Gold | Zahner

Royals Crown

August 15, 2016/in Art & Sculpture, Exterior Architecture Arena & Stadium, Flagship Kansas City Populous Gold L /by cmorris

Royals Crown at Kauffman Stadium

The new Royals Crown at the Royals Ballpark was designed by Populous in two stages for the Kauffman Stadium. The golden structure was designed to crown the new vertical screen at the stadium, one of the largest screens of its kind in the world.

Zahner was responsible for engineering, fabricating, and installing the Kauffman Stadium Crown using gold interference-coated stainless steel. The metal skin of the interference coating is nearly iridescent, and gives the surface an additional bright sparkle.

This stainless steel also features a machine-indented surface. Imperceptible from a distance, this fine-bumped surface reduces the oil-canned appearance common among thin-gauged metal. Each of the spheres at the peaks of the crown are outfitted with hundreds of LED lights that light up for various effects and illuminate the night sky.

Related Project

Kauffman Stadium

The new structure at the Royals stadium features two sections which use selective perforations in stainless steel to create the image of the Royals logo on the surface of the metal. This perforated surface wraps the entire building, yielding a mesh facade which provides light, air control, and a visually intriguing artistic aesthetic.

Zahner has produced several projects using the interference-coated metal surface, including Contemporary Jewish Museum which has a dark blue interference coating and a cross-fire brushed pattern. Interference stainless steel was also used on the The Experience Music Project, The Meyer Fletcher Residence, and the Neiman Marcus in Natick, Masssachusetts.

Building the Kauffman Crown

The shop photos and CAD images above show the substructure used to build each of the spheres. These were produced using the ZEPPS Process, a system which uses an extruded aluminum substructure to assist in the creation of curving shapes and forms. The ZEPPS Process was developed to simplify the construction of curves on complex curvilinear buildings such as those designed by Frank Gehry and Randall Stout. The physical components used in this process can also be seen on the surface of the Zahner Headquarters building in Kansas City, which intentionally was designed to leave this substructure exposed.

The video below was produced by The Royals to show the way in which Zahner was involved in the production of the Royals Crown a massive Stainless Steel Crown which sits atop the new digital scoreboard and video screen.

The first stage of the Crown was completed in 2008. In 2010, Zahner added a reverse section to the Kauffman Stadium Crown, so that the substructural components would not be visible from the I-70 Highway which runs to the North of the Stadium. Zahner was also responsible for producing the perforated stainless steel Royal Logo facade at Kauffman Stadium. This section wraps around the sides of the stadium, and provides an additional visual aesthetic to the Royals Ballpark.

Regazzoni Sculpture

August 15, 2016/in Art & Sculpture, Interior Architecture Education, Sculpture Asia, Doha--Qatar, International, Middle East Legorreta + Legorreta Ricardo Regazzoni Gold, Silver M /by cmorris

Ricardo Regazzoni Sculpture at Georgetown, Qatar

Forty reflective spiraling forms appear to float above the atrium at Georgetown University’s School of Foreign Services in the capital city of Doha, Qatar. Completed in 2012, this project marks the fourth significant work produced by Zahner in Doha, and the second produced under the vision of architects Legorreta + Legorreta who designed the building for Georgetown University at Doha as well as the HBKU Doha University Student Center a few blocks away.

The artwork at the heart of Georgetown University was conceived by sculptor Ricardo Regazzoni, engineered by Zahner, fabricated in the Zahner shop, and installed by local installers in Doha under Zahner supervision. Each of the forms measures 38’ long, and the artwork fills an area of 82’ x 131’ over the open atrium.

Collaboration between Zahner and Regazzoni is a match of of kindred philosophies. While Regazzoni works to transform architectural columns and archways into artistic expression, Zahner works to bring architecture into the realm of art. This alignment of sensibilities between the artist and fabricator gave this project a strong sense of direction.

Regazzoni Sculpture at Georgetown University.

Upward view of individual hanging sculptures by Ricardo Regazzoni.

View from below a hanging sculpture at Georgetown Qatar, by Ricardo Regazzoni.

