High Rise Building Research Document

HIGH-RISE ICONIC BUILDINGS RESEARCH DOCUMENT

NICHOLAS SOCRATESHigh-Rise Iconic Buildings

2 NAMASTÉ TOWER

NAMASTÉ TOWERMumbai, India, 2014

Architect: Atkins, Dubai Client: Jaguar BuildconPlot Area: 6500 m2Building Footprint: 4100 m2Gross Floor Area: 120.000 m2Height: 301 m Cost US$: Unknown Lifts: 15 + 3 ServiceStatus: Proposed

EXTRA TEXT EXPLANATION

The main programmatic occupancy of the Namasté Tower will be hotel. The middle part houses regular hotel rooms, while the top part mainly consists of luxurious suites. The layout between the 36th and 44th floor varies from 3 to 8 suites per floor. Above there is one entire layer intended to be one single apartment, probably for the hotel owner.

The top of the building houses bars, a restaurant and panoramic decks, enclosed by a glass roof where ‘the fingers’ of the building come together.

The lower floors contain 9000 m2 of office space and 6000 m2 of retail. All program will be accessed from the street level where ramps go up and down to enter the parking places or the drop-off zones at the back of the tower. The specialty restaurants and the lounge are public accessible from the retail floors.Inside the cores, elevators provide vertical transport for the different users. From level 10 upwards less elevators are needed so the configuration changes. The left-over space is used for both hotel service as corridor.

IMAGES

1. Opened-up section of the tower where becomes clear how the program is allocated through the building. Note the various gardens inside.

2. The inspiration for the decoration of the Namasté Tower comes from the henna tattoo tradition.

3. Applied to the elevation of the tower every view through the ‘henna tattoo’ from the interior appears different.

4. Floorplans of the luxurious hotel suites up to the 44th floor. The deep coves in the corridors makes the building more connected to the outside.

5. Rendering view of the building on it’s location.

SOURCES

http://www.worldbuildingsdirectory.com/project. cfm?id=2878

http://www.atkinsglobal.com/projects/namaste-hotel

http://forum.skyscraperpage.com/showthread.php?t=188468

Concept

CONCEPT OF THE ARCHITECT

Namasté means respectfully ‘greeting’ or ‘bowing’ to your visitors in Hindi. It is an friendly expression what makes people feel welcome. The clasped hands are the basis of the concept for this hotel tower and clearly make a statement to invite people into the building. Since the luxurious hotel will mainly conceive celebrating people for events like weddings and family diners the architect expresses this even more in the façade idea. The decoration directly comes from the henna tattoo art. Indian people cover themselves with these decorations with the occasion of weddings and big birthday parties. Translated to the building envelope this means a partly coverage to keep the heat outside and collect sunlight in PV-cells. Also the roofs of the two large canopies have an additional layer of sun collecting cells which can provide about 12% of the total energy demand.

In between the two ‘hands’ the space for corridors of the hotel remains. This transparent volume has a visual connection to the outside and provides a nice view over Mumbai and the adjacent race track. It almost feels like you are outside. This feeling is embraced by the many gardens applied to the corridors.

On an urban level the entrance flows are wellconsidered. Besides hotel guests, the office workers, deliveries and visitors has to be led into the building. Distinct entrance roads and ramps regulate the movements. Below the canopies, an urban green oasis invite people to visit the building. Going up with panorama elevators brings them to the top floors where a restaurant and bar provide a wide view over downtown Mumbai.

EVOLUTIONARY ABOUT THE CONCEPT

The very literal translation of the traditional Indian expression for hospitality makes the building an icon with benefits. Instead of placing a big sign what says ‘hotel’ at the street side the building itself acts like one. The clasped hands decorated with the henna patterns immediately shows clearly what the purpose of the building is. Indian people will experience it as an inviting symbol for their natural habit to be friendly and cooperative. The icon will become the highest building of India and become an entity in Mumbai.

3PEARL RIVER TOWER

PEARL RIVER TOWERGuangzhou, China, 2011


Double Facade InsulationPearl River has double facades on the North and South facades. Hot air is vented to the north face and is drawn out through a stack effect. Cool air is brough in at night to cool the thermal mass of the building. The south fagade is double glazed for insulation and ventilation purposes. The facade features an internally ventilated double-wall system that incorporates a motorized blind system controlled by a photocell that tracks the path of the sun.

Daylight Sensitive Lighting ControlsSensors in the rooms detect the current lighting level and adjust the artifcial lighting so that it supplements the natural daylight, rather than replacing or overpowering it.

IMAGES

1. photovoltaic cells integrated in the building s skin2. the design of the building sculpted for a better air fow3. air fow (section)4. air fow (foorplan)5. Increasing wind speeds (m/s)6. The 3x4 meters wide openings7. Vertical axis wind turbines8. Birdview impression 9. Section of the double facade10. Ventilation priniciple

SOURCES

http //architectenweb.nl/aweb/redactie/redactie_de- tail.asp?iNID=6943&iNTypeID=55&extUrl=1

http //buildingdb.ctbuh.org/building.php?building_id=454

http //emileglorieux.blogspot.com/2010/03/pearl-river- tower-world-greenest.html

http //www.daapspace.daap.uc.edu/-larsongr/Larson- line/SkyCaseStu.../Pearl.pdf

http //www.iaacblog.com/selfsuffcientbuilding/fles/.../ Yashaswini-Case-studies.pdf

http //www.sincerelysustainable.com/buildings/commercial/pearl-river-tower-to-be-one-of-the-most-energy-effcient-skyscrapers-in-the-world

http //www.som.com/content.cfm/pearl_river_tower

Concept


The city of Guangzhou, China experiences some of the worst air pollution on the planet. China s growing economy has increased their energy consumption this in turn has lead to a rapid increase in carbon emissions. In response to these great problems, the Chinese government has recently set a goal to reduce their carbon emission by 10% by the year 2010.

The Pearl River Tower has been designed to be the most energy effcient of all the world s supertall structures. The original goal was to design a ‘net zero-energy building that would sell its excess power to the local electrical grid, but now the building is expected to consume nearly 60% less energy than a traditional building of similar size. Economical considerations and reulatory challenges made this goal unachievable.

The tower features both active and passive approaches to limiting carbon emissions. The photovoltaic cells will be integrated in the building s skin. To achieve the greatest productivity, the cells will not only function as a source of power, but also function as a solar shade.


What really makes this building stand out is its unique integration of wind turbines into the maintenance levels of the building and the sculpting of the building form to channel wind through those openings.

The building incorporates four large openings, approximately 3 x 4 meters wide. The building s unique curved design is intended to focus the strong southern winds that blow through the region. Orientated to face these winds headon, the Pearl River Tower s sculpted facade will increase the speed of these winds (by two-and-a-half times) and channel them through two main slots in the building where wind turbines will be located. Because of this focusing of wind and higher speeds, it is estimated the vertical turbines will produce up to 15 times more energy than they would if they were standalone units. By placing vertical axis wind turbines, one inside each of the four openings of the building, the increased power potential of the air stream can be leveraged. These wind turbines provide power year round. In most cases the velocity increases are more than twice the ‘ambient wind speeds.

Architect: Skidmore, Owings and Merrill (SOM)Client: China National Tobacco CompanyPlot Area: 10,635 m2Building Footprint: 3015 m2Gross Floor Area: 214.100 m2Height: 310 m Cost US$: Unknown Lifts: 13Status: Constructed

4 TAIPEI PERFORMING ARTS CENTER

TAIPEI PERFORMING ARTS CENTERTaipei, Cheng De Road, Shilin District

Architect: Pieter Bannenberg, Walter van Dijk, Kamiel KlaasseClient: Unkown Plot Area: UnknownBuilding Footprint: 110 x 80Gross Floor Area: UnkownHeight: 64 mCost US$: 124 millionLifts: 25Status: Not realized

Concept


A building simple but sophisticated, elitist but accessible, simple but innovating. That was a challenge for NL Architects and it seems that they managed to combine all the above elements by creating TPAC. The Taipei Performing Arts Center could be considered a table with four legs each one different from the others. If this sounds ordinary then you’d better have a look at the pictures as TPAC is far away more than that. An Urban cavity, a Proscenium Arch, an Upside-Down Skyline all in one.

The Taipei Performing Arts Center aspires to become accessible for everybody. The principal act performed by the building is to elevate a substantial part of its program. By doing so a public square is created underneath it. As such the square fundamentally becomes part of the building: it is included inside it. This could turn out to be a radical innovation…


In a way the building could be considered a Table: four ‘legs’ support a horizontal slab. This ‘open’ block measures 110 x 80 meters with a total height of 64 meters. The ‘tabletop’ is 14 meters high and can in principle accommodate 3 stories. Inside you’ll find a kind of Mall; a fragment of the city that is elevated, a public ‘browsing space’ in the sky. This will be the domain for cultural facilities: the multimedia library, music stores, galleries, lobbies, bars, restaurants and clubs. A gaming zone and a casino might be exciting additions.

The ‘legs’ are programmed as well; in fact they are small skyscrapers. All four are different. One has a ‘waist’, with a large plan that narrows half way and widens again. One has an oversized foot; it contains the Proscenium Theater at its base. And then becomes more slender. One is small at the bottom and expands towards the top -here you’ll find the Grand Theater. By lifting the main plateau of the building to a level slightly higher than the adjacent structures, wonderful panoramas are created. It becomes possible to overlook the city and the surrounding hills.

The additional asset of this gravity-defying operation is the urban void that comes into being. This 3D urban square creates an informal foyer for the building as a whole. There is no interface, no threshold. Come in, we’re open! It is a place for interaction, for performances, for concerts, for markets. It is a square with a ceiling. Rain and Sun automatically are kept out. It is open-air, but covered! Surprisingly the building contains more void than mass; it’s a space-container, a 3D Plaza.

The three main programmatic elements, the Theatres, are positioned on different altitudes. The Proscenium Playhouse is placed at the base of the southeast ‘Leg’. The Lobby is placed under this theater so that it is flush with the square, activating the space around it. The Multiform Theatre however, is connected to the southwest leg close to the top. The volume of the Grand Theater is suspended under the horizontal slab. It hovers over the square while still being a part of it.

There are many ways to travel through the building. There are elevators, stairs and escalators. It is possible to go in a direct way or to take the scenic route. A detour is rewarding! It is no longer necessary to take the same path on your way out. A System of Loops comes into being. Some of the elevators are oversized. They can be used for transportation of large goods, but also for moving large groups of people at the same time. Many elevators are placed towards the outside. They are not hidden in a core but become part of the performance. Riding them gives you the feeling of being part of an interactive urban environment. They move up and down like ants on the leg of a table. When reaching the top some elevators suddenly move sideways, allowing unexpected horizontal movement: Logistic Entertainment. The Grand Route connects the Lobbies of the Theaters with a series of escalators. It ties them together. Part of the Foyers as such will be open to everybody, but here you will also find the ticket control. Beyond a certain point the theaters are -of

course- not freely accessible.

At the basis lies a four legged table construction that is reinforced in the corners. Multiple variants of ‘stiffening’ are used to create a variety of identities for the legs. By expanding the legs towards the top automatically the spans are reduced. The structure in a way is an orthogonal version of a dome.

The ground-level square bends up to allow cars and motor cycles to enter the parking garage. Here trucks can enter the basement. Heavy logistics will be handled from here. Taxis will be able to drive up this ‘Hill’, culminating in a glamorous drop off. Locally the square folds down to allow more spacious connections to the underpasses to Night Market and the Jiantan train station. The act of lifting the building allows for a more or less unobstructed crossing of the square –an elegant feature, since most architecture tends to stand it the way. Whether you are walking from Bai Lin Highschool to take the bus or you are coming from Shinlin Market and are looking for a place to eat your lunch, the square will provide everybody with a sheltered and exciting route or place to stay.

Balconies or terraces with several different programs activate the space. Sometimes they are open and public; sometimes exclusive or intimate. Ticketable, VIP or free. They act as swimming pool, skate area, public green, play ground, hotel garden, breakfast café, thus attracting many different ‘target groups’. The audience can take center stage.

A Hotel could be a successful additional program. It might be beneficial for the exploitation of the complex as a whole. It is supportive also in a literal way, since it constitutes the fourth leg of ‘table’. The Performing Arts Hotel can comfortably feature 60 bedrooms and additional facilities. The bedrooms overlook the city and the spectacular Urban Interior that it helps forming. The Revolving Bar somewhere hangs from the ceiling.

In a way, the project is an Upside-Down Sky- line. The horizontal top layer helps to frame the space beneath. It is not so much the beauty of the form itself that is compelling, but the space in-between. With every step you take this urban cavity changes shape. The structure could be understood as a Proscenium Arch in 4 directions framing city life in many ways.

IMAGES

1. building image2. section3. floor plan4. concept drawing, stage5. concept diagram, creating a square6. concept diagram, routing7. side view drawing of TPAC , sun shading, rain8. taipei performing art center structure diagram9. taipei performing art center program10. taipei performing art center image square11. taipei performing art center image square12. taipei performing art center image square

SOURCES

http://www.nlarchitects.nl/slideshows/TPAC/TPAC. html

http://www.thearchitectureroom.com/competitions/ Taipei_competition.html

http://www.archdaily.com/15785/taipei-performing-arts-center-proposal-by-nl-architects/

5BANK OF CHINA

BANK OF CHINA TOWERHong Kong, 1989

Architect: I.M. Pei Client: Bank of China / Hong KongPlot Area: 8000 m2Building Footprint: 2.700 m2Gross Floor Area: 130.000 m2Height: 370mCost US$: 130 millionLifts: 21Status: Constructed

Concept


I.M. Pei designed the building with the structure of bamboo in mind. However, the building looks nothing like a bamboo stalk, but more like a ‘glittering tower of diamonds’. The cross braces and triangular framework of the building are designed to withstand typhoons. Because of the strong framework of the building, there was less steel needed for the building’s construction.

The Bank of China Tower is reminiscent of the Willis Tower in Chicago that was the tallest building in the world for a long time. The difference is that the Bank of China Tower is composed of triangular sections with triangular frames and the Willis Tower is composed of rectangular blocks and has rectangles The glass façades of the building reflect the light and its surroundings, so it is like a bright and shiny white crystal, while the Sear Tower appears dark and ominous.

