Gold | Zahner

Hoover Garage

HOOVER GARAGE AT STANFORD UNIVERSITY

In 2013, Zahner began working on a third project with WRNS Studio, the San Francisco architecture firm whose designs have played a transformative role on the parking garage typology.

The Hoover Garage parking structure is part of the Stanford Hospital and Clinics and was produced in association with Stanford University in California. The Hoover Parking Garage at Stanford University is a 1,100 stall garage which serves the Hoover Pavilion, a new medical office building for the University.

Hoover Garage is an open-air structure which uses a 3/16′ perforated and anodized aluminum surface. The back-side of the panels are cut and grooved at each corner of the panel to provide a more defined edge. The panels use a proprietary Drop & Lock panel technology, a feature of the Inverted Seam patent. This allows for flexible design and simple installation. Each panel is hung by inserts into the vertical extrusion.

Related Project

Mission Bay Parking

Located in the Mission Bay Block 27 of San Francisco, this design by WRNS Studio for Alexandria Real Estate, houses 1,420 parking spaces on seven elevated levels. The structure features a metal screen with perforated imagery of California's redwood forests. This facade was design-engineered by the Design Assist Group and produced by Zahner.

The perforated metal panel screen system at Stanford University Parking Garage.

The perforated metal panel's shadow creates a moire effect against the building's surface.

Perfectly Perforated

Over the early 1990's, patterned usage of perforated metal began to appear. At the time, the pattern were limited by programming. It wasn't until the early two-thousands, when Herzog & de Meuron designed the de Young Museum, that perforated metal would truly enter into its own.

Hoover Parking structure at dusk on the Stanford University Campus.

Developing the Design for the Hoover Garage

Zahner provided design assist as well as fabrication services to the general contractor Vance Brown Builders. While this was the first time Vance Brown and Zahner worked together, Zahner had a relationship with the architect as well as a well-known reputation for its successful track record on similar projects with WRNS Architects.

In addition to the perforated metal facade, Zahner also provided the vertical structure which allowed the design team to reduce the overall budget without changing the visual aesthetic.

In the original document, there was a vertical steel member between panels. The panels had a complex support system hanging off of the steel, so Zahner engineers introduced a custom extrusion that would reduce the redundancy. The architect selected the look of anodized aluminum extrusion Zahner provided over the painted steel.

Detail of the two-plane panel system used on the Stanford University Hoover Parking Structure.

Zahner designed, milled, and machined all of the connection points on the custom aluminum extrusions, which were provided to the steel contractor to install prior to installation of the Zahner perforated panels. This improved the aesthetic and durability without adding additional cost.

Owning the aluminum vertical structure also simplified the dual planes of the panel system. Zahner was able to reduce the parts for how the second plane of panels connects to the structure.

The perforated panel creates a moire effect against its shadow on the building's surface.

Stanford University Parking Garage during construction.

Construction photo of the perforated metal panel screen system at Stanford University Parking Garage.

The engineers at Zahner and the architects at the WRNS office enjoy an integrated relationship that continues to evolve and push the boundaries of what is possible to design and build with parking structures. Learn more about the WRNS designs for which Zahner has built systems, including the Alexandria Parking Structure, the Contemporary Jewish Museum, and the UCSF Parking Garage. See more projects completed by WRNS Studio with Zahner.

MoPop Museum

August 15, 2016/in Exterior Architecture Museum Seattle--Washington Frank Gehry Partners, LMN Architects Gold, Light blue, Red, Silver, Violet, White XL 2000 /by cmorris

Museum of Pop Culture (MoPOP)

Jimi Hendrix inspired the name, Frank Gehry designed the project, and Zahner produced the stunning curvilinear forms and structure. Residing in the shadow of the Seattle Space Needle, the Experience Music Project (now the Museum of Pop Culture, or MoPOP) was completed in 2000.

Gehry’s unique design required a creative approach to engineering and fabrication. The Museum was one of the first projects to use ZEPPS, the Zahner technology for producing curvilinear and complex structures. The process resulted in 3,300 unique structural assemblies clad in 21,000 metal sheets — for a total surface area of more than 140,000 square feet of curving metal. No two sheets and no two panel assemblies are the same.

Surface techniques are similarly varied, and include Angel Hair stainless steel, red interference-coated stainless steel and fluorocarbon-coated aluminum.

“

The most complex exterior skin ever devised for a building.

Civil Engineering MagazineSteve M. Huey.

Constructing the Building Envelope

Working with Gehry’s design, the Zahner team developed a process for reducing curves into large, pre-fabricated assemblies which could then be easily shipped and rapidly installed. Thus, the Zahner Engineered Profiled Panel System (ZEPPS) came into being.

At its core, the ZEPPS process consists of an aluminum support structure, clad in a layer of sheet metal. A final metal layer (of the designer’s selection) completes the assembly and is usually installed onsite. The ZEPPS process efficiently produces complex forms with minimal waste, reducing a building’s ecological footprint.