Design Assist for Art: The Regazzoni Sculpture

In late 1990s while working with Frank Gehry on the EMP Museum in Seattle, Zahner coined a term which has become the industry standard for building complex projects: Design Assist. The museum’s complexity required that Zahner work closely with Gehry’s office to develop the design. Design assist was first used to describe this process. Since then, design assist has become widely known as the most intelligent construction method for achieving efficient and cost-effective production of complex architectural projects. Along with frequent partner Metalabs, this process is now being applied to art.

The Regazzoni Sculpture details were developed by Zahner’s think tank of installers, engineers, and fabricators: the Design Assist team at Zahner. This group of engineers and consultants worked together with the artist to develop a system which could meet both the functional and visual standards. The team developed a mockup to test the drawings and construction processes.

Detail of the Regazzoni mockup, revealing its minimalist connections.

Rendering of the Regazzoni installation in CAD.

From Mockup to Installation: The Regazzoni Sculpture

Regazzoni’s undulating, diagonal forms were extremely intricate, requiring specialized engineering and attention to craft during every stage of their creation: from design, to fabrication, to installation. Working within Regazzoni’s vision, Zahner’s Design Assist team developed specialized details for the connections of each intricate geometric part.

Zahner began by producing a mockup of the artist’s design, providing a model that revealed the connections and provided a template for the components. The design features a weld-less connection system. It was important to eliminate welds so that the mirror-polished surface would be free of any discoloration from the welding process.

The resulting surface minimizes the appearance of fasteners, and weld discoloration. The headless pin system is almost indiscernible to the naked eye, and the connections prove to be every bit as strong as welded joints: each connection is capable of supporting 600 kilos, or five times the hanging sculpture’s weight.

Shipping the Regazzoni

Due to its complex geometry and elongated form, the Regazzoni was susceptible to bending during shipment and transportation. To accommodate for this risk, Zahner designed custom lifting rigs and crating to ensure that the piece arrived at the installation site in good condition. Below is an example of the crating, which was custom-built to efficiently and safely ship the pieces overseas to Doha, Qatar. Zahner is committed to the integrity of an artist’s vision, from the preliminary stages of design to shipment and the final days of installation.

Zahner shop personnel make measurements to align the Regazzoni sculpture.

Zahner shipment personnel package the forms in open crates for delivery.

The artist wanted a visual masterpiece with concealed connections, so that each form appears to be suspended by magic. Zahner’s biscuit extrusion is used to attach the metal tendrils to the ceiling.

Building Art & Architecture

Together with the Metalabs art services team, Zahner has completed over 70 public and private works of art for both established and emerging artists. Working with artists has expanded Zahner’s research and development team, which has in turn provided many innovative surfaces, processes, and techniques applicable to both art and architecture. Zahner’s team of engineers and fabricators have proven flexible to many kinds of projects, and have produced works of many scales. Get in touch with to learn about how Zahner can integrate into your project.

Pearl Marriott

August 15, 2016/in Exterior Architecture Hospitality, LEED Pacific Northwest, Portland--Oregon SERA Architects Gold, Yellow M 2014 /by cmorris

Pearl District Marriott Residence Inn

The Pearl District Marriott Residence Inn, designed by SERA Architects, is a project featuring a bumped and perforated screenwall supplied by Zahner. Named for its neighborhood, the Pearl District is a historic area of Portland. Local businesses liken the urban district’s buildings to oysters, whose hidden ‘pearls’ were the gallery and artists’ spaces contained within — hence the name.

The Pearl District Residence Inn boasts 223 guestrooms in its six story building. A series of custom perforated aluminum panels by Zahner provide privacy screens for the rooms and decorative shading along the front of the façade. These painted yellow screens also add an element of modernity to the surrounding historic warehouse structures, elevating the extended stay hotel from the typical guest experience.

Parametrically Designed Perforation and Embossing

When SERA Architects approached Zahner with their idea for the perforation pattern, it existed as a simple jpeg image of an evanescent starburst shape. Zahner’s team of design engineers used that image to create an algorithmic concept that mathematically defined each perforation. The process uses a customized ImageWall system to perforate imagery on the metal surface, and create subtle variation the building’s screen wall.

Pearl District Residence Inn Marriott in Portland, Oregon.

