MAY/JUNE 2008

DESIGN FOR SUSTAINABILITY

SUSTAINABLE FABRIC 103

REGIONALISM
Slovenian rooms with a view
Herzog + De Meurons inated nest
New eco-ex materials
AIA Learning Unit: Art & architecture

Subscribe at www.fabricarchitecture.info

0508FA-CV1.indd

4/16/08

2:35:01 PM

sauna

WHEN YOUR CUSTOMERS ADD A

B E A U T I F U L AW N I N G T H E Y C A N
EXTEND THEIR TIME OUTDOORS.

0508FA_cv1-p13.indd

Sec1:cv2

Help your customers transform any outdoor space into

a more enjoyable place to spend time. In addition to
extending their leisure space and time outside, they will
also save money on their energy bills.

4/24/08

11:07:19 AM

sanctuary

Its like making a low-cost room addition while also adding value to their home.
For more information on how beautiful Sunbrella fabrics can help create the perfect
outdoor setting for your customers, contact your Sunbrella sales representative or
visit www.sunbrella.com.
Sunbrella is a registered trademark of Glen Raven, Inc. Awning provided courtesy of Eclipse Awning Systems. Lauren furniture
provided courtesy of Summer Classics.

0508FA_cv1-p13.indd

Sec1:1

4/24/08

11:07:22 AM

The Name Behind

The Landmarks...
Is Now Behind
The Planet.

Florida
Florid
Flo
ridaa Hospital Waterman
Tauares, FL

Strong Nat
National Museum of Play
Dancing Wings Buttery Garden
Rochester, NY

Fiberglass
Fib
l coated
t d with
ith Teflon
T fl Architectural
A hit t l M
b
Membrane
Palm Springs Airport
Palm Springs, CA

Sheerll is the rst architectural membrane to be rated by CRRC, the

Cool Roof Rating Council. With 71% solar reectance and 89% thermal
emittance, Sheerll is truly the quintessential green choice for companies
seeking energy-saving products. Those seeking LEED points need look no
further. And while others are working to be green, Sheerll was born
green over 35 years ago.

Pretty cool roof. Pretty cool Sheerll.

The Rapid Central Station
Grand Rapids, MI

For more information, contact us at:


WWWSHEERlLLCOM
$ANIEL7EBSTER(IGHWAYs-ERRIMACK.( 
4EL%XTs&AX

Initial
Solar Reectance
0.71
Thermal Emittance 0.89
Rated Product ID Number
Licensed Seller ID Number
Classication

Weathered
Pending
Pending
0001
0894

Production Line

Cool Roof Rating Council ratings are determined for a xed set of conditions, and may not be appropriate
for determining seasonal energy performance. The actual effect of solar reectance and thermal emittance
on building performance may vary.
Manufacturer of product stipulates that these ratings were determined in accordance with the applicable
Cool Roof Rating Council procedures.

SHEERFILL, FABRASORB and ULTRALUX are registered trademarks

of Saint-Gobain Performance Plastics Corp.
Teon is a registered trademark of DuPont.

0508FA_cv1-p13.indd

Sec1:2

4/24/08

11:07:22 AM

FABRIC ARCHITECTURE
VOLUME 20 NUMBER 3

SUSTAINABLE FABRIC 103

REGIONALISM
This is our third issue in an ongoing focus on sustainable design
using fabric. Experts agree that a particular environment requires
a particular building designed to match the unique conditions of its
site, or region. In this issue, we examine several new buildings that
respond uniquely to their site in sustainabile ways.

36 Summer breeze
A compact cluster of low-cost apartments soaks up sun
and sea on the Mediterranean.
COVER DESIGN BY Cathleen Rose
PHOTO BY Tomaz Gregoric

ON THE

COVER

38 Olympic excellence
As the worlds rst public top-to-bottom membrane
structure, Beijings Watercube receives its time in the sun.
BY Jeff Barbian

44 Woven wonder
Metaphors and materials in Beijings National Stadium.
BY Frank Edgerton Martin

48 Heady brew
The Adnams Distribution Centre in Suffolk, England,
instills the green approach to building throughout.
BY Helen Elias

P O RT F O L I O
32 The best of 2007
Structures and interior winners of
the International Achievement Awards.
FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

0508FA_cv1-p13.indd

Sec1:3

4/24/08

11:07:25 AM

FABRIC ARCHITECTURE
VOLUME 20 NUMBER 3

24

EXPERTISE

PRACTICE

FOUNDATION

20 DESIGN | Sustainability
Fabric structures and
sustainable views

52 DETAIL | ETFE panels

FIRST WORD

SAMPLES

BY Samuel J. Armijos

23 REPORT | Japan
Buildings that ght
global warming
BY Isoko Tokizawa

24 CONTINUING EDUCATION |
Art + architect
Selecting the artist to match
the architecture.
BY Regina Flanagan

FABRIC ARCHI TECTURE MAY/JUNE 2008

30 CONTINUING EDUCATION |
Self test/reporting form

54

Detail of foil panel system for the

National Stadium, Beijing.

54 MATERIALS | Flexible materials

The latest lms, membranes
and new materials re the
imagination of designers.
BY Katherine Carlson

60 RE | Vision
Seattle shade
A city golf center cools down its caf
patio with a retractable canopy.

62 REVIEW | Book
Maufacturing Processes
for Design Professionals
REVIEWED BY Jeremy Clark

The latest examples of new work,

exhibitions, conferences and design
from around the world.

12 LETTERS
Readers talk back.

14 COMMENTARY |
Environment
Our changing climate
Fabrics in an era of global warming.
BY Matthys Levy

63 AD INDEX
64 SKETCHES | Art
Dream weaver
Randy Walker nds inspiration in
ber and nature.
BY Mason Riddle

COMING NEXT ISSUE:

New programs for sustainable
design: The educated fabric
structure designer, an
international survey.

Fabric Architecture (ISSN 1045-0483), Volume 20, Issue 3 is published bi-monthly by Industrial Fabrics Association
International, 1801 County Road B W, Roseville, MN 55113-4061. Periodicals Postage Paid at Minneapolis, MN and at
additional mailing offices. Postmaster send address changes to Fabric Architecture, 1801 County Road B W, Roseville, MN
55113-4061. Return undeliverable Canadian addresses to Station A, PO Box 54, Windsor, ON N9A 6J5.
Subscription inquiries, orders and changes contact: Sue Smeed, Assistant Circulation Manager, Fabric Architecture,
1801 County Road B W, Roseville, MN 55113-4061, Phone 800 225 4324 or +1 651 222 2508, fax +1 651 631 9334
e-mail: [email protected]. 1-year USA $39, Canada and Mexico $49, all other countries $69, payable in U.S.
funds (includes air mail postage). Reprints: call 800 385 9402, [email protected]. Back Issues: call 800 225 4324,
[email protected], www.ifaibookstore.com.

www.fabricarchitecture.info

0508FA_cv1-p13.indd

Sec1:4

4/28/08

9:39:24 AM

0508FA_cv1-p13.indd

Sec1:5

4/24/08

11:07:53 AM

FIRST WORD

Location, location, location

It may be a clich, but when it comes to sustainable
design, there is some truth in it

FABRIC ARCHI TECTURE MAY/JUNE 2008

eve all heard the old real estate saw about getting the best dwelling (or oce
block) for the money by nding the best spot in town, and the actual building is
of secondary importance. This may actually be very close to the truth for sustainable design, according to architect Lance Hosey. Earlier this year I reported on IFAIs fabric
structure symposium, held in Las Vegas in October (Jan/Feb, pg.14). Keynote speaker to
the symposium was William McDonough & Partners principal Lance
Hosey, AIA, LEED AP, who spoke of the importance of designing to t
a certain region in order to create truly sustainable buildings.
Hosey advocated for several important guidelines that shape sustainable designs, and one of those is to look to the immediate surroundings for clues on how to design intelligently. However, appropriating regional styles simply for the sake of style is, according to Hosey,
ultimately specious: Aesthetics are not icing on the cake but [must be]
integral with design. If you locate your building in the cold climate of
the northwestern United States, then you know to match your design
with the appropriate roof overhangs, provide for adequate water drainage and insulate to the
proper R-value in that region. And so on for each unique setting.
These tenets of responsible design are the reection of generations of builders who have
learned what works in each area: designs that are indigenous if the local culture has sucient
history behind it. Frank Lloyd Wright, with his prairie architecture, argued the same logic a
hundred years ago. We are again learning the lesson today with $100-a-barrel oil as a goad.
In this issue we celebrate regionalism and sustainability with several projects from
around the world that exploit their circumstances to full advantage, beginning with a
low-cost housing projectdesigned by Os arhitektiin Slovenia that presents simple
ideas using simple materials beautifully (pg. 36.) Heading still farther east, we ask What
is the Chinese regionalism of today? Two projects designed for this years world Olympic Games in Beijing attempt to answer that with striking designs and unusual materials,
heralding Chinas arrival on the international contemporary architecture scene. Australian
architects PTW, in collaboration with engineers Arup, designed the National Aquatic Center (Watercube pg. 38) wrapped in ETFE pillows that debuts this summer for the XXIX
Olympiad. Within a stones throw sits another ETFE-clad wonder, the National Stadium
(Birds Nest), designed by Herzog & de Meuron with Arup and China Architecture Design
& Research Group (pg. 44). Both of these structures express uniquely Chinese qualities in
their overall form and detailing. Next on our round-the-world tour is a brewery distribution center in southeastern England, in the Suolk region, recognized as Britains greenest
warehouse, designed by Aukett Fitzroy Robinson (pg. 48).
If there is one thing to take away from reviewing these regional examples, its Watch
where you locate!

Fabric Architecture inspires and educates

readers about the benets of fabric as an
innovative and sustainable building material.

www.fabricarchitecture.info

Bruce N. Wright, AIA

[email protected]

Ofcial publication of the Lightweight

Structures Association, and the Professional
Awning Manufacturers Association

0508FA_cv1-p13.indd

Sec1:6

Publisher Mary Hennessy

[email protected]
Editor Bruce N. Wright, AIA
[email protected]
Editorial Director Susan R. Niemi
[email protected]
Production Manager Russell Grimes
[email protected]
Art Director Marti Naughton
Graphic Designer Cathleen Rose
Promotions and Circulation Manager Mary J. Moore
[email protected]
Assistant Circulation Manager Susan Smeed
[email protected]
New Business Development Sarah Hyland
[email protected]
Advertising Sales Jane Anthone, Katie Bryant Lang,
Terry Brodsky, Vivian Cowan, Julia Heath,
Mary Mullowney, Elizabeth Welsh
Contributing Editors Joanna Baymiller, J. Clark,
Jean M. Cook, Helen Elias, Ali Heshmati, Percy Hooper,
Barbara K. Hower, Robert O, Vctor Hugo Roldn Gonzles,
Ron Shaeer, Jamie Swedberg, Todd Willmert
Fabric Architecture Advisory Committee
John Carter, J&J Carter Ltd., Basingstoke, UK
Deborah W. Dalton, ASLA, CELA,
University of Oklahoma
Gerry DAnza, Naples, Italy
Bruce Dvorak, ASLA, Texas A&M University
Nicholas Goldsmith, FAIA, LEED AP FTL, New York
Beth Hungiville, Lightweight Structures Association
Craig Huntington, P.E., Huntington Design Associates
Marijke Mollaert, PhD, Free University of Brussels
Erik Moncrie, Berlin, Germany
Juan Monjo-Carri, Universidad Politcnica de Madrid
Nora Norby, MFC, Banner Creations, Minneapolis
Matti Orpana, Tensotech Oy, Kokkola, Finland
William Overton, Meridian Mfg. Corp.
Michelle Sahlin, Professional Awning Manufacturers Association
Goetz Schierle, PhD., FAIA,
University of Southern California
R.E. Shaeer, P.E., Florida A&M University
Pete Weingartner, CPP, Queen City Awning

Fabric Architecture is published by the Industrial

Fabrics Association International (IFAI), a 2,000-member
not-for-prot trade association dedicated to promoting the
use of specialty fabrics.
IFAI President
Stephen M. Warner
800 225 4324, +1 651 222 2508
IFAI
1801 County Road B West
Roseville, MN 55113
USA
+1 651 222 2508
800 225 4324
www.ifai.com
Printed in USA.
Publications Mail Agreement #40027027.

To submit story ideas,

contact Bruce Wright, [email protected]
Those submitting manuscripts, photographs, artwork or
other materials to Fabric Architecture for consideration
should not send originals unless specically requested
to do so by Fabric Architecture. Unsolicited manuscripts,
photographs and other submitted materials must be
accompanied by a self-addressed overnight delivery return
envelope, postage prepaid. However, Fabric Architecture
is not responsible for unsolicited submissions.

Copyright 2008 by the Industrial Fabrics

Association International.
Statement of facts and opinions are made on the
responsibility of the author alone and do not necessarily
imply the opinion of the magazine, its advisory committee,
its editors, or the association.
Fabric Architecture reserves the right to refuse any and all
advertising and disclaims all responsibility for claims made
by advertisers. Materials may not be reproduced without
written permission.

4/28/08

9:40:32 AM

,)'(47%)'(4350%2)/2342%.'4(./#/-02/-)3%3

.OVA 3HIELD))WITH!RMOR+OTE
STRONGLIGHT

0VS
QBUFOUFE
XFBWF
QSPEVDFT
JODSFEJCMF
TUSFOHUIUPXFJHIU
QSPQFSUJFT
8IFUIFS
ZPVSF
CVJMEJOH
B
WBTU
TQPSUT
BSFOB
JO
5FYBT
PS
B
NVMUJQVSQPTF
FWFOU
UFOU
GPS
UIF
$BMHBSZ

4UBNQFEF
/PWB4IJFME
**
XJUI
"SNPS,PUF
JT
UIF
QSPWFO
DIPJDF
GPS
NFNCSBOF
TUSVDUVSF
GBCSJDT
%FTJHOFE
UP
NFFU
UIF
JOEVTUSZT
IJHIFTU
TUBOEBSET
/PWB4IJFME
**
EPFTOU
EJTBQQPJOU
0VS
QBUFOUFE
XFBWF
QSPEVDFT
JNQSFTTJWF
TUSFOHUIUPXFJHIU
SBUJPT
BOE
JUT
MJHIUFS
XFJHIU
NBLFT
GPS
FBTJFS
GBTUFS
NPOFZTBWJOH
JOTUBMMBUJPOT
/PWB4IJFME
**
XJUI
"SNPS,PUF
GFBUVSFT
FYDFMMFOU
QIZTJDBM
QSPQFSUJFT
XJEFS
XJEUIT
BOE
MFTT
GBEJOH
UIBO
DPNQBSBCMF
QSPEVDUT

#OURTESYOF3UMMIT3TRUCTURES

3HOWYOURCOLORSWITH.OVA 3HIELD))
N%JTQMBZ
ZPVS
MPHP
DPMPS
ZPVS
XPSME
N5SBOTMVDFOU
GBCSJDT
DBO
PGGFS
TUVOOJOH
JNQBDU
BU
OJHIU

4HEREAREENVIRONMENTALBENElTSTOUSING
.OVA 3HIELD))
N5SBOTMVDFOU
GBCSJDT
PGGFS
OBUVSBM
EJGGVTFE
MJHIU
UIBU
DBO
SFEVDF
FMFDUSJDJUZ
DPTUT
BTTPDJBUFE
XJUI
MJHIUJOH
N3FEVDUJPO
JO
IFBUJOH
DPTUT
N/PWB4IJFME
**
XJUI
"SNPS,PUF
JT

SFDZDMBCMF

#OURTESYOF3UMMIT3TRUCTURES

N/P
IBSNGVM
TPMWFOUT
BSF
OFFEFE
UP
DMFBO
/PWB4IJFME
**
XJUI
"SNPS,PUF
KVTU
BEE
XBUFS

#OURTESYOF3UMMIT3TRUCTURES

#OURTESYOF3UMMIT3TRUCTURES

#USTOMER3ERVICE
5PMM
'SFF

*OUFSOBUJPOBM

FYU

'BY


XXXFDQJOGPDPN

0508FA_cv1-p13.indd

Sec1:7

JOGP!FDQJOGPDPN

4/24/08

11:08:00 AM

SAMPLES

Wind over water

A fabric sail-fan combination aims to take
advantage of a unique geological setting for
sustainable purposes

FABRIC ARCHI TECTURE MAY/JUNE 2008

BY Helen Elias

When it comes to the latest thinking in new ways to provide renewable

power, it all comes down to the fabric specied in this case, a large wind
dam designed to deploy a 75m fabric sail. Mould-breaking UK architect
Laurie Chetwood of Chetwood Associates has made headlines across Europe with his revolutionary new fabric-based eco design. Russia has placed
an order of 2.5 million (3.5million euros) for a revolutionary new wind
dam, which is to be installed over a very windy gorge at Lake Lagoda in the
Pitkyaranta District, a region lying to the Northwest of the country.
The high winds that come roaring down the Lake Lagoda gorge can
achieve speeds of up to 10m/s. The naturally occurring winds will be captured by the enormous 75m wide and 25m high spinnaker-shaped sail, held
in place by rm land anchors. The sail will be strategically tethered between
two land masses located to harness the constantly prevailing wind. The
energy packed air caught by the spinnaker will be funnelled down by the
ergonomic sail-shape to where three 1520kW turbines with 10m diameter
blades stand, placed behind each other to capture as much of the deected
wind energy as possible in order to generate electricity. According to the
developers, this revolutionary new fabric wind dam is a much more ecient way of capturing wind energy than establishing a wind farm using
traditional propellers alone, an approach which can let a large amount of
wind energy escape harvesting.
Chetwood is working with engineers WSP Finland on the development of the Wind Dam, which will also be capable of harnessing relatively
minimal wind volumes at low speeds to generate power. Predicted output
from the new system is in the region of
100120MW/yr. F.E.M., simulation,
PROJECT DATA
wind tunnel testing and vibration analArchitect: Laurie Chetwoood
ysis is also being carried out for a number of similar locations in Russia.
Engineers: WSP, Finland
Helen Elias is a Fabric Architecture
contributing editor. Her report on the memorial to the Madrid train station bombing
appeared in the March/April issue.

