Fringe Fab

U M N + H G A FAL L 2014

FRINGE FAB

CONTENTS INTRODUCTION RESEARCH METHODS S U R FAC E

S U R FAC E # 1

I n t r o d u c t i o n A c i d E t c h S i l k S c r e e n D i g i t a l P r i n t i n g

SEAMLESS

I n t r o d u c t i o n L i m e P l a s t e r G r a i l C o a t

WINDOW FILMS

I n t r o d u c t i o n D i c h r o i c F i l m D a y l i g h t R e - d i r e c t i n g

LED-Embedded Light Film

“Unlike the artist, who interacts directly with his or her palette, the

architect is one step removed from the physical substance that makes architecture. This synapse often breeds ignorance about what materials are available or what properties they possess which is reinforced by the fact that most buildings are still comprised of relatively conventional products and systems despite the wide variety available.”

“The recent interest in new materials has the potential to dislodge the conservative mindset we face today.” from Transmaterial by Blaine Brownell

FRING E FA B in t ro d u c t i o n In recent years, technology has catalyzed the materials science industry resulting in a proliferation of innovative products for building construction. Surprisingly, very few new materials become part of mainstream architectural practice, particularly in the United States. Although some architects have maintained a curiosity with building materials and incorporate these in built projects, as a whole the building industry is not considered an innovative sector. HGA Architects, a member of the research consortium at the University of Minnesota is interested in learning how architects can successfully incorporate unconventional products and processes in mainstream architectural practice. This study, Fringe Fab, investigates materiality and the resistance that architects face the moment they venture outside of the mainstream.

A number of factors led to the conservatism of the architectural and construction industries including the influences of mass production in the 20th century, increasing size and complexity of architectural projects, and the fragmentation of the architecture industry. Since the early 21st century, trends of mass customization and technological advancements that have resulted in a proliferation of new materials have led to a renewed interest in materials among architects. This renewed interest has the power to change the conservative mindset that is characteristic of the building industry [1]. Despite architect’s interest in engaging with material and fabrication processes, litigious construction environment, riskadverse project-partners, and pressure on design fees in conventional practice discourage the use of unconventional materials. This is exacerbated by the architects’ removal from the physical substance of architecture, which “breeds ignorance about what materials are available or what properties they possess, which is reinforced by the fact that most buildings are still comprised of relatively conventional products and systems despite the wide variety available” [2]. The disconnection of the architect from the physical substance of architecture may explain why the building industry often lags behind more industries known for material innovation.

Stephen Kieran and James Timberlake’s seminal book, Refabricating Architecture, published in 2004 argues that the architectural profession failed to evolve over the past 80 years, citing that “few truly new materials, features, and processes have become commonplace” [3] during this time. Refabricating Architecture compares the architectural and building industry to process engineering, characteristic of the aviation and automobile industries to emphasize that the architect’s disengagement with the materials and assembly of architecture has resulted in inefficiency, waste, and failure to evolve the industry [4]. The process of material innovation in the building industry differs from the processes in the aviation and automotive industries. In the building materials industry, raw materials must pass through multiple channels before being implemented on a project. If an architect desires to customize a material, they must go through the supplier.

The supplier, however, may lack the power to influence the material manufacturer due to the complexity of the value-creation network (fig. 1) [5]. The diagram illustrates the disengagement of the architect from nearly every player in the building industry with the exception of the building contractor and client.

Conversely, the manufactures of end products in the aviation and automotive industries have close ties to the manufacturers of raw materials, directly influencing the research into new products and processes [6].

This close relationship increases the likelihood of success of a new product, mitigating the risk of failure of a new product or process. Although success of a building product may be difficult to quantify due to the subjectivity of aesthetics and sensory qualities [7] that often define the successfulness of a material in building construction, the comparison of material innovation in the building versus the aviation and automotive industries suggests that the rate of innovation in the building materials industry may increase if the architect becomes more actively engaged with other players in the value-creation network.

Manufacturer of Building Product

Industrial Client

Planer / Planner / Architect

Raw Materials Manufacture

Building Materials Trade

Building Contractor

DIY store

Manual tradesman

Building Site

Public Sector Client

Private Developer

Physical materials flow - to building site Influence on choice of material - for building

Architects’ conservative attitude toward materials begins with architectural education. Educators and authors of the go-to guides used by students and educators and practitioners for the past 20 years still advocate for standardization. Both the first and second editions of the frequently referenced guide, Architectural detailing: Function – Constructability – Aesthetics by Edward Allen and Patrick Rand published in 1997 and 2007, respectively, feature an article titled “Off The Shelf Parts” in which Allen advises that custom parts unless there is a strong reason to do otherwise [8]. This article appears in both additions over a 10-year span, indicating the lack of universal change in the architectural industry and education as a whole. Edward Allen, author of the Architect’s Studio Companion, a resource known in the architectural community as the go-to guide for students, is also a faculty member of the architecture schools at Yale, and Massachusetts Institute of Technology.

Allen’s influence as an author and educator give added weight to his writings. Additionally, the typical building technology sequence in architectural education typically teaches the most conventional approaches to building structure and materiality. While foundational knowledge of materials and structure is necessary to step to learning about more sophisticated design solutions, most education never moves beyond basic knowledge, and “the rote following of traditional practices practically ensures an unremarkable result”[9]. As an aspiring architect pursues professional licensure, they are again confronted with recommendations to stick to tried and true construction methods. In the ARE (Architectural Registration Exam) Review Manual authors David Ballast and Steven O’Hara advise that “conforming to…industry standards not only increases the likelihood that the detail will work, but also minimizes potential liability if something goes wrong. This is not to say that the architect should not try new design approaches...but that he or she should only do so when necessary [10]. Many architects and educators argue that knowledge and incorporation of new materials in architectural design is necessary to the advancement of our profession. The question remains that remains is how to instill a culture of material curiosity in mainstream architectural practice and the industry as a whole.

