[Black Box]
transformative hotel design meets PDX in 2055
Tyler Ashworth
University of Idaho [Professor Montoto] [Arch 553.02] [Graduate Architecture Project] Fall 2009
ABSTRACT ON 2055
Daily life in the 21st century is already perceived and experienced through a number of ‘filters’. In our technologically advanced society we find our lives permeated by digital screens‌televisions, computer monitors, iphones, flat panels at the gym, projected LED media, LCD electronic displays and more. Digital media and communications affects every aspect of the way we live. Our reality becomes altered by the affect of these digital filters. In the year 2055 we can only expect this digitally filtered reality to become more total. As LCD technology meshes with nano-technology, its perceivable that any surface could become infused with media and entertainment. Digital 3D experiential realms will also become a common part of life. In light of these advances, travel and tourism will radically change. In response to the need for lighter global footprints, long range business and leisure travel could be replaced by shorter trips and electronic conferencing. Considering the totality of digital filtration and altered perceptions of reality, there will be a need to make aware those in society whom find themselves subject to this different way of life. No particular change is in mind here, for better or for worse, the simple idea is to exploit the notion of a filter, both digital and analog, physical and perceived, so that people become aware of the process itself.
[2]
CONTENTS [i]
DISTILLING THE FUTURE
- brief essay abstract on 2055
[1]
ARCHITECTONIC OBJECT
[2]
PORTLAND VISIT + DISTRICT ANALYSIS
[3]
PROGRAM ANALYSIS + SCHEMATIC DESIGN
[4]
DESIGN DEVELOPMENT
- completed project drawings
[5]
DETAIL DEVELOPMENT
[6]
TECHNICAL INTEGRATION
-
light + filters, sketch model revisions, second model materiality + construction chaotic filtrations, the finished object system filters
- Portland’s Cultural District - cultural strata - portland site visit - program distilled - filter explorations - sketch plans + sections - perspective
- logos + techne - materials research - detail drawings
- systems + services building plan + section - mpe detail overlays
[3]
[1]
ARCHITECTONIC OBJECT Creation of an architectonic object served as a synthesis of our concept of the future, our preconceptions of the city of Portland, and our design sensibilities concerning the tecton of these futuristic concepts. It became the materialization of these three elements to serve as the basis of our schematic design moving through the project. Sensibilities about material connections, spatial relationships, and greater conceptual program were all developed in this phase and object.
[4]
LIGHT + FILTERS . . . RE-CONSTRUCTING REALITY Initial sensibility concerning the architectonic object was to allow the physical form to manifest into what would be a highly interactive piece in which the user is fully engaged. Concepts about the filtered reality also led to a play in light, reflection, and transparency. Shown is a sketch model exploring these ideas of light play and observation.
[5]
REVISIONS IN LIGHT + FILTRATION THIN
Revisions to the initial concept of the architectonic object brought the piece to a realistic scale and included a permanent operable light souce. Here the idea of a final combined projected image was introduced. So not only was light a medium for play now, but in combination with a series of interactive filters it led to an end result.
As materials have become more scare, design objects must be precise, and light in nature.
DYNAMIC/INTERUPTED Conflicting angles in the screens + filters represent the conflict that occurs between the environment/human-kind and humkind/itself in the future.
LIGHT PROJECTION The use of light and projection is a direct correlation with the way in which people experience
light source
opaque light absorbent enclosure
image
+ color filters (fixed + movable) final image projection screen
[6]
“ advancements in digital technology increase the multiple lenses in which people experience reality through �
(4x) 1/4” hollow copper tubing
| FILTRATED SYSTEMS OF PLACE BASE ILLUMINVATIVE LAYER |
The architectonic object is a commentary on the increase in visual digital media. In a very crude form it places the viewer in front of a screen upon which a series of layered images are projected. The notion of a closed box containing the projection apparatus is done away with, making the viewer more aware of the multiple filters that visual digital media impose on one’s life. There is a lacking order in the layering and angles of the filters as a direct analogy for the continuous onslaught of digital communication we are exposed to, without sense of order in reality.
STRUCTURAL SUPPORT
MATERIALITY + CONSTRUCTION
(16x) machine fasteners
(1x) projection screen sub-assembly: - wood frame - stretched cotton fabric - machine screw + bolt fasteners
(5x) projection filters, varied size depicting mapped systems of City of Portland sub-assembly: - wood frame - acetate sheet - printed system images
(1x) light source (maglite©)
(5x) wood base support plates (typ.)
[7]
CHAOTIC FILTRATIONS . . . THE FINISHED OBJECT
The object functions through three primary components, light, filters, and a projection screen. The three components are constructed of multiple materials, of which the focus is around the wood, copper piping, and transparent acetate sheets. The overall construction of the apparatus is fairly thin and light alluding to the lacking of resources looking towards 2055, and the need for somewhat simple and direct forms, that use materials sparsely as needed. The system is ordered with the viewer in mind celebrating the projection screen which is placed at viewing level and crowns the object. Elaborate connection detail on the screen also helps to call it out and ensure proper performance.
