Museum Cinema Resident
Office
Lower Level Studio Restaurant
Office Resident
NORTH EAST ELEVATION SOUTH WEST ELEVATION
Distance between Skin 1 and Skin 2
Office Resident Studio
Facade Location
Restaurant Higher Level Studio
Located Program
Office Atrium Restaurant Lower Level Studio
Program, user, circulation, and the quality of space are CONFINED within the envelope of a typical static, isolated, mundane high rise. By MOBILIZING programs [inspired by the San Francisco VERNACULAR], the typology is challenged. Programs are re-arranged into MODULES that are then DIFFERENTIATED by the quality of space according to program. Users would then be able to engage the horizontal cityscape through vertical experiences. Essentially freeing the high rise experience from its envelope in an inner functional aspect.
N NORTH EAST ELEVATION SSOUTH WEST ELEVATION
0 0’
-MINIMUM distance between skin 1 and skin 2 -HIGHER sun light penetration -allowable AIR circulation
SAN FRANCISCO FOG
1’
3 3’
6’ 6
8’ 8
18’ 8
24’ 24
-MAXIMUM distance between skin 1 and skin 2 -LOWER sun light penetration -allowable PHYSICAL circulation
Amount of Natural sun light
8’
3’
3’ 8’
6’ 6’ 24’
3’ 3’
3’ 3’
3’
24’ 24’
18’
24’
18’
8’
6’
6’
24’
3’
SOUTH WEST ELEVATION - JESSIE SQUARE
SOUTH EAST ELEVATION - MISSION STREET
3’
3’
3’
3’
NORTH EAST ELEVATION - 3RD STREET
SOUTH WEST ELEVATION - JESSIE SQUARE
NORTH WEST ELEVATION - THE WESTIN HOTEL
SOUTH EAST ELEVATION - MISSION STREET
NORTH EAST ELEVATION - 3RD STREET
NORTH WEST ELEVATION - THE WESTIN HOTEL
THIRD STREET
N
H
MISSION STREET
A
F A
B
G
B
D H
C
D
C
E
F
E
A H
H
A MONOLITHIC TEMPERED GLASS B INSULATING GLASS
A LAMINATED GLASS B SEATING F
G
SOUTH WEST ELEVATION - JESSIE SQUARE
SOUTH EAST ELEVATION - MISSION STREET
C D E F G H
INSULATING GLASS
C SPIDER CLAPMS D LOUVER E SUSPENDED CEILING WITH
MONOLITHIC TEMPERED GLASS SUSPENDED CEILING WITH TRANSLUCENT GLASS STAIRCASE RAISED FLOOR
F INTERIOR GLASS WALL G STRUCTURAL GLASS FINS H RAISED FLOOR
SPIDER CLAMPS
TRANSLUCENT GLASS
1’ 1’
NORTH EAST ELEVATION - 3RD STREET
SCALE 1/16” = 1’
HOW CAN WE CIRCULATE PUBLIC SPACES IN THE TOWER TO CREATE A VERTICAL CITY?
L
Linkage
MODULARIZED
DIFFERENTIATE
TECH
NICA
L
Linkage
OFFICE/PRIVATE
H
L URA CULT E SIT
ATRIUM
RETAIL ext/ PUBLIC
OPEN SPACES/GARDENS
TYPICAL HIGHRISE HIGGHRISE
PROPOSED HIGHRISE H
L NICA ULTURAL ITE C S
LEVEL OF PRIVACY
Linkage
TECH
Separation
SEQUENCE DIAGRAMS
L NICA TECH A L UR CULT E SITGE IL NKA ICAL N TENCKHAGE LI AL UR CULT E SITAGE K LIN TE SI
MODULARIZE
CLIENT ENTRY SHOWCASE SPACE RETAILL STORE STUDIO ENVIRONMENTAL MIMICING SPACE SERVICE & REPAIR CENTER WORLDWIDE NETWORK CENTER MEETING ROOM CAFE ENTRY SHOWCASE SPACE OPTICAL SHOP OPTICAL LABORATORY CAFE STORAGE ENTRY MUSEUM GALLERY (PROFESSIONALS) GALLERY (NOVICE) PRINTING ROOMS MEETING ROOM STUDIO COMPETITION DEPARTMENT CAFE STORAGE ENTRY OFFICE SPACE DEVELOPING DEPARTMENT LABORATORY STORAGE RESIDENTIAL CAFE
_LEICA FOCUSING ON PERCEPTION AND HAS DEVELOPED INNOVATIVE INSTRUMENTS THAT AFFORD A UNIQUE SEEING EXPERIENCE. THE PRODUCTS EXPAND THE NATURAL LIMITS OF PERCEPTION, OPEN UP NEW DIMENSIONS FOR HUMAN VISION AND INSIGHT. _The San Francisco Film Society encourages the progressive evolution of film culture and individual lives by celebrating the transformative power of the moving image in all its forms. Through a combination of intelligent programming and exemplary service, it creates singularly vital experiences for audiences of all kinds. _TO RAISE AWARENESS, INFLUENCE OPINION, CHANGE BEHAVIOR, ENCOURAGE ACTION, BUILD COMMUNITIES, EVEN INSTIGATE SOCIAL MOVEMENT. _DEEPLY ROOTED IN APPRECIATION OF PICTURE AND FILM AS ART FORM AND MEANINGFUL AGENT FOR SOCIAL CHANGE. _DEMOCRATIC, EGLITARIAN
EA R ND ER AR TE INC FU Y N NT AY EN K AN LT IO CE E B C OR S LO TB TH CE TW CE AT E Y C N F R R T E I C N O NC ES NI IO E O OU N V IO IC MU & A UT ES MA ER RP LIA AT O US D AT TIT R DE S RV OM E C AL N C Y D INS VING HE RT U T SE IIA C TIC O I R G L I P F S UN Y IN IVE FO NA T L YM PO O Y ER IL ORN JUS S P IO F Y T V N L U T G M IF U H S UB IL O RE NA DE AL S AL I FA AL OR IS H N UN ER EN ON D CL AM C F RK W S CA O INT DEP ATI HIL A I F PE L SS RN R AEN LY E H A IN N C RR SK PA E LW EI T ION IC M TH T E P O K I A U IT AM O OR EN EA AT O S T D N C N C C F T M S
COMMUNITY ORGANIZATIONS CO BUSINESS COMPANIES BU
ARH 410 YUAN YUAN
SITE 1600 FEET RADIUS AREA
USE LINKAGE AS DATUM TO RECONSTITU program PLACEMENT diagram GALLERY G RESTAURANT R
