METALSPUBLISHED BY THE STEEL INSTITUTE OF NEW YORKIN AND THE CONSTRUCTION ORNAMENTAL METAL INSTITUTE OF NEW YORK SPRING 14

THE PAVILION AT BROOKFIELD PLACE / NEW SCHOOL UNIVERSITY CENTER / HUNTERʼS POINT CAMPUS / Queens Museum / Polonsky Shakespeare Center / Belfer Research Building / MADISON SQUARE GARDEN / Lehman College Science Facility CONTENTS EDITORʼS NOTE SPRING 14 Architectural evolution

1 EDITORʼS NOTE

2 THE PAVILION AT BROOKFIELD PLACE I recently had reason to a building’s environmental per- browse through several decades formance if it is to be influen- 8 worth of Metals in Construction tial. This book is no exception. THE NEW SCHOOL UNIVERSITY CENTER and came away awed by the Although its pages are filled with advances in curtain wall technol- detailed case studies and striking 14 ogy as chronicled in past articles. photography, Linn and Fortmeyer HUNTERʼS POINT CAMPUS When—and why—did designers profess their book to be about begin thinking of a building’s energry rather than buildings. 20 exterior wall as more than just In focusing on facades with Queens Museum a static enclosure, one that dynamic components that help 26 modulates the elements instead conserve energy, they provide Polonsky Shakespeare of bowing to them? Was it in re- a valuable resource for archi- Center sponse to the energy crisis of the tects, engineers, builders, and seventies? Did the introduction others interested in this archi- 32 of digital design tools mark the tectural evolution. More informa- Belfer Research Building beginning? Were advances in the tion about it can be found on 38 development of new materials our websites, www.siny.org and MADISON SQUARE GARDEN the instigator? In fact, one learns, www.ominy.org. And of course, it began much earlier with these the reader will continue to find 42 influences only a few among articles on innovative curtain wall Lehman College many that have played pivotal projects printed in this magazine. Science Facility roles in curtain wall development 48 over the past century. As a result, EVENTS today's building enclosure is the element most influential in delivering the desired energy per- formance. In achieving this prom- inence, its potential as a catalyst for building-wide change has inspired some of the most stimu- lating architecture of any era, much of it and the history behind it illustrated in the recently re- leased KINECTIC ARCHITECTURE, a new book by Charles D. Linn, FAIA, and Russell Fortmeyer, writers well-known to New York’s design community. Today, with rising greenhouse gas emissions and resource depletion ever- Gary Higbee, AIA, Editor growing concerns, any serious [email protected]/ book on architecture examines [email protected]

Copyright ©2014 by The Steel Institute The information contained in this magazine is merely general and illustrative in nature. The Institutes Above The interior lantern of of New York and The Ornamental Metal Institute assume no responsibility for either the design or actual cost of any structure resulting from the use of Queens Museum, designed by of New York the information contained herein, nor should anything herein be construed as either an endorsement or Grimshaw Architects. disapproval of any systems or designs indicated. Anyone relying upon or making use of this information Cover The Weill Cornell Medical Published by The Steel Institute of New York does so at his or her own risk and assumes any and all liability or consequences resulting therefrom. and The Ornamental Metal Institute of New York College Belfer Research Building, designed by Ennead Architects. ; cover: Tex Jernigan This page: © David Sundberg/Esto ; cover: Tex

Metals in Construction Spring 2014 1 The Pavilion at Brookfield Place

A pair of 54-foot-tall expressive columns entries or from six high-​speed escalators that supports the roof of a new front door to travel 50 feet below grade to the World Trade Center Lower Manhattan’s transit hubs, bearing Concourse, Port Authority Transportation Hub, and September 11 Memorial sites. the structure’s loads with a woven Softly curving glass curtain walls define the basket of lightweight twisting steel pavilion’s exterior, allowing its 8,000-square-foot tubing that spirals down to plaza level. volume to glow like a lantern at night. But the transparency of this enclosure was paramount. “Our Rebuilding Lower Manhattan in the decade since goal was to build upon our 2002 renovation by 9/11 has resulted in one of the densest constella- extending a glassy pavilion outward from the exist- tions of new architectural ideas—and challenges— ing Winter Garden, a contrast to the more massive in the city’s history. These have created a stronger existing stone base frontage on West Street,” says infrastructure, and the opportunity to meet the Craig Copeland, associate partner and Design Team needs of a changing city, which is seeing the influx Leader of the project for Pelli Clarke Pelli Architects of a diverse workforce beyond financial services, (PCPA). Inspired by the way that the glassy Winter including media, technology, and other fields that Garden faces the Hudson River, PCPA wanted to will allow New York to compete in the rapidly chang- give an optimistic, transparent face to the center of ing global economy. Lower Manhattan. “The design intent was to create A key piece of the undertaking is the Pelli Clarke a secured entrance that would still be open and Pelli Architects-designed Pavilion at Brookfield inviting, as opposed to closed and fortress-like,” Place, formerly known as the World Financial says Copeland. Center, a public space that serves as a front door To achieve the striking transparency of the to the Fulton Street and World Trade Center transit glass-and-steel pavilion, PCPA worked with struc- hubs used by more than 100,000 commuters tural engineer Thornton Tomasetti (TT) to examine and visitors daily. The pavilion will be the west- how the structure could be built. (TT and PCPA ern terminus of the highly anticipated east–west were part of the team that designed the original, underground pedestrian passageway, a half-mile 1980s Winter Garden, from which the new pavilion The design of 54-foot-tall expressive corridor that allows workers and tourists to access extends. TT also performed repairs to significant columns at the center of the pavilion began as a solution mandated by subways, office buildings, and the World Trade portions of the structure after the 9/11 attacks.) structural conditions created by transit Center complex without having to contend with Because of the underground passageway and tunnels below. inclement weather. Visitors enter from ground level transit system beneath, the team discovered the

2 Metals in Construction Spring 2014 The Pavilion at Brookfield Place 3 Clockwise from top The columns’ cise alignment of the steel tubes before removed to give the basketlike form its first two tiers were fabricated and as- erection in the field. A built-up grillage continuous appearance. sembled at Walters’s Canadian facility, at the base of the columns consists of while the larger third, fourth, and fifth an upper and lower plate with cross- tiers arrived at the site in sections. Met- and circumferential-stiffener plates. ropolitan Walters devised a temporary Once column sections were erected on mechanical connection to ensure pre- site, the temporary connections were

Above The twin columns mirror each soaring roof and hanging glass curtain wall could the design files with TT, who translated them to a other, with outer tubes spiraling in op- only be supported at two points of contact at the Tekla model to study and tune to meet critical struc- posite directions. At each of five vertical center of the space. tural dynamics, and further to enable sharing the tiers, a continuous elliptical steel ring plate holds tubes together. “What emerged was the concept to treat the model with Metropolitan Walters. structure like a pair of trees joining to support a “As Metropolitan Walters was figuring out not only singular canopy,” says Copeland. PCPA did not want the final structure but the process of how to build it, the columns to feel solid, so working with TT they they proposed an innovative approach to phasing the developed a diagrid steel structure that allowed an fabrication and installation,” remembers Copeland. expressive, basket-like form to emerge. This design “We conceived each of the columns in five tiers, and for the 54-foot-high sculptural columns could sup- our impression was those would be the fabrica- port the entire pavilion, providing its main lateral tion demising lines. Metropolitan Walters cleverly resistance system while amplifying the openness of reconceived the connection points.” In typical diagrid the space. structures, members are in a common plane and The contract for fabrication and installation intersect at joints. But Metropolitan Walters realized a of the column superstructures was awarded to problem—because tubes for the sculptural columns Metropolitan Walters, a Canada-based firm with were arranged in two separate layers, locating con- an installation and erection arm in New York City. nections at each seam would make intersections that Seamless in appearance, the twin columns required were too tight for installation by hand in the field. To meticulous machining, erection, and finishing solve the challenge, they moved connection points because each is composed of five separate steel slightly above the columns’ tension/compression sections with exposed connections that had to be rings. This allowed them to avoid any complicated welded in the field. After developing an initial Rhino welds at intersection points. At each of the five verti- model of the columns and testing it through 3-D cal tiers, the tubes are held together by a continuous

This page: Pelli Clarke Pelli Architects; opening page and facing page: © Jeff Goldberg/Esto opening page and facing page: © Jeff This page: Pelli Clarke Architects; printing and simple physical models, PCPA shared elliptical steel ring plate, and at intersections between

4 Metals in Construction Spring 2014 The Pavilion at Brookfield Place 5 Above Each one unique, the columns’ each tier a hidden solid steel pin connects the 8-inch pavilion baskets—because their fabrication and 6-inch curving steel tubes are arranged O.D., 6-inch I.D. tubes. installation still required extreme care and coordina- in two separate layers, creating an intri- With the limiting factor the size of a flatbed tion in carrying it out—but of course conceiving of cate basketlike form. Facing top At 55 feet high and 113 feet truck, the columns’ first two tiers were fabricated the process was the big step forward.” wide, the pavilion’s curving curtain wall is in Hamilton; the third, fourth, and fifth tiers arrived The structural system for the pavilion is indepen- designed for maximum transparency, al- at the site in two, three, and four sections, respec- dent from the adjacent steel and concrete super- lowing the basket superstructures within tively. The seams between these joints had to align structure of the main building. The two sculptural to be the emphasis. Facing bottom A half-mile corridor precisely—any irregularity would show up in high re- columns work together with deep beams concealed connects pedestrians to subways, office lief in the sunlit pavilion space. Metropolitan-Walters within the roof to support the weight of the hung buildings, and the World Trade Center set up a system allowing their installation team glass facade, while also providing the entire lateral complex. to mechanically fasten bolts on temporary plates resistance for wind and seismic loads. In one direc- installed to make sure the tubes would align. Once tion, the deep beams tie the two sculptural columns alignment was confirmed in the shop, the temporary together to act as a moment frame, while in the bolts were removed. The erection team then reas- other direction the columns act as cantilevers to sembled these mechanical connections, performed resist overturning. field welds, and then ground them off for a perfectly For Copeland, who joined PCPA in 1988, the op- THE PAvilion at Brookfield Place smooth finish. portunity to work on updating a project that was so “Like any great solution, once the fabrication often discussed year after year by the more senior Location: 100 West Street, New York, NY phasing was revealed it seemed very simple and staff around the office was an unforgettable one. Owner and Developer: Brookfield Office Properties Inc., New York, NY obvious, but we really struggled as a team to figure “I’d always heard about the World Financial Center Architect: Pelli Clarke Pelli Architects, New York, NY it out,” says Copeland. He likens the solution to and there was this mystery and allure to it,” he says. Architect of Record: Spector Group, New York, NY the story of Brunelleschi, who—according to the For the firm, designing the new pavilion has been an Structural Engineer: Thornton Tomasetti, New York, NY Renaissance biographer, Vasari—proposed and opportunity to appreciate designs from more than Mechanical Engineer: Flack + Kurtz, New York, NY then achieved the seemingly impossible challenge 30 years ago, when the first phases of the World Construction Manager: Plaza Construction, New York, NY of balancing an egg upright on a piece of marble. Financial Center were finished. “What I’m very ex- Structural Steel Fabricator and Erector: Metropolitan Walters, LLC, Hamilton, ON “As Vasari recollects, maybe with extra poetry, once cited about is we’ve taken the existing building and Curtain Wall Fabricator: Permasteelisa North America Corp., New York, NY somebody sees the trick—which is simply cracking helped bring it up to date, functionally and aestheti- Curtain Wall Erector: Tower Installation, Windsor, CT the egg—they understand it, and anybody could cally, working off of the substance of so much that Miscellaneous Iron Erector: Hallen Welding Service Inc., Long Island City, NY do it. This is not completely true in the case of the was already there to begin with.” Ornamental Metal Fabricator and Erector: A-Val Architectural Metal, Mount Vernon, NY

