Nanjing Sifang Art Museum and 1111 Lincoln Road Case Study

STRUCTURES IN CONTEMPORARY ARCHITECTURE NANJING SIFANG ART MUSEUM STEVEN HOLL 2013

1111 LINCOLN ROAD HERZOG & DE MEURON 2010

Critical Historical Practices ARCH 7035, 2018 Mitchell Heynen mitchell.heynen@student.adelaide.edu.au

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CONTENTS INTRODUCTION Structures In Contemporary Architecture

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STRUCTURAL TYPES Steel versus Concrete

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SCALE AND EFFECT Proportions and Intrigue

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MATERIALS Building fabric

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CONCLUSION Summary

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REFERENCES End Notes Images

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Figure i (cover page): Nanjing Sifang Art Museum Teaser Figure ii (cover page): 1111 Lincoln Road Teaser i

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Structures in Contemporary Architecture / introduction

INTRODUCTION

STRUCTURES IN CONTEMPORARY ARCHITECTURE

Steven Holl’s Nanjing Sifang Art Museum and Herzog & de Meuron‘s 1111 Lincoln Road are expressive examples of the relationship between structure and design, and in some cases, structure as design. Although the motives behind their creation and their urban footprint are different, both buildings boast intriguing features.

At the entrance to the China International Practical Exhibition of Architecture, where multiple buildings are being constructed to celebrate arts and culture, Sifang Art Museum is mysterious and atmospheric.1 It explores and reflects shifting viewpoints, layers of space and spatial intrigue derived from Steven Holl’s investigation and experimentation of Chinese painting and the art of parallel landscape methods.2

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In the heart of Miami Beach’s pedestrian rich lifestyle, 1111 Lincoln Road hosts a range of retail stores, redesigned bank, cafes, restaurant and penthouse in its mix use programme that challenges the stereotypical urban fabric traffic infrastructure that is the car park.3 Developer, Robert Wennet envisioned a structure which would ‘solve a very important urban problem and create a civic building which would leave a legacy.’4 Solely concrete, 1111 Lincoln Road is an urbanistic structure in Miami’s low-lying art deco district.

Spatial opulence, and logical construction used creatively are easily noticeable at 1111 Lincoln Road whereas, structure and motives are much harder to initially understand in the Sifang Art Museum.

Figure iii: Nanjing Sifang Art Museum, axonometric, M Heynen

Figure iv: 1111 Lincoln Road, axonometric, M Heynen

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Structures in Contemporary Architecture / structural types

STRUCTURAL TYPES STEEL VERSUS CONCRETE

Sifang Art Museum and 1111 Lincoln Road employ completely different structural systems and materiality however, both carry challenging load paths using unique methods of structure, working in tandem with design. Sifang Art Museum 1111 Lincoln Road appears whimsical, but its sculptural presence is the result of structural logic and great construction refinement.5 Structure behind the slightly transparent walls of the Sifang Art Museum is a mystery. The only obvious structural elements that can be seen immediately are the tri leg-like elements below the floating architectural masterpiece.

Transferring all loads to the ground are a steel framed elevator core, reinforced concrete section (housing stairs) and a blade wall constructed of composite steel and concrete6; these

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are understood to be the minimum elements for this unique building shape.

The floating, twisted architectural masterpiece that is Sifang Art Museum is a cantilevered form held with steel pratt trusses in both horizontal and vertical directions.7 Oversized beams transfer incredible amounts of vertical loads and stresses to core structures. The braced frames are a series of moment resisting elements, holding stiff torsionally as well as vertically and horizontally. All cross-bracing elements are in tension with vertical elements experiencing compression.

Diagonal members in the floor and roof structural systems help resist lateral movement from wind and seismic loads.8 All core structural elements also hold strong against lateral loads.

In comparison to the Sifang Art Museum, structure and materiality are much clearer at 1111 Lincoln Road.

Vertical load paths are easily apparent with the presence of thick angular columns as a prominent element of the car park design. Not purely for aesthetic effect, the columns lean out to buttress the cantilevers of multiple changing spans of concrete floor plates.9 Lateral load bearing elements are less apparent, however can be logically deduced. 1111 Lincoln Rd features elements such as, lifts and stairs with concrete core structures and twisting concrete ramps through the floors, all of which carry shear loads. The reinforced concrete columns have immense steel reinforcing10 and due to their thickness and size, would be able to handle portions of lateral loads.

