saint clare | selected works

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NATHAN SAINT CLARESELECTED WORKSYALE SCHOOL OF ARCHITECTURE

SELECTED WORKSYALE SCHOOL OF ARCHITECTURE

2010 - 2011

NATHAN

EDUCATION:

YALE UNIVERSITYNew Haven, CTMaster of Architecture - 2012

APPOINTMENTS:Teaching Fellow: Spring 2012 - Senior Design Studio Steven HarrisTeaching Fellow: Fall 2011 - Architectural History I Daniel Sherer, PhDTeaching Fellow: Fall 2010 - Architectural History I Daniel Sherer, PhD

YSOA Graduate Admissions Committee - 2012Open House Speaker - Spring 2012Project in Retrospecta - 2012Student Election Chairman - 2011

Advanced Design Studio Critics:David Chipperfield, Thomas Beeby, Demetri Porphyrios and Fred Koetter.

KANSAS STATE UNIVERSITYManhattan, KSBachelor of Architecture - 2004Magna Cum LaudeHenry Adams Award

APPOINTMENTS:Deans Advisory Council - 2009 - PresentGuest Studio Instructor - 2008 with Larry BowneGuest Critic - 2004 - PresentCollege Graphic Designer - 2002-2004

COMPETITIONS:1ST Prize: Bayer Student Design Comeptition - 20041ST Prize: KSU Delineation Competition - 20031ST Prize: KSU Delineation Competition - 20022ND Prize: Bowman Design Forum - 2001

EXPERIENCE:

PELLI CLARKE PELLI ARCHITECTS | 2011New Haven, CT

Design Development on Torre Macro Tower (Rhino)Buenos Aires, Argentina

// Emphasis on rapid prototyping and curvature analysis for curtain-wall panel optimization.// Produced an internal white-paper on the rationalization of compound curved surfaces.

WATG ARCHITECTS | 2004-2010Los Angeles, Singapore and Dubai

Project Designer // Led design teams on large and small projects and was instrumental in transitioning the office to Revit. // Extensive international and hospitality design experience including consultant and client presentations.// Involved in numerous project types from urban planning to a boutique spa in Somona.

Selected ProjectsPanama City Center | Panama City (Revit)Capital Square | Ho Chi Minh City (Rhino)Four Seasons Doha | Qatar (Revit)Saggio Hills Resort and Spa | Sonoma, CA (CDs)

DESIGN INSTRUMENTS:Revit 2012Rhinoceros (VRay, Brazil)AutoCADAdobe Creative SuiteInk, Graphite and Watercolor RenderingPlaster and Plastic 3d Printing

REGISTRATION:Successfully passed all the Architectural Registration Exams.

saint clare design portfoliolink

[email protected]

17 Howe Street, Unit - A2 New Haven, CT 06511address

SAINT CLARE

FALL 2010 | ACADEMICPost-Professional Design StudioEd Mitchell + Fred KoetterYale School of Architecture

S.MA.R.T CITYSouthern MassachusettsRapid Transity CityRaynham, MA

138CORRIDOR

INTERSTATE 495

PROJECT SITE

RAIL LINE

taunton

raynham

fall river

new bedford

existing rail stations

future rail station options

providence

( page | 2 )Taunton & Raynham, Massachusetts

SOUTH COAST RAIL CORRIDOR PLAN

25

in adjacent communities has been mostly residential, with some industrial parks, plus office

and retail in small nodes and strip centers largely serving the local population. Between the northern and southern segments of the region are semirural communities that have recently begun to experience rapid growth.

The region has grown at a faster rate than the Commonwealth as a whole. Between 1990 and 2006, the region experienced a 10.3% increase in population, compared to 6.9% for all of Massachusetts. In absolute terms, the most significant population growth

occurred in communities close to the I-95/I-495 interchange in the northern part of the region: Attleboro, Mansfield, Norton

and Taunton. In percentage terms, semirural communities located in the middle of the

Figure4-3:PercentChangeinPopulationbyCommunity,1990-2006

Source: Census 1990/Claritas, 2006

Figure4-2:2006EstimatedPopulation

Community BoundariesCommuter Rail Lines (Existing)Commuter Rail Stations InterstateU.S.HighwayState Route

0 to 10,00010,001 to 20,00020,001 to 40,00040,001 to 60,00060,001 to 100,000Source: Claritas 2006

LEGEND

Population 2006 (estimated):


5

regional growth that is clustered, more sustainable, and better connected within the region and to metro Boston. The region seeks a future in which it renews and expands urban centers while adding new walkable neighborhoods and preserving natural assets for future generations. Commuter rail can catalyze this future, providing an opportunity to organize new growth around stations and direct it away from sensitive areas of ecological value. It can also provide better access to high-quality jobs for residents of the region, and better access for businesses to the metro-Boston labor force, business and educational clusters that will drive the 21st-century economy.