GALLERY LE RESTAURANT TAU
SSFFS RESTAURANT AURANT
DIO STUDIO RESTAURANT RE ESTAU TAU
Linkage
Linkage SFFS RESTAURANT AU URANT
AU AUDITORIUM RE RESTAURANT
OFFICE CE AL MEDIA SOCIAL EU MUSEUM AU RESTAURANT
TU STUDIO SERVICE ERV ETA STORE RETAIL EST RESTAURANT
REMOVE
MORPHING CORRESPOND TO PROGRAM
RECESS TO SHIELD FROM SUN PUBLIC CIRCULATION
PRIVATE CIRCULATION
LEVEL 13 THEATER
BEHIND ARONSON
Linkage
UTE THE TOWER INTO VERTICAL SPACES program EXPOSURE diagram WEST
STITCHING STAIRS diagram SOUTH
GALLERY STUDIO STUDIO
RESTAURANT SF FILM SOCIETY
CINEMA OFFICE
MUSEUM
MUSEUM
OFFICE
CINEMA
RESTAURANT
RETAIL
STUDIO
GALLERY
VIEW UP THE VOID
VOID diagram
VERTICAL CIRCULATION diagram
PRIVATE PROGRAM SECTOR
PUBLIC PROGRAM SECTOR
CORES
STOPS FOR PRIVATE ELEVATOR
STOPS FOR PUBLIC ELEVATOR
OPENING FOR PRIVATE ELEVATOR
OPENING FOR PUBLIC ELEVATOR
STRUCTURAL SYSTEM A
B
C
D
E
F
G
H
1
2
3
4
5
6
6’
Level Roof 355’
Level 26 342’
Hat truss
Level 25 329’
Compression
Level 24 316’
Tension (floors suspended from hat truss)
Level 23 303’
Discontinuation
Public seating area
Discontinuation
Auditorium
Discontinuation
Public Entrance lobby
Discontinuation
3rd street Entrance lobby
Level 22 290’
Level 21 277’
Level 20 264’
Level 19 251’
Level 18 231’
Level 17 218’
Level 16 205’
Level 15 192’
Level 14 179’
Level 13 166’
Level 12 150’
Level 11 137’
Level 10 124’
Level 9 98’
Level 8 111’
Level 7 98’
Level 6 85’
Level 5 72’
Level 4 59’
Level 3 39’
Level 2 26 ’
Level 1 13’
Level 0 Ground level
0’
Level -1 -10’
Level -2 -20
Level -3 -30’
A
B
C
D
E
F
G
H
1
2
3 4
5
6
L A HIGH LEVEL PLAN 8 Level 289’
1
2
3 4
5
6
L A MID LEVEL PLAN 2 Level 220’
A
B
C
D
E
F
G
H
N
LEVEL 85’
1
2
LEVEL 39’
3 4
5
LEVEL 26 ’
6
GROUND LEVEL L PLAN A Levell 0’
SCALE 1/40” = 1’ LEVEL 13’
A
B
C
D
E
F
G
H
1
2
3
4
5
6
6’’
Level Roof 355’
Level 26 342’
Level 25 329’
Level 24 316’
Level 23 303’
Level 22 290’
Level 21 277’
Level 20 264’ HIGH LEVEL PLAN
Level 19 251’
Level 18 231’
Level 17 218’
Level 16 205’
Level 15 192’
MID LEVEL PLAN
Level 14 179’
Level 13 166’
SSFF FILM FILM LM FES LM FEFES
Level 12 150’
Level 11 137’
Level 10 124’
Level 9 98’
Level 8 111’
Level 7 98’
Level 6 85’
Level 5 72’
Level 4 59’
Level 3 39’
Level 2 26 ’
GROUND LEVEL PLAN
Level 0 Ground level
Level 1 13’
0’
Level -1 -10’
Level -2 -20
Level -3 -30’
SCALE 1/16” = 1’
JESSIE SQUARE
NIGHT VIEW FROM YERBA BUENA GARDEN
CRIME RATE The estimated South Of Market crime index is 43% lower than the San Francisco average and and the San Francisco crime index is 47% higher than the California average. South Of Market is safer than 38.2% of the neighborhoods in San Francisco.
VILOENT CRIMES THEFT
Most Criminal activities occur in or near the Tenderloin Area. These Crimes include violent and non-violent crimes. The crimes which occur South of San Francisco include violent crimes, but mostly regarding theft.
ECONOMY “
The evidence is not hard to find. A phalanx of construction cranes from Rincon Hill to upper Market Street. At Mission and Fremont streets, Los Angeles' Kilroy Realty Trust is building a 27-story tower for Salesforce.com. Kilroy is building 560,000 square feet of space in Sunnyvale for LinkedIn, one of a slew of new projects in Silicon Valley. In the East Bay, work begins in 2013 on the $1 billion transformation of the old Oakland Army Base into a regional shipping and logistics center.
“
For 2013 as a whole, the economy grew a tepid 1.9 percent, weaker than the 2.8 percent increase in 2012, the Commerce Department said Thursday. Growth was held back by higher taxes and federal spending cuts that kicked in early in 2013.
“
Consumers will spend more. Government will cut less. Businesses will invest more. And more companies will hire. (SFGate 2013)
“
5 percent 4 3.2%
3 2 1 0 -1
“San Francisco’s unemployment rate decreased to 4.8 percent in December, the third lowest among California’s 58 counties.”
-2 2010
2011
2012
2013
US Economic Growth grew at a 3.2 percent rate over the past year
Consumer spending surged in the October-December quarter at an annual rate of 3.3 percent — the best pace since 2010 and a big jump from the 2 percent growth rate of the previous quarter. Consumer spending is particularly important because it accounts for about 70 percent of the economy. With that drag diminished, many economists think growth could top 3 percent in 2014. That would be the best showing since the recession ended in mid-2009..