The whole structure is supported by the four steel columns at the corners of the building and one in the centre of the building, with the triangular frameworks transferring the weight of the structure onto these five columns. It is covered with glass curtain walls.


For the first time a megastructure composed of a pure space-truss was used to support the weight of a skyscraper. The megastructural steelwork is expressed externally by naturally anodized panels that form part of the curtainwall


The tower was initially built by the Hong Kong Branch of the Bank of China, but the entrance continues to display the name “Bank of China”, rather than BOCHK. The top four and the bottom 19 stories are used by the Bank, while the other floors are leased out.

When the Bank of China was completed, it was the tallest building in Asia and was the first building outside the USA to break the 1000 foot mark (305 meter).The towers sharp corners and bright, reflective features caused a lot of controversy when it the designs were made public.

The tower was contrary to “Feng Shui” for its sharp edges and its negative symbolism by the numerous ‘X’ shapes in its original design. That’s why Pei modified the design to some degree before construction following this feedback, he decided to incorporate a few water features around the building as a ‘remedy’ to the sharp edges of the tower. Unfortunately, some of the water features were incorrectly placed.

IMAGES

1. Isometric drawing 101 of the world’s tallest buildings By Georges Binder

2. Breakdown of the tower structure http://en.wikipedia.org/wiki/Bank_of_China_Tower,_Hong_Kong

3. Floorplans; A 51-66; B 38-50; C 20-37 101 of the world’s tallest buildings By Georges Binder

SOURCES

http://www.pcfandp.com/a/p/8220/s.html

http://www.archdaily.com/153297/ad-classics-bank-of- china-tower-i-m-pei/

http://whitedragonhome.com/Articles/FSBankofChina.pdf

6 EARTHSCRAPER

EARTHSCRAPERMexico City, Mexico, 2009

Architect: BNKR ArquitecturaClient: EvoloPlot Area: 57.600 m2Building Footprint: 57.600 m2Gross Floor Area: 775.000 m2Height: -300 m Cost US$: UnknownStatus: Competition proposal

Concept


The main plaza of Mexico City, known as the “Zocalo” is 57,600 square meters (240m x240m), making it one of the largest in the world. It is bordered by the Cathedral, the National Palace and the Federal District Buildings. This is the location of the proposed Eathscraper, an inverted skyscraper that digs down through the different layers of Mexico City. The Earthscraper preserves the iconic presence of the Zocalo and the existing hierarchy of the buildings that surround it. It is an inverted pyramid with a central void that allows all habitable spaces to enjoy natural light and ventilation. The first ten stories are dedicated to a pre-Columbian museum. The next ten stories are retail areas and housing while the deeper 35 stories are offices.

The architects think that Earthscraper may have burst the bounds of the architectural world because it has taken a truly new approach to escalating megacity problems like planning for population growth, curbing sprawl, preserving open space, and conserving energy and water. In the process, however, the concept also incorporates respect for the city’s past, by seeking to integrate the centuries of Mexico City’s history into its proposed solutions to present and future problems, rather than obliterate them.

The Earthscraper’s multi-use design is aimed at curbing urban sprawl and its attending problems. Although by law a project of this size would normally have to plan for 10 – 15 thousand parking spaces. The interior design concept also incorporates a system of gardens occurring roughly every 10 stories, to help generate fresh air. It will be insulated by earth while the gardens would create microclimates inside the tower.


The innovation of this utopian project is the fact that it is the first totally underground skyscraper. In many competitions concerning skyscrapers, groundbreaking ideas are often suggested yet this one is by far the closest to reality. The reverse pyramid shape of the atrium also suggests a solution to the casting of natural light into the building which is the most common problem in all underground buildings.

IMAGES

1. Bird’s eye view of Zocalo with the Earthscraper2. The Reverse-Pyramid shape atrium3. The glass plaza above the Earthscraper4. Green Walls to increase sustainability5. The History Museum in the palimpsest6. Pathways under the zero level7. Perspective section of the building

SOURCES

http://www.bunkerarquitectura.com/

http://www.archdaily.com/156357/the-earthscraper- bnkr-arquitectura/

http://www.archdaily.com/156357/the-earthscraper- bnkr-arquitectura/

http://www.ecomagination.com/earthscraper-concept- takes-sustainable-design-underground

http://www.sodahead.com/united-states/mexico-city- considers-earth-scraper-brilliant-or-bogus/question-2273777/

http://urbdezine.com/2011/11/24/subterranean-earthscraper/

7CANTON TOWER

CANTON TOWER

Architect: Information Based ArchitectureClient: Guangzhou Construction Investment & Development Co, Ltd, GuangzhouTV stationPlot Area: 174.000 m2Building Footprint: ... m2Gross Floor Area: 114.000 m2Height: 600mCost US$: 326 millionLifts: 6Status: Constructed

Concept


Mark Hemel, IBA architect and director, comments, “Where most skyscrapers bear ‘male’ features; being introvert, strong, straight, rectangular, and based on repetition, we wanted to create a ‘female’ tower, being complex, transparent, curvy, gracious and sexy. Our aim was to design a free-form tower with a rich and human-like identity that would represent Guangzhou as a dynamic and exciting city.” The result is a tower, very slender and tall, that EHDUV VLPLODULWLHV ZLWK WKH ¿JXUH RI D IHPDOH, the reason that it earned the nickname: ‘supermodel‘.

The form, volume and structure are generated by two ellipses, one at foundation level and the other at a horizontal plane at 450 meters. The two ellipses are rotated relative to one another, where a tightening caused by the rotation between the two ellipses forms a ‘waist’. The structure at the bottom of the tower is porous and spacious, but becomes denser at waist level that occurs about halfway up.

The structural engineering was performed by Arup. The structural concept exists out of three primary elements: columns, rings and braces. None of the 1100 steel nodes are identical, but they were able to create one single type of node to be used in all areas.

The rings are placed on the inside of the columns so that they are connected but don’t intersect with each other. This creates an inside view dominated by rings, while the outside views are dominated by the sloping columns. All rings are placed at an angle of 15 degrees so that an opening is created for the entrance at the base of the tower, and a sloping viewing deck is created at the top of the building.

The columns are all perfectly straight although they lean towards one direction, giving the tower its dynamic twist. The columns also taper from bottom to top, further amplifying the perspective view up the tower from the ground.


The Scala Tower is interesting because of its twist and parametric design, which allows the use of just one joint for the whole building. Another interesting element are its stairs that creates possibilities for a expansion of public spaces and transition between different public spaces on the skywalk.


The waist of the tower contains a 180 meter open-air stair walk (“Skywalk”) where visitors can physically climb the tower starting at 170 meters and spiralling almost 200 meters higher, all the way through the waist. There are outdoor gardens set within the structure, and at the top, just above 450 meters, a large open-air observation deck is encircled by a sort of Ferris wheel. The interior of the tower is subdivided into programmatic zones with various functions, including TV and radio transmission facilities, observatory decks, revolving restaurants, computer gaming, restaurants, exhibition spaces, conference rooms, shops, and 4D cinemas.

IMAGES

1. Construction design build-up http://www.solaripedia.com/13/342/4233/canton_tower_pv_shapes_illustration.html

2. Floor Plans http://www.solaripedia.com/13/342/4233/canton_tower_pv_shapes_illustration.html

SOURCES

http://gztvtower.info/index.htm

http://www.solaripedia.com/13/342/4253/canton_tower_ section_dwg.html

http://www.solaripedia.com/13/342/4233/canton_tower_pv_ shapes_illustration.html

http://www.arup.com/News/2010_09_September/29_ Sep_2010_GZ_TV_Tower_opens.aspx

http://www.arup.com/Projects/Guangzhou_TV_Tower/Details. aspx

Guangzhou, China

8 CHINA CENTRAL TELEVISION HEADQUARTERS

CHINA CENTRAL TELEVISION HEADQUARTERSBeijing, China, 2010

Architect: Office of Metropolitan Architecture (OMA)Client: China Central Television (CCTV)Plot Area: 75.000 m2Building Footprint: 44.000 m2Gross Floor Area: 473,000 m2Height: 234 mCost US$: 1.13 billionLifts: 76Status: Constructed

Concept


The new headquarters for China Central Television, OMA’s largest project to date, combines the entire process of TV-making (administration, production, broadcasting) into a single loop of interconnected activity. Rising from a common platform accommodating production facilities, two towers (one for broadcasting, one for services, research, and education) lean towards each other and eventually merge in a dramatic, almost impossible cantilever.

CCTV’s distinctive loop offers an alternative to the commonly known typology of the skyscraper. Instead of competing in the race for ultimate height and style within the traditional two-dimensional skyward tower, CCTV creates a three-dimensional experience, that symbolically tries to embraces the entire city.

The loop also facilitates public access to the production of China’s media: visitors will be allowed in to a internal path circulating through the building, connecting all elements of the program and offering spectacular views from the multiple facades towards the Central Business District, the Forbidden City, and the rest of Beijing.


The unusual shape of the building asked for a different structural approach than the conventional way. The large overhang could be realised because the outer shell consists diagonal beams and lets the entire building functions as one stiff tube-structure. Instead of covering the facade with large trusses and overdimensioned beams, engineers used computer generative design based on algorithmes to come up with a structure that directly expresses the stress intensity.

The overhang floors have a regular grid of internal colomns, which are supported by two storey transfer trusses on the 37th and 38th floor. These trusses span between the tube faces and provide a space-frame like arrangement for the tip of the overhang.


The tube system made the actual construction of the building possible. On its own the leaning towers had enough stiffness to be constructed first and later on suits the construction of the overhang link, which cantilever from the towers in the temporary situation.

The flow of forces which is expressed in the structure is also visable in the face of the building. But not the entire structure can be seen from the outside, because only the diagonals of the structure are copied to the facade. U-shaped beams are placed in front of the larger structure on the inside with conventional rectangular

IMAGES

1. Distribution of the program2. The morphology of the building allows the program to have a visitors loop with corresponding renders3. Regular diagrid; colours indicate the amount of stress distribution4. Generative designed structure grid with equally dimensioned beams5. Structural set up of the towers6. Structural set up of the 37th and 38th floor7. Construction order8. Building overview9. Picture of the facade10. Facade set up

SOURCES

Architecture and Urbanism, July 2005 Special Issue, CCTV by OMA

http://oma.eu/projects/2002/cctv-%E2%80%93-headquarters

http://www.arupinbeijing.com/arup_projects/china_central_television_headquarters/overview/

9KANCHANJUNGA APARTMENT

Concept


The Tower is one of the masterpieces of Indian architect, Charleas Correa. Kanchanjunga Apartments is a 28 story height high end residential building built in Bombay, 1983. It was clear that the architect has reference to Lecorbusier’s crossover units in Unit habitation in Marseilles in 1952. Correa planned the 3 and 4 bedroom units interlocking with 5 and 6 bedroom units. 3-4 bedroom units occupies on and half level, and 5-6 bedroom units occupies two and half levels. There are small level displacement within the units to differenciate outdoor terrace and indoor living space, dining room and bedrooms and so on. These change of levels hide the living and bed rooms from the heat of sun and rains, while the big opening of balcony could get as much day light as possible. The whole building structure is built by reinforced concrete. The open terrace part is a 6m deep cantilever structure. Central core with lifts and shafts and building services so it also provide central stability element for lateral loads.

The appearance of the building has strong resemblance of modern western building design. Especially the white plain surface with concrete construction. But the apartment design is an interperation of traditional Indian bungalow with verandah which is a main part of living area of indian family.

The tower is 21m square on plan, and 1:4 proportion on elevation, 84m height. It has a plain facade surface, with cut away to open up double height balcony.


The tower design reinterperated the traditional living style of indian with modern architecture. And it is succesfully merged with environmential consideration, and social needs in this tower. Correa’s strong design signiture of sectional displacement where appropriate by changes in floor surface is most elaborated in this project. The complexity of internal spacial organization to create level changes and interlocking four types of units was pushed to an extreme in this project..


The building is oriented in east-west direction to catch the natural wind from the sea and also this direction has best view from city to the sea. But this face is also most heat up surface by the sun. The old bungalows solved this problem by warpping a thick layer of around living area verandas to protect from heay monsoon rain and sun heat. Kanchanjuna Apartment is applying this concept into the apartment design.

IMAGES

1. Partial Section of two apartments2. view from east side3. Sectional perspective of environmential considera- tion4. Diagrams of spacial organizatiion and units inter- locking5. Terrace photo from outside6. Terrace photo from inside

SOURCES

http://identityhousing.wordpress.com/2009/12/03/charles-correa- kanchanjunga-apartments-cumballa-hill-mumbai-1970-1983/ housing-in-barcelona-made-with-100-recyclable-materials/

http://architectureyp.blogspot.com/2011/05/kanchanjunga-apartments.

KANCHANJUNGA APT.Bombay, India, 1970-1983

Architect: Charles Correa Client: -Plot Area: 2900m2Building Footprint: 432 m2Gross Floor Area: 5,260 m2Height: 84 mCost $ Unknown - Lifts: 3 + 1 Status: Constructed

10

Architect: Aedas R&DClient: Abu Dhabi Investment CouncilPlot Area: 11.500 m2Building Footprint: 1.960 m2 Gross Floor Area: 32.000 m2 Height: 150 m Cost US$: 245 millionLifts: 25 Status: Constructed

AL BAHR TOWERSAbu Dhabi, United Emirates, 2012

Concept


In Abu Dhabi, it is a neverending battle against the suns heat, mostly with airconditioning. The temperatures in July and August can reach till 48 degrees Celcius. Because of that reason, the Al Bahr towers got a unique second skin facade. The north side of the second skin is open because it never sees the sun.

The design is a new twist on an old Islamic tradition. It is inspired by Islamic patterns, called a `mashrabiya’, which protects the most exposed parts of the building. In history, the mashrabiya was also used to produce shade. This modern mashrabiya has been conceived as a dynamic façade which will open and close in response to the sun’s path, it will significantly reduce the solar heat gain and providing a more comfortable internal environment. By using the data of the sun’s path, it was possible to let the ‘umbrella’s’ respond to the path of the sun.

The frame of the mashrabiya components is a combination of aluminium and duplex stainless steel. It gives a high resistance against corosion, that is because the building is near the sea. The mash is made out of fyberglass, coated with a teflon based material. Most elements are 6 x 4 meters and weights more than 600 kilogram.

