AR1A075 Building Technology

Del Seminars on Building Technology A redesign for the auditorium space, Kunsthal Ro erdam

AR1A075 2012-Q1/2

Proposing a double corrugated glass facade (in 3932 words) 1558978, M.G.M. Klompenhouwer Tutor: Karel Vollers

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A redesign for the auditorium space, Kunsthal Ro erdam Proposing a double corrugated glass facade (in 3932 words) M.G.M. Klompenhouwer, student number 1558978

1. Abstract By proposing a double corrugated glass facade, the auditorium space will have greater acous c- and thermal comfort: • the curved surface will improve the room acous cs by sca ering sound in mul ple direc ons; • traffic noise will be reduced by adding a buffer zone (a second skin) and • a climate ceiling provided with perfora ons and Rockwool will improve the thermal comfort of the space and func on as subtle sound absorber.

In an a empt to prac ce on the ´best of both worlds´ within the meaning of glass facade systems1, the inner- and outer glazed building skins will have different structures: The curved glass on the outside has a steel structure and is mounted with spider fi ngs.

The ‘alterna ng’ posi oning of this steel structure emphasizes the curves and repe on of the system.

Keeping the Casa da Musicá in Porto2 in mind, the proposed corrugated glass is partly meant as a reference to the fragile curtain room divider of Koolhaas’ original design for the auditorium space. Nowadays ‘curtains’ of glass exist and the material glass appears more solid than ever. Secretly therefore the redesign is also an a empt to make poten al art thieves3 believe that the Kunsthal actually is a strong locked bulwark, without compromising on the desired transparency of a dynamic public building.

1 Structural corrugated glass as well as the Octatube Spider Glass system were developed by professors at the Del University of Technology, Prof. ir. Rob Nijsse and Prof. dr. ir. Mick Eekhout. See also: Wassink, Jos (2011), Wetenschap: de kracht van glas, Del Integraal 2011 #4, pg. 6 - 9 2 another iconic design by O.M.A 3 In October 2012 the Kunsthal was rudely robbed from seven valuable pain ngs.

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Fig. 2.1 Eleva on (west facade) Scale 1-200 Credits: drawing on the basis of provided drawings by undersigned Indica on of the fragment chosen at the loca on of the west facade Fig. 2.2 Impression of the auditorium space Credits: photograph by undersigned Giving insight into the structural and interior elements in the space: the main concrete structure and the steel structure for the glass facade in its current appearance.

Fig. 2.3 Impression of the west facade Credits: photograph by undersigned The image shows the materializa on of the west facade: a combina on of two different curtain wall systems, black concrete and the reference to the sloping floor of the auditorium. Take no ce of the difference in architectural grids for the facade at the loca on of the restaurant (ground floor) and of the facade at the loca on of the auditorium space (first floor).

2. The fragment chosen Despite its iconic status in the field of ´contemporary´ Dutch architecture and many excellent architectural reviews, over the years the Kunsthal has endured a lot of cri cism.

The comments are mostly on the usability and func onality of the building for the Kunsthal users. Nevertheless, over the years also quite a lot defects (or be er said inconveniences) on the buildings’ architectural engineering have been addressed.

Maybe these inconveniences have their origin on budget constraints during the design process, or maybe simply on the stand that the architects and contractors priori es were at the me not on technical innova on at the detailed level. Nevertheless, every detail seems to be in service of the architectural experience.

I find the building technology of the Kunsthal intriguing, divers, clearheaded and at the same me in a way quite complex. I think this fascina on originates in the wide range of materials applied in the façades.

The fragment for which I would like to make a redesign is posi oned at the west façade of the Kunsthal (see also fig. 2.1). For the assignment, redesigning the west façade seems to be a good and varied exercise in building technology ie detailing. The fragment includes various materials: glass, steel and concrete structures combined. Programma cally, the chosen fragment is situated at the level of the auditorium.

The aforemen oned comments on usability of the Kunsthal can be found especially in the auditorium space. The management of the Kunsthal complained about the posi oning of the main entrance next to the auditorium. This makes it hard to use the auditory apart from the museum area4. Next to this func onal concern, it seems that the acous cal appearance of the auditorium space were not (enough) taken into considera on in the original design.

For the redesign I therefore would like to develop func onal and technical improvements in the direc on of acous cs, in order to reduce (traffic) noise during conferences and lectures and improve the overall comfort and atmosphere of the auditorium space.

Originally, Koolhaas designed ligh ng modules mainly in the floor underneath the seats.

Since the museum director stated in an annual report5 that the museum would like to use the space more o en (also in the evening), I intend to reconsider the ligh ng of the auditorium as well.

