Details. architecture seen in section
Transcription
Details. architecture seen in section
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 CHARACTER STYLE: main title 37 300 internal height 45 CHARACTER STYLE: text main description 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. CHARACTER STYLE: main subtitle precast concrete coating panel CHARACTER STYLE: text main description 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 CHARACTER STYLE: main subtitle 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 CHARACTER STYLE: main subtitle 0 CHARACTER STYLE: text main description Ilaria Villanucci Arketipo, n° 12, Aprile 2007, pp 42 - 53 50cm scale 1:10 Farrel/Grimshaw Partnership,Park Road Apartments, London (UK), 1960 CHARACTER STYLE: text main description 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 CHARACTER STYLE: main title 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 CHARACTER STYLE: text main description 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 roof: galvalume steel sheet 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 roof: galvalume steel sheet 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 insulation: urethane foam in situ 70mm L−50x50x6 20mm longer for cutwater fasner : steel angle piece L−90x90 door frame : cor-ten steel L−175x85x6 site welding : groove angle 45 site welding : groove angle 45 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 exterior wall : 6mm thick cor-ten steel site welding insulation: urethane foam in situ 70mm 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 site welding : groove angle 45 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 site welding : groove angle 45 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) exterior wall : 6mm thick cor-ten steel site welding 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 site welding : groove angle 45 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 $SHUWXUHǗ# Intake rate 20% Concrete Troweled Finish cor-ten steel t=2.3 mm corrosion proof painting backside gravel to save-all rust drop W=300 timber wedge No piles in the surroundings of the trees. Foundation Connecting Joint / Cast Iron washer : steel plate−32x300x180 welding with ABT stainless sheet t=0.6 BPL−19x300x710 loose hall 100Ʒ stainless sheet t=0.6 BPL−6x300x710 sill anchor 2−M20 L=700 Drainage with Heaterd Water for melting snow Cover / Douglas Fir timber peg H = 360~520 Timber dowel pin Ǘ ∼ 180(W/2) W = 220~360 teak-oil finish glulam Matsunoyama Natural Science Museum Echigo-Matsunoyama (J) 2003 Matsunoyama Natural Science Museum: Echigo-Matsunoyama (Japan) 2003 Shim-Suitcliffe Architects Walls of Light The Echigo-Matsunoyama of Natural Science Museum is located in the forest-covered mountains of Matsunoyama, a region of Niigata Prefecture known for its heavy winter snowfalls. The facility was designed kfXZZfddf[Xk\Yfk_k_\^\e\iXcglYc`ZXe[jZ`\ek`ÔZXZk`m`k`\j%K_\ total length of the building is 160meters, including a 34-meter tower. The difference between the temperature between summer and winter causes the whole structure to expand and contract almost 20 centimeters in length, and the total load of snow can amount to some 2000 tons of pressure. So 6 millimeter-thick welded Corten steel plates were chosen for the buildings outer shell. At key points inside the Yl`c[`e^#dXjj`m\Õffi$kf$Z\`c`e^n`e[fnjf]]\iXjg\ZkXZlcXim`\n on the surrounding environment. To sustain the weight of the snow and give the structure a proper isolation, all windows were made of 55 to 75-millimeter-thick acrylic - a material with an extremely high 98-percent degree of transparency. We want to create thick walls of light that transform our architectural spaces through the seasons and from day to night. We have selected four projects that modulate light in very different ways, but in each case, the thickness of the wall assembly allows for the gradation and transformation of light as Congregation Bet Ha’am, Portland, Maine (USA), 2008 ARCHITECTS DRAWINGS Woods of Net, Hakone (J) 2009 Fuji Kindergarten, Tachikawa (J) 2007 Fuji Kindergarten: Tachikawa (Japan) 2007 A large oval building of about 183m outer circumference, and about 108m inner circumference. Three existing zelkova trees (two of 25m and one of 15m) pass through the architecture. This is a kindergarten for 560 children. All the architectural spaces are at the scale of a child. It is a one-storey building, with the ceiling heights restricted to 2100mm. There is hence an extremely close relationship between the Õffic\m\cXe[k_\iff]kfgc\m\c%E\m\i$\e[`e^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\`e^`eÔckiXk\[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_`e^]ifdX[`jkXeZ\#fe\ËjYf[p^iX[lXccpY\^`ej 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[`e^f]8jX_`B`e[\i^Xik\e`eZcl[`e^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, ar- chitecture 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 extending and enriching OAB’s range when seeking new channels of formal expression. OAB chitecture Office rchitecture e of-Architecture Office of Architecture inof inBarcelona Architecture Barcelona in Barcelona in Barcelona in Barcelona To touch upon the theoretical aspects of the project and upon the innovation and investigation of new technologies, without forgoing a respect for the location, the social origin of the work of the architect, and the constructional rationale in the latent aspects of the proposal and the development of the design. OAB has enabled us to experiment in different areas of architectural endeavor—buildings of varying sizes and factures, public spaces, interior spaces, ephemeral installations or themes to do with landscape—thus facilitating, at the same time, the internationalization of part of the work of the studio. Different circumstances have led to the birth of this new platform, based on a transversal way of working that is open to innovation and experimentation, flexible in its conceptual propositions, and convinced of the fact that each new project offers a different experience in which we must start from scratch and be selective as we develop the project. This is something that has been learned beforehand, it having been demonstrated that the essence of the architect’s task does not lie in language or in displays of style but in his or her response to the conditions of landscape and the city, to the complexity of the social organization of the programs, to the utilization of light as design’s raw material, with a capacity to generate spatiality and emotion, and to the materiality that impinges on the more sensitive and sensorial aspects that bring the piece of architecture closer to its future users and inhabitants as the final recipients of the architect’s work. These questions of content and form are the ones that have led to the creation of OAB as a platform with which to confront the architectural challenges of this new century. 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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 thetoveil, the and seductive at night effect the building of the by veil,due andtoatthe night seductive the building 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 pre- sented 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 in- dividual 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), Zurich (Switzerland), 2013 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), Zurich (Switzerland), 2013 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. 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In addition, horizontal the case Albidesigned - like in many otherthe cases the the metallic mesh is a cables support the wovenInpanels andofare totheadjust forces of use ofties, to free architect from- physical away cables support theway woven panels and are designed to adjust sweep the forces of heaviness and design fromasphysical away heaviness and design stress in the construction.way to free the architect architecture easy toties, buildsweep as to declare. stress in the construction. In the case of Albi - like inarchitecture many otheras cases - thebuild use of the metallic mesh is a easy to declare. In the case of Albi - 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”.