Details in Contemporary Architecture ( PDFDrive )

Nothstine Residence, Green Bay, Wisconsin
Garofalo Architects, Chicago, Illinois

Located on an acre of steeply sloped terrain, provide for each eccentric weld length,
the Nothstine Residence consists of a series determined by the changing angles of
of additions and modifications to an exist- these members along continuous ribbons
ing wood frame structure on a site with of space. A special router was used to cut
panoramic waterfront views of Green Bay. the curved steel components that make up
The strategy for placement of these inter- the truss assemblies. At the curved portions
ventions was inspired by the clients’ interest of the truss, the Ts are not bent but built
in horticulture, bird watching, and small- up from CNC-cut plate steel. The precise
scale electric slot-car racing. The most production of these trusses facilitated
striking feature of the house is the ribbon the exact placement of the compression
encapsulated in fiberglass that weaves along and tension members.
the southwest facade like a tortuous race-
track, connecting the new additions. The The completed truss became the guide
hairpin turns and loop-the-loops include an for carpenters anchoring wood cross mem-
extension of the living space, a master suite, bers, which are tapered at each end. As the
a combination study and grow room (for roof joists lying on top of the truss curve
indoor gardening), and a home theater, all around to a more vertical wall, small wood
organized along the continuously folding brackets hold the members in position until
tectonic ribbon. A number of steel elements the plywood sheathing bonds them together
project from the house as bridges and plat- into one system. As these in turn curve
forms connecting the kinetic structure back around to form the floor framing, the joists
to the landscape. The most dramatic of hang under the truss, held in place by joist
these is a slender bird-watching platform hangers welded to the bottom chord. Careful
that is designed to sit at the tops of trees. placement of wood blocking allows for the
A shored garden path and aqueduct system entire steel truss to remain exposed on
furthers the routing and tracking ideas of the interior of the project. The exposed steel
the architecture. elements are conceived to allude to the
roll cages often fitted to high performance
The continuously folding tectonic racing vehicles. The entire wood system
ribbons of the southwest addition are con- becomes a rigid shell once two layers of ply-
structed with a structural system composed wood are glued and screwed to the outside
of steel trusses, engineered wood spanning edge of all the wood members. The bent
members, and plywood. The trusses are plywood exterior surfaces of the ribbon are
back-to-back Ts that measure 3 1/2 by 5 encapsulated in seamless fiberglass, which
by 1/2 inches with plates sized at 3/8 is applied directly to the plywood substrate
by 5 1/2 inches, which serve as connection through a spray nozzle in two coats; the
points for the steel pipe cross members. second has the integral yellow color.
Each connection is individually drawn to

Opposite
Top: Rear elevation
Bottom: Side ribbon

50 AsBuilt / Details in Contemporary Architecture

51 Project Name

This page
Top: Site plan
Middle: Longitudinal section
Bottom: Cross sections
Opposite
Top: Third floor plan
Bottom: Framing details

52 AsBuilt / Details in Contemporary Architecture

53 Nothstine Residence

This page
Top: Framing plans
Right: First floor plan

Opposite
Top: Platform detail
Middle: Stair to rear yard
Bottom: Second floor plan

54 AsBuilt / Details in Contemporary Architecture

55 Nothstine Residence

56 AsBuilt / Details in Contemporary Architecture

Opposite
Top: East elevation
Middle: West elevation
Bottom: North elevation (left),
south elevation
This page
Top: Ribbon models
Bottom: West elevation

57 Nothstine Residence

BP Bridge, Pritzker Pavilion, and Great Lawn, Millennium Park, Chicago, Illinois
Gehry Partners, LLP, Los Angeles, California

