Curtain Wall

Curtain wall Primer for Design Professionals

Matthew Stuart, P.E., S.E., F.ASCE

Course Outline
Definitions of a curtainwall sometime differ between an Architect and an Engineer. It is therefore important
that a structural engineer understand the different types of systems available and in use. This one hour
online course will provide the user with a basic understanding of curtainwall systems as they relate to the
structural design and detailing of the supports for this specialty type of building cladding. This course
includes a multiple choice quiz at the end.

Learning Objective
At the completion of this course, the student will:

 Be familiar with the definitions and nature of the two primary types of curtainwall systems in use;
 Know the important structural design and detailing considerations associated with the support of
curtainwall systems; and
 Become familiar with a number of different standard, typical wall sections associated with several
common framing and backup systems.

Course Introduction
A curtainwall system is a specialized type of cladding typically used in the construction of commercial and
institutional buildings. Definitions of a curtainwall sometime differ between an Architect and an Engineer. It is
therefore important that a structural engineer understand the different types of systems available and in use.
A clear understanding of the curtainwall supplier's design criteria will enable the structural engineer to
properly design the supports required for this type of building cladding.

Course Content

I. DEFINITIONS

Curtainwall:
A wall system which utilizes glass, either transparent or spandrel or both, and vertical and horizontal mullions
acting as structural members to transfer wind and gravity forces to the building structure. The spandrel
portion can be metal panel or some other material. The entire system is supplied and installed by one
contractor and typically weighs 8 to 10 PSF. The manufacturer’s in-house engineering staff typically provides
the structural design and integrity of the curtainwall system. There are two types of curtainwall systems.

Stick System: A curtainwall system in which the mullions are installed first, and then the glass panels are
inserted into the mullion framing in the field. The vertical deflection criteria is more stringent for this type of
system than a unitized system. The primary advantage of this system is it's lower cost when compared to the
unitized system.

Unitized System:
A curtainwall system in which the mullions are fabricated with the glass panels in place, and then erected as
individual panels. The primary disadvantage of a unitized system is that it is more expensive than a stick
system. The advantages of the unitized system are

1. The curtainwall erection time is reduced.

2. Unitized panels can tolerate more vertical deflection in the structure due to their gasketed joints. The
gasketed joints also allow the curtainwall to form an incremental expansion joint at each mullion
which in turn provides for almost unlimited adjustment.

Non-curtain wall systems:

Strip Windows: Windows which form a continuous horizontal band along an elevation of a building. Typically
for strip windows, the structural support is provided for the facade material above and below the window,
leaving the window connection to the window supplier. The architectural specifications should provide
information on the anticipated live load deflections for this system.

Punched Windows: Individual windows which are "punched" into a building elevation. The facade material is
on all four sides of the window. For the punched window system, structural support is typically provided for
the entire facade system and the window supplier is responsible for the support of the window from the sill,
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jambs, and head framing. The structural support framing can either be designed and detailed, or a
performance specification can be provided. In the later case the structural calculations, details and shop
drawings are submitted by an independent vendor and reviewed and approved by the project engineer of
record.

II. IMPORTANT STRUCTURAL CONSIDERATIONS IN DESIGN

Wind Loading: In conjunction with the architect, the design loading for the curtainwall should be provided in
the contract documents. Typically, this is done in the curtainwall specifications in the form of narrative
regarding loads and/or building elevations showing loading. In all cases, this must be done using
"components and cladding" loads from building code. The local governing building code must be reviewed
for this information. For example, Ohio specifies one wind speed for the entire state. Massachusetts however
specifies individual wind speeds for each county or city and divides the state into three zones. In determining
these wind loads, it is important to know what tributary area a particular mullion has since this factors into the
wind pressure used. Normally, you would assume a mullion span and spacing in order to determine the
tributary area.

Deflection of the Supporting Structure: Anticipated building frame deflections (both vertical and horizontal)
must be coordinated with the curtainwall supplier. This is typically done in the curtainwall specifications. The
limiting deflection of the mullions and glass themselves is typically based on industry standards. The typical
limiting vertical deflection in the curtainwall industry is only 1/4".

III. IMPORTANT STRUCTURAL CONSIDERATIONS IN DETAILING

Allowance for vertical deflections: Provide details to allow the building structure to deflect vertically without
imposing undue loading or movement to the curtainwall. It must be stated clearly on the contract drawings
where the gravity loading is assumed to be supported and where the lateral support is assumed to be
provided. Connections to the structure can be from the screed angle, the concrete slab, or a “free-floating”
beam. It is important to note that the connections to the building structure must be capable of supporting the
components and cladding loading. Torsion should also be considered. The “free-floating” beam connection
would typically be specified by the supplier to be provided at the top of the beam which can impart a torsional
load to the beam. The unanticipated impact of curtain wall connections should be reviewed during shop
drawing submittal process.

IV. DETAILING EXAMPLES

Composite Slab

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Bent Plate

Concrete Slab

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Stud Wall Backup

Course Summary

There are two types of curtainwall systems; "stick" and "unitized". Although the stick system is cheaper, the
unitized system has the advantage of more flexibility relative to allowable deflection of the supporting
structure. Non-curtainwall systems such as strip windows and punched windows are often incorrectly
referred to as a curtainwall by architects. The structural engineer-of-record should provide to the curtainwall
manufacturer the required component and cladding wind loads required. The structural engineer and the
curtainwall manufacturer should communicate with each other to ensure that the deflection of the supporting
structure is within the criteria established by the material vendor.

Related Links

For additional technical informaion related to this subject, please visit the following websites or web pages:

Curtainwall Connections - HALFEN

http://www.modernsteel.com/Uploads/Issues/December_2007/122007_30772_steelwise_web.pdf
http://www.aisc.org/Template.cfm?Section=ePubs_Design_Guides1&Template=/MembersOnly.cfm&Content
ID=35401

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The system is thermally insulated construction, designed for a wide variety of applications. Suitable for low or
high rise applications, new build industrial units or office refurbishment. Shop front Doors, Sliding Doors
(optional automatic sliding) and Windows can be combined within the curtain wall screening. Available in
anodised or polyester powder coat paint finish, dual colour options also available.

Features
Easy frame handling and assembly method.
Fully weather-stripped for high performance.
50mm, 75mm, 100mm, 125mm sections to meet most structural requirements.
Multiple capping options to suit decorative requirements.
Reinforcing available for large spans.
Suitable for single or double-glazing.
Wide choice of paint finishes.
Dual colour options.
Accommodates glazing from 6 mm single to 28mm double glazed units or panels.
Can be used with other Sigma Windows and Doors ranges of Windows and Doors.
U-value and I value calculations available on request.

Description
A proven system complying with the demands of architects, local authorities and property managers for
projects around the U.K. for both new buildings and refurbishments, meeting the latest building regulations.

Construction Details
Curtain Wall framing is constructed using mechanical methods at butt joints. Assembly uses stainless steel
self-tapping screws into integral screw ports extruded into the body of the sections directly through square
cut adjoining component parts. A proprietary sealant to protect against water is used on all metal-to-metal
and gasket-to-gasket joints during assembly.
Vertical sections are designed to run through which enables individual panels to be made separately, easing
transportation to site and easy assembly of ladder section into larger frames on site.

Optional sheer blocks are available for joint and sectional re-enforcing.

50mm, 75mm, 100mm, 125mm Double-Glazed Transom options

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Materials
Extruded aluminium is Aluminium Alloy 6063 T6 to BS EN755 Part9:2001

Anodising: i) Natural ( silvers) anodised to BS3897, 1991 and ii) Anolok Bronze colour 547 anodised to
BS3897, 1991. Anodising is to a minimum of 25 microns(AA25). Powder Coating is to BS6496, 1984.

Gasketry is manufactured in accordance with BS3734 and BS7412, cat A.

Glazing
Single glazing adaptor sections are designed to take glass thickness of 10mm and 6mm.

Each pane of glass is individually inserted into a fully rebated and prepared opening. Gasket or foam tape
seals to the inside create a bond between the glass and the main structure.
Glass is retained in position by pressure plates screwed into the extruded screw ports in the face of the main
sections. Cover caps conceal the fixing screws for an aesthetic exterior appearance.

Double-glazing is a standard unit of 28mm. Double -glazing is carried out in the same manner as single
glazing.

Doors and windows can be incorporated directly into the aluminium framing using standard assembly and
glazing methods. See Sigma Windows and Doors extensive range of windows and doors for details.

Performance
The Curtain Walling in all glazing methods have been independently tested and has achieved the following
results:
Air Permeability 600Pa(Class C)
Water Tightness 600Pa
Wind Resistance 2400Pa

Separate figures are available for Thermal U-values depending on type of frame and glazing material.

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Let SIGMA Windows and Doors identify your aluminium window and door design needs, provide a
be-spoke solution and manufacture your windows and doors to the highest standard.

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Curtain wall
From Wikipedia, the free encyclopedia
For defensive curtain walls in medieval buildings, see Curtain wall (fortification).

