The lecture is in support of:
(1) The Design of Building Structures (Vol.1, Vol. 2), rev. ed., PDF eBook by Wolfgang Schueller, 2016.
(2) Building Support Structures, Analysis and Design with SAP2000 Software, 2nd ed., eBook by Wolfgang Schueller. The SAP2000V15 Examples and Problems SDB files are available on the Computers & Structures, Inc. (CSI) website: http://www.csiamerica.com/go/schueller
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Building Structures as Architecture, Wolfgang Schueller
1. Building Structures as Architecture
basic structure elements in architecture
PROF. WOLFGANG SCHUELLER
BUILDING SHAPES and forms: there is no limit to building shapes ranging from boxy to compound hybrid to
organic and crystalline shapes. Most conventional buildings are derived from the rectangle, triangle, circle,
trapezoid, cruciform, pinwheel, letter shapes and other linked figures usually composed of rectangles.
Traditional architecture shapes from the basic geometrical solids the prism, pyramid, cylinder, cone, and
sphere. Odd-shaped buildings may have irregular plans that may change with height so that the floors are not
repetitive anymore. The modernists invented an almost inexhaustible number of new building shapes through
transformation and arrangement of basic building shapes, through analogies with biology, the human body,
crystallography, machines, tinker toys, flow forms, and so on. Classical architecture, in contrast, lets the
façade appear as a decorative element with symbolic meaning.
2. A. GENERAL CONCPTS OF
BUILDING SUPPORT STRUCTURES
B. BUILDING STRUCTURE ELEMENTS:
beams, columns, frames, arches, surfaces, free form
3. A. GENERAL CONCPTS OF
BUILDING
SUPPORT STRUCTURES
Structure is a necessary part of live; it establishes order.
It relates various entities or all the parts of a whole displaying some
pattern of organization and lack of randomness. It occurs at any scale,
ranging from the molecular structure of material to the laws of the
universe.
4. THE PURPOSE OF BUILDING STRUCTURE
support structure
ordering system
space maker
form giver
The richness of structures can only be suggested by the wealth of building
structure types, ranging from the long-span stadium to the massive
building block to the slender tower, from structures above or below
ground or in water to structures in outer space. They range from simple
symmetrical to complex asymmetrical forms, from boxes to terraced and
inverted stepped buildings, from low-rise to high-rise buildings, and so on.
5. Classification of support structures according to:
A1 Building structure type and use
e.g. apartment buildings, factories, gymnasiums, arenas, multi-use
A.2 Building structure as support (local and global scale)
A.3 Structure systems: rigid systems, flexible systems, composite systems
horizontal-span structures
vertical-span structures
A.4 Structural behavior:
loads, force-flow, stress, force and form
A.5 Building structure as geometry
STRUCTURE as an ordering system
STRUCTURE as a form giver
STRUCTURE as art
A.6 Building vs. Structure vs. Architecture:
expression of structure: hidden vs. exposed, innovative vs. standard
construction
structure is necessary for buildings but not for architecture: without structure
there is no building, but architecture as an idea does not
require structure
A.7 Structure as detail
6. Single volume with large spans – cellular subdivision with multiple small spans – long-
span stadiums vs. massive building blocks vs. vertical slabs vs. high-rise towers
A1. Building STRUCTURE Types and Building USE
7. A2. Building STRUCTURE as support (local and global scale)
Structure holds the building up so it does not collapse or deform excessively;
it makes the building and spaces within the building possible. Structure gives
support to the material and therefore is necessary.
BUILDING and STRUCTURE are inseparable and intimately related to each
other. The external loads that act on buildings cause internal forces in
building support structures. The forces flow along the structure members to
the ground, requiring foundations as transition structures to the comparatively
weak soil. The members must be strong and stiff enough to resist the internal
forces. In other words, BUILDING SUPPORT STRUCTURES have to provide the
necessary STRENGTH and STIFFNESS to resist the vertical forces of
gravity and the lateral forces due to wind and earthquakes to guide them
safely to the ground. In addition to strength and stiffness, STABILITY is a
necessity for structures to maintain their shape. SAFETY is a basic
requirement of building design!
8. Example of support structure:
study of wall trusses in context
of various building types
10. A3. STRUCTURE Systems
Every building consists of the load-bearing structure and the non-load-
bearing portion.
The main load bearing structure, in turn, is subdivided into:
• Gravity structure consisting of floor/roof framing, slabs, trusses, columns,
walls, foundations
• Lateral force-resisting structure consisting of walls, frames, trusses,
diaphragms, foundations
Support structures may be classified as,
• Horizontal-span structure systems:
floor and roof structure
enclosure structures
• Vertical building structure systems:
walls, frames cores, etc.
tall buildings
11. HORIZONTAL – SPAN BUILDING STRUCTURES: rigid systems
LINE ELEMENTS STRAIGHT SURFACE ELEMENTS CURVED SURFACE ELEMENTS
STRAIGHT vs. CURVED MEMBERS HORIZONTAL vs. INCLINED PLATES SINGLE vs. DOUBLE CURVED SHELLS
SURFACEFORMSSPATIALFORMS
16. A4. STRUCTURE Behavior
LOADS: gravity, lateral loads (wind, seismic)
external vs. internal forces (force flow along members)
PROPERTIES OF FORCES
FORCE FLOW: -- path to the ground where foundations make the
transition possible to the weak soil -- stresses (intensity of
force flow, blood pressure) depend on: member shape,
material, size, structure, connections
RESPONSE OF STRUCTURE TO LOADING
25. BUILDING SHAPES and forms: there is no limit to building shapes ranging from boxy to compound hybrid to org
crystalline shapes. Most conventional buildings are derived from the rectangle, triangle, circle, trapezoid, cruciform
letter shapes and other linked figures usually composed of rectangles. Traditional architecture shapes from the b
geometrical solids the prism, pyramid, cylinder, cone, and sphere. Odd-shaped buildings may have irregular plans t
change with height so that the floors are not repetitive anymore. The modernists invented an almost inexhaustible
new building shapes through transformation and arrangement of basic building shapes, through analogies with bio
human body, crystallography, machines, tinker toys, flow forms, and so on. Classical architecture, in contrast, l
façade appear as a decorative element with symbolic meaning.
38. Buckminster Fuller geodesic dome, U.S. Pavilion at Expo 67, Montreal, three-quarter
sphere with 250 ft diameter and a height of 200 ft, double-layer space frame
39. Cube (tree) houses, Rotterdam, Piet
Blom, 1984. The houses look like a tree
because the architect turned the cubes
45 degrees and put them on a pole. The
32 attached houses together look like a
stone forest. The complex is built at a
pedestrian bridge crossing a traffic road.
40. Restaurant Tower (46 m),
called “Bierpinsel”,
Steglitz, Berlin, 1976,
Ralph SchĂĽler and Ursulina
SchĂĽler-Witte
41.
42. Kisho Kurokawa, Nakagin Capsule
Tower, Tokyo, Japan, 1972, The 14-
story high Tower has 140 capsules
stacked at angles around a central
core. Kurokawa developed the
technology to install the capsule
units into the concrete core with
only 4 high-tension bolts, as well as
making the units detachable and
replaceable.