Chicago’s Millennium Park is 16.5 acres and The bridge has a concrete and steel deck was designed to support 4 feet of
built over existing and expanded rail lines, support structure and spans the roadway growing medium, the planting design is not
bus lanes, and two new parking levels. The with a single supporting column. Its sharply limited to the grid of the structural columns
open area includes the four-thousand-seat angled side sections effectively minimize in the parking garage below. The result is
Pritzker Pavilion, the Great Lawn with space the overall appearance of the structure. Clad varying profiles of growing medium with
for an audience of an additional seven thou- in more than nine thousand brushed stain- sand drainage throughout the project rang-
sand people, and the BP Bridge, all designed less steel panels with an ipe hardwood deck, ing in depth from 8 inches to 4 feet deep.
by Gehry Partners with structural engineer- the BP Bridge acts as an acoustic barrier The entire deck was waterproofed with a
ing by SOM. The BP Bridge spans Columbus for the traffic noise on Columbus Drive and hot-applied rubberized membrane system.
Drive to link Millennium Park with Daley Michigan Avenue on the west side of the Styrofoam fill was used to create land-
Bicentennial Plaza and parkland on lake- park. The Great Lawn is covered by a three- forms, which do not exceed the designed
front areas to the east. The 925-foot-long dimensional trellis of stainless steel, which load capacity of the structural deck. Two
serpentine bridge provides views of the supports lighting and many of nearly two reinforced concrete cast-in-place garages
Chicago skyline, Millenium Park, and Grant hundred speakers positioned throughout support most of the roof deck, while a
Park along the shores of Lake Michigan. The the pavilion and lawn, efficiently amplifying combination of steel structure and precast
extra length made possible by the bridge’s sound without blocking views of the stage. concrete structural tees span the railroad
sinuous curves allows for an overall slope of The Great Lawn itself includes 95,000 tracks.
five percent, facilitating easy access and a square feet of reinforced natural turf lawn
comfortable path of travel for the physically designed for extreme traffic use and runoff
challenged, while affording a shifting series recovery through use of emerging turf tech-
of perspectives of Millennium Park and the nology, and a layered high performance
Chicago skyline. drainage system. Because the structural

This page
Elevations

Opposite
Top: Overpass
Bottom: BP Bridge, Pritzker
Pavilion, and Great Lawn
aerial view

58 AsBuilt / Details in Contemporary Architecture



This page
Top: Concept drawing
Bottom: CATIA model (left),
bridge deck
Opposite
Top: Sections
Bottom: Section detail at
suspended portion

60 AsBuilt / Details in Contemporary Architecture

ON STRUCTURAL BOX GIRDER OR
STRUCT URAL CO NC RETE SEE 9 801

61 BP Bridge and Great Lawn

Juan Valdez Flagship Café, New York, New York
Hariri & Hariri—Architecture, New York

with RIR Arquitectos, Bogotá, Colombia

For the Colombian Coffee Federation’s larger panels. It was fabricated and assem- form a loop fastened by a clamp. A stain-
Juan Valdez Flagship in New York, Hariri & bled at the factory, then disassembled, and less steel tensioning rod is threaded through
Hariri considered three different states of shipped in pieces to the café for installation. the loops to stabilize the screen, and metal
coffee—beans, powder, and liquid—and The styrene panels were then reassembled, brackets secure it to the building. The
developed a palette of complementary sculpted with chainsaws, and sanded to a frequency of the loop placement depends
architectural materials to reflect their vari- smooth finish. The surface of the entire wall upon the overall weight of the screen as
ous sensory qualities. The storefront itself is was coated with a urethane hardener and determined by the density of the stainless
a folded plane of coffee-colored Brazilian a shiny white emulsion. steel mesh, and the size of the loops is
ipe hardwood in the shape of a coffee bean, determined by the diameter of the tension-
which then continues on through the interior The facade of the four-story building is ing bar required to stabilize the screen.
of the café as the primary spatial organizer, covered by a screen of GKDs Omega 1520 Cables extend beyond the fabric edge to
containing the bar, counter, and coffee bean woven stainless steel mesh, which measures form a loop that is secured by a loop clamp.
shop. Opposite the folded plane is the Liquid 30 by 35 feet tall, with an abstracted image Both the frequency of the loops and the
Wall, which runs along the entire length of of the Juan Valdez logo sandblasted on it. diameter of the tensioning bar are deter-
the sales area and wraps around the lounge A protective plastic film was applied to the mined by the tension load on the screen and
at the back of the shop with fluid seating surface of the metal and selectively removed its overall weight, while the loop diameter
forms carved out of its undulating volume. to form the logo. The screen is composed is calculated based on the size of the ten-
The Liquid Wall is 13 feet high and consists of three separate panels and stretches along sioning bar. Springs added to the bottom
of 4-foot-wide styrene modules mounted on the entire front of the building. At the top edge of the screen anchor it to the building
plywood backing joined together to form and bottom of the screen, every other cable and hold the mesh screen in tension.
extends beyond the edge of the screen to