San Francisco’s unemployment rate decreased to 4.8 percent in December, the third lowest among California’s 58 counties.
Foreclosure Activity in San Francisco was 2,358 in the fourth quarter, a 56.3 percent drop from 5,399 in 2012, stating that the economic standpoint of San Francisco currently is improving steadily.
If property was purchased in 2003, it would be worth 20 percent more in 2013.
If property was purchased in july 2012, it would be worth 25 percent more in July 2013.
“
Housing prices in the Bay Area continued to rise through the 4th Quarter of 2013. However, December sales volume in the Bay Area declined when compared with December of 2012, with the exception of San Mateo County where sales volume for the month increased by 18 percent.
“
Bay Area median prices went up 23.9 percent over the last year
ADJACENT BUIDLINGS ADJACENT HOTELS RITZ CARLTON CLUB PALACE HOTEL
THE WESTIN ST. REGIS
W SAN FRANCISCO
CARTOON ART MUSEM
SFMOMA
MOSCONE CENTER
YERBA BUENA
METREON
JEWISH MUSEM
CITY COLLEGE OF SF
ADJACENT BUILDINGS
WESTFIELD MALL
MARRIOTT
Approximately 20,000 of these rooms are within walking distance of the Moscone Center.
TOURISM “
Tourists are the primary source of financial and economic growth in San Francisco.
San Francisco hosted 16.5 million visitors in 2012, including hotel guests, those staying with friends and relatives, those staying in accommodations outside the city but whose primary destination was San Francisco, and regional visitors driving in for the day. Visitor spending reached the highest ever in 2012, with more than $8.93 billion spent in local businesses (up 5.5% from 2011). This means during an average day in San Francisco, 131,128 visitors are spending $24.46 million.
“
YERBA BUENA The picture (right-top) is the site of Yerba Buena in 1976. As an effort to kick out industry in San Francisco, the Bay-Area Council forced an urban reneweal in San Francisco, which could destory jobs of the working people and weaken the City’s economy. However, keeping the parking lot made it difficult for new apartments and future residential buildings to be built. To allow more visitors overall and for Moscone Center, Yerba Cuena was built as an act to create a financially stable region. “Create a new management structure and qualified provider to manage, operate and staff Yerba Buena Gardens on behalf of local government agencies. Transform a derelict area in to a safe, comfortable and active focal point. Establish a sense of community among diverse audiences. Integrate diverse and overlapping needs of City department’s nonprofits, educational and cultural institutions, hospitality and convention businesses, and local businesses. The Yerba Buena Gardens presently, has identified an estimates $4.6 Million, in renewal and management funds for over the next ten years. The reneals include: Roof Repairs and replacements Electrical, lighting, cooling and fire system upgrades Elevator Repairs Boiler Replacements Open space restorations and water proofing There are approximately 4.5 Million Visitors annually, and Gardens festival which attract 120,000 visitors. More than 2,500 new residences has been built in the last 10 years.
“YBG generates over $8 billion annually for the local economy, and this amount is increasing. The district now attracts nearly ten million visitors per year; that number will increase within three years when major additional facilities are completed.”
MOSCONE CENTER Moscone Center is responsible for 21% of Tourist activities in San Francisco, providing a global threshold for business employers and an important factor to the welfare of economic stability in San Francisco, providing jobs for residents. Moscone Convention Center is the primary source for hotel room demands in San Francisco. Theres are 20,000 Hotel rooms within walking distance from Monscone Center. However, it is the smallest out ofr 13 convention centers which are outlooked as compeitions. If Moscone Center does not expand, it will lose a number of current conventions losing 2,057,000,000 billion dollars in direct spending towards San Francisco from 2010- 2019.
“
“Moscone Center currently hosts 1 million visitors each year and generates more than $1.6 billion in visitor spending. This spending contributes millions of dollars to the City’s General Fund and supports thousands of jobs. Tourism is San Francisco’s major industry, generating almost $8.5 billion in economic activity, supporting more than 71,400 jobs, and contributing $524 million to the General Fund to help support neighborhood services such as police protection, parks, roads maintenance and firefighters.” “San Francisco has already lost meetings representing $2.057 billion in direct spending as a result of space limitations for meetings with dates between 2010 and 2019. and exhibit space – especially contiguous exhibition space.”
“
The Proposed Moscone Center acffects both North and South Buildings creating an expansion and direct connection undeground.
Proposed Site Plan
GEARY INTERACTIVE YAEL DESIGNS ADVISORY BOARD CO HERMAN MILLER INC INTER TAX FITZSIMMONS HELEN BRITISH AMERICAN BUSINESS COUNCIL COPY CENTRAL DESIGN CHAIN ASSOCIATES, LLC SMALL BUSINESS EXCHANGE INC COTE & CO DOMO TECHNOLOGIES INC 365OUTSOURCE COMPASSPOINT NONPROFIT SERVICES GVIS INSURANCE AND BENEFITS UC BERKELEY EXTENSION-SOMA CENTER ST GILES SAN FRANCISCO SEDWAY CONSULTING REVERE ACADEMY OF JEWELRY ARTS TMP DIRECTIONAL MARKETING LIC KENSHOO INC
COMPASS FAMILY SERVICES NORTHERN CALIFORNIIA COMMUNITY LOAN FUND CENTER FOR JUSTICE & ACCTBLTY CITICENS HOUSING CORPORATION FAMILY CAREGIVER ALLIANCE CENTER TOOLWORKS DEATH PENALTY FOCUS NATIONAL UNIVERSITY INTERNATIONAL INSTITUTE OF THE BAY AREA INDEPENDENT LIVING RESOURCE CENTER NATIONAL LYMPHEDEMA NETWORK INC CHILD SUPPORT SERVICES STUPSKI FAMILY FOUNDATION MAKE-A-WISH FOUNDATION SIERRA CLUB
SOCAL ORGANIZATIONS
BUSINESS COMPANIES
SITE
1600 FEET RADIUS AREA
HIGH POPULATION INTENSITY
60% 50% 40% 30% 20% 10% 1990 2000 2010 2012 WHITE ASIAN AFRICAN AMERICAN
ESTIMATED DAYTIME POPULATION 945,480
TOTAL CRASHES MOTORIST FAULT
LOW
NIGHT TIME
CHIPOTLE MEXICAN GRILL URBAN PICNIC LA BOULANGE PSOSH BAGEL CAFE CLAUDE GITANE HAKKASAN SUPER DUPER BURGER BLU SUPER DUPER BURGER CALIFORNIA PIZZA KITCHEN DUCCA MASO GROVE YERBA BUENA AME RESTAURANT AMBER INDIA RESTAURANT BLUESTEM BRASSERIE PRESS CLUB TROPISUENO THE VIEW ANNABELLE’S BAR & BISTRO TOKYO EXPRESS DENNY’S MEL’S DRIVE-IN GREEN PAPAYA TRACE
GRAYSTONE HOTEL HOTEL PALOMAR SAN FRANCISCO THE MOSSER HOTEL FOUR SEASONS HOTEL MARRIOTT MARQUIS THE MOSSER HOTEL HOTEL PALOMAR SAN FRANCISCO THE WESTIN SAN FRANCISCO PALACE HOTEL THE ST. REGIS W SAN FRANCISCO
HOTELS
RESTAURANTS
SITE
1600 FEET RADIUS AREA
Four SHAFTS rises from a CUBE
1X
2X
+
3X
+
5X
+
+
_The cube divided diagonally into quadrant. As the structure moves upward, the mass is diminished one quadrant at a time until it is reduced to a single, triangular prism 70 stories (1028 ft) above grade. _This means that the floor plan varies with the height.