6 Metals in Construction Spring 2014 Goldberg/Esto; drawing: Pelli Clarke Architects photographs: © Jeff This spread The Pavilion at Brookfield Place 7 A brass and glass auditorium, library, classrooms, plinary collaboration, architects Cicconi, SOM’s senior design facade reveals a lively labs, nine stories above for a Skidmore, Owings & Merrill (SOM) architect. To achieve this effect, interior circulation 600-bed dormitory, and most relied on a series of innovative SOM reinvented the traditional The New School important, spaces throughout for architectural forms to both meet fire stair to supplement vertical system, reflecting The students to interact spontane- circulation goals and express transportation and activate social New School’s progressive ously. One of the primary pro- the building to the surrounding spaces in the building. They un- approach to education grammatic requirements was to neighborhood. Internally, the coiled the stair from its traditional University Center and linking the institution create opportunities for students University Center’s spatial organi- tower formation and stretched to its roots in the to socialize, says Lia Gartner, vice zation is articulated dramatically it out along the facade of the surrounding New York president for design, construc- through a skin of hand-finished academic building, creating 18 neighborhoods. tion, and facilities management brass shingles that contrast with unique gathering spaces at land- for The New School. Before the the open connective tissue of the ing areas in the process. University Center was built, The stairs and “sky quads,” social This configuration also en- The 16-story, 375,000-square- New School had neither a student spaces that are visible through a abled The New School to provide foot New School University union, nor a college green or glazed skin. easy access for students to get to Center on Manhattan’s Fifth quad, for chance encounters. “The stairs give students a classes without relying on eleva- The hand-finished brass shingle facade of Avenue and 14th Street is a “The streets of New York were our privileged view of the city, and tors. “The entire classroom popu- The New School’s University Center takes cues from the Greenwich Village architec- mixed-use LEED Gold facility campus,” says Gartner. from the street, pedestrians see lation changes on a bell sched- ture to the south and the strong cast iron that includes seven stories of In fulfilling this complex pro- that the building is alive, buzz- ule,” Gartner says. “In any given

buildings of Ladies' Mile to the north. Courtesy SOM / © James Ewing academic space for an 800-seat gram that emphasizes interdisci- ing, and well-used,” says Jon ten-minute interval, everybody

8 Metals in Construction Spring 2014 The New School University Center 9 Left At the fourth floor, three 10-to-12 Right At each stairway landing social foot deep transfer trusses were installed spaces allow for spontaneous meetings. to make the clear-span space for an Center The stairway gives students a 800-seat auditorium. privileged view of the city. Below Tube steel is used to create the Bottom The auditorium is flexible in perimeter trusses for the stair. order to accommodate different types of performances.

gets up and leaves and an equal Because the fire stairs are number come back in. It was criti- uncoiled, the standpipe and air cal not to have students rely on pressurization ducts for the fire the elevators to get to class.” stair zigzag rather than proceed Fire stairs are usually hidden straight up the building. This in ugly, dark interior caverns, afforded artist Rita McBride the Gartner says. “We wanted some- perfect canvas for her art—she thing visible and inviting. The ar- encased the protruding ducts chitect came up with an ingenious in pentagonal-shaped brass solution that married the fire stairs throughout the building. with open stairs.” The stairs’ angled profile visu- The system that SOM created ally protrudes through the horizon- for the academic portion of the tal bands of the facade and brings building stacks two stairs: the a three-dimensional composition egress fire stair, fully enclosed to the building. The Toronto-based and fire-rated, is topped by an design/build curtain wall con- inter-communicating stair. There tractor, Gamma North America, are three stairways in all, and designed custom unitized curtain each consists of a steel truss on wall panels with vision glass. the perimeter which is used for Gamma’s anchoring system lateral load resistance to wind was designed with custom alumi- and seismic activity, accord- num outriggers. These outriggers, ing to Michael Beals, senior coupled with the units’ aluminum project manager for DeSimone hooks, carried the load of the Consulting Engineers, the proj- units onto the concrete slabs and/ ect’s structural engineer. “We or structural truss members of the were able to economize on the building. Because of the com- shear walls in the core by moving plexity of the lower seven floors the lateral bracing to the perime- of the building, especially at the ter and making the stairs perform staircase area, the outriggers had double duty,” says Beals. to be customized according to Each Grade 65 perimeter truss the various in and out and up and is built up of 12-by-8-by-⅝-inch down conditions in order to suc- horizontal HSS steel tubing for cessfully engage with the units’ the top and bottom chord and hooks. The customization was 8-by-8-by-⅜-inch vertical HSS achieved by designing custom steel tubing for the interstitial steel extensions at several loca- members. The steel trusses are tions along the truss structure. welded to steel couplers up to 3 To make material selection for feet high at the concrete columns the building’s horizontal band- to integrate the two structural ing, SOM took cues from the systems. The stairs, made up architecture of Greenwich Village of embedded steel Vierendeel to the south and of the strong panels, either cantilever from the cast-iron buildings of the Ladies’ perimeter steel tube truss 8 feet Mile historic district to the north. to 10 feet or frame across to steel “We used metal in a creative and posts or hangers supported by contemporary way that is unique the concrete structure beyond. and yet harmonizes with the other “Surprisingly, it is a code- architecture in the area,” Gartner mandated fire stair that ends up says. “This is not a precast facade defining the geometry of the en- that repeats. It is very handmade tire building,” says Adam Letcher, and expresses the handmade senior architect responsible for sense of neighborhood.” technical coordination and con- Skidmore, Owings & Merrill struction administration for SOM. selected Muntz metal, CDA Alloy “The stair gives the impression of 203, a non-corrosive alloy of weightlessness, but in reality it is brass typically used in shipbuild- either hung from the floor above, ing, for the curtain wall system. or posted from the floor below, “Brass mediates the two building

depending on its position.” This page: Daniel Faraone of DeSimone Consulting Engineers This page: Courtesy SOM / © James Ewing scales in the area and relates

10 Metals in Construction Spring 2014 The New School University Center 11 Left The spatial organization of the Right The uncoiled fire stair defines the center is articulated dramatically through geometry for the entire building. the brass curtain wall, which frames the open connective tissue of the stair that is visible through a glazed skin.

to the natural materials used in While the school’s aesthetic Greenwich Village,” says Cicconi. presence and connection with “We decided to go with brass the surrounding community are because the colors age in a crucial, it also has to engage the graceful way and it is slightly less thousands of university students price-volatile than copper.” who use it each day. As with the The 131,000 square feet of staircase design, structural steel custom brass curtain wall entailed performed an important function the creation of 149 dies. A total of in the building’s auditorium, 5,277 brass panels were fabri- creating a clear span space to cated for the project, says Jim accommodate 800 seats. At the Mitchell, president of Gamma fourth floor, three 10-to-12-foot- North America. The brass alloy deep, 65-to-80-foot-long steel had quite a journey before arriving transfer trusses were installed at the site in New York City. First, over the auditorium space. Gamma’s engineers designed the “The steel transfers accom- system in Miami and the 1,815 modated the transition between unitized aluminum panels that the column module above to would hold the brass panels were the column-free space below,” produced there. The panel design explains Beals. was then transferred to Gamma’s Because the trusses were Quebec City operation for produc- designed in Grade 65 steel with tion. “This facility has the exper- heavy W14x700 shapes for top tise to make and bend panels and bottom cords, construction such as this,” Mitchell says. “Each manager Tishman Construction, panel was a custom fold.” an AECOM Company, was able After producing the 2 mm- to bring each truss in fully as- thick panels, Gamma shipped the sembled. “The use of the lighter panels for finishing in Toronto, steel allowed us to bring them where craftsmen gave the panels on the road in one shot,” says their patina using acid and oil Thomas Hoban, senior vice presi- rubs. Because of the number of dent of Tishman Construction. variables involved in the process, “We had a low-snow winter last patinas are prone to color vari- year; the day the trucks came ances over large surfaces. SOM in with the trusses, it started to performed quality control, inspect- snow.” Nonetheless, the trusses ing 30 percent of all panels to were dropped into place and “fit ensure the finish would provide the like a glove. We were done by intended look. From the Toronto the afternoon,” Hoban adds. shop, the panels were shipped Tishman required each sub- back to Miami to be installed in the contractor to utilize BIM on the unitized panels before being sent project—the building’s intricate to New York. details and construction coordina- The custom vertical and tion demanded three-dimensional horizontal aluminum extrusions modeling from the top down. for Gamma’s pressure-equalized “This was really a 3-D building,” system were designed to carry Hoban says, an observation clear the glass and brass panels and to both students the enjoying THE NEW SCHOOL UNIVERSITY CENTER to meet the stringent structural lively spaces within and to pass- and thermal requirements of the ersby on the street who observe Location: 65 5th Ave, New York, NY building. The units were indi- the unique tableau through the Owner: The New School, New York, NY vidual unitized panels that varied glazed skin. “Drawings in 2-D Developer: The Durst Organization, New York, NY in height and width. Each unit couldn’t convey the true nature Architect: Skidmore, Owings & Merrill, New York, NY had an anchoring component of the building, especially how Structural Engineer: DeSimone Consulting Engineers, New York, NY attached to each vertical mullion the interactive spaces at each Mechanical Engineer: Cosentini Associates, New York, NY used to hang the unit from the stair lobby were connected. The Construction Manager: Tishman Construction, an AECOM Company, New York, NY outrigger located on the building model allowed us to ferret out the Curtain Wall Consultant: Gamma USA, New Rochelle, NY structure. Each unit was care- information each trade needed to Structural Steel Fabricator and Erector: Metropolitan Walters LLC, New York, NY fully installed in a well-defined perform its job. If ever there was Miscellaneous Iron Erector: FMB, Inc., Harrison, NY sequence around the perimeter a building that needed BIM, this Curtain Wall Erector: Gamma USA, New Rochelle, NY

Courtesy SOM / © James Ewing of the building. was it.” Metal Deck Erector: Metropolitan Walters LLC, New York, NY

12 Metals in Construction Spring 2014 The New School University Center 13 Hunterʼs Point Campus

Structural steel allows a school to maximize its efficiency with a centrally located auditorium amid long-span spaces for varied student activities.

