Archive for June 20th, 2011

June 20, 2011

martinet primary school | mestura arquitectes

‘martinet primary school’ by mestura architects, barcelona, spain
images courtesy of mestura architects

spanish studio mestura arquitectes has completed ‘martinet’, a primary school in barcelona, spain.
bounded by residential streets, a sports field and park, the structure features a u-shaped arrangement
which exposes every classroom to the outdoors and encloses a series of playgrounds for the youth.

overall view

three wings, each containing a specific program, are realized as overlapping and interconnected forms,
fluctuating in size and orientation depending on their function. the classroom block, the largest and most
dominant form, has been designed as a three-storey volume where each class procures natural daylight,
ventilation and access to the exterior environment. the infant rooms, located on the ground floor open
onto the enclosed yard while the primary classes are hosted on the second and third levels.


a smaller low-lying structure houses communal functions – such as the dining hall and gymnasium –
along with support facilities, and is connected to the main learning center through a third building where
students and visitors are welcomed.

east side facade

an open web of porous and tactile blocks enwraps the building, its hollow and colorful shell informing
both the interior and exterior spaces. set at right angles, the whimsical and organic tiles slightly protrude
and recess, generating a sense of movement and divergence on the static surface. on the sides that receive
the most exposure the stoneware ceramic tiles have been glazed in a gradient of colors – ‘spring’ colors on
the east side and ‘autumn’ colors on the west – that unveil and adapt depending on the viewers location
and relationship to the unit.

west side facade

stoneware ceramic tiles offset from the glazed exterior wall

classroom block



stoneware ceramic tiles offset from the glazed exterior wall

facade detail

east elevation looking over lower structure

(left) elevation
(right) section

project info:

mestura architects: humbert costas, manuel gómez, jaime blanco, carlos durán, josep m. estapè
client: cornellà de llobregat, city council.
gross area: 3.448,71 m2
construction company: constructora san josé
others collaborators: xavier aumedes, technical architect;
luís alfredo rodríguez, engineer of roads, canals and ports; manuel comas, industrial engineer

June 20, 2011

from 2

F U T U R E  S Y S T E M S

The contents of this website have been archived
for any enquiries please contact:

Future systems Director suffers heart attack hours after daughter born

Future Systems Director Jan Kaplicky has died, age 71, in Prague on Wednesday evening. Only hours after his wife gave birth to his daughter, Johanka, Kaplicky suffered a heart attack in the street and died, police and paramedics unable to revive him on the scene.

The Czech architect and his first wife and business partner Amanda Levete, are commonly regarded as the parents of ‘blob architecture’, creating free-form structures such as Birmingham’s iconic studded Selfridges building and the media center at Lords Cricket ground.

Most recently Kaplicky caused controversy with his design for the National Library in Prague which won the design competition in 2007 but has subsequently been contested by the Czech culture minister. Late last year Kaplicky refused an award for his design from the Ministry of Culture due to the contention.

Kaplicky settled in the UK in 1968 working with renowned architects Lord Norman Foster, Richard Rogers and Renzo Piano before founding the Future Systems studio with Levete in London. Following their marital split after 15 years of marriage the pair remained business partners until October last year, signaling what many regarded as the end of an era. Kaplicky married his second wife Eliška Kaplický Fuchsová in 2007.

Niki May Young
News Editor

The future for Levete

Three projects revealed as Amanda Levete Architects rises

2009 presents a challenge to all architecture practices, big and small. But to Amanda Levete the challenge presents a steeper climb than most. Having agreed in 2007 to separate business activities with her ex husband and business partner, the late Jan Kaplicky, Levete embarked upon the creation of an entirely new firm, leaving the Future Systems name to Kaplicky, who sadly passed away in January.

With all eyes now on Levete, she has remained committed to works from the Future Systems portfolio such as the City Academy in London and Naples Subway, which are currently under construction. But now, Amanda Levete Architects has released details of the firm’s first three projects to be designed independently of Future Systems, launching the new firm at an international level and leaving voyeurs in eager anticipation of her creations.

In London, Levete’s campus design for News International’s new headquarters will facilitate the media giant’s collective of international firms including 20th Century Fox, News of the World and MySpace. A further project in London is Huntington in the fashionable urban area of Shoreditch.