The mash wraps the whole building, only tq, north side is open because it will never see the sun. The south facing roofs of each tower incorpo-rate photo-voltaic cells, generating approxi-mately five percent of the total required energy from renewable energy sources.


The Masharabiya shading system — based on a traditional Arabic shading work — is the main concept of the winning competition. The 1000 facade panels response to sun exposure and changing incidence angles during the different days of the year. The second skin is saving on energy consumption and carbon emissions, it reduces the cooling load by over 20 percent. The windows in the first facade don’t have to be heavily tinted, so the light transmission is up to 40 % better than in comparable buildings in Abu Dhabi.

IMAGES

1. Traditional mashrabiya 2. Closed facade 3. Open facade 4. Section of the double facade 5. Impression by night 6. Floorplan in 3D 7. The second skin is open at the north side

SOURCES

http://www.aedas.com/ADIC-Headquarters http://aedasresearch.com/features/view/all/project/al-bahr-towers-cdr

http://www.ameinfo.com/218427.html

http://blog.punjabilokvirsa.com/2010/07/adic-head-quarters-in-abu-dhabi/

http://www.hitachi.com/New

http://www.preconstruct.com/newsblog/index. php/2011/08/03/al-bahr-towers-by-aedas-and-arup-uses-brilliant-dynamic-shading-system/

http://www.skyscraperlist.com/showthread.php?82-ADIC-HEADQUARTERS-%7C-150m-x2-%7C-25f1- x2-%7C-Com-(AL-BAHR-TOWERS-)

AL BAHR TOWERS

11

Architect: Lord Norman Foster and PartnersClient: Hong Kong and Shanghai Banking Corporation (HSBC)Plot Area: -Building Footprint: -Gross Floor Area: 99000 m2Height: 179 mCost US$: 5.2 billionLifts: 10Status: Constructed

HONG KONG BANK (HSBC)Hong Kong, 1985

IMAGES

1. Preliminary design sketch, of bridge-like construction above the old building.

2. Axonometric drawing of the floors, trusses and supporting structure.

3. More detailed drawing of the hanging floors system.4. Seawater pipes in tunnel under the building; the seawater,

pumped from and back to the bay, is used for cooling and toilets.

5. Section of the building showing the voids in the construction (white) and the “sunscoop”, letting light into the atrium.

6. A service module, prefab, being lifted into place to be fixed to one of the main columns.

7. Picture of the large wind supports between the main columns.

8. Sketch of the lobby with atrium above.

SOURCES

Bennet, D., Skyscrapers, form and function, 1995, Simon and Schuster Publishers, New York

Concept


Fosters first sketches of the design for a new bank building, which needed to be constructed on a site of limited size, and phased in order for banking to continue in the old building during construction, resemble in a large part the final design.

The main themes in the design were: reflecting the essence of Hong Kong, high rise but also to maintain the human scale. Therefore, the building reached the, at that time, existing maximum building height in Hong Kong, at 180m. However, soon after the opening of the Hong Kong Bank building, the maximum building height was raised, and the Bank of China Tower, built soon after, reached much higher.


Very revolutionary is the fact that bridge building techniques have been used in the construction of this skyscraper. Eight large tubular steel columns on two sides of the building, braced by rectangular beams, act as bridge supports, with the floors suspended from them. This allows for very free floor plans with ample floor area lost to columns. Services are also located in and around the concrete columns. The floors are built up of sheet metal topped with reinforced concrete.

HONG KONG BANK (HSBC)

12 LINKED HYBRID

LINKED HYBRIDBeijing, China, 2007

Architect: Steven Holl ArchitectsClient: Modern Investment Group, BeijingPlot Area: 61.800 m2Building Footprint: 15.500 m2Gross Floor Area: 221.000 m2Height: 68 mCost US$: Unknown Lifts: 34Status: Constructed


Three different public entrances connect the skyring with the public space on ground floor. These entrances (coloured red in the floor plan above) each offer a different variety of program. One area for health and sportcentre, one area for recreational program opened through the day and one area for restaurants openede during night. The entrance to the restaurant is located next to the acces to the cinema within the heart of the project.

FUNCTIONS IN THE RING

1. reading room2. design/book store3. architecture gallery4. sculpture gallery5. art gallery6. viewing platform7. dinning deck8. ultra lounge9. bar/cocktail10. listening lounge11. fitness12. juicebar13. group axcersice space14. spinning room

15. office, locker rooms16. lane lap pool17. suspended catwalk18. spa/massage19. meetin place20. viewing platform21. hair/nail salon22. health food store23. tea seating24. tea store/gaming place25. coffee shop26. café seating27. book event space28. book store

IMAGES

1. interwoven vertical and horizontal structure public vs private concept2. core that attracts publc life3. poetic idea of conected bodies (Matisse, la dance, 1909)4. linked bodies after construction

SOURCES

A+T hybrids 1

Concept


Linked Hybrid projects a renewed thinking about the public space within large scale high rise projects. Holl shows us in this project how his ideal vertical city should work. It is his ideal city within a city.

The horizontal traditional urban structure, continuous plinth with services, is combined with the vertical city, disrupted plinth.

Living is combined with commercial program in various towers. The commercial program is located in the plinth and living above. An ‘urban’ ring of commercial and cultural public activities link the towers on the twentieth floor. This skyhigh public space provides a cinematc experience of the whole complex and the city surrounding it. A big variation of urban functions are located in this ring, for example: a swimmingpool, a fitness centre, a nail and hair studio, an architecture office, galeries, bars, theesaloons and stores (more info on page 3). To prevent the city within a city to become an isolated island, Holl introduces the term urban porosity. He connects his ideal city with it’s context by attracting people to the centre of linked hybrid. Urban space is enclosed in the heart of the project. On street level pedestrians are able to move in and out the project.

These two themes, ‘city within a city’ and ‘urban porosity’ are also the basis for Holl’s second big housing project in China, the sliced urban porosity block.


The ensemble of high rise towers instead of the vertical tower pinned in the city projects a new way of thinking about high rise architecture.

The public space in heart of the large plot area connected with the highly accesible program in the skyring makes a unique contribution to the public life in the city.

13THE MUSEUM PLAZA

THE MUSEUM PLAZALouisville, Kentucky, 2005

Concept

Museum Plaza rethinks conventional attitudes towards property development. Culture is placed physically and spiritually at the project’s center to support the capital and operational costs of a 3,700 m2 museum, a development oÍ over 140,000 m2 is required. To avoid over-saturating Louisville’s market with any single commercial program, its uses are mixed, including luxury condominiums, hotel, offices, loft apartments, and retail. Building development convention would typically position the public program at street level and the profit-making towers above. This strategy is not possible at Museum Plaza: the site would isolate any ground-level public program and position the towers implausibly close to each other. To liberate these conditions, the plinth of public program is elevated twenty stories aloft and the towers evenly distributed above and below. Within the ’lsland’ of public program, a rare synergy between commerce and culture occurs. Unusual proximities enable the contemporary art space to overcome the banal specter of museum flexibility. The towers, in contrast, are platonic, and their areas and proportions are dictated by efficiency ratios and financing.

To maximize rents and sale prices, the luxury condos and offices above and the hotel and loft apartments below are optimally positioned for views, circulation, and structural efficiency.

Architect: Christopher Agosta, David Chacon, Stephane Derveaux, Erez Ella, Selva Gurdogan, Javier Haddad, Uenal Karamuk, Vanessa Kassabian, Joshua Prince-Ramus, Alejandro Schieda, Dong-Ping Wong Client: Museum Plaza, LLCPlot Area: 141,800 m² (1,530,000 sf) Building Footprint: UnkownGross Floor Area: unkownHeight: 214 mCost US$: 490 millionLifts: 21Status: On Hold

IMAGES

1. building image2. site, Louisville, USA3. section4. floor plan5. concept diagram6. program diagram7. concept model, museum8. model, museum9. building image, from square10. skyline Louisville11. model, Building12. floorplan, low-rise13. floorplan, mid-rise14. floorplan, high-rise

SOURCES

a+t, Hybrids I, high-rise mixed use building

http://www.rex-ny.com/work/museum-plaza/ http://picsdigger.com/image/7665e3cb/

14 GRONINGER FORUM

GRONINGER FORUMGroningen, The Netherlands, 2014

Architect: NL ArchitectsClient: Municipality of GroningenPlot Area: 2.400 m2Building Footprint: 2.400 m2Gross Floor Area: 18.000 m2 (excl. parking)Height: 45 mCost US$ 81 millionLifts: 3 + 2 ServiceStatus: Unbuilt

Concept


In the competition question for the ‘Groninger Forum’ a surprising ambition occurred: Many diverse cultural functions will be combined in one building, The will to cooperate between four partners, Public Library Groningen, The Museum of Groningen, Film theatre, Images en Regional Historical Centre, City Archives / Audiovisual Archives, is surprisingly.

In a automated world, dominated by privatization and individualization there is a lot of optimism of a new type of collective space. The cooperation is leading to added quality of functions. The growing supply of information (from news papers till films, from theatre till Internet) is united in the Forum with the wish of the inhabitants to become a active participants of the city life.

PROGRAM

The accessibility of functions is separated in two main elements: free accessible public spaces (the cultural café and the Domains) and the spaces that require a ticket or the ones that are only accessible for certain persons, such as offices. A part of the functions needs daylight and a view, wile others are explicit served by artificial lightning and controlled conditions. In the ‘Groninger Forum’ these last functions will be used a ‘supporters’ and the other parts a backbone. Where needed windows are added to get more light in the building. The domains will be in general transparent, but in some types of presentation or usage it is wishful to close some parts..

ATRIUM

Cutting part of the building away had a surprising side effect: The, in principle, two dimensional scheme becomes spacious. The diagram becomes 3D, the building becomes sculptural. From the Atrium become surprising sight-lines. The Groninger Forum is a warehouse full of actual information and presentations. On the other side the visitor receives net spectacular insights about the traditional city.

SUSTAINABILITY

The ‘Groninger Forum’ has to become an example for sustainable buildings. The Netherlands have high standard rules when it comes to sustainability. The sustainable ambitions of the Forum building can be considered a higher scale. This ambition is translated in different possible systems that will increase the sustainable value:

• Durable energy• Climate facade• Heath transporting facade material• Lightning

GEOMETRY

As an articulation of the ambition to make one building for different activities the shape came from one volume. The maximum height is 45 meter, but surprisingly the average height is not more than 30 meter. This goal is reached by cutting fragments off the building. These cut-away surfaces serve different needs. They make the access of light to the other buildings better. The geometry of the Forum makes a gesture for the parking and entrance functions. As a result two mini-squares appear as a so called “anti-chambre”. The access to the parking garage is left separate from the facade. As a result the Forum is accessible from different directions for pedestrians.

IMAGES

1. Scheme different program in public and private2. Scheme program divided by vertical location3. Scheme program public and private mixed4. Scheme program designed for function5. Vertical transport6. Public domains7. Facade drawings

SOURCES

http://www.nlarchitects.nl/

15ELBPHILHARMONIE

ELBPHILHARMONIEHamburg, Germany, 2013

Concept

The new Philharmonic will be not only a site for music; it will include an extensive complex of flats and adaptable facilities for a wealth of cultural activities. The core the major concert hall seating 2200 and a multipurpose hall for ca. 550 listeners will be complemented by a 5-star hotel with a projected 220 rooms, with built-in services as restaurants, a health and fitness centre and conference facilities, as well as some 35 luxury flats. The Kaispeicher A has long been a relatively mute monument to the postwar era, through it is occasionally rented out for one-off events; after its renovation, it will become a vital centre for musicians and music lovers, attracting both tourists and the world of business, the latter able to enjoy the use of state-of-the-art technological facilities as well as the luxury of a first class hotel in this centrally-located historical landmark.

The bold new Philharmonic will inject the surrounding neighbourhood with energy and dynamism. Similar cultural ‘implants’ in other cities provide impressive proof of the way in which such projects contribute substantially to urban renewal, enhancing the attraction of urban districts and, indeed, functioning as agents of change. This will also be the crowning achievement of the ‘Hafencity Hamburg’, an ambitious project of urban expansion.

The main entrance to the Kaispeicher complex lies to the east. A breathtakingly long escalator will run diagonally across the entire warehouse, transporting visitors from the way up to the plaza. Situated on top of the Kaispeicher and under the new building, it will function as a gigantic joint between the old and new, forming a spacious public area with a unique panorama: to the north, downtown Hamburg and a view reaching beyond the Aussenalster; to the east, west and south, the River Elbe and its vast, sprawling harbour.


The new building has been conceived as an extrusion of the warehouse, an iridescent, multifaceted crystal with an identical ground plan, placed flush on top of the brick Kaispeicher. But the top and bottom of the crystal are different: the broad, undulating sweep of the roof rises to a total height of 100m. at the Kaispitze, sloping down to the eastern end, where the roof is som 20 m lower. The Elbphilharmonie will become the crowning symbol of the expansion of Hamburg’s city centre towards the south into the harbour district along the shores of the river Elb.

IMAGES

1. Concept2. Major concert Hall3. The Kaispeicher A4. Entrance, schematic5. Entrance model6. Plaza7. Plaza with view of Hamburg8. Design process9. Plaza as a transition between old and new10. Actual use of the building11. Plaza defined by stairs12. Small multifunctional hall

SOURCES

http://www.elbphilharmonie.de

http://de.wikipedia.org/wiki/Elbphilharmonie

http://www.dezeen.com

http://de.academic.ru/dic.nsf/dewiki/734027Poveda, P.: El Croquis,

Architect: Herzog & de MeuronClient: ReGe HamburgPlot Area: 5.885 m2Building Footprint: 5.885 m2Gross Floor Area: 120.000 m2Height: 100.0 mCost US$: 500 millionLifts: 12Status: Constructed


The lobby will be the overture or the echo of the large concert hall. Mounted under the belly of the great hall, a landscape of stairs an Escherlike sculpture climbs in all directions.

The great hall and the lobby are stacked on top of each other like bowls; the floor of the hall doubles as the ceiling of the foyer, while the foyer in turn forms a vaulted ceiling stretching to the floor of the Plaza and incorporating its visitors in an alien landscape that steadily climbs past several floors all the way up to the highest galleries of the concert hall. Everything is stairs: floors, ceilings and walls become almost indistinguishable. Climbing the vast carpet of stairs, the visitor reaches horizontal areas that intersect at each level,using bars or cloackrooms. The festive atmosphere already appararent in the foyer is heightened in the grand hall. There, the warm white of the foyer gives way to an intense amber; the surfaces shimmer and sparkle, reflecting the light. The orchestra and the conductor are placed in the midst of the audience; the galleries sweep into each other, overlap and form a steep amphitheatre.

