Big Dumb Buildings by Kevin Finch

Helsinki Central Railway Station, Locomotiva 2, Bonaventure, Regional Administrative Center, Waldorf-Astoria Hotel, Aula TU Delft, Faber and Dumas Headquarters, Oakland Museum, Oslo City Hall, Chilehaus, Yokohoma Port Terminal, City Under a Single Roof, Helicoide, Beverly Center, Dongdaemun Design Park and Plaza, The Crystal Palace, Centre Georges Pompidou, L’Illa Diagonal, Euralille “The Egg,” Dalian International Convention Center, Atlanta Marriott Marquis Hotel, Marina Bay Sands, Karl Marx-Hof, Grand Central Station, Euralille Center, Climat de France, Sewoon Sangga, Merchandise Mart, London Waterloo Station, Fiat Lingotto Factory, Free University

Editors

Instructors

Aaron Choi Andrea Baena Anna Higane Evaline Huang Feiran Wang Sarah Villareal Sasha Tillmann Tiffany Adler

Andrew Zago Erick Cรกrcamo Peter Trummer Ramiro Diaz-Granados

Table of Contents Helsinki Central Railway Station 10 Locomotiva 2 18 Bonaventure 26 Regional Administrative Center 34 Waldorf-Astoria Hotel 44 Aula TU Delft 52 Faber and Dumas Headquarters 62 Oakland Museum 72 Oslo City Hall 80 Chilehaus 88 Yokohoma Port Terminal 96 City Under a Single Roof 106 Helicoide 114 Beverly Center 122 Dongdaemun Design Park and Plaza 130 The Crystal Palace 138 Centre Georges Pompidou 146 L’Illa Diagonal 154 Euralille “The Egg” 164 Dalian International Convention Center 170 Atlanta Marriott Marquis Hotel 180 Marina Bay Sands 188 Karl Marx-Hof 196 Grand Central Station 204 Euralille Center 214 Climat de France 222 Sewoon Sangga 232 Merchandise Mart 240 London Waterloo Station 246 Fiat Lingotto Factory 252 Free University 262 Precedent Comparisons 271

Big Dumb Buildings SCI-Arc Design Studio 2GB Spring 2016 Erick Carcamo Ramiro Diaz-Granados Peter Trummer Andrew Zago

Urban studies never attribute sufficient importance to research dealing with singular urban artifacts. Aldo Rossi, The Architecture of the City The 2016 2GB Studio shifts its attention away from the study of housing in an urban setting - which it has done in the past - towards the study of the relationship of architecture to urbanism and, more specifically, of the architectural artifact as urbanism. The studio project is for a very large mixed use complex in the Lincoln Heights area of Los Angeles, adjacent to the Los Angeles River, and is to be conceived in relation to the current plans for the river’s transformation. The studio’s main focus is on disciplinary questions of the relationships amongst typology, function, and form in urbanism. These questions will be considered as they relate to current issues of Los Angeles urban politics and policy, infrastructure, and large scale ecological systems. Urbanism as architecture Contemporary cities are complex organisms that defy any easy analysis or singular characterization. In the past hundred years cities have grown to dwarf the scale of historic human settlements, stretching to the limits of comprehension. Nonetheless there remains the physical fact of cities. They are composed not only of flows of capital, information, peoples, and resources, but also of the inert mass of streets, buildings, and infrastructure. These shaped things are unavoidable presences and, after they are shaped, to quote Churchill, “they shape us.” Given the breadth of pressing urban concerns, architecture may sometimes seem to be of minor importance. This studio

will argue instead that architecture is an urgently needed element in cities and that it can uniquely provide them with defining new diagrams. Los Angeles is a great city without great urbanism. While the structure and atmosphere of the city is compelling, its urban form remains an ephemeral promise rather than a concrete fact. The problem of urbanism in Los Angeles today is a problem of architecture, not planning. The spatially vague tools of urban planning, land use and policy cede the particulars of urban form to the default outcomes of nonformal processes. To counteract this, Los Angeles requires the willful shaping of the city, imagined large and without trepidation, to bring its form in line with its aspirations. A central proposition of the studio is that strong architectural projects, at the scale of the city, are not only of interest to other architects, but are a{the?} necessary and currently missing catalyst for a new Los Angeles. Architecture as urbanism The studio explores urbanism through the examination and development of single buildings that, owing to their size, form, or urban impact, become themselves, urbanism. The potential of big, dumb, buildings to function as urban agents will be explored throughout the semester. The topic is first introduced through the analysis of relevant examples and continues through the subsequent design work.

OAKLAND MUSEUM 11m

YOKOHAMA PORT TERMINAL 16m

AULA TU DELFT 21m

EURALILLE EGG 30m

OSLO CITY HALL 33m

DESIGN CENTER 36m

CHILEHAUS 62m

DALIAN INTERNATIONAL CONVENTION CENTER 64m

CLIMAT DE FRANCE 68m

GRAND CENTRAL STATION 81m

HELSINKI CENTRAL RAILWAY STATION 91m

WATERLOO STATION 98m

LILLA DIAGONAL 118m

LOCOMOTIVA 2 140m

ATLANTA MARRIOT MARQUIS 158m

FABER & DUMAS HEADQUARTERS 21m

KARL MARX-HOF 26m

REGIONAL ADMINSTRATIVE CENTER 29m

FIAT LINGOTTO FACTORY 45m

EURALILLE CENTER 46m

SEWOON SANGGA 47m

HELICOIDE 71m

FREE UNIVERSITY 72m

BEVERLY CENTER 74m

CENTRE GEORGES POMPIDOU 98m

WALDORF-ASTORIA HOTEL 101m

CRYSTAL PALACE 101m

BONAVENTURE 177m

MERCHANDISE MART 181m

MARINA BAY SANDS 280m

CHILEHAUS 1,195m2

OSLO CITY HALL 4,886m2

REGIONAL ADMINISTRATIVE CENTER 5,469m2

MARINA BAY SANDS 10,476m2

BEVERLY CENTER 11,18m2

GRAND CENTRAL STATION 11,737m2

LOCOMOTIVA 2 24,000m2

BONAVENTURE 26,983m2

YOKOHAMA PORT TERMINAL 30,302m2

DALIAN INTERNATIONAL CONVENTION CENTER 35,67m2

CITY UNDER A ROOF 36,453m2

SEWOON SANGGA 36,941m2

LILLA DIAGONAL 53,235m2

WATERLOO STATION 57,822m2

FIAT LINGOTTO FACTORY 65,182m2

FABER & DUMAS HEADQUARTER 5,565m2

AULA TU DELFT 6,089m2

WALDORF-ASTORIA HOTEL 6,658m2

ATLANTA MARRIOT MARQUIS 11,737m2

HELSINKI CENTRAL RAILWAY STATION 12,392m2

OAKLAND MUSEUM 23,154m2

EURALILLE CENTER 32,439m2

CENTRE GEORGES POMPIDOU 33,250m2

HELICOIDE 40,569m2

MERCHANDISE MART 43,347m2

KARL MARX-HOF 30,716m2

EURALILLE EGG 39,742m2

DESIGN CENTER 65,203m2

CLIMAT DE FRANCE 79,220m2

FREE UNIVERSITY 362,028m2

Precedent Analysis

Helsinki Central Railway Station Eliel Saarinen Helsinki, Finland 1907 - 1919 3,908 m2

South facade1

At the turn of the 20th century, rapid urbanization had increased Helsinkiâ&#x20AC;&#x2122;s population by nearly 70,000 people and a new railway station was needed in the city. Railway administration worked alongside engineers and railway experts and in December 1903, announced a competition for the Helsinki Railway Station. Here, the architect presented elevations of the administration building and a floor plan.Terminus stations were often on a U-plan and railway administrations had been working on such designs as early as 1895. Eliel Saarinen won the competition with a National Romantic design but due to critique and controversy,

the final design evolved to be very different from the original competition drawings. Saarinen shifted from a romantic to a rationalist style, and turned his attention from the American and English models towards the Germans instead. The building is clad in Finnish granite, and the elevations are divided vertically by semi-columns with no footing or capital. It is topped by a slightly recessed mansard roof. Its distinguishing features include four stone men statues holding spherical lights flanking the entrance, and brass details.

1. Hausen, Marika, Kirmo Mikkola, Anna-Lisa Amberg, and Tytti Valto. Eliel Saarinen Projects 1896 - 1923. Cambridge, MA: The MIT Press, 1990. 12

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Section3 - 1:5000

2. Hausen, Marika, Kirmo Mikkola, Anna-Lisa Amberg, and Tytti Valto. Eliel Saarinen Projects 1896 - 1923. Cambridge, MA: The MIT Press, 1990. 3. Ibid. 13

Site Plan4 - 1:5000

4. Site Plan 14

Competition Entry Elevation5 - 1:2000

Constructed Elevation6

5. Hausen, Marika, Kirmo Mikkola, Anna-Lisa Amberg, and Tytti Valto. Eliel Saarinen Projects 1896 - 1923. Cambridge, MA: The MIT Press, 1990. 6. Molon, Alfred. â&#x20AC;&#x153;Frontal view of railway station.â&#x20AC;? Photo Galleries. Last modified March 23, 2010. Accessed January 26, 2016. 15

a. Elevation development b. Elevation development: Crystal Palace 16

c. Forms in plan d. Forms in plan: Waterloo Station 17

e e. Entrance of railway tracks into city 18

f f. Entrance of railway tracks into city: Waterloo Station 19

Locomotiva 2 (Centro Direzionale) Aldo Rossi (with G. U. Polesello, L. Meda) Turin, Italy 1962 (Unbuilt competition proposal) 10,000 m2

Locomotiva 21

An unbuilt competition design, Locomotiva 2 was planned as a solution to increasing congestion in the city center. The idea to develop a self-contained urban project, a centro direzionale, in the suburbs outside the city was explored throughout the sixties to redirect the thrust of urban expansion. A large complex housing offices, municipal administrative facilities, entertainment programs, and other aspects of city life, Locomotiva 2 is a formally straightforward project. Consisting of four rectangular blocks ringing a central square void, the main building masses are supported on piers, 30

meters above the ground. The project incorporates vehicular traffic into its relationship to the ground, as highways penetrate the boundary of the blocks to weave the surrounding suburban fabric into the project. The upper floors of the project are dedicated to leisure programs, like nightclubs and entertainment, while the lower floors house offices. Every seventh floor of the building remains open, providing ample open space for the employees of the offices. Shopping facilities and the district congress hall ring a public, open square piazza defined by the office blocks.

