Buro Happold on Structural Art

7/23/2019 Buro Happold on Structural Art

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S T R U C T U R A L A R T

BUROHAPPOLD ON


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Air Garden at LAX

Architect:Ball Nogues Studio

Image:Scott Mayoral


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3B U R O H A P P O L D E N G I N E E R I N G

BuroHappold Engineering is an independent, international engineering firmwith a reputation, built up over the last 40 years, for delivering creative, value led

building and city solutions for an ever changing world.

Described by our clients as passionate,

innovative, and collaborative, BuroHappold

Engineering has become synonymous with

the delivery of creative, value-led building

and city solutions for an ever changing

world. Experienced in working on every

continent, our clients include more than

90% of the worlds leading architecturalpractices. Additionally, we have collaborated

with global organizations such as the United

Nations, the World Bank, and UNESCO.

Supported by our global community

of driven, world-leading engineering

professionals, we deliver elegant solutions for

buildings and cities that seek to address the

major problems facing communities today.

Using integrated approaches that aim to

create innovative, holistic, and flexible

solutions, we work closely with a diverse

range of celebrated expertsarchitects,economists, academics, and visionaries

to define, develop, and deliver strategic,

people-focused outcomes. These strong

relationships provide us with additional

insight and perspectives that ensure the

solutions we find can more effectively

bridge science and society. Our work culture

drives the can-do attitude and the World

Architecture 100 poll has consistently voted

BuroHappold as one of the best engineering

organizations to work with.

The North America region was established in

1999 in New York and the firm now has five

offices across the country in Boston, Chicago,

Los Angeles, New York, and San Francisco.

As a next generation engineering and

consulting firm, BuroHappold is designing

the most innovative projects across the U.S.,

ranging across all sectors. These include thePNC Bank Headquartersdesigned to be

the greenest office tower in the world; the

NFL Atlanta Falcons Stadiumwith a unique,

oculus retractable roof design; and the LEED

Platinum Anaheim Regional Transportation

Intermodal Center (ARTIC) in California

featuring a complex, geometric form, using

ETFE material. As a result of our experience

working on such diverse projects, our

engineers have gained an unparalleled depth

of knowledge and breadth of expertise.

BuroHappold prides itself on innovativethinking, technical rigor, and a sound

reputation for delivering truly high

performing, inspirational spaces. On all of

our projects, we use our industry knowledge

and experience to push boundaries and

achieve more. It is this commitment to

expansive thinking that sets us apart, adds

value, and is the essence of who we are.

FAST FACTS

Firm established in 1976

1600 total staff

27 offices worldwide

50 LEED certified projects

7 Net Zero Energy projects

Largest ETFE roof in North America

SERVICES

Structures

MEP/FP

Faades

Sustainability

Energy Modeling

Fire Life Safety

Civil/Infrastructure

Lighting Design

Master Planning

Project Management


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Aortic Arc

Architect:Visible Research Office

Image:Visible Research Office


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Complex structures are a unique

combination of architecture, cladding,

environment control, and structure.

Lightweight and versatile their use is

particularly applicable to the roofs ofsports stadia, stations and atria as well as

external canopies, sculptures, sunshades

and demountable structures. Not just tents,

these structures are flexible and adaptable

and can be used to create intriguing and

exciting sculptural shapes.

Fabric membrane structures use a woven

fabric membrane as the structure and

cladding. The tensioned membrane is

shaped into a smooth doubly curved

surface to give the structure stability and

a striking appearance. The membrane is

typically supported by masts and cables but

may also be fixed to continuous structural

support. The lightweight nature of the

material mitigates the need for larger, costly

supporting structures saving our clients

money without compromising on design.

Cable net structures use a network of

tensioned cables to provide the structure

to support a flexible cladding system.The complex geometry allows for large

spans between supports, transforming

spaces into open, light, bright places.

These large unobstructed spaces allow

for uninterrupted sight lines which are

particularly important at sporting and

performance venues. Khan Shatyr in Astana

balances a striking architectural form

while overcoming the extreme climate

and location challenges, offering visitors a

unique cultural experience.

Inflated structures use air pressure providedby a pump system to provide support

to a membrane surface. These inflated

chambers, or ETFE cushion cladding

system, was used in the recently completed

Anaheim Regional Transportation

Intermodal Center (ARTIC), and is now the

largest ETFE roof in North America.

Working with complex structures can

be complicated understanding theunpredictable strains and loads, ensuring

suitable installation and simple build-ability

alongside the non linear behavior of the

materials can be challenging. BuroHappold

Engineering works directly with our high

profile clients around the world, defining

the architectural concepts and bringing

them to life. From pioneering projects such

as the Pink Floyd Umbrellas used in their

1978 tour of America to the spectacular

Millennium Dome, the first of its kind in the

world, BuroHappold creates truly inspiring

and versatile structures.

COMPLEX STRUCTURES

Natural History Museum, Los Angeles Exhibit

Architect: Cinnabar

Image: Cinnabar

Stud Wall Art Installation

Architect: Ball-Nogues Studio

Image: Scott Mayoral

BuroHappolds complex structures and art projects are special. Not because we design or make the art butrather because we enable a realization: the realization of an artists vision. This demands a special kind ofservice; one of trust, care, value, and elegance.