3. The research ques on The current management of the Kunsthal aims to rent the auditorium space more o en, in evening me as well in day me when the exhibi on areas are open6. This brings along a ‘new’ set of requirements for this space. As men oned in paragraph 2, the redesign will involve research and adjustments on the acous cs of the space (including west facade, ceiling and floor) and the ligh ng of the room. Taking in account the aformen oned, the comprehensive research ques on for this redesign assignment is formulated as following: “HOW COULD THE AUDITORIUM SPACE OF THE KUNSTHAL BE ADJUSTED TO CURRENT WISHES AND REQUIREMENTS OF ITS USERS AND UPGRATED TO PRESENT TIME IN THE SENSE OF PRIMARILY ACOUSTICS, LIGHTING AND CLIMATE DESIGN?” 4 Kunsthal Jaarverslag, pg. 4, available: h p://www.kunsthal.nl/85-Jaarverslag 5 Ibid 6 Ibid 5

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Fig. 4.1 Muziekgebouw aan het IJ Wall detail Muziekhuis aan ‘t IJ credits: Bouwwereld 09-05-2005 photo detail of the main hall Fig. 4.2 Muziekgebouw aan het IJ Wall detail LED ligh ng integra on credits: Bouwwereld 09-05-2005 photo impression of the LED ligh ng system Fig. 4.3 Muziekgebouw aan het IJ Cross sec on of the main concert hall credits: sketch by undersigned based on drawing from Bouwwereld 09-05-2005, pg. 54 Technical detail of the interior of the balcony (scale 1:20). As you can see in the wall sec on, the wall is covered with a wooden frame. Behind this frame there is a flexible, embossed plaster wall which provides a good sound dispersion. Also, behind the maple wooden slates there is an integrated LED ligh ng system which can change colour and can be synchronized with the music in the concert hall.

Fig. 4.4 Casa da Musica exterior view credits: Heirbaut, Jim (2005), de Ingenieur 12/13, pg. 76 - 79 photo impression of the corrugated glass facade Fig. 4.5 Casa da Musica interior view credits: Heirbaut, Jim (2005), de Ingenieur 12/13, pg. 76 - 79 photo impression of the buffer zone in between the two corrugated glass layers. A steel structure is provided in order to intercept the wind load.

Fig. 4.6 MAS, Antwerp exterior view credits: Wassink, Jos (2011), Wetenschap: de kracht van glas, Del Integraal 2011 #4, pg. 6 - 9 photo impression of the corrugated glass facade in the MAS buidling. No ce the horizontal auxiliary structure.

4. Reference Projects For the redesign I found inspira on and useful informa on in three reference projects. As aforemen oned in paragraph 2, the redesign includes the topic of acous cs in the auditorium space. A reference project that corresponds with this topic and has my fascina on is the Muziekgebouw aan het IJ in Amsterdam. The design for this concert hall was made by 3XN architects from Denmark. The Muziekgebouw aan het IJ opened its doors in 2005 and is obviously primarily focused on sound in the sense of music. In my opinion the concert hall is a good example of how to cope with acous cs and sound related programme, despite the fact that it is a larger scale project than the auditorium space of the Kunsthal.

This reference project has several features that can be used in my redesign for the Kunsthal building. The element of the project that is most relevant to the redesign topic would be the acous c system in the mail concert hall (fig. 4.1 - 4.3). The system has -also for func onal reasons- adjustable acous c elements in the floor and ceilings. Since I intend to reconsider the ligh ng of the Kunsthal’s auditorium, a nice feature of the main concert hall is the ingenious electrical light in the concert hall itself that pulsates to the music (fig. 4.2). This reference project (and in specific, the detail in Figure 4.3) led me to the idea of crea ng a curved surface to provide a be er sound disper on in the auditorium space.

I did not want the redesign to compromise on the light and open atmosphere of the auditorium space. Therefore, the first reference project turned out to be not useful enough for my redesign as a whole. I had to look further for other reference projects with more specific examples of curved surfaces which also have the characteris c of transparency.

A good example of such a project is the Casa da Musica in Porto, which is also designed by O.M.A. The concert hall of this project includes several corrugated glass facades (fig.4.4).

These facades became part of an integrated solu on for the acous cs of the concert hall.

With the rectangular shape of this hall together with a ´clean´ design, in the first place there was a high risk of flu er echo7. As objec on to the eli st closed nature of tradi onal concert halls, Koolhaas wanted to create a light and open space8. From an architectural point of view, he therefore included big window surfaces. Large surfaces of a hard material such as glass brings along difficul es for the acous c design9. Instead of crea ng a hard rebounce of sound, the curved surface of the corrugated glass solu on helps to diverge the sound waves through the space. This way, the glass facade serves both the architectural design as well as the acous c design.

Apart from the shape of the glass, the use for another acous c issue is also relevant for the redesign. The concert hall borders on a busy traffic square. In order to provide noise protec on, two corrugated glass facades are implemented. There is a buffer zone in between these layers of glass (fig. 4.5). This buffer zone func ons both as sound insulator and as foyer.

A third reference project in which corrugated glass facades are implemented is the MAS in Antwerp10 (fig. 4.6). The corrugated glass facades of the MAS building seem to mainly func on as solu on for architectural transparancy of the building and not so much as acous c element. The glass surfaces have rela vely large dimensions compaired to the Casa da Musica. I analyzed this project mainly for these large dimensions and the structural use of glass with only ‘one layer’.

7 Flu er: a term which we will discuss in the next paragraph.

8 Heirbaut, Jim (2005), Casa Koolhaas, De Ingenieur 12/13, pg. 77 9 we will also explain this further in the next paragraph 10 In both the Casa da Musica and the MAS building ABT and TUD professor R. Nijsse was involved in the engineering process.