Engaging with fringe products and processes involves more than just the desire to do so; as the complexity of architectural design advances, manufactures of building materials are slow to react, “the architect must therefore devise individual solutions alone…this demands a high degree of personal commitment and idealism”[11]. Architects continue to face incredible resistance when proposing a fringe product or process for a project, particularly in mainstream architectural practice. The complexity of the building materials industry, liability, budget restrictions, risk-adverse project partners and tight project schedules inhibit the implementation of fringe materials. The research of materials within a firm can become a job within itself [12]. According to Christiane Sauer in her article “The Architect as Building Materials Scout”, “Research into innovative materials generally follows two principles: either the discovery of new technologies or the transfer of existing materials to other contexts. Another approach is the targeted new development of a material for a certain purpose or application, but this presumes an appropriate budget and corresponding timeframe”[13] .As a result, the process of material research involves more than fact finding on the current information about a material’s properties. To truly understand a building material, “it is necessary to become familiar with its physical characteristics and the associations inherent in its cultural history – with the ways in which a material is used, perceived and remembered within the larger contexts of its production”[14]. Over the past decade, more firms have taken on research and advancement of the architectural profession within their practice in the form of research councils and specialized research teams with dedicated staff. Firms may also contract with specialized architectural consultants to aid in incorporating innovative materials, systems, or construction processes into a project such as façade and sustainability consultants.

“Don’t use anything but standard, off-the-shelf

products unless you

have a strong reason to do otherwise” from Off -The-Shelf Parts by Edward Allen

“Conforming to these types of industry

standards not only increases the likelihood that the detail will work, but also minimizes potential liability if something goes wrong. This is not to say that the architect should not try new design approaches...but that he or she should only do so when necessary” from ARE Review Manual by David Ballast

While this signals a shift toward more innovative practices, the incorporation of fringe products and processes is usually limited to specific projects that can support additional work and fee necessary to do so, rather that influencing the culture of the architectural profession.

Despite the obstacles that architects face when attempting to engage unconventional products, the use of innovative materials in architectural projects is vital to the advancement of architecture.

According to Blaine Brownell, “new products and processes have transformed architecture by enabling alternative construction techniques and novel spatial possibilities…the architect’s utilization of materials in unexpected ways has demonstrated architecture’s capacity to inspire new growth in constructionrelated industries as well as simulate cultural change“ [15]. Rising energy costs and environmental issues related to climate change, as well as recovery from the recession in the early 2000’s has had a profound impact on the profession. Architects and the construction industry devote more attention to building performance as well as efficiency in the design and construction process. Clients are increasingly more interested in high-performance buildings and designs are becoming more innovative and complex to accommodate these trends. Many fringe materials and technologies address these interests and offer new aesthetic possibilities and have the power to transform the performance and craft of the built environment [16].

The Fringe Fab project presents case study research used to examine the application of select fringe materials in built projects. The studies explore the benefits and challenges of the materials’ properties and implementation in a built project. Additionally, the process and sources for finding this information is documented to create a tool for future materials research within HGA. The study confirmed the resistance that architects face when attempting to venture outside of mainstream practices and suggests that in order for the industry to change, architects must become more informed and engaged in materials research and building construction. This information can be used to overcome opposition to innovation.

This resource, on one hand will provide information about products and processes outside of the mainstream for use in the firm, but what may be more influential is the documentation of the process to find necessary information. By providing insight into the process of discovery, the document can make the method of materials research more accessible to architects and designers in the firm. Ultimately the goal of the fringe fab research project is to instill a culture of materials research at HGA.

start here

Y

is the product or process outside of the mainstream?

Y

Y

Y

has it been used successfully before?

does it ďŹ t with the design intent?

N

N

Y

has it been used in other industries?

N

Y

does it have potential for architectural applications?

N

is it economical?

(relative to industry standards)

Y

good choice

N

N

does it add value?

does it ďŹ t with the culture of the ďŹ rm?

N

RES EA RCH MET H O D O LO GY A case study and historical research strategy is used to develop the Fringe Fab project. The purpose is to identify viable materials, collect information about selected materials that can be communicated to the firm, and provide context for the material or process that gives a deeper understanding of the product’s history and challenges of proposing the product for a project. The process of the search is documented to create a toolkit, to be used by HGA, for identifying viable fringe materials and how to find information necessary to be able to propose the material for a project. Information needed primarily relates to the material’s properties and the benefits and limitations related to those properties.

R E S EAR CH P R O C ES S Documenting the process for finding information about new materials is an essential component of the process. This includes outlining research questions, sharing where and how information was collected, and depicting important relationships within the industries of the products being studied, particularly when these relationship and processes prove to be convoluted. Ultimately, HGA wishes to instill a culture of materials research in the firm. By documenting and clarifying the process for finding information about materials, as well as identifying the challenges of implementing a particular material, other designers will have an outlined process for finding materials that are outside of the mainstream on their own.

S E L ECT I N G M AT ER I AL S The first step is to determine whether or not a material is appropriate for the firm and should be pursued for further research. The criterion for identifying viable materials is defined based on the culture of HGA as well as the knowledge and experience of the architects involved in the research project. Currently HGA is primarily interested in materials that have been used successfully before but are relatively unknown in the North American building and construction industry. The questions organized in the flow chart on the opposite page were developed during our research process and will aid in future materials research endeavors at HGA.

R E S E A R CH Q U EST I O N S

W h at i s t he co mpo sitio n o f t h e mat e rial?

W h at a re the a pplicatio ns?

W h at a re the ty pes/sizes?

H a s t h e m ater ia l been tested ?

W h at a re the mater ia l’s limit at ion s ?

Limitations of the material may relate to cost, climate, availability, warranty, size, skill of installers, color fading/wearing over time, amount of cleaning and maintenance required, durability, etc.

W h at a re the mater ia l’s bene fit s ?

Benefits may include environmental (energy efficiency, bird safety, locally sourced, etc.), cost savings, aesthetic opportunities, etc.

W h at c o mpa nies supply /inst all t h e mat e rial?

W h at i s t he co st f o r the mate rial an d in s t allat ion ?

W h at s pecifi catio n sectio n d oe s it fit in t o?

Mat er i a l Specifi c Inf o r matio n Example s : W h at s u bstrates a re a ppro priat e ?

W h at a re the co lo r o ptio ns?

W i l l t h e c o lo r f a de o v er time ?

F I NDI N G AD D I T I O NAL I NFO RMATI O N Once a material has been selected, additional information is needed to create a full report about the material. The goal is to gather enough information for the designer to be able to propose the product for a project. This information is found primarily through product websites, talking to technical experts for the product manufactures, and speaking with manufactures of related products and installers if needed. Each material will have its own set of specific questions that will need to be answered (questions to ask when researching materials are outlined on the following page).

