Finnish Cultural Center, Washington, D.C.

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FINNISH CULTURAL CENTER

CONTENT

6 11

PREFACE

SAUNA STUDIES

27

BUILDING SITE

43

BUILDING PROGRAM

57

DESIGN PROCESS

75

PRELIMINARY DESIGN

91

CONCLUDING DESIGN

134

WALL SECTION DETAIL

144

APPENDIX B

150

ANNOTATED BIBLIOGRAPHY

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4


CAN ARCHITECTURE DEFINE A CREDIBLE SOCIAL AND CULTURAL GOAL FOR ITSELF? CAN ARCHITECTURE BE ROOTED IN CULTURE IN ORDER TO CREATE AN EXPERIENCE OF LOCALITY, PLACE AND IDENTITY? CAN ARCHITECTURE RE-CREATE A TRADITION, A SHARED GROUND WHICH PROVIDES A BASIS FOR THE CRITERIA OF AUTHENTICITY AND QUALITY? -JUHANI PALLASMAA

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PREFACE The Finnish Cultural Center

T

he Finnish Cultural Center in Washington, D.C. is to exhibit a deeper understanding and the preservation of Finnish culture. It is also a home for the Finnish community. The Center will display Finnish art, language, dance, film, music, design, culinary, history, values and beliefs for people to learn of Finland’s past, present and future. Before designing, it is important to understand the Finnish culture. The cultural center needs to reflect Finland in the best way. The first thing to know is where Finland is geographically. Finland is located in the Northern Hemisphere in Northern Europe. The majority of the physical topography is of vast, untouched natural landscape. Due to much of untouched land, the typical terrain of Finland is of an abundance of dense, green forests surrounding thousands of clear, shimmering lakes. The environment brings Finnish people much enjoyment to look across and a place for contemplation. Being located in the Northern Hemisphere also means drastic climatic changes. In the winter, they have long, cold nights with little sunlight. Above the Arctic Circle, there is no sunlight during the winter solstice for 24 hours. Many people there get depressed not seeing the sun for such a long time. But when it becomes spring and eventually summer, the sun is out longer, the weather is warmer and everyone enjoys it. With the dramatic change of temperature and daylight hours, Finnish people appreciate the sun and natural environment as much as they can, for when the winter comes, everything changes. Nature so then is tied to their way of life and is always a consideration when designing. The great Finnish architect Alvar Aalto said,

typical central Finnish landscape (Ray 4)

“The most profound property of architecture is a variety and growth reminiscent of natural organic life. I should like to say that in the end this is the only real architectural style. If barriers are set up before it, architecture fades and dies.”

Another Finnish Architect, Aulis Blomstedt, also had this to say about nature and architecture,

“Nature...is tied to their

way of life and is always a consideration when designing.

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Previous: Alvar Aalto’s visit to New York City (Ray, 2)

“The themes of urbanism and architecture have all been derived from the motifs of naturethe landscape. This is especially true of the conception of space. Continuing space, ‘l’e space continue,’ simply means ‘consideration of the stimulating variation of nature as the basis of architectural concept.” The country as a whole, have an affinity to nature greater than most European countries can understand. Alvar Aalto believed although architecture was not natural, it should be in harmony with nature. Aalto’s buildings responded to the topography of the land, views out to the land, and bringing in as


much natural light as possible. Aalto also believed not only can a building be in concert with the land, but can also improve the landscape. Deeply rooted in Finnish culture is Elias Lönnrot’s Kalevala: Epic of the Finns, a historical book and epic poem collated of Finnish folklore that influenced their nationalism. Written in the 1800s, the book tells of the beginning of time, and that it was a woman that created the world. The archetype of feminine creation is repeated endlessly in the warm humidity of the Finnish sauna: “…In the closeness of its dilated air, where stones from the earth are activated by fire and animated by water, we bathe in more than moist heat and soft light. Saturated by water and surrounded by wood, we bathe in the warmth of our own wellbeing.” The Finnish sauna is at the root of Finnish cultural lifestyle. The word “sauna” is of Finnish origin. The sauna is vital place in a Finn’s life. Children were born there. Brides visit saunas before going to the altar. The aged are carried there to die. The sauna is an opportunity for peace and contemplation, an act of physical and mental renewal. The outstanding characteristics of the sauna are its simplicity: fire, air, water and stones. For the design of the Center, Finnish culture and beliefs are incorporated, especially the sauna. There will be multiple saunas in the building. The saunas will be the main attraction. Just as the saunas are an integral part of Finnish culture, they will be an integral part of building. The idea is for it to have a predominant presence, to be seen throughout the building. To create the dominating presence, the saunas will be metaphorically a tree: with a strong base sauna “growing” from the ground, a vertical emphasis on the arrangements of the saunas from the base, and how individual saunas will branch out into different spaces in the building. Just as a vine that finds its way in the cracks of a wall to penetrate it, so will the saunas that weave their way to penetrate and puncture through the building; thus creating its dominating presence.

