Revealing Structural Patterns behind the “Veil” by Banush Shyqeriu

Revealing Structural Patterns behind the

The

“VEIL”

Quest for TECTONIC Novelties & Revival of AUTOGENIC ORNAMENT

Prishtina, 2021

Revealing Structural

“ V E I L”

Patterns behind the

RESEARCH

UBTPRESS

Revealing Structural

“ V E I L”

Patterns behind the

RESEARCH

BANUSH SHYQERIU

CONTENT

CONTENT SYNOPSIS INTRODUCTION 1. Studio' Design Philosophy: Hedonistic Sustainability 2. Architectural Design Theme: “BIOINSPIRATION & THE REVIVAL OF AUTOGENIC ORNAMENT” 2.1. BIOINSPIRATION / Bionic Architecture 2.2. Poetics of Architecture POETICS, NOT POETRY 2.3. Structure, Construction, Tectonics 2.4. The New Structuralism 2.5. Novel Tectonics Revealing Structural Patterns behind the “Veil” What to Show and what to Analyse? List - categories of projects: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 12A:7B | 6A:1B Suzana Krasniqi; Arbra Tahiri 35A:34B Besfort Ramadani; Pashtrik Shehu 11A:19B Bleona Sopa; Erëblina Musliu; Erza Gashi 17A:25B | 26A:26B Brikena Mehmet; Pranvera Kryeziu; Verona Begaj 19A:19B | 6A:11B Valëza Tahiri; Blerina Muriqi 32A:13B Albana Rafuna; Andina Latifi 24A:28B Durim Osmanaj; Endris Kycyku; Festim Mulaku 25A:15B | 4A:24B

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Course Name: DESIGN STUDIO 3 – Design, Planning and Development of Economic Facilities Subject: The HYBRID Development of Interchange Transport Terminals in Kosovo Architectural Design Theme: “BIOINSPIRATION & THE QUEST FOR TECTONIC NOVELTIES IN WOOD – STRUCTURE AS ARCHITECTURE - ARCHITECTURE AS STRUCTURE & THE REVIVAL OF AUTOGENIC ORNAMENT” Architectural Design Philosophy: Hedonistic Sustainability SYNOPSIS: Architecture begins with the spark of an idea, which grows, evolves and prepares itself to enter in the realm of physical world. Hence, architecture as material entity is a synthesis of how we redesign and restructure the world with the same primordial materials our ancestors did, but always searching for the new ways to shape and express our built environment. These new ways dene our continuous quest for novelty and the poetics with which we construct these novelties. Structures remain a fundamental dener of architecture and our world, while through tectonics we give expression to the materials we construct. Architecture goes beyond utilitarian properties, it embodies hedonistic substance

INTRODUCTION 1. Studio' Design Philosophy: Hedonistic Sustainability 1.1. From Vitruvius Utilitas to Hedonistic Sustainability In his Ten Books of Architecture during the 1st century B.C.E. Vitruvius asserted that all the various types of buildings: Must be built with due reference to durability (Firmitas), convenience (Utilitas), and beauty (Venustas).

While architecture has to fulfill the three Vitruvian components, from the dawn of Industrial Revolution we have experienced an architecture which is mostly utilitarian, unpleasant and even unhealthy. Even though today's industrial facilities do not “vomit” so much smoke as their predecessors did, their image has most of the time remained within the “cold” stereotypes set centuries ago. The design philosophy which will fertilize the Design Studio course is the assertion of Hedonistic philosophy as an approach towards the architecture of pleasure and happiness, beyond the mere utilitarian buildings. The word 'hedonism' comes from the ancient Greek for 'pleasure'. Hedonism is a school of thought that argues that pleasure and happiness is the primary or most important intrinsic goods and the proper aim of human life. In architecture this philosophy is broadly defined as utilitarian parts of architecture that not just fulfill the ordinary purpose but improve the quality of life and human enjoyment.

2. Architectural Design Theme: “BIOINSPIRATION & THE REVIVAL OF AUTOGENIC ORNAMENT” 2.1. BIOINSPIRATION / Bionic Architecture Since the formation of natural and biological systems in our planet, nature has constantly been called upon to act as an engineer in solving technical problems.

Bionics or Biomimetics, as we understand it today, dates back to the period between 1800 and 1925 and its proponents Alessandro Volta (electric battery), Otto Lilienthal (flying machine), and Raoul Francé (concepts). It was virtually reinvented under the strong influence of cybernetics in the 1960s by H. v. Foerster and W. McCulloch. The term biomimetics arose simultaneously with a slightly different connotation. “Bioinspiration” is a convenient modern overarching term that embraces everything from bionics and biotechnology to bioinspired fashion design.

According to Werner Nachtigall, the German language term Bionik originally comes from the English word "bionics", which was coined by the US Air Force Major J.E. Steele at a conference entitled "Bionics Symposium: Living prototypes – the key to new technology" in 1960, supposedly as a combination of the words "biology" and "technics" or "electronics". In German, the term "Bionik" has found a very expressive reinterpretation in the ﬁrst and last syllables of the words Biologie [biology] and Technik [technology]. In the English-speaking world, the term "biomimetics" has appeared as equivalent to the German "Bionik" and is commonly used. Otto Schmidt coined this term in the 1950s. As the part "mimetic" suggests a mimicking of nature, the term is controversial. Recently, "Bioinspiration" has been used more often in the same context, but seems to be too general to prevail. Another solution for the continuing terminology discussion is to also use the term "bionik" in English. Nowadays, the three terms bionics, bionik and biomimetics are used synonymously.

2.2. Poetics of Architecture Like everything in our material culture, every act of architecture has its poetics, that is to say a 'reading' speciﬁc to its conception and realisation. What is poetics? Strictly speaking, poetics is the theory of literature and it concerns how poetry and other creative writing should be 'read' – that is, understood and evaluated.

Etymologically poetics stems from the Greek term ποιεΐν [poiein 'to make']. Poiesis is therefore by default related to making, fabrication, production (as much as described by Aristotle in his Metaphysics as the act of production following the thinking, noesis). In architecture, poetics has come to ﬁll a similar role, that of “making” and “reading”.

POETICS, NOT POETRY We should emphasize that poetics is not used as synonymous to poetry. De facto, poetry is the form of literary art 'in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, it's apparent meaning.' As we have already set, poetics per se instead, in its classical dimension, is linked to production.

2.3. Structure, Construction, Tectonics 'Structure' should be understood to mean a network of relationships of elements or of elementary processes'. - Wolfgang Wieser Through tectonics the architect may make visible, in a strong statement that intensiﬁed kind of experience of reality which is the artist's domain—in our case the experience of forces related to forms in a building. Thus structure, the intangible concept, is realized through construction and given visual expression through tectonics. - Eduard F. Sekler

The simplest way of describing the function of an architectural structure is to say that it is the part of a building which resists the loads that are imposed on it. All of these loads tend to distort the building envelope and to cause it to collapse; it is to prevent this from happening that a structure is provided.

The function of a structure may be summed up, therefore, as being to supply the strength and rigidity which are required to prevent a building from collapsing. More precisely, it is the part of a building which conducts the loads which are imposed on it from the points where they arise to the ground underneath the building, where they can ultimately be resisted.

Strength, Stiﬀness, Stability, Synergy Structures must be designed to satisfy three Ss and should satisfy all four Ss of structural design: 1. Strength to prevent breaking 2. Stiﬀness to prevent excessive deformation 3. Stability to prevent collapse 4. Synergy to reinforce architectural design.

2.4. The New Structuralism The New Structuralism announces a new order in design and construction. With the onset of digital technologies, existing parameters have shifted. The old order of standardised design and its established processes no longer hold sway; contemporary architectural design can now be characterised by irregularity, and an appetite for producing customised non-standard, complex, curvilinear forms. The shift in design and production technologies requires a seamless design approach that fully acknowledges the interdependence of design and fabrication. Design is no longer wholly dictated by form with structure following behind; structure becomes integral to form-ﬁnding.

2.5. Novel Tectonics Novel Tectonics leads to a non standardized approach towards architectural expression, which in one hand comes as a result of environmental constraints (i.e. building envelope) and in the other hand from the fabrication logic itself. To realize this, it is required a close and intensiﬁed collaboration in-between innovative architects, engineers and fabricators.

Revealing Structural Patterns behind the “Veil”

The relationship of form with structure it “conceals” and the relationship of envelope with form it “reveals”, surprisingly in many project remains ambiguous. Why? Through a rapid inquiry from ancient times till nowadays, select two built project with very diﬀerent approaches on dealing with relationship in-between: structure – material- form – envelope and the intended expression. Through a concise and explicit presentation, reveal the hidden secrets of structure behind the “veil”. The two projects have to be presented through a comparative presentation, accompanied with two physical models of each project analyzed, in scale 1:50 / 1:20, which models show only one portion of the most interesting part of structural and tectonic system of each project.* The research material should be present in a concise and explicit way only the essential information required from the assignment with images, schemes, and diagrams, explained with very short paragraphs of texts.

What to Show and what to Analyse?

- Time of construction and technology used (available) - Identify and label the structural system, structural pattern - Structural elements (Structural walls, columns, beams, arches, trusses, cables, etc.) - Structural diagrams (Deﬂected, Shear, Moment) - Details and materials - Spans (horisontal span or cantilevers) - Size of structural elements (dimensions of structural members; columns, beams, trusses, etj) - Relation of Structure to Space - Relation of Structure to Function - Flexibility - Expression of Structural system and elements (is structure visible?) - Tectonics - Relation of Structure to Envelope - Structure of Envelope - Structure of Roof - Canopies - Foundations - Other relevant building components: · Bridges · Skylights, etc.

List - categories of projects: A. First Category

B. Second Category

Säntispark Health and Leisure Centre, St Gallen, Switzerland

Chapel of Henry VII, in Westminster Abbey.

Tama Art University Library, Hachioji City, Japan, Toyo Ito & Associates, 2007

Santa Maria del Fiore, Brunelleschi

United Airlines Terminal, Chicago, USA, Murphy/Jahn, 1987

Mosque of Sehzade, Mimar Sinan

Barajas Airport, Madrid, Spain, Richard Rogers Partnership, 2006.

Mosque of Suleiman, Mimar Sinan

Sharp Centre, Ontario College of Art & Design, Toronto, Canada, Alsop Architects, 2004

Saint Paul’s Cathedral, Christopher Wren

1111 Lincoln Rd, Miami Beach, Florida, USA, Herzog & De Meuron, 2010.

Mosque of Cordoba (La Mesquita)

Leutschenbach School, Zürich, Switzerland, Christian Kerez, 2008.