LEVELS 4 - 24
LEVELS 25- 31
LEVELS 32 - 44
LEVELS 45 - 70
Whole structure supported by the FIVE STEEL COLUMNS at the corners of the building _Tower structural lines are pull just inside the building envelope + shape of envelope changes dramatically = position of columns joggle out-of-plumb as they make their way down = eccentrically loaded columns
A single eccentricity in a column will cause bending, but two or more lines of eccentricity, joined by a uniform shear force mechanism, will counteract and
Conceptual plan diagram on 25th story Shows the two major partitions of the architectural geometry. The line of the glass curtain wall falls on the pure geometry of the square divided diagonally into quadrants. The structural line for steel and the positions of concrete columns are held within the pure geometry, forcing shifting alignment. The potential bending problem caused by misalignment is solved by the concrete when used as a uniform shear force mechanism.
glass
concrete
concrete
MEGASTRUCTURE _There are four megacolumns, one at each corne, but due to the changing floor shape, a fifth central megacolumn is required at the higher lever. 4
3
4
3
3
5 1
2
70
58
1
5
5 2
The bank of China tower is a ‘stack’ of five twelve-story ‘buildings’, each of which are supported by the megastructure.
1
2
1
2
Load from central megacolumn at Level 25 Pyramid Megatructure
45 MEGASTRUCTURE
Reaction from corner megacolumn
32 12 STOREYS 19 TRUSSED FLOOR
6
The central megacolumn stops at Level 25, its load being transferred to the corner megacolumns by a pyramid structure.
TRUSSED FLOOR & PERIMETER COLUMNS _At the bottom of each 12 storey building is a storey height trussed floor. This act as the ‘foundation’ for the 12 storey building, transferring the loa d to the megacolumns. _ The vertical loads in the perimeter columns are transferred directly into the facade megastructure at the points of structural intersection.
1 2 3
_At Level 4 the horizontal wind loads from the facade megatrusses are transferred to the vertical steel/concrete core by forces in the plaine of the steel diaphragm structure.
Force from Megatrusses
Reaction from Tube
Steel Diaphragm
Force from Megatrusses
_The CORE transfers these horizontal loads by shear forces in the core walls to the concrete
diaphragm at Level 0.
Wind Load
Shear Force in Tube
Concrete Diaphragm
_There are also vertical forces in the CORE caused by the push/pull forces from the bending moment. These are carried down to separate core foundation. Wind Load
Level 4
Concrete Diaphragm
Level 0
Foundation Reactions
_The horizontal forces in the Level 0 concrete diaphragm are transferred to the top of
the vertical basement by forces in the plane of the diaphragm structure. _The forces in the WALLS are transferred to THE GROUND by friction forces on the faces and the base of the walls.
Wind load from Tube
Forces in Diaphragm Concrete Diaphragm
Forces Between Wall and Ground Perimeter Basement Walls
COMPOSITE STRUCTURAL SYSTEM _Requires 40% less steel structure than other skyscrapers _Achieved by the efficiency of the overall structure form, and most significantly by the way the megastructure joins were constructed. _The facade megatrusses were built as Individual Plane Trusses with simple joints. Where they met at the corners to form the three dimensional megastructure they were connected by CASTING CONCRETE around them to form the megacolumnsand the joints of themegatructure.
Megacolumn Steel Plane Frames
HIGHT LEVEL
LOW LEVEL
_Wind load are resisted by the truss action of the facade megastructure. the external facades have cross-braced trusses. 70
1 2
4 3
44
31
18
1
3
2
_At the higher levels there are also external facades on the plan diagonals. these facades have diagonally braced trusses.
5
6
70
44
70
5
31
18
7
31
18
6
4
N
Bank of China tower on an intricate inland site. Tall unique headquarter in a Typhon region (double the wind loads carried by the Chicago and New York skyscrapers) Twice of SF’s Seismic
force
Land sold in low price with the growing concern over the future of Hong Kong in the run-up to the transfer of sovereighty. Represent the aspirations of the Chinese people, yet also symbolize good will
N
FACTS: OFFICIAL NAME: Bank of China Tower STATUS: Completed COUNTRY: China CITY: Hong Kong BUILDING FUNCTION: office STRUCTURAL MATERIAL: composite Proposed: 1977 Start of Construction: 1985 Completion: 1990 Global Ranking: #23 tallest in the World Regional Ranking: #14 tallest in Asia (excluding the Middle East) National Ranking: #11 tallest in China City Ranking: #4 tallest in Hong Kong FIGURES: Height: Architectural 367.4 m/ 1205 feet Height: Occupied 288.3 m/ 946 feet Height: To Tip 367.4 m/ 1205 feet Floors Above Ground: 72 Floors Below Ground: 4 # of Elevators: 49 Tower GFA: 135,000 m² / 1,453,128 ft² # of Parking Spaces 370
CRITICISM: _The bank is the only major building in Hong Kong to have bypassed the convention of consulting with Feng Shui masters on matters of design prior to construction.