Kalevala: The Epic Poem of Finland (http-//daf.eduprojects.net/daf19/media/Minnas%20Bilder/kalevala2)

old Finnish smoke sauna in the countryside (Konya, 12)

The design of the Finnish Cultural Center is in Washington, D.C. on Massachusetts Avenue. The site condition has the three storey Vatican Embassy West of it, the wooded area of Normanstone Park East of it, fourlane traffic frontage on the South side, and a steep slope that is heavily wooded on the North side.

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“THE SAUNA IS A VITAL PLACE IN A FINN’S LIFE. CHILDREN WERE BORN THERE. BRIDES VISIT SAUNAS BEFORE GOING TO THE ALTAR. THE AGED ARE CARRIED THERE TO DIE.”

Vihta: small bundle of birch leaves are slapped on the back to promote circulation.

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10


SAUNA STUDIES

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idea

The starts at the human scale: the experience of the sauna with spaces for one person, two people or a group that are lying or sitting down.

Sections of sauna concept

“the Finns got it right” “it’s been a long day, I just want to relax by myself today”

“I’m supposed to hit my back with this?”

“This is my third time this week” “that smell takes me back...”

“I just love the warmth after being outside in the cold”

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“Let’s all get a room to ourselves. It will be nice”

“No, please no more steam, it’s so hot in here” “what an experience!”

“I gotta get out, It’s too hot in here for me”

“yea, I’m a regular here” “ever been to the sauna? It’s so cool inside!”

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Traditional Sauna:

Features

material: seating: ventilation: temp: heat source: smell:

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wood (pine) open benches two adjustable ventilators in the walls 167ยบ-212ยบF stoves with stones unfinished wood


Sauna Precedent: Visiona II exhibition for Bayer, Kรถln, 1970. Verner Panton

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Sketch overlay of sauna sections

Just as Visiona II, the sauna is to fit to the person using it, wether sitting or laying down. Variance of spaces range from private to public usage.

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Sketch of interior of the sauna

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Diagrams

Warm/Cold Inside/Outside

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Visual Connection Throughout the Building

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With the idea of a dominant presence of the sauna, the idea of having not just one big sauna, but to have multiples interspersed in the building. The saunas will have a vertical emphasis, with the large sauna emerging out of the ground, and paths to the saunas branch out from the public saunas, down to the individual saunas.

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21


v

THE EYES OF MY SKIN The experience through the center As I

I

enter

notice

the

the

permanent

forest

of

exhibit columns

space, growing

intermittently everywhere. Faint shadows are cast on the smooth, tiled floor from by a light coming from somewhere externally. I see people moving through the trees and maybe a glimpse of what they are looking at. I move further to investigate. As I move through, I notice the natural light that seeps in the space is coming from the sauna space and see also see the fogged windows. I can hear muffled voices

coming

from

the

sauna

space,

which

become distinct whenever the glass door opens. There is an almost a reverent hush between the exhibit and the observers, and the scuffing of their shoes is almost unnoticeable.

The enchanting of the light from the

sauna and the mysterious fog pressed on the

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Sketch at entrance for stairs to offices2


glass that I can almost feel the heat, draws me to step out to it. The instant I enter, the multiple voices I hear that were once indistinct in the permanent exhibit space are clearly swarming me. The vast openness space stretching upwards has bulbous wooden form growing from the ground. The wooden masses loom over my head as they casts shadows from the warm sun. As good as the warm rays are on my skin, I am drawn to the shaded area the tree has created.

There is an afternoon kind

of daylight. As I am moving forward, I can feel the moisture in the space cling on to me,

Forest of columns in permanent exhibit with steam against glass3

as if they were burrs in a field of grass.

