MORE ABOUT: Cahill Center for Astronomy and Astrophysics – Pasadena, California
MORE ABOUT:
Cahill Center for Astronomy and Astrophysics
1216 California Boulevard
Pasadena, California
(1)
The Cahill Center, completed in 2008, houses the offices and research facilities for the faculty and graduate students of Caltech’s world renowned Astrology and Astrophysics departments. Architect Thom Mayne of Morphosis designed the building specifically to promote impromptu meetings between its inhabitants while minimizing environmental impact. Here you can see construction workers laying out the basement where all of the building’s labs are located, each customized for a specific purpose (5):
The building incorporates many design features to boost its environmental performance. These include a fiber-reinforced concrete façade which block the sun to reduce solar gain; motion sensors for lighting; a 30 percent reduction in water use; and extensive implementation of natural light. These features reduced the amount of energy the building uses by 24.5 to 28 percent, leading to an overall LEED-Gold Certification for the project. (4)
The building’s central vertical space is reminiscent of telescope, and acts to connect the different parts of the building while increasing chance encounters between researchers within the building. (3)
(1) 
(1)
The building’s overall massing and corridors act to connect Caltech’s north and south campus, which it is built directly between. (3) Scattered office spaces and meeting rooms tied together by extended longitudinal hallways can be seen in this plan view of the second floor:
(1)
Even the number in the address of the building, 1216 California Boulevard, is relevant to the building’s use. 1216 anstroms is the wavelength of ultraviolet light emitted by hydrogen atoms, which astronomers use while studying distant galaxies. (2)
Client: California Institute of Technology
Site area: 1.0 acres
Project Size: 100,000 square feet
Completed: 2008
Cost: $50 million
Architect: Thom Mayne of Morphosis
Structural Engineer: John A. Martin & Associates
Project Manager: Kim Groves
Project Architect: David Rindlaub
Job Captain: Salvador Hidalgo
Project Designers: Martin Summers, Shanna Yates
Project Team: Irena Bedenikovic, Pavel Getov,Debbie Lin, Kristina Loock, David Rindlaub
MEP: IBE Consulting Engineers
Civil Engineer: KPFF Consulting Engineers
Landscape Architect: Katherine Spitz Associates
Laboratory Consultant: Research Facilities Design
Architectural Lighting: Horton Lees Brogden
Signage and Graphics: Follis Design
Acoustical Engineer: Martin Newson & Associates
Audio Visual and Telecommunications: Vantage Technology Consulting Group
Vertical Transportation: Edgett Williams Consulting Group
Curtain Wall Consultant: David Van Vokinburg
Code and Security: Schirmer Engineering Corp.
Specifications: Technical Resources Consultants
Cost Estimator: Davis Langdon
General Contractor: Hathaway Dinwiddie
SOURCES:
Morphomedia (1)
arcspace.com (3)
“Cahill Center for Astronomy and Astrophysics, Pasadena, California: Morphosis.” Arca n. 256 (Mar 2010): 64-71. Print. (5)
“Morphosis: Cahill Center for Astronomy and Astrophysics, Pasadena, California, U.S.A.” GA Document 109 (2009): 56-67. Print. (6)
Case Study by Josh Massey
ARE 320k Fall 2010
More About: Shaw Center for the Arts – Baton Rouge, Louisiana
MORE ABOUT:
Shaw Center for the Arts
100 Lafayette Street
Baton Rouge, Louisiana
Built: 2005
Architect: Schwartz/Silver
Executive Architect: Eskew + Dumez + Ripple
Associate Architect: Jerry M. Campbell & Associates
Structural Engineer: McKee & Deville
Project Manager: Philip Chen, AIA
Cost: 35.7 million
Size: 125,000 sq.ft.
The Shaw Center for the Arts in Baton Rouge is a one-hundred foot tall five story building that houses the Museum of Art, a 325-seat Man-ship theater, offices, classrooms and two smaller rehearsal rooms.
Here is a Section view of the Shaw Center:
Here is the floor plan of the ground floor and fifth floor:
The Channel Glass walls were the main aspect to this building, but since this was built in a hurricane zone hey had to compensate for it. The Glass has wire reinforcement inside as well as aluminum edging. Also the channels are held off the building by intermediate supports along with tubing to connect the supports to the main structure. Below is a diagram of the Channel Glass and structure.
The Glass wall also acts as a rain screen for this area, which sees a lot of it, and to protect the glass walls at street level they were sandblasted and turned inward.
At night the building is lit up from eight different locations, and the light reflects off the glass and aluminum walls to illuminate it.
A view of the Man-Ship Theater:
One of the Art Galleries:
Case Study by: Nate Conrad
ARE 320K, Fall 2010
Sources:
Holtzman, Anna. “Glass Act”. Architecture. Jun2005. Vol. 94 Issue 6, p61
Lubell, Sam. “Schwartz/Silver weaves the dynamic Shaw Center For The Arts, a vibrant cultural nexus, into the urban fabric of Baton Rouge”. Architectural Record. Jun2005. Vol. 193 Issue 6, p89-91
“Shaw Center for the Arts”. Urbanland. Sept2007. Vol. 66 Issue 9, p84-88
MORE ABOUT: Soldier Field
MORE ABOUT:
Soldier Field
425 East McFetridge Drive
Chicago, IL 60605
Completion: 2003
Architect: Wood + Zapata, Inc.
Engineer: Thornton-Tomasetti Engineers
Soldier Field is the home of the Chicago Bears. The original stadium shown below was small and inadequate and needed renovation. The problem is that this stadium was on the historic buildings list so to deal with that problem, the outer facade of the stadium was kept and a new stadium was designed to fit inside the footprint of the original which presented several challenges.
The biggest challenge is that the distance between the two facades that were being kept is about 600 feet. In most NFL stadiums the distance from one side to the other is about 750 feet. In order to get a stadium with a seating capacity of over 61,000 into this small footprint cantilevers were used extensively.
Graphic courtesy of Thornton-Tomasetti Engineers
Graphic courtesy of Thornton-Tomasetti Engineers
In addition to the space being so small and having to cantilever very large sections of the stadium, the radial aspect around the stadium was more complex than most stadiums. To deal with this, 3-D Modeling was used very extensively for this project. This image shows the plan for the cantilevered seating in relation to the existing stadium.
Image courtesy of Thornton-Tomasetti Engineers
Another challenge was the time frame given to complete this project. Demolition began almost immediately after the Bears last game on Jan 20, 2002 and the stadium was finished in time for the home opener on Sept 29, 2003. This 20 month project is the shortest construction time for an NFL Stadium.
Photo Courtesy of Chicago Tribune
Taken less than a year after demolition, this picture shows one of the cantilevers under construction
Photo courtesy of Thornton-Tomasetti Engineers / David P. Mclean
Complex Radial Geometry
Photo courtesy of Thornton-Tomasetti Engineers / David P. Mclean
More Stadium Construction
Photo courtesy of Thornton-Tomasetti Engineers / David P. Mclean
Finished cantilevered scoreboard left and seating right.
