Professional Documents
Culture Documents
NAMAST TOWER
IMAGES
1. Opened-up section of the tower where becomes clear how the program is
allocated through the build- ing. Note the various gardens inside.
2. The inspiration for the decoration of the Namast Tower comes from the henna
tattoo tradition.
3. Applied to the elevation of the tower every view through the henna tattoo
from the interior appears different.
4. Floorplans of the luxurious hotel suites up to the 44th floor. The deep coves in
the corridors makes the building more connected to the outside.
5. Rendering view of the building on its location.
SOURCES
http://www.worldbuildingsdirectory.com/project. cfm?id=2878
http://www.atkinsglobal.com/projects/namaste-hotel
http://forum.skyscraperpage.com/showthread.php?t=188468
Concept
CONCEPT OF THE ARCHITECT
Namast means respectfully greeting or bowing to your visitors in Hindi.
It is an friendly expression what makes people feel welcome. The clasped
hands are the basis of the concept for this hotel tower and clearly make a
statement to invite people into the building. Since the luxurious hotel will
mainly conceive celebrating people for events like weddings and family
diners the architect expresses this even more in the faade idea. The
decoration directly comes from the henna tattoo art. Indian people cover
themselves with these decorations with the occasion of weddings and big
birthday parties. Translated to the building envelope this means a partly
coverage to keep the heat outside and collect sunlight in PV-cells. Also the
roofs of the two large canopies have an additional layer of sun collecting
cells which can provide about 12% of the total energy demand.
In between the two hands the space for corridors of the hotel remains.
This transparent volume has a visual connection to the outside and
provides a nice view over Mumbai and the adjacent race track. It almost
feels like you are outside. This feeling is embraced by the many gardens
applied to the corridors.
On an urban level the entrance flows are wellconsidered. Besides hotel
guests, the office workers, deliveries and visitors has to be led into the
building. Distinct entrance roads and ramps regulate the movements.
Below the canopies, an urban green oasis invite people to visit the
building. Going up with panorama elevators brings them to the top floors
where a restaurant and bar provide a wide view over downtown Mumbai.
NAMAST TOWER
Concept
CONCEPT OF THE ARCHITECT
The city of Guangzhou, China experiences some of the worst air
pollution on the planet. China s growing economy has increased
their energy consumption this in turn has lead to a rapid increase
in carbon emissions. In response to these great problems, the
Chinese government has recently set a goal to reduce their
carbon emission by 10% by the year 2010.
The Pearl River Tower has been designed to be the most energy
effcient of all the world s supertall structures. The original goal
was to design a net zero-energy building that would sell its
excess power to the local electrical grid, but now the building is
expected to consume nearly 60% less energy than a traditional
building of similar size. Economical considerations and reulatory
challenges made this goal unachievable.
The tower features both active and passive approaches to limiting
carbon emissions. The photovoltaic cells will be integrated in the
building s skin. To achieve the greatest productivity, the cells will
not only function as a source of power, but also function as a solar
shade.
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
SOURCES
http //architectenweb.nl/aweb/redactie/redactie_de- tail.asp?iNID=6943&iNTypeID=55&extUrl=1
http //buildingdb.ctbuh.org/building.php?building_id=454
http //emileglorieux.blogspot.com/2010/03/pearl-river- tower-world-greenest.html
What really makes this building stand out is its unique integration
of wind turbines into the maintenance levels of the building and
the sculpting of the building form to channel wind through those
openings.
http //www.som.com/content.cfm/pearl_river_tower
Concept
At the basis lies a four legged table construction that is reinforced in the corners.
Multiple variants of stiffening are used to create a variety of identities for the legs.
By expanding the legs towards the top automatically the spans are reduced. The
structure in a way is an orthogonal version of a dome.
The ground-level square bends up to allow cars and motor cycles to enter
the parking garage. Here trucks can enter the basement. Heavy logistics will
be handled from here. Taxis will be able to drive up this Hill, culminating in
a glamorous drop off. Locally the square folds down to allow more spacious
connections to the underpasses to Night Market and the Jiantan train station.
The act of lifting the building allows for a more or less unobstructed crossing
of the square an elegant feature, since most architecture tends to stand it the
way. Whether you are walking from Bai Lin Highschool to take the bus or you
are coming from Shinlin Market and are looking for a place to eat your lunch, the
square will provide everybody with a sheltered and exciting route or place to stay.
The Taipei Performing Arts Center aspires to become accessible for everybody.
The principal act performed by the building is to elevate a substantial part of
its program. By doing so a public square is created underneath it. As such the
square fundamentally becomes part of the building: it is included inside it. This
could turn out to be a radical innovation
A Hotel could be a successful additional pro- gram. It might be beneficial for the
exploitation of the complex as a whole. It is supportive also in a literal way, since
it constitutes the fourth leg of table. The Performing Arts Hotel can comfortably
feature 60 bedrooms and additional facilities. The bedrooms overlook the city
and the spectacular Urban Interior that it helps forming. The Revolving Bar
somewhere hangs from the ceiling.
The legs are programmed as well; in fact they are small skyscrapers. All four
are different. One has a waist, with a large plan that narrows half way and
widens again. One has an oversized foot; it contains the Proscenium Theater
at its base. And then becomes more slender. One is small at the bottom and
expands towards the top -here youll find the Grand Theater. By lifting the main
plateau of the building to a level slightly higher than the adjacent structures,
wonderful panoramas are created. It becomes possible to overlook the city
and the surrounding hills.
In a way, the project is an Upside-Down Sky- line. The horizontal top layer helps
to frame the space beneath. It is not so much the beauty of the form itself that is
compelling, but the space in-between. With every step you take this urban cavity
changes shape. The structure could be understood as a Proscenium Arch in 4
directions framing city life in many ways.
The additional asset of this gravity-defying operation is the urban void that
comes into being. This 3D urban square creates an informal foyer for the
building as a whole. There is no interface, no threshold. Come in, were open!
It is a place for interaction, for performances, for concerts, for markets. It is a
square with a ceiling. Rain and Sun automatically are kept out. It is open-air,
but covered! Surprisingly the building contains more void than mass; its a
space-container, a 3D Plaza.
The three main programmatic elements, the Theatres, are positioned on
different altitudes. The Proscenium Playhouse is placed at the base of the
southeast Leg. The Lobby is placed under this theater so that it is flush with
the square, activating the space around it. The Multiform Theatre however, is
connected to the southwest leg close to the top. The volume of the Grand
Theater is suspended under the horizontal slab. It hovers over the square while
still being a part of it.
