Contextual superstructure Creative facility over water
AD7-10 2008
Synopsis
This project investigates the urban potential of a living bridge connecting Aalborg and Nørresundby across the Limfjord. A tectonic approach and the resolution of an acoustic space are required components. As the growing city extends over water, harbor fronts interconnect through movement and the exchange of contextual functions; Aalborg and Nørresundby adjoin as one conglomerate through the integration of an Art Bridge reflecting the scale, activity, and functions of the respective areas. The growing city reclaims the water-space as a building site for complex and dynamic urban densities.
Aalborg University The Faculty of Engineering, Science and Medicine. Group 10, 1st semester Master, Architectural Design Project period: October 3 to December 17, 2008
Anders Oskar Kaag Frederiksen
Andrea Mortensen Semester theme: Tectonic Design - Architectural Form and Structure Project title: Contextual superstructure - creative facility over water
Antonia Ciaverella
Architectural supervisor: Adrian Carter Technical supervisor: Poul Henning Kirkegaard
Kim Guldmand Ewers
Number of pages: 124 Editions: 9 CD enclosed with STAAD Pro model and pdf-file of the report
Mahtab Aslam
Philip Hørmann
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Table of content
Title - 1 Table of Content -2 Introduction -3
ANALYSIS - 4
Process – 50
Presentation – 94
Method - 6 Tectonic Approach - 7 Bridging Aalborg - 8 Master Vision - 10 Living Bridges – 12 Urban Tools - 14 Masterplan – 16 Area Movement – 18 Buildings - 19 Path – 20 Functions – 21 Wind Rose – 22 Solar + Temperature – 23 Edges + Walk - 24 Fjord Depth – 25 Living Bridge Vision – 26 Bridge Position – 27 Bridge Function – 28 Nodes – 32 Landmarks + Section – 33 Serial Vision 1 – 34 Materials - 36 Genius Loci – 38 Bridges Typologies – 40 Acoustic – 42
Initial Sketching – 52 Concept 1 – 53 Concept 2 – 54 Bridge Shape – 55 Concept of Development – 56 Tracing Shapes – 58 Shape Suitability – 59 Aesthetic Development - 60 Placement of Buildings – 62 Form Phase 1 – 63 Form Phase 2 – 64 Model Evaluation – 65 Form Phase 3 – 66 Road and Living Bridge – 68 The Opening – 69 Landing Aalborg – 70 Landing Nørresundby – 71 Columns – 72 Construction - 74 Column Variations – 76 Choice of Construction – 77 Materials – 78 Outdoor Spaces – 79 Facades – 80 Function Distribution – 81 Internal Design – 82 Acoustic – 84 Geometric Acoustics – 85 Acoustic Calculations – 88
Reflection - 110 Conclusion – 112 Appendix - 114 Illustrations - 123 References - 124
Problem statement – 47
Design Parameters – 48
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This transformation is already underway. New program, mainly of a cultural character, together with offices and housing, is thought to blend with this traditional harbor scene. Public access, along with the redevelopment of the surrounding urban environment, is key for successful integration. Already, areas for public access, programmed as “green” areas, are present in the harbor scenes of both Aalborg and Nørresundby. Here, the public enjoys views of the fjord andharbor-related activities. Even though Aalborg and Nørresundby are built around the same fjord, Aalborg remains the main city.
Bridged in three places, the two cities still seem unconnected;. Nørresundby acts as a satellite city, rather than a part of Aalborg. They do not unite naturally, as is the case between Copenhagen and Amager. Several issues, such as a larger distance between the cities, and the fact that only one connection serves bikes and pedestrians, might cause this. Socio-cultural differences may also be a factor. An additional bridge will help connect these cities and establish a stronger, more unified region. On a larger scale, traffic related issues are of high concern. Three major areas for traffic problems in Denmark are the Køgebugt highway south of Copenhagen, the area around the Vejle fjord bridge, and the tunnel connecting Aalborg and Nørresundby. This tunnel often deals with the problem of queues gathering quite frequently, especially during rush hours. The car bridge also suffers from this,so it is vital that a future bridge is integrated in such a way that it is capable of generating a more steady flow across the Limfjord. Furthermore a tectonic vision for this project is to make a project that integrates, technical, functional and esthetical mat-
ters. The great challenge of this project is to create a living bridge linking Aalborg and Nørresundby. In relation to this challenge, it is important to determine and analyze some initial problems; -Which factors characterize the relations between Aalborg and Nørresundby, diversities as well as similarities. -What function and purpose is relevant for the bridge itself and the two connecting cities. -Where to place the bridge in relation to function, city layout, and traffic regarding cars, bicycles, and pedestrians. -What is a living bridge and how can it be put into the context of Aalborg and Nørresundby. -What is the definition of “tectonic” for this project. All this describes the main issues and challenges that are the foundation for the analysis and design phase, which in the end will create this project.
Introduction
What used to characterize the image of Aalborg is changing. The old industrial scene and its spaces are making way for new thoughts in society, where future development and economy are based on knowledge and culture. For Aalborg, this involves reclaiming and reprogramming old unused or abandoned industrial spaces, freeing up prime locations along the harborfront. This allows the city to reshape and reestablish itself,once again. creating a sustainable future setup while optimizing the qualities of the city with respect to history and tradition.
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View from north-east, Stigsborg – Nørresundby
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Method
IDP
problem statement
The sketching phase
For this project the Integrated Design Process, or IDP, has been the primary design method. The concept of this method is to work simultaneously with technical, functional, and architectural solutions from the beginning of the project until a suggested solution is made. Because of this, the suggested solution will be optimized since all elements have been integrated in the process. In the scheme (ill. 6.1) below the Integrated Design Process is shown graphically. The interactions between the different phases are shown, as well as the way to work through them. The Integrated Design Process contains the following phases; problem statement, initial problem, the analysis phase, the sketching phase, the synthesis phase, and the presentation phase.
The problem statement describes the idea of the project or the problem, for which a solution is to be found. From the problem statement a vision for the project is made. These two elements are the foundation for the sketching phase.
During the sketching phase, all the investigations described above influence the design. For this reason it is important to work with IDP, because this is where the technical, functional, and architectural solutions have a great impact upon each other, and are being tested in relation to one another. These tests are evaluated according to the program and the design parameters from the problem statement and the vision. The result of this phase is a design concept.
Initial problem The initial problem is the overriding purÂŹpose of the project from which the analy-sis is generated.
The synthesis phase The analysis phase In this phase, important aspects that will be needed to start up the next phase are analyzed. This analysis leads to a program containing technical, functional, and architectural design parameters. The last task of the analysis phase is to forÂŹmulate the problem statement and the vision for the project.
The detailing of the design concept in this phase deals with more thorough investigations, calculations, and adjustments in relation to the parameters. The design is developed into the final shape and expression. In this phase, functionality and aesthetic qualities become one unity.
The presentation phase This is the final phase where most of the visualization takes place. The project is presented in a way that focuses on the qualities of the suggested solution, and describes how the demands from the analysis phase have been achieved.
Initial problem
The analysis phase
ill. 6.1 The relations between different phases of the project.
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The sketch phase
The synthesis phase
The presentation phase
Tectonic design is for this group defined as a unity of a technological part, belonging to construction, materials and method, and a representational part, belonging to the more abstract concept and aesthetic. Tectonic design is achieved when the idea is artistically and contextually solved through problems of structure and construction. In this way, the poetic thought permeates the built form, creating a unified whole.
ill. 7.1 Helsinki University auditorium, Aalvar Alto
ill. 7.2 Säynätsalo Town Hall, Aalvar Alto
ill. 7.3 Gundtvigs church in Copenhagen, P.V. klint & K. Klint
ill. 7.4 St. Henry’s Ecumenical Chapel, Turku, Matti Sanaksenaho
The concept of tectonic is seen by the group as a tool to read a construction and structure in order to seek the idea of the unified concept. Tectonic is also the poetic thought combined with an idea and the process behind how to build something. This forms a unity and makes sense in order to create an architectural expression. Previous studies of Karl Bötticher, Gottfried Semper, Eduard Sekler and Kenneth Frampton’s theories of tectonic design have been the base for this approach.
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ill. 7.5 Olympic sports arena, Tokyo, Kurokawa
The pontoon bridge was dimensioned for light traffic, up to 3 tons, which proved to be a problem in the future (ill.8.1-8.2).
1869
A Railway bridge opened between Aalborg and Nørresundby, allowing rail travel trough north Jutland. The bridge was originally conceived as a combined bridge, however the plans were changed because the use was not found economically attractive (ill. 8.3).
1913-1915
Planning of a new and modern bridge connection between Aalborg and Nørresundby started, as the old pontoon bridge had difficulty handling the heavy traffic load, and an expansion would not solve the problems. A solution was postponed due to the outbreak of the First World War.
1930-1933
Work on the new bridge began, and it was opened on 30 March, 1933. The existing pontoon bridge was dismantled and used for other purposes (ill. 9.1-9.2).
ilr
oa
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Br
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Reflecting on the relative situation of Aalborg and Nørresundby, one may reference Budapest, once two cities separated by a river, which grew into one. This can be the future scenario of Aalborg and Nørresundby.
Ra
Bridging aalborg
1864-1865
The first bridge connection between Aalborg and Nørresundby was a pontoon bridge established in 1865. It was replaced by the present Limfjordsbroen, made in response to the changing pattern of Danish traffic; cars started being used as transport methods both for private and industrial uses. The construction finished in 1933. A further vehicle connection was opened as a freeway tunnel in 1969.
ill. 8.1 - 8.2 Pictures showing the pontoon bridge next to the existing Limfjords bridge.
ill. 8.3 Picture below shows the opening of the railway bridge
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ill 8.4 - 8.5 These pictures show how the proposed pedestrian and bicycle sidewalk extension is thought to look when added onto the existing structure of the railway bridge. This will become an important connection in a more unified Aalborg and Nørresundby. The project has been developed by Kærsgaard Andersen.
1957-1960
On basis of the increasing traffic loads, planning of an extension to the bridge was started. The work started 1958 and finished 1960.
1969
In 1969 the freeway tunnel was opened.
2005
The county and the city council of Aalborg approved the planning proposal for a new motorway crossing the Egholm to the west. The future of this still remains unclear.
2005
Workshop called Harbourscape, dealing with some of the issues and possibilities of bridging Aalborg and Nørresundby and reigniting the harbour area.
2008
Kultur-bridge, a proposal to expand the railway bridge with two pedestrian lanes has been approved. The “kulturbroAalborg” is a visionary public project that adds a pedestrian path to the already existing railway bridge. The main purpose is to bridge the areas and cultures represented on each bank in order to benefit city and region. The project has been approved by Aalborg city council.
Lim
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? 2020
ill. 9.1 The railway bridge in its almost full extension. It is a single railway. 404m long, - 5,0/6,2m wide - 29m opening. ill. 9.2 The Limfjords bridge in its almost full extension. It has two driving lanes, pedestrian and bicycle tracks. 640 m long, - 21,4 m wide - 30m opening.
The living bridge has established itself, being that creative environment infused by art and activity, and the connection the two cities had been missing. The bridge has also changed the general use of the surrounding urban environment, a more diverse use of the areas, and especially Stigsborg Brygge has blossomed into a recreational and beach area, used by the whole city, because of its “now” closeness to the city centre. [this chapter is based on the text “Limfjordsbroen i 75 år” and “www.kultur-aalborg.dk”]
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Master vision 10
AS PART OF THE REDEVELOPMENT ALONG THE HARBOR AREAS OF AALBORG AND NØRRESUNDBY, AND IN RELATION TO THE IDENTITY OF AALBORG AS A CITY IN TRANSFORMATION, THE LIVING BRIDGE WILL PROVIDE STRATEGIES FOR SOLVING INFRASTRUCTURAL PROBLEMS AND SOCIOCULTURAL ASPECTS, WHILE EASING THE PHYSICAL AND MENTAL GAP BETWEEN THE TWO CITIES. THE NEW BRIDGE SHOULD BE SEEN AS A FOUNDATION FOR THE FUTURE DEVELOPMENT OF THE TWO CITIES AS A WHOLE, AS WELL AS A KEY URBAN ELEMENT FOR AALBORG AS THE STRATEGIC CAPITAL THE NORTHERN REGION DEPENDS ON. A LOOP STRATEGY, IN COLLABORATION WITH THE EXISTING BRIDGES, WILL IMPROVE AND FACILITATE MOVEMENT THROUGH THE AREAS, AND THE NATURAL USE of BOTH HARBOuR FRONTS. THIS STRATEGY ESTABLISHES A MORE INTERCONNECTED MOVEMENT PATTERN FOR PEDESTRIANS, BICYCLES, AND PUBLIC TRANSPORTATION (ill. 9.1)
ill. 10.1 Concept sketch of the master vision
ill. 11.1 Bridge of Houses, New York 1979-82. Idea-project by Steven Holl. The inhabited bridge lies above an abandoned elevated rail line in New York.
Aalborg - reclaiming the space The idea for the already underway transformation of Aalborg and Nørresundby, where, especially surrounding the harbour front, that the cities should reclaime old industrial spaces. This as a way to reignite areas and expand from within, can be transferred onto this living bridge. Placing a living bridge, across Limfjorden also claims space; it claims space over water. Setting up the boundaries for this approach involves case studies, looking into the story of inhabited bridges, and into situations and cities equivalent to Aalborg. It is essential to define the right means and urban planning tools, if the bridge is to be considered as an integrated part of the city.
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living bridges
History
ill. 12.1 Zaragoza Bridge Pavilion by Zaha Hadid, the new symbol of the Expo 2008 in Zaragoza, Spain. The bridge is a modern interpretation of the terms “living bridge” and “exhibition space”. The spatial experience is one of the main drivers of this project. Each zone within the building has its own spatial identity. Their natures vary from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro River and the Expo.
APPROACH
ill. 12.2Pont Notre Dame and the Pont au Change 1639. Both inhabited, and containing boutiques.
ill. 12.3 The Rialto Bridge, Venice. completed 1591. It became a important place for trade, as well as a symbol of Venice, and is still existing.
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A bridge holds the possibility of adding to society, and having more than only a utilitarian purpose. It has the opportunity of becoming a destination of activity itself either by extending the activity on its banks, or by hosting a living program. A living bridge can be defined as a bridge that serves as the organic link between two urban areas, connecting and creating continuity within their urban fabric in such a way as defines boundaries for social, economic, cultural, emotional, and symbolic interaction.
There is no archetype of a living bridge, but some are referred to as moreclassical living bridges. Built mainly during medieval and classical times, some were built as defensive posts,with tollhouses and gates, while others resemble small societies containing both housing and commerce. Often, these structures existed because of the pressure on free land within citywalls. Some are demolished and others rebuilt over time, yet today very few remain. The Rialto Bridge (ill. 12.3) in Venice still serves as a marketplace. while the Old London Bridge and Pont Notre Dame (ill.12.2), now disassembled, showcases a mixed-program of shops and accommodation. Through recent years, only very few living bridges have been built. However, the modern recognition of their urban potential suggests that this is about to change. The approach for a bridge is different today, and so are the possibilities. New bridge-structures often have large spans and are more slender in expression compared to medieval models. This opens up opportunities for re-thinking a living bridge.
Adding to the urban environment
ill. 13.1 The Hamburg Living Bridge represents an urban, pedestrian-friendly bridge of large scale including green areas has been built across water. It will create a link between the Hamburg on one side of the Elbe River and the new Hamburg on the other. A dense atmosphere, a greened urban pedestrian zone sheltered from the wind, numerous cultural offers, tourist sights, and apartments right in the heart of the city.
Implementing a living bridge allows for reigniting several areas within the built city It is possible to superimpose numerous functions and concentrate them without changing the pre-existing environment It becomes simple addition, and the reclamation of spaces previously wasted and unclaimed: those over water, above and below railways, and beneath the highway. History shows that inhabited bridges are capable of creating an urban complexity that contemporary cities may be missing. Therefore, implementing a living bridge within the city holds both social as well as financial advantages: “The economic study produced in London in 1996 on the initiative of the Secretary of State for the Environment discloses that the hypothesis for the self-financing of new inhabited bridges is thoroughly realistic. In the centre of London - and the banks of the River Thames in particular - the cost of land and of buildings per square meter is so high that the overall cost of constructing and commercializing a bridge with buildings on it becomes reasonable by comparison.”
Spatial Adding ill. 13.2 The Crystal Span - a multi-purpose bridge by Jellicoe and Coleridge Architects with Ove Arup. Though never built it represents a more urban approach, creating the setup foranother part of the city, containing offices, gallery of modern art, luxury hotel, and an ice-skating rink. On top are a series of gardens.
ill. 13.3 Archigram Plugin City
ill. 13.4 Sol LeWitt three-dimensional grid model
Spatial Adding encourages proposals for new and living program on existing bridges. The addition of a pedestrian path to the railway bridge is one simple example, see ill. 8.4 -ill. 8.5 however, bolder initiatives will regenerate these spaces even more. What could add an extra dimension to a living bridge, compared to their classical understanding which often consists of a separate architectural superstructure onto which a platform containing the program is added, instead becomes a superstructure. Itencapsulates and defines the spatial organization within its own system, and in doing so becomes one system ill. 13.3 ill 13.4. Later, there will be an analysis on well-known bridge types in order to derive asimple system that works with the described thesis. [this chapter is based on “Living Bridges”]
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Urban tools
Tools directing attention to some important aspects of this transformation currently taking place in Aalborg.
The time factor; The devel-
opment of a waterfront area takes time and should always be an open scene for future development and experimentation.
Area heritage;
Both old and new is implemented as part of the story, so those new additions have traces of history and provide identity to the area.
The functions; A wide diver-
sity of functions often equals successful regeneration. Therefore, the focus should be on functions referring to city life, like culture and housing as well as functions referring to the original use of the harbor, like fishing, boating, and the maritime environment in general.
Natural flow; The whole wa-
terfront should be connected in such a way that users meet the functions naturally.
Public access; Creating public domains and spaces of public character regenerates the area. Moving pattern;
Optimizing the movement in the area, focusing on public transportation, assures area use.
Related cities
Gothenburg
The mentioned cities are all part of the Waterfront Community Project, together with Aalborg. All situated around the North Sea, each city deals with a similar need for redevelopment, and generally focuses on similar aspects, but implements different solutions.
The focus of Gothenburg involves the revitalization of a neglected area on the waterfront into a mixed-use district. Retaining the neighborhood identity is essential, as Gothenburg declares itself, “a big city on a human scale a city of small districts”. The existing businesses are encouraged to remain, however new commercial venues will be introduced. To increase the redevelopment potential of the area, Gothenburg strategically begins regeneration with the introduction of a new road. This connects the new district with the city center.
hamburg Art and culture are the foundations for revitalization in Hamburg. Affordable housing for artists, a school of architecture, as well as competitions will inject creative energy into urban life and become a catalyst for further reinvigoration. Urban and port development collaborate; the Hamburg “Art Mile” converts a one-kilometer tunnel beneath the river into a gallery space. Temporary art installations in concert with urban projects such as “the View Point” will attract citizens to the harbor area, while sustainable public transport builds a framework. Hamburg also plays with the connection between the water and surrounding green spaces as a redefinition of the waterfront. Urban spaces and parks are created for leisure, sculpture, and recreation. The harbor heritage is preserved; cranes and old warehouses are re-used and re-programmed.
Oslo Olso is interested in joining the waterfront to both the city and the regions beyond. Towards this end, the city has developed new patterns of movement and transportation. In the process, new and old areas are joined. Walking and cycling paths are developed, however particular focus is placed on the locations of new public transportation stops. The potential for these stops to be strategic connections of public space, as well as provisions for future programming and development, is important for Oslo. These locations join the seven urban areas and create an anticipated vitality within the urban fabric.
Odense
As residents of Odense have been prohibited from accessing the waterfront, it has become a forgotten area. Towards the short-term reclamation of this area, Odense invites the public to the harborfront through temporary activities such as fairs, markets, and concerts. The long-term redevelopment of this area focuses on “a creative neighborhood” and harbor heritage to transform the industrial buildings into a harbor district. Mixed-use development, which encourages local shops while also attracting new businesses, becomes a tool Odense uses in reclaiming the harbor area and reconnecting it to the city.
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[this chapter is based on “Harbourscape” and “Waterfrontcommunities.net”]
ill. 15.1 - 15.4 Examples of urban development in Hamburg.
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Hafencity in Hamburg
masterplan
industry north
This is the potential programming of the surrounding area of the living bridge proposal. The deployed program is intended to depict the situation within 10-20 years. The different programs will be activated at different intervals to ensure that areas are able to add and integrate.
Programme: cultural centre educational - recreational Occupying a large part of the northern harborfront, these industrial buildings stand as the only active industry close to the city-centre. Cargo ships docked for loading recall a city once built upon its trade and shipping industry. This is a nice element for a city like Aalborg, watchingships come and go. With urban expansion, the shipping industry is slowly moving out of the citycentre, freeing up this space within an estimated 15 years. It is important to make this area publicly accessible. A proposal to begin transformingthis area into a cultural district will strengthen the movement in the area, initiate public use of the area, and ultimately integrate this space within its surroundings and those of Aalborg.
Loop story This map also proposes a looping movement around and between the existing and future bridges. Together with public transportation this will create a strong band of activity between these areas and also connecting the many cultural opportunities surrounding the harbour area.
tHE CULTURAL STRIPE cultural strip TThe cultural strip represents the developing cultural activities found in Aalborg. A way to reduce the mental gap between Aalborg and Nørresundby could be to offer and implement a continuation of cultural events and places into Nørresundby. This could be a step towards a more unified area around the Limfjord (ill. 16.1).
