Frank Gehry‘s Walt Disney Concert Hall in Los Angeles, Scott Johnson‘s Museum Tower in Dallas, and Rafael Viñoly‘s Vrada Hotel & Spa in Las Vegas have at least one thing in common. All three provoked the ire of their neighbors when glare from their reflective facades raised sidewalk temperatures, blinded drivers, or—as in the Museum Tower case—jeopardized the nearby Nasher Sculpture Center’s collections. Glare is increasingly a problem in facade design, says Curtainwall Design Consulting president Charles Clift, in part because of the tools contemporary architects have at their disposal. “The conclusion I came to is that the digital age of architecture has allowed designers to create anything they can imagine, but with that comes some unintended consequences.”
If Dallas is not already on your list of top United States architectural destinations, it is past time to make a correction. The city boasts the largest concentration of Pritzker Prize–winning architects’ work anywhere, including Philip Johnson‘s Thanks-Giving Square, I.M. Pei‘s Dallas City Hall, Fountain Place, and Morton H. Meyerson Symphony Center, Renzo Piano‘s Nasher Sculpture Center, Foster+ Partners‘ Winspear Opera House, and Morphosis‘ Perot Museum of Science. The thriving Dallas Arts District is bursting with performance venues and architectural gems like Edward Larabee Barnes’ Dallas Museum of Art, SOM‘s Trammell Crow Center, and REX/OMA‘s Dee and Charles Wyly Theatre. And more projects are in the works: Cesar Pelli is designing an office complex for Uptown, and a second Santiago Calatrava-designed bridge is planned to span the Trinity River. Read More
Today’s AEC professionals are more to reach for a computer mouse then they are a drafting pencil. Understanding and being able fully utilize cutting-edge digital design tools is essential to contemporary architectural practice, particularly the design of high-performance building skins. Attendees at next month’s Facades+ Dallas conference can choose among four hands-on tech workshops in a unique program designed to deliver in-depth exposure to platforms including Autodesk Revit, Autodesk Vasari, and Grasshopper.
The Antoine Predock–designed Canadian Museum for Human Rights opened in Winnipeg last Friday with a ceremony featuring an indigenous blessing, performances by Ginette Reno, The Tenors, Maria Aragon, and Sierra Noble, plus remarks by several Canadian government officials as well as representatives of the museum. Read More
Home to Morphosis‘ Perot Museum of Nature and Science, the Santiago Calatrava–designed Margaret Hunt Hill Bridge, and a starchitecture-studded cultural district, Dallas is increasingly an architectural destination in its own right. This fall, AEC industry professionals have one more reason to visit: the inaugural Facades+ Dallas conference, taking place October 30–31 at CityPlace Events. Read More
In a high-performance building, argues Juan Betancur, director at Adrian Smith + Gordon Gill Architecture, the envelope must never be an afterthought. Rather, it should be a material expression of the overall environmental strategy. “The key to what we’re doing with energy and sustainability is: how do the systems become the facades themselves?” he said. “If we make it part of the building, it’s an integrated systems solution.” Read More
Contemporary architectural practice, and in particular the design of high-performance facades, is as much about mastering technology as it is about grappling with aesthetics and function. Attendees at next month’s facades+ Chicago conference will have an opportunity to explore cutting-edge digital design tools during a series of hands-on technology workshops. The tech workshops, which take place on the second day of the conference, follow a day-long symposium featuring keynotes and roundtable discussions by AEC industry leaders. “If on day 1 you’re being exposed to advancements in building methods, on day 2 you can learn the technology and techniques that are behind those applications,” said Mode Lab’s Ronnie Parsons. “It’s taking the next step from someone who’s in the audience to being a participant. Not just a participant who’s watching and engaged, but one who is actively involved in shaping what happens tomorrow.” Read More