There are many ways to travel through the building. There are elevators,
stairs and escalators. It is possible to go in a direct way or to take the scenic
route. A detour is rewarding! It is no longer necessary to take the same path
on your way out. A System of Loops comes into being. Some of the elevators
are oversized. They can be used for transportation of large goods, but also for
moving large groups of people at the same time. Many elevators are placed
towards the outside. They are not hidden in a core but become part of the
performance. Riding them gives you the feeling of being part of an interactive
urban environment. They move up and down like ants on the leg of a table.
When reaching the top some elevators suddenly move sideways, allowing
unexpected horizontal movement: Logistic Entertainment. The Grand Route
connects the Lobbies of the Theaters with a series of escalators. It ties them
together. Part of the Foyers as such will be open to everybody, but here you
will also find the ticket control. Beyond a certain point the theaters are -of
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
building image
section
floor plan
concept drawing, stage
concept diagram, creating a square
concept diagram, routing
side view drawing of TPAC , sun shading, rain
taipei performing art center structure diagram
taipei performing art center program
taipei performing art center image square
taipei performing art center image square
taipei performing art center image square
SOURCES
http://www.nlarchitects.nl/slideshows/TPAC/TPAC. html
http://www.thearchitectureroom.com/competitions/ Taipei_competition.html
http://www.archdaily.com/15785/taipei-per- forming-arts-center-proposal-bynl-architects/
Concept
CONCEPT OF THE ARCHITECT
I.M. Pei designed the building with the structure of bamboo in mind.
However, the building looks nothing like a bamboo stalk, but more like a
glittering tower of diamonds. The cross braces and triangular framework
of the building are designed to withstand typhoons. Because of the
strong framework of the building, there was less steel needed for the
buildings construction.
The Bank of China Tower is reminiscent of the Willis Tower in Chicago
that was the tallest building in the world for a long time. The difference
is that the Bank of China Tower is composed of triangular sections with
triangular frames and the Willis Tower is composed of rectangular blocks
and has rectangles The glass faades of the building reect the light and
its surroundings, so it is like a bright and shiny white crystal, while the
Sear Tower appears dark and ominous.
The whole structure is supported by the four steel columns at the corners
of the building and one in the centre of the building, with the triangular
frameworks transferring the weight of the structure onto these ve
columns. It is covered with glass curtain walls.
EVOLUTIONARY ABOUT THE CONCEPT
For the rst time a megastructure composed of a pure space-truss was
used to support the weight of a skyscraper. The megastructural steelwork
is expressed externally by naturally anodized panels that form part of the
curtainwall
BANK OF CHINA
IMAGES
1. Isometric drawing
101 of the worlds tallest buildings By Georges Binder
2. Breakdown of the tower structure
http://en.wikipedia.org/wiki/Bank_of_China_Tower,_Hong_Kong
3. Floorplans; A 51-66; B 38-50; C 20-37
101 of the worlds tallest buildings By Georges Binder
SOURCES
http://www.pcfandp.com/a/p/8220/s.html
http://www.archdaily.com/153297/ad-classics-bank-of- china-tower-i-m-pei/
http://whitedragonhome.com/Articles/FSBankofChina.pdf
EARTHSCRAPER
Concept
IMAGES
1.
2.
3.
4.
5.
6.
7.
SOURCES
http://www.bunkerarquitectura.com/
http://www.archdaily.com/156357/the-earthscraper- bnkr-arquitectura/
http://www.archdaily.com/156357/the-earthscraper- bnkr-arquitectura/
http://www.ecomagination.com/earthscraper-concept- takes-sustainable-designunderground
http://www.sodahead.com/united-states/mexico-city- considers-earth-scraperbrilliant-or-bogus/question-2273777/
http://urbdezine.com/2011/11/24/subterranean-earth- scraper/
EARTHSCRAPER
CANTON TOWER
Concept
Guangzhou, China
IMAGES
1. Construction design build-up
http://www.solaripedia.com/13/342/4233/canton_tower_pv_shapes_illustration.
html
2. Floor Plans
http://www.solaripedia.com/13/342/4233/canton_tower_pv_shapes_illustration.
html
SOURCES
http://gztvtower.info/index.htm
http://www.solaripedia.com/13/342/4253/canton_tower_ section_dwg.html
http://www.solaripedia.com/13/342/4233/canton_tower_pv_ shapes_illustration.html
http://www.arup.com/News/2010_09_September/29_ Sep_2010_GZ_TV_Tower_opens.
aspx
http://www.arup.com/Projects/Guangzhou_TV_Tower/Details. aspx
CANTON TOWER
Concept
CONCEPT OF THE ARCHITECT
The new headquarters for China Central Television, OMAs largest
project to date, combines the entire process of TV-making
(administration, production, broadcasting) into a single loop
of interconnected activity. Rising from a common platform
accommodating production facilities, two towers (one for
broadcasting, one for services, research, and education) lean
towards each other and eventually merge in a dramatic, almost
impossible cantilever.
CCTVs distinctive loop offers an alternative to the commonly known
typology of the skyscraper. Instead of competing in the race for
ultimate height and style within the traditional two-dimensional
skyward tower, CCTV creates a three-dimensional experience, that
symbolically tries to embraces the entire city.
The loop also facilitates public access to the production of Chinas
media: visitors will be allowed in to a internal path circulating
through the building, connecting all elements of the program and
offering spectacular views from the multiple facades towards the
Central Business District, the Forbidden City, and the rest of Beijing.
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
SOURCES
Architecture and Urbanism, July 2005 Special Issue, CCTV by OMA
http://oma.eu/projects/2002/cctv-%E2%80%93-head- quarters
http://www.arupinbeijing.com/arup_projects/china_central_television_headquarters/overview/
KANCHANJUNGA APT.
Bombay, India, 1970-1983
Architect: Charles Correa
Client: Plot Area: 2900m2
Building Footprint: 432 m2
Gross Floor Area: 5,260 m2
Height: 84 m
Cost $ Unknown Lifts: 3 + 1
Status: Constructed
Concept
CONCEPT OF THE ARCHITECT
The Tower is one of the masterpieces of Indian
architect, Charleas Correa. Kanchanjunga Apartments
is a 28 story height high end residential building built
in Bombay, 1983. It was clear that the architect has
reference to Lecorbusiers crossover units in Unit
habitation in Marseilles in 1952. Correa planned
the 3 and 4 bedroom units interlocking with 5 and
6 bedroom units. 3-4 bedroom units occupies on
and half level, and 5-6 bedroom units occupies two
and half levels. There are small level displacement
within the units to differenciate outdoor terrace and
indoor living space, dining room and bedrooms and
so on. These change of levels hide the living and bed
rooms from the heat of sun and rains, while the big
opening of balcony could get as much day light as
possible. The whole building structure is built by
reinforced concrete. The open terrace part is a 6m
deep cantilever structure. Central core with lifts and
shafts and building services so it also provide central
stability element for lateral loads.