La Sagrada Familia, Gaudi

London Aquatic Centre, London, UK, Zaha Hadid, 2011

Sullivan and Adler - Auditorium Building Chicago, 1889

De Young Museum, San Francisco, USA, Herzog & De Meuron, 2005

Charles Garnier - The Opera Garnier

10. Stansted Airport terminal, UK, Foster Associates, 1991

10. AEG Turbine Hall, Berlin, 1908; Peter Behrens, architect.

11. Oriente Station, Lisbon, Portugal, Santiago Calatrava, 1996.

11. Notre-Dame-du-Haut, Ronchamp, France, 1954; Le Corbusier, architect.

12. Railway station at Satolas Airport, Lyon, France, Santiago Calatrava, 1994.

12. TWA Terminal, Kennedy Airport, New York, USA, 1962; Eero Saarinen, architect.

13. San Francisco International Airport, USA, Skidmore Owings & Merrill LLP, 2000

13. The Eden Project, Cornwall, UK, 1999; Nicholas Grimshaw and Partners, architects

14. Hedmark Museum, Hamar, Norway, Sverre Fehn, 2005

14. Olympic Pool Tokyo, 1964, Kenzo Tange, architects.

15. Peckham Library, London, UK, Alsop & Störmer, 2000.

15. Kagawa Gymnasium, 1964, Kenzo Tange, architects.

16. Nicolas G. Hayek Centre, Tokyo, Japan, Shigeru Ban Architects, 2007.

16. SC Johnson Wax Administration Building, 1939, Frank Lloyd Wright.

17. Western Concourse, King’s Cross Station, London, UK, John McAslan + Partners, 2012

17. Town Hall at Säynätsalo, Finland, 1952, Alvar Aalto.

18. Yokohama International Passenger Terminal, Japan, Foreign Oﬃce Architects, 2002

18. Palace of Labour, Turin, Italy (1961). Pier Luigi Nervi

19. Terminal 3, Hamburg Airport, Germany, vonGerkan, Marg + Partners, 1991.

19. Palazzetto dello Sport, Rome, Italy, Pier Luigi Nervi with A.Vitellozzi, 1957.

20. Terminal 4, JFK Airport, New York, USA, Skidmore Owings & Merrill, 2001.

20. Church Of Christ The Worker [Chiesa Atántida] 1955-60, Elado Dieste

21. Terminal 2F, Charles de Gaulle Airport, Paris, Aéroports de Paris, 1999.

21. Port Warehouse [Deposito Montevideo] 1977-1979, Elado Dieste

22. Luxembourg Philharmonic Hall, Luxembourg, Christian de Portzamparc, 2005.

22. Centro de Estudios Hidrográﬁcos,1960-1963, Miguel Fisac

23. Canopy structure, World Exhibition Centre, Hanover, Germany, Herzog + Partner, 1999.

23. Fábrica Celestino Fernández, Colonia Vallejo, Mexico City, Felix Candela

24. Sendai Mediatheque, Sendai, Japan, Toyo Ito & Associates, 2000.

24. Palacio de los Deportes, Felix Candela

25. Westminster College, London, UK, Schmidt Hammer Lassen Architects, 2011.

25. Toskana thermal baths, Bad Orb, Germany; architects: Ollertz Architekten; 2010.

26. Stuttgart Airport terminal, Germany, Gerkan, Marg + Partners, 1991.

26. Clubhouse, Haesley Nine Bridges Golf Course, Shigeru Ban

27. Santa Caterina Market, Barcelona, Spain, EMBT, 2005.

27. Elephant house, Zurich Zoo, Markus Schietsch

28. Riverside Museum, Glasgow, UK, Zaha Hadid, 2011.

28. Centre Pompidou, Paris, France, Piano and Rogers, 1977.

29. Paul Klee Museum, Bern, Switzerland, Renzo Piano Building Workshop, 2005.

29. New Gallery, Berlin, Germany, Mies van der Rohe, 1968.

30. Bus station, Cárceres, Spain, Justo García Rubio Arquitecto, 2003.

30. Sainsbury Centre for Visual Arts, Norwich, UK, Foster Associates, 1977.

31. Baumschulenweg Crematorium, Berlin, Axel Schultes Architects, 1999

31. Museum of Roman Art, Merida, Spain, Rafael Moneo, 1985.

32. National Stadium, Beijing, China, Herzog & De Meuron, 2008.

32. Dulles International Airport, Washington, D.C., USA, Saarinen and Associates, 1962.

33. Auditorio de Tenerife, Spain; Santiago Calatrava

33. Hall, Wöhlen High School, Switzerland, Santiago Calatrava, 1988.

34. The Sydney Opera House, Sydney; Jørn Utzon

34. Stansted Airport terminal, Essex, UK, Foster Associates, 1991.

35. Train Station, Chanhua County, Taiwan, Kris Yao | Artech

35. Candelaria station of the Mexico City Metro, Félix Candela

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 12. Railway station at Satolas Airport, Lyon, France, Santiago Calatrava, 1994. Built between 1989-1994 Architect: Santiago Calatrava • It appears to be expressive of a bird, symbolizing ﬂight with the two main “wing” arches coming together at the bird's “beak”.

12A

FEATURES: RAILWAY COVER • The station is positioned astride the reinforced concrete railway cover. This adjoining concrete service building is ﬁtted with a steel and glass curtain wall overlooking the main hall. The ribs of the ceiling rest on inclined pillars that bifurcate. •Its ceiling is transversely crossed by the large triangular-shaped ﬂoor of the station. • Because of the density of the concrete beam network and its longitudinal character, the railway cover resembles a tunnel lit by natural light. Lamella cylinder (shell) roof • Diagonally vaulted arches support roof • Precast concrete roof slabs span most of the lozenges • Alternating lozenges are spanned by vaulted glass supported by aluminum mullions

LATERAL LOAD RESISTING SYSTEM Lateral loads are applied to the face of the glazing and create a high pressure region between the glazing system and the cantilevered roof portion. The high pressure region causes uplift and an overturning moment about the base of the cantilevered roof portion. The four cross-braced steel arches and the the exterior trusses resist the lateral load and overturning moment about the base of the façade Structural diagrams Deﬂected

Middle structure of roof’s axial loading diagram

Structure of cantilever roof’s axial loading diagram

Adjoining concrete service building’s axial loading diagram

Shear

Middle structure of roof’s shear diagram

Structure of cantilever roof’s shear diagram

Adjoining concrete service

Moment

Middle structure of roof’s moment diagram

Structure of cantilever roof’s moment diagram

Adjoining concrete service building’s moment diagram

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj MATERIAL Designed to tie the light entryway to the the rigid linear components of the railway line and Airport connector bridge Steel, concrete and glass are the main elements of this structure. Of concrete, cast in situ, the roof deck support and compliment visually the same modules in the main area of the terminal. The steel parts that are part of the cover are provided with a dark hue. The glass walls that form the lobby, are formed by panels with a width of eight feet. The roof is glazed in some sections and other stuﬀed with prefabricated concrete sections, such as the cover over the platforms.

12A

COMPOSITE CONNECTIONS

foundation

3D model

• The Main Lobby is primarily a steel structure composed of four arches which are connected to an isolated reinforced concrete

•The outer steel arches are connected to the foundation through a concrete housing •The inner steel arches are supported by concrete shear walls on one side and a housing on the other. • Exposed structural steel members are cased with concrete as they join the foundation or ﬂoor of the structure. • Concrete casing at the joints makes the structure rigid.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 7. La Sagrada Familia, Barcelona, Spain

Antoni Gaudi,.... Architect: Antoni Gaudí Chief Architect: Jordi Fauli Location: Disrito del Ensanche,Barcelona, Spain Start Construction: 1882 This marvelous building combines several architectural styles. The main inspiration for this construction was the nature and variety of shapes that can be found in it. This might seem a little bit unusual since most of the religious buildings you’ve seen have straight lines, but Gaudí believed that all manmade structures should resemble nature as much as possible.

Design and construction Gaudi wanted to express Christian belief through the architecture of the cathedral, and to capture the essence of transcendence with the lofty forms, geometry and the interplay of light and colour. His original design consisted of 18 towers, each with its own signiﬁcance. The central tower would be dedicated to Jesus Christ and was intended to reach 172 m in height. The temple is made up of a central nave ﬂanked by aisles and transepts forming a Latin cross. At the head of the cross is a semi-circular apse. Three monumental facades represent Christ’s birth, his Passion, Death and Resurrection, and future Glory

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

Computer-aided design technology has been used to accelerate construction of the building. Current technology allows stone to be shaped oﬀ-site by a CNC milling machine. The light inside the nave changes dramatically throughout the day as the sun hits the specially-designed stained glass windows. Much of Gaudí’s inspiration for the temple comes from nature elements like: leaves,ﬂoral and animals.The most evidentially are the doors at the entrance of the nativity facade. The interior columns of the nave bear a resemblance to trees, with branch-like sections that support the towers and vaults. About 900 panels in total for the Jesus, Mary and four evangelist towers.

3D model

Some of the structural forms Gaudi introduced to the Sagrada Familia include: Hyperboloids: These can be solid or hollow, and found in the openings of the windows and the vaults. Paraboloids: To create linking surfaces between the vaults, the roof and the columns. Helicoids: These can be seen in the spiral staircases and were, Gaudi said, to represent the rising movement of transcendence. Ellipsoids: These form the rounded capitals of the main columns, where the lower sections subdivide into branches. Double-twisted columns: These help the branching columns achieve greater stability and a more slender eﬀect.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 12. Railway station at Satolas Airport, Lyon, France, Santiago Calatrava, 1994.

12A:7B

6A:1B

Comparison 12A:7B

Representative images It's a railway station with a modern style. It is inspired by nature. The structure itself is kept clean, demonstrative skeleton without added decoration. Materials are Concrete, Glass and Steel

7. La Sagrada Familia, Barcelona, Spain

Comparison

Antoni Gaudi,....

12A:7B It's a Catholic Church styled as a small basilica. Both are inspired by nature, Materials are prefabricated stone, glass

Representative images

Some of the structural forms Hyperboloids Paraboloids Helicoids Ellipsoids

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 6.111 1 Lincoln Rd, Miami Beach, Florida, USA, Herzog & De Meuron, 2010 . Architect: Herzog & de Meuron Location: Miami Beach, Florida, USA Year: 2005–2010 1111 Lincoln Road, a mixed urban development project planned on four parcels of land. First, the existing building, a brutalist structure from the Cold War era, that housed the Suntrust Bank; was renewed to accommodate retail programs. Secondly, the star of the project: a concrete monolith of parking, retail and a private residence; was attached to the Suntrust building. And finally, a two-story building with the relocated bank on the ground floor and inward-looking residential units on its upper floor was designed.

The additional height granted is used for higher ceilings, more air, panoramic views and better looks at the structure. The garage is a fully open concrete structure. Ceiling heights vary between standard parking height and double or even triple height, in order to accommodate other programs, permanently as well as temporarily. A retail unit and a private residence are located on the upper levels, and the structure can be used for parties, photo or ﬁlm shoots, fashion shows, concerts or other social or commercial activities, oﬀering amazing views as the backdrop for the stage.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj The car park is an organism made up of a family of concrete slabs, deployed as ﬂoor plates, columns and ramps. The location and form of these elements result from a series of forces acting upon each other, a complex overlapping of site and building code requirements.