We must connect the dots between protecting the South Coasts natural areas and sparking economic development in places that make sense. Residents and businesses want a high quality of life and future

PercentChangeinPopulationbyCommunity,1990-2006


TheSouthCoastRegion

Urban Character

Suburban Character

Semi-rural Character

LEGEND

population flow_01



25











LEGEND


taunton (+14%)


6

investments will, in part, depend on the South Coast regions ability to shape the growth thats coming and the new growth the train will bring.

TheCorridorPlanThe Corridor Plan is organized to provide responses to four basic questions about growth. Where should new development be supported?

What land, open space and environmental assets

represent the highest priorities for protection? What kind of development can be attracted to

areas around new stations? What kinds of tools can communities use and

the state provide to better plan for their futures?

PriorityDevelopmentand Protection Areas TheCorridorMap: The Corridor Map is a centerpiece of the plan. Developed through a process of local, regional and state review, the map designates more than 30 Priority Development Areas and more than 70 Priority Protection Areas. Priority Development Areas are those with the greatest capacity or potential to accommodate new development,

including downtowns, major job centers, and future South Coast Rail station areas. Priority Protection Areas include land or environmental resources that are not permanently protected but are worthy of increased levels of protection through planning, regulation, conservation or acquisition. This map emerged from a process facilitated by regional planning agencies working first with communities

to identify municipal priorities. Communities selected several hundred areas that represent local priorities for growth or conservation, and they are now moving forward with implementation. Regional planning agenciesworking in conjunction with the Southeastern Massachusetts Commuter Rail

Task Force, the corridor communities, advocacy organizations and each otherthen identified the

places with the greatest significance from a

regional birds-eye view. Many of these priority places span town borders.

State agencies modified the resulting framework to

best reflect state goals, and established the results

as the Corridor Map. Detailed maps and narrative descriptions of each of the designated areas are included within the plan.

DevelopmentintheCorridor,1971,1985,1999.

WemustconnectthedotsbetweenprotectingtheSouthCoastsnaturalareasandsparkingeconomicdevelopmentinplacesthatmakesense. Residents and businesses want a high quality of life and future investments will, in part,dependontheSouthCoastregionsabilitytoshapethegrowththatscoming.

population flows_02



25











LEGEND


taunton (+14%)


6


















population flows_02



25











LEGEND


taunton (+14%)


6


















population flows_02 POPULATION DENSITY MAPS 1950 / 1970 / 1990

EXISTING AND FUTURE STOPS POPULATION CENTERS HIGHWAY AND RAILLINE INTERSECTS

URBAN FLOWSNETWORKS OF PEOPLE, INFRASTRUCURE AND GOODS

10 MINUTE WALK RADIUS = 1800

10 MINUTE WALK RADIUS CREATESSITE DIVISIONS

DISTRICT DIVISIONSWITH TRANSIT NODES(1500-1800 )


Commercial

Zoning Map around the Dogtrack Site, RaynhamRaynham

School

Religious

Single-Family Residential

Open Space

Sports Field

Parking/ Unused Land

POPULATION DENSITY MAPS 1950 / 1970 / 1990

A

B

C

A. TRANSIT LINE AND NEW STATION

B. LOCAL STATE HIGHWAY

C. TRANSIT INTERSECT DISTRICT

S.MA.R.T. CITY /

Conceived as a protoype for a concetrated zone or urban activity along a renewed railroad line, the S.Ma.R.T City brings a piece of Boston to the south shore. These urban collectors would be located at each new railway stop and facilitate a new form of urbanizartion around this communter core.

Conceptually influenced by the urban writings of Pier Vitorrio Aureli and Rem Koolhaas this project is situated as a polemical. If urbanization and the expansion of infrasturcture have led to the diffusion and weakening of our city stricture how does reinforcing that condition actually affect change.

