LEED Daylight and Views, Part 1

Illiana Ivanova presents this month’s FXFOWLE Team Green entry.

According to sustainability experts, the daylighting component of the LEED 2009 Indoor Environmental Quality (IEQ) Daylight and Views credit is one of the more elusive credits to achieve, which has been my experience as well. I thought that a double loaded corridor building with a shallow floor plate and windows in each space, oriented along the east-west axis, would be a perfect candidate for this credit—well, not necessarily. Maybe this was an easier credit to achieve under LEED version2.2, but LEED 2009 has definitely cracked down on anyone trying to get this credit.

Warren Hall, Cornell University viewed from the southwest.

The new LEED 2009 IEQ 8.1 credit gives four options for documenting compliance; we used two of them on the renovation of Cornell University’s Warren Hall – the prescriptive and the computer simulation method. Our team applied the two methods to a selection of spaces to determine whether it would be likely that the project could get the credit. The prescriptive method, while complicated at first glance, proved to be fairly quick because the building geometry is pretty simple.  Most spaces fall along the perimeter and measure approximately 16 feet deep. Each space has at least one window, and the ceiling does not obstruct any part of the window opening. The visual transmittance of the glass is 62%.

Axonometric Plan of Warren Hall

We were pretty confident that most of the spaces would meet the requirements for daylight levels.  After performing the calculations for the selected spaces, much to everyone’s surprise, it became clear that many areas fell outside the required daylight zone range of 0.15 to 0.18. This prevented us from achieving the credit because a minimum of 75% of regularly occupied spaces needs to fall in this range. One difficulty we had with this method is that it does not allow for glare control, like interior shades. Additionally, the prescriptive method provides no way of including borrowed light in interior spaces that do not have direct access to windows.  While the majority of the project’s spaces are distributed along the exterior of the building, a few interior areas with open plans rely on clerestory windows and clear side lights at doors to gain natural light.

In the next post I will show how we used a computer simulation model to try to resolve our daylighting issue.

Haiti Part 3: Smart Reconstruction

      

Change is something that many people fear and avoid; however, progress in construction methods is a must for Haiti. After designing and building my own project, a 9,000-square-foot home, over the past two years, I have dealt with the Haiti building industry and have done extensive research that boils down to a few rules of thumb for Haiti’s seismic and hurricane conditions. Of course, specific sites and specific designs will require their own detailed considerations.    

Seven months after the earthquake in Port-au-Prince. Photograph by Pascale Saint-Louis

 

This summer during my vacation I traveled to Haiti to share my knowledge. I began distributing my findings to as many organizations as possible and met with twenty construction workers and engineers. They were surprised that such simple measures could make better buildings. Through these recommendations, which include site selection, building form, roof, construction materials, and methods, Haiti can have a smart reconstruction and new beginning. The price for not moving forward is too great.     

Site Selection     

  • Avoid sites with loose sand, gravel, or sensitive expansive clays,
  • Avoid building on hilltops or in deep closed-in valleys, especially above or below potentially loose rocks and boulders.
  • Locate buildings away from the open sea, riverbanks, and bodies of water, which can experience tidal waves after seismic shocks.

Building Forms     

  • Seismic separation: If the building masses are different sizes then completely separate the forms to make their structural systems independent.
  • Avoid building reentrant corners, interior angles whose apex faces into the building massing (L, T, U and cross-shaped buildings), which are generally weak and need extra strengthening.
  • Building Diaphragms: Shear walls should be continuous to the foundation to properly transfer all loads. Avoid large openings in the slab near the shear wall, as well as in the shear wall itself.
  • Avoid top heavy buildings that are thinner at the bottom than the top—they could easily overturn. Similarly, buildings supported on columns in their first story should be stiffened by bracing.

Roof     

  • Hip-roofs are considered a better configuration for high wind and hurricane prone areas. These four-slope roofs perform better than the gable roof’s two slopes.
  • While flat roofs seem to dominate Haiti, wind researchers have found that a 30-degree roof slope is optimal.
  • Use lightweight roof materials to avoid a chain reaction of progressive collapse.
  • Balance internal and external pressures, and reduce uplift with an opening in the negative wind pressure zone.
  • Porch roofs and overhangs are often subject to high wind uplift forces—structurally disconnect them from the main structure. Similarly, roof cantilevers should be no more than 50cm; provide larger cantilevers with an opening to reduce wind pressure.
  • Avoid cladding with roof tiles—during hurricanes they are brittle, break easily, and become windborne missiles.