CA SE ST U DI ES For a material to be considered viable for use in HGA, projects that have used the product successfully should be identified and used to find answers to some of the previously mentioned questions. Successful use of a product or process is defined by both aesthetic qualities and performance. The aesthetic and performance qualities depend on the product studied. Successful use of surface #1 treatment on glass, for instance, would depend on how much the color faded over time and if the treatment was otherwise affected by the elements, because of the surface’s exposure to the exterior of a building. Case studies are used to demonstrate the product’s implementation and use though detail drawings, photographs, and interviews with contractors and architects involved with the project and also as a tool to find out more information about the product. In some cases conflicting information about a product may result from the research. In this case, the firm and architects working on the project may need to make a judgment call based on the information collected. The material may or may not be worth the risk. In some cases taking extra precaution in the detailing or installing of the material lessen the risk of using the material.

H I STO R I CAL / P ER I P HERAL I NF O RMATI O N In addition to finding out current information and use of a product, historical and peripheral information is collected to tell the full story behind the product. This also helps to uncover why the material is outside of the mainstream. For example, the investigation of seamless surfaces led to an interest in lime plaster.

Through further research we discovered that lime plaster has a long history and is still used frequently outside of North America. An investigation of the US industry standard, Portland Cement stucco, revealed that the introduction of Portland Cement led to the demise of lime plaster in the North American market due to Portland Cement’s strength and quick drying qualities. The report then compares the benefits and drawbacks between Portland Cement stucco and lime plaster to help the designer make an informed decision when selecting materials for a project.

I AC, G e h r y Partn e rs , NYC

One N ew Ch a ng e, A ti l er Jea n N ouvel , London

sunlight, the frit pattern is obscured by reflection, in shadow

Paul’s Cathedral is only visible is areas without the frit pattern.

This project uses a second surface frit, note that in direct the pattern is visible again

This project uses a first surface frit, note that the reflection of Saint

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SURFACE #1 in t ro d u c t i o n As glass technology advanced, allowing the incorporation of multiple layers of films, coatings, and frits all typically concealed within the hermetic airspace of an IGU, the function of glass became that of a vitrine, protecting its vulnerable decorative and performance layers . The development of more robust techniques now allow these layers to move to the exterior, to be fully present on the first surface of the glass, to make the glass less like a vitrine and more like a canvas.

Although glass surface #1 treatments have been available and implemented outside of North America for several years, this process continues to be outside of mainstream practices in the United States. North American glass fabricators are reluctant to apply surface #1 acid etching or ceramic frit because the surface is more susceptible to wearing and color fade. Companies such as Ferro and Dip Tech developed ceramic inks formulated to withstand abrasive elements that facades must endure, including sun and ultra-violet radiation, wind, chemicals, and climate specific challenges. Despite the availability of surface #1 specific inks, fabricators are still hesitant to offer this treatment to glass as an option. Viracon, a major glass fabricator in the US cite the reason being a lack of demand from architects. Saint-Gobain, a specialty glass company based in Europe maintain that warranties offered by ink suppliers like Ferro do not provide enough coverage. To counteract this deficiency, Saint Gobain has developed their own surface #1 inks, buying from Ferro and modifying the formula to add durability. Often color options are limited to white, gray or black, and some refuse to offer dark colors where fading will be most noticeable. This study of surface #1 inks is emblematic of aversion to risk that is rampant in the construction industry and the general resistance that an architect must overcome in order to use products and processes outside the mainstream of industry. Most of the projects featured in this study used European sources for glass, rather than domestic. To date, we have only identified one US-based glass fabricator willing to apply surface #1 frit to glass.

Recent projects using surface #1 treatments illustrate the benefits of this practice. Surface #1 treatments researched in this study include ceramic silk screen, digital printing, and acid etching. Typical glass surface treatments are applied to the second surface of glass, which allows protection of the frit or etch from potential fading and wear. Applying frit and acid treatments to the exterior surface of glass offers many benefits from the purely aesthetic including increased color saturation to practical and environmental considerations such as light control and bird safety. When frit or acid etching is applied to the exterior surface of glass, overall glare and reflection is reduced on the facade. This increases the intensity of the treatment that is applied to the surface so that patterns, colors, and/or acid etch treatments are more perceivable from exterior of the building at all angles. Typical surface #2 ink applications or acid etching can be obscured by the reflection of the glass on surface #1. In addition to aesthetic value, the reduced glare, reflection and transparency is also bird-friendly. Additionally, the application of frit on more than one surface can create a sense of depth within the glass or achieve a particular light control or aesthetic goal.

Kunsthaus Bregenz Peter Zumthor; Bregenz, Austria

AC ID ETCH DESCRIPTION The acid-etching process involves the use of hydrofluoric acid, an aqueous solution which roughens the surface by attacking the silica of glass. The level of transparency of the glass can be controlled in the acid etching process. The rougher the surface is after the acid etching process, the more opaque the glass will be, The type of glass used also effects the look of the finished piece. Glass is available in a range of tints, including ultra clear, green, blue and black. Some fabricators may offer varying shades of these colors. Additionally, comparable glass types and colors from two fabricators may have a different visual appearance. Green glass from one manufacturer may look very different from green glass from a different manufacturer. All of these factors can effect the final outcome of the glass unit. Consistency is key in the etching process. The use of acid etch on glass provides a number of benefits including light diffusion, light transmission, increased privacy, and visual/aesthetic opportunities (cite - all about acid etch).

APPLICATIONS Acid etch can be applied to any surface of glass, provided that the fabricator is willing to do so. Note that not all treatments of glass that can increase the efficiency of the IGU are available when using this technique on particular surfaces. Some low-e coatings may not be available. One glass manufacturer cited that they would only apply hard-coat low-e coatings when a first surface treatment is applied.

LIMITATIONS There are a range of variables in the acid etching process that can effect the final outcome of the piece of glass including color of the initial glass, amount of etch (or opacity) and the care of storing the glass once it has been etched.