But the signature project that could re-affirm Levete, commonly regarded as one of the parents of ‘blob’ architecture, as a heavy-weight in the architecture community, is the Central Embassy in Thailand. A major retail and hotel complex in central Bangkok’s primary commercial artery Ploen Chit Road, Central Embassy will be a new age architectural landmark for the city which has thusfar avoided the blatancy of contemporary architecture. The 1.5 million sq ft project will occupy the former gardens of the British Embassy in Nai Lert Park, and will consist of a 7-storey retail podium and a 30-storey 6-star hotel tower.

“Central Embassy will be the first contemporary landmark building in Bangkok. It is demonstrably of its time but rooted in Thai heritage and culture. Our architectural ambition is matched by the ambition of Central to create the best and most exciting retail and hotel destination in Thailand,” said Levete.

At first look, it is difficult to see where these roots take hold. But, as Project Director Alvin Huang explains, the design’s intricacies are wear the heritage is threaded. “Our design for this project has been underpinned by two strands of parallel research.

“We carried out extensive studies in Thailand exploring and documenting traditional patterns, materials and fabrication methods. In tandem, we’ve experimented with the application of advanced digital design techniques such as scripting and parametric modelling as a means of abstracting our hands-on research to create an innovative synthesis of technology and heritage that is specific to the context of Bangkok.”

And so Levete’s renowned attention to detail is married with the Thai’s own propensity for the same to create a very modern interpretation of Bangkok culture. Set to commence construction next year and complete in 2013, Central Embassy will provide a benchmark for the future success of Levete’s solo ambitions.

Niki May Young
News Editor

June 20, 2011

CET is Central European Time |


CET is also a synonym for a whale. The Mixed Use De­velopment CET at the Közraktárak between the Petofi and the Szabadság Bridge is both. The CET concept refers to Budapest as an important metropolitan centre in the heart of Central Europe. The CET shape refers to the smooth and friendly streamlined body of a whale. The new CET development has the potential to put Budapest once again on the map of the world. Name and shape of the CET symbolizes its cultural po­tential and commercial pole position in one of the best preserved cities in the world.

Flow. The river Danube fascinates in Budapest for its fast flow on its trajectory down­ward from the Schwarzwald to the Black Sea. While the Danube both separates and unites Buda and Pest, the CET aims at re-establishing visual contact at this point between the two sides of the river. Newly planned inviting terraces will visually open the once hermetic Közraktárak to the University and the Gellért Hotel. Hopefully a watertaxi system will be re-introduced to create direct connections for the people between the two sides as well. The body of the CET landmark building is developed along the flow of the Danube. Its architectural and urban expression evolves with the direction of the flow. The CET’s origin stems from the side of the city centre, grows in size between the two parallel existing buildings of the Közraktárak and then culminates at the south side, the side of the National Theatre and the new Cultural Centre, in a striking landmark build­ing representing the state-of-the-art in architectural design and building technology, its impact on the city will be not unlike the removed Elevator Building from the 19th Century from where the goods were distributed to the 6 warehouses which originally occupied the banks of the Danube.

Transformation from Old to New. Three of the 6 warehouses are now remaining, and the brief requests to keep at least 60% of the volume intact, while rightfully demanding to take away the first 20m of the 2 warehouses closest to the city to create a small square to improve the connection with the city south of the beautifully renovated Vásárcsarnok. Tak­ing this into consideration, the design team proposes to develop the Közraktárak landmark complex in a smooth transition from old to new. The first two warehouse buildings will be carefully renovated while adjusting the size of the vertical windows as to open up the hermetic nature of the buildings to the Danube, to the interior gallery and reach out to the adjoining district with the succesful Ráday utca nearby.

BIM Experience Award. The project was awarded the Autodesk BIM Experience Award for its use of Building Information Modeling Process for innovative Mass-Customization and File-2-Factory production process and features as a hero project on the 2010 edition of Revit Architecture.

Autodesk BIM Experience Award on the Autodesk website.


Site: Kozraktar, Budapest

Client: Porto Investment Hungary Kft., Budapest

Partners : MTM Statika – Lead structural engineering

SMG-SiSu – MEP engineering

Date: 2006

Gross Floor Area: 18500 m2

Parking garage: 7500 m2


Design supervision: Kas Oosterhuis, Ilona Lénárd,

Project architect: Marthijn Pool

Project manager: Bèla Káli

Design team: Kas Oosterhuis, Ilona Lénárd, Gijs Joosen, Owen Slootweg, Bas Wijnbeld, Anna Nagy, Bujdosó Attila, Márku Judit, Romvári Péter, Tom Krzempek, Rafael Seemann, Paulina Gurak, Michael Gorczynski, Lidia Badarnah, Jan Gasparik, Petr Vokal.