1. Arnell, Peter, Ted Bickford, Vincent Scully, and JoseĚ Rafael. Moneo. Aldo Rossi, Buildings and Projects. New York: Rizzoli, 1985. 20

Model2

Sections3 - 1:5000

2. Ibid. 3. Ibid. 21

Model4

Axonometric Diagram5

4. Ibid. 5. Ibid. 22

b a. Vehicular Access/Elevated Highways b. Integration with the city 23

a. Building Elevation b. Relationship to the Ground 24

c. Relation to the City Context d. Degree of Imagability

e. Interior Circulation

f. Vertical Access g. Horizontal Access

h. Open Space i. Structure Support/Mechanical/Elevators/Stairs

j. Vehicular Circulation 25

a. Locomotiva 2/ Procession vs. Climat de la France/Barrier b. Locomotiva 2/ Permeable Entry vs. Climat de la France/Perimeter Condition 26

a c

c. Boundary vs. Center as organizational generator b. Locomotiva 2 vs. Bryant Park 27

The Bonaventure John Portman Los Angeles, CA 1974 10,219 m2

The Bonaventure1

The Bonaventure is a hotel, shopping, and events center located in downtown Los Angeles. Architect and developer John Portman started construction in 1974, and finished in 1976. The massing consists of 5 extruded, cylindrical volumes that rest on a large concrete plinth. This plinth becomes the new ground as the building creates a network of pedestrian bridges to connect to other contextual roof gardens. The megaform looks to internalise the city, and through its autonomy it becomes the centerpiece of this urban zone. As a result it ties all the free standing buildings together, both in a functional and aesthetic way. The

1. Riani, Paolo, and Paul Goldberger. John Portman. Milan: Lâ&#x20AC;&#x2122;Arcaedizioni, 1990. 28

entire block is extruded up to create the plinth, which contains all the public functions, such as retail shops and restraunts, and also serves as the ground entry. The interior of the plinth is then penetrated by the continuation of the extruded volumes, which create implied volumes through the extension of structure and cores all the way to the lobby level. These volumes are pinned together by the elevator cores that look out at the skyline. Overall The Bonaventure was a critical addition. that looked to activate the downtown area, and with that it brought renewed interest to the developing city of Los Angeles.

Plan2 -1:2000

2. Ibid. 29

Site Plan3 - 1:5000

3. Ibid. 30

Elevation4 - 1:2000

4. Ibid. 31

a. Plan b. Section 32 c. Elevation

d. Plan e. Section f. Elevation

i g. Section - The Bonaventure (Left) vs The Marriot Marquis (Right) h. Section - The Bonaventure (Left) vs The Locomotiva 2 (Right) i. Elevation - The Bonaventure (Left) vs The Locaomotiva(Right) 34

l j. Plan - The Bonaventure (Left) vs The Marriot Marquis (Right) k. Plan - The Bonaventure (Left) vs The Locomotiva 2 (Right) l. Plan - The Bonaventure (Left) vs The Crystal Palace (Right) 35

Regional Administrative Center Aldo Rossi Trieste, Italy 1974 12,864 m2

Iconic Project Image2

The competition design proposal for the Regional Administrative Center by Italian Architect Aldo Rossi was never built, yet remains a clear representation of Rossiâ&#x20AC;&#x2122;s urban theory from Lâ&#x20AC;&#x2122;architettura della citta (1966). He promotes the importance of sensitivity to urban context, and claims that the use of historical design precedents allows architects to repond to cultural context. The Regional Administrative Center reflects the classical Italian elements of the

surrounding buildings and establishes a relationship with the site by acting as a transition between rail track, sea and town. dictates the formal organization as well as the layering of archetypes. This project can be compared to the Palazzo in Padova by Giovanni Egli Eremitani. Although the two appear dissimilar, they belong to the same archetype (Palazzo) and follow a strict classical system of proportion.

1. Arnell, Peter, and Ted Bickford, eds. Aldo Rossi: Buildings and Projects. New York: Rizzoli International Publications, 1985. 36

Plan2 - 1:2000

Section3 - 1:2000

2. Ibid. 3. Ibid. 37

Site Plan4

4. Ibid. 38

- 1:5000

Elevation5 - 1:2000

Elevation6 - 1:2000

5. Ibid. 6. Ibid. 39

a. Figure ground elevation: part to whole relationship 40

d b. Figure ground section: mass/void as components c. Figure ground elevation: fenestration d. Figure ground elevation: component isolation 41

e. Exploded elevation: layered components 42

f. Site: Project grid and city grid 43

g. Trieste site: project on a grid 44

h. Palazzo Padova: project creating a division of space (perimeter void versus central void) 45

Waldorf-Astoria Hotel Henry J. Hardenbergh New York, NY 1893, 1897 (demolished 1929) 15,057 m2

View of Waldorf Astoria at the corner of 5th Avenue and 34th Street1

The Waldorf-Astoria was built as two separate hotels, both designed by Henry J. Hardenbergh. The original hotel, The Waldorf is a 12-storey German Reniassance-style building located on the corner of 33rd St and 5th Avenue in 1893. It was a 225-ft tall, 70,000 sqft, 450 key hotel featuring a palatial ground floor with a ballroom, restaurants and lounges. In 1897, Hardenbergh built another hotel on the adjacent block. The Astoria Hotel had the same frontage as the Waldorf, opening up to 34th Street, and was four storeys taller. During construction, the two hotels were joined

across the rear party wall. In 1897 the Waldorf-Astoria opened with 1,300 bedrooms and 178 bathrooms, the largest hotel in the world. Much of the complexity of the building comes from the way in which the two buildings were stitched together, in addition to the inordinate amount of non-bedroom program for both public and private guest use throughout the entire building. In 1929, the hotel was sold, to be demolished and replaced by the Empire State Building.2

1. https://ephemeralnewyork.files.wordpress.com/2014/07/waldorfastoria34thstreetview.jpg 2. McCarthy, James Remington; Ruthorford, John. Peacock Alley: The Romance of the Waldorf-Astoria. Harper. New York, NY. 1931. 46

4th Floor Plan3 - 1:1000

2nd Floor Plan4 - 1:1000

Ground Floor Plan5 - 1:1000 3. Comstock, William T. Architecture and Building. 1898 Vol. XXVIII. New York, NY, pp. 51-55 4. Ibid. 5. Ibid.

Site Plan5 - 1:5000

5. Site Plan 48

a. Floor 4 Plan as courtyard building b. Floor 2 Plan as courtyard building c. Floor 1 Plan as courtyard building

d. Floor 4 Plan as two “E” buildings e. Floor 2 Plan as one “C” building and one “E” building f. Floor 1 Plan as two “C” buildings 49

a. Four interior “O” buildings, two exterior bar buildings b. Interior Blocks with vertical circulation removed 50

c. Two “I”s, two “L”s, and eight “U”s d. Two buildings stictched together by corridors

a. Program with circulation excised b. Interior â&#x20AC;&#x153;open spaceâ&#x20AC;? enclosed by an exterior envelope.

c. Enfilade Program / Cell Program d. Enfilade and Foyer Program / Cell and Corridor Program 51

a. Program with Enfilade Circulation b. Circulation as open space enclosed by exterior envelope 52

c. Program as Enfilade d. Foyer and and Program as continuous space enclosed by envelope

a. Solid Cut by horizontal and vertical circulation b. Cell Block / Corridor Configuration in Upper Floors

c. Corriodor Circulation as figural non-space in envelope d. Enfilade of Private Space reveals Non-Space 53

Aula TU Delft Johannes van den Broek and Jaap Backma Delft, Netherlands 1966 15,700 m2

Aula TU Delft Perspective1

The Aula TU Delft is located in the Netherlands on the north side of the university campus and was built from 1959 to 1966 by Johannes van den Broek and Jaap Backma. The building has been nicknamed â&#x20AC;&#x153;the UFOâ&#x20AC;? due to the fact that it is shaped like a saucer or spaceship and is supported by triangular concrete columns. This building houses an auditorium with 1300

seats, four trapezoidal lecture halls with 250 to 350 seats, the senate hall and the university cafeteria. The auditorium looms above the main entrance and has a bridge that connects to the physics faculty. The center of the building features spacious staircases which sperates the large auditorium from the smaller lecture halls. The cafeteria on the ground floor has been refurbished in 1998/99 designed by Mecanoo.

1. Joedicke, Jurgen. Architektur und Stadtebau Das Werk van den Broek und Bakema. Germany, Germany: Karl Kramer Verlag Stuttgart, 1963. 54

Plan2 - 1:2000

Plan3 - 1:2000

2. Ibid. 3. Ibid. 55

Site Plan4 - 1:5000

4. Site Plan 56

Section5 - 1:2000

Section6 - 1:2000

Section7 - 1:2000 5. Ibid. 6. Ibid. 7. Ibid. 57

a. Figure Ground Site 58

b. Figure Ground 59

c c. Part to Whole

e d. Elevation Study e. Solid /Void Program 61

f. Circulation g. Enclosure 62

h. Stair Formation i. Part to Whole 63

Faber and Dumas Headquarters Norman Foster Ipswich, England 1975 21,000 m2

Frontal Perspective1

This building was finished in 1975, becoming a precedent for high-standard office design. It was designed by Norman Foster. Located in the medieval town of Ipswich in the United Kingdom, just 45 minutes away form London, the site contained a busy port and presented a potential to grow economically. Willis Faber and Dumas was one of the largest insurance brokers at the time. The building was part of their plan to decentralize and rationalize operations by moving to a less expensive location. The program consisted of a 21,000 meter squared office to hold approximately 1,350 people and 1,200 workstations. The building consists, in plan, of an irregular organic shape extruded vertically. All of its facades covered in glass reflect the surroundings.

