Details. architecture seen in section

Transcription

Iuav : 140
DETAILS, l’architettura vista in sezione
workshop del corso di laurea magistrale
in Architettura e Innovazione
del Dipartimento di progettazione
e pianificazione in ambienti complessi
(Dppac) Iuav, organizzato dai
proff. Umberto Trame e Marco Pogacnik.
Sala delle Armi, Arsenale
Mostra e incontri
8>10 luglio 2014
Mostra
progetto scientifico
Marco Pogacnik,
unità di ricerca arte del costruire - Iuav
www.iuav.it/artecostruire
team
Andrea Ambroso (Iuav Venezia)
Marco Capitanio (Zürich)
Alberto Franchini (Iuav Venezia)
Orsina Simona Pierini (DAStU, Polimi)
Luka Skansi (Iuav Venezia)
Claudia Tessarolo (Iuav Venezia)
con la collaborazione degli studenti
Elisa Tedeschi, Elena Rampin, Rodrigo
Qyshka, Claudio Vianello, Veronica
Zanusso, Fabio Pizzo, Francesca Martinelli,
Sara Bortolato, Cristian Visintin, Elena
Rampin, Francesca Camerin, Tobia Badoer
grafica a cura di Luka Skansi
allestimento a cura di Andrea Ambroso
mediapartner “The Plan”
giornale Iuav a cura di Alberto Franchini
Università Iuav di Venezia
Santa Croce 191 Tolentini
30135 Venezia
tel 041 257 1826-1414
www.iuav.it
©Iuav 2014
Iuav giornale dell’università
iscritto al n. 1391
del registro stampa
tribunale di Venezia
a cura del
servizio comunicazione
[email protected]
ISSN 2038-7814
direttore
Amerigo Restucci
stampa
Grafiche Veneziane, Venezia (VE)
D e ta i l s . A r c h i t e c t u r e
seen in section
Introduction
to the study of detail
Marco Pogacnik
To avoid any possible misunderstanding I like to stress that architecture is
not exhausted in the attention paid to
details and I am afraid that, in secular
terms, the detail is not even the place
where the existence of God manifests
itself. Why then dealing with an issue
that the current director of the Biennale
fought already twenty years ago dismissing it as a mere fetishistic exercise, an
opinion perhaps still prevailing nowadays? Many concerns led us to pursue a
research that promises to arouse much
suspicion: a reflection on architectural
language and its transformations from
modernity to post-modernity, a passion
for the built rather than an imagined
architecture, the inconsistencies of a
critical vocabulary inadequate to describe today’s architecture and finally the
idea that a school should participate
in the debate on the great issues that
effect the professional and intellectual
life of architects.
The exhibition at the Biennale presents
a semester long study developed by the
undergraduate Iuav students together
with a university research supported
by a grant from Department of Architecture, Construction and Conservation
(Dacc) Iuav. The aim was to describe the
changes occurred in architecture during
the last fifty years using a tool that
could simultaneously highlight the formal, technological, building and structural aspects of these transformations.
The choice that best satisfied this goal
was to use the same 1:10 scale for all the
drawings. The redesign of construction
details offered a homogeneous series
of documents which had comparable
graphic layouts and the same scale,
thus facilitating comparative criticism
which is essential to any interpretation.
Our research task was therefore not
only to define its own object, but also to
‘invent’ the documents to exercise on.
Among all the graphic tools available
to architects (from conceptual sketch
to rendering), the detail section is certainly the most regulated. The graphic
conventions imposed on this type of
graphical representation are such as
to make it almost impossible for any
form of ‘fantasy’ or individual ‘creativity’. A detail in 1:10 scale is an operational tool, a pure construction drawing
that must be absolutely unique in the
content of its communication. If every
artistic medium is characterized by ambiguity, polysemic character, rhetorical
excess as the sudden minimalist silence, then the construction detail is the
furthest thing from the art world. But
art is also discipline, rigour, profound
understanding of the fundamental language grammar one wants to use.
Entering a music school and walking
along its corridors one is fascinated to
hear the obsessive practice of young
students required to rehearse a difficult score or the full range of musical
scales. When we asked our students
to redraw construction details of significant contemporary buildings we
imagined them exercising like music
scholars; performing scales and variations, obsessively repeating a passage
until they would find the right notes
without looking to the instrument. The
didactic experience with the students
confirms the usefulness of this approach and suggests to make it a customary educational practice.
The details drawn by the students have
been grouped in three thematic sec-
tions: the Fundamentals, construction
systems and enclosures along two sections of national character: Italian and
Japanese.
Even if it is a bit outdated, I like to focus
on the first one only, which is our interpretation of the constitutive elements
of architectural language: column, frame and molding.
In this regard, I believe an architect
should be as innovative as a linguist
explaining that words are made up of
vowels and consonants. Elements like
lavatory, balcony, ramp did not seem
adequate to our purpose which was
to retrace the path of modernity from
ancient tectonic (base-drum-frame) to
new forms and articulations of space.
The 2008 installation created by Sejima
- SANAA in Mies van der Rohe’s Barcelona Pavilion is the most plastic representation of the critical issue we wanted
to investigate. The acrylic panels used
by Sejima are not framed nor tapering,
they do not have a front or back, not an
orientation nor they suggest gravity; on
the contrary in his architecture Mies refers to all these elements even when he
seems to subvert them. Nowadays it is
often difficult to define a wall opening
using the traditional term of ‘door’ or
‘window’ (it is not by chance that we
generically call them ‘openings’). These
are lexical uncertainties that emphasize
the transformations of our language.
A detail is mainly engaged in what the
German theorists of the nineteenth
century defined the Junktur. The term
defines a construction joint (i.e. an expansion joint) but also the suture line
that marks the intersection between
horizontal floor planes and vertical
façade planes, the line where the roof
meets the perimeter wall, or a window
opening is cut into the wall thickness.
The details presented in the following
pages portray this elementary order.
As a counterpoint to the students’ work
there are the boards prepared by professional firms we consider internationally representative. Each office has
been asked to submit a board with four
significant details of their architecture
and a brief statement explaining the
significance and importance that details have in their design and creative
strategies.
The offices’ prompt response to our
request makes us believe we have touched a sensitive point. Detail design is
a mixed blessing for each architect following a project from concept to construction, it is an important viewpoint
to look at the design process and the
evolution of the construction site: to
innovations such as BIM, Building Information Modelling, or to the establishment of design offices specialized
in construction detailing and shop
drawings. These transformations are
affecting more and more a domain
that Mario Carpo defined as the design
authorship level. Is it good or bad if a
project is increasingly becoming the result of collective work, sometimes even
anonymous? Let us remember Adolf
Loos’ statement: Only a small part of
the built environment belongs to Architecture, intended as Monumental Art.
For everything else are worth the principles of good construction.
I would like to thank prof. Christian
Sumi for his dazzling insights that have
illuminated our work; prof. Donatella
Fioretti for her research at Iuav in 2013
focusing on the theme of detail; ing.
Nicola Leonardi for the support given
to our project by “The Plan” magazine;
prof. Umberto Trame for his intellectual
and institutional support as director of
the Dppac Graduate School.
Iuav : 140
2
1. Umberto Trame, City Hall, Brugnara. Detail of the iron columns joints.
3. Miller&Maranta, Villa Garbald
Detail and the Art of Building
Umberto Trame
the nature and combination of materials in order to learn from them. In my
early works I was influenced by some
of the characters of late nineteenth
century architecture, mostly by Victor
Horta, which informed quite a lot my
first built architecture. The simplicity
in the modelling and transformation
of materials - from stone to iron, from
iron to wood or plaster - and the use
of steel as structural as well as formal
element introduced me to a research
field I no longer abandoned and still
fascinates me. This leads us to devote
a lot of time to design details, in search of the profound nature of matter
even before any aesthetic or compositional value, almost as if matter would
contain in itself the form related to its
potential use, almost as the architect’s
task was to extract this form applied to
the building. This has always been the
case from the simplest domestic design to more complex and articulated
constructions. In this regard, beside
individual poetics, architectural profession has never changed.
The occasion is certainly unique and
in some ways it deepens the general
nature of this Biennal, as if to say that
the divine can be found in the detail
as much as in the syntax that articulates and structures it.
However, we observe that in defining
architecture it is difficult to distinguish
a before and after, the type of architectural space, a concept from its material construction. Architecture is built
form, its character is visible, palpable,
can be analysed and documented.
A palace, a house, a loggia are a palace, a house and a loggia due to the
forms and materials used to build
them, even if their typology may recall
other building categories.
This architectural unity is indeed the
result of a slow process, sometimes
discontinuous, in which materials and
forms, along with design objectives,
have a crucial influence on the work,
they constitute, so to speak, its “style”.
Here lies the essence of these analyses:
to show a founding character of style
in a work of architecture.
If we look at the educational and training aim of these analyses - looking at
recent as well as old buildings -we can
not stop at a formal representation
of a façade or at the analysis of the
elements creating the transition from
interior to exterior.
This is a first required but not sufficient
step. It is necessary to look deeper into
those elements that represent the essence of form, its condition of viability.
Looking at the construction development of the Regional Government
building in Trento by Adalberto Libera
and Sergio Musmeci one finds that the
evolution of the project - which never
questions the morphological and functional layout of spaces and buildings
as defined in the competition brief - is
entirely entrusted to the invention/
definition of the structural features
and construction details of the single constitutive parts of the building;
especially in the Regional Council hall,
these features reach an indissoluble
unity, involving also the architectural
elements of the façade. Therein lies
the modernity of the work.
The sections of the buildings that we
show do not constitute a catalogue of
possible solutions, a building manual
for façade detailing, but rather the
first part of a study on architectural
works which implies their complete
knowledge in terms of construction.
This analysis and redesign of the works
teaches us to look very carefully also at
2. Umberto Trame, Carabinieri’s station in Cordenons
4. Steven Holl, Kiasma Museum of Contemporary Art, Helsinki
Detailed shuffling
Marco Capitanio
While inspecting buildings built before the 1970s energy crisis, or much of
contemporary Japanese architectural
production, we are often impressed
by the straightforwardness and simplicity of the way materials come together. Inevitably, one wonders how,
in Europe, due to an ever-stricter building code and rigorous performance
requirements, a comparable quality of
straightforwardness could be achieved
again, knowing that a simple comeback
is not given.
There are two main tactics that architects employ to deal with the conventional stratification of construction
systems (i.e. structure, installations,
insulation and finishing). The first is
to work on the individual materials
themselves (concrete, wood etc.) and
question their use or shuffle the order
in which they are layered. The second is
to assign an additional function to an
architectural element, which was initially monofunctional, so that the number
of layers could be reduced.
Let us examine the first tactic by looking at concrete. If fair-face concrete
buildings seemed impossible to conceive after the heightened performative requirements of the late 1970s,
we have been recently witnessing the
resurgence of them, thanks to improved and novel building techniques (the
oeuvre of Miller & Maranta or Stauffer
& Hasler are examples among many fig. 3). The concrete structure of a building, being insulated from the inside,
can play again the role of a finishing.
Sometimes, like in the case of Pascal
Flammer’s constructive poetic, one
aspires to an architecture where structure, insulation and finishing could be
fused together and be expressed with
just one material (be it concrete, wood
or other). In this way the structural “functioning” of a building is made clear.
We could even say that such buildings
are “true” since they show what they
are and materials are used according to
their own nature.
The second tactic is what Robert Venturi called “double-functioning elements”. “Le Corbusier’s and Kahn’s
double-functioning elements may be
rare in our architecture. The brise-soleils
in the Unité d’Habitation in Marseilles
are structure and porches as well as
sunscreens. Khan’s clusters of columns
and his open piers “harbor” space for
equipment, and can manipulate natural light as well, like the rhythmically
complex columns and pilasters of Baroque architecture. Like the open beams
in the Richards Medical Center, these
elements are neither structurally pure
nor elegantly minimum in section.”
(Venturi et al. 2002:36) Steven Holl and
his structural engineer Guy Nordenson
offer us poignant examples. In the Kiasma Museum of Contemporary Art in
Helsinki (fig. 4) the thick, curved wall
has a structural function and it houses,
in-between its trusses, a great amount
of installations and appliances at the
same time. “The formal moves - thick
wall and glass wall - were tangled up
with technological requirements of the
building [...]. The structure and mechanical and electrical systems are all closely integrated and become occupants
of the form [...].” In the Cranbrook Institute of Science in Michigan, “[a]gain,
[we] were interested in housing mechanical and electrical systems in structural elements. The thick wall adjacent to
the stairs contains these systems. The
precast planks, which support the floor
of this gallery space, are fabricated with
hollows, to reduce dead load. We took
advantage of these hollows and used
them as ducts. Within the thick central wall, flexiduct carries air from main
runs to open ends of the precast planks,
where it is then forced into the voids
and fed out into the space through openings in the underside of the planks.”
(Nordenson 2010:313)
These two approaches need a productive coordination with the structural engineer, and, in such cases, architects and
engineers share their authorship on the
building. The first tactic generally comes out of a specific decision, taken at
the very start of a project, that balances
structural and aesthetic concept, and is
the foundation for all the following design and detailing. The second tends to
make the best out of given conditions,
is per se efficient and adaptive.
>continues on page 15
3
Iuav : 140
STUDENTS DRAWINGS
FUNDAMENTALS
20
1. THE COLUMN
10
90
13
26
subtitle
180
YLE:
strong flat
steel
814
29
87
29
29
30x290 mm
407
granit plate
40 mm
0
50cm
Mies Van Der Rohe, New National Gallery, Berlin (D), 1968
Luigi Moretti, Palazzo Esso & SGI, Rome (I) 1960-66
scale 1:20 - 1:10
Building
Mies Van Der Rohe, New National Gallery
Berlin (Germany), 1968
SANAA - Sejima and Nishizawa and Associates
Museo Louvre Lens (F) 2012
17.5
17,48
+22,00
roofing
23
2. THE CORNICE
The New National Gallery consists of two parts - a large exhibition hall
for temporary art exhibitions and a nuumber of gallery spaces for the
permanent collection of the museum. The exhibition is a glass-enclosed
space of 54x 54 m, (approximately 2500 sq m). It stands on a wide terrace and is covered by a flat and square steel roof, wich is supported at
the periphery by eight columns.
This large unobstructed space gives complete freedom in arranging
exhibits. The roof of the exhibition hall is a flat, two-directional steel
structure 1.80 m deep. It consists of welded steel web-girders 3.60 m on
centre in both directions forming a square structural grid. Eight cross
shaped steel columns, two on each side, support the roof, its load being
transferred through pinjoint connection to the columns.
flashing
30
30
17
27
uildings rising up
from one another
a Via Quadronno,
upport structure
s that may be
8.3
8,3
6
Peter Carter (a cura di), Mies Van Der Rohe at Work, 1999
Andrea Marigo
7.6
7,6
precast
concrete
panel
55
acoustical plaster
aluminium stop
masonite panel
charcoal ceramic bricks
240
habitation
office
residence
habitation
211
Green granite board
+4,20
27
30
30
7.6
7,6
fir wood
frame
shop
+0,20
25 cm
0
scale 1:5
Livio Vacchini, Macconi
Building, Lugano (CH) 1975
Livio Vacchini, Macconi building
CHARACTER STYLE: main title
Angelo Mangiarotti, Residential Building, Monza (I) 1972
0
12
50cm
4
scale 1:10
Angelo Mangiarotti, Residential Building, Monza (Italy) 1972
3. THE MOULDING
Lugano (Switzerland) 1975
The aim of Macconi project, that is a commercial building, is particuin view that make visible the outer steel frame. They are visible in
addition to the closures themselves, also the structures as key elements of the overall architectural design. Together, closures and
structures, implement a dimensional warp articulated by horizontal
cal implications of the production and assembly of each component.
The technical knowledge become “the mean that makes possible the
formation of the project idea.” The technique becomes the element
that structures the creative act.
By elaborating on his work in Milan, the solutions for the façadesin Monza- included four different styles: an opaque reinforced
cement panel, wooden window-anddoor-framfres and a loggia/balcony with a metal parapet. The plan is totally free (the
only exception being the stairs and elevator shafts), the user is
again free to choose cases this was decided on by the builder.
CHARACTER STYLE: main subtitle
Craig Ellwood, Rosen House, Brentwood, Los Angeles (USA) 1961-63
50cm
25cm
0
scale 1:20
Craig Ellwood, Rosen House
Brentwood, Los Angeles (U.S.A.) 1961-63
15
The house, which is near Los Angeles, is intended for a family of five.
the bedrooms, bathrooms and areas of greatest privacy are set away
from the entrance along the west wall. The generous living areas are
arranged on the other three sides. Flanking one side is a swimming
pool and a garage. But this is subordinate to the house; it is sunken.
The house itself is a study in symmetry and formal geometry. The plan
is foursquare. It is divided into nine lesser squares, each made up of
eight modules of 3ft 4in, with the centre one left open as an atrium.
Stairways from the garden, placed in the centre of each of the facades,
like that in the main entrance facade, serve to emphasize this focus on
the void that lies at the centre. Absolutely, the architecture has been
contrived to skirt and flank and hover above the nature that is around it.
CHARACTER STYLE: text main description
14.5
Livio Vacchini : opere e progetti / Roberto Masiero. - Milano : Electa, 1999
Angelo Mangiarotti Monograph
Federico Munaretto
45
Giacomo Arillotta
Ruben Camponogara
Architectural Digest (AD), Marzo 1965
granite panel
36
102
double glazing
Preforated steel
facade cladding
102
20
living room
23
stained
maple
21
office
granite panel
20
Cement-bonded board
102
42
Living Room
concrete and
stone
18
20
23
40
101.5
stained
laminated fir
lightweight concrete
20
20
linoleum
8
20
Control Room
0
stained
white pine
25 cm
scale 1:5
UnStudio, Bridge UnStudio,
master’s
house, Purmerend (NL) 1998
Bridge master’s house
Purmerend (Netherlands) 1998
An intense mixture of technique and infrastructure has resulted in a
bridge consisting of three individual decks, which open and close asynchronously, imitating the movement of playing fingers. In the flat polder landscape, the bridge links a new housing development to the main
road. The longitudinal separation of the bridge deck into two pedestrian
and cycle routes and one road for cars enhances traffic safety. The finger-like arrangement also results in extra mooring space for pleasure
boats. A cycle path runs below the bridge, along the waterfront.
The bridge elements are controlled from the bridge master’s house, a
small edifice that is perched 8m above the water level. Perforated steel
plates, which are applied to the concrete core of the building, make it
semi-transparent.
Eduardo Souto de Moura, Burgo Tower, Porto (P) 2007
0
Philip Johnson, Robert Wiley House, New Canaan, Connecticut (USA) 1953
50cm
scale 1:10
Eduardo Souto de Moura, Burgo Tower
Porto (Portugal), 2007
The building spans 20 floors with a commercial area on the ground floor
and offices on every other floor.
