RICHARD GEORGE ROGERS

1983

LIFE AND ACHIEVEMENTS

1985

Member United Nations Architects

The Royal Gold Medal for Architecture

1986
Chevalier, lOrdre National de
la LgiondHonneur
1984-87
Academician, International
Academy of Architecture
1989
American
Academy & Institute of Arts
& Letters: Arnold W runner
Memorial Prize Honorary
Member,Bund Deutscher
Architekten

Education
1954-59 Architectural
Association, Yale
University

1961-62 Fulbright,
Edward Stone and Yale
Scholar

Life:
Rogers was born
in Florence, Italy on
23rd July 1933. He
went to St Johns
School,
Leatherhead upon
moving to England.

Qualifications
AA Diploma, M Arch
(Yale), RIBA, RA (Hon),
FAIA (Hon)
Dr RCA (Hon), BDA (Hon),
FREng, HonDDes

1999
The Thomas Jefferson
Memorial Foundation Medal In
Architecture
2000
Praemium Imperiale
Architecture Laureate.

2007

Laureate of the Pritzker Architecture Prize

The Minerva Medal
Tau Sigma Delta Gold Medal

INFLUENCES

Form follows profit is the

aesthetic principle of our
times.

Early Influence:
Ernesto Rogers- his father was an architect too.
Building by Ernesto Rogers. Torre Velasca (Milan)

Rogers Work is rooted in history, yet directed towards the future. His art is,
by definition, social and communal created by a community of designers.
Indeed, Rogers cannot conceive of architecture without people.

For Rogers, buildings were always permeable and not closed fortresses against the streets.

Richard entered Architectural Association (AA) School in London in 1954.

He was influenced by his teacher/ mentor Peter Smithson who said that Richard was too
interested in history and historic cities unlike Peter, who had the more pop vision. This influence
later formed a part of the ideology behind Pompidou Centre.

He left AA in 1959 with no great sense of direction, save for a vague Italian influence

In 1960, he married Susan (Su) Brumwell, a student of

sociology and daughter of Marcus Brumwell who was a
man of great business, scientific and artistic talent.

 In 1961, Richard and Su went to USA for pursuing their masters degree in architecture.

INFLUENCES

The head of the Yale school, Paul Rudolph, was a great influence on both Rogers and Foster.
Other teachers like Serge Chermayeff and James Stirling also changed the way of thinking
influenced the work done by Team 4.

Wright was my first god

-Richard Rogers

The Wrightian influence is

subtly apparent in rogers
buildings and certainly his
legacy of an organic
element is evident in every
one.

Everyone has the right to

walk from one end of the
city to the other in secure
and beautiful spaces.
Everybody has the right
to go by public transport.
Everybody has the right
to an unhampered view
down their street, not full
of railings, signs and
rubbish.

Richard was amazed by the architecture prevalent in the States with tall high rise buildings,
technology and amazing energy. It was possible to live in a modern way, in a modern house
uncluttered by the baggage of centuries.
Rogers was particularly excited by Soriano and the way he handled steel in a much less
precious way than the Miesian approach. Rogers fell in love with the idea of mass produced
house, made with standard industrial components.

Team 4

PRACTICE

Richard Rogers

Wendy Cheeseman

Sue Brumwell Norman Foster

Rogers met Foster and Brumwell at Yale and started Team 4 on returning to England with
Cheeseman in 1963.
By 1967, Team 4 had split up, but Rogers continued to collaborate with Su Rogers, along with
John Young and Laurie Abbott.
Rogers subsequently joined forces with Italian architect Renzo Piano.
After working with Piano, Rogers established the Richard Rogers Partnership along with Marco
Goldschmied, Mike Davies and John Young in 1977.
Then came Rogers Stirk Harbour + Partners in 2007. Founders: Graham Stirk, Ivan Harbour,
Richard Rogers. The firm maintains offices in London, Shanghai and Sydney.

IDEOLOGIES AND PRINCIPLES

His works reject the classical past, while enthusiastically embracing a technological
future with its accompanying aesthetic.
SUSTAINABILITY
"All forms of technology from low energy intensive to high energy intensive must aim at
conserving natural resources while minimizing ecological, visual, and social damage to the
environment, so that by using as little material as possible, we reach a self-sustaining situation
where INPUT EQUALS OUTPUT"

Technology cannot be an end in itself but must aim at solving long-term social and
ecological problems.