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Fig. 5.1 Reflec on principle Credits: drawing by undersigned the principle of reflec on in the case of hard surface materials such as glass.

Fig. 5.2 Graphical approach to the reflec on of sound versus different shapes of glass.

Credits: drawing by undersigned A) current glass facade Kunsthal, B) reference project: MAS Antwerp, C) proposal redesign Fig. 5.3 Precondi ons to the corrugated glass panel Credits: drawing by undersigned based on text and diagrams from the ar cle of Frans Herwijnen (2008), Construc e en Uitvoering: warm en koud gebogen glas, Cement 2008 #2 pg. 32 - 37

“GEOMETRICAL PRECONDITIONS: Rext = external radius etot = glass thickness (in total) L = length Fext = rise of arc Cext = chord line α = angle of apertude Dext = elabora on Hot bent glass can be curved in different shapes with the following geometrical precondi ons: [1] Cylindrically curved glass R = constant α ≤ 180 ° Lmax Cmax = 4,2 x 2,5 m2 [2] Conical curved glass R = variable α ≤ 45 ° [3] Orbicular curved glass R = constant α ≤ 30 ° Lmax Cext = 2 x 2 m2 [4] Spherical curved glass R = variable (for example a paraboloid) α ≤ 30 ° Lmax Cext = 2 x 2 m2 [5] An -clas c curved glass”

5. Literature references To be able to adjust the acous cs of the auditorium, we first must understand the effect of sound as compared to glass surface. The hard texture of the material brings along a simple basic principle of reflec on: the angle of the so called incident sound beam is equal to the reflected sound beam perpendicular to the reflec ng surface (see also Fig. 5.1).

Keeping this principle in mind, figure 5.2 gives insight into the alterna on of the sound reflec on by curving the glass surface in several variants. First, at the top of the figure, the movement of sound in the case of a regular glass surface is shown. The current glass surface parallels the wall on the outher side of the auditorium space. This is not quite an ideal situa on for the acous cs, since it can cause flu er echo11.

The proposal is to diverge sound as much as possible by curving the glass surface. The middle curved surface approximates the refererence projects of MAS in Antwerp and of the Casa da Musica in Porto. The large curve seems only par ally improving the acous cs since in the hollow situa on the glass converges the sound. More ideal is the curved surface in the flipped situa on, because then it disperges the sound through the auditorium. In the bo om of the figure a moderate variant is shown. The problem of focusing sound is in this solu on largely remedied because of a wider curve (see also Fig. 5.2)12. This variant seems preferrable from an acous c point of view. We also have to keep in mind dimensional constric ons of the exis ng building13, which also lead us to the bo ommost variant.

Apart from the acous c proper es of the curved glass and the boundary condi ons of the Kunsthal, we also must inves gate the structural proper es before we can define the exact glass panels. Figure 5.3 indicates the structural precondi ons for hot bent corrugated glass.

These precondi ons find their origin in the manufactoring process and the material itself.

In the designs for the Casa da Musica and the MAS reference projects waving cylindrical curves are implemented14 (see also Figures 5.4 and 5.7 on the next page). For the redesign we will use the precondi ons of cylindrically curved glass [1]. We now know that the glass pannels have maximum dimensions of 4,2 x 2,44 m2 and that the angle of apertude (α) ≤ 180 °. It is possible to add one or two straight extensions onto a cylindrical curved glass panel15.

Apart from the geometrical proper es shown in Figure 5.3, the shape is also dependent of the window weight: the thickness of the glass pannel, etot together with the panel dimensions. In Figure 5.4 on the next page this ra o between [etot] and [α] is shown.

11 the echo between two parallel walls together with a poor sound distribu on because of insufficient disper on.

12 source: Herwijnen, van Frans (2008), Construc e en Uitvoering: warm en koud gebogen glas, Cement 2008 #2, pg. 33 13 see also paragraph 6 14 source: Herwijnen, van Frans (2008), Construc e en Uitvoering: warm en koud gebogen glas, Cement 2008 #2, pg. 34 15 Ibid

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Fig. 5.4 Sketch for the redesign of a waving cylindrical curved glass panel.

Credits: drawing by undersigned the do ed line in the bo om indicates that some of the panels in the redesign will have a bevelled bo om edge, because of the sloped floor of the auditorium space.

Fig. 5.5 Precondi ons to the radius of the corrugated glass panel based on thickness of the glass Credits: drawing by undersigned based on text and diagrams from the ar cle of Frans Herwijnen (2008), Construc e en Uitvoering: warm en koud gebogen glas, Cement 2008 #2 pg. 34 Fig. 5.6 Border condi ons of the redesign Credits: drawing by undersigned The sketch (scale 1:10) is based on acous c, structural substan a ons and constraints of the current design of the auditorium.

In order to op mize the corrugated glass facade, we have to keep at least the men oned acous c- and structural precondi ons in mind (see also Figure 5.6).

Like the Casa da Musica, the redesign will have a double corrugated glass facade. Between these two layers, a cavity will provide noise protec on16. Keeping the dimensional restric ons of the exis ng builing in mind, the buffer zone together with two corrugated glass facades should fit between gridlines [A] and [B] or in other words: the ‘double’ facade has a maximum width of 1050 mm. We assume: the larger the bufferzone, the more air between the glass facades and thus the more noise protec on.

