Arch texture boek by Julius Huitema

Arch 2OI4 Texture The worldâ&#x20AC;&#x2122;s leading building texture guide

Centre Pompidou

Institut du Monde Arabe

Torre Agbar

Federation Square

Guggenheim Bilbao

Osanbashi Pier

Guthrie Pavillion

Ice Hotel

Web of North Holland

Popcentrum 013

Copperhill Mountain Lodge

The design expresses the belief that buildings should be able to change to allow people the freedom to adjust their environment as they need . In addition, the order, grain and scale should be derived from the process of making the building so that each individual element is expressed within the whole. As a result, the building becomes a true expression of its purpose. The key elements of the competition scheme remained intact as the building progressed into the developed design stage, although the interactive information facade, which was conceived as an information wall for use by the Pompidou as well as other external institutions, and the open ground floor were dropped. The building was to have had no main entrance in the traditional manner, rather a permeable ground floor where entrance to all parts of the building could be made. However the fundamental arrangement of the building and its relationship with the city remained as the architects intended. The entrance to the building is at the level of the street and the piazza and relates to the life of both. Alternative access is via the lifts, escalators and staircases attached to the west facade. Each of the five major floors are uninterrupted by structure, services or circulation . These huge, open, loft-like spaces are serviced both from above, and from the raised floor for maximum flexibility in layout. The corridors, ducts, fire stairs, escalators, lifts, columns and bracing which would ordinarily interrupt the floors are exposed on the exterior. Movement was to be celebrated throughout the building, and expressed overtly in the great diagonal stair running up the outside of the building, which affords spectacular views over Paris. The transparency of the facade, the galleries and especially the escalators snaking their way up the side of the building combine to reveal two captivating sights â&#x20AC;&#x201C; the tiled roofs and medieval grain of Paris in one direction, and the revelation of the building â&#x20AC;&#x201C; a flexible, functional, transparent, inside-out mechanism in the other.

The Institut du Monde Arabe (IMA) or Arab World Institute (AWI), in English, was established in 1980 in Paris, when 18 Arab countries concluded an agreement with France to establish the Institute to disseminate information about the Arab world and set in motion detailed research to cover Arabic and the Arab worldâ&#x20AC;&#x2122;s cultural and spiritual values. The Institute also aims at promoting cooperation and cultural exchanges between France and the Arab world, particularly in the areas of science and technology, thus contributing to development of relations between the Arab world and Europe. Libya joined the agreement in 1984.

Architectural features of the AWI building

Diaphragm

In optics, a diaphragm is a thin opaque structure with an opening (aperture) at its center. The role of the diaphragm is to stop the passage of light, except for the light passing through the aperture. Thus it is also called a stop (an aperture stop, if it limits the brightness of light reaching the focal plane, or a field stop or flare stop for other uses of diaphragms in lenses). The diaphragm is placed in the light path of a lens or objective, and the size of the aperture regulates the amount of light that passes through the lens. The centre of the diaphragm’s aperture coincides with the optical axis of the lens system. Most modern cameras use a type of adjustable diaphragm known as an iris diaphragm, and often referred to simply as an iris.

The AWI is located in the building also known as Institut du Monde Arabe, on Rue des Fossés Saint Bernard in Paris, France, constructed from 1981 to 1987 with a floor space of 181,850 square feet (16,894 m2). Jean Nouvel won the 1981 competition with a project that proposed risk-taking solutions that, over the course of the years, have proven themselves. The building acts as a buffer zone between the Jussieu Campus, in large rationalist blocks, and the Seine. The river facade follows the curve of the waterway and helps reduce the hardness of a rectangular block, adapting itself to the view from the Sully Bridge. At the same time the building also appears to fold itself back in the direction of the Saint-Germain-des-Prés district. In contrast, the opposite facade is uncompromisingly rectangular. Facing it is a large square public space that opens out toward the Île de la Cité and Notre Dame. Above the glass-clad storefront, a metallic screen unfolds with moving geometric motifs. The motifs are actually 240 motor-controlled apertures, which open and close every hour. They act as brise soleil to control the light entering the building. The mechanism creates interior spaces with filtered light — an effect often used in Islamic architecture with its climate-oriented strategies. This building catapulted Nouvel to fame and is one of the cultural reference points of Paris. It is also noted for receiving the Aga Khan Award for Architecture. The building houses a museum, library, auditorium, restaurant, and offices.