Architectural Record
Finished inside of the stadium
Architectural Record
Finished Cantilever Support
Architectural Record
Cantilevered seating over the old facade. This new stadium resulted in the old stadium being removed from the historic building list.
Case study by: Tyler Greeves
ARE 320K Fall 2010
Sources:
Stadium Engineer Drives Toward ‘Paperless’ Project
UT Library
Ford, Liam T. A. “Soldier Field : A Stadium and Its City.”
Glovannini, Joseph. “Boston architects Wood + Zapata stir up controversy at Chicago’s Soldier Field, inserting a Modern stadium into a Classically styled arena.” Architectural Record. May2004, Vol. 192 Issue 5, p114-121
Hill, John. “Chicago’s Soldier Field Loses Landmark Status.” Architecture. Jun2006, Vol. 95 Issue 6, p26-26
MORE ABOUT: Wembley Stadium – London, United Kingdom
MORE ABOUT: Wembley Stadium
Wembley, London, UK
Built: 2004 – 2006
Architect: Foster + Partners
Co-Architects: Populous
Structural Engineer: Mott MacDonald
Contractor: Brookfield Multiplex
Wembley Stadium is the national stadium of England, and is able to seat 90,000.
Above the stadium is a 133 meter high arch that creates a 112 degree angle with the earth. The arch structurally supports the entire northern roof, and 60% of the southern roof of Wembley Stadium, removing the need for columns. This results in an unobstructed view from every seat, and the ability to retract the southern roof. Early sketches of the arch:
The arch illuminating before sunrise:
The arch is made up of 41 steel rings, each connected by 504 steel tubes.
This design was used to fabricate thirteen modules, each 20.5 meters in length, which were laid out and welded together on site.
The ends of the arch are tapered, and attached to 70 ton hinges.
10 months were needed to fabricate the 1,750 tonne arch, and six weeks were needed to raise the arch into place.
The steel structure of Wembley Stadium:
A section through Wembley Stadium:
Case study by: Eugene Polendo
ARE 320K, Fall 2010
Sources:
Cardno, Catherine A. “Arch Rises above Rebuilt Wembley Stadium.” Civil Engineering ; Aug2007, Vol. 77 Issue 8, p12-13.
Catalogue: Foster and Partners. Munich ; London : Prestel, 2005.
Davies, Mike. “Wembley Stadium – Venue of Legends.” Art Book ; Nov2008, Vol. 15 Issue 4, p14-15.
Foster, Norman. Foster 40. Munich : Prestel, 2007.
Wembley Stadium
MORE ABOUT: Agave Branch Library – Phoenix, Arizona
Building: Agave Branch Library
Location: Phoenix, Arizona
Completion: 2009
Architect: Will Bruder & Partners
Structural Engineering: Rudow and Berry
Civil Engineering: Hess Rountree
Electrical/Plumbing Engineer: Bridgers & Paxton Engineers
General Contractor and Construction Manager: Hardison/Downey Contruction Inc.
[1]
Will Bruder, a native of Wisconsin, moved to Arizona in 1975 and has since completed many projects in the state [2]. One of his goals in designing the Agave Branch of the Phoenix Central Library was to make it blend into the town, and be a part of the culture.
The false front is an interesting a notable feature of the structure. The display is made up of “galvanized steel hat channels attached to steel I-columns and tube beams” [3]. The display is freestanding. The words Agave are displayed on the steels channels via a reflective coating.
The actual front of the library is somewhat less impressive (right photo). Bruder wanted the building to stand out, yet be a part of the strip mall surroundings [3]. You actually pass a Blimpie gas station which is located right next to the Agave Branch. Bruder worked with a $6.65 million budget for the project, and that budget seems to show on the outside.
Bruder also enjoys to work with light and shadow [2]. This is evident from the false front, as well as many interior features. He “wobbles” (sets them somewhat out of alignment) CMU blocks to create shadows and texture. Bruder says, “‘I like to reinvent the ordinary'” [3].
The Library is 25,400 square feet, and much of the interior space is 24 feet tall. Bruder wanted to keep the library feeling as open as possible. He uses bookshelves and small steel partitions to define spaces without limiting views.
Bruder also separated a computer training area by the use of transparent, orange, meat-warehouse strips. Area rugs and different floorings are also widely used to separate spaces without physical barriers [3]. Such openness allows visitors to appreciate the space and allows the City of Phoenix to have a small library staff.
Many of the structural elements of the library are exposed. Most notable is the wooden ceiling. Bruder also creates variety with a limited amount of material (mostly glass and concrete) by varying its arrangement throughout the library.
References:
“Will Bruder Partners | Agave Library | Project Portfolio | Architectural Record.” Architecture Design for Architects | Architectural Record. 2010. Web. 14 Sept. 2010. .
Pearson, Clifford A. “Cowboy Modernism.” Architectural Record 198.3 (2010): 66-77. Print.
Futagawa, Yoshio. “A Dialogue with the Editor: Will Bruder.” GA Houses 116 (2010): 44-63. Print.
MORE ABOUT: Salk Institute – La Jolla, California
MORE ABOUT:
Salk Institute
10010 North Torrey Pines Road
La Jolla, California
92037
MAP
Completed: 1967
Architect: Louis Kahn
Structural Engineer: August Komendant
Landscape Architect Consultant: Luis Barragan
Lab Consultant: Earl Walls
Mechanical Engineer: Fred Dubin
Client: Jonas Salk
Benefactor: March of Dimes
The Salk Institute is a research facility for biological studies located outside of Sad Diego, California. It is widely considered as Louis Kahn’s first masterpiece. Jonas Salk was made famous and propelled to the cutting edge of biological studies by his discovery of a vaccine for polio in 1955.
Structural Engineer August Komendant developed a Vierendeel truss that provides twice the ductility of a comparable steel structure. Due to tough seismic regulations in the San Diego area, Komendant had to convince city officials that the truss would provide enough flexibility.
Reinforced Concrete was the primary material used for the structure of the building. Kahn wanted a reddish hue that was developed by studying the components of Roman pozzolana. Kahn accentuated the concrete by leaving the walls unfinished, using a V-shaped groove between panels and capping the conical holes left by framing and tension cables.
The institute features a fountain that acts as an axis of symmetry. It runs perpendicular to the sea and deposits into a lowered basin.
Early sketch of courtyard by Kahn.
Translation from link: “This court is perhaps the main project, in terms of aesthetics, materiality, composition, relationship with environment and technology. At one point Louis Kahn thought about putting trees, but Luis Barragán (who used to exchange letters) advise ‘I would not even a tree or a grass strip. This should be a place of stone, not a garden. If you do this square, you win a facade – a facade to the sky.’ And he sent this sketch. A place that is lost in the horizon between sky and sea.”
