Author Archives: jonochshorn

About jonochshorn

Jonathan Ochshorn is a singer-songwriter, registered architect, and Phius Passive House Consultant with an academic background in structural engineering and urban design as well as architecture. He has taught at Cornell University since 1988, and before that at the City College of New York while working with community groups in New York City. He is the author of OMA's Milstein Hall: A Case Study of Architectural Failure; Building Bad: How Architectural Utility is Constrained by Politics and Damaged by Expression (Lund Humphries, 2021); three editions of the textbook, Structural Elements for Architects and Builders; and numerous essays and chapters on building technology in relation to design.

problems with the third-floor exterior wall of East Sibley Hall

[updated below Oct. 13, 2011 and March 9, 2012] Appendix K of the 2002 New York State Building Code made significant changes to the model 2000 International Building Code (IBC) upon which the New York State Code was based. It allowed a building addition to “increase the area of an existing buiding beyond that permitted under the applicable provisions of Chapter 5 of the Building Code for new buildings” as long as a fire barrier was provided.

Normally, a fire wall — not a fire barrier — would be required in such cases, but NYS legislators wanted to make it easier and less expensive (and therefore less safe) to build additions to existing structures. Whereas it is absolutely clear what a fire wall is, and where it must be placed in relation to the parts of a building it is separating, this hastily contrived NYS appendix doesn’t bother to specify exactly where its alternative fire barrier must be provided.

This wouldn’t be much of a problem if the addition were the same height as the existing building. However, Milstein Hall at Cornell University (OMA – Rem Koolhaas architects) is a two-story building addition connected to Sibley Hall, which is a three-story building (see building section below, adapted from Cornell’s Milstein Hall web site). The architects for Milstein initially had called for a fire barrier between the two buildings, but only on the second-floor where they literally connect. It was only later, when this assumption was challenged, that they added fire barrier protection at all levels where the two buildings come into contact (i.e., at the basement and first-floor levels as well) — see update below. Left with no protection at all is the thrid-floor exterior wall of E. Sibley Hall overlooking Milstein’s green roof.

Section showing Sibley and Milstein Halls (adapted from Cornell's Milstein Hall web site)

Sibley and Milstein Halls (adapted from Cornell's Milstein Hall web site)

This is a problem for two reasons. First, the window openings on the third floor of Sibley have no fire protection. Second, the wooden load-bearing exterior wall of Sibley’s third floor has no fire-resistance rating. None of this was a problem when Sibley was a non-conforming, grandfathered, free-standing building. It becomes a problem with the construction of Milstein Hall.

The 2002 New York State Code (specifically, Section 704.10), under which Milstein was permitted, requires that “opening protectives” be provided “in every opening that is less than 15 feet (4572 mm) vertically above the roof of an adjoining building or adjacent structure that is within a horizontal fire separation distance of 15 feet (4572 mm) of the wall in which the opening is located.” All of the window openings in the third floor of E. Sibley Hall that overlook Milstein Hall qualify under this section for opening protectives. The only exception to this requirement is where the roof construction below the openings has a 1-hour fire-resistance rating and its structure (i.e., the steel beams and girders supporting the roof) has a 1-hour fire-resistance rating. Milstein’s roof structure has no fire-resistance rating, so the exception does not apply.

Not only do Sibley’s third-floor windows require opening protectives, but the entire exterior wall on the third floor of Sibley (facing Milstein Hall) needs to be reconstructed with a 1-hour fire-resistance rating. Footnote “f” in Table 601 (exterior bearing walls) requires that the fire-resistance rating of the wall be not less than that based on fire separation distance (Table 602). Table 602 requires a 1-hour fire-resistance rating for Occupancy Groups A or B if the fire separation distance is less than 5 feet.