As I leave the Sauna, I head towards the

restaurant. Again, voices of people I hear grow as I get closer. When I enter, I hear soothing jazz music. I smell fresh made coffee and hear the espresso machines running. I hear the clanging of utensils and thumping of

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cups. They must be busy. I can hear the people’s conversation, but cannot make out what they are talking about. I take a seat by the window. It seems like its getting towards evening. I sit on a plush, velvet couch; comfortable I might add. The warm glow of the lights trickles against the solid wall in front of me. Behind me are the saunas, where the wooden forms are keeping watch over the restaurant. In the other direction, I just see a forest of trees and leaves outside, not even the street behind it. I can hear faintly the leaves rattling as the wind picks up outside. The restaurant is relaxing, with the view of vegetation from a shadowy room with softened murmurs of hungry visitors. I feel I am in a cozy, velvety cave looking

out through

the

opening,

with

the

smell of coffee around me.

After I complete my relaxing contemplation

in the restaurant, I head towards the theater. Leaving the restaurant, I take the hallway

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A clearance in the forest to the saunas4


for the theater. I get my last view of the saunas before heading into the dark crevice in the concrete wall. As I enter, I am greeted with delicate florescent lighting on the edge of the floor. I am also guided with slits of light above guiding me around the bend. The clacking of my shoe on the tiled floors echo on the concrete walls. The walls feel hard to my eyes, as if I would slap it and be rewarded with a returning loud smack to echo in the hall. I feel cold and numb in my head. The reverberating footsteps echoing, the hard concrete box I am in, and the ice that shines from below and impassive lights from above, is suffocating me. I feel like the air is gone. I have no idea what time of day it is. When I

Saunas in the air, with ventilation shafts behind5

reach the threshold at the end of the hall, I feel relief. The theater feels inviting, with the warm glow of lights hanging from the dark, unknown ceiling and the and soft carpet under my feet. I took a deep, reviving breath.

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26


BUILDING SITE

27


3301 massachuse

Washington, D.C.

28


etts ave.

29


front elevation

30


31


SITE PLAN

[

N

32

0

325

650

980

1300 ft

0

100

200

300

400 m

]

[

[


33


[ 34

Embassy of Norway

STREET PERSPECTIVE


Normanstone Park

Naval Observatory

Cultural Center

Vatican Embassy

]

35


[ 36


] 37


34th pl nw

no clear view (summer)

no clear view

no clear view (summer) 54’ ft: -4-lane+median -moderate traffic

clear view

0

50

100

scale=1:150 38

200

300 ft

no clear view


4-lane Massachusetts Ave 45 ft. drop

east elelvation (1:100)

There is a contrast from the front of the site to the back. The front has a 50 feet wide, 4-lane traffic area that brings noise to the site. The forty-five feet slope to the back brings a different atmosphere. The one and a half lane of Fulton Street, surrounded by trees, is almost serene and contemplative. This is an ideal situation for the Finnish Cultural Center: being connected with main roads for easy access while still being able to have a serene condition ideal for sauna usage. Views of the site from Fulton are unclear through the trees, but when the foliage has fallen in the Winter, the top of the site can be clearly seen.

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CULTURAL CENTER’S SITE INFO & ZONING REGULATIONS Address: 3301 Massachusetts Avenue, N.W. Location: Square 2122, Lot 810 Lot Size: 29,826 square feet Zoning: D/R-1-A/TSP/NOPD:

Diplomatic Overlay District Single Family Detached Dwellings Tree and Slope Protection Overlay District Naval Observatory Precinct Overlay District

Zoning Section Regulations: 400.1

Heights of Buildings or Structures (R) Maximum Height: 40 feet Maximum Stories: 3

405.9

Side Yards (R) Minimum Width of Each Side Yard:

1513.1

Ground Coverage Restriction (TSP) The principle building and accessory building on the lot not exceed lot occupancy of thirty percent (30%)

8 feet

Some of the zoning regulations for the site. These are the primary ones that will influence the form of the building.

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FORM GENERATOR

Washington, D.C. [D/R-1-A/TSP/NOPD] zoning regulations

Vatica n Emba ssy (Mas

(Secti

50’

8’

on 405 .9)

sach u setb setts A ve acks )

8,948

8’

(Sect

ion 4 05.9

sq ft

40’

(Sec

tion

29,8

26 s

)

HIGH 400.

1)

q ft

The zoning regulations make the building footprint and program organization tight. With the addition of the zoning limitations to the site, there is a 50 feet setback from Massachusetts Avenue. Though that is not stated in the zoning regulations, it is what is normative of the surround buildings on the street. From these restrictions, we get a standard rectilinear form. From this form, the program is organized within the form. What follows are iterations of program ideas within the “box”...

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42


BUILDING PROGRAM

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CULTURAL CENTER PROGRAM DETAILS Program

Ceiling Ht. (ft.)

airlock entry lobby

10

Public & Semi Public

reception

Area

(sqft.)