Therefore, the modern office type merges, sometimes even disappears, within the surrounding medieval urban setting. The plan is stretched out to the periphery of the site in order to optimize area, therefore holding the 21,000 meter squared required for the program in only four levels. The second and third levels are practically identical, consisting of a free plan space for offices. These office floors are flexible and dynamic, designed to absorb future changes in the organization. The ground floor and the terrace contain the service spaces that support the offices. The ground floor is composed by the reception, a pool, computer banks and loading docks. The terrace contains a restaurant and the roof garden.

1. â&#x20AC;&#x153;Architizer.â&#x20AC;? http://architizer.com/projects/willis-faber-dumas-headquarters/media/781041/. 64

Plan2 - 1:2000

Section3 - 1:1000

2. Willis Faber and Dumas Building. London, UK: Phaidon Press, 1993. 3. Ibid. 65

Site Plan4 - 1:2000

4. Ibid. 66

Plan5 - 1:2000

Section6 - 1:1000

5. Ibid. 6. Ibid. 67

a. Context and Non-Spaces 68

b. Context Evolution -Before c. Context Evolution - After 69

e d. Non-Spaces Overlapped e. Ground Continuation 70

f. Non-Spaces L01 g. Non-Spaces L02

h. Non-Spaces L03 i. Non-Spaces L04 71

j. Perimeter vs. Interior Organization / Columns Unifying Element k. Access Axis / Integrating Stairs 72

l.Circulation Diagram - Diagonal m.Circulation Diagram - Horizontal 73

Oakland Museum Kevin Roche Oakland, CA 1969 27,580 m2

Aerial view of museum1

The Oakland Museum by Kevin Roche integrates its architectural elements with its program and landscape. There are three levels of galleries-- art, history and natural science -- each opening up to a garden that is the roof of the level below. The garden levels are not only public gathering spaces, but also extensions of exhibition spaces where outdoor sculptures can be displayed. A combination of tall concrete planters, walls and terraces give the work a sense of isolation from its surrounding context. Visitors are able to see framed views of the city while also navigating the indoor/outdoor spaces of the museum at their lei-

sure. By adding a 180-car garage beneath the galleries and maintaining the road that connects 11th Street and Oak Street, the museum acts as part of the urban infrastructure of the city. Roche saw the role of the architect of a museum as a community builder. He believed in the importance of fluid institutional boundaries and the affect that would have on the relationship between the architect, city, museum and the public. By combining Californiaâ&#x20AC;&#x2122;s history of art, history and ecology in one place, Roche emphasized the importance of locality as a model of social engagement.

1. Eeva-Liisa Pelkonen, Kevin Roche: Architecture as Environment (New Haven and London, CT/England: Yale University Press, 2011). 74

Plan2 - 1:1000

Section3 - 1:1000 2. Hozumi Nobuo, Kevin Roche John Dinkeloo and Associates. The Ford Foundation Building. Oakland Museum, Global Architecture 4, [93]. 3. Pelkonen, Kevin Roche: Architecture as Environment, [128]. 75

Site Plan4 - 1:5000

4. “Lake Merritt Station Area Plan,” City of Oakland, last modified July 2015, accessed January 26, 2016, http://ec2-54-235-79-104.compute-1.ama zonaws.com/Government/o/PBN/OurOrganization/PlanningZoning/DOWD008198.htm. 76

Roof Plan5 - 1:1000

5. Pelkonen, Kevin Roche: Architecture as Environment, [20]. 77

a. Section: Rectangle over city block b. Section: Stepped rectangle over city block 78

c. Section: 3-tiered d. Section: Circulation 79

e. Plan: Stepped roof gardens f. Plan: Entry 80

g. Plan: Green spaces h. Plan: Circulation 81

Oslo City Hall Arnstein Arneberg - Magnus Poulsson Oslo, Norway 1950 30,000 m2

Corner Perspective1

The design and construction of Oslo City Hall spanned a dramatic thirty-year period in Norway’s history. Architectural fashions were shifting. The architects combined national romanticism with modernist ideas. The elaborate carvings and ornaments showcase the talents of some of Norway’s finest artists from the first half of the twentieth century The 1920 plan for Oslo called for the “new” City Hall to initiate an area of public spaces on Rådhusplassen. The building’s exterior artwork depicts activities of the common citizen instead of kings, queens, and military heroes.

The building is composed of three volumes; a lower box with two towers projecting from the Northern corners. The towers house the city’s politicians, and are not accessible to the public except by guided tour. The low volume is planned around a public central hall (famed as the location of the Nobel Peace Prize ceremony), around which can be found various galleries and representation rooms on three levels. The Northern edge of the box houses the assembly hall, between the two towers, easily accessible from the offices above.

1. Craven, Jackie. “Oslo City Hall, Venue for the Nobel Peace Prize Ceremony.” About.com. Accessed January 28, 2016. http://architecture.about.com/ od/greatbuildings/ss/OsloCityHall.htm#step3. 82

Plan1 - 1:500

Section2 - 1:1000

2. Ibid. 3. Ibid. 83

Site Plan3 - 1:5000

3. Pure Information LLC. “DXF file near Oslo, Oslo, NO.” Accessed January 27, 2016. cad_mapper. https://cadmapper.com/pro/extracts/ b69d8f87-11e4-4481-a8ad-7b31b9db7bca. 84

Elevation1 - 1:1000

Elevation4 - 1:5000

4. Slinning, Sofie Flakk. “Oslo City Hall.” OsLocus - The Architecture of Politics. Accessed January 27, 2016. https://oslocus.wordpress.com/category/ precedents/. December 20, 2015. http://architecture.about.com/od/greatbuildings/ss/OsloCityHall.htm. 85

a. Solid Void 86

b. Program Figure Ground c. Interstitial Spaces 87

f d. Circulation analysis e. Solid Void analysis f. Site analysis 88

g. Elevation Study h. Elevation Study i. Elevation Study 89

Chilehaus Fritz Hoger Hamburg, Germany 1922-1924

30,400 m2

Chilehaus1

Chilehaus is a brick German expressionist ten-story office building with public shops and eateries on the ground floor’s interior courtyards and is considered one of Germany’s architectural stars. Its largely uniform brick facade is pixelated with a clean gridding of 2,800 small windows, matching the appearance of many neighboring structures, creating a cohesive context in the Hamburg’s Kontorhaus district. German citizen, Henry Brarens Sloman, made his fortune mining and trading sodium nitrate from Chile and commissioned the building as a gift back to his hometown, leading to its name and intentionally representative design. The form tightly follows the site and accommodates an already existing building adopted into the overall perimeter-duplicating form on the site. Formally, it manages to capitalize on the site’s ta-

pering east edge to form the likeness of a ship’s bow with receding tapering tiers of floors atop. Expressionist buildings of the same era and location are host to large, light-filled courtyards bordered on three or four sides. Chilehaus is no exception. The amorphous building maintains an orthogonally rooted spatial X-Y axis, along which the intense perimeter condition is completely eradicated at the ground level, raising high off the ground providing a particularly wide arching entrance from the south to north edges, which brings unobstructed urban fabric into Chilehaus’ interior central courtyard and further into the polar east-west courtyards, also accessible through open, exterior archways carved through the mass of the building’s interior perimeter masses.

1. Chilehaus. Photograph. Hamburg Fotos. Accessed January 25, 2016. http://hamburg.60px.de/wp-content/uploads/2014/07/ZN5A2544-BearbeitetBearbeitet.jpg. 90

Plan2 - 1:2000

Section3 - 1:2000

2. Lange, Ralf. “„Steigerung zum Monumentalen“ – Das Kontorhausviertel mit Chilehaus, Meßberghof, Sprinkenhof und Mohlenhof” ICOMOS – Hefte des Deutschen Nationalkomitees [Online], Volume 54 Number 2, (1 June 2015), 219-20. 3. Ibid.

Site Plan3 - 1:5000m

3. Site Plan 4. Kontorhausviertel Hamburg, aufgenommen vom Highflyer. Photograph. Wikimedia Commonas. September 21, 2005. Accessed January 25, 2016. 92 https://upload.wikimedia.org/wikipedia/commons/c/c9/Hamburg.Skylift.Kontorhausviertel.wmt.jpg.

Aerial site image4

South entrance5

5. Chilehaus, south entrance. Photograph. Architectural Fine Art Photography. https://lh3.googleusercontent.com/-1K0fs311h-E/VpfjOxEtCaI/ AAAAAAABP6k/qGoROuv6W1A/w2048-h1437/20150805122457.jpg. 93

a a. Plan, site influence 94

a. Section, perimeter changes 95

c c. Comparative site occupation: from top, Chilehaus, Seunsangga, Beverly Center

d d. Part to whole plan analysis: from top, Chilehaus, Seunsangga, Beverly Center

Yokohama Port Terminal Foreign Office Architects: Alejandro Zaera Polo and Farshid Moussavi Yokohama, Japan 2002 48,000 m2

Yokohama Port Terminal1

Yokohama Port Terminal provides a mix use space of civic transportation, retail, and open public waterfront park. The port not only harbor ships and provide services to the passengers but also maintains a continual open space along the exiting water front connecting the urban landscape directly to the port. The rolling landscape of timber and grass of the upper deck becomes an extension of the parks along the waterfront with continual paths and event spaces. The structure consist of three levels built directly on the pier allowing both vehicular and pedestrian traffic to flow in and out of the terminal. Upon entry to the port, vehicles enter through the lower level while pedestrians can travel directly to the open air roof park. From both entry points, the continual level of circulation allows passengers and the public to access the public retail and service areas on the second level.

Pushing the services and retail spaces to the end of the port forces the occupant to experience the circulation and become part of the experience of the form. Void of columns, programmatic elements merged from one zone into another through a folded envelope system. The occupiable roof curves back in to form the ceiling of the level below and then again to form the floor. The inside space is barrier free without columns or beams and the vertical circulation is accomplished through ramps and elevators. The continuous flow of passengers embarking and disembarking overlap adding to the circulation flows merging into the overall circulation of the building. The curved geometry folding in on itself at moments further provides for an open system while providing moments for operation and separation from one element to another.

