Critical Historical Practices_Assignment 2

LEUTSCHENBACH SCHOOL

CASA DA MUSICA

Christian Kerez Zürich, Switzerland, 2009

OMA Porto, Portugal, 2005

ARCH 7035 (2020) Critical Historical Practices Samuel Foo / A1709428@student.adelaide.edu.au

CONTENTS INTRODUCTION

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STRUCTURE TYPE CASA DA MUSICA: REINFORCED CONCRETE

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LEUTSCHENBACH SCHOOL: STEEL

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STRUCTURE EFFECT CASA DA MUSICA MATERIALITY

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VIEWS

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LEUTSCHENBACH SCHOOL MATERIALITY

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VIEWS

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CONCLUSION

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REFERENCES

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ENDNOTES

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IMAGE CREDITS

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introduction

Affect & Effect

INTRODUCTION This document will outline the prominent structural types of Casa da Musica and Leutschenbach School, and how it affects the material choices and visual connections within these buildings. Both projects have a common theme of organization, with vastly different approaches.

Rem Koolhas uses voids as a main organization tool, creating structure and program around these absences.

Christian Kerez uses structure to organize the program.

Fig 4 Ongoing rehersal at main auditorium of Casa da Musica

Fig 5 Ongoing rehersal at main auditorium of Casa da Musica

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INTERIOR INTERIOR SPACE SPACE ANALYSIS ANALYSIS

fig.fig.

20 20

STRUCTURE TYPE CASA DA MUSICA One of the key themes of this project involves the connection between the use of voids and its influence on form and program. Koolhaas explores the methodology of assigning a greater importance to voids rather than substantial space. He states: “I think that it is, perhaps, related to a moral conversation against architecture and against creating things with incredible effort and difficulty, and I’ve always believed that taking away is easier than putting there, so that is the private issue that is important for me”. Absence as a design implementation allows a different way of interpreting spatial contexts in urban landscapes.

Fig 6 Steel trusses on the roof of Casa Da

Fig 7 Inclined columns in the South Foyer,

Fig 8 (Above) The reinforced concrete shell

Fig 9 (Right) Diagrams showing how the

Musica

preventing bending movements created by loads transmitted by the slabs and shell

The “shoe-box” style concert hall proves to be the most superior typology for acoustic purposes. This acts as the central focus, with secondary programs designed around it.

The panels that form the outer shell are made out of 0.4m thick reinforced concrete, and two 1m thick longitudinal walls that bound the main auditorium. This enables the wall to have a structural capacity that can withstand inlaying from other perpendicular structural elements. The white concrete serves both a functional and aesthetic purpose, simultaneously the structure and the final finish of the building.

Unlike to the Leutschenbach School where steel trusses reign supreme, Casa da Musica uses steel trusses as a secondary element, used mainly in the construction of the main auditorium. The steel trusses help fulfil the weakness of a reinforced concrete roof, where the stiffness of the edge is critical in suspending the large wavy glass panels at the ends of the auditorium.

surrounding the whole building with openings for the major windows

arrangement of building’s footprint creates public and private space

PRIVATE SPACE

Private Private Space Space

PUBLIC SPACE

Public Public Space Space

Interna Inte

4 24 24

STRUCTURE TYPE LEUTSCHENBACH SCHOOL

Fig 11 Leutschenbach

School during construction.

The distance from the end of a tripod column to the building’s edge is 10 metres, giving the building a floating appearance

Fig 13 Axonometric Two storey truss system on Level

showing the stacked sequence of trusses

Fig 12 Steel skeleton

model of the Leutschenbach School, showing how the trusses work together to create the overall structure

Two large trusses cross the plan in the opposite direction

One storey truss system on Level 4

Fig 10 (NORTH ELEVATION) LONGITUDINAL STRUCTURE

The Leutschenbach School offers contemporary approach to the expression of loads in structure, employing a series of truss frames stacked vertically.

An assimilation between the programmatic intent of the spaces with the structural system can be observed. As one ascends through the building, the building’s program changes in relation to the structure. Besides vertically organizing the program, the trusses enable the separation of the plans into multiple segments.

The classrooms are situated between the truss members, defining the central corridor. This arrangement allows the classrooms to be free of vertical members, amplifying its spacial quality. The similar truss typology used throughout the building allows for clarity in its structural language. As Kerez states: “The result is not a

gymnasium on top of an undivided school building, but a structure that consists of repeating references on multiple levels.” The differences of size and height of the rooms stacked on top of each other, are composed of variations of the overall spatial concept.

Every space is in the building is informed and dependant on each other. “The difference between the levels is the space, not any single graphic or symbolic elements.