68. STRUCTURE as form giver: it defines the spatial configuration and
reflects other meanings and is part of esthetics:
• Roman aqueduct, Segovia, Spain
• la Grande Arch, Paris, Fainsilber & P. Rice
• TU Munich, Germany
• Integrated urban buildings, Linkstr. Potsdamer Platz), Richard Rogers, Berlin,
1998
• Mercedes-Benz Museum, Stuttgart, 2006, Ben van Berkel & Caroline Bos,
Werner Sobek Ingenieure
• Phaeno Science Center, 2005, Wolfsburg, Zaha Hadid
• BMW Welt Munich, 2007, Coop Himmelblau
83. STRUCTURE as art
The experimentation with structures is also reflected by the constructivist art of
modernism and was first articulated particularly by the dreams of designers such as
the pioneers Antoine Pevsner and Naum Gabo at the early part of this century in
Russia, and later by Alexander Calder's kinetic art and Kenneth Snelson's tensegrity
sculptures.
• Flamingo Sculpture, Chicago, 1974, Calder, in front of Mies van der Rohe Building
• Calder in the National Gallery of Art, East Wing, Washington, 1978, I.M. Pei
• Experiments with structure, Russian Constructivism (3 slides)
• Kenneth Snelson's tensegrity tower, double-layer tensegrity dome
• Stradelhofen Station, Zurich, 1990, Santiago Calatrava, (2 slides)
• Earth sculpture, MUDAM, Luxembourg, 2007
• Chairs (2 slides)
• Shizuoka Press & Broadcasting Center, Tokyo, 1967, K. Tange
101. Chaise by Le Corbusier,
chairs by Marcel Breuer
(late 1920s)
102. A6. STRUCTURE vs. BUILDING vs. ARCHITECTURE
Structure is necessary for buildings but not for architecture, without structure
no building, but architecture as an idea does not require structure (i.e. design
philosophy).
EXPRESSION of STRUCTURE:
- hidden structure vs. exposed structure
- decorative structure (post-modern) vs. tectonic structure
- innovative structures vs. standard construction
122. Apartment Tower, Malmö, Sweden, 2003, Santiago Calatrava; based in form on the sculpture turning
torso
123. Palau de les Arts, Valencia Opera House, 2005, Santiago Calatrava
124. A7. STRUCTURE as Detail: articulation of the facade
detail as material
• Museum of Science, la Vilette, Paris, Fainsilber
• Atlanta mall, Elbasani & Logan
• Ningbo downtown, Qingyun Ma
• Dresdner Bank, Verwaltungszentrum, Dittrichring 5-9, Leipzig (2 slides)
• MUDAM, Luxembourg, 2006, I.M. Pei
• Marta Herford, Herford, 2006, Frank Gehry
• Architectural Institute, Rotterdam, Netherland, Joe Coenen
• The new San Francisco Federal Building, Thom Mayne (Morphosis)
• Boston Convention Center, Vinoly and LeMessurier, 2005 (2 slides)
• Pompidou Center, Paris (1977), Piano and Rogers
• Glass-tree structure, Berlin
• Glass structure, Beijing
• Canopies Staatsgalerie, Stuttgart, Stirling (2 slides)
• Peek & Cloppenburg, Koeln, Renzo Piano, 2005 (2 slides)
The devil (or god according to Mies) is in the detail!
125. Museum of Science and
Technology, Parc de la Villette,
Paris, 1986, Fainsilber/Rice
146. B. BUILDING STRUCTURE ELEMENTS
• Line elements: beams, columns, cables, frames, arches
• Space frames
• Surface elements: walls, slabs (floors), shells, tensile membranes
• Tensegrity,
• Hybrid systems
• Free form
147.
148. BEAMS: straight/inclined, solid/composite, arrangement/density, scale,
building as beam, the vertical beam:
• Museum Nuremberg, Germany
• Library University of Halle (?)
• Petersbogen (shopping center, university library, casino, etc.), Leipzig
• New National Gallery, Berlin, 1968, Mies
• Pedestrian bridge, Nuremberg, Germany
• Documentation Center Nazi Party Rally Grounds, Nuremberg, 2001, Guenther
Domenig Architect
• Chongqing Airport Terminal, China
• Theater, Berlin, Renzo Piano, 1998
• Merzedes-Benz Zentrale, Berlin, 2000, Lamm, Weber, Donath & Partner , (2 slides)
• Bridge connecting two buildings, Berlin
• Integrated urban buildings, Potsdamer Platz, Richard Rogers, Berlin, 1998
• UNESCO stair, Paris, Breuer and Nervi
• Everson Museum, Syracuse, NY, 1968, I. M. Pei
• Lille Grand Palais, Rem Koolhaas
• Hirshorn (sculpture) museum, Washington
• Story beam, Berlin
• Everson Museum, Syracuse, NY, 1968, I. M. Pei
• Central Plaza, Kuala Lumpur, Malaysia, Ken Yeang
172. COLUMNS: power of column as: space maker, sign in landscape,
facade columns, space articulation, scale, etc.
• Acropolis, Athens, 650 - 480 B.C.
• Bourges cathedral, Bourges, France
• St. Lorenz, Nuremberg, Germany
• Theater Erfurt, 2003, Joerg Friedrich Arch
• Pop Museum, Rotterdam, The Netherlands, 1992, Rem Koolhaas Arch
• Sichuan University, Chengdu, College for Basic Studies, 2002 (2 slides)
• Government building, Berlin, Germany, Schultes
• Shopping center, Berlin, Boehm
• Study of façade columns, visual analysis
• Luxemborg Philharmonie, Luxembourg City, 2006, Atelier
Christian De Portzamparc (2 slides)
• LA Control Tower, Los Angeles, USA, Katherine Diamond
• Samsung Life Insurance Jong-Re Building, Seoul, 1999, Rafael Vinoly
193. INCLINED COLUMNS (beam-columns):
lateral thrust: visual analysis, tree columns, cantilever columns, etc.
bone-shaped columns, human thighbone
• Interchange Terminal Hoenheim-Nord, Strassbourg, 2002, Zaha Hadid
• Erasmusbridge, Rotterdam, 1996, Ben Van Berkel
• Mensa Dining Hall, Karlsruhe, 2007, Jürgen Mayer H
• Hannover EXPO 2000, Thomas Herzog und Julius Natterer
• Subway station Munich 2, Germany
• Stansted Airport, London, Norman Foster
• Chongqing Airport Terminal, China
• World Trade Center, Amsterdam, 2003, Kohn, Pedersen & Fox (2 slides)
• Petersbogen (shopping center, university library, casino, etc.), Leipzig
• Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
• Airport Madrid, Spain, Richard Rogers, 2005 (2 slides)
• City Center, Bremen, 1964, Germany, R. Rainer and U. Finsterwalder
219. FRAMES
• Visual study of frames, arches and trusses
• Visual analysis of lateral thrust
• Crown Hall, IIT, Chicago, 1956, Mies van der Rohe
• Frankfurt Post Museum, 1990, Behnisch Architekten
• Sainsbury Centre for Visual Arts, Norwich, UK, 1978, Norman Foster
• Willemsbridge, Rotterdam, 1981, C.Veeling
• BMW Plant Leipzig, Central Building, 2004, Zaha Hadid
• Sony Center, Potzdamer Platz, Berlin, 2000, Helmut Jahn Arch., Ove Arup
• Dresdner Bank, Verwaltungszentrum, Dittrichring 5-9, Leipzig
• Design Museum, Nuremberg, Germany
• Capital Museum, Beijing, 2001 (2 slides)
• Architectural Institute, Rotterdam, Netherland, Joe Coenen
236. ARCHES
• visual analysis of columns (lateral thrust, space interaction through
diagonal, principal stress flow)
• Colosseum, Rom, c. 100 AD
• St. Peters, Rom, 16th century. Bramante, Michelangelo, etc.