The appearance of the building has strong
resemblance of modern western building design.
Especially the white plain surface with concrete
construction. But the apartment design is an
interperation of traditional Indian bungalow with
verandah which is a main part of living area of indian
family.
The tower is 21m square on plan, and 1:4 proportion
on elevation, 84m height. It has a plain facade surface,
with cut away to open up double height balcony.
IMAGES
1.
2.
3.
4.
5.
6.
SOURCES
http://identityhousing.wordpress.com/2009/12/03/charles-correakanchanjunga-apartments-cumballa-hill-mumbai-1970-1983/ housing-inbarcelona-made-with-100-recyclable-materials/
http://architectureyp.blogspot.com/2011/05/kanchanjunga-apart- ments.
KANCHANJUNGA APARTMENT
AL BAHR TOWERS
Abu Dhabi, United Emirates, 2012
Architect: Aedas R&D
Client: Abu Dhabi Investment Council
Plot Area: 11.500 m2
Building Footprint: 1.960 m2
Gross Floor Area: 32.000 m2
Height: 150 m
Cost US$: 245 million
Lifts: 25
Status: Constructed
Concept
CONCEPT OF THE ARCHITECT
In Abu Dhabi, it is a neverending battle against the suns heat, mostly with airconditioning.
The temperatures in July and August can reach till 48 degrees Celcius. Because of that
reason, the Al Bahr towers got a unique second skin facade. The north side of the second
skin is open because it never sees the sun.
The design is a new twist on an old Islamic tradition. It is inspired by Islamic patterns,
called a `mashrabiya, which protects the most exposed parts of the building. In history,
the mashrabiya was also used to produce shade. This modern mashrabiya has been
conceived as a dynamic faade which will open and close in response to the suns path,
it will significantly reduce the solar heat gain and providing a more comfortable internal
environment. By using the data of the suns path, it was possible to let the umbrellas
respond to the path of the sun.
IMAGES
1.
2.
3.
4.
5.
6.
7.
Traditional mashrabiya
Closed facade
Open facade
Section of the double facade
Impression by night
Floorplan in 3D
The second skin is open at the north side
SOURCES
http://www.aedas.com/ADIC-Headquarters http://aedasresearch.com/features/
view/all/project/al-bahr-towers-cdr
http://www.ameinfo.com/218427.html
http://blog.punjabilokvirsa.com/2010/07/adic-head-quarters-in-abu-dhabi/
http://www.hitachi.com/New
http://www.preconstruct.com/newsblog/index. php/2011/08/03/al-bahr-towersby-aedas-and-arup-uses-brilliant-dynamic-shading-system/
http://www.skyscraperlist.com/showthread.php?82-ADIC-HEADQUARTERS-%7C150m-x2-%7C-25f1- x2-%7C-Com-(AL-BAHR-TOWERS-)
10
AL BAHR TOWERS
Concept
CONCEPT OF THE ARCHITECT
Fosters first sketches of the design for a new bank building, which needed to be
constructed on a site of limited size, and phased in order for banking to continue
in the old building during construction, resemble in a large part the final design.
IMAGES
1. Preliminary design sketch, of bridge-like construction
above the old building.
2. Axonometric drawing of the floors, trusses and supporting
structure.
3. More detailed drawing of the hanging floors system.
4. Seawater pipes in tunnel under the building; the seawater,
pumped from and back to the bay, is used for cooling and
toilets.
5. Section of the building showing the voids in the
construction (white) and the sunscoop, letting light into
the atrium.
6. A service module, prefab, being lifted into place to be
fixed to one of the main columns.
7. Picture of the large wind supports between the main
columns.
8. Sketch of the lobby with atrium above.
SOURCES
Bennet, D., Skyscrapers, form and function, 1995, Simon and
Schuster Publishers, New York
The main themes in the design were: reflecting the essence of Hong Kong, high
rise but also to maintain the human scale. Therefore, the building reached the, at
that time, existing maximum building height in Hong Kong, at 180m. However,
soon after the opening of the Hong Kong Bank building, the maximum building
height was raised, and the Bank of China Tower, built soon after, reached much
higher.
EVOLUTIONARY ABOUT THE CONCEPT
Very revolutionary is the fact that bridge building techniques have been used
in the construction of this skyscraper. Eight large tubular steel columns on two
sides of the building, braced by rectangular beams, act as bridge supports, with
the floors suspended from them. This allows for very free floor plans with ample
floor area lost to columns. Services are also located in and around the concrete
columns. The floors are built up of sheet metal topped with reinforced concrete.
11
LINKED HYBRID
Beijing, China, 2007
Architect: Steven Holl Architects
Client: Modern Investment Group, Beijing
Plot Area: 61.800 m2
Building Footprint: 15.500 m2
Gross Floor Area: 221.000 m2
Height: 68 m
Cost US$: Unknown
Lifts: 34
Status: Constructed
Concept
CONCEPT OF THE ARCHITECT
Linked Hybrid projects a renewed thinking about the public space within
large scale high rise projects. Holl shows us in this project how his ideal
vertical city should work. It is his ideal city within a city.
The horizontal traditional urban structure, continuous plinth with services,
is combined with the vertical city, disrupted plinth.
Living is combined with commercial program in various towers. The
commercial program is located in the plinth and living above. An urban
ring of commercial and cultural public activities link the towers on the
twentieth floor. This skyhigh public space provides a cinematc experience
of the whole complex and the city surrounding it. A big variation of
urban functions are located in this ring, for example: a swimmingpool, a
fitness centre, a nail and hair studio, an architecture office, galeries, bars,
theesaloons and stores (more info on page 3).
To prevent the city within a city to become an isolated island, Holl
introduces the term urban porosity. He connects his ideal city with its
context by attracting people to the centre of linked hybrid. Urban space is
enclosed in the heart of the project. On street level pedestrians are able to
move in and out the project.