COMPANIES / CONTACT Walker Glass PRECEDENT PROJECTS Diana Center, Barnard College - New York City, 2010, Weiss Manfredi Novartis Office building 335, New Jersey, 2013, Weiss Manfredi

The D i a n a Ce n t e r A rc h i t e c t : We i s s M a n f re d i Lo c at i o n : N e w York Ci t y, Ne w York ( Ba rna rd Col l eg e Ca m pus ) A rea : 9 8 ,0 0 0 s q ft Yea r : 2 0 1 0 G l a s s Fr i t S up p l i e r: Wa l ke r ( A c i d Et c h) G ol dra y (s urfa ce # 1 fri t) X (m a de IG U ) Weiss Manfredi’s design for the Diana Center connects painting studios, performance spaces, theaters, a cafe and classrooms, and reading room with a continuous public space that cuts diagonally through uniform floor slabs and protrudes from the building. Clear glass used in these spaces provide unobstructed views to the campus, connecting interior spaces to the surrounding landscape. The remainder of the building both relates to and departs from the surrounding campus building facades, which are primarily clad in red brick. To break from the monotony of the surrounding red brick buildings, the glass-clad facade is comprised of IGUs that are treated with an acid etch on surface #1 and a redbrown silk screen ink on surface #2. The red-brown color of the frit relates to the brick facades on neighboring buildings. The acid etch on surface #1 reduces glare and reflectivity allowing the color of the acid etch on surface #2 to become much more saturated. This process has a similar look as surface #1 frit applications. The frit gradually transitions from solid to transparent intermittently. The surface #1 treatments to the glass of The Diana Center project at Barnard College in New York play a primary role in conveying the design intent that relates the building to the campus in a fresh and innovative way.

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silk screen ink on #2 acid etch on surface on #1

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Nov a rt i s O ff i c e Bu i l d i ng 3 3 5 A rc h i t e c t : We i s s M a n f re d i Lo c at i o n : E a st Ha n ov e r, Ne w J e rse y A rea : 1 4 0 ,0 00 s q ft Yea r : 2 0 1 3 G l a s s S u ppl i e r: In t e rp a n e Building 335 on the Novartis campus has many similar ideas related to the Diana Center. The structure houses five floors of open office areas connected by open spaces that spiral through the building. These open spaces act as “living rooms” and provide sunlit areas for gathering between disciplines. Similar to the Diana Center, open spaces are clad with clear glass, while the rest of the building’s facade is made up of acid etched glass, articulating the living room spaces from work spaces on the facade. The acid-etched portion of the facade is comprised of insulated glass units with etch on the first and second surfaces. The effect adds depth to the facade and mirrors the landscape in some areas, while obscuring it in others.

This allows the building to both stand out from and relate to surrounding structures on the campus which includes designs by Raphael Viñoly, Fuhimiko Maki, and Vittorio Lampugnani.

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acid etch on surface on #2 acid etch on surface on #1 (10 mm Low Iron Glass)

10 mm Low Iron Glass 12 mm Argon

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Louis Vuitton Store Jun Aoki; New York, New York

SIL K S CREEN c e ra m i c i n ks DESCRIPTION Ceramic inks are applied to glass using a screen, which controls the ink pattern and a roller to apply the ink. The glass must be cleaned prior to applying frit. After the ink is applied, it is baked on to the surface using a tempering furnace which creates a permanent bond between the glass and ceramic ink. To avoid breakage under thermal stress which can occur in glass units that are exposed to sunlight, the glass is always fully tempered or heat strengthened (cite Viracon website).

APPLICATIONS Ceramic inks can be applied to any surfaces of glass as well as flooring, provided that the company applying the frit is willing.

LIMITATIONS Although products surface #1 inks are available though Ferro (s1de one product) many domestic glass fabricators are unwilling to warranty the product (Ferro’s warranty is limited). Specialty glass companies that are willing to do this domestically (Saint-Gobain, Interpane, Insulite, Prelco, and Goldray) are general more expensive than mainstream companies such as Viracon. Additionally, the color will fade over time.

The company suggests buying extra panels and storing them on the roof, so that replacement panels will have a similar color fade to those already on the building. Color options are also limited. Because the surface #1 inks are relatively new, most companies only offer white, black, and one or two other colors.

COMPANIES / CONTACT Supplies Ink Ferro [S1de One]: Carolyn Margosian | carolyn.margosian@ferro.com Applies Ink Prelco Interpane: Edwardo Rosa | eduardo.rosa@interpane.com Saint Gobain: Roger Watson | roger.watson@saint-gobain.com Goldray: Danielle Robinson | danielle@goldrayindustries.com Insulite: Kurt Hartman | kurth@insuliteglass.com PRECEDENT PROJECTS Wilder Building, Lapointe Magne + AEdifica One New Change, Jean Nouvel Rackow Library, Bohlin Cywinski Jackson

Wild er Es pa c e Da n se A rc h i t e c t : L a p oi n t e M a g n e + A Ed i f i c a Lo c at i o n : M on t rea l , Q u e b e c , Ca n a d a A rea : Un k n o w n Yea r : Un de r Con s t ru c t i on - Ex p e c t e d Com pl eti on 2016 G l a s s S u ppl i e r: Pre l c o ( In k s u p p l i e d by Ferro) The Wilder Espace Danse center is an adaptive re-use of the Wilder Building in Montreal that will house offices and dance studios. The design additions and renovation of the existing building contrast with the existing brick-clad structure with a colorful glass facade. The glass, fabricated by Prelco uses Ferro’s S1de One inks on Surface #1.

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#2 silk screen ink on #1

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One Ne w Ch a n ge A rc h i t e c t : A t e l i e rs J ea n Nou v e l a n d Si del l G i b s on A rch i tects Lo c at i o n : Lo n d on , En g l a n d A rea : 5 6 0 ,0 00 s q ft Yea r : 2 0 1 0 G l a s s S u ppl i e r: In t e rp a n e One new change is a mixed use facility combining office and commercial space, adjacent to London’s St Paul Cathedral on Cheapside Street. The design was highly controversial when it was completed due to its size and the unusual facade. According to Nouvel, the building is designed to introduce modernity and set up a dialogue between new and old architecture in the district. This dialogue is facilitated in part through the facade design, which features a grey-brown gradient frit on the first surface with Ferro’s S1de One ink. Some claim that this usual color recalls the St Paul cathedral before it was cleaned. The use of first surface frit allows the facade to reflect the St Paul Cathedral, as well as the surrounding context, intermittently between bands of the frit pattern. Unlike many examples of surface #1 frit applications, this project includes a soft low-e coating on the second surface. The triple glazed glass unit also features an additional soft coating for solar control.