• Arve River Bridge, 1935, Switzerland, Robert Maillart
• Koeln Medienpark bridge
• Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
• Berlin Stock Exchange, Berlin, Germany, 1999, Nick Grimshaw
• Athens Olympic Sports Complex, 2004, Calatrava
• Rotterdam arch
• Oberbaum bridge, Berlin, Santiago Calatrava, 1995
• Lehrter Bahnhof, Berlin, 2006, von Gerkan, Marg and Partners
251. CABLES
• World Trade Center, Amsterdam, 2003, Kohn, Pedersen & Fox
• Sony Center, Potzdamer Platz, Berlin, 2000, Helmut Jahn Arch., Ove Arup
• The University of Chicago Gerald Ratner Athletics Center, Cesar Pelli, 2004
• Incheon International Airport, Seoul, Fentress Bradburn Architects, Denver
• Olympic Stadium, Tokyo, 1964, Kenzo Tange, Y. Tsuboi (2 slides)
263. SURFACES
ribbed vaulting
Muenster Halberstadt, 14th century, Gothic ribbed vaulting
MUDAM, Museum of Modern Art, Luxembourg, 2007, I.M. Pei
Friedrichstrasse Atrium, 1996, Berlin, Henry N. Cobb
National Grand Theater, Beijing, 2007, Jean Andreu
DG Bank, Berlin, Germany, 2001, Frank Gehry, Schlaich and Bergemann
Reichstag, Berlin, Germany, 1999, Norman Foster, Leonhardt & Andrae
277. rigid shells
Airplane hangar, Orvieto. 1940, Pier Luigi Nervi
Zarzuela Hippodrome Grandstand, 1935. Eduardo Toroja
Notre Dame du Haut, Ronchamp, France, 1955, Le Corbusier
Kimbell Art Museum, Fort Worth, TX, 1972, Louis Kahn
St. Mary Basilica, Tokyo,1964, Kenzo Tange, Y. Tsuboi
TWA Terminal, New York, 1962, Eero Saarinen
Chrystal Cathedral, Garden Grove, Calif., 1980, Philip Johnson
BUILDING SHAPES and forms: there is no limit to building shapes ranging from boxy to compound hybrid to organic and crystalline shapes. Most conventional buildings are derived from the rectangle, triangle, circle, trapezoid, cruciform, pinwheel, letter shapes and other linked figures usually composed of rectangles. Traditional architecture shapes from the basic geometrical solids the prism, pyramid, cylinder, cone, and sphere. Odd-shaped buildings may have irregular plans that may change with height so that the floors are not repetitive anymore. The modernists invented an almost inexhaustible number of new building shapes through transformation and arrangement of basic building shapes, through analogies with biology, the human body, crystallography, machines, tinker toys, flow forms, and so on. Classical architecture, in contrast, lets the façade appear as a decorative element with symbolic meaning.
STRUCTURE types and building use: -- single volume with large spans, -- cellular subdivision with multiple small spans, i.e. for large scale buildings: long-span stadiums vs. massive building blocks vs. high-rise towers, high-rise vs. horizontal- span, wall vs. frame, range of forms (study of truss)
Sculpture: Running Torso, 1995, Santiago Calatrava
Typical span-to-depth ratios for bending members
Seoul Broadcasting Center, Seoul, proposal 1996, Richard Rogers Arch. And Buro Happold Struct. Eng.: the 37-story tower is approximately 90 m long, 18 m wide, and 180 m high from foundation level. The ladder-like macro frame structure with infill framing is laterally braced in the narrow direction by outrigger buttresses. The mega-trusses support the infill framing from above in compression and from below in tension. The supper-structure is concrete encased steel, the secondary structure is steel, and the slabs consist of steel deck and concrete.
Stress contour of structural piping
BUILDING SHAPES and forms: there is no limit to building shapes ranging from boxy to compound hybrid to organic and crystalline shapes. Most conventional buildings are derived from the rectangle, triangle, circle, trapezoid, cruciform, pinwheel, letter shapes and other linked figures usually composed of rectangles. Traditional architecture shapes from the basic geometrical solids the prism, pyramid, cylinder, cone, and sphere. Odd-shaped buildings may have irregular plans that may change with height so that the floors are not repetitive anymore. The modernists invented an almost inexhaustible number of new building shapes through transformation and arrangement of basic building shapes, through analogies with biology, the human body, crystallography, machines, tinker toys, flow forms, and so on. Classical architecture, in contrast, lets the façade appear as a decorative element with symbolic meaning.
Geometric patterns
Daniel Libeskind
Project: Museum of Art Miami, 2009, Jacques Herzog and Pierre de Meuron.
The Novartis campus (Basel) includes buildings designed by architects including Frank Gehry, left; Studio did Architettura, foreground; Rafael Moneo, center right; and Adolf Krischanitz.
Novartis Campus, Basel, 2009
A view of the Novastis campus from the ground, with a building designed by Frank Gehry on the left and one by Adolf Krischanitz on the right. A building by Rafael Moneo is in the right foreground.
Dee and Charles Wyly Theatre, REX/OMA, Dallas, Texas, 2009, Structure and Program. When architects from REX/OMA conceived Dallas’s Dee and Charles Wyly Theatre, they envisioned the ultimate flexible performance space. The building is designed so that the theater’s interior can be radically reconfigured by a small crew of stagehands from a proscenium layout to a thrust-stage arrangement or a flat-floor room in just a few hours. Blackout shades can be pulled up to reveal its three facades of glass and to open the chameleonlike, 109-by-94-foot hall to the city. Auxiliary programmatic elements are piled above and below (but mostly above) the ground-level performance chamber to create a 132-foot-tall tower. Instead of the horizontal layout more typical of theaters, functions are stacked “like a giant game of Jenga,” says John Coyne, a principal of Theatre Projects, the Wyly’s theater consultant. An unconventional structure, with no interior or corner columns, allows for the theater’s flexibility, as well as its transparency and verticality. The tower rests on six perimeter supercolumns, four of which incline dramatically, and a perimeter shear wall. A belt truss that spans from levels 4 through 7, augmented by a series of smaller interior trusses, completes the building’s frame
Dee and Charles Wyly Theatre, REX/OMA, Dallas, Texas, 2009, Structure and ProgramThe 132-foot-tall tower rests on six perimeter concrete supercolumns, four of which incline dramatically, and a perimeter concrete shear wall. A belt truss, from levels 4 through 7, augmented by a series of smaller interior trusses, completes the building’s “composite global frame.” Many of the elements in this unconventional system perform dual duty. For example, the raked columns act as belt-truss webs. The result is a ground- floor performance space with no interior columns, 44-foot-deep corner cantilevers, and little perimeter structure, allowing the blurring of audience and stage, inside and out. Above the theater, programmatic elements are stacked like interlocking puzzle pieces. Only one floor, level 7, is continuous.
Buckminster Fuller geodesic dome at U.S. Pavilion at Expo 67, Montreal, three-quarter sphere with 250 ft diameter and a height of 200 ft, double-layer space frame
cube (tree) houses, Rotterdam, Piet Blom, 1984. The houses look like a tree because the architect turned the cubes 45 degrees and put them on a pole. The 32 attached houses together look like a stone forest. The complex is built at a pedestrian bridge crossing a traffic road.