Budget: 3.5 million euros

Time frame: 20072010
Location: Pitkyaranta District,
Lake Ladoga, Russia

www.fabricarchitecture.info

0508FA_cv1-p13.indd

Sec1:8

4/24/08

11:08:01 AM

FERRARI
Your obvious partner for architecture
Fabric Architecture
"Allowing natural light,
freedom of design, and
style, textiles provide unique
solutions to everyday issues."

Outlet Mall
Las Vegas, Nevada - USA
Precontraint 1002 T2

Interior Architecture
"Adding aesthetic comfort
to projects by allowing
Skating Rink
Lyon - FRANCE
Batyline HM Classic

freedom of expression
in design."

Solar Protection
"Allowing you to maintain the
view while controlling heat
and glare inside for a more
comfortable environment."

Corporate Boardroom
Soltis 99

Facades
"Maintaining the view for
those inside while enhancing
solar protection benefits."

Commercial Offices
Los Angeles, California - USA
Stamisol FT

Awnings & Shadesails

"The boldest projects can
be designed and created
with vivid colors and
shapes."

Childrens Hospital
St Louis, Missouri - USA
Precontraint 502 Color Design

FERRARI TEXTILES CORP.:

1510 SW 5th Court - POMPANO BEACH, FL 33069 - USA
Tel.: +1 (954) 942 3600 - Fax: +1 (954) 942 5555

www.ferrari-architecture.com

0508FA_cv1-p13.indd

Sec1:9

www.ferrari-textiles.com

4/24/08

11:08:08 AM

SAMPLES
RIBA LIBRARY PHOTOGRAPHS COLLECTION

Pylons forever!
This June, the London Festival of Architecture may be
graced by a vestige of the past in the form of a tensile
structure from the 1950s. The original Skylon, designed by Philip Powell, Hidalgo Moya and structural
engineer Felix Samuely and based on the structural
concept of tensegrity, was erected in 1951 on the edge
of Londons South Bank for the Festival of Britain that
year. London architect Jack Pringle, president of Pringle Brandon architects, is proposing a recreation of the
tensile structureperhaps as an air-inated temporary
scale model of the originalin time for this years Festival. Skylon is one of Londons lost icons, said Pringle
in the Architects Journal in February. People dont
realize how tall and incredibly dramatic Skylon was
and as a pioneering tensile structure, it is also a serious
piece of architecture.

Recycling is new priority for

the vinyl roong industry
Following its European counterpart, the Vinyl Roong Division of the Chemical Fabrics and
Film Association, has launched a new phase in its commitment to environmental sustainability through recycling. The North American vinyl roong manufacturers are developing
the infrastructure to establish a viable program. The European Single Ply Waterproong
Assoc. (ESWA) program, Roofcollect, coordinates the recovery and processing of post-consumer vinyl roong membranes. The equivalent is planned for the North American market.
For more information, visit www.vinylroofs.org

5758_Reliant_FabArc.indd 1
0508FA_cv1-p13.indd
Sec1:10

BC Place may get

retractable roof
In anticipation of the 2010 Winter Olympics, BC Places management is researching the possibility of replacing the iconic
Vancouver buildings air-supported fabric roof with a retractable fabric roof.
Talks have begun between Uni-Systems
(a primary supplier of such systems in
North America) and Birdair to explore
the costs and technical challenges in converting the worlds largest air-supported
stadium. Estimates place the cost at
$150 million US, or more, plus the possibility of incorporating new green building technologies in the retrot, including
PV panels. Regardless of whether a new
system will be put in place or the existing
fabric simply replaced, ocials intend to
nish in time for the Olympics.
www.canada.com

4/29/08

8:23:58 AM

Berlin, Germany 2224 May 2008

Roof over their heads

The 13th international workshop on
the design and practical realization of
architectural membrane structures will
take place this May at the Technical University of Berlin. Invited lecturers this
year include Dr.-Ing. Rainer Blum (Stuttgart), Prof. Wujun Chen
(Shanghai), Ms. Dr. Deepali Hadker (Mumbai, India), Peter Lim
(Collingwood, Australia), Nicolas Pauli (Montpellier, France) as
well as regulars Prof. Dr.-Ing. Lothar Grndig, Franoise Fournier, Prof. Josep I. Llorens, Prof. Marijke Mollaert, and Prof. Dr.Ing. Rosemarie Wagner.
For a full list of lecturers and subjects to be discussed, visit www.
textile-roofs.com

Euro Experience Tour inltrates

Oversight

A traveling show for the UEFA Euro 2008 (football) tournament

began in late January in Basel, Switzerland when an innovative inatable building opened to the public as the rst of a 13-city tour
through Austria and Switzerland. The fabric buildingdesigned by
Tectoniks Ltd. in Shrewsbury, UKis comprised of two domes that
are connected by a sweeping tunnel. One dome contains an interactive action zone, the other a wrap-around multimedia cinema.
The structure sets up in just four hours and shelters 800m interior
oor space.
For more information, contact www.tectoniks.com

In the feature story on ETFE

in our March/April issue on
new materials and technologies, we inadvertently omitted
Structurex as a major source
of ETFE technology and expertise (Time to shine, pg. 40.)
They can be reached at: www.
structurex.com. We regret
this omission.

STRUCTURE
Birdair is built on a foundation of expertise. As
the worlds foremost experts on long-span tensile
architecture, we provide design assistance,
engineering, specication, fabrication, construction,
even post-installation service as you may require
it, to help you build whatever you have in mind.

birdair.com

0508FA_cv1-p13.indd

Sec1:11

4/10/08 9:52:36 AM
4/24/08
11:08:20 AM

LETTERS
MATERIALS | Hospit

Nanotechnology safe?

al fabrics

Keeping it clean

BY Katherine Carlson

t North Memorial
Medical Center, a
Level 1 trauma center
value analysis teams
in Robbinsdale, Minn.,
meet routinely to
evaluate new health-care
ed by clinicians or
products suggestdistributors. Project
administrator Ann
textiles, lists rm
criteria for fabrics
Roberge, who purchases
used in the hospitals
We want to create
furnishings.
a home-like environmen
t for patients, and
portant, she says.
rst impressions are
We want fabrics that
imare cleanable, durable
were interested in
and re retardant.
environmental aspects
Lately,
of products. When
or antimicrobial, we
products are re retardant
want those qualities
not applied, but integrated
North Memorial uses
into the fabric.
no fabric window
treatments or wall
them can be problematic
coverings, since cleaning
and time-intensive.
Roberge prefers upholstery
ceed the base durability
level (60,000 double-rubs
fabrics that exvation of the 518-bed
) at 100,000 double-rubs
facility takes place
.
Because
renoin stages, textile colors,
be consistently available.
patterns and styles
must
Dierent hospital
settings require di
erent fabric properties.
cupied families spill
In waiting areas, preoccoee or soda, and
stain resistance is
colors and textures,
key. In patient rooms,
cleanability and antimicrobi
soothing
a surgical suite, stringent
al properties rise to
the top of the list.
infection control,
In
one-use disposable
sta work wear might
products and comfortable
be the priorities.
Price is only one factor
we take into account,
says
Richard
Mencel,
materials managemen
director of
t at North Memorial.
Mencel suggests
that in institutions
like hospitals that
never close, durable
is

2008

JANUARY/FE BRUARY

the information

you need

The IFAI Bookstore has over 500 carefully

selected items to meet the needs of the
specialty fabrics industry.

FABRIC ARCHI TECTURE MAY/JUNE 2008

12

Marine
Market research
Sign and graphics
Technical
Tent
Upholstery
Window treatments

Order online or contact IFAI Bookstore

+1 651 222 2508, Fax +1 651 631 9334
[email protected], www.ifaibookstore.com

.info

Sec4:46

2008

Locate
now.

Cleaning up
Every surface in a
hospital, clinic or
long-term care facility
again. Walls, carpets,
gets cleanedover
oors, linens, scrubs,
and over
towels, chairs and
patients already depleted,
surfaces collect germs,
stressed or fragile
and
cant ght o infection.
2030% of those admitted
According to the CDC,
to hospitals already
have an infection.
year get a hospital-acq
Two million patients
uired infection (HAI),
each
costing the health-care
$30.5 billion. It gets
worse. The CDC estimates
system an estimated
one or more of the
that 70% of HAI bacteria
drugs used to treat
are resistant to
them. Thats a good
selling to health care
reason why material
voice a recurring
distributors
demand for products
protection, according
that provide antimicrobi
to Fred Schecter,
vice president of Sommers
al
ton, N.J.
Plastic Products, ClifIn the antimicrobi
al fabric world, its
good to be silver.
ment with three impacts
Silver is a naturally
on microbes: disrupting
occurring eletion. Bacteria, mold
cell metabolism, respiration
and mildew arent
and reproduchappy in the presence
or integrated silver
of silver, so fabrics
resist odors, breakdown
with applied
and bacteria growth.
whether bacteria can
The only open question
become resistant to
silver and develop
Sommers has partnered
into untreatable super-bugs is
with AgION Technologie
.
AgUARDIAN interior
s
Inc.,
Wake
eld, Mass., to introduce
design materials with
silver-based antimicrobi
porated into vinyl,
plastic and
al compounds incorincorporated our antimicrobi polyurethane fabrics. We are excited
that [Sommers has]
al technology into
and decorate doctors
the products and materials
oces and waiting
used to furnish
rooms, nursing homes,
facilities, says Ladd
ambulatory and acute-care
Greeno, president
and CEO of AgION.

FABRIC ARCHI TECTURE

www.fabric architecture

Top: Fabrics that look

great and perform
well in
hard-use environments
could become popular
home use. Opposite:
Different hospital settingsfor
quire different fabric
reproperties. In waiting
where preoccupied
areas,
families spill coffee
or soda,
stain resistance is
key.

JANUARY/FE BRUARY

46

0108FA_p36-p
51.indd

Cutting a swath
Competition among
health-care providers,
whether hospitals,
managed-care clinics,
specialty oces or
long-term care facilities, stimulates an
ongoing search for
innovation: high-tech
equipment, new drugs
and treatments, stylish
interiors and products that speed healing,
hurt less, protect
more or just feel better.
Fabric innovations
could trigger a quiet
revolution in health-relat
ed products and
furnishings. Imagine,
for example, linens
that prevent infection,
eliminate odors or
reduce pressure sores;
sta wearing masks
that resist viral infection
and durable uniforms
welcome visitors
that dont irritate
but not their germs
skin; furnishings
or spills; and disposable
that
incinerated without
plastics created, used
toxic chemical emissions.
and
This healthy vision
cant occur too soon:
In 2004, the most
Centers for Disease
recent year for which
Control and Prevention
the U.S.
(CDC) has gures,
Gross Domestic Product
16% of the United
was spent on health
States
care$1.9 trillion
Fabric products arent
or $6,280 per person.
a big-ticket item in
the whopping health-care
facilities are a consistent
budget; still, health
and lucrative market.
company with 11,500
Novation, an Irving,
members in health-relat
Texas, contracting
helped buy a record
ed group purchasing
$31.6 billion in supplies,
organizations (GPOs),
devices,
New textile products
drugs and services
could both succeed
in 2006.
in the marketplace
savings by helping
and leverage big health-care
to reduce costs associated
with hospital-acquired
replacement, waste
management and
infections, furnishing
housekeeping.

FABRIC ARCHI TECTURE

am a civil engineer specializing in the design of building structures, and a

subscriber. In the January/February 2008 article (Keeping it clean, pg.
46), I read with some dismay its neutral tone in discussing the use of nanoparticles in architectural fabrics. While I understand that your publication exists to promote the interests of the architectural fabrics industry, I protest
that you have a duty to the public welfare as well.
I have two concerns: the promotion of super bugs, and the potential for
nanoparticles to directly endanger human health.
Regarding the rst of these, the dangers of super-bugs are well known. As
an example, for two decades medical professionals have been warning us of the soap industrys careless promotion of antibacterial hand soap for general use. It has been well documented that for everyday use antimicrobial soap oers no health advantage over regular
soap, while on the other hand, it promotes the creation of super-bugs. This is a basic condition of the introduction of antimicrobial factors into the environment. A responsible soap
industry would have constrained their use.
Regarding the second concern, nanoparticles can pose a danger to human health directly as
well. For example, it has been known for many years that these particles can pass through human skin. A current example of poorly considered use is the new sunscreen lotions containing
nano-sized zinc oxide particles, oering a more transparent lm on the skin (and thus, more
aesthetic appeal), but oering no better sun protection than zinc oxide-containing lotions

Categories:
Architecture
Automotive
Awnings
Business operations
Custom sewing
Geotechnical
Magazinesback issues

beautiful. In o
ces, people use furnishings eight hours a
day, he says. In
a hospital, we use them
24 hours a day.

From waiting rooms

to surgical suites
and beyond,
hospital purchasers
look
protecting and promot for fabrics to assist in
ing health

1/15/08

2:06:23 PM
0108FA_p36-p
51.indd

www.fabric architecture

.info

47

1/15/08

2:06:32 PM

Sec4:47

that do not contain nano-sized particles. A

responsible industry would not have implemented them until proven safe.
With the nanoparticle-infused, antimicrobial architectural fabric cited in the
article, I doubt whether it has been established that there were a compelling need
for them for general use: on the contrary,
I see a compelling argument for caution. At
a minimum, a responsible industry would
have delayed implementing this application
to clothing until proven safe, or proven to
have benets that outweigh risks.
The nanoparticle industry is using the
public as guinea pigs.
Now we nd youa member of the
AIA, an organization that has charged itself with the task of facilitating well lived
liveshowever well intentioned, editing a
magazine that is promoting casually an untested architectural material that may pose
a signicant threat to our long-term health.
Moreover, this promotion occurs in the very
same edition that speaks of designs that can
minimize [a buildings] impact on the environment (pg. 14), and of fabrics sustainable future (pg. 37), and of assist[ing] in
protecting and promoting health (pg.46).
If I may adapt in turn to a new use of Al
Gores lm title that you quoted in your editorial, this complacencytoward the potential
dangers to human health posed by nanoparticles in architectural fabricsis our own
inconvenient truth. It is like the threat of
global warming you cite: the dangers of nanoparticles are not immediately apparent, and
are potentially devastating. Will you pull the
architectural fabric over your eyes? I challenge
you to address this nascent peril now being
created by the industry you represent.
Thomas Swartz, PE, LEED AP
Lafayette, California

www.fabricarchitecture.info

0508FA_cv1-p13.indd

Sec1:12

4/24/08

11:08:23
AM
Expo08_0

IFAI leads the way in the

specialty fabrics industry with
The largest specialty fabrics trade exhibition in the Americas
with the most buying power
The only specialty fabrics trade exhibition with
the International Buyer Program designation
from the U.S. Department of Commerce
Over 8,000 participants, 450+ exhibitors

The secret
to leadership
is leading

Architects--Plan now to attend these special sessions

Architects Workshops--How to get started with fabric (Oct. 22)
Going Green--Saving tomorrow today (Oct. 23)
Design Exhibition 2008 (Oct. 21-23)

Keynote Speakers
LOU HOLTZ
Game Plan For Success
Tuesday, Oct. 21
8:30-9:30 am
DORIS KEARNS GOODWIN
Leadership Lessons
From Abraham Lincoln
Thursday, Oct. 23
8:30-9:30 am

CONTACT US NOW to get the best promotional exhibiting and advertising

plan in the business to ll your booth with buyers and generate leads. Be sure
to ask about the Perk Packages reward program. Call Sarah Hyland at
800 319 3349 (U.S. & Canada), +1 651 225 6950, [email protected].

www.ifaiexpo.com
0508FA_cv1-p13.indd 1 Sec1:13
Expo08_0308FP-FA.indd

4/24/08
2/28/08 11:08:32
3:34:21 AM
PM

COMMENTARY | Climate

Our changing climate

Fabrics in an era of global warming

We are evaporating our coal mines into the air Svante Arrhenius, 1869

Excerpted by permission from

Why the Wind Blows: A history
of weather and global warming,
by Matthys Levy, with additional
new text for Fabric Architecture
by the author.
Upper Access Inc., book
publishers, Hinesburg, Vt.; www.
upperaccess.com. Copyright
2007, all rights reserved.