16 ill. 16.1
stigsborg brygge program: green area - recreative area beach - experimental ecological housing Youth hostel The area should maintain its wide horizon, horizontal character, and “wilder” nature, becoming an attractive area for both Aalborg and Nørresundby. It is an area for future development, close to the city centre, yet with qualities of a green area. In combination with the views to the harbor, this area becomes very desirable.
sunshine beach
experimental housing
ill. 17.1
ill. 17.2
recreative areas
experimental housing
ill. 17.3
ill. 17.4
nature ill. 17.5 østre havn Program: Housing - Offices - CulturaL The “Manhattan” character emerging from the spatial organization of the volumes and their scale is what makes this place unique for a city like Aalborg. The place holds a historic aspect, but more interestingly, it possesses spatial qualities and visual experiences that make it worth reprogramming. Intended in this project is to reignite this area with mixed program, as CUBO architects proposed as the part of the workshop concerning the future development of Østre Havn area in April 2007. They add green areas together with shopping and housing What is interesting is the way they respect the characteristic clean shapes of the industrial volumes.
housing in combination with green areas
ill. 17.6
17 ill. 17.7
Area movement
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Nørresundby citycenter
Working area
Tunnel
Limfjord Aalborg citycenter
The main direction of the traffic is south to north, connecting the land on either side of the fiord in three main points: the railway bridge, the road bridge, and the freeway tunnel, where the last two mentioned have a main impact on the traffic in the city centres. The two road connections over the fjord are in close proximity and have a great deal of influence on each other. If there is queue in one of the connections, the other invariably has queues as well. Nørresundby and Aalborg are connected by a public transportation system of busses and trains. The city busses are mainly concentrated in the city centre of Aalborg, but many of the buses also connect to Nørresundby.
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Aalborg is the bigger city of the two, which is reflected in the location of the functions in the area; functions in Nørresundby include smaller scale cultural activities, shopping, and education facilities mainly serving the local community. Aalborg on the other hand is the main city of the northern Jutland and has many cultural, educational and public functions serving a much larger community. Examples include: Aalborg University, Aalborg Congress and Culture Centre, the Utzon Centre, and the future House of Music.
The coming House of Music also includes plans for a high-rise hotel, and a multipurpose complex containing shops, offices, houses etc. The House of Music is 40 m high and the hotel is approximately 80 m high.
Nordkraft is being rebuilt to house a variety of different cultural offers. 40m high.
Østrehavn abandoned industry area. Used to house factories making cow fodder. Highest point 115 m.
Highrise apartment building near the existing car bridge. 42 m high.
The recently built Utzon Centre contains exhibition space for architecture and design. 23 m high.
North harbor on the Nørresunby side consists of industrial spaces similar to the abandoned sites in Østrehavn, but the industry on this side is still active with ships entering the harbor. Highest point 60 m
KMD, the largest office building in Aalborg. 30m high Tekniskforvaltning large office complex placed on the outskirts of Nørresundby. 17 m high
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path
VESTERGADE
ØSTERGADE VESTERBROGADE
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N NORDRE HAVNEGADE
LIMFJORDSBROEN
BORGERGADE STRANDVEJEN VESTERBRO
BISPENSGADE
NYTORV GAMMELTORV
NYHAVNSGADE ØSTERÅGADE ALGADE
NØRREGADE
BOULEVARDEN
NYHAVNSGADE
SANKT HANS GADE
ØSTERBRO DANMARKSGADE KJELLERUPSGADE STUHRSVEJ
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This map shows the city flow situation when the harbor area has been finished. In close relation to the harbor front, the paths are divided into car traffic paths (green) for vehicle traffic and pedestrians, a pedestrian path (blue), and a path for both public transportation and pedestrians (orange). The path along the Aalborg harbor front is reserved for the pedestrians, whereas the traffic is directed through the city because it must not interfere with the
activities going on near the shoreline. The municipalof Aalborg also has plans for connecting Nørregade through Sankt Hans Street in order to create a strong pedestrian passage to the new House of Music. In Nørresundby, the harbor front on the eastern side of the car bridge is generally not open to the public because of the industry Roads in the Nørresundby area are used primarily by cars but are also suitable for pedestrians and bikes.
KAROLINELUNDSVEJ
FYENSGADE
BORNHOLMSGADE
Map scale 1:10000 ill.20.1
SØNDERBRO
Stigsborg area N Nørresundby stadium
Industry north area
Teknisk forvaltning
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Aalborg castle
Utzon center New shopping center
Salling shoping center Library
House of music
Østrehavn area
Nordkraft
meat industry Østreanlæg
Shopping
Culture facilities
Inactive industry
Active industry
kept parks. making the amount of activity in recreational areas on the Aalborg side not very high. All the unmarked areas are mostly residential with some offices and shops in-between.
Recreational
The five main zones of Aalborg and Nørresundby are: housing, shopping, culture, industry (active and inactive) and recreation. Nørresundby is dominated by residential areas. There is some industry at the harbor front and recreational areas at the city edge, but the shopping areas are quite small compared to those on the Aalborg side. Aalborg is more a mixture of the different zones, especially as Aalborg transforms from industrial city to a city with focus on education and culture. The green areas in Aalborg are mainly well
Map scale 1:10000 ill.21.1
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Wind rose
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25% S Map scale 1:10000 ill. 22.1Wind conditions for the area
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The macroclimate is an important parameter in relation to the design of a bridge, especially in terms of outdoor spaces. The wind direction and the power of the wind can have a particular impact on the design because the bridge is placed in an open landscape, without shelter from the surroundings. The sun path and the solstice can also influence the organization of the functions on the bridge.
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summer solstice 12
15 240
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equinoxes
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winter solstice 12
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S Map scale 1:10000 ill. 23.1Sun conditions for the area
20 summer solstice//57.5 o
15 10
equinoxes//34
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winter solstice//10.5 o
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north
ill. 23.1Sun heights for the area
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day temp. ill. 23.1Temperatures for Aalborg
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Map scale 1:10000 ill. 24.1 Areas and connection paths of particular interest
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Edges
Walk
The edges of the area are dominated by the fjord, which makes a clear edge. The two industry areas mark edges because they are not open to the public and will appear closed and inaccessible. The height of the industrial buildings creates a tall wall, which underlines the edge feeling.
This is the distance around the harbor fronts measured in walking time. With a connection near the concert hall and straight across the fjord, a loop around the two harbor fronts will amount to a 45minute walk.
Aalborg industry edge
Nørresundby industry edge Harbour front edge Walk line
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ill. 25.1 Depths of the fjord
Fjord depth The depths of the fjord give a clear idea of the direction of the cargo ships. The sail route is closest to the shoreline in Aalborg where the fiord is deepest. On the Nørresundby side, the ships moor near the existing bridge and industry. Towards the northeast, the water level is very low and has the potential of becoming a beach area as ships are not able to pass here, and the land continues gently into the fjord.
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Conclusion The conclusion of the site and context analysis is that there are great differences between Aalborg and Nørresundby when it comes to: Movement: Aalborg is a city that is a destination whereas Nørresundby is a city that is built to move through, a difference clearly shown in the city layouts depicting two roads dividing the city of Nørresundby. Intensity: Aalborg has far more intensity when it comes to the amount of cultural and shopping opportunities. The intensity is low in Nørresundby due
to the fact that a large part of eastern Nørresundby is occupied by industry, which takes up a vast space. This also influences the intensity of traffic flow on the primary streets through Nørresundby. Density: Also greater on the Aalborg side, density is lower in Nørresundby and takes advantage of the city’s southern orientation. To conclude, the potential of these areas and the differences between them can be used to equalize the cities and create a balance between them.
25
LIVING BRIDGE vision 26
The design and organization of the bridge should be perceived as an interaction among diversities registered in its surroundings, as these surroundings define the identity of the area. The bridge itself will contain housing and a creative art related program, based on experience, exhibitions, workshops and related functions. Besides transporting people from one shore to the other the bridge should be seen as a public space, as if a part of both cities had moved on top of the Limfjord.
Since the intent is to make a bridge capable of more than merely connecting Aalborg and Nørresundby in terms of traffic, its relationship to the cities becomes an important factor especially when creating a living bridge. The bridge function should also contribute to the position of the bridge. The criteria for placing the bridge are as follows:
N
+
A: The bridge position should make a meaningful loop for pedestrians and bicycles, while directly connecting cars using the already existing infrastructure in the area.
1
B: The bridge position should work together with the already existing cultural opportunities on the Aalborg harbor front, and connect to an area on the Nørresundby side that could benefit from or relate to cultural activities. According to these two criteria, three possible bridge positions are suggested, as shown in diagram XX.
3 2
Position 1 Nr. 1 suggests that Kjellerupsgade is extended in-between the new House of Music and the new multicentre just next to the house of music. The bridge lands on Nordrehavnegade just in-between Industry north and the Teknisk forvaltning building. What is positive about this position is the straightforward connection, especially for cars. It flows easily through the city, utilizing pre-existing infrastructure. What is negative about this position is the connection to an area of active industry and an office building, neither of which have any relation to the cultural functions on the bridge. The connection also tends to split the cultural area of Aalborg on either side of the road.
position 2 Nr. 2 connects from the end of Stuhrsgade where the road divides the two functions, the culture on the left, and on the right, residences and office planned in the former Østrehavn industrial area. This proposal again lands on Nordrehavngade, taking advantage of pre-existing infrastructure.
ill. 27.1 Possible locations for the new connection across the fjord
The position on the Aalborg side seems more natural in terms of function, and the infrastructure is perhaps better implemented from this position, providing wide, easy access. However, the area on Nørresundby remains unsuitable for the function of the bridge; it will take time before Industry North can transform into a cultural district, as suggested.
What is positive about this position is that the landings can more immediately relate or contribute to the functions on the bridge. The fact that the bridge connects in front of the Teknisk forvaltning building also facilitates a split in the bridge, strengthening the loop connection to the already existing bridges. It also activates a new area on the Nørresundby side, creating an access which will attract people from both sides of the bridge.
Position 3
What is unfortunate about this position is the lack of existing infrastructure for cars at this point on the Nørresundby side. However, the creation of a new road from the bridge landing through the Stigsborg area and up to the Engvej would could solve this problem and be an important development for the long-term development of the Stigsborg area.
Nr. 3 also connects to Stuhrsgade on the Aalborg side, but in Nørresundby it lands in front of the Teknisk forvaltning building, opening the Stigsborg area to future activities and development. The master plan suggests that this area retain its rough and fragmented nature, and that this large free space, together with the nature, could contain leisure and sport facilities, as this could connect well with the cultural activities on the bridge.
The conclusion is that nr. 3 is chosen for as positioning of the bridge.
27
bridge Function 28
The range of activity offered to the public in Aalborg responds to a much broader demand, than that of Nørresundby. Thus Nørresundby is more reliant on Aalborg as the servicing city, especially in terms of cultural offers. What on the other hand is clear, is the absence of useful green areas within the city centre of Aalborg; this is where Stigsborad Brygge becomes useful and attractive, especially be¬ing situated on the sunshine side. To encourage a more diverse use of both cities, moving towards a unified harbor/city area, a program containing an art environment, mixed with housing and public spaces, will work to merge these two areas. The undergoing transformation of Aalborg has already addressed the lack of cultural spaces and dealt with it. The new Nordkraft and the House of Music, in collaboration with the Utzon Centre, will provide a cultural basis for the new public harbor-scene. In order to create a more dynamic city harbor, a proposal for the extension of the cultural scene across the Limfjord and into Nørresundby will work to connect the shores in a loop, activating the area around the bridges, instead of maintaining Aalborg as one, dynamic, and pulsating shore. As merging point or connection, the bridge needs a special atmosphere and environment that is not already present in the city; a place that collaborates with the Utzon Centre and the House of Music, and will attract interest from abroad. A dynamic architectural composition articulating different spatial experiences will enhance the creative art environment and generate this special atmosphere that is thought to infuse the bridge, making it a unique and special place. The chosen functions are grouped and combined according to a hightech and low-tech distribution, influenced by a general understanding of the activity levels of the respective shores. This is done to reflect the differences between Aalborg and Nørresundby. The chosen functions more or less all represent a creative field, professions that become ways of life, and interests generating activity beyond the static 9-16 job. Activity occurs at different hours during all times of day and night. Together with housing and cafes this forms a setup for a living bridge that is alive and publicly accessible 24-7.
ill. 28.1 Collage of the desired artistic atmosphere
29
Relation between functions on the bridge and the room scheme How functions relate to each other and how they share commen space. Creating environments with groups of similar function, gives stronger collaboration between the artist environment, they may benifit using common spaces and generally requires similar setups. But to avoid it being too grouped and too detached environments, things like exhibition space, canteen, workshop etc. are organized to establish a mixed use of the whole bridge. That is the overall intention, to create a active and dynamic society, where public spaces also are used by artist etc.
The bridge contains 22 different programs, organized in smaller groups. Volumes with connection to the ground level in general are of public charector and exhibition spaces, whereas housing, canteen etc. are placed more separated and private zoned environment. Exhibition and workshops are public accessible while housing, canteen etc. are more private areas. Level of activity depends how much the function works influences the bridge public environment. The bridge itself is seen as a exhibition area.
Function Diagram of internal relation. The bridge contains 3 creative zones of workspaces, all semi public, in that sense to obtain a private workspace, but with insight to the public.
Zone 1: Modern electronic workspaces Zone 2: Interior- and architectural design Zone 3: Traditional handcraft workspaces
THE BRIDGE EXHIBITION SPACE RESTAURANTS
ART CAFE
HOUSING
ZONE1
HOTEL KIDS WORKSHOP WORKSHOP
INSTALLATION ART GRAPHIC DESIGN LAB DIGITAL DESIGN COMPUTER LAB
ZONE 2
INTERIOR DESIGN ARCHITECTURAL STUDIO
LECTURE ROOM ADMINISTRATION & SERVICE
30
ZONE 3
MATERIAL SHOP MATERIAL LIBRARY
ill. 30.1 Function diagram. The correlation between the functions.
TEXTILE LAB SCULPTORS STUDIO PAINTERS STUDIO GLASSBLOWERS STUDIO POTTERS STUDIO
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LAB 1 graphic design lab computer lab digital design installations art
LAB 2 textile lab painter’s studio Glas blower potter’s studio sculptor’s studio
design studio’s interior design architectural studio’s
workshop’s Kids workshop workshop
Misc lecture room material library material shop restaurant canteen Art cafe & music EXHIBITION SPACE
accommondation Housing hotel
total area ill. 31.1 Specifications for the functions
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nODEs
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A main node for the infrastructure is the landing just east of the car bridge on the Aalborg side. This node connects pedestrians to the new harbor front in Aalborg. From the bridge landing and on to the Østrehavn area, it can be seen as node with different cultural and sports activities. Aalborg castle, close to the water and the city centre, provides a node for Aalborg. In Nørresundby the harbor front is not open to the public towards east because of the industrial buildings, but further out the open landscape near Teknisk Forvaltning and Stigsborg Brygge has great potential of being turned into good and useful urban environments.
Map scale 1:10000
ill. 32.1 Views from the bridge landings Existing, future and potential nodes
Section line
Landmark in terms of exposure or architecture
Views from Aalborg side
Landmark in terms of height
Views from Nørresundby side
+ 34 meter
32
ill. 32.2 Section of the fjord sectionscale 1:5000
1 tower of Industry north
Landmarks
7 Highrise appartment building
The landmarks in the area are a mix of old, massive industrial buildings, and new buildings on the two harbor fronts. The industrial buildings are landmarks especially in terms of their size, while the new buildings such as the Utzon centre, the concert hall and Teknisk forvaltning, become landmarks because of their architecture and their placement as objects in an open space, visual from both sides of the fjord.
5 The Utzon centre
2 Teknisk forvaltning
6 Tower of Budolfi church in the background the tower of Aalborg 4 House of music
Section Ill. 32.2. Shows a section from the landing before the Teknisk Forvaltning to the land just west to the Ă˜strehavn area. The section gives an indication on where it would be good to open the bridge which probably would be around where the fjord is 13,9 meters deep also in memo of the fjord depth map shown at page 25. The section also shows the height of the buildings in the immediate context that also should have an effect on the bridges design.
3 Ă˜stre Havn
ill. 33.1-33.7 Buildings of interest as seen from the bridge landings.
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33
Serial vision 1
Stuhrsvej In this project, the idea of “serial vision” proposed by Gordon Cullen in his book The Concise Town Scape will be used to analyze the approach to the two landing points of the bridge. The purpose of this analysis is to determine the spatial relationships experienced when approaching the bridge from different angles and in different velocities, revealing the “drama” of a city and how it constantly changes. This knowledge is important to extend and incorporate into the experience of the bridge’s length.
1. This serial vision starts at a traffic light where the car road is slightly turning. The turn functions as a transformation from one room to another.
6
2. The turn is complete and the new room
has a deep perspective, constructed by the volumes flanking the road. There is a prominent sense of direction here. 3. Continuing down the road, a large circular volume in the end comes closer and diminishes the sense of deep perspective. Instead, the room seems slightly more enclosed.
5
4.
The next traffic light is approaching and suddenly the spatial surrounding opens up, presenting a glimpse of the horizon. Even though the two large volumes are distant, they are quite high which introduces a more vertical room. 5. The room opens completely to the left but on the right the vertical wall becomes even more dominating and monumental in scale. 6. A low building remains on the left hand side and seems to define a new, vast room bound by the buildings on the other side of the fjord; they are the main focal points in this expanse.
ill.34.1
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ill.34.1-34.6 Serial vision from Stuhrsvej to the bridge landing in Aalborg
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6 ill.34.6
The journey starts on what is to become a future plaza. The place is wide and open, and all the huge volumes are experienced as a distant background. 2. The Utzon centre in the foreground introduces a contrast to the previous space by narrowing it on the right hand side. On this spot, there is a good sense of depth with the industry in the background, the apartment buildings in the middle, and finally the Utzon centre in front.
1 2
3. Passing the five-story apartment build-
ings, the city room opens wide again. The industry is still a distant wall. On this spot, a multi-purpose building complex with shops, restaurants, apartments, and offices is planned. Further down, a high-rise hotel is planned that obviously will change the spatial appearance of the room.
4.
The wall of industry becomes dominating, and the felling of horizontal space from picture 3 transforms into a strictly vertical room directed by the chimneys.
5. The industry grows to a wall.
3 4
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Traverling trough Stigsborg 1. First point is the wide-open space on
this flat Stigsborg area The only small boundary is the almost silhouette-like background of industry towers and the KMD office building. 2. A small line of trees on a bank implies a boundary and a narrowing in of the room towards west.
1
ill.35.6
ill.35.7
3. The road turns and the room changes to become more open. The turn also changes the background to the lower building of the centre of Aalborg. 4.
The Teknisk forvaltning building introduced on the previous picture suddenly becomes a very dominant horizontal boundary almost pointing into the fjord. 5. Arriving at the fjord, the Teknisk forvaltning building seems to direct a perspective towards the Aalborg side, by cutting off the view of the rest of Nørresundby. The Teknisk forvaltning building, being the only one on this track, makes a remarkable jump in scale from the very flat area of Stigsborg to this four-story wall of a building seen in relation to its context.
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SERIAL VISION 3
1.
SERIAL VISION 2
Aalborg harbour front
MATERIALS
østrehavn The materials on the Aalborg side are all found in Ă˜sterhavn, resembling the industrial character present in this area. The dominating materials are concrete, brick, and different types of metal sheets. Smaller areas are covered with old painted wooden surfaces, and different types of glazing. The only natural element appearing is the ever-changing water element, which partly surrounds the area. Many of these surfaces seem smooth, and when these surfaces cover larger areas a sense of monumentality appears. It is often not a monolithic monumentality, but rather a patchwork of different materialities and volumes combined. All together this creates a space that has the qualities of an industrial areaand the feeling of a man-made, rational space in which things are set into order, and elements are duplicated.
ill.36.1 - 36.18
stigsborg brygge The materials on the Nørresundby side are all taken from the Teknisk Forvaltning building and the former industrial area of Stigsborg. This area is a mixture of raw and eroded materials, covering the traces of old industrial materials, and new materials on the Teknisk forvaltning building. The area is also dominated by a large variety of low vegetation, such as bushes and grasses. In general it seems as if nature has recaptured the former industry area of Stigsborg and turned it into a large horizontal plain of these bushes and trees. Only the old spherical acid tank stands as a statue of industry in contrast to the all-new Teknisk forvaltning building. Beside the Teknisk forvaltning building, the area seems raw and untreated; here the nature rules.
ill.37.1-37.18 Material study from Stigsborg Brygge
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genius loci 38
Stigsborg brygge When arriving to the Stigsborg area coming from the Tekninsk forvaltning building, one gets the feeling of going from the organized city of Nørresundby to the more self grown and fragmented landscape of Stigsborg. The site is entered through a fence which signifies that this area is not a free landscape space. When looking more closely at the site, one soon finds the traces of human activity shown by some regular concrete slabs put into the ground, and different shaped concrete elements spread over the shores at Stigsborg. In general, the Stigsborg area appears to have a certain artificial touch to it. Somehow, the acid factory that once was here has left traces of acid that still affect the soil and thereby also the vegetation, which seems very low and unnatural in comparison with a typical Danish field. The landscape is also unnaturally flat and horizontal; when hills appear they are unmistakably made by an excavator. So the landscape depicts a former industrial area, whose only appearance over ground is an almost statue-like symbol of the old acid factory on the middle of the area. The spirit of the Stigsborg area is also dominated by all the industry that creates a horizontal border for the area. Only towards the centre of Aalborg is the horizon not filled with active or non-active industrial fields. This gives the impression of standing in the only bigger area near the city centre that is not occupied with building mass.
ill. 38.1-38.7 Atmosphere of the Stigsborg Brygge area
østrehavn When arriving at the Ă˜sterhavn Industry area in Aalborg, one experiences going from an ordinary life in Aalborg to another world. The city of Aalborg is falling into the background. Instead this new world appears, a silent world that speaks of activity and intensity that once was. The place expresses a dynamism both in all the different materials put together, and all the traffic connections between small bridges high up in the sky; the vertical scale seems as a rocket taking off. But on the other hand this area tells a completely other story. Because all these expressions of dynamism are so quiet and empty, they become a large static mass of elements that seem frozen in time; they are asleep waiting for a new dawn to arise. Still, the area bears the traces of a life that once was; traces from workers, their schedules, posters, and all the patinated machinery and buildings used by humans from decades ago. The smell of the cow fodder that has been produced in this area still lingers in the air. The only life that is left is the occasional noise of doves cooing inside these huge volumes. Although the clearest sense of this place is perhaps the feeling of human built space, the whole area is like a machine, optimized with flow and connections of all kinds. The buildings are rational in comparison with the functions they contain, and provide a sense of honesty within these Euclidian forms that are spread out over the area.
ill. 39.1-39.7 Atmosphere of the Ă˜strehavn area
39
Bridges typologies
bridge types girder bridge
Description and span The most common and most basic bridge is the girder bridge. In general, a girder bridge is built of girders placed on bridge abutments and foundation piers. The girder structure is normally formed as I-beams or squared box-girders. The box-girder is much better to resist twisting forces than the I-girder, and is also able to span longer distances. 10 - 200m span distance
ill. 40.1
Rigid frame bridge
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In a rigid frame bridge, a solid structure is formed by connecting girders and piers into one system. The shapes vary, but there are three frames that are most common: the V shaped frame, the pi-shaped frame, and the batter post frame.