The solution assimilates ARCHITECTURE and ENGINEERING simutaneously. _Asymmetrical tower that informs both skyline and street. _Four shafts rise from a cube _Whole structure supported by the five steel columns at the corners of the building _Triangular frameworks transferring the weight of the structure onto the five columns. _A modern composite structural system resists high-velocity winds eliminates the need for many internal vertical supports the building uses less steel than typical for a building its size (40%) _Bamboo as a significant inspiration symbolically: livelihood, prosperity, hope and revitalization structurally: with each node, the building grows higher
_In China, the “X” shapes is seen as a symbol of death(replaced by ‘diamonds’).
_The vertical laods from the floors are transferred to the four corner megacolumns. These loads
counteract the tension forces caused by the wind loads on the facade megatrusses. This maintains upward reactions at the base of the building under wind loading.
+
RW
RW
=
RV
RV
RV R W
R V +R W
TRANSFER OF HORIZONTAL WIND LOAD AND VERTICAL LOAD TO THE GROUND
_Perimeter walls of the basement _Five elements in the load path for the horizontal wind forcese: 1. The facade megatrusses 2.A horizontal steel diaphragm structure at Level 4 3.Avertical steel/concrete core between Level 4 and the foundation 4.A horizontal concrete diaphragm strecture at Level 0 5.Vertical concrete perimeter basement walls Facade Megatruss
Wind Load
Horizontal Steel Diaphragm Steel/Concrete Tube Concrete Diaphragm Perimeter Basement Wall
Foundations
N
1”=80’
15 stories atrium
1 2
3
1”=80’
At ground level, the tower is pulled back from the street to create an amicable pedestrian atmosphere that is fully accessible and sheltered from the urban bedlam. It is surrounded by a broad promenade, and flanked by cooling water gardens that muffle the activity and noise of surrounding traffic.
Holding the new digital M today, nothing feels different. The same precise focus, the same intuitive light measuring, wonderfully smooth click of a shutter, and exactly the same relation between what you just saw outside, and the inner image that precise each photogragh. And even if in the on going digital revolution, Leica is manage to preserve and translate into the digital age, eveything what could only dream of. A camera like your eye, your hand, and your heart.
Once photographing meant a large box camera on a tripod, shifting film plate after each shot - and working with a dark cloth over your head and the camera. But then something happened...
A test shot done by Oskar, 1914, in the city of Wezlar
In the venerable optical factory, which had been successfully developing world-class microscopes at Leitz, Wetzlar since 1849, a new idea caused a real stir: Oskar Barnack wanted to move away from the traditional, heavy plate cameras then used for most photography and search for a completely new form of photographic technology. He developed the Ur-Leica, arguably the first truly successful small-format camera in the world. The small picture format of 24x36mm was achieved at that time by doubling the 18 x 24 mm cinema format. Delayed due to WW1, the first Leica (a contraction of Leitz Camera) did not enter series production until 1924 and was introduced to the public in 1925.
PROGRAMS
ENTRY SHOWCASE SPACE RETAIL STORE STUDIO ENVIRONMENTAL MIMICING SPACE SERVICE & REPAIR CENTER WORLDWIDE NETWORK CENTER MEETING ROOM CAFE STORAGE
PRIMARY OCCUPANTS
TECHNICAL STORE FRONT: SALES FACULTY TECHNICIAN OPTICIAN
ENTRY SHOWCASE SPACE OPTICAL SHOP OPTICAL LABORATORY CAFE STORAGE
BEHIND THE SCENE: TECHNICIAN OPTICIAN ENGINEER COPYWRITER DIGITAL CONTENT SPECIALIST SYSTEMS ENGINEER TECHNICAL SUPPORT REPRESENTATIVE
ENTRY MUSEUM GALLERY (PROFESSIONALS) GALLERY (NOVICE) PRINTING ROOMS MEETING ROOM STUDIO COMPETITION DEPARTMENT CAFE STORAGE
CULTURAL MUSEUM MANAGER MUSEUM FACULTY TECHNICIAN HUMAN RESOURCE PROFESSIONAL PHOTOGRAPHERS FILM MAKERS SOCIAL MEDIA SOCIAL WORKERS
ENTRY OFFICE SPACE DEVELOPING DEPARTMENT LABORATORY STORAGE
MISSION STREET PROPOSED HIGHRISE
MODULARIZED OFFICE/PRIVATE
H
TYPICAL HIGHRISE ATRIUM
LEVEL OF PRIVACY
L
RETAIL ext/ PUBLIC OPEN SPACES/GARDENS
Leica: that means best German Engineering and a special culture of the picture. Leica has a long history of focusing on perception and has developed innovative instruments that afford a unique seeing experience. The products expand the natural limits of perception when the distance is too great or the light too weak and open up new dimensions for human vision and insight. ntuitive controls, combined with upgradeable, top-quality systems, provide the best picture results and offer unparalleled creative freedom. Leica helps transform vision into personal creative fulfilment, in many cases nurturing a fervent passion for expression that spans the decades. Focus on the essential Long-standing values Perfect tools With Oskar Barnack's sensational new small-format camera, photojournalism was brought closer to actual events and began telling stories in a more dynamic and truthful manner. "new form of vision" "integral part of the eye" "extension of the hand". S ince this momentous development, users have been able to focus their full concentration on the subject and the picture. Building on this first invention and on the innovative spirit demonstrated by Oskar Barnack, Leica is constantly working to create the perfect tools to extend that unique vision and the unlimited possibilities it represents.
LFI – Leica Fotografie International is presenting selected areas of the gallery, and news from round the world of photography, in a completely overhauled App. In the LFI gallery, photographers from around the world show the pictures they have taken with their Leica cameras. Exhibitions, current photo projects and technical innovations – with the LFI App News you are always up-to-date.