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low-e coating on #2 silk screen ink on #1

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Ra kow Li bra r y Br i s e S o l e i l A rc h i t e c t : B oh l i n Cy w i n sk i Ja c kson Lo c at i o n : Corn i n g , Ne w York A rea : Un k n o w n

en serves as a glowing beacon at night.

Yea r : Un k n o w n G l a s s S u ppl i e r: G ol d ra y The design for the sunscreen at the Corning Museum of Glass’ Rakow Library is a good example of strategic use of frit and acid etch to achieve a sun control goal. The library, which holds the world’s leading collection of written and graphic information on glass, required light control on the building’s directly south oriented facade that could also demonstrate the capabilities of glass. The brise soleil is comprised of tempered glass panels with horizontal lines of acid etch on the front of the screen. Offset 5 Line ceramic patterns arefrit. precisely minimize lines on the back of the screen are applied withFigure opaque Thecalibrated patterntoand spacing of the frit solar gain on the ribbon windows behind, yet allow visual transparency to pedestrians below.

and acid etching control the sun from multiple angles, while maintaining visual transparency from the library’s interior (cite - Maiese, Bohlin). Although the screen’s ceramic frit is applied to the backside of the glass, it is still considered a surface #1 treatment because it is not encased in an IGU.

ow, the panels appear more

Figure 7 A process detail demonstrating shading patterns.

Figure 8 The screen shades the ribbon windows, but allows views to the landscape beyond.

Figure 4 The screen serves as a glowing beacon at night.

Figure 4 The screen serves as a glowing beacon at night.

Figure 5 Line patterns are precisely calibrated to minimize solar gain on the ribbon windows behind, yet allow visual transparency to pedestrians below.

as a glowing beacon at night. ght.

Figure 6 From below, the panels appear more

transparent.

Figure 7 A process detail demonstrating shading patterns.

Fig sol tra

Figure 5 Line patterns are precisely calibrated to minimize solar gain on the ribbon windows behind, yet allow visual transparency to pedestrians below.

Figure 6 From below, the panels appear more transparent.

panels appear more

Figure 7 A process detail demonstrating shading patterns.

Figure 7 A process detail demonstrating shading patterns.

Figure 8 The screen shades the ribbon windows, but allows views to the landscape beyond.

Figure 5 Line patterns are precisely calibrated to minimize solar gain on the ribbon windows behind, yet allow visual transparency to pedestrians below.

DI G ITA L P RINT I N G c e ra m i c i n ks DESCRIPTION Digital printing process uses ceramic inks applied using a printer, much like a conventional ink jet printer.

The ceramic inks used are much thinner in composition to make this process possible. Aside from the application of the ink, the remainder of the process is very similar to the silk screening ink process. Once the ink has been printed on the glass, the glass is left to dry. This occurs by applying low heat or given time to air dry. Once dry, the glass is baked to fuse the ink to the glass. Unlike the silk screen process, the colors and images are more precise, inks do not need to be layered to achieve a color or pattern.

APPLICATIONS Inks can be digitally printed on any surface of a glass unit, as long as the fabricator is willing.

TYPES/SIZES Size of the printing area according to Dip tech is unlimited - assuming the constraint is based on the size of the glass. The size can also be limited by the size of printer the glass fabricator owns. Dip Tech recently built the world’s largest glass printer which was 59 feet long and can print a single pane of glass with a total area of up to 690 square feet.

LIMITATIONS Limitations for this technique are based mostly on availability. Glass companies must have both the printer and ink to provide this service. Several mainstream companies own and use digital printing techniques, but they many or many not use the surface #1 inks.

COMPANIES / CONTACT Supplies Ink Dip Tech Prints on Glass Insulite - While many companies own DipTech printers, many did not confirm whether or not they would be willing use Dip Tech’s surface #1 ink. Insulite has printers and is willing to use their surface #1 inks, but has not used them on a project before, simply due to a lack of requests.

Barbara Barker Center HGA Architects and Engineers; Minneapolis, Minnesota

SEA MLES S in tro d u c t i o n There is an interest at HGA to achieve crisp, seamless surfaces devoid of conventional control joints that one finds in typical stucco applications. Projects like Barbara Barker -- where distinct formal elements

seem to be at odds with the normative grid of control joints -- are an invitation to deeply investigate the

challenges and obstacles faced when trying to achieve an expansive seamless surface. Unlike European examples, typical stucco construction in North America involves the use of Portland cement stucco.

Cement stucco is applied in 3 coats (scratch, brown, and finish) over metal lath. According to ASTM

standard C1063-14c, the area of metal lath cannot exceed 144 sqft before a control joint is needed. The control joints in such a wall are intended to control cracks or imperfections including:

1 shrinkage cracking

The addition of cement to stucco composition dramatically increased the drying time and compressive

strength of the material; however, the cement also causes the surface to shrink during the curing process after the material is initially applied. Because of the brittleness of the material, any type of crack in the surface is typically substantial.

2 thermal cracking

Metal lath is used in stucco application to strengthen the facade surface. Despite this benefit, metal lath

may rapidly expand and contract when major temperature changes occur which can cause cracking in the surface.

3 surface irregularity

Irregularity in a stucco surface can occur at cold joints where work stops and picks up again the following day

4 structural cracking

Planes of weakness at window openings, excessive deflection or foundation settling may also cause the surface to crack

There are several ways to counteract these weaknesses. Eliminating the need for metal lath in faรงade construction also eliminates the need for control joints imposed by ASTM standards. This can be

achieved by using a material that does not require metal lath or by using a masonry substrate that allows for direct application of the material. Another option for counteracting these weaknesses would be

to pursue alternatives to portland cement stucco. Two options highlighted in this chapter, lime stucco

and a cementitious membrane have more elasticity making the surface more resilient to cracking than

Portland cement stucco experiences due to shrinkage, thermal fluctuations, and structural movements. To counteract the potential for surface irregularity, it may be necessary to work closely with the applicators

to minimize the appearance of cold joints. To minimize structural cracking, establish strict movement and deflection criteria for the base building, paired with particular structural systems if necessary.