A car park is a public facility, like a train station or an airport, where people change from one mode of transportation to another. To create another standard parking structure on a retail base, with a façade that hides the ugliness of what is being stored inside, and a recessed penthouse on top would not have answered the urban requirements of this place.

3D model

A mosaic of ﬂoor plates, jutting Vs and slanting columns, together with connecting ramps create the eventual ensemble. An unenclosed structural stair in the centre of the building enables the pedestrian circulation within the garage to be a rewarding and panoramic experience. The terraces also bridge across to the roof of the existing building.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

1 . Chapel of Henry VII, in Westminster Abbey Located in: Westminster Abbey Construction started: January 24, 1503 Architectural styles: Perpendicular Gothic architecture, Tudor architecture Architects: William Vertue, Robert Vertue The structure of the chapel is a three-aisled nave composed of four bays. The apse of the chapel contains the altar, and behind that, the tombs of Henry VII and his wife as well as of James I. There are ﬁve apsidal chapels. The chapel is noted for its pendant fan vault ceiling.

The design is based on the continental system of geometrical proportion, but its English features include single rather than double aisles and a long nave with wide projecting transepts. The Abbey has the highest Gothic vault in England (nearly 102 feet) and it was made to seem higher by making the aisles narrow. The Englishness is also apparent in the elaborate mouldings of the main arches, the lavish use of polished Purbeck marble for the columns and the overall sculptural decoration. The east-west axis was determined by the existing position of the Lady Chapel.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

The stonework, the sculptured roof bosses and the other carvings would have been brightly coloured and the wall arcades may have been decorated in vermilion and gold. Brilliant ruby and sapphire glass, with heraldic shields set in a grisaille pattern, ﬁlled the windows. The chapel screens and tombs added to the display of colour. The walls were adorned with ﬁne paintings, and two, depicting St Thomas and St Christopher, were rediscovered in the 1930s.

Exterior and Restorations A time capsule in the form of a lead covered box was embedded in the stonework on the south side of the Abbey.

3D model

The Ladies Chapel's vaulting is spectacular and seems to defy gravity.The massive windows clearly have no real structural support ,they're interrupted by a series of peers.And of course those are weight bearing and from outside we can see that there's buttressing it brings of that lateral thrust outside and helps support the building.And open up the walls to more windows,which was a hallmark of the Gothic style. The piers up are splay out into a fan shape.And those initial fans then do allow for those more complete circular fans that are towards the center of the vaults. Other characteristics of this late Gothic style known as the perpendicular are large windows often made of grids where the individual units tend to be elongated.

Research Group: Blerta Fazliji; Elsa Buzhala; Liridona Fetaj 6. 111 1 Lincoln Rd, Miami Beach, Florida, USA, Herzog & De Meuron, 2010

12A:7B

6A:1B

Comparison 6A:1B

Its is an parking and has an unsymmetric form. It's builded in Brutalist style. They are both diﬀerent in time and space but still have similarities in concept. The nature of Lincoln Road was the one source of inspiration for the architecture of the car park, its being connected to the massive, closed Suntrust oﬃce building the other. The garage is a fully open concrete structure. Ceiling heights vary between standard parking height and double or even triple height, in order to accommodate other programs, permanently as well as temporarily. Main material is concrete.

Representative images

Comparison

1 . Chapel of Henry VII, in Westminster Abbey..

6A:1B The structure of the chapel is a three-aisled nave composed of four bays.

Representative images

They are both diﬀerent in time and space but still have similarities in concept. It’s builded in Gothic style. Used materials are Polished Purbeck marble, stone, glass.

Research Group: Suzana Krasniqi; Arbra Tahiri 35. Train Station, Chanhua Country, Taiwan, Kris Yao | Artech Changhua Train Station was built in 2015, by KRIS YAO | ARTECH. The design of Changhua's new Taiwan High Speed Rail station and the overall planning of its landscaping create an interwoven scene of ﬂowers, vegetation, water and paving, both at the human scale and from a bird's eye perspective.The imagery of the station begins on the outside, extending to the interior of the station building. The bright structural aesthetic of the station, which incorporates the elegance of ﬂowers, ensures structural safety while also giving the building a graceful bearing. The roof, whose checkered pattern is reminiscent of rice paddies, is held up by curved columns that allow natural breezes and sunlight into the station.

35A

Structural diagrams- here we can see how the columns penetrate from the roof to the bottom, as well as we notice the structure of the roof. Columns, in addition to their primary function, also have the function of bringing natural light inside the building. Are the columns made of concrete material , or are caprices clad in knauf tiles? Since the height of the ﬂoor is very large 13m if these columns were made of concrete they would have much larger dimensions, while with capriata and knauf they have these dimensions - in the lower part 1.30m while in the upper part about 7m. They also orient the movement inside the building.

`Details and materials The materials of this train station are: glass, knauf tiles and aluminum.

Research Group: Suzana Krasniqi; Arbra Tahiri The horizontal space of the station is large with an area of 22,174 m. In the lower base, at the representative part, you can see the curved columns that fall from above. The structural elements are noticed to have quite large dimensions, even the columns are wide in the shape of a triangle that are reduced from top to bottom. In this part of the station the columns are also the nuclei that connect to the foundations and hold the roof part. While the other side is supported by columns with diﬀerent dimensions and the cores of elevators Through the structures in this station is done the way and direction of movement, where we can see that there is ﬂexibility in movement.

35A

The structure of this station is visible from the outside, we can say that due to the translucent facade but also after the structure penetrates the ﬂoor and comes out. Also at the part of the covers at the entrances we can see the structure made of steel. Lighting is introduced from the structural facades and from the columns that penetrate from the roof inside the building.

References: https://www.archdaily.com/778058/changhua-station-thsr-kris-yao https://www.archilovers.com/projects/170293/taiwan-high-speed-rail-changhuastation.html https://www.designboom.com/architecture/kris-yao-artech-taiwan-high-speed-railchanghua-station-01-04-2016/

Research Group: Suzana Krasniqi; Arbra Tahiri

34. Stansted, Airoport terminal, Essex, UK, Foster Associates , 1991. Stansted Airport challenged all the rules of airport terminal design. It went back to the roots of modern air travel and literally stood conventional wisdom on its head. The earliest airport buildings were very simple: on one side there was a road and on the other a field where aircraft landed into the wind.Stansted attempted to recapture the clarity of those early airfields, together with some of the lost romance of air travel.This degree of clarity was achieved by turning the building ‘upside down’, banishing the heavy environmental services usually found at roof level to an undercroft that runs beneath the concourse. The undercroft also contains baggage handling and was able to accommodate a mainline railway station, which was integrated into the building late in the design process. Energy efficient, environmentally discreet within its rural setting, technologically advanced yet simple to use and experience, Stansted has become a model for airport planners and designers worldwide.

34B

The cassette system is the system used at this airport. The airport has large spaces stretched horizontally that should not be interrupted by structural elements such as columns because they impede the ﬂuid movement of people. In the cut and details, the holding system is well noticed, at the top we notice that the cassette system is also in the form of an arch, which also serve for the introduction of natural light inside the building.

Research Group: Suzana Krasniqi; Arbra Tahiri

From the traveller's point of view, movement through the building is straightforward and direct - there are none of the level changes and orientation problems that characterise most airports. Passengers progress in a ﬂuid movement from the set-down point through to the check-in area, passport control and departure lounges, where they can see the planes. Service distribution systems are contained within the 'trunks' of the structural 'trees' that rise from the undercroft through the concourse ﬂoor. These trees support a roof canopy that is freed simply to keep out the rain and let in light. The structure of the building can be seen from afar through the transparent facades but also through the penetration of the dome system in the roof.

34B

The airport is fully lit on all days, even on cloudy days, the play of light is constantly changing giving the space within a poetic-emotional dimension, it also has energy and economic advantages. The lighting inside the building, in addition to the side facades, also includes "cries" from the roof that have transparent material. The used cassette system helps to have natural light throughout the building. References: https://www.architonic.com/en/project/foster-partners-stanstedairport/5102413 http://faculty.arch.tamu.edu/anichols/courses/applied-architecturalstructures/projects-631/Files/Stansted%20Presentation.pdf

Research Group: Suzana Krasniqi; Arbra Tahiri 35. Train Station, Chanhua Country, Taiwan, Kris Yao | Artech

35A:34B Comparison 35A:34B

There is a large horizontal extension where the columns direct the fluid movement of people. The structure has the elegance of flowers in itself from the fluid shape of the columns.The structural elements have large dimensions as they are made of concrete material.

Comparison

34. Stansted, Airoport terminal, Essex, UK, Foster Associates , 1991.

35A:34B It has a narrow and long extension, it also contains the train station besides the airport. Contains the cassette system through which the interior of the building is illuminated. The structural elements do not have large dimensions due to the use of metal as the main material of the construction system.

Research Group: Besfort Ramadani; Pashtrik Shehu

11A

11.Oriente Station, Lisbon, Portugal, Santiago Calatrava, 1996 Santiago Calatrava Valls (born 28 July 1951) is a Spanish Swiss architect, structural engineer, sculptor and painter, particularly known for his bridges supported by single leaning pylons, and his railway stations, stadiums, and museums, whose sculptural forms often resemble living organisms

The Oriente Station constructed for the 1998 World Expo in Lisbon, Portugal, by Architect Santiago Calatrava, is one of Europe's most comprehensive transport nodes, and a symbol for the city.The project's most characteristic feature is the giant 78 x 238 meter steel and glass canopy.The metro and bus station, parking and galleries, are below the tracks.in the future the station is set to become the main train terminal of the city, since the main growth of

Lisbon is planned towards that side of the Tagus River.

The station is made out of three self-contained parts and is divided into two levels. The raised level holds the platforms for the national train network; the lower level connects to the underground and emerges at the surface to serve as an entrance to the Expo grounds and also to connect with the third element of the project, a major bus terminal for the city.Calatrava has taken the concept of a landmark station roof from the Victorian era, but executed it with a modern twist. He's captured the same spectacle and drama, but in an entirely new form. The composition is a strong symmetry with an axis that passes across the line of the railroad, “sewing” the bus up his connection with a large shopping mall, and outside the building, across a road.The functions of this termina lare : traffic, pedes trian access, metro, busses, trains, taxos

Trafﬁc

Pedestrian access

Metro

Buses/Taxis

Trains

Research Group: Besfort Ramadani; Pashtrik Shehu

11A

The four platforms of the train station are reached through ramps or cylindrical glass lifts. These platforms serve eight lines of tracks. The platforms are roofed by a metal structure 25 meters high. This elegant solution consists of a series of slender pillars that split on the top and connect with each other to create a continuous folding structure. Consistent with the rest of Calatrava's work the analogies from the natural world jump into people's minds: The structural elements are painted white and the nerves of these so-called palms spread out to hold a folding glass roof where geometry and organic shapes find a synthesis in abstraction. Here are secondary entrance/exits linking the lower part of the station to the roads which run underneath the railway at both ends of the station, through arches which, if not quite as dramatic as the structures inside the main part of station's lower levels, are some of the more interesting roadunder-railway bridges you'll come across. These arches are used to give shelter to bus

stops and car passenger drop-off points.