Diagonal members of the trusses are continuous through each of the three levels

Two girdles resting on six columns

Tripod Columns

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STRUCTURE EFFECT MATERIALITY CASA DA MUSICA

Fig 14 A series of images conveying materiality in Casa da Musica

Casa da Musica’s meteorite like appearance with its white spans of concrete walls stands out in the vastly traditional city of Porto, where historical architectural buildings colour the city. This material contrast can be seen as a overt departure from the traditional. Part of the architectural brief from the city was to create something iconic that was striking in its context.

The exterior does not give any indication to the variety of materials used in its interior. Rem incoporated a wide range of materials in this project, paying homage to its local context by merging contemporary with traditional. For example, Rem “simply took a pixel of the gold leaf and the old ornate material became modern. It was suddenly possible to read it in a different way.”4 Traditional Portugese cobalt blue tilings were also used in the VIP room. The outdoor flooring has intentions of translating the texture of cork, a significant historical industry in Portugal.

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Fig 15 Koolhaas wanted to cover the main windows with glass without the use of frames. Two are suspended from the roof while the lower one is supported on the base

Similar to the Leutschenbach School, certain key materials not only serve as aesthetics, but also functionally. The curvy glass contributed to a 70dB noise reduction from the first glass facade to the concert hall.5

STRUCTURE EFFECT MATERIALITY LEUTSCHENBACH SCHOOL

Fig 16 Large, unobstructed glass allows light to flood into the gym. reducing the power

Fig 17 School children and teachers moving along the staircase. Central circulation

Fig 18 An overlayed interpretation drawing on a photo suggests how natural light enters

Similar to Casa da Musica, the Leutschenbach School features the prominent use of steel, reinforced concrete and glass. Often perceived unconsciously, Kerez uses light as a subtle yet powerful material, emphasizing its presence through the dynamic interplay of transparency, translucency and opaqueness.

Instead of massive wall panels, translucent profiled glass separate the classrooms from the central areas and from each other. The shimmering, translucent walls separate the rooms acoustically, but at the same time enable subtle visual connections. Illuminated from all sides and with room heights of 3.6m, teaching and communal areas look more like studio rooms than standard classrooms. The materials of exposed concrete and glass reinforce this impression.

blur intensifies when the user engages with the primary program of the building (classrooms). The blurring effect is a dynamic, visual dialogue between users and the materiality of the building.

needs of a typical indoor gym. Light as a material in its experiential and pragmatic capabilites

The deliberate use of light one of the main materials stemmed from Kerez resisting the archetypal notion of how light is often discussed and mentioned in the context of museums and artworks. For Kerez, light is “an essential, fundamental topic that is absolutely significant in every single architectural project.”6, Even seemingly mundane, ordinary typologies such as a house, hospital or schoolhouse building.

paths promotes social interaction between users from different rooms, melting the social hierachy into a central space

the space by bouncing off the materials of the building.

At the ground floor, the large overhang created by the structure allows for wide, unobstructed spans of glass. This provides shading from direct sunlight, allowing a softer diffusion of light to flood the space.

The human figure is dematerialized into a blurry silhouette in different parts of the building. As one enters the building and ascends the staircase, half of the body begins to blur. It seems the

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INTERIOR AND EXTERIOR VISUAL RELATIONSHIP STUDY

INTERIOR SPACE SPACE ANALYSIS INTERIOR ANALYSIS corrugated

d g line ceilin oustic c a h wit and ment equip ting h g li

CASA DA MUSICA

clad ood plyw lls w/ l wa enta m orna d leaf gol ric met geo nies o balc t from ou just rious va es l ang

r1200 silve er at e th grey gned si e d s, at se n van

by Maarte Severen corrugated ing acoustic glaz

Besides allowing natural light to enter the space, the visual connections between the private and public are deliberately framed.

Level 05

fig. 18

Arguably the most important visual relationship with the external environment in Casa da Musica is the statue that sits on the roundabout (Rotunda da Boavista). The main auditorium is carefully angled to engage visitors fig. 19 with a visual connection into Portugal’s history.

This relation is also translated formally, in the orientation of the metal panels that cover the floors, following the orientation of the main auditorium. All the other walls in the building are subsidiary to the main order.

fig. 20 20 fig.

acoustic glazing

STRUCTURE EFFECT VIEWS

While this volume is rather closed, the intention is to maximize the link with the outside through the visual elements. In this way, a connection between user and context develops, beyond the structure, but eminating Level 08 from within.