See the articles on aperture and f-number for the photographic effect and system of quantification of varying the opening in the diaphragm.

Construction

Starting in mid-1999, when activities were initiated for preparing the site, Dragados’s,[10] construction project dragged on for nearly six years, finally ending in late 2004. Approximately 1170 workers were engaged in its construction.

According to Jean Nouvel, Torre Agbar is intended to recall the shape of a geyser rising into the air. It was inspired by Montserrat, a mountain near Barcelona. In an interview, he described the tower as having a phallic character.[6][7] As a result of its unusual shape, the building is known by several nicknames, such as “el supositori” (the suppository), “l’obús” (the shell) and some more scatological ones.[6] It is also somewhat similar in shape to Sir Norman Foster’s 30 St. Mary Axe in London, often called “the Gherkin”. It has 30,000 m² (323,000 ft²) of above-ground office space, 3,210 m² (34,500 ft²) of technical service floors with installations and 8,351 m² (90,000 ft²) of services, including an auditorium. The Agbar Tower measures 144.4 m (473.75 ft) in height[8] and consists of 38 storeys, including four underground levels. Its design combines a number of different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a facade of glass, and over 4,500 window openings cut out of the structural concrete. The building stands out in Barcelona; it is the third tallest building in the city, after the Arts Hotel and the Mapfre Tower, which both stand 154 m (505.25 ft) tall. A defining feature of the building is its nocturnal illumination. It has 4,500 LED devices that allow generation of luminous images on its façade. In addition, the outside of the tower has temperature sensors that regulate the opening and closing of the window blinds of the façade, reducing the consumption of energy for air conditioning. It houses the head office of the Aigües de Barcelona Group, the water supply company of Barcelona. As explained by Nouvel himself, the construction was strongly influenced by one of the most representative symbols of Catalan culture. One side references the bell towers of the Sagrada Familia by the Catalan architect Antoni Gaudí. (These bell towers were based in turn on the idea of the Hotel Attraction, a course project by the teacher Reus in 1908 for some New York hoteliers which was redesigned in 1956 by his disciple Joan Matamala. These designs were included in Rem Koolhaas’ book Delirious New York,[9] a reference for many architects.) An additional tribute to the Sagrada Família lies in the north side of the tower, which was designed with the intention of obtaining an optimal view of the cathedral. Additionally, Nouvel was inspired by the distinctive pinnacles of the Montserrat mountain range, which are of great significance for the people of Catalonia, as Montserrat houses their patron saint, Our Lady of Montserrat. In designing the Agbar Tower, Nouvel said he rejected the prevailing North American opinion of what a skyscraper should look like. It was the architect’s intention to give the impression of land that is emerging out of the ground in a particular fashion. The use of the tower by a water utility company led him to the design of a metaphor of a geyser sprouting from the deep sea.

Square

The complex of buildings forms a rough U-shape around the main open-air square, oriented to the west. The eastern end of the square is formed by the glazed walls of The Atrium. While bluestone is used for the majority of the paving in the Atrium and St. Paulâ&#x20AC;&#x2122;s Court, matching footpaths elsewhere in central Melbourne, the main square is paved in 470,000 ochre-coloured sandstone blocks from Western Australia[8] and invokes images of the Outback. The paving is designed as a huge urban artwork, called Nearamnew, by Paul Carter and gently rises above street level, containing a number of textual pieces inlaid in its undulating surface. There are a small number of landscaped sections in the square and plaza which are planted with Eucalyptus trees.

Plaza and giant screen

A key part of the plaza design is its large and fixed public screen, which has been used to broadcast major sporting events such as the AFL Grand Final and still continues to do so. During the 2006 FIFA World Cup, thousands of football fans assembled to watch matches on the screen. The original screen was later enlarged.