14

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:14

97

IN

25

YE

AR

FABRIC ARCHI TECTURE MAY/JUNE 2008

BY Matthys Levy

or millennia, growth in population and knowledge advanced slowly. Suddenly, in the early
19th century, population zoomed upward crossing the billion mark, and is now climbing
above six billion (g. 1.) By the end of the current century, it is expected that the worlds
population will grow to 10 billion. Another development started in the late 17th century, with
advancements in science and technology that set o an unprecedented industrial revolution led
by the discovery of 97 new elements in a period of 250 years (g. 2.) The conuence of these two
events resulted in a major expansion in the need for energy production.
Before 1800, wood was the principal source of energy in the world. In fact, 95% of the worlds
fuel was supplied by this source, with the remaining 5% being supplied by the muscle of man
and beast. With the advent of the industrial age, the fossil fuelscoal, oil and natural gas
became the worlds principal energy sources. As a byproduct of
8
the combustion process, the pro7
duction of energy using fossil fu6
els releases carbon dioxide (CO2)
5
into the atmosphere. In the past,
4
the carbon dioxide that is organi3
cally produced from human and
2
animal waste could be absorbed
1 BILLION
by plants and the worlds oceans,
YEAR
following natures carbon cycle.
0
2000
1000
500
1500
-500
Photosynthesis converts CO2 and
Fig. 1. World population growth
water that is soaked up by plants
into carbohydrates and oxygen,
100
by using solar radiation that is ab90
9 IN EARLY
3 IN 500 YEARS
HISTORY
80
sorbed by the plants chlorophyll.
70
IRON
GOLD
The worlds oceans act as a sink for
60
SULPHUR
50
COPPER
CO2 through the process of soluSILVER
40
MERCURY
bility, consequently increasing the
TIN
30
PHOSLEAD
PHORUS
ANTIMONY
20
CARBON
ARSENIC
acidity of seawater.
10
Starting before the turn of the
1600
1400
1200
1800
1900
1700
1300
1500
2000
20th century, the enormous quantities of carbon dioxide discharged Fig. 2. Discovery of the elements

4/24/08

12:21:49 PM

by our machines began to overwhelm natures cycle and ed to the troposphere and
stratosphere (g.3.) There, these gases,
(CO2 as well as methane, nitrous oxide and
others) enveloped our planet and, as in a
greenhouse, permitted light to enter but
prevented heat energy from exiting the troposphere. This resulted in what we know as
global warming, causing a steady increase
in the worlds average temperature.

Patio500

Extremely strong

Commercial Awning and Canopy Fabric

Vinyl Laminated Polyester
61 wide 17.5 oz. per square yard
Durable Fire Resistant Water Resistant Dimensionally Stable

trivantage.com
800.786.1876

Tri Vantage, LLC, a Glen Raven Company

www.fabricarchitecture.info
GRTechFab_Final_42808.indd 1

0508FA_p14-p23.indd

Sec2:15

FABRIC ARCHI TECTURE MAY/JUNE 2008

The problem
For the past thousand years, the average
temperature in the world has been relatively
constant, though it had very slowly crept
downward until the end of the 19th century
(g. 4.) Since then, there has been a sudden,
sharp, and continuing rise in temperature of
0.7C. This is a seemingly small number when
compared to seasonal temperature variations, but is startling when measure against
the 5C rise that took place since the end of
the last ice age about 10,000 years ago.
During this same millennium, the earth
passed through the Medieval Warm Period
that endured between the 10th and 14th
centuries, when temperatures were about
1C warmer than now. In contrast to this
warm period, the earth passed through the
Little Ice Age between the 15th and 19th
centuries, when the average temperature
was between one and two degrees cooler
than today.

15

4/30/08 9:57:00 AM

4/30/08

12:01:16 PM

COMMENTARY | Climate
Such warming and cooling periods have occurred naturally
throughout the earths history. Centuries-long cold spells such as
happened during the Little Ice Age seem to recur every 1,400 to
1,600 years. These are then followed by centuries-long warming
periods. This recurring cyclical variation in temperature has been
cited by some as a reason for the increase in the worlds temperature in the 20th century. However, the suddenness of the present
rise, coupled with increasing industrialization and a simultaneous
increase in atmospheric carbon dioxide, suggests another cause.

METRIC TONS
(PPM)

1
YEAR
2000

1800

1600

1400

Fig. 3. Global CO2 emissions

1.0

0.5

0
TREND

TEMPERATURE
VARIATION -0.5
C

MEDIEVAL WARM PERIOD

LITTLE ICE AGE

-1.0

YEAR
1000

1100

1200

1300

1400

1500

1600

FABRIC ARCHI TECTURE MAY/JUNE 2008

Fig. 4. Tracing the average global temperature

16

1700

1800

1900

2000

The human imprint on climate

Carbon dioxide is always present in the atmosphere. It is the food
for all plant life and is, apart from water vapor, the principal greenhouse gas that occurs naturally and allows our planet to be habitable. Of course, the most common greenhouse gas is water vapor,
which increases with increasing temperature. Like the glass roof of a
greenhouse, these gases form an insulating blanket in the upper atmosphere, trapping heat by re-radiating heat energy back to Earths
surface. Without it, the planet would be a cold, inhospitable place
with an average temperature of -32C rather than the 16C that nurtures us. How delicate is the balance that permits life on Earth? If
25% less radiation were to reach the Earth, its temperature would
be lower than 0C. With 25% more radiation, Earths temperature
would be higher than 30C. Either of these conditions would be intolerable. Animals breathe in oxygen-rich air and breathe out carbon
dioxide that is then absorbed by plants, which are irradiated by the
sun and, through the process of photosynthesis, release oxygen back into the atmosphere. In the fall and winter, the process
reverses as plants decay, releasing carbon
dioxide. The worlds oceans cooperate by
absorbing about one third of human-generated carbon dioxide. It is a grand scheme of
global recycling (g. 5.)
In the winter, the atmosphere holds
more carbon dioxide than in summer, as if
the earth itself breathes once a year. This
cyclic event has taken place for hundreds of
thousands of years while the average level
of carbon dioxide remained relatively constantat least until the beginning of the
20th century. Since then, the atmospheric
carbon dioxide levels have risen steadily
from about 290ppm to over 380ppm, a
31% increase, which is substantially greater
than in any previous interglacial period and
double the concentration in any ice age (as
conrmed by analyzing and dating gases
trapped deep in Antarctic ice.) Dr. Charles
D. Keeling was the rst to measure carbon
dioxide in the atmosphere. Starting in 1955
he would camp out at Big Sur in California,
collecting air samples to measure the concentration of carbon dioxide. He had been
recruited for this study by Roger Revelle,
the director of the Scripps Institution of
Oceanography, who had been one of the

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:16

4/24/08

8:41:01 AM

rst scientists to suspect that carbon dioxide was responsible for the earths warming. Over the years, Dr. Keeling plotted his
results on what is now called the Keeling
Curve, demonstrating the upward trend of
carbon dioxide concentration (g. 6.)
Currently, the United States alone pumps
5.5 billion tons of carbon dioxide into the
atmosphere each year. It would take a forest the size of Jupiter to absorb that much

silicone
coated
glass fiber
fabric

Having caused the

problem, humans now
face the task of nding a
solution, if indeed there
is one. We will certainly
have to adapt to the
consequences of a warmer

for tensile
membrane
structures, ceiling
constructions,
canopies, awnings
and facade covers

earth. We can and must

take steps to protect future
generations, perhaps
following Buckminster
Fullers assertion, Do not

>
>
>
>
>

ght forces, use them!

FABRIC ARCHI TECTURE MAY/JUNE 2008

carbon dioxide. Even the worlds oceans

cant help, because their ability to absorb
carbon dioxide diminishes exponentially as
more is absorbed. Consequently, as much
as 40% of it stays in the atmosphere and
will reside there for centuries.
In the next 50 years the worlds energy
use is expected to double, led by the rapidly
increased industrial development of China
and India. China alone will burn enough
coal, releasing sulfur dioxide and carbon
dioxide as well as other noxious gases,
to exceed by 500% the emissions levels
sought by the Kyoto Protocol.* This results
from the fact that a new coal-red power
plant is completed every 710 days to fulll
the need for a growing industrial economy
but without the necessary equipment to
remove pollutants from smokestacks. The
resulting polluting clouds that head east
cause acid rain, which is already aecting

highly translucent
fire retardant
non toxic
high strength
filters out harmful
UV light

P-D INTERGLAS TECHNOLOGIES Ltd

1489 Baltimore Pike Suite 214 Springfield PA 19064

tel: +1 (610) 328-4690 fax: +1 (610) 328-4692
e-mail: [email protected]
Sherborne Dorset DT9 3RB England
tel: +44 (0) 1935 813 722 fax: +44 (0) 1935 811 822
e-mail: [email protected]
www.atex-membranes.com

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:17

4/24/08

17

8:41:02 AM

COMMENTARY | Climate
Japan and has even reached the west coast of the United States. It
is estimated that by 2025, China alone will release twice as much
carbon dioxide into the atmosphere as the United States. India,
with a population that is expected to exceed Chinas by 2030, is
right behind China in adding to the problem.
To this day, the concentration of carbon dioxide in the atmosphere continues to increase, and within a relatively short time,
the continued use of fossil fuels will outstrip precious planetary resources and further intensify the global warming problem.
To further exacerbate the global warming, there are other greenhouse gases that are attributable to human activity including methane (from two billion farting and belching cows, sheep and goats,
as well as from rice paddies and sewage), a gas that is over 20 times
more eective than carbon dioxide in trapping heat; nitrous oxide
(from fertilizers), a gas that is 310 times more eective in trapping
heat; and industrial uorocarbons such as CFC refrigerants and
aerosols that, in addition to being highly eective in trapping heat,
can linger in the atmosphere for as long as 50,000 years. However,
carbon dioxide from the burning of fossil fuels remains the primary
cause for unbalancing the global climate system.

Fig. 5. The carbon cycle

380

360

CO2
(PARTS PER 340
MILLION)
LONG-TERM TREND
MONTHLY TREND

320

YEAR
1960

1970

FABRIC ARCHI TECTURE MAY/JUNE 2008

Fig. 6. The Keeling Curve

18

1980

1900

2000

How much longer can the planet deal with such

enormous changes without rebelling?
The human imprint on current and future climate is incontrovertible and, as a panel of international climate experts agreed in 2001,
Most of the observed warming over the last 50 years is likely to have
been due to the increase in greenhouse gas
concentration. We have managed to make
our presence felt on Earthbut to our future detriment. Lonnie Thompson, an Ohio
State paleoclimatologist, has called this a
remarkable uncontrolled experiment. Even
if we had stabilized emissions of greenhouse
gases by the year 2000, the concentrations
of carbon dioxide in the atmosphere are
expected to have doubled from the pre-industrial level by the year 2100. By then, the
resulting average temperature in the world
will increase by about 3C. (Without greenhouse gases, the earths global temperature
would actually have fallen during the 20th
and into the 21st centuries.) The earth has
not experienced this level of warming since
the Climatic Optimum Period, from 7,000
to 3,000 years ago.

Helping you
cover the world.

800 387 2764 I www.naizilcanada.com I [email protected]

Possible solutions
There is no longer a question about
whether we have entered into an era of
warming temperatures, changes in precipitation patterns and the other many dire
consequences of our continued use of fossil
fuels. Following the latest summary report
from the IPCC (Intergovernmental Panel
on Climate Change), our attention must
now be focused on nding ways to solve
the seemingly hopeless problems caused

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:18

4/24/08

8:41:03 AM

I M A G I N AT I O N
by inecient uses of energy, lack of eorts
toward conservation and lack of direction
toward sustainability.
Most eorts to date have been directed
at nding ways to reduce the amount of
carbon dioxide released into the atmosphere from power generation, transportation vehicles and industrial production.
Increasingly, we look to the sun to provide carbon free energy and here is where
it makes sense to look at the contribution
that fabric structures can make. Translu-

I N

FA B R I C

&

I N N O V AT I O N

A R C H I T E C T U R E

There are many ways in

which fabrics can be used
to help reverse the effects of
global warming.
cent fabric structures provide a free source
of daylight lighting reducing the need for
energy using articial lighting. Fabrics also
provide protection from rain and can even
be used as collection devices to capture
water, a shrinking resource. Solar cells embedded in a fabric structure can serve both
as a building enclosure and as a source of
energy. Fabric used to encapsulate farm
waste as part of an enclosure to generate
methane for power can provide a neutral
energy balance to the worlds farms. As a
part of a solar chimney (as proposed by J.
Schlaich), a fabric canopy can capture heat
that is vented up a chimney tted with a
wind generator to create electric power.
Undoubtedly there are many other ways
limited only by the inventiveness of people,
in which fabrics can be used to help reverse
the eects of global warming.

*THE KYOTO PROTOCOL, ESTABLISHED IN 1997, CAME INTO

FORCE IN 2005 WITH RATIFICATION BY 141 COUNTRIES. IT
ESTABLISHES EMISSION TARGETS FOR EACH COUNTRY WITH THE
OBJECTIVE OF REDUCING EMISSIONS BY 5.2% BY 2012. THE
UNITED STATES HAS NOT RATIFIED THE AGREEMENT, SAYING THAT IT
WOULD PROVE TOO COSTLY.

Design/Build Services Include:

3 D/CAD Rendering & Engineering

FABRIC ARCHI TECTURE MAY/JUNE 2008

Matthys Levy is a founding principal and

chairman emeritus of Weidlinger Associates,
consulting engineers. He is the recipient of
many awards, including the ASCE Innovation
in Civil Engineering Award and the IASS Tsuboi
Award. He has published numerous papers in
the eld of structures, computer analysis, aesthetics and building systems design, and is the
co-author of Why Buildings Fall Down and several other books on structure and engineering.

FabriTec Structures can help make your project concept a reality with virtually
unlimited design options and applications.We utilize the most advanced architectural
fabrics available to create structures that are practical as well as visually spectacular.

Construction Documents
In-house Fabrication & Manufacturing
Experienced Project Management
Nationwide Installation
350 Kalmus Drive Costa Mesa, CA 92626
toll free 877.887.4233 fax 714.427.6983
www.fabritecstructures.com
FabriTec Structures is a brand of USA SHADE & Fabric Structures, Inc.
www.usa-shade.com

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:19

4/24/08

19

8:41:05 AM

DESIGN | Sustainability

Sustainable views
and fabric structures
Three ways to look at their benets

FABRICTEC STRUCTURES INC.

BY Samuel J. Armijos

FABRIC ARCHI TECTURE MAY/JUNE 2008

Above: The Avery Blum Music and Film complex

at Bard College, Annandale-on-Hudson, N.Y.,
features an undulating entry canopy that suggests
twisted leaf forms. Design: Ashokan Architects
& Planning, FTL Design Engineering Studio;
fabrication: FabriTec Structures; green collage
by Chris Grifn, FabriTec.

20

ith sustainable design as the

most important issue in architecture today, designers
are not only focusing on environmentally friendly materials but also educating
their clients on the benets of their design approach, their use of materials, and
their method of construction for reaching
green status.
The essential aim of sustainable design is to produce places, products and
services in a way that reduces the use of
non-renewable resources, minimizes environmental impact, and relates people to
the natural environment. Architectural
fabric structures have been in use since
rst introduced by Frei Otto in the early
1960s for temporary expositions. The
major benets were its minimal impact
on the environment, its ability to enclose
large spaces with little material and, of
course, its aesthetic quality. Essentially,
these early structures were ne examples
of sustainable design. Over time, these
structures have proven themselves as a permanent building material having been used in
retail malls, airports, and sports facilities to name a few.
Everyone (owner, designer, consultant, and contractor) has an opinion on sustainability
and, when it comes to fabric structures one could argue that these view points can be broken down into three major components: Design, materials and construction.
When it comes to design, it is very important to understand why one wants to be sustainable. Sometimes it can be a philosophical approach from the owners point of view,
it could be mandated by market segment or there could be nancial implications (banks,
energy, etc.). I always like to say design takes time and green design takes more time. Make
sure your client realizes that too. Current design benets of fabric structures directed at
clients include: day lighting, which reduces the need for articial lighting; UV protection,
which reduces the risk of skin cancer; water collection, which is then used for irrigating
plants and other services; solar shading, which reduces energy on a buildings mechanical
system; and, rarely considered but a growing trend, incorporating a fabric structure as an
educational tool that teaches people about UV protection, recyclability, etc.
When it comes to materials and fabric structures, designers look to the three basic components: the structural members, the membrane, and the perimeter tensioning
system. The structural system is primarily made of steel, but in recent years aluminum

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:20

4/24/08

8:41:07 AM

and wood are being considered more often. These materials all have many recyclable attributes and can be specied to
be manufactured locally to the site. However, the most important factor in being
sustainable with the structural members
is to document your work. Saying something is recyclable and having the certied
documents to prove it are two dierent
things. It is hard to go back to the origins
of the material if you intend to go for a
LEED certication or need it for rebates
and tax cuts.
The perimeter tensioning system, which
includes tie downs and catenaries, can be
made with webbing belts, ropes of dierent compositions, or wire rope depending on the load imposed on the structure.
The membrane can come from all over the
world and fabrication shops varying depending on the material chosen. Some materials have short life spans while others are
made of recyclable materials. You also can
nd materials with 20 to 30 year life spans

and are more environmentally friendly

than ever before. The same can be said
for membrane as is said for the structural
members: document your work and certify
material origins. More research needs to be
done on the amount of energy required to
both make the material and fabricate the
nished membrane. I think one will nd
another added benet to fabric structures
and sustainable design.
Lastly, construction benets and fabric structures vary from location, place
where components are manufactured and
what is required to install these structures. Most tensioned fabric structures
are designed, engineered and fabricated
by form nding, which means they are
designed to be not only structurally ecient but manufactured and installed with
little to no waste and energy. Architectural fabric is considered one of the lightest building materials and can create the
largest building envelope. The result can
have signicant impact from plant to site.

WE WANT
YOU BACK!