The feature of greatest impact of the project is in the front, you can see
the coincidence of the structure with the shape so pronounced as to
make the language of the repetition of a module.
It has been designed so that it can be repeated in different contexts.
Moura uses mainly glass, steel beams and a type of local granite; materials and designs mirror the schedules create some interesting play of
light and shadows.
Philip Johnson,Robert Wiley house
New Canaan, Connecticut, 1953
Among the houses that Philip Johnson designed in New Canaan, Conn.,
the suburban enclave that became a laboratory for postwar Modernist
design, the Robert C. Wiley house, completed in 1953, remains one of
his most elegant. It is a strikingly simple composition of two rectangular
boxes: one, a glass and wood pavilion with a single, 15-foot-tall living,
dining and kitchen space, is cantilevered over the other, a stone and
concrete base that contains, among other things, four small bedrooms,
bathrooms and a sitting room.
Iuav : 140
4
STUDENTS DRAWINGS
FORM AND STRUCTURE
240
120
37
300 internal height
45
classroom
120
299 internal height
classroom
2 RND
cladding tube
ø 70/75 mm
Fritz Haller, Lowenberg SBB training centre, Murten (CH) 1982
0
Jürg Conzett, Edificio in Ottoplatz, Chur (CH) 1998
70
45
130
ø 60 mm
Peter Meili Architekten, Swiss School of Timber Tecnology, Biel (CH) 1999
0
Fritz Haller, Lowenberg SBB
training centre, Murten(CH) 1982
25cm
scale 1:5
Gordon Bunshaft, SOM
50cm
scale 1:10
Meili, Peter Architekten, Swiss School of
Timber Tecnology, Biel (CH) 1999
The training centre is equipped to cater for all kinds of seminars and
other events. It’s in the countryside of French-speaking Switzerland,
at the heart of a park. The modern construction offers a flexible room
layout and holds many functions: school, restaurant, laboratories, conference center. It’s characterized by the “Midi” steel construction System, a unit construction system for multistorey buildings with a high
density of installations, a modular structure of coordination in which all
the components of a building were arranged in their mutual interaction
as a geometrical overall system. It’s a bearing structure consisting of
supports and double trussed girders with spans of up to 14,40 metres.
It is primanly suitable for construction of buildings like schools, office
buildings, hospitals, etc.
precast concrete
coating panel
Jennifer Adami
Structure as space, J. Conzett, M. Mostafavi, B. Reichlin, 2006
terrace
30
30
130
Lambert’s apartments
The
building is in fact composed of four volumes combined
with lights ranging from 20 to 30 meters, tied in the same longitudinal walls which have the task of supporting them. These
walls are the walls of the corridors leading to the upper floors,
where you deploy your access to the offices from a central
spine. The walls of the corridors secondary, which have the
task of stiffening the structure horizontally, alternating fronprecast concrete
tally full and empty with the use of reinforced concrete panels
structural unit
spaced apart and arranged in a checkerboard pattern.
fixed sash
Lambert’s apartments
glued 10 mm gypsum
board panels
wood fibre angle
support for flashing
342
344
8
344
8
movable sash
43
movable sash
bolted and welded stainless steel anchors
elastomeric flashing
fixed sash
342
precast concrete
structural unit
terrace
3,5
Conzett Jürg, Edificio in Ottoplatz
Chur (Switzerland) 1998
130
scale 1:10
30 20
50cm
30
0
30
Werk, Bauen+Wohnen, Fritz Haller, 1992
30 20
Jennifer Adami
precast concrete
coating panel
It’s a specialized institute for engineers and technicians which combines theoretical lectures with applied research into timber in its large
laboratories. The school complex stands on the edge of the city, where
the residential quarters end and the industrial zones stretch away. The
building housing the lecture rooms rises four stories high and stands in
stark proximity to the old single-story storehouses, in spite of its large
dimensions (93m length, 25m width). The principal circulation through
the building is organized by its core, a monolithic structure in pressed
reinforced concrete. All around it, the timber structure is built on a
modular grid which matches the dimensions of the individual rooms, indipendent wooden boxes with a prefabricated structure one story high.
“Structure and space”, London AA 2006
19 35 8
integrated heating
and services
triangular alluminium
344
344
19 35 8
integrated heatingMarzia Busetto
and services
frames with 24 mm
double glazing
suspended ceiling in acoustic insulation
offices
panels on frame in steel box-shaped
offices
stainless steel
hinged joint
profiles
stainless steel
hinged joint
study hall
mineral wood
insulation filling
carpeting
thick panel joints
16,5
20 mm
steel bar securing
43
concrete cladding
390
polished concreate
cladding
390
polished concreate
cladding
public space
steel column
public space
steel column
travertine-surfaced
podium
travertine-surfaced
podium
office
services
0
Christian Kerez, School in Leutschenbach, Zurich (CH) 2002-09
scale 1:25
50cm
Gordon Bunshaft,
Banque Lambert, Bruxelles (B) 1963
Gordon Bunshaft, Banque Lambert
Bruxelles (Belgium), 1963
ER STYLE: main title
YLE: main subtitle
floating floor in 10 mm wood
glue
plywood panel
wood block supports
services
0
To obtain a latticed effect the architect study an external structural
grid, through special precast concreate structural units. The cruciform
elements are 344cm x 163 cm, they were made by a mixture of concrete, quartz, granite and marble chips and then they were polished
to a honed finish. The result is a structural unit with the appereance
and surface of marble. The glass enclosure is set back from the freestanding exterior structure to prioritize the exterior facade.
The building stands on a travertine-surfaced podim and is composed
of three elements: glass-enclouser ground floor with entrance hall and
public banking rooms, shaft of seven stories of flexibly subdivided office space and private offices and penthhouse with conference rooms
and Lambert family apartment. Two basements, covering the site,
contain vaults, service rooms, mechanical facilities and parking.
Riccardo Brasolin
Arthur Drexler, Axel Menges (a cura di), Architektur von SOM : 1963-1973, 1974
scale 1:25
0
50cm
50cm
scale 1:10
Bernard Tschumi, Athletic Center,
Cincinnati (USA) 2006
Bernard Tschumi, Athletic Center
Gordon Bunshaft, Banque Lambert
Bruxelles (Belgium), 1963
To obtain a latticed effect the architect study an external structural
grid, through special precast concreate structural units. The cruciform
elements are 344cm x 163 cm, they were made by a mixture of concrete, quartz, granite and marble chips and then they were polished
to a honed finish. The result is a structural unit with the appereance
and surface of marble. The glass enclosure is set back from the freestanding exterior structure to prioritize the exterior facade.
The building stands on a travertine-surfaced podim and is composed
of three elements: glass-enclouser ground floor with entrance hall and
public banking rooms, shaft of seven stories of flexibly subdivided office space and private offices and penthhouse with conference rooms
and Lambert family apartment. Two basements, covering the site,
contain vaults, service rooms, mechanical facilities and parking.
Cincinnati (USA), 2006
Riccardo Brasolin
Arthur Drexler, Axel Menges (a cura di), Architektur von SOM : 1963-1973, 1974
waterproofing membrane
100 mm XPS
waterproofing membrane
main description
3 mm thick aluminium panel facade cladding
shaped steel upright support
steel L-profile anchor
EPDM expansion joint
55,52
spinning
room
20 mm acoustic panels,
supporting frame of steel C-profiles
rubber flooring
EPDM expansion joint
bridge
50,52
aluminium painting panel
laminated insolated tempered glass
men’s locker
room
0
50cm
scale 1:10
Steven Holl, Linked Hybrid,
Beijing (China), 2008
Linked Hybrid, Steven Holl
Beijing (China), 2008
Linked Hybrid is a multifunctional urban complex consisting of 8 towers connected by skybridges in a semi-lattice-like form. The complex is
described as an “open city within a city” which includes spaces for residential, commercial, educational and recreational use. The project promotes interactive relations and encourages encounters in the public
spaces. The 8 towers have concrete exoskeletons that diminish the need
for interior columns and allow the residential apartments to vary in size
and design. The skybridges connect to the towers by 4 roller mounts
called isolators which allow for their own independent movement during
earthquakes. The entire complex is a three-dimensional urban space
SANAA - Sejima and Nishizawa and Associates, Rolex Learning Center
Basel (CH) 2010
Toyo Ito, Sendai Mediatheque, Sendai (J) 1995-2001
The new Athletic center designed by Bernard Tschumi covers an area
of 24.000 square metres; of its eight storys, three are below ground
level. The building links the south and north entrances to the university campus and provides a fulcrum for the whole Richard E. Lindner
Varsity Village. The broad central hallway opens all the way up to the
great glass skylight. There impressive dimensions make it the heartof
all campus sport events. The upper floors house offices, an auditorium, the museum, shops, a gym for training, and sports medical and
first aid services; the basaments contain changing rooms and technical plant. The structural system devised is a rigid trellis-likeperimeter, an outer skeleton in the formof a steel triangular-shaped lattice.
Matteo Boveri
The Plan - Architecture & technologies in detail, February/March 2007, n°18
5
Iuav : 140
STUDENTS DRAWINGS
THE CLADDING
17
Nottingham Contemporary
18
12
Nottingham Contemporary is on the oldest site in Nottingham, Garners Hill, it once housed cave dwellings, a
Saxon fort and a medieval town hall – before the Victorians swept all aside for a railway line. It is in the historic
Lace Market, a showcase for a world famous fabric when
technical innovation gave lace a mass market. A revolutionary concrete casting technique, carried out in Notspacer (stainless steel)
hall
tingham, hasexhibition
embossed
a lace design into the building’s
panels, some up to 11 metres high.
18
aluminium
panel
52
210
158
780
panel
25
6
31
18
40
15
20
precast
concrete
exposition gallery
280
foyer
14
31
98
underfloor heating
0
Herzog & de Meuron, Sammlung Goetz
Munich (Germany), 1992
50cm
scale 1:10
50cm
scale 1:10
The gallery is a freestanding volume situated within a park-like garden
between the street and a house from the 1960s. A timber configuration
rests on a reinforced-concrete base that is half buried, so that only its
upper glazed perimeter is visible from the outside. A similar matt glass
strip surrounds the timber volume at the uppermost section, admitting
diffuse glare-free daylight from a height of 4 meters into the exhibition spaces. Two reinforced-concrete tubes are set laterally between
the lower and upper galleries. Depending on the daylight conditions and
the point of view of the observer, the gallery appears either as a closed,
flush volume consisting of related materials (birch plywood, matt glass,
untreated aluminium) or as a wooden box, resting on two trowels in the
garden.
Giada Amelio
Caruso St John, Nottingham
Contemporary
Caruso St John, Nottingham ContemNottingham (E) 2009 porary, Nottingham (England) 2009
Nottingham Contemporary (formerly known as the Centre for
Contemporary Art Nottingham is a contemporary art centre
in the Lace Market area of Nottingham.To celebrate the area’s
history of lace manufacture, the cladding of the building is embossed with a traditional Nottingham lace pattern. Nottingham
Contemporary opened on 14 November 2009 with an exhibition of early works by David Hockney and recent works by Los
Angeles based artist Frances Stark, including some from the Tate
collection. Nottingham Contemporary is one of the largest contemporary art spaces in the UK, with four galleries, an auditorium, an education space, a study centre, a café-bar and a shop.
Giacomo Arillotta
Walter Gropius - TAC, John F. Kennedy Federal Building, Boston (USA) 1966
0
50cm
scale 1:10
John F. Kennedy Federal Building
Boston (USA), 1966
el croquis 166
100
0
Herzog & de Meuron, Sammlung Goetz, Munich (D) 1992
Haus fur eine zeitgenossische Kunstsammlung, Werk, Bauen + Wohnen, 1992
John Fitzgerald Kennedy Federal Building is a United States Federal
government office building located in the Government Center area of
Boston, Massachusetts. It is adjacent to City Hall Plaza and is located
diagonally across from Boston City Hall. An example of 1960s modern
architecture, it is a complex that consists of two 26 floor towers that
sit on-axis to each other and a low rise building of four floors that connects to the two towers via an enclosed glass corridor.
The exterior of the towers is constructed of pre-cast reinforced concrete. The lower sections are faced with polished granite. All aluminum
work has a dark anodized finish in a medium gray tone. A glass-enclosed
walkway connects the four-story building to the towers. Like the towers, the low building’s facade is made of concrete and glass.
Luca Cocco
Architectural Record, February ,1965
17
52
15 2 8
16
waterproofing membrane, thermal insulation
31
office
sunscreen
flugged and screwed
to concrete through
aluminium
sliding clest and
draught seal
20
plaster
31
11
metal lathe shot fixed to
beam wired to brackets
supporting window frame
visual library
office
apartment
offices
11
larch cladding
with fireproofing
treatment
110
31
insulation crows
S/150 fibreglass
vapor barrier
YLE: main title
40
31
25
11
gallery
apartment
subtitle
David Adjaye, Rivington Place, London (UK) 2007
0
0
50cm
Bevk Perovic
Sauerbruch Hutton Architects, Offices Dessau (D) 2002 - 2005
scale 1:10
50cm
Dessau (Germany), 2002 - 2005
Rivington Place, Adjaye David
London (UK) 2007
metal shingle
The Federal Environmental Agency Headquarters is a long and tight
building that wraps around a gallery covered with a structure of steel
and glass, designed for the optimization of energy savings. An evolved
atrium solution characterizes the new headquarters in Dessau.
On the external front the bands of the parapets are covered in larch
wood, while the band of windows is entirely overlaid with transparent
and colored glass. There are six types of energy rules: minimize heat
loss from the outer shell, minimize heat loss by ventilation, optimizing the thermal protection in the summer period, maximize the use of
passive solar energy, temper the indoor climate through the atrium,
optimize the use of natural light. Both the external and internal facades
are entirely prefabricated.
thick vermiculite
plaster
Farrel/Grimshaw Partnership, Park Road Apartments, London (UK) 1960
0
Ilaria Villanucci
Arketipo, n° 12, Aprile 2007, pp 42 - 53
50cm
scale 1:10
Farrel/Grimshaw Partnership,Park Road
Apartments, London (UK), 1960
33
zinc counter flashing
It was designed in the late 1960s by the architects Farrell/Grimshaw
Partnership for the Mercury Housing Society. Both Terry Farrell and
Nicholas Grimshaw were members of the society and lived in the block.
It was their second scheme and, when listed in 2001, was commended for pioneering the High-Tech movement in British architecture. The
building is widely known for its corrugated aluminium cladding, radiused
corners and sloping glazed roof. The exterior belies the light and spacious interiors of the flats. Living space is maximised by concentrating
bathrooms, lifts and stairs in a central structural core. Natural light is
maximised by placing the freestanding perimeter columns behind continuous window glazing. Curved corners add the sensation of panoramic
views over London.
attic
Francesca Martinelli
A.D. volume XL, October 1970.
240
channel for suspension rail
second floor
living room
living room
24
elm wooden panel
270
first floor
foyer
entrance
stone base
64
metal profile
Alejandro Aravena, Lakefront House Pirehueico, Lake (Chile) 2004
Bearth & Deplazes, Family House, Sumvitg (CH) 1998
0
50cm
scale 1:10
0
Bearth & Deplazes, Family House
Sumvitg (SWISS), 1998
50cm
scale 1:10
Alejandro Aravena, Lakefront House
The task was to design a summer/winter house in a remote landscape
in the most southern part of Chile: a volcanic site, with 157 In of rain
This tower like , larch-shingle clad house is located in the outskirts of the Swiss village of Sumvitg. A clean cut, compact form
has been achived througt the conscious reduction of matherials andrestained detailing . Floor to ceiling glazing on the narrowed facade denotes the entrance and then wraps around the building to
offer ground floor access to the garden. There are two long rooms
0
25 cm
Bevk Perovic, House SB, Ljubljana (SI) 2002-2004
scale 1:5
House SB, Bevk Perovic
Ljubljana 2002-2004
Located in a suburban settlement on Ljubljana’s outskirts, House SB
is not at all a typical Slovenian single-family house. The architects
opted for a patio typology with two wings on different levels framing a small garden area. While the house opens welcomingly towards
its surroundings, its street face is almost standoffish. But unlike traditional houses, House SB is not hidden from curious passers-by behind a fence. Instead, the house itself is designed as a fence that keeps
street life at distance. The light-filled living area in the upper wing is
Iuav : 140
6
STUDENTS DRAWINGS
TER STYLE:
main title
THE MASSIVE CONSTRUCTION
TYLE: main subtitle
17
105
ext main description
12
38
12
7
14
24
380mm clay block
200
triple glazing
terrace
350 internal height
298 internal height
veranda
bedroom
offices
8mm slaked lime
plaster
370 internal height
14
380mm clay block
45
34
24
12
12
17
living room
460 internal height
28
34
exhibition hall
scale 1:10
CHARACTER STYLE: main
subtitle
David Chipperfield,
House in Berlin
scale 1:10
Erected in a fashionable district in south-west Berlin. Viewed
from the road, the house at first appears to be an almost impenetrable block. On closer examination, though, one sees that
the three-storey structure is made up of various cubic elements.
From street level, a broad, gently rising external flight of brick steps
leads up to the spacious reception and living areas on the slightly raised
ground floor. The rooms are laid out in an L-shaped form about an enclosed, southfacing courtyard incised in the overall volume. In addicted,
the 3,7 metre high living space opens via room height glass sliding doors
to an outdoor terrace. The load bearing structure is in reinforced concrete, but the hand made bricks are the dominant feature of the house.
Berlin, Germany, 1994 - 1996
building consists of finely etched glass. The glass panels, which are all
the same size, are neither perforated nor cut. The multi-layered facade
Luca Silvestrin
is an autonomous wall construction which harmonises with the interior
and acts as a weather skin, daylight modulator, sun shade and thermal
insulator.
Exonerated from these functions, the space-defining anatomy of the
building is able to develop freely in the interior. The building is just as we
see it and touch it.
15
8 4
Peter Zumthor, Kunsthaus Bregenz
Bregenz, Austria, 1990 - 1997
35
teak panelling
on timber
sheathing
Peter Zumthor, Kunsthaus Bregenz, 1999
35
Giulia Vignotto
24
Gianmarco Visentin Deplazes Andrea: Constructing Architecture, material processes structure, 2005
2 4 14 4
24
7,3
280 internal height
cement
render finish
280 internal height
280 internal height
300
29
studio
24
Christian Schittich (a cura di), Case unifamiliari, 2006
Giulia Vignotto
Baumschlager Eberle, Be. BaumschlagerEberle OfficialSite, 2013
29
This building is composed by four floors and a basement where there
are the garages. Watching the global composition, living and sleeping
room, divided with a stairwell, present different heights, first is 3,06 m
instead the second one is 2,46 m creating a staggered floor. Architectural system is composed by brick with perimeter supporting walls made
with cinder blocks realized with diluted concrete and covered with a second skin of facing bricks (creating a sort of air cavity), floors, stairs and
stairwell made in reinforced concrete. All the internal walls are made of
plasterboard rib covering little beam of wood, this is in order to give the
tenant more possibilities to change the flat as necessary. Curbs which
divided each floor are realized in manufactured concrete.