Since the EMP Museum’s completion, the ZEPPS system has undergone several iterations, growing more powerful, accurate, and refined. The process continues to be the preferred method for manufacturing sculptural form.

El Paso Courthouse

August 15, 2016/in Exterior Architecture Government, LEED El Paso--Texas Antoine Predock Architect PC Black, Charcoal, Gold, Violet L 2010 /by cmorris

El Paso United States Federal Courthouse

Designed by Antoine Predock Architects, the award-winning courthouse in El Paso features a Zahner-manufactured copper facade. Officially dedicated in early September of 2010, the construction of the courthouse was made possible by American Recovery and Reinvestment Act investments by GSA.

The courthouse has been recognized around the United States for both its architectural qualities and its environmentally innovative design.

The building won the Texas Downtown Association’s President’s Award for Best New Construction, which recognizes construction excellence in downtown or commercial districts. Judges were impressed by the use of materials, which paid homage to the copper industry of El Paso and how the design of the building connected with the surrounding downtown.

North elevation of the El Paso Federal Courthouse.

Detail of the Special Proceedings Court at El Paso's Federal Courthouse.

El Paso Courthouse viewed from the northwest.

The building’s mass is largely composed of two materials. Limestone, quarried locally in Texas, and copper, a material which references the local smelter. Zahner provided engineering-design, as well as fabrication and installation of the copper panels.

The building was certified as LEED Silver by the U.S. Green Building Council. Its design makes use of innovative ventilation and air conditioning; computerized heating systems; lighting and utility metering to conserve energy; window glazing; energy-efficient Energy Star products; as well as interior and exterior elements made from recycled materials.

Building the El Paso Federal Courthouse

Zahner was was responsible for the custom cladding of the El Paso Courthouse. This included the engineering, fabrication, and installation of the red copper facade.

As the installers began cladding the building, the material began to blacken in areas as intended. This is caused by the oxidation of the surface, the natural process of patination on copper.

El Paso Federal Courthouse during construction.

The patina begins to form on the surface of the recently completed courthouse.

As the metal oxidizes, the material will go through the stages of copper weathering. After a year, the appearance matches the Dirty Penny patina, and the surface will continue to age, evolve, and change in color.

de Young Museum

August 15, 2016/in Exterior Architecture, Interior Architecture Museum San Francisco Bay Fong & Chan Architects, Herzog & de Meuron Brown, Gold, Green, Red XL 2005 /by cmorris

M. H. de Young Memorial Museum

Named for San Francisco newspaperman M. H. de Young, this building is a completely reworked redesign from the original museum, which opened in 1895 as an outgrowth of the California International Exposition of 1894. After the Loma Prieta earthquake in 1989 which completely ravaged the original building’s structure, the de Young board began working to fund a restructuring of the building, and the resulting winner of the competition for its redesign in the late 1990’s was acclaimed Swiss architects, Jacques Herzog & Pierre de Meuron.

Herzog & de Meuron developed the idea of a variably perforated screen exterior which would mirror the green foliage and forestry of the surrounding Golden Gate Park, San Francisco’s central park. The architects worked with Zahner whose engineers and software specialists developed a system which would allow unique perforation and patterned dimples, variably sized and placed throughout the exterior. This included near 8000 unique facade panels — the collective whole which formed patterns of light as seen through trees. This was the first iteration of the Zahner Interpretive Relational Algorithmic Process, or the ZIRA Process.

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Craftsmanship in large buildings is supposed to be dead, killed by Modernist ideology and cost considerations. What this building says is that maybe craftsmanship has a high-tech future after all.

Time MagazineNone.

Aerial view of the de Young Museum in San Francisco, California

Aerial view of the de Young Museum roof.

Inverted Seam roof system and channel design for the de Young Museum roof

Outdoor cafe under the de Young Museum canopy awning

At the time, this mosaic algorithmic process was emerging, but was undeveloped in the use of perforated and embossed metal. Zahner assembled a team of software developers and engineers to assist in this technological advancement.

The architects came up with a photo taken pointed up through the trees, and in several parts of the museum, light filters through the perforated system of holes, revealing shadows similar in shape and form to those of actual trees. ZIRA technology was developed to streamline this complex series of variable holes in the copper, allowing engineers to run chosen imagery through the algorithmic system, translating it to the thousands of copper plates.

Source imagery and installed panel system for the ‘Children’s Entry’ at the de Young Museum.

Above left, the surface of the ‘Children’s Entry’ was created using imagery from a photograph provided by the architects (right). The vantage point looks up into a sky obscured by trees. Similarly, the section of the Museum featuring this surface was initially open, recreating the effect on metal. Since installation, the area has been covered for moisture control.

“

… A sensual copper skin that will evolve over time.

Sarah Amelarauthor, Architectural Record..

Architects originally called for a light golden-hued appearance for the Museum. However, as the intentions evolved, a desire for the Museum to blend and emerge from its forested surroundings like an ancient indigenous structure.

De Young Museum cover feature in Architectural Record

The November, 2005 issue of "Architectural Record" magazine has placed the New de Young Museum on their cover and, in a section devoted to museum projects around the world [pages 104—115].