CET building image

CET building image

CET building image


June 20, 2011

Link Bridge Marina Hotel F1 Circuit [YAS Hotel | Asymptote] | centraalstaal

Location: Yas Island, Abu Dhabi, UAE
Year: 2009
Architect: Asymptote / Hani Rashid and Lise Anne Couture

June 20, 2011



LOCATION: Abu Dhabi, United Arab Emirates

SIZE: 85,000 sq. m

DATE: 2007 – 2009


The Yas hotel, a 500-room, 85,000-square-meter structure made up of two twelve story hotel towers linked together by a monocoque steel and glass bridge A Grid Shell structure that both cross above and over the Yas Marina Circuit F1 race track. It is the first new hotel in the world to be built over an F1 race circuit. The hotel’s exterior surface is designed as an environmentally responsive skin that by day reflects the sky and surroundings and by night is lit by a full color changing LED lighting system that incorporate video feeds that are transmitted over the entire surface of the building.


Asymptote created and conceived of the building as an architectural landmark embodying key influences and local and global inspirations ranging from the aesthetics and forms associated with speed and spectacle to the artistry and geometries that form the basis of ancient Islamic art and craft traditions. Of architectural and engineering significance is the main feature of the hotelʼs design; a 217-meter expanse of sweeping, curvilinear glass and steel covering that is made up of 5,800 pivoting diamond-shaped glass panels. This Grid-Shell component is a key aspect of the overall architectural design and significance of the project by producing an atmospheric-like veil visible from miles away.


The two hotel towers, one being set within the race circuit, and another placed in the Marina itself, are physically linked by a sculpted steel monocoque bridge construction that passes above the Formula 1 track. The bridge along with the Grid-Shell visually connect and fuse the entire Yas Hotel complex. The Yas Hotel was designed by Asymptote to become a significant and important landmark for Abu Dhabi. The pixelated lighting design by Asymptote in collaboration with Arup Lighting creates a dynamic appearance at night, with colours flowing smoothly across the double curved surface. says in a press release…


“The hotel embodies various key influences and inspirations ranging from the aesthetics and forms associated with speed, movement and spectacle to the artistry and geometries forming the basis of ancient Islamic art and craft traditions, a perfect union and harmonious interplay between elegance and spectacle. The search here was inspired by what one could call the ‘art’ and poetics of motor racing, specifically Formula 1, coupled with the making of a place that celebrates Abu Dhabi as a cultural and technological tour de force.”






Photos by Bjorn Moerman


CLIENT: Aldar Properties PJSC



Asymptote Architecture

PROJECT DIRECTORS: Mick McConnell, Andrew Drummond

PROJECT MANAGERS: Theo Sarantoglou Lalis, Constantin Doehler, Matthew Utley

PROJECT TEAM: Danny Abalos, Keehyun Ahn, Sebastian Andia, Bernardo Crespo, Greg Derrico, Reed Finlay, , William Garcia, Armand Graham, Moritz Greiling, Justine Groves, John Guida, Kurt Hanzlik, Robert Hendrick, Tyson Hosmer, Robert Ivanov, Jeremiah Joseph, Feby Kuriakose, David Lessard, Sophie Luger, Brooks McDaniel, Jonathan Podborsek, Klaus Ransmayr, Ben Ritter, Greg Spaw, Ariane Stracke, Linda Stromgren, Kyle Stover,Tae-Hyung Park, Martin Zangerl, Christoph Ziegler

ASSISTANTS: Manca Ahlin, Phuttipan Askawool, Ali Baker, Christoph Boeckeler, Julie Bogdanowicz, Remi Chevrillon, Cluadia Friesz, Hiroe Fujimoto, Daniel Angulo Garcia, Daniel Gillen, Avital Gourary, Richard Heger, Katharina Hieger, Julia Hoins, Ji Young Kim, Siyoung Kim, Jonathan Kleinhample, Adam Koogler, Rolando Lineros, Brendan Maloney, Mirai Morita, Tom Raymont, Friedrich Rohde, Sander Schuur, Greg Spaw, Jeff Walker, Robert Wehinger, Michael Whalen, Ann Wright, Margaret Yoo




LOCAL ARCHITECTS: Dewan Architects & Engineers, Tilke & Partners W.L.L.