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SELECT PROJECT EXPERIENCE


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AWARDST I ME MAG A ZI NE S 25 B ES T

INVENTIONS OF 2013

VOLVO PURE TENSIO N PAVILIONMILAN, ITALY

I N V E N T I N G T H E I N N O V AT I O N O F T H E F U T U R E

Images Umberto Tilomelli

CLIENTVolvo / The Plan Magazine

A R CH I T E CT

Synthesis Design + Architecture (SDA)

DURATION

Completed in 2013

SERVICES PROVIDED BY BUROHAPPOLD

Structural engineering

The Volvo Pure Tension pavilion is adeployable solar structure for displaying

and charging Volvos new hybrid model.

The attention grabbing pavilion designed

by Los Angeles based Synthesis Design

+ Architecture (SDA), with help from

BuroHappold Engineering, Fabric Images

and Ascent Solar, debuted in Milan and

was named one of Time magazines 25 Best

Inventions of 2013.

Pure Tension emerged from a competition

sponsored by Volvo and Italian design

magazine The Plan, with an enticinglyvague brief; to identify a highly creative

installation design to showcase the Volvo

V60 Plug-In Diesel Hybrid. SDAs founder,

architect and USC professor Alvin Huang,

immediately saw the opportunity to up the

ante by fully pushing the limits of portability

and functionality.

The result, a first of its kind portablecharging station, hits every note; its iconic

form, collapsable fabric and aluminum

structure, and integrated photovoltaic

panels signal Volvos vision for culture

changing innovation in automotive design.

BuroHappold, applying a variety of

modeling tools, refined the perimeter frame

design into five arcs composed of 24 pieces,

making it cost effective to fabricate, efficient

to assemble and compact to store. The

membrane is comprised of pieces that zip

together and a frame which all fit neatly into two cases measuring 65 x 15 x 15 inches.


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Images Scott Mayoral

Copyright 1976-2015 BuroHappold Engineering. All Rights Reserved

CLIENTLos Angeles World Airports

A R CH I T E CT

Ball-Nogues Studio

DURATION

Completed in 2013



BuroHappold Engineering, on the designteam with Ball-Nogues Studio, worked

directly with Los Angeles World Airports

(LAWA) on our largest installation to date,

a public art piece in the north skylight of

the Tom Bradley International Terminal

at Los Angeles International Airport. The

sculpture is a sequence of hanging bead

chains of varying lengths that produces a

cloud-like appearance beneath the skylight.

Embodying qualities of light and space,

the colorful installation has been designed

to inspire quiet contemplation amidst the

chaotic activity of the busy airport.

BuroHappold performed form-finding

analysis to establish the hanging bead chain

shapes based upon weight distributions, as

well as the applied loads when suspended

from the primary structure of the building.

The computational design process ensured

the form-found relaxed position of each

catenary chain satisfied the intended

aesthetic vision of the artist, while also

ensuring the structural performance of

the sculpture would not be compromisedduring a seismic event.

Our specialist team applied an in-house

analysis tool that has been continuously

developed by the firm since the 1970s.

It was first used on projects with Frei Otto

and used most recently on the large scale

Millennium Dome project in London, an

exhibition space roof the largest of its kind

in the world. To put in perspective the

complexity of the Air Garden project, the

digital analysis model required a volume of

data 50 times larger than that required forthe complex Millennium Dome.

From the beginning, BuroHappold was

involved in several work sessions with

LAWA and the facilities team to coordinate

the actual installation as well as ongoing

maintenance requirements and schedules.

BuroHappold provided onsite support

during installation, and since the sculpture

had to be moved twice for preferred

placement, a lengthy approvals process with

LAWA was undertaken as well.

AIR G ARDEN AT LAXLOS ANGELES, CA

S O L U T I O N S T H A T M A K E I D E A S T A K E F L I G H T


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CLIENTCalifornia College of the Arts

ARCHITECT

Visible Research Office

PROJECT VALUE

Confidential

DURATION

Completed in 2009



A new canopy for a student lounge at theCalifornia College of the Arts (CCA) hangs

within a double-height space and functions

as a light scope, spatial definer, and viewing

portal. The minimum surface structure is

made up of 546 unique HDPE panels linked

to one another by over 4000 pop-rivets.

The name of the piece comes from its

resemblance in form to a portion of the

human heart and the fact that it leaps over

an existing structural beam. The surface is

suspended from three upper stainless steel

rings (two circular, one elliptical) which

are held and hold each other in tension. A

singular large parabolic ring functions as a

hoop skirt below.

The technical and artistic challenges are

unique and did not allow for a conventional

approach. Collaborating closely with the

designers, the engineers employed non-

linear analysis tools and parametric BIM

technology to model and predict the final

minimal energy form of the piece which,

structurally, behaves as a hybrid between acable-net and membrane structure.

A panelized system was developed using

Generative Components and a customized

Rhino script that took the raw data and

turned it into a drawing file to drive a CNC

milling machine that generated all the

parts. HDPE plastic, the same material used

to make milk jugs, was selected for the

panels due to its low cost, resistance to solar

degradation, recyclability, low embodied

energy, and high tensile capability.

AORTIC ARC, CALIFORNI A COLLEGE OF THE ARTSSAN FRANCISCO, CA

Image Visible Research Office


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The Manzanita Hall Shade Canopy projectis part of a $38 million renovation to an

existing high-rise dormitory at Arizona

State University. Constructed in 1967 of

post-tensioned concrete slabs and a precast

concrete V lattice structure, the Manzanita

Hall was an innovative, forward looking

design for the time. Studio Ma worked

with ASUs student housing development

partner, American Campus Communities,

to re-program, adapt and transform the

existing building into an active student life

community.

