Gymnase du Lycee Louis Bleriot | Christophe Gulizzi Architecte

Project Details:
Location: Marignane, France
Type: Sports – Public – Educational
Architect(s): Christophe Gulizzi Architecte –www.gulizzi.com
Program: Gymnasium, dance room, weight room, moving a boiler, creating a plateau of athletics and tea combined sports.
Site Area: 2978 sq ft outdoor space
Built-up-Area: 1538 sq ft
Budget: 2 620 000.00 € ht
Photos: Philippe Ruault – Vincent Fillon

Call it a proposal extended
A project that is not limited solely to the question of image,
Staging,
The evocation of the game,
The excitement of the effort,
fun,

To begin,
Show a visible and immediate reality;
As a “playground” the playground of the gym has become “screened”
This clarity of intention translates into a clear
See and be seen.

North and south facades are fully glazed
It is a macro-wire mesh
A square mesh of 2.62 m side,
44 meters long, 8 feet high,
148 glazed tiles of 2.42 m sides,
115 tons of steel, sliding bearings, GBE recessed …

But also
Breathe more secret and unseen reality;
That exudes elegance and mystery
Fear and eroticism intimately connected,
That draws its inspiration from the desire
The suggestion
Fantasy,
Brutalist archaic and it is a metaphorical interpretation,
A sense of playfulness,
A dreamlike feeling,
A disorder of the concept,
One form of uncertainty of reason,

Finally,
The auxiliary elements of the program,
Left side of the gymnasium,
Two abutments mineral depict the “stage”
The sublime
Strengthen the urban space,
Uncompromising aesthetic

It is a project prepaid
Without plastic reference immediate
Not a container functions,
Shapes or materials in fashion
But performance technology for aesthetics,
Tactical dialogue between architect and engineer,
A four, four, two, operating.

In this configuration of the space devoted
Guarantor of an attitude design signifying
Is the establishment of a separate device,
From a process
This composition is not a substitute for truth,
Just away from the current academic,

Between reality and appearances …

SITE:
Protected site, because of its proximity to the Chapelle St-Nicolas, draft submitted to the opinion of the Architect of the buildings in France.
Occupied site, near the high school workshops.

CONSTRUCTIVE SYSTEM CRANE:
Amounts in rectangular hollow inclined at 45 ° to 150 x 200 mm section form a “big grid”.
A series of beams PRS coverage of variable section. The link between these beams and uprights is provided on each facade, with a purlin enhanced by a parapet.
The facades are constructed on sliding bearings and to avoid uncomfortable withdrawal.
Moreover, these supports are crossed by downspouts integrated posts.
50% of the amounts are low profile one piece from top to bottom. They will resume the local buckling alone. Other amounts are welded 2m which work only compression.

RAINWATER:
The EP will have the following path:
The gutters on Eaves Beam level.
Five weirs by frontage located between beams
Conducted to measure for the circumvention of the purlin, which led to problems in the hollow of amounts 150 x 200.
Elbows embedded in the foundation sill.

THE GLASS FACADE OF GYM:
The glasses are made of safety glass type STADIP.
The frames are all equipped with a single glazed laminated safety type SATDIP 55.2.
Dimensions: 242 x 242

http://architecturelab.net/gymnase-du-lycee-louis-bleriot-marignanefrance-by-christophe-gulizzi-architecte-17596/

Glass Dome | Murphy/Jahn

The Joe and Rika Mansueto Library’s elliptical glass dome preserves the open space environment of the west lawn of the Joseph Regenstein Library. The lower portion of the dome is transparent to provide unobstructed visibility between inside and outside. The axis of the dome is slightly angled as a gesture toward the nearby landmark Henry Moore monument.

High performance Low E fritted glass provides shading from solar heat gain.  At the upper area of the dome, the glass incorporates 57% shading with a ceramic frit dot pattern applied to the interior of the external surface of the insulated glass. The high performance glass reject 73% of the solar heat while admitting 50% of the visible light and 98% of the UV light. As a result, the Grand Reading Room is flooded with daylight that is appropriately shaded to create a comfortable work environment.

The glass dome is supported by a light steel grid shell made up of 6-inch diameter high strength structural steel tubes parallel to the ellipse axis and spaced at approximately 6 feet in each direction. The steel grid is anchored to the concrete ring beam. The dome glass will be supported above the steel tube grid at each intersection.

The dome was constructed in six phases.