100 100 100

1 1 1

exhibit hall

18

2,000

1

library & media center

12

1,000

1

performance space

20

5,000

1

12 12

2,000 1,000

1 1

banquet room kitchen

4

public toilets

provide adequate exiting width as required by code. provide informal seating for 15 people.

provide visual control over public access and public toilets. Provide access to administrative. provide exhibit space for a variety of media (sculpture, fine art, etc.) provide access to public parking, walkways and reception. provide access to public parking and walkways. provide access to reception.

provide access to public parking and walkways. provide access to reception.

provide access to public parking and walkways. provide access to reception. close to loading dock. provide commerical refridgerator, freezer, oven, stove with hood, icemaker, dishwasher, meat slicer. 2-compartment sink, 2 handsinks, worktables, storage arcks, storage carts, and mop sink. provide direct access to lobby.

14,000

sub total area

Administrative Spaces

Notes

1,000

storage

offices

200

10

provide access to conference/function, waiting area and staff entrance.

workstations

100

10

provide access to conference/function, waiting area and staff entrance.

work room

400

1

600

1

conference room (small)

200

3

storage room(s)

400

1

300 400

1 1

conference room (large)

kitchen/break staff entrance

44

Quant.

10

10 10

copy, fax, and mail.

provide access to and from administrative/office spaces.

serves the staff. provide direct access to and from administrative/office spaces. provide direct access to staff parking.


Admin Spaces

Program

Ceiling Ht. (ft.)

staff toilets sub total area

2

50

1

50

2

communications room

50

1

boiler/chiller/ pump room

300

1

fan room

300

1

plumbing room

150

1

electrical rm electrical closet

sub total area

floor area circulation (30% floor area)

total floor area

provide access to and from offices. include one shower.

provide a minimum of one per floor.

source of heat, noise, fires and explosions. islolated from rest of building in vaults or rooms, or exterior pads. vaults located below grade and grates to permit air movement. if in building isolated with multi-hour fire-rated assemblies. located along exterior wall to permit ventilation. typcially located adjacent to transformer vaults or rooms. they house electrical switchgear. typically at least one electrical closet per floor. provide additional closets as needed for no electrical device more than 100’ from an electrical closet. locate close to administrative spaces. communication room houses telephone panel, security panel and computer network equipment. typically located in sub-basement, basement, or penthouse.

typical located along exterior wall, in areawell, or below the roof deck to permit intake of make-up air and discharge of exhaust air. contains tankless water heater, solar water heater, circulation pump, water conditioner and greywater treatment system.

1,050

loading dock cooling tower

Notes

6,100 2 1

transformer

Support Spaces

200

Quant.

25 100

janitor closet

Exterior

Area

(sqft.)

200

1 1

provide adequate space to back 25’ truck.

located in exterior spaces to facilitate the release of heat to the atmosphere via evaporation of water.

21,250

+ 4,250 25,500

* heights shown are minimum required. when no height may be as low as codes permit. * circulation area included corridors, elevators, stair towers and mechanical chases.

45


circulation study between programs

46


interior exterior

exterior

interior

public private service

program organization & daylighting

47


space attribute:

library & media center 1,000 sqft

description:

traffic:

this space will hold archives for the cultural center. it will consists of books, multimedia, and any other forms of information by the center. it will space to hold books and multimedia, place reading and viewing. computers for internet sources will be available.

none

characteristics: -have natural lighting for reading spaces -needs enough space to hold archives and future additions -be used for both public and administrators

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low

moderate

high

proximity to: -entrance (easy access) -administrative spaces

lighting:

none

low

moderate

high

visibility: none

low

moderate

high


space attribute:

banquet room 2,000 sqft

description:

traffic:

will host mostly dinners in the evenings. its use will be infrequent, only used for special occasions/ events (i.e. charity dinner, cultural holidays, etc.). due to infrequent usage of the space, possibly having used pat of another program in the building.

none

characteristics: -flexible to hold various visual medias (fine art, sculpture, film, etc) -needs space for forklift access (handling of various medias) -space to accommodate the sauna

low

moderate

high

proximity to: -kitchen -toilet -performance room

lighting:

none

low

moderate

high

visibility: none

low

moderate

high

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space attribute:

offices

2,000 sqft

description:

traffic:

the main destination for the staff at the cultural center. it will hold their work computer any equipment/ materials pertaining to their specific role to the center.

none

low

moderate

high

proximity to: -entrance -conference -library/media center

characteristics:

lighting:

-needs direct route from entrance -space will be used the throughout the building

most

-needs to accommodate the various equipments/material of the staff

50

none

low

moderate

high

visibility: none

low

moderate

high


space attribute:

workstations 1,000 sqft

description: the workstation will hold computers and similar electronic equimpment for the administrative spaces. it will also be used as a classroom for workshops for workers as well as guests.

traffic:

none

low

moderate

high

proximity to: -office -conference -lobby

characteristics:

lighting:

-classroom environment -needs easy access for the public

none

low

moderate

high

visibility: none

low

moderate

high

51


space attribute:

performance 5,000 sqft

description: the performance space will hold various performing arts such as motion pictures, drama, music and dance. this space will need seating space and performer(s) space. will be less frequent access as the less frequent access as the exhibit space, possibly evening shows.

characteristics:

traffic:

none

low

moderate

high

proximity to: -toilets -loading deck (forklift) -banquet room

lighting:

-natural lighting not a priority -needs space for forklift access (props) -access possibly not direct from main entrance

52

none

low

moderate

high

visibility: none

low

moderate

high


space attribute:

exhibit hall 2,000 sqft

description: the exhibit hall will hold the various arts and the sauna. the sauna will be in view from the entrance as well as the progression to the sauna. other considerations for the sauna will be proximity to showers and lockers with views out the building.

traffic:

none

low

-entrance -loading deck (forklift) -showers and nature (sauna)

lighting:

-flexible to hold varoius visual medias (fine art, sculpture, film, etc)

none

-space to accommodate the sauna

high

proximity to:

characteristics:

-needs space for forklift access

moderate

low

moderate

high

visibility: none

low

moderate

high

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PROGRAM DIAGRAM

banquet hall banquet hall

reading room

library

sauna

kitchen

office office reception

program overlay 2D Building Program

54

theater


program overlay axon

55


56


DESIGN PROCESS

57


ITERATIONS

initial mass

massing iterations

58

program around sauna


program a container

circulation around sauna

The word for a container (or case) in Finnish is “kotelo�. The Program and building act as a container, molded to the shape of the saunas, as an instrument case’s interior is molded to fit perfectly the instrument. 59


DESIGN IDEA

Site limitations: 50’ 8’ 40’ 30%

60

setback side offsets height limit of lot for building footprint


KOTELO: “container� as the building is a container for the object.

The saunas are prized jewels, encased in glass boxes.

61


sketch of main atrium space the circulation through the space in the atrium revolves around the saunas: going under them, above them, beside them, touching them.

62


63


sauna sketches

64


form generators

65


A clearance in the forest

66


67


MATERIALS

CONCRETE Concrete slab and columns support the building. The surface is created where no man can fully control. The material tells its story, from the material it is composed of, to the formwork that it was given. A textured tapestry.

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WOOD The pride and joy of Finland. The culture embraces the material. The wooden objects are located just as its origin: growing from the ground and branching out in the sky. The wooden objects of pride are encased in glass, and held high in the air.


GLASS The material that contains and restrains. Glass contains the objects at various scales. Glass restrains itself, composed and faintly revealing the object it holds.

STEEL A two-fold material, carrying beauty and strength. As steel protects against the elements, it reveals its true color through rust and patina. We celebrate the role steel has and do not hide it.

69


Materiality public circulation

private circulation

priva

transparent glass

steel transparent glass

public sauna

glass steel wood concrete

materiality

70


circulation

private sauna

transparent glass glass steel wood concrete

71


STRUCTURE

A

B

C

D

E

F

G

H

7

6

5

4 3 2

1

column grid column grid

72


73


74


PRELIMINARY DESIGN

75


KOTELO

wooded, sloped site

The Building as a Container

ventilation shafts

76


sauna sections

sections of saunas & circulation

77


SAUNA DIAGRAMS

str

sauna tree inspiration

tree: sauna

78

ci su


structural supports

circulation circulation supported supported

sauna sauna supported supported

external external frame frame supported supported

externalexternal structure structure supported supported

structural supports options

79


structural study

80


view in ventilation shaft

81


front elevation on Massachusetts Ave

82


aerial perspective

83


visitor circulation

sauna user circulation

84


saunas on columns

85


sectional model

86


87


component integration model

88


Preliminary evaluation:

less is more.

After mid evaluation, the design needed simplification. The less saunas there were, the stronger they become as objects. An object is seen as an a object when it is given space, and can be seen from a distance. As in the words of German designer Dieter Rams,

“Good Design is a question of as little design as possible.”