This page
Longitudinal section

Opposite
Top: Café view to East Fifty-
Seventh Street
Bottom: Liquid Wall detail

62 AsBuilt / Details in Contemporary Architecture



FIN. ROOF

EQ. RECESSED BRICK DIMENSION EQ.

7 7/8" 1'-11 5/8" 3'-8 5/8" 8 1/2" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 1'-8" 8 1/2" BOLTS 2'-0" O.C. STAGGERED.
STAINLESS CAP ON ALL
8 1/2" 1'-0" 1'-0" 8 1/2" EXPOSED BOLTS

FIN. 5TH FLOOR
+51'-4"

C.L. OF GKD
TOP BRACKETS

6'-1 1/2" 10'-8 7/8" S.S. MESH TO BE SANDBLASTED
ON BOTH SIDES WITH JUAN
7 7/8" 4'-4 1/2" C.L. OF GKD VALDEZ IMAGE AS SHOWN.
INTERMED. BRACKETS ARTWORK TO BE SUPPLIED BY
ARCH.

FIN. 4TH FLOOR
+38'-4"

6'-1 1/2" 10'-8 7/8"

7 7/8" 4'-4 1/2" C.L. OF GKD FIN. 3RD FLOOR
INTERMED. BRACKETS +26'-8"

6'-1 1/2" 49'-7 1/2" LIGHTING
12'-0 1/4" SEE: AE1.2

2'-7 1/2" 2'-7 1/2" 1'-6 3/8" 16'-1 1/2" C.L. OF GKD BRACKET TO F.F. C.L. OF GKD TOP OF JOIST
BOTTOM BRACKETS +16'-9"
2 3/16" S.S. PLATE SANDBLASTED
GLASS IPE, CURVED WOOD
10'-6"
S.S. FRAME GLASS DOOR
3/16" S.S. PLATE 1 SEE A6.2
SANDBLASTED
3/16" S.S. PLATE, SANDBLASTED
1 (TYP.) CLAD OF STOREFRONT
6.3 SEE: A8.2

1'-6 3/8" 2
A8.2
32'-5 3/8" BRICK TO BRICK
36'-6" FIN. 1ST FLOOR
+0'-0"
This page
East 57th Street elevation FIN. BASEMENT
-12'-0"
Opposite
Top: Liquid Wall
Bottom: View from 57th Street

64 AsBuilt / Details in Contemporary Architecture

STAGGERED. 8'-10 3/8" 8'-4" 9'-0" S.S. MESH 10'-8 7/8"
ON ALL SEE: S1.1
S FACE OF OUTER 10'-8 7/8"
OOR EXISTING BRICK
E SANDBLASTED
WITH JUAN 10"
S SHOWN.
E SUPPLIED BY 12'-0 1/4"
OOR 49'-7 1/2" V.I.F

OOR 15'-8" 16'-1 1/2" C.L. OF GKD BRACKET TO F.F.

ST
SANDBLASTED
OOD
SANDBLASTED
STOREFRONT

OOR

11'-0"

ENT

65 Juan Valdez Flagship Café

This page
Top: Liquid Wall installation
Middle: Liquid Wall plan
Bottom: Liquid Wall sections

Opposite
Top: Liquid wall Isometric
Bottom: Café panorama

21

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1

82'-11 3/4" V.I.F. 21

1 4'-0" 2 4'-0" 3 4'-0" 4 4'-0" 5 4'-0" 6 4'-0" 7 4'-0" 8 4'-0" 9 4'-0" 10 4'-0" 11 4'-0" 12 4'-0" 13 4'-0" 14 4'-0" 15 4'-0" 16 4'-0" 17 4'-0" 18 4'-0" 19 4'-0" 21'-01 1/8" 2'-32" 2 3'-7 5/8" 23

8'-2" SOFFIT

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 6'-0" GLASS
3'-7 5/8" 2'-4 3/8"

82'-11 3/4" V.I.F.