The mechanical systems were specifically designed for a research facility. The laboratories require constant ventilation, heating and air conditioning to avoid contaminating research. The facility generates a lot of its own power but is also connected to two local utility circuits. A reverse osmosis system provides distilled water to taps in the laboratories.
The interstitial spaces created by the Vierendeel truss system house and hide the mechanical systems of the building. These spaces allow the laboratories to be free of walls and columns and provides flexibility in the set up of the work spaces.
Kahn wanted the study rooms to be isolated from the laboratory space so that the scientists could be left with their thoughts. The studies are arranged so that each room has a view of the ocean and are aligned on the service levels.
Read the rest of this entry »
MORE ABOUT: National Aquatics Center (Watercube) – Beijing, China
MORE ABOUT:
National Aquatics Center (Water Cube)
Olympic Park, Chaoyang District, China
39° 59′ 30″ N, 116° 23′ 3″ E (Google Map)
Completed: 2008 in 6 months
Architect: PTW
Architect of Record: China Construction Design Institute (CCDI)
Structural Engineering: ARUP
Construction Engineering: China State Construction Engineering Co (CSCEC)
Client: Beijing State-Owned Assets Management Co
The building’s form is inspired by the natural formation of soap bubbles.
“The Water Cube is designed to provide spectacular lighting effects to be seen by millions of people around the world during the Olympics and for years to come,” said Dr. XiGuang Fu, chief engineer for Grandar Landscape Lighting and Technology Group, the primary contractor for the lighting project.
Compared to the rectangular form of the houses and the city of Beijing, the form of Water Cube take on the traditional heritage of the harmony.
Enclosed within the blue bubble walls are five swimming pools and seating for 17,000 spectators.
(Image source)
The efficiency of soap-bubble structures is exploited. An optimum soap-bubble structure consists of 14-sided polyhedra, comprising six squares and eight equilateral hexagons.
Arup developed the constructional system for the Watercube in the computer through a process of rotation and a number of contting operations.
The generation of the facades of the Water Cube by Grasshopper in computer.
(Image source)
Floor Plans and Sections of the Water Cube.
The three-dimensional orthotropic loading bearing structure is an extremely efficient form of construction that can withstand earthquake, and that requires roughly 30% less steel than a column-and-beam system. (span of 100m, and height of 7.20m)
(Web article)
Joint details.
Thermal Transmission of the “skin”
The highly sustainable structure is clad with ethyl tetrafluoroethylene (ETFE) that weighs just 1% of an equivalent sized glass panel. The bubble cladding lets in more light than glass and thoroughly cleans itself with every rain shower.
(Web Article)
Construction of the structure
Ceiling View
(Image source)
Interior views
(Image source)
The Water Cube is renovated into a water park after the 2008 Olympic Games by Toronto-based firm Forrec
(Web Article)
Case study by: Fan Feng
ARE 320K, Fall 2010
Other sources (UT Library):
Article:
“Engineering the Water Cube”, Architecture Australia, 2006 July-Aug., v.95, n.4, p.102-105.
“‘Watercube’ – Nationales Schwimmzentrum in Peking = ‘Water cube’ – National Swimming Centre in Beijing”, Detail (English; French; German; Russian ed), 2007 Dec., v.47, n.12, p.1469-1475,1559.
MORE ABOUT: The New Acropolis Museum- Athens, Greece
MORE ABOUT:
Acropolis Museum
15 Dionysiou Areopagitou,
Athens 117 42
Built: 2001-2009
Architects: Bernard Tschumi
Local Architect: Michalis Photiadis
Size: 210,000 sq. ft
Budget: $80,000,000
Structural Engineers: ADK and ARUP
Civil: Michanniki Geostatiki and ARUP
Lighting: ARUP, London
General Contractor: Aktor
The New Acropolis Museum rests atop an excavation site, contains glass floors which allow visitors see the site below, and has a rotating top section which houses marbles from the Parthenon Frieze .
Sketch portraying site challenges.
An early sketch of different levels and their purpose.
Sketch of visitor’s route through museum.
Photo: Bernard Tschumi Architects
Each section focuses on the specific purpose behind it as the bottom portion accents the ruins, the middle section follows the adjacent street plan, and the top portion allows visitors to see the Parthenon.
Floor plan at 92.5 meters.
First floor plan.
Photo: Bernard Tshcumi Architects
Third floor plan.
Photo: Bernard Tschumi Architects
The museum protects an excavation site as it rests on stilts; engineers worked with archeologists to decide where to place support columns. The museum is also located near a subway and in an earthquake zone.
Photo: Bernard Tschumi Architects
A glass ramp and floor on the lower level allows visitors to see the archeological excavations below.
The top of the museum rotates and places the marbles of the Frieze in their original position, as the upper gallery is the same size and orientation of the Parthenon.
Photo: ARCHITECT Staff
The upper portion of the museum is encased in glass which allows ideal lighting for sculptures and utilizes contemporary glass technology, protecting visitors and artifacts from excessive heat.
Photo: Nikos Daniilidis
Case study by: Erica Ortiz
ARE 320K, Fall 2010
Books (UT Libraries) :
Bure, Giles de. Bernard Tschumi. Basel, Switzerland: Birkhauser Verlag AG, 2008.
Walker, Enrique. Tschumi on Architecture: Conversations with Enrique Walker. New York, New York: The Monacelli Press, 2006.
Website Articles:
Bernard Tschumi Architects. (2009, July 13). Retrieved from http://www.arcspace.com/architects/Tschumi/
Museum History. Retrieved from
http://www.theacropolismuseum.gr/default.php?pname=History&la=2
http://www.newacropolismuseum.gr/eng/
Acropolis Museum. Retrieved from http://www.tschumi.com/projects/2/
The New Acropolis Museum. (2010, May 30). Retrieved from
http://parisworkingforart.wordpress.com/2010/05/30/new-acropolis-museum-by-bernard-tschumi-architects/
MORE ABOUT: Gateway Art Tower – Culver City, California
Building: Gateway Art Tower
Location: Hayden Ave. and National Blvd., Culver City, California
(Los Angeles area)
Completion: Under Construction
Architect: Eric Owen Moss Architects
Structural Engineer: Arup
Total area: 1,486 square feet
Total height: 72 feet
The Gateway Art Tower is under construction on the corner of a prominent intersection in the center of Culver City, California; a suburb of Los Angeles. Along with the roadway driving by the tower, there is also a city plan that a new mass transit Light Rail Line to also pass. The surrounding urban fabric is comprised of largely underdeveloped industrial and warehouse buildings dating from the 1940’s. Over the past 20 years, however, the area has been the subject of an unprecedented urban renewal project mainly headed up by the architect Eric Owen Moss and developer which includes a business complex and multiple commercial and cultural projects.