During the design phase, there was active communication between Zahner and SERA Architects regarding parameters and variables. This exchange of ideas was essential to reach the final design. In order to make the gradation blend in a more nuanced, subtle manner, dithering was applied during the engineering process. Zahner also worked with the designers to create a series of embossed and debossed bumps, which added texture as well as rigidity to the panels. This additional rigidity means that the metal could be specified at a thinner gauge, reducing the material cost for the client.

During this design engineering process, files were exchanged between Zahner and the architects, along with several different iterations of samples. Once the final design was determined, the files went from design engineering into production engineering.

Efficient Installation of Custom Perf Panels

The architects wanted to create seamless connection details with no visible fasteners and clean edges. The system used to achieve this is the Inverted Seam, a patented system developed for this purpose. In addition to the wall panels, Zahner provided vertical aluminum extrusions which provide the support structure. These vertical extrusions have slots so that the aluminum panels lower in and lock into place without any need for additional fasteners. This is a Drop & Lock connection.

Zahner’s locking panels require no additional hardware or attachment methods, making for a straightforward install and no visible fasteners. Each panel was also labeled with a unique code, corresponding to its location on the building. This streamlined process enabled the local installers to position and fasten the panels with ease, reducing the schedule for the client.

One Sun / 34 Moons

August 15, 2016/in Art & Sculpture Museum, Public Art, Sculpture Kansas City Steven Holl Architects Walter de Maria Gold M, S 2002 /by cmorris

Walter de Maria’s One Sun, 34 Moons Sculpture

In 2001, Zahner was enlisted to work on the master plan for the Nelson-Atkins Museum of Art. The building, designed by Steven Holl Architects, is a massive expansion, and Zahner provided various metalwork throughout the new construction and played a role in the renovations to its existing historic building.

In addition to the architectural features, a large scale site-specific artwork by Walter de Maria was commissioned by the Museum. Zahner was brought on as fabricator for the installation by the famed land artist. The work, entitled One Sun / 34 Moons, is made up of thirty-four ‘Moons’ which are realized as illuminated glass fixtures scattered throughout the installation.

These ‘Moons’ are installed at the bottom of a large reflecting pool in front of the museum’s northern staircase. At the artwork’s center is a golden ‘Sun’ fabricated by Zahner in stainless steel, surfaced with gilded bronze.

One Sun / 34 Moons, by Walter de Maria, 2002.

The artwork is a collaboration in several ways. The artwork features a gilded bronze leaf application developed by Walter de Maria partners American Burnish in New York. The vision of Steven Holl can be seen in how the ‘Moons’ provide natural lighting for the parking garage underneath. Zahner’s expertise can be seen as both the massive engineered form as well as the long-term performance of the architectural metal as art.

For the artwork, Walter de Maria wanted a golden color that would appear bright in almost any light, direction, or shadow. Zahner’s team worked with the artist on various color options, and the textured gilded bronze surface was selected as the best option to meet these constraints.

In creating the form of the ‘Sun’, Zahner was able to apply engineering and fabrication expertise as well as an unparalleled understanding of metallurgy.

Selecting and specifying the construction materials for performance and durability required careful consideration of the engineered details, galvanic corrosion, and pH levels for the reflecting pool and water feature design to prevent moisture from deteriorating the surface.

Steven Holl & the Use of Light: 34 Moons

Perhaps the most intriguing aspect of Walter de Maria’s sculpture is the way that it integrates into the greater architectural vision of Steven Holl & Chris McVoy. Each of the ’34 Moons’ are actually part of a skylight design used to provide natural light to the parking structure below the surface of the park.

The light temperature of the neon illumination matches that of the moon; the architects’ use of both natural and electric light innovates and plays perfectly into Walter de Maria’s vision of the moon in an almost literal sense.

Photograph of the Walter de Maria artwork at dusk.

Detail of the gilded leaf, Nelson-Atkins, Kansas City.

Oculus

August 15, 2016/in Art & Sculpture Sculpture Kansas City Reilly Hoffman Charcoal, Gold, Green S 2008 /by cmorris

Oculus Sculpture, KCAI Competition

Every other year, Zahner produces one or more artworks in conjunction with the Kansas City Art Institute’s Biennial Auction for Student Scholarships. In the 2007 year, artist Reilly Hoffman won the competition with a sculpture entitled, ‘Oculus’. Zahner manufactured the base form in aluminum, and water jet cut the parts for the sculpture. Hoffman then crafted copper and steel with his signature torch-carving techniques.