To see and be seen
Manhattan Street Corner New York, New York
Higher Ground Jakarta, Indonesia
Homeless in the Tent City Greenville, South Carolina
CIRCULATION
Separation
OVERALL RELATIONSHIP
Linkage Linkage Linkage
Leica: that means best German Engineering and a special culture of the picture. Our eyes have the greatest influence over how we perceive and understand our world. Leica has a long history of focusing on perception and has developed innovative instruments that afford a unique seeing experience. The products expand the natural limits of perception when the distance is too great or the light too weak and open up new dimensions for human vision and insight. The optical performance in unmistakeable - Leica quality is in a class by itself - both in analog and digital capture modes. Intuitive controls, combined with upgradeable, top-quality systems, provide the best picture results and offer unparalleled creative freedom. In this way, Leica helps transform vision into personal creative fulfilment, in many cases nurturing a fervent passion for expression that spans the decades. Focus on the essential In today's market, many products attempt to attract buyers with countless features and unusual forms. Almost anything is possible. But it is often the things that appear simple which prove to be the most difficult to attain. Long-standing values Leica stands for visual enjoyment and lasting value. Our approach and Leica's unique technical expertise make our optical instruments ideal companions offering the highest possible reliability and durability. Even under extreme conditions such as severe temperature fluctuation or impacts, our products meet or exceed the highest expectations. Perfect tools With Oskar Barnack's sensational new small-format camera, photojournalism was brought closer to actual events and began telling stories in a more dynamic and truthful manner. The reaction among photo artists to the possibility of achieving a "new form of vision" was extremely enthusiastic. The Leica became an indispensable companion for all situations, an "integral part of the eye" or an "extension of the hand". Since this momentous development, users have been able to focus their full concentration on the subject and the picture. Building on this first invention and on the innovative spirit demonstrated by Oskar Barnack, Leica is constantly working to create the perfect tools to extend that unique vision and the unlimited possibilities it represents.
MORPH
STAGE 1: SPLIT
STAGE 2: EXPAND Open space
STAGE 3: SHIFT/SUSPEND Hiearchy, Atrium
STAGE 4: BEND Sun angle, Step back
MODULE
STAGE 5: REDIRECT THE CHANNAL
STAGE 6: PLUG IN OPEN SPACES
TECHNICAL CULTURAL
PRIVATE ENTRENCE E
PRIVATE EN
C TREN
What is the difference between program and agenda? Rem said that he’s been trying to find ways that we could circumvent or avoid the architect’s passivity, and it means his or her dependence on the initiatives of others, so my understanding of program in general is something that is fixed, decided by others, which in a way is generic. However, agenda is something that we make up for ourselves to follow in order to achieve, define or arrange programs. It is a strategy, a certain way of approaching. Architect’s passivity? What is an example of an architect being passive? An architect’s passivity is his or her dependence on the initiatives of others. My understanding is that if the architect just simply relies on others to provide him or her a guideline without his or her own understanding or input, every decision is made by others. Why would an architect want to pursue his or her own interest? What are some examples? The initial goal is to create something more than just a building or object, but meaning, meaning that is given by the architect to express his or her point of view of the culture, the politics, it’s a manifesto. Or simply, just avoiding the architect’s passivity. The Prada store in NYC by Rem expressed more than what the client wanted which is a retail store, It’s an expression of Rem’s understanding of consumerism, or his proposal of what could be done that is more than just a generic high-‐end retail store. How does Tschumi differentiate bubble diagrams from spatial connections or sequential route? The major difference is one is highly influenced by the given site, one is not. Spatial connections or sequential routes are inserted into a given site, it has a context, according to his own words, that in turn affects the selection or the expression of the programmatic concept.
TECHNICAL STORE FRONT: SALES FACULTY TECHNICIAN OPTICIAN BEHIND THE SCENE: TECHNICIAN OPTICIAN ENGINEER COPYWRITER DIGITAL CONTENT SPECIALIST SYSTEMS ENGINEER TECHNICAL SUPPORT REPRESENTATIVE CULTURAL MUSEUM MANAGER MUSEUM FACULTY TECHNICIAN HUMAN RESOURCE PROFESSIONAL PHOTOGRAPHERS FILM MAKERS SOCIAL MEDIA SOCIAL WORKERS
ENTRY SHOWCASE SPACE RETAIL STORE STUDIO ENVIRONMENTAL MIMICING SPACE SERVICE & REPAIR CENTER WORLDWIDE NETWORK CENTER MEETING ROOM CAFE
PROGRAMS
PRIMARY OCCUPANTS
ENTRY SHOWCASE SPACE OPTICAL SHOP OPTICAL LABORATORY CAFE STORAGE
ENTRY MUSEUM GALLERY (PROFESSIONALS) GALLERY (NOVICE) PRINTING ROOMS MEETING ROOM STUDIO COMPETITION DEPARTMENT CAFE STORAGE ENTRY OFFICE SPACE DEVELOPING DEPARTMENT LABORATORY STORAGE RESIDENTIAL CAFE
MISSION STREET
MOBILIZING programs. re-arrange programs into MODULES that are then DIFFERENCIATED by the quality of space according to program, creating a flexible circulation system that allow program to be mobilized. Users would then be able to engage the horizontal cityscape through vertical experiences.