And as the philosopher Ludwig Wittgenstein says, “The difference between a good and a poor architect is that the poor architect succumbs to every temptation and the good one resists it.(Pawson 12)”

89


90


CONCLUDING DESIGN

91


92


93


front elevation

94


back elevation

95


public saunas

private

96

TR Y

EN

EP

EC

N

O

TI

public circulation

E SP XH A IBI C T E

1st

R

M C ED EN I TE A R

NA SAU

R E R AD O IN O G M

B A N H QU A LL ET

E

IC

FF

O

E

C

SP A

NA

SAU

NA

SAU

NA

SAU NA

SAU

IC

O FF

E

3rd

H

B A

A

K

N Q U LL ET

2nd IT C H EN PE R

E

FO H RM A LL AN C

SP A

C

E


0

25

50

100 ft

first floor

97


0

second floor

98

25

50

100 ft


a

b

b

a 0

25

50

100 ft

third floor

99


a

a section aa

100


b

b

section bb

101


office/sauna section

102


office/sauna plan

reflected ceiling plan

103


theater section

104


theater section

105


view of reception/entrance

106


view of reception/entrance

107


view of interior courtyard

108


109


view from Vatican Embassy

110


111


inside main sauna

112


113


model front elevation

114


model back elevation

115


model west elevation

116


model east elevation

117


model west elevation

118


model east elevation

119


model section

120


121


model split section

122


123


model detail

124


detail sectional model of interior courtyard

125


126


127


128


129


130


131


132


133


WALL SECTION DETAIL Parapet Construction Double Glazing

1”

8”x8” Steel Angle Glass Fin

10”

Aluminum Channel 10”x5” (4’-8” high)

8”x8” Steel Angle

Roof Construction Roofing Felt

2”

Insulation

4”

Vapor Barrier Concrete Slab

8”

Envelope Construction Double Glazing

1”

Glass Fin

10”

1/4” translucent panel 1/2” air gap 1/4” toughened safety glass

8x8” Steel Angle Weathered Steel

1/16”

Concrete Wall

8”

Interior Construction Curtain Track Ball Bearings with Curtain Hook 25’ Black Velvet Curtain

Floor Construction Carpet

1/8”

Subfloor

1/2”

Concrete Slab

8”

Vapor Barrier Insulation

Theater Façade Wall Section

134

2”


Parapet Construction Double Glazing (top)

1”

8”x8” Steel Angle Glass Fin

10”

Aluminum Channel 10”x5” (4’-8” high)

8”x8” Steel Angle

135


Envelope Construction Double Glazing

1”

Glass Fin

10”

1/4” translucent panel 1/2” air gap 1/4” toughened safety glass

8x8” Steel Angle

136

Weathered Steel

1/16”

Concrete Wall

8”


Interior Construction Curtain Track Ball Bearings with Curtain Hook 25’ Black Velvet Curtain

137


Parapet Construction Double Glazing

1”

8”x8” Steel Angle Glass Fin

10”

Ventilation Flap Aluminum Channel 10”x5” (4’-8” high)

8”x8” Steel Angle

Roof Construction Roofing Felt

2”

Insulation

4”

Vapor Barrier Concrete Slab

8”

Envelope Construction ` Double Operable Glazing 72”x16”

1”

Glass mullion

1”

Glass Fin

10”

Double Operable Glazing 72”x16”

1”

1/4” translucent panel 1/2” air gap 1/4” toughened safety glass

11.5”x72”

Drawstring

Front Façade Wall Section

138


Parapet Construction Double Glazing (top)

1”

8”x8” Steel Angle Glass Fin

10”

Ventilation Flap

139


Envelope Construction ` Double Operable Glazing 72”x16”

1/4” translucent panel 1/2” air gap 1/4” toughened safety glass

Glass mullion 11.5”x72”

1”

Glass Fin

10”

Double Operable Glazing 72”x16”

1”

Drawstring

140

1”


141


MECHANICAL SYSTEM Heating & Cooling system:

Radiant Heating & Cooling

Cooling capacity:

90 Tons

Total space for boiler room: 600sqft Space for Cooling Tower:

1100 sqft

Area of Main Ducts:

8sqft (desiccant dehumidifier)

Area of Branch Ducts:

14sqft

Area of Fan Rooms:

N/A (on roof)

Area of Louvers:

N/A

Radiant heating and cooling uses capillary tubes that transfer heat and cooling radially. The cooling system can remove the same amount of thermal energy of conventional fan systems but using <5% of energy needed in a conventional system. With early morning cooling of concrete slab, with nighttime ventilation, shifts most of the cooling loads to off-peak hours, thus reducing the electrical demand on electrical utilities. Separation of cooling and ventilation improves comfort conditions, improves indoor air quality, and controlling and zoning of the system. source: US Department of Energy

concrete ceiling vapor barrier insulation capillary tubes radiant heating and cooling section