1. Moussavi, Farshid, and Alejandro Zaera-Polo. 2002. The Yokohama Project: Foreign Office Architects. Barcelona: Actar., 307 98

Exterior circulation1

Interior circulation2

Level 23

Car park4

Yokohama Port Terminal Entrance5 1. Moussavi, Farshid, and Alejandro Zaera-Polo. 2002. The Yokohama Project: Foreign Office Architects. Barcelona: Actar., p. 100 2. Ibid., 284

3. Ibid., 250 4. Ibid., 114 5. Ibid., 164

Roof Plan6 - 1:5000

Terminal Plan7 - 1:5000

20 meters

60 feet

Civic Plan8 - 1:5000

Parking Plan9 - 1:5000

0 0

6. Ibid., 36 7. Ibid. 100

8. Ibid., 38 9. Ibid.

20 meters 60 feet

Elevations10 - 1:2000

Elevations11 - 1:5000

Longitudinal Section12 - 1:5000

Cross Sections13 - 1:2000

10. Ibid. 11. Ibid.

12. Ibid. 13. Ibid., 34 101

Site Plan14 - 1:5000 14. Danish Architecture Centre. â&#x20AC;&#x153;Yokohoma International Port Terminal.â&#x20AC;? arcspace. Last modified April 5, 2007. http://www.arcspace.com/CropUp/250x339/media/30513/Photo-13.gif. 102

a. Development of Section b. Development of Plan 103

Citizen

Passenger and Vendor

Vehicle

Public d

c. Circulation d. Public - Service Parti 104

e. City Parks f. Coastline 105

g. Translation of Exisiting Park 106

h. Extension Of Major Axis 107

City Under a Single Roof Raymond Hood New York City, NY 1929 (Unbuilt) 75,625 m2

City Under a Single Roof1

The city under a single roof is a concept project design by Raymond Hood in 1929 for New York City. It occupies three blocks with streets going through it as most parts of the building are elevated. City Under a Single Roof is a project that aims to decrease the pressure of traffic by making people spend most of their time in one building. Almost all the programs people need are situated within the space.

In this way, people only move vertically by use of the elevator through different programs in the building. Therefore, circulation in the building became simpler and more efficient. With the cruciform shape of the building, most rooms have at least a 300 feet wide view. Although the project was never built, the concept of this project later inspired the Rockefeller Center in midtown Manhattan which was built in 1930.

1. Hood, Raymond M. “A City Under a Single Roof.” Nation’s Business, November 1929, 18. 108

Site Plan (V1)2 - 1:5000 2. Koolhass, Rem. “All the Rockefeller Center.” In Delirious New York, 189. 1994 ed. N.p.: Monacelli Press, 1994. 109

Site Plan (V2)3 - 1:5000

3. Ibid. 110

Model4

Model5 4. ‘City Under a Single Roof’ proposal.” Philadelphia Architrct and buildings. https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/126117. 5. Ibid. 111

a. Change of Interior space from low to high 112

c b. Ground floor circulation of City Under a Single Roof c. Ground floor circulation of Rockefeller Center 113

f d. Plan schemes (City Under a Single Roof) e. Retreat of the facade (City Under a Single Roof) f. Retreat of the facade (Rockefeller Center) 114

g. Public space (City Under a Single Roof) h. Public space (Rockefeller Center)

i. Circulation (City Under a Single Roof) j. Circulation (Rockefeller Center) 115

Helicoide Jorge Romero Gutierrez Caracas, Venezuela 1956 77,750 m2

Arial view Caracas1

The first stage of Helicoide, completed in 1961, was initially meant to be a drive through mall. Each level goes a different direction and the turnaround is at the top underneath the dome building. Drivers would have been able to continue driving until they came to the store which they wanted to shop and park right in front. However the construction stopped before it was finished, due to issues with the budget, and sat abandoned for over twenty years.

In 1985 the building was occupied by the Dirección de los Servicios de Inteligencia y Prevención ( DISIP ) or Directorate of Intelligence and Prevention Service. Which lead to the building being bombed and the dome, built by Buckminster Fuller, being damaged. At the moment the building holds political prisoners and is surrounded by slums.

1. “Imagenes Extraordinarias” [Extraordinary Images]. Taringa! Last modified 2014. Accessed January 26, 2016. http://www.taringa.net/post/imagenes/16390157/Imagenes-Extraordinarias.html. 116

Plans1- 1:5000

Section2 - 1:2000 1. Lorenzo, Juan Carlos Diaz. “el Helicoide, un icono de Caracas” [The Helix, an icon of Caracas]. Wordpress. Last modified February 3, 2012. Accessed January 26, 2016. https://venezuelaoctavaisla.wordpress.com/page/6/. 2. Ibid.

117

Roof Plan3 - 1:2000

3. Lorenzo, Juan Carlos Diaz. “el Helicoide, un icono de Caracas” [The Helix, an icon of Caracas]. Wordpress. Last modified February 3, 2012. Accessed January 26, 2016. https://venezuelaoctavaisla.wordpress.com/page/6/. 118

Elevation4 - 1:2000

Elevation5 - 1:2000 4.”??????” [El Helicoide]. God Eyes. Last modified August 17, 2013. Accessed January 26, 2016. http://bbs.godeyes.cn/showtopic-384452.aspx. 5. “Helicoide. Caracas.” Panoramio. Last modified September 16, 2012. Accessed January 26, 2016. http://www.panoramio.com/photo/65866068.

119

a. Original helix spiral b. Step one of mutation 120

c. Step two of mutation d. Final form

e. Retail circulation f. Aerial view of circulation 121

g. Offset of floor plates in the Helicoide 122

h. Site analysis 123

Beverly Center Welton D. Becket Los Angeles, CA 1982 82,030 m2

Beverly Center exterior facade1

The Beverly Center is a high-end shopping mall in Los Angeles, California. It is a monolithic eight-story structure located at the edge of Beverly Hills and West Hollywood between La Cienega and San Vicente boulevards. The Center’s externally visible escalators previously resembled and intentionally copied the escalators at the Centre Georges Pompidou in Paris, but underwent renovation in 2007 to change the appearance, which has granted visitors an expanded view of the surrounding area and the hills to the north. The block-long, 8-story-tall, beige/brown tank of a structure was built in 1982 as a money-making solution for a strange site with less-than-accommodating

features, including nearly unstable soil and an oil well that sits in a weirdly carved-out zone at the back side of the lot. The oil well remained due to its high profitability. Five levels of parking in the first five stories and three levels of retail plopped on top create the windowless extrusion at the busy intersections of San Vicente, Beverly Boulevard, Third Street and La Cienega. A. Alfred Taubman, Sheldon Gordon and E. Philip Lyon, the developers of this shopping mall, just wanted the most efficient shopping mall possible, and so slowly the design was stripped down to the minimalist monster, which had considerably changed in comparison to Becket’s original plan.

1. Wikimedia Foundation. “Beverly Center.” Wikipedia. Accessed January 28, 2016. https://en.wikipedia.org/wiki/Beverly_Center.

124

Contextual Perspectives2 2. Escalator at the Beverly Center. Photograph. Panoramio. Accessed January 26, 2016. http://www.panoramio.com/photo/54755985. 3. Ibid. 125

Plans4 - 1:5000

4. Taubman Centers. â&#x20AC;&#x153;Beverly Center - Mall Map.â&#x20AC;? Beverly Center. Accessed January 20, 2016. http://www.beverlycenter.com/mall_directory/map. 126

Site Plan5- 1:5000

5. “Beverly Center.” Map. Google Maps. Accessed January 22, 2016. https://www.google.com/maps. 127

Elevations6 6. Israel, Frank. “Beverly Center.” LA Architect, July 1982, 4-6. 128

a. 1st floor - Solid & Void Circulation b. 6th floor - Solid & Void Circulation

c. 7tth floor - Solid & Void Circulation d. 8th floor - Solid & Void Circulation 129

e. East Elevation f. West Elevation 130

g. West Elevation h. South Elevation

i. Site Outline - Form Development j. Building Offset - Form Development

k. Building Extrusion - Form Development 131

Dongdaemun Design Plaza and Park Zaha Hadid Architects Seoul, South Korea 2007-2014 89,574 m2

Dongdaemun Design Plaza Night View1

The Dongdaemun Design Plaza and Park (DDP), designed by Zaha Hadid Architects and build from 2007 to 2013, is located in Seoul, South Korea. It is a 913,397 sq ft (60 ft heights) public center covering a Convention Hall, Design Museum and Design Labs. The site is located in a busy and historical part of Seoul occupying the space between four major roads and connected directly to the metro within the basement. The DDP replaces an older sport stadium and their surrounding street markets and street vendors. The DDP is an architectural landscape of a park and a building integrated with a fluidly transition between the building form and the built landscape. The main building is a 1600 ft curved shape that is bent first outwards to the main street corner to occupy the corner and then bended again to follow along the smaller street – here 1. Meyer, Ulf. “Dongdaemun Design Plaza.” arcspace.com. Last modified April 23, 2014. http://www.arcspace.com/features/zaha-hadid-architects/dongdaemun-design-plaza/. 132

the roof tapers down to finally reach the ground making it possible to access the roof by foot from the park. The west façade facing the busiest of the four streets is all fluid metal form and is set into the ground with a single story excavation between the street and the building, while the east façade blends with the park both in form and in material with a green roof. The entrance by car is at a single point to the underground garage, while the entrance for pedestrians are through multiple connection points to all four surrounding streets. The connection points are either through bridges over the excavation on the west side or through the entrances to the park on the south and west side. The interior of the Convention Hall and the Design Museum are large voids. A series of floor slabs divide the Design Lab and the underground retail center and parking.

First Floor Plan2 - 1:2000

Section3 - 1:2000 2. Bertrand, Virgile Simon. â&#x20AC;&#x153;Dongdaemun Design Plaza.â&#x20AC;? styleofdesign.com. Last modified March 26, 2014. http://www.styleofdesign.com/architecture/dongdaemun-design-plaza-zaha-hadid-architects/. 3. Ibid.