Steglitz's Restaurant Tower - known as Bierpinsel - is strangely reminiscent of the bridge of an aircraft carrier, rising up from the city motorway which connects with SchlossstraĂźe, one of Western Berlin's busiest shopping streets. Built in 1972-76 by the same architects that constructed the futuristic International Conference Centre (ICC), the bright red Restaurant Tower has become one of Steglitz's most recognisable landmarks. The restaurants on the upper floors offer great views over the bustling shopping street below.
Kisho Kurokawa, Nakagin Capsule Tower, Tokyo, Japan, 1972, The 14-story high Tower has 140 capsules stacked at angles around a central core. Kurokawa developed the technology to install the capsule units into the concrete core with only 4 high-tension bolts, as well as making the units detachable and replaceable.
Bus shelter, Aachen, 1996, Peter Eisenman
CCTV Headquarters and TVCC Building, Beijing, 2008, Rem Koolhaas and Ole Scheeren
CCTV Headquarters and TVCC Building, Beijing, 2008, Rem Koolhaas and Ole Scheeren
CCTV Headquarters and TVCC Building, Beijing, 2008, Rem Koolhaas and Ole Scheeren
National Swimming Center in Beijing, 2008, Arup, space frame cells
National Swimming Center in Beijing, 2007, Arup, space frame cells
The National Swimming Center in Beijing marks a new beginning in design thinking. This new thinking has been spurned on by one question: “How does structure fill space?” The structure of the Water Cube is based on the most effective sub-division of three-dimensional space - the fundamental arrangement of organic cells and the natural formation of soap bubbles. It will be clad in ETFE foil cushions which have excellent insulation properties and will create a greenhouse effect.Arup based the structural design on Weaire and Phelan’s (Irish Professors of Physics at Trinity College) proposed solution to the problem of “What shape would soap bubbles in a continuous array of soap bubbles be?” This problem was both initially posed and tentatively answered by Lord Kelvin at the end of the 18th century but it was 100 years before the Irish Professors proposed a better one.
Professor Weaire and his research assistant Dr Phelan at Trinity College, Dublin, that provided us with the answer for the Water Cube. The curious thing about Weaire Phelan foam is that, despite its complete regularity, when viewed at an arbitrary angle it appears to be random and organic.      To construct the geometry of the structure of our building, we start with an infinite array of foam (oriented in a particular way) and then carve out a block equal to the size of our building – 177 x 177 x 31 cubic metres. The three major internal volumes are subtracted from this foam block and the result is the geometry of the structure. The structure is then clad with ETFE pillows inside and out to achieve the desired organic look and to work as an efficient insulated greenhouse.      So, in searching for the most efficient way of subdividing space, we found a structure based on the geometry of soap bubbles, and clad with plastic pillows that look like bubbles. And inside, all the water of a swimming centre! We were confident that we had a winning scheme; our next challenge was to convey the idea accurately to the judges.      We decided to build an accurate physical model of all 22,000 structural elements and 4,000 (different) cladding panels. The only way to do this seemed to be Rapid Prototyping machinery, commonly used in the manufacturing and automobile industries. It took us many weeks to learn enough about the CAD modelling and the data translation required just to make the structural model. With two days left, the structural model was flown from Melbourne to Beijing, where it was joined to a handmade plastic skin (we just couldn’t draw all the different pillow shapes in time), and the model was complete. In July 2003, we were announced as the winners of the competition and
2008 Olympics Beijing, Herzog & De Meuron
The Bird's Nest was designed by the Swiss firm Herzog & De Meuron. This firm's previous projects include the renovation of an old power station on the banks of the Thames in London, which was turned into the Tate Modern Art Museum. Herzog & De Meuron also won last year's Sterling Prize for Architecture for their design of the Laban Dance Centre in a rundown area of London.
2008 Olympics Beijing, Herzog & De Meuron
2008 Olympics Beijing, Herzog & De Meuron
The Bird's Nest was designed by the Swiss firm Herzog & De Meuron. This firm's previous projects include the renovation of an old power station on the banks of the Thames in London, which was turned into the Tate Modern Art Museum. Herzog & De Meuron also won last year's Sterling Prize for Architecture for their design of the Laban Dance Centre in a rundown area of London.
Beijing Olympic Stadium, called the “nest”, 2008, Herzog and De Meuron Arch, Arup Eng
2.1 Structural Modelling
The building’s distinctive façade was conceived in order to disguise the large parallel steel
girders required to support the retractable roof that was specified in the original design
program. (Lubow, 2006) The geometry of the seemingly random elements was defined using
the geometrical constraints dictated by the usage and capacity of the structure (as outlined in
section 2.0) and formalized using modeling software designed by Arupsport. (“Beijing,”
2006)
In defining the geometry of the structure, lines representing members were extended
outward from the projected plan of the athletic field, along the roof and wall surfaces to the
ground in one continuous gesture (Figure 3, blue lines). The angles of these lines were
planned so that they intersect at ground level in 24 points spaced at regular intervals around
the elliptical building footprint. This allows the vertical components of the structural
members to be prefabricated in truss-columns of a roughly pyramidal shape (Figures 4 and
5). Conversely, the diagonal lines created by the staircases placed around the perimeter are
traced continuously from the ground, along the roof, and down the other side (Figure 3,
yellow lines). The remaining infill members balance the aesthetic of the façade (Figure 3, red
lines). (Stacey, 2004)
Herzog and De Meuron Arch, Arup Eng., The structural form of the roof is described as a ''nest''. The interwoven structural elements of the facade produce a single surface, upon which further elements are arranged in a chaotic manner to blur the distinction between the primary structure and the secondary structure.The roof is saddle-shaped, and the geometry is developed from a base ellipse of which the major and minor axes are 313 metres and 266 metres respectively. The outer surface of the facade is inclined at approximately 13° to the vertical.
Guggenheim Museum, Bilbao, 1997, Frank Gehry
The Guggenheim’s complex geometry was created by a structural steel “fabric” grid that provided support for the building’s titanian skin.
The Guggenheim-Bilbao, is hailed as one of the most significant architectural designs of the 20th century. The twisting, tumbling, forms of the building, clad in titanium, is unprecedented in geometry and scale. Challenged to design a structural framework for the museum, SOM’s (Skidmore, Owings & Merrill LLP) engineers created a modular lattice steel grid system which could be applied to all of the geometric surfaces, regardless of shapes. The architectural team initially favored reinforced concrete for the complex surfaces, as with other designs of lesser scale. SOM proposed an innovative structural system in steel, which was extremely economical and could be controlled to tight tolerances in the field.
    Formed by closely spaced horizontal and vertical steel members interconnected by diagonals, this system could be erected almost entirely without scaffolding or stability bracing. Three-meter-high trusses were simply stacked at the site to form the complete framework. Although no two pieces of steel in the museum are alike, all joints and assemblies are detailed with the same system. Limiting the number of steel sizes simplified detailing and coordination with the exterior form. With a unit steel piece similar to that of a standard steel-framed building, the museum was constructed on time and within budget.
Guggenheim Museum, Bilbao, 1997, Frank Gehry, the development and realisation of a unique and versatile structural system created for the recently-opened Guggenheim Museum, Bilbao, Spain. The system developed is best described as a discretised lattice grid in structural steel and may be applied to any arbitrary free-form shape. The application of the system to the fluidand curving forms of the landmark Bilbao Museum is presented, along with a description of the role of the computer on the project. Finally, details of the steel fabrication and erection concept for the structure are described, as well as the key engineering and analysis studies, H. Lyenger, L. Novak, R. Sinn and J. Zils
Fisher Center, Bard College, NY, 2003, Frank Gehry
La Grande Arche, Paris (1989, Johan Otto von Sprechelsen/ Peter Rice for the canopy) where the architecture masterfully interweaves the spontaneity of the moment and technology as reflected by the tensile roof and elevator tower, with the symbolism of the giant arch, a modern version of the Arc de Triomph.
