Projects In Progress
Belmont University Performing Arts Center
On the west elevation of the new performing arts center for Belmont University are three windows, each approximately 15’ wide and 45’ tall, which serve as the primary feature of the building. The windows are composed almost entirely of prismatic glass elements, some of which are 1.5” thick, which transform the late afternoon sun light into prismatic colors which will be cast throughout the entry lobby, which will also be used as a reception space. The windows will also be illuminated from the interior at night so the dazzling effect of the prismatic glass will be prominently visible to the exterior.
Colorado Tower is located in downtown Austin, several blocks from the Colorado River which the client requested serve as a reference for the glass wall that runs the full width of the tower’s lobby and which is very visible from the street, thereby serving as a visual identity for the building at street level. The glass wall which is more than 100’ long and 15’ tall is composed of cast/tempered glass with laminated glass lenses on the front surface. The wall is illuminated by LED lights from a light cavity which cast light onto a gradated blue colored wall behind to provide coloration for the glass. Attached to the wall are strips of painted wood to provide small vertical accents to the composition.
Arranged throughout the restaurant are 92 glass cones ranging in heights 60" - 96” which are composed of more than 8,000 pieces of 3/4" thick plate glass cut by water jet. Internally the glass is illuminated at the bottom with LED lights. The cones are used to define areas of the restaurant and establish the circulation routes. Each piece of glass has a safety film laminated on the downward surface for security and safety.
The windows in the central atrium of Orlando Federal Courthouse in Orlando, FL were developed from paintings by the internationally recognized artist Al Held. The largest window is 20' wide and 50' high, which fills the central atrium space with brilliant jewel-tone colors of light. On the ground floor are also six windows, 5’ x 11’, also from Held’s paintings. All of the windows were fabricated with a unique process of inlaid lamination, which is a combination of water jet cutting and liquid resin lamination. This process was used in order to achieve the exacting precision of Held's paintings. Kenneth von Roenn worked in close collaboration with Held in the translation of his paintings into glass. The windows unfortunately fabricated after Held’s death with the guidance of his daughter, Mara Held and his long time assistant, Gene Benson.
San Francisco Medical Center
Working in close collaboration with the project designer, Sam D’Amico, Kenneth von Roenn developed a series of more than 100 glass fins, 1’-6” x 15’ that were integrated into the curtainwall design to relieve the rectangularity of the structure with lyrical colored elements. On three elevations of the building, these fins are composed of multiple colors of dichroic film that were laminated between layers of tempered low iron glass. Also woven into the curtainwall design are horizontal sun screens which include 2’-6” x 2’-6” square elements of laminated glass with dichroic film in multiple colors. All of these elements change colors throughout the day as sun moves across the elevations. These colors are also cast inside the patient rooms introducing color patterns onto the floors and walls.
Belmont University Chapel
Along the two sides of the chapel are six windows, approximately 8’ wide and 24’ tall, composed of laminated beveled glass and leaded antique glass. The beveled glass was used to provide sparkling quality at night when viewed from the exterior. At the altar area is a wall mounted rosette relief sculpture, 12’ diameter, that is composed of dichroic glass, glass jewels laminated to glass elements positioned several inches in front of the background. Surrounding the glass elements in a circular light assembly that illuminates the dichroic glass casting and reflecting colored light throughout the composition.
Early in the planning process for their new headquarters in Charlotte, the CEO of Three First Union (predecessor to Wachovia Bank) asked Tom Ventulett of TVS Design if he could provide a glistening crown to the top of the building to serve as the 'Queen’s Crown', since Charlotte is referred to as the Queen City. From this request, Ventulett contacted von Roenn and presented him with the challenge of designing a glass crown to the planned skyscraper. Collaborating with the design team at TVS, von Roenn developed the concept for 52 glass fins that rise 50’ above the top of the building and 35’ down the side of the building.
The work was created with tempered laminated glass with both holographic diffraction grating film and dichroic glass both of which transform the light into a wide array of colors throughout the day and creating a kaleidoscopic effect at night with lights. These glass panels are secured with 1’ diameter cables and stainless steel perimeter frames, all of which were connected to upturned beams in the roof of the building. The resulting work was designed by the engineer, Tim MacFarlane, to withstand hurricane force winds.
The work has become the world’s largest glass sculpture, weighing more than 550,000 lbs. ( 275 tons ), sitting atop a skyscraper in a hurricane zone, and which has withstood multiple hurricane force winds since completion more than 20 years ago.
City of Dreams
The sculpture is located at the main entrance of the Project Leisure casino at City of Dreams hotel and entertainment complex. The design concept was a waterfall with sirens/mermaids spiraling throughout. The 120 cast/bent glass panels. which are approximately 9’ long and 1/2” thick, have dimensional images of the sirens/mermaids cast into the glass. The sculpture is illuminated with a programmed LED lighting system that animates the work with pulsating colored lights creating the effect of cascading water.
McCarran Airport Terminal
The suspended sculpture in the international terminal is located at the intersection of two concourses and was created to provide a visual identity for the intersection. The theme of the work was based on the Greek myth of Daedalus, the inspired architect who designed the labyrinth to contain the Minotaur who threatened the residents of Crete. He and his son Icarus were later held prisoners in the labyrinth. Realizing that the only way to escape was to fly up and out of the maze, Daedalus built wings of wax for himself and his son. Before taking to the air, the father cautioned his son to fly safely, close to sea level, or else the sun would melt his wings. But Icarus, fascinated by the magic of flight, did not heed his father's advice and perished, while Daedalus managed to reach his destination safely. Daedalus, or DÃedale, therefore, became the original symbol of aviation safety, demonstrating how, with prudence and foresight, men maintain control of their inventions and of themselves.