These two themes, city within a city and urban porosity are also the basis
for Holls second big housing project in China, the sliced urban porosity
block.
IMAGES
1.
2.
3.
4.
SOURCES
A+T hybrids 1
12
LINKED HYBRID
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
building image
site, Louisville, USA
section
floor plan
concept diagram
program diagram
concept model, museum
model, museum
building image, from square
skyline Louisville
model, Building
floorplan, low-rise
floorplan, mid-rise
floorplan, high-rise
SOURCES
a+t, Hybrids I, high-rise mixed use building
http://www.rex-ny.com/work/museum-plaza/ http://picsdigger.com/image/7665e3cb/
Concept
Museum Plaza rethinks conventional attitudes towards
property development. Culture is placed physically and
spiritually at the projects center to support the capital and
operational costs of a 3,700 m2 museum, a development
o over 140,000 m2 is required. To avoid over-saturating
Louisvilles market with any single commercial program, its
uses are mixed, including luxury condominiums, hotel, offices,
loft apartments, and retail. Building development convention
would typically position the public program at street level and
the profit-making towers above. This strategy is not possible
at Museum Plaza: the site would isolate any ground-level
public program and position the towers implausibly close to
each other. To liberate these conditions, the plinth of public
program is elevated twenty stories aloft and the towers
evenly distributed above and below. Within the lsland of
public program, a rare synergy between commerce and
culture occurs. Unusual proximities enable the contemporary
art space to overcome the banal specter of museum flexibility.
The towers, in contrast, are platonic, and their areas and
proportions are dictated by efficiency ratios and financing.
To maximize rents and sale prices, the luxury condos and
offices above and the hotel and loft apartments below are
optimally positioned for views, circulation, and structural
efficiency.
13
GRONINGER FORUM
Concept
Architect: NL Architects
Client: Municipality of Groningen
Plot Area: 2.400 m2
Building Footprint: 2.400 m2
Gross Floor Area: 18.000 m2 (excl. parking)
Height: 45 m
Cost US$ 81 million
Lifts: 3 + 2 Service
Status: Unbuilt
IMAGES
1.
2.
3.
4.
5.
6.
7.
SOURCES
http://www.nlarchitects.nl/
Durable energy
Climate facade
Heath transporting facade material
Lightning
GEOMETRY
As an articulation of the ambition to make one building for different
activities the shape came from one volume. The maximum height is 45
meter, but surprisingly the average height is not more than 30 meter.
This goal is reached by cutting fragments off the building. These cutaway surfaces serve different needs. They make the access of light to the
other buildings better. The geometry of the Forum makes a gesture for
the parking and entrance functions. As a result two mini-squares appear
as a so called anti-chambre. The access to the parking garage is left
separate from the facade. As a result the Forum is accessible from different
directions for pedestrians.
14
GRONINGER FORUM
ELBPHILHARMONIE
Concept
The new Philharmonic will be not only a site for music; it will
include an extensive complex of flats and adaptable facilities
for a wealth of cultural activities. The core the major concert hall
seating 2200 and a multipurpose hall for ca. 550 listeners will be
complemented by a 5-star hotel with a projected 220 rooms,
with built-in services as restaurants, a health and fitness centre
and conference facilities, as well as some 35 luxury flats.
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Concept
Major concert Hall
The Kaispeicher A
Entrance, schematic
Entrance model
Plaza
Plaza with view of Hamburg
Design process
Plaza as a transition between old and new
Actual use of the building
Plaza defined by stairs
Small multifunctional hall
SOURCES
http://www.elbphilharmonie.de
http://de.wikipedia.org/wiki/Elbphilharmonie
http://www.dezeen.com
http://de.academic.ru/dic.nsf/dewiki/734027Poveda, P.: El Croquis,
ELBPHILHARMONIE
15
Concept
CONCEPT OF THE ARCHITECT
T he project is located at Beirut, as architect said, the city is an
unnished superposition of histories, contexts architectures
and situations. They want the project to be an interface to
generate new connections and create new view axis to observe
the history, the present and the future. The project is divide into
3 parts with 3 approaches corresponding to programme demand
and diverse scale in the project.
1.
2.
3.
IMAGES
1.
2.
3.
4.
5.
SOURCES
http://www.dezeen.com/2009/10/29/486-mina-el- hosn-by-lan-architecture/
www.lan-paris.com/project-486-mina-el-hosn.html
www.undo-redo.com/LAN/The_Journal_LAN_n1_ANG.pdf
16
IMAGES
1.
2.
3.
4.
SOURCES
Antonino Terranova, New Urban Giants, White Star Publishers, 2008.
Concept
CONCEPT OF THE ARCHITECT
The context of this building is quite remarkable as the
famous Lloyds building is across the street and some
churches of old are mere yards away. this building will
replace the old P&O office building from the 60s and is
situated on a square which is mainly used as passage area.
these issues are addressed with a sense of public and
private space with which the public square is preserved
and even extended into the building with a grand atrium
and totally open facade. the atrium will contain shops,
cafes and also have room for exhibition areas. there is
a mezzanine level (1st floor back of the building) which
provides access to office elevators etc.
The shape and form of the building are radical design
decisions based on daylight and Building structure.
the Leadenhall Tower will be Climatically sound and
structurally spacious.
Richard Rogers organization of the building more or
less caries his trademark very obvious. next to the
understanding of structure and face mechanics there is
a distinct separation of served and servant space which
is noticeable from both drawing and building form. at
the back of the building Rogers situates all the vertical
transport and services for the building keeping the
floorspace clear from obstruction and additional building
structure which ends up in a net to gross ratio of 77%.
17
Concept
CONCEPT OF THE ARCHITECT
The Shenzhen Energy Company headquarters rises 200 meters
creating a new landmark visible from the highway in the cultural,
political and business center of Shenzhen. BIG envisions combining
a practical and efficient floor plan layout with a sustainable faade
that both, passively and actively reduce the energy consumption
of the building. The faade is conceived as a folded skin that
shades the office complex from direct sunlight and integrates solar
thermal panels, reducing the overall energy consumption of the
building. The folded structure of the facade also creates special
niches and unique spaces inside the office floors as well as on the
streets around the building.
1.
2.
18
3.
4.