[8]
SYSTEM FILTERS, AN ABSTRACTION OF PORTLAND
Five filter screens are displayed on the architectonic apparatus. The screens are printed with graphic representations of Portland. Each graphic is an isolated system contained within the city that starts to describe the place and urban condition. Water, greenspace, points of interest, public transit, and the city grid are all displayed as a way to map out and understand the intersections of these systems. There is consideration given to placement of the images to reflect their level of importance and impact in the year 2055.
5. figure/ground of portland
4. transit, pdx tri-met
3. cultural landmarks
2. willammette river
1. green space + natural systems
[9]
[2]
DISTRICT ANALYSIS + PORTLAND VISIT Investigation of the cultural district in Portland gave insight into the essence of the city. This process not only helped to identify place, but in the process it identified the context in which our hotel would be sited into. Having a better understanding of the layers and cultural ammenitites present in the city would allow for a more meaningful ‘resort’ hotel design Working with teammate Laura Martin, the cultural district was broken up into distinct layers, similar to those built into the architectonic object. In preparation for the visit a historical walking tour of the district was also prepared.
[10]
PORTLAND’S CULTURAL DISTRICT
ing Arts rchitects ed: 1928
k Blocks Pfunder ed: 1852
Museum elluschi d: 1932
4
2 3
Based around the spine of the South Park Blocks, the Cultural District is home to a number of cultural and educational institutions of the city and many of its streets are lined with eclectic boutique stores, cafes, and other local shops. Distinct features of the district include the street sign caps, denoting the district in which you are present. In the South Park Blocks a number of water drinking fountains can be seen, known as the ‘Benson Bubblers’ after the lumber baron, Simon Benson that donated them to the city in 1912. At the southern most end of the cultural district lies the 49-acre Portland State University campus which was founded in 1946, although many of its campus buildings date to earlier times. The city’s premiere art and cultural institutions, the Portland Art Museum and Portland Center for the Performing Arts affront the northeastern ends of the park blocks. The Portland Central Library, a Georgian Revival building dating to 1913, designed by A.E. Doyle can be found on SW 10th Ave. at Taylor.
1
[11]
CULTURAL STRATA
← N
Portland is known for its culture...Portland is ‘wierd’...it is a melting pot, for an excessive bleeding out of cultural styles, food, dress and more. Similar to Rome, Portland is built up of layers, but not so much layers of historical built space, rather layers of cultural elements. At an architectural level, the cultural district is much the same. There are top layers, easily apparent to a visitor. Upon closer inspection, deeper layers of urban conditions reveal themselves. With each new layer the unique nature of the district makes itself more apparent and separates itself from the fabric of the city.
Cultural Strata
SWSW Mad Mad isoisnon St.St.
SW SW Broad Bro way adw Ave ay A . ve.
SW SW 10th A 10th ve. Ave .
At an architectural level, the cultural district is much the NN same. There are top layers, easily apparent to a visitor. Upon closer inspection, deeper layers of urban conditions reveal themselves. With each new layer the unique nature of the district makes itself more apparent and separates itself from the fabric of the city.
39
←
SWSW Mar Mar keke t Stt.St.
Portland is known for its culture...Portland is ‘wierd’...it is a NN NN melting pot, for an excessive bleeding out of cultural styles, food, dress and more. Similar to Rome, Portland is built up of layers, but not so much layers of historical built space, rather layers of cultural elements.
← ←
SWSW ClaCylay St.St.
← ←
original bldg (destroyed or planned)
SWSW Mai Mai n Snt.St.
SWSW Jeff Jeff erseorso n Snt.St.
SWSW CoCluolu mbmiabia St.St.
[12]
rennovation / additions
SWSW SalSm alm onoSn S t. t.
← ←
strict date to as early as 1910, t as 2005. Relative size and suggests historical importance on the district and Portland at
structure as NN built ← ←
k Blocks in 1852 was the first district. In 1877 the first trees lization to the space.
N
PORTLAND SITE VISIT The studio visit to Portland allowed insight into effective design sensibilities and creative solutions in the built environment. From investigations of hotels both old and new, an understanding of guest ammenities and needs in a ‘unique’ environment was gained. Buildings such as the new Portland Courthouse provided an example of how to deal with the moment at which two or more systems connect. These collisions and spatial interconnections served as an example in design through the rest of the project Visiting local theatres, notably the Old Armory Theatre, also opened up the idea of artistic performance permeating the hotel program as it did in program analysis and schematic design. In these visits the notion of a black box theatre focused hotel was born.
[13]
[3]
PROGRAM ANALYSIS + SCHEMATIC DESIGN Understanding the notion of the ‘commonplace’ resort hotel in present day, and the paradigm shift that will certainly occur with resort hotels in the future, the program analysis phase became very important. Portland’s unique nature and the concept for a transformative hotel exploiting the idea of filtered reality, meant changing typical programmatic spaces to custom spaces that fit within the concept for the hotel. It was here that the program for the hotel became defined as a ‘resort’ based around performance based arts and visual media. Much like Hotel Proforma, this new space in Portland would be theatre intensive, exploiting not just the digital filter, but the physical, and in this case, creative one as well.