The shade canopy extends from the existing

entry out toward a pedestrian path. The

total shade canopy area is approximately

2,600ft2. The canopy design is intended

to respond to the cast concrete structural

lattice of the existing dormitory building.

ARIZONA STATE UNIVERSITY, MANZANITA HALL SHADE CANOPYTEMPE, AZ

CLIENTArizona State University

A R CH I T E CT

Studio Ma and Solomon Cordwell Buenz

PROJECT VALUE

$38 million

DURATION

Completed in 2013



Images Studio Ma


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Image Paul Warchol

CLIENTArtsQuest

A R CH I T E CT

Elena Colombo

DURATION

Completed in 2011



SteelSacks is a ten-acre cultural campuslocated on the site of a former Bethlehem

Steel plant. Integrating the former

steel plant buildings into its fabric and

redeveloping some of the buildings for

new uses, the campus is comprised of the

ArtsQuest Performing Arts Center, the Levitt

Music Pavillion, PNC Plaza, Air Products

Town Square, PBS 39 broadcast and

education center, and a visitors center.

BuroHappold Engineering was engaged

as structural engineers for the design and

installation of Elena Colombos sculpture,The Bridge. The arching steel structure,

located in the plaza of the ArtsQuest

Performing Arts Center, is a 70ft long x 25ft

tall curved steel plate. Weighing 9 tons, the

sculpture features a vein of flames which

runs almost the full length of the structure

and is fueled by a 550,000 BTU gas line.

The BuroHappold team completedpreliminary calculations to test dynamic

performance and overall safety of the

structure. Reinforcements were added

to stablilize the structure through the

incorporation of two parallel, arched and

tapered box sections tied together by three

vertical shear plates along the length of the

piece. The team also performed additional

analysis to determine deflections and

moments which helped define the structure

of the steel box base. The base acts as a

cantilever beam that transfers the vertical

load to the foundation through bending

and shear stress.

BETHLEHEM SCULPTUREBETHLEHEM, PA


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CLIENTCliff Garten Studio

A R CH I T E CT

Cliff Garten Studio

DURATION

Completed in 2012


Structural engineering, model analysis

The City Center Sculpture is an obelisk of38ft in height composed of an outer surface

construction of stainless steel rods of 1/2in

diameter. The surface has a twist about the

center axis. Four 3 1/2in diameter rods run

vertically through the center and armatures

extend from these internal rods at an

interval that was determined by analysis.

DALLAS CITY CENTER SCULPTUREDALLAS, TX

Images Jeremy Green


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Images Ball-Nogues and Scott Mayoral

The Corner Glory Art Installation project isa public art piece installed on a new 6-story

commercial residential building in West

Hollywood. Designed by Ball-Nogues Studio

of Los Angeles, this permanent sculpture is

fully integrated with the structure, adding

visual appeal to a typical glass corner of a

residential building.

The sculptures visually dynamic form is

made from high grade polished stainless

steel panels. These have been cut into

strips like blades of grass, which extend

from and outline the glass curtain wall thatforms the primary corner of the structure.

The mirrored surfaces change visually

depending on the lighting conditions and

viewing angle, enlivening the buildings

glazed corner. Corner Glory has been

designed to have an impact beyond its

physical space and at over five stories high,

the sculpture is visible from a distance of

several blocks.

BuroHappold Engineering performeda structural analysis and developed

documentation for submission to the city

for approvals. Our team also provided

oversight assistance in the fabrication,

construction and installation phases.

A number of digital techniques were used to

fabricate the sculpture off site. The art work

was then installed in sections of three due

to the weight.

Corner Glory has made a significant

contribution to Los Angeles rich visual

culture, enhancing the corner of this busyintersection while acting as a striking

gateway for West Hollywood.

CORNER G LORY ART I NSTALLATIONWEST H OLLYWOOD, CA

CLIENTCA Essex Monarch Group

A R CH I T E CT

Ball-Nogues Studio

PROJECT VALUE

Confidential

DURATION

Completed in 2014



A N E W C U L T U R A L I C O N F O R W E S T H O L L Y W O O D


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15B U R O H A P P O L D E N G I N E E R I N GCopyright 1976-2014 BuroHappold Engineering . All Rights Res erved

CLIENTDirecTV

A R CH I T E CT

Electroland LLC

PROJECT VALUE

$2 million

DATES

Completed in 2013



Situated within the lobby of the DirecTVHeadquarters building, the new media art

installation features a 150ft long curvilinear

canopy that extends in height to a point at

30ft where it then arches over and touches

the ground on the other side of the lobby,

becoming a three-dimensional portal. The

installation houses a large scale television

display screen which becomes the focus

of artistic design coupled with an LED

backlighting strategy that illuminates the

inside surface of the canopy.

BuroHappold Engineering worked withElectroland LLC to develop the structural

concept and detailing for the project in

coordination with the larger design intent

and to fit the capacity of the existing

building structure.

DIRECT V HEADQUARTERS LOBBY INSTALLATIONEL SEGUNDO, CA

Image Electroland LLC


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CLIENTSci-Arc Gallery Installation

A R CH I T E CT

Tom Wiscombe

DATES

Completed in 2007


Structural design, 3D parametric fabrication

model within CATIA environment, assembly

and erection

Inspired by the morphology of the dragonflywing, DRAGONFLY is a highly irregular

grid-shell made of plate aluminum that

cantilevers 35ft from its supports. Both the

overall form and the patterning of cellular

tessellation were developed through an

adaptive approach that looked for emergent

behavioral characteristics and fabrication

logic. The designers sought performance

and wild variation. In doing so, Dragonfly

reconsiders optimality in engineering,

which is often about idealized problem

solving, and attempts a messy evolutionary

process closer to that seen in nature.