The architecture dissappears in a sea of faces; the house seems to consist only of people, of listeners whose intense concentration on the music becomes physically palpable.

The smaller, multifuntional concert hall belongs to the ‘shoe box’ family; seating out 550, its flexible technology allows a wide variety of different uses.

16 486 MINA EL HOSN

486 MINA EL HOSNBeirut, Lebanon 2009

Architect: Lan Architect Client: HAR Etudes, Bank MedPlot Area: 9950 m2Building Footprint: 625 m2Gross Floor Area: 125,000 m2Height: 142 mCost US$: 160 millionLifts: 3 + 1 ServiceStatus: Competition proposal

Concept


The project is located at Beirut, as architect said, the city is an “unfinished” superposition of histories, contexts architectures and situations. They want the project to be an interface to generate new connections and create new view axis to observe the history, the present and the future. The project is divide into 3 parts with 3 approaches corresponding to programme demand and diverse scale in the project.

1. Urban integration through topographical/territorial and spaial scenery. The BASIS is the bottom part of the project, which is located between Marina and Solidere district. Through site analysis by the architect, they found the lack of public space and over green space is an important character of the site. The BASIS made use of the site’s 8m level difference, created three levels of retail space combine with green area and pedestrian road connected to the North, East and West of the plot. The spacial quality of BASIS is inspired by existing urban morphology of Beirut.

2. Above BASIS is the CLUSTER HOUSE, a the residential part of the project. The housing typology is a react of traditional oriential patio house, which has a rich relationship between interior and exterior. The apartment design is structures around a central patio for natural ventilation and distribution between different units.

3. The TOUR is the central object of the project, a tower with 145m height. The architect want the tower to bear a new meaning as a catalyser of the city, restores the concentration of history and culture. therefore the material consists the city’s images, lights, tranforms, and renews. The architect chose a material with characteristics of weightlessness, glass and finely hatched steel. The envelope reflects the surroundings and the change of lights, and is consists of sliding panels with preforated sheets of metals with mirror polish finish. the tower would become disappear depending the lights shining on it and the angle from which it is perceived.

IMAGES

1. Diagram of images reflected on TOUR envelope2. Street view of TOUR3. View from apartment4. Diagram of typical unit layout5. Sectional diagram of unit types distribution

SOURCES

http://www.dezeen.com/2009/10/29/486-mina-el- hosn-by-lan-architecture/

www.lan-paris.com/project-486-mina-el-hosn.html

www.undo-redo.com/LAN/The_Journal_LAN_n1_ANG.pdf


The project succesfully demonstrates the design of a residential tower in three different layers: the urban integration at the street level, the apartment design which is a mothology of traditional housing typology and the overall perception of the whole building as an intention to concentrate the history and cultural value of the Lebanon through the design of envelop. All three layers are related to the local situation and value, and has perspective to the

17LEADENHALL ST. TOWER

LEADENHALL ST. TOWERLondon, United Kingdom, 2002

Concept


The context of this building is quite remarkable as the famous Lloyd’s building is across the street and some churches of old are mere yards away. this building will replace the old P&O office building from the 60’s and is situated on a square which is mainly used as passage area. these issues are addressed with a sense of public and private space with which the public square is preserved and even extended into the building with a grand atrium and totally open facade. the atrium will contain shops, cafe’s and also have room for exhibition area’s. there is a mezzanine level (1st floor back of the building) which provides access to office elevators etc.

The shape and form of the building are radical design decisions based on daylight and Building structure. the Leadenhall Tower will be Climatically sound and structurally spacious.

Richard Rogers organization of the building more or less caries his trademark very obvious. next to the understanding of structure and face mechanics there is a distinct separation of served and servant space which is noticeable from both drawing and building form. at the back of the building Rogers situates all the vertical transport and services for the building keeping the floorspace clear from obstruction and additional building structure which ends up in a net to gross ratio of 77%.


The Leadenhall building is a very rational approach to all the direct aspects of its surroundings, the sunlight, the views, The neighbouring buildings and the public space. This public space is an aspect of this building which shows a very uncommon solution. The public hall is a great space and a necessary space for high rise building types. The amount of threshold in a tower is dramatical low compared to its capacity, This public space within the building acts as a buffer to organize all traffic and facilitate the normal plinth facility’s.

IMAGES

1. Building envelope projected upon existing situation.2. Context diagram.3. Sketch design comparison diagram.4. Facade Study diagrams.

SOURCES

Antonino Terranova, New Urban Giants, White Star Publishers, 2008.

Architect: Richard Rogers and PartnersClient: British Land Plot Area: 5.295 m2Building Footprint: 1.115 m2Gross Floor Area: 84.424 m2Height: 225 mCost US$: 454 millionLifts: 24 + 2 ServiceStatus: Constructed

18 SHENZHEN INTERNATIONAL ENERGY MANSION

SHENZHEN INTERNATIONAL ENERGY MANSIONShenzhen, China, 2016

Architect: Bjarke Ingles Group (BIG)Client: Shenzhen Energy CompanyPlot Area: ? m2Building Footprint: ? m2Gross Floor Area: 96.000 m2Height: 200 m Cost US$: Unknown Lifts: 22 + 2 ServiceStatus: Unbuilt

Concept


The Shenzhen Energy Company headquarters rises 200 meters creating a new landmark visible from the highway in the cultural, political and business center of Shenzhen. BIG envisions combining a practical and efficient floor plan layout with a sustainable façade that both, passively and actively reduce the energy consumption of the building. The façade is conceived as a folded skin that shades the office complex from direct sunlight and integrates solar thermal panels, reducing the overall energy consumption of the building. The folded structure of the facade also creates special niches and unique spaces inside the office floors as well as on the streets around the building.


New curtain wall principle.

1. The traditional curtain wall glass façade has a low insulation level and leaves the offices overheated by the direct sunlight. This results in excessive energy consumption for air conditioning as well as the need for heavy glass coating that makes the view seem permanently dull and grey.

2. By folding the façade in an origami like structure a structure was achieved with closed and open parts. The closed parts are providing a high-insulation façade, while blocking the direct sunlight. On the outside the closed parts are fitted with solar thermal heat panels that are powering the air conditioning and providing dehumidification for the working spaces.

3. The folded wall provides a free view through clear glass in one direction, and creates condition of plenty of diffused daylight by reflecting the direct sun between the interior panels.

4. Even when the sun comes directly from east or west, the main part of the solar rays are reflected off the glass due to the flat angle on the window. The reflected rays increase the efficiency of the solar thermal energy panels. The combination of minimal passive solar heating as well as active solar panels will reduce the building energy consumption with more than 60%.

IMAGES

1. The building follows the lines of the existing skyline2. The facade up close3. A new type of curtain wall is being created4. Facade diagram: traditional curtain wall5. Facade diagram: solar thermal heat panels6. Facade diagram: view and diffuse daylight7. Facade diagram: the angled glass reflects solar rays for higher effeciency8. Indoor render of the offices9. Difference characters of the facade. Open and closed10. Model (bird’s eye view)11. Outdoor render showing the direct surroundings12. Specific modifications: Commercial entrances13. Specific modifications: Lobby entrance14. Specific modifications: Meeting rooms with views

SOURCES

http://www.big.dk/projects/sem/

http://www.archdaily.com/34496/shenzhen-international-energy-mansion-big/

http://www.designboom.com/weblog/cat/9/view/7505/big-shenzhen-international-energy-mansion.html

http://www.bustler.net/index.php/article/big_to_de- sign_shenzhen_international_energy_mansion


“We propose to make the Shenzhen Energy Mansion the first specimen of a new species of office buildings that exploit the buildings interface with the external elements – sun, daylight, air humidity, wind – as a source to create a maximum comfort and quality inside.

The Shenzhen Energy Mansion will appear as a subtle mutation of the classic skyscraper – a natural evolution rather than a desperate revolution.” - Bjarke Ingels, BIG

19THE SHARD

THE SHARDTower Bridge, London, 2012

Concept


Because the Shard is the first really tall building and has no reference with an existing skyline it has and 360 degree orientation. The form of the building is tapered with the smaller residential floor plans in the top of the building and the big office floor plans at its base. The concept of Renzo Piano was to create a mixed use vertical village where could be lived, worked and for leisure. The shape of the building consists of eight shards that are leaning towards each other. These shards are made of double skin glass façades, with a cavity in between them. The outer skin is made of single glazing while the inner skin is made of double glazing. To reduce heat gain the double skin façade is ventilated and has roller blinds in the cavities to increase comfort levels and allow the maximum level of natural daylight to entre. If there is excess heat generated by the offices that will be used to heat the hotel and apartments. Any additional heat excess will be led outside. In between the ‘cracks’ of the shards there are (outside) gardens, where people have access to.


This is the fist time a double skin façade is applied on a building of this scale. A second-skin is literary a glass layer around the entire building and contains a layer of air that acts as a buffer in front of the interior façade.

URBAN INTEGRATION

The Shenzhen Energy Company headquarters rises 200 meters creating a new landmark visible from the highway in the cultural, political and business center of Shenzhen. BIG envisions combining a practical and efficient floor plan layout with a sustainable façade that both, passively and actively reduce the energy consumption of the building. The façade is conceived as a folded skin that shades the office complex from direct sunlight and integrates solar thermal panels, reducing the overall energy consumption of the building. The folded structure of the facade also creates special niches and unique spaces inside the office floors as well as on the streets around the building.


The Shard has multiple viewing galleries, the mid-level public viewing galleries are approximately at the same height as the London Eye (ferris wheel) and the top deck at 310 meters will provide views from a height that will be the highest in the UK, and Europe.For the first time in the UK there was used a new type of elevator during the construction of the building. There was a ‘Jump Lift’ installed. This is a self-climbing elevator that uses the building’s permanent/final elevator shaft and moves higher in the shaft as the building gets taller. With this system it is possible to continue construction at the levels above while the lift is operating in the same shaft at the

Architect: Renzo Piano Client: The Sellar Property GroupPlot Area: 15.000 m2Building Footprint: 4500 m2Gross Floor Area: 130.000 m2Height: 310mCost US$: 1.9 billionLifts: 36Status: Constructed

IMAGES

1. fragment of the façade renzo piano website

2. principle of a second-skin façade by author

3. second-skin façade applied at the Shard by author

SOURCES

http://www.rpbw.com/ (renzo piano website)

20

Architect: Belgiojoso, Peressutti and Rogers (Studio BBPR)Client: -Plot Area: 1200m2Building Footprint: 800m2Gross Floor Area: 9000m2Height: 106 mCost US$: UnknownLifts: 7Status: Constructed

TORRE VELASCAMilan, Italy, 1958

Concept


The architecture trio BBPR (Banfi (who died before the design process of the Torre Velasca started), Belgiojoso, Peressutti and Rogers) formed a renowned Milanese architecture partnership, founded in 1932.

The moment of design came at a time when the first generation of Italian modernist architects were in a proces of reviewing the international rationalist movement. Although the Torre Velasca in Milan follows the strict rules of the modern movement, it is at the same time reacting to its context, unlike the Pirelli tower, built around the same time but in a different style.

Especially the “dialogue” with the cathedral, the towers within the city and most importantly ‘Castello Sforzeso”, also in the city center (image #1). The dialogue refers to the colour of the facade and shape of the tower. The colour is similar to that of medieval, especially Lomabrdian, fortresses and towers. The shape is also similar to older towers, which generally consisted of small lower floors, providing storage and workspace, and larger upper floors for living quarters. Exactly the same division is used in this design, with shops and offices on the lowers floors and housing on the upper floors.


However, the traditional tower shape is not merely an esthetical issue. The shape is largely defined by the location and surrounding built volumes. Only in second case is it inspired by traditional castle and tower shapes.

At the time of construction the plot (image #2) was already surrounded on all sides by existing low building blocks. This did not allow a wide base with a slim tower, which would provide a strong connection with its immediate surroundings, and provide a lot of space for retail. The architects opted for the opposite, designing a slim base with a wide upper part of the tower, thereby reacting to the dense existing building blocks surrounding the plot.

Also revolutionary in the high rise built environment for the time is the combination of modern techniques with traditional form.

IMAGES

1. Google Earth screenshot of the view of the Torre Velasca from the Castello Sforzeso.2. Torre Velasca in its dense surroundings3. Torre Velasca towers above the surrounding buildings.4. Supports of the upper levels.

SOURCES

http://eng.archinform.net/projekte/553.htm (sections and plan drawings)

http://www.edilone.it/Torre-Velasca_opere_y_35.html (Italian article)

http://www.exibart.com/notizia.asp/IDCategoria/208/ IDNotizia/6173 (Italian article, published on 17 dec 2007)

http://www.olivari.it/designers/bbpr.html (Italian article)

TORRE VELASCA

21

VIENNA TWIN TOWERSVienna, Austria, 2001

Concept


The complex, housing mainly offices but also leisure and shopping facilities in the base and the deep basement levels, stands on the southern edge of Vienna, Austria, on the site of the former Wienerberger quarries and brick ovens. This company is still owner of most of the land.

“The concept unifying the entire project, which first appears in base of the building, is the architect’s intent of creating a continuous fluidity in the urban context, in creation of a complex which is more than just functional: a true pulsating heart of city society, maintaining an ongoing dialogue with its urban setting, which it intersects and overlaps.”

This concept is visible in the many open spaces on different levels, the skylights letting light into the deep basement levels but simultaneously allowing views through the skylights on the glass facades of the towers, and of course the transparent towers themselves.

The towers have been positioned at a 59 degree angle between themselves, but, together with the base, woven into the strict urban fabric using slim objects with beautiful, attractive lines which link them to their urban setting and make the complex an attractive place to work and enjoy.


These two towers with its base are not necessarily revolutionary in their shape or buildup, but most definitely in both the way the complex has been woven into the urban context and the extreme trasparency.

As explained above, the towers and the base are well adapted to the location, allowing visual, mental and also physical connections by the many views, transparency, ramps, stairs and al- leys.

Secondly, by implementing a column construction (as can be seen in the plan) together with integrating the entire energy system into the thin floors, the facade is entirely unobscured and the glazing is fully visible. This allows even the higher floors to have a connection with the urban surroundings.