In the Casa da Musica reference project, the buffer zone is an integrated solu on with a focus on both func onal- and acous c comfort: the buffer zone provides space for the lobby ánd func ons as sound insulator. The space available in the auditorium is not big enough to be func onal for the museum user. In order to use the buffer zone as effec ve as possible, the aim is to integrate this cavity into the climate concept of the redesign.

In other words: the aim is to let the buffer zone together with the two corrugated glass facades func on as an ac ve, double skin facade. An important focal point for this is that there should be natural ven la on in the cavity between the inner- and outer glass facades (see Figure 5.8)17. Another general point of a en on is that the cavity should be a ainable for maintenance purposes such as the cleaning of the glass facades.

Fig. 5.7 Parameters of the MAS and Casa da Musica reference projects Credits: drawing by undersigned based on text the ar cle of Rob Nijsse (2008), Construc e en Uitvoering: Ontwikkeling in glasconstruc es, Cement 2008 #2, pg. 44 The MAS glass facade consists out of cylindrical curved glass panels with two ‘waves’. A panel has a width of 1800 mm (900 mm per curve) and a Fext of 300 mm. The length of a panel is 5500 mm. The windows needed a height bridging of 11000 mm.

Therefore, the engineers decided to stack two panels of 5500 mm. The glass facades of the Casa da Musica building have heights varying from 12000 to 15000 mm. For the maximum height three panels of 5000 mm were stacked with help of a auxilary steel construc on. The total thickness of the panels are 2x10 mm.

Fig.5.8 Considera ons and principles of the facade func oning als double skin.

Credits: drawing bij undersigned From le to right: a) the opera on of a double skin facade when both layers are closed; b) the func oning of such a facade in a open configura on; c) schema c approach of natural ven la on. The fresh air comes in via the bo om of the outside glass layer, rises up through the cavity (stack effect) and goes inside the auditorium space. For this last step, crea ng underpressure inside is an essensial condi on.

16 for it func ons als ‘buffer zone’ 17 Jellema 4 Omhulling, pg 166

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Fig. 6.1 Sketch west facade, bo om detail of the current situa on. credits: drawing by undersigned 1. in red: parts of the current building which will be demolished for the redesign. These parts are: - the steel columns on which the current glass facade is mounted; - the curtain wall at the loca on of the auditorium; - the cement screed between grid lines [A] and [B]; - the sloping concrete slab. A er removing this element, the remaining structure in this place should be (temporarely) masked with foil.

2. in blue: the elements of the current building which can be preserved.

Fig. 6.2 Bo om detail of the west facade in its new situa on, one of the first sketches. credits: drawing by undersigned inves ga on of how the double corrugated glass facade can be assembled onto the exis ng building Fig. 6.3 sketch of a horizontal junc on between two glass plates of the MAS building. credits: drawing by undersigned based on a drawing in the following ar cle: Nijsse, Rob (2008), Corrugated glass as improvement to the structural resistance of glass, TU Del , Challanging Glass Conference 1 2008 pg. 3060 Instead of a transparant elas c interlayer between the glass panels stacked upon each other, for the MAS facade design the engineers decided to use a small horizontal profile as interlayer. This profile func ons as an intercep on beam when one of the bo om glass panels breaks and needs to be replaced.

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Fig. 6.4 Upper detail of the west facade of the auditorium in its new situa on, one of the first sketches. credits: drawing by undersigned inves ga on of how the double corrugated glass facade can be assembled onto the exis ng building Fig. 6.5 Sketchy inves ga on of how both glass facades curve around dierent kinds of integrated elements such as ligh ng modules in the floor and secondairy construc on elements of the outmost glass layer. credits: drawing by undersigned In this sketch we see ver cal impressions of the facade in both its narrowest and widest configura on. On the bo om of this sketch a horizontal impression is shown.

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Geometrical values for corrugated glass panels, based on production process and material limitations (see also paragraph 5) Rext = Constant emax = * Lmac = 4200 mm Cmax = 2500 mm Fmax = * αmax = 180°

Geometrical properties of the applied corrugated glass panel of the inner glass façade (see also Fig. 6.6) Rext = Constant etot = 20 mm Lext = 2565 mm Cext = 1200 mm Fext = 270 mm α ≤ 180°

* The found literature does not indicate this limit value. For the redesign, we therefore base this property value on the found reference projects (the built corrugated glass facades of the Casa da Musica in Porto and the MAS building in Antwerp).

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Fig. 6.6 Sketch of the arrangement of glass panels of the inner corrugated glass facade. credits: drawing by undersigned The glass panel can be assembled as is shown in variant [1] or mirrored as is shown in varant [2] The glass panels are built up from two layers of 10 mm hot bent glass.

6. Redesign

Fig 6.7 Schema c approach of the border condi ons for corrugated glass panels compaired to the actual proper es of the applied panel. (as is shown in Fig. 6.6) credits: drawing by undersigned As is shown in the table, the panels measure up to the previous stated geometrical precondi ons

6.2 Construc on design

6.1 Structural design The double-skin corrugated glass facade func ons as a passive climate controller in the sense of the acous cs of the auditorium space. By adding the outhermost glazing system, a buffer zone is created which benefits the acous c- and the thermal system.