A 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 4'-0" 1'-1 1/8" 2'-3" 3'-7 5/8"
A.1
8'-2" SOFFIT
B
4'-0" 6'-0" GLASS
3'-7 5/8" 2'-4 3/8"

B.1 4'-0"
CA
22'-1 5/8" V.I.F. 4'-40'-"0"
CA..11
BD 4'4'--00""

DB..11 22'-1 5/8" V.I.F. 4'-40'-"0"
CE
42''--01"5/8"
CE..11
DF 2'-1 5/8" 4'-0"
G D.1
E
1 PLEA.1N OF LIQUID WALL

F

G

PLAN OF LIQUID WALL
1

SECTION 1 SECTION 1.1 SECTION 2 SECTION 2.1 SECTION 3 SECTION 3.1 SECTION 4 SECTION 4.1 SECTION 5 SECTION 5.1 SECTION 6 SECTION 6.1 SECTION 7 SECTION 7.1 SECTION 8

SECTION 1 SECTION 1.1 SECTION 2 SECTION 2.1 SECTION 3 SECTION 3.1 SECTION 4 SECTION 4.1 SECTION 5 SECTION 5.1 SECTION 6 SECTION 6.1 SECTION 7 SECTION 7.1 SECTION 8

SECTION 8.1 SECTION 9 SECTION 10 SECTION 11 SECTION 12 SECTION 13 SECTION 14 SECTION 15 SECTION 16 SECTION 17 SECTION 18 SECTION 19 SECTION 20 SECTION 21 SECTION 22 SECTION 23
SECTION 23
LIQUID WALL - NUMERIC SECTIONS
2

SECTION 8.1 SECTION 9 SECTION 10 SECTION 11 SECTION 12 SECTION 13 SECTION 14 SECTION 15 SECTION 16 SECTION 17 SECTION 18 SECTION 19 SECTION 20 SECTION 21 SECTION 22

2 LIQUID WALL - NUMERIC SECTIONS

66 AsBuilt / Details in Contemporary Architecture

67 Juan Valdez Flagship Café

Walker Art Center, Minneapolis, Minnesota
Herzog & de Meuron, Basel, Switzerland

Architect and Engineer of Record: Hammel, Green and Abrahamson, Inc. (HGA), Minneapolis

For the new five-level expanded facility adja- num, produced by punching slits in and stretched metal to make weblike sheets
cent to the Walker Art Center in Minneapolis, stretching sheet stock to create a surface from 126,000 square feet of perforated
architects Herzog & de Meuron wanted a of diamond-shaped voids. Because the per- aluminum stock. To achieve the desired tex-
building lighter, looser, and more open than forated metal is formed into boxes, it has ture architectural fabricator M. G. McGrath
the brick cubes of the existing museum. a transparency that gives the entire facade tooled stamping dies and rotated and
Originally they planned to cover the facade the appearance of depth, like translucent creased the panels four times in different
in a fabric-like material that could be folded crumpled paper. directions to produce a randomized undu-
up along the slanted profiles of the window lating appearance. The panels were then
openings so that the entire building would Three-dimensional models of the crum- anodized to maintain their shine. The geom-
have a luminous translucence, like a paper pled and creased forms desired for the etry of the building required five sizes of
lantern. The huge irregularly shaped win- facade were produced with creasing pat- panels, each one a 4-foot-square box with
dows are what the architects have termed terns detailed precisely to continue across four sides and two open edges installed
“homologous forms,” which they compare to adjacent units. After experiments to deter- individually on the building. During the day-
silhouettes. A number of cladding options mine the size, thickness, and angles of the time, the panels reflect ambient light and
were considered, including a Teflon-like fab- slots that would create the texture of the create a shimmering, changeable facade.
ric, as well as glass and copper, but all were panels, a pattern of angled diamond mesh- By night, the “homologous forms” of the
eventually rejected because of formal and ing was designed by Spantek, a local manu- windows placed irregularly throughout
technical problems with full-scale mock-ups. facturer of expanded metals typically used the aluminum facade give it the desired
The architects settled on expanded alumi- for fan vents, gutter guards, and industrial glowing effect.
filters. Large pounding machines slit and