La Grande Arche is a giant nearly 110 m hollow cube. The 35-story side buildings are bridged by 3-story frame beams at the top. The primary structure of each of the about 18-m wide side buildings consists of four post-tensioned concrete mega-frames tied together every seven floors and stabilized by diagonal walls at the corners thereby forming nearly 21 meter squares in elevation. The frames and walls rest on neoprene cushions, the only movement joints, on top of huge caissons.
TU Munich
Werner-von-Siemens Auditorium, TU Munich
Integrated urban buildings, Linkstr. Potsdamer Platz), Richard Rogers, Berlin, 1998
At Stuttgart’s recently opened Mercedes-Benz Museum, UN Studio has created an almost unfathomably complex circulation route. The building borrows the top-down organization of Frank Lloyd Wright’s Guggenheim Museum in New York. But unlike the single-ramp configuration of the earlier spiraling museum, at Mercedes-Benz two ramps intertwine and lead visitors through exhibition spaces arranged propellerlike around a triangular atrium.
The Mercedes-Benz Museum is a widespanning structure in reinforced concrete with three-dimensional elements (Twist, Myth Ramp).
Steel compound floor slabs and columns on 9 levels which form a double helix from level 2 upwards. The floor slabs sdpan up to 30 m
without columns. Due to the complex geometry, the whole building was planned in 3D. (a continous single surface, six plateaus themselves are level with slowly sloping ramps bridging the height difference) between them.
Mercedes-Benz Museum, Stuttgart, 2006, Ben van Berkel & Caroline Bos, Werner Sobek Ingenieure
At Stuttgart’s recently opened Mercedes-Benz Museum, UN Studio has created an almost unfathomably complex circulation route. The building borrows the top-down organization of Frank Lloyd Wright’s Guggenheim Museum in New York. But unlike the single-ramp configuration of the earlier spiraling museum, at Mercedes-Benz two ramps intertwine and lead visitors through exhibition spaces arranged propellerlike around a triangular atrium.
Phaeno Science Center, 2005, Wolfsburg, Zaha Hadid
BMW Welt Munich, 2007, Himmelblau
Calder Flamingo Sculpture Chicago, 1974, in front of Mies van der Rohe building
National Gallery of Art, East Wing, Washington, 1978, I.M. Pei
Experiments with structure, Russian Constructivism
Experiments with structure, Russian Constructivism
Experiments with structure, Russian Constructivism
SHIZUOKA PRESS & BROADCASTING CENTER,TĂ´kyĂ´ 1967, Kenzo Tange
Kenneth Snelson's tensegrity sculptures, double-layer tensegrity dome
Santiago Calatrava, Stradelhofen Station, Zurich, 1990- Canopy Model
A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
Fig. 3.21, Stadelhofen Station, Zurich, Switzerland, 1990, Santiago Calatrava
A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
Torsion beam: A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
A glazed canopy structure (similar to Stadelhofen Station Canopy, Zurich, Switzerland, 1990, Santiago Calatrava) consists of a series of single cantilever beams with sword-like steel plates, spaced at 5 ft that carry the glass roof. The cantilever beams are welded to a continuous 16-in. (41cm) dia. steel tube with a wall thickness of 0.5 in. that acts as a beam and torsion ring to transfer the loads to the inclined, branching Y-columns of triangular cross section, which in turn are stabilized by vertical hinged pendulum columns. The 2-legged composite columns are spaced at 40 ft (12 m).
Assume a dead load of 20 psf and a live load of 25psf . Use A36 steel for secondary beams and A53 (using Fy = 36 ksi) for the steel tube with Fb = 24 ksi and Fv = 14.4 ksi. For this first investigation disregard the weight of the tubular beam. Check the size of the tubular section by treating it as a thin-walled member for this preliminary design approach.
MUDAM, Museum of Modern Art, Luxembourg, 2007, I.M. Pei
MUDAM, Museum of Modern Art, Luxembourg, 2007, I.M. Pei
Chaise by Le Corbusier, chairs bu Marcel Breuer (late 1920s)
Cathedral of Learning, at the University of Pittsburgh , neogothic
Tsinghua University building, Beijing, 2005
Tsinghua University building, Beijing, 2005
Holocaust Memorial Museum, Washington, 1993, James Ingo Freed
New Beijing Planetarium, 2005, AmphibianArc – Nanchi Wang
To represent the warps and curves of outer space, Wang designed the glass curtain wall with bulges and depressions, marking the entrances with distinctive saddle-shaped curves depicting half of a “wormhole,” the term for a “shortcut” in Einstein’s space-time continuum. (Wang is careful to call his design an analogy, since these phenomena resist direct or literal representation.) He built virtual models of the building using RHINO software, which also enabled their manufacture.
New Beijing Planetarium, 2005, Nanchi Wang
New Beijing Planetarium, 2005, Nanchi Wang
New Beijing Planetarium, 2005, AmphibianArc – Nanchi Wang
Jewish Museum, Berlin, 2000, Daniel Libeskind
Jewish Museum, Berlin, 2000, Daniel Libeskind
Rock and Roll Hall of Fame and Museum, Cleveland, 1995, I. M. Pei
Rock and Roll Hall of Fame and Museum, Cl3eveland, 1995, I. M. Pei
The fractal space of Moshe Safdie’s Habitat 67 in Montreal, Canada, consists of load bearing precast concrete boxes which were stacked 12 stories high and are tied together by post-tensioning. The vertical elevator shafts and stair cores together with elevated horizontal streets give lateral support in frame action to the asymmetrical assembly.
Administration Building, Ningbo Institute of Technology, Zhejiang University, Ningbo, Qingyun Ma
Ningbo Institute of Technology Campus Library, Zhejiang University, Ningbo, MADA spam, 2003
Credit Lyonnais Tower (120 m), Lille, France, 1994, Christian de Portzamparc
Tour Lilleurope (115m, 25 stories), Lille, France, 1995, Claude Vasconi
High-rise Apartment Tower, Malmö, Sweden, 2003, Santiago Calatrava; based in form on the sculpture turning torso
Palau de les Arts (part of City of Arts and Sciences, which includes an aquarium and a science museum), Valencia Opera House, 2005, Santiago Calatrava – like a surrealistic ocean liner or even gargantuan prehistoric creature cast in stone
Museum of Science and Technology, Parc de la Villette, Paris, 1986, Fainsilber/Rice
Atlanta mall, Elbasani & Logan
Ningbo downtown, 2002, Qingyun Ma
Dresdner Bank, Verwaltungszentrum, Leipzig, 1997, Engel und Zimmermann Arch
Dresdner Bank, Verwaltungszentrum, Leipzig, 1997, Engel und Zimmermann Arch
MUDAM, Luxembourg, 2006, I.M. Pei
MARTa, Herford, 2005, Frank Gehry, Bollinger & Grohmann
MARTa, Herford, 2006, Frank Gehry
The Netherlands Architectural Institute, Rotterdam, 1993, Jo Coenen Arch
San Francisco Federal Building, 2007, Thom Mayne of Morphosis: The exterior includes a screen that curls just over the top of the building.
