The structurally glazed roof light has been completed using Wrightstyle’s SR60140-2 and SR60140-4 profiles for the rafters and purlins.

The former and future home of the Financial Times newspaper is being renovated to provide 270,000 sq ft of Grade A office space, complete with a walkable large-span glass roof designed and supplied by Wrightstyle.

Bracken House is a Grade II Listed office building, originally built between 1955 and 1958, and lies adjacent to the St Paul’s Cathedral Conservation Area of the City of London, and was home to the Financial Times until the mid-1980s.

The sensitive renovation will retain the building’s pink sandstone cladding, an allusion to the colour of the FT’s pages, as well as the astronomical clock over the main entrance, which features the face of Sir Winston Churchill, a personal friend of Bernard Bracken, a former chairman of the Financial Times.

Bracken House features walkable glass roof by Wrightstyle
Roger Wilde Group

The structurally glazed roof light has been completed using Wrightstyle’s SR60140-2 and SR60140-4 profiles for the rafters and purlins, and the company also supplied two full-size test pieces before the main project design was signed off.

The access-only roof glazing was comprehensively weather tested and underwent a TN67 test, in which weights are dropped onto the glass to ensure the safety of anyone walking on it. Wrightstyle supplied to Wilde Contracts Ltd, part of the Roger Wilde Group, specialists in glass flooring, who also carried out pre-contract testing.

Bracken House in progress
Roger Wilde Group

The roof light covers a main atrium area, to maximise light flow to the building’s central core, and replaces old 1970s concrete and glass pre-cast slabs.

In a twist of history, it’s been announced that the Financial Times will move back to Bracken House next year after almost 30 years since relocating to Southwark.

In 1987, Bracken House became the first post-war building in England to be given listed status.

“Wrightstyle systems are renowned for their robust integrity, and have been specified on other roof light projects, both here and overseas – for example on a recent major banking headquarters in Hong Kong,” said Denis Wright, Wrightstyle’s chairman.

“We were delighted to work with Roger Wilde on this project which once again underlines the specialist nature of the advanced glazing market, and how our systems are being specified internationally,” he said.

Main contractor for the Bracken House project is the McLaren Group.

SOURCE.
wrightstyle

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The Oaksmere Hotel recently underwent a renovation for which they requested the assistance of Roofglaze in the design, supply and installation of various bespoke glazing solutions.

Situated in the historic county of Suffolk, the Oaksmere Hotel is renowned for its picturesque views and exceptional service. The design focus of this project was heavily influenced by the aim of maintaining these outstanding qualities for the hotel.

The first rooflight solution provided by Roofglaze was a bespoke Ridgelight that further illuminates the main entrance of the Oaksmere, further enhancing the first impression of new guests. Roofglaze designed this Ridgelight to fit the required specifications given, which involved; a span of 2,500mm and a length of 12,000mm.

The glazing installed has a thickness of 32mm, which offers a centre-pane U-value of 1.0 W/m2K, ensuring that a comfortable environment is created for guests. This Ridgelight is set at a 25o angle to effectively full its purpose of harnessing the maximum amount of natural light into the building.

The Oaksmere Hotel, Suffolk (Pyramid in restaurant)
The Oaksmere Hotel, Suffolk (Pyramid in restaurant)

The second area for rejuvenation was the hotel’s restaurant, which is located towards the back of the hotel. For this, a second but smaller Ridgelight was implemented into the design.

The measurements of this are as follows; a span of 2,400mm and a length of 4,200mm, including an overall glazing thickness of 32mm. The glazing specifications for this Ridgelight are the same as the one at the hotel’s entrance. Further technical details for these rooflights can be found below.

The final instalment of the Oaksmere Hotel project is a Pyramid rooflight, positioned in the centre of the restaurant to gain the optimum benefit from the additional natural light here. The rooflight itself measures 4,200mm across all four sides, and it was also set at an angle of 25o to maximise the visual impact of this upgrade.