[14]
PROGRAM DISTILLED PDX Resort Hotel Program Analysis
PDX Resort Hotel Program Analysis # of spaces
typ. Size
total size
floor
Guest Rooms and Balconies 50 30
22,100 84,900 107,000
4 ‐ 12 4 ‐ 12
Circulation, linen, vending, & storage
19,400
4 ‐ 12
Total area of guest room/unit block Total area of all balconies
126,400 8,998
4 ‐ 12
Total Guest rooms/units and balconies
135,398
Net area of one typical guest room *Net area of one 2‐bedroom Artist in Residence unit Total area of all guest rooms & units
442 2,830
Public Interior Facilities Lobby Main Lobby Seating area Front desk Baggage storage Restrooms Subtotal
2,152 538 430 108 215 3,443
1 1 1 1 1
Retail Shops
1,076
1 or 2
*Dining Rooms/Lounges Hotel restaurant Specialty dining Cocktail lounge Restrooms Subtotal
1,345 1,345 538 215
1 ‐ 3 1 ‐ 3 1 ‐ 3 1 ‐ 3
3,443
*Performance Space Baroque Theatre Mechanics Hallway De La Guarda Catwalk Theatre Live Human Art Installations Digital Screen Play Areas Subtotal
9,146
1 ‐ 4 1 ‐ 4 1 ‐ 4 1 ‐ 12
9,146
*Guest Amenities Bicycle Valet + Check Out Spa and fitness facilities Subtotal
200 5,000 5,200
*Public Exterior Facilities Outdoor Perfromance Space Total Public Exterior Facilities
21,860 21,860
Total Public Facilities
44,168
Guest Rooms Artist in Res. Units Lobby Retail Shops Dining Room/Lounge Perf. Space Guest Amenities Exterior Perf. Space Food Prep. Delivery Employee Facilities Housekeeping Repair & Maint. Equipment Administration Circulation
41,500 84,900 3,443 1,076 3,443 9,146 5,200 21,860 3,228 1,614 1,237 1,129 699 2,335 1,076 269 182,155
126,400
44,168
11,587
Square Footage Details Total Hotel Square Footage Requirements Total Allowable Floorplate Max. Massing, Floors Required Height Allowance Height Zoning of Eastern Lot
191,153 31,200 7 floors 100’ + Bonuses 350’
This layered and color coded spreadsheet illustrates the complexity and intricacy involved in the hotel’s program. Spaces shown in light yellow began as the ‘commonplace’ programmatic areas that are typical to hotels. Guest Rooms + Artist in Residence Suites As they are shown, they reflect (Curved Viewing Facadethe - Riveralterations Response) to program that help define the hotel as a performance based nucleus. Black Box Theatre Spaces (Formal + Pronounced) Early program diagrams were distilled into Shops / Dining (St. Front Presence) on massing modelsRetail reflecting square footage site and spatial relationships. Vertical zoning Space (Response to Park Blocks) was also anIndented issuePublic dealt with during these early stages.
4 or 12
12 and/or 1
Support/Service Facilities
paces 50 30
Food Preparation Hotel restaurant kitchen Main kitchen Banquet kitchen Subtotal
1,345 1,345 538 3,228
1 ‐ 3 1 ‐ 3 1 ‐ 3
Back of House Delivery Loading platform General storage Function storage Refuse area Receiving office Security Subtotal
269 646 269 161 161 108 1,614
1 1 1 ‐ 3 1 1 1
807 269
1 ‐ 3 1 ‐ 3 1 ‐ 3
Employee Facilities Lockers & restrooms total size Cafeteria 442 Lounge 22,100 2,830 84,900 Subtotal
typ. Size
PDX Resort Hotel Program Analysis floor 4 ‐ 12 4 ‐ 12
107,000
Housekeeping19,400 Laundry 126,400 Housekeeping storage 8,998 Subtotal
4 ‐ 12
4 ‐ 12
135,398
Repair & Maintenance Engineering shop Computer room 2,152 538 Subtotal 430 108
Equipment Rooms 215 Telephone 3,443 Mechanical/electrical 1,076 Subtotal Administration Circulation
1,345 1,345 538 215
1 1 1 1 1
1 ‐ 3 1 ‐ 3 1 ‐ 3 1 ‐ 3
Space Summary
9,146
1 ‐ 4 Total area of guest rooms/units & balconies 1 ‐ 4 Total area of public facilities 1 ‐ 4 1 ‐ 12 Total area of support/service facilities 9,146
Grand Total of Spaces
41,500 161 84,900 1,237 3,443 1,076 3,443 699 9,146 430 5,200 1,129 21,860 3,228 1,614 1,237 538 1,129 161 699 699 2,335 1,076 269 183 182,155
2,152 2,335
1 or 2
3,443 Support/Service Facilities Total
200 5,000
Guest Rooms Artist in Res. Units Lobby Retail Shops Dining Room/Lounge Perf. Space Guest Amenities Exterior Perf. Space Food Prep. Delivery Employee Facilities Housekeeping Repair & Maint. Equipment Administration Circulation
Square Footage Details
1,076 269
Total Hotel Square Footage Requirements 11,587 Total Allowable Floorplate Max. Massing, Floors Required 135,398 Height Allowance 44,168 11,587 Height Zoning of Eastern Lot 191,153
4 or 12
