2
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
3
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
5
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.
”
6
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.
7
8
“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.
9
10
SAUNA STUDIES
11
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”
12
“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!”
13
Traditional Sauna:
Features
material: seating: ventilation: temp: heat source: smell:
14
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
15
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.
16
Sketch of interior of the sauna
17
Diagrams
Warm/Cold Inside/Outside
18
Visual Connection Throughout the Building
19
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.
20
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
22
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
23
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
24
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.
25
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.
39
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.
40
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”...
41
42
BUILDING PROGRAM
43
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
48
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
49
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
53
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.
68
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 ďŹ&#x201A;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