This project has essentially given the Oaksmere a much-improved level of natural light ingress into key areas of the hotel, helping to make each room feel larger and more welcoming. Guests are also now surrounded with natural scenic views, which only further adds to their stay.

 

Below are the full glazing specifications for this project: –

Ridgelight 1 (Main Entrance):

2500mm width – 12000mm length

Non-fragile

Glass thickness of 32mm, centre-pane U-value of 1.0 W/m2K, 64% light transmission

Wind load of 640 n/m2, snow load of 750 N/m2

Ridgelight 2 (Restaurant):

2400mm width – 4200mm length

Non-fragile

Glass thickness of 32mm, centre-pane U-value of 1.0 W/m2K, 64% light transmission

Wind load of 640 n/m2, snow load of 750 N/m2

Pyramid Rooflight (Restaurant):

4200mm each side

Non-fragile

Glass thickness of 32mm, centre-pane U-value of 1.0 W/m2K, 64% light transmission 

Wind load of 640 n/m2, snow load of 750 N/m2

SOURCE.

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The Block’s Octagon project was one of the first public applications of Viridian’s LightBridge™ glazing back in 2015. Its clarity and environmental performance contributed to the success of this iconic project in Melbourne.

The Block and Viridian, through its new ultra-clear glazing LightBridge™, have partnered in a high profile usage of this innovative product.

High daylight transmission and solar control properties create new opportunities for architects and product specifiers to achieve high levels of natural illumination and comfort.

The Block’s Octagon project is the first public outing for a product designed to assist high levels of amenity of economic function.

Project: The Block 2015 – The Octagon South Yarra, Melbourne VIC
Architect: Julian Brenchley
Principal Glazing resource: Viridian LightBridge™ IGUs
Window frame supplier & installer: Viridian
Viridian technical support: Home Comfort
Principal glazing: Viridian LightBridge™ IGUs, Argon-filled, Clear
Text, images & Film: Peter & Jenny Hyatt

Identifying opportunity when others pass blithely by was the first achievement. Since then, there has been no holding back those behind one of Australian television’s great success stories.

The Block architect, Julian Brenchley of Sydney, speaks of his immediate intrigue and seduction by the quirky former motel on Melbourne’s Commercial Road in fashionable South Yarra. “I was fascinated,” recalls Brenchley, who has been a stalwart and driver of project selection since the program’s start in 2002.

The Octagon is also one of the first public applications of Viridian’s LightBridge™ glazing. Ultra-clear yet with a high UV defence, this unassuming glazing system promises to deliver diva-like results. Its clarity and stellar environmental performance contribute hugely to the Octagon’s new relevance.

Julian Brenchley spoke with Peter Hyatt about recycling a building of dubious design merit and turning it into a show-stopper. With double the usual number of facades—8 instead of 4—we could be forgiven for wondering if the Octagon represented double-trouble rather than sweet opportunity:

Vision: The Block conjures thoughts of a rectangular or square building and yet here we are in an octagonal building. It’s utterly different from anything else The Block has tackled.

theblock-octagon-2JB: It is. The Block is by definition a ‘block’ isn’t it, yet The Block is really an evolving entity. The various buildings we locate inform the show, because we’re so strongly focused on adaptive re-use. An octagonal building
presents its own opportunities and some very, very complex challenges. This one’s been an interesting journey. I hate the word ‘journey’, but that’s how it feels to take something of its time and bring it alive again.

This building is a mini-landmark in many ways, loathed and loved.

It’s a bastard of the ‘60s and ‘70s and a brutal architectural style. It was purpose-built as a hotel, so really the most efficient way to reduce corridor length in a hotel is to build it around a core. There were no long corridors in this hotel, just a fan of rooms around the central core.

Its eight-sided form was an unusual approach even for its time.

Yes, there are very few of the octagonal variety. Several circular buildings; there’s some notable ones in Sydney and they create their own challenges.