126,400
1 ‐ 3 1 ‐ 3 44,168
b ‐ 3 b ‐ 3
11,587
b ‐ 3 b ‐ 3
1
Guest Rooms + Artist in Residence Suites (Curved Viewing Facade - River Response)
Black Box Theatre Spaces (Formal + Pronounced) Retail Shops / Dining (St. Front Presence)
all
191,153 31,200 7 floors 100’ + Bonuses 350’
Indented Public Space (Response to Park Blocks)
[15]
FILTER EXPLORATIONS
[16]
SKETCH PLANS, SECTIONS, + MASSING
[17]
[4]
DESIGN DEVELOPMENT The DD phase saw the project through to design completion. Revisions from the schematic phase were implemented to help make the hotel more total. Everyday we are exposed to more and more screens... televisions, computers, iphones, etc. Our realm of living is increasingly digital. It is through these screens, that our reality is filtered. As we step in to the future near 2055, technology will invade our lives. We won’t be able to go far without experiencing some technological filter, that in turn distorts our perception of reality. The Black Box Hotel seeks to exploit this notion of filtering. Not to correct or exacerbate a filtered reality, but simply make the visitors more aware of it. Aiming to bring people outside of what they know as typical, the hotel filters people through space, allowing them to see and experience the lenses of reality that they are otherwise unaware of.
[18]
B
[19]
SITE CONTEXT + BUILDING MASS UNION RAIL STATION
URBAN PARK BLOCKS (CONTINUING NORTHWEST)
Two hotel towers are placed on the site in response to the urban park blocks, identified to the northwest in the Pearl District, and the transit hub at Union Station. The east tower is offset in the same fashion as the west tower which subsequently projects strucutre over the existing Federal Building.
NORTH PARK BLOCKS
Black massing defines the elevated black box theatre space, the icon for the hotel, as well as the pedestrian street level entries which become programmed areas for live theatrical performance.
[20]
STRUCTURAL AXONOMETRIC VERTICAL CIRCULATION CORE TOWER
EXTERIOR SHEAR WALLS
TENSIONED TWIN SHEAR WALL CORE
Two hotel towers are placed on the site in response to the urban park blocks, identified to the northwest in the Pearl District, and the transit hub at Union Station. The east tower is offset in the same fashion as the west tower which subsequently projects strucutre over the existing Federal Building. Black massing defines the elevated black box theatre space, the icon for the hotel, as well as the pedestrian street level entries which become programmed areas for live theatrical performance.
PERIMETER STEEL BEAM GRID
HI STRENGTH CONCRETE COMPOSITE FLOOR PLATES
EXTERIOR DUAL SKIN ENVELOPE • STEEL MESH / LED INTEGRATED ACTIVE SHADING + PERFORMANCE SKIN • HI PERFORMANCE DOUBLE PANE GLAZING
[21]
ELEVATIONS
EXISTING FEDERAL BUILDING
[22]
SOUTH ELEVATION
EAST ELEVATION
EXISTING FEDERAL BUILDING
NORTH ELEVATION
WEST ELEVATION
[23]
SECTIONS
[24]
NORTH-SOUTH TRANSVERSE SECTION
WEST-EAST LONGITUDINAL SECTION
PERSPECTIVES
[25]
FLOOR PLANS
NW HOYT ST.
North
ENTRY
E
E
E
VERTICAL CIRCULATION TOWER E
E
SPA + FITNESS
E
E
E
E
ADMINISTRATIVE OFFICES
E
E
E
HOUSEKEEPING / SERVICE SPACE
LIVE THEATRE / LOBBY
RETAIL
ENTRY VESTIBLE
RETAIL EMPLOYEE FACILITIES
BAGGAGE / RESTROOMS
LOUNGE
EXTENDED PUBLIC PARK SPACE
PERFORMANCE ENTRY
EMPLOYEE LOUNGE
VEHICULAR ACCESS (GARAGE + DELIVERY)
NW PARK AVE.
FRONT DESK
NW GLISAN ST.
[26]
FIRST FLOOR
SECOND FLOOR
THIRD FLOOR
MANIFESTATION: Filtration and altering the lenses of reality occurs in multiple forms within the hotel to make the experience absolute. + Spaces - The realtionships between spaces in vertical strata and horizontal adjacency evoke senes of connection, and disconnect. + Materials - Steel mesh and LED integrated skin on the west and south facades turns the building into a filter allowing its character to change and be experienced in different scales from far away and inside. + Circulation - Placement on the site filters people in and out of the park blocks and to smaller public green spaces located in the hotel. Vertical circulation also has its own character as a detached element, instead of typical central core. This allows the central core to be experienced in horizontal passage to room blocks with connections to the outdoor environment.