Is the answer to address previous forms of infrastructure, in this case the railline? Perhaps we simply ride the contemporary capitalistic wave and live with the system of commodity distribution already in place? In reality we should understand that our reading of the scale of the city is drastically distorted. The Northeast itself, from Washington DC to Boston is actually one city, this allows us to strategically infill the weak areas to create a more unified whole, one greater than the sum of its constituent parts.

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1. TRAIN PLATFORM

2. OFFICE BAR

3. TRAIN STATION

4. CITY PLAZA

5. PARKING

6. RETAIL

7. OFFICE BAR

SPRING 2011 | ACADEMICAdvanced Design StudioThomas BeebyYale School of Architecture

THE CHICAGO HOUSEChicago, IL

THE URBAN CHICAGO GRID

20 0 X 125 0TYPICAL BLOCK SIZE

The city of Chicago has demolished vast tracts of high-rise public housing proj-ects. These areas have been redeveloped as low-rise market housing but much of the areas around the projects remain untouched with vacant lots surrounding existing building stock creating problematic urban voids.

PROJECT BRIEF /

This studio was tasked to investigate the individual house as a vehicle to resettle the neighborhoods of the city that remain dispirited with the introduction of gentrification as a means to provide stability to low and middle income areas of the city.

A single family residence has always been the most desired housing in Chicago and remains the dream of most of its citizens. To provide affordable housing in scattered sites would stabilize the neighborhoods in a manner that does not displace existing residents while simultaneously correcting the problems related to vacant lots in an urban environment.

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LEVEL 2 ROOF

Concrete Base

Concrete Columns

Wood Framed Pre-FabLiving Quarters

Composite HouseModel

Tube Steel Frame

Plywood Paneling

Standing Seam RoofEnvelope

Translucent CorrugatedPolymer Panels

work_Level 1 _ 5.05' - 0"

work_Level 2 _ 14.014' - 0"

Building Height Limit30' - 0"

work_Ground _ 0.00' - 0"

work_Level 0 _ -4.0-4' - 0"

Greenhouse _ 9.08' - 0"

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My intervention involves displaying the changing household structure by expressing the techtonic forms. The simple steel frame envelop is elegant and quick to contstruct. The wood-framed residential box can be pre-fabricated off-site and easily conforms to standard components.

SOUTH FACADE

1/4 - 1 - 0 MODEL PHOTOS

FALL 2011 | ACADEMICAdvanced Design StudioDavid ChipperfieldYale School of Architecture

AEDES ARTS COMPLEXBerlin, Germany

PROJECT BRIEF /

The Berlin art scene is rapidly exapnding and increasingly cosmopolitan. With affordable rent and ample space Berlin is a very attractive magnet for the emerging artist. The Aedes Arts Complex is an integral part of Berlins artistic renaissance.

My task was to take an existing artistic community, one that already houses the likes of Olafur Elliason, and to provide additional studio space able to accommodate a variety of artistic endeavors. The site is part of an old industrial super-block that was bombed during the war and once housed a brewery.

Spaces for art, must be at the same time, highly flexible and highly calibrated. The quality of light and scale of space must be be able to accomodate multiple types of art creation. While each individual artisit may have preferences (north and skylight for example) the spaces I am designed are meant to allow for multiple artisits to work for brief periods of time as part of a revolving fellowship program.

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4. STUDIO / LIVING BLOCK

5. CENTRAL COURTYARD

6. SCULPTURE STUDIO

7. SCULPTURE GARDEN

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LEVEL ONE +0.0M 1:100M LEVEL TWO +5.0M 1:100M LEVEL THREE +10.0M 1:100M LEVEL FOUR +15.0M 1:100M

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1_ARTS GALLERY / 2_SHOWING ROOM / 3_ARTIST LIVING / 4_LIBRARY / 5_PRIVATE

STUDY / 6_TERRACE / 7_SCULPTURE STUDIO / 8_SCULPTURE GARDEN / 9_SCULPTURE

STUIO / 10_CENTRAL COURTYARD

1_ARTIST STUDIO / 2_VESTIBULE / 3_COVERED TERRACE / 4_ARTS STUDIO +

CLASSROOM / 5_ ARTIST STUDIO

1_ARTIST STUDIO / 2_VESTIBULE / 3_ARTS STUDIO + CLASSROOM / 4_COVERED

TERRACE / 5_ROOF TERRACE + GARDEN

1_ROOF TERRACE + GARDEN

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1_ARTS GALLERY / 2_SHOWING ROOM / 3_ARTIST LIVING / 4_LIBRARY / 5_PRIVATE