Figure v: Sifang core structural elements

Figure vi: 1111 Lincoln Rd stair core

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Structures in Contemporary Architecture / structural types

Figure viii: Sifang location of analysis, M Heynen

Figure xii: Sifang oversized beams, M Heynen

Figure ix: Sifang braced frame, M Heynen

Figure xiii: Sifang oversized beams, M Heynen

Figure vii: Sifang tri-core structural element location, M Heynen 7

Figure x: Sifang load paths, M Heynen

Figure xi: Sifang cantilever, M Heynen 8

Structures in Contemporary Architecture / structural types

Figure xvii: 1111 Lincoln Rd lateral load elements in section (lift)

Figure xiv: 1111 Lincoln Rd columns under analysis, M Heynen

Figure xv: 1111 reinforced concrete column, redrawn: M Heynen Figure xvi: 1111 Lincoln Rd load paths, M Heynen

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Figure xviii: 1111 Lincoln Rd lateral load elements in section (stairs)

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Structures in Contemporary Architecture / scale and effect

SCALE AND EFFECT PROPORTIONS AND INTRIGUE

Each site offers individual experiential qualities. These qualities are a direct result of structural method used and the consequential spaces that were created. Holl has used the art of parallel perspective in his design to generate circulation and sequence at the Sifang Art Museum11 whereas, Herzog uses the flexibility and changing state of the 1111 Lincoln Road car park to create more structured activity.

Heavy hidden structural systems within the Sifang Art Museum create the floating gallery high above the ground. This structure is both mysterious in its stability, as it is in

scale. Holl does not hint at the size or layout of internal spaces, only occasionally implementing windows.

The upper gallery of the Sifang Art Museum unwraps in a clockwise direction with circulation sequences directing one to the feature window which provides viewing of Nanjing in the distance; a journey which is reflective of Chinese landscape painting.12 On occasion, structure is brought out of hiding and is made a feature piece, as is the case with the warren trusses featured along the lower gallery ceiling. This structural system spans the width of the ceiling, transferring

vertical loads to braced frames allowing the gallery to be free of structure, both ideal for functionality and atmosphere.

The building is predominantly white and black, reminiscent of Chinese calligraphy painting with Steven Holl saying, “all the colour in the museum will come from the art on display and from the people who visit.�13 The building boasts a yellow glow through its transparent walls at night, much like a lantern, yet this characteristic is a mystery during the day.

Figure xix: Sifang Art Museum human scale

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Figure xx: 1111 Lincoln Rd human scale

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Structures in Contemporary Architecture / scale and effect

Figure xxi: Sifang lower gallery warren truss ceiling

Figure xxiii: 1111 Lincoln Rd level 7 human scale

Structure acts in conjunction with architecture to create a unique set of spaces. That is one of the most important aspects of this reinvented car park; each floor offers a unique experience, encouraging movement and activity. Thick structural elements that are cleverly formed allow for spaces to be open and not cluttered with structural elements of infrastructure.

Figure xxii: Sifang warren truss location in section

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Level 5 boasts an exclusive retail store selling selected brands.

Completely unexpected to be included in a car park, the urban fabric can be played with due to the car park’s unique changing floor

Figure xxiv: 1111 Lincoln Rd experiential movement

character. The changing floor heights craft activity and different spatial experiences.

A direct experiential aspect created by the relationship between structure and design is the views over low-lying art deco Miami. Intriguing views are framed and created as a result of openness and constantly changing ceiling heights across floors as well as angular column variety, creating a panoramic pedestrian experience.14 Interesting and intriguing in presence, such is the activity taken on board over time with the spaces inviting events such as, parties, weddings, and art openings and exhibitions.15

A direct correlation to Wennett’s approach and desire to challenge and recreate the stereotypical car park urban fabric.16 Seemingly arbitrary at first, the floor to ceiling heights clearly made a featured at 1111 Lincoln Road are in reaction to challenged local zoning restraints. Architects in conjunction with planning consultants were able to cleverly achieve Wennett’s desired building height as well as abiding to floor area ratio (FAR). By stretching three car park floors, they were able to achieve the desired height of which was 50 ft. more than the zoning constraints and 15ft taller

than the neighbouring building. At the same time as housing enough enclosed space, which calculated to total 1/7th of the carpark floors; ticking that box by simply fitting multiple programme into the newly created flexible car park floor areas.17