ARTIST IN RESIDENCE SUITE
THEATRICS SPACE
OUTDOOR MEZZANINE (PARK OVERLOOK)
E
TYPICA
SUIT GUEST L TYPICA
THEATRE RECEPTION
E
ES
E
T SUIT L GUES
E
LINEN / SERVICE
E
BRIDGE CORE (FILTRATION SPACE)
E
ES
RESTARAUNT + LOUNGE
+ Program - Alterations in the program of the hotel itself create a black box theatre, open-air live performance spaces, and other more intimate performance spaces. Integration of theatre brings awareness to a past reality, lesser known in 2055.
BLACK BOX THEATRE
ARTIST IN RESIDENCE SUITE
FIFTH FLOOR
7TH THRU 12TH FLOOR TYPICAL (FLOORS 6 + 13 THRU 19 CONTAINED WITHIN MAIN TOWER)
[27]
[5]
DETAIL DEVELOPMENT The DD phase saw the project through to design completion. Revisions from the schematic phase were implemented to help make the hotel more total. Everyday we are exposed to more and more screens... televisions, computers, iphones, etc. Our realm of living is increasingly digital. It is through these screens, that our reality is filtered. As we step in to the future near 2055, technology will invade our lives. We won’t be able to go far without experiencing some technological filter, that in turn distorts our perception of reality. The Black Box Hotel seeks to exploit this notion of filtering. Not to correct or exacerbate a filtered reality, but simply make the visitors more aware of it. Aiming to bring people outside of what they know as typical, the hotel filters people through space, allowing them to see and experience the lenses of reality that they are otherwise unaware of.
[28]
[29]
INITIAL DEVELOPMENT - DETAIL INVESTIGATION #1 Initial conceptual materialization of filtration came through the notion of interactive media walls. Outside of live theatre and performance, the idea of a futuristic hotel required some exploration of how a screen could manifest at a larger than life level. An interactive LED integrated metal mesh wall became the larger than life screen. Allowing guests of the hotel and passerbys to experience the place at a different level.
S K E T C H
F L O O R P L A N
S K E T C H
X I C U I E N T E R TA I N M E N T COMPLEX’S GREEN PIX MEDIA WALL AS I N S P I R AT I O N (IMAGE: Simone Giostra & Partners Architects)
[30]
S E C T I O N
LOGOS + TECHNE N
Logos gives a conceptual understanding to the design explored in detail. It is the essence of the design and drives the larger conceptual moves, defining what the detail should acheieve. Techne is the material technique, the way in which the concept becomes realized. Techne becomes the art behind the materialization of the essence. LOGOS Black Box, a hotel centered around the filtered reality, must confront two issues. First it seeks to pull the guests and artists in, through a series of layers, or filters, both psychological (intangible/experiential) and physical (tangbile/concrete). The high use of these ‘screens’ exploits the notion of a filtered reality making the guest hyper-aware. Second the hotel must explore this issue in a physical manifestation. Filters must truly be experienced, and possibly dynamic, to the same extent an actual black box theatre might. TECHNE
Detail Area Investigated in Exploration # 1
Manifestation of the filtered effect and physical screen occurs in a number of ways throughout the building. Structure is evident and often celebrated. The systems themselves form a series of layers, rather than a more simplistic single slab. The LED mesh shading system allows maximum guest interaction, making the filtering more realized. A woven steel mesh is operable by each room, and custom graphics can be uplodaed to the LED at the guest’s/resident’s wish, allowing them to personalize their window space.
[31]
MATERIALS RESEARCH + CUT SHEETS The material Cut Sheets below from Inox and Kawneer provided a great reference for the detailing and use of their products. Inox’s architectural mesh has multiple weave and connection detail options. Considering the nature of the hotel and the concept of filtration, the cut sheets below reflect not only the best choice from the company, but ultimately the type of facade needed conceptually for the hotel.
Architectural Mesh
1600 WALL SYSTEM®1
10
THE INOX IN COLOR®
APRIL, 2009
CORNERS
..................................................................................................
EC 97911-10
SCALE 3" = 1'-0" Metallic weaves, flexible and rigid meshes with many available shapes and designs that allow to cover large external surfaces, create virtual interior rooms or generate visual illusions by combining them with light and colors. The stainless steel architectural meshes are very verstile both in their applications and in their properties. A large range can be manufactured in the requested characteristics suitable for each project with also the most advisable attachment systems. Outdoor closings for largescale projects that can fulfil both esthetical requirements and functionality in just one material. Indoor wall and column claddings, ceiling systems, space dividers or filter screening or some other typical uses for these materials.
90° OUTSIDE CORNER
90° INSIDE CORNER
90° OUTSIDE CORNER
135° OUTSIDE CORNER
135° OUTSIDE CORNER
135° INSIDE CORNER
The Inox in Color offers a wide range of Attachment Systems. They are proposed according to the specific characteristics of each Project and its application.