STUDY / 6_TERRACE / 7_SCULPTURE STUDIO / 8_SCULPTURE GARDEN / 9_SCULPTURE

STUIO / 10_CENTRAL COURTYARD

1_ARTIST STUDIO / 2_VESTIBULE / 3_COVERED TERRACE / 4_ARTS STUDIO +

CLASSROOM / 5_ ARTIST STUDIO

1_ARTIST STUDIO / 2_VESTIBULE / 3_ARTS STUDIO + CLASSROOM / 4_COVERED

TERRACE / 5_ROOF TERRACE + GARDEN

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PROCESS/

The studios ambition was to use the same process David employs in his offices. We worked primarily in large model form (1:20m) which allows for greater flexibility when studying the spatial implications of new design options. We used primarily foam-core board and would then apply different printed material textures. It is an analog system of representation - compared to more digital rendering techncologies.

The tactile quality of the material and the scale of model emphasize understanding techtonic issues and spatial realities. There was also a requiremnt to photograph these large models and then manipulating the images to emphasize lighting and material.

EXTERIOR /

With the majority of the studio space having a western exposure, a sophisticated exterior skin was required to regulate daylight and heat gain. This envelope is a combination of perforated metal screens and translucent ploymer panels.

The colorful facade is a direct reference to this complexs siganture artist, Olafur Elliason. The color pallette was selected to mediate the industrial brick image that dominates the block and to connote the greenspaces that have filled in the post-war damaged zones.

ENTRY GALLERY

NORTH FACING STUDIO INTERIOR

Spring 2012 | ACADEMICAdvanced Design StudioDemetri PorphyriousYale School of Architecture

SWANSEAUNIVERSITY LIBRARYSwansea, Wales, UK

PROJECT BRIEF /

This project is a library for a new university campus in Swansea, Wales dedicated to science and technology. The campus will be along the coast of the Bristol Channel on a parcel of land gifted to the university from British Petroleum.

The library, more than many building types, has evolved drastically in the modern era with the ubiquity of digital databases and wireless networks. The challenge is to design spaces that respect traditional library formal structures but adapt and accommodate contemporary academic and social forces.

The first half of the semester was focused on researching and analyizing the library typology and then to chose four precedent buildings to draw (inlcuding a detailed 3d printed model) in more detail. I chose draw the Library at Ephesus, San Vitale at Ravenna, Wren Library at Trinity College and Philips Exeter Academy Library. The goal was use the the knowledge gained by these exercises to inform the actual library design that would take place in the second half of the semester.

PRECEDENT STUDY 1:Phillips Exeter Academy LibraryExeter, New Hampshire

Louis Kahn | 1971

PRECEDENT STUDY 2:Wren LibraryTrinity College, University of CambridgeChristopher Wren | 1695

ABOVE: DIGITAL MODEL OF WREN LIBRARY WITH 3D PLATIC PRINT PRINT

LIBRARY + CAMPUSThe Library complex separates the two major programmtic components (library and lecture theaters) with a large courtyard garden and colonnade between, honoring the organization of the colleges at Oxford and Cambridge while also providing a public garden to the campus. This siting of Library centrally within the campus masterplan emphasizes the need for the Library to operate similar to a tranist hub, acting as both a collector and distributor. Students must be able to permeate through the ground level, which I have designed as a public loggia, but also isolate themselves in the upper levels of the Library to read, research and write.

The Library also acknowledgs and accepts certain site lines while also providing a pyramidical momunent memorializing the new campus as well as anchoring the cental plaza. Opposite the complex there is a cubic market pavilion within the large orchard grove, these platonic geometeries are meant to reinforce basic mathematical principles and along with the use of square and golden ration proportions which proliferate the project in both plan and section.

LIBRARY GROUND LEVEL SITE PLAN

1. LIBRARY / 2. GARDEN + STUDY CHAMBERS / 3. LECTURE THEATERS

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STUDY CHAMBERS LECTURE THEATERSLIBRARY

NINE SQUARE BASE AISLE + ATRIUM CIRCULATION CORES SECTION DIAGRAM

SPATIAL ORGANIZATION /The library is planned around a central atrium with the ground level is dedicated to the more public functions of a contemporary library - cafe, reading lounge and bookstore. The upper levels contain the bookstacks and special collections with the tradition light-filled spaces of the reading rooms and study carrells on the uppermost level.