The new structure will function in many different capacities. As and entrance “Gateway,” the project will announce the arrival of visitors to the ongoing Conjunctive Points development, and as such, will be a visually arresting sculptural object. As an “Art tower,” the primary role of the structure will be to communicate culturally significant content to both the visitors to the development as well as to the greater Los Angeles community.
The Tower will be composed of a series of conical screen segments made from an advanced rear-projection polymer that will afford vibrant, large-scale images to be projected and fully coordinated from within. Multiple floor levels occupying the space within the screen elements can function equally as informal gallery space, cafes, and viewing platforms.
A garden/amphitheater will be constructed at the base of the tower for small lectures.
The tower consists of five circular steel rings, approximately 30 feet in diameter. The rings are stacked vertically at 12 foot floor to floor intervals, and, as the height increases, the rings are staggered in plan, back and forth – to the north, east, south, and west – in order to establish proximity and viewing angles for various levels at various heights. Projection screens at each floor are to be seen from cars on surrounding surface streets, from freeways, by passengers at train stops, from on-board the moving trains, and from area pedestrians at a variety of key walking and viewing points. Between each pair of staggered horizontal circular steel plains, the curving, conical projection screens are installed. Behind the screens, hung from the tower floors are a number of digital projectors, 12 in all, that will rear-project onto the translucent acrylic screens.
The base of the superstructure will be constructed entirely from standard steel sections and 1/2” steel plate. The steel assemblies will be shop constructed in large segments and delivered to the job site for erection. At the base, a deep foundation system composed of poured-in-place concrete piles and a continuous pile cap will provide support.
Inside the screens, steel decks are provided for viewers to look out at the city, and for a maintenance staff who will service the projectors and screens.
The Tower has a glazed elevator in an enclosed glass shaft, and an open stairway to the top, so the Tower will be used as a viewing platform to overlook the city, but its primary objective is to distribute art and other relevant content to the local and the in-transit audiences passing by.
Sources:
“General Picture”
http://www.you-are-here.com/sculpture/art_tower.jpg
“Steel Frame”
http://www.readmeansrun.com/blog/gallery/large/gatewayarttower.jpg
“Rotation of Structure”
http://www.archicentral.com/wp-content/images/gw03-150×150.jpg
“Street View”
http://www.archicentral.com/gateway-art-tower-culver-city-california-usa-eric-owen-moss-15317/#
“Wood Cutouts”
http://www.designboom.com/cms/images/-Z87/eo3.jpg
http://www.designboom.com/cms/images/-Z87/eo4.jpg
“Progress”
http://www.designboom.com/cms/images/-Z87/eo5.jpg
“Plans”
“Information”
http://architecturenow.wordpress.com/2008/03/12/gateway-art-tower/
http://www.archicentral.com/gateway-art-tower-culver-city-california-usa-eric-owen-moss-15317/
Katz, Marisa. “Power Tower.” Wallpaper Apr. 2009: 157.
MORE ABOUT: Zollverein School of Management and Design – Essen, Germany
MORE ABOUT:
Zollverein School of Management and Design
Gelsenkirchener Str. 209
45309 Essen, Germany
Completion: 2006
Architect: Kazuyo Sejima + Ryue Nishizawa / SANAA
Project Architect: Nicole Berganski
Associate Architects: Böll & Krabel
Landscape Architecture: Kazuyo Sejima + Ryue Nishizawa / SANAA
Masterplan: Rem Koolhaas OMA
Structural Engineers: SAPS / Sasaki and Partners, B+G Ingenieure / Bollinger und Grohmann GmbH
Building Services Eningeers: Transplan Technik-Bauplanung GmbH with Winter Ingenieure
Air Conditioning and Energy/Lighting: Transsolar Energietechnik GmbH
Building Physics: Horstmann + Berger
Building and Room Acoustics: Müller-BBM GmbH
Fire Protection: Hagen Ingenieure für Brandschutz
Heating Method
– Building uses water pumped from nearby, out of use coal mine
– The water maintains an average of temperature 29°C/82°F naturally.
– A heat exchanger was installed at the top of the mining shaft.
– Since the quality of the water is subpar, part of the water goes through a “circuit that delivers heat as a district heat source to the Zollverein School.” *****
– The water is pumped out at a rate of 600 m3/h
– Water is circulated through plastic pipes embedded in the concrete walls and floor.
– Inside temperature is around 18°C/°F.
Advantages of this heating method:
– The company that owns the coalmine is continually pumping water out of it from a depth of 1000 m to maintain it for possible use in the future, so the water is free.
– Carbon dioxide free heat source.
– Building’s energy consumption is 75% below regulation and heating costs are greatly lower than they would have been if standard heating sources were used.
– Instead of requiring a double-shell concrete wall to conserve heat, the architects were able to make the monolithic concrete walls very thin (30 cm/12 in)
– Monolithic construction is cheaper than double-shell concrete construction – even with the piping system
– Since the walls are so thin, the “active insulation” system actually loses about 80% of the heat through the walls, but since it’s a completely free source of energy it doesn’t really matter.
Lighting and Interior
– Though the scattered windows look like they were randomly thrown on to the facade, they were actually very carefully placed in order to achieve optimum lighting.
– “The irregular windows attempt to introduce different areas without crude partitioning.” – SANAA
– The workspaces are all arranged around these windows, and the courtyard uses natural lighting as well.
– SANAA wanted an open layout that facilitated interaction and flexibility.
– Use of concrete, glass, and simple geometries was influenced by the simplicity of the surrounding industrial buildings.
– “Concrete exterior rough and unfinished” (Kelly)
Layout
– Zollverein School designed on the idea of flexibility, and it has many functional spaces
– Each level has different ceiling heights to allow for this flexibility.
– The structure of the external walls and the ceilings also creates large, unencumbered spaces for further functionality.
– Ground Level: public spaces – cafeteria, exhibition spaces
– First Level: design studio
– Second Level: library
– Third Level: workspaces
– Roof: future garden
Dimensions
Footprint: 35 x 35 m
Height: 34 m
Other Sources (UT Library):
Book:
Alkemade, Floris, Nicole Berganski, Ralph Bruder, Kristin Feireiss, Kazuyo
Sejima + Ryu Nishizawa, Matthias Schuler, Tom Sieverts, Deyan Sudjic, and
Roland Weiss. The Zollverein School of Management and Design. Edited by
Kristin Feireiss. Translated by James Roderick O’Donovan. Munich: Prestel
Verlag, 2006.
Articles:
Kelly, Peter. “Zollverein School, Essen.” Blue Print, 2006, 92-98.
Thierfelder, Anja, and Matthias Schuler. “In Situ: Site Specificity in
Sustainable Architecture.” Harvard Design Magazine, 2009, 50-153.
MORE ABOUT: The Absolute Towers – Ontario, Canada
Building: Absolute Towers
Location: 70 Absolute Avenue, Mississauga, ON L4Z0A4, Canada
Architect: MAD ltd.