The concrete arches that define the spatial structure of this space resemble the rib structure of some extinct creature. - The movement of the columns as they describe their arches makes an arresting setting together with the hanging bridges, connecting tunnels, lifts and elevators. Metal appears again as the connection to the bus station and as the colossal cantilevered roof that Long glazed canopies extend out from the staircases and glass lift

signals the gate to the Expo grounds

shafts which lead down onto the bus/coach boarding islands. Based on a 56ft grid, columns reach up to a glass roof, with braces forming gothic pointed arch shapes.The structure is covered only with glass, so daylight can illuminate the station during the day, and interior lights provide an ethereal glow at night. The beautiful and massive metal skeleton with the forms created by the arches of the pillars seems to emulate palm trees, but also interacts with tradition remembering the structures of stone Gothic cathedrals.

Concrete,Steel,Glass References: -https://www.calatrava.com/projects/oriente-station-lisboa.html -http://www.galinsky.com/buildings/oriente/ -https://www.archiweb.cz/en/b/zeleznicni-stanice-oriente-estao-do-oriente -https://www.youtube.com/watch?v=k5Z2BMmP74I

Research Group: Besfort Ramadani; Pashtrik Shehu

19B

17. Palazzetto dello Sport, Rome, Italy, Pier Luigi Nervi with A.Vitellozzi, 1957. It's an Indoor Arena that was constructed for Oympic Games which were held in Rome in 1960. Architect Annibale Vitellozzi

together

with Pier Luigi Nervi an Italian engineer and architect, designed this building from an economic point of view speed of execution, and eﬃciency.

Spaces This is a palace(covered stadium) that can accommodate 5,000 spectators in the boxing and fighting skills, and 4000 during meetings of tennis, basketball, fencing and gymnastics. The diameter of this place is 78 m and the surface 4776 m2. The building incorporates a first-aid center, four groups of dressing-rooms along with an officials dressing room, a medical sports center, a management office and a press room with 12 telephone booths, two store rooms and basement-located Heating and air-conditioning equipment. Seating could be configured for 3,500 basketball spectators and up to 5,600 for boxing or wrestling spectators. The interior space and exterior are so different there u can find a contrast between them, abroad expression is less strong, since many of the interesting supporting structure is hidden under a glass gallery that surrounds the structure Principal, which is coupled with an overhang perimeter.

Research Group: Besfort Ramadani; Pashtrik Shehu Structure and Materials The building is covered by a spherical cap with a diameter of 69.20 m, made of prefabricated sections ferrocement shaped diamond, linked by concrete poured into the boards to form the nerves. On the top of the dome we can see outer perimeter of 36 racks in the form of “Y” arranged radial and in clined. The internal surface is characterized by minute pleated V-shaped. Externally, the dome is concealed by a high glass cylinder, which only partially reveals the structure of the perimetral stands Main feature is the edge of the undulating terrain ,wich gives rigity to te whole box and is recoverable for the ribs.

19B

The dome Dome has thickness of 12 cm , items are prepared in moolds and are made of an appropriate structure that reproduces the original size in the sector between two pillars. Worth to mention that they prefabricated a lot of structure so that the dome was erected in 40 days. Molds are surface of cement, frame its made of metal and a round iron wire network. And the last element of trapezoidal shape is the top ring wich is reinforced with armor. Lighting Natural lighting is done with a compression ring in the center to locate a flashlight. Electric lighting with incandescent lamps located 18 caps metal supported by steel braces and two rows of reflectors, located in the center, illuminating the playing field, which is regulated in accordance with the requirements of the planned sporting events. - https://www.youtube.com/watch?v=9kt5cIxt30Q&t=122s - http://www.sedhc.es/biblioteca/actas/CNHC4_058.pdf - https://thearchiblog.com/2010/07/15/palazzetto-dello-sport-pieri-luigi-nervi/ - https://en.wikiarquitectura.com/building/sports-palace-in-rome/# - https://divisare.com/projects/384547-pier-luigi-nervi-mi-chenxing-palazzetto-dello-sport

Research Group: Besfort Ramadani; Pashtrik Shehu 1 1.Oriente Station, Lisbon, Portugal, Santiago Calatrava, 1996. The beautiful and massive metal skeleton with

11A:19B Comparison 11A:19B

the forms created by the arches of the pillars seems to emulate palm trees, but also interacts with tradition remembering the structures of s t o n e

G o t h i c

c a t h e d r a l s .

The structural elements are painted white and the nerves of these so-called palms spread out to hold a folding glass roof where geometry and organic shapes ﬁnd a synthesis in abstraction.

Representative images

Comparison 11A:19B

19.Palazzetto dello Sport, Rome, Italy, Pier Luigi Nervi with A.Vitellozzi, 1957 The dome is supported by an outer perimeter of 36 racks in the form of “Y” at the top, arranged in a radial and inclined. The main feature is the edge of the undulating contour, which gives rigidity to the whole box and is shuttering (recoverable) for the ribs.

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

17A

17.Western Concourse, King’s Cross Station, London, UK, John McAslan + Partners, 2012.

The urban development master plan was established by the architects in conjunction with Arup back in 1998. Speciﬁcations included moving the new station hall, which is primarily intended for departing passengers, to the west. The white sculptural structure of the new Western Concourse is very impressive.This listed building has been precisely restored to its original design. White treelike steel columns radiate from a tapered central funnel in front of the brickwork façade of the building, and span out to form the criss-crossing vaulted roof structure. Aluminium panels and glass cover the centre and sides of the structure,allowing light to fall on the Victorian façade.Inspiration for the roof's airy glass-and-steel design came partly from the 19th century, the great Victorian glasshouses as at Kew Gardens.Big metal roofs speak of conﬁdence and boldness and of the time of this country's greatest industrial might. Central to JMP’s design for the Western Concourse is the shell-like diagrid roof of glass, steel, and aluminum that rises 20 meters (66 feet) above the ground at its highest point.

Systematic design with the 3D program “Pro E” has resulted in an extremely short construction time and also guarantees the high precision so essential for such a project. Furthermore, such a method enables the fabrication drawings to be optimised and the number of fabrication operations to be substantially reduced. The positions of prefabricated ladder elements have been exactly set out and supported by a scaﬀold structure. Starting with the “funnel”, the elements have been tack-welded to spot-welded diagonal members and afterwards welded together. Covered with glass and metal panels with concealed ﬁxings and with all joints sealed with silicone, the result is a delicate half-shell – and a new landmark for London.Work started in 2007, the stunning new Western Concourse opened in 2012, and the original Victorian entrance was restored and opened in 2013.

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

17A

Engineered by Arup, the vast canopy splays out from a great steel funnel located a few feet from the historic station's western façade. (Yet another constraint was that no additional load could be placed on the station wall itself.) Intersecting branches of steel spread downward, spanning out in a 74-meter (243-foot) radius from that central point. A ring of 16 supporting columns at the outer edge takes the load. With no supporting columns in between, the Western Concourse is now the largest single-span structure in Europe.

References: https://www.mcaslan.co.uk/ work/kings-cross-station https://www.dezeen.com/20 12/03/14/westernconcourse-at-kings-crossby-john-mcaslan-partners/

Physical models:

White tree-structure

Steel roof structure

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

25B

25.Toskana thermal baths, Bad Orb, Germany; architects: Ollertz Architekten; 2010 Situated to the west of the spa gardens between the spa hotel and the salt graduation tower, the undulating roof over the new thermal baths in Bad Orb merges into the hills of the Spessart region. Corresponding to the freeform, terraced arrangement of the bathing landscape,the roof, a ribbed timber shell 65m long and 42m wide,covers the amorphous plan shape of the floor below,some 2200m2 in area. In addition, the roof rises and falls in two directions with different amplitudes and wavelengths to produce a free-form geometry. The starting point for the double-curvature roof geometry was a computer simulation of a suspended cable net fixed at eight points. Accordingly, the curves of the undulating roof follow the catenary curves that ensue with suspended cable nets. The geometric deviations in the form of bulges on the edge of the roof are due to simulating pretension in the cables. Further optimisation of the form was achieved with the help of the corresponding shell model to take account of the shearresistant behaviour of the shell structure. Superimposing a diamond-shaped mesh matching the lines of the timber ribs on this leads to a shell structure of axially loaded compression members arranged on geodesic lines.

The plan form of the roof shell is made up of circular segments with diﬀerent radii.

The curving roof leads to troughs reaching almost to the ground around the perimeter and crests rising to 10m high both internally and along the edge.

Superimposing the free-form roof geometry on the regular 1.80m grid results in various lengths between 0.19 and 3.80m for the individual glued laminated timber ribs (GL 24h), each of which spans over two bays. Rib cross-sections vary as well as rib lengths. Whereas the top surfaces of the glulam ribs follow the free-form geometry of the roof surface, and have correspondingly twisted planes, the underside of each member traces one of 12 different predefined radii between 5 and 250m. Furthermore, each rib has a longitudinal 30 × 50mm rebate that enables the top edge of the rib to accommodate suspended acoustic elements on both sides. The different radii, lengths and surface geometries result in very complex, individual geometries for every one of the 682 timber ribs. Along the undulating edge of the roof, the lattice shell is trimmed with a peripheral 240 × 800mm glulam beam (GL 28h, laid up in parallel blocks). This 170m long, double-curvature beam is made up of eight beam segments, each of which comprises 25 smaller pieces. At the low points of the edge beam, the roof is supportedon eight reinforced concrete plinths. On the eastern side, facing the spa gardens, the supports are only 2m high, on the western side they are positioned on the adjacent one-storey building.

The clamping bed was specially developed with the help of Slender internal steel columns at a regular spacing digital techniques and produced with CNC routers in order to behind the façade prevent unwanted deformations and fabricate the double-curvature edge beam workpieces. buckling of the edge at the junction with the glass façade.

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

25B

The edge beam transfers the loads from the shell to the RC supports exclusively by direct bearing. To this end, these 2 × 0.8 × 2m blocks are provided with pockets in their top surfaces to match the double-curvature support geometry of the beam. The pocket geometries were determined digitally and the formwork fabricated on CNC woodworking machines. The basis for the fabrication here was a 3D CAD model.This model enabled the preparation of individual component drawings with drilled holes, cutouts and production data.To minimise the production costs, the glulam ribs for the lattice shell were initially allocated to 12 workpiece geometry groups with diﬀerent radii. These curved workpieces, measuring 160 × 240mm in section,were processed on ﬁve sides on six-axis CNC machines and then numbered. Double-curvature workpieces (laid up in parallel blocks) were used for producing the edge beam segments, which needed singlecurvature,40mm thick loadbearing laminations made from 30 × 40mm spruce sections. Eight of these laminations with the corresponding curvature in the second plane were glued together under pressure in a clamping bed with resorcinol formaldehyde resin to form an oversize workpiece measuring 24 × 100cm.

The top and bottom surfaces of the curving glulam ribs have diﬀerent radii of curvature.