San Francisco Federal Building, 2007, Thom Mayne of Morphosis: The exterior includes a screen that curls just over the top of the building. The San Francisco Federal Building (54-story), completed in 2007, Morphosis (Thom Mayne), uses slag from steel mills in the concrete. The material makes for a stronger building material, and entails less greenhouse gas emissions than regular concrete. The most potent way to reduce that toll is to replace some portland cement with recycled material. Coal ash from power plants and blast-furnace slag are the easiest substitutes to find — and they tend to make concrete more valuable than portland cement alone.
San Francisco Federal Building, 2007, Thom Mayne of Morphosis
Boston Convention Center, Vinoly and LeMessurier, 2005
Boston Convention and Exhibition Center, Boston, 2005, Rafael Vinoly Arch., LeMessurier Struct. Eng.
Pompidou Center, Paris, 1977, Piano and Rogers
Expansion of Printing Office, Berlin, 1997, BHHS & Partner; glass-tree structure
Glass structure, Beijing
State Gallery, Stuttgart, Germany, 1984, James Sterling Arch, canopies
State Gallery, Stuttgart, Germany, 1984, James Sterling Arch, canopies
Peek & Cloppenburg, Cologne, 2005, Renzo Piano
Peek & Cloppenburg, Cologne, 2005, Renzo Piano
Atrium, Germanisches Museum, Nuremberg, Germany
Library University of Halle (?)
Petersbogen shopping center, Leipzig, 2001, HPP Hentrich-Petschnigg
New National Gallery, Berlin, 1968, Mies van der Rohe
Pedestrian bridge, Nuernberg, Germany
Documentation Center Nazi Party Rally Grounds, Nuremberg, 2001, Guenther Domenig Architect
Chongqing Airport Terminal, 2005, Llewelyn Davies Yeang and Arup
Debis Theater, Marlene Dietrich Platz, Berlin, 1998, Renzo Piano
Debis Theater, Berlin, 1998, Renzo Piano
Mercedes-Benz Center am Salzufer, Berlin, 2000, Lamm, Weber, Donath und Partner
Mercedes-Benz Center am Salzufer, Berlin, 2000, Lamm, Weber, Donath und Partner
Bridge connecting two buildings, Berlin
Integrated urban buildings, Linkstr. Potsdamer Platz, Richard Rogers, Berlin, 1998
Integrated urban buildings, Linkstr. Potsdamer Platz), Richard Rogers, Berlin, 1998
UNESCO stair, Paris, 1957, Breuer and Nervi
Everson Museum, Syracuse, NY, 1968, I. M. Pei
view of a part of the Lille Grand Palais (built by Rem Koolhaas): concert hall (7000 seats), 3 amphiteaters and a great area for expositions (to respond the demands, another building will be built):
Hirshorn Museum, Washington, 1974, Gordon Bunshaft/ SOM
Hirshorn Museum, Washington, 1974, Gordon Bunshaft/ SOM
Landesvertretung von Baden-Wuertemberg, Berlin, 2000, Dietrich Bangert
Everson Museum, Syracuse, NY, 1968, I. M. Pei
Central Plaza, Kuala Lumpur, Malaysia, 1996, Ken Yeang
Acropolis, Athens, 650-480 B.C.
Bourges cathedral, 13th cent, Bourges, France
St. Lorenz, 15th. Cent, Nuremberg, Germany
Museum of Modern Literature, Marbach, Germany, 2006, David Chipperfield Architects
Pinakothek der Moderne, Munich , 2002, Stephan Braunfels
Pinakothek der Moderne, Munich , 2002, Stephan Braunfels
Theater Erfurt, 2003, Joerg Friedrich Arch, foyer
Kunst Halle, Rotterdam, The Netherlands, 1992, Rem Koolhaas Arch
Beijing Capital International Airport, Terminal 3, 2008, Foster and Partners, Arup
College for Basic Studies, Sichuan University, 2000, Chengd
College for Basic Studies, Sichuan University, 2000, Chengd
Government building, Berlin, 2001, Axel Schultes
Treptow Crematorium, 1997, Berlin, Axel Schultes
Peek & Cloppenburg Department Store, Berlin, 1995, Gottfried Böhm
Peek & Cloppenburg Department Store, Berlin, 1995, Gottfried Böhm
Study of façade columns
Luxemborg Philharmonie Luxembourg City, Luxembourg, 2006, Atelier Christian De Portzamparc, De Portzamparc conceived a densely colonnaded monument, elliptical in plan, with 823 tall, closely spaced steel columns at the perimeter supporting a thin, radius-edged roof. At the front prow of the ellipse, de Portzamparc widens the spacing between columns to accommodate the entrance that runs parallel to Avenue Kennedy. Two shells clad in metal panels rise on either side of the main structure. The tangential curve of one appears to launch visitors arriving from underground parking into the peristyle. The other arcs up as the carapace of the chamber-music hall.
Inside, a soaring peristyle hall circles the main auditorium, which reads as a building within the building. Tall, prismatic masses form the hall’s “facade,” reflecting the angular arrangement of seating towers within. The architect, working with acoustician Albert Yaying Xu of the Paris firm Xu-Acoustique, configured the main auditorium as the tried-and-true shoe box (think Boston’s Symphony Hall). Above orchestra seats fitted into this rectangle, eight freestanding, four-level seating towers rise, angled forward from the auditorium box and out of plane with each other. Architecturally, the towers evoke town houses overlooking the orchestra-level’s village square, creating an intimacy unusual in shoe-box halls, because the performers feel wrapped by the audience.
Luxemborg Philharmonie Luxembourg City, Luxembourg, 2006, Atelier Christian De Portzamparc, De Portzamparc conceived a densely colonnaded monument, elliptical in plan, with 823 tall, closely spaced steel columns at the perimeter supporting a thin, radius-edged roof. At the front prow of the ellipse, de Portzamparc widens the spacing between columns to accommodate the entrance that runs parallel to Avenue Kennedy. Two shells clad in metal panels rise on either side of the main structure. The tangential curve of one appears to launch visitors arriving from underground parking into the peristyle. The other arcs up as the carapace of the chamber-music hall.
Inside, a soaring peristyle hall circles the main auditorium, which reads as a building within the building. Tall, prismatic masses form the hall’s “facade,” reflecting the angular arrangement of seating towers within. The architect, working with acoustician Albert Yaying Xu of the Paris firm Xu-Acoustique, configured the main auditorium as the tried-and-true shoe box (think Boston’s Symphony Hall). Above orchestra seats fitted into this rectangle, eight freestanding, four-level seating towers rise, angled forward from the auditorium box and out of plane with each other. Architecturally, the towers evoke town houses overlooking the orchestra-level’s village square, creating an intimacy unusual in shoe-box halls, because the performers feel wrapped by the audience.
Air Traffic Control Tower, Los Angeles, 1996, Katherine Diamond
Samsung Life Insurance Jong-Re Building, Seoul, 1999, Rafael Vinoly
Interchange Terminal Hoenheim-Nord, Strassbourg, 2002, Zaha Hadid
Ambivalente Bauteile verschmelzen zu einer komplexen Sinneswahrnehmung. Die „Decke“ wird zu „Wand“ . „Stützen“ werden zu „Lampen“. Der „Boden“ wird zur „Zwischenebene“...
Erasmusbridge, Rotterdam, 1996, Ben Van Berkel. The bridge is a so called cable stayed bridge. The pylon is 139 meters high. The special form of the pylon is why the bridge is nicknamed The Swan. The bridge connects the north and south part of Rotterdam. The design is a good example of modern architecture, without a computer the bridge could have never been built.