Richard Rogers is an architect who understands the significance of collaboration. As a

man with an intense social mind and a thirst for fairness in architectural and urban
design, Rogers substantial portfolio of completed and proposed buildings is driven by
the Athenian citizens oath of I shall leave this city not less but more beautiful than I
found it.

High Tech is the style of architecture practiced by Richard Rogers and Norman Foster. High-tech
architecture, also known as Late Modernism or Structural Expressionism, is an architectural style that
emerged in the 1970s, incorporating elements of high-tech industry and technology into building design.

The Pompidou Center in Paris was an example of High Tech architecture designed
by Richard Rogers and Renzo Piano (1977). High Tech uses technology in an almost
Futurist way. It confines itself to a unity of materials, time and mood, continuing
the totalizing impulse of Modernism. Inside and outside is a continuum.
Rogers was concerned that architecture had lost contact with the public:
his use of emblems from aircraft design constitutes a familiar, accessible
imagery, as do the toy-like colours of the Pompidou Centre. This theory
of Inside-out was termed BOWELLISM by critics.

B
O
W
E
L
L
I
S
M

The architectural solution lies in the complex and often contradictory interpretation of the needs of the
individual, the institution, the place and history. The recognition of history as a principle constituent of
the program is a radical addition to the theories of the Modern Movement.
Rogers has devoted much of his later career to wider issues surrounding ARCHITECTURE,
URBANISM, SUSTAINABILITY and the ways in which cities are used.

TOWN PLANNING &

URBAN DESIGN

Paris Mtropole
DESIGNS FOR A METROPOLITAN PAR IS OF THE FUTURE

PROBLEMS IN THE ADMINISTRATIVE SET-UP

The major problem facing the le-de-France region is the fragmentation of its governance structure,
which prevents it from implementing strategic action on a metropolitan scale.
9/11ths of the citizens of the le-de-France region live outside of the centre of Paris but speak only
with a fragmented voice. The City of Paris, with its 2.1 million inhabitants, enjoys representation through
its Mayor and is therefore capable of undertaking coordinated action inside of the ringroad.
Expansion of the principle of
intercommunality and creation on a
long-term basis of eight
Communauts dAgglomration
with powers and a structure similar
to those the City of Paris has today.

Creation of 23 administrative
entities, each with a similar
population, in the region of le-deFrance.

le-de-France is divided into two subregional governments. The urban

municipalities are separated from
the rural municipalities.

Historicity

Democratic Integration

Urban-Rural Coexistence

BUILDING PARIS ON PARIS

Compactness has to be the first rule of contemporary urban design. It is a concept that
generates efficiency, interaction and urbanity.
Proximity produces efficiency, interaction and interchange.
In terms of mobility and transport, compactness reduces journey distances and times.
Energy costs, network losses and ecological footprint are consequently minimised.
Socially, the citizens of the metropolis are brought together and from this proximity they will
gain both a communal and cultural benefit.
The first step consists in precisely identifying
brownfield land. The abandoned or
underexploited sites of the city will
tomorrow have an inestimable value.
The existing urban footprint is capable of
absorbing a very considerable part of urban
growth. Land that is un- or under-used
needs to be identified, and a coordinated
development strategy needs to be
implemented for its inclusion and
intensification.

PUBLIC TRANSPORT NETWORKS

Complementing the radiocentric network with a circumferential network linking the hubs
and populations of the premire couronne. The circumferential links will not be identical
in capacity or cost. Local underground, tram and tram-train systems will complement each
other in order to maximise the value and impact of investment in new systems.
An extension that will link La Dfense to the national and European high-speed train
network and that will recognise and strengthen the important role that this business district
plays in the region.
Aiming to integrate freight into the public transport network by creating multimodal
interchanges.

POLYCENTRIC METROPOLITIAN PARIS

These hubs will be better connected, as they will be situated at the key interchanges of a
transport network that has been enhanced and balanced out by the circumferential links
proposed.
These new polycentres will be defined not only by their relationship with the centre but also
by their relationship with the neighbouring hubs and the other centres of the region.
The creation of polycentres is intimately connected with the creation of proximity, mixed
use and social diversity.