This page
Model

Opposite
Top: Southeast elevation
Bottom: Northeast elevation

68 AsBuilt / Details in Contemporary Architecture

69 Project Name

evolution of the homologous forms

ACTION RESULT ANALYSIS ABSTRACTION
fold & cut unfolded selected forms homologous forms
make pattern of repetition
family of homologous forms
multiple folds
distribution
linear fold
crumple

20’ studio elevations
70 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Analysis
Bottom: Exterior elevations
This page
Top and middle: Aluminum panel
installation
Bottom: Visitors entrance

71 Walker Art Center

72 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Cross section
Bottom: Aluminum panel
installation
This page
Right: Wall section
Bottom: Folded mesh box panel

73 Walker Art Center

74 AsBuilt / Details in Contemporary Architecture

Opposite
Facade detail

This page
Elevation detail

75 Walker Art Center

Hollywood Bowl, Los Angeles, California
Hodgetts + Fung Design Associates, Culver City, California

Executive Architect: Gruen Associates, Los Angeles

Since its inauguration in 1923, the acoustic canopy, which floats as an elliptical The rim of the halo itself consists of six
Hollywood Bowl has undergone a total of ring above the stage and reflects sound segments fashioned from aircraft aluminum,
eight major renovations to resolve the inher- waves to all parts of it, consists of a series of containing the twenty movable louvers and
ent contradictions between form and func- computerized translucent louvers extending the acoustic reflectors; a perimeter catwalk
tion that have bedeviled it. Referencing the across the ring programmed to shift into provides access to lighting fixtures. The
1928 outdoor amphitheater whose acous- place according to the type of music being reflector and catwalk assembly is inclined
tics were inherently impractical but whose performed. The halo is designed to permit a about ten degrees above horizontal in order
shape is embedded in the memories of nearly infinite range of adjustments to be to fit gracefully within the baffles, which
millions of patrons, the new shell designed made using a simple touch screen; it can be line the shell walls, and to link geometrically
by Hodgetts and Fung is based on a three- tuned in minute increments for each perfor- with the furthest row of seating in the
dimensional exploration of the geometry mance, like the ailerons on the tips of air- amphitheater. Behind the microphone line,
underlying the original. The architects’ plane wings, or folded up like butterfly wings the shell incorporates gantries able to
intent was to strike a balance between bring- to disappear into the canopy. Deployed for handle even the largest speaker array
ing the Bowl’s acoustical and theatrical tech- acoustic performances, the panels lie almost at positions already determined in the field
nology into the twenty-first century and flat, displaying a progressively curved sur- as most effective for the existing seating
preserving the look of an icon from face to disperse the sound pressure from configuration. A substructure of ribs sup-
Hollywood’s early years. the instruments below. The panels are then ports the acoustic panels. Driven by electric
adjusted into vertical position for amplified screw jacks, the panels are hinged to a back-
The project involved the invention of a or electronic performances. When deployed bonelike aluminum truss that carries the
new type of acoustic device in which a large- for a traveling show, the panels are flown electronic controls. Lighting and sound equip-
ly invisible technology provides an unprec- by electric winches into docking stations ment are stored above the acoustic canopy.
edented level of sound control for the between the baffles as the trusses them- The entire assembly is lightweight, kinetic,
outdoor amphitheater, a 60-by-90-foot selves fold longitudinally to conform to the and controllable. Three towers stand above
aluminum and fiberglass ellipse spanned radius of the shell. the exterior shell, supporting linear arrays
by folding translucent panels that form of suspended speakers just below the
an adjustable reflecting surface to disperse The underside of the aluminum halo is proscenium to retain the seamless visual
sound among the performers, enabling skinned in fiberglass, and the louvers are curve of the arch.
them to achieve a musical balance. The made of translucent polycarbonate plastic.