The design of the artwork is based on a smaller version of the artwork. The artwork’s concept is a sphere which has been cut into slices. Two of the slices are intertwined in a kiss. The sculpture’s exterior appearance is a rough steel, while its inner areas are clad in copper.

Although diminutive when compared to buildings, the sculpture is still quite large compared to the human scale. The large size required the use of a substructure to apply the metal surface.

To create the sculpture in its large form required making changes to the how the artwork is manufactured. Zahner engineers in the Design Assist team proposed using ZEPPS, the Zahner system developed for building curves. Using the this system enabled the team to make a light aluminum understructure to which the metal surface was attached.

This use of ZEPPS for manufacturing objects such as this one is somewhat atypical. The system is more commonly used to produce the large curved walls for uniquely shaped buildings. In situations where a rapid-installation process is required, or for installations at higher elevations, ZEPPS provides an efficient way to design, engineer, and install such unique forms.

The cad rendering above shows the effect of copper hammered through the mild steel plate. The mild steel has perforations in the side which allow for sections of the copper to show through, see below.

The project used three metals: a aluminum for its structure, copper for its core, and carbon-steel. The back and the inner sections of the sculpture are finished with the Star Blue patina on hammered copper. The sides of the sculpture are finished with water jet cut mild steel, backed by a sheet of sealed red copper, also hammered. The effect is a highly detailed and sculptural piece, which is now in a private collection.

Point Pavilion

August 15, 2016/in Art & Sculpture Performance Center, Public Art, Sculpture Charleston--South Carolina BNIM Gold, Grey M 2004 /by cmorris

North Charleston Point Pavilion in North Charleston

The Point Pavilion at Riverfront Park in North Charleston, South Carolina is a fast-track work of public art designed by the architects at BNIM. Zahner design-engineered as well as fabricated and installed the entire system. This scope included the metal screens and hanging apparatus as well as the structural steel members which frame the artwork’s shape.

The client’s team used the Design Assist build method, meaning that Zahner played a collaborative role in the design’s development to reduce costs and improve the design’s efficiency and ease of construction. To facilitate structural analysis and fabrication constraints, Zahner developed a Building Information Model (BIM) which served as the entire project team’s BIM function for the duration of the project.

The main structure is made of 12” diameter galvanized steel pipe, rolled to a constant radius and cut to exact compound angles. The 3D model was utilized to produce templates of each cut. The welded frames were hot dipped galvanized post fabrication.

7/8” galvanized wire rope was strung between each frame to serve as a support for the perforated aluminum shading panels. The 3/16” aluminum panels were punched to a custom pattern as defined by the architect using custom perforation to reflect woven baskets that are indigenous to the region.

From initial concept to completed erection, the process took a total of six months. The entire process was streamlined to provide the maximum value to the client and to meet the project budget and schedule.

Detail of the Noisette metal panel system in North Charleston, SC.

Live performance at the Noisette Pavilion after completion.

Zahner's Tony Birchler and Wallace Engineering's Steve Huey test the structural load of the individual perforated panel mockup.

Weld inspection of the steel structure at Zahner headquarters in Kansas City.

Detail of the perforated aluminum plates on Noisette.

View of the shadows created by perforations from the aluminum panels overhead.

Structure of Noisette Pavilion, also designed-engineered and fabricated by Zahner.

Construction of Noisette as it nears completion.

View of the sky through Noisette's perforated aluminum panels.

Awards and Recognition

2005 — IPA Award for outstanding perforated metal
2006 — Illuminating Engineering Society of North America – International Illuminations Design Awards, Capital Section Award
2005 — AIA Young Architect’s Forum – Monsters of Design, Merit Award

Neiman Marcus

August 15, 2016/in Exterior Architecture, Interior Architecture Retail & Commerce Natick--Massachusetts Elkus Manfredi Charcoal, Gold, Orange, Silver L 2007 /by cmorris

Neiman Marcus Flagship Store by Elkus Manfredi

The Neiman Marcus in Natick, Massachusetts is the store’s Flagship property featuring a billowing facade designed by Elkus Manfredi Architects in Boston. The entire surface of the building is wrapped in a stainless steel curtain, a feature which flows throughout and into the building in the same style.