S U B S T R AT E S

MASONRY SUBSTRATE

Stucco Can Be Directly Applied To The Surface and Does Not Require Control Joints

SMOOTH CONCRETE

PLASTER COMPOSITION

ON

SHEATHED FRAMING SUBSTRATE

Requires metal lath - ASTM standard C1063 - 14c requires control joints ever 144 sqft when metal lath is used

FRAMING SHEATHING BUILDING WRAP/BUILDING FELT

METAL LATH

BASE COAT

TOP COAT

Rectory Building Ă lvaro Siza; Alicante, Spain

1 2 3 4 5

Limestone containing Calcium Carbonate is crushed and burned at high temperatures

The lime CaCO3 is converterted into CaO (Calcium Oxide) + CO2 (Carbon Dioxide) which evporates The mixture becomes Calcium Oxide

*

CaCO 3

1

5 CaO+CO 2 Ca(OH) 2 + CO 2 CaCO3 + H 2O

2

Water is added to unslakedlime (CaO) creating Calcium Hyroxide (lime putty)

Lime Ca(OH ) is applied and begins a carbonation reaction picking up CO 2 molecules from the air and evaporating water The material becomes limestone again

4

CaO

CaO + H2O= Ca(OH) 2 3

Lime Cycle of Lime Plaster Once applied to a building facade, the material pulls carbon dioxide from the air, and eventually returns to its original limestone state

LI ME P LA ST ER DESCRIPTION The composition of Lime Plaster consists of lime, water and sand. As a finish material, lime plaster can be applied in two or three coats. The difference between lime plaster and portland cement plaster composition is the absence of cement, which adds strength and decreases curing time. Although these may seem like desirable qualities, the strength that is added may not be unnecessary. Additionally, the cement causes problems with moisture as well as cracking from shrinkage during the curing process.

Lime plaster is vapor permeable, as opposed to portland cement stucco, which “prevents water vapor from exiting, causing internal damage” (cite - natural plaster book p165). Unlike portland cement plaster, lime plaster does not experience cracks from shrinkage; the softness of lime plaster allows the surface to be more forgiving to cracking. When small movements occur in the building, lime plaster surfaces typically experience small cracks, rather than larger cracks that occur in portland cement surfaces.

Water penetration into these fine cracks can dissolve “free” lime and bring it to the surface. As the water evaporates, this lime is deposited and begins to “self heal” the cracks. Additionally, as lime plaster cures, it pulls carbon dioxide out of the air - essentially “cleaning” the air. Once a hydraulic lime surface cures back to limestone, it is finished making chemical changes. It will not shrink and is not affected by abrasive chemicals such as sea salt (cite - Transmineral interview).

APPLICATIONS Interior walls, floor, and ceiling finishes and exterior wall finish TYPES/SIZES The sizes depend on the substrate and structure of the building. For masonry substrates and structures, the area is unlimited without joints. The restriction depends on how much surface can be covered continuously. In places where the work needs to stop, joints can be carefully crafted to minimize their appearance.

LIMITATIONS The application process is laborious. The product must be applied continuously to achieve a seamless surface. After the product is applied, the surface must be wetted periodically over a period of 7-14 days to aid in the curing process (cite - natural plaster book p167).

COMPANIES / CONTACT Thermocromex PRECEDENT PROJECTS Faena Arts Center, OMA 2226, Baumschlager Eberle

2226 A rc h i t e c t : B a u m sc h l a g e r Eb e rl e Lo c at i o n : Lu st e n a u , A u s t ri a A rea : 1 3 1 3 8 sq m Yea r Bu i l t : 2 013 Mat e r i a l : Lim e Pl a s t e r ( Com p a n y U n know n)

This project presents an interesting case in that it embraces both technology and techniques of the past.

The name of the building, 2226, refers to a temperature range from 22-26 degrees Celsius which is the ideal temperature for thermal comfort for the interior of a building. The space is able to maintain this temperature without the use of heating, cooling, or ventilation systems, instead relying on the architecture and electronic monitoring systems to control the temperature. The building is constructed using traditional masonry systems. Two layers of clay tile comprise the exterior walls , the innermost providing structure and a thinner layer on the exterior acting as a substrate for the building enclosure, forming a cavity wall three feet thick. The masonry walls control the heat and cold throughout the seasons, and the windows provide natural ventilation. This system is made possible by the electronic monitoring system that tracks temperature, humidity and carbon dioxide levels. The system automatically opens the windows when ventilation is needed. The masonry structure and highly controlled temperature provide the ideal structure and substrate to support a seamless surface of lime stucco which is used for both interior and exterior wall finishes.

Fa e na A rt s Ce n t e r A rc h i t e c t : O M A Lo c at i o n : M i a m i , Fl ori d a A rea : Un k n o w n Yea r Bu i l t : U n d e r Con st ru c t i on - Ex p ected Com pl eti on 2015 Mat e r i a l : Th e rm oc h rom ex ( L i m e Pl a s ter) St r u c t u re : Ca s t - i n - p l a c e Con c re t e S u bs t rat e : Ca st - i n - p l a c e Con c re t e The Faena Arts Center is one of a number of buildings in various stages of design and construction in Miami Beach, Florida which will form a new cultural district in the city. The form of the Arts Center consists of a cylinder and a cube structured by a cast-in-place concrete facade (cite-OMA website). The facade provides an ideal substrate and structure for a continuous surface of plaster. Thermochromex, a lime plaster is used to render the facade. As previously mentioned, the lime plaster is able to achieve a seamless surface with the proper substrate and structure, however even with the ideal structural systems, seams will still occur when the work stops for the day. The mock-up pictured on the opposite page tests different types of joints. The cold joint on the upper right of the mock-up image is a good option for achieving the look of a seamless finish. The challenge of achieving this look relies on the craftsmanship available. In climates where plaster finishes are rare, it may be difficult to find skilled labor locally. In Miami, concrete structure and plater finish is common, so skilled labor is accessible and a key component to the success of the project.

SMOOTH CONCRETE

1,2, OR 3 COAT STUCCO COMPOSITION

Because the facade is constructed with concrete, lime plaster can be directly applied to the surface.

cite needed (OMA Website)

cold joint

tooled joint

v-groove cold joint

Grail Coat Super Flex with Knockdown Finish

Grail Coat Dura Flex with Smooth Finish

C E MENT IT IOU S M E M B R AN E DESCRIPTION Grail Coat is a flexible, cementitious membrane that can be applied in two coats, but is most often applied in three over a polypropylene mesh or expanded metal lath. The product can be sprayed or troweled over mesh. The three coats consist of a base coat, top coat, and final texture coat. Unlike portland cement or lime plaster, the product is waterproof. The company guarantees that the surface will not crack or delaminate and warranties the product for 20 years.