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
SOURCES
http://www.big.dk/projects/sem/
http://www.archdaily.com/34496/shenzhen-interna- tional-energy-mansion-big/
http://www.designboom.com/weblog/cat/9/view/7505/big-shenzhen-international-energymansion.html
http://www.bustler.net/index.php/article/big_to_de- sign_shenzhen_international_energy_
mansion
THE SHARD
Concept
URBAN INTEGRATION
The Shenzhen Energy Company headquarters rises 200 meters creating a new
landmark visible from the highway in the cultural, political and business center
of Shenzhen. BIG envisions combining a practical and efficient floor plan layout
with a sustainable faade that both, passively and actively reduce the energy
consumption of the building. The faade is conceived as a folded skin that
shades the office complex from direct sunlight and integrates solar thermal
panels, reducing the overall energy consumption of the building. The folded
structure of the facade also creates special niches and unique spaces inside the
office floors as well as on the streets around the building.
THE SHARD
IMAGES
1. fragment of the faade
renzo piano website
2. principle of a second-skin faade
by author
3. second-skin faade applied at the Shard
by author
SOURCES
http://www.rpbw.com/
(renzo piano website)
19
TORRE VELASCA
Concept
IMAGES
1.
2.
3.
4.
Google Earth screenshot of the view of the Torre Velasca from the Castello Sforzeso.
Torre Velasca in its dense surroundings
Torre Velasca towers above the surrounding buildings.
Supports of the upper levels.
SOURCES
http://eng.archinform.net/projekte/553.htm (sections and plan drawings)
http://www.edilone.it/Torre-Velasca_opere_y_35.html
(Italian article)
http://www.exibart.com/notizia.asp/IDCategoria/208/ IDNotizia/6173
(Italian article, published on 17 dec 2007)
http://www.olivari.it/designers/bbpr.html
(Italian article)
20
TORRE VELASCA
Concept
CONCEPT OF THE ARCHITECT
The complex, housing mainly offices but also leisure and shopping facilities
in the base and the deep basement levels, stands on the southern edge of
Vienna, Austria, on the site of the former Wienerberger quarries and brick
ovens. This company is still owner of most of the land.
The concept unifying the entire project, which first appears in base of the
building, is the architects intent of creating a continuous fluidity in the urban
context, in creation of a complex which is more than just functional: a true
pulsating heart of city society, maintaining an ongoing dialogue with its
urban setting, which it intersects and overlaps.
This concept is visible in the many open spaces on different levels, the
skylights letting light into the deep basement levels but simultaneously
allowing views through the skylights on the glass facades of the towers, and
of course the trans- parent towers themselves.
The towers have been positioned at a 59 degree angle between themselves,
but, together with the base, woven into the strict urban fabric using slim
objects with beautiful, attractive lines which link them to their urban setting
and make the complex an attractive place to work and enjoy.
EVOLUTIONARY ABOUT THE CONCEPT
IMAGES
1. View of the facade of the two towers, with the five, multi-storey
glazed bridges in between the towers.
2. Image of the connection between the commercial area
(underground) to one of the towers.
3. Image of the hall, in the base. Clearly visible are the large sky
lights allowing views on the towers, and also the depth of the
basement levels.
4. A second section, in this case of the lower tower.
5. Floorplan of the base level, with the outline of the towers
visualized
6. View of the complex, from the western area out- side the city.
SOURCES
Molinari, L., Massimiliano Fuksas, Works and Projects 1970-2005,
2005, Skira Edi- tore, Milano
These two towers with its base are not necessarily revolutionary in their
shape or buildup, but most definitely in both the way the complex has been
woven into the urban context and the extreme trasparency.
As explained above, the towers and the base are well adapted to the location,
allowing visual, mental and also physical connections by the many views,
transparency, ramps, stairs and al- leys.
Secondly, by implementing a column construction (as can be seen in the
plan) together with integrating the entire energy system into the thin floors,
the facade is entirely unobscured and the glazing is fully visible. This allows
even the higher floors to have a connection with the urban surroundings.
website: http://www.floornature.com/progetto.php?id=4182&sez=30
21
EWHA CAMPUS
Concept
IMAGES
1.
2.
3.
4.
5.
22
EWHA CAMPUS
The 300 North LaSalle building is a typical example of a highdensity development within a highly urban context. With a height
just over 236 m it is one of the highest buildings in Chicago. Mainly
consisting of generic office space, the key features of this project
are the design of the public space in the plinth and the delicate
treatment of the facade.
URBAN INTEGRATION
The position of the tower alongside the Chicago River Bank,
currently undergoing a large-scale redevelopment, is the main
reason to integrate different levels of public functions in the lower
part of the tower. The combination of an upper level lobby and caf
and a lower river level restaurant is very characteristic for Chicago.
The tower itself has been shifted away from the riverside towards
the inner streets, broadening the river bank and thus providing
space for a comfortable terrace facing the south.By employing two
routes through the different levels, one external and one internal,
and several entrances on both levels, the tower is fitted perfectly
within its surroundings. By providing the generous inside public
space with a strong visual connection towards the outside, the
public character of both is emphasized.
FACADE APPEARANCE
Although contemporary in appearance, the tower is very much
anchored in the past. With its slenderness and high-tech verticality
the tower resembles the modern Chicago architecture, originating
from pioneers such as Mies van der Rohe. The employed curtain
wall system with its vertical reflective fins is a direct interpretation
of the classic steel frames of for instance the Seagram Building.
SOURCES
http://www.archdaily.com/146450/300-north-lasalle- pickard-chilton/
http://www.property-website.com/pws/sites/112/live/
http://www.worldpropertychannel.com/ featured-columnists/deal-of-theweek-300- north-lasalle-charles-schreiber-jr-hines-interests-lp-mesirowfinancial-holdings-inc-donald-miller- piedmont-office-realty-trust-2749.php
http://archrecord.construction.com/features/ GDGB/2011/300_North_LaSalle.
asp
IMAGES
one, two and four: Renders by PC.
three: drawings by Pickard Chilton Architects, analysis on services and vertical
transport.
five: construction photographs from: http://skyscrapercity.com/showthread.
php?t=369238
23
NORDDEUTSCHE LANDESBANK
So in fact, both parts of the complex relate to a different part of the city,
and still they strengthen one another. The lower part literally protects
the inner tower and by opening up towards its surroundings provides for
a public courtyard, where visitors can enter and are sheltered from the
noise outside. In this way the tower is integrated in the urban context.
SUSTAINABILITY
The environmental solutions in this project came forth both out of the
wish to surpass the German regulations and to reduce costs during the
lifespan of the building. Transsolar Energitechnik focused on three main
subjects: ventilation, daylight and cooling.