The free-form timber lattice shell was erected on falsework.

Numbering ensured unequivocal identiﬁcation of the positions of the timber ribs within the total system.

Physical models:

Inside the building, the undulating roof symbolises the waves of the water.

References: Jeska,S. ,Saled Pascha K.,(P.Thrift,Trans.),Emergent timber technologies, Birkhäuser Basel,2015

The structure of roof shell

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi 17.Western Concourse, King’s Cross Station, London, UK, John McAslan + Partners, 2012 McAslan has contained it within what he says is the longest single-span station structure in Europe, measuring 54 metres from centre to circumference, and covering an area of around three Olympic swimming pools. Inside, its architectural expression is like some kind of reverse waterfall, a white steel grid that swoops up from the ground and cascades over your head towards 16 perimeter columns in a ﬂurry of 1,200 solid and 1,012 glass triangular panels. The steel castings at the top of the perimeter columns weigh 1.5 tonnes each.

McAslan also credits the engineer Arup with the detailed design of the roof, and the constantly varying sizes of the panels needed to make the double curve would only be possible to calculate on this scale using parametric computer-aided design. For now, Network Rail says the new concourse will save around 90 seconds on an interchange between King's Cross and St Pancras stations, and that will be a small but valuable diﬀerence for millions of people.

17A:25B | 26A:26B Comparison 17A:25B

Representative images

Comparison 17A:25B

Representative images

25.Toskana thermal baths, Bad Orb, Germany; architects: Ollertz Architekten; 2010 Depending on the angle at the junction, the ribs are either connected by screws (8 × 200mm) inserted at an angle of 45° with a punched metal plate fastener on the top,or are sawn to suit and connected to the edge beam with full-thread screws.A special aspect of the design is the nodes between the ribs, which make use of traditional, hand-crafted wood joints. The curving timber members are merely secured with 40mm diameter x approx. 14cm long beech dowels glued on one side and nailed steel plates. This detail enabled the use of steel connectors,which are at risk of corrosion, to be reduced to a minimum– a crucial factor in a centre like this with its salt-and chlorine-laden atmosphere.

Using an idea borrowed from the Zollinger form of construction, the shell is made up exclusively of short members, each of which spans over two bays of the lattice.

62 3D model of the roof structure.

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

26A

26. Stuttgart Airport terminal, Germany, Gerkan, Marg + Partners, 1991.. .What makes this airport unique is that for a relatively small airport, the use of bio-mimicry in the light weight structural members creates a powerful blend with the built and natural environment giving the entire building an open and inspiring vibe. The Stuttgart Airport uses Tree-like Support Structures in the entry terminals to create an ascending open warehouselike space. From walking through the main entrance to checking in bags to approaching the gates, the height of the roof increases providing the subtle ease of orientation smooth ﬂow as the guest prepares for take oﬀ. The entire roof is divided into twelve sections partitioned by skylights, erected as a two-way slabs. Each of these areas are supported by the steel tree-like structures. These "columns" gather all the loads passing down through the branches which are translated into the trunk and then down to the foundation.

Inside the Stuttgart Airport terminal

While the column structure is termed as “tree-like”, it would be more correct to refer to the structure as an umbel systems, where the total load is distributed to one point and from there transmit the total load via a single member to a support point, the point of application of the reaction force providing total equilibrium. A pin-jointed connection between the support point and the roof structure it is holding prevents movement between these two componets and enforces stability.One single support contains four attached tubular poles (that form the trunk of the tree) and spread into three diﬀerent levels (forms into the branches). They are distributed to carry the roof loads in compression with minimal bending moments. The branches direct the forces into smaller resultant points and then transfer into the four tubular poles that acts as one. The advantage of using this Tree-like structure systems is that the distances between the loading points and the support system is minimized.

Main tubular supports (circular hollow sections)

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

26A

However, the inspiration ends at its appearance because these "branching" structures cannot be compared with that of a natural tree. In nature, tree branches are subject to mending forces which would negatively impact constructed tree-like structures. The main underlying principle is the focus of reducing the mass of structural materials while increasing eﬃciency. This concept of "lightweight" structure requires less material, introducing optimal calculations to determine structural strength.In simple terms, the basic rules to follow when designing with light weight members is to: ·Avoid bending stresses and moments. ·-Only carry compression forces over short distances to minimize the chance for stability problems and unnecessary added mass. -Contain and incorporate compression forces over long distances into self stablizing systems.

UMBEL BIFURCATED SYSTEM

EVOLUTION OF UMBEL SYSTEM INTO COMPOUND UMBEL SYSTEM

COUMPOUND UMBEL SYSTEM

Structural umbel systems from umbel bifurcated system to compound umbel systems.

Tree-like structures inside the airport

Physical models:

.Stuttgart Airport branching tree-like system without the grid on top.

Tree-like structure

Stuttgart Airport BUILD Model.

The plan of Tree-like structure

References: -Ahmeti F.,Eﬃciency of Lightweight structual forms:The Case of Tree-like Structures-A comperative Structural Analysis,2007 -Block P., Schwartz J., Structural Design I

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

26B

26. Clubhouse, Haesley Nine Bridges Golf Course, Shigeru Ban

The roof structure during erection.

The challenge during erection was the precise positioning of the large roof elements with a crane because 24 steel plates let into the wood at diﬀerent angles and positions all had to be inserted at the same time.

At night the roof structure is reﬂected in the manmade pond.

Timber Roof and columns construction The roof and the columns structure are formed as an unterrupted continuity, This timber complex is on surface construction which is one homogeneous entity acting as the supporting structure and space deﬁning element simultaneously.Therefore there is no distinct verticle columns and horizontal beams to be found. This 'free form' structure although has a mathematical geometry in 3D space, it requires specialized design, construction and material expertise to realized. In this case,it is designed by Japan architect Shigeru Ben, digitally modelled by German Designtoproduction and prefabricated in Switzerland by Kruso before shipped and reassembled at Korea. It get its strength and stability from double curvature lattice structure which is overlaid in regular crisscross pattern.Hennce no bracing is needed to prevent lateral deformation by wind pressure. The surface is formed using intersecting parallel timber members in three direcetions to form a hexagonal and triangulal grid system. Principle of beam intersections at the same level with halving joints.

At the top of the column a central tension ring prevents the multi-member columns from spreading apart.

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi

25B .The building of a new golf course in Yeoju included the erection of a new clubhouse with a very unusual, distinctive roof structure. The new threestorey structure is roofed over by a lattice of glued laminated timber beams in single and double curvature. Twenty-one tree-like columns positioned on a square, 9 × 9m grid support the 76 × 36m roof. Measuring 60cm in diameterat the base, the columns gradually widen to a diameter of 1.50m at a height of 9.60m where the individual me mb e rs o f th e co l u mn s spread out like the branches of a tree to merge into the timber latticework of the roof 1. At the intersections – in the middle of each 9 × 9m bay – at a height of 13.60m, the lattice structure of the roof forms ridge lines, and cantilevers out 4.50m to the edges of the roof to form a canopy around the whole building.

Physical models:

Using the reference surface of the roof geometry developed with parameters, it was possible to develop, specify and illustrate the axes, beam geometries and nodes with their three-dimensional curvature.The CAD software available at the time would not have been able to process such complex geometries. Part of timber column

The parametric model of the roof geometry was developed with the help of deﬁned data. Owing to the regularity of the geometry, the roof is assembled from ﬁve types of element.

The surface is formed by using intersecting parallel timber members. References: Jeska, S. ,Saled Pascha K.,(P.Thrift,Trans.), Emergent timber technologies, Birkhäuser Basel, 2015

Research Group: Bleona Sopa; Erëblina Musliu; Erza Gashi 26. Stuttgart Airport terminal, Germany, Gerkan, Marg + Partners, 1991

17A:25B | 26A:26B Comparison 26A:26B

The branches of the natural tree are connected on only one side, while the other end of the branch stands free, having more room for expansion under applied external forces (wind,earthquakes, snow, dead loads). In buildings, this has to be controlled to avoid structural deﬂection.

Stuttgart Airport tree-like system with the grid - steel material.

This building eﬀectively showcases a visible structural system that is vital toward the expression of the building. What truly makes this building is that un-like real trees, the smaller, outermost branches of this structure system is able to carry relatively heavy loads. This all comes down to calculations that optimize direct load performance and reduce bending moments. The whole system is built to act like one unit. This umbel system creates large unobstructed areas close to the foundation while providing closely spaced supports at the roof level. Structurally speaking, what makes the tree-like support branches holding up the roof so unique is how large of a span the column holds in comparison to its footprint at ground level.

Representative images

Comparison

26. Clubhouse, Haesley Nine Bridges Golf Course, Shigeru Ban The building of a new golf course in Yeoju included the erection of a new clubhouse with a very unusual, distinctive roof structure. The new threestorey structure is roofed over by a lattice of glued laminated timber beams in single and double curvature. Twenty-one tree-like columns positioned on a square, 9 × 9m grid support the 76 × 36m roof.

26A:26B

Representative images

Each hollow, circular column is made up of 12 glued laminated timber members measuring 136×200mm and arranged in a circle. These are joined together by screw-pressure gluing.

Measuring 60cm in diameter the base, the columns gradually widen to a diameter of 1.50m at a height of 9.60m where the individual members of the columns spread out like the branches of a tree to merge into the timber latticework of the roof 1. At the intersections – in the middle of each 9 × 9m bay – at a height of 13.60m, the lattice structure of the roof forms ridge lines, and cantilevers out 4.50m to the edges of the roof to form a canopy around the whole building

Research Group: Brikena Mehmet; Pranvera Kryeziu; Verona Begaj

6. 11 11 Lincoln Rd, Miami Beach, Florida, USA, Herzog & De Meuron, 2010 The mixed use development called 1111 Lincoln Road in Miami Beach comprises four different parcels. An existing building, the former Suntrust building, is renewed since the bank has left the building to be accommodated around the corner. A mixed use structure for parking, retail and a private residence becomes attached to the Suntrust building.

Floor plates, ramps and columns were made of concrete slabs though the specific shape and angle vary a lot.

The car park is an organism made up of a family of concrete slabs, deployed as floor plates, columns and ramps.

Lift Lateral load elementsin section

columns under analysis

reinforced concrete column

load paths Stairs

Lateral load elementsin section

Research Group: Brikena Mehmet; Pranvera Kryeziu; Verona Begaj

Travel paths Building Silhouette

Structural Columns Concrete slabs

The location and form of these elements result from a series of forces acting upon each other, a complex overlapping of site and building code requirements, combined with program choices and the aspiration to both integrate with Lincoln Road Mall and to formulate its beginning at the corner of Alton Road.