ENTRY TO GARDEN

READING ROOMS

OFFICE

CAFE / BOOKSTORE PUBLIC LOUNGE

ARCHIVES

EAST (ENTRY) ELEVATION WEST (COURTYARD) ELEVATION

READING ROOMS READING ROOMS

PUBLIC LOGGIA

STACKS STACKS

NORTH ELEVATION

CLOISTER COLONNADE

Fall 2010 | ACADEMIC1062 Computation + FabricationJohn EbergartYale School of Architecture

Project Team: Nathan Saint ClareZachary HeapsDaniel Dickens

PAVILION ON THE GREENNew Haven, CT

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PROJECT /

Modeled on the program of the Serpentine Pavilion program in London, we were to design a 1000 sqaure foot pavilion to be located on the New Haven Green. Required was the use of multiple fabrication technologies and the contruction of a 1:1 scale sectio.

PROCESS /

Grasshopper was used to design, visualize, and rapid prototype the pavilion whille contemporary fabrication technologies were utilized to fabricate three full scale frames of the pavilion.

1062a _computation and fabrication

pentagonvariations

base_p1 p2 p3 p4 curve lofting


pentagonvariations



pentagonvariations



pentagonvariations


lofted surfaces sin curve points projected sin curve vectors vector paths generate frame sequencelofted surfaces sin curve points projected sin curve vectors vector paths generate frame sequencelofted surfaces sin curve points projected sin curve vectors vector paths generate frame sequence

orange on greendaniel dickenszach heapsnathan saint clare

17 december 2010


17 december 2010


17 december 2010

frame a frame b frame c

swiss army style overlap reducesstorage and transport space

a1 b1 c1

a2 b2 c2

a3 b3 c3

a4 b4 c4

frame a frame b frame c

swiss army style overlap reducesstorage and transport space

a1 b1 c1

a2 b2 c2

a3 b3 c3

a4 b4 c4

final frame sequence

three frames for fabrication

orange is fab

i wish they would in-vent a machine that could help with this...

dare to dreamorange is fab

Spring 2012 | ACADEMIC

4223 History of British Lansdscape ArchitectureBryan Fuermann

Yale School of Architecture

EIGHT DAYS IN THE BRITISH COUNTRYSIDEA Travel Sketchbook

The Drawing Project:

Our trip to England in March offered a chance to challenge the ubiquity of control that the digital camera has over student travelers. The infinite storage offered by digital photography, means that much of the students experience abroad is framed behind a cameras lens and thus further removed from reality. Numerous pictures are taken, some are sorted and posted, but rarely are they ever analyzed or thoughtfully considered after the initial aperture closes.

The hand, along with its critical capability, has too long been rendered dormant. It is for these reasons that for my seminar project I created a book of drawings. Inspired by Laurie Olins great publication Across the Open Field: Essays Drawn from English Landscapes, I have produced a visual record of my eight days in the British countryside and sadly was only able to capture a fraction of what I saw - volume two will be coming soon.

MARCH 8

STONEHENGE

MARCH 8

STOURHEAD ESTATE

MARCH 9

CITY OF BATH

MARCH 9-11

UNIVERSITY OF OXFORD

MARCH 10

ROUSHAM HOUSE

MARCH 10

BLENHEIM PALACE

MARCH 11

STOWE HOUSE

MARCH 12

STUDLEY ROYAL | FOUNTAINS ABBEY

MARCH 13

CASTLE HOWARD

MARCH 14

CHISWICK HOUSE

MARCH 15

HAMPTON COURT PALACE

THE GEOMETRY OF LOUIS I. KAHNWITH ERIC ZAHN

Spring 2012 | ACADEMIC3214 - Construction of ExactitudeKarla BrittonYale School of Architecture

PROJECT /

Most of the scholarship on Kahn focuses on the metaphyical and not the analytical. This avoids the more formal connections Kahn has with the classical tradition vis-a-vis his Beaux-Arts training. We endeavored to organize and analyze Kahns built work in order to more accurately place in within the classical tradition and identify a previously underexamined area of his work.