IMAGES

1. View of the facade of the two towers, with the five, multi-storey glazed bridges in between the towers.

2. Image of the connection between the commercial area (underground) to one of the towers.

3. Image of the hall, in the base. Clearly visible are the large sky lights allowing views on the towers, and also the depth of the basement levels.

4. A second section, in this case of the lower tower.5. Floorplan of the base level, with the outline of the towers

visualized6. View of the complex, from the western area outside the city.

SOURCES

Molinari, L., Massimiliano Fuksas, Works and Projects 1970-2005, 2005, Skira Edi- tore, Milano

website: http://www.floornature.com/proget- to.php?id=4182&sez=30

VIENNA TWIN TOWERS

Architect: Massimiliano Fuksas Client: Wienerberger Baustoffindustrie AG and the Immofinanz Immobilien Anlagen AGPlot Area: -Building Footprint: 2 x 1400m2Gross Floor Area: 100000m2Height: 138 m & 127 mCost US$: UnknownLifts: 2 x 9Status: Constructed

22

EWHA CAMPUSSeoul, Korea, 2008

EWHA CAMPUS

Architect: Dominique Perrault ArchitecteClient: Ewha Campus Center ProjectPlot Area: 19.000 m2Building Footprint: 19.000 m2Gross Floor Area: 70.000 m2Cost US$: 107 millionLifts: 3 + 1 ServiceStatus: Constructed

Concept


The EWHA Campus can definitely claim to be the first horizontal skyscraper. Apart from horizontal it is also 80% underground and that makes the prject even more unique. The complexity of the immediate site through its relationship to the greater campus and the city of Shinchon to the south demands a “larger than site” response, an urban response, a global landscaped solution which weaves together the tissue of the EWHA campus with that of the city. This gesture, the “campus valley”, in combination with the “sports strip”, creates a new topography which impacts the surrounding landscape in a number of ways. The Sports Strip, like the Valley, is many things at once. It is a new gateway to the Ewha campus, a place for daily sports activities, a grounds for the special yearly festivals and celebrations, and an area which truly brings together the university and the city. It is most importantly a place for all, animated all year long.

Like a horizontal billboard, the sports strip presents the life of the university to the inhabitants of Shinchon, and vice-versa. Once through the sports strip, pedestrian movement and flow through the site is celebrated. A new “Champs Elysées” invites the public into the site carrying students and visitors alike through the campus center northwards, bringing together the different levels of the site. The pastoral nature of the campus is perhaps its most remarkable quality. It should be permitted to grow outwards, or inwards in this case, covering the campus center with trees, flowers, and grass. An idyllic garden is the result, creating a special place for gathering, conducting informal classes, and simply relaxing


The EWHA Campus is revolutionary because it is one of the first built projects to combine linear building, underground architecture and landscape design. 70.000sq.m. of program would be easier to build on stacked floors and form an iconic high-rise building, yet the architect innovates and creates an even more iconic building by placing it into the ground. It is a notion of weaving together the campus is again evident, blurring the distinction between old and new, building and landscape, present and past..

IMAGES

1. The Campus filledwith students2. First Render of the concept3. Night views4. View of the monumental staircase from the lowest part5. The schism on the ground is revealed. Generous gesture to provide natural

light6. View from the interior. Sunlight casts and pen- etrates the earth.

SOURCES

Per Fernandez A. & Mozas J. (2008), Hybrids II – Low Rise Mixed-Use Buildings, A+T EDICIONES, Spain

http://archide.wordpress.com/2008/12/03/ewha-womans-university-campus-center-by-dominique-perrault/

http://www.perraultarchitecte.com/en/projects/2459- ewha_womans_


Les Champs ElyséesA new seam slices through the topography revealing the interior of the EWHA campus center. A void is formed, a hybrid place, in which a variety of activities can unfold. It is an avenue, gently descending, controlling the flow of traffic, leading to a monumental stair carrying visitors upwards, recalling les Champs Elysees or the Campidiglio in Rome.

• An entry court, from which access to the various departments exist,• A node, or point on a trajectory to another destination,• A forum for the exchange of ideas as students gather after class to discuss their

views,• A piazza, with the cafeteria spilling out creating a real “place” to stop and relax,• An outdoor theatre, as the stair can be used in an amphitheatre like fashion,• A sculpture garden, where indoor gallery events can push outwards.

It is precisely this flexibility (conceptual and real) which permits the New EWHA campus center to inevitably weave itself into the landscape sometimes a building, sometimes a landscape, sometimes a sculpture.

The campus centre is designed to offer a new sense of direction for higher education in the 21st century. It establishes organic relations between the centre and surrounding areas of campus as well as between above ground and underground spaces.

23

300 NORTH LASALLEChicago, United States, 2006-2009

300 NORTH LASALLE

300 NORTH LASALLE

The 300 North LaSalle building is a typical example of a high-density development within a highly urban context. With a height just over 236 m it is one of the highest buildings in Chicago. Mainly consisting of generic office space, the key features of this project are the design of the public space in the plinth and the delicate treatment of the facade.

URBAN INTEGRATION

The position of the tower alongside the Chicago River Bank, currently undergoing a large-scale redevelopment, is the main reason to integrate different levels of public functions in the lower part of the tower. The combination of an upper level lobby and café and a lower river level restaurant is very characteristic for Chicago.

The tower itself has been shifted away from the riverside towards the inner streets, broadening the river bank and thus providing space for a comfortable terrace facing the south.By employing two routes through the different levels, one external and one internal, and several entrances on both levels, the tower is fitted perfectly within its surroundings. By providing the generous inside public space with a strong visual connection towards the outside, the public character of both is emphasized.

FACADE APPEARANCE

Although contemporary in appearance, the tower is very much anchored in the past. With its slenderness and high-tech verticality the tower resembles the modern Chicago architecture, originating from pioneers such as Mies van der Rohe. The employed curtain wall system with its vertical reflective fins is a direct interpretation of the ‘classic’ steel frames of for instance the Seagram Building.

Not only do the stainless steel fins emphasize the verticality of the building, they also express the structural system both behind the building and its facade in an honest way. The light reflective stainless steel is very visible and contrasts with the large amount of highly transparent glazing and the dark surfaces in front of the floors.

Also, these stainless steel frames are part of the different stages in perception of the building. From a distance, one notices the verticality through the shape of the building and its setbacks, creating a feeling of slenderness. Once approaching, the fins become visible and the verticality is dominant. Then, when viewed in detail, the difference in size and shape between these fins stands out, expressing the structure. Because of this, the tower seems to change from every angle, also along with the time of day and the amount of direct sunlight.

However, there seems to be a difference between the intention of the architects shown in the renders and the actual built reality. In the renders the seven fins facing south along the river are very predominant, which in fact is not at all the case. Personally, I find this a quality. The building should not expose everything at first sight, but should be discovered and perhaps even keep some secrets.

FACADE CONSTRUCTION

The facade is built up out of different elements, hoisted up on site and mounted on the floors as seen in the photographs on the next page. Each element consists of a steel framework containing both glass and a closed panel. By minimizing the visibility of the frame around the closed panel from the outside, the individual elements cannot be easily distinguished providing the facade with a smooth character.

While almost the entire tower is standardized, especially in the lower parts underneath the cantilevers several different elements have been used. The hinges, which usually are placed on top of the concrete floors also differ here. As shown on the photograph on the bottom of the next page the elements are connected to hinges attached to the bottom of the floor. The lowest elements just above street level cover both floors underneath and above.

Architect: Pickard Chilton Developer: HinesPlot Area: +/- 400 m2Net Floor Area: 117.735 m2Height: 236,2 m (775 ft)Building Costs US$: 480 millionSelling Price US$: 655 million (2010)Lifts: 24 (+2 freight, +2 garage)Status: Constructed

SOURCES

http://www.archdaily.com/146450/300-north-lasalle- pickard-chilton/

http://www.property-website.com/pws/sites/112/live/

http://www.worldpropertychannel.com/ featured-columnists/deal-of-the-week-300- north-lasalle-charles-schreiber-jr-hines-interests-lp-mesirow-financial-holdings-inc-donald-miller- piedmont-office-realty-trust-2749.php

http://archrecord.construction.com/features/ GDGB/2011/300_North_LaSalle.asp

IMAGES

one, two and four: Renders by PC.

three: drawings by Pickard Chilton Architects, analysis on services and vertical transport.

five: construction photographs from: http://skyscrapercity.com/showthread.php?t=369238

24 NORDDEUTSCHE. LANDESBANK

NORDDEUTSCHE LANDESBANKHannover, Germany, 1996-2002

Architect: Behnisch, Behnisch & PartnerClient: Norddeutsche LandesbankPlot Area: 14.100 m2Gross Floor Area: 81.000 m2Net Floor Area: 71.600 m2Height: 83,52 mBuilding Costs US$: 193 millionLifts: 16Status: Completed

NORDDEUTSCHE LANDESBANK

Behnisch, Behnisch & Partner is a collaboration between Stuttgart based architects Gunther Behnisch (1922-2010), his son Stefan Behnisch (1957) and his partners. Their style resembles a lot of features from modern German Bauhaus architecture, such as the industrial use of standardized materials, the employment of grid structures and the large amount of transparency used to define space.

However, their architecture transcends the modern by accepting these principles and using them to form a specific anwser to each individual brief. Their ‘Situationsarchitektur’ can be seen as an organic approach to certain functional demands, while trying to exploint the conditions of the context. Most of their projects read as sculptural volumetric expiriments, almost moving towards deconstructivism.

URBAN INTEGRATION

The design for the Norddeutsche Landesbank is situated south next to the historical centre of Hannover, a medium-sized city in the heart of Germany. Directly adjacent to the rectangular plot lies the Friedrichswall, one is of the busiest roads in the region and the former medieval wall. Furthermore, the plot lies directly next to a large theater, a park and several museums.

Part of the competition brief was to be respectful to these surroundings, as well as to avoid the notion of monumentality. In reaction to these demands the architects decided on a simple four-storey perimeter block to house the necessary program. However, when they won the competition the client desired more office space to be added to the design.

Since the architects could not increase the height of the perimeter block due to the height of the surroundings they designed an internal tower instead. To avoid a monumental image the tower was split up into several volumes. Looking at the project one can challenge whether or not they really succeeded in this.

The tower looks immensely complex, though the idea behind it seems clear. Each volume emerging from the core represents a different function. While the perimeter block houses all the generic office functions, the tower is literally the heart of the building and contains a cafeteria, several conference rooms and ends at the top with the executive director’s office.

Then, as a contrast to the perimeter block, which reacts on the orthogonal grid of the direct surroundings to the south, the orientation of the volumes in the tower relates to the organic geometry of the historical city towards the north.

So in fact, both parts of the complex relate to a different part of the city, and still they strengthen one another. The lower part literally protects the inner tower and by opening up towards its surroundings provides for a public courtyard, where visitors can enter and are sheltered from the noise outside. In this way the tower is integrated in the urban context.

SUSTAINABILITY

The environmental solutions in this project came forth both out of the wish to surpass the German regulations and to reduce costs during the lifespan of the building. Transsolar Energitechnik focused on three main subjects: ventilation, daylight and cooling.

1. VentilationThe building uses an almost entirely passive ventilation system. Fresh air is let in naturally from the courtyard, where due to the large pond and the green roofs the air quality is very good. Via the offices the air flows into the lowered ceiling above the corridor, and from there eventually passing through the passive chimneys towarads outside. The chimney effect is based on the difference in temperature and pressure between the in- and outlet air. This current can be strenghtened by small mechanical fans installed in the office spaces.

2. DaylightThe external sunshading louvres are divided into two parts. The lower part reflects the sun outward and reduces solar gain and glare, but still allows for the employees to look outside. The upper part reflects the sun upward, so that light falls on the ceiling, providing lighting deep into the office area. To allow natural light to also enter the corridor the partitions are partly made from glass as well. Because the louvres are placed at a distance from the facade the cavity behind the louvres is ventilated and reduces heat gain. In the courtyard mirrors are used to reflect the light towards every corner and lighten shaded areas.

3. CoolingIn response to the daylight reflection system, the project employs a cooled ceiling to minimize heat gain from the indirect solar radiation and to provide cooling for the internal heat load. The low-temperature radiant slab system uses polyethylene water tubes which run through the lowest part of the exposed concrete ceiling. The water is cooled to about 17 degrees by running this through the foundation piles. In wintertime the system is reversed and a heat exchanger is used to heat up the water from 6 to 25 degrees.

All these systems prove to be higly functional for the generic office spaces. Also, the amount of integration between the reflective louvres and the cooling ceiling is admirable. This has been one of the first projects where these aspects have been executed in an extensive system of monotoring, and is therefore innovative.

IMAGES

1. Landesgirokasse, Behnisch, Hannover Very similar project also on Friedrichswall from 1997.

2. Eye-level view from northwest: Tower seems not te be that visible, but from a somewhat larger distance it is very prominent.

3. Birds-eye view4. Tower view

Visible is the stacking of volumes askew from one another, relating to the historical city to the north.

5. Inner courtyard with pool6. Climate system diagrams7. Situation 1:2000, Ground Floor 1:1000.

SOURCES

https://www.nordlb.com/press/press-material/

http://www.behnisch.com/projects/44

http://nu-mad.com/theory/dissertation_vassar.pdf

http://www.architecture.uwaterloo.ca/faculty_projects/

25ROBIN HOOD GARDENS

ROBIN HOOD GARDENSLondon, United Kingdom, 1966-1972

Architects: Peter Smithson (1923-2003) Alison Smithson (1928-1993) Client: Borough of LondonPlot Area: m2Building Footprint: m2Gross Floor Area: m2Net Floor Area: m2Height: +/- 30 m Building Costs: UnknownLifts: 2Status: Awaiting regeneration proposals

Concept

Peter and Alison Smithson

Within the scope of this analysis discussing the entire architectural development within the work of Peter and Alison Smithson goes too far. In this case it will suffice to say that the Smithsons were amongst the leading post-war modern architects and prominent members of Team X, a movement originating from CIAM.

Due to their particular interest in the city and its sociological aspects, they searched within their architecture for new concepts on how to adress this ‘social fabric’. Their ideas about architecture and public space already formed in the early start of their careers in the 1950’s.