This page
Acoustic canopy

Opposite
Top: Dawn
Bottom: Sunset

76 AsBuilt / Details in Contemporary Architecture

77 Project Name

78 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Acoustic canopy
configurations
Bottom: Acoustic canopy
installation

This page
Top: Acoustic canopy panel detail
Bottom: Acoustic canopy ring
and panels detail

79 Hollywood Bowl

80 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Acoustic canopy catwalk detail
Bottom: Locking device (left),
lighting battens
This page
Top: Computer control
Bottom: Truss details

81 Hollywood Bowl

This page
Top: Light truss
Bottom: Louver detail

Opposite
Truss detail

82 AsBuilt / Details in Contemporary Architecture

83 Hollywood Bowl

Lake Whitney Water Treatment Plant, Hamden, Connecticut
Steven Holl Architects, New York, New York

Landscape Architect: Michael Van Valkenburgh & Associates Inc., New York

The Lake Whitney Water Purification Facility ply and then sending an electric charge The below-grade plant’s large thermal mass
is located in a public park, its water treat- through the water, the water treatment facil- generates stable temperatures and mini-
ment processes housed underground in ity inactivates disease-causing microbes mizes the need for air conditioning. Gardens
concrete boxes beneath a large, vegetation- resistant to chlorine disinfection. The scale filter and store storm water to prevent run-
covered roof with the exception of the pump change from the molecular, in the purifica- off to neighboring sites.
room, where the equipment must be raised tion process, to the panoramic in the land-
above grade to be serviced. That require- scape above is celebrated in the overall The landscape of the water treatment
ment led to the distinctive extruded form of design of the park, which is comprised of six facility is shaped and engineered to antici-
the 360-foot-long stainless steel structure sectors, analogous to the six stages of the pate the dynamic interplay of water passing
now called “the sliver,” resembling an water treatment in the plant below. At the over and through it. Water flows naturally on
upside-down water droplet in section. The base of the sliver are water pumps which the site from a high knoll covered with
sliver shape creates a curvilinear interior distribute the cleansed water throughout the meadow grass at the top to a retention pond
space that opens to a large window view of region. Setting the plant in the ground plac- at the bottom, with spaces in between evok-
the surrounding park. There is a skylit lobby es the treatment process below lake level; ing formal gardens, a stream, and a farm-
and rooms for public use on the ground this enables the purification plant to be driv- yard. Unlike the design of a building that out
floor and administrative offices and labora- en by the lake’s gravity pressure, eliminating of necessity resists change, the design of a
tories on the upper floors. the need for running energy-consuming planted landscape anticipates a slow and
pumps. A groundwater heat pump system of ongoing transformation of plant species and
The new treatment facility operates at eighty-eight wells provides a renewable sizes that will be revealed over time. The
the molecular level, purifying millions of gal- energy source for heating and cooling the landscape provides ecological benefits, fil-
lons of water each day. In the ozonation area building and avoids the environmental tering storm water that runs off the building
of the plant, oxygen 02 becomes ozone 03 impact associated with fossil fuel energy roof and site pavements and storing the
and is bubbled through the water to purify use, saving 850,000 kilowatt hours annually. water on site. This design both eliminates
bacteria. By adding ozone to the water sup- the necessity for the project to increase

This page
South (top) and north elevations

Opposite
Top: Northeast elevation
Bottom: Entrance

84 AsBuilt / Details in Contemporary Architecture



This page
Top: Cross section
Bottom: Longitudinal sections

Opposite
Top: Southeast elevation
Bottom: Stair detail

downstream storm flooding and provides a that requires no irrigation, is planted with
mechanism for rainwater to replenish species indigenous to alpine areas and
the ground water supply. The green roof rocky outcrops that thrive on shallow soils,
increases the thermal insulating capacity, wind exposure, and some foot traffic, all
or R value, by three points, prevents a heat without dependency on artificial irrigation or
island effect, and controls storm water fertilization. Most of the plants will grow to
runoff. The roof membrane is formed of a about 6 inches in height and will spread,
rubberized asphalt waterproofing system offering full coverage within two growing
with an inverted roof membrane assembly seasons. The design is expected to prolong
(IRMA) configuration, in which the mem- the life of the roof membrane and protect it
brane is adhered in asphalt directly to the from normal wear and tear by buffering it
roof deck. A root barrier fabric was installed from the effects of extreme freeze-thaw
on top of the insulation to optimize moisture cycles and peak summer temperatures, and
management in the planting layer and allowing for possible abrupt cooling from
protect the insulation from water infiltration. rain showers.
The green roof, a low maintenance system