Less weight and packed to move, membrane, structural steel and components
can be shipped to a site with fewer trucks
and erected with lighter equipment than
standard construction. Properly designed
fabric structures may have little impact on
the ground with smaller concrete foundations for compression loads and the use of
utility cable anchor technology for tension
loads. These eorts can provide signicant
savings when the site is being used for
temporary structures or deployable structures where reuse is inevitable.
Remember, sustainable design and the
use of fabric structures is most successful
when ALL three componentsdesign, materials, and constructionare considered.
Just keep in mind the views of others.
Samuel J. Armijos, AIA, is architect and
Vice President of FabriTec Structures, a brand
of USA Shade and Fabric Structures. He is author of Fabric Architecture: Creative Resources
for Shade, Signage and Shelter.

Heres whats changed

since youve been gone:
IFAI Expo is a designated International Buyers
Program by the U.S. Department of Commerce
Review Buyers Guide is now online
Increased networking opportunities
New business services for suppliers,
manufacturers and international members
New publication: Fabric Graphics magazine
New redesign of Specialty Fabrics Review magazine
FABRIC ARCHI TECTURE MAY/JUNE 2008

New myIFAI online gives you access

to your prole and IFAI Store

View Membership Advantage Slide Show at www.ifai.com.

Contact Membership: +1 651 225 6949, 800 225 4324

www.ifai.com

IFAI has more benets for our

members than ever before.
Find out what youve been missing
and increase your ROI.
www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:21

4/30/08

21

12:04:56 PM

REPORT | Japan

Buildings that ght

global warming
Will the awning industry take advantage of growing worldwide
awareness and concern for environmental preservationand how
much of a part can they play?
BY Isako Takizawa

FABRIC ARCHI TECTURE MAY/JUNE 2008

n spite of the extensive eorts by the Japan Awning Association (JAA) and IFAI Japan, awnings have not yet
reached their potential in the Japanese market. A big opportunity for the industry lies in its contribution to
energy conservation by insulating buildings from outside heat.
As concerns about global environmental preservation have increased internationally, interest in the use of awnings as a construction component has also gained appeal. The JAA held a seminar in December in Tokyo on that
theme, with an address by Mr. Hikaru Kobayashi, Director-General of the Global Environment Bureau, Ministry
of the Environment, Japan. Mr. Kobayashi was instrumental in the Kyoto Protocol Conference in December 1997
(COP 3), where he led international negotiations and, following the conference, submitted legislation on global
warming prevention to the Japanese National Diet. His recent speech to JAA enumerated possibilities for the
awning market in light of global climate change. The challenge now is whether the awning industry will respond to
growing concern for environmental preservation.

22

www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:22

4/24/08

8:41:09 AM

is to reduce CO2 levels cooperatively through worldwide eorts.

Worldwide progress
Mr. Kobayashi anticipates
that the United Nations
will keep climate change
concerns before the nations of the world. In September 2007, a United NaAbove, left and right: Japans Director-General, of the Global
tions High-Level Event on
Environment, Mr. Hikaru Kobayashi, took his own advice and
applied multiple sustainable technologies to his own house (Eco
Climate Change was held
House), including awnings and green vegetation on southernin New York, a proposal of
facing faades.
the Secretary-General of the
United Nations, Mr. Ban Kimoon. Also in September,
the United States convened a Major Economies Meeting on Energy Security and Climate
Change, held in Washington, D.C., where the participating countries, including the United
States, generally agreed that establishing a long-term goal for greenhouse gas reduction is
necessary, as is further review regarding mandatory reduction targets for the short- and
medium-term future.
The challenges presented by global warming continued to hold worldwide attention, with
the awarding of the Nobel prize for peace in October 2007 to the IPCC and Al Gore, former
vice president of the United States; the adoption of the IPCC Fourth Assessment Report
(AR4) and the ASEAN + 3 and East Asia Summit in November; and COP 13 in December.
Worldwide consensus about taking action on climate change is growing.
Japans response
Japans goal under the Kyoto Protocol is, from 2008 to 2012, to reduce greenhouse gas
emissions by 6% from 1990 levels. An interim report, however, indicates that by following
its current measures alone, Japan would fall short of the goal by 1.5% to 2.7%. Additional
measures will be needed.
Greenhouse-gas reduction measures resulting from the 1997 Kyoto Protocol consist of
forest development and restoration, including urban aorestation, for CO2 absorption; technical innovation; and emission reduction credits for countries that participate in the emission reduction programs of other countries. Additional measures intended to make up the
shortfall include voluntary measures by chemical, cement, paper, and other industries; by the
continued on page 59
service sector; and by individual households.
www.fabricarchitecture.info

0508FA_p14-p23.indd

Sec2:23

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

The human footprint

Mr. Kobayashi reviewed the history and
growing worldwide awareness of environmental issues over the past four decades:
Rachel Carsons 1962 book Silent Spring;
acid rain and the 1972 Stockholm Declaration of the United Nations Conference on
the Human Environment; Dr. F. Sherwood
Rowlands 1974 theory of the destruction
of the ozone layer by on gas; the adoption
by the United Nations of the Vienna Convention for the Protection of the Ozone
Layer in 1985; the establishment of the Intergovernmental Panel on Climate Change
(IPCC) in 1988; and the United Nations
Framework Convention on Climate Change
(UNFCCC) in 1997, where the Kyoto Protocol was adopted. In spite of the United
States refusal to support the Kyoto Protocol, it went into force in February 2005.
For the past 420,000 years, CO2 emissions have been stable at around 280 ppm.
However, by 2005 CO2 emissions had
jumped to 380 ppm. Scientists studying the
issue conclude that if nothing is done, the
rate of emissions will jump to almost 1,000
ppm in 100 years, leading to signicant
temperature change.
Many tragedies around the world can
be linked to global warming, including
abnormal and sometimes violent weather,
erosion of coastlines, and submergence of
surface elevation by the sea, all causing serious damage to human, animal, and plant
life. The COP 3 treaty was the rst worldwide attempt to reduce CO2 emissions,
setting a goal of a 50% global reduction
over a 100-year period, with a reduction
goal established for each country. The goal

23

8:41:13 AM

CONTINUING EDUCATION | Art

FABRIC ARCHI TECTURE MAY/JUNE 2008

Artists and
architects

24

Launching a working relationship

BY Regina M. Flanagan

ecently, I was one of 63 artists invited to submit credentials

to design the portico for the Pines Dining Hall at Penland
School of Crafts in North Carolina. The Blue Ridge Mountains are a backdrop for the school and I imagined the undulating
sculptural form of a tensile fabric canopy playing o the surrounding landscape, so I asked Elizabeth and William Murrell of Fabric
Structures Inc. to join me. We were selected as one of three nalist
teams to prepare a more detailed proposal. The projects committeecomposed of director Jean McLaughlin, artists, and sta, as
well as architect Abie Harris and landscape architect Sam Reynolds,
who are planners for the campussought teams composed of artists and designers to oer innovative approaches and articulate this
outdoor public space.
Through the end of the 19th century, artists and architects routinely worked together. Representational and narrative public art,
including statues and ornamentation, were an important part of
American architecture. Monuments and memorials from this period dene our civic landscape and remind us of our history. During the Depression of the 1930s, artists were employed through the
Works Progress Administration to create murals and sculpture for
federal buildings, and through the auspices of the Farm Security
Administration, photographers documented the changing economic and social landscape.
The mid-20th century Modernist Movement stripped buildings
of ornament and the creation of art became a studio activity with
artwork presented in galleries and museums. But in the late 1960s,
contemporary art began to move from these venues into outdoor
public places. Sculptures sited in plazas like The Chicago Picasso
(1967) and La Grande Vitesse (1969) by Alexander Calder in Grand

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:24

4/24/08

8:14:01 AM

Rapids, Mich., became icons for those cities. Subsequently, many cities and states legislated
percent for art programs funding public art and today there are over 350 programs nationwide. Private corporations and institutions also have collections of public sculpture and
often commission unique work for their buildings and grounds.
Over the past 30 years, the practice of public art has evolved from citing existing sculptures
or integrating artwork into the construction of a building or outdoor space, to having artists
on design teams, sometimes even leading the teams that impact the form, function and character of public and private places. Now, many neighborhood, municipal and state building
and infrastructure projects, particularly master planning phase projects, call for design teams
that include artists. Community members and local arts organizations frequently advocate
that artwork be part of these projects because they understand public arts potential not only
to visualize and reect the communitys history, but to be thoughtful and stimulating and
portray its aspirations for the future. While artists and architects are often asked to work
together by communities and matched up by public art programs, many are choosing to work
with each other through alliances formed on the basis of shared interests.
Two approaches presently shape public art practice and the working relationship between
artists and architects: the Overall approach and Integrated elements.
FABRIC ARCHI TECTURE MAY/JUNE 2008

AIA/Fabric Architecture Continuing Education

To earn one AIA/CES Learning Unit, read this article; then answer the questions on page 30
and follow the instructions for reporting.
Learning objectives
After reading the article you will be able to:
1. List the two main approaches for working with artists
2. Describe how public art has changed over the decades
3. List the benets of working directly with artists
www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:25

4/24/08

25

8:14:03 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

CONTINUING EDUCATION| Art

26

Overall approach
Artists are part of the design team and
collaborate with architects, landscape
architects and/or engineers, the local
community and others, to impact the
layout and design of the entire project
or substantial parts of it. An artist may
be a member of or lead the design team;
or may head up a group of artists with
varying perspectives and skills in specific media who will work with each other
and with the design professionals.
In this scenario, artists are the
peers of design professionals, adding
their unique viewpoint to the project.
Artists with advanced credentials and
substantial experience in public art
may work on early conceptual design
continuing through the construction
process. Occasionally, artists also design and produce unique integrated elements. Alternately, rather than create
the artwork themselves, artists may
produce construction documents for
the artwork to be fabricated by other
individuals, or as part of the building
or the sites overall construction.
Artist James Carpenter, of James
Carpenter Design Associates in New
York City, always thinks structurally
when he designs something; he says
that all of his interests converge on
tensile structure engineering. Carpenter and his studios primary focus is the
exploration of the natural phenomena
of light in transmission, reection and
refraction, and the inuence of light
on architecture and ones experience
of place. An innovative and award winning designer and a MacArthur Fellow
in 2004, most of Carpenters work has
incorporated glass, but several recent
works use industrial textiles.
Fabric tensile structures often take
on forms dened by mathematical
forces and need massive foundations
and structural members to anchor
and support their lightweight forms.
Solving this contradiction drives Carpenters and senior designer Richard
Kresss recent design to cover a soccer
eld in Brooklyn Bridge Park. For the
past 15 years, Carpenter has worked
with Schlaich Bergermann + Partners,

civil and structural engineers based in Stuttgart, Germany, while executing his ideas for
tensile structures. Together, they have designed a membrane of ETFE pillows in a series of
60 parallel inated ribs each 45.7m long by 4m wide to cover the width of the eld. Looking
down on the site from Brooklyn Heights in the evening, the roof will glow and appear to
emulate the waves in the harbor.
Carpenter used fabric as a projection surface to amplify and redirect light in Luminous
Threshold 19982000 created for the Olympics in Sydney, Australia. He designed a series
of ve 23m-high light masts that emit mist and heliostats or fabric shapes measuring from
0.91.2m in diameter up to 4.6m square. The heliostats act like motorized mirrors, projecting light back through the mist. In the humid atmosphere of Sydney, the water droplets act
like a lens and magnify the light, creating a delightful experience.
Another work utilizing tensile fabric is Sculptural Light Reectors 19942000 suspended
in the central bay of the International Terminal at San Francisco International Airport. Sculp-

Through the end of the 19th century, artists and architects

routinely worked together. Artists are the peers of design
professionals adding their unique viewpoint to a project.
tural lenticular forms gather and reect natural light, controlling both the level of illumina-tion in the space and the temperature at the skylight level. The work was produced with Skiddmore, Owings, Merrill LLC with whom Carpenter has collaborated for over 25 years.
Carpenter says that the best working relationships happen when he and his studio are
re
part of the development of the concept; he wants to be more comprehensively involved and
nd
aect the overall denition of the project. This kind of working relationship can only be
built over many years and multiple projects. It is too dicult to work together on a single
ngle
project according to Carpenter; it takes time to discover shared elds of interest and
d develop an anity for each others work and process in order to share a broader agenda.
Integrated elements
Artists are commissioned to create specic elements within the overall design such as fencing/
ncing/
railings, banners, ags, signage, awnings, pavement insets, freestanding sculpture, benches
hes and
other seating and/or lighting. They work with an arts administrator or project manager
ger who

Artist James Carpenter has designed a light-infused covered soccer eld for Brooklyn Bridge Park
using an ETFE roof system.

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:26

4/28/08

9:46:37 AM

Carpenters light monitor system for the

soccer eld incorporates a dynamic
two-layer air-lled ETFE system that
responds directly to light conditions.
Bow trusses overlaid with purlins
support the transparent/translucent
pillow system to create a crisscross
pattern overhead.

days to remove the work or to pay for

its removal.
What was I looking for when I sought
a tensile fabric architect? Technical
competence was critical, but like James
Carpenter I was also seeking a designer
open to a particular type of working relationship. I needed a collaborator who
was exible and exhibited creativity not
only in problem solving, but who could
think outside the box and synthesize and
translate ideas. It is my impression that
most architects are brought into a project
after the site has been laid out and they
must t the tensile structure into an already dimensioned space with a specic
set of conditions and constraints. The
Penland project challenged us to set out
together to develop our ideas.
First, it was important that the tensile structure architect engage with me
in considering the space from a social
perspective, imagining the kinds of
new uses and relationships its design
might accommodate and facilitate. I had
taught at the school and was familiar
with the campus and its intensely creative atmosphere, so I had some ideas
about how artists might need or want to
use the space.

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:27

4/28/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

coordinates their contributions. Ideally, artists are involved during conceptual design so
their medium can be technically integrated with the overall design, but they may also join
the team later during design development as subconsultants or subcontractors to design
and produce specic elements.
Tensile architecture projects present opportunities for artists to design the component
parts of the site and the structure. Special paving designs or insets and ornamental railings
could become part of an ensemble with the tensile structure. Seatwalls, benches and planters detailed by artists could double as footings for masts and anchor points for tie-downs.
Beams or other support members could become sculptural forms that interact with the
organic shape of the tensile structure.
Minneapolis artist Andrew Leicester designs entire settings including integrated elements. Through meticulous research into the history, and the material and social culture of
a place, he develops artwork that has a unique relevance to its location. His recent design
for a downtown light rail transit station features an arcade covered with patterned brick
that refers to textiles from the many cultural groups who have settled in Minnesota including recent immigrants. Leicester has also designed patterning for terracotta paving.
While in some cases artists may function like other project subconsultants or subcontractors, the commission of a work of art is not typically a work for hire arrangement.
Artwork is legally dierent from the other physical portions of a building or site because
it is a unique intellectual property created by an artist and is subject to copyright. Artists
have rights and protections for their work granted under the Visual Artists Rights Act of
1990 (VARA). This law covers works in traditional media such as painting, sculpture and
drawing and artwork editions in printmaking and photography under 200 copies. Through
VARA, artists may claim damages for a) any intentional distortion, mutilation, or other
modication of the artists work that would be prejudicial to his or her honor or reputation;
and b) any intentional or grossly negligent destruction of a work of recognized stature. An
artist develops his or her reputation and career through the works of art themselves, so
that any compromise to the work, or public perception of it, directly impacts the artists
future livelihood. While VARA does not cover works of art incorporated into the structure
of a building and that cannot be removed without being destroyed, it does grant artists 90

27

9:46:46 AM

CONTINUING EDUCATION| Art

FABRIC ARCHI TECTURE MAY/JUNE 2008

Above: Cross sections of the Brooklyn Bridge Park show airow and self-regulating qualities of the ETFE
roof. The abundant natural light this system allows reduces the need for articial lighting during the day,
thus reducing energy consumption; consequently, during the evening, uplighting inside creates a glowing
dome that emulates the waves in the nearby harbor.

28

about my ideas, he suggested that Elizabeth and William Murrell might be a good match for
my project. I had seen their work for the Chancery of Finland in this magazine and found
it particularly beautiful and I felt the canvas and wood beam structure of Elizabeths Pine
Island Boathouse had a character that would complement the Pines Dining Halls architecture.
While personal referrals and networking remain the primary way that most architects
and artists connect, there are many resources to help you nd artists for your projects. Private galleries and state and local arts organizations that sponsor public art programs often
maintain slide registries that are open to the public by appointment, and it is worthwhile
to spend an hour or two examining the slides, rsums and artists statements on le to
identify potential artists.
Arts organizations that administer ongoing public art programs are always seeking volunteers to serve on selection committees. Architects can learn more about the nationwide
pool of artists and gain experience evaluating artwork by participating on committees.
Some public art programs also develop lists of pre-qualied artists for their projects that
you can reference.
Artists who work in craft media may be contacted through their professional networking
groups such as the Artist Blacksmith Association; Glass Arts Society; the Furniture Society
of America; and the Surface Design Association which all have Web sites featuring commissioned artwork by their members (see resources noted at the end of the article). The nations craft schools like Pilchuck Glass School, Seattle; Rhode Island School of Design, Providence, R. I.; the School of the Art Institute of Chicago; Southwest School of Art and Craft,
San Antonio, Texas; and Rochester Institute of Technology College of Imaging and Sciences,
Rochester, N.Y., among others, are also willing to refer artists. Artists also should be invited
to be speakers and present their work at conferences and professional trade shows where
fabric architects network.
What should you consider when examining an artists work and interviewing them for
a project? An artists past work reveals the quality of their ideas. The work should show a
consistent forward progress and evolution over time. While an artist may work in a variety
of media to express their ideas, there should be a connecting conceptual thread between the
works. If the style and subject matter jump around, you may viably question the artists real
interests and the type of work they might produce for your project. Consistency of vision is
more important than versatility.

