Ventilated curtain wall system for residential, commercial or corporate
Back-ventilated, choice of material, rounded edges, connection solutions for common window profiles, no wear-prone seals
Up to 2.500 x 6.000 mm
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POHL SYSTEM FACADES – WELL-CONCEIVED AND FLEXIBLE
POHL‘s ventilated rainscreen facades can be adapted to individual customer wishes and combined with virtually any material and any type of surface. Each system is suit – able for both outdoor and indoor use.
POHL EUROPANEL® THE CLASSIC ONE
Large metal coffers, up to 6000 millimeters (19.5 ft) long with rounded edges and only one hairline joint at the outside corners, ensure a high-quality building envelope with a spotlessly smooth appearance. The highlights of the POHL rainscreen facade system are the hidden pin hinges (POHL pins) and the integrated drainage profile.
In architecture and urbanism, both proximity and distance from a certain object of study, whether on a building scale or urban scale, are frequent strategies that help us better visualize details and also have a broader overall perception, both essential for understanding the object in question. Changing the point of view allows different perceptions of the same place. By moving from the ground level, or from the eye-level, which we are accustomed to in everyday life, to the aerial point of view, we can establish connections similar to those achieved through site plans, location plans, and urban plans.
Specifically in architecture, observing a building from above can reveal, for example, how it is inserted into the urban fabric, its relationship with the built environment, and what roof structures are being used. Such notions, obtained by an aerial view, or bird’s eye view, are beyond people’s natural reach, but by using technology or changing the positioning (on top of a building or inside an airplane, for example), it is possible to widen the field of view, just like when adjusting the mouse wheel or the lenses of a camera.
Overview’s website and Instagram “uses aerial and satellite imagery to demonstrate how human activity and natural forces shape our Earth.” A collection of images of natural landforms, cities, buildings, etc., reveals the so-called “overview effect,” a kind of “synoptic view” captured by cameras, drones, and satellites.
In collaboration with Overview, we selected a series of iconic projects published by ArchDaily, looked at from an aerial point of view, and compared them with images from the viewer’s eye-level, depicting these architecture icons under different perspectives.
Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are best known for their personal and artistic collaboration and their innovative designs that shaped the course of modernism. Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses, monuments, and toys. Together they developed manufacturing processes to take advantage of new materials and technology, aiming to produce high-quality everyday objects at a reasonable cost. Many of their furniture designs are considered contemporary classics, particularly the Eames Lounge & Shell Chairs, while the Eames House is a seminal work of architectural modernism.
Charles Eames began his architectural study after he was awarded a scholarship to study in his hometown at Washington University in St. Louis. However, after just two years at the university, he left, at least in part due to the school’s teaching: he once described how classical architectural training “forces upon the young designer a system of the sterile formula,” and a teacher reportedly claimed that he was “too modern.” Undeterred, Eames set up a firm with partner Charles Gray, and the pair were later joined by Walter Pauley. In 1938, Eames accepted the invitation of Eliel Saarinen to study at the Art Academy in Cranbrook, Michigan, where he would later become head of the industrial design department.
Nicknamed Ray-Ray by her family, Bernice Alexandra Kaiser was born in Sacramento, California. Her artistic talent was recognizable from a young age, so after high school Ray left California to study in New York City with German Abstract Expressionist Hans Hofmann. She then went on to study at the Art Academy in Cranbrook, where Charles was one of her teachers. Charles divorced his first wife and married Ray in 1941, and the two moved to Southern California where they opened their famous design firm.
They initially supplied the American Navy with leg splints and stretchers during World War II, and following the war, they took what they had learned about molded plywood and applied it to their groundbreaking furniture designs. Their furniture made of cast aluminum, fiberglass-reinforced plastic, wire mesh, and molded plywood was distributed by Herman Miller and brought their studio international acclaim. As early as 1945 the couple became successful enough to design and build the Eames House, the work they are most known for in the architectural realm. Together they also produced over 80 experimental films that showcased many of their philosophies on design.
After Charles’ sudden death in 1978, their office was closed and Ray dedicated all of her time to organizing and archiving their lifetime body of work in addition to collaborating on numerous books about their design studio. Interestingly, Ray passed away on the same day as Charles exactly ten years later, but the significance of Eames Design lives on to this day.
Below that, we’ve rounded up a selection of videos either about the Eames, or made by the couple themselves.
A new webcast and podcast series, Design Disruption, has been launched by architectural writer Sam Lubell and social entrepreneur Prathima Manohar. In a partnership with ArchDaily, the first episode will be broadcasted next Monday, June 15th at 11 am (EST) on ArchDaily, YouTube and Facebook. This episode will explore high density housing with guests Moshe Safdie, founder of Safdie Architects, and Ma Yansong, founder of MAD architects. The goal of the series is to provide an international perspective on disruptive issues with guests from different continents.