Dealing with a curtain wall system was a new endeavor and again Kawneer’s details provided great reference. Here it was easy to see the avaliable options and possibilities for dealing with a corner condition. Spec sheets also gave insight into thermal breaks and other system configuration details common to a curtain wall.
www.theinoxincolor.com info@theinoxincolor.com Tel. (+34) 93 876 01 15 Fax. (+34) 93 876 00 73
kawneer.com
APRIL, 2009
MATERIAL · STAINLESS STEEL MESH TYPE · FLEXIBLE OPEN AREA · 65 % WEIGHT · 8,7 kg/m2 ROD DIAM. · 4 mm DIAM. CABLE · 3x3 mm WEFT WIRE PITCH · 15 mm CABLE PITCH · 110 mm
ATTACHMENT SYSTEMS SA-1 000 SA-1 500 SA-2000 SA-3500 SA-4000 SA-4500
© Kawneer Company, Inc., 2009
Sample shown at full scale. Measurements are approximate values. Specifications subject to change.
Kawneer reserves the right to change configuration without prior notice when deemed necessary for product improvement.
Laws and building and safety codes governing the design and use of glazed entrance, window, and curtain wall products vary widely. Kawneer does not control the selection of product configurations, operating hardware, or glazing materials, and assumes no responsibility therefor.
EC 97911-10
WEBER-650
www.theinoxincolor.com info@ theinoxincolor.com Tel (+34) 93 876 01 1 5 Fax (+34) 93 876 00 73
kawneer.com
1600 WALL SYSTEM®1 PICTORIAL VIEW
5
© Kawneer Company, Inc., 2009
Kawneer reserves the right to change configuration without prior notice when deemed necessary for product improvement.
All Attachment Systems must be sized based upon your project requirements. Our Technical Department can work with you adapting our attachment ideas in your projects or developing new attachment techniques to know your specific needs. Each Architectural Mesh can fit with different fixing systems in order to create different spaces for Architecture, Engineering, Interior Design… Our Technical Department will try to advise and solve doubts about your project designs. Consult our qualified specialists for further detailing assistance.
..................................................................................................
[32]
Laws and building and safety codes governing the design and use of glazed entrance, window, and curtain wall products vary widely. Kawneer does not control the selection of product configurations, operating hardware, or glazing materials, and assumes no responsibility therefor.
NOTE: 1" SYSTEM SHOWN, 1/4" SYSTEM SIMILAR.
DETAIL INVESTIGATION #1 - FLOOR PLAN CORNER EXTRUDED ALUMINUM MULLION, CUSTOM FABRICATED & ANGLED [08 44 13] SUPERSTRUCTURE COLUMN, STEEL ‘W’ SHAPE (2’-0” x 1’-0”) IN COLUMN GRID @ 24’-0” O.C. CONTINUOUS TO GROUND WITH SPLICES [05 00 00]
North
4” STEEL SQUARE TUBE FRAME, SPECIAL CORNER BOX ANGLE [05 12 13] 4” STEEL SQUARE TUBE FRAME @ 8’-0” O.C. (TYP) MESH WALL SYSTEM STRUCTURAL SUPPORT [05 12 13]
EXTRUDED ALUMINUM INTERIOR MULLION, 3” WIDTH @ 4’-0” O.C. (TYP) (SILICON GASKET ENCASED FOR THERMAL BREAK) [08 44 13] STEEL ‘C’ CHANNEL / TRACK, 10” WIDE (ACCEPTS MESH SCREEN SYSTEM) [05 12 13]
SECTION
[33]
DETAIL INVESTIGATION #1 - WEST ELEVATION AIRCRAFT CABLE, STAINLESS STEEL, 1/4” DIAMETER (ASSEMBLY ACTS AS GUIDE AND STABILZER FOR AUTOMATION OF MESH SCREEN SYSTEM) [05 15 19] INTEGRATED LED LIGHT TUBING, WOVEN WITH ARCHITECTURAL STEEL MESH [26 55 61] STAINLESS STEEL ARCHITECTURAL WOVEN MESH (EMPLOYED AS ROLL UP SCREEN SHADING SYSTEM) [05 73 16]
[34]
DETAIL INVESTIGATION #1 - SECTION AUTOMATED SHADING SYSTEM MECHANICAL EQUIPMENT [08 75 13]
EXTRUDED ALUMINUM STRUCTURAL SPANDREL PANEL, INSULATED [08 44 26] STAINLESS STEEL CUSTOM BENT ANGLE CURTAIN WALL CONNECTION, WELDED @ 4’-0” O.C. [05 00 00] FLOOR JOIST, STEEL ‘W’ SHAPE (1’-6” x 1’-0”) @ 12’-0” O.C. [05 00 00] BOLTED STEEL ANGLE CONNECTION, BEAM TO BEAM, (4) 1”-0” BOLTS [05 00 00] FINISHED FLOOR, RECLAIMED WOOD PLANKS [09 64 29] COMPOSITE METAL DECKING, 3” RIBS, 12’-0” SPAN SHEAR STUDS WELDED TO FLOOR BEAMS FOR ADDED STRUCTURAL INTEGRITY [09 64 29] LIGHTWEIGHT CONCRETE DECK TOPPING 3” POUR ABOVE RIBS, CAST-IN-PLACE (PUMPED) [03 31 16 (03 37 16)] GLAZING, DUAL PANE, CURTAIN WALL SYSTEM (TOP AND BOTTOM PANELS OPERABLE FOR NATURAL VENTILATION) [08 81 00 (08 75 16)] SUPERSTRUCTURE COLUMNM, EXPOSED (TREATED WITH 70 m INTUMESCENT LATEX FIREPROOFING PAINT FOR 2 HR. FIRE RATING) [(09 96 07)] STEEL PLATE, COLUMN SPLICE (16) 1” BOLTS [05 00 00]
[35]
PHYSICAL MODEL
[36]
INITIAL DEVELOPMENT - DETAIL INVESTIGATION #2 S K E T C H
F L O O R P L A N
S K E T C H
S E C T I O N
N azar à W all I ntervention in G ranada S pain A S I N S P I R AT I O N (IMAGE: Antonio J i m à n e z To r r e c i l las)