Glass curtain wall of the Bauhaus Dessau

A curtain wall is a building façade that does not carry any dead load from the building other than its own
dead load, and one that transfers the horizontal loads (wind loads) that are incident upon it. These loads are
transferred to the main building structure through connections at floors or columns of the building. A curtain
wall is designed to resist air and water infiltration, wind forces acting on the building, seismic forces (usually
only those imposed by the inertia of the curtain wall), and its own dead load forces.

Curtain walls are typically designed with extruded aluminium members, although the first curtain walls were
made of steel. The aluminium frame is typically infilled with glass, which provides an architecturally pleasing
building, as well as benefits such as daylighting. However, parameters related to solar gain control such as
thermal comfort and visual comfort are more difficult to control when using highly-glazed curtain walls. Other
common infills include: stone veneer, metal panels, louvers, and operable windows or vents.

Curtain walls differ from storefront systems in that they are designed to span multiple floors, and take into
consideration design requirements such as: thermal expansion and contraction; building sway and
movement; water diversion; and thermal efficiency for cost-effective heating, cooling, and lighting in the
building.

History

A building project in Wuhan China, the difference in progress between the two towers illustrates the
relationship between the inner load bearing structure and the exterior glass curtain.

Prior to the middle of the nineteenth century, buildings were constructed with the exterior walls of the building
(bearing walls, typically masonry) supporting the load of the entire structure. The development and
widespread use of structural steel and later reinforced concrete allowed relatively small columns to support

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large loads and the exterior walls of buildings were no longer required for structural support. The exterior
walls could be non-bearing, and thus much lighter and more open than the masonry bearing walls of the
past. This gave way to increased use of glass as an exterior façade, and the modern day curtain wall was
born.

The first curtain walls were made with steel mullions, and the plate glass was attached to the mullions with
asbestos or fiberglass modified glazing compound. Eventually silicone sealants or glazing tape were
substituted. Some designs included an outer cap to hold the glass in place and to protect the integrity of the
seals. The first curtain wall installed in New York City was this type of construction. Earlier modernist
examples are the Bauhaus in Dessau and the Hallidie Building in San Francisco. The 1970’s began the
widespread use of aluminum extrusions for mullions. Aluminum offers the unique advantage of being able to
be easily extruded into nearly any shape required for design and aesthetic purposes. Today, the design
complexity and shapes available are nearly limitless. Custom shapes can be designed and manufactured
with relative ease.

Similarly, sealing methods and types have evolved over the years, and as a result, today’s curtain walls are
high performance systems which require little maintenance.

Stick systems

The vast majority of curtain walls are installed long pieces (referred to as sticks) between floors vertically and
between vertical members horizontally. Framing members may be fabricated in a shop environment, but all
installation and glazing is typically performed at the jobsite.

Unitized systems

Unitized curtain walls entail factory fabrication and assembly of panels and may include factory glazing.
These completed units are hung on the building structure to form the building enclosure. Unitized curtain wall
has the advantages of: speed; lower field installation costs; and quality control within an interior climate
controlled environment. The economic benefits are typically realized on large projects or in areas of high field
labor rates.

Rainscreen principle

A common feature in curtain wall technology, the rainscreen principle theorizes that equilibrium of air
pressure between the outside and inside of the "rainscreen" prevents water penetration into the building
itself. For example the glass is captured between an inner and an outer gasket in a space called the glazing
rebate. The glazing rebate is ventilated to the exterior so that the pressure on the inner and outer sides of
the exterior gasket is the same. When the pressure is equal across this gasket water cannot be drawn
through joints or defects in the gasket.

Design

Curtain wall systems must be designed to handle all loads imposed on it as well as keep air and water from
penetrating the building envelope.

Loads

The loads imposed on the curtain wall are transferred to the building structure through the anchors which
attach the mullions to the building. The building structure design must account for these loads.

Dead load

Dead load is defined as the weight of structural elements and the permanent features on the structure. In the
case of curtain walls, this load is made up of the weight of the mullions, anchors, and other structural
components of the curtain wall, as well as the weight of the infill material. Additional dead loads imposed on
the curtain wall, such as sunshades, must be accounted for in the design of the curtain wall components and
anchors.

Wind load

Wind load acting on the building is the result of wind blowing on the building. This wind pressure must be
resisted by the curtain wall system since it envelops and protects the building. Wind loads vary greatly
throughout the world, with the largest wind loads being near the coast in hurricane-prone regions. For each

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project location, building codes specify the required design wind loads. Often, a wind tunnel study is
performed on large or unusually shaped buildings. A scale model of the building and the surrounding vicinity
is built and placed in a wind tunnel to determine the wind pressures acting on the structure in question.
These studies take into account vortex shedding around corners and the effects of surrounding buildings.

Seismic load

Seismic loads need to be addressed in the design of curtain wall components and anchors. In most
situations, the curtain wall is able to naturally withstand seismic and wind induced building sway because of
the space provided between the glazing infill and the mullion. In tests, standard curtain wall systems are able
to withstand three inches (75 mm) of relative floor movement without glass breakage or water leakage.
Anchor design needs to be reviewed, however, since a large floor-to-floor displacement can place high
forces on anchors. (Additional structure must be provided within the primary structure of the building to resist
seismic forces from the building itself.)

Snow load

Snow loads and live loads are not typically an issue in curtain walls, since curtain walls are designed to be
vertical or slightly inclined. If the slope of a wall exceeds 20 degrees or so, these loads may need to be
considered.

Thermal load

Thermal loads are induced in a curtain wall system because aluminum has a relatively high coefficient of
thermal expansion. This means that over the span of a couple of floors, the curtain wall will expand and
contract some distance, relative to its length and the temperature differential. This expansion and contraction
is accounted for by cutting horizontal mullions slightly short and allowing a space between the horizontal and
vertical mullions. In unitized curtain wall, a gap is left between units, which is sealed from air and water
penetration by wiper gaskets. Vertically, anchors carrying wind load only (not dead load) are slotted to
account for movement. Incidentally, this slot also accounts for live load deflection and creep in the floor slabs
of the building structure.

Blast load

Accidental explosions and terrorist threats have brought on increased concern for the fragility of a curtain
wall system in relation to blast loads. The bombing of the Alfred P. Murrah Federal Building in Oklahoma
City, Oklahoma, has spawned much of the current research and mandates in regards to building response to
blast loads. Currently, all new federal buildings in the U.S., and all U.S. embassies built on foreign soil, must
have some provision for resistance to bomb blasts.

Since the curtain wall is at the exterior of the building, it becomes the first line of defense in a bomb attack.
As such, blast resistant curtain walls must be designed to withstand such forces without compromising the
interior of the building to protect its occupants. Since blast loads are very high loads with short durations, the
curtain wall response should be analyzed in a dynamic load analysis, with full-scale mock-up testing
performed prior to design completion and installation.

Blast resistant glazing consists of laminated glass, which is meant to break but not separate from the
mullions. Similar technology is used in hurricane-prone areas for the protection from wind-borne debris.

Infiltration

Air infiltration is the air which passes through the curtain wall from the exterior to the interior of the building.
The air is infiltrated through the gaskets, through imperfect joinery between the horizontal and vertical
mullions, through weep holes, and through imperfect sealing. The American Architectural Manufacturers
Association (AAMA) is an industry trade group in the U.S. that has developed voluntary specifications
regarding acceptable levels of air infiltration through a curtain wall . This limit is expressed (in America) in
cubic feet per minute per square foot of wall area at a given test pressure. (Currently, most standards cite
less than 0.6 CFM/sq ft as acceptable). Testing is typically conducted by an independent third party agency
using the ASTM E-783 standard.

Water penetration is defined as any water passing from the exterior of the building through to the interior of
the curtain wall system. Sometimes, depending on the building specifications, a small amount of controlled
water on the interior is deemed acceptable. AAMA Voluntary Specifications allow for water on the interior,
while the underlying ASTM E - 1105 test standard would disqualify a test subject if any water is seen inside.
To test the ability of a curtain wall to withstand water penetration, a water rack is placed in front a mock-up of
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the wall with a positive air pressure applied to the wall. This represents a wind driven heavy rain on the wall.
Field quality control checks are also performed on installed curtain walls, in which a calibrated spray nozzle
is used to spray water on the curtain wall for a specified time in order to investigate known leaks or leading
up to a validation test like the ASTM E-1105.

Deflection

One of the disadvantages of using aluminum for mullions is that its modulus of elasticity is about one-third
that of steel. This translates to three times more deflection in an aluminum mullion compared to the same
steel section under a given a load. Building specifications set deflection limits for perpendicular (wind-
induced) and in-plane (dead load-induced) deflections. It is important to note that these deflection limits are
not imposed due to strength capacities of the mullions. Rather, they are designed to limit deflection of the
glass (which may break under excessive deflection), and to ensure that the glass does not come out of its
pocket in the mullion. Deflection limits are also necessary to control movement at the interior of the curtain
wall. Building construction may be such that there is a wall located near the mullion, and excessive deflection
can cause the mullion to contact the wall and cause damage. Also, if deflection of a wall is quite noticeable,
public perception may raise undue concern that the wall is not strong enough.