1. Ventilation
The building uses an almost entirely passive ventilation system. Fresh air
is let in naturally from the courtyard, where due to the large pond and the
green roofs the air quality is very good. Via the offices the air flows into
the lowered ceiling above the corridor, and from there eventually passing
through the passive chimneys towarads outside. The chimney effect is
based on the difference in temperature and pressure between the inand outlet air. This current can be strenghtened by small mechanical fans
installed in the office spaces.
NORDDEUTSCHE LANDESBANK
Behnisch, Behnisch & Partner is a collaboration between Stuttgart
based architects Gunther Behnisch (1922-2010), his son Stefan
Behnisch (1957) and his partners. Their style resembles a lot of features
from modern German Bauhaus architecture, such as the industrial use
of standardized materials, the employment of grid structures and the
large amount of transparency used to define space.
2. Daylight
The external sunshading louvres are divided into two parts. The lower
part reflects the sun outward and reduces solar gain and glare, but still
allows for the employees to look outside. The upper part reflects the sun
upward, so that light falls on the ceiling, providing lighting deep into the
office area. To allow natural light to also enter the corridor the partitions
are partly made from glass as well. Because the louvres are placed at a
distance from the facade the cavity behind the louvres is ventilated and
reduces heat gain. In the courtyard mirrors are used to reflect the light
towards every corner and lighten shaded areas.
3. Cooling
In response to the daylight reflection system, the project employs a
cooled ceiling to minimize heat gain from the indirect solar radiation
and to provide cooling for the internal heat load. The low-temperature
radiant slab system uses polyethylene water tubes which run through the
lowest part of the exposed concrete ceiling. The water is cooled to about
17 degrees by running this through the foundation piles. In wintertime
the system is reversed and a heat exchanger is used to heat up the water
from 6 to 25 degrees.
IMAGES
1. Landesgirokasse, Behnisch, Hannover
Very similar project also on Friedrichswall from 1997.
2. Eye-level view from northwest:
Tower seems not te be that visible, but from a somewhat larger
distance it is very prominent.
3. Birds-eye view
4. Tower view
Visible is the stacking of volumes askew from one another, relating to
the historical city to the north.
5. Inner courtyard with pool
6. Climate system diagrams
7. Situation 1:2000, Ground Floor 1:1000.
All these systems prove to be higly functional for the generic office spaces.
Also, the amount of integration between the reflective louvres and the
cooling ceiling is admirable. This has been one of the first projects where
these aspects have been executed in an extensive system of monotoring,
and is therefore innovative.
SOURCES
https://www.nordlb.com/press/press-material/
http://www.behnisch.com/projects/44
http://nu-mad.com/theory/dissertation_vassar.pdf
http://www.architecture.uwaterloo.ca/faculty_projects/
24
NORDDEUTSCHE. LANDESBANK
Concept
CURRENT AFFAIRS
Despite the development of this new typology, the project
was far from succesfull. Being executed in a low-income
neighbourhood in East-London on a site which was
enclosed by busy roads, the project became isolated from
its surroundings. Quickly, there rose a gap between the way
the project was intended and the reality. Downfall struck,
criminal rates were high and the buildings decayed.
IMAGES
25
CUBE TOWER
This allows us to develop a very free parking and offer modules for
office without any hindrance.
Torre Cube plays with gravity, with the balance of its parts, which is
entrusted to a rational sys- tem of pieces of concrete.
FACADE: White concrete and wood are among the materials that
accompany the conventional concrete, steel, glass and aluminum to.
The exterior facade is composed of a body of latticework of wood with
sliding doors that make umbrellas and the interior of operable windows
with steel frames. This double skin to provide enough natural
ventilation building that rarely re- quire the use of air conditioning
(remember, is in Guadalajara).
Concept
CONCEPT OF THE ARCHITECT
Opposition of the offices that require employees to work enclosed
within four walls, Pins raised an architecture designed not only in
terms of sculptural beauty, but primarily designed to offer a better
experience for users.
The project stems from the desire to create of- fice ventilated and
lighted all with natural light, and in that given the good climate of the
city of Guadalajara air conditioning was not necessary.
26
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
SOURCES
www.cpinos.com
www.noticiasaqruitectura.info/especiales/torre_cube en.wikiarquitectura.com/index.php?title=Cube_
Tower
www.e-architect.co.uk/.../cube_tower_guadalajara
TORRES, Ana Maria. Carme Pinos. Monacelli 2003
CUBE TOWER
SCALA TOWER
Concept
The Scala Tower is not interesting becouse of its derived form from
the traditional tower morphology, its not special becouse of this
twist between tower and platform either. it is interresting becouse
of what this twis in combination with stairs creates for posibilitys;
a vast expansion of public space and with this an intergration with
effodless/unobstructed or bridged transistion from excisting public
space onto the newley created.
IMAGES
1. Skyline of Copenhagen
2. Series of Concept Diagrams
3. Structural Sheme of the Twist in the Tower
SOURCES
http://www.archicentral.com/tag/bjarke-ingels-group/
Bjarke Ingless Facebook;
SCALA TOWER
27
SEAGRAM BUILDING
Concept
CONCEPT OF THE ARCHITECT
The Seagram Building, build in 1956-58, is the only building
in New York City designed by architectural master Ludwig
Mies van der Rohe. Carefully related to the granite and
marble plaza on its Park Avenue site, the elegant curtain
wall of bronze and tinted glass enfolds the first fully modular
modern office tower.
Mies located the thirty-eight story office tower, which
occupies only fifty-two percent of the entire site, 30 meters
back from Park Avenue. Using the glass-enclosed lobby and
raised tower, and a slab marquee and continuous pavement
(see floorplan), Mies provided the Seagram Building with a
unity between indoor and outdoor spaces. This, in addition
to the monumental spaces for a bar and restaurant located in
the opposing wings behind the lobby, satisfied the program
s demand for a large public space on the ground story.
In its monumental simplicity, expressed structural frame
and rational use of repeated building elements, the building
embodies Ludwig Mies van der Rohes philosophy that
structure is spiritual and less is more. He believed that
the more a building was pared to its essential structural and
functional elements, and the less unnecessary imagery is
used, the more a building expresses its structure and form.