Bear in mind that artists whose work is

shown in museums and galleries may not
have worked outside a studio setting. Look
at their rsum for evidence of commissioned work or installations by the artist at
museums, or in sculpture gardens or parks.
If the artists rsum identies work installed in public places, go see it. Observe its
setting and how well it responds and relates
to its context. Inquire whether and how the
artist inuenced the works siting, and/or
the design of the context. Carefully examine
the works construction techniques and determine how well it has weathered environmental conditions.
When interviewing the artist, ask about
their experience with urban design issues
and orchestrating public space to determine if they are interested in and capable of
working on a project during conceptual or
schematic design. Inquire about the artists
working methods including whether they
can read scaled blueprints and have drafted
construction documents; or if they convey
their ideas through scaled drawings, models and/or mock ups that must be translated to construction documents by others; or
if they will prepare sketches or models and
then produce the work themselves.

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:28

4/24/08

8:14:13 AM

Left: San Francisco International Airports

Departures Hall uses very little articial light due
to fabric-clad light monitors overhead that are
also works of art by James Carpenter. Below:
Light Threshold, artworks by James Carpenter
that utilize solar focusing lenses and the haze of
clouds, gured prominently at the 2000 Summer
Olympics Complex in Sydney, Australia.

Regina M. Flanagan is an artist and writer

from St. Paul, Minnesota and works as a landscape designer at HNTB Corp., Minneapolis.
She formerly directed public art programs in
Wisconsin and Minnesota. Her essay, The
Millennium Park Eect: A Tale of Two Cities
appears in The Practice of Public Art, published
by Routledge.

REFERENCES
Books, articles
ArtAbstracts,
Bibliography of the History of Art
ARTbibliographies Modern
Avery Index to Architectural Periodicals
Web sites
Americans for the Arts /
Public Art Planning Tools
www.americansforthearts.org/global/
print.asp?id=164

FABRIC ARCHI TECTURE MAY/JUNE 2008

Ask artists for references, especially clients and other designers. Have a candid conversation with the references about the artists capabilities and working methods. Ask
about the artists role; at what point did they
join the project, and did they inuence and
improve the project. If their work was integrated with the construction project, was it
delivered on time and ready for installation?
The answers to these queries will enable you
to shape the scope of work with the artist
and begin your working relationship.
If representational and narrative work
and architectural ornament was a hallmark
of the integration of art and architecture in
the 19th century, and large-scale abstract
sculpture in public plazas was the emblem
of 20th century art and Modernist architecture, then the public art of the late 20th
and early 21st century may be identied by
the innovative forms it takes because of the
working relationships that it fosters across
the professions. While an architect or engineer sees potential for generating new
forms in a fabric tensile structure, artist
James Carpenter perceives fabric as a projection surface for light that can activate
space; combining these two inclinations
will result in remarkable new work.

Artist Blacksmith Association of America

www.abana.org
Furniture Society of America
www.furnituresociety.org
Glass Arts Society
www.glassart.org/faq-whotocall.html
Surface Design Association
www.surfacedesign.org
www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:29

4/24/08

29

8:14:17 AM

CONTINUING EDUCATION | test/reporting

AIA/Fabric Architecture Continuing Education Self Test

INSTRUCTIONS
1. Read the article Artists and
architects, (pg.24).
2. Read the questions, then ll in the
answers below each question.
3. Fill out the AIA/CES education reporting
form (below) or download the form at
www.fabricarchitecture.info and follow
the instructions for reporting to receive
one AIA learning unit.

QUESTIONS
1. Artists and architects routinely
collaborated on the statues and
ornamentation that was part of 19thcentury American architecture:
T
F

2. The Modernist architects of the

mid-20th century eliminated artistic
ornamentation from their buildings,
relegating art to museums and galleries.
T

3. The overall approach to involving artists

with architects may be summarized as:
A. Collaboration B. Subordination
C. Obfuscation D. Conceptualization

4. Artists working in the overall approach

may operate in two ways:
A. Design or testing B. Design
and production C. Production or
documentation D. Innovation or criticism
5. Artist James Carpenter has worked with
industrial textiles and other materials to
produce?
A. A glowing roof that emulates waves

in the harbor at Brooklyn Bridge Park

B. Fabric shapes, heliostats, that project
light through the misty atmosphere
surrounding the 2000 Olympics in
Sydney, Australia C. Tensile fabric forms
that gather and reect light
D. All of the above
6. Artists working in the integrated
elements approach create specic parts
of a design. They may or may not be
involved in creating the initial concept:
T
F
7. Typical creations of the integrated
elements approach include:
A. Fencing/railings B. Banners and ags
C. Signage D. Awnings
E. All of the above

8. Opportunities for artistic contributions in

tensile structures include:
A. Paving and railing design integrated
with the tensile structure B. Seat walls,

benches and planters integrated with

mast footings and tie down anchors
C. Beams and other necessary structural
elements expressed as sculptural forms
D. All of the above
9. Architects can nd artists for their
projects in a number of ways, including:
A. Slide registries maintained by galleries
and arts organizations B. Volunteering

to serve on selection committees of local

and national public art programs
C. Using pre-qualied lists of artists
provided by public art programs
D. Professional arts networking groups
E. All of the above
10. To evaluate or interview a potential
artist, and architect should:
A. Review the artists past work for
quality of ideas B. Rely on word of
mouth C. Check references D. Go with

the clients wifes recommendations

E. Visit examples of their work
F. A, B & C only G. A, C & E only

AIA/Fabric Architecture Reporting Form

(Use to report learning unit for this article only)

AIA Provider #G455Program #FA0508

Program title: Artists and architects Fabric Architecture MAY/JUNE 2008, pp. 2430.
Directions: Circle the answer for each question above. A minimum score of 70% is required to earn credit.
Participant information required:
Last name:

First name:

Middle initial or name:

Firm name:
Address:
Tel:

City:
Fax:

FABRIC ARCHI TECTURE MAY/JUNE 2008

Zip:

E-mail:

AIA I.D. number:

30

State:

Completion date (M/D/Y)

I hearby certify that the above information is true and accurate to the best of my knowledge and that I have complied with the AIA
Continuing Education Guidelines in the submission of this credit.
Signature:

Date:

Check one: $10 payment enclosed. (Make check payable to IFAI and mail with a copy of this form to: IFAI, SDS-12-2108,
PO Box 86, Minneapolis, MN 55486 02108.
Charge my: Visa American Express Mastercard Discover
Card holders name:

Card #
Card holders i.d.#

*(Am.Ex: 4 digit # on front of card/Visa, MC, Discover: 3 digit #on back of card)

Signature:

Exp. date:

Mail or fax this form to IFAI/Fabric Architecture, 1801 West County Rd. B, Roseville, MN 55113, Fax +1 651 631 9334.
Do not send to AIA. Note: checks are sent to a different address. Accounting code: 45200.130.1.1310
www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:30

4/24/08

8:14:20 AMAT0

The fastest growing sector in the textile industry is technical textiles. The world market leaders are Europeled by Germany
and the U.S. New user market applications are emerging, and worldwide demand is driving a wave of innovation in new materials,
technologies, and the development of smart solutions. IFAIs ambitious inaugural conference will illuminate the fascinating
world of textile materials for multiple uses in everyday life and industrial applications. Hear about these market-ready innovations
and how they are opening up new business horizons and cooperation for U.S. and European companies.

IFAI
A European-U.S. Entrepreneur
Networking Conference

A thought-provoking 1,5 day

conference program will unveil
market-ready innovations as well as
new technologies; while creating new
marketing and business opportunities
for European and U.S. companies.
Youll experience the latest
breakthrough solutions which also
ll the practical, user-oriented daily
requirements of todays industry.

AT08 fp house ad.indd Sec3:31

1
0508FA_p24-p35.indd

The conference sessions have been

designed to cover a wide range
of advanced textile intelligence
applications including:
> Sustainable product
developments for major
fabric applications
> Nanotechnologies and
embedded textiles
> High-performance textiles for
architecture and lightweight
structures
> Innovative textile applications for
advancing protective clothing

For program information

and online registration
visit www.ifai.com/Home/
at08reservations.cfm or
contact Jill Rutledge at
[email protected]
tel: +1 651 225 6981
fax: +1 651 631 9334

Sony Center, Berlin

1213 June 2008 | Berlin

This conference is supported by:

4/21/08
4/24/08

9:06:04 AM
8:14:27

PORTFOLIO

2007 International
Architectural structures
Award of excellence
Hovering archives |
Hamburg, Germany
Jens J. Meyer, Visual Artist |
Essen, Germany
Hovering archives was a temporary art
project in Hafen, in the harbor of Hamburg.
The idea was to make the change of a fastgrowing new neighborhood visible while
connecting it to the history of the site.
In daytime, the hourglass shape of the
sculptural installation relates the project
to the theme of time and change. At night,
projections of fragmented historical photos
of the harbor were shown and projectors
made a collage of quotations, relating the
project to the memory of the site. A very
light installation (total weight of rope and
cloth was 120kg), it hovers in a gap between
two buildings.

FABRIC ARCHI TECTURE MAY/JUNE 2008

Architect: ueber Normal Null

Graphics: Katrin Bethge
Project Manager: ueber Normal Null
Fabric: Tenera, by W. L. Gore

32

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:32

4/24/08

8:14:28 AM

Achievement Awards
Outstanding Achievement Award
Westgate Shopping Center canopies | Glendale, Ariz., United States
FabriTec Structures | Costa Mesa, Calif., United States
Westgate Shopping Center is a 603,870m2, multi-purpose facility with shops, restaurants,
oces, theaters and residential units, located in Glendale, Ariz. This facility is within walking
distance of the newly constructed Arizona Cardinals stadium. The shading canopies located
throughout the facility provide a necessary escape from the heat, as well as an artistic
composition of functional design that complements the surroundings.
Fabricator: FabriTec Structures
Fabric: High-density polyethylene from Multiknit Pty. Ltd.

Outstanding Achievement Award

City Place Performance Bandshell | West Palm Beach, Fla., United States
FTL Design Engineering Studio | New York, N.Y., United States
This temporary bandshell is used for free performances in the neighborhood town square. A
series of custom aluminum trusses support a fabric roof membrane and can be installed with
a series of custom self-lifting winches. In seven pieces, the shell can be moved by a local crew,
bolted together and lifted into place. It uses built-in foundations to minimize the ground
support, and its hyperbolic shape promotes good acoustics: the front reects woodwinds and
strings, and sides aord ample onstage hearing for performers. The trusses were designed to
carry theatrical lights, as well as support the roof membrane. The client was extremely satised
as the bandshell created a focus for the town center.
Fabrication: Eide Industries and Tyler Truss
Subcontractor: Eide Industries
Installation: Tyler Truss and Eide Industries
Fabric: Gore Tenara Architectural Fabric by W. L. Gore & Assoc. Inc.

Outstanding Achievement Award

Resort canopies | Denarau Island, Fiji
Taiyo Membrane Corp. | Brisbane, Queensland, Australia
This beachfront resort on Fijis Denarau Island wanted to provide its pool and spa area with
comfortable shaded areas. The integrated island resort houses a central lagoon-style pool with
private beaches for its patrons. These structures are a juxtaposition to the traditional Fijian
architecture of the resort, lending a sculptural feel to the lagoon pools. The grand opening was
a success, showcasing the shade structures located in and around the main pool area.

FABRIC ARCHI TECTURE MAY/JUNE 2008

Design: Place Design Group

Landscape Architect: Place Design Group
Engineer: Taiyo Membrane Corp. and HLK Jacob
Project Manager: Taiyo Membrane Corp. and Place Design Group
Installation: Fletcher Constructions NZ
Fabric: Valmex FR900 by Mehler Texnologies

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:33

4/24/08

33

8:14:34 AM

PORTFOLIO

Interior banners
Award of excellence
Flight Path exhibition, Imperial War Museum Duxford |
Duxford, Chambridgeshire, United Kingdom
Architen Landrell Associates Ltd. |
Monmouthshire, United Kingdom
Once a ghter station, Duxford Airspace is now home to a large
collection of war-time exhibits. The Flight Path is an undulating,
twisting three-dimensional ribbon that passes down the length of
the rst-oor gallery to guide visitors from one exhibit to another,
seamlessly tying in with the aviation theme. Its surface also forms
a projection screen for audio/visual presentations and a backdrop
for eects lighting. The curved frame and purposely out-of-focus
silhouettes printed on the banner create the illusion of speeding
war planes.
Design: Real Studios
Fabrication: Architen Landrell Associates Ltd.
Subcontractor: Creative Metalworks
Fabric: Trapeze Plus from Dazian Fabrics LLC

Outstanding Achievement Award

Avant storefront | Minneapolis, Minn., United States
Banner Creations Inc. | Minneapolis, Minn., United States
The challenge was to create a storefront display that better utilized the customers expensive
retail space and to create an environment that provided privacy without being totally closed
o. The space also needed to be visually pleasing to customers inside while catching the eye of
pedestrian trac outside. Through a combination of opaque and transparent fabrics, customers
can look out. The fabrics six poly-knit and 10 Celtic cloth double-sided banners produce a
sharply printed image. Accomplished in about one day, this simple installation did not disrupt
business and it used the smallest number of outside vendors possible. It has provided more
usable space and contractors were able to use existing lighting.
Design: Design Reaction
Project Manager: Duy & Partners
Fabrication: Banner Creations Inc.
Installation: Design Reaction
Fabric: Celtic Cloth from Dazian Fabrics LLC and 40 Poly Knit from Fisher Textiles

Outstanding Achievement Award

FABRIC ARCHI TECTURE MAY/JUNE 2008

Journey, All Saints Catholic Church | Milwaukee, Wisc., United States

Judy Dioszegi, Designer | Green Oaks, Ill., United States

34

Issues of architecture and space made this a complex project. Architects visually lowered the
12m-high ceiling, attempting to humanize the expansive space. Three large banners were
suspended from the ceiling, which created a canopy that respected the linearity of the building.
The banners curved elements helped create a sense of movement. Curves in the banners were
designed with the idea of a river of life or life journey, and key colors complement the stained
glass windows and help soften the space. The 4.6m sections registration was checked by laying
them on a gym oor, which was the only space large enough to see them in their entirety.
Architect: Groth Design Group
Project Manager: KS Consulting
Fabrication: Judy Dioszegi, Designer
Installation: Morning Glory Studio
Fabric: Solarmax by Dupont from Carson Mills

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:34

4/29/08

8:32:20 AM

Multiple fabric structures

Award of excellence
Hotel Miramar atrium canopies and
umbrellas | Waikiki, Hawaii,
United States
Tropical Js Inc. | Honolulu, Hawaii,
United States
The Miramar Hotel in Waikiki desired a
centerpiece structure, awnings and umbrellas
over its bar and special events room to create
a new and inviting look. To seamlessly take
the unique cable-tensioned structure around
a 90-degree corner with dierent projections
on each leg of the canopy was a challenge. In
addition, the only access to the pool deck was
from the parking structure of hotel next door,
and everything needed to pass over a 3.66m
wall. No one in Hawaii had ever attempted
a project like this before. Hanging these
from the eighth oor was dangerous. At one
point we had to adjust a center tting which
required hoisting an individual in a bosuns
chair out the eighth-story parking garage.
Fabricator: Tropical Js Inc.
Fabric: Sunbrella by Glen Raven Custom
Fabrics LLC from the Astrup Co. (umbrellas);
Prcontraint 502 by Ferrari (canopy)

Outstanding Achievement Award

Faireld Hawaii resort | Waikiki, Oahu Reef, Hawaii, United States
Tropical Js Inc. | Honolulu, Haiwaii, United States
A basic at canopy was to be turned into something more exciting and utilitarian. The original
concept was at and inconsistent with the character of fabric and fabric structures. It would
have collected water, dirt and cigarette butts, so we created 11 leaf designs over the entries,
escalators, walkways and pool sitting areas. It has become the centerpiece of the renovation
project. The general contractor was extremely happy with how this provides rain and sun
protection throughout. This is a classic example of the awning contractor taking a customers
concept to a dierent and higher level using his experience and design skills.
Architect: Architects Hawaii
Project Manager: Dick Pacic
Fabric: Archifab from FabriMax

Outstanding Achievement Award

Beau Rivage Casino cabanas | Biloxi, Miss., United States
Trimmer Smith Awning & Upholstery | Mobile, Ala., United States

Fabrication: Tremmel Construction

Material Selection: Beau Rivage
Fabric: Sunbrella from Silver State Textiles

www.fabricarchitecture.info

0508FA_p24-p35.indd

Sec3:35

4/30/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

The project consists of 16 quarter-bullnose awnings, 10 fully enclosed pool cabanas, and four
open poolside cabanas in large shell-style with compound-radius bullnose edge-frames and
9m-diameter carousel frames. The Beau Rivage Casino property was heavily damaged during
Hurricane Katrina, but the entire facility was rebuilt and restored in less than one year. MGM,
parent company of Beau Rivages interior designer, had a custom print of Firesist Sunbrella
created for the job. The custom stripe fabric used on the radius frames took extra time. MGM
and Beau Rivage personnel, however, were extremely happy with the outcome. The project
cemented a working relationship between companies for future projects.