BUILDING BALANCED COMMUNITIES

It is not a case of displacing communities and pushing them further

from the centre. It is a case of sensitive integration - ADDITION

NOT SUBSTITUTION

INTEGRATING NATURE INTO THE METROPOLIS

THROUGH AN INTEGRATED OPEN-SPACE NETWORK
A green belt to limit the uncontrolled expansion of the physical footprint of the metropolis.
A network of ecological corridors, linking the regions important natural spaces and ensuring the
continuity of biospheres and the migration of species.
New unbroken pathways for pedestrians and cycling lanes to enable citizens of the city to move
around safely, serrounded by vegetation and shaded by trees.
The idea of transforming the under-optimised surface area of the rooftops of Paris into a large
green carpet, creating approximately 391KM2 OF GREEN ROOFTOP SPACE and provide significant
benefits in terms of well-being, temperature, ecology and rain-water collection.

10 PRINCIPLES FOR METROPOLITAN PARIS

CONCLUSIONS

1. Restructure Metropolitan Governance

in Ile-de-France
2. Build Paris on Paris
3. Complete the Metropolitan Transport
Network
4. Create a Polycentric Metropolitan Paris
5. Build Balanced Communities
6. Rebalance the Regional Economy

A Cit Technique that integrates a

new park with new integrated cogeneration and waste treatment
centres, new public facilities,
reinforced transport and logistics
systems, new buildings and
revitalized, reconnected edges.

7. Bridge the physical barriers of the City

8. Create a Metropolitan Open Space

Network
9. Reduce the Environmental Footprint of
Metropolitan Paris
10. Invest in High-Quality Design

MILLENNIUM EXPERIENCE DOME

Architect

Richard Rogers

Structural
Engineer

Buro Happold
Consulting Engineers

Location

London, England,
United Kingdom

Date

1996 - 1999

Building Type

exposition hall

Construction
System

fabric enclosure with

tensile support

Climate

mild temperate

Context
Style

Civic Trust Award

Commendation
2000

European
Structural Steel
Design Award
2000

Area
RIBA Award
2000

urban waterfront
High-Tech Modern
100,000 m

HISTORY

Commissioned to mark the beginning of the new millennium, the Millennium Dome was
intended as a celebratory, iconic, nonhierarchical structure offering a vast, flexible space.
Although a high-profile project in its own right, the building also formed a key element of
the master plan by Richard Rogers Partnership (RRP) for the future development of the
entire Greenwich Peninsula.

The land upon which the Millennium Dome sits was once heavily contaminated by toxic runoff and
waste from the East Greenwich Gas Works. The Millennium Dome was originally supposed to be much
smaller than it turned out to be and was meant to be a conservatively-sized exhibition. In 1997, the
Labor government pushed the size and scope of the proposed dome to its limits and led to the
development of the enormous structure that exists today. It was decided that the project would be
both a reclamation effort of the Greenwich Peninsula and an enormous celebration of the coming of
the new millennium.

Access Pathways

SITE CONTEXT

Millennium Dome

The site is surrounded by river Thames from 3 sides. The

circular shape fits in the site like a perfect piece in a jigsaw
puzzle.
The Domes height is restricted to match the skyline in
vicinity.
The access routes are from one side, through which the
dome is visible even from a large distant becoming the
centre of atraction.

CONCEPT EVOLUTION

Withers of Imagination together plotted the projection of the comets and stars, dawns and dusks onto
the Domes surface prior to its detailed structural rationalization. For Davies, an enthusiastic
astronomer, the idea of time was uppermost in his mind the 12 hours, the 12 months, and the 12
constellations of the sky which measure time are all integral to the original concept. Indeed the 12
towers are intended to be perceived as great arms, out-stretched in celebration.

The ultimate inspiration for

the Dome was a great sky,
a cosmos under which all
events take place the
radial lines and circles of the
high-tensile roof structure
recall the celestial reference
grid of astronomical maps
throughout the ages.

Designed in association with engineers Buro Happold, the

key objectives were lightness, economy and speed of
construction.

100,000 m2 of enclosed space (2.2

million m3), the structure is 365
metres in diameter, with a
circumference of one kilometer and a
maximum height of 52 metres.
The Dome is suspended from a
series of twelve 100 meter steel
masts, held in place by more than 70
kilometers of high strength steel
cable.
Radially planned, the centre of the
dome hosts a large open space and a
stadium.
Blackwell tunnel
ventilation

Entrance from south

52 m

Scale section of the dome showing smaller built structures inside.