When you first sighted this building did you ask yourself, What have we got here?” or  Is this the real deal?” 

I nearly jumped out of my skin when the program’s executive producers Julian Cress and David Barbour gave us the opportunity to use this building. I was very, very keen to see the floor plan for a start and what opportunities existed. I’m lucky enough to consider many buildings way in advance of the show…

We get the fun part, to see if it can actually work and what are the problems? Do we turn this into whole floor plates, or do as staggered, split-level apartments? Really what we do is consider it as a cube made of Tetris elements over several floors, as a whole floor-plate.

You remain faithful to the original plan.

theblock-octagon-3That’s partly out of the practical aspect of getting this job done in the short time frame we have, although we’ve gone from seven hotel rooms per floor to whole, single-floor apartments. There’s a distinct lack of amenity in the old-style hotel room, compared to a luxury apartment we’ve created.

For instance, there are no wrap around balconies. There are no covered outdoor spaces. There’s none of these things you might expect to find. It’s very similar to the Shazam app on your phone. When you play Shazam the circle moves in and out as it’s playing the peaks and troughs of the song. If you imagine this

building as an octagon, it’s moving to suit the building function. We force the building out to the north to capture light and create covered outdoor space. Where elbow-room is needed in a kitchen or a living room, the building stretches and expands there. We retain the octagonal form by creating ‘wings’ or ‘quadrants’ of an octagon.

The octagon form highlights the interiors and remains true to the plan. It is difficult dealing with a building in the round, trying to translate that to an elevation. Architectural features on the outside to a large extent dictate what’s going on inside, but overlay that with an octagon and you’ve got all sorts of complexities.

How do you go with each season of The Block with such an ascending spiral of expectation?

I think that’s part of human nature in a way, to build on your past successes. We set out to find something bigger and better. We’ve been lucky enough to find the raw buildings pretty much in line with this sort of ascension of scale. It all began way back when the brief was to find a building that could be adapted to make it aspirational.

We’ve gone from bigger and better and it’s partly to do with the success of the show. From a building perspective I’ve been lucky enough to help create these great spaces in bigger and better raw shells along the way.

In many ways it’s a program about interior design, but it’s also a program about the potential of architecture to be re-born.

That structural, bigger eye and hand is definitely involved, even though some people might consider The Block merely superficial and all about wallpapers, furnishings, finishes and drapes.theblock-octagon-5

Of course the show is about the contestants and sponsors and all of the machinations of chucking people into the frying pan. I’ve always had an agenda to reveal to the greater public what is achievable in an architectural sense.

While my brief is to definitely make the building look good, because it has to sell, I take that brief very seriously. I also add to that brief in my own mind and the way I approach it is meant to be readily accessible by viewers.

The architecture and interior design aren’t disconnected. One needs to belong to the other in the way steel beams intersect, glazing is used and the lamp sits in the context of the room.

As each Block project unfolds we gradually see those relationships. It’s definitely a case of the knee-bone’s connected to the thighbone. It’s all part of the single whole.

Again, that’s part of the beauty of finishing these things and the great reveal. It goes a bit further with the idea of architecture that carries through this environmental and sustainable brief.

Which is really such a big and important part of The Block, isn’t it?

It’s the big story of The Block on a number of levels and the most basic one is that we’re constantly doing adaptive reuse of existing buildings. There’s some really good stories too with environmental and sustainable design, whether that’s adaptive reuse or products introduced on this show.

We’re achieving terrific energy ratings too—through the roof. It’s a big part of an unsung story. Four series of The Block ago we had one of Melbourne’s first 8-Star buildings. That was a bit of a coup for us, and at the time Matthew Guy the then Planning Minister launched the Open for Inspections.

We’re still achieving those kind of ratings and it’s become a standard for us and we’re lucky enough to continue that. We mightn’t always hit it, but we’re getting way above what’s needed. Once you’re beyond 8-stars and heading towards 10…!