28
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
SOURCES
Mies van der Rohe, A Critical Biography by Franz Schulze (1989)
http://nyc-architecture.com/UES/UES002.htm
http://www.flickr.com/photos/emilio_guer-ra/6013072329/
http://www.nyc.gov/html/dcp/html/history_project/his- tory_project2.shtml
SEAGRAM BUILDING
Concept
IMAGES
1. Isometric drawing
www.som.com
2. Breakdown of the bundled tube structure
http://en.wikipedia.org/wiki/Sears_Tower
3. window surface area
SOURCES
http://www.willistower.com/
http://www.allaboutskyscrapers.com/sears_tower.htm
http://skyscraperpage.com/cities/?buildingID=5
http://www.som.com/content.cfm/bruce_graham_interview
29
Concept
IMAGES
The largest part of this building consists of office space. Therefore the
architects choose to design two pixels for the vertical movement of the
offices. Dwelling takes one pixel and so does the hotel area.
On the ground floor all different functions can be accessed. The offices
from the north and east side, the hotel/restaurant and dwelling floors
are accessible from the west side.
The four center pixels don`t go all the way up. Pixel 1 (hotel, upper left)
goes to floor 27, pixel 2 (office, upper right) goes to floor 23, pixel 3
(dwelling, lower left), goes to floor 22 and the last pixel goes to floor 19.
A few questions arise. How is it possible to maintain a green garden
when reaching such heights. The wind will tear everything looking a
bit green totally apart. The schemes show trees and other plants, but I
seriously doubt their life expectancy. MVRDV claimes to have resolved
this issue by placing the gardens only in wall protected areas (corners
of the building), but it`s still not highly convincing.
1.
2.
3.
4.
5.
Rendering overview
Rendering ground floor entrance & shops
Facade, Scale 1:1000
Ground Floor plan, Scale 1:1000
Concept drawings
Organisation
Light, views and terraces
Pixels
6. Rendering construction
7. Rendering terraces
8. Floorplan 15
SOURCES
Dysturb, urban research
www.dysturb.net/2008/mvrdvs-sky-village- winning-skyscraper-competitionentry/
Architectenweb
http://www.architectenweb.nl/aweb/redactie/ redactie_detail.
30
Concept
CONCEPT OF THE ARCHITECT
Sliced porosity block is about urban integration. Steven Holl
proposes the typology of a closed building block instead of a
tower on a plinth. To prevent the surrounding buildings being
blocked from all daylight, the mass is sliced according to sunpath.
This method shapes the building mass.
An elevated public plaza is enclosed by the towers. To connect
this public plaza with the street a porous plinth is designed,
which pro- vides routes from the city to the more intimate plaza
in different degrees of publicness.
Urban porosity is also theme for the allready constructed Linked
Hybrid of the same archi- tect. These two projects are very
interrelated although there are some important differences.
Where the special public space in Linked Hy- brid is located in
airbridges, in this project it is located in the plinth and on special
spots in the middle of the towers, connected to streetlevel with
escalators. the plinth makes a return in this projects and forfills
the function of an active gateway which makes it possible to
regulate the streams of people through program. Therefore the
core of both projects will have a different use and character.
Besides commercial accesses to the core 5 slow routes are
designed as stairways that provide a fully public 24hr accessible
entrance to the green plaza. as can be seen in the pic- ture from
the model.
IMAGES
1.
2.
3.
4.
5.
6.
SOURCES
Evolo magazine issue 01 2009, C. Aiello, 2009, New York: Evolo LCC
31
Concept
Concept Sketch
Position of hotel in relation with the HighLine
Relationship with the HighLine
View from the Street level
Free ground floor
Slender profile of the building
Detail of the lifted volume and the columns
Core structural element design (east pier)
SOURCES
32
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
http://ennead.com/#/projects/the-standard-new-york
http://architypereview.com/3-hotels-highlights-2010/projects/168-the-standard/description
http://www10.aeccafe.com/blogs/arch-show- case/2012/01/18/the-standard-in-manhattannew- york-city-by-ennead-architects/
http://www.archdaily.com/201783/the-standard-new- york-ennead-architects/
S-TRENUE TOWER
Concept
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
SOURCES
magazine: MARK - another architecture - nr. 25 apil may 2010
www.massstudies.com
www.designboom.com
S-TRENUE TOWER
33
TAIPEI 101
Taipei City, Taiwan, 2004
Architect: C.Y. Lee & partners
Client: Taipei Financial Center Corp
Plot Area: unknown
Building Footprint: 2500 m2
Gross Floor Area: 412.500 m2
Height: 508 m
Cost US$: 1.6 billion
Lifts: 61
Status: Constructed
Concept
CONCEPT OF THE ARCHITECT
The unusual tower shape is an idea of the architect C.Y. Lee from
Taipei. He was inspired by local culture, the building reflects the
culture in which it functions. Lee was looking for balance between
local culture and internationalism. The tall building symbolizes
a broader understanding and anticipation of things to come:
we climb in order to see further. The building rises from the
ground like a bamboo, a symbol of everlasting strength in Chinese
culture. In the section, the shape of a pagoda is recognizable.
Taipe 101 Tower rises in 8 modules, a design based on the Chinese
lucky number 8. In cultures that observe a seven-day week the
number eight symbolizes a renewal of time (7+1). In cultures
where seven is the lucky number, 8 represent 1 better than lucky
seven. Each modue has 8 floors and flares wider t the top. There
are 101 floors above the ground and 5 floors underground.
Its more challenging to design and build a super-tal building
in Taipei than any other location in the world because typhoon
winds, large potential earthquakes and weak soil conditions all
need to be overcome. A damping system was implemented to
reduce the excessive lateral accelerations from wind.
In the time it was build, the height of the Taipei 101 was
recordbreaking, previously held by the Petronas Towers with
452 meters. It was the highest building in the world, build in an
area with typhoons and earthquakes! The height of 101 floors
commemorates the renewal of time: the new century that arrived
as the tower was built (100+1) and all the new years that follow
(January 1 = 1-01). It symbolizes high ideals by going one better
on 100, a traditional number of perfection.
IMAGES
1. Construction drawings
2. Elevators overview
3. Taipei 101 as a landmark in the evening
SOURCES
Wells, M. (2003) Wolkenkrabbers. Alphen a/d Rijn, Atrium Uitgeverij
http://www.archinomy.com/case-studies/671/taipei-101-a-case-stud
http://www.architectureweek.com/2005/0330/building_2-2.html
http://www.cnn.com/2003/WORLD/asiapcf/
http://www.etaiwannews.com/etn/news_content.php?id=1147437&lang=eng_news
http://www.skyscraperpicture.com/taipei101.htm
http://www.taipei-101.com.tw/
http://en.wikipedia.org/wiki/Taipei_101#cite_note-etaiwannews.com-15east/10/17/taiwan.tower/
34
TAIPEI 101
THE MET
Concept
Architect: WOHA
Client: Pebble Bay Thailand Co. Ltd
Site area: 11.361m
Project area: 112.834 m
Design Year: 2004 - 2005
Construction Year: 2005-2009
height: 69 floors 228m
Cost US$: 132 million
Lifts: 18 + 3
Status: Constructed
11
By contrast, design for the tropics should take advantage of yearround warm weather, capture breezes, and be laid out for crossventilation, incorporating outdoor spaces, verandas and gardens.