Buildings

The interiors and exteriors can be described as being of a deconstructivist style, with modern minimalist shapes interspersed with geometry and angular slots.

Labyrinth

The “labyrinth” is a passive cooling system sandwiched above the railway lines and below the middle of the square. The concrete structure consists of 1.2 km of interlocking, honeycombed walls. It covers 1600 m2. The walls have a corrugated profile to maximize their surface area, and are spaced 60 cm apart. During summer nights, cold air is pumped in the combed space, cooling down the concrete, while heat absorbed during the day is pumped out. The following day, cold air is pumped from the labyrinth out into the atrium through floor vents. This process can keep the atrium up to 12 °C cooler than outside. This is comparable to conventional air conditioning, but using one-tenth the energy and producing onetenth the carbon dioxide. During winter, the process is reversed, whereby warm daytime air stored in the Labyrinth overnight, to be pumped back into the atrium during the day. The system can also partly cool the ACMI building when the power is not required by the atrium.

While there are slight variations, the main bulk of its buildings follow a similar theme with a complex geometrical design featuring a mix of zinc, perforated zinc, glass and sandstone tiles over a metal exoskeletal frame in a complex geometrical pattern composed entirely of scalene triangles. The aperiodic tiling pattern is based on the pinwheel tiling developed by John Conway and Charles Radin. The triangle is formed with dimensions 1,2, \sqrt 5. This “fractal facade” is contrasted with sections featuring use of metal like surfaces including randomly slotted metallic screens and transparent glass walls tinted with a slightly green tinge.

Shards

Three shards frame the square space. The eastern and southern shards are completely clad in metallic surfaces with angular slots, very similar in design to the Jewish Museum Berlin, while the western shard is clad in glass. Adjoined to the southern shard is a hotel which features the wrap around metallic screen and glass louvers.

Laneways

There are a number of unnamed laneways in the Federation Square complex which connect it to both Flinders Street and the Yarra River via stairways. The stairways between the Western Shard and nearby buildings are also paved in larger flat rectangle sandstone blocks.

Riverfront

The riverfront areas extend south to an elevated pedestrian promenade which was once part of Batman Avenue and is lined with tall established trees of both deciduous exotic species and Australian eucalpyts. More recently, the vaults adjacent to the Princes Bridge have been converted into Federation Wharf, a series of cafes and boat berths. Some of the areas between the stairs and lanes leading to the river are landscaped with shady tree ferns.

Atrium

The “atrium” is one of the major public spaces in the precinct. It is a laneway-like space, five-stories high with glazed walls and roof. The exposed metal structure and glazing patterns follow the pinwheel tiling pattern used elsewhere in the precinct’s building facades.

The Solomon R. Guggenheim Foundation selected Frank Gehry as the architect, and its director, Thomas Krens, encouraged him to design something daring and innovative. The curves on the exterior of the building were intended to appear random; the architect said that “the randomness of the curves are designed to catch the light”. The interior “is designed around a large, light-filled atrium with views of Bilbao’s estuary and the surrounding hills of the Basque country”. The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum. When the Guggenheim Museum Bilbao opened to the public in 1997, it was immediately hailed as one of the world’s most spectacular buildings in the style

of Deconstructivism (although Gehry does not associate himself with that architectural movement), a masterpiece of the 20th century. Architect Philip Johnson described it as “the greatest building of our time” while critic Calvin Tomkins, in The New Yorker, characterized it as “a fantastic dream ship of undulating form in a cloak of titanium,” its brilliantly reflective panels also reminiscent of fish scales. Herbert Muschamp praised its “mercurial brilliance” in The New York Times Magazine. The Independent calls the museum “an astonishing architectural feat”. The building inspired other structures of similar design across the globe, such as the Cerritos Millennium Library in Cerritos, California. The museum is seamlessly integrated into the urban context, unfolding its interconnecting shapes of stone, glass and titanium on a 32,500-squaremeter (350,000 sq ft) site along the Nervión River in the old industrial heart of the city; while modest from street level, it is most