Deflection limits are typically expressed as the distance between anchor points divided by a constant
number. A deflection limit of L/175 is common in curtain wall specifications, based on experience with
deflection limits that are unlikely to cause damage to the glass held by the mullion. Say a given curtain wall is
anchored at 12 foot (144 in) floor heights. The allowable deflection would then be 144/175 = 0.823 inches,
which means the wall is allowed to deflect inward or outward a maximum of 0.823 inches at the maximum
wind pressure.

Deflection in mullions is controlled by different shapes and depths of curtain wall members. The depth of a
given curtain wall system is usually controlled by the area moment of inertia required to keep deflection limits
under the specification. Another way to limit deflections in a given section is to add steel reinforcement to the
inside tube of the mullion. Since steel deflects at 1/3 the rate of aluminum, the steel will resist much of the
load at a lower cost or smaller depth.

Strength

Strength (or maximum usable stress) available to a particular material is not related to its material stiffness
(the material property governing deflection); it is a separate criterion in curtain wall design and analysis. This
often affects the selection of materials and sizes for design of the system. For instance, a particular shape in
aluminum will deflect almost three times as much as the same steel shape for an equivalent load (see
above), though its strength (i.e. the maximum load it can sustain) may be equivalent or even slightly higher,
depending on the grade of aluminum. Because aluminum is often the material of choice, given its lower unit
weight and better weathering capability as compared with steel, deflection is usually the governing criteria in
curtain wall design.

Thermal criteria

Relative to other building components, aluminum has a high heat transfer coefficient, meaning that aluminum
is a very good conductor of heat. This translates into high heat loss through aluminum curtain wall mullions.
There are several ways to compensate for this heat loss, the most common way being the addition of
thermal breaks. Thermal breaks are barriers between exterior metal and interior metal, usually made of
polyvinyl chloride (PVC). These breaks provide a significant decrease in the thermal conductivity of the
curtain wall. However, since the thermal break interrupts the aluminum mullion, the overall moment of inertia
of the mullion is reduced and must be accounted for in the structural analysis of the system.

Thermal conductivity of the curtain wall system is important because of heat loss through the wall, which
affects the heating and cooling costs of the building. On a poorly performing curtain wall, condensation may
form on the interior of the mullions. This could cause damage to adjacent interior trim and walls.

Rigid insulation is provided in spandrel areas to provide a higher R-value at these locations.

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 Temperature diagram

Infills

Infill refers to the large panels that are inserted into the curtain wall between mullions. Infills are typically
glass but may be made up of nearly any exterior building element.

Regardless of the material, infills are typically referred to as glazing, and the installer of the infill is referred to
as a glazier.

Glass

The French hothouse at the Jardin des Plantes, built by Charles Rohault de Fleury from 1834 to 1836, is an
early example of metal and glass curtain wall architecture.

By far the most common glazing type, glass can be of an almost infinite combination of color, thickness, and
opacity. For commercial construction, the two most common thicknesses are 1/4 inch (6 mm) monolithic and
1 inch (25 mm) insulating glass. Presently, 1/4 inch glass is typically used only in spandrel areas, while
insulating glass is used for the rest of the building (sometimes spandrel glass is specified as insulating glass
as well). The 1 inch insulation glass is typically made up of two 1/4-inch lites of glass with a 1/2 inch (12 mm)
airspace. The air inside is usually atmospheric air, but some inert gases, such as argon, may be used to
offer better thermal transmittance values. In residential construction, thicknesses commonly used are 1/8
inch (3 mm) monolithic and 5/8 inch (16 mm) insulating glass. Larger thicknesses are typically employed for

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buildings or areas with higher thermal, relative humidity, or sound transmission requirements, such as
laboratory areas or recording studios.

Glass may be used which is transparent, translucent, or opaque, or in varying degrees thereof. Transparent
glass usually refers to vision glass in a curtain wall. Spandrel or vision glass may also contain translucent
glass, which could be for security or aesthetic purposes. Opaque glass is used in areas to hide a column or
spandrel beam or shear wall behind the curtain wall. Another method of hiding spandrel areas is through
shadow box construction (providing a dark enclosed space behind the transparent or translucent glass).
Shadow box construction creates a perception of depth behind the glass that is sometimes desired.

Stone veneer

Thin blocks (3 to 4 inches (75-100 mm)) of stone can be inset within a curtain wall system to provide
architectural flavor. The type of stone used is limited only by the strength of the stone and the ability to
manufacture it in the proper shape and size. Common stone types used are: Arriscraft(calcium
silicate);granite; marble; travertine; and limestone. The stone may come in several different finishes, which
adds many more options for architects and building owners.

Panels

Metal panels can take various forms including aluminum plate; thin composite panels consisting of two thin
aluminum sheets sandwiching a thin plastic interlayer; and panels consisting of metal sheets bonded to rigid
insulation, with or without an inner metal sheet to create a sandwich panel. Other opaque panel materials
include fiber-reinforced plastic (FRP), stainless steel, and terracotta. Terracotta curtain wall panels were first
used in Europe, but only a few manufacturers produce high quality modern terracotta curtain wall panels.

Louvers

A louver is provided in an area where mechanical equipment located inside the building requires ventilation
or fresh air to operate. They can also serve as a means of allowing outside air to filter into the building to
take advantage of favorable climatic conditions and minimize the usage of energy-consuming HVAC
systems. Curtain wall systems can be adapted to accept most types of louver systems to maintain the same
architectural sightlines and style while providing the necessary functionality.

Windows and vents

Most curtain wall glazing is fixed, meaning there is no access to the exterior of the building except through
doors. However, windows or vents can be glazed into the curtain wall system as well, to provide required
ventilation or operable windows. Nearly any window type can be made to fit into a curtain wall system.

Fire safety

Combustible Polystyrene insulation in point contact with sheet metal backban. Incomplete firestop in the
perimeter slab edge, made of rockwool without topcaulking.

Firestopping at the "perimeter slab edge", which is a gap between the floor and the backpan of the curtain
wall is essential to slow the passage of fire and combustion gases between floors. Spandrel areas must have
non-combustible insulation at the interior face of the curtain wall. Some building codes require the mullion to
be wrapped in heat-retarding insulation near the ceiling to prevent the mullions from melting and spreading
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the fire to the floor above. It is important to note that the firestop at the perimeter slab edge is considered a
continuation of the fire-resistance rating of the floor slab. The curtain wall itself, however, is not ordinarily
required to have a rating. This causes a quandary as Compartmentalization (fire protection) is typically
based upon closed compartments to avoid fire and smoke migrations beyond each engaged compartment. A
curtain wall by its very nature prevents the completion of the compartment (or envelope). The use of fire
sprinklers has been shown to mitigate this matter. As such, unless the building is sprinklered, fire may still
travel up the curtain wall, if the glass on the exposed floor is shattered due to fire influence, causing flames
to lick up the outside of the building. Falling glass can endanger pedestrians, firefighters and firehoses
below. An example of this is the First Interstate Bank Fire in Los Angeles, California. The fire here
leapfrogged up the tower by shattering the glass and then consuming the aluminium skeleton holding the
glass. Aluminium's melting temperature is 660°C, whereas building fires can reach 1,100°C. The melting
point of aluminium is typically reached within minutes of the start of a fire. Firestops for such building joints
can be qualified to UL 2079 -- Tests for Fire Resistance of Building Joint Systems. Sprinklering of each floor
has a profoundly positive effect on the fire safety of buildings with curtain walls. In the case of the
aforementioned fire, it was specifically the activation of the newly installed sprinkler system, which halted the
advance of the fire and allowed effective suppression. Had this not occurred, the tower would have collapsed
onto fire crews and into an adjacent building, while on fire. Exceptionally sound cementitious spray
fireproofing also helped to delay and ultimately to avoid the possible collapse of the building, due to having
the structural steel skeleton of the building reach the critical temperature, as the post-mortem fire
investigation report indicated. This fire proved the positive collective effect of both active fire protection
(sprinklers) and passive fire protection (fireproofing).

Fireman knock-out glazing panels are often required for venting and emergency access from the exterior.
Knock-out panels are generally fully tempered glass to allow full fracturing of the panel into small pieces and
relatively safe removal from the opening.

Maintenance and repair

Curtain walls and perimeter sealants require maintenance to maximize service life. Perimeter sealants,
properly designed and installed, have a typical service life of 10 to 15 years. Removal and replacement of
perimeter sealants require meticulous surface preparation and proper detailing.

Aluminum frames are generally painted or anodized. Factory applied fluoropolymer thermoset coatings have
good resistance to environmental degradation and require only periodic cleaning. Recoating with an air-dry
fluoropolymer coating is possible but requires special surface preparation and is not as durable as the
baked-on original coating.

Anodized aluminum frames cannot be "re-anodized" in place, but can be cleaned and protected by
proprietary clear coatings to improve appearance and durability.

Exposed glazing seals and gaskets require inspection and maintenance to minimize water penetration, and
to limit exposure of frame seals and insulating glass seals to wetting.

