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Good at problem solving? Try this one on for size.
Design a temporary structure for a 600-foot-long by 20-foot high spandex curvilinear fabric ribbon to stretch 10 feet off the ground across David Pecaut Square at Metro Hall in downtown Toronto.
What’s more, build it quickly without disrupting the busy public square while being squeezed by a tight budget.
That was the task facing Diamond and Schmitt Architects Inc. (DSAI) and its consulting engineer Blackwell for an art installation — Windscape — at the Luminato Festival 2012.
Several ideas for the structure were floated, including one with a custom steel framework, nixed because of high cost and complications such as the “massive footprints” required to minimize loads on the square, says Michael Hopkins, associate with the firm.
DSAI and Blackwell turned to Tower Scaffold Services Inc., a contractor with previous experience with Luminato installations, for answers.
“Their ability to transform our project without losing our vision was vital,” says Marcin Sztaba, associate, Diamond and Schmitt, who along with Hopkins presented an overview of the project from start to finish recently at the International Scaffolding Conference in Las Vegas, hosted by the United Brotherhood of Carpenters & Joiners union.
Tower commenced by building a mockup of the structure at its yard in Etobicoke.
“It was critical so we wouldn’t have to wonder whether a high wind event would result in a tear in the fabric or a flyaway of the fabric,” says Hopkins.
Based on maximum wind loads, the design allowed for the fabric to release for more air or “luft” to minimize the pressure exerted on the scaffolding structure, points out the engineer.
Mike Chrobok, vice-president, special events, of Tower Scaffold, says 500,000 lbs. of concrete blocks were used as ballast for the structure.
“Essentially, we were putting up a 600-ft.- long sail so holding the scaffolding down in a big wind was a priority.”
The contractor’s job went beyond wind issues, however. The scaffolding had to allow the attached fabric (fixed to an aluminum tracking system) to flow in and out — giving it the appearance of blowing in the wind.
Chrobok says that staggered cantilevers (ranging from 6-inches to 16-ft.) at the top and bottom of the scaffold frame met the objective.
On site, the contractor faced additional hurdles — including time: the scaffolding had to be erected in little more than a week while the square remained fully open to the public. Tower’s crew of a dozen or so, furthermore, had to install scaffolding around trees and an emergency exit, to complete the job.
Sztaba applauds the contractor for dedicating a staff person to work directly with DSAI on the job.
“I think it was critical that not only did we adjust our design to fit into the realm of scaffolding but the scaffolder adjusted the way they work with us to be able to create a product that made us both look good.”
Sztaba, who describes scaffolding as a builder’s version of “Lego”, suggests that scaffolding flies under the radar but has a huge upside in thriving cities like Toronto. With Toronto’s construction boom in full tilt, the interaction of the public with scaffolding structures “is huge. I think that there is great potential where scaffolding can be developed or designed in a way where that interaction is positive.”
Moreover, he says there are many festivals across North America where scaffolding can find new uses as it did at Luminato and other festivals in Toronto.
New uses for scaffolding might abound, but designers and engineers will have to put on their thinking caps — and also consult with people in the business — to work creatively with scaffolding, says Chrobok.
The versatility that modular scaffold system provides, allows almost any design to be possible, he adds.
“On a number of occasions I have heard people say, ‘I didn’t know you could do that’.”
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