Developed through close collaboration with

EMERGENT, a design firm in Los Angeles

founded by Tom Wiscombe, Dragonfly is an

experiment on the fluid feedback of design

sensibility, engineering innovation and

fabrication logic in a contemporary digital

environment where these disciplines have

become intertwined like never before.

DRAGONFLYLOS ANGELES, CA

Images BuroHappold


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Images Bruce Cain

The Euphony is a unique art installationfeatured in the Nashville Music City

Center, consisting of catenaries attached

to a curved beam, which in turn is fixed to

the buildings structural steel. The client

employed BuroHappold Engineerings

structural expertise to realize Ball-Nogues

Studios ambitious vision.

The resulting effect is a cascading curtain of

individual metallic bead chains, hanging to

form a matrix of catenary curves. Euphony

is attached inside the east concourse of the

building, facing the Omni Nashville Hotel,and is nearly 140ft high. Its form amplifies

aesthetics of light, reflection and color,

creating a visual spectacle and physical

sensation in a public space.

Euphony descends dramatically from a

suspended source, returning skyward on a

new path forming two shells of pattern and

color. Depending on the viewers vantage

point, the 1,141 colored chains may blur to

a vaporous visual composition or appear as

a hard edged geometric form. The artistsassembled the materials with a digital

cutting machine developed in their own

studio. With the help of BuroHappold, they

were able to successfully transport and

manoeuvre their creation on site.

Another major challenge facing

BuroHappold was safely lifting the total

weight of the artwork and ring beam, at

around 3,500 pounds. Twenty five miles of

steel chain required attachment to a 30ft x

8ft steel ring suspended from the ceiling,

hanging 117ft to 10ft 11in above firstfloor level. Our team used its experience

of structural engineering to help artists

Benjamin Ball and Gaston Nogues find

solutions for securing such a weight.

BuroHappolds extensive knowledge of steel

structures and materials allowed us to work

closely with the artists and the Nashville

Music City Center, making their vision a

spectacular reality and providing an eye

catching artwork for the building.

EUPHONY AT NASHVILLE MUSIC C ITY CENT ERNASHVILLE, TN

CLIENTThe Convention Center Authority of the

Metropolitan Government of Nashville and

Davidson County

A R CH I T E CT

Ball-Nogues Studio

PROJECT VALUE

Confidential

DURATION

Completed in 2013

SERVICES PROVIDED BY BUROHAPPOLDStructural engineering

A V I S U A L S P E C T A C L E T H AT H I T S A L L O F T H E R I G H T N O T E S


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Images Volkan Alkanoglu DESIGN LLC

The University of Oregon recentlycompleted a renovation of Fenton Hall

which has been home to the mathematics

department for the past 35 years.

In addition to updating the interior,

the University hosted an open competition

for the design of an installation to hang in

the buildings atrium.

The winning submission came from Los

Angeles artist Volkan Alkanoglu, whose

mathematically inspired installation has

been designed to prompt communication

among the three floors of Fenton Hall.

SubDivision is a 14 foot high, by 10 foot

long, by 4 foot wide sculptural form

derived from the curving geometry created

by several opposed ellipses. The installation

is composed of 550 uniquely shaped

aluminum sheets, each constructed using

a custom scripted algorithm. Over 5,000

aluminum rivets have been used to hold the

components together.

BuroHappold provided an evaluation ofthe technical feasibility and preparation of

concept drawings and calculations.

Our specialist team used the architects

digital 3D model to establish the objects

weight and develop a connection strategy

for the complex sculptural installation.

The team determined that five steel cables

should been used to balance the 60lb

sculpture in space and ensure its stability

in the event of an earthquake. This hanging

method is both safe and aesthetically

pleasing.

The resulting art work succeeds in

encapsulating the past, present and future

of Fenton Hall while providing an engaging

visual and physical link between its

different floors.

UNIVERSIT Y OF OREGON, FENTON HALL, SUBDIVI SIONEUGENE, OR

CLIENTVolkan Alkanoglu | DESIGN LLC

A R CH I T E CT

Volkan Alkanoglu | DESIGN LLC

PROJECT VALUE

Confidential

DURATION

Completed in 2013



A M O D E R N M AT H E M A T I C A L M A S T E R P I E C E


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CLIENTFeria Inaternacional Del Libero

ARCHITECT

John Friedman Alice Kimm Architects

DURATION

Completed in 2009



These seven balloon-like sculptures aresuspended from above by an existing space

truss. These sculptures are air supported

and fixed within in space by a minimum of

three tie-down points to prevent side-sway.

In their fixed positions, the surfaces of the

balloons function as projection screens. This

pavilion celebrated Los Angeles at the Feria

Internacional Del Libero in Guadalajara,

Mexico.

GUADELEJARA BOOK FAIR PAVILIONGUADELEJARA, MEXICO

Image JFAK


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CLIENTHeath Satow

DURATION

Completed in 2014



The project is a public art installationconsisting of three primary elements.

Element 1 is a 23ft tall, ground mounted

steel structure fashioned as three dandelion

seeds. Element 2 is a smaller steel structure

fashioned as a dandelion seed mounted to

an existing freestanding wall. Element 3 is

similar in size to Element 2 and is attached

to the wall of a new building.

