Details in Contemporary Architecture ( PDFDrive )

MASONRY VENEER HORIZ. A
ANCHOR @ 8" O.C.
SEALANT AND BACKER ROD
SOLID BRICK ON HOR.Z SURFACE RUBBERIZED SHEET FLASHING OVER
CONT. CAVITY DRAINAGE MATERIAL 2" MIN. CONC. SLAB ON METAL DECK

PLASTIC HONEYCOMB CELL BRICK SECTION DETAIL AT CLERESTORY
VENT @ 24" O.C.
BRICK SECTION DETAIL AT FLOOR SLAB
ST. STL. FLASHING TRIM WITH
HEMMED EDGE 1/2" BACK

FROM F.O. BRICK W/ SEALANT

THERMAL BATT INSULATION
DAMPPROOFING MEMBRANE ON

EXTERIOR SHEATHING ON
6" COLD FORMED STL. FRAMING

ST. STL. STRAP ANCHOR
RUBBERIZED SHEET FLASHING

LAP OVER ST. STL. FLASHING
CONT. CAVITY DRAINAGE MATERIAL

ST. STL. FLASHING W/ HEMMED
EDGE FLUSH WITH FACE OF BRICK
EXTEND 5" ABOVER SHELF ANGLE

5' X 5" BRICK SHELF ANGLE
STL. WEDGE INSERT
CONC. BEAM

DAMPPROOFING MEMBRANE ON
CONC. BEAM - TYP.

BRICK TIE ANCHORS
16" O.C. HORZONTALLY

8" O.C. VERTICALLY
RUBBERIZED SHEET FLASHING
LAP 6" OVER CONC. BEAM AND SHEATHING

CANTILEVERED CONC. BEAM BRICK SECTION DETAIL AT WALL BASE

150 AsBuilt / Details in Contemporary Architecture

Opposite CL
Brick section details
BRICK SURFACE BELOW
This page
Below: North elevation A
Right: Brick plan details BRICK PLAN DETAIL @ LEVEL 3

CL

BRICK SURFACE BELOW

A BRICK PLAN DETAIL @ LEVEL 2

A CL

HORIZONTAL 1/8" REINFORCING ROD
@ 8" O.C. VERTICALLY

SLAB EDGE BELOW
GLAZED ALUM. WALL SYSTEM - TYP.
CORBELLED BRICK VENEER
BRICK TIE ANCHORS @ 16" O.C.
AIR CAVITY
DAMPPROOFING MEMBRANE
ON EXT. SHEATHING
ON COLD FORMED ST. FRAMING

BRICK PLAN DETAIL @ LEVEL 1

151 School of Architecture, Prairie View A&M University

This page
Above: Screen section
RIght: Screen details
(top, middle, bottom)

Opposite
South elevation screen
passage

152 AsBuilt / Details in Contemporary Architecture

153 School of Architecture, Prairie View A&M University

Shaw Center for the Arts, Baton Rouge, Louisiana
Schwartz/Silver Architects, Boston, Massachusetts

Executive Architect: Eskew + Dumez + Ripple, New Orleans, Louisiana
Associate Architect: Jerry M. Campbell and Associates, Baton Rouge