3 D

Axonometric Section

M O D E L

Section with 3d model

Research Group: Brikena Mehmeti; Pranvera Kryeziu; Verona Begaj

11B

11 11. Notre-Dame-du-Haut, Ronchamp, France, 1954; Le Corbusier, architect Notre-Dame du Haut (English: Our Lady of the Heights; full name in French: Chapelle Notre-Dame du Haut) is a Roman Catholic chapel in Ronchamp, France. Built in 1955, it is one of the finest examples of the architecture of Franco-Swiss architect Le Corbusier. The chapel is a working religious building and is under the guardianship of the private foundation Association de l’Œuvre de Notre-Dame du Haut

Axonometric View

Building Elevation

Small pieces of stained glass are set deep within the walls, which are sometimes ten feet thick. The glass glows likes deep-set rubies and emeralds and amethysts and jewels of all colors. The lighting in the interior is soft and indirect, from the clerestory windows and reflecting off the whitewashed walls of the chapels with projecting towers.

Illuatrated windows

A famous statue of the Virgin Mary, rescued from the ruins of the chapel destroyedduring WWII, is encased in a special glass case in the wall, and it can be turned to face inward when the congregation is inside, or to face outward toward the visitors.

The diagram how the light enters inside

Research Group: Brikena Mehmeti; Pranvera Kryeziu; Verona Begaj

11B

S t r u c t u r a l

Axonometric Section

Structural section

The structure is made mostly of concrete and is comparatively small, enclosed by thick walls, with the upturned roof supported on columns embedded within the walls,like a sail billowing in the windy currents on the hill top. The main part of the structure consists of two concrete membranes separated by a space of 6'11", forming a shell which constitutes the roof of the building.

D I a g r a m

The roof was built in two parts, utilizing two softly upward curving reinforced concrete membranes, with a space between for insulation. The sinusoidal curved ceiling was formed with wooden framework and then whitewashed. The linear, textured impression left from the timber framework emphasizes the lines of increasing curvature of the roof.

This roof, both insulating and watertight, is supported by short struts, which form part of a vertical surface of concrete covered with "gunite" and which, in addition,brace the walls of old Vosges stone provided by the former chapel which was destroyed by the bombings.

J - Masonry Walls I - Grider Bearing column H - Column Inside K - Exposed Column K - Exposed Column

Research Group: Brikena Mehmeti; Pranvera Kryeziu; Verona Begaj 6. 11 11 Lincoln Rd, Miami Beach, Florida, USA, Herzog & De Meuron, 2010 The shape of the building makes them change The parking has open structure, while the chapel has open structure.The parking also has straight forms of construction while the chapel has curved forms. The structure makes it special, the shapes of the columns.It is an open and high building, from it we can see every part of the city

6A:11B | 19A:19B Comparison 6A:11B

Comparison 6A:11B

11. Notre-Dame-du-Haut, Ronchamp, France,. 1954; Le Corbusier, architect Two different objects at different times, with different functions What makes them different from each other is function and structure. As for the church, it is characterized by the shape of the roof, it has a curved shape that seems to float on the walls . There are very small multicolored windows. They allow light to enter inside the building in an interesting way. These two architectural objects built at different times have in common that they are reconstructed and have a concrete structure.

Research Group: Pranvera Kryeziu, Brikena Mehmeti, Verona Begaj 19a . Termianl 3, Hamburg Airport, Germany, vonGerkan, Marg + Partners, 1999

Hamburg International Airport is located 8.5km north-west of the centre of Hamburg, Germany’s second biggest city. The airport is more than 100 years old and is spread over an area of 579ha. It is owned and operated by the Hamburg Airport Administration Authority (Flughafen Hamburg).

Roof structure at the Terminal 3 departures to circulation by a clear expression of its directionally. Since the roof dimensions in the direction of the passenger movement is considerably grater than the building width, 101m verses 75m, one would expect primary structure to span the shorter distance. However, at the Terminal 3, twelve curved-trustees span from terminal landslide to airside.

19A

They are supported on two rows of concrete piers space 61m apart and cantilever beyond them at each end to enclose the full roof length. Breaking with convention again, the trusses run between rather than above at the piers, signaling the direction of circulation between the structural members.

Pairs of elegantly detailed steel struts rise from the piers to triangulate to the roof structure both parallel to and normal to the trusses, framing the entry thresholds created by the piers. Departing travelers who approach the terminal by car or on foot from a car parking building across the road, are greeted bu the ends of the trusses that protrude through the landside glazed wall.

Research Group: Pranvera Kryeziu, Brikena Mehmeti, Verona Begaj

Then, in a gentle curve, the trusses rise up and over the departure hall with its three level of shops and restaurants towards the airside. The introduction of natural light through glazed strips directly above the trusses intensiﬁes their directionality.

19A

19. Palazzeto dello Sport, Rome, Italy, Pier Luigi Nervi with A.Vitellozzi, 1957.

The Palazzetto dello Sport (literally "Small Sport Palace"), also .less commonly known as the PalaTiziano or PalaFlaminio,is an indoor arena that is located in Piazza Apollodoro, in Rome, Italy. It has a 3,500 seating capacity for basketball games

The facility incorporates a first-aid center, four groups of dressingrooms, along with an officials dressing room, a medical sports centre, a management office, a press room with 12 telephone booths, two store rooms, and basement-located heating and air-conditioning equipment. Seating could be configured for 3,500 basketball spectators and up to 5,600 for boxing or wrestling spectators.

Research Group: Pranvera Kryeziu, Brikena Mehmeti, Verona Begaj The surface is covered by a spherical cap of 69.20 m in diameter and is made of prefabricated sections 1620 ferrocement shaped diamond, linked by concrete poured into the boards to form the nerves, since these views inside. The dome is supported by an outer perimeter of 36 racks in the form of “Y” at the top, arranged in a radial and inclined. All endings are of the rational and economical. The main feature is the edge of the undulating contour, which gives rigidity to the whole box and is shuttering (recoverable) for the ribs. The forum is supported by columns shaped spot beveled. The dome was designed as a membrane structures buttresses and capable of transmitting the load to the foundation’s own weight and that of the dome.

19B

Nervi’s domes and vaults were not only the result of a new invention in reinforced concrete construction, but also profoundly related to post-war Italy. Italy lagged far behind in the technological ad vances that had been achieved in construction work.

He believed that his work would usher in a new phase of reinforced concrete construc tion. However, as we now know, the exact opposite took place. The use of thin shell concrete structures was progressively abandoned and «ferrocemento» —an economic miracle— remained exclusively asso ciated to Nervi

Nervi’s inﬂuence aﬀected architectural experimentation in general, rather than the evolution of great structures (in fact, Nervi has always fascinated architects more so than engineers).

Research Group: Pranvera Kryeziu, Brikena Mehmeti, Verona Begaj There is a contrast between the interior space and exterior. As can be seen in the forms of structure, both in the cap of the stands; abroad expression is less strong, since many of the interesting supporting structure is hidden under a glass gallery that surrounds the structure Principal, which is coupled with an overhang perimeter.

The venue was constructed along with the 11,500-seat Palazzo dello Sport, for the 1960 Summer Olympics, and it was inaugurated in 1957. It was designed by architect Annibale Vitellozzi its reinforced thin-shell concrete dome was engineered by Pier Luigi Nervi under the direction of Engineer Giacomo Maccagno.

During the Olympics, the arena hosted the basketball events, among other sports. Since then it has also been used for volleyball matches and other events.

19B

References: https://en.wikiarquitectura.com/building/Sports-Palace-in-Rome/ http://www.sedhc.es/biblioteca/actas/CNHC4_058.pdf https://www.rp-technik.com/en/reference/ﬂughafen-hamburg/ ﬁle:///C:/Users/HP/Downloads/Structure_as_architecture_pac_6.pdf

Research Group: Pranvera Kryeziu; Brikena Mehmeti; Verona Begaj 19A. Terminal 3, Hamburg airport, Germany gmp Architekten von Gerkan, Marg und Partner, Hamburg

The shape and structure of the roof, executed using rp tec, are reminiscent of the wing of an aircraft. Despite its free span of 62 m, the roof is a lightweight and costeffective structure. For a spectacular architectural effect, the steel remains bare. The difference between two object is the function, the fist one is an airpot terminal and the second is a olypic stadium. The lightning comes from the side windows and the roof too.

19A:19B Comparison 19A:19B

Comparison

19B. The Palazzetto dello Sport, Pier Luigi Nervi

19A:19B

The diﬀerence betwene these two is construction: 1. The terminal- rp tec, the roof is a lightweight and cost-eﬀective structure. 2. The sport stadium- reinforced concrete

The sport stadium has a Dome, and the lightning comes from the side

Research Group: Valëza Tahiri; Blerina Muriqi

32A

t National Stadium, Beijing, China, Herzog & De Meuron, 2008. 32. In 2002 the Chinese government decided on organizing an international competition for the design of the future Olympic Stadium, oﬃcially known as The National Stadium. It was on april of the year 2003 that the jury voted and selected “The Bird's Nest” (given the name from its shape) as the best proposal for the future stadium, designed by the Swiss architectural ﬁrm Herzog & de Meuron. Its dimensions are gigantic starting by 333 m long, 294 m wide and 69 m high, covering an area of 258,000 m2 and not less than 42,000 tons of steel was required for its structure. It was under construction for 5 years in total, having its grand opening on 2008. This extraordinary structure required new methods to calculate and fabricate steel sections to reduce the weight of the structure itself. The stadium proofed its value not only by facilitating and hosting large sporting events, but also by revitalising the economy, neighbourhood and also the city itself.

93 https://interestingengineering.com/7-solid-facts-about-the-beijing-national-stadium

After detailed examinations were done, the designers came to the conclusion that they had to eliminate the upper roof and enlarge its opening, so this way the total weight of the structure would be reduced by more than 3000 tons. The major part for supporting the horizontal forces of the structure comes from the 37 meters of piling in which the building is set on. These concrete injections were employed to strengthen the ground around the building, making it also very durable from seismic exposure and activity. Although it gives oﬀ the impression of a casual, natural and ﬂow

structure, each connection and attachment of elements comes as a result of precise calculations.

https://www.vinci-construction-projets.com/en/realisations/beijing-olympic-stadium/

Research Group: Valëza Tahiri; Blerina Muriqi

32A

The Bird’s Nest’s roof represents one of the largest steel structures in the whole world, weighting more than 11.000 tons, which is placed and supported by the building’s structure. The protagonist material is of course steel which provides the creation and sustainability of the nest, but nonetheless we must emphasize other smaller structural elements of metal, which are interlacing and mutually supporting.

At ﬁrst the steel structure had to be supported by 176 hydraulic jacks, because the structure did not have the capacity of self-sustainment, and each crane was responsible of holding 300tons of steel. Later, the hydraulic jacks were removed at once in order to check the stability of the stadium’s structure. The ceiling is covered by a transparent membrane, through which passes just the right amount of outside light and preventing at the same time from overheating and glare.

The stadium’s concept comes as an inspiration from the formation and arrangement of the structure of bird’s nests, actually the designers were so clear in the translation of this analogy that the people of Beijing started referring to the stadium as the “Bird Nest” immediately. The correlation of this concept stands not only esthetically and aesthetically, but in a structural level as well, representing the perfect example of when elements cooperate with one another, incredible results and structural resistance will be achieved. The envelope of the building, the entire structure as a whole is visible and noticeable from the outside but it is also integrated within spatial parameters. It lays majestically in the streets of Beijing, whose appeal is given by its undulating form. What continues to make this project even more complex is that, the nest not only wraps the building by containing roofs and walls, it also houses the stairs and the facade.