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patterned facade facing courtyard - L Institut du Monde Arabe-Paris

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Original (German)

Light transmission (%)

Grade of paint / frit / print (%) Paint / frit / print on pos 2

To be used as a block:

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Opaker Glaskubus im starken Kontrast zum angestammten Stadtbild
(20.9.2007) Am 8. Juni 2007 hieß es "Vorhang auf!" für den Erweiterungsanbau des Kultur- und
Bürgerhauses der Stadt Döbeln. Architekten vom Bauplanungsbüro Schroeder,

Opake Structural Glazing Fassade als Außenhaut, die dem

Stahlbetonkern mit Lochfassade in 60 cm Abstand vorgelagert
ist. Die 3,60 Meter hohen Einzelscheiben variieren in der
Breite und werden zusätzlich oben und unten mit schmalen
Klemmleisten zur mechanischen Sicherung gehalten. Eine
Ausnahme bildet allerdings der Orchesterprobenraum: Er ist
durch eine transparente Glasfaltwand einsehbar und kann zum
Theaterplatz geöffnet werden - das eröffnet verschiedenste
Nutzungsmöglichkeiten.

Die Vorhangfassade aus Verbundsicherheitsglas ist mit einem

vollflächigen keramischen Siebdruck von Schollglas
versehen. Die Siebdruckfarbe "Side One" - ein neues Produkt
von Ferro - soll sich besonders durch ihre Witterungs- und UV-
Beständigkeit auszeichnen. Das Aufbringen der Farbe auf der
Wetterseite der Glasscheiben erzeugt ein mattes
Erscheinungsbild und es entstehen keine Spiegelungen auf
der Außenhaut. Der Siebdruck ermöglicht es, die Räume
natürlich zu belichten, ohne Einblicke von außen zu
gewähren - lediglich schemenhafte Konturen zeichnen sich auf
der gläsernen Außenhaut ab. Um die flächige Wirkung der
Fassade aufzulockern und Offenheit zu signalisieren wurden
schmale Glasstreifen ohne Bedruckung scheinbar beliebig
eingestreut.

 Schollglas Technik GmbH

 Bauplanungsbüro Schroeder
 BAULINKS.de-Archiv

Kai Richter 21 / 117 13/08/12

Frank Gehry Office Building Novartis Campus
Novartis pharmaceutical company building, Switzerland
Sanaa Architects + Diener & Diener Architects + Frank Gehry Architects
Cost: $1.5 billion Related Development: Herzog & de Meuron Architects
New Tower + New research and development facility for Swiss pharmaceutical company Roche.
Location: headquarters complex, on River Rhine. Cost: 800 million Swiss francs for both projects

Kai Richter 22 / 117 13/08/12

Moorfields Eye Hospital glass façade building, London
With a flowing pattern of aluminium solar control louvre blades

Kai Richter 23 / 117 13/08/12

Kai Richter 24 / 117 13/08/12
Greenpix solar pv-façade curtain-wall-led China Beijing.

The media wall has been embedded with intelligent software, allowing the skin of the building to
respond to internal and external data, creating a unique, ‘responsive environment for entertainment
and public engagement’. The design is specifically large scale and low resolution so as to provide
an ‘art-specific’ media facade. Future content for the media wall is expected to include Olympic
events, site-specific video-art installations, weather forecasts and video gaming. The entertainment
center will house the first venue dedicated to media art in Beijing.

New York based architecture & media company Simone Giostra & Partners, have been designing
curtain walls for over 12 years and in association with Arup, the support of German manufacturers
Schueco and SunWays, and the assistance of Chinese solar company Suntech, have developed a
new technology for laminating photovoltaic cells in a glass curtain wall. Architect, Simone Giostra

Kai Richter 25 / 117 13/08/12

says he was inspired by the ‘everchanging experience’ of the seascape, and that he wanted to
replicate it in some way.

‘The polycrystalline photovoltaic cells are laminated within the glass of the curtain wall and placed
with changing density on the entire building’s skin. The density pattern increases building’s
performance, allowing natural light when required by interior.’

You can play around with the Greenpix simulator online, which converts Quicktime films to the
Greenpix format for an idea of the impact of the giant media wall. Simone Giostra & Partners
expect the structure to ‘define new standards in the context of urban interventions worldwide, raise
global interest in the integration of digital technology with architecture and reinforce the reputation
of Beijing as a center for innovation and urban renewal.’ This is definitely a sensational piece of
work which we look forward to seeing more on.

+ Greenpix Zero Energy Wall

+ Simone Giostra & Partners

Kai Richter 26 / 117 13/08/12

Black buildings / glass / LED wall:

Chanel 5 – Japan – black ceramic frit

Chanel, Tokyo, Japan

Peter Marino

Part retail store, part television screen, the glass façade of the Chanel store in Tokyo's swanky Ginza district
lights up the night sky with 700,000 embedded LEDs. This massive display can be programmed to show
either the brand's signature black-and-white tweed pattern (think Chanel suit), or to project video of fashion-
show footage and other images. The electronic mille-feuille can also transform from see-through to opaque,
Kai Richter 27 / 117 13/08/12
thanks to a combination of 3,675 square feet of canvas scrim and electronically controlled privacy glass.

In transparent mode, the structure offers clear views inside or outside. But what's neatly hidden is a complex
system of 65,000 microcomputers that can process more than 32 trillion commands per second when the
building transforms into a larger-than-life video billboard. The final effect is stunning showmanship in the
name of a classic, yet hip and inventive fashion brand.

Chanel, Tokyo, Japan. The glass facade of chanel’s store in Tokyo, lights up the night with 700,000
embedded LEDs the massive display can show an electronic version of the brand’s signature black-and
white tweed pattern, or a video of a fashion show. The electronic mural can also transform from transparent
to opaque, thanks to a combination of 3,675 square feet of canvas scrim and electronically controlled privacy
glass. That makes this structure truly remarkable.

Kai Richter 28 / 117 13/08/12

Solar panels

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Aqua Tower:

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Webcor Builders

Value Through Innovation

By Russ J. Stacey

The résumé for Webcor Builders reads like a "what's where" in the state of California. Some of the notable
structures dotting the landscape that Webcor has built include Oracle World Headquarters, the Letterman
Digital Arts Center (the first private development in a national park), California Academy of Sciences,
Millennium Tower (the tallest concrete structure in San Francisco), San Francisco's St. Regis Hotel, the W
San Diego and the Californian on Wilshire in Los Angeles. But it is a current undertaking in Oakland nearing
completion that has proven to be a most challenging - and rewarding - venture for Project Director Todd
Mercer and his team.

The soaring Cathedral of Christ the Light consists of a one-of-a-kind sanctuary for 1,500 worshipers.
(Photo by Bob Morris Photography)

Covering two square blocks on the shore of Lake Merritt, the Cathedral of Christ the Light is a showcase of
stunning architectural features and ambitious technology. The cathedral's unique, oval-shaped edifice has
been engineered to last for three centuries and to withstand the force of a 1,000-year earthquake. The
project includes a distinctive, 1,500-person sanctuary, a mausoleum, conference and residential facilities,
office and retail spaces and a subterranean parking garage.

Over 60,000 tons of concrete were poured to create the project, but it isn't the enormous volume that injects
Todd's voice and demeanor with pride. "The complex geometrical shapes formed with the concrete are
Kai Richter 35 / 117 13/08/12
unique and challenging. To create them, we used self-consolidating concrete - something that we had limited
experience with on such a large and complex scale. We had to figure out how to use it, how to incorporate it
into the project and how to navigate several roadblocks. The result is some of the highest quality and most
complicated exposed architectural concrete in the region." For its work on Cathedral of Christ the Light,
Webcor was awarded the 2007 American Concrete Institute (ACI) Award for Architectural Concrete for
Northern California.

Built to last for centuries, the cathedral's unique, oval-shaped edifice has been engineered to
withstand a 1,000-year earthquake. (Photo by Bob Morris Photography)

Kai Richter 36 / 117 13/08/12

The cathedral's exterior is covered by 1,028 panes of fritted, transparent glass. (Photo by Bob Morris
Photography)

One might think that with that much concrete, the building would look like a fortress. However, much of that
concrete has been used to form a curving base for the soaring and luminous sanctuary that sits atop. This
inspired space is covered by 1,028 panes of fritted, transparent glass and topped by an oval-shaped oculus
roof over 100 feet high. The cathedral's signature roof and ceiling required a unique "top down" erection
sequence with a shoring tower used to support the roof before the installation of the permanent support
structure. "We were even able to utilize standard scaffolding," Todd explains. The permanent support
structure is as unique as the roof and consists of 26 curving glue-laminated ribs made from Douglas fir and
26 straight fir mullions, which had to be painstakingly put into place.

After breaking ground in 2005, the magnitude of the mission is sinking in as they wind down the project to its
completion. "What makes it really monumental is the fact that it's going to be here for a very long time and
that it's a community building. I've left a part of me in it," Todd says. "I truly believe that there isn't anybody
that could have completed this project at this level of quality, in this timeframe and for the same cost that we
did. Webcor's expertise in structural and architectural concrete was critical in achieving the desired design
aesthetic and award-winning quality that parishioners and community members will be able to enjoy for
centuries to come."