86 AsBuilt / Details in Contemporary Architecture

87 Lake Whitney Water Treatment Plant

88 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Typical wall sections
Bottom: Wall section details

This page
Top: Curtain wall details
Bottom (left to right): Steel
framing, panel mock-up,
installation

89 Lake Whitney Water Treatment Plant

This page
Top: Lobby details
Bottom: Skylight detail
Opposite
Lobby

90 AsBuilt / Details in Contemporary Architecture

91 Lake Whitney Water Treatment Plant

South Mountain Community College Performing Arts Center, Phoenix, Arizona
Jones Studio, Inc., Phoenix

The project site for the South Mountain concept. The performance hall, including folds of the steel sections act like louvers to
Community College Performing Arts Center the exterior lobby, house, and stage, is sited dissipate heat, shade wall surfaces, and
borders both the southern edge of Phoenix near the main entrance to the campus. provide a tough outer shell for the sensitive
and the world’s largest municipal park, The elevated exterior lobby, constructed of area within, the sound chamber. To produce
South Mountain Park Preserve. The existing aluminum grating and galvanized purlins, a seemingly random horizontal texture, the
campus consists of simple stucco buildings puts members of the audience on stage architects created a repeating panel system
arranged to create courtyards in the voids before and after performances; lit like a that could be easily and economically built
between buildings. The new 24,600-square- lantern it announces to the community that by the contractor, a palette of four weather-
foot performance center required a 350-seat an event is in progress. ing steel profiles screwed into the plywood
theatre, a 100-seat black box, a 75-seat shell and moisture barrier, and four different
dance studio, a recording studio, scene and The building is made up of two separate horizontal course dimensions; the over-
costume shops, dressing and make-up boxes: an outer box covered with rusted lapping horizontal sections range in depth
areas, and a green room. The challenge of metal and glass, and an inner box that con- from 4 to 12 inches. The auditorium glows
the site was to integrate the rich textures tains the theater itself. The lobby and circu- beaconlike at night, while during the day,
of the surrounding landscape—palo verdes, lation spaces occur in the space between. the steel louvers create dappled patterns of
brittlebush, and gravel—into the new con- The building is constructed of sandblasted sunlight and shadow throughout the lobby.
struction. The design team decided to pro- concrete masonry units with the exception The enclosure’s transformation from opaque
duce an abstract box that would somehow of the screen in front of the performance to semitranslucent signals the internal orga-
change over the course of the day, using the hall, which is steel-framed and clad in over- nization of building functions, from opaque
college’s philosophy of training students to lapping weathering steel profiles that grad- around the stage area to translucent in the
recognize aspects of everyday life as perfor- ually peel away to reveal glazing in areas glass lobby at the opposite end of the build-
mance opportunities to develop the building where light locks are not required. Like the ing, where the steel is peeled away entirely.
needles of a saguaro cactus, the layered

This page
Plan

Opposite
East elevation

92 AsBuilt / Details in Contemporary Architecture

93 Project Name

94 AsBuilt / Details in Contemporary Architecture

Opposite
Top: Exterior from the south
Bottom: Walkway detail
This page
Below: Metal siding detail
Bottom: Exterior wall detail
Right: Wall sections

95 South Mountain Community College Performing Arts Center

96 AsBuilt / Details in Contemporary Architecture

Opposite
Left: Lobby detail
Right: Wall section at lobby
and control room

This page
Top: Lobby details

97 South Mountain Community College Performing Arts Center

98 AsBuilt / Details in Contemporary Architecture

99 South Mountain Community College Performing Arts Center