impressive when viewed from the river. With a total 24,000 m2 (260,000 sq ft), of which 11,000 m2 (120,000 sq ft) are dedicated to exhibition space, it had more exhibition space than the three Guggenheim collections in New York and Venice combined at that time. The 11,000 m2 of exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes. The remaining nine galleries are irregularly shaped and can be identified from the outside by their swirling organic forms and titanium cladding. The largest gallery measures 30 meters wide and 130 meters long (98 ft × 427 ft). In 2005, it housed Richard Serra’s monumental installation The Matter of Time, which Robert Hughes dubbed “courageous and sublime”. The building was constructed on time and budget, which is rare for architecture of this type. In an interview in Harvard Design Magazine, Gehry explained how he did it. First, he ensured that what he calls the “organization of the artist” prevailed during construction, to prevent political and business interests from interfering with the design. Second, he made sure he had a detailed and realistic cost estimate before proceeding. Third, he used computer visualizations produced by his own Digital Project software and collaborated closely with the individual building trades to control costs during construction.

The triumphant critical reception of the Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. Designed by Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure. Its radical, hypertechnological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces. The architectural competition for the terminal was famously intense, and winning it required the then-wife-and-husband team of Farshid Moussavi and Alejandro Zaera-Polo to rethink the established template of terminal design. Located on an important waterfront site in Japan’s second most populous city, the high-profile commission attracted 660 entries from around the world, the country’s largest international competition to date. The enormous, 430 meter-long project took eight years and a budget of £150 million to complete, and required FOA to temporarily relocate their studios to Yokohama to supervise construction. The public opening of the terminal occurred in 2002, serendipitously coinciding with the final game of the World Cup being held only a few miles from the shoreline. The terminal won several international awards after its completion, including the 2004 Enric Miralles Prize, and brought enormous recognition to FOA, Zaera-Polo, and Moussavi. It also completely challenged the limited role of traditional public infrastructure projects, creating a new precedent of technological innovation and urban integration that many have since tried to match.

The striking appearance of the terminal was made possible only by tremendous advances in computer-aided design. It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a navigable, inhabitable architectural topography. Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and apertures into the vast, enclosed spaces below. These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for the project. The building is organized in three vertical levels. Atop a first-floor parking garage, a spacious middle floor contains the terminal’s administrative and operational areas, including ticketing, customs, immigration, restaurants, shopping, and waiting areas. The steel

beams that span the ceiling add a weighty feeling to the space that contrasts sharply with the feel of the observation deck, which has the sensation of being made of a light, flexible, and easily malleable plane. Connecting the three levels are a series of gently sloping ramps, which the architects decided were more effective than stairs at maintaining a continuous and multi-dimensional flow of circulation. A unique structural system made of folded steel plates and concrete girders supports the building. The strength of the materials minimizes the need for vertical supports and allows for a mostly open floor plan, while the height of the structure allows for a spectacular variety of ceiling conditions in the interior spaces. According to the architects, the structural scheme is especially adept at coping with the lateral forces of seismic movements, a necessary precondition of buildings of its size in Japan. Throughout the project, a deliberate dynamism pervades the tectonic and material languages of the building. The abundance of nonorthogonal walls, floors, and ceilings creates a controlled sense of vertigo that is accentuated by similarly off-kilter fixtures and details. The effect is magnified by material cues, such as the shifting grains of the wooden planks on the observation deck that indicate the locations of creases, and the minimalist grey metal paneling that is revealingly worn by the structures under it. While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any destination, and their sight lines through space are comparably tortuous and indirect. For all of the chaotic complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity and reveals the process from which the building emerged. The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape. Its height is calculated to achieve continuity with the shore and to ensure that inland views of the waterfront remain unobstructed.