GOLDEN LANE HOUSING

Although the plan for the Robin Hood Gardens was not designed until 1966, we see an enormous similarity between this project and their Golden Lane Housing proposal dating back from 1952. In fact, the designing of Robin Hood Gardens brought the opportunity to realize the ideals that had been behind the Golden Lane Housing proposal. For at the time, they did not win this competition, but were still appraised for their idea of a ‘street-in-the-air’.

Their concept was that of a spacious gallery, designed as if it were a street, providing access to the dwellings both above and underneath, but even more importantly: a space for social interaction. Inspired by Le Corbusier’s ‘rue intérieure’ in the Unité, the Smithsons decided to move the corridor to the outside, extending the homes and offering an outdoor space for people to sit and meet, children to play.

ROBIN HOOD GARDENS

The proposed project consists of two parallel buildings, partly enclosing a large green space in the center of the plot. Both buildings, the one seven and the other ten storeys high, together contain 213 maisonette apartments. These can be accessed on every third level by the galleries along the outside perimeter of the plot. Towards the park in the center, all dwellings are provided with small balconies over their entire width. As early sketches from the design process show, this has not always been the case. At first, the architects designed the galleries on the opposite side, oriented towards the semi-public park.

CURRENT AFFAIRS

Despite the development of this new typology, the project was far from succesfull. Being executed in a low-income neighbourhood in East-London on a site which was enclosed by busy roads, the project became isolated from its surroundings. Quickly, there rose a gap between the way the project was intended and the reality. Downfall struck, criminal rates were high and the buildings decayed.

As for typology itself, it did not prove to be the space for social interaction the Smithson had intended. The dwellings could not be extended towards the gallery, simple because they were not there. No living spaces adjoined this gallery, creating a public blind space which was therefore highly prone to criminality.

Although several groups of achitects proposed to get the building listed as a monument because of its historical significance, the municipality did not approve of this. Since then, the project is currently awaiting different proposals for its redevelopment. It is still unclear weather the buildings will be kept and refurbished, or there will be a completely new development.

If we look closer at the floor plans, we see that all living rooms are oriented towards the outside perimeter above and below the gallery. The kitchens are placed towards the inside green space on gallery level, while the bedrooms fill up the remaining gaps. Along the galleries themselves only entrance zones are placed, due to the large amount of doors and necessary vertical transport behind it.

Due to the complex distribution of dwellings three different types are formed. Because these types are executed mirrored to one another both above and beneath the gallery, six unique dwellings exist One block of these six apartments forms the module for the entire complex. This module is sometimes adapted to unique situations, such as the rotation within the volumes or the necessary cores which house the vertical transport.

IMAGES

1. Photomontage Golden Lane Housing.2. Idem. Visible are the ‘streets-in-the-sky’ and the building volumes from

ground level. Notice the generated rythm in the facade, due to the galleries.3. Early sketch of the building in relation to the semi- public park. Eventually,

the galleries were placed towards the outer perimeter.4. Typical section of the developed typology.5. Photograph taken from the park, illustrating the generated rythm in the

facade.6. Design proposal by (?)7. Original situation in the 1970’s.8. Existing situation and degradation.

SOURCES

http://www.guardian.co.uk/artanddesign/2010/dec/05/robin-hood-gardens-east-london

http://www.bustler.net/index.php/article/robin_hood_gardens_design_competition_the_results/

http://l78z.org/architecuture/ad-classics-robin-hood- gardens-alison-and-peter-smithson/

http://www.british-history.ac.uk/report. aspx?compid=46486

26 CUBE TOWER

CUBE TOWERGuadalajara, Jalisco, Mexico 2005

IMAGES

1. Model of the tower2. Tipical floor3. Facade materialization4. Entrance5. Facades6. Under construction (slabs)7. Empty and open central space8. Inside the offices9. Under construction (plan)10. Inside the cores

SOURCES

www.cpinos.com

www.noticiasaqruitectura.info/especiales/torre_cube en.wikiarquitectura.com/index.php?title=Cube_Tower

www.e-architect.co.uk/.../cube_tower_guadalajara

TORRES, Ana Maria. Carme Pinos. Monacelli 2003

Concept


Opposition of the offices that require employees to work enclosed within four walls, Pinós raised an architecture designed not only in terms of sculptural beauty, but primarily designed to offer a better experience for users.

The project stems from the desire to create office ventilated and lighted all with natural light, and in that given the good climate of the city of Guadalajara air conditioning was not necessary.


SUSTAINABILITY: The fragmented volumes, which creates high terraces converted into windows of urban space and the large-central porti- co, which opens the building to get a landscape- architecture that loses autism.

The center of the building, namely the space between the three clusters of vertical movement, is an open space that is illuminated by deleting laterally alternately three floors of offices and modules that, while they become windows of the space center, lets the air circulate by the possibility of removing the air conditioning.

These “cores” function as the main structure of the building, and each has all the elements of services, there is an elevator in each of them, a ladder and public toilets.

Architect: Carme Pinós Client: Cube InternacionalPlot Area: 2.500 m2Building Footprint: 725 m2Gross Floor Area: 14.500,5 m2Height: 70 mCost US$: 10 millionLifts: 3Status: Constructed

CONSTRUCTION: The building was developed from three cores of concrete which are the only structure for securing the entire building. Of these emerging big blown up to 10 m with slabs of up to 22 m. that were raised by the use of massive slabs postensadas and innovative wall metal beams. These three cores contain all the facilities and vertical circulations.

This allows us to develop a very free parking and offer modules for office without any hindrance.

Torre Cube plays with gravity, with the balance of its parts, which is entrusted to a rational system of pieces of concrete.

FACADE: White concrete and wood are among the materials that accompany the conventional concrete, steel, glass and aluminum to.

The exterior facade is composed of a body of latticework of wood with sliding doors that make umbrellas and the interior of operable windows with steel frames. This “double skin” to provide enough natural ventilation building that rarely require the use of air conditioning (remember, is in Guadalajara).

27SCALA TOWER

SCALA TOWERCopenhagen, Denmark, 2007

IMAGES

1. Skyline of Copenhagen2. Series of Concept Diagrams3. Structural Sheme of the Twist in the Tower

SOURCES

http://www.archicentral.com/tag/bjarke-ingels-group/

Bjarke Ingles’s Facebook;

Concept


“This building by BIG is conceived as a reinterpretation of the historic Copenhagen tower, consisting of two elements: a base relating to the scale of the surrounding buildings, and a slim tower becoming a part of the skyline. The base houses shopping, conference center and the new Main Library of Copenhagen. The tower is a luxury hotel. The tower and the base are morphed together in a spiral-shaped cascade of stairs leading to a public roof top plaza overlooking the City Hall square.’ Visible from the city’s Central Station, Town Hall Square and Tivoli Gardens, the project strives to extends the area’s vibrancy, with its mix of functions allowing for a variety of uses and users throughout the day. Even with the complexity of the twist from podium to tower, the design illustrates the direction for housing multiple functions in singular object. This is opposed to an approach that expresses each function individually. BIG’s design addresses both its immediate context and the wider context of Copenhagen. The architects conceptually melded two types of towers present in the city: spiraling church spires and glass box office buildings. While created a hybrid via a particular response to the city’s skyline, the twisting shaft of the tower opens up immediate views to its surroundings on its raised public space. Steps (scala) from the street level (paralleling the library’s circulatiton underneath) provide access to the plaza, vertically aligned with the neighboring buildings. The generous amount of outdoor space afforded to the public must be partially attributed to the city’s desire to house their Main Library within Scala Tower, as well as the architect’s response to the site and program that led them to house everything in one volume. Conceptually these two truly.

(R)EVOLUTIONARY ABOUT THE CONCEPT

Architect: Bjarke Ingles Group (BIG)Client: Centerplan Plot Area: 5.295 m2Building Footprint: 5.295 m2Gross Floor Area: 66.000 m2Height: 117 mCost US$: Unknown Lifts: 3 + 1 ServiceStatus: Competition, Decision Pending

The Scala Tower is not interesting becouse of its derived form from the traditional tower morphology, its not special becouse of this twist between tower and platform either. it is interresting becouse of what this twis in combination with stairs creates for posibilitys; a vast expansion of public space and with this an intergration with effodless/unobstructed or bridged transistion from excisting public space onto the newley created.

28 SEAGRAM BUILDING

SEAGRAM BUILDINGNew York, USA, 1958

Architect: Ludwig Mies van der RoheClient: Seagram Liquor CompanyPlot Area: 2240 m2Building Footprint: 1120 m2Gross Floor Area: 46.000 m2Height: 157 mCost US$: 45 millionLifts: 18Status: Completed (1958)

Concept


The Seagram Building, build in 1956-58, is the only building in New York City designed by architectural master Ludwig Mies van der Rohe. Carefully related to the granite and marble plaza on its Park Avenue site, the elegant curtain wall of bronze and tinted glass enfolds the first fully modular modern office tower.

Mies located the thirty-eight story office tower, which occupies only fifty-two percent of the entire site, 30 meters back from Park Avenue. Using the glass-enclosed lobby and raised tower, and a slab marquee and continuous pavement (see floorplan), Mies provided the Seagram Building with a unity between indoor and outdoor spaces. This, in addition to the monumental spaces for a bar and restaurant located in the opposing wings behind the lobby, satisfied the program’ s demand for a large public space on the ground story.

In its monumental simplicity, expressed structural frame and rational use of repeated building elements, the building embodies Ludwig Mies van der Rohe’s philosophy that “structure is spiritual” and “less is more.” He believed that the more a building was pared to its essential structural and functional elements, and the less unnecessary imagery is used, the more a building expresses its structure and form.


The New York zoning law, forbidding a building to rise from the sidewalk without progressive setbacks above a certain height due to sky exposure. The different approach of placing the building further away from the streets stayed true to this law and created an open public square, what made the Seagram Building one of a kind. It was the first evidence that architectural gain had taken priority over economic return. It provided the citizens the possibility to get a clear look of the building without having to cross the street. The plaza offers a

IMAGES

1. Aerial view of the site2. Breaking the rhytm of the urban grid.3. Comparison of pedestrian views on a typical New York building and the Seagram Building.4. View from across the street.5. Simplicity of the building can be well seen during nighttime6. ‘Miesian corner’7. Horizontal detail of the facade8. Internal blinds.9. Entrance lobby

SOURCES

Mies van der Rohe, A Critical Biography by Franz Schulze (1989)

http://nyc-architecture.com/UES/UES002.htm

http://www.flickr.com/photos/emilio_guer-ra/6013072329/

http://www.nyc.gov/html/dcp/html/history_project/his- tory_project2.shtml


That the architect put a lot of effort into detailing is clear from the distinctive ‘Miesian corner’ that goes up all 38 storeys. It is a method that expresses the primary structure and consists of a steal column encased in fireproofing concrete and covered with bronze cladding. This type of corner-detailling is a trademark of the International Style, with Mies van der Rohe as one of the leading figures. The facade consists of alternating bands of bronze plating and “whisky brown”-tinted glass. Between the windows, there are vertical decorative bronze I-profiled beams attached to the mullions to emphasize the vertical rise of the facade. Van der Rohe personally stated that this was his only building in the United States which met exactly his European standards.

Other details ensure an uniform appearance throughout the elevations. Each window contains a Venetian blind which may be adjusted to only three levels (open, half-closed, and fully-closed) and the angle of its slats is set at forty-five degrees so that during the day the exterior has a harmonious composition.

welcome moment of spatial relief in the repeated rhythm of the New York grid and was an prime example within the new requested zoning law to implement public space with each new development.

29WILLIS TOWER (SEARS TOWER)

WILLIS TOWER (SEARS TOWER)Chicago, USA, 1973

Concept


In 1969, Sears Roebuck and Company was the largest retailer in the world, with about 350,000 employees. They decided they needed one large office space for their employees. Architects Skidmore, Owings and Merrill were commissioned to design what would become one of the largest office buildings in the world. Fazlur Khan, the structural engineer, designed the “bundled tube” design that handled both wind and gravity.

The structure has a “bundled tube” design in which many of its structural components are prefabricated. The cross section at its base is essentially a 3 x 3 array of squares, each 25 meter on a side. The vertical tubes of the design stop at different heights, creating setbacks at the higher floors. For example, the first 50 floors use all nine bundles, but floors 66-90 consist of five bundles in a cross pattern. SOM intentionally choose this design to offer building tenants a variety of floor plans.

An interesting feature of the tower, not immediately obvious, is that all floors except the ones at the very top have exactly the same window surface area.


The Sears Tower was the first skyscraper by SOM to employ the “bundled tube” structural system, which consists of a group of narrow steel tubes that are clustered together to form a thicker column. The bundle tube design was not only the most efficient in economic terms, but it was also “innovative in its potential for versatile formulation of architectural space. This innovative system minimized the amount of steel needed for high towers, eliminated internal wind braces (since the perimeter columns bear the weight of the wind force), and permitted freer organization of the interior space.

Efficient towers no longer had to be box-like; the tube-units could take on various shapes and could be bundled together in different sorts of groupings.” (Fazlur R. Khan)

IMAGES

1. Isometric drawing www.som.com

2. Breakdown of the bundled tube structure http://en.wikipedia.org/wiki/Sears_Tower

3. window surface area

SOURCES

http://www.willistower.com/

http://www.allaboutskyscrapers.com/sears_tower.htm

http://skyscraperpage.com/cities/?buildingID=5

http://www.som.com/content.cfm/bruce_graham_interview


Sears commissioned architects Skidmore, Owings and Merrill (SOM) to produce a structure to be one of the largest office buildings in the world. Their team of architect Bruce Graham and structural engineer Fazlur Khan designed the building as nine square “tubes”, each essentially a separate building, clustered in a 3×3 matrix forming a square base with 75 m sides.

Black bands appear on the tower around the 29th–32nd, 64th–65th, 88th–89th, and 104th–108th floors. These are louvers which allow ventilation for service equipment and obscure the structure’s belt trusses.

Even though regulations didn’t require a fire sprinkler system, the building was equipped with one from the beginning. There are about 40,000 sprinkler heads in the building. The sprinkler system cost 4 million dollars.