133

Site Plan4 - 1:5000

4. Bertrand, Virgile Simon. â&#x20AC;&#x153;Dongdaemun Design Plaza.â&#x20AC;? styleofdesign.com. Last modified March 26, 2014. http://www.styleofdesign.com/architecture/dongdaemun-design-plaza-zaha-hadid-architects/. 134

South Elevation5 - 1:2000

East Elevation6- 1:2000

5. Ibid. 6. Ibid. 135

a a. Diagram of Context ( figure and ground ) 136

b. Evolution Diagram 137

c c. Section Processing Diagram d. Formal Diagram 138

e. Sectional Object Diagram f. Sectional Object Diagram

g. Facade Massing Diagram h. Ground Condition Diagram 139

The Crystal Palace Joseph Paxton Hyde Park, London 1851 91,974 m2

Painting of The Crystal Palace1

Once located in Hyde Park, London, UK for the Great Exhibition of 1851, the Crystal Palace was designed by botanist turned architect Joseph Paxton. After the exhibition, the building was relocated to Sydenham Hill where it remained until 1936 when it was destroyed by a fire. Influenced by greenhouse designs, his proposal brought modularity and innovation to the table, embodying the spirit of British innovation. Built shortly after the Industrial Revolution, the design was heavily influenced by the technology produced during that era. The invention of the cast plate glass method allowed for large expanses of glass to be produced at a very low cost. The geometry and proportions of the

building as a whole was directly influenced by these panes of glass (10”x49”). The majority of the building is a flat-roofed rectangular hall with exception to the main transept which was topped off by a barrel vault reaching 168 feet at the top of the arch. The building itself was constructed in less than six months proving the success of the modular scheme. The ability to quickly construct such a massive structure would set up a dialogue for future architects to come. These architects may include Renzo Piano and Richard Rogers in their “hi-tech” scheme for the Centre Pompidou as well as Charles and Ray Eames in their “off-the-shelf” case study house.

1. McKean, John, Joseph Paxton, and Charles Fox. Crystal Palace: Joseph Paxton and Charles Fox. London: Phaidon, 1994. Print. 140

Plan2 - 1:5000

2. Ibid. 141

Site Plan3 - 1:10000

3. Ibid. 142

Section4 - 1:5000

Elevation5- 1:5000

4. Ibid. 5. Ibid. 143

a. Plan diagrams of the Crystal Palace 144

a. Plan diagrams of the Crystal Palace 145

a. Section diagrams of the Crystal Palace 146

a. Section diagrams of the Crystal Palace 147

Centre Georges Pompidou Renzo Piano, Richard Rogers and Gianfranco Franchini Paris, France 1977 103,305 m2

Aerial View of Centre Georges Pompidou1

Centre Pompidou is one of the most popular attraction in Paris since it was built by 1977. All five of the floor plates are supported by trusses creating a free-plan feature that makes the building flexible to various arrangement. The art center is proposed to be constantly reconfigured so it could respond to new uses changing by time. The structure and function of the building

is well-expressed on its elevations. At the front faรงade, visitors could navigate between floors through a diagonal tube-shaped corridor. At the back faรงade, vertical services such as water pipe, air duct and elevators are painted with different color. The public plaza right next to the center becomes a relief of the packed historical neighborhood.

1. Dini, Massimo, and Renzo Piano. Renzo Piano, projects and buildings, 1964-1983. Rizzoli International Publications, 1984. 148

Plan2 - 1:1000

Section3 - 1:2000 1. Buchanan, Peter, and Renzo Piano. Renzo Piano Building Workshop: Complete Works. Phaidon Press, 1995. 2. Ibid. 149

Site Plan41 - 1:5000

1. Google Maps. “Centre Georges Pompidou.” Google. https://www.google.com/maps/place/ The+Centre+Pompidou/@48.8606455,2.3500563,17z/data=!3m1!4b1!4m2!3m1!1s0x47e66e1c09b820a3:0xb7ac6c7e59dc3345. 150

Elevation1 - 1:1000

1. Ibid. 2. Ibid. 151

a. Spatial grid diagram, Structural diagram, Vertical circulation diagram and Horizontal circulation diagram 152

b. East Elevation (built vs 1971 competition proposal) c. Section (built vs 1971 competition proposal) 153

d c. Interior vs Exterior diagram

154

g g. Public space diagram e. Accessible diagram f. Context diagram 155

L’Illa Diagonal Rafael Moneo, Manuel de Solà-Morales Barcelona, Spain 1992

105,000 m2

L’Illa Diagonal1

The L’illa Diagonal complex epitomizes the idea of the superblock, the first of its kind to be built in Barcelona. Moneo articulated the design intentionality of the megastructure as skyscraper lying down—a strategy that translate formally. The Diagonal Block can be described as a bookshelf; a regulated container in which irregular but programmatically related forms unify in a part-to-whole relationship. The Diagonal is mixed use with a majority of floors space devoted to shopping and living. Additional uses vary from offices, hotels, and schools to nightclubs. This building, situ-

ated on main thoroughfare Avenida Diagonal, serves as a dividing line between the two distinct urban development plans found in Barcelona. To the north of the building the city follows a discontinuous plan that is resultant of the 1960s. To the south, the rotated Cartesian gridded remnants of the Cerda plan still remain. According to Moneo, he and Solà-Morales “[took] full advantage of the site’s potential to contribute to the fabric of the city […] [they established] the lost continuity within the extension of the grid.”2

1. L’Illa Diagonal. Vista exterior de L´illa Diagonal a Barcelona. Photograph. L’Illa Diagonal. Flickr. https://www.flickr.com/photos/36065869@N04/3345917757/. 2. Moneo, Raphael, and Manuel de Solà-Morales. Remarks on 21 Works. London, UK: Monacelli Press, 2010. 156

Plan2 - 1:2000

Section3- 1:2000

2. Moneo, Raphael, and Manuel de SolĂ -Morales. Remarks on 21 Works. London, UK: Monacelli Press, 2010. 3. Moneo, Raphael, and Manuel de SolĂ -Morales. Remarks on 21 Works. London, UK: Monacelli Press, 2010. 157

Site Plan4- 1:5000

4. Moneo, Raphael, and Manuel de SolĂ -Morales. Remarks on 21 Works. London, UK: Monacelli Press, 2010. 158

North and South Elevations5 - 1:2000

East and West Elevations6- 1:2000 5. A&V Monografias 36; Rafael Moneo. Arquitectura Viva S.L. (1992) 6. Ibid. 159

+0.50

+1.00 +0.00

+1.50

+1.25

+1.00 +1.25

a. Shearing of Building Mass b. Extrusions of Building Mass 160

+2.00

+1.50

+1.75

First Floor

First Floor Ground Floor

First Floor

Ground Floor

First Basement

Ground Floor

First Basement

c. Interior Void (First Floor) e. Interior Void (Third Floor) d. Interior Void (Second Floor) 161

h f. Base Column Grid Maps g. Base Plan, Partitioned by Elements h. Applied Column Grid 162

major grid

minor grid

composite

major grid

minor grid

composite

i. Base Elevation, Partitioned by Elements j. Applied Elevational Grid 163

Transverse Section Void Conditions

ite Plan Projections_ Longitudinal

k. Sectional Voids l. Urban Section 164

Site Plan Projections_ Longitudinal

Site Plan Projections_ Transverse

m. Longitudinal Site Plan Projections n. Transverse Site Plan Projections 165

Euralille, “The Egg” OMA Lille, France 1964 111,000 m2

Aerial Perspective1

Congrexpo, or more commonly known as, “The Egg” of Lille, functions as exhibition center, convention center, and concert hall. The project exists as a diagram for a new city center of the 21st century, according to Rem Koolhaas’s vision. Wedged in between the webbing of a newly developed freeway system, this is important to understand the project as conceived by Rem when he says, “Our strategy equips Lille for its’ role as headquarters of the theoretical community generated by the new infrastructure. What is important about this place is not where it is, but where it leads and how quickly.” As if an egg was laid, the project’s attachment to the site’s history and context is limited.

1. El Croquis. N.p. 39, 1996. 166

The three event spaces are organized according to the building’s diagram as shown to organize the interior spatially. The most viable element for analysis exists on the ground level plan of the six story building. It is here that one is able to make legible the concept behind the project, as well as find new arguments for other possible diagrams in regards to spatial organization. In regards to structure and materiality, the building is constructed in fragments. The only illusion of a whole is seen from above.

Ground Plan2 - 1:2000

Section3 - 1:2000

2. OMA Work. A+U. N.p. 233, 2000 3. Ibid. 167

Site Plan4 -1:5000

4. Ibid., 224 168

West Elevation5 - 1:2000

North Elevation6 - 1:2000

5. Ibid., 223 6. Ibid. 169

a. Diagraming overlaying geometries 170

b. Diagramming possibilities of spatial organization 171

Dalian International Convention Center Coop Himme(l)blau Dalian, China 2013 146,800 m2

Iconic project image1

Dalian International convention center was recently completed by Coop Himmeb(l)au in Dalian, China in 2013. The building is meant to become a national landmark and therefore is located beside the harbor of the city at the end of city’s 2 main axis. The program of the building consists combining concert halls, conference centers and a big opera at the center, that was meant to be a hotel at first. Because the building needs to accommodate thousands of visitors it was treated as a small town under one roof. The spaces between the conference rooms and dedicated performance spaces are treated as urban environments creating streets, plazas, bridges. However the circulation around the building is self evident and intuitive. The main form(if to simplify a triangle) is adopted

from the main axis of the city, and then extruded into a cone shape, that is rotated back onto itself. Then the interior spaces are put into this shape, and wherever the simple boxes don’t fit, the cone gets smooth wings to cover the boxes. So the visitors find inside the building, the same thing that see outside. It is a curvy cosmic space that morphs from wide to thin, tall to short, open to enclosed. The exterior is clad with parametrically designed anodized aluminum panels, that helps the buildings to produce more energy than it consumes. The skin is quiet independent of the structure, that occupies a rather thick poche. The rooftop is lined with photovoltaic panels and the building is cooled with sea water.