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ill. 40.2
Arch bridge
Arch bridges work by transferring the weight of the bridge and its loads partially into a horizontal thrust restrained by the abutments at either side. The curved structure provides a high resistance to bending forces. Originally, arch bridges were made of stone while modern types are typically made from steel, reinforced concrete, and/or post-tensioned concrete. 40 - 200m span distance
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Truss bridge
A truss bridge has a structure that is comprised of one or more triangular units constructed with straight, slender members whose ends are connected at joints. The skeletal structure is very simple. In a truss structure, the individual beams are relatively small and straight. The beam structure in a truss can be put in a variety of different ways, depending on the length of the span, aesthetic, or economical reasons. 40 - 400m span distance
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ill. 40.4
cANTILEVER bridge
A simple cantilever span is formed by two cantilevered arms that extend from opposite sides and meet at the centre. The cantilever bridge is a modified form of the truss bridge, the difference being that the cantilever arm is only supported in one end. The structure provides longer spans than the typical beam structure. 50 - 500m span distance
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ill. 40.5
CABLE-STAYED bridge
The cable-stayed bridge consists of one or more columns that normally referrer to towers or pylons. Cables are spanning between the tower and the bridge-deck. The cables may be attached in a radial pattern, extending from several points on the deck to the top of the tower, or in a parallel pattern, in which they are attached to different points on the towers in parallel patterns. 110 - 500m span distance
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ill. 40.6
SUSPENSION bridge
In a suspension structure, the girder or roadway is hanging. The deck is supported by a series of wire ropes that hang from massive cables (draped form), between two towers. By using steel wires, this structure can create the longest spans.
70 - 1500m+ span distance
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load concept Reflection on the static system
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CONCRETE Girder Bridge rder Bridge Girder BridgeWOOD
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STEEL Frame Bridge gidRigid Frame Bridge CONCRETE Rigid Frame Bridge Rigid Rigid Frame Bridge RigidFrame FrameBridge Bridge STONE
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uss Bridge
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The end of the opening part rotates around an endpoint. Similar to the horizontal opening above but with a relative shorter opening part. The horizontal opening gives the opportunity of placing program on top and being on the opening part when operating.
Vertical lifting platform
The opening part moves up and down in a vertical direction. The horizontal platform gives the opportunity of placing program on top and being on the opening part when operating. By placing towers etc. it is possible to cross the bridge when open.
Double-leaf bascules with fixed point in the center
The bascule-leafs are fixed in a center point and opens in the vertical direction. The span of the opening-part is relative long because it is split in two by the fixed center part. The split gives opportunity ships to pass in both directions at the same time on each side of the rotating part. The vertical operation prevent to make a living program on the opening part of the bridge.
Single-leaf bascule opening fixed in the end
The double-leaf bascules are fixed in each end of the opening and opens in the vertical direction. The relative short bascule-leafs operates fast and also have economic advantages. The vertical operation prevent to make a living program in the opening part of the bridge.
Double-leaf bascules fixed in each end
The single-leaf bascule is fixed in one end of the opening and opens in the vertical direction. It is quite similar to the double-leaf bascules with fixed point in the center and has a relative long leaf-bascule. The vertical operation prevent to make a living program in the opening part of the bridge.
Suspension bridge with vertical rotation opening
The suspension opening is fixed in each end of the opening and rotates vertical around a horizontal axis. The vertical operation prevent to make a living program in the opening part of the bridge.
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STEEL WIRES Suspension Bridge pension Bridge Suspension Bridge CONCRETE SLAB uspension Suspension Bridge SuspensionBridge Bridge
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Cable-stayed Bridge le-stayed Bridge CONCRETE SLAB Cable-stayed Bridge Cable-stayed Cable-stayed Bridge Cable-stayedBridge Bridge
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ble-stayed Bridge
The center of the opening-part rotates around a center axis in a horizontal direction. The span of the opening-part is relative long because it is split in two by the rotating center part. The split gives opportunity for ships to pass in both directions at the same time on each side of the rotating part. The horizontal opening gives the opportunity of placing program on top and being on the opening part when operating.
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STEEL Cantiliever bridge ntiliever bridge Cantiliever bridge Cantiliever Cantiliever bridge Cantilieverbridge bridge
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spanspan span span span span
ntiliever bridge
Most structural systems may easily be incorporated in or as a living bridge; some types just seem more obviously or natural than others, if thinking towards a structural system that can define/contain a 3 dimensional space. For instance, regarding the girder or the arch structure it has been quite common to place the program on top of a flat bridge slab. The Pont Au Change in Paris, shows this ill xx. The buildings are placed on top of an arch bridge. So either a platform or a superstructure as the basis layer, and then a living bridge layer on top. If we look at the construction of the cantilevered bridge, it does not seem very obviously where to place/integrate the buildings. Though it could be an option to integrate the building is such a way that is either are fit in the existing structure or added to it, in a way the building becomes part of the static cantilevered system. In other words, the structural is system is integrated in the design. The potential benefit of gathering a structure and program in one system that is designed to resist the dif different loads would create a more unified system or structure, and thus a simpler expression.
sion
te e te n n ncompression ns sios io compression nsionnts sio io tension tension nion tension tenten ten n te te sio nn ns n tension n io sio io s teen ss io io nn tension nn tension t te compression compression compression compression compression compression compression compression compression compression compression compression support support
ten
support support support support support support
description
span spanspan span span span span
support support support support support support
concept
bridge openings
materials
The main focus in this project will be the room acoustics in relation to the creation of a public space. Sound pressure level is measured in decibels [dB]. The frequency of the sound and the reverberation time are some of the parameters that have to be adapted in the design of a good acoustic room. These parameters are dependant on the shape of the room, the materials used, and the amount of sound from the source. An acoustically good room is hard to define. The way the acoustics of a room is Source Source experienced depends on a lot of subjective and individual parameters such as λ λ age, hearing ability, training in listening, and the individual perception of good acoustics. Depending on the function, good acoustics are different as well. Planar sound Planar sound fieldfield
Rooms for speech and music demand different parameters for the audience to enjoy the performance and understand what is said. Even different kinds of music needs different reverberation times for the “real sound” to appear. The parameters the designer has to integrate are: reverberation time in relation to frequencies, speech intelligibility, and the distribution of sound in relation to the function of the room. Reverberation time is defined as the time for the sound to decrease to a level 60dB below its original level. Reverberation time is measured in second [s]. The frequency of sound is determined by the number of sound waves per second. Frequency is measured in Hertz [Hz] where 1 Hz equals 1 oscillation per second. Direction of distribution Sound pressure level Sound pressure level
Acoustics is the understanding of sound and sound waves; their emergence, distribution, and perception. The traditional concerns when dealing with acoustics are room acoustics and noise control. The term acoustics consists of two different parts: building acoustics and room acoustics. Building acoustics deals with sound propagation between rooms, and room acoustics describes how sound behaves in an enclosed space. Typically, room acoustics is related to the quality of sound and how this is experienced by the listener, while building acoustics is more related to noise control and sound insulation.
Direction of distribution
Sound fields
Reflection of sound
Sound pressure level Sound pressure level
λ
6dB 6dB
6dB
r
r
2r
2r
Source Source
4r
4r
6dB
8r
8r Direction of distribution Direction of distribution
Source Source
Source Source Direction of distribution ofofdistribution Direction distribution λ Direction λ
Reflection from a concave surface. Reflection from a concave surface. Planar sound field Planar sound field
Sound pressure level Sound pressure level
Sound pressure level
Spherical sound Spherical sound fieldfield Sound pressure pressure level level Sound
6dB
Direction of distribution Reflection from aDirection linar surface. of distribution Reflection from a linar surface.
ill. 42.1
6dB 6dB 6dB 6dB 6dB 6dB
Source Source
ys ra s d un ray so nd ed u ct so fle ed Re ect fl Re
ys ra s d un ray so nd ed u ct so fle ed Re ect fl Re
6dB 6dB
6dB 6dB r2r 8r 8r8r r 2r2r 4r 4r4r The reflections of the sound in a room are veryr important to theDirection way the sound is perceived by the listener. Different surfaces can Direction of distribution ofofdistribution Direction distribution 6dB λ gather orsound scatter depending on the shape of reflectors. Concave6dBsurfaces λ Spherical Spherical sound field field Spherical sound fieldthe reflections a little bit while others diffuse the reflections gather the reflections, linear surfaces scatter the reflections and the convex surfaces diffuse the reflections.
Source Source Source
r
Source Source Source Spherical sound field Spherical sound fielda smooth surface. Reflection from Reflection from a smooth surface.
r 2r 2r
4r 4r Source Source Source
8r 8r
Direction of distribution Direction of distribution
Reflection from a surface small irregularities Reflection from a surface withwith small irregularities compared wave length. compared withwith the the wave length.
Source Source
Reflection Reflection fromfrom afrom concave aaconcave surface. surface. Reflection concave surface.
Re
6dB 6dB 6dB
In ci Inden cid t ensou t s nd ou r a
λλ
λ
6dB
Sound In pressure level ci Sound level Indpressure e cidnt ensou t s nd ou r ndays ra ys
λ
Source Source
Sound pressure level In ci Sound pressure pressure level level Inden Sound cid t ensou t s nd ou r ndays ra ys
Sound is defined as vibration of the molecules in the air that can be detected by the human ear. Sound pressure is measured in decibels, and the sound pressure for audible sound ranges between 0 – 130 dB. The distribution of the sound makes up a sound field. There are two types of sound fields to be considered: the spherical soundSource field and the linear sound field. Source Source The spherical sound field occurs when a point-formed sound source emits sound λ λλ energy evenly in all directions. The sound pressure in this sound field decreases 6dB every time the distance to the source is doubled. The other sound field is the Planar Planar sound sound field field Planar sound field planar sound field, which is experienced far from the sound source. At this distance from the source, the curve of the wave fronts are so small that they can be seen as plane. The sound pressure of Source Source Source the planar sound field is not decreasing the same way as the spherical, but is the same all over the sound field.
Reflecti Reflection compar compared
Source Source
Reflection Reflection fromfrom afrom linar aalinar surface. Reflection linarsurface. surface.
Reflection Reflection fromfrom afrom convex aaconvex surface. surface. Reflection convex surface.
Source Source
ra ys dd ra ra ys ys
nd
Behind barrier sound level is low. Behind the the barrier the the sound level is low.
Reflection from a linar surface. Reflection from a linar surface.
d
t eccte eflfle RRe cte fle
Re
t eccte eflfle RRe cte fle
ra nd ys d ra ra ys ys
Reflection from a concave surface. Reflection from a concave surface.
Re
ra nd ys d ra ra ys ys
ill. 42.2
nd
acoustics
This chapter introduces acoustics as a term, and some important parameters in relation to designing a good acoustical room.
Re
RR fle efleefle ct ctc
Refl
Sound pressure Sound pressure l
位 位 Source
Source Source
6dB6dB 6dB6dB
Source
Source
Source Source r r 2r 2r
Source Source
4r 4r
8r 8r
Direction of of distribution The reflections are also dependant on the surface treatment of the reflector. If the irregularities on the surface are small in relation Direction distribution Spherical sound field Spherical sound to the wavelength, the reflections will behave as withReflection aReflection smooth If the irregularities on the surface are comparable to the Reflection Reflection Reflection from from from afield concave aaconcave concave surface. surface. surface. Reflection from from from asurface. linar aalinar linar surface. surface. surface. Reflection Reflection Reflection from from from a convex aaconvex convex surface. surface. surface. wavelength the reflections will behave as if the surface is made from many planes.
Re RRee fle flflee cte cctete d s ddss ou oouu nd nndd ray rarayy Re s ss fle cte R R Reflection from a convex surface. d eflefl Reflection from a convex surface. s ou ecec nd te te d sd s ray ouou s ndnd rayray Reflection Reflection Reflection from from from a surface aasurface surface with with with bigbig big irregularities irregularities irregularities ss compared compared compared with with with thethe the wave wave wave length. length. length.
In In Incid c cide In IInn ide ennt csid ccid nt t souen ide s ennt ou oundt s t sso nd nd roa u n ouun r y ra s d ndd ays r ys a ys rra ayys s
Reflection Reflection Reflection from from from a surface aasurface surface with with with small small small irregularities irregularities irregularities compared compared compared with with with thethe the wave wave wave length. length. length.
Reflection from a surface with small irregularities compared with the wave length. Reflection Reflectionfrom froma surface a surfacewith withsmall smallirregularities irregularities compared comparedwith withthe thewave wavelength. length.
ys ras d ay und r soun edso ct d flecte Refle Re
ys ras d ay und r soun edso ct d flecte Refle Re
In In cid cid en en t s t s ou ou nd nd ra ra ys ys
Reflection from a linar surface. Reflection from a linar surface.
Reflection Reflectionfrom froma convex a convexsurface. surface.
Shadow formation
Reflection from a surface with big irregularities R compared with the wave length. eflReefl Reflection Reflectionfrom froma surface a surfacewith withbig bigirregularities irregularities cteec dtesd compared comparedwith withthe thewave wavelength. length. ouso ndun radyr says
In In cid cid en en t s t s ou ou nd nd ra ra ys ys
Reflection from a smooth surface.
ill.Reflection 43.1 Reflectionfrom froma smooth a smoothsurface. surface.
In In Incid c cide In IInn ide ennt csid ccid nt t souen ide s ennt ou oundt s t sso nd nd roa u ouun r raysnd ndd ays ys ra ys rra ayys s
In In Incid ci cide In IInnc den ennt csid ciidd t e t sou n een so t ound s ntt s un nd roa u soou d raysnd unn ray ys ra dd ra s ys ray yss
Reflection Reflection Reflection from from from a smooth aasmooth smooth surface. surface. surface.
Source Source Reflection from a convex surface.
Reflection Reflectionfrom froma linar a linarsurface. surface.
yss ray ys dd ra s ys ra unn ray ra s d d ray soou d un ds n und so teed ou soun ed ecct d s ed so ct eflfle te cted fle RReflec flect Re Refle Re Re
s ayys rra ys ys ra ndd ays ra s d ouun r d ray un sso nd und so edd u soun d ctte so te fleec d ed so e c cted RReeflect fle flect fl Re Refle Re Re
Reflection from a concave surface. Reflection from a concave surface.
Source Source Reflection from a linar surface.
In In cid cid en en t s t s ou ou nd nd ra ra ys ys
Source Reflection from a concave surface. Source Reflection Reflectionfrom froma concave a concavesurface. surface.
Source Source Source Reflection from a smooth surface. Reflection from a smooth surface. Source Source Source Behind Behind Behind thethe the barrier barrier barrier thethe the sound sound sound level level level is low. isislow. low.
Behind the barrier the sound level is low.
A barrier in a room can screen the sound and create a azone with asmall low sound level Reflection from surface with small irregularities Reflection from a surface with irregularities with the wave length. oncompared the other side, because compared with the wave length. the sound is kept out. This effect is often not wanted in a room because the evenly distributed sound is significant for the way a room is experienced.
Reflection from a surface with bigbig irregularities Reflection from a surface with irregularities compared with the wave length. compared with the wave length.
Behind Behindthe thebarrier barrierthe thesound soundlevel levelis islow. low.
ill. 43.2
Source Source
Source Source Source
Source Source Source Receiver Receiver Receiver Source Behind the barrier the sound level is low. Behind the barrier the sound level is low. Receiver Source Source TheThe The difference difference difference between between between direct direct direct andand and reflected reflected reflected sound sound sound Receiver Receiver should should should maximum maximum maximum be be 50 be50 ms 50ms ms = (340 ==(340 (340 m/sm/s m/s x 0.05sek) xx0.05sek) 0.05sek) = 17m ==17m 17m The difference between direct and reflected sound should maximum be 50 ms The The difference betweendirect andreflected reflectedsound sound =difference (340 m/s xbetween 0.05sek) = direct 17mand should shouldmaximum maximumbebe5050ms ms = =(340 (340m/s m/sx 0.05sek) x 0.05sek)= =17m 17m Source Source Receiver Receiver Source Source Source
ill. 43.3
Receivers Receivers Receivers Source The difference between direct and reflected sound The difference between direct and reflected sound should maximum bebe 5050 msms Source Source should maximum = (340 m/s x 0.05sek) = 17m Receivers = (340 m/s x 0.05sek) = 17m Example Example Example of aof ofbad aabad bad solution. solution. solution. TheThe The direct direct direct sound sound sound Receivers is not isisnot not optimal optimal optimal forfor the forthe the recievers recievers recievers farReceivers far behind. farbehind. behind.
Example of a bad solution. The direct sound is not optimal for the recievers far behind. Example Exampleofofa bad a badsolution. solution. The Thedirect directsound sound is isnot not optimal optimalforforthe therecievers recieversfarfarbehind. behind. Source Source Receivers Receivers
Example of of a bad solution. The direct sound Example a bad solution. The direct sound is not optimal forfor the recievers farfar behind. is not optimal the recievers behind. Shape: Shape: Shape: Shoe Shoe Shoe box. box. box. Good Good Good lateral lateral lateral energy, energy, energy,
ill. 43.4 butbut but audience audience audience further further further away away away onon average. onaverage. average. Shape: Shoe box. Good lateral energy, Shape: Shape: Shoe Shoebox. box. but audience further away on average. Good Goodlateral lateralenergy, energy, but butaudience audiencefurther furtheraway awayononaverage. average.
prevention of echoes
Receiver Receiver SourceReceiver Source Source Receiver Rectangular Rectangular Rectangular rooms rooms rooms often often often hashas has problems problems problems with with with echo. echo. echo. Receiver Receiver Rectangular rooms often has problems with echo. Rectangular Rectangular rooms roomsoften oftenhas hasproblems problemswith withecho. echo. Source Source
Receiver Source Source SourceReceiver Receivers Receivers Receivers
To prevent echoes it is important that the difference between the direct and the reflected sound is less then 50ms or 17m. This can be done be shaping the room in the right way and using materials to absorb the sound waves in troubled areas. Long rooms can be hard to create in a way where the echoes do not exist because of the distance to the rear wall/the reflectors in relation to the length of the direct sound.
Source rooms Rectangular often has problems with echo. Rectangular rooms often has problems with echo. Source Source Receivers TheThe The direct direct direct sound sound sound should should should be be able beable able to reach to toreach reach thethe the receiver receiver receiver Receivers Receivers without without without screening screening screening from from from others others others The direct sound should be able to reach the receiver without screening from others The Thedirect directsound soundshould shouldbebeable abletotoreach reachthe thereceiver receiver without withoutscreening screeningfrom fromothers others Source Source Receivers Receivers
The direct sound should bebe able toto reach the receiver The direct sound should able reach the receiver without screening from others without screening from others Shape: Shape: Shape: Fan. Fan. Fan. Good Good Good sight sight sight lines, lines, lines, audience audience audience closer closer closer butbut but poor poor poor lateral lateral lateral energy. energy. energy. Shape: Fan. Good sight lines, audience closer Shape: Shape: Fan. Fan.lateral energy. but poor Good Goodsight sightlines, lines,audience audiencecloser closer but butpoor poorlateral lateralenergy. energy.
Sound distribution The organization of the receivers in a room is related to the position of the sound source. For the receivers to get the right amount of sound they have to be organized in a way where they do not screen for each other. This can be solved be placing the sound source high in the room or creating a surface that is sloping upward for the receivers.
43
Example of a bad solution. The direct sound Receivers Example offor bad solution. The direct sound sound is not optimal the recievers far behind. Receivers Example aa bad solution. direct Example of aofbad solution. TheThe direct sound is not not optimal optimal for for the recievers recievers far behind. behind. is is not optimal forReceiver thethe recievers far far behind. Source
Source Receiver
Example of a bad solution. The direct sound Example of a bad solution. The direct sound is not optimal for the recievers far Receivers behind. Rectangular often problems with echo. is not optimal for therooms recievers far has behind.
The difference between direct and reflected sound Room shape should maximum be 50 ms
The direct sound should be able to reach the receiver Receivers The direct direct sound should beReceivers able to to reach reach the the receiver receiver without screening from others sound should be able TheThe direct sound should be able to reach the receiver without screening screening from from others others without without screening from others Source The direct sound should be able to reach the receiver The direct sound should be able toReceivers reach the receiver without screening from others without screening from others
= (340 m/s x 0.05sek) = 17m
The shape of a room can be determined by analyzing the reflections and sound distribution in different spaces. The main task is to ensure an even distribution of the sound and avoid Source echoes. Receivers
Shape: Fan. Good sight lines, audience closer but poor lateral energy.
Shape: Horse shoe. Shape: Horse shoe. Poor reflection pattern Shape: Horse shoe. Shape: Horse shoe. Poor reflection pattern and potential focussing problems. Poor reflection pattern Poor reflection pattern and potential potential focussing focussing problems. problems. andand potential focussing problems.