Kai Richter 37 / 117 13/08/12

 Webcor's expertise in structural and architectural concrete was critical in achieving award- winning
quality within a tight budget. (Photo by Bob Morris Photography)

The unique tension-supported structure called for the erection of the roof prior to the supporting
structure. (Photo by Bob Morris Photography)

Founded in 1971, Webcor is currently ranked as the largest commercial construction firm in California by
volume and is consistently ranked among ENR's top 30 general contractors in the nation. The firm, with over
$2.4 billion in open contracts currently in place, has built a reputation for cost-saving collaboration with its
clients and its forward embrace of technology. With over 50 million square feet of results, Webcor's
experience includes commercial office buildings, high-tech corporate campuses, high-density residential
projects, parking structures, luxury hotels, cultural facilities and many renovation and restoration projects as
well.

Though Webcor has grown exponentially over the years, Todd's passion reflects the company philosophy.
"We become builders because part of us wants to know how things work and how things go together and
then be involved in the building. Part of it is we want to be able to point and say, 'Look what I worked on.
Look what I was a part of.'"

Kai Richter 38 / 117 13/08/12

 Working extensively with the client and design team during preconstruction, Webcor helped reduce
the initial project estimate by $40 million. (Photo by Bob Morris Photography)

Whether constructing sustainable, cost-effective solutions for a modest-sized arts organization or erecting a
skyscraper for a mammoth corporation, each project for Webcor presents its own cadre of interesting hurdles
to dissect, overcome and learn from. Or, as Todd put it, "They all have a different spin to them, but each is
special for different reasons."

Webcor's corporate headquarters is located at 951 Mariners Island Blvd., 7th floor, San Mateo, CA 94404.
Call (650) 349-2727 or visit webcor.com for more information and for their other locations.

http://www.builderarchitectbayarea.com/commercial_edition/

Kai Richter 39 / 117 13/08/12

Black glass buildings

The Royal Library Extension Copenhagen, Denmark

schmidt hammer lassen K/S http://shl.dk/eng/#/home/ The Black Diamond Photos: courtesy SHL

The Royal Library represents a break away from the

traditional library structure by housing a wide variety of
cultural facilities. Danish architects schmidt hammer
lassen K/S won the European architecture competition
to for the design of the Royal Danish Library in 1993.

Office Copenhagen
Flaesketorvet 68
1711 Copenhagen V
Denmark

T +45 70 20 19 00
F +45 70 20 19 07
E info@shl.dk

Movement versus stringent form; symmetry versus asymmetry.

While the Holmen building sits on the ground, the Diamond
floats on a ribbon of raised glass. The ribbon of glass offers
views into the foyer from the exterior and panoramic views of
the entire waterfront from within. The building has seven stories
plus a basement. Its twisted shape and inclined facades are
dynamic features clearly distinguished from the traditional
square angles of the original library building.

The link, a connecting walkway between the old and

the new library, runs from the entrance hall in the
Holmen building, through the 1968 Hansen building
(named for Preben Hansen, Royal Building Inspector
and architect), above Christians Brygge, through the
atrium of the Diamond—right up to the harbor front. The
north/south axis provides a visual link between the
different functions in the complex. Kirkeby painted a
210-square-meter mural which adorns the ceiling of the
Lending Department Bridge.

The new main entrance to the library overlooks the new square,
Søren Kierkegaards Plads, which is perpendicular to the
north/south axis. Towards the Diamond, a cascading fountain,
its stimulating sound marking the transition from the noisy traffic
outside to the inner calm of the library, borders the square. In
front of the Diamond, Søren Kierkegaards Plads continues to
the new harbor promenade which, like the square, is laid with
dark granite mosaic stones.

Kai Richter 40 / 117 13/08/12

 The overhang, as well as the height of the Foyer floor, is
compressed to induce a forward motion towards the spacious
Atrium. The Foyer is the new central space with cultural facilities
open to the public.

Walking distances are kept short, with a rational flow

through the building for both the staff and public. From
the entrance level, “travelators” offer access to C level,
the main floor of the library. This is where the new main
building is linked to the original library buildings via an
18-meter-wide bridge above Christians Brygge. The
interior of the Hansen building, which houses offices
and service functions for various library departments,
has been totally renovated, while the exterior has been
adapted to the facade and geometry of the Diamond.

In contrast with the exterior of the Diamond, the Atrium is designed as

an organic room in motion that cuts into the building. Wave-like
balconies flank the 24-meter-high interior, skylights provide comfortable,
indirect daylight for the Reading Rooms. The room is light and friendly,
the movement is upwards. The Atrium opens up towards the harbor
front, allowing views from the outside into the interior world of the library.
From the Atrium, there is direct access to the bookshop, cafe/restaurant,
and the Queens Hall, as well as to the exhibition galleries at levels K and
B.
The Reading Rooms at levels C to F flank the Atrium in the form of
double-height rooms with mezzanine balconies. Glass walls more than 6
meters high provide a sound screen between the Reading Rooms and
the Atrium. The Reading Rooms have more than 300 seats that all face
the Atrium, the light, and the water.

Daylight plays an important role in the character of the

spaces, coming from two angles—through a large
skylight and from reflected light from the water outside.
The “Fish” building has two stories plus a basement. It
takes its shape from the site by following the curve of
Christians Brygges and the harbor entrance. The
contrasting colors and shapes of the Fish and the
Diamond emphasize the independent existence of the
two buildings.

Kai Richter 41 / 117 13/08/12

 At night the Atrium stands out against the skyscape.
The ribbons of light from the offices add an abstract
touch to the facades. The sheet of glass cutting through
the Diamond at the entrance level makes the building
appear to float above ground.

Architects: schmidt hammer lassen K/S

Client: The Danish Ministry of Culture
Construction: 1995 - 1999
Engineer: Moe & Brødsgaard Rådg. Ingeniører A/S
Acoustics: Anders Chr. gade
Landscape architect: schmidt hammer lassen K/S
Area: New building approximately 21,000 square
meters
Renovation: Approximately 6,500 square meters

Cladding made out of black polished granite

Kai Richter 42 / 117 13/08/12

Black buildings:

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Kai Richter 44 / 117 13/08/12
One Nashville Place

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White buildings

IAC NY Gehry

Night shot

Kai Richter 46 / 117 13/08/12

Top: Without / bottom with roller blinds (inside)

Glass installation / replacement on sloped facade

Kai Richter 47 / 117 13/08/12

Glass balustrade with ceramic frit.

Graduated dot pattern -> 0% to 90%

Kai Richter 48 / 117 13/08/12

First Canadian Place, Toronto:

http://www.redefiningfirst.com/Overview/Vision.aspx

http://www.redefiningfirst.com/Project/Tower-Podium.aspx

Animation:

Kai Richter 49 / 117 13/08/12

NY - Bowling green Subway entrance

DuPont™ SentryGlas® Interlayer Provides Unrivalled Strength for Thin, Frameless Glass Canopy

http://www2.dupont.com/SafetyGlass/en_US/whats_new/sentry_glass_bowling_green.html

Kai Richter 50 / 117 13/08/12

The 40% dot pattern coverage is enough to enhance maintenance without negatively affecting the adhesion
of the glass and interlayer. Stein confirms, “The MTA New York City Transit is very maintenance-oriented
and the fritting is a critical dirt-hiding feature.” In addition to maintenance benefits, the project team at Dattner
liked the fact that fritted glass lets daylight in. Daylighting is a sustainable way to reduce lighting energy costs
and improve safety.

Kai Richter 51 / 117 13/08/12

sapphire-gallery-by-xten-architecture-sapphire

Ceramic fritted glass

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07015.02_tower_GlassStudies_frit_White_sceneB

Mirrored glass

Kai Richter 53 / 117 13/08/12

Cira Centre Philadelphia
http://phillyskyline.com/bldgs/cira/index.htm

Viracon VRE1-46
2
Containing 731,852 square feet (68,000 m ), the Cira Centre is a silver glass curtain wall skyscraper.
Designed to be seen from all sides, the removal of the building's northwest and southeast corners gives the
skyscraper a different shape when viewing it from different locations. The building amenities include retail
and restaurant space, a conference room, a 9-story parking garage and a pedestrian bridge that links the
Cira Centre's lobby with 30th Street Station. The building features lighting designed by Cline Bettridge
Bernstein Lighting Design. Creating a wall of LEDs on most of the Cira Centre's facade, the LEDs are able to
change colour to create different patterns and effects.

Building (Wikipedia)

The Cira Centre is a 29-story, 437 feet (133 m) silver glass curtain wall skyscraper. The skyscraper sits
[19]
next to 30th Street Station in the University City neighbourhood in West Philadelphia, Pennsylvania. The
US$180 million Cira Centre was designed by architect Cesar Pelli. Bower Lewis Thrower Architects
[20][21]
coordinated the design team and designed Cira Centre's core and neighbouring parking garage. The
building was designed to be seen from all sides with the northwest and southeast corners removed giving
[22]
the Cira Centre a different shape when viewed from different directions. The building's 731,852 square
2 2 2
feet (68,000 m ) includes 690,000 square feet (64,000 m ) of office space and 37,000 square feet (3,400 m )
[19][23]
of conference, retail space and related amenities space. The average floor-plate size is 27,300 square
2 [19]
feet (2,500 m ) and the floors feature 9 feet (2.7 m) ceilings and 360-degree panoramic views. Building
amenities include fourteen high speed and two freight elevators, a health club, restaurants and retail space
[19][23]
and a conference center.