1. Festival, World Architecture, ed. “Dalian International Conference Center.” Architravel. Last modified October 3, 2014. Accessed January 3, 2015. http://www.architravel.com/architravel/building/dalian-international-conference-center/. 172

Plan2 - 1:2000

Section3 - 1:2000

2. Plataforma Networks. â&#x20AC;&#x153;Dalian International Conference Center / Coop Himmelb(l)au.â&#x20AC;? Archdaily. ccessed January 26, 2016. http://www.archdaily. com/405787/ dalian-international-conference-center-coop-himmelb-l-au. 3. Ibid. 173

Site Plan4 - 1:5000

4. Dalien International Convention Center. (n.d.). Retrieved from Google Maps website: https://goo.gl/maps/ivQP1GXkfnt 174

Elevation5 - 1:2000

Elevation6 - 1:2000 5. Henlay Wood Media. â&#x20AC;&#x153;Dalian International Conference Center.â&#x20AC;? Architect. Last modified March 25, 2013. Accessed January 26, 2016. http://www.architectmagazine.com/design/buildings/dalian-international-conference-center_o. 6. Ibid.

175

a. City Axis b. Form creation 176

Levels of Symmetry

c.Levels of symmetry e. Primitives d.Geometric relationship

177

f. Program Diagram - 0 m g. Program Diagram - 10 m 178

h. Program Diagram - 16m

i. Program Diagram - 23 m j. Program Diagram - 34 m 179

k. First Floor Area m. Floor Plate Overlay l. Second Floor Area 180

n.Skin Pattern Study 181

Atlanta Marriott Marquis John Portman Atlanta, GA 1985 14,864 m2

Central Atrium Space1

The Marriott Marquis of Atlanta by John Portman is most known for the elaborate articulation of the interior volume that distinguishes this hotel from the standard archetype. Its form changes from a rectilinear silhouette down to an elongated ellipse where the interior void penetrates the ground plane and creates a public garden space. When constructed, the atrium was 470 tall, making it the tallest atrium in the world in 1985. The heavy articulation of the internal void

allows for a rhythmic movement along the surfaces while an elevator core visually disrupts the space with its structural arms extending outward at each of the levels. The hotel sits on a plinth, where street level becomes vehicular access and parking, giving the structure a prominent impact on the streetscape. It houses 1663 rooms for guests as well as the abundance of public garden space above street level.

1. â&#x20AC;&#x153;Marriott Marquis Hotel.â&#x20AC;? Furry Weekend Atlanta. Accessed January 10, 2016. http://www.furryweekend.com/hotel/. 182

Plan2- 1:500

2. Riani, Paolo, Paul Goldberger, and John Calvin. Portman. John Portman. Milan: Lâ&#x20AC;&#x2122;Arcaedizioni, 1990. 183

Site Plan3 - 1:5000

3. Ibid. 184

Section4 - 1:500

4. Ibid. 185

a. Formal Evolution 186

b. Sequential Plan Diagram 187

c c. Public Level Mass and Void Progression

188

d d. Vertical Circulation Mass and Void

189

Marina Bay Sands Moshe Safdie Singapore 2010 154,938 m2

Marina Bay Sands shopping and convention centre in the foreground with the triple-towered hotel behind1

Marina Bay Sands is an integrated resort project located in Singapore. Designed by the Israeli architect Moshe Safdie, the 845,000 square meters complex includes one of the biggest hotels in the world as well as a convention-exhibition center, a 74,000 square meters shopping mall, a museum, two theatres, two floating Crystal Pavilions, one skating rink and the world’s largest atrium casino. The project is famous for its triple towers topped with a sky garden that is dramatically cantilevered out to both sides. The three towers are also linked from the ground, each tower

stands as if there are two poker cards holding against each other, creating an opening at its base. A triangular wedge goes through the void, resulting as an open atrium joining the three towers. By breaking down the hotel into three towers, it allows the penetration of the seafront view into downtown instead of blocking it with a tall “wall”. The idea of public realm was also taken into consideration during the design process, the complex also includes a promenade along Marina Bay, with a museum dedicated to art and science2, trying to create a new city’s waterfront for Central Singapore.

1. Pinckers, Frank. Marina Bay Sands shopping and convention centre in the foreground with the triple-towered hotel behind. Photograph. Dezeen Magazine. http://static.dezeen.com/uploads/2014/10/Marina-Bay-Sands-by-Moshe-Safdie_dezeen_784_0.jpg. 2. Winston, Anna. “Moshe Safdie on Marina Bay Sands: A Single Tower Would Have Been ‘Unbearable.’” Dezeen Magazine. Last modified 190 October 11, 2014. Accessed January 26, 2016. http://www.dezeen.com/2014/10/11/moshe-safdie-on-marina-bay-sands-habitat-67-skyscrapers-lego/.

Plan3- 1:2000

Site Plan4- 1:5000

3. Safdie Architects. Level One Plan. Dezeen Magazine. http://static.dezeen.com/uploads/2014/10/Marina-Bay-Sands-by-Moshe-Safdie_ dezeen_1_1000.gif 4. Plataforma Networks. â&#x20AC;&#x153;Marina Bay Sands.â&#x20AC;? Archdaily. Last modified July 26, 2010. http://www.archdaily.com/70186/marina-bay-sands-safdie-architects.

191

a. Urban context diagram 192

Section5 - 1:2000

Elevation6 - 1:2000

Elevation7 - 1:2000 5. Plataforma Networks. â&#x20AC;&#x153;Marina Bay Sands.â&#x20AC;? Archdaily. Last modified 7. Ibid. July 26, 2010. http://www.archdaily.com/70186/marina-bay-sandssafdie-architects. 6. Ibid.

193

c. Elevation Study Diagram e. Section Diagram d. Elevation Diagram 194

f. Plan Shape Diagram: From Bottom to Up 195

g. Development of the Architecture Spine Concept 196

h. h. Civic Landscape. Top: Elevated Garden Walks; Middle: Street Landscapes; Bottom: Plaza and Gardens. 197

Karl Marx-Hof Karl Ehn Vienna, Austria 1930 156,000 m2

Karl Marx-Hof stamp1

In the middle of the 1920s the socialist housing program started one of the largest social housing project in the world, named after the socialist writer and economist Karl Marx. Between 1927 and 1930 city planner Karl Ehn a student of Otto Wagner designed and built the complex. It holds 1,382 apartments designed for a population of 1,500. The premises include laundromats, batrhs, kindergartens, a library doctor offices and business offices. It was constructed

on the shores of the Danube in the north end of Vienna. The Social Democratic Party planned the project in recation to a huge housing shortage in the war torn Austrian Capital. At one point, 70,000 people were living on the Viennaâ&#x20AC;&#x2122;s Streets. By todayâ&#x20AC;&#x2122;s standard the cold water showers small units ranging from 150sq/f to 1,000 sq/f are subject for concern but when it was constructed it was considered an unheard of luxury for the working class in industrialized europe.

1. Blau, Eve. The Architecture of Red Vienna: 1919-1934. Cambridge, Mass.: MIT Press, 1998 198

Plan2 - 1:2000

Plan3- 1:2000

2. Ibid. 3. Ibid. 199

Site Plan4 -1:5000

4.Ibid. 200

Elevation5 -1:2000

5. Ibid. 201

1 2

a. Symbols Diagram 202

1 2 3 4 5 6 7

Hospital Elevation Main Elevation West Elevation Landscape Plan Rec Center Elevation Main Elevation Site Plan

b. Elevation Diagrams c. Elevation Diagrams 203

f d. Plan Form Diagram e. Program Form Diagram 204

f. Site Form Diagram

g. Pedestrian Roads h. Public Areas

i. Housing j. Site 205

Grand Central Station Reed & Stern; Warren & Wetmore New York, NY Opened 1871; Rebuilt 1913 190,202 m2

Corner Perspective1

Grand Central Terminal is the main transportation hub connecting midtown Manhattan to the Hudson River Valley towns, Westchester County towns in New York, and Fairfield County towns in Connecticut. Trains enter on the northbound side of the station and usher passengers southward with exits for 42nd street, Vanderbuilt Avenue, and Lexington Avenue. The exterior of the station is designed in the beaux-arts style and is dominated by a central clock and two roman statues at the top of the façade. The main concourse is designed around cavernous barrel vault that’s 125ft high, 275ft

long and 125ft wide. Platforms are located on the upper and lower levels – 41 on the upper level and 26 on the lower level. Grand Central is considered innovate for its early use of ramps rather than stairs to connect the upper and lower levels, as well as ramps designed to usher passengers and luggage through the station. In addition, designers wrapped and elevated Park Avenue around the building to more efficiently facilitate the flow of traffic around the building.

1. Reuters Reporters. “Happy 100th birthday, Grand Central Station!” Daily Mail. Last modified January 31, 2013. http://www.dailymail.co.uk/news/article-2270927/Grand-Central-station-celebrates-100th-birthday.html. 206

Plan2 - 1:2000

2. Powell, Kenneth. Grand Central Terminal: Warren and Wetmore 207

Plan3 - 1:2000

3.Ibid. 208

Section4 - 1:2000

Elevation5 - 1:2000

4. Ibid. 5. Ibid. 209

a. Circulation 210

b. Street Grid Diagram 211

c. Level 1 Interstitial Space 212

d. Level 2 Interstitial Space 213

e. Golden Section Diagram f. Mass Forming Diagram 214

g. Section Diagram

215

Euralille Center Jean Nouvel, OMA Lille, France 1994 280,416 m2

Euralille Aerial 1

Triangle des Gares or more commonly known as Euralille Center is an urban quarter in the centre of Lille, France. Designed by Jean Nouvel as mini-city and as part of a master plan by OMA, Euralille Center is strategically located at the intersection of the highspeed railway lines linking Paris,Brussels, and London, and incorporates the Gare de Lille Europe and Gare de Lille Flandres railway stations. The program of the center comprises of a commercial space (including a hypermarket, large stores and boutiques), higher

education facilities (including a business school and an information center), and recreational spaces (with an indoor sports center and restaurants), cultural spaces (including galleries and two theaters) and public services (including a childcare center and a post office). Rising from the building’s primary wedgeshaped volume are extruded volumes that form towers containing condominiums, apartments, dormitories, offices and faculty housing. Diagonal shafts and a large atrium provide natural light into the mall.