Patina transition over time on the de Young Museum

Zahner helped to guide this decision for the client. Understanding how copper alloys weather over time, and understanding the integrity and durability of the material is key to its selection process. Zahner brought the clients into the fold of this knowledge, educating the design team on how over the next few decades, the copper facade and roof would transition from its bright golden red, to a dark brown, to a black, and finally, after a decade or more, it will slowly emerge into earthy greens.

In clean air environments — which San Francisco generally has great air quality — this process can take much longer. Copper oxidizes quickly in polluted areas. In cleaner environments, this process could take twenty to thirty years.

The following information is a snapshot of the building statistics:

Area of copper panels on the building: 129,900 square feet of copper panels.
Area of copper on the roof cladding: 55,500 square feet of copper panels and 6,500 linear feet of custom battens.
Area of copper on the tower: 33,218 square feet of copper panels.
Number of panels — Main building: 5,757; Roof: 3,513; Tower: 1,845.
Number of perforations — Building: 920,699; Tower: 803,229
There are approximately 1,500,000 bumps of the surface. This includes the four levels of bumps that go in and four levels that come out. These bumps, along with the flat plane, results in nine different levels of surface texture.
Pounds of copper utilized. . .1,121,992. This translates too. . .2,201 cubic feet or 1 sheet of copper that is 1 meter wide by 21.6 miles long.
The 70,000 pounds of the custom alloy, custom bronze extrusions utilized for the tower system were also designed and engineered by Zahner.

Clyde Frazier NYC

August 15, 2016/in Interior Architecture Restaurant New York City Morphosis Black, Blue, Blue-grey, Brown, Charcoal, Gold, Green, Grey, Indigo, Light blue, Magenta, Orange, Red, Silver, Violet, White, Yellow M 2012 /by cmorris

Clyde Frazier’s Wine & Dine in New York City

Clyde Frazier’s Wine & Dine is a new construction high-end sports bar and eatery designed by Morphosis. The space features a Zahner-manufactured ceiling, made using generative design and automated fabrication.

Designed by Morphosis for NBA Champion and former New York Knicks Player Walt Clyde Frazier, this New York City restaurant expands a full city block in the Hell’s Kitchen neighborhood. A swarm of suit jackets dominates the central corridor of Clyde Frazier’s Wine and Dine, a 10,000 square foot experience which mixes American and Asian cuisines.

Zahner provided the ceiling architectural feature. This ceiling is made up of custom cut and folded aluminum plates, 544 in total. The aluminum plates are printed from photographs of Mr. Frazier’s suit jackets. These parts are segmented into six unique shapes, where are placed at intervals of increasing distance. This interval placement creates the illusion that every part is unique.

Clyde Frazier's Wine & Dine in New York City.

The colors in the model categorize the panels according to breaks and sizes. Between the differing anchor placements, prints, panel sizes, and panel shapes, all 544 aluminum panels ended up being unique.

Even more complex were the ribs which held them in place. Because the panels were anchored at different angles, every drill hole had to be custom placed. Thus, each of the 69 ribs had 6 segments for a total of 463 segments, each with 3 unique faces.

3D model for Clyde Frazier's Wine and Dine.

“The transformative feature in the room, however, is suspended from the ceiling, where a 170-foot-long assemblage of colorful, patterned, flat and folded aluminum fins floats over the dining area, bar, and lounge. Morphosis found the stripes, plaids, and prints for this polychromatic sculptural reef in Frazier’s closets.

The architects photographed their contents and, working with Zahner’s metal fabricators, digitally printed images for a film adhesive applied to 544 aluminum panels of six shapes. The palette varies from blue to brown-gold to charcoal, with red painted undersides enhancing the gestalt. ‘It’s mesmerizing,’ says Frazier.” — Suzanne Stephens, Architectural Record.

Five threaded rods support each rib. The central columns do not hold the weight of the panels.

Aluminum fabricated-metal forms with custom printed and mounted graphics.

Installation process at Clyde Frazier's Wine and Dine

Installation of the printed aluminum fabrications.

Bowdoin Museum of Art

August 15, 2016/in Exterior Architecture Museum Brunswick--Maine Machado & Silvetti Brown, Gold M 2007 /by cmorris

Bowdoin College Museum of Art

The Bowdoin College Museum of Art renovation by Machado & Silvetti features a custom Zahner patinated surface and structural elements at its entry.

The new building entrance resembles a glass box on three sides, with the remaining portion clad in a Zahner fabricated naval brass with a custom bronze patina. The patinated metal panels continue from the exterior to the interior angled soffit, completing a dramatic entry for the museum’s 19th Century collection.

Related Project

Cincinnati Tower

The tower has a number of symbolic aspects in its design. Its square base forms the letters U and C on alternating sides. Above these letters, the main wooden shafts rise in the form of hammers. These motifs reflect the fraternity's motto, "The torch burns; the hammers ring." At the top, a beam of light shines through a stylized stainless steel torch and changes colors through the use of a computer program.