Shape: Hexagon. Shape: Hexagon. Hexagon. Compromise. Visual advantage of fan Shape: Shape: Hexagon. Compromise. Visual advantage advantage ofsplay. fan and acousticalVisual advantage of reverse Compromise. Visual of fan Compromise. advantage of fan and acoustical acoustical advantage advantage of of reverse reverse splay. splay. andand acoustical advantage of reverse splay.
Shape: Horse shoe. Shape: Horse shoe. Poor Shape: reflection Fan.pattern
andSource potential focussing problems. but poor lateral energy. Source Source Source Shape: Horse shoe. Receivers Poor reflection pattern Receivers Receivers Receivers and potential focussing problems. Source Source This example shows reflectors being used to This example example showssound. reflectors being being used used to optimize the reflected shows reflectors ThisThis example shows reflectors being used to to Receivers optimize the the reflected reflected sound. sound. optimize optimize the reflected sound. Receivers
Source This example shows reflectors being used to This example shows reflectors being used to optimize the reflected sound. Receivers optimize the reflected sound.
Shape: Hexagon. Shape: Hexagon. Compromise. Visual advantage of fan Compromise. Visual advantage of fan and acoustical advantage of reverse splay. and acoustical advantage of reverse splay. Shape: Hexagon. Source Visual advantage ofReceivers Compromise. fan Receivers Source advantage of reverse andSource acoustical splay. Receivers Receivers Source This example shows the ceiling being formed to This example example showssound. the ceiling ceiling being being formed formed to to optimize the reflected shows ThisThis example shows thethe ceilingReceivers being formed to optimize the the reflected reflected sound. sound. Source optimize optimize the reflected sound. Receivers Source This example shows the ceiling being formed to This example shows the ceiling being formed to optimize the reflected sound. optimize the reflected sound. Receivers Source
Shape: Hexagon. Compromise. Visual advantage of fan Thisand example shows reflectorsof being used to acoustical advantage reverse splay. 44.2 optimize the reflected sound.
ReR fleefl Re Re cet c fl fl edte ReReect ect flefle ed ed sdos uonu ctct so so so eded u u dnd un sosond nd d unun dd
ill.
Source
Transmitted sound Transmitted sound sound Transmitted Transmitted sound Receivers Transmitted sound Transmitted sound
Sound transmission Sound transmission transmission Sound Sound transmission This example shows the ceiling being formed to optimize the reflected sound. Transmitted sound
Re fle ct ed
Sound transmission Sound transmission
Sound transmission
cid
In
When a sound wave hits a surface, some sound is shows reflected, some is This example reflectors being used to optimize the reflected absorbed, and some sound. is transmitted through the material. Depending on the chosen material, different frequencies are reflected and absorbed. Materials can be divided into three groups of absorbers, each of which has different qualities regarding the absorption of frequencies. This information can be used in the development of a room in relation to the calculation of the reverberation time.
Shape: Fan. Shape: Fan. Good sight lines, audience closer Good sight lines, audience closer but poor lateral energy. but poor lateral energy.
Shape: Shoe box. Good lateral energy, but audience further away on average.
dd unun sodso d nd nutnnt un nd d ou seoe so ou un ts citdid t t s so en IneInnc en enent cid cid ncid In cid id I In Inc
Receivers
Shape: Fan. Shape: Fan. Good sight lines, audience closer Shape: Shape: Fan.Fan. Good sight lines, lines, audience audience closer closer butGood poor lateral sight Good sight lines,energy. audience closer but poor lateral energy. energy. poor lateral butbut poor lateral energy.
In
Source Absorbtion coefficient
Source Shape: Shoe box. Shape: Shoe box. Good lateral energy, Shape: Shoe Shape: Shoe box.box. Receivers Good lateral energy, butGood audience further away on average. lateral energy, Good lateral energy, but audience further away away on average. average. audience further butbut audience further away on on average.
Poor reflection pattern ill. 44.1 and potential focussing problems. Good sight lines, audience closer
Reflectors
The amount of reflections should be highest for the receivers that are placed furthest away from the sound source, because the sound loses power by the distance, In order for the sound level to be even in the room, this has to be done. The reflectors used to do this can be created by plates high in the Horse shoe. room orShape: by shaping the entire ceiling to Poor reflection pattern reflect sound waves. and potential focussing problems.
The direct sound should be able to reach the receiver without screening from others
Shape: Shoe box. Shape: Shoe box. direct sound should be able to reach the receiver GoodThe lateral energy, Good lateral energy, without screening from but audience further away onothers average. but audience further away on average.
Example of a bad solution. The direct sound is not optimal for the recievers far behind.
Shape: Shoe box. Good lateral energy, but audience further away on average.
Example of a bad solution. The direct sound is not optimal for the recievers far behind.
absorption coefficient absorption coefficient coefficient absorption absorption coefficient
absorption coefficient absorption low pitch midcoefficient range high pitch low pitch mid range high pitch
mid range low low pitchpitch mid range highhigh pitchpitch Porous absorbers Porous absorbers Porous absorbers Porous absorbers
absorption coefficient
low pitch mid range high pitch low pitch mid range high pitch
Porous absorbers Porous absorbers
absorption absorp absorp absorption absorption coefficient absorption coefficient coefficient absorption absorption coefficient
absorption absorption c low pitch mid range high pitch low pitch mid mid range high high pitch absorption coefficient low range low pitchpitch mid coefficient range high pitchpitch Membrane absorbers absorption
Membrane absorbers Membrane absorbers Membrane absorbers
low pitch mid range high pitch low pitch mid range high pitch
absorption coefficient
Membrane absorbers Membrane absorbers
low pitch mid
Resonanc
absorption coefficient
nd
ct ed
so u
absorption coefficient absorption coefficient
low pitch mid range high pitch
low pitch mid range high pitch
low pitch mid range high pitch
Porous absorbers
Membrane absorbers
Resonance absorbers
ill. 44.4
Resonance Resonance
low pitch mid range high pitch
fle
44
low pitch mid ra low pitch mid ran
Membrane absorbers
Re
Sound transmission
Resona Resona Resonanc absorption
low pitch mid range high pitch
d
Transmitted sound
low pitch mid r low pitch m m low low pitchpitch mid r Resonanc
Porous absorbers
n ou
ts en
ill. 44.3
This example shows the ceiling being formed to optimize the reflected sound.
45
? ill. 46.1
46
The master vision for Aalborg and Nør¬resundby as two connecting cities calls for development along the two harbor fronts, generating a greater interaction between the two cities, and enforcing the loop idea as proposed in the master vision. The areas where the bridge lands will be developed in order to attract people from one city to another. The challenge for this bridge to be the mediator that diminishes the differences and inequalities that creates such a large gap between the cities, as shown in the analysis. The generator for the problem of this project is how to create this link and make a natural flow from Nørresundby to Aalborg and back again; a flow of traffic, function and atmosphere that helps to equalize differences and create exchanges between Aalborg and Nørresunby. Mixing a different creative environment with a sequence of continuously chang-
ing spaces referring the serial vision, collaborating with the choice of materials and surfaces, will give the bridge a needed identity. This underlines the importance of associating a place with a special identity or atmosphere, as those shown in the genius loci chapter. This problem involves: -The physical aspects of how to create a good connection involving pedestrians, bicycles, and cars, and how these are separated. - How to make a living bridge that physically and mentally reflects the identity of Stigsborg and Industry North as well as the identity of Østrehavn, and how these identities interact with each other -How to create a living bridge that combines the functional extension of the cul-
tural area of Aalborg with the functional extension of the green area from the Nørresundby Stigsborg area. These primary functions should be combined with secondary functions that create a bridge that is active 24/7. The bridge should invite future additions, permanent as well as temporary, in order to ensure vitality and development on a long-term basis. - How the bridge incorporates the tectonic approach that focuses on the combination of reason for construction and function, with the aesthetic that transforms the pure construction and function so it obtains the atmosphere required for this specific context and this function. Above-mentioned result in the following problem:
? How can a REAL living bridge be integrated into Aalborg/Nørresundby in terms of logistic, spatial, atmospheric, and functional aspects? And how can this integration resolve in a project that combines reason with art, which characterizes a tectonic design. 47
Design parameters
In this chapter the analysis will be transformed into diagrams which will function as the design parameters for the bridge. These diagram somehow sum up the essence of the analysis.
Overall scale This diagram shows an initial relationship to the heights of the surrounding context, and how the bridge should be shaped in general.
Overall Scale
ill. 48.1
Direction of volume Volumes on the bridge are introduced and oriented to the surrounding context; the vertical volumes appear on Østrehavn, whereas the horizontal volumes are related to the Stigsborg area. This diagram is also introducing an interaction between the twotypes of volumes shown in the square.
ill. 48.2
Human scale The volumes are lower at the bridge landings in recognition of the human scale. This adjustment also reflects the wish to concentrate the amount of built space and the intensity of cultural activities on the middle of the bridge. Furthermore, it is also the intention that this very vertical space will function as the primary opening in the bridge for large vessels, and thereby frame an entrance.
Human scale
Human scale
ill. 48.3
Bridge system An important parameter in the design of the bridge is that it should have a structure relating both to the rigid, repetitive, and machine-like nature of the Østrehavn area, and the fragmented, organic, and self-grown area of Stigsborg. Most importantly, this structure should facilitate an interaction between the two systems.
ill. 48.4
Function relations The Stigsborg and Østrehavn areas should be reflected in how the functions are placed; nature based functions towards Sitgsborg, and machine based functions towards Østrehavn.
Functions relating to: NATURE ill. 48.5
48
Nørresundby
Function crossover
Aalborg Functions relating to: CITY Aalborg
Different flow
views
Bridge split
The bridge design relates to the different flows on the bridge. Cars should have a smooth and straight path over the fjord, bikes can turn along the bridge experiencing different views over the surrounding area, and pedestrians can take many turns, undisturbed by the other flows. Pedestrians can choose from multiple paths. This improves the spatial feeling of moving though space, and creates exciting passages. The design of the flow should relate to the already existing infrastructure and the spatial impact of these flows.
Along the bridge different views to the context should be revealed or framed in order to allow views to some of the interesting areas in the surrounding.
Because of the bridge landing just in front of the Tekniskforvaltning building the bridge should split in two in order to facilitate a good flow and connection both to the area east and west of the tekniskforvaltning building.
Nørresundby
Nørresundby
Nørresundby
B : to orth ew N Vi try s du
In
: to rg ew sbo i V ig St
View to: Aalborg portland
Aalborg
A
ill. 49.1
V Øs iew tre to ha : vn
Ho
V us iew e of to: m us ic
View to: Aalborg city
Aalborg
Aalborg ill. 49.2
ill. 49.3
Traffic Since the bridge operates with multiple types of traffic, it is important to separate the pedestrians and bikes from the cars in terms of noise. The cars can however remain partly visible. This is primarily done to ensure a pleasant environment for pedestrians and bicycles.
Difference in level
ill. 49.4
Design for Cars
min. 5.45 meters
According to Neufert, the slope for cars should not exceed 5 %, and the minimum road lane width for traffic going in both directions is set to 5.45 meters.
ill. 49.5
max. 5 % slope
49
50
During the design process, different topics are developed simultaneously. The following paragraphs divide into two main phases – concept development and concept detailing - although the topics in each phase affect each other. The concept detailing has been subdivided according to theme, scale and level of detailing. This phase is where the main attention of the process will be. ill. 66.1
51
initial sketching 52
ill. 52.1 This shape has taken inspiration from the sails of the boats on the fjord.
ill. 52.2 The old living bridges, as in Venice and Florence, has inspired this shape, where different buildings are combined, each with its own support.
The analysis, the vision, and the design parameters are starting points for the concept development of the bridge. The sketch phase begins by sketching with no other limitations than the above mentioned. These sketches relate to the design parameters in various ways and present different opinions on how a living bridge could look in the context of Aalborg and Nørresundby. These proposals are discussed according to the vision for both the masterplan and the bridge, refined, and turned in to two main concepts. These two concepts deal with an repetitive system and with landscape architecture respectively.and explore different issues of creating a living bridge. ill. 52.3 The surface of the volumes is semitransparent for the indoor activities to be reflected in the outdoor spaces and vice versa.
ill. 52.6 Dynamic building shapes create experiences while crossing the fjord. The possibility to choose from an indoor or an outdoor path.
ill. 52.4 The two landings are used as an attraction to invite citizens from both sides onto the bridge.
ill. 52.5 Creating covered space by using the different levels in the bridge. Continuing the urban spaces onto the fjord.
ill. 52.7 The shape of the bridge reflects the shape of the fjord bottom.
ill. 52.10 Framing elements are used to guide the user in certain directions. Intensifying the views between the plates.
ill. 52.8 Wires enclose a space. Can be used for both internal and outdoor spaces.
ill. 52.9 A clear separation between the different users of the bridge, but maintaining the same mode of expression.
ill. 52.11 Elements from the surrounding industry are used as the structural system.
ill. 52.12 Reflecting the movement in the surface of the water. A simple structure underlines the line of the movement.
Concept 1 deals with an additive system where one shape, columns or plates, is repeated across the fjord and creates space in different ways. The main qualities seen in this design proposal are; the relation to the industrial context on both sides of the fjord in terms of hapes, the framing of the opening, and the flexibility in relation to the human scale and the organization of building volumes within a grid of columns or distances between plates. ill. 53.1 Model of groups of columns defining volumes by the different heights of the group.
ill. 53.2-53.3 Sketch model of a way to cutout spaces in the plates. The plates frame rooms and define shapes, sizes and movements. The squared cutout relates to the shape of the plates, whereas the triangular cutout breaks the clear lines and creates a more dynamic movement. Different zones on the bridge are defined by sizes of rooms; when moving from one function to the next, the room height or width is changing to indicate a new space.
ill. 53.4
ill. 53.5
ill. 53.6
ill. 55.4 Model of columns organized on the fjord to reflect the industrial buildings in the context. The columns are grouped and these cut in different heights, to express building volumes.
ill. 55.5 Plates are used in an additive system in relation to the context. The heights of the elements are increasing towards the bridge opening to intensify this and, close to the mainland the building heights correspond to the lower volumes on land.
ill. 55.6 Model of the elements combined on the bridge. The main element is the columns which define the direction, next is the bridge slab (pedestrian path) and finally the volumes witch are placed in the column grid.
53
Concept 2
Concept 2 is a landscape architecture where the building is creating shelter for the indoor activities and the exterior is an interpretation of a landscape for urban public spaces. The reference for this concept is found in the green areas of Nørresundby from which the idea of the landscape is extracted. The landscape goes through a geometric interpretation to distance it from the actual landscape in Nørresundby. Qualities found in this model are; the activities in different layers, indoor spaces reflected in the outdoor spaces, continuous indoor spaces, and the complexity of the shape.
ill. 54.4
ill. 54.1 The Yokohama ferry terminal is an artificial landscape in relation to water where service functions are inside, and the rooftop serves as an extension to the urban space. Different use of materials defines areas for rest and pathway.
ill. 54.3 Reference from SHoP architects where an artificial landscape is built into a natural landscape, redesfining the sequences of the area while being true to the nature.
Ill. 54.5 shows the surface of the building is used as a public space, where the angling of the plates defines different paths on the rooftop and becomes an extension to the city.
ill. 54.5
Ill. 54.4 shows a soft version of a geometrical landscape. The inner space is reflected in the outer shape. This helps the reading of the volume. The inner surface also becomes the outer, thus facilitating outdoor activities and staying, as an urban landscape.
ill. 54.6
54
Ill. 54.7- 54.8 shows the shell creates a cave-like atmosphere in the spaces. The plates can be different materials to allow daylight in the workshops and exhibitions spaces. The effect of the sunlight on the internal surfaces relates to the shapes of the wall elements.
summary
ill. 54.7
Ill. 54.6 shows a triangular shaped volume contains the workshops and exhibitions, and when moving from one zone to the next, the volumes stop and an open outdoor space makes it clear that a new function starts.
ill. 54.2 An internal space from SHoP architects where the geometric shapes generate seating on one side of the room and a continuous path through the volume on another.
ill. 54.8
In relation to the vision for the bridge the two concepts are discussed and it is chosen to develop the first concept further, because this is where the greatest potential in realizing the vision is seen. The mode of expression in Concept 1 relates in an easily understandable way to the context, while still bringing a new dimension to the area. Ideas from the second concept are integrated to a lesser extent with a high awareness of maintaining the qualities and simplicity of the additive system and not overruling these. The landscape is primarily incorporated when entering the bridge from Nørresundby.
Parallel to the development of the two concepts, the overall plan of the bridge is developed. Different shapes relating to views and the movement of pedestrians are generated. These parameters are important for the experience of crossing the fjord, and are a high priority for the project. Implementing an appropriate car connection dictates certain limitations according to curvature and changes in direction for the overall shape. Thus, pedestrian and cars should either follow the same simple plan or be separated in order to keep the possibility of a fragmented, freely moving path for pedestrians that emphesizes views and a more interesting crossing path than a straight connection. Both concepts organize pedestrian and car flows closer together, so to separate them works in a different direction. To incorporate experience and views without changing the direction of the bridge, it is chosen to create these with the composition of volumes on the bridge. In this way, pedestrians and cars can follow the same path.
ill. 55.1-55.2 Sketches of different simple connections are made and discussed in accordance to the vision, the idea of the loop, and their relation to the context. A straight line and two arc shaped bridges are discussed.
The straight line
The first arc
The second arc
ill. 55.3
ill. 55.4
ill. 55.5
Ill. 55.3 Shows the straight line becomes too straight a connection, going from a to b, when looking at the plan with the surroundings because it is connecting two locations which are not directly opposite each other according to the fjord, and the straight line is angled in no relation the existing bridge.
Ill. 55.4 Shows the first arc shape is curving towards the east where the fjord is breaking into another direction. This means that the bridge is relating more to the next part of the fjord instead of to the city and the loop. This shape is however creating a movement across the fjord which is seen as a quality, because one will experience the bridge differently when passing on the harbourfronts compared to the actual bridge.
Ill. 55.5 Shows the second arc is relating to the existing bridge because it is crossing the fjord more in the same direction as the Limfjords bridge when seen on a plan. This shape also interacts with the city and the space between the bridges because it is curving towards these instead of dragging itself away from the activities. The quality of the movement from the first arc shape is also found in this shape, which in relation to the other qualities is why this shape is chosen for the third connection between Aalborg and Nørresundby.
ill. 55.6 N
Final shape The car bridge is located on the eastern side of the bridge to keep traffic on the outside of the loop path and have pedestrian path undisturbed by cars. The space between the new bridge and Limfjordsbroen defines an area of particular interest, and is better preserved by placing the cars on the east. Also, placing cars to the east tells thatthey are more expedient. Finally, this side provides the shortest distance from a to b which is the way
the car traffic is planned. The connection to the mainland is further developed in the chapter about the landings on page 70. The plan is not overruling the functions and the volumes on the bridge in terms of expression, but underlining the simplicity of the design by allowing the functions and the volumes to stand out as the main attraction. The pedestrian bridge and the car bridge follow the same arc shape across the water so they read as one bridge.
55
Concept development 56
The concept of a column and module based 2d grid system covering the entire bridge is chosen because several qualities are found interesting. One of the main arguments is that the concept, with its cubic, functionalistic shaped volumes, fits well into the context of Aalborg. The concept reflects the skyline, the building typology, and the verticality of the surrounding areas. The concept also allows the functions to be placed in a flexible way both for indoor and outdoor spaces with experimental spatial qualities. However, the shapes and organization of the buildings in the first design proposal do not correspond with the vision and the design parameters described on page 48. As a result, the shapes develop further through physical and computer models to create a mode of expression relating to both the simplicity of the system and the context, and to fulfill the vision. To reshape the buildings in the concept model, different references are used. The grid-work of Peter Eisenman and Steven Holl, the cube studies of Sol Lewitt, and the project of the AA diploma student, Max von Werz: “Open Source Fabric,” inspire this development. Similar to the analysis of Max von Werz, the study involved five phases: the grid, the catalogue, “Democratic Paralysis”, typologies and reinterpretation. The democratic paralysis is a point in the process one reaches after the development of the catalogue. At this point all the shapes are equal and there is no hierarchy in the selection. This is why the typology study is made. The grid is developed in the sketching phase, which means that the next step is to create the catalogue of shapes.
ill. 56.4 Steven Holl
ill. 56.1 Max von Werz
ill. 56.2 House VI by Peter Eisenman
ill. 56.3 House VI by Peter Eisenman
ill. 56.5 Sol lewitt
typology catalogue The first initial step in this phase was to generate a shape system based on a quadrangle planning grid with columns. A catalogue (ill.57.1) of shapes based on numerous horizontal combinations of one to seven cubes relating to the grid was created and the democratic paralysis point is reached. The functions on the bridge are simultaneously divided into seven groups to which generated series of shapes are associated. The seven groups are; the void, the public, the private, the service, the education, and the profession. Volumes are connected to a function based on size and intended use of spaces. To reduce the number of combinations rules for the formation of each shape are needed.
57 ill. 57.1 Catalogue of the generated shapes
Tracing shapes
organizing the typology catalouge N
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In order to relate the shapes to the context and narrow down the combinations of shapes in the catalogue, a typology study is made. By studying maps of the industrial areas in both Aalborg and Nørresundby different building typologies are investigated. The idea behind this study is to reveal similarities between the generated cubic shapes and shapes found in the earlier typology study. To simplify the above-mentioned catalogue, 13 shapes relating to the typologies are chosen (ill. 59.1). These are organized according to different qualities and related to one or more functions on the bridge. The qualities of the chosen shapes are suitable both for the inside and outside spaces and according to the function a specific shape is containing.