A pedestrian bridge designed by Bower Lewis Thrower crosses Arch Street linking the Cira Centre with 30th
Street Station. The bridge connects the Cira Centre's lobby with the Southeastern Pennsylvania
Transportation Authority (SEPTA) regional rail section. The location right next to 30th Street Station allows
[15][22]
direct access to the Northeast Corridor, SEPTA's regional rail and Philadelphia International Airport.

The lighting design was done by Cline Bettridge Bernstein Lighting Design. Cira Centre's architects did not
want any light fixtures protruding from the building so Cline Bettridge Bernstein decided to create a wall of
light using LEDs. The 26W RGB LED fixtures are hidden in shadow boxes behind the glass curtain wall and
are obscured during the day by the building's reflective glass. The LED lights are able to be changed color to
create different patterns and effects on the building's facade. Designs used on the building include a large
"P" for the Philadelphia Phillies. White 0.12W LEDs lights are also used in the lobby and building's elevators.
In the lobby the white LEDs are mounted on the 50 feet (15 m) tall wall that separates the lobby from the
[24][25]
neighbouring parking garage.

The Philadelphia Inquirer architecture critic Inga Saffron called the Cira Centre "a gorgeous object." She
praised how the building changes shape when viewing it from different angles, describing the building as a
"shape-shifter." She also praised the glass facade which she felt "helps marry the delicate modern tower with
the weighty, neoclassical train station." Saffron was critical that when "viewed straight on from the south side,
the Cira becomes just another staid corporate glass tower." She was also critical of how the surrounding
[22]
railroad tracks and highways isolated the building.

Manntech designed and delivered the façade gondola:

MANNTECH Fassadenbefahrsysteme GmbH

Mannesmannstr. 5
D-82291 Mammendorf (München)
Tel. +49 (0)8145/ 999-0
Fax +49 (0)8145/ 999-217
e-Mail: inland@manntech.de

GROSSBRITANNIEN/IRLAND
CENTO Engineering Company Limited
www.cento.co.uk

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Cleaning gondola:

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ROOF

Kai Richter 60 / 117 13/08/12

Manntech:
GREAT BRITAIN / IRELAND
CENTO Engineering Company Limited
www.cento.co.uk

MANNTECH Fassadenbefahrsysteme GmbH

Mannesmannstr. 5
DE-82291 Mammendorf (München)
Phone +49 (0)8145/ 999-0
Fax +49 (0)8145/ 999-217
e-Mail: inland@manntech.de

Kai Richter 61 / 117 13/08/12

Kai Richter 62 / 117 13/08/12
Comcast Centre Philadelphia
http://www.phillyskyline.com/bldgs/comcast/decemberopening/comcast_071203.htm

Viracon VRE1-38 (typical office areas)

Solarban 60 Starphire (“clear” glazing at corners and top)

Building (Wikipedia)

The Comcast Center is a 58-story, 975 feet (297 m) glass

skyscraper located at 17th Street and John F. Kennedy
Boulevard in Center City, Philadelphia, Pennsylvania. The
tower is the tallest building in Philadelphia and Pennsylvania
and is the fifteenth tallest building in the United States (and
tenth tallest by roof height). The 1,250,000 square feet
2
(116,000 m ) Comcast Center has 58 floors, of which 56 are
occupiable. The structure of the Comcast Center comprises a
central concrete core with steel framed floors. The building's
exterior features a glass curtain wall made of lightly tinted, non-
[23][3][26][27]
reflective low-emissivity glass. The tower tapers
inward towards the top and features two cutouts near the top of
[28]
the building on the north and south sides. To prevent the
tower from swaying too much in the wind, the Comcast Center
contains a 300,000 gallon double-chambered concrete tuned
liquid column damper, the largest such damper in North
[29]
America. Receiving a gold Leadership in Energy and
Environmental Design (LEED) rating in April 2009, the Comcast
Center is the tallest LEED building in the United States. The
building was designed to use 40 percent less water than a
typical office building, and the plaza was designed to reduce
heat-island effect from the pavement by 70 percent. Reducing
air conditioning and lighting costs, the low-emissivity
glass curtain wall blocks 60 percent of heat while allowing
[3]
70 percent of the Sun's light inside.

2
The skyscraper has 1,238,000 square feet (115,000 m ) of
2
rentable space, including 36,000 square feet (3,300 m ) of
restaurant and retail space called The Market at the Comcast
2
Center. 16,500 square feet (1,500 m ) of retail space is on the
underground concourse while the rest is located on the street level. The building features high ceilings with
some floors having a ceiling height of 13 feet (4.0 m). The lower floors on the south side of the building
feature four three-story stacked atrias. The building also features a 500-seat concourse level dining court
[23][26][27][30]
and an 87-space private underground parking garage. ThyssenKrupp provided the building's 30
gearless elevators, seven hydraulic elevators, and two escalators.

The Comcast Center faces a half-acre public plaza. The plaza, designed by Olin Partnership, sits over
underground railroad tracks, and features a seasonal outdoor restaurant, Plaza Cafe at Table 31, that sits
under a trellis. Between the cafe and the building entrance is a choreographed fountain designed by Wet
[32]
Design. The tower's entrance is a 110 feet (34 m) tall winter garden. The winter garden entrance directly
connects to the underground concourse of Suburban Station. The building also has a lobby entrance that
[23][26][28]
leads to the Arch Street Presbyterian Church adjacent to the tower.

The exterior lighting scheme of the building was designed by Quentin Thomas Associates, and consists
primarily of white LEDs color-temperature matched to the fluorescent lights used by the interior. Along each
floor, the corner spandrel panels feature upward and downward facing 4,100K LEDs to create the
appearance that the length of the building has been bottom-lit by spotlights. The only major color element
can be found at the top of the tuned mass damper; a single row of color-changing LEDs that is programed to
commemorate special events. For example, the top would be colored pink for Breast Cancer Awareness
[33]
Month.

Philadelphia Inquirer architecture critic Inga Saffron described the Comcast Center as "a respectable work of
architecture" that was "dignified in its stance on the grid, generous in its relationship to the city, responsible
[34]
in its treatment of the environment." She felt the tower's shape reminded her of a giant flash drive. Saffron
said the building excelled at the street level, praising the plaza, concourse, and its connection to Suburban
[28]
Station. In 2009 the Comcast Center was awarded the Urban Land Institute Award for Excellence in the
[35]
Americas category for the transformation of what was once mostly a vacant lot into a transit gateway.

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Curtain Call for Curtain Wall
The relative merits of stick systems and unitized systems of curtain wall construction are debated.

By: Mark Brook

Text Mark Brook

Contemporary glass and metal curtain wall systems can be broadly categorized by their means of assembly
and installation as either stick systems or unitized systems. Stick systems consist of fabricated tubular
aluminum "sticks" which are assembled onto the building frame to create a structural grid. Vision glass and
spandrel backpans, insulation and face panels are inserted into the gridwork. Unitized systems are
composed of factory-assembled frames complete with infill vision and spandrel panels that are installed on
the building frame in an interlocking sequential manner. Both systems have advantages and disadvantages.
The traditional thought is that unitized systems are restricted to large projects incorporating great expanses
of uniform wall area. Where the building demands long spans, small areas of varying wall configurations,
incorporation of stone or materials other than glass and metal, is of low rise construction or is to be
retrofitted, stick systems are often thought of as the system of choice. However, manufacturers are
demonstrating that unitized systems can be readily adapted to meet these conditions.

Long Span Frames

Unitized curtain wall frames in North America are typically 1500 millimetres wide (to meet space planning
constraints) and one storey in height. It is not unusual to see longer frames used for the first or last floor of
curtain wall on a building to cover parapet and spandrel conditions. While stick framing remains the dominant
system for long spans, unitized curtain wall manufacturers have demonstrated that frame size is limited only
by the volume of aluminum in the billet available to the extruder. Factory glazed unitized frames over 15
metres tall have been produced on projects such as the new Terminal One at Lester B. Pearson
International Airport (SOM/Adamson/Safdie) in Toronto. Frames of this size present not only technical
challenges but also logistical challenges with respect to assembly, shipping and erection.

Varied Wall Types

Obviously there are economies of scale in producing large numbers of identical frames, and this is the
principal market for unitized systems. However, architectural designers are constantly looking for a greater
range of expression in the exterior façade. This is evidenced by both the number of different wall types on a
given building or the actual configuration of the wall itself. Stick systems often appear as more appropriate--
especially on smaller scale projects--for buildings with varying wall types. Unitized system manufacturers
have responded with flexible manufacturing processes allowing multiple interconnecting panel types on a
given façade. The Concordia University Engineering Building in Montreal and the new National Ballet School
(KPMB Architects) in Toronto are prime examples of this. A notable further example of the growing design
flexibility of unitized curtain wall is the new front façade of the Art Gallery of Ontario (Gehry International).
This project, with its flowing curves in both plan and elevation, utilizes a large number of non-uniform curtain
wall frames.