142

acoustic plaster


winter

summer

cooling tower

boiler

water chiller plant

Radiant system section diagram

main sauna

boiler

aux. equip.

chiller chilled water pumps

mechanical room plan in basement

143


appendix[B] FINNISH CULTURAL CENTER 3301 massachussetts avenue washington, d.c. 2008 Year Edition Of Code: 2009 North Carolina Building Code

CONSTRUCTION TYPE: one-a

three-b

three-a

five-b five-a

two-a four

one-b

{ }

two-b

no yes fire district: no Mixed construction:

Sprinklers:

building height:

39 ft, 5

stories

mezzanine: yes(between high rise:

1st and 2nd)

no

9,300

Probable building area/floor max:

Possible future expansion:

Gross Building Area Floor

3rd Flr 2nd Flr Mezzanine 1st Flr 2nd Basement Basement Total

144

-

Existing Sqft

table 503

New Sqft

4,492sqft 9,287sqft 300sqft 9,026sqft 8,613sqft 8,613sqft 40,331sqft

no

square feet


ALLOWABLE AREA

Story No.

3 2

Description & Use

a-3

{

Primary Occupancy: Mixed Occupancy:no

Building Table 503 Area for Area/Story Open Space Area (actual) Increase

Area for Sprinkler Increase

Allowable Maximum Area or Building Unlimited Area

BUSINESS

4,492

9,500

n/a

n/a

n/a

n/a

Assembly& BUSINESS

9,287

9,500

n/a

n/a

n/a

n/a

LIBRARY

300

9,500

n/a

n/a

n/a

n/a

Assembly

9,026

9,500

n/a

n/a

n/a

n/a

basement1 PARKING&

8,613

9,500

n/a

n/a

n/a

n/a

basement2 PARKING&

8,613

9,500

n/a

n/a

n/a

n/a

mezzanine

1

STORAGE

{ } sect 506.2 sect 506.3 sect 507

STORAGE

ALLOWABLE HEIGHT ALLOWABLE (Table 503)

INCREASE FOR SPRINKLERS

SHOWN ON DRAWINGS

TYPE: II-B

TYPE OF CONSTRUCTION BUILDING HEIGHT IN FEET

FEET: 55’

BUILDING HEIGHT IN STORIES

STORIES: 2

FEET:height+20’=75’ STORIES: 3

CODE REFERENCE table 503

40’

table 503 +504.2

3

table 503 +504.2

145


LOAD OCC U PA N CY first

second

RECEPTION & ENTRY

158

MEDIA CENTER

7

EXHIBIT SPACE

353

THEATER (UNFIXED SEATS)

96

THEATER (STAGE)

67

KITCHEN

5

BANQUET HALL

90

BUSINESS

27

gallery

48

bar/lounge &banquet rm

99

THEATER (FIXED SEATS) sauna sauna

reading room (mezzanine)

third

sauna sauna

7

788

BUSINESS

43

} 52

2 2 2 4

236

43

TOTAL : 1,067

322

first second third floor

Number of exits required: Exits shown on plan

66 2

Actual distance between exit doors

Required distance between exit doors

91’ 2nd floor: 100’ 3rd floor: 93’ Minimum Egress Width: 1st floor:

53” 40” :[ * ]÷2 24”* :[ * ]÷2 18”* :[ * ]÷2 5”* [ * ]÷2 4”*

STAIRWAYS w/ SRPINKLERS:[788 OTHER EGRESS

STAIRWAYS w/ SRPINKLERS

236 0.2

OTHER EGRESS COMPONENTS

STAIRWAYS w/ SRPINKLERS

*

The width of stairways shall not be less than 44 inches

146

sect 1004.6

table 1004.1.2

table 1018.1

table 1005.1

=

=

236 0.15

=

43 0.2

=

OTHER EGRESS COMPONENTS: 43 0.15

} } } } } }

sect 1014.2.2

73’ 74’ 55’

*0.2]÷3 = COMPONENTS:[788 *0.15]÷3

{ { { { { {

sect 1004.7

=

{ } sect 1009.1


ALLOWABLE AREA

Story No.