For the redesign, I chose to work within an architectural grid of 1200 mm, which is the same grid used in the facade at the loca on of the restaurant area. In the original design, the grids of the restaurant and the auditorium facades were different1. I assume this design decision came from an architectural point of view: the different facades indicate different func onal programs. In my opinion, the corrugated glass facade differs enough from the restaurant curtain wall. Therefore, different grids no longer are ‘necessary’ from an architectural point of view. A grid of 1200 mm corresponds be er with the main structure2 of the auditorium space.

Forasmuch as perpreserva on and demoli on of the exis ng design: The current west facade curtain wall of the auditorium together with the steel suppor ng construc on will be eliminated. With the aim to create enough insula on of the much wider redesigned facade, the exis ng cement screed between grid lines [A] and [B] will also be removed (see also Fig. 6.1).

Construc on of the outer glazed facade The exterior facade consists out of double corrugated glass panels. These panels are ghtened with (Spider) point fixing. These moun ngs are fixated to suppor ng steel columns. The glass panels ‘wave’ around these columns. The curves of the glass are emphasized by a contras ng strict grid for this auxiliary structure. I decided to also curve this outermost glazed layer mainly because the redesign now has a clear appearance from both the inside and the outside.

The curves of both the corrugated glass facades are equal but mirrored, for it benefits the noise protec on: the bigger the air cavity or in other words buffer zone, the bigger the sound insula on. Another important mo ve for this elabora on has to do with the maintainability of the facade. The space in-between the two glazed facades should be accessible for maintenance purposes such as cleaning. The buffer zone is accessible via a couple of glazed doors connec on the service space to the auditorium. Inside the buffer zone, gra ng is applied. Also important for the maintenance of the redesign is to minimize the amount of water inside of the buffer zone. For this purpose, aluminium weather cornices and aluminium pla ng are implemented in the redesign.

Construc on of the interior glass facade For the purpose of reducing the number of molds3, the base form of the corrugated glass panel is op mized as shown in Fig. 6.6. The panel measures up to the geometrical precondi ons men oned in paragraph 5 (see also Fig. 6.7). The panels are ver cally mounted with a transparent elas c intermediate layer. In the horizontal direc on, the panels are - like the MAS facade- mounted with curved steel profiles.

1 the facade at the loca on of the auditorium was designed within a grid of 1800 mm 2 with the angled concrete columns 3 and thereby the aim of ‘reducing’ the material- and produc on costs 15

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Fig. 6.8 Overview and assemby of the inner glass panels, scale 1:200 credits: drawing by undersigned Eleva on of the inner glass facade. The panels are ver cally mounted with a transparent elas c intermediate layer. In the horizontal direc on, the panels are - like the MAS facade- mounted with curved steel profiles.

Fig. 6.9 Organisa on and dividing of the inner glass panels, diagram scale 1:200 credits: drawing by undersigned The diagram gives insight into the layout of the inner glass facade (the structural corrugated glass).

The inner facade has five different elements:

A)

B) C) D) E)

6.3 Climate design

Ven la on and thermal buffer zone Inside the cavity, stack effect drives air to the top of the facade. From there it enters the building (above the climate ceiling). The climate ceiling provides the auditorium with air.

For this principle to work and to circulate the air, there should be suc on on the other side of the auditorium (see also Fig. 6.13 and 6.14). The space in-between the outer glazing system and the inner glazing system could work as a thermal buffer zone that can heat up air before it enters the building.

Acous c climate The cavity between the two glass layers forms a buffer zone which provides noise protec on. The interior corrugated glass facade disperses the sound in mul ple direc ons through the auditorium space. A (side) effect of an implemented climate ceiling is that the perfora ons also func on as sound absorp on.

The standard size of the glass panel is 1200 x 2565 mm. The diagram shows thirthy-six of these panels; Thirteen panels with the dimensions of 1200 x 1940 mm each; Twenty-three panels within the grid have a bevelled underside; Three panels have (on the le side of the drawing) a straight extension; Two glazed doors for maintenance purposes.

Except for the doors, these elements are all mounted according to the priciple as shown in Fig. 6.6 (each panel can be also mounted in a ‘mirrored posi on) Fig. 6.10 Overview and assemby of the outermost glass panels, scale 1:200 credits: drawing by undersigned Eleva on of the exterior glass facade in total. The panels are secured with (spider) point fixings.

Fig. 6.11 Organisa on and dividing of the exterior glass panels, diagram scale 1:200 credits: drawing by undersigned The diagram gives insight into the layout of the outermost glass facade (the corrugated ‘spider glass’ facade). The exterior facade is constructed from four different types of glass panels:

F) G)

H)

I)

The most frequent glass panel is applied 97 mes and is measured 1200x1465 mm 25 panels within the grid have a sloped bo om. The height of these panels are varied. the width is 1200 mm; four ‘square’ panels differ from the standard sized glass panel. These are dimensioned 1200x1770 mm; four panels (on the right of the facade) have a different width of 300 mm .