1. “OMA Office Work Search.” Accessed January 28, 2016. OMA. http://oma.eu/projects/euralille. 216

Plan2 - 1:5000

Section3 - 1:5000 2. “Artstor Digital Library.” Accessed January 28, 2016. Artstor. http://library.artstor.org/library/#3|search|6|All20Collections3A20euralille 3. Ibid. 217

Site Plan4 - 1:5000

4. Ibid. 218

Elevation5 - 1:5000

Elevation6 - 1:5000

5. Ibid. 6. Ibid. 219

a. Diagram caption 220

Track

Eurallie Center

Road

Station

Path

Park

b. Interior Circulation c. Integration with Stree

d. Access to Roof e. Integration with City 221

f Private Public

g Office & Studio Shopping Mall Parking

f. Public&Private g. Porosity 222

h. Vertical Access i. Horizontal Access 223

Climat de France Fernand Pouillon Algiers, Algeria 1954 - 1957 300,000 m2

Photo of Climat de France along longitudinal axis1

The Climat de France is a colossal social housing project that was constructed in Algeria from 1954-1957 by French architect, urban planner, and building contractor, Fernand Pouillon. Commissioned by Chavellier, the mayor of the city during the 1950’s, the building consists of over 6,000 housing units situated around a major courtyard. The site is best described as a type of urban island enclosed by three major roads. The sloping topography of the hill of Bad el-Oued provided a foundation for each unit to access views of the sea. Residents at the time included the “indigenous people” who previously resided in shantytowns in the Casbah. Pouillon utilized an orthogonal grid to organize the Climat de France and neighboring buildings on the site.

The exterior façade is closed-off, with small modular openings for each apartment within and limited points of access. The entrances are focused on the short ends of the building and consist of a hypostyle configuration. The interior elevations are layered: the outer layer is a 3-storey wall of 200 columns. Behind this, the inner layer is arrayed with arched entryways permitting access to over 200 shops on the ground floor. Pouillon designed the building so that the scale of domesticity and monumentality would constantly shift throughout. The corridor formed by the two inner layers represents a domestic scale, while the overall building is, ostensibly, monumental.

1. Bernard Felix Dubor, Fernand Pouillon: architetto delle 200 colonne (Milano: Electa Spa, 1987), 77. 224

Plan2- 1:2000

Section3 - 1:1000

2. Dubor, Fernand Pouillon: architetto delle 200 colonne, 75. 3. Ibid. 225

Site Plan4 - 1:5000

4. Giulio Barazzetta, “Climat de France 1955 - 57” Casabella, vol. 66, n° 706-707, December - January, (2002-2003): 49-59. 226

Elevation5 - 1:2000

Elevation6 - 1:1000

5. Dubor, Fernand Pouillon: architetto delle 200 colonne, 75. 6. â&#x20AC;&#x153;Climat de France (1954-1957) in Algiers, by Fernand Pouillon.â&#x20AC;? Last modified January 22, 2014. http://socks-studio.com/2014/01/22/climat-de-france-1954-1957-in-algiers-by-fernand-pouillon/.

227

a. Articulation of mass, along two dominant axises 228

a. Circulation as inversion of domestic to exterior space relationship 229

a. Formation of mass along terraced terrain, and circulation 230

a. Column-wall b. Volumes

c. Domestic scale corridor d. Monumental scale courtyard 231

a. Courtyard colonnade c. exterior â&#x20AC;&#x153;hypostyleâ&#x20AC;? entryways b.arched entryways to commercial space 232

a. Figural site boundary b. Grid organizational strategy 233

Sewoon Sangga Kim Su-geun Seoul, Korea 1967 350,000 m2

Aerial Perspective1

Sewoon Sangga Complex was designed in the late 1960s by architect Kim Su-geun(1931~1986).It was the first Koreaâ&#x20AC;&#x2122;s downtown redevelopment project. It was a three-dimensional city that separated pedestrians and vehicles with mega-structures and artificial land that stretched from north to south.Constructed from 1967 to 1972, Seunsangga Complex was Koreaâ&#x20AC;&#x2122;s first mixed-use building that combined residential and commercial spaces as well as amenities which gained popularity among noted public figures at the time.It also has meaning in architectural history as a mega-structure building in urban area that realizes a new paradigm of post-20th century urban architecture. The building is the materialization of an urban sec-

tion; where road, circulation, building services, public domain and commercial space all merge into a single unity. This freedom of activity is directly connected to its porous architectural planning which allows the adjacent surroundings to leak and penetrate into the building.What at first glance appears as a world of disorder and discontinuity is actually a labyrinth of urban dwelling creating endless experiences among goods and trades.Unimaginable juxtapositions,such as a florist sharing the same space as electrician happen and seem natural within the Sewoon Sangga.

1. Seun_01. Photograph. Seuncitywalk. 2015. Accessed January 14, 2016. http://www.seuncitywalk.org/en/ seunsangga/. 234

Plan2 - 1:500

Section3 - 1:1000 2. Seun_04. Photograph. Seuncitywalk. 2015. Accessed January 14, 2016. http://www.seuncitywalk.org/en/seunsangga/. 3. Seun_05. Photograph. Seuncitywalk. 2015. Accessed January 14, 2016. http://www.seuncitywalk.org/en/seunsangga/. 235

Site Plan4 - 1:5000

4. Seuncitywalk. Photograph. Seuncitywalk. 2015. Accessed January 14, 2016. http://www.seuncitywalk.org/ en/seunsangga/. 236

a. Urban Fabric of Seun District 237

b. Figure Ground 238

c. Circulation d. Program Distribution 239

e. Interstitial Space f. Pedestrian Circulation (Plan) 240

g. Residential h. Vehicular Circulation (Section) 241

Merchandise Mart Graham, Anderson, Probst & White Chicago, Illinois 1928-1930

390,000 m2

Merchandise Mart1

The massive Merchandise Mart occupies five acres, and formerly its own zipcode, along Chicago’s valuable riverfront. Previously, its riverway and railway infrastructure upon which it is built was paramount to its shipping needs. Today, the trade center is instead supported by trucking transport after later subway construction interrupted original underground freight lines. Its art deco design was conceived as an amalgamation of function and form among the department store, warehouse and office skyscraper, lending to its “very big building in a city” personality. Eighteen stories of commerce is complemented with significant storage space for vendors that increased after absorbing the non-functioning underground freight line area. A twenty-five story central tower stands above the other

main eighteen, all together providing a centralized location to conduct business in this city within a city. The Jeffersonian grid organizes both the city of Chicago as well as the interior of Merchandise Mart as evidenced in its evenly distributed column array across the entirety of its plan. This gridding happens vertically as well, resulting in a skeletal grid cloud, akin to the dominating surrounding Chicago Frame structures. This system seems to have instructed elevation design that subtly represents the vertical grid system through slight offsets in depth between exterior vertical facade and recessed, horizontally repeating window rows. Corbusier said, “The plan proceeds from within to without; the exterior is the result of an interior.” in attempt to further a biological evolution of structure between inside-outside spatial design.

1. Merchandise Mart, back. Photograph. Chicago Architecture. October 13, 2015. Accessed January 18, 2016. http://www.chicagoarchitecture.org/wpcontent/uploads/2015/10/Merchandise-Mart-Chicago-Illinois-August-2013-001a.jpg. 242

Plan2 - 1:2000

Construction Image3

2. Kitt Chappell, Sally A. â&#x20AC;&#x153;Part Two: Principal Works: A Catalogue Raisonne Merchandise Mart.â&#x20AC;? In Architecture and Planning of \ Graham, Anderson, Probst and White, 1912-1936: Transforming Tradition, 222-28. Chicago: University of Chicago Press, 1992. 3. The Merchandise Mart under construction, seen from the Lake Street Bridge in 1929. Photograph. Chicago Tribune. July 16, 2014. Accessed January 18, 2016. http://www.trbimg.com/img-1405457681/turbine/chi-merch-mart-12-20130814/768.

243

Site Plan4 - 1:5000

4. Site Plan 244

Architects’ elevation drawing5

Architects’ entrance elevation drawing6

5. Kitt Chappell, Sally A. “Part Two: Principal Works: A Catalogue Raisonne Merchandise Mart.” In Architecture and Planning of Graham, Anderson, Probst and White, 1912-1936: Transforming Tradition, 222-28. Chicago: University of Chicago Press, 1992. 6. Ibid.

245

a. Building grid mimicking urban grid in plan 246

b. Formal primitives c. Facade grid systems 247

London Waterloo Station Nicholas Grimshaw London, England 1848 570,000 m2

London Waterloo Station Arial photograph1

The Waterloo station was originally built in 1848 by London and South Western Rail. Constructed within a cramped urban setting, in its early years the station was overcrowded and difficult to navigate, causing confusion among passengers. In response to the growing and bustling city, the Waterloo Station developed and grew as well. New platforms and terminals were added to the station well into the 1920’s. Nicholas Grimshaw & Partners designed the 1993 addition to the station: a long, tube-shaped glass

structure that includes five terminals (international: platforms 20-24). Grimshaw’s addition was designed to pay homage to the railway age made possible by cross-channel travel in Britain, and was also an attempt to construct a ‘streamlined terminal’ that would maximize the efficiency of movement through the station. The 400m long glass structure was designed in response to the sinuous layout of the five tracks, the height of the ceiling changing throughout to accommodate the height of the trains passing through.

1. Cabbie, London. Tales From the Terminals: Waterloo Station (Part 1). Photograph.View from the Mirror. Accessed January 24, 2016. https://blackcablondon.files.wordpress.com/2014/01/waterloo-station-2.jpg 248

Plan2 - 1:5000

Plan2 - 1:5000 2. Glasspool, David. London Waterloo Network Rail. Photograph. Kent Rail. Accessed January 24, 2016. http://kentrail.org.uk/London%20Water loo%20Track%20Plan.htm. 3. Grimshaw, Nicholas. Waterloo International Station cross section, London. Photograph. BBC News. September 24, 2015. Accessed January 26, 2016. http://www.bbc.com/news/magazine-34333684.