Incorporating Stone

Incorporating heavier materials such as stone into curtain wall is not new. Hand-setting stone into curtain
wall frames on site or hand-setting stone to a backup wall and inserting curtain wall frames between the
backup walls is not uncommon. Advantages in overall performance and quality can be obtained by
incorporating the stone directly into the curtain wall frame. Stone is mounted in the frame similar to a capped
glass unit, by using kerf anchors or by using proprietary anchors to the back face of the stone. Large-scale
projects such as the BCE Place Towers (SOM/B+H Architects) in Toronto illustrate this concept. Other
spandrel materials such as fibre-reinforced concrete, stone/composite laminates, projecting solid or
composite aluminum panels, shadow boxes and photovoltaic panels are also readily incorporated into the
unitized frame.

Retrofit

Retrofit of existing curtain wall or removal of an existing wall system and replacement with a new curtain wall
is a growing segment of the construction market, given the less than graceful aging of some of our building
stock. Where complete wall replacement is desired and the building is occupied, unitized systems have a
particular advantage in the very fast close-in of the exterior wall after removal of the existing wall.

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Double Wall

Twin shell or double façades have gained notoriety on high-profile projects in Central Europe. While actually
having a long history in North America, the concept is receiving renewed attention in Canada. Many aspects
of the European model are not directly transferable to North American projects. However, the use of
panelized construction is ideal for this wall configuration. The sensitivity of the interstitial space between the
wall layers to thermal variances and air leakage focuses attention on the compatibility and integration of the
wall layers. As either two independent layers or as an interconnected assembly, panelization allows greater
quality and the incorporation of other technologies such as ventilation, motors and sensors more readily than
stick-designed assemblies.

Energy

Energy codes and LEED-type certification programs are pushing curtain wall technology from an energy
perspective. Development of glass and edge spacers has advanced faster than frame technology. However,
unitized framing techniques are improving faster than stick framing with respect to overall performance.
Requirements for greater seismic resistance are also easier to incorporate into unitized systems than stick
systems.

Structural Silicone Glazing

Despite the claims of some sealant suppliers and some contractors, four-sided structural silicone glazing
remains completely within the realm of unitized curtain wall. The reliance on an adhesive to retain the glass
on four edges demands the quality control attainable only in a plant setting. This distinction has led to the
growth of unitized curtain wall on high-rise residential projects, once the exclusive domain of window wall
systems. The greater span, module spacing, adaptability to silicone glazing and greater sophistication
available with unitized curtain wall systems has led to its use on developments such as the Shangri-La
Tower in Vancouver (James KM Cheng Architects).

While both stick and unitized curtain wall systems will remain in the construction market for some time, the
historical distinction between the systems and project types they are used on is beginning to blur. Unitized
systems, with the advantage of factory assembly and fast building close-in, are being employed on a much
wider and diverse range of projects than ever before. Manufacturers of unitized and stick framing systems
continue to vie for market share, and the designer and eventual building occupant emerge as the clear
victors. CA

Mark Brook is a professional engineer and President of Brook Van Dalen & Associates Limited in Nepean,
Ontario.

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This ingenious curtain wall system in Diamond and Schmitt's new Four Seasons Centre for the Performing
Arts in Toronto uses a series of clips that clamp the many units of the curtain wall in place:
The supporting stainless steel brackets are merely tied back to the structural steel columns.
Holes are not drilled into these glass units, as they would be in more traditional spider connections. The
horizontal laminated glass girts support the curtain wall from lateral forces.

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K2 ST KATHARINE’S ESTATE, London
Completion date: 2004

Client: Taylor Woodrow

Properties Ltd

Architect: Richard Rogers

Partnership

Main contractor: Taylor Woodrow

Construction Ltd

Contract value: £ 7.5 m.

FACADE TYPE:

 Systems : Interlocking Gasket System for:

External Curtain Wall Types A & C
Internal Curtain Wall Type B
Brise Soleil Systems
Structural Glass Wall
Atrium Roof

14,720m²

FAÇADE FINISHES:

 Schmidlin Colorsec Perlglimmer Polyester Powder coating

to external and internal aluminium profiles and sheet.

PROJECT DESCRIPTION:

This major office development is situated opposite the Tower of London on the approach to Tower Bridge.

The project - designed by Richard Rogers Architects - incorporates an impressive bolt fixed glass Entrance
Wall and Atria with the external glazed walls supported by tensioned cables.

Office facades are constructed from prefabricated and pre-glazed aluminium curtain wall elements of typical
size 3.0m wide by storey-height. These elements - weighing upwards of 1000Kg - were installed by Tower
Crane onto adjustable brackets fitted to the floors.

Other notable features of the development are the external cores situated at the 4 corners of the building,
which appear to have no vertical framing.

McMullen USA

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IAC Headquarters, NY, Frank Gehry / Permasteelisa

http://www.iacbuilding.com/interactive/content.html

Recently, I made my way through Manhattan’s (or at least mid-Manhattan’s) latest buildings. I lived in L.A.
years ago and even had the opportunity to draw working drawings, along with dozens of other people, on
Frank Gehry’s Disney Concert Hall. The concert hall was phenomenal in my mind. I’ve been pretty high on
Gehry’s work ever since. It’s too bad that I saw this IAC building in Chelsea, New York because my
perception of Gehry has fallen a bit back into the Philip Johnson (lifelong hipster opportunist) mode. That is,
the building feels like a concession or boringization of a Gehry building.

I saw several of the early models for this building, and they were so much fun. They were typical Gerhy. The
models defied logic and physics, but somehow held together in their lightness and unspeakable aesthetic
quality. The final product, however, turned out to look and feel like a cheesy 80’s office building whose glass
looks like it needs a good cleaning. I concede that from the river the building shows off its sail-like quality. It
reads a bit like a jewel box circa 2050. Unfortunately when you are right next to the building or in the
building, none of the beauty of the form is perceived. An office looks like any office. There are no canyons or
spires or flaps or bows to draw your eye into the supernatural abyss like all other Gehry buildings do. Instead
you sit in an overpriced pancake where each floor is a different shape, oh boy! To be fair, the spaces created
in Gehry’s buildings still cannot be made to fit easily within a building official’s feeble mind. This process can
often be disheartening and time consuming which leads to a defeat by the developer and architect, and a
victory for blandness, i.e. the IAC Building.

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Dior, NY
LVMH Tower (Dior), Christian de Portzamparc

 Kai Richter

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Burberry, NY, DMP

 Kai Richter

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Façade, NY

 Kai Richter

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Façade, NY

 Kai Richter

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Hearst Building, NY

 Kai Richter

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Brisbane Square
Height: 151m, Storeys: 38, Year: 2006, Architect: Denton Corker Marshall

 Kai Richter

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 Kai Richter

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Charlotte Towers, Brisbane
Height: 138m, Storeys: 44, Year: 2007, Architect: Peddle Thorp & Walker

 Kai Richter

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The Brisbane Club Tower:

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 Kai Richter

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 Kai Richter

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State Law Building (Gotham Tower, Batman Building), Brisbane
Height: 128m, Storeys: 30, Year: 1977, Architect: Conrad & Gargett

 Kai Richter

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Eureka Tower, Melbourne
Height: 297m, Storeys: 91, Year: 2006, Architect: Fender Katsalidis - Norman Disney & Young, -
Permasteelisa

 Kai Richter

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 Kai Richter

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Melbourne Central Office,  Kai Richter
Height: 211m, Storeys: 53, Year: 1991, Architect: Kisho Kurukawa & Bates, Smart and McCutcheon -
Norman Disney & Young

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Crown Towers, Melbourne,  Kai Richter
Height: 152m, Storeys: 43, Year: 1997, Architect: Daryl Jackson Pty - Permasteelisa

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Melbourne University, Permasteelisa
Architect: Metier 3 - Permasteelisa

 Kai Richter

Façade, Sydney

 Kai Richter

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World Tower, Sydney
Height: 230m, Storeys: 73, Year: 2004, Architect: Nation Fender Katsalidis

 Kai Richter

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 Kai Richter

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Coop Himmelblau‘s new academy of Fine Arts in Munich

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Munich, glass back painted

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ARM MTCTheatre façade corner night c John Gollings 2009 WEB
Melbourne

Aurora mirror effect, Brisbane

Height: 207m, Storeys: 69, Year: 2006, Architect: Cottee Parker

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 Kai Richter

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 Façades

The Broadgate Tower, London (United Kingdom)

Architect: Skidmore, Owings & Merrill, LLP, Chicago; Skidmore, Owings & Merrill, Inc, London

The 161 m high Broadgate Tower, within the City of London is bord-ered by 201 Bishopsgate to the
East, Primrose Street to the South, Worship Street to the North and Broadwalk House and Network
Rail Signal Box to the West. The Broadgate Tower is one of two buildings to be developed on the
previously constructed “raft” slab, which spans over the railway leading into Liverpool Street
Station. The Broadgate Tower consists of a 34-storey tower plus a further 2 levels of small
plantroom areas. The main entrance area at ground floor leads, via escalators, to lift lobbies at
levels 1 and 2 serving double deck lifts. The main office floors are located at levels 1 and levels 3-
33. Level 2 comprises both lift lobbies and plantrooms. Level 34 comprises plantrooms. The final
function of the building is office space.