The fire separation distance between Sibley and Milstein Halls is 0 feet (they are physically connected), based on the most generous assumption that one can make, i.e., that they are effectively two separate buildings. Actually, Appendix K only allows them to be considered as separate buildings from the standpoint of “area” (K902.2). However, if they were considered as a single building — as would be required under the current building code (i.e., without a fire wall) — then all of this discussion would be moot since Milstein Hall would be clearly noncompliant. Either way one looks at it — as a single building or as two separated buildings — the current situation appears to be noncompliant.

[Update: Oct. 13, 2011] As it turns out, the nonconforming fire barrier placed between Sibley and Milstein Hall — to satisfy the ambiguous requirements of Appendix K from the 2002 Building Code of NYS — is not only nonconforming but also noncompliant. The width of fire-rated openings in such a fire barrier cannot exceed 25 percent of the length of the fire barrier wall. In the image below, the aggregate width of openings is shown graphically in relation to the total length of the fire barrier wall. It can be seen that the opening width greatly exceeds the 25 percent limit:

sibley-2nd-floor-small

[Update: March 9, 2012] A noncompliant solution to the fire barrier problem was proposed and recently installed. At great expense. And completely useless. See my analysis here.

cornell’s fine arts library in Rand Hall

There are plans to move Cornell’s Fine Arts Library from Sibley Hall, where it has existed as a nonconforming (”grandfathered”) occupancy for quite a few years, to Rand Hall, which is now connected to Sibley Hall through newly-constructed Milstein Hall. Because the addition of Milstein Hall was, and is, nonconforming with respect to the current New York State Building Code, it may not be possible to put a library occupancy in Rand Hall. I made a similar argument about placing so-called Group A occupancies in Sibley Hall. This same explanation applies to Group A occupancies in Rand.

A future change to an A-3 (library or lecture hall) occupancy in Rand Hall should not be permitted, because such a change would be replacing an existing occupancy with one of a higher hazard. The relevant code language is as follows: Section 812.4.2.1 of the Existing Building Code of New York State says: “When a change of occupancy group is made to a higher hazard category as shown in Table 812.4.2, heights and areas of buildings and structures shall comply with the requirements of Chapter 5 of the Building Code of New York State for the new occupancy group.” Table 812.4.2 classifies group A-3 spaces as having a “relative hazard” of 2 (with 1 being the highest hazard), and group B spaces (the current occupation of Rand’s 2nd and 3rd floor, per email from City of Ithaca Senior Code Inspector John Shipe) as having a relative hazard of 4 (lowest hazard). Therefore, it is clear that a change from group B to group A-3 constitutes an alteration to a higher hazard occupancy.

With such a change, the building — which under the current building code is defined as Rand-Sibley-Milstein — must conform to the requirements of Chapter 5 of the current Building Code of New York State. What are those requirements? Chapter 5 regulates the allowable heights and areas of buildings, based on construction type and occupancy. Since the fire barrier separating Milstein and Sibley Halls is nonconforming with respect to the current code, it [i.e., the fire barrier — clarification added 10/2/11] cannot be invoked to consider Rand-Milstein Hall as a separate building, as would be the case with a fire wall. Therefore, Rand-Sibley-Milstein must be treated as a single building under the current code, and the height/area limits are as follows: the maximum height is 60 feet; the maximum number of stories is two; and the maximum area on a single floor is at most 22,500 sq.ft. The combined second-floor area for Rand-Sibley-Milstein greatly exceeds this limit of 22,500 sq.ft., and the number of stories in Rand-Sibley-Milstein similarly exceeds the Code limit of two. Based on either of these criteria (floor area or number of stories), any alteration to a higher hazard occupancy should not be permitted, as the requirements of Chapter 5 would not be met, and cannot be met.

In other words, putting the library on the 3rd floor of Rand would violate the Code limit of two stories; putting the library on the 2nd floor of Rand would violate the floor area limit.