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Fig. 6.12 Overview and assembly of the facade elements credits: drawing by undersigned Isometrical view, scale 1:50

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Fig. 6.13 Organisa on and opera on climate concept credits: drawing by undersigned Inside the cavity, stack effect drives air to the top of the facade. From there it enters the building (above the climate ceiling). The climate ceiling provides the auditorium with air. For this principle to work, on the other side of the auditorium there should be suc on (to ciruclate the air).

Fig. 6.14 Organisa on and opera on of the exis ng radiotor within the climate concept credits: drawing by undersigned the effect and integra on of the exis ng hea ng system. For the climate system, the radiotor is actually op onal.

On the right page: Fig. 6.14 Organisa on and opera on of the exis ng radiotor within the climate concept credits: drawing by undersigned The diagram gives insight into the solu ons for improving the acous cal environment in the auditorium space: the buffer zone provides noise protec on; the corrugated glass facade disperses the sound in mul ple direc ons through the auditorium space. A (side) effect of the climate ceiling is that the perfora ons also func on as sound absorpsion.

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On le page (from top to bo om): Fig. 6.16 Eleva on of the redesign fragment Scale 1-50 (reduced from scale 1-20)

Impression of the outhermost corrugated glass layer with its steel structure and Spider fi ngs. The drawing shows the architectural grid of 1200 mm in the horizontal direc on and variable glass panel sizes in the ver cal direc on at the loca on of the sloping concrete.

[1] exis ng black concrete [2] Spider frameless glazing system with 10 mm steel curved strip [3] corrugated laminated glass, 2x10 mm, glass panels width = 1200mm depth = 300 mm, height = var.

[4] galvanized steel column 150 mm [5] Styrock sandwich panel [6] exis ng aluminium curtain wall structure Fig. 6.17 Horizontal sec on Scale 1-50 (reduced from scale 1-20)

Floor plan of the corrugated glass facade which gives insight into the steel structure and the fixa on of the glass (exterior building skin) to the galvanized steel columns. As is shown in this figure, the corrugated glass layers ‘swing’ around these steel columns. Therefore, the glass panels are fixated to the column alternately on their inner curve (on the right side of the steel beam) and outhermost curve (on the le side of the steel beam). In the direc on of grid line [B], the structural corrugated glass ‘swings’ in a similar way around LED uplighters.

On right page: Fig. 6.18 Cross sec on Scale 1-50 (reduced from scale 1-20)

Impression of the corrugated glass facade in total.

The sec on cuts the facade at the most narrow situa on, in order to show its rela on with the gra ng (for maintainance purpose) and the exis ng building elements.

[1] water resistant foil [2] Styrock sandwich panel [3] steel profile [4] insula on, closed-cell, walkable [5] plywood [6] aluminum weather cornice (fixated to steel profile with 3M tape) [7] LED uplighter, RGB [8] steel profile [9] steel structure [10] gra ng [11] steel profile [12] spider [13] steel strip [14] galvanized steel column [15] corrugated laminated glass, 2x10mm [16] steel profile [17] aluminum pla ng [18] insula on, closed-cell [19] water resistant foil [20] steel profile [21] air grate [22] perforated metal grate [23] perforated metal plate [24] climate ceiling [25] Rockwool insula on

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On le page: Fig. 6.19 Longitudinal Sec on Scale 1-50 (reduced from scale 1-20)

View on the inside of the facade. The image gives an impression of the structural inner glass facade.

The corrugated glass exists of 2x10 mm laminated glass. Since the maximum height of the west facade cannot be bridged with one glass panel (due to transport and produc on restric ons)1, the building skin layer is horizontally divided into two parts. In order to persue as many uniform glass pannels as possible, the separa on is parallel to the top of the glass facade. The bo om pannels follow the (partly sloping) auditorium floor and are therefore ranging in height. The ampitude and width of each panel is equal: a width of 1200 mm and curving depth of 300 mm.

The longitudinal sec on also gives insight into the LED uplighters added in the exis ng concrete floor as well as insight into the rela on between the propor ons of the exis ng objects (such as the tribune and concrete main structure) with elements of the redesign. The image also shows the principle of the climate ceiling as well as the principle for the ven la on air grates .

On right page (from bo om to top): Fig. 6.20 Bo om detail V01 Scale 1-20 (reduced from scale 1-5)

Connec on of the double corrugated glass facade to the exis ng floor.

Fig. 6.21 Middle detail V02 Scale 1-20 (reduced from scale 1-5)

Intermediate connec on of the structural double corrugated glass facade. The detail also shows the gra ng and its connec on to the steel structure.

Fig. 6.22 Upper detail V03 Scale 1-20 (reduced from scale 1-5)

Connec on of the structural double corrugated glass facade to the upper concrete facade. The detail also gives an impression of the climate ceiling.

1 Nijsse, Rob (2008), Corrugated glass as improvement to the structural resistance of glass, TU Del , Challanging Glass Conference 1, pg. 3058 25

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7. Peer Review Peer reviewers: Olaf Burlage (student number 4076133) Ilse van Rosmalen (student number 4149262) Natsuki Takeshita (student number 4218795) 1. What is the most relevant paragraph of the ar cle in rela on to the research ques on and why? Which paragraph is the most irrelevant and why?