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ill. 58.1 Typology study of the context
58
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COMPONENTS:
2 3 4 5
QUALITIES:
ASSIGNED FUNCTIONS:
1 additive; adaptive lifting volume
ENTRANCE ADMINISTRATION ZONE 3*
2 additive; adaptive; lifting volume
HOUSING MATIERIAL SHOP ZONE 3* LECTURE ROOM
3 outdoor space; protective
ART CAFE ZONE 3*
4 protective; linear
HOUSING EXHIBITION SPACE
5 outdoor space; protective
N/A
6 volume; small outdoor spaces
N/A
7 outdoor space; protective; linear; movement
HOUSING
90
180
270
horizontal
6 7 8
ill. 59.1 13 shapes generated from the catalogue and the context studies
8 volume+linear; outdoor space; movement
INSTALLATION ART DIGITAL DESIGN COMPUTER LAB GRAPHIC DESIGN ARCHITECTURE INTERIOR DESIGN
9 protective; linear
HOUSING
10 outdoor space; collective
HOUSING KIDS’ WORKSHOP
11 volume; outdoor space
CANTEEN SUPERMARKET LIBRARIES
12 volume; outdoor space
CANTEEN SUPERMARKET
13 linear; collecting; small outdoor spaces; contracts+expands
HOUSING WORKSHOPS EXHIBITION
*ZONE 3 contains: TEXTILE LAB
59
Aesthetic development
Concept level two The next step introduces a separate volume study based purely on spatial and aesthetic qualities relating to building shapes and the sense of the spaces. The cube system is approached with less devotion, and some more individual character is added in cooperation with the studies of typology. This gives a wider perspective of possibilities for building development. The shapes are still based on a cube system, but this extra individual character respects the system and concept while working outside the rigidity of the system-grid. This holds the key to take the idea to a further level, and relate it to human scale. Investigations show that the aesthetic expression of the cubes, with limited transformation, can add depth and quality to the design.
Graphic Art Sketch of the effects of graphic print on facades and the volumes pushed out of each other while still keeping the connection.
outdoor spaces
ill. 60.2
60
ill. 60.1
The outdoor spaces are defined by the volumes surrounding them. By the use of different levels in the facades, it is possible to define spaces and connect the outdoor to the indoor. When the plan of a building is changing direction, an external space is framed.
Adding further dimension to facade By dragging window frames out from the facade, the view is three-dimensionally framed from the internal spaces, and the facade becomes threedimensional as well because of the different levels in the surface.
ill. 61.1
Plan & elevation Plan and elevation of a building where the facades are broken into pieces and levels, both horizontal and vertically. This creates different spatial sequences both in the indoor and the outdoor spaces, because of the different levels and heights experienced when moving around and inside the building.
ill. 61.2
Internal organization The internal organization of spaces can create different atmospheres with a double high room connected to a lower upstairs room. The sense of space between these two is changing from an open space to a more defined space. The cantilevered room is likewise defining a sheltered room outside the building. ill. 61.3
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The sun path diagram sets up guidelines used for planning outdoor spaces, and the organization of internal space to ensure suitable light conditions in terms of the functions.
The wind rose shows that the main wind direction is from south-west. This is an important parameter to consider when placing buildings and how to shelter outdoor areas.
ill. 62.3
ill. 62.4
Diagram sketch showing the idea for arranging buildings, considering these volumes as wind shelters for outdoor spaces generated around them
Diagram sketch showing the idea of movement across the bridge, where the pedestrians can walk in a straight line or create their own path according to an experience while crossing the water.
Combination of parameters To create an interesting and functional movement on the bridge, the above mentioned parameters are combined with thoughts of how to create an experience crossing the fjord. The serial visions register different moving patterns and velocities, and show how a city constantly spatially changes and transforms from one space to another according to scale and direction. This creates a sequential experience, where the combination of direction and elements together frames different views, and always changes according to an individual path of movement. This may happen randomly, but if controlled it could add depth and meaning to the design. Experiencing and understanding space by framing views across the bridge is therefore incorporated in the design. Conceptual sketches of how to use the analysis in the organization of building volumes and outdoor spaces is made.
ill. 62.5
Conceptual plan of buildings providing sheltered space towards the west and a small defined room towards the east. The buildings define a clear pedestrian path with different framed views according to position and direction on the bridge.
62
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Analysis of predetermined parameters, wind and sun, and the desired experiences are used to create guidelines for arranging the building volumes.
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ill. 62.6
Concept showing the spaces to consider according to the sun path. Smaller outdoor areas are planned to face the green areas in the east and have the quality of a more intimate, enclosed atmosphere and the morning sun. Bigger outdoor areas which are facing west are seen as larger and more public spaces having the benefit of the afternoon sun. .
ill. 63.1
The first working model is made as a test to see the module grid system in combination with the columns and bridge shape. This model reveals in a simple way the tectonic qualities of a system with clear structure. Showing only columns on the grid, this model ismade to see how the bridge slab and direction performs visually in a physical model. The model shows the simplicity of two basic elements put together, and the way these give a horizontal and vertical expression. According to tectonics, the structure in this model is very clear with the columns bearing the slabs. When experienced from slab level, the columns create an outer boundary for the bridge and define space . The visual expression of the columns up close is clear whereas the columns in the distance become blurred because of the sequence arrangement. Since the columns are all placed in the grid and have the same height, the relation to the context is not obvious. This model is used as a framework for the later developments.
ill. 63.2
63
form phase 2 64
canteen housing workshop housing zone 1
zone 1 art cafe with music
opening
administration
material shop
zone 2
and service
kids workshop
zone 2
Aalborg
lecture room zone 3
art cafe housing
housing
zone 3
Nørresundby
ill. 64.1 Conceptually organization section of the bridge
Working model version two is built by generating larger building volumes based on the 13 cubic shapes (ill.59.1). The purpose is to evaluate the visual result of the buildings created purely by the shapes in the catalogue.
Organizing function and shapes To organize the buildings, the function diagram and room scheme are combined in an organizational diagram. From these, elements of the catalogue are vertically combined and generally placed on the bridge. The specific placement of each building is made in relation to the buildings surrounding it, the function diagram, the outdoor spaces created in-between, and the sense of the spaces. It is wished to provide an experience for the users crossing the fjord, which is done by
creating different spatial sequences and by intensifying and opening areas. The intensity of the volumes is decreasing when traveling from Aalborg towards Nørresundby, where the volumes are more scattered on the bridge to tell the interpretation story of the contexts. The close connection to the fjord and the climate around it have likewise influenced the arrangement of the volumes, because the outdoor spaces rely on sun and possibly shelter from the wind, which can be provided by the buildings. The scale of
these volumes relates to the increase or decrease of building heights according to the location on the bridge and the context. The opening is emphasized by the two tallest buildings, attracting attention towards this part of the bridge.
ill. 64.7 ill. 64.2-64.6 Combination of generated shapes into a building
Buildings generated for working model two are then placed into the first model to see how the volumes are experienced together with the column system and the shape of the bridge. The conclusion for this model is that it shows the absence of aesthetic qualities. The building volumes are at this point too connected to both the grid system and the bridge deck and needed to become more independent to achieve the desired aesthetic qualities. This model study demonstrates that a system itself cannot create a sufficient architectural result, but it can be used as an initial tool from which the shape can be further developed. ill. 65.1 Volumes on the bridge with columns of similar height
ill. 65.2 Model showing the way buildings are used in the creation of shelter and direction for the pedestrians
Evaluation of digital model
Model evaluation
Evaluation of physical model
The columns in the model are all the same height and these should use a different scale across the bridge as the volumes do. A 3d model is made with the columns in the same height as the building they are connected to (ill. 65.3). This visualizes a new skyline of the bridge where the buildings and the spaces between are seen as one unity, because the columns are continuing the line in the outdoor room. The volumes and the columns in this model are more equal than in the first model where the attention is on the columns and does not allow the volumes to express themselves. The columns represent the grid, but the volumes should not be hidden behind these. The connection between two volumes made by columns adds a new element to the outdoor spaces which can give a more defined sense of these voids. ill. 65.3 Volumes in combination with columns of different height
65
Form phase 3
ill. 66.1
Working model three (ill. 66.1) is built upon using the experiences of the placement of volumes from the previous models. Focus in this phase was to reshape buildings generated by the system into volumes with more architectural and spatial qualities. The parameters seen in the architectural investigations on page 60 are used in this phase to give the buildings more individual character. The organization and relationship between the volumes is slightly changed because of the detailing of each void.
Designing spaces One of the main negative things about the last model was the static expression of the buildings too connected to the slabs. In this model, the volumes have a smaller area on the ground floor and then some cubes are moved higher in the building to create a lighter and more dynamic expression when passing by (ill. 66.1). The experience and sense of the bridge is of great importance and when going down into each space. Though still on a conceptual level, the elements affecting this experience can be designed. The scale of the buildings has previously been created from an overall view but in this phase the level changes and it is possible to imagine the spaces and the factors influencing them. This means that the scale in some places is changed to make a coherence between the spaces, the functions, and the desired experience.
ill. 66.1
66
ill. 66.4 Outdoor space framed by the surrounding buildings
ill. 66.3 Path and outdoor spaces generated by the placement of volumes
ill. 67.1 The landing in Nørresundby is working with different levels as a perception of the landscape.
Perception of bridge elements
ill. 67.2 The split of the bridge in Nørresundby where the bridge deck is fragmented and in different levels
The overall scale is maintained while the landings have a lower scale corresponding to that of a human, and the opening is big and dramatic. The general movement across the water is guided by the way the buildings are placed, and in some instances, a view is framed where all pedestrians pass by. The sense of space is further developed with regard to the col-
umns and their perception. Where they are used in a structural sense, the columns are penetrating the outdoor spaces and defining the difference between areas in relation to functions and the more public areas. In the public spaces, the columns are used in the larger areas as an indicator for the size of space and to create an upper boundary of the space. At this stage, the building volumes and the bridge are ready for further detailing.
67 ill. 67.3 The shapes of the finale volumes and the distribution on the bridge
Road and living bridge 68
The bridge is a two-part bridge; one serves pedestrians, cyclists and errand and emergency traffic, while the other is for light traffic and public transportation crossing the fjord. These two parts travel together across the Limfjord, but should not interfere with each other, so some level of separation or distance will be integrated. Three suggested solutions are set up;
-Cars can be higher than the pedestrians - Cars and pedestrians can be in the same level - Cars can be lower than the pedestrians The pedestrians have been favored in this process, because this group will be on the bridge for a longer period of time. The cars are however not without influence on the topic.
suggestion 1 and 2 The proposal with the cars higher than the pedestrians is quickly deselected since neither of the groups benefit from this. The car lane would disturb the view towards the east, interrupt the outdoor areas and the private sphere of the apartments, and the drivers would have no view towards the west because the buildings on the bridge are blocking this. The two last-mentioned suggestions are modeled in 3d to evaluate the aesthetic qualities and issues (ill. 68.1-68.2). With cars and pedestrians in the same level, the view will be disturbed for both groups, and in terms of the aesthetic qualities, this proposal creates a big vertical gap between the water and the bridge when observed from a distance. The relationship between the length of the columns and the volumes on the bridge is out of proportion.
ill. 68.1 Cars and pedestrians in the same level
Suggestion 3 When placing the car lane lower, the views are not disturbed in the same damaging way. The cars will be visible, but the clear view to the surroundings is maintained. The view from the car lane may not be optimal, but when placed lower the drivers can experience the view through the columns. The aesthetic expression of this solution ties the volumes and the columns together in a better composition since the gap is reduced and the columns are seen in two intervals: between the water and the car bridge, and again between the two bridges. The two lines created by the bridges correspond in a way that shows it is two different elements that tell the same story.
ill. 68.2 Cars can be lower than the pedestrians
Emergency staricases
ill.68.3 The connection between the two bridges
The car bridge is located three meters beneath the pedestrian bridge, which demands a stair or ramp where the two bridges are connected. The connection is for emergency use and for people who want to experience the bridge from a different angle. These connections are placed with a certain interval along the car bridge. It is chosen to use a connection that seen from the bridge will follow the lines of the grid system. A plate in level with the traffic is used to cross the gap, where a stair is used to go to the pedestrian bridge. This allows people to experience the view through the columns under the bridge.
The double bascule opening
ill. 69.1
The double bascule opening reflects the opening of the existing “Limfjordsbro� and corresponds in that sense to the surroundings. The opening provides, as the single bascule opening, a vertical and framing expression in collaboration with the buildings. Because the deck is divided lengthwise in two pieces, it does not seem that massive. The division widthwise creates a harmonic expression becomes two similar parts that are following each other when opening.
The single bascule The single bascule opening gives a dramatic expression when opening and open, because the deck is a reflection of the verticality. When pointing towards the sky, the opening is framed by volumes and the specific opening is free of disturbing elements. However, when open, this shape will block the view from the apartments and workshops closest to the opening as well as for the pedestrians on the bridge because of the continuous width of the bascule. The expression of the deck itself is massive and heavy, and does not relate to the rest of the bridge. ill. 69.4
The horizontal opening The horizontal opening frames the opening in another way than the previous two examples. The connection between the two bridge parts and Aalborg and Nørresundby are maintained when ships are passing. Even though this system is framing the opening, it is not corresponding to the buildings because of the clear horizontal line. The framing is created because the line is crossing the opening over the boats, and not by the verticality of the buildings which was intended. ill. 69.2
The bridge is crossing the Limfjord which is used by a lot of small boats and some of a larger scale. Due to this, the bridge has to allow these to pass and continue the journey down the fjord. This is planned to happen where the fjord is deepest closest to the shore in Aalborg. The bridge has a section of 60 meters not programmed with function because this is where the opening is to be. It is a wish to frame the opening with a dramatic expression (ill. 69.3) and have it reflect the verticality of the buildings. The surrounding buildings start the dramatic expression with big vertical volumes, and the actual opening should underline and play along on this expression. Concurrent to the shaping of volumes, different openings are sketched and discussed.
ill.69.3 Example on a dramatic opening
Choice of opening The double bascule opening is seen as a potential opening because this can create the dramatic vertical framing of the opening and at the same time have a harmonic expression because it is equal on both sides. Furthermore, it is reflecting Limfjordsbroen. This opening system will be detailed further.
Development of the opening The bridge will contain two openings relating to the car bridge and the pedestrian bridge which are separated by a six meter gap. The opening for vehicles will have a width of six meters which is the full width of the vehicle-bridge, whereas the pedestrian bridge is three meters to narrow in the path. The bascules on the pedestrian bridge should not interfere with the view from the buildings when open. Therefore, it is decided to place it next to these. It is considered that The simple system does not take away attention from the rest of the bridge but underline and playing along with the verticality and the framing of the opening.
ill. 69.5 The finale opening with the bascules open
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landing aalborg 70
The connections to the harbourfronts were designed according to: - the mode of expression used on the buildings - the grid - the vision of the loop - the connection between the green area in Nørresundby and the cultural area in Aalborg. It has been the vision to maintain the flow on both harbourfronts and respect the building scale in the landing areas. The bridge should however interact with and be part of the areas in which it is landing. The landings have not been programmed as places of specific importance but rather as being part of the bridge. The attraction is the span between the shorelines, and the landings are the entrances for this.
Landing on Aalborg side In Aalborg, the bridge landing is placed near the House of Music and it has been of importance to respect and not interfere with this function. The landing is made part of the urban space in front of the concert hall by creating a sloping pathway under both the bridges to connect with the industrial area (future residential area) on the other side. The pattern of the grid is likewise used to continue the idea of the bridge onto the mainland and connect the land and the bridge in a gentle way. The connection is made to both the harbourfront and the new cultural center, Nordkraft. The pattern is ended by a sharp cut to reflect the lines of the buildings in the context.
ill. 70.1 The landing in Aalborg
Landing on Nørresundby side The landing in Nørresundby is split into two parts, one connecting to the green area towards east and one connecting to the loop going towards west. When connected to the mainland the pattern of the grid system is continued as a pavement to direct the people either to the green area or into the loop. The size of the grid is changed to three meter times three meters to state the difference between bridge and land. The pavement is broken up the further from the landing one gets, this is done to allow the bridge to blend into the context and blur the otherwise clear difference between bridge and mainland. The volumes are likewise continued onto the mainland to continue the movement of the bridge. The flow lines along the shore are maintained because the landing is close to the shore. Where the car road is crossing the pathway a small tunnel has been made to avoid pedestrians crossing the road and interfer with the traffic. ill. 71.2
Two landings have been created in two different contexts, each having its own expression and use. The landings are relating to the surroundings in their respective areas by using the language seen here and carefully avoiding interrup with the flow lines. The grid from the bridge has been used as a pavement near the landings to connect these with an urban space instead of a point and make the bridge part of the townscape and not an unfamiliar element. ill. 71.1 The landing in Nørresundby
ill. 71.3 The fragmented bridge deck in Nørresundby. Symbolize the perception of the landscape
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Columns
Detailing columns As the play between buildings and columns was to be of great importance for the design and experience of space on the bridge, this section will go into the process of creating the columns from a aesthetical, functional, and technical point of view.
First investigation was to find out how the joining of columns and buildings should be. Six different scenarios was put up, either the columns was centred on the edge of the lifted volume, or just inside the wall construction of the volume, and finally there was the opportunity of plac-
ing the column inside the room of the volume. These three different scenarios where all tested with either round or rectangular column profiles as shown in ill.72.1 to ill.72.6.
ill. 72.1
ill. 72.2
ill. 72.3
ill. 72.4
ill. 72.5
ill. 72.6
Columns inside wall When the columns are in the corner it seems as if the mass or façade of the mass is rapped around the columns. The position of the column vs. the mass becomes a bit problematic because the delineation between the to systems are so small, as if the façade material was cloth like. A thin semi transparent material for this solution would probably be better.
Columns in volume In comparison to the previous placement of columns and mass one here gets a clear idea of the separation between the mass and the columns, as if the volumes has been squished onto the columns. The circular profile here seems best because this shape further distinguish between column and mass. Although in this and the previous example the structural columns and the mass play an equal part in the structure as a whole, and thereby it can be hard to understand which elements are supporting what, and the logic of the system becomes more hidden.
Columns on corner When the columns are centered on the corner of the mass it creates a different impression, then the bearing structure, the columns becomes the dominant structure that implies the vertical direction of the structure. Now there is a hierarchy between the columns that takes the vertical forces and the mass that takes the shear forces, the structure shows how they are internal dependant on each other in order to create stability. In this example the circular shape acts unnatural in the corner situation, it is like the circular shape functionally and aesthetical doesn’t harmonise with the rectangular element, whereas the rectangular columns continue the character of the system and underline the
72
shape of the volumes.
ill. 73.1
ill. 73.2
Conclusion So in comparison to the tectonic approach set up for this project it is important to show the structure of a system that is turned into something more than construction, something that intensifies the qualities of the project and relates to the surroundings. And as said in the tectonic approach both the concrete part and the abstract has to be visible, and that is best shown where the columns are placed on the corner of the mass, where the columns are exposed, and can be open for interpretation both structurally and visually.
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Construction
The structual system The second investigation on the structure of the bridge involves some initial calculations on the structure. These calculations are carried out in the Finite Element program, StadPro. The purpose of these calculations is to give an idea of the different possibilities according to the density of the columns and the dimension of the individual columns. Therefore, a 12 meter by 12 meter system and 12 meter system with columns for every 6 meters are used to study the static and dimensional differences between the two systems. As shown on ill.74.1. and ill.74.2. a worst case section of the bridge has been used for these StadPro calculations. This section responds to what is thought as the highest point on the bridge and therefore also the section that is seen as the most stressed in terms of loads. Ill.74.3. shows the different loads put onto the model. These loads are initial design values that are taken from DS 410. The different loads arethen put into the load combinations described in Teknisk StĂĽbi using high safety class for buildings over 5 floors.
The model is built so the individual slabs are hung onto the columns, which also means that they cannot transfer the deformation from the columns; the walls in between the columns absorb this deformation. Each column in the system is pinned into the bottom of the Limfjord, and in between the columns and the slab, steel windcross are put in to resemble walls. They provide the reaction against shear forces. Therefore, the combination of slabs and walls together with columns creates the stability of the system.
Materials It is decided to test this construction on two materials: steel and concrete. These materials are chosen because they have the robustness required for a bridge construction and because with concrete or steel it is possible to have high slender columns that allow the system to be relatively transparent. Another aesthetic reason is that both materials relate to the Stigsborg and the Ă˜strehavn areas.
Steel Steel exists in many strength classes, and in this project it has been chosen to work with often used strength class around S235 or S275. If the beam stress shown on table 75.3 exceeds 235N/mm2 the steel starts to float.
Concrete For the concrete, it has been chosen to work with a concrete that is resilient in an extra aggressive area such as columns for bridges. This concrete has a strength class of 40 MPa. In order to calculate the concrete columns, the yield moment of the columns in the system is needed: These calculations are done for all the different sizes of concrete columns in table 75.3. In order to compare them, they all use the same amount of steel reinforcement.
Snow load: 1 kNm2 Utility load: 2 kNm
74
m
m 12
6m
12
12 ill. 74.1
50 m
5m
m
5m 5m 5m 5m
5m 5m 5m 5m
5m
5m
50 m
5m
5m
5m
5m
5m
10 m
10 m
Wind load: 1 kN
6m
ill. 74.2
ill. 74.3
6 meter system
12 meter system
The StadPro calculation on the 6 meter system shows that the steel profile on 200 mm is most optimal, considering that it is found acceptable for a column to displace 1/200 of the columns length, and when the column is 50 meters the column is allowed to displace 25 cm. When using concrete, it is only the 300mm column that meets the requirements.