Adaptive reuse gives you a huge advantage over building from scratch.theblock-octagon-6

Adaptive reuse is a massive component of the star-rating system. We have to try and hit the performance criteria hard with insulation, low VOC carpets and you name it, paints, light fittings, water usage, water recycling, water harvesting, anything to do with the air conditioning. We really follow through quite aggressively.

And yet you ensure designs that appear sharp rather than dowdy Green.

theblock-octagon-7I liken it to the cool guy walking down the street with the flares and the retro parka, a crazy beanie and out-there sunglasses. You think: “I want that look. That perks my interest”. That’s the opportunity presented with this building. We’ve really been able to have fun with this.

The outside of the building is a testament to that, because each segment of the octagon appears like a fresh new building. That results from this stretching of the building without losing the building form. Each component has a different appearance that corresponds to its orientation and use.

It stands out from so many modern apartments that all have this resemblance as if they’re from the same hand.

You can almost imagine James Bond’s Aston pulling up outside and him sitting on the balcony, surveying the skyline with a martini in hand.

I hope so.

Do you continue learning from each Block challenge? Or is it now more of a carousel of recurring problems?

Well there definitely is that carousel of recurring problems. That’s part of life. I’m a great advocate of the saying that you really never know everything. Every project in architecture presents its unique problems.

Then again I’m also a great advocate of the idea that there are no problems, only opportunities that haven’t been realized, or solved.

Really at the end of the day we do produce some good stuff. These answers are founded in real-life, often complex issues. They don’t ever disappear, so we just really have to stump up and learn from the past and apply that again and again with a new flavour, a new look.

Where do you see The Block heading? 

We’ve always said that the sky’s the limit. We really don’t know where it’s going next. The formula’s very popular but there are greater minds than mine that decide on where to take the show. I’m yet to be instructed.

As has been the case and I think it will continue to be the case, The Block evolves with the stock and opportunities presented and the imagination of the executive producers at Channel 9.

It’s interesting that many of the qualities of your work with sustainability operate in a very unobtrusive way. It’s not shouting Look how green I am”. It seems to go about it quietly.

That’s very important to my architecture. Whatever these achievements are they’re to stand the test of time so whether they’re trendy or not, that’s a matter of opinion. From my point of view these are meant to be understated and softly spoken rather than flashing ‘Green’ in neon lights.

Which a lot of Green buildings do. Quite a few win awards.theblock-octagon-8

They win awards which is admirable, but from my point of view just because a project has, say, recycled cladding and screams environmentally friendly, in five years time when that cladding has to be replaced because it’s rotten, that’s not Green, or environmentally friendly.

LightBridge™ is an exciting new Viridian product. What’s your view and understanding of it?

I view any of its products—and there are some amazing ones—as a constant evolution of glass technology. First came float glass and then we became excited about laminated safety and toughened glass. New glass firing techniques see various ceramics or carbons added to create glass that can do things we didn’t believe possible.

The benefits of heat retention and low solar gain glass are very obvious. LightBridge has thermal properties over and above what you’d expect. In my view it’s as good in a thermal performance sense as most walls.

It’s quite astounding if we dip into the double glazed scenario of LightBridge. It’s well beyond compliance of U-values and the shading coefficient of the building code of Australia and Section J.

So new frontiers are now possible for glass?

It’s definitely opening up opportunities. Glass products such as LightBridge™ are creating those openings for designers. That’s a real bonus.

The big point about all of that is architecture in a built environment is very conservative and traditional. It’s very exciting to be able to explore new products directly from the source. That’s a great opportunity for me.

One of the very appealing features of LightBridge™ for this project is the use of a clear glass that is a return in appearance to the ‘60s and ‘70s.

The ‘80s and ‘90s were very much about tinted glass. The clarity of LightBridge™ has an authenticity with that era, but offers remarkable performance characteristics by comparison with glazing of that era.

When people referred to high performance, environmentally rated, or sustainable glass, you’d think SuperGreen™, or one of those shades. You walk into buildings that now have SuperGreen™ and they’re performance glass, I understand that.