Principal design:Ma Yansong, Yosuke Hayano, Dang Qun
Associate Architects: BURKA Architects INC.
Structural Engineers: SIGMUND, SOUDACK & ASSOCIATES INC.
Mechanical Engineers: ECE Group
Electrical Engineers: ECE Group
Landscape Architects: NAK Design
Interior Designers: ESQAPE Design
Design Team: Shen Jun; Robert Groessinger; Florian Pucher; Yi Wenzhen; Hao Yi; Yao Mengyao; Zhao Fan; Liu Yuan; Zhao Wei; Li Kunjuan; Yu Kui; Max Lonnqvist; Eric Spencer
image courtesy MAD architects [1]
Typology: Residential Apartments
Tower A: 45,000 sqm, 56 stories/ 170 m
Tower B: 40,000 sqm, 50 stories/ 150 m
Status: Under construction (Estimated completion: 2011)
image courtesy MAD architects [1]
For the first time in a large international design competition, MAD Architectural Design Studio won the bid for designing a super-high-rise in Mississauga, Canada with the design of The Absolute Towers. “The tower captures our whole philosophy,” said Danny Salvatore, president of Fernbrook Homes and a partner in the new Absolute community, in an interview with The Cityzen. The Towers are currently under construction and are estimated to be complete in 2011. [4]
image courtesy designboom© [2]
The original design of the Absolute Towers consisted of only one tower, the southern tower, and because of the success of the design MAD architects decided to create another tower to complement the first. The south tower is known to the locals as the Marilyn Monroe for its curvy features as this tower is thinner in the middle section as compared to the northern tower of which is larger in the middle section. [4]
[1]
The following picture shows the direction and degree of rotation for each level of the southern tower:
[1]
Unlike many construction processes of which concrete is lifted with a crane, concrete is pumped to the top of the towers during the construction phase. [5]
[5]
[5]
The Absolute Towers, of glass, concrete, and steel, act as a gateway to the Mississauga city center. To help promote the citizens interest for nature and emphasize height, a continuous balcony surrounds the entire building at each floor which purges the vertical barriers we generally witness in high rise architecture. [3]
“Our design forsakes the simplification principle of modernism. In fact, it expresses a higher level of complexity and diversity of modern society through multiple approaches. In the meantime, it caters to (ambiguous) social needs at multiple levels.”
MAD [4]
Case study by: Caleb Holobaugh
ARE320K Fall 2010
Sources:
[1] – Official MAD Ltd website
[2] – Designboom website
[3] – Konyk, C., & Rieselbach, A. (2007). Instability. New York: Princeton Architectural Press.
[4] – MAD.exe Office (2008). MAD Dinner. New York: Actar.
[5] – Urban Toronto
MORE ABOUT: Sendai Mediatheque – Sendai, Japan
MORE ABOUT:
Sendai Mediatheque
2-1, Kasuga-machi, Aoba-ku
Sendai-shi 980-0821
Japan
Built: 1997-2000
Architect: Toyo Ito & Associates
Structural Engineer: Sasaki Structural Consultants
Mechanical Engineers: ES Associates, Sogo Consultants, and Otaki E&M Consultants
Light Design: Light Design Inc.
General Contractor: JV of Kumagi, Takenaka, Ando, and Hashimoto
Site Area: 3,948.72 m2
Building Area: 2,933.12 m2
Total Floor Area: 21, 682.15 m2
The Sendai Mediatheque serves as a library, visual media center, and gallery space in downtown Sendai. The concept behind the building can be broken down into three elements: plate, tube, and skin. “Plate” refers to the floors of the mediatheque, “tube” to the structural columns, and “skin” to the glass curtain wall facade [1].
Original concept of “plate, tube, and skin”
The south facade features a “double skin” of glass with vents to reduce energy costs. “Opening the vents in the summer creates a cooling updraft; closing vents in winter creates an insulating layer of air to seal in heat” [2]. Additionally, the hollow tubes bring in light from the top of the mediatheque’s canopy down into the lower floors.
A schematic of the “double skin” ventilation and light dispersion through hollow structural tubes.
One of the hollow structural columns doubling as a light source
View of the three main elements of the mediatheque: “plate, tube, and skin.” Note that the structural tubes pierce the top of the building and end in a canopy.
(From Architectural Review pg.46)
The thirteen irregularly shaped structural tubes of the mediatheque house all of the buildings systems including HVAC, electric, network cables, stairs, and elevators which provides a seamless interface between the “tubes”, “plates”, and “skin”. The four largest 240mm diameter tubes situated on each corner take most of the load and “provide the necessary seismic bracing.” [3]
Evolution of irregular column design
The “tubes” and “plates” comprise the entire structural system of the building, with “thirteen independent steel-ribbed shafts (tubular columns: mainly steel-tube truss construction) and seven steel-ribbed ‘honeycomb’ slabs of sandwiched steel-plate construction. The basement also features seismic energy-absorbing mechanisms.” [2]
Computer-generated model and elevation detailing the “plates” and “tubes”
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Case Study by: Evan Reschreiter
ARE 320K, Fall 2010
Sources:
[1] Ito, Toyo. Toyo Ito: 1970-2001. Tokyo: A.D.A Edita, 2001. 190. Print.
[2] “Sendai Mediatheque – Architectural Features.” Sendai Mediatheque. N.p., 2002. Web. 13 Sep 2010.
[3] Webb, Michael. “Layered Media.” Architectural Review. 220.1256 (2001): 46-51. Print.
Photo Credits:
Flickr
MORE ABOUT: Sagrada Familia – Barcelona, Spain
MORE ABOUT:
Sagrada Familia
Plaça de la Sagrada Família, Mallorca, 401, 08013
Barcelona, Catalonia, Spain
Built: 1882-2026
Architect: Antoni Gaudi
Structural Engineer: Antoni Gaudi
The Sagrada Familia will be the largest cathedral in the world after its completion in 2026. The cathedral incorporates a gothic style while introducing more contemporary methods of construction and design through the use of 3D modeling. Not only does the Sagrada Familia function as a cathedral, but it also holds the tomb of the Architect Antoni Gaudi as well as a museum underground dedicated to informing the public of the construction process of the cathedral from day one.
Original drawing by Antoni Gaudi of a longitudinal section through the church in it’s completed form.
Floor plan of the Sagrada Familia in the traditional Christian shape of a cross. The Nativity Facade is to the right, the Passion Facade to the left, and the altar near the center.
This photo shows how Gaudi planned, formed, and calculated the Sagrada Familia. He uses strings, ties, and weights to simulate the columns and shape of the cathedral under complete tension. By flipping the image vertically, the columns in tension are changed to compression.
This is the Facade of the Nativity. Gaudi studied how melting wax ran down, settled and formed on lit candles to complete the design of the facade. Each of the four towers behind the facade have stairs that spiral around a very narrow space from bottom to top. (1)
This photo shows the Facade of the Passion. After Gaudi’s death in 1926, architects and engineers studied Gaudi’s plans, notes, and sketches to bring Gaudi’s thoughts to life.