3 2

Description & Use

a-3

{

Primary Occupancy: Mixed Occupancy:no

Building Table 503 Area for Area/Story Open Space Area (actual) Increase

Area for Sprinkler Increase

Allowable Maximum Area or Building Unlimited Area

BUSINESS

4,492

9,500

n/a

n/a

n/a

n/a

Assembly& BUSINESS

9,287

9,500

n/a

n/a

n/a

n/a

LIBRARY

300

9,500

n/a

n/a

n/a

n/a

Assembly

9,026

9,500

n/a

n/a

n/a

n/a

basement1 PARKING&

8,613

9,500

n/a

n/a

n/a

n/a

basement2 PARKING&

8,613

9,500

n/a

n/a

n/a

n/a

mezzanine

1

STORAGE

{ } sect 506.2 sect 506.3 sect 507

STORAGE

ALLOWABLE HEIGHT ALLOWABLE (Table 503)

INCREASE FOR SPRINKLERS

SHOWN ON DRAWINGS

TYPE: II-B

TYPE OF CONSTRUCTION BUILDING HEIGHT IN FEET

FEET: 55’

BUILDING HEIGHT IN STORIES

STORIES: 2

FEET:height+20’=75’ STORIES: 3

CODE REFERENCE table 503

40’

table 503 +504.2

3

table 503 +504.2

147


OTHER REQUIREMENTS... Mezzanine S ho uld no t be mo re than 1/3 o f the space It is opened to. Enclo sed ro oms under do N ot count.

vertical shafts S haft Encl o sure Excepti on ...If the b ui l d i ng i s equ i p ped with au toma ti c sp r in k ler system for... sta i r w a ys w hi ch i s not a m e ans of egress a nd i f :

{ } sect 505.2

{ } sect 707.2

...a rea of the oor op ening b etwe en stori es d oe s not exceed twice the horizonta l p r oje cte d sta irwa y and a dr a ft curta in...

Accessibility Code Site requirements Building accessible route Access in public spaces Ramps

148

{ { { { {

NCSBC ACCESS. CODE vol 1-C

3.1

3.2

3.3

5

} } } } }


149


ANNOTATED BIBLIOGRAPHY Heikkinen, Mikko, Markku Komonen, and William Morgan. Progress). New York: Monacelli Press, 2000.

Heikkinen + Komonen (Works in

Works

of the architects who did the Finnish Embassy and other buildings they have done. The book also shares the concept for their works as well as their design philosophy. Will use this information to incorporate some design ideas to correspond to Finnish design, as a means of relating to Finland.

Embassy of Finland, Washington, D.C. The Embassy of Finland in Washington, D.C. Hollola: Salpausselän kirjapaino Oy, 2005. A book given by the Finnish Embassy, it is a simple overview of the design process of the Embassy as well

the programs of the building. It also has valuable architectural drawings and information about the site.

Fitch, James Marston. American Building II: The Environmental Forces That Shape It. York: Schocken Books, 1977.

New

A resource that will be used for a philosophy in designing and reference to be used particularly in building skin design. More specifically, looking at envelope design that is not solely based on the visual performance it may have, but also temperature, and acoustical performance.

Konya, Allan. The International Handbook of Finnish Sauna. London : Architectural Press, 1973. This will be used in reference on specifications for the sauna. Museum of Finnish Architecture, Finnish Society of Crafts and Design Finland : Nature, design, architecture. Helsinki: Grafitex Oy,1981.

This book shows examples of nature inspired design as well as quotes for nature philosophy. Will be used for nature inspired ideas and quotes on influence of nature in design.

Pawson, John. minimum. London:

This book is use of reference to using simplicity as it can be applied to architecture. An attempt to examine the idea of the ‘minimum,’ which can be seen as the pursuit of simplicity, as a way of thinking.

Poole, Scott.

150

The New Finnish Architecture.

New York: Rizzoli, 1992.

Used for reference of styles and examples of current buildings done by Finnish architects.

Ray, Nicholas.

Phaidon Press Limited, 1998.

Altar Aalto. New Haven: Yale University Press, 2005.

A reference to the works and philosophies of Alvar Aalto. Will be used for ideas on Aalto’s approach to design influenced by nature.


Schoolfield, George C. The Kalevala: Epic of the Finnish People. Helsinki: Finnish North American Literature Society, 1988. A book in reference to Finnish cultural literature and quotes, it will be used particularly cultural

information of saunas.

Wilson, Colin St. John. The Other Tradition of Modern Architecture: Project. London: Black Dog Publishing, 2007.

The Uncompleted

This book looks into Alvar Aalto’s work in particular and used as a reference for examples of Aalto’s works and design philosophy. Will particularly look at Aalto’s Sanatorium and churches built in Finland.

151


152


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