Atmosphere without machines: the building has no heating, ventilation or cooling system, the flow of energy being controlled by human
hand. Above all, however, this is a stone building with walls, doors and
high-ceilinged rooms. It needs little grey energy, and elementary architectural means are used to create a sense of well-being that derives
from the pleasant proportions and self-explanatory use. The envelope
has a cavity wall structure with each wall consisting of 36-centimetre
bricks. The inner layer of this interconnected shell ensures high comThe art museum stands in the light of Lake Constance. It is made of glass
pressive strength while the outer layer guarantees efficient insulaand steel and a cast concrete stone mass which endows the interior of
tion. Deep window reveals reduce the heat input, while vents fastened
the building with texture and spatial composition. The outer skin of the
inside are controlled by sensors to provide a pleasant room climate.
50cm
49
0
35
50cm
49
0
24
scale 1:10
U. Burkard & A. Meyer, Flat Martinbergstrasse, Baden Österreich, 1999
scale 1:10
Baumschlager Eberle, Bürohaus 2226
Lustenau (Austria), 2013
29
50cm
50cm
Baumschlager Eberle, Bürohaus 2226, Lustenau (A), 2013
49
0
0
David Chipperfield, House in Berlin (D) 2009
27
U. Burkard & A. Meyer, Flat Martinbergstrasse, Baden (A) 1999
19
24
29
24
29
29
24
19
4,7
4
19
26
58
20
study room
Hermann Hertzberger, De Evenaar school, Amsterdam (NL) 1984-1986
Alvar Aalto, Villa Mairea, Noormarkku (Finland) 1939
Anton Garcia Abril, Scuola di alti studi, Santiago del Compostela (E) 1999-2003
61
0
50cm
scale 1:10
Anton Garcia Abril, Scuola di alti studi
Santiago del Compostela (SP), 1999-03
50cm
10.50
scale 1:10
Alvar Aalto, Villa Mairea smooth plaster
Noormarkku (Finland) 1939
waterproof membrane
Villa Mairea is located in Noormarkku, in Western Finland and was commissioned in 1937 by the industrialist wood Gullichsen Harry and his
wife Mairea (hence the name of the villa) architect Alvar Aalto.
The villa, built between 1938-39, stands on a hill surrounded by a pine
forest, not far from a sawmill that was being driven by the current of the
river, the last remnant of the primitive industry of the place.
The area was within the large family property of the commissioners,
which were already present in the villas of his father and grandfather.
The purpose of the project was to build a 10.00
villa for holidays, writing,
painting, get friends or relax.
The project of the Musical Studies Centre in Santiago de Compostela is
located in the Vista Alegre plot of land, one of the most relevant green
areas in the surroundings of the old quarter of Santiago. Described as a
university park, the Vista Alegre plot of land hosts a group of buildings
link to activities related to academic and research practices. Here it’s
possible to find the House of Europe, the Advanced Studies Centre, the
IDEGA (a university research centre) and the Centre for Musical Studies,
dedicated to postgraduate studies for musical improvement, intended
for the training of the Galician Orchestra musicians.
two component roof sealent
60
0
630 internal height
630 internal height
bigger classroom
36
5 15
10 6
630 internal height
300
garden room
The Plan, 006, 2004
Sara Bortolato
270
fixed glazing
Alvar Aalto, Villa Mairea, 1998
Marco Bisetto
30
ø 20 mm stainless-steel spout
floor construction second floor:
300mm reinforced concrete
slab, white coloured and surface
sanded
270
4.10
timber casement window
3.75
450 mm insulating concrete
glass
30
heating and service conduit
220 mm reinforced concrete slab
2.50
solid wood
drywall
vapor barrier
270
1.58
1.50
bitumen
21
reinforced concrete
1 5
thermal insulation
30x180 mm larch boarding
50 mm battens on fabric
1.17
2
Valerio Olgiati, School, Paspels (CH) 1998
12
10 1.5
Diener & Diener, Apartment Buildings, Basel (CH) 1981-1986
Patrick Gartmann, House in Chur, Chur (CH) 2003
0
50cm
scale 1:10
Patrick Gartmann, House in Chur
Chur (Switzerland) 2003
1:5
High above the upper Rhine valley, on the slopes of Hochwang mountain,
is this three-storey detached house. Situated within an area subject to a
rigorous development plan by Bearth and Deplazes, this cuboid volume
unfolds inside in a virtuoso sequence of spaces – from the living room
at the top with a picture-book view of Chur and the mountains beyond
to the large kitchen/dining room on the ground floor, which has direct
7
Iuav : 140
STUDENTS DRAWINGS
glass envelope
200
243
38
66
29.5
29.5
105
37.5
37.5
7.5
7.5
++ 7.55
755
office
27
270
270
bedroom
34
460
exhibition hall
460 internal height
28
28
++ 4.04
404
29.5
29.5
66
8 5
2 12
339
32
28
HEA 140
370 internal height
living room
783
773
1069
exposition hall
office
280
steel pillar ø 11
34
parking
+ 71
28
28
45
+ 0.71
0
0.00
++0.00
0
50cm
0
scale 1:10
Peter Zumthor, Kunsthaus,Peter
Bregenz
(A) 1990-97
Zumthor, Kunsthaus Bregenz
Erected in a fashionable district in south-west Berlin. Viewed
from the road, the house at first appears to be an almost impenetrable block. On closer examination, though, one sees that
the three-storey structure is made up of various cubic elements.
From street level, a broad, gently rising external flight of brick steps
leads up to the spacious reception and living areas on the slightly raised
ground floor. The rooms are laid out in an L-shaped form about an enclosed, southfacing courtyard incised in the overall volume. In addicted,
the 3,7 metre high living space opens via room height glass sliding doors
to an outdoor terrace. The load bearing structure is in reinforced concrete, but the hand made bricks are the dominant feature of the house.
The art museum stands in the light of Lake Constance. It is made of glass
and steel and a cast concrete stone mass which endows the interior of
the building with texture and spatial composition. The outer skin of the
building consists of finely etched glass. The glass panels, which are all
the same size, are neither perforated nor cut. The multi-layered facade
is an autonomous wall construction which harmonises with the interior
and acts as a weather skin, daylight modulator, sun shade and thermal
insulator.
Exonerated from these functions, the space-defining anatomy of the
building is able to develop freely in the interior. The building is just as we
see it and touch it.
R STYLE: main title
Bregenz, Austria, 1990 - 1997
E: main subtitle
Giulia Vignotto
50cm
scale 1:10
Christian Schittich (a cura di), Case unifamiliari, 2006
Gigon/Guyer, Extension
Kunstmuseum, Winterthur (CH) 1995
Gigon/Guyer, Extension Kunstmuseum
The expansion of Kunstmuseum Winterthur offers the challenge of a low
budget project that combines different building systems through the
study of individual elements and their materials. The additional space
created in the use of the museum are in continuity from the previous
structure, the work of Rittmeyer and Furrer and hosting, as well as temporary
exhibitions, a extensive permanent collection of contemporary
art. the low-cost of the project has determined to design a synthetic
and efficient whose elements are united according to a pragmatic principle
that combines the pieces available to get a high quality result.
A simple grid was used to divide the inner surface of 1000 square meters
in size and proportions for different rooms, which retain the common
rectangular shape and follow the ‘north-south orientation of the
shedroof.
Winterthur (Switzerland) 1995
Claudio Vianello
Peter Zumthor, Kunsthaus Bregenz, 1999
Giulia Vignotto
Wiel Arets, Police Station, Cuijk (NL) 1997
0
50cm
scale 1:10
Wiel Arets, Police Station
Cuijk (Netherlands), 1997
El Croquis n.102, 2001
retractable textile sunscreen
ain description
In Cuijk the form of the police station has been compacted to produce
a much more dense, sculpturally closed volume in order to assimmilate
itself to its more restricted corner site and the trffic that flows around
its edges. Here pedestrian and vehicular entrances have been separated
by the bulk of the building. The visual strasparency through the building
has been kept but in this case internalised in keeping with the general
reduction of the form. The reception forms the fulcrum for the whole
building filtering the orizontal visual connection through the building
but physically separating the public entrance from the police and prisoner entrance. The vertical connection is created by the staircase and
skylight above. Arround the reception, on the ground floor, are situated
the public offices, interrogation rooms and cells.
Giovanni Donazzan
Arets, Wiel. Wiel Arets : 1993-1997. - Madrid : El Croquis, 1997
glass bracing system
12 mm carpenting
10 mm screed
150 mm concrete
composite slab
auditorium hall
aluminium strip
76,5
coated with
cedar wood
600/400 mm
steel bearer
service access
catwalk
structure in
welded steel
plate with fire
retardant
60
office space
coating
60
tube wall: 25 mm calcium silicate fire-resistant
cladding+ 6 mm sheet
steel with reinforcing ribs
Shop
profile
aluminium
glazing beads
with
3370
250/180 mm
steel I-sections
welded on site
200
silicone seals
3200/2000 mm rhomboid glazing elements: 12
mm float glass+ 16 mm
air-fixed cavity
pillars of
extruded
aluminium
facade
laminated safety
60
floatglass
200
sandblasted
insulating safety
glass laminated
25 mm calcium silicate
fire-resistant layer,
painted matte cream
frame made of
cedar wood
200
floor vent with tufa
stone finish as a joint
for sismic structural
movement
exhibition space
concrete base
to view
0
50cm
scale 1:10
Herzog & de Meuron, Prada Aoyama Store, Tokyo (J) 2003
scale 1:20
Herzog & de Meuron, Prada Aoyama Store
Tokyo (Japan), 2003
0
Jean Nouvel, Fondation Cartier,
ParisFondation
(F) 1994
Jean Nouvel,
Cartier,
100cm
0
The ambivalent, always changing and oscillating character of the building’s
identity is heightened by the sculptural effect of its glazed surface structure.
The rhomboid-shaped grid on the facade is clad on all sides with a combination of convex , concave or flat panels of glass. But the grid on
the facade is not simply an optical illusion; it is actively incorporated
in structural engineering. Linked with the vertical cores of the building, it supports the ceilings. The horizontal tubing stiffens the structure and also provides more private areas for the changing rooms and
the checkout on the otherwise open, light-flooded floors of the building.The materials are either huper-artificial, like resin, silicon and fiberglass, or hyper-natural, like leather, moss or porous planks of wood.
50cm
Rafael Moneo, Kursaal, San Sebastian (E) 1999
scale 1:10
Jean Nouvel’s achievement was to harmoniously combine 1,200 m² of
exhibition space with six floors of office space and nine floors above
ground. Large, flexible areas are made possible by the structural beams
which span sixteen meters without intermediate columns. With the extension of the glass facade in specific edges of the building, there is a
fusion of interior and exterior spaces. Behind this transparent wall, a cedar of Lebanon planted in 1823 emerges from a monumental flower pot.
Acting both as windows and mirrors, the glass walls allow the spectator
glimpses of the works exhibited, or reflect the drifting clouds and the urban environment. As a result, the building is in perpetual metamorphosis. The 8-meter-high sliding windows, that separate the gallery space
from the outdoors, are entirely removable in the summer.
Paris (France), 1994
steel angular closure corrugated
sheet 55 mm
Auditorium Kursaal, Rafael Moneo
San Sebastian (ES) 1999
Christian Schittich, Atlante del vetro, 2003
Angela Bertiato
The project is situated on the right side of the mouth of the Urumea, on
land reclaimed from the sea. The International Congress of San Sebastian is composed of two huge glass cubes. The same architect describes
it as a “stranded rock” next to the Cantabrian, some areas of 7,000
m2 connected underground, sheltering in their bowels two multipurpose
auditoriums, an exhibition hall, a restaurant and parking. The Kursaal is
composed of two large translucent glass cubes deformed and oriented
with respect to Mount Urgull in the west and the Ulía in the east. These
blocks, with their unbalanced geometry, seem to assume the scale and
nature of the bay. The construction is resolved with a metal structure
that leads to the formation of a double-walled complement, interior and
exterior, with a block of laminated safety floatglass and sandblasted.
Elena Rampin
External shading
Thomas Herzog, Roland Krippner, Werner Lang, Atlante delle Facciate, 2005
corrugated sheet 55 mm
Rivista monografica El Croquis, Herzog & de Meuron, 2006
Michela Mansutti
Cement wood chipboard
Rubber matt
Mineral wool
Sand
3-Layer Timber wood
Cooling\Heating panel
office
Office
Open Lounge
330 internal height
Carpet
Raised floor
floating floor with
linoleum finish
Glass balustrade
33
adjustable feet for floating floor
Heating unit
75
37
aluminium angular
36
26
26
16
22
beam IPE 360
24
Void Area
Office
curtain formed in aluminium framewith
office
curtain wall formed by aluminium
10 6 8 6 7
32
steel plate 25 mm anchor base
internal linoleum floor
18
38
36
26
26 10 28
37
5
frame with doble glazing 6/12/6 mm
330 internal height
270
270
panels of polycarbonate sp 40 mm
0
Shigeru Ban, Tamedia New Office Building, Zurich (CH) 2013
7 21
44
260
50cm
12
44
Barcellona (Spain), 2006
0
50cm
scale 1:10
Shigeru Ban, Tamedia New Office Building
Zurich (Switzerland), 2013
0
scale 1:10
Abalos & Herreros, Office
Building, Barcelona (E) 2006
Abalos ed Herreros, Edificio per Uffici
The timber main structural system is in great extent the most significant
innovation of the project. From a technical and environmental point of
view the proposed this timber structure is a unique response to this type
The project idea corresponds to a strategic vision for the enhancement
of the places on the edge of the city , already destined for industrial and
service operation in complex and highly significant , even symbolically
as a manifestation of political sensitivity and attention to environmental
issues , multicultural and recovery for public use of an entire sector
urbano. In the area of intervention are placed for the supply of energy
services , the collection of used tires, the reservoir , the facilities for
the disposal of waste , equipment for the network gas distribution and
widening existing incinerator , further comprising an office building and
cultural museum, a recycling plant and the ecological park .
50cm
scala 1:10
Rem Koolhaas, Dutch Embassy, Berlin (D) 2003
Rem Koolhaas, Dutch Embassy
Berlin (Germany), 2003
The glazed embassy of the Netherlands in Berlin radiates a sense of
openness. The Dutch selected a site on the River Spree, with a view of
barges and riverbank promenades. The “urban villa” has a 17 ≈ 17 m
footprint. Safety glass was used only for the ground floor windows to
the consular spaces. The offices on the upper floors are enclosed within
a double-skin facade, through which extract air flows up the aid of fans.
In the case of the offices along the south face, expanded-metal sheeting
was inserted between the outer panes of glass to provide sunshading,
protection against glare, and visual screening. The three-dimensional
quality of the facade is a reflection of the spatial complexity internally.
Iuav : 140
8
STUDENTS DRAWINGS
THE ITALIAN CONTRIBUTION
galvanized sheet
botticino bocciardato
tile floor
gress bruno
0,85
30
curtain wall
3,00
Beam UPN 400
edge protection
galvanized sheet
Canteen
beam UPN 230
0,66
beam UPN 400
precast concreate
shopping center
330 internal height
panel lining
40
3,00
Bar - Play Room
alluminium closure
concrete slab
horizontal pipe conditioning
beam UPN 230
beam UPN 400
40
0,45
shopping center
0
50cm
scale 1:10
0
Franco Albini, Franca Helg,
La Rinascente, Rome (I) 1960
Franco Albini, La Rinascente
Rome (Italy), 1960
La Rinascente is a commercial building located in the Town Hall II,
between the Via Salaria and of course Italy. The stringcourses advance
to the facade thus giving the effect of three-dimensionality of prospects.
The value of the string courses molding is accented by frames,
channel lighting, and gutters. All metallic elements that emphasize the
horizontality of the building. A balance vertically, there are ripples rising
from the bottom to the top of the facade boards which receive the airconditioning ducts, downspouts and pipes of the sprinkler system. Six
windows are placed symmetrically on the main front.
Andrea Bocola
50cm
Ignazio Gardella, Mensa Olivetti,
Ivrea (I) 1959
Ignazio Gardella, Mensa Olivetti
Ivrea (Italia), 1959
La Rinascente:Disegni e progetto de la Rinascente di Roma
Albini-Helg. Milano-Abitare Segesta, 1982
The building made by Ignazio Gardella can be seen as a crystal which
deforms according to the shape of the soil, without however losing its
geometrical rule based on the triangular form.
Inside, a particular attention has been paid to the problems associated
with large horizontal development. To avoid the feeling of a space excessively dispersive, Gardella resort to the use of decorative elements as
“centers of attention” such as the choice of keeping in view the cooling
channels.
Outside, the building is distinguished from the unifying of the balconies
jutting out that interfere with the tight rhythm of the vertical pillars in
front. The iron railing, fixed above a band of coating botticino marble
bushhammered, helps to confer to the building unit.
Fiorese Francesco
Luigi Caccia Dominioni, Office and apartment buildings in corso Europa
Milano (I) 1959
Stone coping
Ignazio Gardella e il rofessionismo italiano, 1986
Gravel
Lightweight concrete
Galvanized fascia
Insulation
Glass
r.c.Horizontal
screen
Metal
bracket
Travertine
screen
Exposed
concrete
Fibre
glass
Heating
pipe
Asbestos
cement
HARACTER STYLE: main title
Ludovico Magistretti, S. Maria Nascente, Milano (I) 1947
Downpipe
Ignazio Gardella, case Borsalino, Alessandria (i), 1949-51
Marcel Breuer, Pier Luigi Nervi, Unesco Building, Paris (F) 1952-58
ACTER STYLE: text main description
0
50cm
33
UNESCO, Pier Luigi Nervi
Place Fontenoy (Paris) 1952/58
18
scale 1:10
The main structure of the conference hall consists of continuous r.c. corrugations which form the roof and both end wall. The
continuation of the folded slab around the gable walls provides
the necessary lateral stiffness. The roof is stiffened by a central
upstanding beam carried by six columns which are circular at
the bottom and rectangular the top. The roofing slab is moved
from top bottom of the compression forces; the raising of it in
the main conference hall has the effect of increasing the sense
of spaciousness. The side walls are statically independent, and
their connection with the main structure is by means of a joint
which assures lateral stability to the walls, but permits thermal
displacement of the roof. They are of brick and concrete covered
with travertine.