BuroHappold Engineering performed

a feasibility review of the project as

planned, and upon technical confirmation,

proceeded with structural detailing andpreparation of engineering calculations

for the art installation. We provided an

engineering report including calculations

and design sketches and technical notes for

incorporation into Heath Satow Sculptures

design documentation which was used for

permit and construction.

HEATH SATOW WISH SCUL PTURELOS ANGELES, CA

Images Heath Satow


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CLIENTBall-Nogues Studio

A R CH I T E CT

Ball-Nogues Studio

PROJECT VALUE

Confidential

DURATION

Completion expected in 2015



BuroHappold Engineering is providingstructural analysis and design of the Ball-

Nogues Healing Garden art piece, a steel

lattice structure anchored to an existing

concrete structure. The art piece consists

of two elements: the steel lattice sculpture

above finished floor and the steel platform

below finished floor. In addition to the

lattice sculpture, the platform also supports

a portion of a water feature and wood

walkway.

HEALING GARDEN PAVILIONLOS ANGELES, CA

Renderings Ball-Nogues Studio


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The public art installation is composed ofone sculpture element to be supported by

new foundations in the universitys campus

courtyard. The sculpture is made from

polished stainless steel cladding mounted

on a stainless steel structure supported

by foundations. The cladding panels will

be made into rectilinear capped pyramids

and will have an open gap when attached

to the primary structure for drainage.The

art installation measures 15 in height, 12

wide and 17 in length and will have lighting

elements that will be operated by a set

of motion sensors placed in the adjacent

buildings lobby.

BuroHappold is performing a feasibilityreview of the project as planned, and

upon technical confirmation, will proceed

with structural detailing and preparation

of engineering calculations for the art

installation.

INFLORESCENCE AT UNIVERSIT Y OF ALASKA, ANCH ORAGEANCHORAGE, AK

CLIENTUniversity of Alaska at Anchorage

ARTIST

Heath Satow

PROJECT VALUE

Confidential

DURATION

Completion expected in 2015



Rendering Heath Satow

Technical Images BuroHappold


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CLIENTLos Angeles County Museum of Art

A R CH I T E CT

Michael Heizer

PROJECT VALUE

$10M

DURATION

Completed in 2011


Structural engineering and design

Levitated Massby artist Michael Heizeris a 346 ton rock sculpture at the Los

Angeles County Museum of Art (LACMA).

This $10 million project is an outdoor

installation comprising a giant rock resting

over a trench, through which visitors can

walk. BuroHappold Engineering worked

with the artist to create structure for this

extraordinary visual experience.

The task involved securing the vast boulder,

but also enabling visitors to engage

with it in a unique and meaningful way.

Maneuvering the rock into place whileallowing the artist to make adjustments

required creative engineering solutions.

The key challenge was to design a rock

anchor small enough to satisfy the artist, but

sufficiently strong to secure the rock in the

event of an earthquake. Sloping concrete

trench walls and a system of stainless

steel shelves proved to be a perfect

combination. Respectful of the artists

vision, neither approach compromises the

rocks structural integrity. The passage under

the sculpture means that visitors can viewthe boulder from below an experience

that makes it seem as if it is levitating.

To allow the artist to make site

adjustments, BuroHappold laser-scanned

the rock while preparing its placement.

Aligning the rock to its supports was a

precarious operation; the process changed

weekly and was repeated more than

50 times using an immense gantry system.

BuroHappold accompanied the artist and

installation crew throughout the procedure,

observing and reviewing field modificationswhile supporting the artist in his aesthetic

decisions.

The outcome is a feat of engineering where

almost every structural element plays a role

in the art the installation connects cutting-

edge design with abstract 1960s Minimalist

sculpture and an ancient monumental form.

Just as important to the exhibits success is

its ability to welcome the public to LACMA

and to art itself.

LEVITATED MASS AT LOS ANGELES COUNTY MUSEUM OF ARTLOS ANGELES, CA

A N I N S T A L L A T I O N W H I C H L I F T S A R T T O N E W H E I G H T S

Image Eric Staudenmaier


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Live Wire stems from the desire to occupythe SCI-Arc Gallery in a way that exploits

the spatial potential of the existing

venue and strives to define an expanded

relationship between tectonic expression

and functional performance. The installation

proposes a vertical circulation system, a

stair, linking the floor level of the gallery

to the catwalk above and is constructed

of approximately 2,400 linear feet of

aluminum tubing and rods. The stair, often

relegated to pure functional use, is a testing

ground for weaving together a multitude

of architectural ideas, ranging from the

manipulation of light, geometry, and

structure to vertical circulation. Live Wire is

aimed at suggesting an expanded definition

of architectural elements, one that

surpasses boundaries of simple functions

and suggests intangible results.

BuroHappold worked with the designers

from the onset to establish a set of specific

structural engineering, fabrication and

assembly parameters. Available materials

and means-and- methods for fabricationand construction were considered and,

to a large degree, these constraints were

exploited from a design standpoint. For

example, BuroHappold developed a digital

fabrication model with which we could

rationalize and standardize the bend

angles of the pipes parametrically. The

process enabled Oyler Wu to explore a

formal vocabulary all the while remaining

within not only a feasible but a highly

performative domain. Each permutation of

the design consisted of physical modeling

to understand spatial qualities, digital

modeling to understand assembly and

structural analysis to provide performance

feedback in tandem. Thus, the design

evolved towards a formally compelling and

high performance end result.