Completion in 2008

Photograph: Holger Knauf, Düsseldorf

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 201 Bishopsgate London (United Kingdom)

Architekt: Skidmore, Owings & Merrill, LLP, Chicago: Skidmore, Owings & Merrill, Inc, London

The 60 m high 201 Bishopsgate, within the City of London is bordered by Norton Folgate to the
East, Primrose Street to the South, Worship Street to the North and Broadgate Tower to the west.
201 Bishopsgate low-rise building is one of two buildings to be developed on the previously
constructed Raft slab, which spans over the railway leading into Liverpool Street Station.

Completion in 2008

Photograph: Holger Knauf, Düsseldorf

Chiswick Park London (United Kingdom)

Architekt / Architect: Rogers Stirk Harbour + Partners, London

In the western London district Chiswick at Chiswick High Road, a business park has been
developement comprising twelve office and administration buildings.
2
Building 9 has a total façade area of approx. 5,200 m . The external façade mainly consists of
glazed curtain wall units, sizes 3.0 m x 3.95 m.

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 Completion in 2008

Photograph: Holger Knauf, Düsseldorf

Cooper Square Hotel, New York (USA)

Design Architect: Perkins Eastman, New York

Consulting Architect: Carlos Zapata Studio, New York

The Cooper Square Hotel is a new luxury hotel in the Bowery in the heart of Manhattan/New York.
The Building consists of a 70 m high tower with 21 floors and a 3 floor high townhouse. The two
buildings are linked by a bridge.

Completion in 2008

Photograph: Chuck Choi Architectural Photography, Brooklyn, NY

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 20 Gresham Street London (United Kingdom)

Architect: Kohn Pedersen Fox Associates International, London

20 Gresham Street with its elegant façade opens out to the attractive vicinity of the historic London
Guildhall. The building project, used by the client Hermes Real Estates is located between St.
2
Pauls Cathedral and the Bank of England in the city centre of London and consists of 22,000 m
office area
This building has been clad with nine different curtain wall types in total.

Completion in 2008

Photograph: Holger Knauf, Düsseldorf

InHaus2 Duisburg (Germany)

Architect: Fraunhofer Gesellschaft, Markus Scheben, München und Hochtief Consult, Klaus
Sabranski, Essen

The research building „inHaus2“ in Duisburg is situated in close vicinity to the University and the
Fraunhofer Institute for Micro-Electric Switching Systems. Managed by the Fraunhofer Company
notable German firms have united to develop and test intelligent façades, room and building
systems in the inHaus2-research facility. Apart from Gartner 40 other companies are participating
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 in this long-term project, which is sponsored by the state, the federal government and the
European Union.
2
The research building is furnished with five different curtain wall types, total area approx. 1,800 m .
All façades have a glazing with antifall guard, requiring individual approval.

Completion in 2008

Photograph: © Guido Erbring Architekturfotografie

MAM Médiathèque André Malraux, Béziers (France)

Architect: Wilmotte & Associés, Paris, Pierre-François MOGET

Stick Façade:
Aluminium stick façades cover the whole building from the ground floor to the third floor. Total area
2
of the supplied stick façade is approximately 2,000 m . A fixed glazed double glazing and openable
windows and doors are partly installed in the stick façade. The façades are usually storey-high. A
10 m high aluminium façade is installed in an area without mezzanine floor. All façades are
provided with double glazing. Smoke vents are integrated in staircase area. The façades in front of
the concrete cores are provided with glass panels. A façade with sliding doors is built into on the
top floor.

Completion in 2008

Photograph: JEAN-PAUL Planchon

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 One Island East, Quarry Bay, Hong Kong (China)

Architect: Wong & Ouyang (HK) Ltd., Hong Kong

One Island East is the latest building added to the Taikoo Place Development of Swire Properties
Limited. With a total height of 308 m it is the highest building in this particular area of Hong Kong.
The project is split the Tower and the Podium.

Tower Curtain Wall: The curtain wall of the tower is a single skin façade with outwards inclined
recessed corner panels at West/East Corners from 2nd - 21st Floor, vertical recessed corner
panels at North/South Corners and Dome vaulted geometry from 52nd - 67/F resp. Roof at the
North/South Corners.
2
The total tower façade area is 54,000 m .

Completion in 2008

Foto: Stuart Woods

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 60 Threadneedle Street, London (United Kingdom)

Architekt: Eric Parry Architects, London

The new stunning office Building is in the heart of the City, in close proximity to the Bank of
2
England and the Royal Exchange. The Building provides more than 18,000 m of office space.

The challenging designed 9 storey building consists of 8 office floors with main entrance reception
and retail on ground floor whilst plant and services are provided in the basement and on the roof
within a louvered enclosure.
The retail units to the east elevation on ground floor are 6 m in length up to 6 m high and 0.8 m in
width.
The Threadneedle Street main entrance consists of 2 No 4 m high Bi-Parting sliding doors with 2 x
2
2 motorised inner and outer curved sliding leaves. Total external cladding area 8,130 m .

Completion in 2008

Photograph: Holger Knauf, Düsseldorf

Novartis Pharma AG, Basel (Switzerland)

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 Architekt / Architect: Gehry Partners, LLP Los Angeles

Novartis Pharma AG in Basel has redeveloped the factory premises along the banks of Rhine. The
new „campus“ will incorporate the research and development centre of the enterprise. The building
WSJ 242/243 designed by Gehry, is an eye-catcher with a library and an underground auditorium
with 600 seats. The Gehry building, with its geometrical form and openness in the inside of the
building, reflect the concept of free thinking.

Completion: 2009

Photograph: Thomas Mayer

Robert and Arlene Kogod Courtyard, Washington DC (USA)

The historic building complex of the former Patent Office Building in the heart of Washington is
nowadays used as a museum. In the course of refurbishment the inner court was provided with a
roof.
The scope of delivery included the whole roof construction with steel columns, glazing and acoustic
cladding.

Competion in 2007

Photographs: Chuck Choi Architectural Photography, Brooklyn, NY

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 Manchester Civil Justice Centre, Gartside Street, Manchester, M3-3EL (United Kingdom)

Architect: Denton Corker Marshall, Melbourne, Australia

The 16-storey courthouse building is situated in the centre of Manchester in area of the
„Spinningsfields“. The building is approximately 80 m high, 30 m wide and 130 m long.
2
The curtain wall area covers 31,824 m . The building shell consists of five different curtain wall
types.

The Atrium wall is designed as a suspended, double-skin wall-glass façade with a glass bead blast
surface.

The Spine-Wall-Façade is partly provided as unitesed façade and partly as cold façade. It has got
an external cladding with so-called „ALPOLIC“-panels (aluminium-compound material).

The Finger-Wall is partly provided as unitised façade. The inner skin consists of aluminium units
with sheet of or glass infills and intermediate, structural steel units.

The East wall is a unitised façade with curttain type perforated sheet units.

The ground floor façade (ground floor east) is a reccessed unitised façade with powder coated
aluminium sheets.

Completion in 2006

Photographs: Gardin&Mazzoli

The Pierpont Morgan Library, New York City (USA)

Design Architect: Renzo Piano Building Workshop, Paris

Executive Architect: Beyer Blinder Belle Architects, New York

The Pierpont Morgan Library in the heart of Manhattan was built early last century as the private
library of financier J. Pierpont Morgan. Since 1924, the complex has served as a public research
library and museum for exceptionally rare books, manuscripts and drawings.
Apart from the extension and preservation of the historical buildings, the architects created a new
internal courtyard with contemporary steel and glass pavilions of the following scope:
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 2
4,400 m steel cladding, curtain wall and skylight systems. Steel framed glass doors for the main
entrance and staircases.

Glazing: insulated and laminated low-iron glass units with solar gain Low E coating

Additionally supplied: sunshading devices at designated areas, i.e. aluminium grating panels above
skylights, vertical roller shades for internal and external use and motorized louver systems for roof
light control.

Completion in 2006

Photographs: Michel Denance

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bizer@bizer-architekten.de

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The derelict building opposite a train station in Liverpool is set to become an impressive artwork

It's the brainchild of sculptor Richard Wilson, who cut an egg-shaped section out of the derelict building
opposite Moorfields station in Liverpool, fixing the eight metre diameter piece on a pivot.

Mr Wilson is one of Britain's best known sculptors. He has been nominated for the Turner Prize twice and
represented Britain at Biennial festivals across the world.

His artwork, called Turning The Place Over, has cost £450,000 and will run from June 20th until the end of
2008.

Scroll down for more...

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The rotating facade will astonish commuters in Liverpool

It was organised by the Culture Company and Liverpool Biennal. The Culture Company said it was an
"astonishing feat of engineering, which will stun audiences."

We suggest not rotating it when it's raining though.

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