Dining Hall Karlsruhe, Hochschule Karlsruhe, 2007, Jürgen Mayer H, ARUP GmbH. The new refectory for students of the FH, PH and KA Karlsruhe is situated close to the Schlossplatz in the centre of the city. The building is to be used as a refectory only during term-time. An integrated cafeteria will also be open at other times. The building is a flat, slanted cube on a trapezoidal floor plan. The exterior dimensions are approx. 49to 55 x 40m. The flat and partly landscaped roof area slopes by approx. 9° and has been designed as a “fifth“ facade. The load-bearing structure of the façade and the roof emerge as dominant, apparently ‚random’ lines and thus give the building a very distinctive appearance. The building has 1½ storeys, the main areas of use being located on the ground floor. An inserted gallery level, accessed by stairs, makes use of the high refectory room. There is a direct access to the roof terrace from this level. This layout allows for an optimal accommodation of the building services to supply the kitchen areas below. The structural framework consists of an interior reinforced concrete construction enveloped by an innovative wood construction. This wood construction is made of insulated hollow boxes consisting of laminated wood, laminated veneer lumber and plywood panels. The construction with its optimized building physics is protected from the weather by way of PUR-coating.
Dining Hall Karlsruhe, Hochschule Karlsruhe, 2007, Jürgen Mayer H, ARUP GmbH. The new refectory for students of the FH, PH and KA Karlsruhe is situated close to the Schlossplatz in the centre of the city. The building is to be used as a refectory only during term-time. An integrated cafeteria will also be open at other times. The building is a flat, slanted cube on a trapezoidal floor plan. The exterior dimensions are approx. 49to 55 x 40m. The flat and partly landscaped roof area slopes by approx. 9° and has been designed as a “fifth“ facade. The load-bearing structure of the façade and the roof emerge as dominant, apparently ‚random’ lines and thus give the building a very distinctive appearance. The building has 1½ storeys, the main areas of use being located on the ground floor. An inserted gallery level, accessed by stairs, makes use of the high refectory room. There is a direct access to the roof terrace from this level. This layout allows for an optimal accommodation of the building services to supply the kitchen areas below. The structural framework consists of an interior reinforced concrete construction enveloped by an innovative wood construction. This wood construction is made of insulated hollow boxes consisting of laminated wood, laminated veneer lumber and plywood panels. The construction with its optimized building physics is protected from the weather by way of PUR-coating.
Mensa Dining Hall, Karlsruhe, 2007, JĂĽrgen Mayer H
Hannover EXPO 2000, Thomas Herzog und Julius Natterer. The canopy comprises 10 modular elements, each one measuring 40m x 40m, at a height of 20m above ground level. The elements are timber double-curved lattice shells, each supported on a central structure.
The roof shells cantilever out on all sides looking like giant whale tails. The shells are covered by a pre-stressed translucent membrane and the rainwater is collected and brought to the ground through each of the central structural supports. These supports are each cut from a single tree trunk, from the classic Silver Fir, of the Black Forest. Seventy trees 50m tall were selected. The bark was stripped with high-pressure water jets and the trunks were cut in half lengthwise, to form each of the four corner columns.
This elegant but robust canopy is a demonstration of a tree reborn from the forest to the structure. The columns represent the simple vertical structure of the tree, and the filigree lattice shells represent the tree canopy. The timber lattice allows daylight to penetrate below, just as it does in the forest.
Subway Station to Allians Stadium, Froettmanning, Munich, 2004, Peter Bohn Arch, fabric membranes
Subway Station to Allians Stadium, Froettmanning, Munich, 2004, Peter Bohn Arch, fabric membranes
Stanted Airport, London, UK, 1991, Norman Foster/ Arup
Stanted Airport, London, UK, 1991, Norman Foster/ Arup
Chongqing Airport Terminal, 2005, Llewelyn Davies Yeang and Arup
World Trade Center, Amsterdam, 2003, Kohn, Pedersen & Fox
World Trade Center, Amsterdam, 2003, Kohn, Pedersen & Fox
Petersbogen shopping center, Leipzig, 2001, HPP Hentrich-Petschnigg
Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
Airport Madrid, Spain, Richard Rogers, 2005
Airport Madrid, Spain, Richard Rogers, 2005
Stadthalle, Bremen, 1964, Germany, R. Rainer and U. Finsterwalder
AWD Dome, Bremen, 1964, Germany, R. Rainer and U. Finsterwalder
Spaceframe structure in SAP2000
Visual study of frames, arches and trusses
Visual analysis of lateral thrust
Crown Hall, IIT, Chicago, 1956, Mies van der Rohe
Crown Hall, IIT, Chicago, 1956, Mies van der Rohe
Crown Hall, IIT, Chicago, 1956, Mies van der Rohe
Frankfurt Post Museum, 1990, Behnisch Architekten
Sainsbury Centre for Visual Arts, Norwich, UK, 1978, Norman Foster; the primary roof steel girders consist more than 8-ft deep and nearly 6-ft wide triangular, welded, tubular steel trusses
Sainsbury Centre for Visual Arts, Norwich, UK, 1978, Norman Foster
Willemsbridge, Rotterdam, 1981, is a double suspension bridge, C.Veeling
BMW Plant Leipzig, Central Building, 2004, Zaha Hadid
Dresdner Bank, Verwaltungszentrum, Leipzig, 1997, Engel und Zimmermann Arch
Sony Center, Potzdamer Platz, Berlin, 2000, Helmut Jahn Arch., Ove Arup USA Struct. Eng
Capital Museum, Beijing, 2001, Jean-Marie Duthilleul + Cui Kai
Capital Museum, Beijing, 2001, Jean-Marie Duthilleul + Cui Kai
Architectural Institute, Rotterdam, Netherland, 1993, Joe Coene. The building complex is divided into several sections suggesting its continuation into urban context. The concrete skeleton dominates the image supplemented by steel and glass. The main glazed structure appears to be suspended, and allows the concrete load-bearing structure behind to be seen. The high, free-standing support pillars and the wide cantilevered roof appear more in a symbolic manner rather as support systems. The building complex clearly articulates its presence to the context.
visual analysis of arches
Colosseum, Rom, c. 100 AD
St. Peters, Rom, 16th century, Bramante, Michelangelo, etc.
Arve River Bridge, 1935, Switzerland, Robert Maillart
Cologne Medienpark bridge
Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
Satolas Airport TGV Train Station, Lyons, France, 1995, Santiago Calatrava
Berlin Stock Exchange, Berlin, Germany, 1999, Nick Grimshaw: the building reminds one of an armadillo; it is suspended from arches, i.e. the upper floors are suspended from arches on steel hangers so the bottom two stories are free of vertical structure to allow connection between life of building and the city outside.