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Structures in Contemporary Architecture / materials

MATERIALS BUILDING FABRIC

The material fabric which both creates and hides qualities of Sifang Art Museum and 1111 Lincoln Road is easily identifiable and the human interaction with the forms as a result of implicated methods vary between the buildings. On one hand, Sifang Art Museum hides spatial qualities in a mystical way and on the other hand, 1111 Lincoln Road teases and entertains the idea of moving through floors in search of activity.

On ground level the courtyard at the Sifang Art Museum is laid with recycled paving from destroyed Nanjing courtyards. Bamboo, grown on site was used on concrete formwork, resulting in a black stained finish.18 This bamboo clad concrete forms the bottom floor, surrounding

terrace walls and structural core housing stairs.

The upper gallery walls only slightly allude to the structural system which may be employed behind due to a slight transparency, however give no inclination as to the scale of interior spaces. A gravity defying form is achieved in contrast to such heavy structural elements below and the bamboo cladding which also creates the white and black painting like design.

In Miami’s art deco, colourful, vibrant character, the car park located at 1111 Lincoln Road is a naked, façade less skeletal building.19 Dense, thick concrete structural elements are treated to a certain softness, reducing

the potential heaviness of the building.

Chamfered slab edges hide the thickness of the concrete slabs and the artistic use of angles in columns mask the rigid solidity of the elements.

Tension wires create balustrades to eliminate walls to create an airy, infinite feeling when approaching the edge of the building. Eliminating things people dislike about car parks such as services, bland lighting and signage also keeps the spaces within the building clean and flexible.20 Concrete class B used for all concrete works provides a slightly unpolished quality to the building and adds to the slightly unfinished character which is an urbanistic characteristic which hones into the flexible and changing nature of the car park floors.21 Figure xxv: 1111 Lincoln Rd concrete simplicity

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Figure xxvi: Sifang, contrasting differentiation

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Structures in Contemporary Architecture / conclusion

CONCLUSION

Although using different structural systems and material types, both Nanjing Sifang Art Museum and 1111 Lincoln Road boast architectural presence that is a result of a strong relationship between structure and design. Holl used traditional Chinese painting methods to create a building which encapsulates journey, reflects parallel viewpoints and plays with foreground, middle ground and background. A floating structure, which seemingly defies gravity, hides a heavy structural system and does not hint to any activity or scale inside.

Structure acts in conjunction with design to create a unique set of spaces at 1111 Lincoln Road. Each floor offers a unique experience, encourages movement and activity as part of Herzog’s reinvention of the

stereotypical car park per Wennett’s vision. Rigid structurally, the spaces created by angular columns and irregular floor to ceiling heights are flexible and answer urban demands of Miami’s vibrant retail culture.

Each structure is an achievement of structural design as architecture in its own right. Both came to life through different motives with Holl’s Sifang Art Museum paying tribute to arts and culture as a statement and Herzog, in conjunction with Wennett’s vision, created a structure that will change the way traffic infrastructure such as the car park is designed in order to meet urban demands. This pair of buildings is just one example of contemporary architecture and the extensive possibilities of architectural and engineering harmony.

+ Figure xxvii: Nanjing Sifang Art Museum approach

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Figure xxviii: 1111 Lincoln Road approach

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Structures in Contemporary Architecture / end notes

END NOTES

1. Reid, Robert L. “Nanjing Art Museum Appears to Float above Rural Setting.(Civil Engineering News)(Nanjing Sifang Art Museum).” Civil Engineering 82, no. 2 (2012): 14.

13. Reid, Robert L. “Nanjing Art Museum Appears to Float above Rural Setting.(Civil Engineering News) (Nanjing Sifang Art Museum).” Civil Engineering 82, no. 2 (2012): 16.

2. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 237.

14.”Herzog & de Meuron: 1111 Lincoln Road, Miami Beach, Florida, USA 2010.” A & U: Architecture & Urbanism no. 9: 92.

3. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no.

1360: 58.

15. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no. 1360: 58.

16. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no. 1360: 58.

4. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no.

1360: 58.

5. Broome, Beth. 2010. “House of cars: Herzog & de Meuron strips down in Miami Beach with a revealing new parking garage.” Architectural Record 198, no. 6: 136.

17. Broome, Beth. 2010. “House of cars: Herzog & de Meuron strips down in Miami Beach with a revealing new parking garage.” Architectural Record 198, no. 6: 136.

18. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 237.

6. Reid, Robert L. “Nanjing Art Museum Appears to Float above Rural Setting.(Civil Engineering News)(Nanjing Sifang Art Museum).” Civil Engineering 82, no. 2 (2012): 15.

19. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no. 1360: 61.

7. Reid, Robert L. “Nanjing Art Museum Appears to Float above Rural Setting.(Civil Engineering News)(Nanjing Sifang Art Museum).” Civil Engineering 82, no. 2 (2012): 15.

20. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002: 12.

8. Reid, Robert L. “Nanjing Art Museum Appears to Float above Rural Setting.(Civil Engineering News)(Nanjing Sifang Art Museum).” Civil Engineering 82, no. 2 (2012): 15.

21. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002: 12.

9. Broome, Beth. 2010. “House of cars: Herzog & de Meuron strips down in Miami Beach with a revealing new parking garage.” Architectural Record 198, no. 6: 136.

10. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002.

11. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 237.

12. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 237.

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Structures in Contemporary Architecture / image references

IMAGE REFERENCES

i. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 238.

xvii. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no. 1360: 58-65.

ii. “Herzog & De Meuron”. 2010. A & U: Architecture & Urbanism 9 (480): 88-101.

xviii. Moore, Rowan. 2010. “1111 Lincoln Road, Miami [Beach], USA.” Architectural Review 228, no. 1360: 58-65.

iii. Heynen, Mitchell, Nanjing Sifang Art Museum Axonometric (2018) iv. Heynen, Mitchell, 1111 Lincoln Road Axonometric (2018)

xix. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 249.

v. Holl, Steven, 2008. “Steven Holl Architects 2004 2008.” Croquis no. 141: 157.

xx. “Herzog & De Meuron”. 2010. A & U: Architecture & Urbanism 9 (480): 88-101.

vi. “1111 Lincoln Road, Miami, USA; Architects: Herzog & De Meuron”. 2010. Architectural Review 228 (1360): 58-65.

xxi. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 248.

vii. Heynen, Mitchell, Nanjing Sifang Art Museum Core Structure Locations (Plan) (2018)

xxii. Holl, Steven, 2008. “Steven Holl Architects 2004 2008.” Croquis no. 141: 155.

viii. Heynen, Mitchell, Nanjing Sifang Art Museum Elevation Analysis (2018)

xxiii. Gänshirt, Christian. 2011. “Architekturkritik und das Elend der Welt [111 Lincoln Road, Miami].”

Archithese 41, no. 4: 52-57.

ix. Heynen, Mitchell, Nanjing Sifang Art Museum Structure Analysis (2018) x. Heynen, Mitchell, Nanjing Sifang Art Museum Load Path Diagram (2018) xi. Heynen, Mitchell, Nanjing Sifang Art Museum Cantilever Diagram (2018)

xxiv. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002. xxv. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002.

xii. Heynen, Mitchell, Nanjing Sifang Art Museum Structural Members 1 (2018) xiii. Heynen, Mitchell, Nanjing Sifang Art Museum Structural Members 2 (2018) xiv. Heynen, Mitchell, 1111 Lincoln Road Column Axonometric (2018)

xxvi. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 239. xxvii. Holl, Steven, Juan Carlos Sancho, Sol Madridejos Fernández, Antón García-Abril, and Thomas De Monchaux. 2014. “Steven Holl Architects 2008-2014.” Croquis no. 172: 237.

xv. Heynen, Mitchell, 1111 Lincoln Road Reinforced Concrete Diagram (redrawn) (2018) xvi. Heynen, Mitchell, 1111 Lincoln Road Load Path Diagram (2018)

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xxviii. Killory, Christine, and Davids, Rene, eds. AsBuilt : Details, Technology, and Form. New York, NY, USA: Princeton Architectural Press, 2002.

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