STRUCTURAL ENGINEERS: Dewan Architects & Engineers, ARUP

GRIDSHELL ENGINEERS: Schlaich Bergermann und Partner (SBP), Waagner-Biro


GRIDSHELL LIGHTING CONSULTANT: ARUP Lighting ( Rogier van der Heide, Brian Stacy and Richard Fisher )



INTERIOR DESIGN CONSULTANTS: Jestico + Whiles, Richardson Sadeki, De8 Architetti

LIGHTING CONSULTANTS: LAPD Lighting Design, Bartenbach LichtLabor GmbH, Red Engineering Middle East, ARUP Lighting



MEP ENGINEER: Red Engineering Middle East

LANDSCAPE DESIGN: Cracknell Landscape Architects




FIRE SAFETY: Wagner Fire Safety Management Consultants



SECURITY: Oliver Group

KITCHEN & LAUNDRY: Tricon Foodservice Consultants PLC

FOOD & BEVERAGE: Future Food

The yas hotel, abu dhabi, uae 2007–2009
by asymptote: hani rashid + lise anne couture
image courtesy asymptote architecture

here from Architect Magazine:

View from the north

Facade diagram



Panel diagram

Ground level plan

Mezzanine plan

View from ground level

View over mezzanine bridge and Formula One race track



Pool deck under sunshade

Asymptote Architecture • “It’s totally sci-fi,” said Yolande Daniels, summing up the project that had the jury feeling futuristic. The Yas Hotel in Abu Dhabi, United Arab Emirates, is at the cutting edge of both form and technology, with a weblike shade structure that cloaks the hotel’s two 10-story elliptical-shaped towers. The 500-room, 900,000-square-foot hotel straddles the Yas Marina Circuit Formula One race track, its two towers knit together by a steel bridge. The team at Asymptote Architecture designed the exterior steel-and-glass latticework, which it calls a gridshell, to mirror and capture the speed, streamlined form, and dynamic energy of Formula One racing. Inside the lobby, the expertly detailed all-white hotel resembles at once an ocean liner and an icy glacial formation.

The seemingly effortless curvilinear geometry comes from extensive laboring over BIM and parametric models, which were used to control both the form and the detailing, resulting in tight tolerances and the design of a universal joint connection. Additionally, they were able to reduce the number of structural members: Only 10 supports hold up the entire gridshell. LED luminaires are integrated into each of the 5,000 fritted glass panels that make up the faceted surface. Asymptote worked with Arup’s lighting team to program the façade so that at night, the geometry transforms into a full-spectrum light show.

The jury touted the combination of spectacle and performance. The gridshell is not only for projecting an idea about high-tech luxury; it also mitigates the demands of the intense desert environment. For instance, the rooftop swimming pool, a program nearly impossible if exposed to the desert elements, tucks easily under the steel-and-glass umbrella. “The thing I like about this project is this idea of dealing with the climate by having a big shade piece that is a universal grid,” explained Bill Valentine.