ATRIUM SHOWCASE SPACE RETAIL STORE STUDIO
SALES FACULTY TECHNICIAN
SERVICE & REPAIR CENTER
HUMAN RESOURCE PROFESSIONAL PHOTOGRAPHERS
RESTAURANT
SFFS FACULTY
GALLERY
FILM MAKERS
RESIDENTIAL OFFICE SFFS CINEMA MUSEUM
PRIVACY EXPOSURE TO NATURAL LIGHTING TRANSPORTATION TRANSPARENCY
MOBILIZED SHARE SPACE
RESIDENTIAL RESTAURANT
STUDIO RESTAURANT
SFFS RESTAURANT
FILM CENTER RESTAURANT
OFFICE SOCIAL MEDIA MUSEUM RESTAURANT
STUDIO SERVICE RETAIL STORE RESTAURANT
TECHNICAL SUPPORT REPRESENTATIVE MUSEUM FACULTY
CONPETTITION DEPARTMENT
GALLERY RESTAURANT
SYSTEMS ENGINEER
DARK ROOM
MEETING ROOM
GALLERY RESTAURANT
SOCIAL WORKERS MEDIA FACULTY STUDIO FACULTY RESTAURANT FACULTY GALLERY FACULTY RESIDENTIAL FACULTY
GALLERY STUDIO STUDIO
RESTAURANT SF FILM SOCIETY
CINEMA OFFICE
MUSEUM
WEST
RETAIL
SOUTH
EAST
NORTH
GALLERY GAL
STUDIO
LER Y
REST AUR A
NT
O
I D U ST
RESTAURANT
STUDIO
RES
TAU RA
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O
I D U ST
SFF
S MU
A M E IN
C
SEU
RES
M
TAU RA
SFFS
CINEMA
OFFICE
IO D U
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ST
RE
IL T A T RE RAN U A T S
MUSEUM
RETAIL
T/E MEN WOM V J MECH F SH SH
higher level
M M H M H
F SH SH V
T/E MEN WOM V J MECH F SH SH
mid level
M M H M H
M M H M H
V T/E MEN WOM F MECH F SH SH L L L J V
F SH SH V
T/E MEN WOM V J MECH F SH SH lower level
V T/E MEN WOM F MECH F SH SH L L L J V
F SH SH V
V T/E MEN WOM F MECH F SH SH J V
office shuttle public elevator elevator elevator
PRIVATE PROGRAM
office shuttle public elevator elevator elevator
PUBLIC PROGRAM
CORE LAYOUT & VERTICAL CIRCULATION & PROGRAM DIAGRAM
Stairs Private elevator opening
Public elevator opening
CORE LAYOUT & VERTICAL CIRCULATION & PROGRAM DIAGRAM
GALLERY: 1 level 821 sqft RESIDENTIAL: 3 levels 19608 sqft RESIDENTIAL: 3 levels 47453 sqft
SFFS OFFICE: 5 levels 41056 sqft MIX USE STUDIO: 3 levels 17947 sqft
OFFICE: 6 levels 39597 sqft CINEMA: 1 levels 4240 sqft
STUDIO SPACE: 5 levels 18715 sqft
MUSEUM: 2 levels 9090 sqft
OFFICE: 3 levels 27726 sqft
CORE LAYOUT & VERTICAL CIRCULATION & PROGRAM DIAGRAM
CORE LAYOUT & VERTICAL CIRCULATION & PROGRAM DIAGRAM
ARH 410 YUAN YUAN SPRING BREAK ASSIGNMENT HOW CAN WE CIRCULATE THROUGH THE PUBLIC SPACES IN THE TOWER TO CREATE A VERTICAL CITY? USE LINKAGE AS DATUM TO RECONSTITUTE THE TOWER INTO VERTICAL SPACES CONCEPT STATMENT & PROGRAM AGENDA Program, user, circulation, and the quality of space are CONFINED within the envelope of a typical static, isolated, mundane high rise. By MOBILIZING programs, programs are re-‐arranged into MODULES that are then DIFFERENTIATED by the quality of space according to program. Users would then be able to engage the horizontal cityscape through vertical experiences. Essentially freeing the high-‐rise experience from its envelope in an inner functional aspect. CLIENT ASPIRATION _LEICA HAS A LONG HISTORY OF FOCUSING ON PERCEPTION AND HAS DEVELOPED INNOVATIVE INSTRUMENTS THAT AFFORD A UNIQUE SEEING EXPERIENCE. THE PRODUCTS EXPAND THE NATURAL LIMITS OF PERCEPTION, OPEN UP NEW DIMENSIONS FOR HUMAN VISION AND INSIGHT. _DEEPLY ROOTED IN APPRECIATION OF PICTURE AND FILM AS ART FORM AND MEANINGFUL AGENT FOR SOCIAL CHANGE. _DEMOCRATIC, EGALITARIAN _The San Francisco Film Society encourages the progressive evolution of film culture and individual lives by celebrating the transformative power of the moving image in all its forms. Through a combination of intelligent programming and exemplary service, it creates singularly vital experiences for audiences of all kinds. _TO RAISE AWARENESS, INFLUENCE OPINION, CHANGE BEHAVIOR, ENCOURAGE ACTION, BUILD COMMUNITIES, EVEN INSTIGATE SOCIAL MOVEMENT. FORMAL LANGRUAGE MOBILIZING programs. Program elements are re-‐arranged into MODULES that are then DIFFERENTIATED by the quality of space according to program. In addition, the formal langruage is highly influenced and based on the need of the program.
PROGRAM AGENDA PRIMARY OCCUPANTS are separated into two types: technical and cultural. TECHNICAL STORE FRONT: SALES STAFF TECHNICIAN OPTICIAN BEHIND THE SCENE: TECHNICIAN OPTICIAN ENGINEER COPYWRITER DIGITAL CONTENT SPECIALIST SYSTEMS ENGINEER TECHNICAL SUPPORT REPRESENTATIVE CULTURAL MUSEUM MANAGER MUSEUM STAFF TECHNICIAN HUMAN RESOURCE PROFESSIONAL PHOTOGRAPHERS FILM MAKERS SOCIAL MEDIA SOCIAL WORKERS And then are modularized into several modules according to the program function, then inner connected by the “Linkage”. Each module has independent supporting programs, for example lobby, café. ENTRY SHOWCASE SPACE RETAIL STORE STUDIO ENVIRONMENTAL MIMICING SPACE SERVICE & REPAIR CENTER WORLDWIDE NETWORK CENTER MEETING ROOM CAFÉ ENTRY SHOWCASE SPACE OPTICAL SHOP
OPTICAL LABORATORY CAFE STORAGE ENTRY MUSEUM GALLERY (PROFESSIONALS) GALLERY (NOVICE) PRINTING ROOMS MEETING ROOM STUDIO COMPETITION DEPARTMENT CAFE STORAGE ENTRY OFFICE SPACE DEVELOPING DEPARTMENT LABORATORY STORAGE RESIDENTIAL CAFÉ LOBBY
The Function of Ornament a. What is an example of “mechanisms” that allows architecture to engage the city? Architects have been capturing the forces that shape society as material to work with in order to use mechanisms to connect to culture. There are several examples of using style as a way to achieve this. For example modernism used transparency to achieve a “direct” representation of architectural elements of space, structure and program. Another example is Sigfried Kracauer’s suggestion “ bestow form to a given matter”. These buildings produce affects that seem to grow directly from matter itself. b. Why is it difficult to maintain a pure transparency in glass in contemporary practice? Pure transparency can be seen as cynical and dull, there is no trace of individuality but on the contrary, to it is suppressed. c. What are the opportunities when buildings no longer “represent the interior ”through an “obsession with transparency”? One of the opportunities is using décor to integrate buildings into the urban realm and give them meaning in the eyes of the public. d. How does “direct sensation” help architecture engage the contemporary city where cultural references are diverse? Operating through direct sensations, they bypass the need for the codification of language and are able to shift across space and time. Direct sensation may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible. e. What are some examples of our contemporary ornaments according to the author? Contemporary ornaments are based on new systems of production that opens up possibilities for differentiation and customization, which are explored through investigations of patterns in the structure, screen and surface chapters.