Grail Coat is appropriate for use on most substrates, with the exception of plastics. The primary benefit of the material is that it can be applied to sheathed framing substrates without the need for control joints in most cases. Grail Coat is appropriate for use in most climates. Grail Coat has three products: DuraSurf, DuraFlex, and SuperFlex. DuraSurf is used for metal applications while DuraFlex is mostly used for roof decks and is used over foam insulation. SuperFlex is the formula used for most exterior wall applications particularly over plywood or cement board sheathing.

APPLICATIONS Interior and exterior walls and floors and ceilings TYPES/SIZES According to grail coat, there are not size limitations.

LIMITATIONS Although GrailCoat claims to warranty the product for cracking and leaking, the company was involved in a lawsuit for water infiltration issues. A quick internet search shows that this is not an isolated incident. For maximum effectiveness, the product needs to be installed skillfully and extra precaution should be used when designing for water control.

COMPANIES / CONTACT Grail Coat Kevin Grail (407) 619-6442 PRECEDENT PROJECTS Vault House, Johnston Marklee Hill House, Johnston Marklee

H ill H o u s e A rc h i t e c t : J oh n st on M a rk l e e Lo c at i o n : Pa c i f i c Pa l i s a d e s , Ca l i f orn i a A rea : Un k n o w n Yea r Bu i l t : 2 004 Mat e r i a l : G ra i l Coat St r u c t u re : Con c re t e f ou n d at i on , B ra c ed s teel fra m e w i th ti m b er i nfi l l S u bs t rat e : P l y w ood ( v e ri f y ) The design for the project responds directly to the hillside zoning law in the area which restricts building heights, location and massing to attempt to preserve the profile of the natural terrain (cite-arch daily). The hill house is designed to maximize its interior space by using the zoning laws to generate the form of the building, resulting in a sculptural from that responds to topography of the immediate site. To emphasize the form of the design, the architect desired a seamless material that would “minimize distinction between roof and wall planes while maximizing the differentiation between interior and exterior� (citeJM Website). The structure and substrate (steel and wood) do not allow for the use of plaster materials, therefore, Grail Coat was used to achieve a seamless surface.

WALL SECTION DRAWING (WAITING TO GET FROM GRAIL COAT)

WOOD FRAMING PLYWOOD SHEATHING BUILDING WRAP/BUILDING FELT

POLYPROPYLENE MESH

BASE COAT

TOP COAT (SUPER FLEX WITH KNOCK-DOWN FINISH)

(CITE)

Va ult Ho u s e A rc h i t e c t : J oh n st on M a rk l e e Lo c at i o n : O x n a rd , Ca l i f orn i a A rea : Un k n o w n Yea r Bu i l t : 2 013 Mat e r i a l : G ra i l Coat St r u c t u re : Wood Fra m e Con s t ru c t i on S u bs t rat e : P l y w ood Similar to Johnson Marklee’s Hill House project, the Vault House design is highly responsive to the site conditions. The design uses vaulted surfaces to bring light and views from the oceanside site into the space. The building’s proximity to the ocean called for a seamless surface that would draw attention toward the light and view, rather than the material of the house. Minimizing joints throughout the interior and exterior surfaces was a high priority to meet the design goals. The building’s wood frame structural design and local building codes requiring metal lath presented an additional challenge. Johnston Marklee and Grail Coat designed the wall construction to include two layers of traditional stucco (a scratch and brown coat on metal lath and standard control joints, then applied Grail Coat in the control joints and in a continuous layer over the wall assembly to accomplish the seamless surface.

(CITE)

(CITE) WOOD FRAMING CLOSED CELL SPRAY INSULATION PLYWOOD SHEATHING 2 LAYERS OF BUILDING WRAP/BUILDING FELT METAL LATH SCRATCH COAT

BROWN COAT

GRAIL COAT, CONTINUOUS OVER CONTROL JOINTS WITH GRAIL COAT FILL

VINYL “M” TYPE CONTROL JOINT SUPERFLEX GRAIL COAT FILL JOINT/FLASHING TAPE

WALL DETAIL

WINDOW FILMS i n t ro d u c t i o n Technological advancements of window films has generated a number of possibilities to enhance the performance and aesthetics of glass surfaces. Window films available today can be used to add strength to glass surfaces, control light for aesthetics and/or energy efficiency, minimize UV radiation, and achieve aesthetic effects including daylighting, frit patterns and graphics. Films are usually lower in price than treating glass with ceramic ink frits that are baked on to the surface of glass. In addition, films provide and option for dealing with issues in a glass facade that may arise after a building has already been built or if IGU units have already been fabricated.

In response to concerns from the Audubon Society that the amount of glass on the New Vikings stadium would pose a threat to bird safety, the Minnesota Sports Facilities Authority (MSFA) is considering options for treating the glass. After ruling out the use of frit on the glass because of the 1.1 million dollar price tag, films are being considered. Several companies offer films that increase visibility to birds though a minimal and subtle pattern. Additionally, 3M is also working on a film for bird-safe purposes that would maintain transparency while still making the glass visible to birds.

The innovation of photovoltics has also been applied to window films. recently, researchers as UCLA developed PV cells that are 70% transparent. These cells have the power to transform glass facade surfaces into energy collectors while maintaining visibility. Previous versions of the PV window films were very opaque and were relatively inefficient compared to traditional solar panels. The cells developed at UCLA have about 20% of the efficiency of solar panels. Although this is still relatively low comparatively, the cost and amount of surface that the film could cover comparatively may make up for lower efficiency.

Films are also now connecting to energy sources to create more dynamic glass surfaces. Artist Simon Heijdens’ installation, titled Shade, first displayed in Art Institution of Chicago in 2011 and recently shown at the Now Gallery London, features a window film developed by the artist. The film is made up of crystals that react to wind conditions. Each triangle in the composition is connected electronically to sensors that monitor the changing weather conditions. The triangular sections of film become more or less opaque depending on the wind current against the surface. This example, although for artistic and aesthetic purposes, illustrates the potential for thin films to become responsive and efficient, much like other examples of responsive facades, without adding weight, expense and architectural complexity that dynamic facades usually entail.