Physical Model; 1:200 A glimpse of the structure

96 https://www.chinahighlights.com/beijing/attraction/birds-nest.htm

Research Group: Valëza Tahiri; Blerina Muriqi

13B

13. The Eden Project, Cornwall UK, 1999 Nicholas Grimshaw and Partners architects The Eden Project is a stunning visitor attraction. The construction started in 1999 and it was ﬁnished in 2000. It turned a disused clay pit into a temperature-controlled environment for an entire rainforest and hundreds of other plants. The weather was a huge challenge during the period of construction. Engineers had to devise a special drainage system. This challenge inspired the architect, who solved this problem by basing the structures on soap bubbles, as they adapt to any structure they settle on, including the uneven sands of the pit. The complex consists of two main domes.

source: https://grimshaw.global/

hexagonal geometry

THE STRUCTURAL SYSTEM The biomes are constructed from tubular steel. The structure was developed from the MERO (known as hex-to-hex) space frame system where pipes are bolted together by nodes. The outer layer is made of hexagons and the inner layer of hexagons and triangles bolted together.

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structural pattern

node detail

Roof plan source: https://grimshaw.global/

DETAILS AND MATERIALS The Eden Project is designed to be an eco-friendly building using lower-carbon products, recycled materials and low-waste manufacturing, with minimal material costs. The domes are materialized with over 500 transparent hexagonal panels, which trap air between two layers of ethylene tetraﬂuoroethylene (ETFE), which is a high eﬃcient kind of plastic. It’s resistant in a wide range of temperatures, self-cleaning and very light (1% of glass). They also have great ultraviolet trans-mittance which is essential for the healthy development of plants. The main structure is made of steel. FOUNDATIONS Structural stability is ensured by an intertwining of domes, which are anchored with reinforced concrete perimeter foundation. The domes’ structures are more likely to blow away than down, so they are tied into the foundations with ground anchors (like tent pegs).

STRUCTURE OF ENVELOPE

ROOF STRUCTURE:

The veil is related strongly with the structure, because it has gotten its sh a pe fro m the stee l hexagonal structure. It’s light and it lets the structure dominate.

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Research Group: Valëza Tahiri; Blerina Muriqi

13B

STRUCTURAL ELEMENTS To design the structure of the Eden Project, the architect wanted to make a similar structure to the Waterloo Station, but it was too expensive and another solution had to be found. The domes' structure was developed, based on hexagonal geometry and inspired by nature (honey-comb of bees). This structure was easier to ﬁt to the ground and the size of the elements allowed more sunlight to enter the domes. Also, the steel structure was very light weighted and the building was free of columns and internal support, as it provides maximum strength of steel. The tri‐hex‐net of the domes meet the top chord and the bottom chord of the triangular truss. structure pattern - digital 3D model inner layer triangles and hexagones

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connection of two layers

outer layer hexagones and pentagones

ﬁnal hex-tri-hex structure:

The domes are spherical networks, because the nodal points lie on the surface of a sphere. These networks and grids are called “geodesic”.Since all the necessary geometrical angles to form a dome are put in the node, the ends of the top chord beams are cut rectangular. Dimensions of the domes: The complex is dominated by 2 biomes. The biggest one is the Rainforest Biome. It's 55m high, 100m long and 200m wide. The Mediterranean Biome is 35m high, 65m wide. Max. grid span is 11 m.

RELATION OF STRUCTURE TO SPACE AND FUNCTION Physical 3D Model:

Considering the functions of this building, the structure is very well adapted and related to it. Because it is light, it doesn’t dominate comparing to the inside forest. Even though its dimensions are large, the plants that are grown there take away the attention from the structure. In other words, the structure gives the needed space to the interior of the building for it to become a true jungle. What gives an even more magniﬁcent appearance, is the fact that structure is visible and not hidden. The Since the ETFE panels are transparent, they don’t hide the steel structure. On the other hand, the steel structure is totally visible from the inside. 3D Model:

load path diagrams

REFERENCES: https://grimshaw.global/ https://www.edenproject.com/ https://www.earchitect.com/england/eden-project https://www.ice.org.uk/ https://www.researchgate.net http://www.designcurial.com https://inhabitat.com/eden-project The Structural Making of the Eden Project Domes - Solaripedia

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Research Group: Valëza Tahiri; Blerina Muriqi; 32. National Stadium, Beijing, China, Herzog & De Meuron, 2008. Both the Beijing Stadium and the Eden Project share the same coverage/rooﬁng, those of ETFE transparent membranes which are characterized by high light and UV transmittance, temperature resistance and very low weight. This material had a huge impact on both of the buildings, structurally speaking, because through this membrane the stadium was able to lighten its weight by 3000 tons, and at the same time increasing spatial qualities, meanwhile the same goes for Eden Project, since it's a botanical garden it requires light and heat for the biophilic life that’s developed inside of it and it is the membrane which allows just the right amount of it, while also preventing the object from overheating and shiny rays.

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The two megastructures have their foundations from concrete and both of them required massive amount of steel, making the Bird’s Nest’s roof the largest steel structure in the whole world. But except steel there are a lot of other metal elements which hold, support and maintain stability for the rest of the structure in both buildings.

32A:13B Comparison 32A:13B

13. The Eden Project, Cornwall UK, 1999 Nicholas Grimshaw and Partners architects

Comparison 32A:13B

Representative images

The Eden Project

Beijing’s Olympic Stadium

Both structures are inspired by natural analogies. The Eden Project’s general concept was inspired by soap bubbles, whereas its hexagonal structure was inspired by honey-comb of bees. Meanwhile, the Beijing Olympic Stadium’s Structure was inspired by the Bird’s Nest.

The Eden Project

Beijing’s Olympic Stadium

honey-com of bees

The Bird’s Nest

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Research Group: Albana Rafuna; Andina Latiﬁ

24A

24. Sendai Mediatheque, Sendai, Japan, Toyo Ito & Associates, 2000. The Sendai Mediatheque is a mixed-program public facility which combines library and art gallery.It was designed by Toyo Ito in 1995 and is located in the city of Sendai, Japan.The innovative building opened to the public oﬃcially in January 2001. Ito, in creating the Sendai Mediatheque, acknowledged that it would be an institution devoted to accommodating changing technologies. While the design of the Mediatheque is meant to encourage a ﬂexibility of use through the blurring of boundaries found in traditional library and museum typologies, Ito resists the characterization of the space inside the center as the “homogenous” or "universal" space of modernism.

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The Mediatheque's seven levels of facilities oﬀer a range of services including a conventional book-lending library, an extensive collection of ﬁlm and audio recordings with stations for both viewing and editing, a theatre, and a cafe and bookstore, all housed within a nearly cubic glass The Mediatheque is based on the metaphor of Aquarium, its transparency and hence the similarity of the pillar with algae.

Ito refers to Mies' Barcelona Pavilion and Le Corbusier’s Dom-ino house as precedents for his work, and indeed, the Mediatheque appears to mix concepts from the two projects, combining le Corbusier’s play with slab and column structure, with Mies “fluid” spatial effects achieved through combined transparency and reflectivity of materials. The structure of the Sendai Mediatheque is composed of three main elements: tubes, plates and skin. The plates (floor slabs) are composed of a honeycomb-like network of steel sections infilled with lightweight concrete. The steel honeycomb structure allows the plate to span between irregularly spaced vertical supports without beams, and with minimal thickness of the slab itself. Each floor hosts a different set of the building's many facilities which are more or less free to interact with each other over the surface of a given plate. The plates (floor slabs) are composed of a honeycomb-like network of steel sections infilled with lightweight concrete. The steel honeycomb structure allows the plate to span between irregularly spaced vertical supports without beams, and with minimal thickness of the slab itself. Each floor hosts a different set of the building's many facilities which are more or less free to interact with each other over the surface of a given plate.

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Research Group: Albana Rafuna; Andina Latiﬁ

24A

The most striking structural elements are the tubes, composed of thick-walled steel pipes; they range in size from 7 to 30 inches In diameter. Although they appear to be continuous, the tubes were actually manufactured in floor-height segments and were assembled sequentially, floor-by-floor. The tubes perform a number of functions. Firstly, they serve to structurally support the building. The four tubes closest to the outer corners of the plates were designed to resist a 400-year earthquake, while the others resist the vertical gravity loads. As a test to its integrity, the building survived the March 2011 earthquake with little to no damage.

The tubular column structures serve as light wells, with rooftop devices to reﬂect sunlight down the tubes into the building, and also as vertical connector "pipelines" for network cables, wiring, elevators and stairways.

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The skin, or facade treatment diﬀers on all ﬁve exposed sides of the building, modulating light and views, creating a uniformity across each face of the cube during the day. The main (south-facing) facade is double-glazed and functions as part of the building's climate control system. The materials which compose the skin are glass, steel panels, and aluminum mesh.

The building changes along with the seasons, it's openness reﬂective of the summer green and also the streets during winter. With the intentions of designing a transparent cultural media center that is supported by a unique system to allow complete visibility and transparency to the surrounding community, the Sendai Mediatheque by Toyo Ito is revolutionary in it's engineering and aesthetic.

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Research Group: Albana Rafuna; Andina Latiﬁ

28B

28. Centre Pompidou, Paris, France, Piano and Rogers, 1977. In 1970 an international architectural competition was launched based on a program to build a cultural and arts complex in the centre of historic Paris set out by French President Georges Pompidou. Chaired by the French architect Jean Prouvé, the prize-winners selected by the jury were Renzo Piano, Richard Rogers and Gianfranco Franchini, assisted by Ove Arup & Partners. The structural engineers in charge on Arup's behalf were the Englishman Edmund Happold and the Irishman Peter Rice who had already worked together on the structural design for the Sydney Opera House. Construction work started in April 1972 and work on the metal framework was begun in September 1974. On February 2nd 1977, the Centre Pompidou opened its doors to the public.

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Their concept, depicted in one of their competition drawings as a collage, was portraying the museum itself as movement. The other concept in their design, and perhaps the most obvious, was exposing all of the infrastructure of the building. The skeleton itself engulfs the building from its exterior, showing all of the diﬀerent mechanical and structure systems not only so that they could be understood but also to maximize the interior space without interruptions.

The building was designed on the lines of an "evolving spatial diagram" in two parts: firstly, a 3-level infrastructure housing the technical facilities and service areas; secondly, a vast 7-level glass and steel superstructure, including a terrace and mezzanine floor, concentrating most of the centre's areas of activity. The building's metal framework has 14 porticos with 13 bays, each spanning 48 m and standing 12.8 m apart. On top of the posts, on each level, are moulded steel beam hangers, measuring 8 m in length and weighing 10 tonnes. 45 m long girders rest on the beam hangars, which spread stress through the posts and are balanced by tie-beams anchored on cross-bars. Each storey is 7 m high floor-to-floor. The glass and steel superstructure envelops the free open spaces.