This photo shows how color and light is used to fill the large interior of the cathedral while not completely taking too much attention off the magnificent interior columns.
The interior of the cathedral has columns made of reinforced concrete. Construction of the interior is still in progress, and you can see scaffolding in the background of this photo where workers are finishing the center of the cathedral. When the Sagrada Familia is done, there will be gigantic tower in the center rising 40 feet higher than other towers. (1)
View from one tower looking down on construction of the interior of the Cathedral.
This photo shows an computer analysis of one of the columns in the interior of the church. The base of the column begins with a circle and transforms through various shapes along the height of the column.
First computer drawing of the interior of the Sagrada Familia, based on Gaudi’s drawings and his laws of geometry, structure and proportions. (2)
Programs used in 3D design (3):
– Mechanical Desktop (Autocad application)
– Rhinoceros
– Cadds5
– Catia
– Special programs (generation of hyperbolas, parabolas, spirals…)
3D Modelling:
– 3D plaster solids printer
Production:
– Numerical control (CAM)
Sagrada Familia finished in 3D.
Case study by:
Alex Pena
ARE 320k, Fall 2010
Sources (UT Library):
(1) Carandell and Pere Vivas. El Temple De La Sagrada Familia. Sant Lluis: Triangle Postals S.L., 1997.
(2) Bonet, Jordi. The Essential: Gaudi. Barcelona: Portic, 2000.
(3) Sagrada Familia Website
MORE ABOUT: Wild Beast Music Pavilion – Valencia, California
MORE ABOUT:
Wild Beast Music Pavilion
California Institute of the Arts
24700 McBean Parkway
Valencia, Ca 91355
Built: 2007 – 2009
Design Architect: Hodgetts + Fung Design and Architecture
Structural Engineer: Thornton-Tomasetti / Bruce Gibbons
Mechanical Engineer: IBE / Alan Locke
Electrical Engineer: Lucci and Associates
Civil Engineer: KPFF Consulting Engineers / Brian LaFranchi
Acoustical: McKay Conant Brook, Inc. / David Conant
Project manager:
Bottega Management Group/ Leonard Madson Contractor(s)
HWI- Hinerfeld-Ward, Inc.
Tom Hinerfeld
The core section is expressed by a curved, three-dimensional arrangement, which, much like the soundboard for a stringed instrument, forms the principle assembly as well as an acoustically suitable space:
The building takes its name from a quote from an essay by contemporary composer Morton Feldman: “I am interested in how the wild beast lives in the jungle, not in the zoo.” This idea is captured in an early conceptual sketch:
According to architect Craig Hodgetts, “The engineering challenge was to convey a lyrical light-weight quality while using cement and steel [and] to determine the most efficient skeletal form.” The front wall can be rolled open to become the stage for a natural amphitheater:
The resonant interior is supplemented by a series of adaptable windowpanes set to create a clerestory, which can be used for “tuning:”
The open-air pavilion’s performance stage is situated in an isolated clearing which provides the courtyard space for casual seating:
The pavilion encloses 2,000 square feet of space including a classroom area. Aside from the interesting structural shape, other mechanical systems in the building include 60-foot-wide hangar doors. Additionally, there is an earth berm on two sides of the pavilion, requiring retention of up to seven feet of dirt:
Print Sources:
(1) Bratton, D., Hodgetts+Fung. Architectural Design, 75: 107–114. doi: 10.1002/ad.147.
(2) Beaver, Robyn., Contemporary Architecture, Vol. 1, Images Publishing Dist A/C, p. 246.
Web Links:
(3) http://www.hplusf.com/work.php
(4) http://latimesblogs.latimes.com/culturemonster/2009/02/calarts-is-addi.html
(5) http://www.architypereview.com/ar_v04_n02_hodgetts%2bfung.html
(6) http://www.valencia.com/blog/2010/02/cutting-edge-performing-arts-pavilion-at-calarts-arrives/
MORE ABOUT: Netherlands Embassy – Berlin, Germany
MORE ABOUT:
Netherlands Embassy
Location:
Klosterstraße 50
Berlin, Germany
10179
Completed: 2003
Architects: OMA/Rem Koolhaas
Engineer: Royal Haskoning + Arup Berlin
Project Management: Royal Haskoning
Areas:
Total: 8.500m2
Offices: 4.800m2
Housing 1.500m2
Parking 2.200m2
The Netherlands Embassy in Berlin is a “disciplined cube with equally disciplined irregularities”, as described by OMA/Rem Koolhaas. (3) The site allotted to construct the embassy was fairly small and square in shape. The need to maximize the building’s size on such a small site and the need to create a design that synthesized with the traditional Berlin architecture inspired the architects to base the structure on a simple cube. (1) From here, architectural forms and oddities were added (or removed) with respect to form, function, and statement.
The main trajectory wraps in and around the building, and is accented with larger windows and a unique mullion.
The trajectory connects all the major functions of the building and serves as a guide to both experienced inhabitants and visiting guests. (4) To emphasize the trajectory’s importance, the main HVAC flow was integrated with it. (4) An unfolded plan of the trajectory is below.
A restriction placed on the design required a wall to be placed on the street-side of the structure, between the main building and the rest of the city. The architects turned this “wall” into a structure of its own, housing residents for the diplomats and officials who live in the embassy. (5) Perforated metal was used instead of glass to prevent over-contrast with the 19th century city, and to allow light in without compromising privacy. (1) The residential wall and office cube are connected via paths that continue the cubic theme while simultaneously adding interest.
The overall design can be paralleled to the demeanor of a diplomat. Where the adherence to Berlin’s rules and the overall cubic form represent the diplomat’s calm exterior, the unconventional geometries and winding trajectory equate to the diplomat’s constantly vital, internal mind. (1) OMA/Rem Koolhaas described the building as both “obedient” and “disobedient”. (3)
Additional photos:
A cube-breaking form houses the conference room, featuring windows on 3 walls:
Model created by OMA/Rem Koolhaas to design trajectory:
Openings in the cube and in the outer wall were planned to allow a view of the Television Tower:
The angled geometries in the main entrance contrast with the cubic forms just outside the front entry:
Sources:
1- Chaslin, Francois. “The Dutch Embassy in Berlin by OMA/Rem Koolhaas”
2- Koolhaas, Rem. “Considering Rem Koolhaas and the Office for Metropolitan Architecture”
3- “OMA – Netherlands Embassy”. http://www.oma.eu
4- “OMA/Rem Koolhaas”. http://www.arcspace.com
5- “Dutch Embassy Berlin”. http://www.e-architect.co.uk
MORE ABOUT : Taipei 101 – Taipei, Taiwan
MORE ABOUT:
Taipei 101
8, Sung-Chih Road
Taipei, Taiwan
(Binder 68) 
(Binder 68)
Groundbreaking: January 1998
Completed: December 2004
Height (architectural): 509.20 m
Height (observation deck): 391.80 m
Total Floor space: 379,033 m2
Site Size: 30,277 m2
Floors: 101
Facade system: curtain wall
Architectural style: oriental revivalism
Secure land development contract through BOT: July 1997
Development and Construction: Taipei Financial Center Corp.