I find the green, blue and grey tougher to realize. Now we have the opportunity to use clear that offers exceptional, environmental performance. And we’re not changing the building color.

On the north side of this building—the punishing heat load facade in summer—you retain very deep, generous balconies to complement the strategy to help the bands of glazing deal with direct solar pressure.

Those definitely help, especially where the balcony doors open to create very lovely, liveable areas. I’ve said before that I pretty well detest balconies when they’re used as the primary open space because really there’s zero privacy. Balconies are a real conundrum for architects.

What kind of amenity are you offering—if there is no way for occupants to use and enjoy this space without privacy. At some point there’s a trade off between the concept of view, outlook from inside as well as being able to enjoy the space. ‘Private enjoyment’ I think is the right term and it’s how to find that right balance.

Have you found any answers or strategies to solve the problem?

We’ve been involved with several buildings with solid balustrades on lower levels. The higher up the building, as privacy becomes less of a concern, because of distance, you introduce glass balustrades.

On the lower levels we offset the solid balustrades with deeper balconies, so that the amenity is not reduced. It simply changes by virtue of where the balcony is located on the building. Internal courtyards have been a bit of a divider, but I believe it’s a really worthwhile building typology.

Not only for light, but ventilation?

Especially ventilation. Courtyards drag in a lot of light and internal courtyards create an opportunity for doughnut style planning opportunities, where you can have natural ventilation from a number of sources rather than just one. And it can be quieter with those internal doors open rather than onto the street.

The single floor-plate apartments also breathe better than the more common, partitioned variety.

Here we can slide doors open to the north and open a window on the south side which immediately generates a beautiful cross breeze. With their deep balconies and clear glazing it’s a natural wonder, rather than over reliance on air-conditioning.

Do you have a project highlight?

What I’m most happy about is the apartments themselves. It’s amazing to see what these contestants do in the time. The integration of some of the sponsors material, CSR and Viridian for instance, make quite a unique palette of materials that has enabled us to come up with this composition.

The project highlight is that each segment of the octagon maintains its integrity yet has a different appearance. It’s almost like eight buildings, but works together as a form. We had to really search and do a lot of R&D and 3D modelling to see if we weren’t creating eight problems from eight opportunities.

SOURCE

viridian

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A cable façade with point supported glass dramatically wraps much of the base of the tallest building in Oklahoma.

The stainless steel cables span vertically with most of the wall on a curved plan.

The incredibly transparent wall allows great visibility to either the outdoors or the interior treatments. Point supported glass bolts to cast spider fittings which clamp to the cables.

Devon Energy World HQ

A classic lightweight low rise single layer geodesic dome sits on the top of a cylindrical atrium comprised of structural steel and conventional glazing allowing views upwards of the adjacent high rise.

Devon Energy World HQ

The dome glass is comprised of edge clamped insulated panels and the dome structure utilizes the BK-System. A full perimeter gutter provides for adequate drainage and snow drift conditions.

Devon Energy World HQ

A series of dichroic glass art walls are supported on very nominal structure bringing a changing effect to the lobby areas under varying light conditions and viewing angles. Novum installed the scope which was created by Carpenter Associates.

Location: Oklahoma City, OK, USA

Size: 15,625 sq ft / 1,450 sq m

Systems Used: AES, BK, TC, PSG, ECG

Architect: Pickard Chilton

Devon Energy World HQ

Devon Energy World HQ

SOURCE.:

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Beauty and beast

As the highest performance liquid-applied roofing membrane available, GE Enduris isn’t just a great looking coating – it performs even in the most challenging climates and sea-side location.

At about five years old, the existing roof coating was starting to fail. There were leaks as well as rusted areas – particularly on the panel edges. It was time for a refresh for all the roofs in the complex.