FUNCTIONAL ANALYSIS

The structure solved with great elegance the problem of how to enclose and protect the
separate exhibition zones from the vagaries of the British climate.
The Millennium Dome was constructed to be the home of a very large exhibition. But due to
its failure to attract visitors it was sold and came up by the new name of O2 Arena.
One of Rogers design principle
is the flexible use of space. It
can be seen in the Pompidou
centre, Lloyds building etc
where the internal space is not
broken
up
by
services
(Bowellism) and a free floor
plan so that the building can be
used for any purpose in the
future not hindered by a
specific design scheme making
it economical and more
sustainable.

A PAMPHLET PROVIDED TO VISITORS

It is under the process of being used at the Olympic games
because of its vast open space. It proves perfect for such
sports arenas.

STRUCTURAL ANALYSIS

The structural concept is apparently vey simple. Tensioned steel cables are arranged radially
on the surface of the dome and held in space at the nodes by hangar and tie down cables at
25m intervals. The surface is defined as a spherical cap. Between the cables, tensioned,
coated fabric is used as cladding.
The diameter was 360, the main masts were moved out and
central ring was designed. To keep the tie down cables clear of
the planned internal structure, the masts were supported on a
base 10m high.

To improve visual appearance and access to the dome

at ground level the radial cables were collected at the
perimeter by catenary cables to 24 anchorage points at
ground level.

STRUCTURAL ANALYSIS

The cable net consists of

individual cables
connected together
using fabricated and
galvanized brackets at
each node.

To reduce the risk of water

damage, a lining was installed
under the main fabric. There had
been considerable amount of
experience with fabric roofs with
linings where condensation had
not been a problem.
The tunnel vent area was a separate project. A 50m diameter
hole was required in the roof.
Each of the 12 masts is 90m long and weighs approximately
95 tonnes. The mast is octagonal in cross section with all the
longitudinal members being 323mm diameter circular hollow
sections.
Consequently the roof comprises of 144 separate panels of
fabric manufactured by Birdairs.

A central node of 30m

diameter cable ring was
decided made of 12-48
mm thick cables.

MISCELLANEOUS

Roofing Material: PTFE(Polytetrafluoroethylene) coated Glass Fibers

PTFE is hydrophobic: neither water nor water-containing substances wet PTFE, as
fluorocarbons demonstrate mitigated London dispersion forces due to the high
electronegativity of fluorine. PTFE has one of the lowest coefficients of friction against any
solid.
The cover of the Dome is made of PTFE-coated
glass fiber, which has an estimated minimum
lifetime of 25 years.
The weight of the roof is lesser than the weight
of the air inside the dome.

Its symmetry is interrupted by a hole through The translucent material allows ample
which a ventilation shaft from the Blackwall inflow of light and is strong enough to hold
Tunnel which rises for ventilation of the tunnel
pressures.

PROTOS WINERY
The aspiration of the client's brief was to create a building that would
be emblematic and respond to its context, particularly when viewed
from the castle. The design would also be sympathetic to traditional
methods used in the construction of wineries. The new winery will
have the capacity to process 1 million kilos of grapes per year.

Location

Peafiel,
Valladolid, Spain

Uses Category

Industrial

Dates

2004 - Spring
2008

Client

Protos Bodegas

Area
Site area

10 005 sqm

Gross Internal
Area

19 450 sqm

The Architect

Rogers Stirk
Harbour +
Partners

Climate

Wet and warm

Cost

15 million

PROTOS WINERY

SITE CONTEXT

SITE ENTRANCE

CASTLE

The new building, which presents a modern

reinterpretation of traditional winery construction, is
located at Peafiel, a small village near Valladolid in
Castille, northern Spain. The winery sits at the base
of a small hill surmounted by a medieval castle.
Bodegas Protos already utilizes the subterranean
area beneath the castle with more than 2 kilometers
of tunnels and galleries used for ageing wine.

SITE CONTEXT

The main entrance

level is on the plinth
of the building. It is
accessible
from
street level on the
north side via a
gentle ramp, and
allows for tractors
delivering
the
grapes during the
harvest on the
south side of the
building.

Relation between the settlement and the winery in terms of materials and
form.

The winerys triangular shape is placed in such a way that it responds to the settlement
and the castle on its broader edge while the narrow edge provides a very smooth
transition from the vast farmlands towards the city.

CONCEPT EVOLUTION

Mezzanine
Cellar
Entrance
Only the ridge of the roof form would be
facing the direct sun decreasing the
contact surface area.

Concept diagram showing progression of the grapes

through the different levels of the building

The concept was based on the

functional aspects and the
climatological aspects of the winery.