Buildings are framing devices of minimal environmental devices for
an indoor-outdoor lifestyle.
The orientation of the staggered blocks allows the sun to daily
penetrate between the blocks on its regular tropical sun-path.
The apartments interiors interact strongly with the exterior, with
full height glazing, balconies, sky gardens and sky terraces. Sun
shading and overhangs provide weather protection and screen
and filter the strong tropical light. Walls of greenery provide sunshading that convert heat into oxygen, improving local air quality.
Common areas are spread throughout the towers, offering
inhabitants a variety of experiences, from the intricately designed
carpet of water, stone and vegetation at ground level, to the
extensive indoor-outdoor facilities at the pool level, to libraries,
barbecues, and function areas at sky terraces.
The hotel block explores related ideas, providing guests with
huge outdoor balconies incorporating water features and trees,
staggering up the faade to provide a layer of interlocking external
spaces.
THE MET
10
IMAGES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
4th-floor-plan
9th-floor-plan
20th-floor-plan
28th-floor-plan
30th-floor-plan
54th-floor-plan
Parti (Main structure: mass and void)
Maquette total vieuw and sky gardens
outside facade with sky gardens
outside facade (outdoor balconies)
enhance the gentle breezes by funneling them
between towers
12. extensive indoor-outdoor facilities at the pool
level
13. staggered arrangement of blocks that allow
cross ventilation
SOURCES
www.wohadesigns.com
www.skyscrapercity.com www.archdaily.com
www.flickr.com
http://ms-my.facebook.com/note.php?note_
13
35
Concept
solar
2.
3.
4.
5.
assembled
in
IMAGES
1.
2.
3.
4.
5.
36
http://inhabitat.com/torre-placa-europa-social-hous- ing-inbarcelona-made-with-100-recyclable-materials/
http://www.dezeen.com/2011/05/18/social-housing- tower-in-
TOUR SIGNAL
Paris, France, planned 2013
Architect: Jean Nouvel
Client: EPAD
Plot Area: unknown
Building Footprint: approx. 4000 m2
Gross Floor Area: 140.000 m2
Height: 301 m
Cost US$: 864 million (estimated)
Lifts: unknown
Status: Design Stage
Concept
CONCEPT OF THE ARCHITECT
The design of tour Signal by Jean Nouvel is also called the
loggia tower by the designer himself. Four enormous loggias
stacked upon each other expose the different functions
located in this tower to the city. The loggias function as
public space where the common utility of each function
(office, hotel and living) are located. These loggias connect
tower and city
Service and transfer levels are placed repeatedly in the same
way for each block. First a service level, then a transfer level,
then the loggia, with functional floor area surrounding it, a
second transfer level and again the service level and so on.
There are two main entrances for pedestrian. The most
public entrance on the east side of the building leads the
visitor from a plaza on a long escalator to the first loggia
located on the 12th level where a cafeteria welcomes them in
the building. The second entrance in the south facade leads
the visitor directly to the office transfer level. Vehicles enter
the building on a lower level as can be seen in the section on
the first page.
IMAGES
1. north-south section
2. floorplan of office block, cutted through loggia
3. schematic representation of east-west section with public spaces and
transfer levels indicated
4. render: view from hotel loggia
5. render: streetview on plaza entering the tower from the east
6. floorplans with indicated area for vertical transport
7. view on la Defence district after contruction tour Signal
8. picture from model representing east facade
SOURCES
Bosser, J, La tour signal: un nouveau dfi pour LaDfense, Paris : ditions
de la Martinire, 2009
Salmi, L., 2008. Nouvel takes pole position in Paris. World architecture
news, [internet] 2 June. Available at: http://www.worldarchitecturenews.
com/index. php?fuseaction=wanappln.projectview&upload_ id=2370
[Accessed 20 Decembre 2009]
TOUR SIGNAL
37
WOLKENBUGEL
Concept
IMAGES
1. Proun 88
2. Map of Moscow City Centre with Wolkenbugels superimposed on todays Metrostations.
3. Map of the First Metro-line Plan of 1922
4. Impression of the Wolkenbugel standing over a main road into the city
SOURCES
Boomgaard, Jeroen. Theorie en praktijk van de russiese avantgarde, Amsterdam;
Kunsthistoriese Schriften, 1981
Brkle, J. Christoph. Der Traum vom Wolkenbgel, Zrich: GTA, 1991
Lissitzky-Kppers, Sophie. El Lissitsky, Dresden: VEB, 1967
http://www.ovion.de/blog/?page_id=5
http://www.kunstbus.nl/kunst/el+lissitzky.html
http://en.wikipedia.org/wiki/El_Lissitzky
38
WOLKENBUGEL
Concept
CONCEPT OF THE ARCHITECT
A constant regularity in the concepts of Iso saki is the
Pillar to Heaven (ten-shu, Heavenly Column). Japanese
mythology states that neo Platonic cubic and semi
cylindrical forms are derived from this heavenly pillar
which means all primary geometry followed from the
Heaven ly Column. Ma (sense of Place) in japan can be
achieved by a single column, it creates a sense of space
in the japanese mind state, something the western
world does not have an equivalent for.
the Qatar national library is a realized project that clearly
has a history of Isozakis city in the air ideas. these sky
citys are a network of in one way or another bridged
columns. these projects are trees of structure housing
dwellings or offices and have a resemblance to ruins of
doric temples.
later on this concept evolved into more treelike
structures which bridged with each other on dif ferent
levels like intertwining tree branches.
Qatar national library will house at the base a museum of
contemporary art, a museum of sci ence and a national
history museum. on top of the base there will be a public
podium on top of which the 3 joint core cylinders begin.
the cores will support the 5 story library and with on top
a cafe and banquette hall with spectacular views.
IMAGES
1.
2.
3.
4.
SOURCES
Yukio Futagawa, GA Architect 6, Arata Isozaki 1959-1978, Global Architecture, Year?.
39