“We considered several solutions. “GE Enduris was the best value – price and performance. We trust the GE brand and the silicone performance promise,” says Ferens Badenszki, the Maintenance Manager for Villa Caletas, a large complex with 10,000 m2 of roof area.

High performance

GE EndurisTM is a simple solution that provides up to twenty year warranty. The application started with GE EndurisTM Seam Sealant to joints, gaps, and areas of where dissimilar materials meet. This ended the persistent leaks. Next, the GE Enduris coating was applied to the entire surface for long-term protection against the elements and ponding water.

Because all GE Enduris components are 100% silicone, there was no worry of failures from the intersection of dissimilar materials. “Now the customer has a seamless roof with little annual maintence needs,” says Jeffry Martinez, Project Supervisor at distributor MegaLineas. “Costa Rica is a challenging environment. It’s hot and humid, which can lead to metal rust with lower perfromance coatings. High temperatures, interrupted by frequent and unexpected rain, can cause huge roof temperature changes in just a few seconds. This is challenging for a metal roof – especially where panels overlap and at penetrations.”

GE2Energy savings

The owner immediately noticed lower temperatures in the rooms and common areas. Although not yet quantified, this can save energy costs in conditioned spaces and very significantly increase comfort in unconditioned spaces. In fact, the owner verified the lower temperatures on the roof as well by touching them at noon – they were still cool.

There are application benefits as well. “During the four-week project, we lost only two days to rain,” says Ferens Badenszki. He explains, “If it had been an acrylic coating, we would have lost weeks. It rains here every afternoon! A quicker and more predictable installation meant savings for us and less interruptions for our guests.”

“As you know, most acrylics cannot be applied if rain is expected within 24 hours,” says Ferens.

“From several options, we chose GE Enduris. It was the right combination of price and performance.”

Ferens Badenszki, Maintenance Manager

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Restore with confidence

The harsh Indian climate puts daily stress on buildings’ roofs due to high UV exposure, extreme heat, monsoons, and even hail. These conditions left the MANN+HUMMEL roof badly deteriorated and leaking after only five years, risking severe equipment damage and production loss. When the company decided to restore the roof surface, Procurement Director Radha Krishnan looked for a lasting solution that would do more than protect. He explained, “We didn’t want just another roof. We wanted something that would elevate overall roof and building performance. I only buy a product when I’m completely convinced, and GE Enduris was a total solution backed by a team that could answer all my inquiries.”

only buy a product when I’m completely convinced, and GE Enduris was a total solution backed by a team that could answer all my inquiries.”

Radha Krishnan — Procurement Director at MANN+HUMMEL

2Unmatched waterproofing and protection

Krishnan was impressed with the way GE Enduris* roof coating perfectly solved for the company’s performance needs. GE Enduris roof coating is unmatched for its UV stability and resistance to ponding water, and experiences no hardening or cracking due to age. Its 100% silicone makeup allows for expansion and contraction as temperatures rise and fall each day. And GE Enduris roof coating resists continuous exposure to particles, pollutants, and atmospheric conditions, while keeping its structural integrity for decades.

MANN+HUMMEL experienced other benefits of GE Enduris 100% silicone roof coating. In addition to being a non­combustible and vapor permeable membrane, it forms a single seamless layer across the entire surface—an important factor in renovations like this.

Compatible with virtually any substrate

As soon as GE Performance Coatings Approved Applicator Pride Projects got to work, the team was impressed by the robust and flexible GE Enduris system. Its ease of application allowed them to cover every part of the 7,800 square meter PVC memberane roof—including features such as parapet walls, drains, chimneys, vertical surfaces, metal finishing caps, and more.

The Pride Projects team appreciated how the system’s single primerless coating meant that just a few components could be scaled to meet any waterproofing challenge on nearly any material, with a seamless finish that liquid couldn’t penetrate. And because the coating was stable upon application, progress continued even as monsoon season was beginning and rain was imminent. “Waterproofing is our specialty. The system’s fast curing and compatibility with each roof material we encountered saved us hours of work, and required no extra preparation.