Construction Materials and Methods     

  • Use good quality building materials, i.e. do not use beach sand for mortar.
  • Maintain the same construction type for the structure’s full height.
  • Extend the foundation to bedrock, especially in loose sub-soils.
  • Avoid unreinforced masonry, and use a high quality mortar—extremely important!
  • Tie the tops of masonry walls together with a bond beam.
  • Wherever walls and foundations meet, tie them together with steel reinforcing
  • Walls need to resist lateral forces and be as continuous as possible. Keep window and door openings 60cm from the corners.
  • Concrete block walls should contain reinforcement that runs vertically through the block’s voids and laterally between courses.
  • During a hurricane, winds can unhinge exterior doors—make sure they swing out!
  • Pour columns in one single pour. Structural failure often occurs in concrete columns because they were poured in stages.
  • DO NOT leave rebar exposed on any part of the building. Air and water will penetrate the concrete through the rebar and corrode the structure of the building from the inside.

Reinforcing bar left exposed. Notice the vertical rebar left exposed in anticipation of adding another level. Photograph by Pascale Saint-Louis

I highlight these items as quick rules of thumb that come from the many articles and reference materials I have researched. I continue to distribute these key documents  to Haitian contractors and architects, such as those produced by Architecture for Humanity: Architecture for Humanity: Rebuilding 101 and Architecture for Humanity: General Recommendations for Improved Building Practices in Earthquake and Hurricane Prone Areas. The document Groupe Odyssey S.A.: Damage and Need Assessment Report also contains noteworthy information. Furthermore, I continually respond during my personal time to inquiries from contractors and engineers in Haiti wanting to get further information. I hope to return soon to continue this personal mission and hopefully see advancements in the industry, advancements sorely needed.  

Much of my research is inspired by Tara Francesca Beauge, my cousin, who died on January 12, 2010 as victim of the Haiti earthquake. Photograph by Pascale Saint-Louis

Haiti Part 2: Construction

  

One of the most striking aspects in Haitian construction, the complete absence of seismic detailing, is pervasive, from informal housing to recent multistory buildings. There are no building codes or zoning laws in Haiti, nor licensing requirements for architects, engineers, or contractors. Therefore, anyone can call themselves an architect, engineer, or a contractor. Meanwhile, the owner often governs the construction and structural make-up of the project, and their decisions are driven by cost and aesthetics. If they don’t need or understand certain provisions then they simply omit them to save money or time, not realizing the impact of their building technique. Furthermore, consider that one rebar costs $59 (US) on average, so imagine telling someone in a country where the gross national income per capita is $660 (US) that they need eight in one column.

structural failure

An example of structural failure in unreinforced masonry unit infill construction. Photograph by Pascale Saint-Louis

Tragically, a majority of Haitian homes are designed and built without proper structural consideration. The predominant style of construction is relatively small reinforced concrete frames with unreinforced concrete masonry unit infill. Non-ductile concrete and unreinforced masonry have little lateral capacity and often fail in earthquakes. Poor quality materials, poor workmanship, poor maintenance, and use of corrosive materials, such as beach sands in the concrete, result in the massacre the Haitian population experienced on January 12, 2010 when a 7.0 magnitude earthquake hit.

Having recently traveled around Port-au-Prince studying and documenting the collapsed structures, I noticed some universal building techniques were missing. For instance, almost every collapsed building lacked beams, especially bond beams. The second most common mistake was flat roofs with exposed rebar. This practice, extremely common in Haiti, leaves rebar exposed in case they later decide to add an additional level.  However, leaving rebar exposed also exposes it to the weakening forces of oxidation. 

Designing for both earthquakes and hurricanes can be challenging, but my research proves it is not impossible. These design techniques are not completely foreign to the current method of construction. With just a few changes and modifications, Haitians can continue constructing with familiar methods and simultaneously build seismic and hurricane conscientious buildings. 

In the next post I will outline a number of precautionary and preventative construction measures.

Haiti, Part 1: Devastation

  

Seven months have passed since the catastrophic earthquake shook and razed Haiti. Now when I think about Haiti, my home, I reflect on the hundreds of thousands of lives lost. More than 220,000 people died. More than 300,000 were injured. Many people have donated time and money to help rebuild this struggling country; however, more than half a year has passed and by expert accounts 1.5 million Haitians are homeless and living in tents. Those with homes still sleep outside in the rain out of fear that their home could collapse at any given moment. 