A faceted form whose iron-spot brick exterior is slashed in orange Alucobond panels, the recently opened Hunter’s Point Campus appears like an out- cropping that fierily erupted on the East River shore- line—or at least a cool incubator of up-and-coming Queens creatives. The five-story, 145,000-square- foot building by FXFOWLE is actually home to 1,071 combined students of the Academy for Careers in Television & Film high school, Hunter’s Point Community Middle School, and the Riverview School for special education. An unexpected appearance was exactly the point of the design, according to FXFOWLE principal Nicholas Garrison, who also is design director of the Hunter’s Point Campus anchors firm’s cultural/education practice. “So many schools Hunter’s Point South, the Long Island are very playful, like an adult’s idea of what a kid City neighborhood master-planned by would like,” says Garrison. Instead, the architects FXFOWLE; it marks the eastern edge of the Hunter’s Point South Waterfront “thought of it as this eroded form that could have Park designed by Weiss/Manfredi and been sculpted by the river or wind, and as a backdrop Thomas Balsley Associates. to the new Hunter’s Point South Waterfront Park.” Before it could arrive at its geological metaphor, the design team first had to decipher a site it likened

14 Metals in Construction Spring 2014 Hunterʼs Point Campus 15 This page, clockwise from left The library serving the entire Hunter’s Point Campus is co-located with the Riverview School on the second floor. Sunlight pours through the gymnasium’s Kalwall skin to illuminate W14x190 steel col- umns and W14x132 steel beams. The building’s wedge-shaped glazing permits daylighting of circulation spaces. Facing, top The auditorium fills the third and fourth floors of the campus, so that students from the Academy for Careers in Television & Film and Hunter’s Point Community Middle School may access the space separately. Right This sectional drawing of the audi- torium shows the W30- and W27-section transfer beams that span the room, as well as the relationship between struc- ture, systems, and acoustical finishes.

to a pork chop. It wraps the north and west sides of a multifamily plot in Long Island City’s 30-acre Hunter’s Point South neighborhood, whose mixed- use master plan FXFOWLE completed for the City of New York in 2008. An easement for the Queens Midtown Tunnel takes a nibble from the southwest part of the L shape. “After deciding to make a school that doesn’t pander to kids, our next decision was how to fit the building on this odd footprint,” Garrison says. Of half a dozen schemes, one that inserted an audi- torium into the building core proved so efficient The first facet in the outcropping-like design that it saved constructing an extra floor. Placing motif was generated as a response to the ease- this double-height space within the third and fourth ment, for example: The gymnasium volume, which floors also entailed single-loading classrooms meets the zoning setback requirements, pulls back along the perimeter, mostly along elevations facing at its southwest corner to circumvent the easement, away from the future apartment tower—maximizing while the third floor of the building cantilevers over it. daylight and easing traffic in stairs and corridors, “Because we couldn’t have any load bearing on the as well. The school’s other long-span interiors were Midtown tunnel zone, the building’s steel structure positioned to similar multitasking effect. A ground- was designed to transfer loads accordingly away floor gymnasium allows students to move seam- from the easement,” points out Damian Monteiro, lessly between indoor sports and activities held in associate principal of structural engineer Ysrael A. the adjacent park, and the cafeteria’s top-floor perch Seinuk. “It’s easier to bring the load inboard at the makes certain that the best Manhattan views belong third floor to a column than to have a heavy strap to the whole school community. beam picking up the corner of the building at the What is unusual is that the three major column- foundation level.” In the resulting structure W14x190 free spaces are not aligned vertically. With the largest steel columns load directly onto 50 isolated, of them located on the ground floor, transfers on the reinforced-concrete caissons, which were specified fifth and third floors accommodate the column-free for the foundation in the influence area (adjacent to planning requirements. FXFOWLE not only took the easement) to prevent vibration; W14x132 steel these and other engineering solutions into consider- beams laterally brace the vertical members, and all

Previous page left: © David Sundberg/Esto; previous page right: FXFOWLE page left: © David Sundberg/Esto; previous Previous Facing page and top: © David Sundberg/Esto; bottom: FXFOWLE ation, but also celebrated them in the building’s form. steel in this configuration is ASTM A992.

16 Metals in Construction Spring 2014 Hunterʼs Point Campus 17 The gym’s diagonal braces are wide-flange, Chiseling out the southwest corner of the gym- because FXFOWLE decided to expose them behind a nasium “started the whole indentation on the south Kalwall curtain-wall system. Lateral framing elsewhere elevation of the building,” Garrison says. Treating the in the building perimeter is typically constructed of condition as an opportunity for expression, FXFOWLE HSS 6x6 ASTM A500 grade B diagonal members, continued making non-orthogonal gestures, espe- W18 or W24 ASTM A992 beams and W12 ASTM cially with slices into the iron-spot brick that allowed A992 columns, which were strategically placed ac- insertion of curtain wall to illuminate corridors. cording to their architectural effect. Where interior The building’s most dramatic departure from spaces are not long-span, typical column bays schools’ typical box-like form is an open-air indenta- measure 30 feet with infill beams spaced between 10 tion on the top floor. Conceived as a penthouse and 12 feet apart, again using ASTM A992. Beyond terrace, the recessed area invites students to spend the influence area, the foundation comprises 80 steel their cafeteria time out of doors, and a wedge-like H-piles driven to a maximum of 40 feet below grade. canopy whose underside also is clad in Alucobond This spread Afterview is a The ground floor is a 12-inch concrete framed slab. reflects the shapes outlined in orange that punctuate Percent for Art commission by Because the third floor must cross 80-foot spans the envelope. The canopy also invokes FXFOWLE’s Natasha Johns-Messenger that enlivens the cafeteria terrace’s in the gymnasium and support the double-height au- neighborhood master plan from 2008, which made safety partition and echoes the ditorium above, the structural design took deflection a special point of minimizing the visibility of air han- orange Alucobond cladding Instead of creating a moment connection at the into account. “The School Construction Authority dlers and other rooftop mechanicals from the street. the underside of the canopy 17 top of the roof-level steel column to restrain that wants 24 feet of clearance in the gymnasium below,” “That led us to looking at alternatives for raising the feet above. cantilever, “we decided to create a frame with the Monteiro explains, “By the time you subtract the parapet,” Garrison says. “It’s angled up in such a column and canopy beam, and brace the frame auditorium floor thickness, you’re left with a member way not only because it was interesting, but also to on the roof level and the floor below, to resist the 40 inches deep. Regular W40 rolled shapes did not eliminate views of the equipment from ground level.” loads,” Monteiro adds. The engineering team exe- meet our serviceability criteria, and W44s would The canopy’s asymmetric silhouette meant creat- cuted this shear connection with an eye to construc- Hunterʼs Point Campus not have met minimum clearance requirements.” ing a parapet that reaches as much as 27 feet be- tion ease—fabricating the 27-foot-long projection, Consequently, ASTM A572 grade 50 plates were yond the cafeteria for shading and rain shielding; the for example, on its sister column and shipping the Location: 1-50 51st Avenue, Long Island City, Queens, NY welded into plate girders that support the loads on bottom of canopy is 17 feet above the cafeteria ter- hybrid to the site as a single member. The column Owner: New York Department of Education, New York, NY the third floor, as well as plate girders that also sup- race. “Your standard School Construction Authority splice is located approximately 10 feet below roof Architect: FXFOWLE, New York, NY port columns and loads from above. The two types detail would be 3 ½ feet high, which we could easily level, which corresponds to the typical splice loca- Structural Engineer: Ysrael A. Seinuk, PC, New York, NY of girders are 40 inches deep and vary in width, from achieve by cantilevering a parapet wall above the tion for the balance of the columns between the Mechanical Engineer: Kallen & Lemelson, LLP, New York, NY 16 to 36 inches, to handle the anticipated deflection. roof. But because the parapet walls around the fifth floor and roof. The canopy’s frames vary from Construction Manager: Skanska USA, New York, NY The floor beneath the fifth-floor cafeteria represents perimeter of the building are so high along the north, W33x291 to W18x76 at its shorter end. The overall Structural Steel Erector: Weir Welding, Carlstadt, NJ a similar approach: W30s and W27 sections were south, and a portion of the east elevations, we result not only shelters students as they watch the Miscellaneous Iron Fabricator and Erector: Transcontinental Steel, Inc., Newark, NJ employed for the transfer beams, since the overall decided to extend the building's steel columns as famous skyline across the water, but also crowns a Ornamental Metal Fabricator and Erector: Transcontinental Steel, Inc., Newark, NJ load is less and the auditorium spans reach no more much as 8 feet, 10 inches above roof level and canti- local landmark for Long Island City residents to call Curtain Wall Erector: Utopia Construction LLC, Farmingdale, NY than 56 feet. lever the parapet wall from that,” Monteiro says. © David Sundberg/Esto their own. Metal Deck Erector: Canam Steel, South Plainfield, NJ; Weir Welding, Carlstadt, NJ