[Update: Oct. 13, 2011] The move of the Fine Arts Library into Rand Hall has taken place this past week, in spite of the objections I have raised. Here are a few additional points, for the record:

1. On Oct. 7, 2011, I sent an email to the Milstein Hall project director which included this clarification:

“I didn’t mention this to GW at today’s meeting, but my notes that I gave him on Code issues (attached) state that: ‘the exception [to Section 912.5.1 of the Existing Building Code of NYS] only permits a fire barrier, if used in lieu of a fire wall, to meet area limitations for the new occupancy — NOT height limitations. Only a fire wall can meet both height and area limitations for the new occupancy.’ In other words, the library move to the 3rd floor of Rand will not be in compliance even if the fire barrier between Rand and Milstein is upgraded. Only a fire wall would make such a move compliant. On the other hand, an upgraded fire barrier would appear to allow such a move to the second floor of Rand Hall. In either case, the current fire barrier is noncompliant.”

2. The contention that a library (A-3 occupancy) constitutes a higher hazard occupancy compared to the current use in the Rand Hall space is the underlying reason why such a move is noncompliant. The Code is unambiguous about the occupancy of libraries as A-3. Design studios are not specifically mentioned in the Code; rather, they fall under the Group B definition for educational occupancies above the 12th grade. If there was any doubt about the legitimacy of this classification, the Ithaca Building Department files for Rand Hall contain numerous documents, all confirming that the Group B designation was actually used for the studio spaces in Rand Hall. Older documents in the file show a C5.5 designation; this was the old New York State Code subcategory for Educational occupancies within the “Commercial” category — exactly equivalent to the modern Group B designation. See this document copied from the Rand Hall Building Department file.

3. Even if a fire wall were built between Rand and Milstein Halls, it would still be necessary to upgrade the two egress stairs in Rand Hall, which are noncompliant once the occupancy on the third floor changes to a higher hazard. For details, see my email to the Milstein Hall project director.

graduation day

I got the idea for this song after being called upon to read the names of graduating students at Cornell’s architecture department commencement ceremony out on the Arts Quad May 29, 2011. The YouTube video is here. Remixed Sept. 1, 2019. By coincidence, an article about J.D. Salinger’s distaste for graduation ceremonies appeared in the NY Times on the same day that I uploaded the video. Salinger is quoted as saying: “I’ve been going to graduations, and there isn’t much that I find more pretentious or irksome than the sight of ‘faculty’ and graduates in their academic get-ups.” The Times reporter added that Salinger apparently needed all his self-control “not to gag.”

The video borrows short pieces of Bill Clinton’s honorary degree speech at the NYU commencement that was held at Yankee Stadium in 2011. However, the lyrics that I wrote about “spouting every known cliché” apply to all commencement speeches ever spoken, and are not directed specifically at Clinton’s abundant catalog of clichés, although — as they say — the shoe fits.

[updated 7/5/11] I just received this photo of the Cornell Architecture event which inspired the song:

Photo supplied by Jung Wook Lee, Cornell Architecture ceremony, May 2011

Photo supplied by Jung Wook Lee, Cornell Architecture ceremony, May 2011

you baby

You Baby is a new song, recorded May 2011. Watch the YouTube video. Actually, I wrote the music for this song many years ago, probably in the early or mid 1980s. It was only recently that I decided to add words, a task that was rather complicated because the original music was never intended as a “song.” The lyrics themselves are rather strange, as they at first appear to be of the conventional “I love you” type, but upon closer scrutiny reveal, if not exactly an opposite sensibility, then at least a kind of resignation about the more-or-less arbitrariness of the whole concept.

This is the first video that features my entire band: Jonathan on electric guitar, Jonathan on drums, Jonathan on electric piano, and some other guy on bass (I’m actually playing bass as well, but don’t own an instrument that can be photographed). So the bass player was borrowed from some other video where he was introducing guitarist Laurindo Almeida playing with the Modern Jazz Quartet. Through the magic of Photoshop and Final Cut Express, I convinced him that he was not just a host, but a musician in his own right.