This is a 3-storey building with offices on one wing and a golf clubhouse on the other wing. The offices are the HQ peremises for Guthrie Property Development Holding Sdn. Bhd. (GPDH) [ a division of Kumpulan Guthre Berhad]. The company’s business is solely in real estate development. The building is intended to be a landmark building and to be the most prestigious building visible from the highway as visitors enter the locality. The building comprises of 4 major parts: The Offices (West Wing) - Accommodating Guthrie subsidiary offices. The Golf Clubhouse (East Wing) - Housing a public Golf Clubhouse with changing rooms, Pro-Shop and Caddy station on the Ground Floor. The Golfer’s cafeteria, Golfers Terrace and Restaurant have views towards the golf course. The structure extends to about 110m maximum length and 51m maximum width. The overall height of the masts is about 40m. The level of the membrane cushions is about 15 to 20 m above ground level. The roof covers in total 2,700 sq.m.

The Core- Holding the common services for both wings ie. toilets, prayer rooms and M&E plant room, riser ducts and chiller plant. The Roof - is an independent structure, acting as an “umbrella” over the building. The roof shields the building from the sun, reducing glare and air-conditioning load whilst providing a usable roof terrace overlooking the golf course on the north and east. Sunshades are located along the east and west faces of the buidling to reduce heat again. The building is fully glazed for maximum views out and natural lighting. The pavilion below the canopy has a reinforced concrete structural frame with glass and panel infill. The canopy structure is of pre-tensioned cable and pylon steel masts supporting an inflated pillow and canopy. Its primary purpose is to create a physical presence to the locality and to signify its importance as a landmark. The canopy also serves as a second roof over the roof terrace to the pavilion below, offering shading while reducing solar radiation within the building, resulting in 66,283 kw/hr savings in energy consumption per annum. The structural system • The roofing system is formed by 2 air-inflated membrane cushions, which are connected at their border to a tubular steel frame. The frame is supported in the interior by a steel skeleton. The cushion with the elongated shape is called cushion 1, whilest trapezoidal form is cushion 2. Both cushions are supported by hanger cables towards the tops of three tubular steel masts and by vertical stressing cables to the ground or at some places to the building. The cushions are connected to each other by four members. The portion between the 2 cushions is covered by three conical shaped singlelayer membrane structures.

frozen Torne River and stores it in a nearby production hall with room for over 10,000 short tons (9,100 t) of ice and 30,000 short tons (27,200 t) of snow. The ice is used for creating Icebar designs and ice glasses, which are used for ice sculpting classes, events and product launches all over the world while the snow is used for building a strong structure for the building. About 1,000 short tons (900 t) of what is left is used in the construction of the next Icehotel. The Icehotel is a hotel built each year with snow and ice in the village of Jukkasjärvi, in northern Sweden, about 17 kilometres (11 mi) from Kiruna. It is the world’s first ice hotel. After its first opening in 1990, the hotel has been built each year from December to April. The hotel, including the chairs and

beds, is constructed from snow and ice blocks taken from the nearby Torne River. Artists are invited to create different rooms and decorations made by ice. Besides bedrooms, there is a bar, with glasses made of ice and an ice chapel that is popular with marrying couples. The structure remains below freezing, around −5 °C (23 °F). The entire hotel is made out of snow and ice blocks taken from the Torne River, even the glasses in the bar are made of ice. Each spring, around March, Icehotel harvests tons of ice from the