18 Metals in Construction Spring 2014 Hunterʼs Point Campus 19 Queens Museum

A renovation transforms unarticulated facade—which isted, so opening the landscape the Flushing museum’s countless commuters pass each design and adding a new entry facade, bringing it to day—was an opportunity to alert with signage considerations, and vehicular passersby of the mu- life for those passing on an interactive dynamic LED wall, seum’s presence. creates visibility that otherwise Grand Central Parkway; Despite four sizable reha- didn’t exist,” says Casimir Zdan, a new vision of its bilitations, the building’s core head of industrial design at modern mission awaits characteristics have remained Grimshaw Architects. “This new inside, where a glass intact for more than 75 years. design helps puts the museum on lantern suspended from The most recent of these—com- the map.” a skylight and a new pleted in November of 2013 after The building’s nearly perfect Grimshaw Architects won the circulating stair enliven symmetry is expressed through 2005 Design and Construction a glass-brick fascia fronted by a the decades-old space. Excellence program from the New colonnade of limestone pilasters York City Department of Design embellished with dark granite. To and Construction—aims to in- avoid breaking moisture barri- Queens Museum in Flushing, crease visibility, bring in abun- ers and thermal seals, a custom New York has undergone more dance of natural light to a dark decorative solution called for a renovations than most build- interior, and direct visitors to one 200- by 27-foot cantilevered glass ings in New York—and certainly of the museum’s most celebrated rain screen on the western eleva- more than any structure intended collection items: the Panorama of tion. Ten 10-inch, Architecturally for show at most World’s Fairs. the City of New York. Following Exposed Structural Steel (AESS) Originally designed by Aymar a 1994 update by Rafael Viñoly carbon steel columns support a Embury III to house the New Architects, the existing site pre- network of 2-inch, tubular carbon York Pavilion in the 1939 fair, it sented some unique challenges steel outriggers that cantilever 3 has subsequently functioned as for Grimshaw. The east side of feet and align with panel points on the initial home of the fledgling the museum, which is open to the glass. Welded hatch fittings United Nations General Assembly, Corona Flushing-Meadows Park, attach to 4½-by-4½-foot panels and as exhibition space for the features views over a broad of ⅜-inch tempered glass, which 9,335-square-foot architectural pond, but the western side of the form a geometric series of light model depicting Robert Moses’s museum is flanked by the Grand boxes. The glass sports acid etch- Panorama of the City of New Central Parkway, which runs ing and a ceramic frit to reflect Grimshaw Architects inserted five new York featured at the 1964 World’s almost parallel to the building. color tones of the original struc- skylights 15 feet wide by 60 feet in length. Tensile fabric along the curved Fair, among other things. Despite “Hundreds of thousands of ture and diffuse artificial light. At roof and baffling prevents direct light from this storied past, few knew of its cars that pass the museum every night, the glass is illuminated by

creating hot spots in the gallery below. © David Sundberg/Esto existence. The building’s blank, day probably didn’t know it ex- vertically integrated, programma-

20 Metals in Construction Spring 2014 Queens Museum 21 ble color LEDs that transform the a custom Teflon-coated sliding weighted curvature, which mea- Above A 53-by-13-foot sheet of ³⁄16- building into a glowing billboard to bearing system is welded to the sures 35 degrees from the top inch stainless steel metal is affixed to a relay current events and various frame and rotates slightly for a horizontal louver and 51 degrees frame via a Teflon-coated sliding bearing system that accommodates material ex- programming to Grand Central subtle hinging effect when a mini- at the bottom. pansion and contraction. Parkway passengers. mal rotation of the walls pushes All hardware connections—an Within the glass, a new 56- against the roof during expansion. approximate total of 300—func- by 13-foot-3-inch piece of Type The visitor entrance from both tion as hinges to support a flex- 316 stainless steel sheet metal East and West are identical, and ible engineering plan, horizon- forms a canopy over the west- open to an expansive hall, in tally stabilized at the base by the ern entrance. While the length which a large, four-sided glass 6-inch solid steel ring beam that is a continuous sheet of ³⁄₁₆-inch chandelier hangs over a main also helps maintain tension. “In stainless steel, the width was gallery space. What was once a the case of any seismic move- harder to achieve, so two 56-foot dark, shadowy skating rink is now ment or natural disasters, the sheets at 8 feet and 5 feet, 3 inch- a space full of natural light thanks lantern was designed to actually es in width were spliced together to a series of five new skylights move within a 5-foot range,” says to achieve the desired depth. with a suspended, 80-by-40-by- Michael Ludvik, glass and special “The west canopy is designed to 30-foot glass volume that hangs structures engineer of his own be a pure sculptural object rather approximately 30 feet from the eponymous firm. “Theoretically, than an assembly of materials ex- ceiling. Because the architects you could actually swing from it.” ecuted through typical panelized had envisioned a modern aesthet- Another unique feature of the construction techniques,” says ic, the team designed 9-foot seg- museum is a triple-tiered glass Richard Yoo, project architect ments of solid carbon steel ring and metal staircase that carries with Grimshaw. The length of the beam at the base of the structure, visitors to what is arguably the canopy was fabricated by form- which was carbon-steel bolted on museum’s best known exhibition; ing it over the carbon steel that site and coated with chromium the Panorama of the City of New Clockwise from top left Two-inch an- stainless steel springs that handle partial floats 1 inch above the finished electroplating. Acid-etched glass York. The free-form shape was nealed glass treads support vertical loads structural loads and maintain the lantern’s floor. A similar reveal along the panels handle partial structural modeled extensively in STAAD, from foot traffic. A tri-tiered staircase weighted curvature. Details of the lantern’s remaining three sides produces a loads, in addition to stainless and then again in RISA-3D, says carries visitors to a landing that overlooks ³⁄16-inch stainless steel hardware and cable ribbon of light that adds drama to steel springs every 4½ feet that Joel Stahmer, vice president at Robert Moses’ Panorama of the City of system. The central gallery’s 80-by-40-by- New York, which has been a feature of 30-foot glass volume of acid-etched glass the entrance. To account for the support 8mm (exterior) and 6mm Ammann & Whitney, whose firm the museum since the 1964 World’s Fair. panels is stabilized with a carbon steel ring material’s significant expansion (interior) tensioned cables. The served as engineer of record. Acid-etched, canted glass panels are beam that serves as a counter weight and due to direct sunlight exposure, springs also help maintain the “What’s unique about the stair- M. Ludvik Engineering details: George Valkai noted: M. Ludvik Engineering; lantern This page, except where hardware strung between tensioned cables and maintains tension.

22 Metals in Construction Spring 2014 Queens Museum 23 case is that it uses no off-the- around a 5-inch solid round. The shelf, rolled shapes; every section outer steel ribbon is made up of is custom built.” three 1-foot-and-1-inch plates, The base sports a configura- while the interior plate’s height of tion to echo the shape of the 7 inches forms a shoe to pick up Unisphere in the distance, set the balustrade. Two-inch annealed within a new pile foundation glass treads from AGNORA fab- that supports the stairs. Three, ricators, measured by a laser on- three-sided masts fabricated site and CNC-milled in Canada, Above left The west elevation of the Above The base of the staircase, which from ⅝-inch A36 steel plate fan support vertical loads. Queens Museum fronts a major ve- was designed to echo the shape of the upward to support three landings Since the building was hicular parkway, and is now articulated nearby Unisphere, supports three, three- with an LED-illuminated decorative sided steel masts that fan upward to at shorter intervals. These are established as a museum post– glass facade to alert passengers of its support three gently terraced landings. more like a terraced descent than World’s Fair in 1974, Grimshaw existence. an abrupt experience, explained Architect’s renovation has nearly Queens Museum Zdan. The first landing is ap- doubled the institution’s square proximately 8½ feet above the footage to 105,000 square feet. Location: New York City Building, Queens, NY ground floor, the second landing Newly defined entrance points Owners: Queens Museum, Queens, NY; New York City Department of Design & is at approximately 12½ feet, and that now direct visitors through Construction, New York, NY the top landing reaches a height the large central gallery to Architect: Grimshaw Architects, New York, NY of 14½ feet. The delicate apex at various specialty and tempo- Executive Architect: Ammann & Whitney, New York, NY the base also keeps the ground rary exhibitions are equipped to Lead Structural Engineer: Ammann & Whitney, New York, NY level uncluttered, accounting for meet the Museum’s charge: to Mechanical Engineer: Buro Happold, New York, NY three existing columns that sup- attract approximately 200,000 Specialty Structures Engineer (interior lantern): M. Ludvik Engineering, Brooklyn, NY port the Panorama. members of the Queens borough General Contractor: Volmar Construction Inc., Brooklyn, NY Horizontal steel beams con- community through engaging Construction Manager: URS Corporation, New York, NY nect to the curved steel plates art, history, and educational Architectural Metal Erector: CAPCO Steel, Providence, RI via welded built-up construction programming. © David Sundberg/Esto This spread: Curtain Wall Erector: Action Storefronts, West Islip, NY

24 Metals in Construction Spring 2014 Queens Museum 25 Polonsky Shakespeare Center

In Brooklyn’s burgeoning cultural vibrant as a high-resolution monitor. Passersby get district, the Theatre for a New a full view of activities and displays in the lobby, Audience’s new headquarters relies including its main staircase and second- and third- story landings. The column-free lobby and exte- on structural sophistication to present rior plaza blend together across the facade, with an open, welcoming face to the serpentine stainless steel inlays running beneath neighborhood and a flexible space the glass and connecting with aluminum divider to the performers. strips set in the lobby’s terrazzo floor, emphasizing continuity rather than borders. A pointillist depiction of Shakespeare by Milton Glaser, TFANA’s regular All the world may in fact be a stage, as one of graphics collaborator, shifts between abstraction Shakespeare’s best-known lines suggests; the jury and portraiture depending on one’s perspective will be out indefinitely on that. All the city, how- relative to the lobby wall, reinforcing the impres- ever, is definitely a stage—the Downtown Brooklyn sion of the playwright’s complexity and universality. Cultural District (formerly the BAM Cultural District) Classical theater, this building says to passersby, is in particular. The eyes of Fort Greene’s residents and inclusive and open; it addresses everyone, not just businesspeople, the arts community, developers, cultural insiders or economic elites. Have a look and others are sharply focused on this experiment inside, and feel free to wander in. in neighborhood revitalization through investment in With a mission “to develop and vitalize the per- cultural institutions. No less than the artists within, formance and the study of Shakespeare and clas- the facades and profiles of these buildings perform sical drama,” says founding artistic director Jeffrey for and communicate to the public. Horowitz, TFANA defines new audiences not only in The area’s newest component, the Polonsky demographic or economic terms but by their open- Shakespeare Center, gives the Theatre for a New ness to ideas and discovery. This policy calls for Audience (TFANA) its first permanent home and a highly adaptable building that lets directors vary extends its community-outreach policy into a visual its structures and perspectives, Horowitz adds. metaphor: a boldly cantilevered front curtain wall, “When it comes to production of Shakespeare and framed like a proscenium, highly transparent, and classical drama, there’s no one way of doing these

26 Metals in Construction Spring 2014 Polonsky Shakespeare Center 27 Right A Revit structural image of the Polonsky Shakespeare Center. Below The Polonsky’s front curtain wall and entrance open onto a public plaza with serpentine stainless steel inlays.