In the end, GE Enduris helped us to be even more efficient,” said Mohan Panwar, owner of Pride Projects.

SOURCE:.

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Solarban® 70XL glass was specified for 1 BNC Center for more than aesthetic reasons. With a visible light transmittance of 64 percent, Solarban® 70XL glass provides the sustainable attributes to help sustain “sky gardens” at opposite corners of the building.

 

PROJECT BACKGROUND

Solarban® 70XL glass does more than provide tenants of Charlotte’s 1 BNC Center with spectacular city views. The Vitro glass is also helping the city’s newest skyscraper nourish a vast collection of interior plants and trees that enhance the comfort and productivity of its occupants.

The centerpiece of a $540 million development, 1 BNC Center contains more than 700,000 square feet of office space in a soaring, see-through, 32-story tower. While the building’s transparency is striking, its most noteworthy highlight may be the lush forest of interior greenery.

Visitors are greeted by a landscaped six-story “Urban Garden” atrium with a water feature and an array of trees, shrubs and other vegetation.

In addition to the atrium, the architects developed a series of stacked “sky gardens” that occur at opposite corners of the building. Each sky garden is a three-story-tall, landscaped interaction hub flanked by formal and informal conference spaces.

Thomas Mozina, LEED AP, AIA, Perkins+Will, was the senior designer for the project. He said the sky gardens were designed to create an environment that increases business performance. Research studies showed that access to nature can have performance, psychological and physiological benefits to a building’s occupants.

“We built a business case that included enhanced opportunities for collaboration and communication, improved staff retention and recruitment, stress reduction, increased mental agility, increased motivation and productivity, and improved air quality and comfort.”

Although Solarban® 70XL glass was a relatively new product when it was specified for 1 BNC Center, Mozina said it was clearly the best choice for the project. “We needed glass with high visible light transmission for the vegetation as well as aesthetics,” he explained.

Energy and environmental performance were critical factors in the selection of Solarban® 70XL glass, according to Mozina. “Our practice focuses on sustainable design, which includes energy modeling of the building and choosing products that meet the thermal demands of the climate. Having the building perform at an optimal level and thriving years from now was key to the glass selection. We specified Solarban® 70XL [glass] because of its strong performance characteristics.”

Bob Trainor, CEO of glazing contractor Trainor Glass Co., echoed Mozina’s thoughts. “The decision to use Solarban® 70XL glass was driven by a commitment, not just to achieve LEED certification, but to create one of the most environmentally friendly buildings in the Southeast. The glass is ideal for that region because it provides excellent results in both cold winter and hot summer conditions.”

The predominant use of Solarban® 70XL glass on 1 BCN a sustainable design and excellent results in all weather conditions for years to come.
The predominant use of Solarban® 70XL glass on 1 BCN a sustainable design and excellent results in all weather conditions for years to come.

Although it was introduced at the 2005 Greenbuild International Conference and Expo, almost five years before 1 BNC Center finished construction, Solarban® 70XL glass continues to set the standard for environmental performance in the glass industry.

With visible light transmittance of 64 percent and a solar heat gain coefficient of 0.27, the glass yields a light to solar gain (LSG) ratio of 2.37 that remains unmatched by competing commercial glass products.

Other sustainable attributes of 1 BNC Center include rain and groundwater collection systems, low-flow plumbing fixtures, green roofs and indoor air that is enhanced by regular infusions of fresh air.

Floor-to-ceiling windows bathe offices and conference rooms in natural light and cubicles feature individual ventilation controls. There also are bike racks and changing spaces that encourage workers to pedal to work.

Now that 1 BNC Center is open for business, Mozina couldn’t be more pleased with the outcome. “This project is a shining example of a ‘thoughtful approach’ to addressing the needs of a contemporary work force.

He is equally certain that his choice of Solarban® 70XL glass was the right one. “At the time we selected the glass, Solarban® 70XL [glass] was a very new product. Over the years, we have continued to specify the product for other projects as well.”