1,500,000 Haitians continue to live in tents. Photo by Pascale Saint-Louis

The population of the Republic of Haiti is approximately 9 million, and after learning that 1 out 9 Haitians are still homeless, I knew I needed to help correct the mistakes of the current construction practices. Haiti, which occupies the western third of the island of Hispaniola, located between Puerto Rico to the east and Jamaica and Cuba to the west, has the dual dangers of seismic and hurricane threats.  

Now, hurricane season poses great threats ranging from the pure danger of exposure during storms with high winds and heavy rains to illnesses resulting from excessive moisture and unsanitary conditions, which I experienced firsthand when I caught malaria on a recent trip for a family reunion, a reunion that was more of a consolation. The same family home I had visited every other year since I was five years old collapsed and killed half my family. To me, the word “Haiti” has become synonymous with devastation.

Yet, this catastrophe inspired me to investigate design and construction for seismic and hurricane conditions so that I could help salvage and rebuild the devastation that I call home. I want to assist the engineers, contractors, and ordinary citizens, who are in the process of rebuilding, with key seismic and wind load design factors to make their new homes more structurally capable to withstand such unforgiving forces. But first I needed to understand the foremost construction methods, and then I could ultimately communicate to the country of my heritage how to build secure homes.  I will elucidate this process and my findings in two upcoming posts.

Words with the Artist: Daniel Wiener, Part 2

by Jessica Pleasants

Last week, I talked to Daniel about his inspiration and process. This week we continue talking about his materials, techniques and color.

Jessica Pleasants: A 36”x36” amorphous table top is in the exhibit.  Are there other functional uses for the sculpture?
Daniel Wiener: The table originated from my working process. I kneaded a batch of Apoxie-Sculpt, flattened it out, and a pattern emerged. Voila! It became clear to me that this could be a tabletop. Since then I have made vessels, stools, tables and other useful objects. I hope soon to make a throne. While these objects are useful, they share the same sense of impracticality and irrationality as the sculpture. They confuse categories and mess with the notion of utility. For example, the tabletops are horizontal paintings and the wall reliefs comprise both painting and sculpture. They do function, though. Everyday my family uses one of my coffee tables in our living room. 

Wiener Table

"Flare and Falter", 45 x 50 x 13.5 inches, Apoxie-Sculpt

 JP: Have you created other functional sculptures for other clients/patrons?
DW: Not yet, but I long to collaborate with an architect or designer to create built-ins, a counter, a mantle, or a cabinet. If a client were daring enough I would love to install a site-specific hybrid of a countertop that morphs into a wall relief, a telephone stand mutating into a sculpture, a couch that continues up the wall as a painting. 

JP: What is apoxie-sculpt, the material you use for your sculptures?
DW: Apoxie-Sculpt is a two-part material that one can model like clay. Once mixed, it’s “live” for three to four hours then leather-hard awhile longer. It dries very hard and can be worked like wood or stone—carved, sawed, sanded. All the sculptures, tables, and wall pieces were made over many sessions working with a quail’s egg amount of Apoxie-Sculpt to watermelon-sized quantities.

JP: Is there any concern about toxicity?
DW: According the manufacturer and OSHA, there is very little chance of toxicity. I take normal work-a-day precautions, such as wearing a mask when I am sanding. There is absolutely no danger once Apoxie-Sculpt has hardened.

JP: What other materials do you use?
DW: An artist-in-residence at Pilchuck Glass School several years ago, I produced, with the help of several excellent glass blowers, many sculptural components that I occasionally included in my sculptures. In the past, I used wire, sewn and hand-dyed muslin, plaster, and Sculpey. On rare occasions these materials make their way back into a sculpture.

JP: The works are abstract, which lends a lot to the color. How do you think about color?
DW: While black and white provides an easy hierarchical system—good and bad, life and death, empty and full—color never settles comfortably into a rational system. The symbolic explanations of color are unconvincing whether written by Kandinsky, early Renaissance artists, or post-modernist critics. Color is always contextual and never fixed. If you haven’t figured it out yet, I am drawn to the unfixed and the ever-changing and thus drawn to the inevitable irrationality of color.

 JP: Paris or Berlin?
DW: I have spent little time in Paris or Berlin. Though I have never been to Barcelona, Catalonian Art Nouveau has influenced me probably more than the art of other European cities.

View a step-by-step process of the making the table: Making the FXFOWLE Table.

Daniel Wiener is a Brooklyn-based artist known primarily for his intense and viscerally arresting sculptures.  His exhibition “Watercolors + Sculpture” is on view at FXFOWLE’s gallery Monday through Friday 9–5 through September 17th.