Architect: Skidmore, Owings and Merrill (SOM)Client: Sears, Roebuck & Co.Plot Area: 11.978 m2Building Footprint: 4.703 m2Gross Floor Area: 416.000 m2Height: 527mCost US$: 186 millionLifts: 104Status: Constructed

30 RØDOVRE SKY VILLAGE

RØDOVRE SKY VILLAGERødovre, Denmark, 2009

Concept


“The new skyscraper with a total surface of 21,688 m2 will be located at Roskildevej, a major artery East of the centre of Copenhagen. It is after the Frøsilos MVRDV’s second project in Copenhagen. The skyscraper’s shape reflects Copenhagen’s historical spire and present day high-rise blending in the skyline of the city, it further combines the two distinctive typologies of Rødovre, the single family home and the skyscraper in a vertical village. Consideration of these local characteristics leads to Copenhagen’s first contemporary high-rise.

Responding to unstable markets the design is based on a flexible grid, allowing alteration of the program by re-designating units. These ‘pixels’ are each 60m2 square and arranged around the central core of the building, which for flexibility consists of three bundled cores allowing separate access to the different program segments.

On the lower floors the volume is slim to create space for the surrounding public plaza with retail and restaurants; the lower part of the high rise consists of offices, the middle part leans north in order to create a variety of sky gardens that are terraced along the south side. This creates a stacked neighbourhood, a Sky Village. From this south orientation the apartments are benefitting. The top of the building will be occupied by a hotel enjoying the view towards Copenhagen city centre. The constellation of the pixels allows flexibility in function; the building can be transformed by market forces.”


In this tower, rooms and areas are brought back to units, pixels. Combining these pixels around a core creates a refreshing and renewing building scheme. By removing some of the pixels on the south side the architects have created terraces wich can be used as gardens. The four different core shafts with included lifts make the building flexible and ready to engage the fluctuating market. A flexible, orderly high rise building wich gives the city of Copenhagen a landmark.

IMAGES

1. Rendering overview2. Rendering ground floor entrance & shops3. Facade, Scale 1:10004. Ground Floor plan, Scale 1:10005. Concept drawings

Organisation Light, views and terraces Pixels

6. Rendering construction7. Rendering terraces8. Floorplan 15

SOURCES

Dysturb, urban research www.dysturb.net/2008/mvrdvs-sky-village- winning-skyscraper-competition-entry/

Architectenweb http://www.architectenweb.nl/aweb/redactie/ redactie_detail.


The largest part of this building consists of office space. Therefore the architects choose to design two pixels for the vertical movement of the offices. Dwelling takes one pixel and so does the hotel area. On the ground floor all different functions can be accessed. The offices from the north and east side, the hotel/restaurant and dwelling floors are accessible from the west side.

The four center pixels don`t go all the way up. Pixel 1 (hotel, upper left) goes to floor 27, pixel 2 (office, upper right) goes to floor 23, pixel 3 (dwelling, lower left), goes to floor 22 and the last pixel goes to floor 19.

A few questions arise. How is it possible to maintain a green garden when reaching such heights. The wind will tear everything looking a bit green totally apart. The schemes show trees and other plants, but I seriously doubt their life expectancy. MVRDV claimes to have resolved this issue by placing the gardens only in wall protected areas (corners of the building), but it`s still not highly convincing.

Architect: MVRDV, ADEPT Client: City of RødovrePlot Area: 8 x 8 pixels (3900m2)Building Footprint: 6 x 6 pixels (2190 m2)Gross Floor Area: 22.000 m2Height: 116 mCost US$: Unknown Lifts: Hotel: 2, Offices: 6, Housing: 3Status: Constructed

31SLICED POROSITY BLOCK

SLICED POROSITY BLOCKChengdu, China, 2012

Concept


Sliced porosity block is about urban integration. Steven Holl proposes the typology of a closed building block instead of a tower on a plinth. To prevent the surrounding buildings being blocked from all daylight, the mass is sliced according to sunpath. This method shapes the building mass.

An elevated public plaza is enclosed by the towers. To connect this public plaza with the street a porous plinth is designed, which provides routes from the city to the more intimate plaza in different degrees of publicness.

Urban porosity is also theme for the allready constructed Linked Hybrid of the same architect. These two projects are very interrelated although there are some important differences. Where the special public space in Linked Hy- brid is located in airbridges, in this project it is located in the plinth and on special spots in the middle of the towers, connected to streetlevel with escalators. the plinth makes a return in this projects and forfills the function of an active gateway which makes it possible to regulate the streams of people through program. Therefore the core of both projects will have a different use and character.

Besides commercial accesses to the core 5 ‘slow’ routes are designed as stairways that provide a fully public 24hr accessible entrance to the green plaza. as can be seen in the picture from the model.


The various ways to acces the building core and the typology of building block are excep-tional in high rise projects.

IMAGES

1. sketch from Steven Holl showing the conept of urban porosity2. entrance to green plaza3. render from south4. circulation on street level5. sun slicing method6. shopping area in plinth

SOURCES

Evolo magazine issue 01 2009, C. Aiello, 2009, New York: Evolo LCC

Architect: Steven Holl Client: CapitaLand DevelopmentPlot Area: approx. 20.000 m2Tower Footprint: approx.19.000 m2Gross Floor Area: approx. 300.000 m2Height: approx. 150 m Cost US$: Unknown Lifts: 37 + 9 ServiceStatus: Constructed

32 THE STANDARD HOTEL

THE STANDARD HOTELOver The High Line, New York, USA

Concept


The Standard Hotel, is a porject by Ennead Architects that finished in 2009, though it can easily be built in 1960s. The retro building with its unobstructed views and creative engineering straddling the High Line, has become a landmark in the ever-changing Meatpacking District.

This new 337-room hotel is located in Manhattan’s Meatpacking District, a vibrant neighborhood just east of the Hudson River and west of Greenwich Village on the City’s edge. The eighteen-story, concrete and glass structure defines the identity of the Standard Hotel New York and engages its context through contrast. The building is elevated 19m above the street and straddles the High Line, an abandoned section of a 75-year-old elevated railroad line, which passes over the buildings of the district and is currently being developed as a new linear, public park. The hotel is undeniably of its place; it blurs the distinction between public and private in a city whose identity is as much about neighborhoods and intimacy as it is about anonymity; and it immerses itself in the activity of the street at the same time as its hovering form disengages it. Heralded as the kind of straightforward, thoughtfully conceived building that is all too rare in the City today, The Standard New York has become a landmark in the ever-changing Meatpacking District and newly activated city fabric of the West Village.


The Standard Hotel is innovative because of its respectand integration with the context. The whole building is lifted upon monumental columns, raised 19 meters above ground, letting the historical High Line to pass underneath without becoming an obstacle. The building with its openess, trnasparency and its slender volume reflects the 1960’s with a contemporary interpretation of a landmark.

IMAGES

1. Concept Sketch2. Position of hotel in relation with the HighLine3. Relationship with the HighLine4. View from the Street level5. “Free“ ground floor6. Slender profile of the building7. Detail of the lifted volume and the columns8. Core structural element design (east pier)

SOURCES

http://ennead.com/#/projects/the-standard-new-york

http://architypereview.com/3-hotels-highlights-2010/projects/168-the-standard/description

http://www10.aeccafe.com/blogs/arch-show- case/2012/01/18/the-standard-in-manhattan-new- york-city-by-ennead-architects/

http://www.archdaily.com/201783/the-standard-new- york-ennead-architects/


Engineering Achievements: The two slabs are “hinged,” angled to further emphasize the building’s distinction from the city’s grid and its levitation above the neighborhood. The low-scale environment affords the building unique visibility from all directions, and unobstructed 360° views of the city are ensured from the building.

To clear the easement 30 feet above the elevated railroad bed a transfer structure was required to span nearly 90 feet between exposed concrete super columns and the East Pier. As the owner of the High Line would not allow shoring from the historic structure, the erection of post-tensioned concrete transfer girders would be onerous and prohibitively expensive. Instead, two 65-ksi steel trusses support the eastern half of the hotel tower. A multi-step cantilevered shoring procedure was employed to install the two-piece trusses. The top chords of the trusses are embedded in a 37” deep concrete transfer slab, creating a large double-tee profile. The composite action greatly reduced steel tonnage and optimized the efforts and efficiency of both materials.

Architect: Ennead Architects Client: Andre Balazs PropertiesPlot Area: UnknownBuilding Footprint: 1200 m2Gross Floor Area: 19.000 m2Height: 117 mCost US$: 8.4 millionLifts: 3 + 1 ServiceStatus: Constructed

33S-TRENUE TOWER

S-TRENUE TOWERSeoul, Korea, 2009

Concept


Generally, the plan of this tower typology is determined by the maximum site coverage (60% in this case), and the maximum F.A.R. (Floor Area Ratio 800%), and is repeatedly stacked vertically. Proportionately, this typology is usually on the stable, short side and thus referred to as a “stocky” tower. In this plan, a tower of 14 floors (800% ÷ 60% = 13.333) is possible.

PODIUM TOWERPrototype 1 (Standard): This type is possible when there is enough vertical allowance. The lower four or five levels, mostly filled with high-profit commercial entities, forming a podium of maximum site coverage. Smaller (and therefore less efficient) floors are stacked repeatedly on top of the podium, using extra vertical allowance to reach its maximum height. The podium’s capacity maximizes value and invigorates the neighborhood, while the slim- ness of the tower improves lighting and views inside. In this project, the site is by a 100m-wide street that adds extra height allowance, for a possible total of 36 floors. Prototype 2 (L-shaped): This is a variation of the podium tower; The tower atop the podium faces the street and horizontally forms an L-shape. The tower’s visibility increases from the street, while increased distance from neighboring buildings to the rear improves the overall environment.

BUNDLE MATRIXThe L-shaped podium tower is reorganized and transforms into three vertical elements: three slimmer towers. The central core tower, the adjoined street-side tower, the adjoined rear tower and the podium form an “L” that continues as one element. The core tower is of reinforced concrete construction, the other two, of steel construction. This will create as much distance as possible between the three towers and add outdoor space between them. Because of these spaces, there are many rooms inside the tower with an unusual amount of access and exposure to the outside for a more desirable residential/work environment.

Thirty-two bridges in the gaps connect all three towers functionally and structurally. Each of these bridges has a balcony and greenery on either side, creating pleas- ant gardens suspended in mid-air. The interstitial spaces extend to the commercial lower four floors with an atrium garden, escalator hall and other common areas for rest and transit that enliven the space. The design may have started from a podium tower prototype, but with the division between the podium and tower vanished, the three slimmer towers and two resultant interstitial gaps create vertical urbanity. The site is a gateway into the district, and one can expect this urbanity to act as a new, vital catalyst.


PERSPECTIVE: SKY GARDENIn the interstitial spaces on either side of the core tower, there are 32 green spaces planned for “sky parks.” Over two stories high and arranged to alternate on the right and left, long narrow gardens effectively cross each other in an indeterminate outdoor space. The penthouse level (36th floor) has two outdoor spaces for every three units, with 31 total outdoor spaces that complement the building’s exterior and help formulate the highrise’s identity.

IMAGES

1. context elevation consept diagram sections2. consept diagram 1,2,3,4,5 facade3. consept diagram sections / parti4. outside facade (interstitial spaces)5. outside facade (Stocky Tower)6. Ground Floor space (entrance / garden)7. community conveniences8. view from interstitial spaces9. view from penthouse

SOURCES

magazine: MARK - another architecture - nr. 25 apil may 2010

www.massstudies.com

www.designboom.com


The building is comprised of 7 basement levels and 36 superstructure levels, totaling about 39.899 m² and 154.14m in height. Parking and mechanical rooms are located on basement levels 2-7, and community conveniences are on basement levels one to superstructure level four, with the remaining levels 5 to 36 being “officetels” (live/work space). Belt truss reinforcement is at levels 14-15 to strengthen the highrise. Lev els 14-15, at the core of the building, contain support facilities and central mechanical rooms and mark the division of facilities.

Architects: Mass Studies Client: SK NetworksSite Area: 2.931 m²Project Area: 39.899 m²Design Year: 2006Construction Year: 2006-2009Height: 36 floors 154mCost US$: 454 millionLifts: 3 + 1Status: Constructed

34 TAIPEI 101

TAIPEI 101Taipei City, Taiwan, 2004

Architect: C.Y. Lee & partnersClient: Taipei Financial Center CorpPlot Area: unknownBuilding Footprint: 2500 m2Gross Floor Area: 412.500 m2Height: 508 mCost US$: 1.6 billionLifts: 61Status: Constructed

Concept


The unusual tower shape is an idea of the architect C.Y. Lee from Taipei. He was inspired by local culture, the building reflects the culture in which it functions. Lee was looking for balance between local culture and internationalism. The tall building symbolizes a broader understanding and anticipation of things to come: we “climb” in order to “see further”. The building rises from the ground like a bamboo, a symbol of everlasting strength in Chinese culture. In the section, the shape of a pagoda is recognizable. Taipe 101 Tower rises in 8 modules, a design based on the Chinese lucky number “8”. In cultures that observe a seven-day week the number eight symbolizes a renewal of time (7+1). In cultures where seven is the lucky number, 8 represent 1 better than ‘lucky seven’. Each modue has 8 floors and flares wider t the top. There are 101 floors above the ground and 5 floors underground.

It’s more challenging to design and build a super-tal building in Taipei than any other location in the world because typhoon winds, large potential earthquakes and weak soil conditions all need to be overcome. A damping system was implemented to reduce the excessive lateral accelerations from wind.

In the time it was build, the height of the Taipei 101 was recordbreaking, previously held by the Petronas Towers with 452 meters. It was the highest building in the world, build in an area with typhoons and earthquakes! The height of 101 floors commemorates the renewal of time: the new century that arrived as the tower was built (100+1) and all the new years that follow (January 1 = 1-01). It symbolizes high ideals by going one better on 100, a traditional number of perfection.


A mega mass demper reduces the effect of wind. The pendulum has a weight of 660.000 kilogram and is situated on the 88th floor. It sways to offset movements in the building caused by strong gusts. Its sphere, the largest damper sphere in the world, consists of 41 circular steel plates. The structure has to be flexible enough to resist an earthquake, and stiff enough to resist a typhoon. Eight mega columns giving the stiffness to the building.


The Taipei 101, formerly known as the Taipei World Financial Center, is a landmark skyscraper located in the Hsinyi Distric of the city, the rapid-growing “Manhattan” of Taipei. This is the future center of financial power in Taiwan. Taipei 101 is owned by the Taipei Financial Center Corporation (TFCC).