Project Credits

The Yas Hotel, Abu Dhabi, United Arab Emirates
Client Aldar Properties PJSC, Abu Dhabi, United Arab Emirates
Architect Asymptote Architecture, Long Island City, New York—Lise Anne Couture, Hani Rashid (principal architects); Mick McConnell (project director); Andrew Drummond, Theo Sarantoglou Lalis (project managers); Chris Delusky (commercial director); Greg Derrico, Constantin Doehler, Justine Groves, John Guida, Kurt Hanzlik, Robert Hendrick, Robert Ivanov, David Lessard, Brooks McDaniel, Klaus Ransmayr, Matthew Utley, (project architects); Keehyun Ahn, Reed Finlay, William Garcia, Armand Graham, Feby Kuriakose, Jonathan Podborsek, Martin Zangerl, Christoph Ziegler (project designers); Danny Abalos, Manca Ahlin, Sebastian Andia, Phuttipan Askawool, Ali Baker, Michelle Bitner, Christoph Boeckeler, Julie Bogdanowicz, Alex Bulygin, Remi Chevrillon, Bernardo Crespo, Josh Dannenberg, Brian Deluna, Claudia Friess, Hiroe Fujimoto, Daniel Angulo Garcia, Daniel Gillen, Avital Gourary, Moritz Greiling, Richard Heger, Katharina Hieger, Julia Hoins, Tyson Hosmer, Jeremiah Joseph, Kyungsic Kim, Ji Young Kim, Siyoung Kim, Jonathan Kleinhemple, Adam Koogler, Minsoo Lee, Rolando Lineros, Sophie Luger, Joshua Mackley, Brendan Maloney, Francisco Lopez Martinez, Mirai Morita, Tae-Hyung Park, Matthew Post, Tom Raymont, Mariana Renjifo, Isabelle Rijnties, Ben Ritter, Friedrich Rohde, Sander Schuur, Andreas Singer, Nathan Smith, Greg Spaw, Ariane Stracke, Kyle Stover, Tai Verley, Jeff Walker, Robert Wehinger, Michael Whalen, Ann Wright, Margaret Yoo (design team)
Local Architects Dewan Architects & Engineers; Tilke & Partners W.L.L.
Structural Engineers Dewan Architects & Engineers; Arup
M/E/P Engineer Red Engineering Middle East
Façade Consultants Front Inc.; TAW & Partner
Interior Architecture Jestico + Whiles; Richardson Sadeki; De8 Architetti
Lighting Consultants LAPD; Bartenbach LichtLabor; Red Engineering Middle East; Arup Lighting
Gridshell Engineers Schlaich Bergermann und Partner; Waagner-Biro Group
Gridshell BIM Consultant Gehry Technologies
Gridshell Lighting Consultant Arup Lighting
Gridshell Wind Engineers Wacker-Ingenieure
Gridshell Node Housing Consultant Billings Jackson Design
Link Bridge Engineers Arup Bridge; Centraal Staal
Landscape Design Al Khatib Cracknell Landscape Design
A/V & IT Consultant Cyber-Consult
Traffic Consultant WSP Middle East
Water Feature & Pool Consultant Belhasa Projects
Fire Safety Wagner Fire Safety Management Consultants
Signage & Wayfinding Strategy Fitch
Vertical Transportation VDA
Security Olive Group
Kitchen & Laundry Tricon Foodservice Consultants
Food & Beverage Future Foods
Size 900,000 square feet
Cost Withheld
Photography Bjorn Moerman

A sophisticated LED system brings the excitement of Formula 1 racing to Asymptote’s Yas Hotel

Publication date: March 1, 2010

By Aaron Seward

Since its formation 20 years ago, New York–based architecture practice Asymptote has had a love affair with technology and light. In a number of conceptual projects and installations, co-founders Lise Anne Couture and Hani Rashid have played with these two elements to discover different ways to transform a building’s skin into a living, breathing surface capable of mapping phenomena and projecting emotion. But they had been waiting for a project whose program and budget would allow them to undertake such a technological exploration. A recent commission to design a hotel at the Yas Marina Circuit—a Formula 1 (F1) racetrack on an exclusive island development in Abu Dhabi, United Arab Emirates—offered the perfect opportunity to develop these ideas on a grand scale. “We salivated at the prospect of being able to build something that would have a relationship to the cars, but also a framework based in the atmosphere of the desert and the way the light is by the sea,” Rashid explains.

To harness the energy and excitement of F1 racing, the architects arranged the 499 rooms of the 850,000-square-foot hotel into two towers that straddle the racetrack. A two-story bridge housing a hotel bar connects the towers and provides a perfect perch from which to watch the races. Then Asymptote looked to the ways people in the Middle East traditionally have fended off the heat: tent structures, veils, and kaftans. “These beautiful, poetic forms culminated in a sensual and technologically advanced skin that we could drape over the building, sheltering the rooms from the light and producing some amazing events that would tie back to the race,” Rashid says. Collaborating with a team of lighting designers, engineers, modelers, and fabricators that included Arup Lighting, Schlaich Bergermann, Gehry Technologies, and Waagner-Biro, the architects realized this vision in a fluidly formed 183,000-square-foot grid shell structure of steel and glass. During the day, the shroud hovers protectively above and around the hotel guestroom buildings, creating a stack effect that draws hot air away from the building envelope. At night, the structure becomes a screen set in motion by thousands of custom LED fixtures.

Even with a relatively high budget (construction costs ran to $608 million), Asymptote’s design threatened to break the bank. The fluid form that it originally envisioned for the grid shell required the construction of thousands of uniquely shaped panels. The most economical solution—a pair of domes joined in the middle—would have compromised the design. However, through parametric modeling, the team was able to arrive at a compromise that not only maintained the flowing geometry but organized the 5,800 panels into 180 standard shapes while meeting the budget requirements.

