North Wing Addition Update: Pencil Rods and Cat Heads

One of the most complicated operations of constructing the new North Wing is shoring the wall which is in between the Museum and the addition. The wall is an old one made from brick and concrete block. Brick walls are very strong as long as the forces on them are vertical (straight down from the top). If the forces are horizontal (side to side), the bricks need to be held in place. Such a horizontal force might be wind load: big walls can act as a very large sail and catch a lot of wind load in extreme weather.

The first step in shoring is to add strength to the wall by adding stiffbacks.

The first step is to add strength to the wall by adding stiffbacks.

The stiffback channels are lowered through holes in the roof and second floor and attached to the wall.

Composite mesh sleeves

Composite mesh sleeves for hollow masonry and brick material.

In this case, stiffbacks are channels. Holes are drilled in the channels and into the brick and block behind. Inserted into these holes is a plastic sleeve with plastic mesh. It is slightly smaller than the hole.

The sleeve is filled with epoxy, and a length of all-thread rod is inserted. When the epoxy sets the washer and nut can be installed and the channel secured tightly to the wall.

steel members are secured into concrete with wedge anchors

Other steel members are secured into concrete with wedge anchors. The anchor is so tightly installed in the concrete it can support a very large load.

The wedge anchor is inserted into the finished hole.  The washer and nut are placed over the anchor.  The wedge anchor is hammered into the hole.  The wedge spreads the end.

The wedge anchor is inserted into the finished hole. The washer and nut are placed over the anchor. The wedge anchor is hammered into the hole. The wedge spreads the end.

Stiffbacks are against the walls, and the other side of the shoring is secured to existing columns.  Plates were welded to the columns to accept the diagonal bracing. The plates at the bottom of the columns will be encased in concrete. Angle bracing is extensive and prevents movement from front to back, side to side and up and down. In order to make sure the base of the columns do not move, additional weight is added to the bottom of the columns. Six cubic yards of concrete each weighing between 2,500 and 4,000 pounds were poured at the base to produce a deadweight of between 15,000 and 24,000 lbs. This is only a fraction of the amount of concrete that will be poured this winter forming the walls of the new addition, which is why the shoring is so important.

The forms are plywood supported with 2x4s.  Vertical 2x4s are studs.  Horizontal 2x4s are wales.

The forms are plywood supported with 2x4s. Vertical 2x4s are studs. Horizontal 2x4s are wales.

Because the concrete exerts a powerful force pushing the form outward, steel wire is used to hold the form together. Typically, snap-ties are used in standardized wall thicknesses like 8” or 12”. In our case, the form is much thicker, and we are using a special thick wire called pencil rod.

Pencil rod is inserted in between studs on opposite sides of the form, threaded through cast iron escutcheons called catheads. The pencil rod is secured by a set screw. The carpenters secure a cathead to one end of the pencil rod. A second cat head is placed loosely on the opposite side of the form. The pencil rod is pulled tight by hand. A tightener is also place over that end.

The pencil rod is inserted from right to left through this tightener. The lever clamps down on the rod and then the hand screw tightens the rod. Then the second cat head set screw is then secured. The wires are bent down for safety.

The pencil rod is inserted from right to left through this tightener. The lever clamps down on the rod and then the hand screw tightens the rod. Then the second cat head set screw is then secured. The wires are bent down for safety.

The carpenters pour three forms at a time. In order to reduce the outward pressure on the forms, each form is poured one third full from the first truck load. That way the concrete can begin to set before it is all added. The second truck adds a second third to all forms and so on.

The concrete truck does not enter the building, to prevent the possibility of a buildup of fumes in the area and also to make sure no fumes enter the Museum.  A large forklift uses a half-yard concrete hopper to deliver the concrete to the form.

The concrete is placed (the forms are filled) and vibrated to eliminate voids.  Later the forms are stripped and the ends of the pencil rods removed.

The concrete is placed (the forms are filled) and vibrated to eliminate voids. Later the forms are stripped and the ends of the pencil rods removed.

2011 Hot Glass Roadshow: Glass Art Society, Seattle – Mark Zirpel

Never afraid to experiment with glass, Mark Zirpel took to the Hot Glass Roadshow stage where he performed a series of pieces including blowing glass horns to play a “humpback whale duet” and exploring the reactive forces of glass, steam and pressure in a piece about pleasure.  His gallery work often blends science and art, so it’s no surprise that Mark tries out new techniques in the Hotshop like a scientist in the lab.

Ryan Doolittle caught this shot during the show:

Mark Zirpel utilizes an unorthodox method to squirt water onto the jackline

2011 Hot Glass Roadshow: Glass Art Society, Seattle

The Hot Glass Roadshow is a mobile studio that allows artists to blow glass in virtually any environment anywhere in the world.  We brought the Roadshow to this year’s Glass Art Society Conference in Seattle, WA, where we had the opportunity to work with amazing artists.

To make all this happen, the team had to work out the logistics of setting up the Roadshow in the Seattle Convention Center.  John Cowden helped set up the stage:

“This is the truck maneuvering in the Seattle Convention Center where the Glass Art Society Conference took place.  This room is on the fourth floor.  The truck drove up through the curving ramp up four floors.  The Convention Center is on both sides of Pike Street and the truck drove over a bridge in the Convention Center from one side of the street to the other.  We made it out with just one flat tire!”

The truck arrives

Ready for action

How to Construct a Glass Wonderland Tree

Our third annual glass ornament tree was lit on November 18, during our 2300 event, kicking off the holiday season at the Museum. Seeing this tree in person is guaranteed to inspire holiday cheer, not to mention intense awe. More than 2,000 ornaments, handmade by the Museum’s glassmakers, decorate the 14-foot tree. It takes a crew of half a dozen people from our GlassMarket to construct the tree each year.  The tree is on view through January 2, 2011.

This short video, shot by Jordan Miller on our Guest Services staff (he’s also a local independent videographer), shows some of the process of the tree being constructed this year. Enjoy and happy holidays!

Making it to be Broken

Did you know the Museum provides live glassblowing demonstrations not only in Corning, NY, but also on Celebrity Cruises?  Two Celebrity Cruise ships feature a Corning Museum of Glass Hot Glass Show in a permanent hotshop located on the top deck of the ships.

Both ships were christened with a bottle  handmade (in Celebrity Cruises’ signature blue color) by a Corning Museum of Glass gaffer and filled with local Finger Lakes sparkling wine. On April 23, 2010, a third ship- Celebrity Eclipse – will launch out of Southampton, England, and will feature the Hot Glass Show.

We filmed the gaffers (George Kennard, Don Pierce, Lynn Labarr and John Cowden) making the bottle that will be smashed against Celebrity Eclipse to celebrate its naming.  The 3.0 liter bottle is filled with 2002 Finger Lakes Sparkling Wine from Glenora Wine Cellars.

It took the glassmakers two days to make six bottles, two of which were filled and sent to Celebrity Eclipse. And, yes, that is a pile of  newspaper soaked in water they are using at the end to shape the 2300°F bottle. It’s common practice for glassmakers to use soaked newspaper (local or national – makes no difference!) to shape glass.