35

8:30:39 AM

Summer breeze

A compact cluster of low-cost apartments

soaks up sun and sea on the Mediterranean

FABRIC ARCHI TECTURE MAY/JUNE 2008

lovenia has a southern coast on the Adriatic Sea that neatly tucks in between Italy and Hrvatska east of Italy.
Although it faces northwest and therefore doesnt quite get the intensity of sun that a Valencia, say, or Monte
Carlo might, Slovenias coast is on a branch of the Mediterranean (specically the Gulf of Trieste) and shares
its climate. Izola is one coastal town that favors the atmosphere, and a recent development takes advantage
of all the climatic conditions. Designed by the young architectural rm Os arhitekti out of Solvenias capital Ljubljana, the Izola apartments shown here are set on a hill with a view of Izola Bay on one side and the surrounding
coastal hills on the other. Thirty small apartments of dierent sizesvarying from studio ats to three-bedroom
unitsprovide low-cost housing for young families. The winning entry for a government-run housing competition
supported by the Slovenia Housing Fund, Izola apartments are small even by Slovenian standards. However, Os
principals Rok Oman and pela Videnik designed the units so that
no structural elements intrude on the interiors and have provided
PROJECT DATA
each with a veranda that is intimate, partly connected with its inClient: Slovenian Housing Fund and
Community of Izola
terior, and naturally ventilated.
Oss original proposal won for economic, rational and funcArchitect: Os arhitekti, Rok Oman and
tional reasons, but its design genius is in the ratio between gross
pela Videcnik, principals, with Martina
Lipicer, Nejc Batistic, Nea Oman,
vs. saleable surface area and exible plans. The government conFlorian Frey and Marisa Baptista
tract stipulated that the building cost no more than 600 per m
design team
of net surface area.
Structural engineer: Valide d.o.o.
Textile shades protect the balconies and apartments from prying eyes, yet with semi-transparent fabric, owners enjoy full views
Mechanical engineer: Oves d.o.o.
of the bay. Perforated side panels permit cross breezes in summer,
Contruction: Makro 5 gradnje, d.o.o. &
and vibrant colors from the fabric shades create dierent atmoKraki zidar d.d.
spheres within each apartment. The small rooms are visually bigger
Fabric: Soltis, by Ferrari Textiles
than one might think because the fabric shades create a perspective eect that connects interior with exterior. BNW
Photos: Tomaz Gregoric

36

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:36

4/29/08

8:35:10 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:37

4/24/08

37

8:21:58 AM

Olympic Excellence
As the worlds rst public top-to-bottom membrane
structure, the ETFE infused Watercube gets its moment
in the sun this summer in Beijing
BY Jeff Barbian

FABRIC ARCHI TECTURE MAY/JUNE 2008

PHOTOS BY PTW
unless otherwise noted

38

Beijings new Olympic aquatics center

(Watercube), looking like a block of
bubbles, plays off the natural geometry
of soap bubbles yet actually is designed
to reect the symbolism of traditional
Chinese square houses.

PHOTO BY BEN MCMILLAN

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:38

4/30/08

8:34:00 AM

or almost ve centuries, the Forbidden Citylocated in Beijing, and home of the imperial palacehas been the symbol of
Chinas distinct grandeur, as well as its detachment from the
world. But with the worlds most populous country on a fast track to industrialize its infrastructure in recent years, its no secret that the Chinese government wanted to make a splash when it hosts the 2008 Summer Olympics.
And while there will be plenty of splashing going on inside at its new National Aquatic Center, the
outside structure is sure to leave the most lasting impression. Fittingly dubbed the Watercube,
its safe to say the world has never seen anything like it. Construction of the $143.2 million project began in December 2003. This followed an intense, global design competitioninitiated
by Chinathat sought a structure that was majestic in expression, while achieving the highest standards of energy eciency and earth-friendly materials.
The winning contract was awarded to PTW architects, and engineering group Ove
Arup Pty Ltd., both based in Sydney, Australia. PTW and Ove Arup worked intimately with the China State Construction Engineering Corporation (CSCEC) and the
CSCEC Shenzhen Design Institute (CSCEC+DESIGN). It was a team inspiration, says John Bilmon, PTW project director on the Watercube. One of the
great successes of this project was the collaboration that occurred between
Australian and Chinese architects and engineers working together.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:39

4/30/08

FABRIC ARCHI TECTURE MA

MAY/JUNE 2008

Bubble wrapped
Completed on January 28, 2008, the Watercube will host all the
aquatic events at the Olympic games, with 42 gold medals at
stake. The stadium seats 17,000, and covers a total oor space
of more than 70,000m. The structures appearance is both
highly modern and steeped in tradition.
On the one hand, the design plays o the natural geometric formation of soap bubblesbased on modern
physics that demonstrates how bubbles can be arranged in an innite array which provides a
casual, organic, and translucent appearance.
On the other hand, the design was chosen
carefully to incorporate the symbolism of
the square in Chinese culture, which is
the archetype of the house in Chinese
tradition and mythology.
According to Bilmon, it took a
few cracks at the drawing board
before settling on the nal
motif. We had some designs based on curved
panels, and curved
sheets, we had some
designs that were

39

8:34:16 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

Above: An elaborate assembly of inner and outer layers of ETFE foil pillows a mixture of transparent and translucent foils controls solar gain
and helps maintain equilibrium of temperature and humidity. Rooftop sections, and corresponding base sections open to permit natural stack
venting during summer months. Trapped solar heat is radiated inward during winter months, and also is used to heat the water in the pools.

40

Measuring 177m per side, the perfectly square

aquatic center belies the Chinese predilection
for pure geometric forms, shown here as a
glowing effervescent slab at night.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:40

4/24/08

8:22:18 AM

like igloos coming together, he says. As a

team we discussed those designs, but what we
found to be most important was the cultural
relevance of this building within the setting,
within the Beijing landscape, and it wasnt
until we had that discussion, led principally
by our Chinese partners, that we found that
the most important form for the building
was a simple square and that required us
then to nd an exciting and modern expression for the faades of the building.
The Watercubes side length measures
177m, with a street-level height of 31m.
More than 22,000 stainless steel sections
form the sides of the bubbles, which are
welded at the joints to more than 12,000
spherical steel nodes. At its completion,
the Watercube became the worlds largest
ETFE (Ethylene-Tetrauoroethylene) clad
structure, with more than 100,000m of
transparent dual ETFE cushion envelopes,
each only 2.4mm in thickness, making up
the 3,000 irregular bubbles. A pump connection and manifold connects each individual bubble to maintain ination.
Green ETFE
The environmentally friendly properties of
the Watercube go hand in hand with the
advantages of using ETFE as its primary
material. The ETFE cladding enables the
structure to be about 30% more energy efcient than traditional glass by allowing

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:41

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

More than 22,000 stainless steel sections form the sides of the bubbles, which are welded at the joints
to more than 12,000 spherical nodes. Each bubbles ination is maintained individually by pump and
manifold connections. The ETFE cladding enables the building to be almost 30% more energy efcient
than traditional glass-clad structures of similar design.

41

8:22:30 AM

VECTOR FOILTEC

The structure is made

of approximately
6,500 tonnes of
steel, and is so strong
that it can be stood
upon its end and still
Because of its nonstick surface,

retain its shape.

the ETFE pillows encasing the

Watercube are self-cleaning, with
rainwater bathing away anything
that sticks to the structure.

More than 22,000 stainless steel sections form the sides

of the bubbles, which are welded at the joints to more
than 12,000 spherical steel nodes. At its completion,
the Watercube became the worlds largest ETFE building

During the optimization phase,

every steel member was tested
under 190 different load cases.

FABRIC ARCHI TECTURE MAY/JUNE 2008

The building

42

will dazzle at
night, as an
LED system

The environmentally friendly properties

of the Watercube go hand in hand
with the advantages of using ETFE
as its primary material. The ETFE

At its completion, the

cladding enables the structure to be

Watercube became

about 30% more energy efcient

the worlds largest

than traditional glass by

ETFE (Ethylene-

allowing more light and

Tetrauoroethylene)

heat penetration.

clad structure, with

with 16.7

more than 100,000m

million tones

of transparent

turns the

dual ETFE cushion

arena into a

envelopes, each only

kaleidoscope

2.4mm in thickness,

from outside

making up the 3,000

and within.

irregular bubbles.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:42

4/24/08

8:22:41 AM

more light and heat penetration. Its reuse

and recycling of water is nothing short of
groundbreaking, as approximately 80% of
water harvested from the roof catchment
areas, pool backwash systems, and overland ows are re-owed back into the system. For water-strapped Beijing, which has
less water per person than Israel, this was a
vital feature.
The building acts like an insulated greenhouse, says Bilmon Weve considered the
impact of solar rays hitting the building and
capturing the energy created by the solar
rays and reusing that within the building.
The energy savings may be second to none in
the world. In fact, according to PTW, 90%
of the solar energy falling on the ETFE cushions is trapped within the structural zone
and used to heat the pools and interior.
Je Barbian is a frequent contributor to Fabric Architecture. His feature story on ETFE appeared in the March/April 2008 issue.

PROJECT DATA
Client: Peoples Government of Beijing
Municipality, Beijing State-owned Assets
Mgmt. Co. Ltd.
Architect: PTW architects, Sydney;
CSCEC + Design, Beijing
Engineer: Arup Pty Ltd., Sydney
Fabrication: CSCEC; ETFE cladding,
Vector Foiltec
Fabric: ETFE

Top and middle: The Aquatic Center during construction. Eighty percent of the water from roof catchments,
pool backwash systems and overland ows is re-owed back into the system to make it one of the most
efcient buildings in the world. Left: Inside the Watercube, bright from translucent roof and walls, is housed
a waterpark in addition to the Olympic pools.

FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:43

4/24/08

43

8:23:03 AM

Woven wonder
Metaphors and materials in Beijings National Stadium

FABRIC ARCHI TECTURE MAY/JUNE 2008

BY Frank Edgerton Martin

44

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:44

4/24/08

8:23:14 AM

hinas civic infrastructure and economy continues to grow at Olympian proportions. With thousands of skyscrapers, factories and new towns opening
each year, design and architecture are moving at the speed of capitalism.
Yet, with such a rapid pace everyday design is often uninspired and over-literal
in attempts at historicism. Yet, with thousands of years of recorded history, the
Chinese are also capable of thinking and building for ages.
And for the Chinese, if there were ever a time
to build for the millennia, it is the
29th Olympiad to be held
in Beijing in the summer of 2008.

FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:45

4/24/08

45

8:23:18 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

Construction of the National Stadium (Birds Nest) involved 36km of steel members that weave an encasement 12m thick. Inlling
the top slots is a single-ply layer of ETFE to cut solar glare.

46

In a Blade Runner urban landscape of change and glitter characteristic of most Chinese cities, the Olympics oers the rare chance
to build something much more permanent, to make a landmark for
history that evokes the best of Chinese traditions and future technology. No small order. The Aquatics Centre (see related article),
Digital Beijing (the Olympics media and command center) and the
National Stadium are each projects of dierent scales and purposes,
yet a trio of design icons that will endure in memory (and purpose)
long after the Olympic torch dims. Designers for each were aorded
extraordinary opportunities of time to plan, the budget to achieve
quality, and the chance to apply highly-innovative engineering and
materials.
National Stadium will host the opening and closing ceremonies
of the 29th Olympiad along with track and eld events. During the
Olympics, the stadium will hold 91,000 including 11,000 visitors in
temporary seating. The Chinese are very fond of metaphors for new
projectsa tendency that can sometimes lead to unfortunate results for western architects such as when a building ends up looking

like a toilet seat or when a proposed tower in Shanghai with a 45.7m

circle cut into its exterior reminded local authorities of a Japanese
rising sun. It didnt help that the tower was to be Japanese-owned;
and its American design was ultimately rejected.
Yet, for the 2008 Olympics, the Chinese were eager for international participation in the design competition (albeit with the required participation of a government-sanction Chinese partner.)
Almost a decade ago, wary that the upcoming competition might
not be entirely fair and laden with cultural hazards, Herzog & de
Meuron asked the advice of a former Swiss ambassador to China
who recommended that they team with Ai Weiwei, a prominent
and outspoken Beijing artist who could help them navigate the torrents of cultural misunderstandings. When Weiwei arrived in Basel,
he found the studio reserved for the stadium competition was papered with images of Chinese baskets, jades and ceramics. Its not
surprising that Herzog & de Meuron, who have long been known
for the innovative skins are their buildings, should look to Chinese
materials. Their challenge was to nd a 21st century interpretation
that recalled the patina and texture of the past while not creating a
trivializing and themed pastiche.
In 2002, when the teams winning design was unveiled, the Chinese media predictably found a metaphor and soon started calling
it the Birds Nest. Evoking the yin and yang of randomness and
order characteristic of both tightly-woven nests and craft pottery,
the Stadiums exterior structure contains 36km of steel members
that weave into a frame 12m in depth. Beneath this frame, the architects and engineers, as they did at their renowned Allianz Arena
in Munich, clad the structure in 40,000m of single-ply EFTE (ethylene tetrauoroethylene) sheeting.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:46

4/24/08

8:23:19 AM

As with the older Allianz Arena (Munich, 2005), also by Herzog & de Meuron, the National Stadium takes on a magical glow at
night made possible by hundreds of LED lights and the porosity of ETFE. A retractable roof section in the center also is clad with ETFE
foil to keep the overall weight of the movable assembly to a minimum.

Recent completion photos show the drama of the stadium at night

(previous spread) as the interior glows a warm tone through the sidewalls and light euses outward through the roof into the night sky. Inside, spectators experience the changes of daylight even when the roof
is fully closed. So is this place a nest? Or a forest? Or a Song Dynasty
ceramic? The metaphor matters less than the materialsthe steel and
industrial fabrics that create the illusion that this landmark can be
many things and not just one kind of replica. The fact that there is no
single image here, that National Stadium is both seemingly Chinese
yet boldly modern may be its greatest feat of all.
Frank Edgerton Martin writes regularly about landscape architecture
and sustainable design. His piece on The New Museum of Contemporary
Art appeared in the March/April issue.

PROJECT DATA
Client: National Stadium Co. Ltd.
Design consortium: Herzog & De Meuron Architekten AG, Arup,
China Architecture Design & Research Group
ETFE Specialist and Designer: Covertex GmbH
Cost: US $500 million

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:47

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

To add yet another metaphor, architect Jacques Herzog has described this interlaced facade as an architectural forest. Take your
pick. But the fascinating quality of this project is that it balances
seeming randomness with a deeper organic and structural order. It
connotes strength and lightness at the same time and, like the Allianz Arena takes on a magical glow at night made possible by light
porosity of ETFE.
Opened in the spring of 2008, National Stadium is believed to be
the worlds largest enclosed open space with a gross volume of 3 million m. Spanning such space with a retractable roof is no small feat
in one of the most earthquake-prone regions in the world. As with
the Allianz Arena, the international rm of Covertex collaborated
with the designers in the fabrication and installation of ETFE and
PTFE fabrics that contribute to the remarkable lightness, structural
exibility, and translucency of this project. In response to Beijings
ever-present threat of earthquakes, Arup separated the structured
roof from the seating bowl. Spanning 313m by 266m, the saddle
shaped roof is clad with a series of ETFE panels on the upper surface
and an acoustic Teon (PTFE) membrane (50,000m) beneath the
steel structure reects and absorbs stadium sound.
Covertex created specic shop drawings for each of the 983 ETFE-panels for the sidewalls and transferred this data to manufacturing software that guides custom cutting patterns. They then forwarded the manufacturing specications to a subsidiary company
in Shanghai for fabrication at a rate of about 10 panels per day. The
engineers also developed a new aluminum prole that is hooked
into the secondary-channel-construction. This innovation saves labor costs when compared with traditional fastening methods using
nuts and bolts that connect small centerhole dimensions.

47

8:23:22 AM

HEADY BREW
The Adnams Distribution Centre in Suffolk,
England, instills the green approach to
building throughout
BY Helen Elias

esigned by architects
Aukett Fitzroy Robinson and structural engineer Faber Maunsell Aecom,
the 90m long, 45m wide new
central distribution center for
the Suffolk brewer Adnams is
being widely acclaimed as Britains greenest warehouse.

The client, known across England as a

brewer of high quality traditional beers,
set a strict brief for their new distribution
buildingthe new warehouse had to allow
them to get the freshly brewed beer from
the brewery to the pubs and bars quickly,
but with the minimum of environmental
impact. Beer is a tricky product to move
it needs to be kept at carefully controlled
temperatures and treated with respect as

FABRIC ARCHI TECTURE MAY/JUNE 2008

British brewer Adnams new distribution center

in Suffolk sits coolly under a green roof,
possibly the countrys largest.

48

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:48

4/24/08

8:23:31 AM

it matures over a dened cycle to the point

where the barrel is ready to be taken to the
pub, put into the cellar, tapped and pints
pulled for thirsty punters. If there is one
thing the UK pubic takes very seriously, its
the quality of their real ale. So this distribution building just had to get it right
The distribution center is sunk within
88 acres of grassland in a disused gravel
pit, immediately removing the need for excavation to create a building that sits low
within the landscape. Successfully combining a number of pioneering construction
techniques, the 4400m structure, the UKs
rst commercial building to be built using
lime hemp blocks, is covered by what may
be the largest green roof in Britain.
The layout of the warehouse reects its
usewith revered bottled and casked beers
arriving from the Southwold brewery for
loading onto trucks for countrywide distribution. A large central store is anked by
end bays where the incoming lorries deliver
the beer. A marshalling area runs along one

entire side, with a loading bay for the larger

trucks. Overhanging eves and brise-soleil,
and a buer space at all warehouse entrances, help maintain ambient temperatures
inside, and prevent excessive heat gains or
loss of cold from the warehouse area.
The main structural driver was to create
a column-free space with a constant cool
beer-friendly environment of ideally 11C,
whatever the season or time of day. Faber
Maunsell Aecoms strategy was to design in
passive ways to reduce energy use and lessen environmental impact. The biggest inuence in achieving this brief is a combination of the widest spanning glulam beams
to be deployed in the UK, sitting over dense
walls built from lime hemp blocks.
Lime hemp blocks use less energy to
manufacture than conventional concrete
blocks, with the Adnams Warehouse the
rst large scale use in the UK. Advantages
as a construction material lie in its low embodied energy compared to conventional
concrete, as well as a high thermal mass.