LIVE WIRELOS ANGELES, CA

CLIENTSouthern California Institute of Architecture

(SCI-Arc)

A R CH I T E CT

Oyler Wu Collaborative

PROJECT VALUE

$10 K

DURATION

Completed in 2008


Structural engineering, parametric modeling

Image Olyer Wu Collaborative and BuroHappold


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A temporary platform for performance, TheLong Beach Mobile ArtSpace transforms

vacant lots within this portside city into

alternative venues for public engagement

beyond traditional theater, bringing the arts

into dialogue with the community at large

while being informed by a broad range

of programmatic, social, and economic

agendas.

Appearing on site as an enigmatic black

box, a helium-filled beacon emerges from

within, taking on a range of atmospheres

and effects and broadcasting to thesurrounding community. Designed for

maximum flexibility, the boxs perimeter

unfolds into a cruciform stage, able

to support end stage, thrust, or arena

configurations. Rising overhead, a canopy

of netting, steel, and balloons creates a

new kind of fly tower where the traditional

gravity of scenography is inverted. Sound

and projection are atomized, creating a

sonic landscape of individual campfires

of sound, heightening spatial and social

intimacy between audience members.Finally, while the performance may be over,

the experience of the project continues

as the box remains on site, a site-specific

sound installation providing a layered echo

of past performances within the projects

urban context.

Taken in sum, the project builds on its

provisional, mobile nature to create a

continuing narrative of transformation

physical, performative, and ultimately,

urbancreating maximum effect from

minimal means.

LONG BEACH MOBILE ARTSPACELONG BEACH, CA

CLIENTArts Council for Long Beach, Long Beach

Community Redevelopment Agency, Long

Beach Opera, Khmer Arts Academy

DESIGN TE AM

Steve Roden (artist), Formation Association

(environmental design), 64North (architecture)

PROJECT VALUE

Confidential

DURATION

Completed in 2011



Images Steve Roden / Formation Association /

64North


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The Malibu Lagoon Restoration Projectinvolves the re-grading of an existing

wetland and the design and construction

of various elements (paths, canopies,

guardrails, etc.) which help interpret the

site and make it accessible to visitors.

BuroHappold provided structural

engineering services for the following six

elements:

A steel awning/canopy structure which

covers 720ft2and features flat steel plates

cut into a series of overlapping discs and

perforated to resemble kelp patterns.The canopy is supported on 9 vertical

steel column elements embedded into a

foundation.

The Surfer Wall which defines the

southern boundary of the site and

projects a minimum of 6 above ground

elevation and extends 880.

The Winter Amphitheater which consists

of a 4 wide and 240 long walkway and

a 400 SF platform. The walkway and

platform will be submerged for partof the year in brackish water as the

water elevation in the lagoon fluctuates

seasonally.

The Watershed Fountain is a 24ft2cast

bronze sculpture placed at the entrance

of the site to show the topography of

the Malibu Creek watershed in three

dimensions.

No. 2 Bird Observation Platform

measures 350ft2 and is made of

engineered wood atop a typical deck

framing system and concrete foundation

elements.

Watershed Observation Point is a

concrete platform 60 long that tapers in

width from 12 to 8 and cantilevers out

over the lagoon.

MALIBU LAGOON RESTORATION CANOPI ESMALIBU, CA

CLIENTResource Conservation District of the Santa

Monica Mountains

A R CH I T E CT

Clark Stevens

PROJECT VALUE

Confidential

DURATION

Completed in 2013



Images BuroHappold Engineering


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The project is an interactive public artinstallation consisting of an integrated

light system fitted within a steel structure

fashioned as flowers within a vase. Sensors

mounted within the piece sense pedestrian

movement and trigger lighting elements

to produce an interactive experience.

The 460ft2, 30 high structure is installed

in a new street plaza. The installation is

permanently located and mounted to a

structural base. Steel rods extend from the

base like flower stems to position the steel

flower-like elements in space. BuroHappold

Engineering performed a feasibility review

of the project as planned, and upon

technical confirmation, proceeded with

detail design of the art installation.

METAL MATISSENORFOLK, VA

CLIENTElectroland

A R CH I T E CT

Electroland

PROJECT VALUE

Confidential

DURATION

Completed in 2013



Images Electroland


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The project, titled Memorial is a public artpiece installed on the exterior faade of

the Washington Metropolitan Area Transit

Authority District II Substation building.

The sculpture is a composition of CNC

aluminum plates folded and arrayed into

a formal three-dimensional composition.

BuroHappold provided an evaluation of

technical feasibility and preparation of

concepts. The team used the digital model

provided by the artist to establish object

weight and develop a connection/frame

strategy.

MTPD D ISTRI CT II S UBSTATION MEMORIA L INSTALLATIONWASHINGTON, D.C.

CLIENTWashington Metropolitan Area Transit

Authority

A R CH I T E CT

Volkan Alkanoglu | DESIGN LLC

PROJECT VALUE

Confidential

DURATION

Completed in 2014



Image Volkan Alkanoglu | DESIGN LLC


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CLIENTNatural History Museum of Los Angeles County

A R CH I T E CT

Cinnabar

DURATION

Completed in 2013



Forming part of a decade long $135 milliontransformation of the Natural History Museum

of Los Angeles County, the project to create

the Becoming Los Angeles installation

would see a permanent exhibition for the

museum. The exhibition seeks to explore the

growth of the Los Angeles over the course

of five centuries, displaying a diverse range

of artifacts to demonstrate the relationship

between citys ecological and cultural histories.