1. Dome pieces, including steel, aluminum, and glass components, were manufactured by Seele in Germany; the structural steel frame was assembled into sections in Germany for testing purposes and then disassembled.  Components were shipped gradually to Chicago.
2. Scaffolding was built over the ground floor to facilitate construction. It wsa elliptical in shape and rose in tiers, like a wedding cake.
3. Structural steel frame was installed.
4. Aluminum frame to support the glass was installed.
5. Glass was installed.
6. Sealant and dome completion

 Photos by Jason Smith

http://mansueto.lib.uchicago.edu/dome.html

 

 

 

 

 

 

 

JOE AND RIKA MANSUETO LIBRARY | Murphy/Jahn

Murphy/Jahn designs glass-domed library for the University of Chicago.

JASON SMITH

COLUMNS WITHIN THE SPACE PROVIDE HEATING AND COOLING VENTILATION AND ALSO A PLATFORM FOR UPLIGHTS THAT BOUNCE LIGHT DOWN FROM THE FRITTED DOME

THE GLASS AND STEEL GRID SHELL SHELTERS THE READING ROOM

INSIDE THE READING ROOM

FURNITURE DETAILS INSIDE THE READING ROOM INCLUDING TABLES AND BENCHES

 HIGH DENSITY STORAGE IN THE BASEMENT ALLOWS A ROBOT TO RETRIEVE BOOKS

SITE PLAN

SECTION SHOWING THE RELATIONSHIP OF THE READING ROOM WITH THE SUBTERRANEAN SHELVING
JASON SMITH & MURPHY/JAHN

THE DOME STRUCTURE UNDER CONSTRUCTION WITH SCAFFOLDING

A GLASS WALKWAY UNDER CONSTRUCTION LINKING TO THE UNIVERSITY'S REGENSTEIN LIBRARY
COURTESY MURPHY/JAHN

For the most part these days, when universities with major collections of research materials run out of room at their library facilities they move the books, and maps, and folios, and other materials to off-campus storage warehouses. Scholars can still use the material, of course, it just takes a bit of time between request and retrieval. When the University of Chicago found its Regenstein Library bursting at the seams, however, it recoiled at the thought of resorting to such a measure. Why not, the institution pondered, build a research library right in the heart of campus? One not only designed to house precious artifacts, but also dedicated to the art of preserving and archiving them? Why not build more than just a warehouse but a building of real architectural value—a space to ennoble the scholarly craft and serve as a laboratory for printed mater in the digital age? That’s just what the University decided to do with the Joe and Rika Mansueto Library, a 58,700-square-foot facility capable of storing 3.5 million volumes via an automated storage retrieval system (ASRS).

Sited adjacent to Regenstein, on the corner of 57th Street and South Ellis Avenue in the University’s North Campus, Mansueto replaces a once empty lot and tennis court. The location also sits next to Henry Moore’s “Nuclear Energy” sculpture, an homage to the first-ever nuclear chain reaction, which was executed by Enrico Fermi at the school. Chicago-based architecture firm Murphy/Jahn’s design for the facility seeks to preserve the site’s open quality as well as views and access to the Moore piece. To do this, the architects proposed burying the storage function underground since it did not call for daylight and in fact is better without it. The reading room, circulation desk, and preservation department, on the other hand, they housed on a single floor at ground level covered by an ovular glass-clad grid shell dome.

ASRS is a computerized robotic system of high-density storage. It has been used for years by the automobile industry to store and retrieve new cars, though more recently the technology has been adapted for modern research libraries. Librarians assign each item a bar code, scan it into the system, and then place it in a bin, which a robot crane then carries to an assigned place on a shelving unit. Mansueto’s system is composed of five aisles of 50-foot-high shelves. Items are stored by size, rather than call number, and can be requested from any computer with an Internet connection and retrieved in a matter of minutes by the robots.

It all sounds rather complex, and the building’s glassy swell has a futuristic appearance, but in design and construction Mansueto is actually quite simple. The cavernous underground storage room was prepared with slurry walls, a process of building a foundation wall in which a trench is dug in the earth, then filled with slurry—a viscous liquid made from water and bentonite—which keeps the ground from caving in. Into this watery hole a rebar cage is inserted and then concrete is pumped in, displacing the slurry and creating, after a period of drying, the wall. These slurry walls were done in contiguous sections until the oval of the storage room was complete. After that the earth in the center of the ring was excavated, the walls secured with post-tensioned anchors, and, voila, the storage room was born.

