a building until it is re-used or recycled. More doing and less “talking”; concrete actions and quantifiable achievements, as the word DEED implies.

Solutions Available and Areas of Innovation

9 Topics for Building Envelope Industry

1 Materials

– Use the Environmental Product Declarations (EPDs) to compare will help you get the entire, accurate truth

2 Engineering

– Dare to disrupt, create a market

3

Werner Jager

Decarbonization – Take a cradle-to-cradle approach

4 Digitalization

– No gadgets, consider business strategies, and put the requirements of customers first

5

Revitalization

– There is no waste, just new opportunities

6 Efficiency Enhancements

– Human-centric or fail

7 Sustainability

– Not a nice-to-have, a MUST

8 ESG

– Social and Environmental in symbiosis, independently controlled

9 Responsible Sourcing

– It matters, it makes an impact, it enables us to do the right thing right

Of course, we all aim for perfection, but realize that getting there requires more than one step.

All nine of these are worthwhile issues in and of themselves, but let’s concentrate on three of them:

Engineering, Decarbonization and ReVitalization. Here, we’ll provide some preliminary information that is by no means exhaustive but rather serves as the first step in the process of disrupting the construction sector into a self-sufficient, low-carbon emission-based contributor to social progress and environmental preservation.

Engineering

Standards and regulations are crucial, but they ought to allow for more innovation. A strategy similar to that used in the auto sector can help to balance the demands for safety, lifeserviceability, and further innovation.

Innovations to mention include:

a. Thin Glass in construction industry

When a 3D approach is taken into consideration, this can not only lead to a reduction in the amount of material used, but also to novel glass designs that may be strengthened using chemical hardening techniques.

As an illustration, the most recent research of Prof. Neugebauer [13] indicates the potential for greenhouse applications as a new type of greenhouse shape was developed, which is light weight, hail resistant, and maximizes natural light conditions inside the greenhouse. This was made possible by the reduced thickness and chemically strengthened unit.

In turn this could enable the possibility of adjustable facades for orientation and openness degree; facades that can be opened and closed without hinges.

b. Energy Production by the façade

There are known solutions available such as BIPV (Building Integrated Photovoltaic solutions). Ready to use and enabling the façade to become at least partly autarkic

Werner Jager

when electrical energy supply is considered. Combined with a local energy storage device and a smart grid management, a structure could become self-sustaining.

But not all areas of a facade, especially in high rise buildings and if in close proximity to other buildings can utilize BIPV.

However, the façade area is frequently

transparent by design and is meant to allow natural daylight into the spaces within. Further developments and increasing the versatility of transparent BIPV modules in this situation would offer more flexibility.

Transparent BIPV modules could be combined with electrochromic switchable IGU designs to create a multi-functional transparent envelope layer.

Picture 6: Finalized Origami Greenhouse [13] by Prof. J. Neugebauer

Picture 7: up to 100 mm Opening of the envelope without hinged solutions of the sash at the Origami Greenhouse [13] by Prof. J. Neugebauerwithout hinged solutions of the sash at the Origami Greenhouse [13] by Prof. J. Neugebauer

Picture 8 [V] Possible Areas for Electrical Energy Generation at Building Envelopes

Werner Jager

“With the need to decarbonize materials, transport, and processes, use cities as urban mines, and increase the use of renewable energy, on-site, while maintaining the architectural design intent, our construction industry may be beginning its most significant change process in decades”.

In other cases, BIPV becomes less efficient in its cost-to-output ratio. But here wind or air born sound emissions could be captured in addition to enable taller buildings to develop their own harvesting.

Current research [14][15][16][17] demonstrates a new field for piezoelectric applications: energy gain through the conversion of sound and wind energy. There are two principal approaches:

The use of nanorods such as zinc oxide structures on polymer substrates which are usually produced by electrochemical or

Werner Jager

Oscar Niemeyer Sphere Leipzig switchable IGU with eyrise liquid crystal layer from MERCK KG. Executed by Architect Harald Kern

Picture 10 [left VII right VIII] :

chemical processes. [18] This significantly increases the usable surface and thus the yield over a regular surface. A research project conducted in 2014 at the ‘Queen Mary University of London’ in co-operation with Microsoft using zinc oxide piezoelectric showed that it is possible to produce a voltage of up to 5V in the laboratory with a surface the size of a smartphone [17].