SUCCESSFULLY
combining a number of
pioneering construction
techniques, the 4400m2
structure (seen above
and below), the UKs first
commercial building to be
built using lime hemp blocks, is
covered by what may be the
largest green roof in Britain.

FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:49

4/24/08

49

8:23:51 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

The distribution
center is sunk
within 88 acres
of grassland in
a disused gravel
pit, immediately
removing
the need for
excavation.

50

The warehouse walls use unred, air cured

blocks each weighing about 19kg, and measuring 100mm x 254mm x 356mm. The
90,000 blocks produced by compressing
limestone quarry waste (for strength) with
hydrated lime, blast furnace slag, and hemp.
Each block produces about one tenth of the
CO2 of a conventional concrete block.
The 480mm thick, 8m high warehouse
diaphragm walls were built from two skins
of blocks. Traditional bricklayers laid blocks
in a similar pattern to conventional concrete
blocks, using a lime based mortar. The two
walls were tied by laying blocks cross ways
every meter, and nished externally with
a lime render. To enhance thermal performance, the cavity is lled with Tradical Hemcretea brous hemp insulation material
giving a wall U-value of 0.18 W/mK.
Hemp construction eectively locks CO2
into the nished structure. Hemp actually
absorbs CO2 as it grows, while the lime mortar and lime render absorbs carbon dioxide
as it sets. Thus the Adnams Warehouse represents over 150 tonnes of carbon dioxide
locked within its walls. A building of a similar size constructed using more traditional
methods would typically have generated
around 600 tonnes of CO2 emissions.
The large green roof rests onto a simple
steel frame. Glulam beams were manufactured from laminated wood sourced from
sustainable forests. With the biggest at a
length of 41.6 m, these glulam beams are
the longest to ever be installed in the UK.

The beams run approximately 60m across

the building, creating a 35m column free
space within the main warehouse. The 16
gently arched beams spanning the main
warehouse oversail the walls by 4m to each
side of the building, and at each end, creating extra shade. Massive solar sails hang
beneath the overhanging eve to the south
faade. Fabricated from sail cloth, the huge
7m deep by 4m wide sails provide shading
from direct sunlight to the windows for the
oce suite inside.
The green roof is a high performance insulator to again maintain steady temperatures within the warehouse below. A thin
steel liner tray sits under spacers and a
second steel tray, the space between lled
with insulation. The top tray supports an
egg crate system to hold a layer of a lightweight pumice based growing material,
thickly planted with sedum, locally grown
at Mildenhall. The insulating topsoil prevents heat loss in the winter and reduces
heat gain in the summer. The sedum plants
play a dual role in helping shade the building and also softening the impact of the
warehouse within the environment. Roof
lights puncture the roof itself, saving energy by allowing natural daylight into the
warehouse space below.
Helen Elias is a contributing editor for Fabric Architecture. Her piece on the memorial to
the victims of the Madrid train bombings appeared in the March/April issue.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:50

4/24/08

8:23:58 AM

PROJECT DATA
Client: Adnams Brewery
Architect: Aukett Fitzroy Robinson
Structural engineer: Faber Maunsell
Civil engineer: Faber Maunsell
Contractor: Haymills Construction Ltd.

www.fabricarchitecture.info

0508FA_p36-p51.indd

Sec4:51

4/28/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

Above, top: Broad overhanging eaves help

maintain even temperature of 20C inside the
Adnams warehouse. At the southern end of the
barrel-shaped roof (left) hang massive solar sails
that provide shading for the ofce suite inside.
Left, top: A building-length marshalling area anks
one side of the building, with a loading bay for
large trucks. Left, middle: The shipping ofce, like
the warehouse itself (below), is column-free thanks
to 41.6m-long glulam beams, manufactured from
wood sourced from sustainable forests.

51

10:00:16 AM

DETAIL | ETFE clamp

Rooftop gutter and ETFE

clamping assembly

FABRIC ARCHI TECTURE MAY/JUNE 2008

TW Architects designed the Beijing National Aquatic Center (Watercube, see page
38) to take advantage of ETFEs lightweight to clad the entire building with the airlled pillows (bubbles)twice! First, for a protective exterior faade and second,
for an interior faade of the same material with a 5m airspace between them. At the roof
level, rain gutters are built into the structure that runs between pillows (below detail) and a
clamping edge for the multi-layer ETFE pillow is integrated into the gutter wall. Air supply
hoses, connected to a supply manifold provide each bubble with the proper air pressure to
maintain structural integrity.

52

PROJECT DATA
Client: Beijing Olympic
Organizing Committee
Architect: PTW Architects,
with CSCEC & Design
Engineer: Arup Pty Ltd.; CSCEC
Fabrication: Vector Foiltec
(ETFE system); CSCEC
Fabric: Texlon ETFE
www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:52

4/24/08

8:38:12 AM

Knowledge
is power

EVENT ANNOUNCEMENT

Architects
Plan Now To
Attend These FREE
events held during
IFAI Expo 2008.

Experience Green,
Sustainable, Eco-Smart
Textile Solutions at IFAI Expo 2008.
Architects Workshops How to get started with fabric (Oct. 22)
Fabric Graphics - Your Environmental Edge (Oct. 23)
Going Green Saving tomorrow today (Oct. 23)
Design Exhibition 2008 (Oct. 21-23)
Learn how fabric structures are sustainable
Hear FAQ and performance results of textile materials
Examine textile materials & products that provide green,
eco-smart building solutions
Gain the contacts & resources for getting started
Network and earn AIA CES during the Architects Workshop
For event information, contact Jill Rutledge, director of events, +1 651 225 6981,
800 272 1820 (US & Canada), or e-mail [email protected].
The Architects Workshop is sponsored by Fabric Architecture magazine and the Lightweight
Structures Association, a division of IFAI, accredited by the American Institute of Architects (AIA)
to provide AIA/CES to architects. This Workshop is a part of the IFAI Expo 2008.

www.ifaiexpo.com
0508FA_p52-cv4.indd

Sec5:53

4/24/08

8:38:22 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

MATERIALS | Films

54

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:54

4/24/08

8:38:23 AM

Film review
The latest lms, membranes and
new materials re the imagination of
architects
By Katherine Carlson

KVA

KVA

fountain of light-lled fabric is the center of The Soft

House, one of 15 architectural innovations created for
the 2006 Intelligent Living by Design exhibit at Germanys Vitra Museum. The futuristic vision by Kennedy & Violich
Architecture (KVA), Boston, Mass., invites visitors to bask in a
glowing world of curves, curtains and translucent screens.
Not so apparent is its exible infrastructure comprised of
natural photo-luminescent pigments, light-emitting diodes
(LED) and lm-encased photovoltaic cells applied to, woven
through and integrated within fabrics. The textiles harvest
energy, translating it into as much as 16,000 watt-hours of
electricity, half the daily use of an average U.S. household.
Instead of a centralized grid, imagine a
distributed energy network that is literally softa exible network made of
multiple, adaptable and cooperative lightemitting textiles that can be touched,
held and used by homeowners according
to their needs, says Sheila Kennedy, KVA
principal and architect.
Concept exhibits in museums grab attention, but hold little relevance to manufacturers, construction rms and architects working in the real world right?
Wrong, says Chris Macneal, architect and
senior associate at KieranTimberlake Associates LLP, Philadelphia, Pa., a rm that
created the SmartWrap pavilion for the
Cooper-Hewitt National Design Museum,
New York, N.Y., in 2003. The SmartWrap
concept involves use of a building wrap
that is a substrate for printed and laminated layers with the capacity to provide
climate control, lighting, information display and power.
Left: The Soft House, one of 15 architectural innovations created for the 2006 Intelligent Living by
Design exhibit at Germanys Vitra Museum. This futuristic vision by Kennedy & Violich Architecture
The exhibit was a form of provocation,
(KVA) invites visitors to bask in a glowing world of curves, curtains and translucent screens. Inset:
Macneal
says. Materials just coming into
A diagram of Soft House. Its exible infrastructure has a distributed energy network that can
use on a small scale have applications on a
translate into as much as 16,000Wh of electricity.
larger scale. Were looking at exterior walls
that promise to do more with less material.
It is a vision and catalyst for new materials
and methods of building construction.

0508FA_p52-cv4.indd

Sec5:55

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

www.fabricarchitecture.info

55

8:38:32 AM

FABRIC ARCHI TECTURE MAY/JUNE 2008

56

If you build it, will they come?

Hallmarks of this new form of building include modular construction, digital design
and manufacturing, mass customization,
o-site fabrication and intensive knowledge among architects about technological
advances and materials. Stephen Kieran
and James Timberlake published Refabricating Architecture (McGraw Hill, 2003),
now in its sixth printing, outlining their
philosophy about building processes and
transfer technologies. They advocate an
integrated architecture that involves technology, materials and production methods,
with examples from the auto, ship-building
and aerospace industries showing how the
approach has saved time and money without sacricing quality.
Central to KieranTimberlakes designs
are cartridges that include infrastructure
elementslighting, plumbing, heating or
coolingthat are manufactured digitally,
transported to the site and assembled. Lots
of rms do this, says Macneal. The idea is
standard in the furniture industry, with the
consumer as the fabricator. Whats new is
pieces that t together to provide power or
water. In construction, these pieces are assembled, not built.
Therein lie some of the obstacles to modular architecture. Construction rms and
subcontractors with expertise in electrical
wiring, plumbing, heating, ventilation and
air conditioning (HVAC), lighting design
or other specialties may not be thrilled
about putting together modules with those
systems already embedded. Modular construction may be faster and involve lower
transportation and labor costs, but it would
eliminate jobs in an industry already struggling in a tanking housing market.
Building codes pose another challenge. Inspectors cant examine plumbing and wiring
to ensure that it is up to code if they cant
see it. Some jurisdictions allow inspection of
pieces in the factory, Macneal says, allowing
for easier transition of pieces to places.
Theres always a market for eciency, quality control, waste reduction and cost-saving
technology, however, and some construction
rms are interested in the approachas are
clients. KieranTimberlake completed renovations of dormitories at Yale University, New
Haven, Conn., installing panels with light
xtures and other systems intact. Large
housing providers and institutions can benet from this approach, says Macneal.

KIERANTIMBERLAKE

MATERIALS | Films

Above: KieranTimberlake Associates LLP created the SmartWrap pavilion for the Cooper-Hewitt National
Design Museum in New York in 2003. The building wrap is a substrate for printed and laminated layers
that can also provide climate control, lighting, information display and power. Opposite, left: The Loblolly
House, an actual house built with SmartWrap technology. Opposite, right: Priva-Lite lm is sandwiched
between two interlayer lms, then between panes of glass rimmed with conductors. Without power, the
window has an opaque appearance; with power, the crystals align to give a clear view from either side.
Shown here, the system paired with video projections.

On the waterfront
Commuters taking the ferry from the 34th Street Ferry Terminal along New York Citys
Harlem and East River waterfronts will wait under a waterproof membrane roof with a
reective lining capturing the waters shifting light. The city commissioned KVA to design
seven ferry landings, including intermodal passenger shelters, commuter ferry boat docking facilities, site improvements and community amenities.
KVAs projects include schools, universities and government agencies. Veit Kugel, architect and associate, says those commissions reect an investment of public dollars in economics and sustainability. Governments have been criticized for building things without
wow, Kugel says. When they choose an architect, good looks matter, but so does practicality. The ferry landings get daily use and downtime costs money, as does power consumption. The steel cables, columns and textiles pre-assembled o-site can be put in place fast.
No lighter roof exists, and nothing is easier to fabricate, Kugel adds.
The curved roof consists of one layer of waterproof PTFE membrane 30m long and 9m
wide, with standard marine lighting between it and the second layer, PDFE mesh with a
silver reective coating. Light comes through the membrane and is diused by the mesh,
eliminating lighting costs during daytime hours. Street furniture uses energy-conserving
LEDs, photo sensors and PV cells.
Each material has a dierent set of rules and dierent host fabrics, says Kugel. KVAs
MATx materials research unit has been exploring material use and development for several
years. The computer-aided design of components shaves time from the process, which used
to involve sending a 3D model and waiting for the manufacturers shop drawings. The more
complex or curved the design, the more dicult the pattern development by the manufacturer. Now software calculates and creates the pattern, and that data can be input into digi-

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:56

4/24/08

8:38:39 AM

KVA

KIERANTIMBERLAKE

POLYTEX 230
S M A R T

F A B R I C

Architectural Grade Fire Rated

Knitted HDPE Shade Fabric
Complies with:

COMTEX 320
S O L U T I O N S

LONGBOW GOLF COURSE - CHANDLER, AZ

I N

ASTM E - 84 Class (A)

CAFM 13115
CAFM Title 19 - 1237.1
NFPA 701 - 1999
7 year and 10 year UV Warranties

POLYFX 290

E N V I R O N M E N T A L

C O N T R O L

PRIVATE RESIDENCE - SCOTTSDALE, AZ

Solarfab, Inc.| www.solarfab.com | Phone/Fax:(480) 422- 4408

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:57

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

Through the looking glass

These bold experiments may get more
businesses thinking about building components and products employing lm and
fabric innovations with photovoltaic cells,
LED lighting, light-collecting pigments and
phase-change materials, such as a cool type
of privacy glass.
Whenever a light-lled oce or pod
space vacates, the wrangle begins about
whether merit, seniority or business logic
should determine the successor. People
want windowsexcept when the sun beats
down, glare hits the computer screen or
gawkers make faces. Saint-Gobain Glass
Solutions, Courbevoie, France, solved the
problem with liquid crystal lm that can
turn a window from clear to opaque (and
back) with the ip of a switch.
Priva-Lite consists of liquid crystals
within lm, an exacting process requiring
clean room lamination. This lm is sandwiched between two interlayer lms, then
between panes of glass rimmed with conductors. Without power, the liquid crystals
are scattered randomly, giving the window
a 90% haze coecient and an opaque appearance. With power turned on, the crystals align to give a 7.5% haze coecient
and a clear view from either side. When
paired with video or slide projection gear,
the window becomes a screen allowing
high-resolution graphics, luminous colors
and special eects (depending on whether
the power is on or o).

Greenlite Glass Systems Inc., Vancouver, B.C., Canada, is an authorized distributor of

Priva-Lite, and orders for the product are expected to reach $80 million this year. Because
of the privacy features, it has been popular with hospitals, hotels and institutions, says
Ryan Dennett of Greenlite Glass. Priva-Lites ability to multi-task as a screen makes it ideal
for displays, and the Medal of Honor Museum, Hixson, Tenn., and Nevada State Museum,
Carson City, Nev., have used it in installations. Weve measured power consumption at
about 2.2 watts/m of glass, Dennett says. We have installations 15 years old still functioning after regular use.

TULSA INTERNATIONAL AIRPORT

tal laser cutters, routers or printers. There

is a direct connection between design tools
and fabrication, says Kugel. The whole
approach is rooted in logic.

57

8:38:46 AM

KVA

MATERIALS | Films

FABRIC ARCHI TECTURE MAY/JUNE 2008

Day and night: New Yorks 34th Street Ferry Terminal diffuses daylight and incorporates marine lighting
within its two layers to be both functional and aesthetic at all hours of the day. Design: KVA.

58

LASTING
IMPRESSION

Your clients know you as their best source for fabric canopies.
Add durable, high load Mapes aluminum canopies and make a
more lasting impression on your client, their project and your role
as the only canopy partner they will ever need.

888-273-1132
fax 877-455-6572
www.mapescanopies.com

Applications for the Priva-Lite technology abound. Hospital privacy curtains and
blinds that make hygiene dicult could
become redundant. Bulletproof glass on either side of the liquid crystal lm gives security areas safety and privacy. And those
coveted window oces could masquerade
after work hours as external displays for a
businesss products.
Another company using lm technology to power creative products is Konarka,
Lowell, Mass., manufacturer of Power Plastic, a exible lightweight material coated
or printed with conducting polymers and
nano-engineered materials. It can be used
anywhere there is light and a battery,
according to Konarka, to give devices, systems and structures low-cost embedded
sources of renewable power.
Power to the people
The Soft House and SmartWrap exhibits elevated interest about lm and fabric
technologies among the haute monde, but
these innovations may do the greatest good
among the powerless.
The Portable Light Project teamed KVA
MATx with the University of Michigan and
other partners to prototype small-scale
exible textile lighting applications. In a
remote village in the Mexican Sierra Madre
Mountains, the team piloted a self-contained, 1.13kg portable engine incorporating high-brightness semiconductors, exible thin lm photovoltaic cells and polymer
batteries. The portable light is soft, exible
and emits 80 lumens per watt, adequate illumination for reading and work.
On the Portable Light Web pages (www.
tcaup.umich.edu/portablelight/), photos
of the Huichol semi-nomadic community
show families clustered in wonder around
a exible textile that emits light. The indigenous Huichol survive through textile
weaving, thatch and wood-braiding traditions, and extreme poverty is commonplace. The only path to literacy requires
resettlement to xed townships outside
the Sierra Madre. Now, light makes both
reading and mountain living compatible. In
a world in which more than 2 billion people
do not have access to light or power, lm
and fabric technology could change lives on
a grand scale.
Katherine Carlson is a writer and editor
based in St. Paul, Minn.