Building the Ground, part 4

 

With this post I conclude my investigation with a look at cultural considerations governing the American and Danish understandings and relationship to landscape and land reclamation.

Stating that all reclamation projects get a green light in Copenhagen and a red light in the U.S. oversimplifies it. The Nordhavnen competition brief noted that infill and reshaping the shoreline would create potential sand migration and erosion problems. Yet, entrants were reassured that they need not concern themselves with these potential effects for the competition, noting: “The extent and layout of reclaimed areas…will subsequently be scrutinized by means of detailed analyses of coastal morphology and environmental impact assessments, following which various adjustments may be required.” It remains to be seen if this project will proceed with as much creative license relative to environmental oversight.

FXFOWLE's "City Regenerative" competition entry

A park created from reclaimed land in FXFOWLE's "City Regenerative" competition entry.

Finally, Americans often regard their cities as constructed out of a wilderness on “virgin” soil from an often mysterious and unknown natural world. This has led our development to assume either a frontiersman-like “battle against nature” or its inverse corollary, deference to sacred land to be preserved as pure and untouched. Copenhagen’s population is very conscious of its role in constructing the landscape. A much longer shared civic history dates as far back as the Vikings and Romans. Copenhagen has built up its harbor over time, from the construction of the Citadel at the city’s heart and the fortification of Slotsholmen to the creation and expansion of the Nordhavnen Peninsula itself. With such a long history of continuously settling the land, it is nearly impossible to conceive of “pure” land in Denmark or consider the forces of development as threatening.

Nordhavnen Timeline

Historical growth of the Nordhavnen peninsula over the last 400 years, with FXFOWLE’s proposal for the next 45 years.

Perhaps the U.S., with its sprawling metropolitan regions, labyrinthine property laws, infrastructural fragmentation, and jurisdictional redundancy, can shift its policies to a simpler, yet more nuanced, understanding of how best to fit into the American landscape. Not that we should simply adopt Danish practices, but we should take a more holistic approach towards deciding where to develop land and where to preserve it. The value of Twain’s quote may yet prove to be prescient advice, not as a rapacious investment strategy, but as a reminder of the scarce and precious resource we should not squander or exhaust.

Up Against a Wall

 

By James Way

Eight women sit on platform seats hung from the concrete wall. Coated in beeswax, glistening traces mark the surface around them. Their scant translucent lanolin attire hangs loose and limpid. The performers begin by sitting upright on their perches and alternately proceed through languid drooping and frenetic spasms while a soundtrack of cricket-like chirps and electric crackles accompanies. Variations of this reoccur over 30 minutes.

Performers entering a spasmatic period of "Melt"

This scene (and this week’s heat) definitely serves the title of this performance, Melt, which choreographer Noémie Lafrance conceived during her first searing New York summer. Based on unbearable heat melting away physical trappings—clothing and flesh alike—and billed as site-specific, the performance could have gone to greater lengths to make both more central to the event.

Shown in increasingly longer and more populated iterations since its 2003 debut in Brooklyn, the performers here don’t interact with the site at all. Located at the Salt Pile under the Manhattan Bridge near the East River, the wall remained just a vertical surface—an armature and a backdrop. The performers, glued to the wall, ignore the trains rumbling overhead, the water flowing nearby, and the immense pile of salt. Site-specificity became site-adapted. Even by Lafrance’s admission, “the site needed is relatively simple: a wall.” For such a strong and central feature, the wall remains a passive background. The heat meanwhile was indeed emphasized and present.

Performers melting on their perches

That the production commandeered a raw urban and relatively public setting with a few small props was exciting. And, while visually arresting, unfortunately the environment remained untapped.

Melt runs through Sept. 12 at the Salt Pile at Pike Slip and South Street, Manhattan. See sensproduction.org for further information.

Words with the Artist: Daniel Wiener, Part 1

by Jessica Pleasants

I caught up Daniel Wiener, a Brooklyn-based artist known primarily for his intense and viscerally arresting sculptures, and asked him about his process.  His exhibition Watercolors + Sculpture is on view at FXFOWLE’s gallery through September 17th.

Jessica Pleasants: Can you tell me a little about your inspiration for the apoxie-sculpt pieces?
Daniel Wiener: Imagination is both the source and the subject of my work. While it seems obvious, many artists of the last 60 years have been focusing on other starting points. I’m fascinated by how humans are compelled to imagine. The involuntary impulse to conjure images and stories is both a blessing and a curse. This dual energy drives my work. Each invention in the studio, either accidental or purposeful, leads to another and yet another, combining towards an unexpected outcome.