Architectural design February 1959
39
270
25
5 11
Marzia Busetto
Annibale Fiocchi, Marcello Nizzoli, Olivetti Office Building,
Milano (I) 1954-55
Angelo Mangiarotti, Bruno Morassutti, Aldo Favini
Chiesa della Nostra Signora della Misericordia, Baranzate (I) 1956-57
0
STUDENTS DRAWINGS
395
Cino Zucchi, D Building
Giudecca, Venezia (I) 1997-2000
39.5
50cm
scale 1:10
The building D is a construction for sixteen apartments of
ARCHITECTS DRAWINGS
Burkhalter - Sumi
timber cladding: facade/loggia
the construction process and enjoyed
considerable respect and autonomy.
But the forecast demise of the profession through its disintegration now
has such a long history that it forms
its own tradition, they say with a Pop
nonchalance, and has become its definition. They recount the split between
the École des Beaux Arts and the
newly founded Écoles Polythecniques,
and briskly trace a series of crises
through the Deutscher Werkbund, the
various Bauhaus[es] and CIAM, reaching a climax in “1968 with demands
that the discipline of architecture be
In their succinct essay “Form and
Profession”, the only instance where
they have written something close to
a manifesto, Burkhalter Sumi observe
that architecture and architects seem
under attack from any number of quarters. He or she is increasingly impinged
by the market forces and procurement
methods under which the AngloAmerican world already suffers. This
is true even in Switzerland, where the
architects has traditionally controlled
Stadtvillen Witikon 2002
broken into a series of subjects—economics, sociology, law etc.”. And from
this chilling history of dissolution they
calmly derive their precepts for being
an architect: “First, the continual adaptation of our profession to an everchanging environment is a sign, not
of weakness, but of strength [...] Like
Roland Barthes’s Argonauts who continually renew their spaceship during
flight, without ‘intermediate landing
or interruption’, architects must also
continually reconstruct the edifice of
their theoretical knowledge.” But in
a break with modernism’s confidence
Einfamilienhaus 2005
Kengo Kuma & Associates
Exterior Wall with Thickness
the body. And this thickness is gained
from accumulated layers. In my view,
façade of architecture can be thick
with the existence of layers, therefore must be much thicker and more
stratified. Accumulated layers show
that the exterior changes gradually towards the interior – outdoor to indoor.
We want to create a façade that feels like animal skin. The skin of living
things has thickness. The thickness
balances environmental differences
between the inside and the outside of
clarity with which Burkhalter Sumi put
it in “Form and Profession” belies the
position’s complexity: “The discipline
of architecture has [...] its relation to
society [as] its central concern [...] The
decisive question for us is whether
the completed structure is capable of
surviving everyday life [...] Such an approach seeks an architecture which, at
its best, has a self-evident character.”
and a subsequent history of serial certainties, they acknowledge that the
condition they describe involves one in
a continual struggle, for, “It is not the
elimination of […] conflicts, but their
prompt resolution—the centring of the
centrifugally dispersing demands and
the consequent revelation of the hidden core—which constitutes the primary task of our profession.”
[...] The continual struggle described
above is an ambitious definition of
the architect, which ironically must
manifest itself in a kind of humility,
professional as well as formal. The
Steven Spier, Resolving the hidden
core in Burkhalter Sumi – recent works,
“2G”, 35, 2005.
Fabrik Forsanose 2013
By being layered, the skin could become a structure to support architecture.
The skin of sea cucumber is a great
reference for this. Their bone is not
located at the center of the body. It
is broken into pieces and tucked into
the skin. In my design also, bone is
often scattered into the skin and the
two elements are indistinguishable.
As the result, such skin with thickness
becomes soft and warm. Stroking it is
so relaxing – like when you caress your
sweetheart.
structural plywood t=12
calcium silicate sheet t=8x2
180 20 20
louver door
galvanium plate
t=1.2 SOP
bonderized steel sheet t=1.6
60 8 8 12
roof: galvalume steel sheet
t=0.4
2640
2040
handrail:
galvanized steel flat bar 12x40
450
150
19.8
downpipe:
SUS HLφ105
300
190
155
147
steel angle: 100x75
1100
300
302
194
plywood t24
70 60
180 180
65 232
45
softfit:
silica calcium board t10
340
383.2
300
silica calcium board t=12
silica calcium board t8
Conference Room
wooden louver:
asphalt roufing
joinery ceder
t=15 90/w300
20 20
100
fancy plywood 60x180
40 50
100
200
t=0.4
170
meeting room
double glazing
2270
terrace
Low-E glass
1733.2
hollow section
Cidori-Goshi
500
300.0
1567.2
polycarbonate sheet t40
Max.CH=2721
900
cork flooring t40
structural plywood t12
glass wool 24k
sound insulation
floor panel 16
external cladding:
tuff stone (re-use of exhisting material)
367.0
234
70
250
steel plate t =6ࠉ
42.4
382
70.2
steel panel
209
216
Machine
Space
louver door
214
float glass t4
t=0.4
glued chaff sheet t20
shop
asphalt coating
crushed stoneࠉ
30 30
500
Shrinkage-compensating mortar
60
Sunny Hills Omotesando, Tokyo (J) 2013
170
Sunny Hills Omotesando
Tokyo (J) 2013
gravel
80
This shop, specialized in selling pineapple cake (popular sweet in Taiwan), is in the shape of a bamboo basket. It is built on a joint system
called “Jiigoku-Gumi,” traditional method used in Japanese wooden architecture (often observed in Shoji: vertical and cross pieces in the same
width are entwined in each other to form a muntin grid). Normally the two pieces intersect in two dimensions, but here they are combined
in 30 degrees in 3 dimensions (or in cubic), which came into a structure like a cloud. With this idea, the section size of each wood piece was
reduced to as thin as 60mm×60mm. As the building is located in middle of the residential area in Aoyama, we wanted to give some soft and
subtle atmosphere to it, which is completely different from a concrete box. We expect that the street and the architecture could be in good
chemistry
Asakusa Culture Tourist Information Center
Tokyo (J) 2012
Asakusa Culture Tourist Information Center
Tokyo (J) 2012
In the corner premise of just 326m2 across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist
information center, conference room, multi-purpose hall and an exhibition space.
The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new
section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the
roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings.
Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor
2016 130 20 30
5
30
100
250
20
galvannealed plate:
St 9x55x274
500
galvannealed base plate:
St 16x80x160
GC Prostho Museum Research Center, Aichi (J) 2010
GC Prostho Museum Research Center
Aichi (J) 2010
100
galvannealed drift pin:
St φ10x60
70 7040
274
16 64 30
235 100.1
650.9
1/100
30 20
90 70 60
mirror-finishing RC
Conference
Room
200
98
es
9
Iuav : 140
This is architecture that originates from the system of Cidori, an old Japanese toy. Cidori is an assembly of wood sticks with joints having
unique shape, which can be extended merely by twisting the sticks, without any nails or metal fittings. The tradition of this toy has been
passed on in Hida Takayama, a small town in a mountain, where many skilled craftsmen still exist.
Cidori has a wood 12 mm square as its element, which for this building was transformed into different sizes. Parts are 60mm×60mm×200cm
or 60mm×60mm×400cm, and form a grid of 50cm square. This cubic grid also becomes the grid on its own for the showcase in the museum.
Jun Sato, structural engineer for the project, conducted a compressive and flexure test to check the strength of this system, and verified that
has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of
even the device of a toy could be adapted to ‘big’ buildings. This architecture shows the possibility of creating a universe by combining small
the slanted roof, we were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined
units like toys with your own hands. We worked on the project in the hope that the era of machine-made architectures would be over, and
toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique
human beings would build them again by themselves.
Chokkura Plaza, Tochigi (J) 2006
Chokkura Plaza
Tochigi (J) 2006
A project to create a new station plaza that would play a leading role in the community activities, centered round an old storehouse, an Oya
stone masonry, which was to be preserved.
Debris of Oya stone from the storehouse are reused and combined with steel plates arranged diagonally in order to create attempts to achieve
transparency by making the most of the material’s texture.
Iuav : 140
10
ARCHITECTS DRAWINGS
Takaharu + Yui Tezuka Architects
Beyond Architecture
Architecture should support society
and exceeds its era. Following the passion of the architect, architecture that
continues to survive across several centuries will mature due to the affection
it receives from people.
Architecture is an interdisciplinary
field. We, as an architect, need to collaborate with different experts such as
mechanical, structural engineers, and
ZUKA ARCHITECTS
window joinery manufacturers. It is
important to know the reason and the
amount of effort and time given into
each architectural detail. Materials,
whether wood or steel, have their own
character and construction method.
We must understand the nature of
each material and how they behave
differently. For example, wood is heavy, thus wooden structure does not
need to be thin. Steel structure follows
the ra- tionality of structural dynamics;
on the other hand, wood structure is
about the assembly of members and
how they age over time. It is vital to
understand the meaning of material
to overcome the challenging factor of
time. Good details can only be created
when materials are behaving the way
they should.
Throughout the ages, there is only one
constant convention of architecture.
Architecture exists to serve people. In
the same way that a pair of chopsticks
unused by people is no more than two
rods, architecture that does not coexist
with people is no more than boxes.
An architect always seeks the future.
With the current advances in technology, architecture is now extremely liberated. Structures exceeding 2000m
and all kinds of free-form surfaces are
achievable. Nevertheless, the essence
of architecture is constant. Architecture can become art, but architecture is not art. Architecture is charged
with the mission of transcending eras,
from today into the future. Because it
transcends time, architecture is per-
mitted to occupy a special position
among humanity’s various creations.
Time is the enemy of architecture, and
at the same time is its ally. Architecture that cannot coexist with people
cannot carry out its greatest mission,
the transcending of time. No matter
the technological advancements, our
pursuit to understand material, detail,
and people will always remain as the
significant aspect of architecture.
Tent/Titanium Oxide
Photocatalyst Coated
Membrane
waterproof membrane on pitched stylo foam
W PP
Connecting Joint for Tents
/ cast iron
beam(perimeter) 䠖 cedar
ŌPPðPP
beam(eave) 䠖 cedar
ŌPPðPP
䚷䚷
site welding : groove angle 45
lintel 䠖 cedar
䚷䚷
20mm longer for cut snow
roof: 6mm thick cor-ten steel site welding
insulation: urethane foam in situ 70mm
Balustrade:rope
%DOXVWHUVVWHHOURGǗ
3/
(hot dip galvanized)
Ｌ−50ｘ50ｘ6
exterior wall : 6mm thick cor-ten steel site welding
Ｌ−50ｘ50ｘ6
20mm longer for cutwater
fasner : steel angle piece Ｌ−90ｘ90
door frame : cor-ten steel Ｌ−175ｘ85ｘ6
Net
Artwork/created by the artist
Roof
Finish: Amazon cherry wood (wood deck) t=20
6XEVWUDWH)ORRUMRLVWV#
SLOHV#
Waterproofing:
Vulcanized rubber sheet waterproofing
column 䠖 cedar
ŌPPðPP
䚷䚷
Fall prevention net
Vinylon (white)
Ǘ 60mmsquare
door panel : 3.2mm thick cor-ten steel stainless screw
Ｌ−50ｘ50ｘ6
Ｈ−350ｘ175ｘ7ｘ14
Ｌ−90ｘ90ｘ10＠500Ｌ＝150
handrail
capping timber 䠖 cedar
ŌPPðPP
vertical rail 䠖 cedar
ŌPPðPP#PP
cealing : plasterboard t=12.5 mm
cover : steel plate ｔ＝2.3ｍｍ
䚷
smoke venting window
intake : use crean cut board
to sharpen the edge
cutwater : bent cor-ten steel t=3.2mm
seal filling backside
freeze proofing cover plate for sealing:
bent cor-ten steel : Ｌ−114ｘ37ｘ3.2
epoxy rasin painting for insulation
(only within the frame)
glassfibre sheet
plasterboard ｔ-12.5ｍｍ
emulsion paint
vinyl break line
timber framed window
frame 䠖 cedar
glass 䠖 paired glass
PPPP
frame of acrylic window :
bent cor-ten steel L-140x120x6
site welding : between door frame and exterior wall
Ceiling
Finish: perforated acoustic board t=9
Substrate: Light gauge steel substrate
Douglas Fir Glulam
Teak-oil finish
H: 360 - 520 mm
W: 220 - 360 mm
window sill 䠖 cedar
䚷䚷
interior wall : plasterboard (super hard board)
ｔ＝12.5＋ｔ＝9.5
/glassfibre sheet
/emulsion paint
frame of acrylic window :
bent cor-ten steel L-140x120x6
acrylic plate t=75 mm
LGS100＠455
floor : dust-proof painting on exposed concrete
baseboard : alminium angle
Ｌ−20ｘ20ｘ3
freeze proofing cover plate for sealing:
bent cor-ten steel : Ｌ−114ｘ37ｘ3.2
epoxy rasin painting for insulation
(only within the frame)
nsulation: urethane foam in situ 70mm
setting block
Ｈ−350ｘ175ｘ7ｘ14
blowout :
galvanizing grating FB3x19 W=115
safety mesh 5 mm angle
gasket（hokusho：ＧＶ−452）
Timber joint detail
Floor
Finish: untreated pine wood
Z W 6XEVWUDWHSO\ZRRGW Free floor
bent cor-ten steel Ｌ−115ｘ115ｘ12
lower than concrete head for cutwater
Ｌ−90ｘ90ｘ10＠500Ｌ＝150
insulation 䠖 hard urethan foam
W PP
䚷䚷
Existing
zelkova tree
+ ｍ
Ｈ−350ｘ350ｘ12ｘ19
ＳＣ−12100(SUS)＠600
15
loose setting to adjust
thermal contraction
floor sleeper 䠖 cedar
ŌPPðPP
䚷䚷
handrail base 䠖 cedar
ŌPPðPP
䚷䚷
Air-conditioning intake
$SHUWXUHǗ#
Intake rate 20%
Concrete Troweled Finish
cor-ten steel t=2.3 mm
corrosion proof painting backside
gravel to save-all rust drop W=300
timber wedge
No piles in the surroundings of the trees.
Foundation Connecting Joint
/ Cast Iron
washer : steel plate−32ｘ300ｘ180 welding with ABT
stainless sheet ｔ＝0.6
BPL−19ｘ300ｘ710 loose hall 100Ʒ
stainless sheet ｔ＝0.6
BPL−6ｘ300ｘ710
sill anchor 2−Ｍ20 Ｌ＝700
Drainage with Heaterd Water
for melting snow
Cover / Douglas Fir
timber peg
H = 360~520
Timber dowel pin
Ǘ ∼ 180(W/2)
W = 220~360
teak-oil finish glulam
Matsunoyama Natural Science Museum
Echigo-Matsunoyama (J) 2003
Matsunoyama Natural Science Museum:
Echigo-Matsunoyama (Japan) 2003
Shim-Suitcliffe Architects
Walls of Light
The Echigo-Matsunoyama of Natural Science Museum is located in the
forest-covered mountains of Matsunoyama, a region of Niigata Prefecture known for its heavy winter snowfalls. The facility was designed
kfXZZfddf[Xk\Yfk_k_\^\e\iXcglYc`ZXe[jZ`\ek`ÔZXZk`m`k`\j%K_\
total length of the building is 160meters, including a 34-meter tower.
The difference between the temperature between summer and winter
causes the whole structure to expand and contract almost 20 centimeters in length, and the total load of snow can amount to some 2000
tons of pressure. So 6 millimeter-thick welded Corten steel plates
were chosen for the buildings outer shell. At key points inside the
Yl`c[è^#dXjj`m\Õffi$kf$Z\`cè^nè[fnjf]]\iXjg\ZkXZlcXim`\n
on the surrounding environment. To sustain the weight of the snow
and give the structure a proper isolation, all windows were made of
55 to 75-millimeter-thick acrylic - a material with an extremely high
98-percent degree of transparency.
We want to create thick walls of light
that transform our architectural spaces
through the seasons and from day to
night. We have selected four projects
that modulate light in very different
ways, but in each case, the thickness
of the wall assembly allows for the gradation and transformation of light as
Congregation Bet Ha’am, Portland,
Maine (USA), 2008
ARCHITECTS DRAWINGS
Woods of Net, Hakone (J) 2009
Fuji Kindergarten, Tachikawa (J) 2007
Fuji Kindergarten:
Tachikawa (Japan) 2007
A large oval building of about 183m outer circumference, and about
108m inner circumference. Three existing zelkova trees (two of 25m
and one of 15m) pass through the architecture. This is a kindergarten for 560 children. All the architectural spaces are at the scale of a
child. It is a one-storey building, with the ceiling heights restricted to
2100mm. There is hence an extremely close relationship between the
Õffic\m\cXe[k_\iff]kfgc\m\c%E\m\i$\e[è^Z_Xj\jjfd\k`d\jfZcur on the endless oval roof. Wherever you are, the entire garden can
be viewed. The spaces extend with nothing being excluded.
With regard to zelkova trees, the spread of the roots is only the span
of the branches. Therefore, there are no foundations around the tree
iffkj%Kfgi\m\ekk_\Xi\XjXifle[k_\iffkjY\è^èÔckiXk\[Ypk_\
alkali compounds in concrete, a sheet underlay was installed prior to
the leveling concrete.
it washes across the surface while the
thickness of the wall simultaneously
provides containment and substance
as well as enables the dematerialization by the light. For Congregation Bet
Ha’am in Portland Maine, we create
apertures above with skylights and
clerestory windows that wash with
light the inside face of a sacred space allowing the space to glow from
within. For The Integral House on a
Craven Road Studio, Toronto,
Ontario (Canada), 2006
Woods of Net:
Hakone (Japan) 2009
ravine edge in Toronto, we create thick
shaped and articulated wooden fins
in which natural light washes across
its face. For the Craven Road Studio,
we create narrow skylights combined
with articulated wooden light coffers
to amplify the light. For the House on
Henry’s Meadow, we transform logs
into conceptual screens demonstrating their visual delight and plasticity.
We use wood in different ways in each
Woods of Net is a new pavilion for the Hakone Open-Air Museum. The
concept for shaping an area in Woods of Net is similar to an open-air
ZXdgÔi\%8ggifXZ_è^]ifdX[`jkXeZ\#fe\ËjYf[pîX[lXccpY\^èj
to feel the light and warmth, and then enters a circle of people. The
size of the dome is equivalent to the center dome of the blue mosque
in Istanbul. The structure is entirely composed of timbers without any
metal parts. Each of the 598 timber members has a different length
and thickness, as the sheer force and the bending moment balance
throughout structure. No member has been wasted. This project is
looking random yet very much rational structure. Cutting-edge structural analysis has been employed to overcome the variablity that
characterizes timber. While employing traditional wood joints we have
searched for a futuristic form,which should result in a completely new
type of architecture.
Asahi Kindergarten, Minamisanriku (J) 2012
Asahi Kindergarten:
Minamisanriku (Japan) 2012
project, but in all cases, our spaces are
given a humane dignity.