feet, appear on the wings, sliding on a 40-foot track bolted into the concrete blocks (itself so large that the construction crew had to load it into the building through a backstage rear window). These doors can be closed for maximum acoustic protection or opened, either to allow natural light and air in from backstage during rehearsals and other non-perfor- mance times or to deepen the stage for certain per- formance effects. An army, notes project architect David Haakenson, could march in from backstage through these doors for a battle scene in a produc- tion of Macbeth. The theater’s internal features, H3 partner Geoffrey Lynch notes, are sturdy and minimalist: W10 columns with intumescent paint; exposed steel fascias; steel stairs, stringers, handrails, visible roof beams, and catwalks; and all-black detailing in both the auditorium and back-of-house spaces (not just the floors and walls but the baseboards, corner Above left Construction photos reveal plays.... We built into the theater’s design the con- Optimizing sonic clarity was not easy at this site: guards, signage, outlet covers, acoustic doors, and the structural steel beams that support cept of change.” the Polonsky sits on top of multiple subway lines. even pantry appliances). He describes the atmo- the Polonsky’s cantilevered front curtain With a 299-seat capacity, nine available con- To control vibrations from both the subway and sphere is “raw, but kind of a refined raw ... a very, wall, with ample diagonal members. Above right, top and bottom The tight figurations (variations on either a thrust-stage or basement equipment, says Lynch, the building is very complex black box [and] a very intimate one” site in the Downtown Brooklyn Cultural proscenium form, with trap space available below “actually structurally two buildings made to look like whose surfaces are “not to be treated delicately District posed challenges during con- about half the stage), and a three-level seating one ... [it] feels like one building, but it’s structurally [but] to be whacked pretty hard.” The front curtain struction of the hybrid structural system, plan, the Polonsky’s Samuel H. Scripps Main Stage separate.” A 2-inch gap separates the backstage wall, like many features of the building, presents a a steel frame in front and CMU in back. is proportioned to allow both the intimacy of a from the thrust area, orchestra, and lobby, helping simple appearance supported internally by com- downtown black-box theater and the epic scale to isolate mechanical rumbles. The entire front half plex design and engineering. To create the elegant that Shakespeare and other dramatists require. of the Polonsky floats on 8-inch-thick steel-rein- screen-like facade and minimize structural interrup- Scenes like King Lear’s mad raving on the stormy forced rubber pads, interspersed in the void space tion, the architects specified a expansive curtain heath, Horowitz comments, “feel squashed” when between a 12-inch structural slab and a 30-inch walls: four rows of triple-glazed panels for the top performed in rooms without adequate height; more mat slab on piles at foundation level. Coordination three floors, 5 feet, 1 inch by 11 feet, 1 inch each, subdued moments, on the other hand, call for among structural engineering by Robert Silman atop a ground level of 7-foot-8-inch by 11-foot-3- acoustics that do not force actors to bellow to be Associates, acoustical design by Akustiks, the MEP inch double-glazed panels. The upper assembly is audible. The distance from center stage to the back work by Flack + Kurtz, and principal design work by held by slim steel T mullions suspended from what of the orchestra roughly equals the distance to the H3 was enhanced by 3D modeling in Revit through- Haakenson, calls “the mother of all beams,” a 30- top balcony (slightly over 100 feet), and the height out the process. inch by 30-inch horizontal tube beam at roof level. from the stage to the rigging beams attached to The structural system is a hybrid design using That beam is in turn supported by diagonal cross- the roof steel is a generous 34 feet 9 inches; the steel in the lobby to support the cantilever, mixed bracing within a complex structural system calling Polonsky thus places the whole audience in a unified steel and CMU infill for the outer 20 feet of the for a total of 84 columns and 686 other structural space and supports performers’ articulation at any auditorium, and all CMU enclosing the remainder of members. Columns include hollow structural section volume. Floor-to-floor levels measure just 8 feet 6 the auditorium, stage, and backstage area to pro- members HSS 6x6x½, HSS 6x6x⅝, HSS 9x5x⅝, inches in the balconies, ensuring that no one in the vide optimal acoustic insulation. All-steel acoustic and 11 different dimensions of wide-flange mem-

audience is far from the action. “guillotine” doors, 6 inches thick and 10 feet by 10 facing page bottom: © Francis Dzikowski/Esto; opening page: Dzikowski/Esto Collaboration Architecture; This page and facing top: H3 Hardy bers ranging from W6x25 (15 in total) to W18x71

28 Metals in Construction Spring 2014 Polonsky Shakespeare Center 29 Optimizing sonic clarity was not easy at this site. To control vibrations from the subway and basement (18); framing members, respectively, include HSS 6x6x½ through HSS 24x22x10 and W8x18 through equipment, the theater W33x118, with the most common being HSS6x6x⅝ (178 in total) and W18x71 (64). The side walls of the “feels like one building, but lobby, stabilized by another horizontal beam, do not meet the ground, so that the building appears it’s structurally separate.” to tilt up and back to let the plaza slide in beneath angled wraparound extensions of the ground-floor glass. “To spend our facade money wisely, we knew Geoffrey Lynch, that this end was our big move,” says H3 partner H3 Hardy Collaboration Architecture Geoffrey Lynch, AIA, LEED AP, since the other sides would lack windows. “Theaters often aren’t inviting, and here we wanted to make sure it’s as open and as inviting as possible.” Inside, the theater draws from world-class precedents to maximize dramatic impact within a POLONSKY SHAKESPEARE CENTER relatively small space. Horowitz worked actively with architect Hugh Hardy, FAIA, throughout the Location: 262 Ashland Place, Brooklyn, NY planning and design phases, investigating com- Developer: New York City Economic Development Corporation, New York, NY parable-sized theaters from Minneapolis to Paris Architect: H3 Hardy Collaboration Architecture, New York, NY and modeling the new facility on the smallest of Construction Manager: F.J. Sciame Construction Company, New York, NY the British National Theatre’s three chambers, the Structural Engineer: Robert Silman Associates, New York, NY Cottesloe. That London theater, he notes, has ap- Structural Steel Erector: Atlantic Detail & Erection, Far Rockaway, NY The Polonsky’s lobby emphasizes propriated a line from Christopher Marlowe’s Jew of Ornamental Metal Erector: David Shuldiner Inc., Brooklyn, NY transparency and verticality. Malta as an informal slogan (“infinite riches in a little Curtain Wall Fabricator: Gartner Steel and Glass (Josef Gartner, USA, a division Facing page The front staircase passes a pointillistic portrait of room”), a phrase he finds appropriate to TFANA’s of Permasteelisa North America Corp.), New York, NY

Shakespeare by Milton Glaser. © Francis Dzikowski/Esto This spread: new theater as well. Curtain Wall Erector: Tower Installation LLC, Windsor, CT

30 Metals in Construction Spring 2014 Polonsky Shakespeare Center 31 A new research tower factors, says campus architect on the Upper East Side William H. Cunningham, behind medical campus of Weill Weill Cornell’s successful recent Belfer recruitment of several prestigious Cornell Medical College scientists, including Dean Laurie H. reflects a rethinking Glimcher, MD. Research of academic science, The architectural talent fostering new ideas in behind the Belfer is substantially interdisciplinary research homegrown: Cunningham and behind an advanced, two of the key figures at Ennead Building high-functioning facade Architects (design partner Todd Schliemann and project architect Craig McIlhenny) are all gradu- ates of Cornell’s architecture While the scientific, academic, school. The same firm de- and architectural media have been signed the university’s National focusing considerable attention Healthcare Design Award-winning on the Roosevelt Island partner- Weill-Greenberg Center (2007), ship between Cornell University a nearby clinical building with a and Israel’s Technion, another similar folded glass facade. If uni- intriguing new research facility has versities with strong architecture quietly arisen among the Art Deco programs have high design stan- Gothic clinical buildings of the dards to meet in their own build- university’s uptown campus. The ings, the tightness of academic Belfer Research Building opened budgets adds to the challenge. last January; though it is flying The team of Cornell, Ennead, somewhat under the media’s radar curtain-wall consultants Heintges, so far, it is a significant achieve- fabricators Permasteelisa, and ment for the university, architects, Tishman Construction, an and consultants. With a lounge AECOM Company, met that chal- floor and two stories of confer- lenge through a patient planning ence space on the first three floors, process and a long timetable. The 13 floors of laboratories, and two building has been in the works more research floors below grade, since 2007, with site activity (de- the 500,000-gross-square-foot molition of existing buildings and building nearly doubles Weill utility relocation) beginning in the Cornell Medical College’s avail- fall of 2008; excavation to a depth able research space. It reflects of 65 feet (through bedrock only Facing The Belfer Building’s undulating a sophisticated rethinking of the about 10 feet below ground) be- south facade references the folded organization of an academic gan in summer 2009, foundations cladding of another Ennead building on research enterprise, with an em- were placed in November 2010, the same campus (the Weill-Greenberg Center) and controls solar thermal gain phasis on collaborative work and and foundations and basements passively with a double curtain wall translations from bench science were built back to ground level whose perforations let warm convection to clinical applications; it presents in May 2011, leading to above- currents escape the cavity between its a striking face to the neighbor- ground work until the opening in inner and outer surfaces. hood through its complex, gemlike, Above right The curtain wall viewed January 2014. from the sidewalk near the building’s energy-efficient double curtain “We are a very conservative

This spread: © Jeff Goldberg/Esto © Jeff This spread: entrance. wall. It is one of the powerful client, all of this innovation and

Belfer Research Building 33 testing aside,” says Cunningham. balconies (referencing those of “We’re going to own our own build- the residential Upper East Side, ings, and we intend to keep them McIlhenny notes), or an irregular for 100 years, so we are very care- geometrical pattern of rectangles ful to do something that we think and trapezoids (echoed by detail- is going to have longevity.” ing throughout the interior, with “While the components are a nod to the Weill-Greenberg’s standard,” notes McIlhenny, “the folded planes as well) it is an ar- way we put them together, I think, resting exercise for the eye. was rather unique,” particularly Beyond its striking aesthetics, in the signature south facade. the double curtain wall functions “There’s a certain efficiency as an energy-sparing brise- that went into selecting the die soleil. It is one of several areas shapes, so that when the unitized where creative metalworking is pieces were set together in the essential to the Belfer’s high per- field, even if the angle was 10 formance, both in environmental This page Communicating stair- The United States does not The outer skin, Cunningham from a foot to 30 inches deep degrees off from another angle, terms—the building will achieve cases link pairs of floors and increase have Germany’s code require- reports, is composed of aluminum with the panels’ undulations) acts interactions between different teams of those shapes were able to ac- at least LEED Silver, the archi- ment that every worker be and laminated low-iron glass, a chimney, carrying heat upward researchers. commodate that through the tects note, and at the current Facing top Laboratories include ample located near natural light, but if it ¾-inch thick, with a double-pass by convection. To reduce heat gasketing and still keep it air- and commissioning stage is within a interior glazing to admit natural light. did, says McIlhenny, Belfer would ceramic frit pattern of two dif- buildup, the designers introduced watertight. So while it looks like few points of Gold—and in creat- Facing left Ennead and sustainability easily pass. With floor-plate ferent densities, 75 percent on ventilated openings, both large there may be a lot of complicated ing welcoming, flexible working consultants Atelier Ten incorporated dimensions of 85 by 260 feet, it spandrel glass and 50 percent rectangles and horizontal slots at advanced sustainability features in the dies involved in this, there actu- spaces for researchers in mul- Belfer, including stormwater retention, is a long, slim building whose on vision glass, and two different levels where the catwalks are solid. ally was a lot of repetition and tiple fields. “There’s every type of sensor-controlled air-handling systems, ample interior glazing ensures colors, white for high reflectance The openings, the architects parts that were reused for differ- curtain wall or enclosure known high-efficiency chillers, and other means that daylight from its southern on the exterior and black inside. realized, might invite pigeons. ent geometries.” Unitized compo- to mankind on this building,” of optimizing energy performance. facade penetrates deeply into The weather-tight inner curtain Rather than just deter them with nents in both the inner and outer comments Richard Mazzella, not only the offices and lounges wall, tied back to the structural unsightly conventional bird wire, curtain walls allowed elegant senior vice president at Tishman: along that south wall but the concrete slabs, supports brackets says McIlhenny, “we came up solutions to a set of interdepen- “There are ribbon windows, there laboratory areas reaching the at the lower edge of each panel; with this idea of tube-steel frames dent problems without breaking are decorative metal panels, north. Even with low-emissivity these support catwalks (some with these tension rods, abso- the bank. The undulating facade there’s the sunshade curtain wall glass, controlling solar gain here open and grated, some solid), lutely straight, [with] over 1,000 with punched openings and ven- with the catwalks in it, a regular is a challenge; the solution is the which in turn support the outer deflection criteria, so we had to tilation slits offers unusual visual storefront, the skylight in the passive double-skin curtain wall, wall. Computational fluid dynam- keep it very, very taut... almost complexity. Reading variously back ... a lot of different types of which serves multiple purposes ics (CFD) studies, McIlhenny notes, like bicycle spokes.” The aggre- from street level as a theatrical facade systems that played into along with defining the building’s found that the cavity between the gate tension requires a stiff frame