A series of simple parabolic

roofs create a form that
is sensitive to the grain of
the town.

CONCEPT EVOLUTION

The building is a contemporary reinterpretation of the traditional winery in terms of the effective use
of thermal ground mass, large flexible warehouse typology and construction materials.
The design approach towards the structure of the building has
been to generate a modular system of industrialized components
that are assembled on site.
Each phase of the wine-making process requires a very specific
environment in terms of the temperature and humidity, but all
require cooling and need to remain constant.
An underground link has been provided to the old winery by a network
of tunnels.

The underground cellar is a 5,000 sqm flexible space for the storage of barrels and bottles containing ageing wine
and has adjacent facilities for barrel cleaning, an historical wine archive and areas for staff. The 7.5 metre high space
has an intermediate mezzanine surrounding the sunken patio that hosts the social facilities wine-tasting room,
lounge, multi-purpose space and a small auditorium. These spaces have views to the external garden and elevated
views of the barrels and bottles.
Two voids in the solid base create a large double-height space at production level and a cascading patio around
the office and representative facilities. The garden brings natural light and ventilation to the offices, and generates
an outdoors break-out space with framed views of the castle. The light structure consists of five interlinked vaults,
which are suspended by 'V' props above laminated timber arches with an 18m span . The modular and systematic
nature of the roof's structure means that the vaults can vary in length and follow the diagonal perimeter of the
triangular base.

FORM ANALYSIS

Compositionally, the building is based on a light, articulated structure that sits on a solid base. The
plinth anchors the building to the ground as its volume is mainly buried underground. The triangular
form makes maximum use of the site and resolves the difference in site levels, also creating a horizontal
plane from which the structure spans. The base of the building manifests itself externally in stone
perimeter walls and pavement across the access level.

Compositionally, the building sits on a triangular plinth which fills the site. Five interlinked parabolic
vaults supported by laminated timber arches, are clad with large terracotta tiles to create a light,
articulated structure. This modular form breaks down the overall mass and scale to create a structure
that is sympathetic to the surrounding buildings and countryside.
The roof has been composed as a faade, since it becomes the building' s elevation when seen from
the castle of Peafiel. The terracotta tiles of the roof covering, compliments the surrounding buildings
and acts as a rain screen with a ventilated cavity.

FUNCTIONAL ANALYSIS

The production level is situated above, and is also partly buried in the ground. It accommodates the
fermentation and storage vats as well as the bottling plant, packaging equipment, technical areas and
vehicle access bays. The administrative facilities are on both this level and also arranged around the
patio.

The cellars mezzanine and production levels accommodate the administrative and social facilities
offices, wine-tasting areas, areas for social functions and a small auditorium for presentations and
marketing events. The scheme also includes a stepped, sunken garden which frames views of the castle
above whilst also bringing natural light down into the office space. The main entrance level is for both
workers and visitors, and the sheltered space generated by the overhang of the roof allows views of the
production floor below. This space will be used for the selection of grapes during the harvest, which will
be delivered by tractors via the ramp on the northern side of the building.

STRUCTURAL ANALYSIS

STRUCTURAL ANALYSIS

The design approach towards the structure of the building has been to generate a modular system
of industrialised components that are assembled on site.
The concrete substructure of the base that accommodates both the cellar and production
levels, is constructed of pre-cast concrete elements This bespoke system which was
developed for the building, is an innovative structural solution of elements that can be
assembled as a simple unidirectional system but that behaves like a bidirectional frame
when completed.
The production level structure is formed by a nine by nine metre grid of columns, column-heads,
beams and planks. The resultant structural depth is comparable to an in-situ solution - which was an
important consideration in reducing the excavation - and benefits from quality control and speed of
construction.

The structure of the light enclosure is formed by a modular system of laminated timber
arches that span 18 metres, placed at nine metre intervals along the length of the span. The
surface of the roof appears to float above them, as it is separated by a series of steel 'V'
props. It is formed by a grid of timber beams and a structurally composed panel of timber
and insulation.
The first arch of the light structure was erected in February 2006. The design of the delicate roof structure was also based on off site industrialised
fabrication and simple and rapid in-situ assembly. This modular system starts with laminated timber arches that span 18 metres across the access
level, with triangular steel base connections to the concrete structure.
A series of 'V' and tensors separate the arches from the parabolic vaults, which are composed of secondary and tertiary beams and a multilayered
roof panel. Again, the design of the structural system allowed most of the structure to be free-standing in intermediate phases of the construction
process and was completed in May 2006. With the major structural elements in place, construction of the facades and internal partitions, services
and wine making machinery, light structures such as glass and steel stairs and bridges, finishes and fit-out elements has now begun. The building
programme was completed by Autumn 2008.