This approach uses a combination of the triboelectric effect (electrical charging of two

Werner Jager

materials through contact – static electricity) and electro-static induction. The vibrating membrane shown in Picture [16] is only 5 μm thick, and the spacers are 50 μm thick.

Initial research results show that, with such nanogenerators, a surface area of 0.01 m² and laboratory conditions of 114dB, 138 LED lamps can be powered. In field trials on the street, values of 0.1–0.8V were achieved. [16]

Decarbonization

DOW announced a 2022 program to massively

reduce the carbon footprint of its silicone products [19]. The project is under external supervision and PAS 2060 verified to ensure that the required quality, performance and environmental impact meet necessary standards. The “Carbon-neutrality initiative for DOWSILTM silicones” serves as a point of reference and motivation for others in the industry.

Saint-Gobain, another global player, declared in May 2022 that it had produced 2,000 tons of carbon neutral flat glass, enough to make up to 100,000 windows while decreasing carbon emissions by 1,000 tons [20][21]. One of the leading material suppliers to the construction sector is paving the way on the zero-carbon roadmap.

A third example would be HYDRO’s recent efforts to expand its business in the recycling of post-consumer waste. In 2019, 20,000 tons of end-of-life (EoL) post-consumer scrap entered the building market as new doors, windows, or curtain walls. Today, Hydro has a manufacturing capacity of up to 60,000 tons per year for

Picture 11 [V] Wind induced forces at building envelopes

Picture 12 [16][18]:

Schematic structure of a sound-absorbing triboelectric nanogenerator (TENG) [16]

Electron microscope images of ZnO nanorods [18]

extrusion alloy EW-6060/ 6063. Circular Economy has evolved into a truly closed-loop recycling project, and HYDRO is leading the way by investing in a new recycling facility that will add 120,000 tons of recovered aluminum to the industry each year [22].

The US-based facility will start production in 2023. Using EoL aluminium HYDRO CIRCAL 75R one can reduce the carbon footprint by factor of 4 (compared to EU primary aluminium use mix) or by factor of 8 (compared to primary aluminium produced using coalbased electricity production). Considering the nearly 60,000 tons of HYDRO CIRCAL 75R aluminum that will be recycled and sold in 2022, depending on the energy source the aluminum is supplied from, this will reduce the annual carbon footprint by 378,000 tons of CO2 emissions (compared to the EU aluminum use mix) or even by more than 1,000,000 tons of C02 emissions. The goal of 100% postconsumer content, branded as HYDRO CIRCAL 100R; lowers the carbon footprint down to 0.5 kg CO2 emissions/ kg aluminium or even less, by also reducing the remaining CO2 sources like transport or by compensating the emissions by related schemes, making zero carbon aluminium possible for selected projects.

Werner Jager

Re-Vitalization

The 100 Liverpool Street project is one of the most recent Net Zero Carbon Building projects accomplished in London, demonstrating that the revitalization of obsolete building stock is feasible and can be used as a model for such projects to come. The initiative was established by British Land in collaboration with Sir Robert McAlpine, MACE, Hopkins Architects, and other parties and was realized through the analysis of embedded carbon in the materials used and re-used.

They achieved it by [23]

• Bringing the embodied carbon intensity for product and assembly stages A1–A5 of an Environmental Product Declaration (EPD) closer to the LETI (London Energy and Transport Initiative) targets for buildings starting in 2030 by reducing it to 395 kg CO2e per m2 GIA (Gross Internal Area). In contrast, many modern construction projects have an embodied carbon content of 850 kg CO2e per m2 GIA or higher. This demonstrates that a fundamental strategy for significantly reducing carbon emissions in the construction sector is the revitalization of the existing building stock.

