Glass

On this occasion, Batlle and Roig resort to a curtain wall in which partial structures are assembled at each slab front without physical continuity between them. Glass panes are then supported over the partial structures to close the façade (have a look at the "Cadireta" curtain wall structure). Each two glass panes are framed with an aluminium frame made of unitized panels profiles. So, is this a unitized façade or a curtain wall one? Maybe it is a mixture of the two?

Beyond the geometric complexity of Libeskind’s architecture, we want to draw attention to this curtain wall without transoms that closes the double height entrance hall of the Grand Canal Theatre.

The objective is to enhance the verticality of the plane through relatively close mullions and the absence of transoms. Unfortunately, the black sealing cord takes on unexpected protagonism among a tangle of white profiles, clear glass and most of the finishes in the hall, which are also white.

The curtain wall that closes the large openings of this public library is solved by seeking the neutrality we spoke about in "Steel mesh reinforced ETICS (019)" in reference to the ETICS solution.

It is difficult to understand the need for building this thick, load bearing, cast in-situ concrete wall hidden behind a light cladding composed of different layers: mineral wool, coloured ribbed plates and glass slats. On the inside, the concrete wall is again hidden, on this occasion by furniture. The climbing formwork system that made this wall possible had to be successively cut to adapt to the changes in the diameter and curvature of the tower. The preparation of the reinforcement must have been equally difficult.

Saint Paul's Crossing building is a good example of using various façade solutions for a continuous glass skin.

In a city full of iconic buildings, Grimshaw studio sought to make an impression using colour.

Beyond chromatic issues, what we are interested in emphasizing here is the complexity of the unitized panel formed by a double sheet and anchored in its upper third, at a certain distance from the top.

The architects’ challenge in the NIDO building was to combine residential use with the image of a high tower in the centre of London, whilst ensuring the right level of comfort.