MISCELLANEOUS

The evaluation of the passive energy devices were the

base for the design of environmental control systems of
the building: a chilled water based system is used in the
cellar while a mixed mode air system is used in the
production level.
The design introduces the use of traditional material such as timber structural elements, timber roof,
terracotta tiles, walls clad in local stone - but in a unique
and modern format that reinterprets the nature of these
materials using current technology.
Computer simulation was used by the design team to
evaluate and adjust the performance of the passive
energy devices of the light structure of the building: the
ventilated terracotta rain screen of the roof surface, the
nine metre overhangs in the north face and the solid east
and west facades with an external tubular rain screen.
Similarly, the contribution of the ground mass
surrounding the sunken volume of the base of the
building and its exposed concrete structure were tested
as a fundamental contribution to the large thermal mass
of the cellar and production levels.

Use of
vernacular
and ecofriendly
material and
steel structure
cuts down
costs further.

MADRID BARAJAS AIRPORT TERMINAL

Introduction:

Project data

The Barajas project is the largest so far undertaken by the

practice - more than one million square metres of buildings
with a budget of around one billion Euros. The new
terminal and satellite are designed to handle up to 35
million passengers annually, establishing Madrid as a major
European hub, and are located some distance to the northwest of the existing terminal complex.

Location

MadridBarajas, Spain

Type

Transport

Client

AENA(Spanish National
Airports Authority)

Built Area
Terminal

470,000m

The Architect

Richard Rogers
Partnership

Satellite

315,000m

Car Park

309,000m

Access Roads

64,000m

Total

1,158,000m

View from the approach road showing the undulating roof, clearly
expressing the three processing zones, separated by canyons:

Dates
Tender

1997

Design

1998 - 1999

Construction

2000 2005

Full Operation 2010

N
Satellite terminal

New Terminal

The building benefits from a north-south

orientation with the primary facades facing
east and west the optimum layout for
protecting the building against solar gain.

CONCEPT

The basic concept behind the designing of the airport terminal was to create a
simplistic linear building, departing a clear progression of spaces.
Barajas is a model of legibility, with a straightforward linear diagram and a clear progression of spaces for
departing and arriving passengers.
The accommodation is distributed over six floors; three above ground for check-in, security, boarding and
baggage reclaim, and three underground levels for maintenance, baggage processing and transferring
passengers between buildings.
The lower levels of the building, robustly constructed in concrete, contrast strikingly with the light-weight
transparency of the passenger areas above.
A simple palette of materials and the use of a kit-of-parts approach to detailing reinforces the direct simplicity
of the architectural concept as well as facilitating the ultra-rapid construction programme and maximising the
potential for flexibility.

FUNCTIONAL ANALYSIS

New Terminal
Satellite Terminal
Functionally establish Madrid as a major European hub.
Serve an influx 35 million passengers annually

The new terminal features a clear progression of spaces for departing and arriving travellers. The
building's legible, modular design creates a repeating sequence of waves formed by vast wings of
prefabricated steel. Supported on central 'trees', the great roof is punctuated by roof lights providing
carefully controlled natural light throughout the upper level of the terminal.

Terminal level 0

TECHNICAL DRAWINGS

New Area Terminal (4)

1 Airside Passengers
2 Landside Passengers
3 Vertical & Horizontal
circulation
4 Retail
5 Airport services
6 luggage handling
Automatic system

Terminal level+1

TECHNICAL DRAWINGS

New Area Terminal (4)

1 Airside Passengers
2 Landside Passengers
3 Vertical & Horizontal
circulation
4 Retail
5 Airport services

Terminal level+2

TECHNICAL DRAWINGS

New Area Terminal (4)

1 Airside Passengers
2 Landside Passengers
3 Vertical & Horizontal
circulation
4 Retail
5 Airport services

TECHNICAL DRAWINGS

Satellite terminal

Satellite level 0

Satellite level +1

1 Airside Passengers
2 Landside Passengers
3 Vertical & Horizontal
circulation
4 Retail
5 Airport services

TECHNICAL DRAWINGS

Satellite level +2
Satellite terminal

1 Airside Passengers
2 Landside Passengers
3 Vertical & Horizontal
circulation
4 Retail
5 Airport services

TECHNICAL DRAWINGS

FORM ANALYSIS

The building is covered by a wave roof supported on central trees and is punctuated by rooflights that provide
carefully controlled natural light throughout the upper (departures) level of the terminal, and oversailing the edge
of the building to shade the facades. Given the multi-level section, a strategy was also needed to bring natural
light down into the lower levels. The solution is a series of light-filled canyons that separate the parallel slices of
space that denote the various stages of transit, from the arrival point, to check-in, security and passport control, to
departure lounges and finally to the aircraft.