The design of the Shaw Center was the systems, among them prepatinated copper for applications where translucent natural
result of a complex program that sought to and glass channel. Mock-ups were con- light is desired within the building, for exam-
accommodate the two anchor institutions, structed on the site to demonstrate that ple in a hospital. However, Schwartz/Silver
the Louisiana State University Museum channel glass would give depth and visual found that outward-facing flanges added
of Art and the Manship Performing Arts complexity to the building’s surface while more texture and visual complexity to the
Center. At one end of the building a theater serving practical ends. The proposed facade building’s exterior, so the facades of the
with 322 seats is served by a fly loft at the was composed of two layers, an outer Shaw Center have channel glass with the
upper reaches. The opposite end stretches surface of channel glass and an inner layer flanges facing outward and capped with alu-
north over the lobby and extends as a of corrugated aluminum serving as the minum edging over most of their surface. At
cantilever above the 1930s-era auto hotel weather barrier, with an air gap between lower levels, the flanges are turned inward
parking garage and terminates with an layers to create a rainscreen configuration. and sandblasted to prevent accidental dam-
upward thrust and the clerestory window of During the development of the cladding age. Small wires are embedded in the glass
the museum’s temporary exhibition gallery. system, technical tests demonstrated that to reinforce it. To test the glazing system
A clear glazed central space serves as even in the heavy rains common in the against hurricane-force winds, a mock-up
the main entrance for the entire complex. region, the channels reduced the water to a was produced and placed in front of an old
The building’s exterior massing is mist in the cavity, thus functioning as a true DC-3 airplane propeller to simulate wind-
emphasized by its cladding of hundreds of rainscreen. To heighten the visual effect of driven rain and a hundred-mile-per-hour
multi-length cast-glass channels. At the time the vertical channel glass, the architects wind pressure. Bendheim Wall Systems, the
of its completion, the Shaw Center was said specified channels in two different widths channel glass manufacturer in Germany,
to be the largest building in the United and various lengths. The channels are sup- performed additional tests. Lengths, widths,
States to be completely clad in U-shaped ported in the usual way, at top and bottom and tints of the glass channels were varied.
cast glass, and it was the first to use the by horizontal aluminum members, but the Narrower channels appear greener because
channel glass as the rain screen for a wall horizontals are broken and sometimes over- the flanges are closer together, creating a
system. The building’s facade was conceived lapping, lending a syncopated rhythm to denser concentration of greenish-tinted
to evoke a paper lantern, glass beading, and the exterior. To resist wind pressure, the glass. A network of intermediate tubular
the meandering Mississippi. Although it channels are tied back to the structure with supports punctuates the facade, separating
seems counterintuitive to glaze an entire aluminum clips. Two-inch gaps between the it from and connecting it to the building’s
building that has relatively few windows, the glass channels perform the rainscreen func- structure.
glass envelope protects the valuable tion for the aluminum wall system, which
collections within while creating an active is located 6 inches behind, and allow a Text contributed by James McCown,
and luminous exterior surface, and a cleaning wand to be inserted vertically to Schwartz/Silver Architects
memorable silhouette on the city’s skyline. remove wind-blown debris.

Early in the design process, Schwartz/ U-shaped channel glass is most com-
Silver considered a number of cladding monly used with the flanges facing inward

Opposite
Entrance facade

154 AsBuilt / Details in Contemporary Architecture



North LSU Museum Galleries South
Gallery Lobby Gallery

Mech.

This page
Top: Longitudinal section
Above: First floor plan

Opposite
Top: East elevation
Bottom: West elevation
with auto hotel

156 AsBuilt / Details in Contemporary Architecture

157 Shaw Center for the Arts

158 AsBuilt / Details in Contemporary Architecture

Opposite
Top: East elevation entrance
Bottom: Glazing detail (left),
entrance detail

This page
Wall section

159 Shaw Center for the Arts

This page
Top: Corner detail plan
Bottom: Wind load clip plan
and detail
Opposite
Top: Corner detail (left),
wind load clip
Bottom: Glazing panels with
wind load clips

160 AsBuilt / Details in Contemporary Architecture

161 Shaw Center for the Arts

Camera Obscura, Mitchell Park, Greenport, New York
SHoP Architects PC, New York, New York

As part of its redevelopment project for
the Greenport waterfront, SHoP built a
camera obscura in which a mirror and lens
project exterior imagery onto walls of the
dark interior chamber. The camera obscura
in Mitchell Park combines an historic optical
device and program with contemporary
building technology.

The building is composed of twenty-
three hundred unique structural compo-
nents, which were three-dimensionally
modeled, laser cut, labeled as a kit of parts,
bubble-wrapped, and shipped to the site to
be fully assembled. SHoP has used this
approach on parts of its other projects, but
this is the first time an entire structure has
been one hundred percent computer-mod-
eled and fabricated. At the earliest stages of
a building’s creation, SHoP uses the same
digital technology as its engineers and fabri-
cators to reduce the amount of time, money,
and material waste associated with conven-
tional design, engineering, fabrication, and
construction processes.

The camera obscura is made of ipe, a
durable cultivated hardwood, combined with
steel flitch beams at locations of particularly
high stress. The interfaces between the steel
and wood parts have been carefully detailed
and play an important role in the overall
aesthetic.