In our practise we are constantly experimenting and exploring the possibilities of light and its amplification and
dematerialization into space. We are
interested in the intense relationship
between man-made materials that are
controlled and shaped and how they
react with changing light conditions
and the larger unpredictable forces
House on Henry’s Meadow
Vale Perkins, Quebec (Canada), 2009
This project is the reconstruction of a kindergarten lost in the huge
tsunami in 2011. The project is funded by UNICEF. We used massive
trees killed by sea water. These trees used to be religious symbols
of the local villager. They were planted after tsunami in 1611, which
happened exactly 400 years before the tsunami in 2011. Every piece
f]k_\Yl`c[è^f]8jX_`Bè[\i^Xik\eèZcl[è^jkilZkli\#ÕffiXe[
handrail, was curved out from these trees. The circumference of some
of the trees exceeded 5m. No metal joint was used. We used traditional joinery and wedges, because we know these old techniques has
been making Japanese traditional architecture to survive more than
1300 years. The massive column with sectional dimension of 600mm
x 600mm are the message to the children who are going to live after
400 years, to tell “these trees were killed by tsunami, and you have to
run up to the building when a big earthquake comes.”
of nature. Our work is engaged by
this on-going dynamic engagement.
By intertwining wood and light, we
more accurately register the subtle
and changing atmospheric conditions
around us.  By wrapping our buildings
in walls of light, we link the inside and
outside making us aware of our human
condition on a daily basis.
Integral House, Toronto, Ontario (Canada), 2009
11
Iuav : 140
ARCHITECTS DRAWINGS
OAB - Office of Architecture
in Barcelona
Light and Materiality
Architecture should support society
and exceeds its era. Following the passion of the architect, architecture that
continues to survive across several
centuries will mature due to the affection it receives from people.
Architecture is an interdisciplinary
field. OAB picks up on the trajectory
of the earlier Carlos Ferrater Studio,
whilst incorporating new ways of
understanding architecture on the
part of the members of the team in a
more varied and more flexible
ality
Materiality
ight and richer,
Materiality
way of approaching project design.
The renewal and creation of this new
platform will attempt to confront the
challenges that the architecture of this
century has posed in the intellectual
and social, technological and environmental fields.
Growing out of the socialization of
collective work and based on the personal tendencies of its members, this
report includes the projects and works
built during this most recent period,
projects and works that privilege the
desire to work in different contexts by
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ometric
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ometric
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ometric
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topography of the terrain. topography of the terrain.
topography of the terrain.
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solved as sanitary
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rainwater runoffs,
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accesses
a “lobby-style”
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space
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as a continuation
of the
a “lobby-style”
piazza
of the
andpiazza
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space
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pography.
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portinterior
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without
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means ofwith
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paving.of an also-continuous paving. means of an also-continuous paving.
ce this type
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ce
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he
nes
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of the two of
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inthe
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Even first
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the ground-floor
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ded by the windows.
ded by the windows.
ded by the windows.
plane
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penetrates
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organic layout,
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a reminder
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In vertical
terms,
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nat
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ofBolivia.
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dow display.
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screens
honeycomb
honeycomb
surfaces that
surfaces
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generate
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areas
and
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The
The
perpendicular
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perpendicular
to the Diagonal
to theconceals
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The
the
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crown
installations
perpendicular
the installations
to the
TheDiagonal
crown perpendicular
conceals theto
installations
the Diagonal
The conceals
crown perpendicular
the installations
to the Diagonalit conceals
the
installations
pillars,
and
along
pillars,
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roof huge
lanterns,
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lanterns,
and
therounds
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building
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rounds
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huge
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roof lanterns,
offand pillars,
rounds
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the building
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offby closing
xities and concavities
xities and concavities
that gradually
thatcreate
gradually
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create
xities
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and
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and
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appears it
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and as
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ita appears
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and
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demands
of program andconby closing off the three-dimensional conand defines
and
thedefines
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arris
the of
rear
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intervention.
of the intervention.
and defines the rear arris of the
andintervention.
defines the rear arris of the intervention.
and defines the rear arris of the intervention.
against
theagainst
sky.as
Within,
the
sky.
an Within,
ample, an
off-center,
ample, off-center,
double-height
againstdouble-height
theatrium
sky. Within,
atrium
an ample,
againstoff-center,
the sky. Within,
double-height
an ample,
atrium
off-center,
against the
double-height
sky. Within,atrium
an ample, off-center,
atrium
and levels which
and levels
will permit
which will
their
permit
use astheir
recreational
use as recreational
and
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levels
of which
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will
ofpermit
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and use
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of leisure
use as
and
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permit
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their use as recreational
areas
of leisure
bit of the inside
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other
but
times
at other
it is simply
times itperceived
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as
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transpatinuitydouble-height
of the
tinuity
building.
of the
building.
tinuity of the building.
allenges
nfront
th
ges
rchitectural
which
thetoarchitectural
confront
challenges
thechallenges
architectural challenges
or of meditation.
or of meditation.
or of meditation.
or of meditation.
or of meditation.
rent. In this
rent.
way,Inthe
this
building
way, the
becomes
buildingabecomes
unique piece,
arent.
unique
both
In this
piece,
dayway,
and
both
theday
building
and rent.
becomes
In this
a unique
way, the
piece,
building
bothbecomes
day andrent.
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In this
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way,both
the building
day andbecomes a is
unique
converted
piece,
is converted
into
boththe
dayheart
and
into of
thethe
heart
building:
of theabuilding:
place
is for
converted
a exhibitions,
place for
intoexhibitions,
the heart of
is the
converted
building:
into
a place
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for exhibitions,
of the building:
is converted
a placeinto
for the
exhibitions,
heart of the building:
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placeThe
is
formaterialized
design
exhibitions,
is materialized
as an extended
as an rigid
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roof
Thewith
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roof
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materialized
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an design
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rigid roof with
as sporadic
an extended
The design
rigid roof
is materialized
with sporadic
as an extended rigid roof with sporadic
night sincenight
in daylight
since init daylight
functionsit as
functions
a piece as
that
a night
piece
attracts
since
that
passersattracts
in daylight
passersit functions
night since
as a piece
in daylight
that attracts
it functions
passersas night
a piece
since
thatinattracts
daylightpassersit functions as a piece
encounters
that attracts
encounters
and celebrations.
passersand celebrations.
encounters and celebrations.encounters and celebrations.
encounters and celebrations.
The promenade
The promenade
is built of the
is built
one of
material,
the onewhite
material,
concrete,
Thewhite
promenade
incorpoconcrete,
is built
incorpoof theThe
onepromenade
material, white
is built
concrete,
of the one
incorpomaterial,
The promenade
white concrete,
is built
incorpoof the one material, white concrete, incorpomoments of
moments
contact of
with
contact
the ground,
with the
with
ground,
the rest
with
moments
ofthe
therest
perimeter
ofofcontact
the perimeter
with themoments
ground, with
of contact
the restwith
of the
theperimeter
ground, moments
with the rest
of contact
of the perimeter
with the ground, with the rest of the perimeter
ry.
this new century.
rating the rating
benches
theand
benches
elements
and of
elements
street furniture,
of street
rating
presenting
furniture,
the benches
presenting
by and elements
by ratingofthe
street
benches
furniture,
and elements
presenting
of by
street
ratingfurniture,
the benches
presenting
and elements
by
of street furniture, presenting by
by due to the
by due
seductive
to the effect
seductive
of the
effect
veil,ofand
theatveil,
night
by and
due
the
at
tobuilding
night
the seductive
the building
effect
byof
due
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at night
effect
the building
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veil,due
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effect of the veil,
In and
its conception
at night
In itsthe
conception
the
building
intervention
the intervention
seeks afterseeks
timelessness
In
after
its conception
timelessness
and per-theand
intervention
per- In its seeks
conception
after timelessness
the intervention
andseeks
per-In after
its conception
timelessness
the intervention
and perseeks after
giventimelessness
overgiven
to lightweight,
over
andtoperlightweight,
transparent
transparent
materials: materials:
given
huge, over
screen-like
huge,
to lightweight,
screen-liketransparent
given overmaterials:
to lightweight,
huge,transparent
screen-likegiven
materials:
over tohuge,
lightweight,
screen-like
transparent materials: huge, screen-like
Benidorm West Beach Promenade
Benidorm (E) 2009
Barkow Leibinger
Detail + Façade: Surface Affect
Mediapro Building
Barcelona (E) 2008
liminal threshold between an interior
(private or public) and a building’s exterior that requires the utmost scrutiny
in determining what it should do.
The section drawing favors (indicates)
a relationship to our bodies and also
shows shape-of- space as a priority.
These examples show façades drawn
in section as a spatial condition that
generates dimensional depth as a kind
of tectonic poché. This is a depth that
is utilitarian (space for sun screens,
mechanical systems, blinds, heating
elements etc.), spatial and optical (con-
means of textures
means ofand
textures
colors and
the colors
different
thefinishes
different
means
of finishes
the of
paving.
textures
of the paving.
and colorsmeans
the different
of textures
finishes
andof
colors
the paving.
the different
means
finishes
of textures
of theand
paving.
colors the different finishes of the paving.
Detail in these examples is a means, an
instrument, for fabricating façade systems whose primary goal is to produce
visual affect. A façade is a primary contemporary site (within the larger site
of a building) for architecture where,
arguably, the architect has the greatest freedom to determine a building’s
technical/environmental performance,
iconographic image, aesthetics, material character, and form. A façade is the
Trutec Building, Seoul (Korea) 2006
Tour Total, Berlin (D) 2012
Roca Barcelona Gallery
Barcelona (E) 2009
Kaplankaya Clubhouse, Mugla (Tk) 2013
trolling how surface is seen frontally
and obliquely). These are flat surface
depths (between 20 cm and 120 cm)
that produce in all cases strong visual
affect. Repetitive geometric patterning,
including hyperbolic surfaces, stacked,
or facetted elements generate deep
textured façades, visually dynamic.
This locates the detail not as a fetish
of precision or formal compositional
beauty (alla Mies) per se, rather, the
detail is instrumental, in its aggregate
repetition for producing visual/ optical effect. The visual aspect is one that
becomes abecomes
beacon. a beacon.
becomes a beacon.
becomes a beacon.
becomes a beacon.
AA House, Sant Cugat
del Vallès (E) 2011
is activated by change/ movement.
This movement animation is activated
by the body moving in relation to a
(normatively) fixed building, but also
in these examples by light and environmental changes moving over reflective glass, or moving (kinetic) walls
of fabric that change shape physically.
These examples both materialize as
loadbearing walls or dematerialize as
curtain walls.
The façade section is positioned ideally to illustrate the logic of how and
where material systems intertwine
manence. manence.
Gate House, Stuttgart (D) 2007
manence.
manence.
manence.
and intersect, the scale and depth of
surface, and the actions of mechanical systems. These are matter-of-fact
drawings that help determine construction and material interfaces.
The sectional drawings here are projected so that the section is combined
with an oblique elevation so that the
objective might combine with the visual hinting at the phenomenal and
experiential that only buildings themselves can convey ultimately.
picture windows
pictureintroduced
windows introduced
at specific at
points
specific
of the
points
picture
program.
ofwindows
the program.
introduced at
picture
specific
windows
points introduced
of the program.
at specificpicture
points windows
of the program.
introduced at specific points of the program.
Kinetic Wal, Venice (I) 2014
Iuav : 140
12
ARCHITECTS DRAWINGS
Studio Valle Architetti Associati
The detail as synthesis
The building detail does not prefer one
construction system or another: It express all of them by developing their
own peculiarities. Within this board
are presented four exterior wall situations that differ from one another:
curtain wall, steel frame with HPL
cladding, concrete wall with brick and
stone cladding, monolithic wall with
prefabricated concrete panels. Some
SOCIATI
0
Portello Office Buildings
Milan (I) 2003-2014
dings,
2014
An exterior light frame of steel pilasters, each measuring 10x15cm. in
section and spaced 1,50mt. apart, support a standard concrete floor
structure. The pilasters hold on the outside a curtain wall with glass
windows and alucobond parapets. On the inside they are clad in gypsum
board and form a sequence of separate windows that allow partitions to
be placed between them with multiple layouts. Under the parapet, the
cooling system with fan coils is located. The facade system therefore
offers on the outside a continuous flat glass and metal skin while on the
inside it has individual windows that seem excavated within a “deep”
wall. The combination of the thin pilasters and layered cladding dematerializes the structure on the edge of the building shell while at the
same time offering a “thick” edge that frames the exterior light.
of them pursue structural expression
and others celebrate cladding; some
deal with depth and others with surface; some are layered and others have
a single material, some are light and
others are heavy. All of them are coherent with specific strategies of material expression that dialogue with the
individual context of each building.
There is not a general principle in this
approach to construction: each project
develops its own materiality. Formal
and spatial articulation, though, do
50cm
0
New Municipal Theater,
Vicenza, Italy, 2001-2007
Artec Architekten - Bettina Götz
and Richard Manahl
The contour of the space
New Municipal Theater
Vicenza (I) 2001-2007
0
The theater is located along the historic city walls: here a urban master
plan inserts it in a new complex of public buildings that form a central
square where its main entrance is placed and marked by a large portal. The outside cladding is characterized by a succession of horizontal bands in brick and white stone that recall the nearby city walls but
invert their mutual relation: while in the city walls horizontal bands of
brick are inserted in a stone surface, in the theater horizontal bands of
white stone underline a basic brick volume. The structure is a concrete
wall and brick and stone are hanged in a ventilated facade to make the
whole appear as a monolithic wall pierced by deep openings.
The detail can be described as the
transition from one surface condition
to another. In the fine arts, painting
is, for example, concerned with the
surface, and the drawing with the detail – or, to be more precise, with the
fault-lines between the surfaces. The
articulation of the details defines the
Architecture
is three-dimensional
thou- Bettina
Götz
and Richard
Manahl
ght accompanied with craftsmanship.
The craft of architecture is revealed in
the detail.
not exist outside of construction.
The detail does not choose one architectural language or another: It articulates all of them in the relations of
the parts to the whole of a building. In
this regards, the detail does not exist
in a realm that is separate from the
general design concept. The material
is visible but its visibility disappears
within the whole of a building.
The detail articulates the relationships
among structure, cladding, insulation
and openings. The best details do
more than one job with the same element. This multiplicity is not apparently visible. It needs to be analyzed in
a plurality of representations to unveil
its layering. The detail is therefore synthetic and not necessarily all visible.
The building detail deals with the arrangement of standard construction
components that are interrelated in a
coherent whole. It deals with market
availability, budget constraints and
comparison among parallel offers
where the most economic bid often ru-
50cm
0
B1 Residential
Office Tower,and
B1 and
Residential
Rome, Italy,
2007-2011
Rome
(I) 2007-2011
Office Tower
structure of the surface of a form.
A specific way of articulating the details is a prerequisite to the distinguishability of designer and building in a
homogenized world.
The arbitrary applicability of the
most diverse of formal conceptions,
which are available everywhere and to
The fourteen-story B1 tower offers small apartments and offices: a
flexible modular typical floor plan can offer hotel like single rooms (1
module), small apartments (2 modules) or office units (3 modules). All
units have a generous exterior loggia that enlarges the interior spaces.
The structure is a steel frame clad in HPL panels on the outside and
gypsum board on the inside. It has microforated screen loggias grouped
in textured pattern groups and a full photovoltaic façade. The exterior
shows a metal skin screened by the rhythmic patterns of the loggia volumes. behind the loggias, the exterior cladding turns from silver to blue
to underline their depth.
les design choices. The building detail
does not transcend the building market to isolate custom made or hypertechnological solutions: it transcends
the ordinary only by showing that the
same components can be endlessly rearranged.
50cm
the last years, Studio Valle has developed a prefabricated concrete
MABO Prefabricated
Housing System, HousingInsystem
MABO Prefabricated
System
2008-2010
for the manufacturing of multiple story housing for the Italian
MABO manufacturer. Four prefabricated panels, each formed by two
2008-2010
everyone today through the possibilities of information processing, makes
a new Classicism conceivable. Next to
devising space, the detail, in combination with the structure, continues to be
a means to authentic architecture.
layers of concrete with interposed insulation, form a basic enclosure
measuring Mt. 13 x 6,50 in plan. This can be linearly aggregated with a
staircase-plus-elevator module and vertically stacked up to four levels
to form many residential types (linear, block and courtyard building)
with different units (2, 3 and 4 bedroom apartments). The exterior concrete surface can be simply painted or finished with plaster to make the
whole appear as a solid monolithic wall pierced by individual openings.
The basic shell can be integrated with preassembled metal windows and
balconies that are inserted within the panel openings.
50cm
Zita Kern Space, Raasdorf (AT) 1998
Balic-Benzing Residence, Bocksdorf (AT) 2005
Zita Kern Space
Raasdorf (AT) 1998
Balic-Benzing Residence
Bocksdorf (AT) 2005
The vast land, industrialized agriculture, villages straddling the
thoroughfares, in proximity to Vienna, have been annexed by
suburban sprawl.
Situated amidst it, a small woods, in it a farmhouse, as well as
its diverse shaggy fields. Zita Kern farms the land, and she is
also a scholar of literary studies. There are spaces for farm work,
Southern Burgenland possesses a gently rolling landscape, and its
villages are few and far between.
The property for this weekend retreat for two Viennese – with
a magnificent southwesterly view beyond the sloping hillside –
extends from a sparsely traveled road over the knoll of a ridge.
The amount of space stipulated was modest: one large room
Multi-generational living at mühlgrund
Vienna (AT) 2011
multi-generational living at mühlgrund
Vienna (AT) 2011
In response to the setting of elevated tracks north and a rural
fabric to the south, a new version of balcony-access apartment
house with stairway and elevators on the two ends of the building
is developed:
A vertically kinked skin directs and diffuses the light, and toward
the top, combined with a metal wall perforated with window
The Town Musicians of Bremen, Vienna (AT) 2009
The Town Musicians of Bremen
Vienna (AT) 2009
Analogous to the Grimm Brothers’ fairy tale The Town Musicians of
Bremen (whose main characters are a donkey, a dog, a cat, and a
rooster), this reinterpretation of terrace houses involves stacking
different apartment types atop one another.
Dwelling types normally considered suburban, with the
accompanying outdoor spaces, are stacked atop one another
13
Iuav : 140
ARCHITECTS DRAWINGS
PERIPHERIQUES - Jumeau
+ Marin + Trottin
“Power of ten”
in the most effective way to adjust a
technical solution, interest us as far as
conceptualize a program.
The design of a front begins by technical requirements of the envelope. In
this way, we use simple and classical
materials like glass, aluminium, terracotta, concrete, wood, galvanized steel. We assemble them in a original
way to obtain the wished effect. To
compare it with cooking skill, we use
fresh and natural products and we never use already made products (like a
The detail’s construction is a field of
project as wide as the town planning.