Elkus Manfredi Architects designed the facade’s undulations with perspective in mind. When travelers drive by, the structure appears animated and kinetic, an effect caused by the way the facade curves in and out. Zahner worked with the architects to design a curving facade panel system that is both aesthetically powerful as well as economically effective.

Related System

Neiman Marcus

Related Surface

Neiman Marcus

The skin is actually three different tones of colored stainless steel. Two of these tones were formed by a electro-chemical process which permanently changes the tone of stainless steel. Zahner has used this process for several other projects, including the Contemporary Jewish Museum which has a dark blue interference coating and a cross-fire brushed pattern. Interference stainless steel was also used on the The EMP Museum, The Meyer Fletcher Residence, and the Royals Crown at Kauffman Stadium.

In addition to providing the exterior scope, Zahner also manufactured interior metalwork for the department store interior entrance. This interior wall uses a similar subtle curvature made in a lightweight ZEPPS framework. This scope included the ceiling area, made in a stainless steel with standard polish.

The exterior scope included various metal details, including the soffit at the Neiman Marcus entrance and the throughout areas underneath the facade’s curtain. Providing these standard details for the facade and other areas is typical of Zahner scope. The company routinely handles interior and exterior standard metalwork on a variety of projects.

Related System

Soffit

Soffit systems engineered and manufactured by Zahner are the result of innovative architects, designers, and artists who challenged the norms of what to expect in the built environment. Working with Zahner to develop a custom metal soffit system begins with your design.

Designing the complex curtain system for the Neiman Marcus facade was made possible through Design Assist. Zahner worked with the architects at Elkus Manfredi to develop a design, mockup, and manufacturing process to efficiently fabricate, deliver, and install the exterior metal facade.

Building a dual-curved facade with pre-fabricated panels.

The building’s 570-foot-long undulating stainless steel façade, in tones of bronze, champagne and silver, “waves in and out and top to bottom almost as if someone was wearing a dress and walking,” said Elkus.

Leong Leong Facade

August 15, 2016/in Exterior Architecture Parking Structure Miami--Florida Leong Leong, TimHaahs Gold L 2015 /by cmorris

City View Garage, Miami Design District

Part of a sweeping development of the Buena Vista neighborhood in Miami envisioned by Craig Robins of Dacra, the Western facade for the City View Garage was designed by Leong Leong for Miami Design District, conceived by office director Christopher Leong.

The Miami City View Garage is a parking structure which brought together three unique facades all under one roof. Working with Brad Giresi and Vernon Jones of Tim Haas Architects + Engineers, the three facade teams are: Leong Leong (featured here), artist John Baldessari, and IwamotoScott Architects.

The teams met with Zahner and developed architectural models and mockups before moving into production. Each facade had its own design challenges, which is where Zahner’s engineering and fabrication team played a technical role.

Leong Leong facade for the Miami City View Garage.

“

A surface that simultaneously radiates and dissolves.

Chris LeongFounding Partner at Leong Leong

From inside the garage, the wave-like shapes of the openings create a patterned view of the city. The openings in the facade maintain natural light and ventilation in the parking structure. The pattern of openings transforms this functional requirement into an iconic urban object.

City View Garage in Miami’s Design District Features 3 Iconic Facades by Zahner

Zahner was brought on board by the lead architect, Tim Haas, to assist in the design engineering, fabrication, and installation of all three distinct facades on the City View Garage. We worked closely with the featured designers - Leong Leong, IwamotoScott Architecture, and renowned artist John Baldessari - to capture the essence of each unique design in a way that was both functional and impactful.

The prominent location of the City View Garage on the periphery of the Design District neighborhood and its adjacency to the I-195 freeway marks the building as a prominent landmark. From the freeway, the western façade appears as a shimmering mirage. At street level, folded fins generate textures that echo the forms of surrounding palms.

Leong Leong facade for the Miami City View Garage.