This page
Top: Longitudinal section
Middle: Side elevation
Bottom: Site plan

Opposite
Top: Rear elevation
Bottom: Camera obscura
interior

162 AsBuilt / Details in Contemporary Architecture



Steel Sill Plate Assembly Aluminum Fins / Shelf Supports Ipe 2x4s

Aluminum Shelf Assemblies: Sheathing Composite: This page
Bench, Desk, Display Skatelite Pro + Plywood Top: Inner sheathing
Bottom: Camera elements
164 AsBuilt / Details in Contemporary Architecture Opposite
Top: Camera structure
Bottom: Frame (left), exterior
sheathing

A

165 Camera Obscura

166 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Roof structure plan (left),
roof plan
Bottom: Nested pieces

This page
Top: Completed assembly (left),
assembly details
Bottom: Exploded isometric steel
compression ring and beam
assembly

167 Camera Obscura

01 02 03 04 05

M 0- 1 B. M 0- 2B. M 0- 3 B. D -04.B D -05.B D -06.B
M 0- 1.A M 0- 2A. M 0- 3 A. D -04.A D -05.A D -06.A

M 0- 4 B. M 0- 5 A. M 0- 5 B.
M 0- 4 A.

D -01.B D -02.B D -03.B B -04.B B -05.B
D -01.A D -02.A D -03.A
B -04.A B -05.A B -06.A
B -01.B B -02.B B -03.B
B -01.A B -02.A B -03.A

S -02 S -04.B
S -03.A
S -08

168 AsBuilt / Details in Contemporary Architecture

06 07 08 09 10

D -06.B D -07.B M 0- 8 B. M 0- 9 B. M 1-0.B
D -06.A D -07.A M 0- 8.A M 0- 9 A. M 1-0.A

M 0- 5 B. M 0- 6 B. M 0- 7 B. D -09.B D -10 B.
M 0- 6 A. M O-7 .A D -09.A D -10 A.

B -05.B D -08.B B -09.B
D -08.A B -09.A
B -07.B S -09
B -08.B
B -06.B B -08.A

B -06.A B -07.A

S -08

Opposite
Top: Nested metal shelf and sill
plate components for laser-cut
production
Bottom: Shell (left), shell detail

This page
Bottom: Shelf detail (left), shell
construction

169 Camera Obscura

Bengt Sjostrom Starlight Theatre, Rock Valley College, Rockville, Illinois
Studio Gang Architects, Chicago, Illinois

Performances at the Starlight Theatre had For the third phase, completed in just over twelve minutes. There are no
always been susceptible to weather-related 2003, the architect worked with Uni- visible clues that indicate how the roof
cancellations. Rock Valley College needed Systems, a Minneapolis-based firm special- moves: the mechanical and structural sys-
a roof for the popular outdoor venue that izing in moving structures, to create a tems are so seamlessly integrated that the
would guarantee their shows and maintain kinetic, faceted roof that consists of triang- panels appear to float open. The unusual
the open-air feeling of the existing theater. ular stainless steel–clad panels supported design required that the roof components
Studio Gang’s solution was to develop by steel columns and trusses. When the roof be installed in reverse order. Instead of
a long-range renovation plan that could opens, six of its panels rise in succession beginning with the ridges and valleys, the
be constructed in phases over a three-year to form a six-pointed star revealing the sky. main roof panels were installed first and
period, allowing the college to maintain The theater’s multi-pitched canopy has a then connected. Using 24-gauge type 316
the summer performance schedule. The lower fixed section of twenty panels 100 stainless steel, each roof panel was fabri-
first phase, completed in 2001, expanded square feet in plan, and surrounds a higher cated as sections of tongue and groove
the seating bowl from around six hundred 90-ton movable assembly over the seating planking, cut in standard lengths, and set
to almost eleven hundred seats, and created area, a hexagon in plan with forty-foot sides, on laminated wood beams covered with an
a curving, 18-foot-high concrete structure and six triangular panels that cantilever ice-and-water protection compound, then
at the back of the theater to house new from steel trusses bearing on freestanding cut to fit the roof angles on site. The panels
bathrooms and ticket booths. The second columns. Each panel weighs nearly 15 tons, have a gutter on each side, so that when
phase, finished in 2002, consisted of an opens to a sixty-eight-degree pitch and has they are down, the closed roof has a full
addition housing a 50-foot-tall fly tower a five-hp motor that drives a 50-ton-capacity gutter system. The panels raise and lower
and a proscenium stage house with sliding screw jack. When closed, audience members one by one in a specific order so the gutters
translucent doors. A copper-clad steel see a hexagonal pitched roof. As the roof can interlock and create a trough in between
frame proscenium with 30-foot-high translu- opens, each panel rotates up in sequence, each panel. When it rains, the sophisticated
cent all-weather doors faces the open-air in a clockwise motion over fifty-four degrees roof seal system provides complete
seating bowl. about the perimeter, quietly and quickly in protection.