Picture 13 [XI]: The Carbon footprint in kg per kg of aluminium

Werner Jager

• Just over 30% of the existing steel structure was not only retained but reused from the formerly existing building, saving up to 3,435 tons of carbon.

• Close to 50% of the foundations and floor slabs made from concrete were also retained and therefore partly reused from the former building, reducing the carbon footprint by another 4,086 tons.

• In instances where new materials were needed, lower carbon choices were utilized. For example, concrete and cement production.

• Latest technologies were used to minimize energy demand during operation. For example, Closed Cavity Facades cover part of the building envelope

• and the remaining 26,000 tons of carbon emissions were offset via certified schemes, reducing the carbon impact to zero.

Additionally, only FSC-certified sources were used to obtain the timber used in construction, and the building now only uses electricity generated from renewable sources in accordance with the REGO (Renewable Energy Guarantee of Origin) product regime.

Picture 14 [IX]: 100 Liverpool Street London - Re-vital ized. Pictures by Sir Robert McAlpine.

To conclude

With the need to decarbonize materials, transport, and processes, use cities as urban mines, and increase the use of renewable energy, on-site, while maintaining the architectural design intent, our construction industry may be beginning its most significant change process in decades. Architecture determines the behavior and well-being of its users, a foundation for positive social interaction between humans. Industry has demonstrated that it is willing to work toward decarbonizing the built environment and that it is capable of doing so. The built examples, such as those in London or New York, demonstrate that it is currently conceivable and that it may be further improved.

By setting goals and deadlines for achieving them, authorities or initiatives like LETI (London Energy and Transport Initiative) will be a huge help. As engineering will support the achievement of the established targets at all levels, from material, transport, manufacturing, and installation to the maintenance and re-use phases, targets are needed in this situation rather than pre-defined solutions.

Werner Jager

References

[1] Krausmann, F., Gingrich, S., Eisenmenger, N., Erb, K.-H., Haberl, H. and Fischer-Kowalski, M., 2009, ‘Growth in global materials use, GDP and population during the 20th century’, Ecological Economics 68(10), pp. 2696–2705.

[2] Energy World Magazine 02.2017

[3] https://news.un.org/en/story/2022/05/1117842

[4] Vaclav Smil (2017). Energy Transitions: Global and National Perspectives. & BP Statistical Review of World Energy

[5] https://www.statista.com/chart/14401/growingdemand-for-air-conditioning-and-energy/

[6] https://time.com/6026610/empire-state-buildinggreen-retrofit/

[7] https://www.window.de/fileadmin/redaktion_ window/vff/Shop_pdfs/VFF-BF-Studie_2021_-_ Energetische_Modernisierung_Fenster_-_DE-ES.pdf

[8] https://www.oecd.org/environment/waste/ highlights-global-material-resources-outlookto-2060.pdf

[9] https://www.leti.london/cedg

[10] Internal paper; Lend Lease London UK

[11] https://www.hydro.com/de-DE/aluminium/ products/aluminium-mit-niedrigen-co2-emissionen/ circal/

[12] https://www.weforum.org/agenda/2020/01/zerocarbon-buildings-climate/

[13] Prof. Jürgen Neugebauer et al.: Thin Glass Technology for Structural Glass Applications Josef Ressel Zentrum für Dünnglastechnologie für Anwendungen im Bauwesen -2022

[14] Fang LH, Hassan SIS, Rahim RA et al. (2017) Exploring Piezoelectric for Sound Wave as Energy Harvester. Energy Procedia 105: 459–466. doi: 10.1016/j.egypro.2017.03.341

[15] Fang LH, Hassan SIS, Rahim RA et al. (2017) Charaterization of Different Dimension Piezoelectric Transducer for Sound Wave Energy Harvesting. Energy Procedia 105: 836–843. doi: 10.1016/j. egypro.2017.03.398

[16] Cui N, Gu L, Liu J et al. (2015) High performance sound driven triboelectric nanogenerator for harvesting noise energy.