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LOGOS + TECHNE N
Logos gives a conceptual understanding to the design explored in detail. It is the essence of the design and drives the larger conceptual moves, defining what the detail should acheieve. Techne is the material technique, the way in which the concept becomes realized. Techne becomes the art behind the materialization of the essence. LOGOS Filtered reality can be experienced in a number of ways. In any case the oberserver or investigator, the guest, can choose to engage the screen and participate or the screening can occur without required interaction. Dynamic stimulae allow the guest to have increased interaction and open the possibility for fully interactive media. Conversely, static filters don’t require any guest input beyond sight. TECHNE The media mesh wall allows guests to interact both with its visual dynamic stimulus, and its operability. The disintegrated metal panel system in this detail is an example of static filtered reality. The effect is the same allowing the guest to experience new viewpoints, however interaction beyond simple observation is not necessary. Through random and controlled openings in the panel system the guest is made aware of the concrte structural wall behind, increasing their awareness.
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Detail Area Investigated in Exploration # 2
MATERIALS RESEARCH + CUT SHEETS To install a metal panel wall or roof system there are a number of seaming options for varying levels of aesthetic, connection detail, and installation complexity. The flat metal panelized system in use in this detail is an overlap snap in place seam for its simplistic installation, but also its minimal aesthetic. The cut sheet below shows one typical configuration detail for a raised metal panel system. While this system is not entirely similar to the flat panel system utilized, this detail and others like it provided insight on how to detail a system of this nature.
The dimensions and material relationships shown in this detail are and have been exaggerated for clarity. Actual dimensions will vary, and should be carefully coordinated with sequencing and construction tolerances to ensure the long-term durability and performance of this and similar exterior wall details. Interface conditions between building envelope materials, components and systems should be fully detailed in a manner that is both technically sound and serviceable. Detailing should, at a minimum, allow for coordination of drainage planes when two or more different wall types are used in the same facade; allow for thermal and moisture-induced changes in material properties and differential thermal movement; and allow for in-service deflection, shrinkage, creep and similar behavior considered to be within the allowable structural limits of the project without compromise to the weather-tight integrity and thermal performance of the building envelope. The air barrier can either be formed by employing the interior side airtight drywall approach or an exterior side air barrier. The location of or need for a vapor retarder within wall assemblies will vary based upon climate, and can be significantly influenced by the storage capacity and vapor permeance of the materials selected for each layer of the wall system. A climate-specific, hygrothermal analysis for any wall assembly should be considered to further evaluate this concern. See the General section of the WBDG for additional information and guidance.
METAL PANEL OUTSIDE CORNER OVERALL DETAIL The details, graphics and related information shown above are intended to illustrate basic design concepts and principles only and should be considered collectively with the appropriate narrative sections of the Whole Building Design Guide (WBDG). The information contained herein is not intended for actual construction, and is subject to revision based on changes and/or refinements in local, state and national building codes, emerging building envelope technologies, and advancements in the research and understanding of building envelope failure and failure mechanisms. The actual design and configuration of these and similar details will vary based upon applicable local, state and national building code requirements, climatic considerations, and economic constraints unique to each project. Full compliance with the manufacturer's recommendations and recognized industry standards for each building envelope material, component and system specified for this and similar exterior wall assemblies is recommended, and should be reflected in the appropriate sections of the project specifications.