This page CLOSED ROOF CONDITION
Building sections roof
closed (left) and open

Opposite
Roof open

CLOSED ROOF CONDITION OPEN ROOF CONDITION

170 AsBuilt / Details in Contemporary Architecture 0' 50'
BUILDING SECTIONS



This page
Top: Roof panel
Middle: Panel structure
Bottom: Theater entrance
(left), catwalk
Opposite
Top: Entrance
Bottom: Roof, open

To operate the roof, the architects and
engineers opted for electrical components
with a back-up hydraulic operating system.
Each panel was fitted with an ultra-quiet
electronic gearbox so theater staff can
smoothly and quietly rotate the panels up,
one after another, in a clockwise movement
with a single mouse click. Along with the
drive mechanism, inside each panel is a
hydraulic safety mechanism that serves as
a redundant load path for the weight of the
panel to accommodate the roof’s gutter
system. For clearance, the panels must be
accurately positioned in relation to the
interlocking system. Control software only
activates after the operator clears digital
security, including biometric thumbprint
identification. A backup hydraulic circuit
allows for manual operation.

172 AsBuilt / Details in Contemporary Architecture

173 Bengt Sjostrom Starlight Theater, Rock Valley College

0' 20'
OPERABLE ROOF PANEL - FINISH DIAGRAM

This page 0' 10'
Top: Operable leaf finish diagram FIXED ROOF PANEL - CONNECTIONS
Bottom: Fixed roof panel
connections

Opposite
Starlight roof opening sequence

174 AsBuilt / Details in Contemporary Architecture

175 Bengt Sjostrom Starlight Theater, Rock Valley College

This page
Top and left:
Panel edge conditions

Opposite
Weather door

176 AsBuilt / Details in Contemporary Architecture

WEATHER DOOR

177 Bengt Sjostrom Starlight Theater, Rock Valley College

Holy Rosary Catholic Church Complex, St. Amant, Louisiana
Trahan Architects, Baton Rouge, Louisiana

The Holy Rosary Church site was a loose and weight to the experience of moving shaped and detailed to transcend its indus-
collection of historic vernacular church between the inner sanctuary and the terri- trial stereotype. The density and mass of
buildings and interim educational facilities tory beyond. The layering strategy is evident concrete contrasts with two types of glass:
overwhelmed by the surrounding rural land- in both plan and building cross section, the transparency and crystalline clarity
scape in southern Louisiana. Design objec- where parallel planes of concrete, glass, and of plate glass and the translucent luminosity
tives responded to these circumstances as canopy delineate degrees of enclosure from and sculptural properties of cast glass.
well as to the church community’s desire for conditioned to semiconditioned space and
a place with a heightened sense of spiritual open air. The architectural character of the The unique role of each layer expressed
purpose within the powerful natural setting. composition is the product of an exploration in both materials and detailing is best illus-
The new campus master plan unifies all par- of form, function, natural light, and materi- trated in the wall sections. Cast-in-place con-
ish functions while drawing a clear distinc- als. Visual understatement creates a quiet- crete was chosen for the outer-most walls to
tion between sacred and secular programs. ness, focusing attention away from the give them mass and weight. While they
Secular components of the campus take the architecture and toward the purpose of the appear two dimensional when approached
form of linear edge pavilions arranged to church and its relationship to its setting. from the exterior, these boundary markers
frame a courtyard, or sacred precinct, where The deliberate effort to avoid decorative reveal a space-defining role as the enclosing
the oratory is located. Moving in a clockwise symbols or ornament directs attention to perimeter wall, generating a sense of stabil-
direction, the promenade around the interior materials. In the context of striking simplic- ity and shelter in the academic and adminis-
lawn leads ultimately to the oratory. In the ity, material expression is elevated to a trative pavilions. The edge-making function
opposite direction, the path offers the com- poetic and symbolic level. of this plane is asserted on the interior by a
plementary experience of gradual move- spatial separation of the roof and ceiling
ment from the intensely spiritual center Initial focus on material was prompted plane, allowing a wash of natural illumina-
back into the community. by reforms of Catholic Church doctrine that tion to add warmth to the wall while intensi-
emphasized the use of materials based on fying its visibility. Careful detailing of the
The perimeter pavilions define both an their capacity to suggest a sense of perma- slot avoids compromising the purity of the
explicit and implicit boundary between the nence and appropriateness. Costly or rare relationship of the wall to roof plane by con-
campus and its rural setting. These build- materials were avoided in favor of materials cealing the enclosure system.
ings, along with associated walkways and naturally abundant in the region that could
canopies, comprise an occupied frame, be made radiant and expressive through By way of contrast, a glazed layer on
a thickened zone of space where a layering proper use. Cast-in-place concrete provided the pavilion’s courtyard face encourages a
of elements and surface types gives depth an image of strength and was carefully visual penetration of space. Self-supporting
expanses of plate glass create a second