With Autocad, the conception of buildings is entered in the “power of ten“
era, in reference to the Charles and Ray
Eames’s movie. We can scroll in the files since the site plan towards the bolt
assembly. Since 1/2000 scale towards
1/1 scale. Find the right scale, which
deep-frozen ready meal).
In France, the architect doesn’t produce execution documents for the construction. Our plans are indicative of
the deliberate architectural effect. The
settling and responsibility are assured by the company which builds. All
the construction site work is for us to
keep essential elements of the detail’s
conception integrating the technical
expertise of the construction company.
This reality is heavy because every
time it’s a negotiation between the
Jumeau + Marin + Trottin
92
992
2um
rland), 1992
Go House, Thionville (FR) 2006
Go House
Thionville (FR) 2006
Annette Gigon - Mike Guyer
Crèche Frémicourt, Paris (FR) 2013
Espace d’entreprises Biopôle, Rennes (FR) 2014
Médiathèque Cimendef, Saint-Paul de la Réunion (FR) 2014
Crèche Frémicourt
Paris (FR) 2013
Espace d’entreprises Biopôle
Rennes (FR) 2014
Médiathèque Cimendef
Saint-Paul de la Réunion (FR) 2014
and shelter people. We think of buildings as specific “crimpings” of material
on the earth’s surface – durable, beautiful, precise compositions of materials that can be permeated by air and
Organized in three levels, this metal-frame house is fixed on
a concrete basement. The facades are made of glass outlines
called “profilit”, offering thermal insulation as well as intimacy
protection.
This translucent envelope is leaned and the different levels
are shifted ones compared with others. A zinc roof continues
the outside envelope, following the “profilit” glass weft
features.
The house includes wide windows. Those clear glass
windows are cleverly organized according to the rooms and
the view from the house, and connect it with its
environment.
We like to imagine how materials can
be “trained” to form spaces, to resist
gravity, defy the weather, to enclose
Kirchner Museum, Davos (CH) 1992
0
0
Löwenbräu Complex, Zurich (CH) 2013
50cm
0
0
0
Würth Haus Rorschach, Zurich (CH), 2013
50cm
0
50cm
Würth
WürthHaus
HausRorschach
Rorschach
Würth Haus Rorschach
Zurich
Zurich(Switzerland),
(Switzerland),
2013
2013
Würth Haus2013
Rorschach
Zurich (Switzerland),
TheThe
Löwenbräu
Löwenbräu
complex,
complex,
a former
a former
brewery,
brewery,
is converted
is converted
intointo
a new
a new
urban
urban
ensemble
ensemble
The
Löwenbräu
complex,
a former
brewery,
isbuilding
converted
into
new urban
ensemble
with
with
an enlarged
an enlarged
artsarts
centre,
centre,
a new
a new
office
office
building
andand
a residential
aaresidential
tower.
tower.
with
enlarged
artshigh-rise
centre,
aresidential
new office
building
and
residential
tower.
Thean
The
20
20
storey
storey
high-rise
residential
tower,
tower,
withwith
its
large
itsalarge
cantilever
cantilever
to the
to the
south,
south,
hashas
The Löwenbräu complex, a former brewery, is converted into a new urban ensemble
The
20
high-rise
residential
tower,
its
to the south, has
one
one
tostorey
four
to four
apartments
apartments
perper
floor,
floor,
all
of
allwhich
ofwith
which
facelarge
face
in several
incantilever
several
directions.
directions.
with an enlarged arts centre, a new office building and a residential tower.
one
toThe
fourfaçades
apartments
per
floor, all
of
which
face
in new
several
directions.
The
façades
of the
of the
residential
residential
tower
tower
andand
the
the
new
easteast
office
office
building
building
areare
cladclad
in in
The 20 storey high-rise residential tower, with its large cantilever to the south, has
The
façades
of
theelements
residential
and
the
new
east
office
building
are
clad
incolomolded
molded
ceramic
ceramic
elements
withtower
with
black
black
andand
redred
glazed
glazed
finishes
finishes
that
that
refer
refer
to the
to
the
coloone to four apartments per floor, all of which face in several directions.
molded
ceramic
elements
with black
and red
glazed
finisheswinthat
refer
to the
coloredred
brickwork
brickwork
of
the
of the
existing
existing
buildings.
buildings.
Double
Double
aluminum
aluminum
windows
dows
with
with
additional
additional
The façades of the residential tower and the new east office building are clad in
The facades are covered by a protection and filtering
architectural envelope.
The sinusoidal amounts form a sensitive skin like a canopy.
The gap revealed by the superposition of the sinusoidal and
right amounts produce a dynamic optical effect.
Theses stiles protect the building : Biopôle consists in two
noble levels and a technical terrasse based in retreat,
organized around ae central atrium.
Skin of the building can be viewed from different points of
view and becomes a dynamic facade.
50cm50cm
0
50cm
Löwenbräu
LöwenbräuComplex
Complex
Löwenbräu Complex
Zurich
Zurich(Switzerland),
(Switzerland),
2013
2013
Löwenbräu2013
Complex
Zurich (Switzerland),
A museum
A museum
for for
thethe
work
work
of the
of the
painter
painter
Ernst
Ernst
Ludwig
Ludwig
Kirchner
Kirchner
waswas
builtbuilt
in the
in the
alpine
alpine
A museum
forDavos,
thewhere
work
of the
painter
Ernst
Ludwig
Kirchner
waslife.
built in the alpine
town
town
of Davos,
of
where
he
spent
he spent
thethe
last
last
twenty
twenty
years
years
of his
of his
life.
town
ofmuseum
Davos,
where
he
spent
thewith
lastwith
twenty
years
ofand
hisand
life.with
TheThe
museum
hashas
been
been
designed
designed
great
great
restraint
restraint
with
reference
reference
to the
to the
detadetaA museum for the work of the painter Ernst Ludwig Kirchner was built in the alpine
The
museum
has
been
designed
with
great
restraint
and
with
reference
to
the
detached
ched
flat-roofed
flat-roofed
architecture
architecture
of Davos.
of Davos.
town of Davos, where he spent the last twenty years of his life.
ched
architecture
Theflat-roofed
The
fourfour
exhibition
exhibition
halls
halls
areofare
litDavos.
by
lit wall-to-wall
by wall-to-wall
glass
glass
ceilings.
ceilings.
TheThe
daylight
daylight
enters
enters
The museum has been designed with great restraint and with reference to the detaThe
exhibition
are litinto
byinto
wall-to-wall
glass ceilings.
Thespaces,
daylight
entersby by
notfour
not
from
from
above
above
buthalls
but
sideways
sideways
thethe
large
large
overhead
overhead
lighting
lighting
spaces,
unhindered
unhindered
ched flat-roofed architecture of Davos.
notthe
from
above
but
sideways
into
the
large
overhead
lighting
spaces,
unhindered
by
the
thick
thick
layers
layers
of snow
of snow
in winter.
in winter.
For For
night-time
night-time
useuse
of the
of the
spaces
spaces
thethe
skylights
skylights
alsoalso
The four exhibition halls are lit by wall-to-wall glass ceilings. The daylight enters
light. Architecture is material permanently joined, layered, poured, pieced
together around space.
The facades of this nursery are covered by elements of
enameled colored terracotta.
This mineral cladding partially returns on the roof. In the
playground, a canopy is also covered by elements of
enameled colored terracotta and provides a sun protection.
All these elements form a mineral drawing on the facade, as
compound of some pixels.
50cm50cm
0
architectural effect which we have the
power on and the technical conception is the responsibility of the construction company. Some discussions
and exchanges are necessary to find
the solution which suits inboth, between knowledge, deadlines, regulations
and economy. However, this work in
progress in the detail’s development of
construction site is rich and allows to
exceed our technical knowledge with
the technological tools and the companies skills.
0
0
The medialibrary is a 34m large and 32m high cube. On the
facade, there is an aesthetic code related to the universe
of books and knowledge : it creates an effect of an inequal
book pile. These are in fact ondulated louvres layed out on
the periphery of the building. It forms a protective envelope.
This envelope becomes porous to glimpse inside through
openings shaped eyes on the front.
The anodized aluminium facade captures the specific
sunlight of the Indien Ocean.
The facades can be seen from the mountain where we
can see draw a face, made by the shadows of the offset’s
amounts.
0
50cm50cm
Housing development Zellweger-Areal, Uster (CH) 2013
50cm
0
50cm
\The
Zellweger
Zellweger
complex,
complex,
set set
on aonformer
a former
industrial
industrial
site,site,
boasts
boasts
outstanding
outstanding
landscalandscaHousing
Housingdevelopment
developmentZellweger-Areal
Zellweger-Areal \The\The
complex,
set onbuildings
a former
industrial
site,
boasts
landscape Zellweger
features.
pe features.
Two
Two
residential
residential
buildings
of
differing
of differing
heights
heights
areoutstanding
are
aligned
aligned
withwith
thethe
rowrow
of of
Housing development Zellweger-Areal
pesycamore
features.
Twotrees
residential
buildings
of differing
heights
are aligned
with
thethe
row
of in in
sycamore
trees
by the
by the
pond
pond
in the
in the
north
north
andand
the
the
tree-lined
tree-lined
course
course
of the
of
stream
stream
\The Zellweger complex, set on a former industrial site, boasts outstanding landscaUster
Uster(Switzerland),
(Switzerland),
2013
2013
sycamore
trees byThe
the
pond
in
the north
and
theL-shaped
tree-lined
course
ofbetween
the stream
in with
thethe
southeast.
southeast.
The
two
two
buildings
buildings
create
create
an L-shaped
an
green
green
areaarea
between
them,
them,
with
Housing
development
Zellweger-Areal
pe features. Two residential buildings of differing heights are aligned with the row of
Uster (Switzerland), 2013
thetrees
southeast.
The
two
create an L-shaped green area between them, with
trees
andand
works
works
of
art.
ofbuildings
art.
sycamore trees by the pond in the north and the tree-lined course of the stream in
trees
and
of apartments
art.
Most
Most
ofworks
the
of the
apartments
in both
in both
buildings
buildings
have
have
living/dining/kitchen
living/dining/kitchen
areas
areas
thatthat
Uster (Switzerland), 2013
the southeast. The two buildings create an L-shaped green area between them, with
Most of the apartments in both buildings have living/dining/kitchen areas that
TheThe
Würth
Würth
Haus
Haus
Rorschach,
Rorschach,
situated
situated
between
between
thethe
shore
shore
of Lake
of Lake
Constance
Constance
andand
thethe
The
Würth
Haus houses
Rorschach,
between
theexhibition
shore spaces
of spaces
Lakefor
Constance
andcollection,
the
train
train
station,
station,
houses
a conference
asituated
conference
centre,
centre,
exhibition
for
thethe
art art
collection,
train
station, houses
a conference
exhibition
for The
the
art collection,
administration,
administration,
work-shops,
work-shops,
a restaurant
acentre,
restaurant
andand
a cafeteria.
a spaces
cafeteria.
The
greenish
greenish
crystalline
crystalline
The Würth Haus Rorschach, situated between the shore of Lake Constance and the
administration,
work-shops,
aunique
restaurant
and
a cafeteria.
The
crystalline
building
building
responds
responds
to the
to the
unique
location
location
of the
of
the
sitesite
withwith
a structure
agreenish
structure
that
that
oscillates
oscillates
train station, houses a conference centre, exhibition spaces for the art collection,
building
responds
to the and
unique
location
of the
site with
amultiply
structure
oscillates
between
between
transparency
transparency
and
shiny
shiny
reflective
reflective
surfaces
surfaces
thatthat
multiply
thethat
the
natural
natural
beauty
beauty
administration, work-shops, a restaurant and a cafeteria. The greenish crystalline
between
transparency
and
shiny reflective
surfaces
that
the natural
beauty
of the
of the
setting.
setting.
TheThe
architecture
architecture
affords
affords
views
views
outout
to
the
tomultiply
the
surroundings,
surroundings,
glimpses
glimpses
intointo
building responds to the unique location of the site with a structure that oscillates
of the
thethe
setting.
The
architecture
affords
to
theand
surroundings,
glimpses
into
building,
building,
andand
sightlines
sightlines
through
through
itviews
toitthe
toout
the
park
park
and
lake.
lake.
TheThe
building
building
reacts
reacts
to its
to its
between transparency and shiny reflective surfaces that multiply the natural beauty
extend
extend
through
through
thethe
building,
building,
opening
opening
ontoonto
bothboth
thethe
green
green
inner
inner
courtyard
courtyard
andand
thethe
trees and works of art.
Iuav : 140
14
ARCHITECTS DRAWINGS
Dominique Perrault Architecture
Vanishing architecture,
the aesthetic of disappearance
The creation of architecture is undeniably an act of authority. Our impression of architecture is usually one of
something heavy, immobile, dense
and complex. It separates the land
and physically creates division. For
Dominique Perrault, the challenge is
to change this, to eliminate heaviness:
to design walls that allow one to see
through it, allow air to flow through it,
and give one the impression that insi-
hitecture
trchitecture
Architecture
ault
Architecture
de and outside are open to each other.
One way he meets this challenge is by
manipulating scale through the selection and implementation of materials.
One material that possesses such fantastic properties is metallic mesh. It
has a certain hardness and resistance
that offers shelter, since that is architecture’s main role, but it also has a
wonderful poetic and quasi-immaterial quality. The dialectic of this material interacting with the environment
causes a building to appear then disappear, to be present then absent,
and to be opaque then transparent.
This possibility of transfiguring architecture can be achieved thanks to the
effects produced by metallic mesh in
natural or artificial light, to its transparency, translucency and softness. Façades, walls and ceilings are not only
separations but also places of transition, whose transparence accentuates
the idea of visibility. Metallic mesh can
be used topographically to engage in
a dialogue with the things around it
in order to protect, to welcome, to
create in-between places, places with
a certain depth which allow us to
manage the interplay between public
Perrault is playing with the effects of
immaterialityon its façade; and the
ceiling of the main courtroom of the
Court of Justice of the European Union
in Luxembourg is attired in indefinable
layers of moiré and luminescence.
Perrault imagines and develops details
designed to achieve his purpose. They
enable him to implement metallic
mesh in a way that erases and dematerializes his architecture, overcoming
its quality of static object.
and private, between outside and inside, between the urban magma and
the private sphere. The main objective
of Dominique Perrault’s architecture is this aesthetic of disappearance.
Many of his buildings offer examples
of the way he implements this theory.
The Bibliothèque Nationale de France
appears as a hollowed out space with
only its four corner angles protruding;
the Olympic sports complex in Berlin
sinks into the ground, allowing only its
outline to appear on the surface, enhanced by the visual aspect of metallic
mesh; with the Grand Theatre of Albi,
nce
urhority. Our
heavy,
nd
allyphysically
e is to change
ange
one
e to see
impression
on
ay
etshe meets
ection
and
d
cis metallic
ers shelter,
er,
wonderful
sl material
ppear then
en
e then
e can be
esh
uralin natural
softness.
ut
also places
aces
aity.
of visibility.
n a dialogue
gue
e,e to create
ollow us to
ween
ide outside
sphere.
e is this
of
sexamples
of
ationale de
de
four
corner
er
n sinks into
nto
urface,
he Grand
mmateriality
ty
the
of Court of Court
dnable
in indefinable
hieve his
in a way that
that
gtyitsofquality of
of Justice of the EU , Luxembourg (LU) 2013
Conzett Bronzini Gartmann
Bridges Sections
Courtofofthe
Justice
EU
Court of Justice
EU of the
Concepts
versus
Image
Court of Justice of the
EU Luxembourg
Luxembourg
(LU) 2013 (LU) 2013
0
0
0
0
50 cm
50 cm
50 cm
Court of Justice of the EU
Luxembourg
(LU) 2013(LU) 2013
Luxembourg
features. These devices are not limited
to the construction of roofs and side
andSwimming
Olympic Swimming
Pool
VelodromeVelodrome
and Olympic
Pool
protective
elements.
In
some
cases
for
Berlin
1999
VelodromeVelodrome
and Olympic
Swimming
Pool
Berlinand
(DE)
1999(DE)
Olympic
Swimming
Pool
Berlin (DE)it
1999
Berlin
1999
instance
is(DE)reasonable
to use a central beam that can be easily protected
against the weather.
This solution is based on a certain hierarchy of space and importance: the
more central a structural element is
sectionwise the better it is protected
from sun, rain and snow, and the greater its life expectancy. Railings and
0
0
50 cm
0
50 cm
50 cm
0
50 cm
MOIRÉ EFFECT ON THE CEILING
MOIRÉ EFFECT The
ON Court
THE ofCEILING
Justice of the European Union is of symbolic importance. The
The Court of Justice of the European Union is of symbolic importance. The
aim of the architectural intervention and extension of this complex was to
MOIRÉ EFFECT MOIRÉ
ON THEEFFECT
CEILING
aim ofON
theTHE
architectural
intervention and extension of this complex was to
CEILING
i Gartmann
banisters are ancillary parts and must soundness of the overall structure du- paired forces located on distant parts
be constructed so as to facilitate their ring the replacement process. In such of the structure that are then transferLa Bibliothèque
de France,
Grand Theatre
Bibliothèque
nationale nationale
de France,
Grand
Theatre
replacement. IfLa Bibliothèque
built LaParis
of
chestnut
cases, a bridge will be Grand
closed
during
(FR) 1995 and
(FR) 2014 red to the supporting points.
nationale
de
France,
Theatre
(FR)Paris
1995
Albi Theatre
(FR)Albi
2014
La Bibliothèque
nationale
de France,
Grand
(FR) Paris
1995
Albi (FR) 2014
Albi (FR)there
2014
larch they canParislast
up(FR)to1995about forty replacement work and therefore
Our board presents the sections of
years, the same goes for all the struc- will be a smaller operating load during four wooden bridges whose structural
tural components that are weather ex- construction.
concept is based on a central girder.
posed. If it is necessary to have such Central truss bridges are sensitive to Apparently so different, they share a
components, they must be replacea- asymmetric loads. Eccentric effects common structural setting. For the unble and the structural conception of due to wind force or accidental loads derstanding of a structure it is necesthe work must be designed in such a stress the bridge with torsional mo- sary to know the underlining concept
way that the transitional absence of ments. These can be resisted by bulky of the project. An analysis based solely
one such element does not affect the sections resistant to torsion or with on form or image leads to a superficial
understanding.
0
0
0
0
10 cm
10 cm
UNIFORMITY OF THE ROOF
UNIFORMITY OF
THE
ROOF
Two
buildings
for a sports complex - the velodrome and Olympic swimming
Two buildings for a sports complex - the velodrome and Olympic swimming
of metallic fabric. Its radiant and watery reflections vary with their specific
Two buildings for a sports complex
- the velodrome
and
Olympic
swimming
of metallic
fabric.
Itsgeometry.
radiant
watery
reflections
varyand
withthe
their
specific
Two buildings
for a sports
complex
- theand
velodrome
and
Olympic
swimming
Both
arenas
- one
round
other
rectangular - are covered by
pool - appear like two lakes in the
landscape,
covered with
giant cloth
geometry.
