XL | Zahner

MoPop Museum

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.

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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.

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.

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… 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.

DFW Airport

August 15, 2016/in Exterior Architecture Airport, Transportation Dallas--Texas Corgan Associates, HKS, HNTB, HOK Silver XL 2005 /by cmorris

Dallas Fort Worth Airport, Terminal D

The new Terminal D at the Dallas Fort Worth Airport is the largest square-foot project completed to date using Zahner’s Inverted Seam roof and facade system. The new terminal was built to give international travelers a lasting positive impression of their arrival and departure from the United States.

The building envelope for this work includes approximately 500,000 square feet of surface covered with 11 acres of stainless steel cladding for the roof. Just over two miles of gutter and five miles of fascia panels adorn the roof. The entirety of the building envelope metal system was included in the scope for the Zahner team. Zahner worked with the architects at HNTB, Corgan Associates, and HKS, to complete this vast project.

Aerial photo of the DFW Airport Terminal D with Inverted Seam roof system.

Energy Efficiency

The Zahner Inverted Seam roof is part of the total low-energy solution for the project, reducing the cooling costs by more than 90 percent during peak electrical demand hours. The Terminal D development program includes design of the airport’s central thermal storage tank, a structure that utilizes less expensive electricity at night to create a store of ice to cool the terminal during daytime hours when rates are higher. The project was reviewed by the Clean Airport Initiative team of experts to evaluate incorporated features of sustainable design and to use it as a case study for upcoming guidelines for sustainable airport design.

Zahner roofing team installs the stainless steel skins on the DFW Terminal D roof.

Aerial photograph of the DFW Terminal D.

Zahner field installation crew during construction of the Inverted Seam roof system.

BOK Center

August 15, 2016/in Exterior Architecture Arena & Stadium, Performance Center Tulsa--Oklahoma Pelli Clarke Pelli Grey, Silver XL 2008 /by cmorris

Bank of Oklahoma Center in Tulsa, Oklahoma

BOK Center (Bank of Oklahoma) in Tulsa, Oklahoma is a nearly 20,000 seat multi-purpose arena for sports, concerts, and massive events. The project involved Zahner’s production and installation of several thousand Angel Hair stainless steel panels, each installed on a ZEPPS framework, the building block for complex architectural curves and highly efficient and accurate installations in architecture. The project called for 350,000 square feet of exterior metal panels.

Designed by César Pelli of Pelli Clarke Pelli, the project was managed by Flintco and Manhattan Construction, who called the BOK Center “one of the best architectural designs in their 100-year history of building projects.”

The city officials in Tulsa hired the architects to develop an arena that would be an architectural icon. Pelli Clarke Pelli used architectural themes of the city, developing a swirling aesthetic for the exterior and interior aspects of the building.

Stainless steel facade detail of BOK Center in Oklahoma.

Interior metalwork for BOK Center in Oklahoma.

Photograph of BOK Center during construction.

Basrah Sports City

August 15, 2016/in Exterior Architecture Arena & Stadium Asia, Basra--Iraq, International, Middle East HOK Brown L, XL 2012 /by cmorris

Sports City Stadium in Basra, Iraq

Designed by 360 Architecture (now HOK), the new Basrah Sport City Center is part of a larger sports complex that aims to boost the city as a sporting center in the Middle East. Zahner provided the perforated weathering steel exterior panels. Zahner also provided a number of interior metal surfaces.

The perforated steel was a pre-weathered Solanum Steel, a Zahner-manufactured weathering steel (corten) product. The product was designed for architectural projects requiring a stable finish and patina with minimal staining of adjacent surfaces.

Related Surface

Basrah Sports City

Timelapse of the Basra Stadium Mockup in Kansas City.

PHOTO © A. ZAHNER COMPANY

Bartle Sky Stations

August 15, 2016/in Art & Sculpture Monument, Public Art, Sculpture Kansas City R.M. Fisher L, XL 1994 /by cmorris

Bartle Hall Sky Stations

Located in downtown Kansas City, artist R.M. Fischer worked with Zahner to produce the stainless steel and aluminum sculptures which rest upon massive pylons at the intersection of three major highways. After completion in 1994, these four sculptures quickly became icons synonymous with Kansas City’s downtown cityscape.

These sculptures are inspired by 1930s Art Deco style, which can be seen throughout the Municipal Auditorium’s chandeliers and decorative designs at Bartle Hall. The tube frames which form the bases are 18’x40′ in size. The concrete pylons that the sculptures sit atop are 300′ tall. Zahner employed fusion welding, a technique with nuclear plant specifications using aluminum and stainless steel with a #4 Satin finish.

Installation was accomplished by lowering the sculptures from a helicopter, a Sikorsky S-64 Skycrane specifically engineered for heavy lifting.

Zahner played a pivotal role in the entire production of the piece, assisting the artist with budgeting, scheduling, and fabricating,and delivering. This completion of this total solution monumental artwork set the stage for Zahner’s art fabrication initiative; providing a process to produce artworks of various scales and of metal materials on an artist’s budget.

Zahner installers secure each of the Bartle Hall Sky Stations.

Panoramic of the Bartle Hall Sky Stations in the Kansas City Skyline.

Interior Artworks

In addition to massive artworks on top of the Bartle Hall, Zahner also completed many of the 48 interior hanging works in the facility for the artist R. M. Fischer. Among the many artworks are a giant clock, and many light fixtures which illuminate the lobbies, pedestrian passageways, and conference center. Not only has Fischer’s art become one of the most talked-about public commissions, but also one of the most recognizable.