This page
Longitudinal section

Opposite
Top: Courtyard and oratory
entrance
Bottom: Oratory rear
elevation

178 AsBuilt / Details in Contemporary Architecture



This page
Bottom: Plan (left),
administration building

Opposite
Top: North-south section
view east
Bottom: Oratory east-west
section view south

independent plane offset from the wall of columns coming to rest in the grassy siding of the historic church. The rotation
and roof edge, extending the full height of edge of the courtyard. of the chapel exterior is accompanied by
the building. This discrete plane of glass is a reciprocal rotation of the sacred chamber,
associated equally with the pavilion enclo- The void between pavilions and oratory an internal 20-foot cube nested within the
sure and circulation path, a condition also creates an outdoor room appropriate for chapel’s larger exterior cube—all six sides
expressed in the separation of building large communal gatherings, smaller gather- equal, to heighten the sense of mystery.
and glazing systems at the pavilion corner ings, or private meditation near the chapel. This second rotation realigns the orientation
detail. The appearance of a continuous Seating on the lawn is facilitated by the of the sacred space with that of the main
transparency from one glass panel to the gently depressed center of the courtyard campus and symbolizes a union of spiritual
next is achieved through silicone butt joint that creates a slight bowl shape around and secular experience.
detailing. the perimeter. Across this depression, a
ramp leads to the chapel portal and marks The geometric proportions of the oratory
The independent canopy system, the transition between secular and spiritual are derived from the Japanese four-and-a-
inspired by the vernacular use of porches, realms. half tatami mat configuration; tatami are
creates semiconditioned protected space usually 3 by 6 feet and rooms are built to
mediating between the courtyard and pavil- As the spiritual focus of the campus, contain a certain number of them—a formal
ions. In this application, the canopy shades the sacred space of the oratory is distin- Japanese tea room has the proportions of
the glazed wall and reinforces a directional guished by its abstract purity, height, and four and a half mats. The nonhierarchical
movement around the courtyard. The placement. Off-center and rotated, the 30- organizational system of the tatami accom-
canopy is shaped to express a secondary foot cube of the chapel appears to float over modates the greater flexibility required for
direction of movement perpendicular to the courtyard lawn, creating a deliberate liturgical purposes as parishioners are
the formal path and to appear light and break in the fabric of the complex. In direct encouraged to play a more active role in the
floating in direct sculptural tension with its contrast with the smooth, plywood-formed celebrations.
materiality and the massiveness of the pavilion walls, the spare surfaces of the
adjacent buildings. This ultimate layer of chapel are uninterrupted by tie holes, the Splayed walls of the portal threshold
the thickened frame is a wing shape, canti- concrete marked instead by the subtle tex- mark the passage from the open courtyard
levered in two directions from a procession ture of the narrow-board formwork, creating to the intimate oratory chamber. Intercon-
an inverse relationship with the wood lap nected outer and inner openings are scaled

180 AsBuilt / Details in Contemporary Architecture

181 Holy Rosary Catholic Church Complex

This page
Bottom: Lavatory (left),
hand wash basin

Opposite
Top: Oratory interior, north
elevation (left), roof aperture
Bottom: Religious education
building entrance lobby