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:58

4/24/08

8:38:52 AM

REPORT | Japan
continued from page 23
Temperature vs. Emissions
In his presentation to JAA, Mr. Kobayashi noted other quantiable measures,
such as recyclable energy, energy-saving
equipment, hybrid cars, increased use of
public transportation, and energy-saving
houses. Three important elements of energy-saving housing are solar power, heat
pumps, and awnings.
A model for the world?
At a cabinet meeting early in 2007, the Japanese government agreed to Cool Earth
50, its environmental plan for the nation
as well as for the world. Later that year,
Prime Minister Yasuo Fukuda committed
to realizing Japans Cool Earth 50 goals
through the G8 Hokkaido Toyako Summit
in July 2008.
Keys to the comprehensive plan include a
society committed to low carbon emissions,
innovative technologies, an environmentally sound material cycle, symbiosis with
nature, and sustainability. Mr. Kobayashi
emphasized the numerous resources that
Japan has to meet the challenge: the wis-

Three important elements of

energy-saving housing are
solar power, heat pumps
and awnings.

CO2 density and temperature

[ Actual since 420,000 years ago
and estimate of the future 100 years
from now ]

Source: Nature Vol. 399 (3 JUNE 1999, Macmillan Publishers Ctd) and IPCC the third assessment report

for businesses considering environmentally friendly remodeling; and at the citizens level,
promoting eco houses.
Awnings and the environment
At COP 13, held December 3-14, 2007, in Bali, Indonesia, major greenhouse-gas-emitting
countries, including the United States, China and India, agreed on a deal to curb climate
change, although the agreement lacks rm targets for reducing emissions. With this recent
development, evidence mounts that Japan and other countries in the world are committed
to the reduction of greenhouse gas emissions, making it state policy. In this environment, the
awning industry has a great opportunity to promote awnings as a construction material that
reduces energy demand and thereby helps to reduce global warming as well.
How can the industry build awareness of awnings and their potential in environmentally
friendly construction? First, concrete data about how awnings can contribute to the reduction
of CO2 emissions needs to be gathered. According to JAA, by using awnings, the operating
ratio of air conditioning is about one third of that needed when using curtains and blinds.
(Detailed data from JAA experiments were introduced in the May 2002 issue of the Review.)
Those results could be used to calculate CO2 reductions.
By remodeling his own home to make it a sustainable eco house, Mr. Kobayashi is experimenting with ways in which individual households can reduce greenhouse gas emissions.
He installed awnings on his home and found that when an awning is extended during the
daytime, the temperature in the house at night is about 1C lower. (Details are described
in his book, Eco House: My Opinion.) Further scientic research will be necessary to identify
valid measurements of CO2 emission reduction.
The awning industry also must work with state and local governments. At the same time,
we need to continue to appeal to environmentally oriented architects, design/construction
rms and developers to actively propose and design compact cities, making them centers
of population that use the latest energy-ecient technologies and promote them around
the country and the world.
The Japan Awning Association has established a system to issue certied labels on awnings that satisfy their safety standard. If awning companies and material manufacturers
can also work to certify that awnings themselves are made of eco-friendly material, it could
make the installation of residential awnings a new standard in building construction.
Ms. Takizawa is a journalist with the Weekly Exterior newspaper, based in Tokyo, Japan.
www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:59

4/24/08

FABRIC ARCHI TECTURE MAY/JUNE 2008

dom gained from a long tradition of living

with nature; experience on the forefront of
environment and energy technologies and
with overcoming serious public pollution
challenges; and many talented people leading environment preservation. By utilizing
those resources, he wants to create a Japan model to present to the world.
Important aspects of such a model include, at the local level, creating compact
cities and antiwarming systems; at the
state level, introducing regenerable energies, enacting green contract laws, initiating school eco-repair, and providing environmental education; and for businesses,
creating an eco-point system that rewards
environmental activities and environmental nance, which makes investment easier

As greenhouse gas emissions increase,

so do global temperatures. Using less
energy, from governments all the way
down to individual consumers, is one way
to ght global warming. Using awnings in
construction is one way to use less energy.

59

8:38:58 AM

RE | Vision

Made in the shade

One of Seattles public golf ranges gets
a makeover to improve outdoor dining at
the club caf

FABRIC ARCHI TECTURE MAY/JUNE 2008

art of a series of public golng centers established by the

Seattle parks and recreation department, the Interbay Golf
Center is newly renovated so that patrons of the driving
range caf can enjoy views of the range year-round during Seattles
well-known changeable weather. Recently installed, the new fullyretractable canopy system extends the seasons of outdoor service
from two to four.
As Interbay is sited in a valley between Crown Hill and Magnolia
Blu south of Puget Sound, winds come whistling o the Sound
in a concentrated force. To counteract this, project manager Steve
Sadenwasser, with Rainier Industries, the fabricator of the freestanding canopy, added clear vinyl side walls that also retract out
of sight for good weather.
Sadenwasser says the client wanted the new canopy to disappear into the background and not match the color of the main
building, a dark red brick with wood siding. Rainier went with a
powder-coated frame in neutral white that recedes from attention.
Sadenwasser says one of the challenges to overcome on the job was
unevenly graded grounds, so extra care was taken in placing the
footings to ensure a stable and rigid frame.
The results are suciently pleasing that the public facility merited a top rating from a local arts and culture magazine as Seattles best all weather heated driving range. BNW

60

This page facilitated by

www.awninginfo.com
www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:60

4/24/08

8:38:59 AM110

INTRODUCTORY OFFER
Subscribe today and Save!
WHY YOUR GREEN PLAN SHOULD INCLUDE FABRIC:
Energy savings while maintaining a proper balance of heat, cooling and light
Adaptive climate control potential for new and existing buildings over time
Increasing productivity & comfort through spatially exible environments

2 years for the price of 1

$69

$39 / 2 Years U.S.A.

$99

$49 / 2 Years Canada/Mexico

$129 $69 / 2 Years Other Intl

(U.S. funds)

(U.S. funds)

Please print.
Name ________________________________________________________________________
Company _____________________________________________________________________
Address_______________________________________________________________________
City _______________________ State _____________ Zip ____________________________
Phone ______________________ Fax _____________________________________________
Bill me
Check Enclosed $________________
Credit Card Payment

Visa Master Card

Amex

Discover

Card Number: ______________________________________

Expire Date: ________________________________________
Card Holder Name: _________________________________
Signature: _______________________ Date: _____________

Fax: +1 651-631-9334
Mail: IFAI, SDS-12-2108,
PO Box 86,
Minneapolis, MN
55486-2108
Offer ends Dec. 31, 2008.
Please allow 4-6 weeks for
shipment of rst issue. Offer
valid for new subscribers only.

Whether you like

your information
in print or online

Fabric Architecture
has the latest
information on
using fabric for

TITLE check one):

PRIMARY BUSINESS check one):

Architect

Architectural or interior design rm

Designer

Landscape architectural rm

Landscape architect

Contracting or development rm

Contractor/developer

School/library/association/publication

sustainability.
www.fabricarchitecture.info

1107FA_B1G2subform.indd
0508FA_p52-cv4.indd
Sec5:61
1

1/11/08
4/24/08

9:38:26
8:39:03 AM

REVIEW | Book

Manufacturing
Processes for Design
Professionals
REVIEWED BY Jeremy Clark

FABRIC ARCHI TECTURE MAY/JUNE 2008

62

hen I was an intern, I worked with an architect who started

ed
his career as a contractor. He used to shake his head at new
w
designers coming out of school, who he claimed never had
d
held a 2 x 4 in their hands. He rmly believed that one needed to
o
understand how things are built in order to design. Designer and author Rob Thompson seems to share this view, stating that there is a
danger today of designers becoming detached from manufacturing
as a result of CAD, globalization, and design education. His book,
Manufacturing Processes for Design Professionals, aims to restore
the balance with a hands-on approach to design and production. It is a truly brilliant text
that explores established, emerging, and cutting-edge production techniques
chniques that have, or
will have, an important impact on the design industry. And in spite of its impressive mass,
it is easy to navigate. The book is organized into two main sections, Processes and Materials. Used together, the Processes and Material sections help encourage cross-pollination of
ideas between industry and design, allowing designers to create to their full potential.
The rst four parts of the Processes section cover the following processes: Forming, Cutting, Joining, and Finishing. These sections discuss everything from what used to be known
as traditional crafts to the latest technologies. Forming Technologies, for instance, explores areas from plastic thermoforming to studio glassblowing, to the latest in rapid prototyping. While some processes have changed dramatically due to technological advancements, others have remained virtually unchanged. Over 70 manufacturing processes are
explained with full technical descriptions and analysis of the typical applications, along
with explanations of how the machinery involved works. It goes on to discuss competing or
related processes, quality, costs, design opportunities, and environmental impacts. An accompanying case study shows products or components being made by leading manufacturers from around the world, in quantities ranging from one-os to rollout. A well designed
data panel quickly enables the reader to compare a wide range of similar processes to see
which would be the most eective in producing a given item or component.
Part ve takes us to the Materials section of the book, categorized under the groupings:
Plastics, Metals, Wood and Natural bers, Ceramics, and Glass. This part of the book serves
as a directory of over 50 materials. The objective of these material proles is to support
the Processes, expand opportunities for designers, and provide relevant information for
potential applications.
This is a valuable book that not only can help product designers choose from the vast
possibilities of materials out there, but also nd the best way to prepare their products for
manufacturing. Along with over 1,200 photographs and illustrations and a list of featured
companies (with contact information), Manufacturing Processes for Design Professionals
could achieve its goal of becoming the denitive resource for product designers, engineers,
and architects.

Manufacturing Processes for

Design Professionals
By Rob Thompson,
Thames & Hudson, 2007
$95.00
To order: www.bookstore.ifai.com

Jeremy Clark is a contributing editor for Fabric Architecture who specializes in reviewing
products, materials and design. His review of Design like you give a damn appeared in the Mar./
Apr. 2007 issue.
www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:62

4/24/08

8:39:03 AM

ADVERTISER INDEX
When you contact an advertiser in this issue, please tell them that you saw their ad
in Fabric Architecture. For advertising rates and information call Sarah Hyland at 800
319 3349. Please note that many of our advertisers are members of IFAI divisions,
which are described below.

The advertisers highlighted in color

are exhibitors at IFAI Expo 2008.
Plan to attend and visit their booths.
October 2123, 2008 Charlotte
Convention Center, Charlotte, NC.
For more information on IFAI Expo
2008, please visit www.ifaiexpo.
com or contact Exhibit & Registration
Coordinator Tracie Coopet at
+1 651 222 2508; or email:
[email protected]

The overall mission of this association is to promote the use and growth of lightweight structures
and to represent the interests and concerns of the
lightweight structures industry in the Americas. LSA
strives to continue to educate the design community on the use of lightweight structures.
For more information about LSA contact Beth
Hungiville, Managing Director, +1 651 225
6952, or e-mail [email protected]

Birdair, Inc.
www.birdair.com . . . . . . . . . . . . . . . .10, 11
Member of LSA

Naizil Coated Fabrics Inc.

800 387 2764
www.naizilcanada.com . . . . . . . . . . . . . . .18
Member of LSA, PAMA

FabriTec Structures
877 887 4233
www.fabritecstructures.com . . . . . . . . . . . .19
Member of LSA

P-D Interglas Technologies Ltd.

+1 610 328 4690
www.atex-membranes.com . . . . . . . . . . . .17

Ferrari Textiles
+1 954 942 3600
www.ferrari-architecture.com . . . . . . . . . . . .9
Member of LSA, PAMA

Saint-Gobain Performance Plastics

800 451 6101
www.sheerfill.com . . . . . . . . . . . . . . . . . . .2
Member of LSA

Glen Raven Custom Fabrics

www.sunbrella.com. . . . . . . . . . . . . . . Cv2, 1
Member of PAMA

Solarfab
+1 480 422 4408
www.solarfab.com . . . . . . . . . . . . . . . . . .57

Hightex Americas LLC

www.hightexworld.com . . . . . . . . . . . . . . . .5

Transformit
www.transformit.us. . . . . . . . . . . . . . . . . .16
Member of LSA

Intertape Polymer
800 565 2000
www.intertapepolymer.com . . . . . . . . . . . . .7
Member of LSA

Tri Vantage, LLC

800 786 1876
www.trivantage.com . . . . . . . . . . . . . 15, Cv4
Member of LSA, PAMA

Mapes Industries Inc.

888 273 1132
www.mapescanopies.com . . . . . . . . . . . . .58

FABRIC ARCHI TECTURE MAY/JUNE 2008

PAMA's mission statement is to establish PAMA

and its members as the preferred first source for
awning and awning related products and services to end users. PAMA provides educational
programs to advance the awning industry, identifies issues of concern and seeks solutions, and
provides a central source for the dissemination of
information.
For more information about PAMA contact
Michelle Sahlin, Managing Director, +1 651
225 6948, or e-mail [email protected]

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:63

4/30/08

63

12:10:44 PM

SKETCHES | Art

Dream weaver
Public artist Randy Walker nds
inspiration in ber and nature
BY Mason Riddle

FABRIC ARCHI TECTURE MAY/JUNE 2008

64

rained as an architect, Randy Walker has a keen appetite for creating architecturally
inspired public art projects from woven materials. Some originate with pre-existing
structures like the 1962, 7.6m high playground Spaceship in Minneapolis Brackett
Park. About to get the heave-ho because after 45 years, people decided it too dangerous,
Walker came to the rescue. He sprung it from its concrete moorings, mounted it on a 6mlong curving red column and anchored it with 84 steel cables in two elliptical congurations. A success, Return Journey playfully suggests fun, movement and speed.
Another re-envisioned work is Woven Corn Crib at the Gibbs Museum of Pioneer and
Dakota Life in Falcon Heights, Minnesota. Walker found the crib, measuring 7.6m tall and
4m in diameter, on a small Fergus Falls, Minnesota farm. He painstakingly disassembled its
galvanized steel frame and roof and reassembled it at Gibbs Farm. With the armature functioning like a loom, Walker wove a colorful gossamer web on its interior that is seductively
illuminated at night. Completed in 2004, Woven Corn Crib is in need of a permanent home
where Walker will restore it with sustainable fabric.
Walkers current project is the most provocative to date. Located in St. Louis Park, (a
western suburb of Minneapolis) Dream Elevator shadows the historically designated
Peavey-Haglin Experimental Elevator built in 1899-1900, which still stands northeast of
the proposed sculpture site. Peaveys Folly was an innovative but controversial structure,
the rst cylindrical concrete elevator in North America, and presumably the world. A target for skeptics, the elevator proved to be a success, becoming the prototype for concrete
elevators that blanket the Midwest agricultural landscape, and is now a civil engineering
landmark.
Dream Elevator is a poetic re-evaluation of the 38m tall Peavey structure. Its heavy-gage
wire mesh and steel armature will measure 7.6m in height and 2.4m in diameter and it will
be anchored by a 6m high, concrete foundation pierced by three doors. The structures interior will be woven with solution-dyed acrylic Sunbrella bers at, 2.54cm wide braids, in
ve or more saturated colors. Sunbrellas durability and color fastness makes it the perfect
material for Dream Elevator. A progression in the weaves density from top to bottom will
magnify the sculptural qualities of the piece. Visitors will be able to enter and peer through
the complex web of color and light to the sky.
Most intriguing will be Dream Elevators visual correspondence with Peaveys Folly. The
latter is an impenetrable gravity-bound, monochromatic structure of signicant historic
importance. Dream Elevator will be its ghost-child: less than one-half the Peavey Folly
height, its transparent colorful interior will seem to visually oat above the landscape.
Moreover it will be accessible to the public.
Walkers solution to the site acknowledges local history and will be a provocative addition to the public art in the Twin Cities. Construction is scheduled to start in late spring
2008 and completed before the snow ies.

Mason Riddle writes regularly about art and architecture for numerous design publications.
Her piece on artist-architect Emanuel Milstein appeared in the March/April issue.

www.fabricarchitecture.info

0508FA_p52-cv4.indd

Sec5:64

4/24/08

8:39:13 AMIAA

2008 International Achievement Awards Competition

create | enter | inspire
entry deadline July 15, 2008 | enter today at www.ifai.com
Winners receive extensive media coverage. Entries will be on display to
over 8,000 participants at the IFAI Expo 2008 in Charlotte, N.C.
Contact Christine Malmgren at 800 225 4324, +1 651 225 6926;
e-mail [email protected], or visit www.ifai.com.

IAA08_newFP.indd
0508FA_p52-cv4.indd
1

Sec5:cv3

3/11/08
4/24/08

9:08:19
8:39:19 AM

Demand for the finest quality products. Done. Same-day shipping anywhere in the U.S.? Yep. Looking for
help in growing your business? Of course. We unified Astrup and John Boyle to create a stronger organization
capable of providing greater supply chain efficiencies and enhanced value to you. We did this by combining
our vast breadth and depth of product inventory and optimally positioning distribution centers.
Its all about meeting your needs. No matter what they might be.

Audrey

Mark

Carol

Were all about

Shawn

Carolyn

Rene

your goals.
trivantage.com
Tri Vantage, LLC, a Glen Raven Company

0508FA_p52-cv4.indd

Sec5:cv4

4/24/08

8:39:19 AM