There are benefits and pitfalls to storing archival materials underground. It is cool and dark down there (both good), but it is also damp (bad). And one of the quirks of slurry walls is that, unlike other methods of concrete foundation wall construction, they cannot be sealed against water intrusion. To keep moisture levels in the storage room within acceptable levels, the architects added another wall within the slurry wall, leaving a gap between the two that forms a sort of rain screen system. Any water that seeps through the concrete is captured in a trough and allowed either to evaporate or is sucked out with sump pumps. Meanwhile, the space within the inner wall is kept at ideal temperature and moisture levels by the mechanical system.

The grid shell structure was designed in collaboration with Werner Sobek, a German architect and engineer who has made something of a specialty of the system and who works regularly with Murphy/Jahn. It is made up of 6-inch-diameter steel pipe laid out in a 6-foot-by-6-foot grid and anchored to a concrete ring foundation. Posts extending up from the intersections of the pipe support anchors that accept the glass panels—high-performance low-e coated insulated glass units. With the exception of a ring of clear glass at the base of the dome that allows unobstructed views out to the campus, the cladding is treated with a 57 percent pattern of ceramic frit. The fritting will help the enclosure reject 73 percent of solar heat gain while admitting 50 percent of visible light. It is also applied in two colors: black facing up, which makes it less visible from the outside, and light grey facing in, which serves as a reflective surface for uplighting incorporated into the air circulation towers that sprinkle the interior.

and watch the video here:

http://archpaper.com/news/articles.asp?id=5380

need to see more:

http://inhabitat.com/crystalline-domed-mansueto-library-features-robotic-book-retrieval-system/

http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=16686

Architect Helmut Jahn’s rendering of the view of the Joe and Rika Mansueto Library from the south (57th Street)

Architect Helmut Jahn’s rendering of the view of the Joe and Rika Mansueto Library from the north (Ellis Avenue)

Architect Helmut Jahn’s floor plan, showing the route from the Joseph Regenstein Library to the Joe and Rika Mansueto Library in yellow

Floor plan detail

Architect Helmut Jahn’s rendering of a cross-section of the Joe and Rika Mansueto Library, showing the automated storage and retrieval system (ASRS) underground and the glass dome above ground

Architect Helmut Jahn’s rendering of a view from inside the Grand Reading Room

Architect Helmut Jahn’s rendering of the view of the Joe and Rika Mansueto Library from above

http://mansueto.lib.uchicago.edu/drawings.html

LAKESHORE EAST APARTMENTS | bklarch

The latest sign that Chicago’s building freeze is beginning to thaw is a nearly 50-story, crystalline residential tower planned for River North. Designed by Brinistool, Kerwin, and Lynch (BKL), the minimalist tower will feature smooth glass facades on the east and west sides, and deep balconies—flush with the building—on the north and south sides. “The building continues the Wacker Drive streetwall, so it’s a very visible face of Lakeshore East,” said Thomas Kerwin, a principal at BKL. The six-foot deep balconies will have glass balustrades and run the entire length of the rental apartments. The all glass sides feature tinted and fritted glass—the frit will mask the structure behind—creating nearly seamless-looking facades. The approximately 650,000- square-foot, 500-unit building will also have a planted roof and, atop a retail base, a pool.

The latest sign that Chicago’s building freeze is beginning to thaw is a nearly 50-story, crystalline residential tower planned for River North. Designed by Brinistool, Kerwin, and Lynch (BKL), the minimalist tower will feature smooth glass facades on the east and west sides, and deep balconies—flush with the building—on the north and south sides. “The building continues the Wacker Drive streetwall, so it’s a very visible face of Lakeshore East,” said Thomas Kerwin, a principal at BKL. The six-foot deep balconies will have glass balustrades and run the entire length of the rental apartments. The all glass sides feature tinted and fritted glass—the frit will mask the structure behind—creating nearly seamless-looking facades. The approximately 650,000- square-foot, 500-unit building will also have a planted roof and, atop a retail base, a pool.

Alan G. Brake

 

Lakeshore East Apartments

Architect: Brinistool, Kerwin, and
Lynch with Loewenberg Architects
Developer: Magellan Development
Location: Chicago
Completion: 2013

http://archpaper.com/news/articles.asp?id=5405

 

Center for Global Conservation | FXFOWLE

Bronx, New York

An office building in the Bronx Zoo seems as natural to the site as the surrounding parkland and accommodates multiple programs with minimal resources. Staring out the window is part of the job description.

By Laura Raskin

The Center for Global Conservation was inflected to save two specimen trees. Employees often sit on the patio surrounded by the nature preserve setting.

An intensive green roof slopes from the third floor to a wet meadow and provides necessary egress. Native grasses, flowers, and shrubs thrive on its path.