curtain, a chessboard, rows of the structure.” Goldberg/Esto diagrams: Ennead; photos: © Jeff This spread: visual profile. outer and inner layers (varying of tubular steel around the perim-

34 Metals in Construction Spring 2014 Belfer Research Building 35 eter. Set screws in the side panels example, mixing psychologists, allow the rods to be tightened in neurologists, neuroscientists, sur- unison if they ever slacken over geons, and medical personnel all time, he adds; no problems with working together, breaking down uneven tension have arisen to the siloing that so often hinders date, so the frequency of such interdisciplinary communication. maintenance is impossible to The ample lounge areas, visible project, but the capability is there. from the labs through interior Daylight dimming systems on the glazing, increase the awareness perimeter optimize lighting con- of colleagues’ work and the trol depending on how much sun opportunities for casual conver- enters the working spaces. sations that lead to intellectual Belfer’s second and third cross-pollination. floors answer a longstanding Commissioning to date, Above left The Belfer’s second and third need on this campus, a shortage Cunningham reports, is ongoing floors address Weill Cornell’s need for of space for conferences and in- and complicated but has pro- conference and event spaces. Above The south curtain wall’s open formal meetings. The labs them- ceeded smoothly. “I have to really ventilation segments exclude birds with selves, composing the bulk of the hand it to Tishman: the project’s tension rods spaced approximately ¾ “We’re going to own our building above the fourth floor come in on budget, it’s come in inch apart. Grated and open catwalks (which is owned by neighboring on schedule, it looks fantastic, support the outer skin and allow access own buildings, and we for maintenance. Hunter College in a condominium and the level of workmanship is arrangement for its own research), high.” Belfer has already won a intend to keep them for are designed on a modular, 2014 Diamond Award from the 100 years, so we are very repeating floor plan, since at the American Council of Engineering Belfer Research Building design stage no one, includ- Companies to MEP consul- careful to do something ing the faculty panel directing tants Jaros, Baum & Bolles for Location: 413 East 69th Street, New York, NY programming for the Belfer, knew engineering excellence in the that we think is going to Owner: Weill Cornell Medical College, New York, NY who would be occupying it. The Building/Technology Systems Architect: Ennead Architects, New York, NY different floors have now been category. One suspects that this have longevity.” Structural Engineer: Severud Associates, New York, NY assigned not according to con- is only the first of many formal Mechanical Engineer: Jaros Baum & Bolles, New York, NY ventional academic departments, recognitions for a building whose William H. Cunningham, Construction Manager: Tishman Construction, an AECOM Company, New York, NY Cunningham reports, but by design/construction team’s Weill Cornell Campus Architect Architectural Metal Fabricator and Erector: Coordinated Metals, Inc., Carlstadt, NJ disease entities and major body thorough efforts offer immense Ornamental Metal Fabricator and Erector: Coordinated Metals, Inc., Carlstadt, NJ systems: one floor is dedicated opportunities for teamwork in Curtain Wall Fabricator: Permasteelisa North America Corp., New York, NY to brain and mind diseases, for tomorrow’s sciences. Goldberg/Esto; facing page: Ennead This page: © Jeff Curtain Wall Erector: Tower Installation, Windsor, CT

36 Metals in Construction Spring 2014 Belfer Research Building 37 Madison Square Garden

Renovating and expanding “the measures, improving the lobby and flow of people, world’s most famous arena” while and enhancing the general interior character, the it was still open and operating owners were committing to a nearly $1 billion project that would take seven years to design and three required close collaboration between years to construct—all while keeping the arena op- everyone involved—and some creative erational during the hockey and basketball seasons. engineering to add a new interior After several years of analyzing options, the level for fans. design team led by BBB began work in earnest with the engineering firm who designed the original structure, Severud Associates. It became quickly For anyone aware of its legendary history, apparent that some of the most attractive features Madison Square Garden exudes images of activity of the building would become some of the biggest and excitement. It is home to the New York Knicks, challenges of the renovation. Its location above New York Rangers, New York Liberty, and is a set- four levels of underground rail lines meant that the ting for the most sought-after rock concerts and existing columns and footings supporting the build- family shows held in the Tri-State area. Located on ing were fixed in strategic locations between train Seventh Avenue between 31st and 33rd streets in tracks, eliminating any opportunity to strengthen or Manhattan, it sits directly over Pennsylvania Station, add columns. providing easy access to several modes of public The rework of the seating areas needed to ad- rail transportation. These virtues notwithstanding, dress the existing structural constraints but still it is a forty-year-old venue that needs to compete achieve the desired outcome of an improved seating with today’s newer arenas. So in 2003 its owners, experience. The existing seating was defined by an The Madison Square Garden Company, challenged upper and lower bowl section and it was deter- Toronto architects Brisbin, Brook, Beynon (BBB) to mined that the best place for the new suites was in update it, beginning a decade-long renovation and between these two sections at the seventh level of expansion project that transformed the building into the building, two levels above the arena floor. The a state-of-the art arena. lower seating section was essentially re-used, but The original 1968 building is the third bearing the the existing upper section was removed and the Madison Square Garden name. Constructed as a new suites built above the lower level seating. New, The need to re-work the seating areas of cylindrical building whose roof is suspended by steel steeper upper-level seating was then built above Madison Square Garden was one of the cables from a perimeter compression ring, it allows the new suites that sloped up to be 13 feet higher main reasons for the renovation. New a wide-open stadium floor elevated five stories than the previous top of the upper seating area. This suites were placed between the lower and upper levels and a new “bridge” that above street level. Above that, three tiers of seating put it at nearly the same level of the existing roof, provided upper level seating was hung accommodate up to 20,000 people depending on so the perimeter of the roof was literally removed from the roof structure. the event. and raised to be less steep but still supported by In 1991, a $200 million renovation project the existing cables. This created the needed clear- changed some of the upper level seating into ances and sight lines, but new column locations enclosed luxury suites for corporate and sponsor required by this rearrangement had to be supported purchase. Less than a decade later it was clear that on transfer girders to spread the load to the existing another upgrade was needed to locate the pricey structure below in the rail transit areas. suites closer to the arena sports floor. By including Perhaps the biggest single challenge, yet the upgrades to the broadcasting and electronic sys- most defining change to the arena is the addition of tems, “hardening” the building for post 9/11 security two new promenade and seating bridges located