The difference between the 6 and the 12 system does not seem that big which could be due to the fact that the 6 system is carrying a lot more self weight from the construction. The best choice of dimension for the 12 meter system is the 350 mm concrete column or the 250 steel column.
ill. 75.1
ill. 75.2
concrete
steel
concrete
250 mm
300 mm
200 mm
200 mm
Thickness 10mm
Yield moment: 107 kNm
Thickness 10mm
Yield moment: 67 kNm
Beam stress: 8 N/mm2
Beam moment: 60 kNm
Beam stress: 142 N/mm2
Beam moment: 72 kNm
Displacement: 77 mm
Displacement: 209 mm
Displacement: 407 mm
Displacement: 530 mm
200 mm
250 mm
250 mm
300 mm
200 mm 300 mm
250 mm
250 mm
300 mm
50 mm 200 mm
Yield moment: 87 kNm
Thickness 10mm
Yield moment: 107 kNm
Beam stress: 12 N/mm2
Beam moment: 61 kNm
Beam stress: 92 N/mm2
Beam moment: 72 kNm
Displacement: 223 mm
Displacement: 417 mm
Displacement: 217 mm
Displacement: 271 mm
150 mm
200 mm
300 mm
350 mm
Thickness 10mm
Yield moment: 67 kNm
Thickness 10mm
Yield moment: 127 kNm
Beam stress: 21 N/mm2
Beam moment: 61 kNm
Beam stress: 64 N/mm2
Beam moment: 72 kNm
Displacement: 1685 mm
Displacement: 996 mm
Displacement: 135 mm
Displacement: 160 mm
350 mm
200 mm
300 mm
Thickness 10mm
150 mm ill. 75.3
200 mm
steel
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Column variations 76
ill. 76.1. 6 meter system 200mm x 200mm columns
ill. 76.2. 6 meter system 200mm x 200mm columns
ill. 76.3. 12 meter system 250mm x 250mm columns
ill. 76.4. 12 meter system 250mm x 250mm columns
ill. 76.5. 6 meter system 300mm x 300mm columns
ill. 76.6. 6 meter system 300mm x 300mm columns
ill. 76.7. 12 meter system 350mm x 350mm columns
ill. 76.8. 12 meter system 350mm x 350mm columns
Columns on bridge In order to determine the construction page 76 gives a visual impression of how the columns from the previous page are perceived from a distance, and on the bridge relating to the human scale. When relating the 350 mm column to a human, it starts to look thick, and from distance the bridge becomes more dense and bounded to the ground. On the other hand, the 200 mm seems too thin almost like a flagpole, and looks as if it is not capable of holding the mass, especially not in a 12 meter system. Even though only 5 centimeters are added, the 250 mm column does not look too thin or too thick when seen in a 6 meter system. So it is chosen to work on with the 6 meter system and columns with a profile of 250 mm by 250 mm. In terms of material, steel has the possibility of using a 250 mm profile whereas concrete needs a 300 mm pro-
file to resist the stress and displacement. So it is decided to use 250 steel profile even though it is a bit over dimensioned. Visually, they do not give the impression of a too thin or too thick construction. Now when the construction, material and profile are decided, more investigation in StadPro will be made where the load on the lowest deck is increased from 2 to 5 kNm to simulate that light traffic occasionally is moving on this deck. The result shown on table 77.1 does not change the displacement or beam stress radically. One last investigation is to check the strength of the column, which can be seen in the appendix 2. The result of these calculations is that the most stressed beam in the system only uses 7% of its strength to resist the loads from the system.
ill. 77.1
Snow load: 1 kNm2 Light traffic load: 5 kNm Utility load: 2 kNm Wind load: 1 kN
ill. 77.3. 6 meter system 250mm x 250mm columns
ill. 77.2
250 mm
250 mm
Thickness 10mm Beam stress: 8,2 N/mm2 Displacement: 77,3 mm ill. 77.4. 6 meter system 250mm x 250mm columns
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materials
MATERIALS The materials for the columns are chosen and in accordance with this the remaining surfaces are lacking texture. The material studies on page 36-37 illustrate the differences in texture of Aalborg and Nørresundby. These diversities are intended to interact in the bridge design and bind the two cities together with a smooth transition. Concrete, wood, and metals are found in different scales and with different patina in the context; this expression is decided to continue on the bridge. The metal is primarily used for the columns whereas the concrete and wood are distributed on the surfaces of the buildings. Renderings with material combinations are created to get the sense of the influence the materials have on the atmosphere and experience of the bridge. Two opposite material suggestions where one material is used covering all surfaces are created (ill. 78.1-78.2). This is not seen as interaction between the materials, and due to this, a mix of materials is tested (ill.78.3-78.4). The result is a more harmonic expression however still not interacting on the desired level. The two examples are fused together to create an equal relationship between the materials (ill.78.5). The shade of the materials is equalized to create a unified expression. The surfaces are kept in the faint, natural colors of the materials (ill.78.6). It is intended that the artists, residents and visitors will fill in the colors and through this become important participants in the design (ill.79.3).
ill. 78.1
ill. 78.2
ill. 78.3
ill. 78.4
ill. 78.5
material CONCEPT Displays differences in functions, private and public spaces. Moving from Nørresundby towards Aalborg, the materials are changing from being natural and untreated, to becoming more treated materials. The direction in the material texture is used to highlight the direction of the volumes.
ill. 78.6
Material summary
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The materials of the context are continued onto the bridge. The concrete and metal of industry and the wood used in historic structures, come together on the living bridge. Directionality becomes an important quality, emphasizing the interplay between vertical and horizontal volumes.
The materials interact with the functions and the artists interact with the materials, because they will utilize surfaces and spaces, transforming them unpredictably; the materials should not interfere in this process. The individual is free to explore with visual and imaginative curiosity.
bILLEDE AF “LYGTEPÆLENE” UDENFOR
Columns The columns are likewise influencing the experience of these exhibition spaces with their sequential repetition. The three dimensional rooms are defined by the organization and height of the columns which are perceived as indicators of the room scale and help formulate a spatial understanding. ill. 79.1 Columns used to create boundaries in a outdoor space, and with an extra function as light poles
ill. 79.2 Columns organized in a clear grid and defining space
Urban spaces The spaces are experienced differently depending on the relation to volumes. Some spaces are sheltered and enclosed while others are open spaces where the location on the fjord can be experienced according to the close connection to the water, the undisturbed view, and the dominating wind.
ill. 79.3 Outdoor space where artists and pedestrians are using the facilities and creating the atmosphere on the place. Volumes and columns are creating defined and sheltered spaces.
outdoor spaces
Between the buildings, outdoor rooms are generated, and without further detailing, expectations for the use of these spaces is defined. The void areas are seen as obvious opportunities to extend the cities’ urban spaces onto the fjord and to exhibit art in an outdoor environment. The exhibitions in these spaces are envisaged as a combination of permanent and temporary installations, and outdoor workshop areas which allow an interaction with the art. The main function of the bridge, the artistic development, is scattered in both internal and external spaces, turning the bridge into a living and ever-changing art exhibition.
79
facades
The illustration 80.1 shows the building that has been chosen for additional detailing to give an example of the composition and expression of a volume. The building is chosen because it is considered as an important and interesting component in terms of size, contained functions and location. ill. 80.1
FACADES The development of the facades started out with planning the internal enclosed spaces to ensure privacy. The solid parts of the skin, generated from the private rooms, are scattered over the facades in smaller areas (ill.80.2). The composition of these surfaces is too complex in relation to the grid system, and the outer shape of the functions is blurred. A replanning of the internal rooms is made in order to gather the small areas into larger and more understandable facade components. To articulate the grid in the facade and further underline the floor structure, a simplification of the sketch is made (ill. 80.3).
ill. 80.4
Final facade
80
Here the 6 x 6 x 6 meter grid was used to compose the facades (ill.80.4-80.5). Elements of a similar language to the building typologies are utilized, resolving the facades within the collective
ill. 80.3
ill. 80.2
ill. 80.5
totality. This grid allows the interaction of different materials, experiences, and individuals. The possibility of creating a patchwork of materials provides opportunities to adapt the facades, and create an exciting visual experience. Incorporating transparent planes creates another
visual experience by connecting individuals within the volume to both the fjord and the individuals moving below. The structure in the building is readable in the facades, and the distribution of the components prepare the ground for a patchwork of materials.
DISTRIBUTION OF FUNCTIONS The reference building consists of 36 cubes all together: 25 cubes for housing, 7 cubes for administration and 4 cubes for the art cafĂŠ. Predetermined requirements for square-meters govern the distribution of these cubes with respect to function, while components from the typology study govern the configuration of these cubes with respect to function. The mixed-use diagram organizes the functions vertically. To visually accentuate the interaction between functions and cubes, the volumes begin to interlock. In this way, a change in floor height in one room affects the height of the space below and above. This interaction between the stories creates a more dynamic visual experience for the users on the bridge, as well as differentiated interior spaces within the volumes.
one apartment
Three apartments are developed and planned according to the sense of the rooms and some conceptual organizational parameters.
two apartments
Appartment 1 & 2 Restaurant Service area Transit area
ill. 81.1 Distribution of functions in the reference building
81
internal design ill. 82.1 Model of how an apartment can be planned on two levels
Plan design concept The planning of the apartment examples are made according to a perception of organization of functions (ill.82.1) and sequential experiences. Private functions are arranged towards the east and “public� functions towards west. The sense of the rooms is used in the shaping of the rooms and interlocking between apartments, where different room heights are reflected and used to define spaces (ill.83.4-83.5).
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The first example is an apartment consisting of one and a half cubes for living, with a public staircase and entrance room (ill.83.1 and 83.4) .The second example is two apartments combined, consisting of three cubes, where the shape of the individual apartments interacts and reflects each other (ill.83.3 and 83.5). Each apartment is planned with two floors to create different sequences between the rooms, and be able to create different atmospheres in relation to the functions, for example a more intimate space in some parts of the living room. The functions in
the apartment are organized with a focus on daylight and sunlight, and a sense of different spaces. Functions such as bathrooms, bedrooms, and a kitchen, are mainly placed on the east side of the apartment with the possibility of having morning sun. Living rooms and dining spaces are placed facing west with the benefit of the afternoon sun. The kitchen and living room are planned in connection to each other, and with large window openings on each side providing the quality of daylight through the apartment and the view to the fjord from both sides.
ill. 83.1 Apartment 1
ill. 83.2 Organization of room according to sun conditions
ill. 83.4 Plan and section of apartment 1
ill. 83.3 Apartment 2 and 3
ill. 83.5 Plan and section of apartment 2 and 3
83
1
0
A vision combined of technical and architectural requirement is developed for the lecture room: The architectural vision is to design a room which relates to the rest of the buildings on the bridge according to the materials and the size of the auditorium should be relating to the grid system.
The technical part of the vision e is todicreate a room that eatr can be os tu by adults andthgive a good s used c si mu acoustic experience. ech for spe spaces The reverberation time for adults should be between 0.6 and 0.8 sec to provide high speech intelligibility. The reverberation time should vary with frequency so that the less useful low and high frequencies do not mask the most important mid frequencies (500 Hz – 2 kHz). This means that the following parameters has to be considered and optimized during the process; The reverberation time (RT), the 50 100 500 1000 5000 10000 clarity room (“deutlichkeit) which is the ratio volume (m3) of early sound energy to the total sound energy, the distribution of sound in terms of sound pressure level (SPL) and avoid acoustic problems as echo, flutter echo and “dead” areas.
84
2
midfrequency reverberation time (s)
Simultaneously to the development of the shapes on the bridge a lecture room is designed according to acoustics. When decided to create a lecture room some guidelines for the reverberation time can be set up in relation to the listeners.
atre
s
the
dio
tu ic s
s
mu 1
0
spaces
50
100
ech
for spe
500 1000 room volume (m3)
5000 10000
ill. 84.1 Reverberation time in proportion to the room volume and function
reverberation time
Acoustics 2
Requirements
speech
1
0
125
250 500 1000 octave frequency (Hz)
2000
ill.84.2 The reverberation time should be lower around the frequencies for speech
Room shape It has been chosen to work with a hexagon shape for the auditorium because this is where the biggest potential is seen to create an acoustically well-functioning room in relation to the shape diagrams. This shape creates good view lines for the audience and has the advantage of reverse splay.
on the plan of the room.
n to work with a hexagon shape for the se this is where the biggest potential is seen tically well-functioning room in relation to ms. This shape creates good sight lines for the the advantage of reverse splay.
Shape: Horse shoe
Shape: Hexagon
ill. 85.1
Sound source Consideration on the plan of the room.
ill. 85.2
It has been chosen to work with a hexagon shape for the auditorium because this is where the biggest potential is seen to create an acoustically well-functioning room in relation to the shape diagrams. This shape creates good sight lines for the audience and has the advantage of reverse splay.
If the rear wall in a room is reflecting the sound there is a risk of Hass effect. The person on the stage will risk hearing his/hers own voice as an echo if the rear wall is more than 9 meters away, because the difference between the direct and the reflected sound will be more than 0.5 ms (17 m). The front rows of the audience will also experience the echo. To prevent this effect the rear wall of the auditorium should Shape: Shoe box Shape: Fan have a high absorption coefficient – reflect as little as possible of the sound.
Shape: Horse shoe
Shape: Hexagon
The side walls
The side walls are useful in the distribution of the sound in a room and these should have a low absorption coefficient, to be able to reflect and distribute the sound. The angles of the walls are beneficial because this provide an evenly distribution of the reflections.
Sound source
12 m
ugh if the sound t-order reflections, nefits from the reflecwalls will also contribns, because the
Shape: Fan
The Rear wall
e only one rder reflections nd 0,35 msek for children). the sound,
ors
Shape: Shoe box
geometric Acoustics
Too big a difference between the direct and the reflected sou The difference between the direct and the reflected sound is
Sound source
18 m
18 m Too big a difference between the direct and the reflected sound
difference between the direct and the reflected sound is not problematic Too big a difference between the direct and theThereflected sound ill. 85.3 The difference between the direct and the reflected sound is not problematic
85
room according to the difference between the distance the reflected sound and the direct sound travels.
Room height In relation to the room height there is two main things to be aware of; the absorpDirectofsound tion coefficient the persons in the room Reflected sound and the height of the room according to the difference between the distance the In low rooms the problem is the fact that a person has a relative high absorption coefficient and when reflected the indirect placed behindsound each other,and the persons front willsound absorb the sound and the ones in the back want be able to hearand anything. avoid thisaudience situation the seating seats can be displaced vertically with a minimum of travels; the To way the 12 cm between each row and then the sound can travel freely through the room. This is however not are organized. possible in the low room because the people will be seated too high in relation to the room height
Consideration on the section and the experience of the room.
In relation to the room height there is two main things to be aware of; The absorption coefficient of the persons in the room and the height of the room according to the difference between the distance the reflected sound and the direct sound travels.
Direct sound Reflected sound
high room In high rooms there is a risk of echoes because the reflected sound can travel a long distance before it reaches the listener in comprehension to the direct sound. If the difference is larger than 17 meters the listener will experience the sound as an echo. The good thing about the high rooms is the opportunity to create a tilted ramp for the listeners, so that they will not “shadow” for each other.
In low rooms theDirect problem is the fact that a person has a relative high absorption coefficient and when sound placed behind each other, the persons in front will absorb the sound and the ones in the back want be Reflected sound able to hear anything. To avoid this situation the seats can be displaced vertically with a minimum of ill. 86.1 12 cm between eachisrow and thebecause sound can freely through room. Thisdistance is however notit In high rooms there a risk ofthen echoes thetravel reflected sound can the travel a long before possible in the low room because the people besound. seatedIftoo in relation to the room reaches the listener in comprehension to the will direct thehigh difference is larger than 17 height meters and the experience of the room. the listener will experience the sound as two sound instead of one, and that will be heard as a echo. The good thing about the high rooms is the opportunity to create a tilted ramp for the listeners, so
that they will not “shadow” for each other. Consideration on the section In relation to the room height there is two main things to be aware of; The absorption coefficient of the persons in the room and the height of the room according to the difference between the distance the reflected and the direct sound Directsound sound travels. ill. 86.2
Reflected sound
Direct sound Reflected sound Direct It is important toDirect avoidsound both the echoes and the persons in front absorbing the sound to create an sound acoustically good room with an evenly distributed sound. This means that in the first design phase Reflected sound Reflected sound the height has to be tested in both a RAY-diagram, to prevent echoes, and with the seats on a ramp, ill. 86.3 rooms In high there is a risk of echoes because thehas reflected sound can travel a long distanceand before it to make sure the room is high enough forathis. In low rooms the problem is the fact that person a relative high absorption coefficient when reachesbehind the listener in comprehension to front the direct sound.the If the difference is ones largerinthan 17 meters placed each other, the persons in will absorb sound and the the back want be the listener experience the this sound as twothe sound instead one, and vertically that will be heard as a echo. able to hear will anything. To avoid situation seats can beofdisplaced with a minimum of Thecm good thing each aboutrow theand highthen rooms the opportunity to create a tilted theislisteners, 12 between theissound can travel freely through theramp room.for This howeverso not that they will not “shadow” for each other. possible in the low room because the people will be seated too high in relation to the room height and the experience of the room.
Direct sound
Reflected sound In high rooms there is a risk of echoes because the reflected sound can travel a long distance before it reaches the listener in comprehension to the direct sound. If the difference is larger than 17 meters the listener will experience the sound as two sound instead of one, and that will be heard as a echo.
Consideration on the p
It is important to avoid both the echoes and the persons in front absorbing and “shadowing” the sound to create an acoustically good room and the opportunity of an evenly distributed sound (this is also depended on the shape and the materials). This means that in the first design phase the height has to be tested in both a RAY-diagram, to prevent echoes, and with the seats on a ramp, to make sure the room is high enough for this.
It has been chosen to work w auditorium because this is w to create an acoustically well the shape diagrams. This sha audience and has the advant
12 m
86
Reflected sound ill. 86.4 It is important to avoid both the echoes and the persons in front absorbing the sound to create an acoustically good room with an evenly distributed sound. This means that in the first design phase the height has to be tested in both a RAY-diagram, to prevent echoes, and with the seats on a ramp, to make sure the room is high enough for this. Direct sound
In low rooms the problem is the fact that a person has a relative high absorption coefficient and when placed horizontally behind each other, the persons in front will absorb and “shadow” the sound and the ones in the back will not be able to receive the necessary sound. To avoid this situation the seats can be displaced vertically and then the sound can travel freely through the room. This is however not possible in the low room because the people will be seated too high in relation to the room height and the experience of the room.
Consideration on the p
It has been chosen to work w
dren).
Relection plane ceiling
Reflections from a plane ceiling ill. 87.1
Reflections from a plane ceiling Reflections from a plane ceiling
dren).
In a room with a plane ceiling, the reflections will not be particularly useful because only one reflection will reach each listener. A usual rule of thumb is to try for at least three first-order reflections to reach each listener in the room within the integration time (0.5 ms for adults and 0.35 ms for children). With this rule in mind an angled ceiling could be more useful in the distribution of the sound, if the reflecting surfaces are angled in the right way of course.
dren).
ceiling reflectors
Reflections to the back row of the audience Reflections closest possible to the stage with the same ceiling reflectors From this diagram it becomes clear that three reflectors in the ceiling are not enough if the sound Reflections to the backrow rowofof the audience should be evenly distributed. The back the audience will have the three first-order reflections, Reflections closest possible to the the stage with the the same ceiling reflectors which are stated as a minimum, the front row willaudience not experience same benefits from the reflecReflections to thebut back row of tors. From thisReflections the auditorium need more ceiling reflectors. Even though the sidewalls will also contribclosest possible to the stage with the same ceiling reflectors ill. with 87.2 From thisreflections, diagram it the becomes that three cannot reflectors thetoceiling are not enough because if the sound ute peopleclear in the middle be in sure get these reflections, the should bediagram evenly The back of the audience willceiling have the first-order reflections, outermost places distributed. people might absorb the sound. From this it becomes clear thatrow three reflectors in the are three not enough if the sound which are a minimum, therow front will not experience thethree samefirst-order benefits from the reflecshould be stated evenlyas distributed. Thebut back ofrow the audience will have the reflections, tors. From this theasauditorium need ceiling Even though sidewalls alsothe contribwhich are stated a minimum, but more the front rowreflectors. will not experience thethe same benefitswill from reflecute with reflections, the people in the middle cannot be sure to get these reflections, because tors. From this the auditorium need more ceiling reflectors. Even though the sidewalls will alsothe contriboutermost places people might absorb the sound. ute with reflections, the people in the middle cannot be sure to get these reflections, because the outermost places people might absorb the sound.
From this diagram it becomes clear that three reflectors in the ceiling are not enough if the sound should be evenly distributed. The back row of the audience will have the three first-order reflections, which are stated as a minimum, but the front row will not experience the same benefits from the reflectors. From this diagram the auditorium needs more ceiling reflectors. Even though the sidewalls will also contribute with reflections, the people in the middle cannot be sure to get these reflections, because the outermost placed people might absorb and “shadow” the sound.
angled reflectors
Reflections to the back row of the audience Reflections in the middle of the room Reflections closest to the stage Reflections to the back row of the audience Reflections of the room Reflections in to the the middle back row of the audience Reflections to theof stage Reflections closest in the middle the room By breaking up the ceiling in more pieces in different angles, the front, the middle and the back Reflections closest to the stage
rows will receive at least three first order reflections. ill. 87.3 Good speech intelligibility is important in auditoriums, big lecture rooms, conference rooms etc. This means that a short is necessary, if loudspeakers used sound By breaking up theRTceiling in moreespecially pieces in different angles,are theused. front,Accurate the middle and the back reflectors give opportunity to increase the clearness of the speech fare from the speaker. rows will the receive at least three first order By breaking up the ceiling in more piecesreflections. in different angles, the front, the middle and the back A way to achieve this is by combining absorbents whit a high sound absorption with more reflecting rows will receive at least three first order reflections. Good intelligibility important in auditoriums, lecture rooms, conference etc. ceilingspeech (to angel the ceilingislike on the figure beneath) –big preferably with absorption byrooms the low frequencies. This means a short RT is is important necessary, especially if loudspeakers used. used sound In such big that rooms it is always recommended to use a wall withconference aAccurate high absorption on the rear wall. Good speech intelligibility in auditoriums, bigabsorption lectureare rooms, rooms etc. reflectors give the opportunity to increase the clearness of the speech fare from the speaker. This means that a short RT is necessary, especially if loudspeakers are used. Accurate used sound A way to achieve is by combining absorbents whit a of high absorption more reflecting reflectors give thethis opportunity to increase the clearness thesound speech fare from with the speaker. ceiling (toachieve angel the like on theabsorbents figure beneath) absorption the low frequencies. A way to thisceiling is by combining whit –a preferably high soundwith absorption withby more reflecting In such(to bigangel rooms is always to use a wall absorption with a high absorption the rear wall. ceiling theit ceiling likerecommended on the figure beneath) – preferably with absorption by the lowonfrequencies. In such big rooms it is always recommended to use a wall absorption with a high absorption on the rear wall.