BuroHappold Engineering worked with

architect Cinnabar to create the exceptional

three-dimensional ribbon canopy that winds

through the gallery space to guide visitors

through the exhibition. The canopys sense

of movement relied on the steel ribbons and

supporting rods and cables being as slender

as possible, while strong enough to support

the structure. The canopy needed to be light

enough to hang from the museum ceiling

without requiring additional reinforcements,

while optimizing the complex form to facilitate

fabrication and installation also was a key

consideration. Our team performed advanced

digital modeling to demonstrate how these

challenges could be overcome.

Engaging with the project at an early stageenabled our team to produce a strategy for

developing a series of curved pieces that

would form the installation. By using complex

3D modeling software, we were able to

inform the design, which comprises 4,500ft

of steel ribs, produced using lightweight steel

sheet that also meets seismic performance

requirements. Further demonstrating the

need for close collaboration, BuroHappold

worked with the exhibit and lighting

designers to deliver the project. Integrated

LED lighting illuminates the white steel

ribbons while also highlighting the exhibitsfour touchdown points. The supporting rods

and cables, painted in mat black, disappear

into the black painted ceiling and walls.

Traveling with the visitor through six eras of LA

history, the canopy flows through each of the

four galleries that house the displays to bring

the exhibition together as one. A key part of

the Natural History Museums transformation,

Becoming Los Angeles reflects the very best of

contemporary museum design.

NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTYLOS ANGELES EXHIBI T, LOS ANGELES, CA

A S W E E P I N G I N S T A L L A T I O N T H AT C O N N E C T S T H E PA S T

Image Cinnabar


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CLIENTCity of Phoenix

A R CH I T E CT

Janet Echelman

PROJECT VALUE

$2.5 million

DURATION

Completed in 2009


Special project engineering

The project is a sculpture at the newPhoenix Civic Space located in Phoenix,

Arizona. The net was commissioned under

the artistic direction of Janet Echelman in

collaboration with CAID Industries and the

Phoenix Art Commission. The intention of

the artwork was to make patterns of wind

visible to the human eye as choreographed

by the wind. The artist drew inspiration from

the desert landscape. The net sculptures

consist of large somewhat circular draped

PTFE nets supported by steel rings. The steel

rings are suspended by a series of cables

tied to steel masts anchored with tie down

cables to the landscape below.

The net itself is an open weave construction

made from woven strands of PTFE fibers

that are draped into a sculptural form.

The overall net is comprised of a series of

sculptural nets and a wormhole net that

define the visible form, supported on a

structural net whose anticlastic curvature

is developed by the hanging weight of

the sculpture. The properties of braidedsections and the size of the knotted cells of

the netting vary throughout the sculpture

to respond to the structural requirements

under loading and the visual criteria

provided by the artist.

PHOENIX CIV IC SPACE SCULPTUREPHOENIX, AZ

Images Janet Echelman


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CLIENTMichael Kalish

A R CH I T E CT

Oyler Wu Collaborative

PROJECT VALUE

Confidential

DURATION

Completed in 2010



AWARDS

2011 AIACC Design Awards Merit Award for

Small Projects

A collaboration between Oyler WuCollaborative and Michael Kalish, this

traveling installation is built as a tribute

to the life and cultural significance of

Muhammad Ali. The piece was conceived

as an experiential 2-D image with the core

of the project a seemingly random field of

1,300 boxing speed bags that, when viewed

from a single vantage point, form a pixilated

image of the face of Muhammad Ali.

The structure is designed with the intention

of simultaneously supporting the clarity

and focus from that vantage point, whileenriching the experience of the piece from

all others, through a combination of dense

structural bundles, material effects, and

geometrical repetition. A structural strategy

was developed that utilizes a complex

3-dimensional mesh, incorporating multiple

diameters of tubing and strategically placed

aluminum flatbar. The legs are made up

of continuously looping aluminum tubes;

they suggest no starting or stopping

point, but rather they exist as a set of

intricate bundles that oscillate betweenrepetitive, geometrical patterns and a more

random and incoherent accumulation of

material, depending on your proximity and

orientation.

Complicating the structural design intention

is the need for modularity, a requirement

that typically calls for a more simplified and

easily recognizable group of units. In this

case, that conventional approach would

have prevented a sense of dynamism and

visually continuity, consequently leading to

the exploration of methods that exploit thegeometric complexity for the concealment

of the modular units. Ultimately, the

modularity is achieved by bundling multiple

tubes together, and by nesting each leg

seamlessly into the adjacent leg.

REALIZEUSA

Images Oyler Wu Collaborative


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CLIENTCity of Santa Monica

A R CH I T E CT

Ball-Nogues Studio

PROJECT VALUE

Confidential

DURATION

Completed in 2010



BuroHappold Engineering providedstructural engineering for this public art

project situated on the exterior wall of an

existing parking structure at a mall in Santa

Monica. The art piece is an aggregation

of mirror polished stainless steel spheres

and operates structurally like an enormous

Newtons Cradle, the ubiquitous toy found

on the desktops of corporate executives in

Hollywood films. Each ball is suspended by

a cable from a point on the wall and locked

in position by a combination of gravity and

neighboring balls.

CRADLE INSTALLATIONSANTA MONICA, CA

Images Benjamin Ball


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CLIENTThe City of Los Angeles and Getty Trust

A R CH I T E CT

Brooks + Scarpa

PROJECT VALUE

$9 million

DURATION

Completed in 2011



Located on the wall of the Italian Hall in ElPueblo Historic Park, the mural La America

Tropical by artist David Alfaro Siqueiros

was refurbished by the Getty Conservation

Institute and the City of Los Angeles.