“The research ques on, “HOW COULD THE AUDITORIUM SPACE OF THE KUNSTHAL BE ADJUSTED TO CURRENT WISHES AND REQUIREMENTS OF ITS USERS AND UPGRATED TO PRESENT TIME IN THE SENSE OF PRIMARILY ACOUSTICS, LIGHTING AND CLIMATE DESIGN?”, describes the which aspects of the building the redesign has addressed. Thereby the abstract makes perfectly clear that the focal point of the redesign proposal is improving the acous cs of the auditorium space of the Kunsthal.

Sins the main aspect of the redesign addressing the problem of bad acous cs is the corrugated glass façade the most important chapter would be 6.21, where the writer is supposed to elaborate the construc on of the design. Furthermore I think that the literature reference (chapter 5) is almost quale important, because in order to understand the design solu on the reader needs to know what corruga on does to sound waves.”

“Paragraph 5 ‘Literature references’ is the most relevant paragraph of the ar cle. This paragraph describes the effect of sound in combina on with a glass surface. Also some conclusions are made by the collected informa on. This makes partly clear the choice for the redesign. More detail can be added to this paragraph to find the wright argumenta on.

The most irrelevant paragraph, ll now, is paragraph 4 ‘Reference project’. Here the student describes and the reference projects Muziekgebouw aan het IJ, Casa da Musica and the MAS building. Unfortunately, only one project is analysed. I think a deeper analysis is needed for a good inves ga on. This way other possibili es will be considered. Here could be concluded that there is no jus fied argumenta on for the chosen system of the redesign facade.”

“The most relevant paragraph in rela on to the research ques on is ‘… in the direc on of acous cs, in order to reduce (traffic) noise during conference and lectures and improve the overall comfort and atmosphere in the auditorium.’ This part set the definite goal of this design proposal. The most irrelevant paragraph is the part that refers why the west façade of the KUNSTHAL is good for the project of building technology. This part talked about this lecture, and not related to the research ques on.”

2. Which of the writers used argument(s), to your opinion, establish conclusive proof posi ve of the selected design solu on? Draw up the argument(s). Describe to which part of the design the arguments apply to.

“In chapter 5 the writer men ons arguments the “simple basic principle of reflec on: the angle of the so called incident sound beam is equal to the reflected sound beam perpendicular to the reflec ng surface”. The corruga on causes “alterna on of the sound reflec on in several variants”. This all sounds (ironic … haha) like theory that arguments the plausibility of the redesign. However, the above men oned is not founded with literature references by which I can concluded on the design performance. Found your theory, and the proposal makes a solid case I think!”

1 missing at me of the peer review 27

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“The analysis of paragraph 4 ‘Reference projects’ is not complete2. Also paragraph 5 ‘Literature references’ needs to be developed, to gain argumenta on that establish conclusive proof posi ve of the selected design solu on. The architectural sec ons and details are already made and show the solu ons for the redesign, only these solu ons with argumenta on need to be wri en down.” “‘… the curved surface … disperse the sound through the auditorium’ establish conclusive proof posi ve of the corrugated glass façade. This sentence shows the validity of the material for the usage of the room and possible to imagine the improvement of the acous c condi on in the auditorium.”

3. Describe elements in the redesign which show the realised integra on and coopera on between structure, façade and climate design.

“The double-skin corrugated glass façade system works as a passive climate controller regarding to the acous cs of the auditorium space. It is also suggested that the space between the outer glazing system and the inner glazing system works as a thermal buffer zone that can heat up air before it enters the building. As this is a very common sustainable construc on method, of which we can be sure it will work when detailed in the right way, I am doub ng if it will as detailed now because the outer glazing system is completely open.

Any warmed air will disperse through the cavity between the glass sheets.”

“An overview of the construc on and the climate diagrams are not yet added to the ar cle.

Therefore it is not possible to describe the elements, which show the realised integra on and coopera on between structure, façade and climate design. In the sec on a climate ceiling and ven la on arrows are drawn, this reveals a li le of the climate design. I think the structure and climate is already designed by the student, again the chosen solu ons need be drawn and wri en down to show the complete story.”

“The corrugated double glass wall is the elements that integrate and cooperate with structure, façade, and climate design. These glasses fixed to the steel structure make deadair space for indoor climate, and the glass works as an acous c wall and also new expression of the façade.”

8. Self Reflec on Before the peer reviews and before the poster presenta on, apparently I had not (quite enough) inves gated on the issue of ven la on. The peers justly remarked on that aspect of the redesign. A reasoned explana on for the thermal climate concept was missing, mainly because I treated acous cs as the climate aspect of my redesign. A er the peer reviews I researched a bit more of the thermal aspects of the redesign and natural ven la on. I added text and schemes in paragraph 53 and 6. Furthermore, one of the peers quite strictly expressed on the amount of text at the me. She stated that I did not substan ate my design solu ons. At the me, indeed I had not wri en down all of the process steps. That does not mean that the process steps weren´t taken. Nevertheless, I extended the text, like many other students, a er the presenta on. The peer reviews overall provided me a fresh insight into the status of the assignment.