Developing the Design with architects at Leong Leong

Zahner worked with Leong Leong from the early stages of the project, making visits to their New York City office, as well as providing a Design Assist phase to properly detail the facade system. The process yielded multiple mockups, including a full-scale elevated mockup at the Kansas City facility.

Related System

Leong Leong Facade

The surface is composed of curvilinear shapes, punched and bent out of gold-colored, titanium-coated stainless steel. From a distance, they produce a texture that mimics the shimmering patterns of light on the surface of water. The variegated pattern absorbs the qualities of the environment and disrupts the legibility of the form.

From left: Lisa Iwamoto, Chris Leong, Brad Giresi, Bill Zahner, look at material samples in the Zahner library.

First mockup for the Leong Leong facade at Miami City View Garage.

The design team views the mockup for Miami City View Garage for the first time.

Photo of installers hanging wrapped panels for the Leong Leong facade

Leong Leong facade installed for the Miami City View Garage.

Leong Leong facade for the Miami City View Garage.

Los Angeles Police Department Memorial to Fallen Officers

The new LAPD Memorial to Fallen Officers stands as a testament to the strength and courage of the Los Angeles Police Department. The memorial is dedicated to the police officers and families who have sacrificed for the community of Los Angeles.

“

We focused on the object most sacred to the LAPD: the brass badge.

David HerjeczkiPrincipal, Gensler

The project began after David Herjeczki and Christopher Keough of Gensler won a design competition for the new memorial. Working with a multi-layered concept, they developed meaning in both its design as well as its context.

“When you approach it from a distance, it will appear as a wall, reflecting the unity of the police force,” explains David Herjeczki of Gensler. “As you get closer, you will see it is an assemblage of individual pieces, each one paying tribute to a fallen officer. When contemplating an appropriate material for the memorial, we focused on the object most sacred to the LAPD: the brass badge.”

Los Angeles Police Department Memorial at the LAPD Headquarters.

The Memorial prior to installation at the LAPD Headquarters.

The LAPD Memorial dedication in Los Angeles, California.

Designing and Fabricating the Brass Memorial

To fabricate the 32′ long by 12′- 3” tall brass memorial, Kansas City-based fabricators at Zahner were enlisted to develop the team’s concept into reality. Of the 2000 shimmering brass plaques, 201 were engraved with the name, the rank and the date that each officer gave their life for a common cause.

Each plaque is staggered and set in relief. This both draws attention to the individual whose name is inscribed while allowing light from behind to illuminate each plaque. The memorial also features an abstracted badge design in the center of the memorial. The remaining plates are left blank. These plates are removable should additional names need to listed on the memorial.

The memorial’s presence was felt throughout Kansas City. After the wall was manufactured and prepared for shipment, the Kansas City Police Department escorted the delivery truck to the city limits to begin its 1,600-mile journey to Los Angeles.

“Several of us here got choked up when we found out Kansas City Police would be escorting it to city limits,” said Linda Wagener CEO of the Los Angeles Police Foundation. “In law enforcement, we really are a brotherhood.”

KCPD Officers escort the Memorial to Kansas City limits.

Los Angeles Police Officer sees the LAPD Memorial for the first time during its arrival.

The wall is set in the public plaza which is adjacent to the new police headquarters. This space, that both the police and community share, was formally dedicated on October 14, 2009. Open 24 hours a day, the memorial allows visitors to show their respect and remember the officers who have given the ultimate sacrifice.

Brass plates adorned during the dedication in Los Angeles.

Design Engineering the Los Angeles Memorial

To intelligently build the project with the small available budget required some efficient choices in the design process. Zahner began working with Gensler early on to come up with a series of solutions that did not compromise the integrity of the design or the quality of construction. The solution for this is Design Assist, a service which provides custom design solutions.

Design Assist is the process of translating the architects model to a production-ready scheme. The Design Assist process is often a collaborative re-design of the project, an essential process to ensure the constructibility of the project later down the line.

In the case of the LAPD Memorial, the architects had several web meetings with Zahner, where they were able to digitally rotate and discuss the model, tearing parts away, and streamlining the design to its core structure. The resulting design is a sustainable and flexible memorial that will stand the test of time.