Building Design: C.Y. LEE Partners Architects / Planners
Structural Engineer: Thornton Tomasetti
Construction and Management consultant: Turner International
General Contractors: KTRT (Kumagai Gumi Co Ltd. Taipei Company_leading company [2]
Structural steel megastructure design
Core and outrigger scheme; eleven mega sections; each section eight stories tall [1]
High-strength steel box columns; columns filled with high-strength reinforced concrete
Spine of the building made up of eight megacolumns
Eight centimeter-thick megacolumns; each column filled with 10,000 pounds-per-square-inch reinforced concrete (Binder 64).
Megacolumns go up to the sixty-second story
Building “built upon three hundred eighty concrete piles; 1.5 meters in diameter; sunk eighty meters underground” (Binder 65).
Binder 65
Mega sections are held together by steel outrigger trusses
(Arca 75) 
Structural Challenge faced: how to make the building tough enough to withstand typhoons yet soft enough to resist earthquakes
Facade: Area of 120,000 square meters; resists wind loads up to two hundred fifty kilometers per hour; made of pressure-compinsated elements; building comprised of 16,000 identical facade elements; each measures 4.1 m x 1.5 m
Fastest elevators in the world: Ascends 1010 m per minute; Decends at 600 m per minute
Largest tuned mass damper in the world
Diameter 5.5 meters; gross weight 660 metric tons; comprised of 41 layered steel plates; each plate is 12.5 cm thick; plates form a sphere
Mass spherical block suspended from ninety-second floor
Supported by eight cables, 42 cm long, 9 cm wide
Cables attained a Security Parameters Index score around 9
Mass damper cuts building vibrations by forty percent
Building has eight primary hydraulic viscous dampers to maintain stability of damper
Photographs
Middle: (Binder 82)
Right: (Binder 81)
Energy Management and Control systems (EMCS) enabled
Manages all building functions: fire, life, and safety
Heavy emphasis on minimizing building effect on environment
Power supply, water supply, ventilation, air conditioning, lighting; all are monitored for optimization.
Case Study by: Jake Henning
ARE 320K, Fall 2010
Sources:
[1] http://skyscraperpage.com/cities/?buildingID=18
[2] http://www.emporis.com/application/?nav=building&lng=3&id=100765
[3] Arca, 2004 January, n.188, 72-75: Avery Index to Architectural Periodicals
[4] Binder, G. (2008). Taipei 101. Mulgrave, Australia: The Images Publishing Group Pty Ltd.
[5] C.Y Lee & Partners. (2004). Architects & Planners: Taipei 101. A + U Architecture and Urbanism [0389-9160]
yr:2005iss:10(421) pg:110 -113
MORE ABOUT: Experimental Media and Performing Arts Center – Troy, New York
MORE ABOUT:
Experimental Media and Performing Arts Center
110 8th Street,
Troy, New York
12180
Built: 2008
Architect: Grimshaw Architects
Architect of Record: Davis Brody Bond
Structural Engineer: Buro Happold
Acoustician: Kirkegaard Associates
Theater Consultant: Fisher Dachs Associates
Construction Manager: Turner Construction Company
The Experimental Media and Performing Arts Center (EMPAC)
Floor plan of EMPAC
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This building was constructed for the Rensselaer Polytechnic Institute. Within are most importantly Studio 1, Studio 2, and the concert hall which is a spherical red cedar structure supported with steel beams. Narrow bridges connect the hall to the three story atrium surrounding it. In total, everything is enclosed by a LEED silver certified set of glazed glass curtain walls (2).
It “brings together the huge volumes of the 1200 seat concert hall and 400 seat theater and partly sinking them into the hill ” (1). This is primarily due to the demands of the 45 degree slope in the topography near the Hudson River (2).
Exterior view of concert hall
Interior view of concert hall
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The foundation uses a system of rock anchors for structural integrity due to the soft clay-like earth beneath (3). As well, “to help eliminate structure-borne vibrations, one of the two high tech studios, Studio 1, floats atop a huge grid of steel springs” (3).
Studio 1: This is nick named the “Darth Vader Space.” It is designed for state of the art virtual electronic media (3).
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Some basic measurements from the EMPAC website (4):
- 5 million cubic feet: EMPAC’s volume (imagine a cube that is as high, wide and deep as the length of a football field.)
- 640,000: feet of fiber optic and copper cable for digital transmission throughout the building
- 221,200: Square footage of the entire building
- 100,000: cubic yards of earth excavated for EMPAC’s foundation
- 23,000: visitors to EMPAC during our Opening Festival
- 2,600: tons of steel used in construction
- 2,500: audience members for EMPAC 360 Event
- 2,164: custom designed acoustic panels (1,280 diffusive, 884 absorptive);
- 1,279: sine wave light dimmers
- 1,200: number of seats in the concert hall
- 400: number of seats in the theater
- 215: ¾” thick rock anchors, some 210 feet long, sunk into hillside
- 162 x 196: channels of HD video matrix
- ¼ acre: of video projection screens
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Case study by: Christina Phensy
ARE 320K, Fall 2010
sources (UT Library):
Article:
(1) “Grimshaw: performing arts centre,” Architectural Review, April 2008, v.223, n.1334, p.70-71
(3) “Behind the screens: the new performing arts center for Rensselaer Polytechnic Institute straddles virtual and physical spaces” Oculus, Spring 2009, v.71, n.1, p.29-31
___________________________________________________________________________
Web Sources:
(2) http://www.burohappold.com/BH/PRJ_BLD_experimental_media_centre.aspx
MORE ABOUT: Mountain Dwellings – Copenhagen, Denmark
MORE ABOUT:
Mountain Dwellings
Ørestads Boulevard 55, 2300 Copenhagen, Denmark
Size: 33,000 m2
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Credits1
Completed: Summer 2008
Architect: Bjarke Ingels Group (BIG)
Project Architect: Jakob Lange
Project Leader: Finn Nørkjær
Project Manager: Jan Borgstrøm
Construction Manager: Henrick Poulsen
Contributers: Annette Jensen, Dariusz Bojarski, Dennis Rasmussen, Eva Hviid-Nielsen, Henrick Poulsen, Joao Vieira Costa, Jørn Jensen, Karsten V. Vestergaard, Karsten Hammer Hansen, Leon Rost, Louise Steffensen, Malte Rosenquist, Mia Frederiksen, Ole Elkjær-Larsen, Ole Nannberg, Roberto Rosales Salazar, Rong Bin, Sophus Søbye, Søren Lambertsen, Wataru Tanaka
Collaborator: JDS: Moe & Brødsgaard, Freddy Madsen Rådgivende Ingeniører ApS
Engineer: Moe & Brødsgaard
Main Contractor: Høpfner A/S
Cosntruction: DS Eclobyg A/S, PH Montage
Techical Ground System: M.J. Eriksen
Window Company: SA facades
Carpenter: PPE Enterprise
Steel Work: HB-trapper
Roof Construction: Montak
Outer Facade: PPE Enterprise
Internal Carpenter Work in the P-House: KLUG
Technical Services: ENCO
Electrician Contractor: EL-team Fyn
Ventilation: Klimodan
Wooden Work on Terraces: Drewcom
Autorailing: Dansk Auto-værn
Perforated Steel Facade: Nettoperforering
Paint: Svend Aage Sørensen
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Materials1
Outer Facade: 4mm of Reynobond aluminum sanwich-plate
Windows: Jatoba wooden frame in the apartments, wooden/aluminum in commercial
Floor system: Oak wooden floor with floor heating system
Ceilings: Painted concrete
Perforated facade: 3 mm of raw alu-plate
Wood on terrace: IPE hardwood non-treated
Bath: Completed bath units from EJ-badekabiner
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8,000 m2 site with a goal of 2/3 parking (parking company had plans for a garage on the site2) and 1/3 living space. In picture 3, high point is 32 m. Total of 80 apartments and 480 parking spots.