As Lubell and Manohar state, the COVID-19 Pandemic is “a disruptive moment for our world, and it’s poised to spur transformative shifts in design, from how we experience our homes and offices to the plans of our cities.” The Design Disruption series explores these shifts and disruptive issues like climate change, inequality, and the housing crisis, through chats with visionaries like architects, designers, planners and thinkers.
For Episode 1, the team notes how Safdie changed the way the world thinks about high density housing with Habitat, a pavilion for Montreal’s Expo 67 that incorporated prefabricated construction and public and private outdoor spaces into a highly intricate multifamily residence. He’s recently built new Habitat projects in Singapore, China, and Sri Lanka. Ma is inspired by the ideals of “Shanshui City,” which entails harmonizing nature , the urban landscape, and society in novel ways through architecture. He has explored typological alternatives for urban housing, like hybrid urban courtyard concepts and high density vertical villages.
The series is co-hosted by New York-based architectural writer Sam Lubell, who has written ten books about architecture, and contributes regularly to the New York Times, the Los Angeles Times, and Architectural Digest; and Bangalore-based Social Entrepreneur Prathima Manohar, founder of think do tank The Urban Vision.
ODA released images of its 1,185’ mixed-use tower in downtown Seattle. Showcasing a novelty in high-rise design, the project underlines the value and importance of outdoor space. Carving out a void in the middle of the tower, the design creates a shared outdoor amenity space with impressive views to Mt. Rainier.
The ODA-designed Seattle Tower holds retail, parking, and co-working spaces on the lower floors and a total of 1,080 residential units on the upper levels. Located in downtown Seattle, the structure takes on a recognizable design with a carved void in the middle that encompasses amenities and offers stunning views of Seattle’s natural landscapes, from the mountain to the sea. Moreover, these elevated features generate a generous place to connect with neighbors.
Moving some services from basement levels to higher floors, ODA’s conceptual approach aims to “use architecture to bridge communities and create spaces for connection”.
While in most high-rises one cannot open a window, ODA conceived innovative design strategies that allow the resident “to open a door onto a garden in the sky”. Reflecting Eran Chen’s belief that “every city dweller should have access to outdoor space in their homes”, the project creates unique suspended gardens that echo the topography of the surroundings.
There must be a better way to arrange our homes in our increasingly dense cities where we can enjoy our privacy while acknowledging our neighbors, where we can all access outdoor spaces and feel the sunshine on our face. — Eran Chen, Founding Principal, ODA New York
Grimshaw has just revealed initial concepts of the new 21,000 square-foot arts complex for Santa Monica College (SMC) in Santa Monica, California. Scheduled for completion in 2024, the building is planned as a “factory of creativity”, replacing an existing surface car park and serving as a new western gateway for the college.
Located on the corner of 14th Street and Pico Boulevard, the new Arts Complex takes on an industrial yet elegant aesthetic. Welcoming for both students and faculty, as well as the community of Santa Monica, the project comprises of three distinct volumes, linked through external, shaded areas. The three buildings house three arts education pillars: studios, teaching spaces and workshops; prioritizing function over discipline.
Woven together by a loose-fit external perforated metal screen, a backdrop for the artwork, the volumes have a unified identity. In addition, the building’s skin creates a dappled sunlight effect, “allowing the lighting conditions to change over the course of the day in the circulation areas […] the new arts complex is set away from the property line with a landscaped buffer to decrease ambient noise from busy working art students”. The entrance, a dynamic sequence of open areas and volumes, reveals internal operations, whereas the initial external plaza allows the flow of students between the core campus and the arts complex.
Working alongside the arts faculty of SMC to design a building that bolsters their visionary take on the importance of the arts in an evolving entrepreneurial landscape has been inspiring and energizing. We are excited to work with such a supportive college to create this landmark building for the community. — Andrew Byrne, Managing Partner of the Grimshaw LA studio
In collaboration with the arts faculty of SMC, the designers imagined a progressive vision for arts education. Grimshaw, familiar with higher-education buildings, and famous for its recent college or university projects, “unites this expertise in sustainability, adaptability, and renewal with a focus on flexibility and cross-collaboration to provide a vibrant, enriching environment for Santa Monica College”. Generating opportunities for informal teaching and gathering in open-air weather-protected courtyards, Grimshaw’s approach promotes discovery and experimentation. Moreover, in line with the firm’s sustainability mission, the external circulation eliminates the need for air conditioning and reduces the overall energy use.
The adaptable design for the new SMC arts complex will bolster our mission to bring students together to gain a greater exposure to the potential of the art program. Grimshaw shares our belief in the importance a robust arts education and we are thrilled to see it come to life. — Walter Meyer, SMC’s Art Department Chair