Brian Clark, senior executive vice president for glazing contractor Trainor Glass was equally satisfied with Solarban® 70XL glass.

“From our perspective, the job was a simple installation, yet the scope of the project (more than 300,000 square feet of glass) was immense,” he said. “What was unique was the vast amount of different interfaces, from glass to metal panels, to louvers, to stainless steel panels, to skylights systems. Those interfaces added to the complexity of the project.”

 

PROJECT CREDITS

Owner
1 BNC Center
Charlotte, NC

Architect/Designers
Perkins+Will
Charlotte, NC

Vitro Products
Solarban® 70XL glass

General Contractor
Balfour Beatty
Charlotte, NC

Glazing Fabricator
J.E. Berkowitz
Pedricktown, NJ

Glass Contractor
Trainor Glass Company
Charlotte, NC

SOURCE.:
vitrologo_1

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The Product

Flash Strip® is a self- adhesive tape made of a Bituminous Compound, self Protected by Re-enforced Aluminum Foil one side and release paper/film on other. It is available in various sizes.

Flash Strip® is highly adhesive to all materials and especially to plastic, glass, steel, polycarbonate, wood, asbestos, fiberglass, textiles and concrete as well.

Characteristics

  • Cold Applied.
  • Waterproof.
  • Excellent adhesive properties at low temperatures.
  • Excellent heat stability.
  • No flowing under heat.
  • No Oil Migration.
  • Resistant to ageing and UV-rays.
  • Solvents Free.

Applications

Waterproofing, Sealing and Jointing materials such as Glass, Steel, Polycarbonate, Wood, Aluminum, PVC, Industrial Roofing, Pipes, Cable, Skylights, parapets etc.

Surface Preparation

Flash Strip®is compatible with most building materials, metals and flexible or hard plastics. The Surface should be clean, dry, smooth and dust-free. No Special tools are required to install this tape.

Installation

Prepare the surface and proceed as follows;

  • Choose the most suitable size of the Flash Strip®
  • Unroll the Tape until the desired length is reached.
  • Remove the silicone release paper/film that covers the adhesive part of the tape and position the tape.
  • Press with a roller or a cloth pad.

Storage

The quality and the characteristics of materials remain unaltered for a long period of time. The Product is however best used within 12 months. The Product must be correctly stored in cool and dry premises, at or below 25°C room temperature. It is not affected by Frost.

CHARACTERISTICS STANDARD VALUE
MATERIAL/GRADE BUTYL RUBBER SEALANT TAPE
PEEL ADHESION VERY GOOD TO FERROUS, NON FERROUS & PLASTICS METALS
SOLIDS 99.99%
APPLICATION TEMPERATURE -20°C / +45°C
SERVICE TEMPERATURE -40°C / +120°C
SPECIFIC GRAVITY AS PER IS SCALE 1.4 g/cm2 +/- 0.15
TENSILE STRENGTH 100 N/ 50 MM
ELONGATION 20% MIN
TOXICITY NON-TOXIC
COLOUR GREY

Dimensions and Packaging

Standard Length: 5 Mtr /10 Mtr.

Standard Thickness: 1.2 mm To 5 mm

Standard Widths: 50 mm- 100 mm

Other widths, length and thickness are available on request. The Rolls are packed in Corrugated Boxes.

Caution and Safety

The material is not hazardous for normal uses. Keep out of reach of children. Possible han Abrasions in particular conditions.

Important Notes

The manufacturer disclaims all liability for product use and applications. No generic guarantees can be provided, even if the instructions indicated on this sheet are followed.

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OSAKA RUBBER PVT. LTD.

6/103, Mittal Indl Estate, Andher- Kurla Road,

Andheri (East), Mumbai – 400 059

Tel: 91-22-4204 4204 / 28502064 /1083, Fax:91-22-28504082

Email: osakarubber@vsnl.com; Web: www.osakarubber.com

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