“The design also offers more practical, energy-saving advantages: the parking area’s height encourages natural ventilation, and the large southeast-facing windows optimize light and passive solar energy”.2
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‘Suburban living in urban density’. Grass is artificial.3
‘Roof garden maintained by watering system’.1 ‘…the planters, which are positioned to block direct views between apartments, collect rainwater to irrigate plants during the drier season’.2
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‘North and west facades covered with perforated aluminum plates, the holes forming a reproduction of Mount Everest. At day the image resembles a rough rasterized photo. At night the facade is lit from the inside’1.
For an image of the facade at night, see “VM Bjerget (the Mountain) by Night” by Niels M. Knudsen (N!els) of Flickr
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Garage, sloped elevator, and colored corridors to housing.
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Concept/construction video
Building’s website (Danish):
http://www.vmbjerget.dk/
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1: A + U: architecture and urbanism, 2009 Apr., n.4(463), p.62-71
2: Metropolis, 2008 Dec., v.28, n.5, p.25-26,28
3: Arkitektur DK, 2008 Sept. [i.e., Oct.?], v.52, n.7, p.[50]-[67]
4: Bjarke Ingels Group – http://www.big.dk/
5. JDS Architects – http://www.jdsarchitects.com/
MORE ABOUT: Oriental Arts Center – Shanghai, China
MORE ABOUT:
Oriental Art Center
No. 425 Dingxiang Road
Pudong, Shanghai CHINA
Built: 2002 – 2004
Architects: Paul Andreu of architecte paris (main architects: Graciela Torre, Roberta Affatato, Michel Adment, Hervé Langlais)
Project Manager: Felipe Starling
Facade Engineer: Shanghai Yuanda Curtain Wall Engineering Co.,Ltd
Accoustics: M. Vian (CSTB)
Viewed from above, Shanghai Oriental Art Center is just like five blossoming petals, which constitute respectively the five halls, forming a beautiful butterfly orchid in full bloom. (1)
Early Sketch of view from above
State-of-the-art architectural façade technology incorporates laminated glass with a DuPont™ SentryGlas® structural interlayer. (2)
Silicone sealants were used in the development of a complex, laminated glass curtain wall façade for the Shanghai Oriental Arts Center. (3)
Beams arranged in an irregular pattern at varying levels support the structure of the outer facade. The thin supports create a dynamic feel in the interior hallways without disrupting the inflow of light. Functionally and visually, this space links the auditoriums to the outside world. (4)
© Le Niners
Art Center consists of seven levels of the building. Each petal of the flower is its own area dedicated to a specific function including a philharmonic orchestra, a theater, and the chamber music hall, an entrance hall, and an exhibition space. (1). The philharmonic orchestra, theater, and chamber music hall seat 1,953, and 1,020, and 330, respectively. (5,6)
At night, the inner light shine through the outer facade, glowing in the night sky.
SOURCES
(1)“Shanghai Oriental Arts Center”-Shanghai Cultural Information-link to this site
(2) “Paul Andreu’s Shanghai Oriental Art Center uses SentryGlas® for ‘magical’ facades”-Laminated Glass News-DuPont-link to this article
(3)“Dow Corning® Silicone Sealants Help Create an Architectural Gem in China” (Case Study)
(4) “Oriental Art Center-Shanghai” Paul Andreu, Architect. Birkhauser: Basel, Switzerland. 2004. pg 178-183.
(5) “A Good Reason To Feel Small.” The New York Times. (Jan 1, 2005 pE12(L) col 04 (1 col): pE12(L).
(6) “Paul Andreu: Oriental Arts Center, Shanghai.” AV monographs, 2004, n.109-110, p.40-43
Case Study by Jessica Spencer
ARE 320 Fall 2010
MORE ABOUT: New Museum of Contemporary Art
MORE ABOUT:
New Museum of Contemporary Art
235 Bowery
New York, New York
10002
Built: 2005 – 2007
Architects: SANAA (Kazuyo Sejima + Ryue Nishizawa)
Structural Engineer: Guy Nordenson
The New Museum of Contemporary Art in New York is an eight-floor building comprised of a series of irregularly stacked boxes:
(photo by Dean Kaufman)
(web article)
The outside skin of the building is an aluminum mesh mounted on top of smooth white metal panels. The aluminum mesh shimmers in the light, giving the building an unusual sheen when seen from a distance.
Here is a plan of the building and a building section showing how the floors are offset:
The staggered floors creates a challenge for the structural engineer. The final solution is a complex system of inter-laced beams and columns which handle both the gravity-loads as well as the lateral loads. Below are some structural diagrams (structure by office of Guy Nordenson, New York) and a photo of the building under construction.
(web article)
Case study by: Gregory Brooks
ARE 320K, Fall 2010
Other sources (UT Library):
Book:
Grima, Joseph, Wong, Karen, and Kaufman, Dean. Shift : SANAA and the New Museum. Basel, Switzerland: Lars Muller Publishers, 2008.
Article:
“Museum in New York.” Detail (English ed.) Nov.-Dec. 2008 v.6: 640-644,689.
Audrey Jones Beck Building – Houston, Texas
Building: Museum of Fine Arts (MFA) Audrey Jones Beck Building
Location: Houston, Texas
Architect: Rafael Moneo
Architectural Model
Image Size samples
400×250
800×500
1600×1200
1024×640 full size? Original is 1920×1200…
(This is a test to link to a new Feature Article blog)
-AEdesign
moreAEdesign 