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Research Group: Albana Rafuna; Andina Latiﬁ

28B

Rogers' and Piano's concept for the Centre Pompidou drew major inﬂuences from the works of Cedric Price who experimented in the 1960s with open forms and ﬂexible spaces. To maximize internal space, they turned the construction inside-out and exposed a skeleton of brightly colored tubes for mechanical systems.

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The different systems on the exterior of the building are painted different colors to distinguish their different roles. The structure and largest ventilation components were painted white, stairs and elevator structures were painted a silver gray, ventilation was painted blue, plumbing and fire control piping painted green, the electrical elements are yellow and orange, and the elevator motor rooms and shafts, or the elements that allow for movement throughout the building, are painted red. One of the "movement" elements that the center is most known for is the escalator (painted red on the bottom) on the west facade, a tube that zigzags up to the top of the building providing visitors with an astonishing view of the city of Paris.

According to Piano, the design was meant to be “not a building but a town where you ﬁnd everything – lunch, great art, a library, great music”.

The Centre Pompidou houses the Musée National d'Art Moderne, which is Europe's largest museum for modern art. Also located in the vast open interior is the Bibliothèque publique d'information, a huge public library, and a center for music and acoustic research known as IRCAM. The ﬂat open site upon which it is located is a constant exterior stage for urban events.

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Research Group: Albana Rafuna; Andina Latiﬁ 24. Sendai Mediatheque, Sendai, Japan, Toyo Ito & Associates, 2000. The Sendai Mediatheque is special because of the structure which is adapted to the location of Japan which is known for its seismic activity. The pillars have the shape which would be created due to deformations from the earthquake. Another characteristic is the structure which is not hidden but these pillars have been used for various services and have given a special look to the building.

24A:28B Comparison 24A:28B

Representative images

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Comparison

28. Centre Pompidou, Paris, France, Piano and Rogers, 1977.

24A:28B The Pompidou Center is special because it may look like an economic building due to the structure which is completely outside to enable maximization of space inside the building. All functional structural elements of the building are colored as a way of coding for distinguish their function.

Representative images

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku The Sydney Opera Sydney Opera House sits on Bennelong Point.

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The original cost estimate to build Sydney Opera House was $7 million, but the ﬁnal cost was $102 million. 233 designs were submitted for the Opera House international design competition held in 1956. Construction was expected to take four years, but it took 14 years. Work commenced in 1959 and involved 10,000 construction workers.

34A

The structure of the building is made from reinforced concrete and the facades from polarized glass with steel frames. The shells are covered by white and cream mate tiles made in Sweden, although from a distance they all look white to the eye.

Utzon famously found inspiration in monumental Mayan and Aztec architecture. The concrete podium of the Opera House was based on temples he had seen in Mexico, and he later described his travels to Central America as "One of the greatest architectural experiences in my life."

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

34A

It contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes. Joan Sutherland Theatre: A proscenium theatre with 1,507 seats, the Sydney home of Opera Australia and The Australian Ballet. This highly controversial project at the time came to deﬁne Australia. The Sydney Opera House is a modern expressionist design, with a series of large precast concrete "shells", each composed of sections of a sphere, forming the roofs of the structure, set on a monumental podium.

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

24B

Palacio De Los Deportes Palacio de los Deportes is an indoor arena located in Mexico City, Mexico. The Palace was opened in 1968, the arena seats 20,000 and the overall capacity is approximately 26,000. The Sports Palace located 23 km from the Olympic Village and 6.5 from downtown Mexico City. The Palace was constructed speciﬁcally for the Olympic basketball competition. Palacios de los deportes was built between october 15, 1966 and September 1968.

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The Sports Palace located 23 km from the Olympic Village and 6.5 from downtown Mexico City. The Palace was constructed speciﬁcally for the Olympic basketball competition. Palacios de los deportes was built between october 15, 1966 and September 1968.

Spatial structures have shown a great development, mainly since the post-war years from the middle of the twentieth century. They have become a constructive solution which provides lightness and stiﬀness, while achieving longer spans and reducing energy and used material.

In Mexico City, the Sports Palace was completed in 1968 to become a landmark of Mexican architecture and an example of a low-cost, lightweight, dome.

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

24B

The dome consists of hyperbolic paraboloids of tubular aluminum covered with waterproof copper-sheathed plywood and supported by huge steel arches. The Sports Palace seats 22,370—including 7,370 in removable seats.

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Castañeda Tamborel and Antonio Peyri, the structure has three ﬂoors, which house complete facilities for athletes, judges, oﬃcials, organizers, as well as services for radio, television and the press. A mezzanine provides access to the boxes and middle and upper stands. The Sports Palace was designed for a wide variety of programming: boxing, wrestling, weightlifting, fencing, etc., as well as for exhibitions, and tournaments that require more space, such as volleyball, basketball, ice hockey, cycling, athletic meets, equestrian shows, dances, circuses, conventions and expositions. There is a smaller pavilion for expositions and concerts.

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Research Group:Durim Osmanaj; Endris Kycyku; Festim Mulaku

34A:24B

25A:15B

Comparison 34A:24B

The Sydney Opera it’s a performing art centre at Sydney Australia. It is one of the 20th century's most famous and distinctive buildings. It was built in three stages: stage I 1959–1963 consisted of building the upper podium stage II 1963–1967 the construction of the outer shells; stage III 1967–1973 interior design and construction. Stage 1 Podium, stage 2 roof, stage 3 interiors.The materials that were used to build the Sydney Opera are: glass, ceramic ,tiles, concrete etc.

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Comparison 34A:24B

Palacio de los Deportes differs from Sydney Opera it’s a indoor arena located in Mexico City, Mexico. It’s circular in design with a square-patterned dome spanning feet 120 m and enclosing an area of 27,000 m2.The structure has three floors, which house complete facilities for athletes, judges, officials, organizers, as well as services for radio, television and the press. The Sports Palace was designed for a wide variety of programming boxing, wrestling, weightlifting etc.

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

15B

Kagawa Prefecture Gymnasium In the 1950s, Masanori Kaneko, the visionary governor of Japan’s Kagawa Prefecture, invited Kenzo Tange to design two new buildings in the prefectural capital, Takamatsu. At the time, Tange was Japan’s leading architect, working on the design of the Yoyogi National Gymnasium for the 1964 Tokyo Olympics. For the Kagawa Prefectural Gymnasium, Tange used modern materials to evoke the form of a traditional Japanese wooden barge, as well as the strong and supple body of an athlete.

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For the Kagawa Prefectural Gymnasium,Tange used modern materials to evoke the form of a traditional Japanese wooden barge, as well as the strong and supple body of an athlete.

The structure consists of a deep concrete ring carried on four massive supports, with a roof of thin concrete slabs supported by suspension cables. Inside, the sports hall lies above the entry level, which contains other facilities, including dressing rooms and oﬃces.

Kenzo Tange designed the Kagawa Prefectural Gymnasium with a Brutalistapproach.The Gymnasium doesn’t believe in architectural context or establishing relationships with the surrounding buildings, but rather the surrounding buildings renovate to match the Brutalist gymnasium.

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The hall stands on a square site with a lateral length Kycyku; of around 80 meters. The oval structure is carried by four Research Group: Durim Osmanaj; Endris Festim Mulaku enormous pillars and projects dramatically on both sides, so that the building gives the eﬀect of a ship. The design of the approximately 20 meter high oval interior is determined by the suspended roof, which follows that basic type of the hyperbolic paraboloid.

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In contrast to the solution adopted in the Olympic arenas, where one descends from the entrance to the main-floor level, Tange reversed the approach by ascending into the sports hall. On the ground floor underneath, are conference rooms, offices, a small training gym, technical installations and a kitchen. The building elements on the narrow ends of the hall, which project and dramatically accent the building, correspond to the ascending seating arrangement on the inside.

15B

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

25A

Westminster College The new ﬂagship Campus for City of Westminster College by Schmidt Hammer Lassen architects is designed to support new ways of teaching and learning.The 24,000m2 College, won in a competition in 2006, provides much greater amounts of open learning spaces than typical colleges in the UK and holds state-of-the-art facilities for both students and staﬀ. The building is designed to embrace interaction and diversity and allow students to learn from.

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Designed by Danish architects schmidt hammer lassen, Paddington Green Campus has 24,000 square meters of ﬂoor space. It includes a large central atrium at the heart of the building, accessible green roof terraces and increased community access to features such as the Sarah Siddons Theatre and public cafe overlooking St Mary's Gardens. Other facilities include a double-height Sport England-speciﬁcation sports hall and specialist science labs and workshops. The campus features a mix of open-plan learning/meeting areas as well as more traditional classrooms.

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Research Group: Durim Osmanaj; Endris Kycyku; Festim Mulaku

25A

The slabs contain GGBS (granulated ground blast furnace slag), a recycled by-product of steel manufacturing. Buro Happold associate Jim Martin explains that ‘this has the effect of lightening the colour of the finished concrete and reducing the early thermal shrinkage in the movement-joint-free slabs’.The strength of the concrete in the slabs was slightly lower than usual, reducing early thermal shrinkage, and the concrete finish was agreed with the subcontractor after inspecting test pours off-site, avoiding the ambiguity of a written specification.

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The project benefited from the fact that there is little risk of sound penetration through in-situ concrete slabs, and roof upstand waterproofing details are easier to construct than fiddly frame and panel assemblies. In-situ concrete construction can provide fixing points for cladding, thus limiting requirements for secondary steelwork supports, which are often disputed areas of responsibility.

Raking facades are required on the north-west and south-east elevations to maintain rights of light and for solar shading and Buro Happold proposed 600mm-diameter circular raking columns instead of transfer beams.

The inclined columns on the north facade start at second floor level and rake into the building at an angle of 25°. This introduces large tension forces in the second-floor slab, which are transferred to the cores through tightly reinforced concrete nodes. The compression forces in the floorplates above are transferred to the cores. The tops of the raking columns had temporary horizontal supports during construction to prevent excessive cracking before the floor slabs reached sufficient strength.

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Research Group:Durim Osmanaj; Endris Kycyku; Festim Mulaku

34A:24B

25A:15B

Comparison

25A:15B

Designed and built in 1964 by Kenzo Tange, the gymnasium was designed to conjure an image of a Japanese-style ship. Tange succeeded; the building has been referred to as “Wasen Taiiku-kan,” or Japanese-style ship gymnasium! The gymnasium was closed in 2014 and remains unoccupied. Currently, local architecture groups and other stakeholders have formed a preservation association in the hope of preserving it. The future of the gymnasium is dependent on ﬁnding a new use for the building that is sustainable and retains its design integrity. A museum has been advanced as one potential idea.

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Representative images

Comparison

25A:15B

Representative images

The learning spaces of City of Westminster College are adaptable and ﬂexible so that, in addition to the integrated technology, the students’ development is supported by the diverse architectural spaces of the very building they are in. It is a design which encourages new ways of teaching and learning, but not directly physical exercises and sports activities...

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