DW_flowerglasstornhole

"flowerglasstornhole" 15 x 8 x 8 inches, apoxie sculpt, glass

JP: Do you have the same inspiration for the watercolors?
DW: Many of the sources and methods for the watercolors are the same for the sculpture.  However, I started the watercolors when I was in a creative quandary as a way to analyze, explore, and understand my influences. In the watercolors and the preparatory drawings, I riff on Tex Avery, creator of many Warner Brothers cartoons, the roof sculptures and turrets of Antonio Gaudi, and the worn and eroded shapes of Scholar’s Rocks, to name a few. Since my influences are more apparent in the watercolors, they include depictions and illusionistic space, though I’ve composed them abstractly as I did the sculptures. 

DW_redlittleelbows_dtl

Detail of "redlittleelbows", 22 x 33 inches, watercolor, ink, pencil, gouache on paper

JP: How do these inspirations relate or differ in concept and material?
DW: Both media include accidents and improvisations overlaid with more elaborate and self-conscious patterns. The difference in control is starker in the watercolors. After creating the spills, drips, and splashes, I spend hours or days drawing different motifs that dovetail with a particular spill. Because I want to keep plenty of white space in the watercolors, I have one chance to do it right. The more I like a spill the greater the pressure for the addition to suit it. While there is never just one solution, making watercolors feels more like problem-solving. In contrast, making sculpture entails a more flowing conversation between intuitive improvisation and intellectual decision making.

JP: What is the process by which you create the pieces? 
DW: Tinkering.

JP: How did this come about?
DW: I have accepted the fact that I am an intuitive, improvisatory artist—a tinkerer. I try one thing, then another thing, and another until something clicks, and then I keep making one mistake after another until a piece resolves into a satisfying, dense dissonance.

See a slide show of the evolution of Daniel’s sculpture: Algorithm for a Crazy Vase.

Next, I will talk to Daniel about his materials, techniques, and color. Stay tuned…

Bag Ban Sacked

 

By James Way

Yesterday, the California Senate shot down (26 to 14) a bill intending to ban plastic bags. Environmentalists hailed the bill, AB1998, while the plastic bag industry, of course, denounced the bill as a job killer.

poptech-chris-jordan-plastic-bags_treehugger

Seattle-based photographer Chris Jordan depicts 60,000 plastic bags, the number used in the US every five seconds. via Treehugger

The bill included using $2 million from an existing recycling promotion fund to help convert industry equipment to produce reusable recycled-content plastic bags. Another approach suggested eliminating plastic and charging consumers a 5-cent surcharge per paper bag; however, proceeds would have remained with retailers. Critics argued $2 million couldn’t ensure California manufacturing jobs and that the state should enhance recycling programs.

Meanwhile, the American Chemistry Council, which represents Dow Chemical Co. and ExxonMobil Corp., have been spending mad money lobbying against banning single-use plastic bags. Last year they helped defeat Seattle’s environmentalists, who wanted to impose a 20-cent fee on all grocery bags, plastic and paper alike.

Tim Shestek, the Council’s senior director of state affairs added insult to injury, “We congratulate Senate members for discarding a costly bill that provides no real solutions to California’s litter problem and would have further jeopardized California’s already strained economy.”

Others viewed the bill as attacking citizens as a way to “nickel and dime” shoppers, who critics of the ban don’t think are capable of bringing their own bags. Meanwhile the waste management system, landfills, and marine wildlife suffer more inconvenience than consumers. Why propagate disposable lifestyles when responsible lifestyles are needed in our society?

Following San Francisco’s 2007 lead, several California cities require supermarkets and large drug stores to offer recycled-content or reusable bags. More are expected to follow after this sad defeat. Despite the debate, it seems obvious that plastic bag manufacturers need to shift toward making non-disposable bags, or at least toward bio-degradable bags.

Californians use approximately 19 BILLION plastic bags each year, costing $25 million to gather and haul to landfills. However, ban critics noted that nothing biodegrades in landfills because they seal waste from water and air to prevent leaching into water supplies, which seems like a pretty good argument for putting less fill in the land. Some senatorial opponents preferred incentives before mandates. Get rid of the bags; I think a 5-cent surcharge adds up to an easy incentive to bring my own bags.

Resources:

Environmental Literacy Council

Heal the Bay

Earthday Network

Treehugger




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