For those of you curious about the video itself, this is basically how it was produced: all the individual clips of Jonathan playing the various instruments are shot with a low-resolution Flip Camcorder, placed either on a tripod or hand-held (e.g., where I’m holding the camera with my left hand while playing the keyboard with my right hand). These individual clips are then inserted behind an image of a suitable band, in this case taken from some Steely Dan concert.

Original image of Steely Dan concert (left); modified image with band members removed leaving transparent background, shown here in red (right).

Original image of Steely Dan concert (left); modified image with band members removed leaving transparent background, shown here in red (right).

I shoot most of the clips in front of a piece of black fabric, so that they blend into the (default) black background behind the transparent spaces. It takes a bit of color correction to match them up, but it’s a lot easier than using the Chroma Key feature. The only other tricks are putting the bass player’s arm and his instrument on separate tracks so that they can be moved a bit using Final Cut’s motion keyframe features. I temporarily imported a GarageBand version of just the “slapped” bass line into the Final Cut “timeline,” so I could easily match the arm movements with the actual music being played (the original GarageBand score has a conventional bass track in addition to the “slapped” bass track).

dragon day 2011

Here’s a quick and short Dragon Day 2011 video. Missing is the confrontation with the Engineers’ Phoenix, but I was engaged in conversation at the time. Nothing much happened in any case. This year was notable in two respects: Rem Koolhaas’s Milstein Hall, under construction, is in the background as the Dragon takes off from Rand Hall; and the Dragon itself is made of metal — so no big fire to end this year’s festivities.

won’t come back anymore

I wrote and recorded a new song, sort of country (not being a connoisseur of such music, I have to say “sort of country,” leaving it to others more into the genre to verify whether it is or isn’t). As usual, there’s a YouTube video and other production notes. I’m singing all the vocals, and playing all instruments (some of which, especially drums and bass, are played on a midi keyboard using GarageBand digital sounds). The video is shot with my low-resolution Flip camcorder and edited with Final Cut Express. Remixed Sept. 2, 2019.

undercover at architecture lecture

Architecture Studio Presentations at Cornell were held Jan. 24, 2011 from 12:30 – 4:30 p.m. in the James Law Auditorium, Schurman Hall (at the Vet School). All students and faculty were required to attend. It’s interesting to watch how our modern students pay attention in classrooms and lecture halls these days: a view from above would reveal hundreds of iPhones, smart phones, tablets, and other electronic devices connecting students (and possibly faculty…) with their email, their games, and with who knows what else.

I shot this video from the back of the lecture hall; some faces are blocked out to protect the digitally addicted.

milstein – uris comparison

Walking across Cornell’s campus the other day, I was struck by the similarity between Uris Hall, designed by Gordon Bunshaft (Skidmore, Owings & Merrill) in the 1970s, and Paul Milstein Hall, designed by Rem Koolhaas (Office for Metropolitan Architecture – OMA) in the 2000s.

Facade of Uris Hall (S.O.M.) applied to the rendering of Milstein Hall (O.M.A.).

Both buildings consist of  large, essentially square, floor plates supported by rigid frames (vierendeel trusses) lifted off the ground and cantilevered in dramatic fashion from their points of support. Both buildings also hover over large, below-grade, auditoriums: in the case of Uris Hall, the auditorium sits politely under the podium; in Milstein Hall, the auditorium rides a reinforced concrete dome that seems to burst through the ground plane. Both buildings mediate their cantilevered steel superstructures and highly-articulated bases with a glass wrapper designed to enclose space and provide an entry at grade without compromising the visual articulation of superstructure and base.

Official rendering of Milstein Hall.

mister nobody

I recorded this song a couple of years ago, but never made a video. Jennie wrote the lyrics, and I wrote the music. Never quite happy with my GarageBand “trumpet” solo, I finally got brother Kurt to add some lead guitar (he also helped out on the new GarageBand mix). Here is the Youtube video along with lyrics and production notes. Remixed Sept. 1, 2019.