- onea round
and framework.
the other
- areand
covered
pool - appear
like twoBoth
lakesarenas
inathe
landscape,
covered
with arectangular
giant
massive
steel roof
Theircloth
façades
roofs by
are clad with large
of metallic fabric. Its radiant and awatery
reflections
vary
with theirTheir
specific
massive
steel roof
framework.
and
roofs
areisclad
withoflarge
of metallic fabric.
Its radiant
and
watery
reflections
vary with
their
specific
swaths
of the
samefaçades
metallic
fabric,
which
made
woven pieces of stainless
geometry. Both arenas - one round
and of
thetheother
rectangular
- are which
covered
by of woven pieces of stainless
swaths
same
metallic
is made
steel
cable.
The
roof’s
slightly
undulating
metallic
geometry. Both
arenas
- one
round
andfabric,
the
other
rectangular
- are covered
by mesh is held in place
a massive steel roof framework.steel
Theircable.
façades
roofs
are clad
with large
Theand
roof’s
slightly
undulating
metallic
is held
in place
horizontally
with powerful
steel
springs,
and
the
façade consists of overlapping
a massive steel roof
framework.
Their
façades
and roofs
aremesh
clad with
large
swaths of the same metallic fabric,
which is made
of
woven
pieces
offixed
stainless
horizontally
with powerful
steel
and
the
façade
of roof
overlapping
pieces
which
are
by
steel
plates.consists
Only
the
lights lie on the same
swaths of the
same metallic
fabric,
which
issprings,
made
of
woven
pieces
of
stainless
steel cable. The roof’s slightly undulating
metallic
mesh
is
held
in
place
whichslightly
are fixed
byas
steel
plates.
the
roof lights
liethe
on roof
the same
plane
themetallic
metallicOnly
mesh
remains an unbroken,
steel cable.pieces
The roof’s
undulating
mesh
ispieces.
held
inThus,
place
horizontally with powerful steel springs,
façade
consists
of Thus,
overlapping
asand
thethe
metallic
mesh
pieces.
thestructure.
roof remains
an
unbroken,
homogeneous
uniformity
of the stretched, thick,
horizontallyplane
with powerful
steelseemingly
springs,
and
the façade
consists
ofThe
overlapping
pieces which are fixed by steel plates.
Only the roofgray
lights
lie on
the The
sameby draping
seemingly
structure.
of the
the
stretched,
thick,with a metallic cloth,
fabric
is achieved
pieces which
are fixedhomogeneous
by steel plates.
Only
the roofuniformity
lights lie on
thewhole
samebuilding
plane as the metallic mesh pieces.
Thus,
roof remains
an unbroken,
fabricthe
is achieved
byThus,
draping
the
building
withofaametallic
cloth,
which,
while
creating
the appearance
solid, also
interacts with changing
plane as thegray
metallic
mesh
pieces.
the
roofwhole
remains
an unbroken,
seemingly homogeneous structure.
Thewhile
uniformity
of the appearance
stretched,
thick,
which,
creating
of
a solid, alsotointeracts
with and
changing
perceptions
of light
and
boththick,
appear
disappear.
seemingly homogeneous structure.
The uniformity
of shadow
the stretched,
gray fabric is achieved by draping
the whole ofbuilding
with
a metallic
cloth,
perceptions
light and
shadow
to both
appear and disappear.
gray fabric is achieved by draping the whole building with a metallic cloth,
which, while creating the appearance of a solid, also interacts with changing
which, while creating the appearance of a solid, also interacts with changing
perceptions of light and shadow to both appear and disappear.
perceptions of light and shadow to both appear and disappear.
versus image
10 cm
0
0
10 cm
pool - appear like two lakes in the landscape, covered with a giant cloth
UNIFORMITY OFUNIFORMITY
THE ROOF
pool - OF
appear
likeROOF
two lakes in the landscape, covered with a giant cloth
THE
create a building that could unify the whole rather than make this fourth
The Court of Justice of the European
Union
is of symbolic
importance.
The
create
building
thatextension
could
the
whole rather
than make
this fourth
The Court of Justice
ofathe
European
Unionunify
isofofthe
symbolic
importance.
The
complex
an obviously
separate
one. Inside the complex,
aim of the architectural intervention extension
and extension
this complex
was to separate one. Inside the complex,
of theofcomplex
an obviously
aim of the architectural intervention
andmajor
extension
of this
complexthe
was
to
the
element
intensifying
prestigious
atmosphere of this institution,
create a building that could unify thethe
whole
rather
thanintensifying
make this fourth
major
element
the
of this institution,
create a building that
could
unify the
whole rather
than
makeatmosphere
this
facilitating
userprestigious
orientation
and fourth
strengthening
its identity is an anodized goldextension of the complex an obviously
separate one.
Inside the
complex,
orientation
and
strengthening
its
is an
anodized
gold- the façades, ceilings
tinted
aluminum
mesh.
Different
types
of this
mesh clothe
extension of thefacilitating
complex user
an obviously
separate
one.
Inside
theidentity
complex,
the major element intensifying the prestigious
atmosphere
of this institution,
tinted
aluminum
mesh.
types
of thisofmesh
clothe
façades,
ceilings ceiling is encircled
andDifferent
walls ofatmosphere
the building.
On
lowerthe
level,
the courtroom
the major element
intensifying
the
prestigious
thistheinstitution,
facilitating user orientation and strengthening
itsthe
identity
is anlights
anodized
goldwalls of
building.
On
the
theanodized
courtroom
ceiling isa encircled
with
draped
inlevel,
aisgolden
mesh bestowing
majestic and authoritative
facilitating user and
orientation
and strengthening
itslower
identity
an
goldtinted aluminum mesh. Different types
oflights
this mesh
the façades,
ceilings
drapedclothe
in atmosphere
a golden
bestowing
majestic
and providing
authoritative
upon
the chamber
while ceilings
also
a measure of poetry and
tinted aluminumwith
mesh.
Different
types
of thismesh
mesh
clothe
theafaçades,
and walls of the building. On the lower
level, theupon
courtroom
ceiling
is
encircled
atmosphere
the
chamber
while
also
providing
a
measure
of
poetry
and
lyricism.
and walls of the building. On the lower
level, the courtroom ceiling is encircled
with lights draped in a golden meshlyricism.
bestowing a majestic and
authoritative
long
panels
of fabric
areauthoritative
suspended from main ring of welded metal tubes
with lights draped in a golden meshThe
bestowing
a majestic
and
atmosphere upon the chamber whileThe
also
providing
a measure
ofsuspended
poetry
and
long
panels while
of
fabric
from main
ringextend
of and
welded
metaltotubes
at also
theare
center
of the
courtroom
outward
the walls, where they
atmosphere upon the
chamber
providing
a measure
ofand
poetry
lyricism.
at the center of the courtroom
andinextend
outward
to theand
walls,
are clamped
place with
eyebolts,
arewhere
fixed tothey
the ceiling with adjustable
lyricism.
The long panels of fabric are suspended
from main
ringmetal
of
welded
metal
tubes
are clamped
in place
with
eyebolts,
and
are
fixed
to
the
ceiling
with
adjustable
Two
layers
of metal
fabric
form surfaces, hanging from wall to
The long panels of fabric are suspended shanks.
from main
ring
of welded
metal
tubes
at the center of the courtroom and extend
outwardTwo
to the
walls,
they
metal shanks.
layers
of where
metal
form
hanging from wall to
wall
and
wall tofabric
ceiling,
ansurfaces,
arrangement
at the center of the courtroom and extend
outward
to the walls,
where theythat could only be achieved with large,
are clamped in place with eyebolts,wall
and and
are wall
fixedtotoceiling,
the ceiling
withseamless
adjustable
an arrangement
that
couldofonly
be achieved
withhighlight
large, this architecture
and
pieces
metal. They
are clamped in place with eyebolts,unified
and are
fixed to the ceiling
withwoven
adjustable
unifiedform
andsurfaces,
seamlessofhanging
pieces
offrom
woven
They highlight
this architecture
metal shanks. Two layers of metal fabric
wall
to
appearance
andmetal.
disappearance,
creating
metal shanks. Two layers of metal fabric
form surfaces,
hanging from wall
to moiré effects and effects of
of appearance
creating
and effects
of
wall and wall to ceiling, an arrangement
that could and
onlydisappearance,
be achieved with
large, moiré effects
luminescence,
thewith
importance
wall and wall to ceiling, an arrangement
that couldthus
onlyenhancing
be achieved
large, and richness of the functional
luminescence,
enhancing
the architecture.
importance and richness of the functional
unified and seamless pieces of woven
metal. Theythus
highlight
thisofarchitecture
aspects
the
unified and seamless pieces of woven
metal.
They
highlight this architecture
of appearance and disappearance, aspects
creatingofmoiré
effects and effects of
the architecture.
of appearance and disappearance,
creating moiré effects and effects of
luminescence, thus enhancing the importance and richness of the functional
luminescence, thus enhancing the importance and richness of the functional
aspects of the architecture.
aspects of the architecture.
In the design of timber bridges durability is the crucial issue. In the Scandinavian countries, wood is often treated
with chemicals in order to expose it to
the elements. In the Alpine countries
on the contrary there is a long and
distinguished tradition of protecting
timber work thanks to specific design
50 cm
Grand Theatre, Albi (FR) 2014
La Bibliothèque nationale de France
Paris (FR) 1995
Velodrome and Olympic Swimming Pool, Berlin (DE) 1999
TRANSFIGURATION OF THE WALL
TRANSFIGURATION
OF THENationale
WALL de France can be described as a piece of urban
The Bibliothèque
The Bibliothèque Nationale de France can be described as a piece of urban
art, which offers a virtual volume in between four “beacon”-like markers. It is
TRANSFIGURATION
OFart,
THE
WALL
which
offers aavirtual
volume
in of
between
four “beacon”-like
markers. Itofisarchitecture. The
TRANSFIGURATION
OF
THE
WALL
major
example
the aesthetic
of the disappearance
The Bibliothèque Nationale de
Franceexample
can be of
described
as a piece
of
urban
a major
the
ofthe
the
disappearance
of
architecture.
The
The Bibliothèque
Nationale
deofaesthetic
France
can
bewalls
described
as aoutside
piece
oftheurban
idea
covering
inside and
library
with metallic mesh
art, which offers a virtual volume
inofbetween
four walls
“beacon”-like
markers.
Itthe
is library with metallic mesh
ideaoffers
covering
inside
and
outside
art, which
a virtualthe
volumetransfigures
in between
fourwall.
“beacon”-like
It is nature of objects, the use
literally
the
To changemarkers.
the face and
a major example of the aesthetic
of the
disappearance
of To
architecture.
transfigures
wall.
theThe
and
nature
of objects,
the use
a majorliterally
example
of the aesthetic
offabrics
thechange
disappearance
of architecture.
Thephysical
of the
metallic
makes
itface
possible
to replace
the
and the concrete
idea of covering the walls inside
and outside
the
libraryit possible
with metallic
mesh the physical and the concrete
metallic
fabrics
makes
to the
replace
fabric
texture.
The
resulting
transfiguration
idea of of
covering
the
wallswith
inside
andand
outside
library
with metallic
mesh is intensified by the many
literally transfigures the wall. with
To change
the texture.
face andThe
nature
of objects,
the use is intensified by the many
fabric and
qualities
ofresulting
this material:
structure,
thethe
wayuse
it can be stretched and
literally transfigures
the wall.
To change
the transfiguration
face its
anddense
nature
of objects,
of metallic fabrics makes it possible
toofreplace
the physical
anditstructure,
the concrete
qualities
this material:
its
the
way
canthe
beconcrete
stretched
and texture. In the
folded,
thedense
way
shimmers,
and
its itand
iridescence
and graphic
of metallic
fabrics
makes
it possible
to replace
the physical
with fabric and texture. The resulting
transfiguration
intensified
by
the many
folded,
way itThe
shimmers,
and
its iridescence
and panels
graphicby
Inmesh
the are suspended at
caseresulting
ofis the
internal
stairway,
oftexture.
metallic
with fabric
andthe
texture.
transfiguration
islarge
intensified
the many
qualities of this material: its dense
structure,
the
way
it
can
be
stretched
and
case
of
the
internal
stairway,
large
panels
of
metallic
mesh
are
suspended
at
from the concrete
the acoustic
qualities of this material: aitsdistance
dense structure,
the way wall
it canand
be cover
stretched
and panels in between.
folded, the way it shimmers, and
its iridescence
and
graphic
texture.
In
the
distance
from the
concrete
wall
andcan
cover
thegraphic
acoustic
panels
inthe
between.The architectural
Technical
be
hidden
behind
this In
intervention.
folded, athe
way it shimmers,
and itsservices
iridescence
and
texture.
case of the internal stairway, Technical
large panels
of metallic
are
suspended
at
services
canlarge
bemesh
hidden
behind
this
intervention.
The architectural
design
follows
the
principle
forsuspended
clothing:
theatindependence of clothing
case of the internal
stairway,
panels
ofsame
metallic
meshasare
a distance from the concrete design
wall and
coverthe
thefrom
acoustic
panels
follows
same
asinforbetween.
clothing:
independence
of clothing
theprinciple
body
creates
space ofthe
relation
it also
separates them.
a distance from the concrete
wall
and cover
thea acoustic
panels
inwhile
between.
Technical services can be hidden
behind
intervention.
architectural
from the
bodythis
creates
a spaceThe
of relation
while it also separates them.
Technical services can be hidden behind this intervention. The architectural
design follows the same principle as for clothing: the independence of clothing
design follows the same principle as for clothing: the independence of clothing
from the body creates a space of relation while it also separates them.
from the body creates a space of relation while it also separates them.
0
0
50 cm
50 cm
50 cm
50 cm
DEMATERIALIZATION OF THE FACADE
DEMATERIALIZATION
THEofFACADE
The Grand OF
Theatre
Albi serves as the focal point of a tree-lined avenue
The Grand Theatre of Albi serves as the focal point of a tree-lined avenue
culture and of a network of public spaces. Its façade functions as a
DEMATERIALIZATION
OF THE
culture
and ofFACADE
a network
public
spaces.
façade
functions
as aopen and accessible. It
DEMATERIALIZATION
OF
THEas
FACADE
transitionof
space,
all fourItssides
of this
prism are
The Grand Theatre of Albitransition
serves asspace,
the focal
point
ofsides
a tree-lined
avenue
all
four
ofthe
thisfocal
prism
areofopen
and
accessible.
It
The Grand Theatre
ofaAlbi
serves
asvolume,
alike
tree-lined
avenuetowards
isas
transparent
fullypoint
glazed
a big
window
the city and
culture and of a network ofis public
spaces.volume,
Its façade
as aa big window towards the city and
a transparent
fullyfunctions
like
culture
and of a network
public
spaces.
Its façade
ascover
a - in metallic mesh. To
drapedofwith
aglazed
gigantic
smooth
andfunctions
lightweight
transition space, as all four
sides with
of this prism are
open and
and lightweight
accessible.cover
It - in metallic mesh. To
draped
smooth
transition
space,a gigantic
asconvincingly
all four
sidescreate
of this
prism
areofopen
It functions as a
the
effect
a net,and
the accessible.
metallic mesh
is a transparent volume, fully
glazed like a bigthe
window
towards
the city
and
effect
a net,
functions
asfor
a this static mesh, create
membrane.
Itsofcurves
and
counter
curves,
required
is aconvincingly
transparent create
volume,
fully
glazed
like athe
bigmetallic
windowmesh
towards
the city
and
draped with a gigantic smooth
and lightweight
cover
- in metallic
mesh.
To for this static mesh, create
membrane.
Its curves
and
counter
curves,
required
a free,
happy
andlightweight
lyrical
architecture.
Its
brilliance,
reflections
and color clothe
draped
with a gigantic
smooth
and
cover - in
metallic
mesh.
To
convincingly create the effect
of ahappy
net, the
metallic
mesh functions
as
a while
a free,
andthe
lyrical
architecture.
Itsmetallic
brilliance,
reflections
andascolor
architecture
in athe
robe
of light
also serving
as
filter for sunlight a
convincingly
create
the
effect
of a net,
mesh
functions
a aclothe
membrane. Its curves andthe
counter
curves,in
required
this
staticalso
mesh,
create
architecture
aand
robe
offor
light
while
serving
a filter
formesh,
sunlight
a
wind
break
and
acurves,
shelter
from
rain.
membrane.
Its curves
counter
required
forasthis
static
create
a free, happy and lyrical architecture.
Its brilliance,
reflections
andconsists
color clothe
windhappy
breakand
and
aThe
shelter
from
rain. Its
metallic
mesh
itself
of a flat metal
a free,
lyrical
architecture.
brilliance, reflections
andwire
colorwound
clothealong steel rods to
the architecture in a robe The
of light
whilemesh
also serving
as a mesh,
filter
for
sunlight
athenwound
metallic
itselfof
of aalso
flat
metal
along
rods
to
aconsists
spiral
which
canwire
woven
insteel
limitless
Huge
the architecture
in acreate
robe
light while
serving
as abe
filter
for
sunlight
a dimensions.
wind break and a shelter from
rain.spiral mesh,
create
which
can thenwith
be woven
in as
limitless
Huge
panels
are fastened
clevises
well asdimensions.
inverted and
adjustable steel
wind
breaka and
a shelter
from
rain.
The metallic mesh itself consists
of afastened
flat metal
wire
wound
along
rods toand
panels are
with
clevises
as
wellsteel
as
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to adjust sweep
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of heaviness and design
fromasphysical
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architecture
easy toties,
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as to declare.
stress in the construction.
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many otheras
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- thebuild
use of the
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to declare.
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- like to
in manyasother
cases - the use of the metallic mesh is a
way to free the architect from physical ties, sweep away heaviness and design
way to free the architect from physical ties, sweep away heaviness and design
architecture as easy to build as to declare.
architecture as easy to build as to declare.
the cruod is often
to the elary there
cting timThese deoofs and
instance it
n be easily
of space
al eled from
xpectanand must
cement. If
o about
ural comcessary
laceable
ust be desence of
ness of
t process.
replacealler oper-
metric
accidenments.
stant to
ant parts
the sup-
oden
n a cenre a comng of a
ning conon form
g.
Mursteg Murau, Steiermark (A) 1995
Der Steg ist eine gedeckte Fussgänger- und Radwegbrücke. Die Hauptöffnung
überquert den Fluss Mur mit einer Spannweite von 47.20 m. Dach und Gehweg
weisen je einen zentralen Gurt aus nagelpressverleimten Brettschichthölzern
auf, die im Bereich der Auflager mit kräftigen Schubscheiben verbunden sind.