Taipei 101 has one of the fastest ascending elevator speed with 1010 meters per minute, which is 16.83 m/s (60.6 km/h). These Toshiba elevators are able to take visitors from the main floor to the observatory on the 89th floor in under 39 seconds.

Taipei 101’s own roof and facade recycled water system meets 20-30 percent of the building’s water needs. Upgrades are currently under way to make Taipei 101 “the world’s tallest green building” by LEED

IMAGES

1. Construction drawings2. Elevators overview3. Taipei 101 as a landmark in the evening

SOURCES

Wells, M. (2003) Wolkenkrabbers. Alphen a/d Rijn, Atrium Uitgeverij

http://www.archinomy.com/case-studies/671/taipei-101-a-case-stud

http://www.architectureweek.com/2005/0330/building_2-2.html

http://www.cnn.com/2003/WORLD/asiapcf/

http://www.etaiwannews.com/etn/news_content.php?id=1147437&lang=eng_news

http://www.skyscraperpicture.com/taipei101.htm

http://www.taipei-101.com.tw/

http://en.wikipedia.org/wiki/Taipei_101#cite_note-etaiwannews.com-15east/10/17/taiwan.tower/

35THE MET

THE METBangkok, Thailand, 2009

Concept


WOHA’s design explores strategies of high-density livingin a high-rise tropical environment.

The concept for The Met is to develop an advanced form of high-rise living for the tropics, developed less from western temperate models than from research on possibilities of low-wind, tropical climate in dense urban conditions. This project implemented several ideas developed originally for a competition in Singapore for public housing.

High-rise designs have traditionally followed temperate models, which were developed in New York or Chicago with cold weather and strong winds. This resulted in apartments that are compact, insulated from the exterior and without sun shading or overhangs. Buildings are protective shells designed to shield the inhabitants from the harsh weather.

By contrast, design for the tropics should take advantage of year-round warm weather, capture breezes, and be laid out for cross-ventilation, incorporating outdoor spaces, verandas and gardens. Buildings are framing devices of minimal environmental devices for an indoor-outdoor lifestyle.

The orientation of the staggered blocks allows the sun to daily penetrate between the blocks on its regular tropical sun-path.

The apartments’ interiors interact strongly with the exterior, with full height glazing, balconies, sky gardens and sky terraces. Sun shading and overhangs provide weather protection and screen and filter the strong tropical light. Walls of greenery provide sun-shading that convert heat into oxygen, improving local air quality.

Common areas are spread throughout the towers, offering inhabitants a variety of experiences, from the intricately designed carpet of water, stone and vegetation at ground level, to the extensive indoor-outdoor facilities at the pool level, to libraries, barbecues, and function areas at sky terraces.

The hotel block explores related ideas, providing guests with huge outdoor balconies incorporating water features and trees, staggering up the façade to provide a layer of interlocking external spaces.


WOHA’s design explores strategies of high-density living in a high-rise tropical environment. The Met was awarded in the World Architecture Festival as best housing.

It’s designed from first principles to create a better lifestyle for central city living in the tropics.

It’s is an excellent attempt to open a skyscraper to the city and to allow its inhabitants to use the building as much as possible. A system of pass ways, sky-parks and swimming pools on upper levels forms a real vertical analogue of the city and creates a new quality of living. The wide use of greenery almost as an additional facede material is also an effective way to unite horizontal dimensions of the city with the verticality. The use of passive ways to save energy is also an important aspect.

IMAGES

1. 4th-floor-plan2. 9th-floor-plan3. 20th-floor-plan4. 28th-floor-plan5. 30th-floor-plan6. 54th-floor-plan7. Parti (Main structure: mass and void)8. Maquette total vieuw and sky gardens9. outside facade with sky gardens10. outside facade (outdoor balconies)11. enhance the gentle breezes by funneling them

between towers12. extensive indoor-outdoor facilities at the pool

level13. staggered arrangement of blocks that allow

cross ventilation

SOURCES

www.wohadesigns.com

www.skyscrapercity.com www.archdaily.com www.flickr.com

http://ms-my.facebook.com/note.php?note_


This section is designed from first principles to create a better lifestyle for central city living in the tropics. Going high in the tropics means cooler breezes, less dust, more privacy, more security, less noise, better views. To take advantage of these conditions, the design incorporates a staggered arrangement of blocks that allow cross ventilation, views to both the city and the river, and enhance the gentle breezes by funneling them between towers. The gaps between the towers are bridged with sky gardens that provide exterior entertaining areas directly off living areas – pools and gardens.

Architect: WOHA Client: Pebble Bay Thailand Co. LtdSite area: 11.361m²Project area: 112.834 m²Design Year: 2004 - 2005Construction Year: 2005-2009height: 69 floors 228mCost US$: 132 millionLifts: 18 + 3Status: Constructed

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36 TORRE PLAÇA EUROPA

TORRE PLAÇA EUROPABarcelona, Spain, 2010

Architect: Roldan+Berengue Arqts Client: INCASOLPlot Area: ~2880 m2Building Footprint: 576 m2Gross Floor Area: 10,312 m2Height: 80 mCost US$: 10 millionLifts: 2 + 1 Service Status: Constructed

Concept


The building is located at new development area out side Barcelona. Torre Placa Europa is a 20 story building completed in 2010 in teh new central zone of the district called Placa Europa. The square will have 26 new towers in the future. Designed by Roldan + Berengue Arqts and the client was INCASOL, the building was a social housing qith 75 housing units which required to include a number of environmental design, such as natural ventiation, solar design, use of recycle materials and prefabrication.

According to the architects, they have five innovative design intention in this project.

1. Each apartments have multiple solar orientations and cross ventilation.

2. The building have to include 100% recyclable materials, and 85% recycled materials. Materials are choosen base on life cycle and environmental impact.

3. They want to include prefabricated elements during construction. The building’s facade is made with prefbricated window systems and recycled aluminum sun shading.

4. The facade system is able to natural ventialtion with no thermal brdges.

5. Use austere materials assembled in unconventional ways.


The innovative environmental ideas are not revolutionary, but how they realize the building is interesting. The architect wants the building to be perceive as a block of 5 floors in height in a distance. Each 3 floors are grouped as a set of frame. And the scale of windows and panel modulars are also a transformation of diamension of a door. The light color aluminium panels and deep color set back windows emphasized the image.

The selection of building facade elements is according to a deep study of construction solution of recycled material and its capability of being recycle at the end of building’s lifecycle. Facade material is 8mm thick HPL pannels hanging by hidden aluminium perfiles.


On plan the building is set in two sides. For each side there are units of 69sqm at the coner, and 54sqm unit at the middle. The composition of unit types is set in group for each 3 floors. Every 3 floors the unit composition would shuffle together with building facade. This cre- ats the randomized image of building facade by different building facade panel composition on each group.

IMAGES

1. Over view of Placa Europa2. Street View Torra Placa Europa.3. Building Facade panels4. Building entrance5. Design drawing of architect for the intention of facade

design6. Building panels integration diagram from architect7. Building unit composition

SOURCES

http://www.roldanberengue.com/?p=project&id=12

http://inhabitat.com/torre-placa-europa-social-housing-in-barcelona-made-with-100-recyclable-materials/

http://www.dezeen.com/2011/05/18/social-housing- tower-in-

37TOUR SIGNAL

TOUR SIGNALParis, France, planned 2013

Architect: Jean Nouvel Client: EPADPlot Area: unknownBuilding Footprint: approx. 4000 m2Gross Floor Area: 140.000 m2Height: 301 mCost US$: 864 million (estimated)Lifts: unknown Status: Design Stage

Concept


The design of tour Signal by Jean Nouvel is also called the loggia tower by the designer himself. Four enormous loggias stacked upon each other expose the different functions located in this tower to the city. The loggias function as public space where the common utility of each function (office, hotel and living) are located. These loggias connect tower and city

Service and transfer levels are placed repeatedly in the same way for each block. First a service level, then a transfer level, then the loggia, with functional floor area surrounding it, a second transfer level and again the service level and so on.

There are two main entrances for pedestrian. The most public entrance on the east side of the building leads the visitor from a plaza on a long escalator to the first loggia located on the 12th level where a cafeteria welcomes them in the building. The second entrance in the south facade leads the visitor directly to the office transfer level. Vehicles enter the building on a lower level as can be seen in the section on the first page.

The floor space in the loggias is enlarged through balconies. through the whole tower an area for vertical transport is reserved on both sides of the loggia. This area is larger at the bottom, where office function requires less horizontal transport area and more space is needed for elevatorshafts, then in the top.

This design was the price winning design of a competition and remains still in the design fase


The space reserved reserved for the loggia’s is extroardinary for hig rise projects. The ratio between functional floor area and constructed area is very low. The loggia’s contribute to a very high feeling of recognision with the surrounding city.

IMAGES

1. north-south section2. floorplan of office block, cutted through loggia3. schematic representation of east-west section with public spaces and

transfer levels indicated4. render: view from hotel loggia5. render: streetview on plaza entering the tower from the east6. floorplans with indicated area for vertical transport7. view on la Defence district after contruction tour Signal8. picture from model representing east facade

SOURCES

Bosser, J, La tour signal: un nouveau défi pour LaDéfense, Paris : Éditions de la Martinière, 2009

Salmi, L., 2008. Nouvel takes pole position in Paris. World architecture news, [internet] 2 June. Available at: http://www.worldarchitecturenews.com/index. php?fuseaction=wanappln.projectview&upload_ id=2370 [Accessed 20 Decembre 2009]

38 WOLKENBUGEL

WOLKENBUGELMoscow, Russia, 1924

Architect: Eliezer Marcovic LissitzkyClient: NonePlot Area: UnknownBuilding Footprint: 337,5 m2Gross Floor Area: 5.775 m2Height: 57 mCost US$: Unknown Lifts: NoneStatus: Never Realize

Concept


Lizitsky derived the style and look of his building out of the artistic pieces he made called “prounen“. These pieces of art where for Lizitsky the transition from art to architecture, it was his way of exploring suprematism. the transition was made not only by using elements of architecture like volume, mass, colour, space and rhythm, his works also grew from 2d paintings to full 3 dimensional installations.

The initial concept of the Wolkenbugel could be seen in the abstract representation of proun 88. the building was going to be a steel structured office building which housed government functions. in the plans of the Wolkenbugel there where 8 sites chosen by Lisitsky as to where and how these structures should have been placed within the city of moscow. these 8 sites where on an infrastructure ring around the city which formed portals towards the inner city and with it the Kremlin. it is still speculated if these 8 gateways next to labour end Russian revolution are a symbolic reference to the 8 gateways of Jerusalem, as the Russian Lisitsky was also Jewish.

Although the plan of the Wolkenbuggel doesn’t emphasise on the matter it is not unrecognisable that it was designed not onley on the ring infrastructure but also a new way of transportation of that time namely: the metro stations. the old metro plan of 1922 resembles a lot of actual realized stations in Moscow where Lisitsky decided to place one of his Wolkenbugels.


The Wolkenbugel is one of the firs buildings which created a landscape above the city, it also showed that you could have a large floorspace with minimal footprint. these are two design issues that greatly effect the urban surrounding in terms of spacial relationship with context like mass and form but also on levels of circulation pedestrian, car and metro.

This urban plateau as we can call it creates new possibility for cities to grow which was not accounted for before.

IMAGES

1. Proun 882. Map of Moscow City Centre with Wolkenbugels superimposed on todays Metro-

stations.3. Map of the First Metro-line Plan of 19224. Impression of the Wolkenbugel standing over a main road into the city

SOURCES

Boomgaard, Jeroen. Theorie en praktijk van de russiese avantgarde, Amsterdam; Kunsthistoriese Schriften, 1981

Bürkle, J. Christoph. Der Traum vom Wolkenbügel, Zürich: GTA, 1991

Lissitzky-Küppers, Sophie. El Lissitsky, Dresden: VEB, 1967

http://www.ovion.de/blog/?page_id=5

http://www.kunstbus.nl/kunst/el+lissitzky.html

http://en.wikipedia.org/wiki/El_Lissitzky

39QATAR NATIONAL LIBRARY

QATAR NATIONAL LIBRARYDoha, Qatar, 2003

IMAGES

1. City in the Air, Shibuya2. Column of the Joint Core System3. Joint Core System, City in the Air II, Shinjuku4. Tetra Project, Marunouchi

SOURCES

Yukio Futagawa, GA Architect 6, Arata Isozaki 1959-1978, Global Architecture, Year?.

Concept


A constant regularity in the concepts of Iso saki is the Pillar to Heaven (ten-shu, Heavenly Column). Japanese mythology states that neo Platonic cubic and semi cylindrical forms are derived from this heavenly pillar which means all primary geometry followed from the Heaven ly Column. Ma (sense of Place) in japan can be achieved by a single column, it creates a sense of space in the japanese mind state, something the western world does not have an equivalent for.

the Qatar national library is a realized project that clearly has a history of Isozaki’s city in the air idea’s. these sky city’s are a network of in one way or another bridged columns. these projects are trees of structure housing dwellings or offices and have a resemblance to ruins of doric temples.

later on this concept evolved into more treelike structures which bridged with each other on dif ferent levels like intertwining tree branches.

Qatar national library will house at the base a museum of contemporary art, a museum of sci ence and a national history museum. on top of the base there will be a public podium on top of which the 3 joint core cylinders begin. the cores will support the 5 story library and with on top a cafe and banquette hall with spectacular views.


Qatar national library like the Wolkenbugel of E.L. Lizitsky creates a new urban fabric above the existing one. the way of extending up and over (counter-leaver) creates a much more dynamic and usable building surface in con trast with normal high rise. in case of the Qatar library there is only one program type but, naturally it is understood that as a hybrid pro gram this building typology would have more potential than a traditional tower building type. once again like the Wolkenbugel this typology has a relatively small footprint compared to its capacity in other words it gives back public space. in this particular project the public space is redesigned to be on top of the museum, so one might conclude the public space is part of the building namely between the two public functions, the museum below and the library above.

Architect: Arata Isozaki Client: Sheikh Suad bin Mohammed Ali A-ThaniPlot Area: 50.000 m2Building Footprint: 30.000 m2Gross Floor Area: 22.000 m2Height: 120 m Cost US$: Unknown Lifts: 12 + 1 ServiceStatus: Under Construction, on Hold (2009)