proportionally to the outer and inner cubes. movement appropriate to the metaphysical
Consequently, passage into the oratory is experience of the inner chamber. A small
experienced differently than passage out, stainless steel–lined recess scooped from
a sequence of compression and release that the threshold wall allows the hand to grasp
gives physical form to the spatial and per- the door’s narrow glass edge, rotating the
sonal transformations taking place. A cast- door open on an offset concealed pivot.
glass door set within the threshold
celebrates arrival and departure through the As illustrated in the wall sections, light
experience of light. The door is assembled enters the interior of the chapel through a
from three stacked panels supported by nar- variety of openings in the varying wall thick-
row stainless-steel rails along the top and nesses produced by the offset rotation of the
bottom edges. Lens shaped in plan, the pan- interior and exterior cubes, drawing natural
els vary in dimension across their widths, light into the oratory without revealing the
narrowest at the 12-millimeter edges and source of light. Openings near the ceiling
widest at its 75-millimeter centers. The produce brilliant light; openings near the
parabolic shape of the door, fabricated by floor produce a soft, obscure light. Following
craftsman John Lewis, gathers and refracts the Catholic tradition of investing light with
light, glowing brightly at its edges and pro- symbolism, each aperture is a meditation
ducing a soft luminosity at its center. In the on a different aspect of the paschal mystery
process of pouring liquefied glass onto of Christ: death, resurrection, ascension,
cooling layers, a texture of ripples and swirls and eternal presence.
was formed, creating a continuity between
the appearance of the glass and concrete
surfaces. Together, shape and texture serve
to interrupt the line of sight, leaving only the
obscured play of light, shadow, color, and

182 AsBuilt / Details in Contemporary Architecture

183 Holy Rosary Catholic Church Complex

184 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Colonnade and
administration building section
Bottom: Office facing south
This page
Top: South pavilion section
Bottom: Lavatory lobby

185 Holy Rosary Catholic Church Complex

This page
Top: Oratory entry door
section
Bottom: Oratory entry door
plan, open (left)
Top right: Oratory entry door
plan, closed
Bottom right: Oratory entry
door, open
Opposite
Oratory entry door detail

186 AsBuilt / Details in Contemporary Architecture

187 Holy Rosary Catholic Church Complex

University of Chicago Graduate School of Business, Chicago, Illinois
Rafael Viñoly Architects, PC, New York, New York

The University of Chicago campus is organ- Rockefeller Chapel, anticipating the arrival
ized around a sequence of quads that at the main quadrangle of the university to
gives the institution its remarkable charac- the west. This green space allows the view-
ter; the architecture of the university is ing of the horizontal composition of the
renowned for both its stylistic consistency Robie House as it was presented in Wright’s
and the quality of its public rooms. The original perspective. Cantilevered floors and
design for the new Graduate School of horizontal limestone details on the facade
Business is based on the idea that a quad- are a nod to the building’s celebrated neigh-
rangle can be transformed into a public bor. Curved steel beams that form Gothic
room—not another quadrangle in a campus arches—a key design motif of campus archi-
of many extraordinary quadrangles, but tecture and a major visual element of the
an interior garden that functions year-round Rockefeller Chapel—support the glazed
and becomes part of the school’s identity, roof of the Winter Garden. The roof is
a space where people and ideas come formed by quadripartite pointed vaults of
together. The program had to integrate tubular steel that transfer loads and forces
formal and informal learning space; provide through very thin structural members,
plenty of opportunities for students and an efficient structure that maximizes its
faculty to connect, collaborate, challenge, transparency. Thin horizontal beams, which
and create; and fit into an architecturally provide structural continuity to the curved
significant location bordering Frank Lloyd surfaces, connect the narrow ribs of the
Wright’s prairie-style Frederick C. Robie vaults. The roof vaults also concentrate the
House and Bertram Goodhue’s gothic snow load on the column centers rather
Rockefeller Chapel. than on the spans between them.

The design for the Graduate School of The convex surface of the glass ceiling
Business makes the quad a public room accelerates the convection of hot air
enclosed in a winter garden, a six-story glass toward the top of the space where it is then
atrium that can be used year-round and exhausted, allowing the room to be naturally
functions as the main ceremonial space of ventilated throughout the year. Mechanical
the school. Natural light from the Winter shades shield the space below from heat
Garden reaches the interior of the building gain and glare, and the flaring cylindrical
through a ring of triple-height spaces sur- forms of the columns resemble the silhou-
rounded by study rooms. Three circulation ettes of trees in a garden. The funneled
cores surrounding the Winter Garden con- shapes of the roof vaults draw rainwater into
nect all the levels of the building for use by and through the hollow centers of each of
the students, faculty, and the public at large. the four structural columns, then into a
reservoir; Blair Kamin, architecture critic at
In plan, the building recedes at the cor- the Chicago Tribune, described them as the
ner of Woodlawn Avenue and 58th Street to world’s most beautiful gutters.
mirror the open space behind the