A simple palette of materials and

straightforward detailing reinforce the
direct
character
of
the
architecture. Internally, the roof is clad in
bamboo strips, giving it a smooth and
seamless appearance. In contrast, the
structural 'trees' are painted to create a
kilometre-long vista of graduated colour.
The lower levels of the building house
baggage handling, storage and plant areas,
and offer a striking contrast with the
lightweight transparency of the passenger
areas above

SPACE ANALYSIS

Light-filled 'canyons' divide the parallel floors that accommodate the various stages of
passenger processing - from point of arrival, through check-in and passport and security
controls to departure lounges and, finally, to the aircraft.
The canyons are spectacular full-height spaces, spanned by bridges in which arriving and
departing passengers, though segregated, can share the drama of the imposing space. The
canyons also act as locators, underlining the clear sense of direction and legibility that is
fundamental to the scheme.

Check-in

Canyons providing
natural light to the
vertical and horizontal
circulation

View showing the gradation of

colour applied to the steelwork

STRUCTURAL ANALYSIS

The construction of the Barajas Airport terminal has been undertaken in three constructional layers the
basement which drops to as much as 20 metres (66 feet) below ground in some places, the three storey
concrete frame above ground, and the steel-framed roof. The concrete work is in-situ, although special
attention has been focused on areas where the concrete will be visible, such as the edge strips to the canyons
in which steel shuttering has been used. In a bid to limit the height of the building, post-tensioned concrete
beams restrict the depth of the beams to only 90 centimetres (three feet). The beams were cast in lengths of
72 metres (236 feet), with concrete planks used to span between them to create the 18 by 9 metre (60 by 30
foot) grid.

Steel frame

Three level concrete

frame

Cable kippers truss

Basement

Facade and roof detail

Above, the concrete tree trunks on the top floor provide fixed base points
for setting out the roof steelwork. The structural system for the roof works
outwards from the tree trunks where four inclined branches prop a pair of
double-S modules. In this way, each pair of tubes plus the roof steel
stabilise the roof structure in both directions.

STRUCTURAL ANALYSIS

The roof then passes over the cladding line at the edges of the building, emphasising the roof rather than
the facade. To further reduce the visual impact of the facade, shading is not introduced at the cladding line
but is hung from the roof overhang which is propped with elegant Y-shaped props at the ends of each
module.

Detail view of bamboo ceiling

Roof overhang on Y-shaped props

The facade structure is in the form of cable kipper trusses at nine metre (30 feet) centres. A pair of cables
begin at a common point at ground level, one arcing in and one out, held apart by compression struts that
also support the horizontal glazing mullions. As the cables approach the roof they come back together, held
by a V-bracket, making a fish outline, hence the name kipper truss. A jacking system was used between the
roof and terminal floor during erection which when released ensures that adequate permanent tension was
introduced in the cable trusses.

STRUCTURAL ANALYSIS

Bamboo roof detail

Light canyons

Cable kippers truss

MISCELLANEOUS

Despite the extreme heat of summer in Madrid, the design

team were committed to the use of passive environmental
systems wherever possible, while maximising transparency
and views towards the aircraft and the mountains beyond.
The facades are protected by a combination of deep roof
overhangs and external shading. A low energy displacement
ventilation system is used in the pier, and elsewhere a more
conventional high velocity system is used.

Horizontal aluminium fins

Within this loose-fit system, the roof emerges as the defining architectural element. It floats over
the building, propped rather than supported at the perimeter, so that the impact of the main facade
is deliberately minimised.
Internally, the heavily insulated roof is clad in laminated strips of Chinese bamboo, giving it a
smooth, seamless appearance.
The facade is supported by a series of tensioned trusses, held in place by the roof and floor
structures.
Horizontal aluminium fins span between the trusses on which the high-performance glass is fixed.
Heavy vertical support members are avoided and the result is a seamless horizontal aesthetic
underlining the main axis of the building.
Natural stone is used as flooring throughout the terminal, adding to the seamless integrity of the
space.