Athens Olympic Sports Complex, 2004, Calatrava
The Metro station at Blaak, Rotterdam, 1993, Harry Reijnders of Movares; the arch spans 62.5 m, dome diameter is 35 m
Space Truss Arch – Axial Force Flow
The Metro station at Blaak, Rotterdam, 1993, Harry Reijnders of Movares; the arch spans 62.5 m, dome diameter is 35 m
Oberbaumbruecke, Berlin, Santiago Calatrava, 1995
Lehrter Bahnhof, Berlin, 2006, von Gerkan, Marg and Partners
World Trade Center, Amsterdam, 2003 (?), Kohn, Pedersen & Fox
Sony Center, Berlin
Sony Center, Potzdamer Platz, Berlin, 2000, Helmut Jahn Arch., Ove Arup
The University of Chicago Gerald Ratner Athletics Center, 2004, Cesar Pelli & Associates, OWP/P Structures
The University of Chicago Gerald Ratner Athletics Center (2003), Cesar Pelli Architects and OWP/P Structures, 160-ft spans
The University of Chicago Gerald Ratner Athletics Center, Cesar Pelli & Associates, OWP/P Structures, 2004
The University of Chicago Gerald Ratner Athletics Center (2003), Cesar Pelli Architects and OWP/P Structures
Incheon International Airport, Seoul, 2001, Fentress Bradburn Architects, Denver
Incheon International Airport, Seoul, 2001, Fentress Bradburn Architects, Denver
Olympic Stadium, Tokyo, 1964, Kenzo Tange, Y. Tsuboi
Olympic Stadium, Tokyo, 1964, Kenzo Tange, Y. Tsuboi
Muenster Halberstadt, 14th century, Gothic ribbed vaulting
MUDAM, Museum of Modern Art, Luxembourg, 2007, I.M. Pei
MUDAM, Museum of Modern Art, Luxembourg, 2007, I.M. Pei
Friedrichstrasse Atrium, 1996, Berlin, Henry N. Cobb
Friedrichstrasse Atrium (1996), Berlin, Henry N. Cobb
Friedrichstrasse Atrium (1996), Berlin, Henry N. Cobb
National Grand Theater, Beijing, 2007, Jean Andreu
The 5-story DG Bank, Berlin, Germany (2001, Frank Gehry; Schlaich, Bergemann und Partners, structural engineers for skylights and interior glass system): In an effort to respect the surrounding architecture on Pariser Platz, which is dominated by the Brandenburg Gate, the building meets the surrounding traditional architecture, but the sculptural drama typical of Gehry's happens intside. Here, Gehry has stuffed the building with an amoeba-like auditorium, that is vaguely like a fish, covered with steel and glass. It is a definitively weird structure. It's as if a glass and chrome tumor erupted in the middle of a bank's grand lobby. This freeform sculptural glass roof over the atrium of the DG-Bank was designed by F.O. Gehry as a sculpture intervening with the interior. The single layer shell structure is made from a triangular grid stiffened by spoked wheels at 16m intervals. The entire structure is made of stainless steel mullions 40 x 60 mm.
Reichstag, Berlin, Germany, (1999, Norman Foster Arch. Leonhardt & Andrae Struct. Eng.): The 25-m high steel glass dome, 40 m in diameter, consists of 24 slender ribs made of steel sections and plates to minimize their dimensions as to maximize the effect of transparency. An inverted cone, fully clad with adjustable mirrors, literally throws light into the parliament hall at ground level. Against the the curved glass skin, two ramps above each other wind their way to an outlook platform at the top.
Reichstag, Berlin, Germany, (1999, Norman Foster Arch. Leonhardt & Andrae Struct. Eng.): The 25-m high steel glass dome, 40 m in diameter, consists of 24 slender ribs made of steel sections and plates to minimize their dimensions as to maximize the effect of transparency. An inverted cone, fully clad with adjustable mirrors, literally throws light into the parliament hall at ground level. Against the the curved glass skin, two ramps above each other wind their way to an outlook platform at the top.
Ronchamp, 1955, Le Corbusier, Detail of Modern Architecture Vol. 2, Edward Ford, 1996
Kimball Museum
Kimbell Art Museum, Fort Worth, TX, 1972, Louis Kahn
Kimbell Art Museum, Fort Worth, TX, 1972, Louis Kahn
St. Mary Basilica, Tokyo,1964, Kenzo Tange, Y. Tsuboi
St. Mary Basilica, Tokyo,1964, Kenzo Tange, Y. Tsuboi
TWA Terminal, New York, 1962, Saarinen
Chrystal Cathedral, Garden Grove, Calif., 1980, Philip Johnson
Dulles Airport Terminal, Washington DC, 1962, Eero Saarinen, Fred Severud
Dulles Airport, Chantilly, 2002, SOM, is one of the most architecturally and functionally significant airports of the modern era. Designed by the famous modernist Finnish architect, Eero Saarinen, it was the first example of the now ubiquitous concept of separating the passenger processing (landside) and aircraft related (airside) components of an airport when it was built In 1962. Upon its completion, it was immediately recognized as a landmark of the modern movement in architecture, and became a turning point in the design and construction of airports around the world.
Remotely located from the capital and competing with two other airports in the region, Dulles was under-utilized for 15 years after it was built. In the late 1970's, however, two factors began to cause rapid growth at Dulles; first, intensive residential and commercial growth in the immediate area created greater demand for service from Dulles. Second, the deregulation of the airline industry resulted in the development of "hub and spoke" route systems; Dulles has become a hub of a major domestic airline which is rapidly expanding its international service.
This increased demand required that the airport be expanded, and a master plan was completed in 1979. SOM became involved with the project in 1984 when we were awarded the contract for the design of the first Midfield Concourse building. Since that time, SOM has won the commission for every new project for the improvement of Dulles; in addition, SOM has recently completed a thorough review and update of the master plan
Dulles Airport Terminal, Washington DC, 1962, Eero Saarinen, Fred Severud
Olympic Stadium, Tokyo, 1964, Kenzo Tange, Y. Tsuboi
Trade Hall 26, Hanover, Germany, 1996, Thomas Herzog und Schlaich Bergermann
Tensile membrane structures
Yeadon fabric structures, tennis court
Tektoniks; the strength and portability of our buildings derive from their unique design and construction. Each structure is typically comprised of two layers of a fire retardant composite textile connected together using formers of the same material. The cavity formed between the layers is pressurised with air producing an extremely rigid structural element which allows large spans to be achieved whilst keeping the overall weight of the structure to a minimum. The unique welded construction of our buildings combined with the types of textiles used enables them to operate at higher pressures than conventional inflatable structures. This results in a much more rigid building ideally suited to both temporary and permanent indoor and outdoor applications. All our structures are constructed from composite textiles developed specifically for architectural applications. The textile panels are cut and assembled using techniques derived from aerospace manufacturing to produce high integrity seams consistently and reliably.
Hülle platzte an einer Schweißstelle auf vor 12.00 Uhr Mittag war die Welt der UEFA Promotoren noch heil. Das größte aufblasbare Zelt der Welt füllte fast den Kapitelplatz. Schlag 12.00 Uhr war es dann vorbei mit der Herrlichkeit - einer der beiden Zeltkuppeln war schlicht die Luft ausgegangen - und zwar ausgerechnet jenem Teil des Zeltes, in dem das sogenannte Multi-Media Kino untergebracht wird.
Tektoniks; the strength and portability of our buildings derive from their unique design and construction. Each structure is typically comprised of two layers of a fire retardant composite textile connected together using formers of the same material. The cavity formed between the layers is pressurised with air producing an extremely rigid structural element which allows large spans to be achieved whilst keeping the overall weight of the structure to a minimum. The unique welded construction of our buildings combined with the types of textiles used enables them to operate at higher pressures than conventional inflatable structures. This results in a much more rigid building ideally suited to both temporary and permanent indoor and outdoor applications. All our structures are constructed from composite textiles developed specifically for architectural applications. The textile panels are cut and assembled using techniques derived from aerospace manufacturing to produce high integrity seams consistently and reliably.
Ice Rink Roof, Munich, 1984, membrane cladded cable net, suspended from a steel arch, span: 10Scope of our work Conceptual design, detailed design and analysis, Architect Ackermann und Partner, Schlaich Bergermann