38 Metals in Construction Spring 2014 Madison Square Garden 39 at the tenth level—one on the north and one on the from approximately 6 tons of grade 50 (A992) steel south side above the playing surface. Their purpose using double L4x4x½ chords and 2 L3x3x⅜ diago- is twofold: create more seating to make up for what nals. The trusses are positioned directly under the was lost in the suite construction, and include a existing roof beams (situated on top of the roof sup- dramatic walkway where fans can look down at the port cables) and support W14 and W16 members events below. The problem was how to support the plus cables that hang intermittently to support the bridges without adding new columns that would 230-foot spans of the two new bridges. Each mas- interfere with sight lines for seats on the lower levels. sive bridge is constructed of approximately 76 tons Below The short time intervals available to perform construction work meant that The answer: suspend them from the roof. If this were of structural steel covered with 134 tons of 4,000- multiple subcontractors and multiple a new building, the structure would be designed to psi lightweight concrete; they comprise an area of pieces of equipment were used simulta- accommodate the weight of the bridges plus the approximately 6,700 square feet each. In addition to neously while the arena floor served as live load of the spectators. As an existing building its self-weight, each bridge is capable of supporting the staging area for the transformation of seating zones. with limited ability for structural changes, adding the an additional 600,000 pounds of occupants, evenly Facing, clockwise from top The new new bridges required creative problem solving and distributed. “bridge” areas at the upper level give detailed engineering. In their static condition, the design of the bridges spectators a view directly onto the arena Cawsie Jijina, the Severud principal oversee- is quite adequate with the appropriate safety factors and are stabilized against movement using Tuned Mass Dampening (TMD) ing the structural work at Madison Square Garden, worked in. But one of the more critical aspects of devices. The installation of a new, larger led his team to first look at the space above where the structural design is the dynamic behavior of the scoreboard and LED video monitors the bridges would reside. They saw that all of the bridges. Because the bridge is ultimately supported meant that additional weight needed to arena’s air, water, and electrical systems convened by the existing cable roof system, rhythmic move- be accounted for and transferred to the steel cable roof system and supported there as well. That precluded the use of solid ments, such as those generated by an excited crowd by steel trusses along the perimeter. members, so twenty pairs of 4-foot-6-inch-tall steel during a rock concert or sports event, can potentially Upper-level seating behind the new trusses were designed that pick up the weight of cause motions strong enough to make spectators bridges still provides a full view to the both bridge decks, while allowing the various MEP uncomfortable. Rather than adding brute force stiff- arena floor due to the raised roof along the exterior. Large LED monitors provide systems to thread through them. Ultimately, the ness (and additional weight) to the roof, truss, and information from the scoreboard that is trusses deliver their load to the existing suspension bridge decks, the project’s engineers sought a more screened from view in some locations. cables supporting the roof. Each truss is fabricated elegant and cutting-edge design solution. RWDI Motioneering, based in Ontario, Canada, worked with the design team to devise a “tuned mass damper” (TMD) to dissipate the dynamic energy. Each of the two bridges received five TMDs, three on the front (arena side) to combat vertical motion and two on the back (street side) to combat horizontal motion, with all five working simultaneously to control roll. Each TMD comprises 9,000 pounds of stacked lead plate, a crank-shaft and two hydraulic pistons (weighing approximately 1,000 pounds) that translate rotational motion into vertical motion (similar to the engine of a car). The lead plates are put into motion by the motion of the spectators during an event. The entire TMD system is calibrated to oscillate (move) in the opposite direction as the loading frequency caused by the spectators. Thus, this opposing motion caused by the TMD will weaken the loading frequency, dissipating the energy and dampening the perceivable motion throughout the entire struc- tural system. Monitoring the TMDs during events has verified their satisfactory performance. Turner Construction served as the project’s overall construction manager and began during the design phase to review constructability issues. Because of the extent of the work and the limited bridge, the steel structure was fabricated by one Madison Square Garden construction time of only 20 weeks between sports steel company, the cables to hang it from above by seasons per year, three separate and distinct phases a second, and the trusses that it all hung from by a Location: 4 Pennsylvania Plaza, New York, NY each were planned as a stand-alone project that left third. This divided production up to increase capac- Owner: The Madison Square Garden Company, New York, NY the building fully functional until the next one started. ity, but added to the effort needed by the engineers, Architect: Brisbin Brook Beynon, Ottawa, ON Hence, the driving force for the renovation wasn’t contractors, and construction manager to carefully Structural Engineer: Severud Associates, New York, NY budget as much as a critical time schedule. Major- check and coordinate everyone’s drawings, not to Mechanical Engineer: M-E Engineers, New York, NY league sports team schedules were pre-determined mention coordinating them with mechanical and Construction Manager: Turner Construction, New York, NY so the building absolutely needed to be open in time electrical equipment that was already in place. Curtain Wall Consultant: Israel Berger & Assoc. Inc., New York, NY for the games to take place and the public to attend. In the end, it the project’s prolonged effort and Structural Steel Fabricator: Helmark Structural Steel Inc., Wilmington, DE Consequently, in each of the three phases construc- extra coordination work was well worth the wait. Structural Steel Erectors: W&W Steel, LLC, Camden, NJ; Stonebridge Steel tion crews worked 24 hours a day, six days a week The design team, construction team, and owners Erection Co., Inc., South Plainfield, NJ; Titan Erectors, Inc., Woodcliff Lake, NJ to maintain the schedule. have created what is truly one of the most exciting Miscellaneous Iron Fabricators and Erectors: Empire City Iron Works, Long Island In order to further avoid any chance of delays sports and entertainment venues anywhere—one City, NY; FMB Inc., Harrison, NJ the steel work was separated out into five different that wouldn’t be enjoying the popularity it sees today Curtain Wall Erector: W&W Glass LLC, Nanuet, NY subcontracts that required additional coordination, without the finely engineered structural steel trusses, Metal Deck Erectors: W&W Steel, LLC, Camden, NJ; Stonebridge Steel Erection

particularly for the new tenth-level bridges. For each Company Garden Photos; facing page: The Madison Square Rebecca Taylor/MSG This page and opening spread: members, and cables that gave it new life. Co., Inc., South Plainfield, NJ; Titan Erectors, Inc., Woodcliff Lake, NJ

40 Metals in Construction Spring 2014 Madison Square Garden 41 Lehman College Science Facility

A new teaching and research building creates a gateway to the school’s science campus with a flexible structural steel design that will accommodate future changes and a four-story atrium that creates informal gathering spaces for students.

Lehman College in the Bronx has a richly tex- tured, 37-acre campus. Founded in 1931 as part of Hunter College, the stone and brick structures of its four original Tudor-Gothic buildings have held up well—and are a refreshing contrast—next to modern and contemporary additions to the school, which include Rafael Viñoly’s 1994 Athletics and Physical Education Facility (APEX). It was against this motley but cohesive background that the New York office of Perkins+Will conceived a new 69,000-square-foot science laboratory for Lehman, with classrooms, offices, seminar rooms, labs for different disciplines, and gathering spaces. After deciding on its location in 2002 as part of a facilities master plan, the college completed the new Science Hall and opened it for classes in the Spring of 2013, making it a centerpiece project of CUNY’s “Decade of Science.” That initiative has seen the University focusing on modernizing or building new facilities to support the latest advances in undergraduate and graduate research, making it easier for students to enter science, math, engineer- ing, and technology fields. It is the first CUNY building to be designed to meet LEED certification, and has achieved a Platinum rating. Literally creating a link to the old campus, the new L-shaped, four-story science building connects by a third-floor bridge structure to Gillet Hall, one of the original buildings housing Lehman’s science programs. The wings of the “L” are actually two independent steel structures above the first floor. The four-story atrium is capped with Because the majority of the corner slab diaphragms a one-story clerestory and contains an Architecturally Exposed Structural (typically used to brace against wind and seismic Steel stair. The atrium separates the forces) at each level were removed to create a soar- teaching and research wings. ing glass atrium in the center, structural engineers at

Iwan Baan Leslie E. Robertson Associates (LERA) introduced a

42 Metals in Construction Spring 2014 Lehman College Science Facility 43 Above A glass-enclosed bridge seismic joint along one side of the atrium to isolate Architecturally Exposed Structural Steel (AESS) stair, connects Gillet and the Science Hall, the two wings. which connects all four floors (stair stringers are com- creating a visible link between new A final wing of the new science building may yet prised of built-up box members that are 18 inches tall and old structures. be constructed as part of a later phase, and Gillet by 5 inches wide). will be renovated. The possibility of future expan- The main AESS column in the atrium is an HSS sion or changes in the program will be made easier 12x12x½. The atrium is then capped with a one-story because of the steel frame construction. “If you clerestory, where the AESS columns are HSS 8x8x⅜. build in concrete and you need to make penetrations AESS horizontal beams at the glass perimeter are through the slab for unplanned things, it’s hard,” says HSS 12x12x½. AESS members are coated with Robert Goodwin, the architectural design director of an intumescent paint for fire protection and then Perkins+Will’s New York office. “But when you use finish-painted. “The stair is probably one of the more steel, you have more flexibility for adapting the build- expressive parts of the metal construction in the ing for future changes.” building,” says Goodwin. “We exposed things that In the meantime, the Science Hall is complemen- would ordinarily be concealed. We used it as part of tary to its older counterparts. “If you walk around the the design intent.” campus, you can see how well the architecture works At each main stair level, the architects created together; it doesn’t fight itself,” says Rene Rotolo, informal gathering spaces with seating and white- assistant vice president for campus planning and boards. These areas take advantage of the daylight Left, from top Perkins+Will modified facilities. “And that’s also what we wanted to achieve streaming through the fritted glass curtain wall and prefabricated greenhouses that perch with the science facility.” on a recent tour they had even lured students from on the roof of the facility. The long span It accomplishes that balance, in part, with a quiet another department (something that a facility man- capability of the steel accommodated the high live load and stringent vibration palette and narrow massing. The glass atrium—re- ager says is the norm). “We took something we had requirements of a teaching lab. Each ally, a glorified egress—serves as the hinge between to have anyway and turned it into more than what it

atrium level doubles as common space. and facing page: Perkins+Will; Lehman College; center and bottom: Perkins+WillOpening spread this page, top: Phyllis Yip, the two wings of the “L” and contains an elegant was,” says Goodwin.

44 Metals in Construction Spring 2014 Lehman College Science Facility 45 Left and facing The curtain wall is a stick built, field glazed system with mostly vertical mullions spanning at least two floors, supported at the edge of slabs. Vented shadow boxes were part of the spandrel conditions of the curtain wall. Extensive decorative metal was used at the exposed areas of the curtain wall, to accentuate its distinc- tion from the masonry plane.

Perkins+Will chose W12 Firetrol columns wrapped in a circular steel tube for use along the main cor- ridors adjacent to the glass curtain wall. Not only did this proprietary fireproofing system provide a pre-fireproofed and pre-enclosed structural column, but also “if we didn’t do that, the columns would be fatter,” says Goodwin. “Making this frame look as lightweight as possible was really important to us.” The flat, textured surfaces of the rest of the build- ing’s facades are calm counterpoints to the Viñoly complex, but also share architectural details with Gillet. Clad in panels of ochre-colored norman brick (hand-laid in a stack bond pattern), with flashing that intentionally aligns them with the window mullions, planar walls jut out subtly from alternating bands of glass and aluminum. The A-frames of off-the-shelf rooftop greenhouses are barely visible from the ground, peeking above the Science Hall’s roofline. “Let’s keep making it calmer and calmer, and simpler and simpler,” says Goodwin of his goal for the design of the building. The delicate-looking bridge that serves as the visible connection between Gillet and the Science Hall has a 34-foot span, accomplished by its two combination of ordinary moment frames and concen- Lehman College Science Facility W24x76 roof beams. Its W10x33 floor beams are tric braced frames. Columns in both of these frame suspended from the roof by HSS 3x3 hangers. A types are W14 wide flange columns. Diagonal braces Location: 250 Bedford Park Blvd. W, Bronx, NY slide bearing connection from the bridge to the exist- consist of HSS 8x8, HSS 7x7, and Double Angle Owner: The City University of New York (CUNY), New York, NY ing building allows for movement of both along the 6x4. Moment Frame Beams are W24, W30, and W33. Developer: Dormitory Authority of the State of New York (DASNY), New York, NY axis of the bridge, but not parallel to the wall plane Connections of moment frame beams to columns Architect: Perkins+Will, New York, NY of the existing building. Connections from the bridge are comprised of complete joint penetration welds Structural Engineer: Leslie E. Robertson Associates, New York, NY to the new building restrain relative movement of the of beam flanges to column flanges, and single plate Mechanical Engineer: Syska Hennessy Group, New York, NY bridge and the new building, both in the direction shear bar web connections. Construction Manager: Gilbane, New York, NY along the bridge axis and parallel to the wall plane The Science Hall’s two basement levels and the Structural Steel Fabricator: Metropolitan Steel Industries Inc., Sinking Spring, PA of the new building. However, the connections at the first floor are cast-in-place concrete. The super- Structural Steel Erector: J.C. Steel Corporation, Bohemia, NY new building are also designed to allow for in-plan structure above the first floor is a structural steel Metal Deck Erector: J.C. Steel Corporation, Bohemia, NY relative rotational movement of the slab diaphragm frame supporting composite concrete slabs on metal of the bridge and the new building slab diaphragm. deck. (In the concept design phase, a structural Inside the Science Hall, Perkins+Will split the steel superstructure was compared to cast-in-place program into teaching and research wings, placing concrete and was found to be more economical for chemistry labs and classrooms in the eastern wing, the building above grade, says LERA’s Rick Zottola. and pushing offices and more labs to the perimeters “Structural steel is also the customary superstructure of the northern wing. Column spacing in the teaching material for buildings of this type in New York City,” lab wing is 33 feet. This is 50 percent higher than he says.) customary lab column spacing; the long span capa- Rotolo, from campus planning and facilities, re- bility of steel accommodated the high live load and ported that the students, faculty, and researchers are stringent vibration requirements of a teaching lab. all finding spaces to collaborate in the new building. While it’s possible to design concrete laboratory “Before, there were individual silos where they weren’t buildings, Goodwin says that the steel frame of the interacting,” she says. “We deliberately created Science Hall helps stabilize the moment frames that spaces where researchers from different departments are necessary to combat any vibrations that could would meet and interact and work together. We cre- adversely affect lab results. The lateral load resisting ated a lot of the spaces in this building that would be

system of the superstructure above the first floor is a Perkins+WillThis spread: ideal for all of our buildings.”