Level 04

INTERIOR ANDTOEXTERIOR VISUAL RELATIONSHIP VIEWS IN RELATION THE WHOLE BUILDING

STUDY

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Level 03

Level 01

Level 00

Fig 19 Main auditorium facing the statue during construction

fig. 19 VIEWS IN RELATION TO THE MAIN AUDITORIUM

Private Space Space Private

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Fig 20 Axonometric showcasing the view locations

Public Space Space Public

INTERNAL & EXTERNAL Internal to to external external visual visual Internal VISUAL RELATIONSHIP

relationship relationship

INTERNAL VISUAL Internal visual visual Internal RELATIONSHIP

relationship relationship

Fig 21 Plan diagrams showing the visual relationships 24 24

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STRUCTURE EFFECT

Fig 23 Almost seamless

transition between interior and exterior

VIEWS LEUTSCHENBACH SCHOOL

Fig 24 Leutschenbach School in the day

archdaily

Fig 22 Students having a lesson in on of the classrooms

The unique structure enables the building to have wide spans of glass, maximising the views out into the city and allowing generous amount of natural light. During the day, the glass panels that surround the building reflect the surrounding environment, creating layers of imagery. These imagery act as an invisible curtain of privacy, buffering the users of the building from the public. However, the users of the building are still able to view the outside with clarity. Interestingly, when the external environment turns dark and certain lights in the building are on, the interior views of the building are revealed in greater definition to the public.

Fig 25 Leutschenbach School at night

In Casa da Musica, the views are selectively framed. Conversely, in the Leutschenbach school, users able to see out into the city in almost every part of the building.

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REFERENCES Endnotes

1. Koolhaas, Rem, “ A kind of Architect”, March 16, 2016, video, 57:02. https://www. youtube.com/watch?v=yaVbc3XQOQk&t=3387s 2. Kerez, Christian, Marquez Cecilia, Fernando and Richard C. Levene, eds. “Christian Kerez, 2000-2009: Fundamentos Arquitectonicos = Basics on Architecture.” Madrid: El Croquis, 2009.

3. Kerez, Christian, “The Rule of the Game - Christian Kerez, 2012 Kenzo Tange Lecture”, September 12, 2012, video, 70:59. https://www.youtube.com/watch?v=srONiu7ExHo 4. Wigley, Mark, Rem Koolhaas, Guta Moura Guedes, and André Tavares. 2015. Casa da Música, Porto. Porto, Portugal: Fundação Casa da Música7 5. LCJ, Luxemburg & Kok, BHM & Martin, HJ & Hak, Constant & Bijsterbosch, KBA, “Casa da Musica - Porto”, 2020.

6. Kerez, Christian, “Interview with Christian Kerez, Winner Honorary Award, Daylight-Award 2014”, March 5, 2014, video, 01:11. https://www.youtube.com/ watch?v=3Hy0W4zH0Ic&t=2s

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REFERENCES Image Credits

1. Potrzeba, Maciej. “Leutschenbach School”, Accessed 15 October 2020. https:// www.behance.net/gallery/29408945/Leutschenbach-School-Christian-Kerez 2. Ruault, Philippe. “Casa da Musica / OMA”, 2014, Accessed 16 October 2020.https:// agence-unite.com/ruault1.html 3. Foo, Samuel, photographer. “Casa da Musica Trip”, 2019. Personal collection 4. Ibid 5. Ibid 6. Ibid 7. Ibid 8. Ibid.

9. Foo, Samuel, redrawn from “Casa da Musica Envelope Study.”, Accessed 15 September 2020. http://cargocollective.com/brunodacosta/CASA-DA-MUSICAENVELOPE-STUDY 10. Foo, Samuel, redrawn from “Architecture, Structure, and Loads: A Moment of Change?.”, Accessed 15 September 2020. https://www.researchgate.net/ publication/277583043_Architecture_Structure_and_Loads_A_Moment_of_Change 11. Kerez, Christian, Mario Monotti, Jean-Pierre Cêtre, Enrico Molteni, and Martin Steinmann. ‘Christian Kerez’. Casabella 73, no. 781, 2009 pp.14 12. Kerez, Christian. 2013. Christian Kerez, Uncertain Certainty = Kurisuchan Keretsu futashika na hitsuzensei. Tokyo: Toto Shuppan.

13. Foo, Samuel, redrawn from “Architecture, Structure, and Loads: A Moment of Change?.”, Accessed 15 September 2020. https://www.researchgate.net/ publication/277583043_Architecture_Structure_and_Loads_A_Moment_of_Change 14. Ibid.

15. Ibid.

16. Ibid.

17. Henz, Hannes. “Casa da Musica.”, Accessed 18 October 2020. https://hanneshenz.ch/ 18. Ibid.

19. Ibid.

20. Ibid.

21. Ibid.

22. Finotti, Leonardo. “Leutschenbach School”, Accessed 22 October 2020.https://agenceunite.com/ruault1.html 23. Ibid.

24. Ibid.

25. Ibid.

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