By breaking up the ceiling in more pieces in different angles, the front, the middle and the back rows will receive at least three first order reflections.
summery These investigations provide an overview of the importance of the room shape in relati on to the reflections and the exclusion of echoes. Moving away from the boxed room and creating walls and ceiling reflectors with different angles, the distribution of the sound can directed as needed – to the audience and not back to the source. After a certain distance (the Reverberation Radius) from a source the direct sound level drops to less than the reverberant sound level and this makes the reflections important, especially for the audience in the back of the room. In terms of materials used in the room it is important, especially in large rooms, that the rear wall is very absorbing, so that the sound is not reflected back to the source and creating an echo.
Conside
It has bee
auditorium Conside to create Conside
the shape It has bee audience auditorium It has bee to create auditorium the shape to create audience the shape audience
87
Acoustic calculations
catt-model
After the initial investigations of the lecture room according to reflection lines, a room is modeled in 3D to be able to analyse it through the program CATT-Acoustic. The lecture room has a maximum size of 18m by 12m in plan, which relates to the grid system on the bridge. Because of the hexagon shape the room will not fill out the space, but leave the corners for the box free of function. To build up the model the ceiling reflectors are created by sketching the reflections from the source to the audience and through this ensure Sound sourcean even distribution of the sound. Because the sound losses strength with the distance the rearmost seats need the most reflections to ensure a even SPL in the room. The values that have to be analysed in the CATT-Acoustic are the reverberation time, the clarity and the distribution of the sound. Materials for the lecture room have been chosen to correspond with the building materials (concrete, steel and wood) and the technical requirements. The materials used in the different models are described in the schedule in terms of the absorption coefficients.
88
Entrance
ill. 88.1 The construction of the reflecting roof. Starting from the sound source the ceiling is created to distribute the sound as equally as possibly in the room.
Sound source
Entrance Entrance
Sound source
ill. 88.2 Plan of the lecture room, showing the distributing of the audience.
ill. 88.3 Section of the lecture room with the reflecting ceiling.
Absorption coefficient 500 Hz 1 kHz
Material code
Material name
125 Hz
250 Hz
A
concrete unpainted
0,01
0,01
0,02
B
Wood padded seat + audience
0,17
0,36
C
Metal perforated
0,62
D
Wood parquet
E F
2 kHz
4 kHz
0,02
0,02
0,03
0,43
0,43
0,47
0,43
0,85
0,88
0,79
0,56
0,55
0,04
0,04
0,07
0,06
0,06
0,07
concrete block unpainted
0,36
0,44
0,31
0,29
0,39
0,25
Leatherette chair + audience
0,25
0,27
0,29
0,32
0,31
0,31
ill. 88.4 Table of materials used in the calculations and simulations of the acoustics circumstances.
Sound source
Entrance
sound source
ill. 89.1 Spatial model of the lecture room to be used for simulations.
The first model The first model has a high reflected concrete (A) on the ceiling and the walls, except the rear wall, which has an absorbing material (C) to avoid echoes. The floor is covered with wood (D) and the audience is seated on wood padded seats (B). Because of the high reflecting materials in most of the room, the reverberation time on 1.17sec is too high. The deutlichkeit is too low; because of the long reverberation time the speech intelligibility is lost. The sound pressure level is good for the first 20 ms, but between 20ms and 50ms problems occur, because the SPL is different all over the room.
ill. 89.2 The amount and power of the reflected sound. All reflections happen within the first 50 ms signifying no occurrence of echoes.
89
ill. 90.1 Distribution of sound from the sound is emitted to 20 ms later. The distribution is within a difference of only 4 dB.
ill. 90.2 Distribution of sound from 20 ms after the sound is emitted and until 50 ms later. The distribution is within a difference of 30 dB which means that the difference of the power of the sound will be highly noticeable.
ill. 90.3 Clarity of the speech. This value should be higher than 50 % to achieve a good speech intelligibility.
First model second interation Because of these problems a new material is introduced. The architectural idea of the room and the materials are closely related, this limits the amount of materials to choose from. A more absorbing concrete (E) is used on the walls to keep the same expression. The remaining materials stay the same. In this analyse the reverberation time is 0,69sek which is good in relation to the speech intelligibility. This means that the deutlichkeit (93.5%) is also good in this model. The problem is still the SPL for the period between 20ms and 50ms. ill. 90.4 Power of reflection over a period of time. No reflections can be found outside the permitted first 50 ms.
ill. 90.5 The sound pressure level is equally distributed in the first 20 ms.
90
ill. 90.6 The distribution of sound according to SPL is improved by the use of other materials. The difference are however still too big.
ill. 90.6 The clarity is in this model good, with a value over 50 %.
second model
113 persons
113 persons
The entrance is in the back of the room on top of the audience slope, but the height of the room at this point is a bit low and due to this a new model is made. In this model the outer shape is maintained whereas the audience seating is changed to an angle of 18 degrees instead of 20, the last two rows of seating are deleted to make more room for the entrance area. The materials remain the same. The results of this change are a reverberation time of 0.69sec and a deutlichkeit on 90.9% which is both good. The SPL figure for the first period of time shows a good distribution of the sound among the audience, but the next period is still problematic. The reverberation time is overall good, but the RT according to frequencies can be challenging because the low frequencies have a long RT in relation to the mid frequencies which are the ones speech are related to. To solve this problem another kind of audience seating (F) which is more absorbing is used in the auditorium.
Entrance
Sound source ill. 91.1 Section of the second model. The ceiling reflectors are maintained from the first model.
Sound source
Entrance
ill. 91.2 Plan of the second model where the entrance space is extended.
Sound source
EyrT EyrTg SabT T-15 T-30 AbsC AbsCg MFP Diffs
125 250 500 1k 2k 4k Entrance 1,03 0,73 0,83 0,87 0,72 0,84 s 1,03 0,73 0,83 0,87 0,72 0,85 s 1,14 0,84 0,94 0,98 0,82 0,92 s 0,84 0,74 0,76 0,78 0,73 0,75 s 0,87 0,62 0,65 0,67 0,57 0,66 s 18,44 24,82 21,99 20,94 24,36 19,21 % 18,34 24,80 22,09 20,93 24,33 19,17 % 5,22 5,20 5,19 5,21 5,22 5,22 m 10,02 10,11 10,11 10,10 10,11 10,03 %
ill. 91.3 Reverberation time according to frequencies in the reshaped model. The reverberation time for 125 Hz is too high in relation to the frequencies for speech.
ill. 91.4 The reflections in the room haven’t changed significant in the new model. All reflections still happen within 50 ms.
ill. 91.6 The SPL is good for the first period with a difference of only 4 dB.
ill. 91.5 The clarity is in the new model still above 50 % and the speech intelligibility is sustained.
ill. 91.7The differences of SPL in the second period is too scattered and the perception of the sound will be different according to location in the room.
91
Second model second iteration EyrT EyrTg SabT T-15 T-30 AbsC AbsCg MFP Diffs
This changes provides a more evenly distribution of the reverberation time over frequencies around 0.7 sec. The SPL for the period between 20ms and 50ms have not changed significant and this has to be changed to create an acoustically well functioning room. The SPL is higher at the back of the room and to change this, more absorbing material (C) is added in that area of the room.
ill 92.2. A good clarity is experienced in all seats.
125 250 500 1k 2k 4k 0,95 0,78 0,92 0,95 0,81 0,92 s 0,96 0,78 0,92 0,96 0,81 0,93 s 1,07 0,89 1,03 1,06 0,91 1,00 s 0,82 0,76 0,84 0,83 0,77 0,84 s 0,76 0,70 0,76 0,77 0,65 0,73 s 19,59 23,39 20,07 19,36 21,94 17,48 % 19,54 23,45 19,99 19,28 21,92 17,37 % 5,18 5,21 5,20 5,22 5,20 5,20 m 10,23 10,27 10,24 10,22 10,27 10,14 %
ill. 92.1 Reverberation time according to frequencies.
ill. 92.3 Sound pressure level is equally distributed from 0 to 20 ms.
Second model third iteration
EyrT EyrTg SabT T-15 T-30 AbsC AbsCg MFP Diffs
The model has the perforated metal on the rear wall and on the three back parts of the walls; this affects all the analysed values. The RT is just beneath 0,7sec and is evenly distribution over the frequencies. Both periods regarding SPL are within the maximum difference of 10 dB and the deutlichkeit is over 60%, where the lower limit for a good value is 50%. This model now fulfills both architecturally and the technical requirements putted up for the lecture room.
ill. 92.4 Sound pressure level from 20 to 50 ms. is too different for the audience to experience a equal sound regardless of siting.
125 250 500 1k 2k 4k 0,85 0,74 0,72 0,76 0,75 0,81 s 0,85 0,75 0,73 0,77 0,76 0,81 s 0,96 0,85 0,84 0,87 0,86 0,90 s 0,79 0,73 0,71 0,78 0,67 0,75 s 0,65 0,70 0,68 0,67 0,66 0,67 s 21,75 24,55 25,01 23,68 23,53 19,91 % 21,71 24,41 24,73 23,44 23,34 19,87 % 5,21 5,21 5,21 5,21 5,22 5,20 m 10,02 10,03 10,03 10,03 10,03 9,99 %
ill. 92.5 Reverberation time according to frequencies for the lecture room.
D-50
[%] 1 kHz
A0
ill. 92.6 Reflections are all occurring within the permitted time, which indicates that echoes are avoided. SPL
[dB]
A0
92
ill. 92.7 The clarity in the lecture room is higher than the recommended 50 % regardless of sitting.
0,00<t<20,0ms
1 kHz
100 95 90 85 80 75 70 65 60
80 78 76 74 72 70 68 66 64 62 60
SPL
[dB]
1 kHz
20,0<t<50,0ms
A0
70 68 66 64 62 60 58 56 54 52 50
ill. 92.8 The sound pressure level for the period of time between the sound is emitted and onto 50 ms. later is within a difference of 10 dB, which ensures an equal perception of sound all over the audience seating.
Lecture room with materials
93 ill. 93.1 The lecture room seen from the stage. The rear wall and rearmost side walls are made with perfereted metal and the ceiling and remaining side walls of concrete.
94
Ill.94.1 View from north-west, Industry north – Nørresundby
95
Presentation
A
EL
Situation plan
ARE
E EATIV RECR AREA
TIVE
SPORTS AREA
REA
YOUTH HO ST
REC
PED
EST
IND
RIA
UST
NP
ATH
RY/
CUL
CH
BEA
TUR
E
N Situation plan
LIIVNG
BRIDG
E
Situation plan shows placement of the living bridge in an overall context. Landing of the bridge on Aalborg side is planned placed in front of the new upcoming house of music with a potential urban square in front of the building connecting the pedestrian path to the bridge. Landing on Nørresundby side is placed in front of the municipal building with a split connection towards north-east and north-west. The placement of the bridge reflects the vision for this project to provide a passage to interact qualities from both areas on the bridge.
PE DE STR RE IAN CR AR EA PA TIV EA TH E
TRIAN
PATH
HOUSE OF MUSIC
M
IS C
FU NC
ICE OFF LIVING AND
TIO
NS
S PEDE
OFFICE AND LIV
ING
CULTURAL CENTRE ill. 96.1 Site plan scale 1:5000
TIVOLI
96
TA EN AL M RI CIG E P O EX OL ING EC US HO
N
+ 54 meter
+ 54 meter + 38 meter
+ 36 meter + 15 meter
+ 35 meter
+ 23 meter
+ 20 meter
ill. 97.1.1:2000 plan
+ 54 meter + 36 meter + 15 meter
+ 23 meter
+ 54 meter
+ 54 meter + 38 meter
+ 10 meter
+ 35 meter + 20 meter
+ 13 meter
+ 15 meter
+ 7 meter
ill. 97.2.1:2000 elevation
ill. 97.3. crosssection1:2000 section
ill. 98.1 Elevation from east
elevations
ill. 98.2 Elevation from West
Elevations Elevations show the visual picture of the bridge seen from east and the west side. The building on the bridge is conceptually designed in a cubic functionalistic style. The visual tectonic gives a clear understanding of the load bearing column structure. The facades reflect a play in shape, with breaking up volumes horizontally and vertically and in use of natural materials. The overall shape also reflects the context bridge is planned for.
99
Bridge organization 100
Building 1:
Ground Floor: Housing.
Building 3:
Ground Floor: Graphic Design Lab. 1. Floor: Housing. 2. Floor: Housing. Building
5:
Ground Floor: Hotel. 1. Floor: Hotel. 2. Floor: Hotel. 3. Floor: Hotel. 4. Floor: Hotel.
Building 7:
Ground Floor: Administration and Service. 1 .Floor: Administration and service, Housing. 2 .Floor: Housing. 3 .Floor: Restaurant. 4 .Floor: Housing. 5 .Floor: Housing.
Building 2:
Ground Floor: Installation Art. Digital Design. 1. Floor: Housing.
Building 4: The functions are organized according to the function diagram. The functions are placed in different zones that relate to each side of the bridge. At the Aalborg side the functions that are placed are more modern electronic workspaces that relate to the pulsing context. In relation to the more quiet area traditional handcraft workspaces are placed at the Nørresundby side. By placing the largest volumes on each side of the opening, a very dramatic expression is attained. Towards Aalborg the building volumes are relative large and systematized in their organization, while in relation to the natural self-grown side of Nørresundby, the buildings become more fragmented and coincidental.
Ground Floor: Computer Lab. 1. Floor: Housing.
Building 6:
Ground Floor: Art Café. 1. Floor: Housing. 2. Floor: Housing. 3. Floor: Housing. 4. Floor: Housing. 5. Floor: Housing. 6. Floor: Housing.
The conceptual idea of the buildings is to interact the different functions. L- shapes, T-shapes, etc, in plan and section, are spatially interwoven to produce a range of dynamic in between spaces. Functions merge and overlap each other, allowing different functions to come together.
Building 8:
Ground Floor: Housing. 1. Floor: Housing. 2. Floor: Housing. 3. Floor: Housing. 4. Floor: Housing.
Aalborg
Housing Zone 1
Hotel
Housing Art Cafe
Housing Restaurant
Housing
Housing Zone 2
NØRRESUNDBY CULTURAL LOOP
Aalborg
Housing Zone 1
Hotel
Housing Art Cafe
Housing Restaurant
Auditorium Canteen
Workshop Childrens Workshop
Housing
Housing Zone 2
Auditorium Canteen
Workshop Childrens Workshop
Housing Zone 1
Hotel
Housing Art Cafe
Housing Restaurant
Nørresundby
Zone 3 Housing
Zone 3 Housing
Zone 3 Housing
Nørresundby
Material shop and Library
Administration and Service
Aalborg
Zone 3 Housing
Material shop and Library
Administration and Service
Housing
Housing Zone 2
Administration and Service
Auditorium Canteen
Workshop Childrens Workshop
Zone 3 Housing
Zone 3 Housing
Nørresundby
Material shop and Library
PRIVATE SEMI-PUBLIC PUBLIC
Ill. 101.1. overall concept
Aalborg
Nørresundby
PRIVATE
AALBORG
SEMI-PUBLIC
Building 9:
Nørresundby
SEMI-PUBLIC PUBLIC Aalborg
Building 11:
Aalborg
Ground Floor: Material Shop, Material Library. 1. Floor: Auditorium, Canteen.
PUBLIC PRIVATE
Aalborg
Ground Floor: Interior Design, Architectural Studio. 1. Floor: Interior Design, Architectural Studio. 2. Floor: Interior Design, Housing. 3. Floor: Housing. 4. Floor: Housing.
Nørresundby
CITY
INTERACTION
NATURE
Nørresundby
Ill. 101.2. 101.4 organization diagrams Aalborg
CITY
INTERACTION
NATURE
Nørresundby
Building 12:
Ground Floor:Textile Lab.
Aalborg
CITY
INTERACTION
NATURE Building 18:
Nørresundby
Ground Floor: Housing. 1. Floor: Housing. 2. Floor: Housing.
Building 16:
Ground Floor: Housing. 1. Floor: Housing.
Building 17:
Ground Floor: Glassblowers Studio. 1. Floor: Potters Studio. 2. FloorGlass- and pots exhibition
Building 10:
Ground Floor: Workshop, Workshop for children. 1. Floor: Workshop.
Building 13:
Ground Floor: Art Café. 1. Floor: Art Café. 2. Floor: Art Café.
Building 14:
Ground Floor: Sculptures Studio.
Building 15:
Ground Floor: Painters Studio. 1. Floor: Gallery
101
102
Ill.102.1 View from north-east landing, Nørresundby
The illustration shows the conceptually planned landing seen from north-east side of the bridge. The landing with the split connection provides a small intimate guest harbor space for small boats in front of the municipal building. Cubic building volumes are elevated by using the column structure. This creates experimental spaces both on the bridge and inside the buildings. The open urban spaces around the buildings create the possibility for creative outdoor activities and exhibition for the art related bridge program. Building volumes with large window openings creates a natural connection between inside and outdoor spaces. This conceptual thought allows the art related functions to be experienced from the bridge for pedestrians. The material use with wooden cladding on the bridge deck reflects a calmer environment referring the function placed on this side of the bridge.
103
Ill.104.1 View from south-west, Aalborg
ill. 104.1 shows the urban space in front of the future planned house of music. This space connects the bridge landing to the pulsing environment and interact the bridge to the context. Buildings on the bridge have a clear verticality. The column structure is intensifying this expression by creating a clear visual tectonic expression.
104
Ill.104.2 View from north shows the environment across the bridge. The buildings volumes are elevated in different levels from the bridge deck to crate passage and spatial experience for pedestrians on their journey crossing the bridge. The covered spaces with different heights give the opportunity of making the connection between inside and outside areas. This again allows the program on the bridge to interact with the outdoor spaces. The patchwork of materials is controlled partly by the functions inside the building volumes and by aesthetic qualities conceptually planned for the bridge.
ill. 105.2 shows a larger urban plaza on the Aalborg side of the bridge. This is reflected by a Digital Art Lab and an increased use of industrial materials. Art, artists, and individuals interact in this active zone. The columns, the plaza floor, and the building facades become open spaces for the artists to experiment and play. The columns in particular can become areas for art installations and outdoor exhibitions; wrapped in fabric, intertwined with string, illuminated by colored lights, or supporting temporary exhibition walls and video screens.
Ill.105. 1 View north, outdoor area kids workshop
105 ill. 105.2 View plaza seen from north
Building detailing
Distribution of functions The volume consists of 25 cubes for housing, 7 cubes for administration, and 4 cubes for a cafĂŠ. Each cube measures 6 x 6 x 6 meters. Pre-determined requirements for square-meters govern the distribution of these cubes with respect to function, while components from the typology study govern the configuration of these cubes with respect to function. A mixed-use diagram organizes the functions vertically. To visually accentuate the interaction between functions and cubes, the volumes begin to interlock. In this way, a change in floor height affects the ceiling of the volume below. This in turn creates a more dynamic visual experience for individuals on the bridge, as well as differentiated interior spaces for individuals within the volumes. All manipulations are of three and six meters, adhering to the grid.
Appartment 1 & 2 Restaurant Service area Transit area
ill. 106.1 Distribution of functions
Facades The same 6 x 6 x 6 meter grid is used to compose the facades. Elements of a similar language to the building typologies are utilized, resolving the facades within the collective totality. This grid allows the interaction of different materials, experi-
ences, and individuals. The possibility of creating a patchwork provides opportunities to adapt the facades, and create an exciting visual experience. Incorporating transparent planes creates another visual experience by connecting individuals
within the volume to both the fjord and the individuals moving below.
106 ill. 106.2 East elevation
ill.106.3 West elevation
Appartment 1
Appartment 2
THE APPARTMENTS
Example 1 is based on a cube system where each cube represents a dimension of 6 x 6 x 6 meters. One-half cube is in this case used as a space for both entrance and staircase. One and one-half cubes represent the apartment space. The apartment in example 1 is planned with the intention of experiencing different spaces and different levels. The living room is planned with a high ceiling to create the experience of being in a more open space. The dining area is elevated from the living room and planned with a lower ceiling to create a more intimate space.
Example 2 consists of two apartments based on the same cube system as mentioned in example 1. One-half cube is in this case also used as a space for both entrance and staircase. Two and one-half cubes represent space for two apartments interacting with each other.
Each apartment is planned with 2 stories. The functions in the apartment are planned with a focus on daylight, the possibility of sunlight, and the experience of different spaces. Functions such as bathrooms, bedrooms and a kitchen, are mainly placed on the east side of the apartment with the possibility of having morning sun. A living room and a dining space are placed facing west with the possibly of having evening sun. The kitchen and living room are planned in the same room; large window openings on each side provide the quality of daylight through the room and a view to the fjord.
ill.107.1 Sketch shows the distribution of two cubes in example 1.
ill.107.2 Sketch shows the distribution of three cubes in example 2.