14 COURSES

13 COURSES

12 COURSES

11 COURSES

10 COURSES

SINGLE COURSE +/- 4 SETBACK

YALE ART GALLERY

1951 TRENTON BATH HOUSE

1954RICHARDS MEDICAL

RESEARCH LABORATORIES

1957

TRIBUNE REVIEW PUBLISHING C OMPANY

1958

FIRST UNITARIAN CHURCH

1959

SALK INSTITUTE FOR BIOLOGICAL STUDIES

1959

BRYN MAWR DORMITORIES

1960

INDIA INSTITUTE OF MANAGEMENT

1962

NATIONAL ASSEMBLY BUILDING

1962

FISHER HOUSE

1964ARTS UNITED CENTER

1973KIMBELL ART MUSEUM

1966YALE CENTER FOR

BRITISH ART

1969

PHILLIPS EXETER ACADEMY LIBRARY AND

DINING HALL

1965

DOMINCAN MOTHERHOUSE (UNBUILT)

1962

GOLDENBERG HOUSE (UNBUILT)

1960

FINAL /

The major component of the final project was to chronologically document and analyze Kahns built work. We used a base floor plan (sometimes he preferred to use the reflected ceiling plan) and then proceeded to identify the underlying proportional structures at work. The final board size was 42 x 120 with all the projects at the same scale.

YALE ART GALLERY




1957


1958


1959


1959


1960


1962


1962

FISHER HOUSE



1966YALE CENTER FOR

BRITISH ART

1969


DINING HALL

1965


1962


1960

YALE ART GALLERY




1957


1958


1959


1959


1960


1962


1962

FISHER HOUSE



1966YALE CENTER FOR

BRITISH ART

1969


DINING HALL

1965


1962


1960

Summer 2011 | PROFESSIONALPelli Clarke Pelli ArchitectsNew Haven, CT

TORRE MACROBANK TOWERBuenos Aires, Argentina

56

RAISED FLOOR FOR DATACOMM

MECHANICALLy VENTILATED

MECHANICALLy VENTILATION

SUPPORT BRACKET

UNITIZED CURTAIN WALL SySTEM

Curtain Wall Section Perspective (Rhino)

SOFTWARE: Rhino 4 (evolute tools plugin base demo module http://www.evolute.at ) Rhino 5 (paneling tools plugin on network)

PROCESS:

STAGE 1: CREATING A BASE GRID1. (rhino 5) Take half the footprint curve (torre macro is bilaterally symmetrical) and leave the curve at the base of surface). 2. Use measure command. Set interval to the desired panel interval (1m) and create points.3. Draw lines on the exterior from those points normal to the base surface, Use line:surface normal command from lines toolbar. These will be the vertical mullions after they are projected onto the surface,4. Offset base curve to the interior (far enough to overlap the base surface in plan.5. Extend radiating lines to the offset interior base curve (far enough to overlap the surface in plan view.6. Project lines onto surface from plan view.7. Contour the surface with the desired floor to floor heights (3.9m).

STAGE 2: CREATING A PANEL SYSTEM1. (rhino 5 paneling tools) Use the create paneling grid / intersect grid of curves) follow command prompts.This generates a three- dimensional point grid. There will probably be some holes around the boundaries.2. Manually add remaining points at grid intersection.3. (This point grid can be used to generate a quick paneling system with the paneling tools. However, the panels can be offset from each point. *I didnt cross reference these surfaces from the final to verify any discrepancies)4. Use this point grid to manually draw four-point surfaces in areas of concern.5. *Grasshopper should be able to generate surfaces from this point grid, if points are sorted properly. Under study now.6. Save as Rhino 4 file.

STAGE 3: ANALYZING SURFACE PLANARITY1. Create mesh from surfaces. Mesh / From NURBS Control Polygon2. Join mesh. Mesh / Mesh Boolean / Union3. Evolute Tools. etAnalyzePlanarity. This shows range of surface deformation.4. The default setting shows the max range of surface deformation in the units of the project. This is measured from the surface/ panels centroid so the total deformation across the whole panel is 2x this number.5. Manually override the range with the specific tolerance for a given project. Torre Macro is using a 4cm acceptable bending tolerance of a double-glazed glass panel so input a 2cm range. 6. Manually adjust each mesh pane point to respond accordingly until each panel falls within a given toler ance.7. Check the final mesh against the max range. The max should be under the desired tolerance.

TORRE MACRO TOWERProcess to analyze curtain wall panel planarity in a complex free form surface. (8 august 2011)

56

RAISED FLOOR FOR DATACOMM

MECHANICALLy VENTILATED

MECHANICALLy VENTILATION

SUPPORT BRACKET

UNITIZED CURTAIN WALL SySTEM

INTERIOR ATRIUM

saint clare | selected works

Documents