NORTH EAST ELEVATION Located Facade SOUTH WEST ELEVATION Distance between Skin 1 and Skin 2
Resident
Cinema
Museum
Office
Lower Level Studio Restaurant
Office Resident
Studio
Office Resident
Restaurant Higher Level Studio
Lower Level Studio
Restaurant
Office Atrium
Located Program
NORTH EAST ELEVATION SOUTH WEST ELEVATION
0’
1’
3’
6’
8’
18’
24’
Amount of Glazing (Module / Panel)
8’
3’
3’ 8’
6’ 6’ 24’ 3’
3’
3’ 3’
3’
24’ 24’
18’
24’
18’
8’
6’
6’
SKIN 1
24’
3’
SOUTH WEST ELEVATION - JESSIE SQUARE
SOUTH EAST ELEVATION - MISSION STREET
3’
3’
3’
3’
NORTH EAST ELEVATION - 3RD STREET
NORTH WEST ELEVATION - THE WESTIN HOTEL
VOID
SAN FRANCISCO FOG
CLEAR EDGE
SOUTH WEST ELEVATION - JESSIE SQUARE
-MINIMUM distance between skin 1 and skin 2 -HIGHER sun light penetration -allowable AIR circulation
SOUTH EAST ELEVATION - MISSION STREET
-MAXIMUM distance between skin 1 and skin 2 -LOWER sun light penetration -allowable PHYSICAL circulation
NORTH EAST ELEVATION - 3RD STREET
NORTH WEST ELEVATION - THE WESTIN HOTEL
TRANSLUCENCY LEVEL
SKIN 2
LOW
HIGH
SKIN 2
FLOOR HEIGHT TRUSS SYSTEM
LOAD PATH
F A
G
B
C
D
E
H
1’ 1’ A MONOLITHIC TEMPERED GLASS B INSULATING GLASS UNIT C D E F G H
SUMMER
WINTER
SPIDER CLAMPS
LOUVER
SUSPENDED CEILING WITH TRANSLUCENT GLASS INTERIOR GLASS WALL STRUCTURAL GLASS FINS RAISED FLOOR
IMAGE LAMINATED BETWEEN GLASS
A
B
D
H
C
F
_SELECT SECTIONS OF ARONSON FACADE _ALTER THE MODULE OF THE PIXELS _DISTRIBUTE THROUGHOUT THE ENTIRE BUILDING TO CREATE FOG PATTERN E
A
H
F
G
A LAMINATED GLASS B SEATING C D E F G H
SPIDER CLAMPS
INSULATING GLASS
MONOLITHIC TEMPERED GLASS SUSPENDED CEILING WITH TRANSLUCENT GLASS STAIRCASE RAISED FLOOR
Wall type Load Path DIAGRAM
STRUCTURAL PLAN A
B
C
D
E
F
G
H
1
2
3 4
5
6
HIGHER LEVEL STRUCTURAL PLAN
1
2
3 4
5
6
MIDDLE LEVEL STRUCTURAL PLAN
A
N
B
C
D
E
F
G
H
1
2
3
4
5
6
6’
Level Roof 355’
Level 26 342’
Level 25 329’
Level 24 316’
Level 23 303’
Level 22 290’
Level 21 277’
Level 20 264’ HIGH LEVEL PLAN
Level 19 251’
Level 18 231’
Level 17 218’
Level 16 205’
Level 15 192’
Discontinuation
Level 14 179’
MID LEVEL PLAN
Level 13 166’
Level 12 150’
Level 11 137’
30’
1
Level 10 124’
Level 9 98’
Level 8 111’
30’
2 Level 7 98’
Level 6 85’
Level 5 72’
3
Level 4 59’
Discontinuation
4 Level 3 39’
Level 2 26 ’
5
Discontinuation
Level 1 13’
GROUND LEVEL PLAN
0’
Level 0 Ground level
Level -1 -10’
Level -2 -20
6
Level -3 -30’
GROUND LEVEL STRUCTURAL PLAN
STRUCTURAL PLAN A
Level Roof 355’
Level 26 342’
Level 25 329’
Level 24 316’
Level 23 303’
Level 22 290’
Level 21 277’
Level 20 264’ HIGH LEVEL PLAN
Level 19 251’
Level 18 231’
Level 17 218’
Level 16 205’
Level 15 192’
MID LEVEL PLAN
Level 14 179’
Level 13 166’
Level 12 150’
Level 11 137’
Level 10 124’
Level 9 98’
Level 8 111’
Level 7 98’
Level 6 85’
Level 5 72’
Level 4 59’
Level 3 39’
Level 2 26 ’
GROUND LEVEL PLAN
Level 0 Ground level
Level 1 13’
0’
Level -1 -10’
Level -2 -20
Level -3 -30’
B
C
D
E
F
G
H
1
2
3
4
5
6
6’
Hat truss Dead Load Load hold upwards by hat truss
A
B
C
D
E
F
G
H
1
2
3 4
5
6
A HIGH LLEVEL PLAN 8 Level 289’
1
2
3 4
5
_CONSTRUCTION TYPE: 1-A _PROPERTY BUILDING STRUCTURE FIRE RATING: 3 hr _2 FIRE EXIT STAIRS (WITH SPRINKLERS): 3a minimum, or 30 feet minimun distance _MAX TRAVEL DISTANCE TO FIRE EXIT STAIRS: 300 FEET
6
A MID LLEVEL PLAN 2 Level 220’
N EXIT
1
2
3 4
EXIT 5
6
GROUND LEVEL L PLAN A Levell 0’