Dichroic Field James Carpenter Associates; New York, New York

DI CHROIC F ILM DESCRIPTION Dichroic film, developed at the University of Minnesota’s materials Science Department and sold by 3M achieves the same qualities of dichroic glass at a fraction of the cost. James Carpenter Design Associates’ Dichroic Light Field project in New York illustrates the dynamic qualities of dichroic glass, which reflects and transmits different colors depending on the viewing angle. Currently, the film is predominantly used in Laminated glass however, some projects have used the material in insulated glass units.

Solar Performance of Clear Laminated Glass: 3mm clear glass / 0.38 mm EVA / dichroic film / .38 mm EVA / 3mm clear glass APPLICATIONS Reflection Transmission Transmitted Reflected Absorbed For exterior applications, the film is currently most often used for interior applications andEnergy in laminated Visible Visible Energy Energy glass on the exterior.

Gold-Blue Dichroic Glass

89%

11%

56%

29%

15%

TYPES/SIZES Copper-Bronze 29% 71% 55% 29% 17% Dichroic The film is Glass available in two color options, gold-blue and copper-bronze, the following chart outlines the colors projected in reflection and transmission.

Solar Performance of Clear Laminated Glass: 3mm clear glass / 0.38 mm EVA / dichroic film / .38 mm EVA / 3mm clear glass Color in Reflection

Color in Transmission

Gold (Straight) Blue (at Angle

Yellow - Magenta - Blue

Copper (Straight) Bronze (at Angle)

Magenta - Blue - Aqua

Gold-Blue Dichroic Film Copper-Bronze Dichroic Film LIMITATIONS

The colors options are limited to the two options listed above.

COMPANIES / CONTACT 3M PRECEDENT PROJECTS Amundson Hall Renovation, Perkins + Will

TSER

SH

39%

0

41%

0.

A mun ds o n Ha l l A rc h i t e c t : Pe rk i n s + W i l l Lo c at i o n : M i n n ea p ol i s, M i n n e sot a ( U ni vers i ty of M i nnes ota Ca m pus ) A rea : 6 Yea r : 2 0 1 3 G l a s s Fa br i c at o r: Vi ra c on , D i c h roi c f i l m s uppl i ed b y 3M The renovation of Amundson Hall included over 6,000 square feet of interior work as well as the replacement of the leaky, 1970’s aluminum framed curtain wall to better serve the growing Materials Science and Chemical Engineering department and increase the building’s energy efficiency. Southern exposure of the building’s curtain wall facade that would be replaced required sun control. The design incorporated the Dichoric film in the vertical laminated glass fins to provide shading for the facade and showcase the film product, which was developed by the University’s materials science department.

DAY LIG HT RE- D I R E CT I N G F I L M DESCRIPTION Daylight redirecting film maximizes daylighting by directing sun light to shine on the ceiling surface, to provide sunlight to occupants deeper into an interior space. The film is made up of micro-structured prisms that change the angle of the light then is diffused. The film reduces the need for artificial lighting while reducing glare. The film also blocks 99% of UV light and can achieve LEED credits for its daylighting capabilities. The film does not require additional maintenance or special cleaning, making it a costeffective solution compared to architectural daylighting solutions, such as light shelves. The film can be modeled and evaluated in a digital model, to text the potential of the film in a specific design.

APPLICATIONS The film is now available for use in insulated glass units as well as a stand-alone product. For use in an insulated glass unit, the film is applied to the second or fourth surface in a single air-space unit, or on the fourth or sixth surface of an IGU with a double airspace.

COMPANIES / CONTACT 3M Window Film Solutions

LED-EMBEDDED LIGHT FILMS DESCRIPTION The continued advancement of LED technology has led to a variety of new applications made possible by the compact size and low heat output of LED lights. LED lighting with a width of .8 mm is embedded in to a .13 mm thin conductive polymer film. The film acts as a conductor, eliminating the need for visible electrical connection between the lights. To power the lights, the film is connected to a power source with a wire. The lifetime of the lights is between 40,000 and 80,000 hours and do not emit heat. The film can be customized, including the number and pattern of embedded lights, and the films can be printed with graphics.

APPLICATIONS The films can be used in architectural glazing, laminated between glass, as well as electronics and automotive applications.

TYPES/SIZES Currently, the maximum size of a single sheet of the film is offered by SUN-TEC Swiss United Technologies measures 4 x 11 feet and can accommodate up to 36 LED lights per square foot. LED thickness measures 0.8 mm, film thickness 0.13 mm Standard LED’s measuring 3.2 x 1.8 x 0.8 mm are available in red, blue, green, amber and white.

COMPANIES / CONTACT SUN-TEC Swiss United Technologies

NOTES INTRODUCTION [1] Blaine Brownell, Transmaterial: a catalog of materials that redefine our physical environment (New York: Princeton Architectural Press, 2006), 11.

[2] Brownell, Transmaterial, 10.

[3] Stephen Kieran and James Timberlake, Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction (New York: McGraw-Hill, 2004), xi [4] Kieran and Timberlake, Refabricating Architecture, xxi-35.

[5] Dirk Funhoff, “The Development of Innovative Materials,” In Construction Materials Manual, (Basel: Birkhauser, 2006), 28–31 [6] Funhoff, “The Development of Innovative Materials,” 28-29 [7] Funhoff, “The Development of Innovative Materials,” 29 [8] Edward Allen and Patrick Rand, Architectural Detailing: Function – Constructability – Aesthetics 2nd ed. (Hoboken: John Wiley & Sons, 2007), 109 [9] Brownell, Blaine, Material Strategies: Innovative Applications in Architecture (New York: Princeton Architectural Press, 2012), 9 [10] David Ballast and Steven E. O’Hara PE, ARE Review Manual (Belmont: Professional Publications, 2011), pg [11] Christiane Sauer, “The Architect as Building Materials Scout.” In Construction Materials Manual (Basel: Birkhauser, 2006), 14 [12] Sauer, “The Architect as Building Materials Scout,” 14-15 [13] Sauer, “The Architect as Building Materials Scout,” 14 [14] Sheila Kennedy and Christoph Grunenberg, KVA: Material Misuse (London: Architectural Association, 2001), 12 [15] Brownell, Blaine, Material Strategies, 8 [16] Blaine Brownell, Transmaterial 2: a catalog of materials that redefine our physical environment (New York: Princeton Architectural Press, 2008), 6-8.