Nano Energy 15: 321–328. doi: 10.1016/j. nanoen.2015.04.008

[17] Briscoe J, Dunn S (2014) Mobile phones come alive with the sound of music. https://www.qmul. ac.uk/media/news/items/se/137892.html

Picture 15 [X]: Getting to Zero – London Energy and Transport Initiative LETI.

[18] Briscoe J, Dunn S (2014) Nanostructured Piezoelectric Energy Harvesters. Springer International Publishing, Cham

[19] https://corporate.dow.com/en-us/news/pressreleases/introducing-carbon-neutral-silicones.html/

[20] https://www.saint-gobain.com/en/group/netzero-carbon

[21] https://www.bloomberg.com/news/ articles/2022-05-16/zero-carbon-flat-glass-made-forthe-first-time-by-saint-gobain

[22] https://www.hydro.com/en/media/news/2022/ new-aluminium-recycling-plant-in-cassopolis-u.s.will-bring-local-jobs-and-lighter-vehicles/

[23] https://www.srm.com/projects/engineeringexcellence-at-100-liverpool-street/

Pictures

[I] http://www.uni-klu.ac.at/socec/downloads/ Online_data_global_flows_update_2011.xls

[II] https://www.statista.com/chart/14401/growingdemand-for-air-conditioning-and-energy/

[III] http://blog.lightopiaonline.com/lighting-articles/ the-empire-state-building-goes-green/

[IV] Internal paper; Lend Lease London UK

[V] Autorenbeitrag WICONA Neugebauer Jager Bugenings Schaffer 032019;

[VI] Traverse CJ, Pandey R, Barr MC et al. (2017) Emergence of highly transparent photovoltaics for distributed applications.

Nature Energy 2(11): 849–860. doi: 10.1038/s41560017-0016-9 https://www.nature.com/articles/s41560017-0016-9

[VII] https://www.merckgroup.com/de/research/ science-space/envisioning-tomorrow/smarterconnected-world/niemeyer-sphere.html

[VIII] https://www.bft-international.com/de/artikel/ bft_Niemeyer_Sphere_Visionaere_Baukunst_aus_ Beton_3622694.html

[IX] https://www.srm.com/projects/engineeringexcellence-at-100-liverpool-street/

[X] https://www.leti.london/_files/ugd/252d09_3b0f 2acf2bb24c019f5ed9173fc5d9f4.pdf

[XI] https://mb.cision.com/Public/12934/3485804/ adde03d96c8a098d_800x800ar.png

Werner Jager

Werner Jager’s vast knowledge of the industry include positions as Director International Project Sales and Technical Application at Hydro Building Systems Germany GmbH Ulm, and previously Director Marketing and Technical Application DACH.

Werner also founded and was general manager at ai³.

Additionally, Werner was external R&D consultant of FRAUNHOFER Institute for Building Physics Stuttgart / Kassel / Holzkirchen, Professor for Building Physics at the University of Applied Sciences Augsburg. Managing Director and Head of Research and Development of the Wicona Brand Centre HBS Technical Center, of the Wicona Brand Centre.

ALICJA KURZAJEWSKA

AESG

Senior Façade Consultant

Cayan Business Tower 6th and 7th Floor Barsha Heights PO Box 2556, Dubai, UAE info@aesg.com

+971 (0) 4 432 6242 www.aesg.com

CAROL PHILLIPS

Moriyama & Teshima Architects Partner

117 George Street, Toronto, Ontario, M5A 2N4 mtreception@mtarch.com +1 416 925 4484 www.mtarch.com

JOHN GILMORE HOK

Senior Writer and Principal 10 South Broadway Suite 200

St. Louis, Missouri 63102 USA hokcontact@hok.com +1 314 421 2000 www.hok.com

DR. SHAMS ELDIEN NAGA AND MAHMOUD ALAAELDIN NAGA Architects

Principal and Senior Design Architect

Office 3505-3506, Marina Plaza, PO Box 73033, Dubai, U.A.E. info@naga.ae +971 4 332 4455 www.naga.ae