46 Metals in Construction Spring 2014 Lehman College Science Facility 47 the authors for their success set of opportunities to create archi- highlight proper application of INSTITUTE News in exploring, “in a comprehen- tecture that can respond directly to key design and detailing require- and Events sive and rigorous manner how environmental conditions, result- ments and introduces important contemporary architects have ing in innovative facade designs technical changes in the recently Lawrence Weiss, Chairman Robert Koch Herbert K. Koenig, Chairman Randall Ment A.J. McNulty & Co., Inc. Skanska Koch, Inc. Tower Installation LLC Ment Brothers I.W. Co. Inc. reacted to escalating international that quickly become landmarks updated Seismic Provisions. Maspeth, NY Carteret, NJ Windsor, CT New York, NY concern over the use of natural for their cities. Fortmeyer and Linn Design Examples from the new resources and climate change by trace the historical development of 2nd Edition of the Seismic Design Jake Bidosky Rich Lucas Peter Carriero Randy Rifelli modulating their designs to con- active facades in modern architec- Manual will be included. American Bridge Company Northeast Structural Steel Inc. Post Road Iron Works United Iron, Inc. sume less energy, perform better ture, and reveal how contemporary The seminar will be presented Coraopolis, PA Mt. Vernon, NY Greenwich, CT Mount Vernon, NY and respond to site context.” architects and consultants design by Thomas A. Sabol, Mike Engel- Terry Flynn Randall Ment Harvey A. Heffner Arthur Rubinstein A valuable resource for archi- and test these systems. hardt, Clint Rex, John Rolfes, and Tutor Perini Corporation Ment Brothers, I.W. Co., Inc. Empire City Iron Works Skyline Steel Corp. tects, engineers, and students, Rafael Sabelli throughout the U.S. New Rochelle, NY New York, NY Long Island City, NY Brooklyn, NY the accessible and entertaining Visit www.imagespublishing.com in April and May 2014. Attendees resource is illustrated with excep- for more information. will receive 0.80 CEUs/8.0 PDHs Stephen J. Hynes Robert Samela Midlantic Erectors, Inc. A.C. Associates tional photography and has been for this session. This session is Springfield, NJ Lyndhurst, NJ written to appeal to both profes- Seismic Design approved by AIA. Kinetic Architecture: sionals and those with a general Seminar: Stephen Isaacson interest in architecture and the Structal-Heavy Steel Construction, October 7, 2014 Continuing Education Design for Active environment. a div. of Canam Group With Architectural Point of Rocks, MD Envelopes On Tuesday, October 7, 2014, Record and Architect In their new book, Kinetic Archi- From the Publisher: A shift in the the Steel and Ornamental Metal tecture: Designs for Active architecture industry’s focus in Institutes of New York will spon- The Steel and Ornamental Metal The labor to erect the structural steel on projects featured in this publication was provided by the The labor to erect the architectural and ornamental metals on projects featured in this publication following labor unions: was provided by the following labor union: Envelopes (Images Publishing), the last 20 years toward ecologi- sor a Seismic Design Seminar at institutes of New York will con- authors Russell Fortmeyer and cal concerns, long-term value, and McGraw-Hill Auditorium, 1221 tinue its series of AIA Continuing LOCAL UNION NO. 40 LOCAL UNION NO. 361 LOCAL UNION NO. 580 Charles D. Linn discuss the inno- user comfort has coincided with Sixth Ave., New York. Check Education articles with Architec- International Association of Bridge, Structural International Association of Architectural and Ornamental Ironworkers Ironworkers & Riggers Bridge, Structural Ironworkers & Riggers 501 West 42nd Street vative ways in which building significant new developments in www.siny.org and www.ominy.org tural Record, and has added a 451 Park Avenue South 89-19 97th Avenue New York, NY 10036 envelopes can be used to modu- digital controls, actuators, shad- for details. new series with Architect in 2014. New York, NY 10016 Ozone Park, NY 11416 (212) 594-1662 ing typologies, building physics The 2010 AISC Seismic Topics are available online at con- (212) 889-1320 (718) 322-1016 late energy in its primary forms. James Mahoney In a recent review published simulation capability, and material Provisions and 2nd Edition of tinuingeducation.construction. Robert Walsh Matthew Chartrand Business Manager and Financial in Architects’ Journal, architect performance. This collision has the Seismic Design Manual are com and www.architectmagazine. Business Manager and Business Manager and Secretary-Treasurer Financial Secretary-Treasurer Financial Secretary-Treasurer and scholar Alan Dunlop praises afforded architects an expanded now available. This seminar will com via the Continuing Ed tab. John Busch Kevin OʼRourke Anthony DeBlasie President For more information about upcoming Institute-sponsored events, visit www.siny.org and www.ominy.org. President and Business Agent President and Business Agent Robert Benesh Daniel Doyle John Cush Business Agent Institute ads appear regularly in New York-area industry publications to let readers know that we can help turn their design aspirations into realities. Recording Secretary and Business Agent Business Representative Thomas Milton Business Agent LOCAL UNION NO. 14 LOCAL UNION NO. 15 & 15-D International Union of Operating Engineers International Union of Operating Engineers Peter Myers 141-57 Northern Boulevard 44-40 11th Street Business Agent Flushing, NY 11354 Long Island City, NY 11101 NEW INSIDE ASTOR STAR (718) 939-0600 (212) 929-5327 Joseph Nolan Business Agent Edwin Christian Thomas Callahan TWIST OUT TURF TRACK President and Business Manager President and Business Manager

The new ideas that poured into Lower Manhattan’s Want to know what goes on at the New School? Passersby In Manhattan’s East Village, a neighborhood known for From Las Vegas’s star-studded cast of gaming resorts to rebuilding resulted in a stronger infrastructure—and some need only glance at the institution’s new University Center passionately independent movements, 51 Astor coolly New York landmark Yonkers Raceway, casinos are becoming architectural gems. A key piece in the undertaking is Pelli in Greenwich Village to understand that progressive shows it belongs. Designed to attract a diverse range of synonymous with innovative design. This historic 1890s www.siny.org www.ominy.org Clarke Pelli’s new Pavilion at Brookfield Place, a public design education happens here. The building by Skidmore, tenants by Maki and Associates for Edward J. Minskoff racetrack bet its future on a 21st-century overhaul of its Owings & Merrill Steel Institute of New York Ornamental Metal Institute of New York space serving the 35,000 commuters who use the PATH expresses the school’s interdisciplinary Equities, it links two huge volumes on a full city block yet Empire City Casino by New York-based Studio V Architecture. approach through a brass-shingled facade crisscrossed by system daily. Because the system’s track network runs manages to appear different from each angle. The building’s With a philosophy of exploring architectural expression a series of glass-enclosed stairways that highlight a vivid underneath, the pavilion’s soaring roof and hanging glass structural steel acrobatics ensure flexibility to serve this based on contemporary technology, the award-winning firm tableau of students circulating within. The unique system curtain wall could only be supported at two points. Thornton market long-term while coalescing with a neighborhood capped its redesign with a space-age porte-cochère of steel encourages collaboration—and a new dialogue between master plan to connect community through public space—a latticework clad with ETFE Teflon-coated film. The innovative The Steel and Ornamental Metal institutes of New York are not- • Seminars covering structural systems, economy of steel design, Institute staff are available with information regarding the use Tomasetti met the challenge with a pair of 54-foot-tall campus and community that is sure to be conversation for entrance stunningly reinvents the casino’s image and marks “basket” columns, each gathering its loads in an expressive decades to come. restrained composition in an unrestrained neighborhood. for-profit associations created in 1972 to advance the interests of curtain wall systems, design, and use of alloys and surface of structural steel and architectural metals for your project by the first U.S. application of this cutting-edge material— weave of lightweight, brightly painted twisting steel tubing showing a building need not be conventional to be a good bet. the structural steel and the architectural, ornamental, and miscel- treatments for miscellaneous iron work, and issues important contacting institute offices at that spirals down to plaza level in an ever-tightening array. It laneous metal construction industries. They serve a geographical to the construction industry addressed to developers, architects, is innovative design, with a twist. Transforming design Structural Steel into reality Right for any application Transforming design area encompassing New York City and the adjacent counties of engineers, construction managers, detailers, and fabricators 211 East 43rd Street, Suite 804 Structural Steel Nassau, Suffolk, and Westchester. 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Programs in which the institute is and the support of programs that will expand the volume of The institutes are a registered provider of the American institute of For help achieving the goals of your next project, contact the Steel Institute of New York. engaged include: building construction in the area Architects Continuing education system (AIA/CES). Publisher of Metals in Construction Publisher of Metals in Construction 211 E 43 ST | NY, NY 10017 | 212-697-5554 | www.ominy.org 211 E 43 ST | NY, NY 10017 | 212-697-5553 | www.siny.org Publisher of Metals in Construction • Consultations extending to the preparation of preliminary design • Granting of subsidies to architecture and engineering schools William Shuzman 211 E 43 ST | NY, NY 10017 | 212-697-5554 | www.ominy.org Publisher of Metals in Construction and construction cost analyses for alternative structural systems and funding of research programs related to the advancement Executive Director 211 E 43 ST | NY, NY 10017 | 212-697-5553 | www.siny.org and growth of the industry Gary Higbee AIA • Consultations on design and finishes for bronze, stainless steel, Director of Industry Development Architect: Pelli Clarke Pelli Architects Architect: Fumihiko Maki, Maki Associates Structural Engineer: Thornton Tomasetti Architect: Skidmore, Owings & Merrill Structural Engineer: Ysrael A. 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