DAIMLER CHRYSLER RESIDENTIAL

Location
Type
Dates

Berlin, Germany
Residential
1993 - 1999

Client

Daimler Chrysler
debis
Immobilienmanage
ment

The Architect

Richard Rogers
Partnership
Awards
RIBA Award for Buildings in Europe 2000

The brief called for a mixed use scheme comprising office space, housing and retail. The housing
complex occupies the upper levels of B8, one of the three blocks which make up the project.
The three buildings designed by RRP for Daimler Chrysler on Berlin's Linkstrae form part of the
Potsdamer Platz masterplan by Renzo Piano. B8 is predominantly residential, with retail areas on
the ground, first and second floors.

CONCEPT

The brief stipulated that RRP work within the context

of the traditional Berlin square block, with buildings
no more than nine storeys high formed around
potentially oppressive internal courts. To one side, the
buildings had to address an enclosed retail arcade
raised several storeys above ground level. Working
within these constraints, the practice was able to
subtly subvert the municipal masterplan to produce
buildings of strikingly contemporary appearance
which, most significantly, utilised a low-energy
servicing agenda.

Integrating low-energy
design within a dense urban
environment, the buildings
optimise passive solar energy,
natural ventilation and daylight
so that all office spaces are
naturally ventilated.

CONCEPT

The key to this strategy was the erosion of the blocks at

their south-east corners to allow daylight to penetrate the
central courts, which were turned into covered atria, to
illuminate interiors, and to facilitate views out of the
buildings. The atria are naturally ventilated throughout
the year, with heating mechanically augmented in winter.
The two office buildings and one residential block were
designed for natural ventilation throughout, with
intensive research by the RRP team and specialist
consultants into the servicing programme partly funded
by an EU grant. As a result, it was estimated that energy
consumption in the office buildings would be half that
generated by a conventionally air-conditioned building.

N
SITE PLANNING

Flats and offices enjoying

view of park

South Side
opened up

TECHNICAL DRAWINGS

Ground floor plan

commercial
commercial
Winter gardens
circulation

TECHNICAL DRAWINGS

Typical floor plan

residential
Winter gardens
offices

TECHNICAL DRAWINGS

Top view

residential
Winter gardens
offices
circulation

SECTIONS

Winter
gardens

SPACE ANALYSIS

In the original masterplan the three buildings are shown as closed blocks measuring c. 50 m square,
but the RRP design opens up the south-east side of the blocks facing the park. This building form
allows light to penetrate into the courtyard, atrium and internal spaces, as well as providing all
flats with unobstructed views out over the park.

Solar panels
used
strategically to
maximise
energy gain

The hollow core plan form of the office buildings is cut

away progressively from roof level down flooding the
atriums with natural light. The atriums are fully naturally
ventilated. Fresh air is supplied through the plenum
located between retail and the offices.

STRUCTURAL ANALYSIS

The faades of the buildings incorporated clear and opaque

glass panels, solid areas of ceramic tile cladding, and
external and internal blinds, a sophisticated mix which
allowed the internal environment to be adjusted in
response to the requirements of users. Visually striking,
RRPs contribution to the Potsdamerplatz development
challenged conventional wisdom, producing a pioneering
low-energy environment for business accommodation

The ratio of glazing areas to solid wall construction is

determined by the orientation and analysis of heat
losses and solar gains and by orientating the housing
block to the South-East this maximizes sunlight
penetration into the courtyard and living spaces
beyond.
The glazing areas to the North-East and North-West
facades are comparatively small which reduces heat loss
during the winter months. The high proportion of glazing
to the South-West and South-East elevations results in a
hierarchy of spaces with the living areas opening onto
the courtyard and the majority of bedrooms situated to
the North-East/North-West sides.

MISCELLANEOUS

Conservatories or winter gardens adjacent to these living areas maximise the passive use of
solar energy. The winter gardens act as direct solar gain spaces and buffer zones, with preheated air used to ventilate or warm the internal accommodation space in winter. Sun shading
provided by aluminium louvres on sliding tracks prevents overheating in summer.

The double-height penthouses are fully glazed to the courtyard side. The glazing system is
supported by a water-filled steel structure which acts as a radiator during the winter.
Electronically operated sun-shading devices and opening windows minimise solar gain and
maximise natural ventilation during the summer.