AUTHORS DETAILS

SUMMER 2022

LOUISE SULLIVAN

Buro Happold

Associate Façade Consultant

Rolex Tower

DIFC, Sheikh Zayed Road 30/F, Office 3001 PO Box 117291 Dubai UAE info.dubai@burohappold.com +971 (0) 4 518 4000 www.burohappold.com

HERMANN ISSA

ASCA

Senior Vice President Business Development & Project Management ASCA SAS 20, rue Chevreul 44105 Nantes CEDEX 4, France +33 (0) 2 4038 4000 www.asca.com

JUSTIN COCHRAN NBBJ

Senior Associate, Designer 223 Yale Avenue North Seattle, WA, USA 98109 seattle_office@nbbj.com +1 (206) 223 5555 www.nbbj.com

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

PYROBEL Avenue Jean Monnet 4 1348 Louvain-La-Neuve Belgium +32 478 559 579 www.agc-pyrobel.com

BRUCE NICOL eyrise B.V. Head of Global Design eyrise B.V. De Run 5432 5504 DE Veldhoven Netherlands Bruce.nicol@merckgroup.com +31 6 286 32087 www.eyrise.com

SAFLEX

200 South Wilcox Drive Kingsport, Tennessee, USA, 37660 +1 (423) 229 2000 www.saflex.com

EASTMAN 200 South Wilcox Drive Kingsport, Tennessee, USA, 37660 +1 (423) 229 6564 www.eastman.com

WOUTER VAN STRIEN

Solar Visuals BV CEO Schuit 14. Oudkarspel, 1724 BD Netherlands info@solarvisuals.nl +31 226 31 20 21 www.solarvisuals.nl

MANOJ PHATAK ArtRatio and Smart Glass World Founder Ronda Vall d’Uxo 125, 03206 Elche Spain info@artratio.co.uk +34 965 641 239 www.artratio.co.uk and www.smartglassworld.net

INGO STELZER

Kuraray Europe GmbH Senior Technical Program Manager Philipp-Reis-Str. 4 65795 Hattersheim, Germany +49 331 200 888 1 www.kuraray.eu

DR. WERNER JAGER Keller Minimal Windows Managing Director 38-40 route de Wilwerdange L-9911 Troisvierges Luxembourg +352 28 38 66 01 www.minimal-windows.com

FIRE RESISTANT GLASS FOCUSING ON YOUR SAFETY

Available in tested solutions from EW15 up to EI180

Available on short delivery times

Multi-functional solutions combining fire safety with impact safety, acoustic, thermal and solar protection

Sustainable solutions supported with EPD and Cradle to Cradle Certified Silver

22 BISHOPSGATE, LONDON

ARCHITECT: PLP ARCHITECTURE

FACADE: JOSEF GARTNER GMBH

22 BISHOPSGATE, LONDON

ARCHITECT: PLP ARCHITECTURE

FACADE: JOSEF GARTNER GMBH

GLA SS BONDING IS OUR PASSION

GLA SS BONDING IS OUR PASSION

Sika offers full range sealing and bonding solutions for insulated glass manufacturing, structural glazing and weathering sealing thereby ensuring system compatibility. With its profound competence in opaque and glass facades alike, Sika is the ideal partner for planners and applicators of all kind on building envelopes.

Contact us now.

Sika offers full range sealing and bonding solutions for insulated glass manufacturing, structural glazing and weathering sealing thereby ensuring system compatibility. With its profound competence in opaque and glass facades alike, Sika is the ideal partner for planners and applicators of all kind on building envelopes.

Contact us now.

Sika Services AG

FFI Facade · Fenestration · Insulating Glass

Tueffenwies 16 · CH-8048 Zurich · Switzerland

Tel. +41 (0)58 436 40 40 · Fax +41 (0)58 436 55 30

www.sika.com/facade

Sika Services AG

FFI Facade · Fenestration · Insulating Glass

Tueffenwies 16 · CH-8048 Zurich · Switzerland

Tel. +41 (0)58 436 40 40 · Fax +41 (0)58 436 55 30

www.sika.com/facade