BuroHappold Engineering designed a 80ft x

35ft canopy enclosure to protect the mural

from future environmental degradation.

A custom structural steel space frame

forms the canopy and spans between two

new column supports. The columns are

strategically located to provide unimpeded

viewing of the mural while taking intoconsideration the complex arrangement of

existing historic buildings below. Micropile

foundations are used due to close quarters

within the existing buildings and to avoid

impacting the historic Zanja Madre drain

pipe buried below the structure.

SIQUEIROS INTERPRETI VE CENTER MURAL CANOPYLOS ANGELES, CA

Image Brooks + Scarpa


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The Stud Wall Art Installation projectis a public art piece installed on a new

commercial residential building in West

Hollywood, CA. The sculpture is made of

high-grade translucent perforated stainless

steel and open wire mesh and is suspended

from the top edge of the building by a

system of approximately 98 marine grade

stainless steel cables and hardware. Each

cable is connected to one of the individual

modules that comprise the art piece.

The cables are an integral aspect of the

sculptures overall aesthetic and contributeto its sense of lightness and intricacy. The

sculpture was fabricated off site over a

course of months using a number of digital

techniques. BuroHappold Engineering

performed a structural analysis and

developed documentation for submission

to the city for approvals as well as provided

oversight assistance in the fabrication,

construction and installation phases.

STUD WALL AR T INSTALLATIONWEST HOLLYWOOD, CA

CLIENTCA Essex Monarch Group

A R CH I T E CT

Ball-Nogues Studio

DURATION

Completed in 2014



Images Scott Mayoral


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Designed by Ball-Nogues Studio, theTalus Dome resides on a newly graded

embankment adjacent to the Quesnell

Bridge / Whitemud Freeway in Edmonton.

The sculpture is a composition of

approximately 2,000 different sized stainless

steel balls assembled into a vaulted dome

structure.

This unique sculpture is void in the center

rather than solid and has spaces and gaps

between the spheres, leaving the viewer

to complete the shape of the mound while

also being able to see between the spheresand through the mound. The surface of

the dome takes on different colors with the

changing seasons as it literally reflects its

surroundings. At certain times of the year it

may have a strong visual presence along the

Drive, and at others, it will visually recede,

as if camouflaged to blend into its setting.

Its visual quality is not static, and therefore

it will create an appealing tension between

the permanence that it exhibits

Buro Happold was commissioned to providestructural engineering and faced challeges

due to the nature of the dome as well as its

location on a sloped embankment. To keep

the domes shape, it will be anchored to a

reinforced concrete ring beam supported

upon deep foundations.

TA LUS DOMEEDMONTON, ALBERTA, CANADA

CLIENTEdmonton Arts Council

A R CH I T E CT

Ball-Nogues Studio

DURATION

Completed in 2012



Image Lawrence Kwok


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A public art sculpture, this outdoorinstallation is covered by a woven net

canopy of hand-crafted lace netting made

of rope. A constellation of steel rings linked

by cables rise to three distinct points

from which the canopy is hoisted in the

air by three crane structures. The space

underneath the canopy will be used as a

gathering and live performance space.

URBAN LAB SCULPTURELOS ANGELES, CA

CLIENTArts Council of Long Beach

A R CH I T E CT

Greenmeme

DURATION

Completed in 2009



Images Greenmeme


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Images Iwamoto Scott Architecture (ISAR

VOUSSOIR CLOUDLOS ANGELES, CA

CLIENTSouthern California Institute of Architecture

(SCI-Arc)

A R CH I T E CT

Iwamoto Scott Architecture (ISAR)

PROJECT VALUE

$10,000

DURATION

Completed in 2008


Structural engineering, parametric modeling

In this installation the structuraloptimization of the form is based upon

the funicular arch, or the hanging chain,

a relatively well known principle explored

by the Catalan architect Anton Gaudi and

later by the German architect Frei Otto.

The fundamental idea of this principle is

that a chain hung from both ends adopts

an arch-like profile in which it only has

axial tension; there is no shear or bending

force simply because the chain is physically

unable to transfer a shear or bending

force from link to link. If this hanging chain

geometry is inverted to form an arch the

tension becomes a compression force, with

the added advantage that the resulting

structure still has no shear or bending force.

If a series of chains are connected together

on a regular quadrilateral grid, the resulting

net can be hung as described above and

the grid will deform as the net adopts a

funicular shape. The net can also be inverted

to create a funicular vault, a shell structure

with an astonishingly thin profile- enabled

by the lack of shear or bending forces withinthe cross-section of the surface.

Voussoir Cloud was created as a series of

funicular vaults that are stable in section

because the hanging-chain form creates a

purely compressive profile. The vaults are

stable in plane because the triangulated

petal tessellation creates a naturally rigid

surface. The vaults are stable as an overall

system because adjacent vaults are in

equilibrium at the intervening rib; the

outward thrust of one vault is balanced

by the equal and opposite thrust of theadjacent vault. The ribs also function

as a stiff pathway for the compressive

force in each vault to travel down to the

gallery floor. The interdependence of this

redundant structural system can be seen by

gently pushing on the structure at different

locations; the overall structure will deform in

unexpected ways.


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B U R O H A P P O L D O N

S T R U C T U R A L A R T

Buro Happold on Structural Art

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