2 missing at me of the peer review 3 see also pages 16 and 17 29

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9. Conclusion 400 words

HOW COULD THE AUDITORIUM SPACE OF THE KUNSTHAL BE ADJUSTED TO CURRENT WISHES AND REQUIREMENTS OF ITS USERS AND UPGRATED TO PRESENT TIME IN THE SENSE OF PRIMARILY ACOUSTICS, LIGHTING AND CLIMATE DESIGN? By proposing a double-skin corrugated glass facade, the overall indoor climate of the auditorium space will improve. The cavity between two glass layers forms a buffer zone which provides noise protec on. The interior corrugated glass facade disperses the sound in mul ple direc ons through the auditorium space. The straight glass facade of the original design brought along the effect of flu er echo. A (side) effect of an implemented climate ceiling is that the perfora ons also func on as sound absorp on.

The acous cal design decisions might need further inves ga on. Acous c design is a sophis cated profession. Analyzing and redesigning the en re acous c performance of the current auditorium are in prac ce more extensive1.

Adding a climate ceiling is jus fiable for the auditorium func on. On the other hand, a building with an art func on needs an advanced, subtle balanced thermal indoor climate.

The decision for a climate ceiling therefore could limit the possibili es for func onal redesigna on of the auditorium space in the future.

I did not want the redesign to compromise on the light and open atmosphere of the auditorium space. Be proposing a double-skin corrugated glass facade in the west facade of the auditorium space, the characteris cs of an open and light space remain while the overall acous c climate of the space will improve.

A er integra ng a double glass facade into the redesign, I decided to also curve this outermost glazed layer. In the first place I had an aesthe c mo ve: the redesign now has a clear appearance from both the inside and the outside. Also, the Casa da Musica reference project was designed by the same architect. The case of the redesign is smaller scale, but similar to the Casa da Musica project. My aim therefore also was to implement a more upto-date design solu on applied ´by´ Koolhaas for a similar design case. In my opinion, the resembling reference case(s) make(s) the redesign interes ng and more plausible.

Furthermore, the redesign for me personal was to be a good prac ce in working with different kinds of applica ons of corrugated glass.

1 but for this redesign task hopefully sufficient!

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10. Bibliography •

Compagno, Andrea (1995), Intelligente Glasfassaden, Basel: Birkhauser, pg. 94 - 119

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Crone, Josine (2005), Muziekgebouw met regelbare akoes ek, Bouwwereld 2005 #9, pg. 46 - 55. Available: h p://www.peutz.nl/info/peutz_in_het_nieuws/defini ef/ Peutz_Ar kel_Bouwwereld_09-05-2005.pdf

•

Debets, Carla (2008), Gegolfde glazen gevelbekleding met klemstukken, Bouwwereld 2008 #16, pg. 14 - 16 Available: h p://www.abt.eu/sitemanager/files/gegolfd_glas_ Bouwwereld.pdf

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Heirbaut, Jim (2005), Casa Koolhaas, De Ingenieur 12/13, pg. 76 - 79 Available: h p://www.jimheirbaut.nl/?p=270

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Herwijnen, van Frans (2008), Construc e en Uitvoering: warm en koud gebogen glas, Cement 2008 #2, pg. 32 - 37 Available: h p://www.abt.eu/sitemanager/files/ warmkoud_gebogen_glas_FransvanHerwijnen_Cement2.pdf

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Koolhaas, Rem (1992), O.M.A. 1978/1992, Madrid: El Croquis #53, pg. 74 - 105

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Koolhaas, Rem (2006), O.M.A. I 1996 - 2006, Madrid: El Croquis #131/132, pg. 204 256

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Melet, Ed (1993), In dienst van de ervaring, de Architect 1993 #1, pg. 19 - 37

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Nijs, Lau, Ruimteakoes ek, Available: h p://bk.nijsnet.com/

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Nijsse, Rob (2008), Construc e en Uitvoering: Ontwikkeling in glasconstruc es, Cement 2008 #2, pg. 38 - 45 Available: h p://www.abt.eu/sitemanager/files/ ontwikkeling_in_glasconstr_robNijsse_cement2.pdf

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Nijsse, Rob (2008), Corrugated glass as improvement to the structural resistance of glass, TU Del , Challanging Glass Conference 1 2008 pg. 3052 - 3064 Available: h p:// www.glassfiles.com/library/2/ar cle1328.htm

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Ren er, Ch. (2005), Jellema 4B Omhulling, Utrecht/ Zutphen: ThiemeMeulenhoff , pg.

163 - 170

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Schi ch, Chris an (2001), In Detail: Building Skins (Concepts, Layers, Materials), Basel: Birkhauser, pg. 174 - 175

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Wassink, Jos (2011), Wetenschap: de kracht van glas, Del Integraal 2011 #4, pg. 6 - 9 Available: h p://www.tudel .nl/actueel/universiteitsbladen/del -integraal/ vorigeedi es/2011/2011-4/del -integraal-2011-4/wetenschap/de-kracht-van-glas

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Yanovshtchinsky, Vera, Huijbers, Ki y, Dobbelsteen, van den, Andy (2012), Architectuur als klimaatmachine: handboek voor duurzaam comfort zonder stekker, Amsterdam: SUN, pg. 133, 203 - 215

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