Entrance
Bathroom
Entrance
Entrance
Kitchen
Kitchen
Bathroom Bathroom
Kitchen Bathroom Living room
Kitchen Living room
Bathroom Bathroom Entrance Entrance
Kitchen Bathroom Living room
Kitchen Living room
Bathroom Bathroom Entrance Entrance
Living room
Entrance Entrance
Kitchen
N
N
Staircase Kitchen
Staircase Kitchen
Staircase Living room
1:200 1. floor
Bedroom
Bathroom
Bedroom
Bedroom
Bathroom Living room
Bedroom
Bathroom Living room
Bathroom
Bedroom
Living room
Bedroom
Bedroom
Bedroom Bathroom
Bathroom Bedroom
Living room
Bedroom
Bedroom
Bedroom Bathroom
Bathroom Bedroom
Living room
Bedroom
Bedroom
Bathroom
1:200 1. floor
Staircase
Staircase
Staircase 1:200 2. floor
1:200 2. floor Living room
ill.107.3. 1:200 section
ill. 107.4. 1:200 section
107
108
Ill. 108.1 Image form west shows the visual expression of the bridge at night time. Different building scales and patchwork of material creates a play of light on the bridge.
109
Discussion 110
Now after the presentation of the project the time has come to discuss some of the key issues of this project. The two headlines for this discussion are: -Tectonic design, combining logic and aesthetics -Bridging Aalborg and Nørresundby -Tectonic design combining logic and aesthetics The theme of this semester “tectonic design” has been the foundation for the design of this bridge, and therefore it has been important to define the interpretation of what tectonic design was for this group. Essentially the definition called for a design that combined the abstract aesthetic with the logical answers to functional and construction matters. Still the group’s definition of tectonic seemed very broad, which resulted in a process that began by suggesting various scenarios of a bridge with the above- mentioned tectonic qualities. Although the end result of the process described a very simple almost Arcadian logic of tectonic, the starting point of the process was far more experimental and challenging, showing a somehow more contemporary tectonic expression. So the big question is why has this more simple and elementary form of tectonic been chosen? The answer to this question has a lot to do with the context of the site, a consciousness of the importance of the context that possibly is greatly due to our relationship with these areas. The analysis of the context did not ask for a third type of object that would be in disharmony with the spirit of Aalborg and Nørresundby. Apart form the context, it appeared that the combination of a bridge and a building called for a structure that was suitable both as bridge and building; the simple column structure of course appealed, seen from a logical perspective. But from an aesthetic per-
spective, the process of working with columns and mass proved to have a great aesthetic potential of breaking down the bridge and its volume to bits and pieces, creating a patchwork of textures, and variation of external and internal rooms. However, it is not certain that an architectural implementation of patchwork alone is sufficient to generate a creative environment. This patchwork idea recalls the overtime self grown industrial areas of Aalborg and Nørresundby, but the qualities of such an environment with that particular atmosphere also refer to often creative areas such as Christiania or even Camden Market in London. In this way, the logic of the construction and function are combined with the aesthetic that relates to the context and the function; the design considers the structural suitability of column and volume elements, the joints between them, their materials as bridge components, the climate, and the flow of traffic [human and vehicular] across the Limfjord. Each of these decisions impacts how the system functions, but also how it reads as a whole. Towards this end, aesthetic decisions influence the functional considerations, relate them to the context, and transform the poetic thought into an architectural expression. Still it could be questioned whether this combination of logic and aesthetic was so dependant on each other that the system as a whole became too static and too rigid, aesthetical speaking. The system on one hand set up certain rules that had to be followed by the elements put into the system, rules of dimension, rules of gravity, and rules of shapes. While on the other hand, if used correctly, these rules should still have allowed the system to be playful and flexible. To some extent, it was thought that the 6 x 6 column system of the bridge contained the values of being playful and flexible in the way it was used on the bridge to combine columns
and volumes. But most likely the above mentioned qualities could be improved and investigated further by testing different grid sizes inside the 6 by 6 system, or looking for elements that could give the system a particular detailing in some areas creating a greater diversity, and a more lively experience of the bridge. Bridging Aalborg and Nørresundby One of the major challenges of this project was to connect Nørresundby and Aalborg together so that over time they would be thought of as one city instead of two separate cities, despite their differences. In the analysis phase, different tools, theories and analysis was put up to assure the direction of the bridge design and to fulfil the vision of the two cities being seen as a whole. It can be difficult to predict if this vision would be fulfilled by this bridge because the vision depends on factors around the bridge. Especially on the Nørresundby side, the areas have to be activated as the harbour front of Aalborg will be reignited during the coming years. Otherwise the bridge will dead-end on the Nørresundby side which currently is an uninteresting area in relation to the bridge. But if the areas around the bridge are developed as shown in the master plan, then most likely this bridge would contribute greatly to thinking of the two cities as one. This would open up the use of both sides’ qualities and potentials that eventually would generate a new attractive area on both sides and on the bridge itself. This more mental aspect of bridging Aalborg and Nørresundby can be hard to judge, as well as the even more physical aspect of connecting the areas in terms of function and logistics. The bridge seems to have functional and logistic qualities, although again these aspects are very dependant on the development in the nearby context of the bridge. It seems hard to judge the
bridge itself when discussing its ability to link Aalborg and Nørresundby because development of the nearby areas, and time this involves, are important factors when discussing this matter. Still, if the bridge in collaboration with the masterplan suggested in this report is combined, it seems as if the bridge has great logistic potential to create a circulation in the harbour area on both sides. A factor that probably would increase the dynamic is created by pedestrians and bikes crossing the bridge over the Limfjord. It is this dynamic that could help to bind the cities together. Also, by creating this multi-functional bridge, many different people would be attracted to the bridge and it could be possible that in the future, it would be perceived as a natural extension of Aalborg and Nørresundby, which would be the highest goal in linking Aalborg and Nørresundby as one city. The union of these cities in combination with the impact of a living bridge can be more than regional or even national; it can be global, making Aalborg and N;rresundby capitals of creative and knowledge-based enterprises. All the functions put on the bridge also serve another purpose than just creating the sense of a city on water; all these functions eventually would finance the bridge over time, and help to create a more dense city instead of a city that expands outward. This bridge reclaims space within the city and thereby prevents urban sprawl. In this discussion the time factor has been mentioned several times now, and in the process of making the bridge, the idea of developing it over time has been present. Especially when working with a more or less open system, it seemed obvious to exploit the possibilities of how to make future additions or reorganisations. However this project has moved partly in another direction because the bridge proposed is more fully developed in order to control some of the basic param-
eters and qualities on the bridge, such as sun and wind, open spaces, and the scale of buildings So the bridge is designed with intention of being self-grown rather than actually being self-grown and controlled by the inhabitants on the bridge. Even though the volume put into the system is considered to be the maximum amount of built space, the structure of the bridge should still allow especially the artists on the bridge to create shortterm exhibitions and installations, so that the bridge will change over time. When designing a large structure like a bridge it should also be considered how this structure could adapt to future demands and expansions. In the system there lies a possibility to expand in the western direction over the Limfjord if future additions to building mass are needed. These additions should of course follow the same guidelines according to wind, sun and urban space as already put up in the existing design. As the bridge proposal is today, it is considered to hold a great range of opportunities for future changes because the system is so relatively open and orthogonal that it fits a variety of different functions. This is visible in the organisation of the bridge as it is presented in this report. Still, there is a threat that the spaces can be too general; they may suit everything but nothing fits perfectly.
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conclusion
This project has high criteria for the integration of technical, functional and aesthetic aspects in order to produce a more thought-through and tectonic design. Through this project these three various aspects have all been vital in the creation of this bridge, and influence in the design of it. Even though there have been a lot of parameters to integrate, from acoustics to genius loci, into an urban scale project that called for many urban investigations before moving onto the scale of architectural investigations and parameters, these three criteria remained important. The scale in this project leaves a generally conceptual design with minor detailing.. In order to go to the next, more concrete project level, further investigation would be required regarding the internal organization and design of the individual rooms on this bridge. But when looking at the technical aspects of this project, they resemble some of the most general and overall concepts of how to make a structure that is so simple and open that it contains the ability to adapt to a great variety of functional and aesthetic demands. Some of the more detailed parts of the project include: the optimization of a room for speech, the structural analysis of a section of the bridge, and the dimension and shape of the columns. All though the project, the system was thought of both on the scale of the totality and the joint between the column and building. The vision of a tectonic design has been the goal in order to assure a logical reading of the bridge. The functional issues of this bridge are probably least developed, because through the project the scale has been too big to put up detailed demands for the functions. This resulted in some overall assumptions regarding the functions in the bridge surroundings and on the bridge as well, though the functions on the bridge are significantly more de-
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veloped than those in the surroundings. However, some work was done to suggest the functional organization of one of the major buildings on the bridge, and also an investigation on how to design some apartments in this building in order to prove the possibilities of the system in terms of housing. The infrastructural situation, which also was considered functional, has been essential for the design of the bridge. It was important that this bridge also solve some of the areaâ&#x20AC;&#x2122;s traffic problems by providing another strategic connection through the city centre to the highway. Lastly, the aesthetic aspect of the bridge design is somehow what binds the functional and constructional parts together and makes them more than being pure construction and functionality. The aesthetic dimension of the bridge ties it together with the identity of the context, creating an experience of space that continues the spatial feeling from the streets and industrial areas of Ă&#x2DC;strehavn, and the open raw areas of Stigsborg. The inspiration form these raw areas succeeds in creating a bridge that on different levels works with the spirit of the place, and binds the bridge to this place in the world. The columns and mass work together as an integrated, flexible, tectonic system. Each depends on the other, The aesthetic of the bridge not only works together with the context but also the functions and the environment on the bridge. In fact, although the aesthetic, functional and technical aspects have been listed separately in this conclusion, all aspect are present together and influence each other, which resolves in an integrated design that has tectonic quality. The artistic environment in works in combination with the developing the masterplan for the Aalborg area and would generate a creative environment. However it is also the intention that this area be interactive, and
always changing. This variable depends greatly on the influence of the Kommune, the opportunities available to the public, and the attraction of influential forwardthinkers. It is also important to bring more individuals into residence within the city and on the bridge; an increase in density would enliven the public spaces on the bridge, and a concentration of living and working within the city would generate a more constant human presence in the public zones. The living bridge provides the tools for development in the future. It creates a new area within the city, but for this to be accepted into the urban fabric, the cities must develop respective but interrelated masterplans. If this bridge is to function as an art environment, the presence of the art and artists must be dominant and active otherwise the environment becomes uninteresting and passive. Also, the intention of creating an art environment comes with the understanding that for such and environment to succeed, it must grow over time. This environment cannot be planned or predicted; one can only establish a framework to be adopted and altered. Urban tools and case studies were useful references, but ultimately, the bridge must be adopted by the public. It is also considered that the bridge has the potential to be a real living bridge because of the mix of functions and the its position in the area. It will therefore be an important player in melting the two different cities together and creating a more coherent area that eventually would benefit both cities.
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appendix 1 Shadow
21. June 9 AM
21. March/September 9 AM
22. December 9 AM
21. June 12 PM
21. March/September 12 PM
22. December 12 PM
21. June 16 PM
21. March/September 16 PM
22. December 16 PM
In order to analyze the shadow situation on the Aalborg landing point, these shadow diagrams have been made to determine the effect of shadow on this area. Conscious that some of the function on this living bridge would require a great deal of natural light, it is found relevant to do this analysis. From the results of these renderings, it is clear that shadows are not
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a major problem if the bridge starts at the edge of the harbor. Even when the high-rise hotel and the high towers of the Østerhavn industry cast some shad-ows into the area of the bridge, these are relatively small, and only occur during a few hours in the morning and afternoon. More important, is considering what the area in front of the house of music, and between this house and the Østerhavn industry
can be use for, because here shadows will be more massive and dominating throughout the year. It is not found relevant to do this shadow analysis for the landing on the Nørresundby side because of the lack of shadowing buildings.
CONCRETE Yield moment
column check Ns = 125 kN
300 mm
300 mm
Mmax = 27 kNm
5000 mm
Steelreinforcement ø = 20
M0 = 13,5 kNm
Calculation of yield moment in a concrete column with the dimension shown on ill.XX. Characteristic values for concrete: fck = 40 MPa Conrete 25, new tentor-steel: fyk = 550 MPa Normal safety class y0 = 1 Normal control class y5 = 1 Partial coefficients: yc = 1,65 y0y5 =1,65 ys = 1,3 y0y5 = 1,3 Calculation values fcd = fck/yc = 40/1,65 = 24,2 MPa fyd = fyk/ys = 550/1,3 = 423 MPa Esd = Esk/ys 2x105/1,3 = 1,54x105 MPa Calculating area of reinforcement on one side of the column: As = 3x202xπ/4 = 942 mm2 Height of zero line X = 1,25
As fyd b fcd
1,25x942x423 = = 69,2 mm 300x24,2
Yield moment is then Mcd =
942x423(300-0,4x69,2)
Mcd =
108,5 kNm
M1 = 0 kNm
Steel strength class Fy = 235 MPa Calculation value for steel: Fyd = 201 MPa Choice of profile class: A square profile tube on 250 by 250 mm and a material thickness on 10 mm and strength class S235. The profile class is number 1 for this type of profile. Profile constants A = 9,49x103 mm2 Wy = 724x102 mm3 Wpl = 851x103 mm3 Iy = 97,7 mm Breaklength of the column is: Ls = 5000 mm Defining the exploration of the normal force nmax λ =
ls
5000 97,7 i = = 0,57 89,4εx1,0 89,4ε
for the chosen profile the column case a is being used which gives that χ = 0,89 Then the strength of the column is: Nb,R = χ A fyd = 0,89x9490x201x10-3 Nb,R = 16987 kN 125 = 0,0736 1698 This shows that the most stressed beam in the system only uses 7 % of it’s strengt to resist the loads from the system.
nmax =
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CAR BRIDGE SEPERATED FROM PEDESTRIAN BRIDGE WITH 6 M, ROAD DIMENSIONED FOR LIGHT CAR TRAFFIC, + PUBLIC TRANSPORTATION ( BUSSES)
LIVING PEDESTRIAN BRIDGE DIMENSIONED FOR EMRGENCY VEHICLES, FIRE TRUCKS, DELIVERY TRUCKS.
MAX. SPEED 50 KM/H.
VERTICAL LOADS FROM BUILDINGS ARE TRANSFERED DOWN BY THE COLUMS.
SECTION A-A
ONLY 1 LANE IN EACH DIRECTION, SEPERATED BY LINE IN THE MIDLE PAYLOAD 5 kN/m2
A
PAYLOAD 5 kN/m2
A
WIND LOAD 1 kN/m2
table 6.8: payload for parking and traffic areas. categories of traffic areas
qk kN/m2
Qk kN
category F gross weight: < 30 kN
2.5
20
category G 30 kN < gross weight < 30 kN
5.0
90
breaking cap. (kN/m2)
appendix 2 bridge deck 116
bridge deck
load capacity of hole deck
HD 265 (Span max. 15 m) My > Md Not ok HD 320 (Span max. 17 m) My < Md ok
span width in metres Diagram showing HD- elements load bearing / breaking capacity according to span.
Calculation slab bridge deck Calculation for dimensioning of bridge slab made with online program from Contiga AS. (www.contiga.no) Calculation shows the result for slab element HD 320 calculated from the following criteria: Self load 1,0 kN/m2 Payload 5,0 kN/m2 Span 120000 mm The result shows the chosen element can handle the applied forces.
Slab element specifications HD320; maximum span up to 15, 0 m HD320 • 420 kg/m² transport weight • 440 kg/m² mounting including joints
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appendix 3
Construction concept Figure 1: Steel beams placed in the column grid 6 m x 6 m. Figure 2: Slab elements span between steel beams as a share plate. Figure 3: Wall elements placed on top of steel beams. Vertical forces are transferred from the beams to load bearing columns. Wall elements function as shear walls to stabilize the load bearing column structure. fIG. 1
fIG. 3
Figure 4 and 5: Shows example for load bearing steel structure.
fIG. 4
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fIG. 2
fIG. 5
119
3m
6m 6m
appendix 4 plan & section
24 m
38 meter
180 m 55 m
a
+ 35 meter + 20 meter
+ 13 meter
+ 15 meter + 1.5 meter
Section a-a
east elevation + 54 meter
+ 54 meter + 36 meter
+ 10 meter + 15 meter + 7 meter
120
a
+ 1.5 meter
+ 23 meter
+ 54 me
36
m
N m
6m
6m
130
6m
80
m
250 m
Scale 1:2000
eter + 38 meter
+ 35 meter + 20 meter
+ 13 meter
+ 15 meter + 1.5 meter
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Source List
Books: Williams, Simon (1996): Living Bridges, Prestel Verlag, Munich, Germany, ISBN 3-7913-1734-2. Kiib, Hans (2007): Harbourscape, Aalborg University Press, Aalborg, Denmark, ISBN 987-87-7307-790-0. Petersen, Jørgen (1984): SBI 137, Rumakustik, Statens Byggeforskningsinstitut, Aalborg, Denmark, ISBN 87-563-0520-6. Kirkegaard, Poul Hernning (2003): Structural Dynamics, Vol. 10, Building and Room Acoustics, Faggruppen for Strukturel Dynamik forlag, Aalborg, Denmark. Jensen, Bente (2008): Limfjordsbroen I 75 år, Aalborg Kommune, Teknik- og Miljøforvaltningen Forlag, Aalborg, Denmark, ISBN 978-87-89590-25-7. Lee, C. M, Christopher and Jacoby, Sam (2007):Typological Formations-Renewable building Types and the City, AA Publications, London, England, ISBN 978-1-90290258-6. Corcuera, Antonio (2006): Moderne Hus, LOFT Publications, Barcelona, Spain, ISBN 82-7822-491-9. Wigley, Mark, Constant´s New Babylon, The Hyper-Architecture Desire, New York Drawing Center Publications, New York, USA, ISBN 978-9064503436. Teknisk Ståbi, 18. udgave, 5. oplag 2004, Nyt Teknisk Forlag, Copenhagen, Denmark, ISBN 87-571-2134-6. Dansk Standard DS 410, 4. udgave, 1. Oplag, Dansk Standard Forlag, Charlottelund, Denmark, ISBN 978-87-571-2224-4.
Lectures: Kirkegaard, Poul Hernning (2008): Building Technology and Architectural Design, Lecture 1 – Lecture 7. (09.10.2008 – 03.11.2008) Andersen, Lars (2008): Finite Element Design, Lecture 1 – Lecture 5. (15.10.2008 – 17. 11. 2008) Dodd, George (2007): Lightning and Acoustic Design 2, Lecture1 – Lecture 6 (Fall 2007)
Internet Pages: www.matsuo-bridge.co.jp, Types of bridges. (09.10.2008) www.richmangalleries.com, Types of bridges. (09.10.2008) www.flickr.com, Photos of persons etc. (07.12.2008 – 12.12.2008) www.contiga.no, Static calculations, construction principles (1.11.2008 12.12.2008) www.Aalborgkommune.dk, Maps, City-plan etc. (6.10.2008 – 12.12.2008) www.kulturbro-aalborg.dk, example of bridges in Aalborg (15.10.2008) www.eisenmanarchitects.com (15.11.2008)
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–
ill. 6.1: Self Generated Illustration. ill. 7.1 – 7.5: Private Photos. ill. 8.1 – 8.2: Jensen, Bente (2008): Limfjordsbroen I 75 år, Aalborg Kommune, Teknikog Miljøforvaltningen Forlag, Aalborg, Denmark, ISBN 978-87-89590-25-7. Ill. 8.3: Kiib, Hans (2007): Harbourscape, Aalborg University Press, Aalborg, Denmark, ISBN 987-87-7307-790-0. ill. 8.4 – 8.5: www.kulturbro-aalborg.dk (09.10.2008). ill. 9.1 -9.2: Private Photos. ill. 10.1: Self Generated Illustration. ill. 11.1: Williams, Simon (1996): Living Bridges, Prestel Verlag, Munich, Germany, ISBN 3-7913-1734-2. ill. 12.1-12.3: Williams, Simon (1996): Living Bridges, Prestel Verlag, Munich, Germany, ISBN 3-7913-1734-2. ill. 13.1-13.2: Williams, Simon (1996): Living Bridges, Prestel Verlag, Munich, Germany, ISBN 3-7913-1734-2. ill. 13.3-13.4: www.artnet.com (20.10.2008). ill. 15.1-15.4: www.hafencity.com and www.livingbridge-hamburg.de (10.12.2008). ill. 16.1: Self Generated Illustration. ill. 17.1 - 17.5: www.flickr.com (10.11.2008). ill. 17.6-17.7: www.cubo.dk (24.10.2008). ill. 18.1 - 32.2: Self Generated Illustration. ill. 33.1 - 34.6: Private Photos. ill. 34.1 - 34.7: Self Generated Illustration. ill. 37.1 - 39.7: Private Photos. ill. 40.1: www.peterboggis.co.uk (20.10.2008). ill. 40.2: www.historicbridges.org (22.10.2008). ill. 40.3: www.ngsprints.co.uk (20.10.2008). ill. 40.4: www.richmangalleries.com (21.10.2008). ill. 40.5: www.digitalapoptosis.com (20.10.2008). ill. 40.6: www.members.virtualtourist.com (20.10.2008). ill. 40.7: www.birchimages.co.uk (22.10.2008). ill. 43.1 - 44.4: Self Generated Illustration. ill. 46.1: Self Generated Illustration. ill. 48.1 – 53.6: Self Generated Illustrations. ill. 54.1: www.archidose.org (9.11.2008). ill 54.2 - 54.3: www.shoparc.com (9.11.2008). ill. 54.4 – 55.6: Self Generated Illustrations. ill. 56.1: Lee, C. M, Christopher and Jacoby, Sam (2007):Typological FormationsRenewable building Types and the City, AA Publications, London, England, ISBN 978-1-902902-58-6. ill. 56.2 – 56,3: www.eisenmanarchitects.com (02.12.2008). ill. 56.4 – 56.5: www.stevenholl.com. ill. 57.1: Self Generated Illustrations. ill. 58.1: Tracing Shapes. ill. 59.1: Shape Suitability. ill. 60.1 – 68.2: Self Generated Illustrations. ill. 69.3: Williams, Simon (1996): Living Bridges, Prestel Verlag, Munich, Germany, ISBN 3-7913-1734-2. ill. 69.4 – 112: Self Generated Illustrations.
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