Another feature of the grid shell that needed to be re-evaluated because of its cost was the use of moving parts. “The original idea was that the motion of the cars would trigger movement in the panels, so the skin would seem to shiver and the whole thing would flicker,” Rashid says. Fortunately, a close semblance of this effect occurs without manipulating the panels. Instead, each lozenge-shaped panel of laminated low-E glass is positioned in its frame to produce a varied reflection, so that the light—natural and electric—glimmers across the surface as a viewer’s perspective changes. Asymptote and Arup Lighting were careful to position the panels so as not to shine light into the eyes of the drivers below or into those of pilots passing overhead—a serious concern. A frit pattern in the glass helps to diffuse the light and reduce the glare, keeping the natural lighting comfortable in the hotel rooms while maintaining a shimmering aspect on the hotel’s façade, much like a snake’s skin or the scales of a fish.

The grid shell comes most to life, of course, at night, when 5,800 fixtures with RGBW LEDs, each targeted at a dedicated panel, fire up to transform the structure into a giant animated display. The choice of LEDs seemed an obvious one, but it did present a unique challenge. “Day one was: We’re going to have this media façade; great LEDs!” says Brian Stacy, project director at Arup Lighting. “Day two was: Wait, what did we agree to? A desert is the antithesis of an ideal environment for LEDs.”

To a great extent, the performance of LEDs depends on the ambient temperature of the operating environment, and overdriving them in high temperatures—such as those found along the Persian Gulf—can result in the LEDs failing. Arup Lighting worked with a number of manufacturers to find a way over this hurdle, most of which involved designing custom fixtures with large heat sinks. The most elegant solution used a standard fixture outfitted with remote device management (RDM) DMX control. This system allows bi-directional communication between the fixtures and a central computer, which monitors their temperature and dims the entire display before overheating can occur.

The luminaires are positioned at a distance from the grid shell on posts atop the structural nodes, and they cast their light down onto the glass panels. “Because the panels come in different shapes and sizes, we had to come up with a design solution that provided variable beam adjustments and variable intensities,” Stacy says. “So when you have 100 percent on one panel it looks similar to 100 percent on another panel.” Arup Lighting developed software that adjusts levels to create a consistent look. They also based the frit pattern on an algorithm that varies the density of the ceramic dots to encourage an even diffusion of light across the glass surface. The fixtures are woven throughout the grid, terminating at the shell’s structural nodes in steel globes that contain the electronics for the control system.

Asymptote and Arup Lighting then worked together to come up with a framework for the animated sequences. “We wanted the video feed to create these conceptual effects of breathing and undulating,” Rashid says. “But what it came down to were lighting effects that were suitable to the race.” Indeed, while watching the waves of color race across the surface of the grid shell the first sensation that comes to mind is speed—not just the speed of F1 cars, but also the speed of LED development, which each year extends the possibilities for designers to expand their means of expression.

Project Yas Hotel, Abu Dhabi, United Arab Emirates

Design Team Asymptote Architecture, New York (lead architect); Arup Lighting, New York (lighting designer); Dewan Architects & Engineers, Abu Dhabi, and Tilke & Partners, Dubai (local architects); Dewan Architects & Engineers, Abu Dhabi, and Arup, New York (structural engineers); Schlaich Bergermann und Partner, Stuttgart, Germany, and Waagner-Biro, Vienna (grid-shell engineers); Front Inc., New York, and Taw & Partner, Hamburg (façade consultants); Gehry Technologies, Los Angeles and New York (grid shell BIM consultant)

Project Size 850,000 square feet (overall); 183,000 square feet (grid shell)

Project Cost $608 million

Manufacturers Cooper Lighting and Safety, e:cue Lighting Controls, Enfis

Not your typical lodging, the Yas Hotel in Abu Dhabi is part of a larger complex, which includes a marina and a Formula 1 racetrack. The building’s signature feature is a 183,000-square-foot grid shell structure of steel and glass that by day shields the hotel from the sun.

And at night it becomes a canvas for animated light displays.

The grid shell is designed so that light does not interfere with the hotel rooms or the racetrack, either by day or by night.

Arup Lighting conducted extensive solar studies so it could precisely position the grid shell panels for maximum solar control.

The grid shell is designed so that light does not interfere with the hotel rooms or the racetrack, either by day or by night.

Asymptote Architects and Arup Lighting devised a frit pattern on the grid shell’s glass panels to diffuse light and reduce glare, and integrated a custom-designed LED fixture atop each structural node.

and more pics:





The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi

The Yas Hotel, Abu Dhabi





Facade diagram

View over mezzanine bridge and Formula One race track

Pool deck under sunshade