Gurte und Schubscheiben bilden in Längsrichtung einen mächtigen einfeldrigen
geschlossenen Rahmen. Dieser Rahmenträger bildet auch eine räumliche Antwort
auf die insgesamt vier unterschiedlichen Zugänge und Zufahrten auf die Brücke.
Der Rahmen ermöglicht in Feldmitte über dem Fluss eine ungehinderte Aussicht
nach allen Seiten. Die Torsionsbeanspruchung wird hauptsächlich durch die
stark dimensionierten rechteckigen Stege der T-förmigen Gurtquerschnitte
aufgenommen. Herstellungsbedingt mussten die langen Träger in zwei Teile
aufgeteilt werden. Der dadurch bedingte Gurtstoss besteht aus einer verzahnten
Fläche, die mit Epoxidharz ausgegossen wurde. Der Untergurt ist längs
vorgespannt, damit im Stoss nie Zugspannungen auftreten. Die konstruktiv einfache
Architekten Marcel Meili und Markus Peter, Zürich
Mursteg Murau,
Steiermark (A) 1995
Architekten Marcel Meili and Markus Peter, Zürich
ARCHITECTS DRAWINGS
Erster Traversiner Steg,
Viamalaschlucht bei Thusis 1996
Der Steg diente den Wanderern der “Via Spluga“. Da er an einem unwegsamen
Ort ohne Zufahrtsmöglichkeit gebaut wurde, konstruierte man den 47 m langen
Unterbau als nur 4.2 Tonnen wägendes Dreigurtfachwerk, das mit einem
Helikopter an seinen Bestimmungsort eingeflogen werden konnte. Der Druckgurt
des Fachwerks bestand aus einem Lärchenbrettschichtholz, das durch eine unter
dem Gehweg liegende Abdichtung vor der Witterung geschützt wurde. Die beiden
Zuggurte waren Edelstahlseile. Die verbindenden Fachwerkpfosten besassen
zusammengesetzte Querschnitte aus je vier splintfreien Lärchenbrettern. Die
Anschlüsse waren derart ausgebildet, dass die Bretter auf einfache Weise einzeln
hätten ausgetauscht werden können. Die Diagonalen bestanden aus verzinkten
Stahlstäben. Nach Einfliegen des Unterbaus wurden die weiteren Bauteile wie
Gehweg und Geländer in Paketen eingeflogen und vor Ort montiert. Zur Stabilisierung
gegen Torsionseinwirkungen dienten die vollwandigen Brüstungen, die ein vertikal
gerichtetes Kräftepaar aufbauen konnten, nachdem sie einzeln in die Widerlager
Glennerbrücke
Peiden Bad (Val Lumnezia), 2002
Erster Traversiner Steg,
Viamalaschlucht bei Thusis (CH) 1996
Diese Strassenbrücke ersetzt eine frühere Stahlfachwerkkonstruktion, die
stark korrodiert war. Auf einem schmalen hölzernen Sprengwerk „balanciert“
eine Fahrbahnplatte aus Beton. Die Öffnung zwischen den von der alten Brücke
übernommenen gemauerten Widerlagern beträgt 24.60 m. Auf Wunsch der
benachbarten Gemeinden wurden für die Holzteile lokal gewonnene Vollhölzer in
roher Fichte verwendet. Mit diesen Hölzern wurde ein mehrfaches Sprengwerk
aufgebaut. Die längsten Hölzer messen 13 m. Alle Hölzer arbeiten auf Druck, die
langen Streben sind zur Knickaussteifung durch Gewindestangen und Holzklötze
untereinander und mit den oberen Sprengwerksknoten verbunden. Die Knoten
bestehen aus an Ort gegossenen Betonklötzen. Auf diese Sprengwerkskonstruktion
wurde eine Balkenlage aus Vollhölzern montiert. Sie bildet sozusagen das Vordach der
Sprengwerkskonstruktion. Darüber liegt eine verlorene Holzschalung, auf die eine
25 cm starke Betonplatte gegossen wurde. Die kräftigen Randborde der Betonplatte
schützen die dahinter liegende Holzkonstruktion vor Witterungseinflüssen; sie
Verweilbrücke
Trutg dil Flem, Flims 2013
Glennerbrücke
Peiden Bad, Val Lumnezia (CH) 2002
Die Brücke dient einem Bergwanderweg. Sie ist 18 m lang und bietet eine
spektakuläre Sicht auf die bizarren Gletschertöpfe des Flembachs. Ihr durchgehender
horizontaler Träger liegt auf einem Sprengwerk von 12.50 m Weite. Zum Schutz
gegen Witterungseinflüsse ist dieser Träger aus Lärchen-Brettschichtholz mit einer
wasserdichten Abdeckung versehen. Darauf sind U-förmige Geländerrahmen gesetzt.
Der Träger wird von je vier ungeschützten Sprengwerkstielen aus Lärchen-Kernholz
gestützt. Diese redundanten Abstützungen sind einzeln auswechselbar. Gehweg
und Geländer bestehen aus Föhren-Kernholz (Kiefer). Nach Erstellen der Auflager
wurden diese genau eingemessen und die Auflagerschuhe der Holzkonstruktion
entsprechend justiert. Die Sprengwerkskonstruktion wurde dann mit provisorisch
verschwenkten Stielen mit einem Helikopter zur Baustelle geflogen. Die geringen
Drehmomente infolge ausmittiger Last werden vom horizontalen Träger auf Torsion
zu den Anschlussstellen der Sprengwerkstiele und zu den Endauflagern geleitet.
Die gespreizten und seitlich der Trägerachse angeschlossenen Stiele nehmen einen
Verweilbrücke
Trutg dil Flem, Flims (CH) 2013
15
Iuav : 140
STUDENTS DRAWINGS
by the students of the University Iuav
in Venice:
5. Mies van der Rohe, Barcelona pavilion
Working as an architect in Switzerland,
I witness how much constraints about
building performance can influence
the design practice, steering great
part of the architectural production
towards standard constructive solutions and detailing. My concern here
though is not to question the establishment, but to draw emphasis to the
challenge that an architect faces when
attempting to address materiality from
outside the box and to highlight the
importance of the architect/engineer
collaboration.
See:
G. Nordenson, Patterns and Structure:
Selected Writings, Lars Muller BadenLondon, 2010.
R. Venturi, V. Scully & A. Drexler, Complexity and Contradiction in Architecture. 2nd edition, The Museum of Modern Art New York, New York 2002.
Phenomenology of the (no) detail
Alberto Franchini
The only way to understand the meaning of Architecture is according to
a phenomenological ap-proach, as art
historian Heinrich Wölfflin brightly
described in his Psychology of Architecture: “The most deep content of
the architectonic impression is represented by the overcoming of the load
of the matter which is satisfied with a
will understandable for us in powerful masses.”1. With the mimesis these
“powerful masses” were represented
trough mouldings where you have a
transition between a vertical and an
horizontal element: for example in the
connection between the column and
the lintel you have the capital. Now,
that the mimesis is gone, so to understand the “powerful masses” you have
to look at the details, where the architects can really put their intentions.
The detail is an intimate space where
you can only be alone in intellectual
connection with the physical world: we
can say that this is the haptic realm2 of
architecture.
In the Barcelona pavilion (fig. 5) Mies
van der Rohe shows us very little about
the construction: only two screws. These screws hold a steel glossy carter
6. SANAA, Louvre-Lens Museum
that covers the column. The glossy carter reflects everything that is around
it, except for the most important part:
the joints. The way the column is linked to the beam and to the concrete
foundation is totally absent. The first
impression is that the column, a tectonic element representing the stability of the building, is floating in the
space.
But this is not completely true, because Mies is not lying to you. He is telling you that the carter is floating and
not the column! Because, if you really
pay attention to what you see - you
look the ar-chitecture - you’ll discover
that the carter is a carter - you see it’s
thickness - and you see that is hold in
this position thanks to the screws.
What I’ve just described is really a dialogue between the viewer, that is experiencing, and architecture: only trough
this exchange a deep connection between man and architecture is possible.
SANAA in the Louvre-Lens Museum
(2013) is going further in this meaningful abstraction of tectonic signs.
In this museum there is a façade covered by aluminum sheets, 2mm thick
and 6m high, one besides the other
without any visible joints (fig. 6).
Everything is suspended. The emotion,
that you experience, in front of this
façade is provoked by the fact that you
cannot understand how is possible
that such a thin sheet and tall sheet
can stand. Even if you get closer to the
building and you see through the one
cm space that is left between one sheet and the other, you cannot see how
the plate is erected. The honeycomb
panel on which the aluminum is glued
is arreared of about 2.5 cm. So you
cannot see it. This panel, a real structural element for the façade, gives the
aluminum plane the necessary rigidity
and the sufficient space for the screws
that carry the brackets.
Mies was playing with the way you optically perceive the things, but here SANAA conceal everything from the view
so that you are totally disoriented. No
more screws, that like compass, tell you
the correct direction to understand the
construction. Here, in this absent detail, SANAA is playing with the (light)
matter, and more precisely with our ex-
pectations in front of them.
Rem Koolhaas in Casa da Musica
(2005) in Porto (fig. 7) is also working
in the abstraction of the tectonic elements like he wrote in SMLXL: “For
years, we have concentrated on NODetail. Sometimes we succeed - it’s
gone, abstracted; sometimes we fail it’s still there. Details should disappear
- they are old architecture” (3). In this
building we see only a new concept of
space that is covered with an irregular form, resembling a sheet of paper
folded many times, without any clear
structural meaning. The conception
of the building was not aware of the
construction: if you look at the section,
you cannot find any relation between form and build, you see better the
enormous space that exist between
the outside and the inside. In the interior, the false ceiling - the latest form
of decoration - as it is not functionally
necessary, is there only to disconnect
human being form the outside. The
building in this manner is really speechless to his obvious sparring partner:
the human being.
Details, for Koolhaas, should disappear only to show abstract concept that
can, in this way, travel easier around
the world. But here the phenomenology of architecture is impoverished,
there is no difference between the
image of the building and the real
one, there are no additional information to stimulate the visitor. A deep
connection is no more possible in the
perception of these no-details.
“Is not only about the fact that a will
has to be fulfilled, but what kind of
will. A random cube respond to the
first task really well, but the contents
that are here represented are really
poor”4.
1
Heinrich Wölfflin, Psicologia dell’architettura, Et al. edizioni, Milano 2010,
p. 31.
2
Steven Holl, Detail: the haptic realm,
“a+u”, Phenomenology of Perception
(special issue), July 1994, pp. 91-92.
3
OMA, R. Koolhaas, B. Mau, SMLXL,
Rotterdam, 1995.
4
Heinrich Wölfflin, Psicologia dell’architettura, op.cit., pp. 31-32.
Jennifer Adami, Giada Amelio,
Andrea Borin, Giacomo Arilotta,
Tobia Badoer, Marco Barbato,
Matteo Barzi, Luigi Battaglini,
Leonardo Beccari, Giacomo Bellinato,
Alessandro Bergamin,
Angela Bertiato, Pietro Bigatello,
Marco Bisetto, Andrea Bocola,
Laura Bonato, Alberto Bonotto,
Giovanni Bordin,Sara Bortolato,
Matteo Boveri, Fabrizio Bozzato,
Riccardo Brasolin,Alex Bunea,
Riccardo Buscato, Marzia Busetto,
Riccardo Busetto, Matteo Callegari,
Francesca Camerin,
Ruben Camponogara, Gaia Caporale,
Martina Stella Carlon,
Giacomo Celegon, Luca Cocco,
Carlo Damiani, Silvia Danetti,
Friederike Demski, Giulia Di Summa,
Giovanni Donazzan, Emilio Fileccia,
Francesco Fiorese, Giada Galvan,
Alessia Gattolin, Antonio Lamarina,
Claudia Lambini, Federica Leonardi,
Angela Manica, Michela Mansutti,
Andrea Marigo, Edoardo Marin,
Francesca Martinelli, Isabella
Mazza, Angelo Mengato, Adelaide
Merlin, Enrico Montagner, Federico
Munaretto, Giovanni Nardo,
Ivan Paredes Ramos,
Giovanni Pastori,
Filippo Pedrazzoli, Francesca Pettenò,
Anna Pinato, Fabio Pizzo,
Rodrigo Qyshka, Elena Rampin,
Alessandro Rattin, Lorenzo Rigoni,
Ilaria Savi, Sergio Sbardella,
Marianna Scapin, Luca Silvestrin,
Elisa Tedeschi, Thomas Da Rios,
Paolo Toniolo, Flavia Tonon,
Giacomo Trevisan, Caterina Vaccari,
Claudio Vianello, Giulia Vignotto,
Ilaria Villanucci, Gianmarco Visentin,
Cristian Visintin, Marco Vittor,
Roberta Vizzotto, Veronica Zanusso,
Laura Zorzato
ARCHITECTS DRAWINGS
The Architectural Offices
participating in the workshop
and in the exhibition:
Burkhalter Sumi Architekten, Zürich
Dominique Perrault Architecture, Paris
Hermann Czech, Wien
Boris Podrecca Architekten, Wien
Barkow Leibinger, Berlin
Studio Valle architetti associati, Udine
C+S Architects, Venezia
Takaharu + Yui Tezuka Architects, Tokyo
Kengo Kuma, Tokyo
Peter Märkli, Zürich
Conzett Bronzini Gartmann, Chur
Pascal Flammer, Balsthal (Swiss)
OAB Barcelona
Brigitte Shim + Howard Sutcliffe,
Toronto
Peripheriques Architects, Paris
ARTEC Architekten - Bettina Götz
and Richard Manahl, Wien
Park Associati, Milano
Emilio Tuñón Architects, Madrid
Miller & Maranta, Basel
Laps Architecture, Paris
Walt + Galmarini AG, Zürich
Elasticospa+3, Chieri/Budoia
Giulio Barazzetta + SGBarchitetti,
Milano
Gigon-Guyer Architekten, Zürich
Bevk Perovic arhitekti, Ljubljana
Kahlfeldt Architekten, Berlin
CZA-Cino Zucchi Architetti, Milano
Labics, Roma
Hild und K Architekten, München
Ludloff+Ludloff Architekten, Berlin
Staufer+Hasler, Frauenfeld (Swiss)
Rafael Moneo, Madrid
Werner Sobek, Stuttgart
Navarro Baldeweg Asociados, Madrid
Bfm-architekten, Berlin
Riegler Riewe Architekten, Graz
SAM Architekten, Zurich
Alberto Pugnale e Sofia Colabella,
Melbourne/Napoli
Bollinger + Grohmann Ingenieure,
Frankfurt/Wien
Russo-Boscato-Sciarretta, Venezia
7. OMA - Rem Koolhaas, Casa da Musica, Porto
Iuav : 140
16
The word “detail” means different things to different architects. It is obvious that a Brunelleschi pilaster capital is of a different order
from the twist or taper of a Breuer concrete column. One is a decoration to cause richness, shadow and delight, helpful to the architecture.
The other is merely the shape of a necessary structural piece.
Mies van der Rohe says, “God lies in the details.”
Paul Rudolph says, “There are no details.” There is of course a generational distinction, but also a semantic one.
Can we ever speak meaningfully of details today? The most obvious example of shift of emphasis is in the work of Frank Lloyd Wright.
The Robie House of the 1800’s is full of beautifully worked out “details”. The Guggenheim Museum of the 1950’s has none, not even a stair rail.
Details today are hardly more than enlarged structural connection and corners.
The collection that follows contains many kinds of “details”. Window enframements (Miesian or even Perretesque), geometric calculations
as in the Roofless Church, decorative grills as in the stair rails, arbitrary steel curves as in the Museum of Modern Art’s East Wing, a single building
section as in the Dumbarton Oaks Museum. Varied as they are in type, they may sometimes all be called, I suppose, “details”.
Phillip Johnson, “Architectural Record”, April 1964
Construction is the truest guardian of the spirit of the times because it is objective and it is not affected by personal individualism
or fantasy. The idea of clear construction is one of the fundamentals we should accept. We can talk about that easily, but to do it is not easy;
it is difficult to stick to this fundamental construction, and then to elevate it to a structure.
Architecture begins when two bricks are put carefully together. Architecture is a language having the discipline of a grammar.
Language can be used for normal day-to-day purpose as prose. And if you are very good at that you may speak a wonderful prose.
And if you are really good you can be a poet. But it is the same language and its characteristic is that it has all these possibilities.
The physicist Schroedinger said of general principles, “the creative vigor of a general principle depends precisely on its generality”,
and that is exactly what I mean when I talk about structure in architecture. It is not a special solution. It is a general idea. And, although
each building is a single solution, it is not motivated as such.
Ludwig Mies van der Rohe, “Architectural Record”, October 1963
Approaching a building from a distance, we gradually shift our attention from the whole to the detail. The nearer we come, the more
the detail gains in importance. We are still with the basic conception – we remember the over-all architecture, the form, the silhouette,
the structural modularity; we are still guided by the general orientation of the building – but now, we see and touch and experience detail.
The architecture of past periods tended to lend melodies to the details; a column capital was a piece of sculpture in itself – a bit of art
decoration independent of the building. Today, our details tend to exist solely for the service of the whole structure, and become
inherent particles of the whole.
While technical demands for details have in recent decades increased immensely – demands in regard to insulation, acoustics, fabrication,
assemblage, time, maintenance etc. – their individual and visual expressions have become more simple and more subordinated to the whole
composition. So much so that details often fuse completely with the greater architectural form to the point where it is difficult to separate them.
It seems increasingly nonsensical to say, “that might have been great architecture, if somebody had only worked out the details…” Today, this case
simply does not exist – in practice or in theory.
The above is true only as a generalization, of course, with allowance for transitional variations and overlapping notions. Much depends
on the nature of the building, and perhaps still more on the material that is used. At the present point in architectural history, when reinforced
concrete flamboyance seems fashionable, one might say that no other material has the potential for such complete and convincing fusion between
structure, enclosure and surface; between architecture and detail; between the minute great form and the great small particle.
Marcel Breuer, “Architectural Record”, February 1964
Un objeto es una sección, es una porción definida de un espacio abierto de coordenadas físicas. Pensar en un objeto como sección
en la masa indiferenciada de estratos materiales hace difícil una distinción convencional entre el contexto y su propia e inherente estructura, hace
difícil asociar formas a límites, y refuerza, a su vez, la noción de diversidad constitutiva. En consonancia con esa materialidad diversa y diferenciada,
los componentes de un objeto arquitectónico obedecerán a leyes constructivas, a geometrías y a impulsos figurativos que gozarán de autonomía,
de una incondicional independencia. Podemos justamente denominar elementos, elementos de proyecto, a esas porciones particulares extraídas
de la continuidad de unos estratos ilimitados. Como en el universo acumulativo de Brancusi, como en la multiplicidad gráfica de Hiroshige,
los elementos convivirán libremente, sueltos.”
Juan Navarro Baldeweg, Statement on detail
“Details. Architecture seen in section”.

Details. architecture seen in section

Transcription

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