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DETAIL INVESTIGATION #2 - FLOOR PLAN GLAZING, DUAL PANE, CURTAIN WALL SYSTEM [08 81 00] FINISHED WALL SURFACE, PAINTED GYPSUM BOARD [09 21 16] 4” RIGID INSULATION, EXTRUDED FOAM BOARD [07 21 13]
METAL STUD FRAME, 3” x 8” STUDS [05 41 00] OSB PLYWOOD SUBSTRATE NAILING SURFACE 1” THICK [06 16 33] WATERPROOFING MEMBRANE, THERMOPLASTIC SHEET [07 13 54] FLAT PANELIZED METAL WALL FINISH SYSTEM VARIABLE LENGTH, 1’-0” HIGH PANELS, SNAP SEAM [07 42 13]
North [40]
SECTION
DETAIL INVESTIGATION #2 - NORTH ELEVATION REVEAL, SHADOW LINE, OPEN TO CONCRETE WALL 1’-0” DEPTH [** ** **] FLAT PANELIZED METAL WALL FINISH SYSTEM [07 42 13]
CONCRETE BEARING + SHEAR WALL, 2’-0” THICK SITE CAST, TILT UP PANELS [03 47 13] MOISTURE SEPARATION, AT GRADE REVEAL 1’-0” HEIGHT [** ** **]
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DETAIL INVESTIGATION #2 - SECTION TYPICAL STEEL SUPPORTED COMPOSITE DECK FLOORING SYSTEM AS DEFINED IN DETAIL INVESTIGATION 1 2’-0” STRUCTURAL DEPTH [** ** **] FINISHED CEILING SOFFIT, GYPSUM BOARD VARIABLE HEIGHT WITH HIDDEN COVE LIGHTING [09 58 00]
CONCRETE BEARING + SHEAR WALL, 2’-0” THICK SITE CAST, TILT UP PANEL WITH REBAR REINFORCEMENT + TIES [03 47 13] CONCRETE FOUNDATION WALL, 2’-0” THICK CURBED 1’-6” ABOVE GRADE [03 31 13]
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TECHNICAL INTEGRATION During this project a half-semester course was also being completed in technical integration, ARCH 568. Here we studied structure, envelope, service, site, and interior systems for integrative design strategies. Over the course of the class an in-depth study was completed on a building, dissecting its systems and diagramming successful integration strategies This experience became a strong design driver in completing the detail area investigations for the final portion of this project. Working to acheieve further credit in the course, a supplemental directed study was taken on in which these techniques and diagramming practices were applied to the detail designs.
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BUILDING SERVICES PLAN As an exercise in integrated systems design and configuring the overlaps and conflicts so common with mechanical, plumbing and electrical systems, this extension of the project focussed on diagramming the building services systems. In plan, section, and detail, common mpe spaces were mapped out to explore their complexity and spatial layers.
air handler + plenum system common plumbing walls electrical service spaces + conduit grid vertical circulation cores
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BUILDING SERVICES SECTION
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DETAIL 1 - INTEGRATION PLAN 6” ROUND FLOOR DIFFUSER, COLD AIR + AIR CHANGES PLACED ON 12’ X 8’ GRID ELECTRICAL CONDUIT AT 4’-0” INTERVALS. LONGITUDINALLY PLACED IN COMPOSITE DECKING VOIDS
North
FRESH AND COOL AIR PLENUMS TRANSVERSE PLACED IN BEAM VOIDS
VERTICAL WATER MAIN POTABLE + WASTE LINES, PLACED IN COLUMN VOID ON SHARED PLUMBING WALL BETWEEN 2 GUEST SUITES
SECTION
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DETAIL 1 - INTEGRATION SECTION RADIANT HEAT BASE UNIT, TYPICAL AT GLAZED WALL
OPERABLE CURTAIN WALL GLAZING PANEL FOR PASSIVE VENTILATION AND HOT AIR EXHAUST
IN FLOOR FRESH AIR DIFFUSER, ZONED BY ROOM
UNDERFLOOR AIR SUPPLY PLENUM, 6” DIAMETER PLACED IN STRUCUTRAL BEAM VOIDS
RADIANT IN FLOOR HEATING, PIPING CAST IN COMPOSITE DECKING OPERABLE CURTAIN WALL GLAZING PANEL FOR PASSIVE VENTILATION AND COOL AIR INFLOW VERTICAL POTABLE AND WASTE WATER SUPPLY PIPING
CEILING ELECTRICAL CONDUIT RUN FOR LIGHTING + EQUIPMENT TRANSVERSE IN BEAM VOIDS FLOOR ELECTRICAL CONDUIT RUN FOR WALL + FLOOR OUTLETS LONGITUDINALLY PLACED IN DECKING VOIDS AT 4’-0”
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DETAIL 2 - INTEGRATION PLAN RADIANT HEAT BASE UNIT, TYPICAL AT GLAZED WALL 6” ROUND FLOOR DIFFUSER, COLD AIR + AIR CHANGES PLACED ON 12’ X 8’ GRID ELECTRICAL CONDUIT AT 4’-0” INTERVALS. LONGITUDINALLY PLACED IN COMPOSITE DECKING VOIDS
FRESH AND COOL AIR PLENUMS TRANSVERSE PLACED IN BEAM VOIDS VERTICAL ELECTRICAL CONDUIT PLACED IN RIGID INSULATION FOR WALL OUTLET ACCESS
North SECTION
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DETAIL 2 - INTEGRATION SECTION UNDERFLOOR AIR SUPPLY PLENUM, 6” DIAMETER PLACED IN STRUCUTRAL BEAM VOIDS
IN FLOOR FRESH AIR DIFFUSER, ZONED BY ROOM
ELECTRICAL CONDUIT RUN FROM TRACKS IN BEAM FOR SOFFIT LIGHTING WIRES RUN AT SOFFIT HANGAR LOCATIONS FLOOR ELECTRICAL CONDUIT RUN FOR WALL + FLOOR OUTLETS LONGITUDINALLY PLACED IN DECKING VOIDS AT 4’-0”
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