249

a. Figure Ground Diagram 250

b. Nested Objects 251

Domestic Station 1848 Architect: J.W. Jacob Hood

Addition, International Station 1993 Architect: Nicholas Grimshaw and Partners

c. Old + New Station, Domestic + International Station 252

London Waterloo Station

d. Section Diagram 253

Fiat Lingotto Factory Giacomo Matte-Trucco Turin, Italy 1923 1,486,448 m2

Central Atrium Space1

The Fiat Lingotto is located in Turin, Italy. It was originally designed by Giacomo Matte Trucco. Construction began in 1916, ending in 1923. It was a significant building in factory construction. Corbusier called it “one of the most impressive sights in industry” and a “guideline for town planning”. It’s program consists of the building of Fiat cars. Construction of the cars begins on the bottom levels. As the steps are completed, the car moved up the building through large elevators in the three cars that span the building. When the car is completed at the top, it is then tested on a racetrack that sits on the roof of the build-

1. Ramos Carranza, Amadeo, “Dibujos y Arquitectura: La Fiat-Lingotto (1916 – 1927)” 254

ing. When testing is done, the cars are driven down the building on two spiral ramps on either end of the structure. The form consists of a long bar with large pieces at the ends. One end is the central press and one end is an addition holding one of the ramps. There is also a separate building in the complex, which is parallel to the adjacent Turin streets. The workshop is parallel to the train tracks on the west side of the building. The separate structure in the complex holds the offices. The building was renovated by Renzo Piano in 1989 to become a multi-use structure containing shops, restaurants, a hotel, a university, and offices.

Roof Plan2 - 1:3000

Section3 - 1:1000

2. Ibid. 3. Ibid. 255

Site Plan4 - 1:5000

4. Ibid. 256

Elevation5 - 1:3000

Isometric6 - 1:10000

5. Ibid. 6. Ibid. 257

a. Relationship to city 258

b. Figure ground c. Courtyards 259

1920 1

4 2 3

1923

5 2

1925-9 6

1. Offices 2. Workshops 3. Workshop + Ramp Addition 4. Central Press 5. Connection + Ramp Addition 6. Office Addition

Original Lingotto

Renovated Lingotto

Private Public

e d. Construction progress and corresponding circulation e. Public/private 260

1920

1923

1925-9

Circulation: car Circulation: people

261

f. Progression of form 262

Car Circulation People Circulation

g. Section Diagram h. Circulation Diagram 263

Free University Candilis, Josic, Woods Berlin, Germany 1963-1973 1,800,000 m2

Free University Arial View1

The Free University was a project launched in 1963 by the Senate of West Berlin. Its aim was to provide space for 3,600 students across a range of disciplines. It belongs to the mat-building typology identified by Alison Smithson. The Mat-Building typology is a large-scale, high-density building organized around a modulated grid. The Free University in particular is organized to create horizontal density as well as continuous circulation. It was designed in a way that it could expand infinitely within the underlying grid. Candilis, Josic and Woods organized the project around the idea of “stems” and “ webs”, based on a street-driven type of urbanism. The academic building is organized in a polycentric way that integrates the

surrounding context and the existing transportation infrastructure into a network that includes the building itself. The purpose of this layout is to maximize the amount of social interactions occurring along the open circulation patterns. The “stem” resembles a capillary and connects the building to the smallest streets. The “web” consists of a polycentric environmental system in which many individual actions focus attention on peripheral locations. This establishes a large-scale order which makes individual expression possible on a smaller scale. Over a development of ten years, the built Free University is different from the competition entry but remains the qualities of a Mat-building.

1. Brendan Cormier Works.” http://cargocollective.com/brendancormier/The-Agency-of-Structuralism. 264

Ground Floor Plan2 - 1:5000

Sections3 - 1:5000 2. Candilis-Josic-Woods: a decade of architecture and urban design. Stuttgart: Karl KrĂ¤mer Verlag, 1978. 3. Ibid. 265

Site Plan - 1:5000

266

a. Urban context diagram

267

a. Plan diagram

268

b. Development diagrams

c. Underlying grid diagrams

269

d. Development plan 270

e. Context diagram 271

Precedent Comparisons

a. Comparative site behavior in urban context 274

a. Comparative urban fabric replication in plan: from left, Merchandise Mart, Euralille, Beverly Center 275

a. Locomotiva 2/ Procession vs. Climat de la France/Barrier b. Locomotiva 2/Permeable Entry vs. Climat de la France/Perimeter Condition 276

c. Boundary vs. Center as organizational generator d. Locomotiva 2 vs. Bryant Park

1931 Empire State Building

1897 Waldorf-Astoria Hotel

1893 Waldorf Hotel

a. Contextual Relationship in Elevation 277

1893 Waldorf Hotel

a. Shift in Programming Viewed in Section 278

1897 Waldorf-Astoria Hotel

1931 Empire State Building

a. Diagram Series: Aula TU Delft 279

a a. Diagram Series: Historic Nestch Campus at UIC

280

c a. Centre Pompidou - Renzo Piano b. Beverly Center - Massimiliano Fuksas c. Faber and Dumas Headquarters - Norman Foster 281

a. Design Center - Zaha Hadid b. Faber and Dumas Headquarters - Norman Foster 282

a. Faber and Dumas Headquarters- Norman Foster b. Oakland Museum - Kevin Roche 283

a. Comparative site occupation: from top, Chilehaus, Seunsangga, Beverly Center 284

a. Part to whole plan analysis: from top, Chilehaus, Seunsangga, Beverly Center 285

a. Corbusier b. Foreign Office Architects c. Zaha Hadid 286

h g. Offset of floor plates in the Guggenheim h. Offset of floor plates in the Helicoide 287

a. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) b. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) 288

a. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) b. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) 289

a. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) b. Plan comparison between Crystal Palace (left) and Centre Pompidou (right) 290

a. Section comparison between Crystal Palace (left) and Centre Pompidou (right) b. Section comparison between Crystal Palace (left) and Centre Pompidou (right) 291

a. Section comparison between Crystal Palace (left) and Centre Pompidou (right) b. Section comparison between Crystal Palace (left) and Centre Pompidou (right) 292

a. Section comparison between Crystal Palace (left) and Centre Pompidou (right) b. Section comparison between Crystal Palace (left) and Centre Pompidou (right) 293

a a. Juxtaposed axis between Congrexpo and Dalian International Conference Center 294

a. Congrexpo perimeter and context b. Dalian International Conference Center perimeter and context 295

a a. Juxtaposed urban figure-ground studies between Congrexpo and DICC 296

a. Beverly Center - Site Texture Analysis b. Dumas - Site Texture Analysis c. Pompidou - Site Texture Analysis 297

a. Dalian International Convention Center Plan b. Taichung Metropolitan Opera Plan 298

a.Dalian International Convention Center Section b.Tokyo Opera House Section 299

a. Regional Administrative Center in Trieste: system of symmetry in plan b. Palazzo Padova: system of symmetry in plan 300

a. Trieste: layering of components: system of proportion in elevation b. Trieste: layering of components: system of proportion in plan

c. Padova: layering of components: system of proportion in elevation d. Padova: layering of components: system of proportion in plan 301

a. Trieste site: project on a grid 302

a. Palazzo Padova: project creating a division of space (perimeter void versus central void) 303

a. Climat de France Section comparison to the Crystal Palace 304

a. Climat de France Plan comparison to the Crystal Palace 305

a. Climat de France Plan comparison to Karl Marx-Hof 306

a. Climat de France Plan comparison to Lâ&#x20AC;&#x2122;illa Diagonal 307

b a. Skyline (Sewoon Sannga - Fiat factory) b. Car circulation (Sewoon Sannga - Fiat factory) c. Connection + Quantity (Sewoon Sannga - Fiat factory) 308

䌀漀渀渀攀挀琀椀漀渀 ⴀ 儀甀愀渀琀椀琀礀

Dongdaemun Design Plaza Zaha Hadid

Oakland Museum Kevin Roche

Faber & Dumas Headquarters Norman Foster

Plan

Section

a. Figure-Ground comparisons in plan and section 309

Central Park 13,105 ft

Karl Marx Hof 3,700 ft

Climat de France 800 ft

a. Scale Diagram 310

Many Layers Free University Berlin

Piloti Locomotive 2

On Top Crystal Palace

Courtyard Karl Marx Hof

Weaving Yokohama Port Terminal

b. Ground Condition Diagram 311

London Waterloo Station

Helsinki Railway Station

a. Section Diagram Comparison of Waterloo Station and Helsinki Station 312

London Waterloo Station

Helsinki Railway Station

London Waterloo Station

Helsinki Railway Station

a. Section Diagram Comparison of Waterloo Station and Helsinki Station 313

a. Comparison diagrams between Free University and Venice Hospital b. Comparison diagrams between Free University and Venice Hospital 314

c. Comparison diagrams between Free University and Oakland Museum d.Sectional comparison diagram

P P

a. Beverly Center - Shopping Mall Site Comparison c. The Grove - Shopping Mall Site Comparison

b. Mall of America - Shopping Mall Site Comparison d. Victoria Garden - Shopping Mall Site Comparison 315

a. Beverly Center - Solid & Void Diagram b. Dumas - Solid & Void Diagram c. Pompidou Solid & Void Diagram 316

a. Beverly Center - Column Organization b. Dumas - Column Organization c. Pompidou - Column Organization 317

Locomotiva 2 Aldo Rossi

Oakland Museum Kevin Roche

Free University Foster + Partners

Heliociode Jorge Romero GutiĂŠrrez

a. Comparative diagrams: Section 318

Oakland Museum Kevin Roche

Heliociode Jorge Romero GutiĂŠrrez

b. Comparative diagrams: Circulation in Plan 319

The Westin The Bonaventure Westin Bonaventure a

aventureThe Westin Bonaventure

b a. Westin Bonaventure Core Diagram b. Marriott Marquis Core Diagram

Marriott Marriott MarquisMarquis Atlanta Atlanta 320

The Westin Bonaventure

c. Westin Bonaventure Roof Plan d. Marriott Marquis Roof Plan

Marriott Marquis Atlanta

arquis Atlanta

tin Bonaventure

321

a. Sectional Comparison Diagram with Atlanta Marriott Marquis by John Portman 322

b. Plan Comparison Diagram with Atlanta Marriott Marquis by John Portman

323

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