Opposite
Top: Winter Garden elevation
Bottom: Graduate School of
Business

188 AsBuilt / Details in Contemporary Architecture



This page Opposite
Top: Longitudinal section Top: Winter Garden, geometry
Bottom: Elevation at quad layout
Bottom: Winter Garden (left),
Winter Garden from mezzanine

190 AsBuilt / Details in Contemporary Architecture

191 Winter Garden, University of Chicago School of Business

This page
Winter Garden, roof
drain detail

Opposite, Overleaf
Details

192 AsBuilt / Details in Contemporary Architecture

193 Winter Garden, University of Chicago School of Business

194 AsBuilt / Details in Contemporary Architecture

195 Winter Garden, University of Chicago School of Business

This page
Details

Opposite
Top: Winter Garden reflected
ceiling plan
Bottom: Column and roof
vault up (left), roof vaults
overhead

196 AsBuilt / Details in Contemporary Architecture

197 Winter Garden, University of Chicago School of Business

Museum of the Earth, Ithaca, New York
Weiss/Manfredi Architects, New York, New York

The new museum for the Paleontological four parking areas. Precisely graded, the up to seventy-two percent when compared
Research Institution (PRI) houses one of the parking areas divert ground water runoff with the electric resistance type heating
nation’s largest fossil collections and dem- to bioswales with gravel filters and reintro- standard in air-conditioning equipment.
onstrates the intrinsic relationship between duced prehistoric grasses such as equi-
geological events and biological evolution. setum, which cleanse the ground water of The geoexchange system has three
Shifted and carved by a receding ice sheet chemicals and other pollutants. Water major parts: a geothermal heat pump
twenty thousand years ago, the site is cur- is then channeled onto the linear terraces, to move heat between the building and the
rently marked by a gradual slope of 40 feet. collected, and directed between the two fluid in the earth connection; a subsurface
The design concept for the addition to the parallel museum wings into a reflecting pool. connection for transferring heat between
PRI draws on the topographical features Excess water overflows into a landscaped the fluid and the earth; and a distribution
of the site and the dynamic interrelationship detention basin where it is slowly released subsystem for delivering heating or cooling
between biology and geology that is central into Cayuga Lake. The site is planted with to the building. A geothermal heat pump
to the mission of the museum: sedimenta- ancient species of trees, grasses, and other works much like a refrigerator, with the
tion, erosion, and the freeze and thaw cycles plants native to the Finger Lakes region addition of a few extra valves that allow heat-
that created the glacially gouged landscape chosen for their educational, environmental, exchange fluid to follow two different paths,
of the Finger Lakes region. and aesthetic value. one for heating and one for cooling. Pumps
are attached to the ground either through
The new museum is set into the hillside The museum uses a geoexchange sys- a series of buried plastic pipes that circulate
adjacent to the existing research facility, tem, which takes advantage of the earth’s water or an environmentally safe antifreeze
forming a continuous terraced ground intrinsic energy storage capacity to heat and (closed loop), or water wells (open loop),
plane that fuses landscape, architecture, cool buildings, moving heat energy around often located beneath parking lots or
and geology into a cohesive whole. Built rather than converting chemical energy landscaped areas. The system used in the
of reinforced poured-in-place concrete with to heat as does a furnace. Geoexchange Museum of the Earth makes use of two
aluminum curtain walls and large cantile- systems store the heat the earth absorbs 1,550-foot wells. Groundwater circulating
vered standing-seam copper roofs, the from the sun at an efficiency approaching from these wells is transformed into radiant
museum is organized into two parallel build- or exceeding four hundred percent, and floor heating in the winter and fed into an
ings: a public education wing and a new return it as heat and/or cooling in a building. air handling system for heating and cooling
exhibition wing, connected below grade. Because the systems transfer heat to and year round. The water absorbs heat from
The partially buried structures define the from the stable and relatively moderate the ground during the winter and transfers
edges of a cascading plaza, extending views temperatures of the ground, they are more it to the heat pumps inside the building.
to Cayuga Lake and the surrounding terrain. energy efficient than other systems, reduc- In the summer, the process is reversed as
Approached from the south, a series of ing energy consumption and related heat from the building is returned to
10-foot-high planted berms and linear water emissions up to forty-four percent com- the ground.
terraces recalling glacial moraines conceals pared with air-source heat pumps and

This page
Site plan

Opposite
Top: Entry plaza view
south
Bottom: Entry plaza
view north

198 AsBuilt / Details in Contemporary Architecture

199 Project Name