When completed, the hotel features a bar, church, main hall, reception area, plus rooms and suites for over 100 guests. The hotel hosts also an ice restaurant. The furniture is sculpted blocks of ice in the form of chairs and beds. The thick walls, floor and ceiling are made of ice. Even the beds, the fittings and decoration are carved from ice. No two rooms are the same; the rooms are unique works of art. At the Icehotel the beds are bedded with reindeer furs and people are given special equipment to use while sleeping in the hotel. The guests sleep in polar-tested sleeping bags. There is no heating and the bedroom temperatures are constantly around 23F (-5C). There’s no plumbing at the hotel, but there’s a sauna that is run on the premises of the Icehotel with hot tub outdoors. The ice suites do not have any bathroom facilities but bathrooms for guests are found in a warm building close by. There is also warm accommodation available next to the hotel. The Icehotel in Jukkasjärvi is known to be the biggest hotel of ice and snow in the world, spanning over some 6,000 square metres (64,600 sq ft). Each suite is unique and the architecture of the hotel is changed each year, as it is rebuilt from scratch. Each year, artists submit their ideas for suites, and a jury selects about 50 artists to create the church, Absolut Icebar, reception, main hall and suites. When spring comes, everything melts away and returns to the Torne River. The Icehotel only exists between December and April, and has been listed as one of the Seven Wonders of Sweden. The northern hemisphere’s aurora borealis can be seen during the winter month in the location. Documentaries that focus on this hotel can be seen from time to time on the Discovery Channel and National Geographic. The hotel appeared in a sketch about Sweden in one of the shows of the Eurovision Song Contest 2013, courtesy of Lynda Woodruff. The Icehotel has guests from many countries. There are many charter flights to the nearby Kiruna Airport, directly from London.

This spaceship-like pavilion encloses a multimedia presentation promoting the province of North Holland. The building has a soft, irregular, rounded shape bulging in and out like a flat pebble, but with futuristic metallic triangular cladding panels and a red steel grid visible behind giving it a rather menacing alien quality. Kas Oosterhuis’s architecture exploits new digital technology. The radical amoebic shape was virtually ‘sculpted’ and the triangulated structural grid calculated by computer. Unlike conventional steel buildings, which use repetitive standardized components, every structural element in the pavilion is unique. Each steel component was individually sized by the architect’s computer, which was linked directly with the steel manufacturer’s programmable cutting machines. The same principle was applied to the triangular cladding panels, made in a new composite aluminium material called ‘hylite’, and so the pavilion could be built without any need for conventional two-dimensional specification drawings. Visitors enter through winged doors which emerge from the metallic skin and rise up operated by hydraulic cylinders. Inside they can ‘play’ the building, activating light, sound and images as they move through five coloured areas which highlight different aspects of the region. A light installation behind the external cladding panels responds to the activity inside.

This venue for pop and rock music consists of large and medium-sized auditoria and a smaller space for new/specialist music. Spatially the building meshes with the Tivoli parking structure as one large built mass which screens off the street and cleanly marks off the park. The expanded metal screen of the parking facility is extended on one side to project in front of the facade of 013. Inside, a clear division prevails between the

public areas and the rooms for artistes and staff. Service spaces acts as noise buffers between the spaces where sound is produced; a double facade and the roof structure limit the volume of sound reaching the outside world. The public areas are so situated that they can be used either separately or combined. A compact building, it has a basic, easy-to-read main shape and an aura of inscrutability. Facades and roof are clad in black EPDM rubber filled with glass wool and sporting real CDs on its surface.

Tucked in the north slope of Sweden’s Mount Förberget, just beneath the crest of the mountain at a height of 730 meters above the sea, Copperhill Mountain Lodge offers extensive vistas including views of Jämtland’s mountains and lake. The lodge stretches parallel to the site’s natural topography, preserving the tree line; its plan is layered with the terrain to maximize both daylight exposure and views of the extraordinary landscape. Each suite was prefabricated offsite and lifted into

the building’s heavy timber frame. Projected windows and balconies angle outward in staccato patterns across the long wood clad facades, finished in Falu Rödfärg Black, a traditional finish with origins in the copper mines of Sweden. Two slim wings flank the south facing heart of the building and their projected thin edges lighten the mass of the building which rests upon a plinth of regional Offerdal slate. A vehicular roundabout made of the same dark stone marks the entry at the elongated principal façade. The entry is on axis with a massive stone fireplace and a view of Åreskutan, the ski mountain. All of the hotel’s primary amenities are accessed from the entry level set over underground parking. The challenge was to make a great space in this northern world of short days and cold nights. At the heart of the lodge is the fireplace, set in a tall volume of articulated pine structure and cladding. Skylights bathe the space in natural light. The lodge looks out to the alpine world and into a warm gathering place, glowing with comfort and activity.