Located at the northern edge of a clearing, the CGC’s form, sun shading, and ventilation help reduce energy consumption and maximize occupants’ comfort.

A vantage point on a staircase to the third floor provides a view of the main gathering space and library. An outdoor patio extends the gathering space.

The main entrance to the CGC is next to the staff kitchen. A moveable Cumaro wood screen can obscure views into or out of the dining area. Large rock outcroppings anchor both ends of the building.

Employees on their lunch break at the Center for Global Conservation (CGC) recently paused to observe wild turkeys roaming in front of the building. In the northwest corner of the Bronx Zoo’s 265 acres of New York City parkland, this display isn’t a rare occurrence. Nor is the sight of Inca terns swooping in the seabird aviary across from the CGC headquarters. Muskrats and goldfinches visit, too. Perhaps these creatures continue to treat the turf as their own because the rectangular, elongated three-story building — which achieved LEED Gold Certification in 2009 — seems as natural to the site as the two rock outcroppings it bridges.

The CGC, designed by FXFOWLE, houses several Wildlife Conservation Society (WCS) programs. WCS operates the largest network of wildlife parks in the world, including the Bronx Zoo, New York Aquarium, Central Park Zoo, Queens Zoo, and Prospect Park Zoo, and operates over 500 conservation programs in more than 65 countries. Until the new headquarters was completed in 2009, WCS employees were scattered in buildings across the Bronx Zoo. FXFOWLE, which had previously renovated the zoo’s Lion House in 2008, consolidated various programs with diverse needs at an unused edge of the park. After looking at various configurations, the firm designed the building to intrude as little as possible on the landscape, even inflecting it to save two trees. WCS employees now benefit from chance encounters. “It’s really changed our relationship. Proximity is everything,” says Susan Chin, vice president of planning and design and chief architect for WCS.

In mild weather, employees eat and work outside on the generous terraces. This was the hope, says FXFOWLE senior partner Sylvia Smith. “Rather than give everyone a private office, we created good workspaces and conference rooms and then extended the building with the outdoor space,” she says, pointing to a patio that is the same size as the staff dining room. “We did a lot of pairing, trying to blur the line.” When employees sit outside in front of the building they find themselves in the middle of a marshlike valley thick with native grasses.

Park visitors pass close to the private building, but it is set back in the landscape, creating the sense that the CGC is in the middle of the woods, not New York City. A berm built into the natural landscape frames a promenade that guides visitors to its entrance — they are welcome to use its outdoor dining spaces and explore the property.

Smith led a recent tour of the building that began on the ground floor. A glass and poured-in-place concrete entrance leads to a flight of stairs and the real arrival space — the second floor’s combined lounge and library — where windows look out to Fordham Road and the New York Botanical Garden beyond. FXFOWLE wanted occupants to feel framed by the landscape, says Smith. The main conference room, located to the south of the lounge, is an elegant example of this design principle, with a raised floor, clean detailing, and a cantilevered roof that extends the room into the woods.  Working with ornithologists at the CGC and the New York Audubon Society, the firm designed two floor-to-ceiling insulated glass walls made of a type of glazing that birds see as opaque. To humans, the glass looks pleasantly and subtly pinstriped. The CGC is in a migratory path, and the conference room is in the most wooded corner, making this a necessary measure. Rectangular red sandstone panels line the back of the conference room. Salvaged from the renovation of the 1903 Lion House, they are a reminder of place and history. In other areas, cleared trees from the site were milled and repurposed for trim.

On all three floors, bathrooms, copy rooms, and other support spaces are clustered at the off-center core. Private offices face north, while open, flexible office spaces face south. Approximately 140 people currently work in the building and there is room for more. “Within a fairly compact footprint, it doesn’t feel constrained,” says Smith of the private offices, thanks to minimal furniture that can be easily rearranged. Large windows on the northern and southern facades, as well as glazing in the private offices out to the hallways, allow light to penetrate the depth of the building. A window punctuating the westernmost edge of the building shows a view of a gas-fired 400 kW micro-turbine power system that supplies 100 percent of the building’s electricity. Waste heat from the micro-turbines is used for heating and cooling the CGC, and for domestic hot water.

Another important component — just as seamlessly integrated — is the sloping intensive green roof that doubles as egress. It begins on the third floor next to an outdoor patio and continues to ground level. Native grasses, flowers, and shrubs nearly obscure the outline of a walking path. During the tour, Smith and Chin casually pulled out overgrowth while chatting about gardening. Knowing that many green roofs fail because of leaks, the FXFOWLE team conducted comprehensive water testing on the CGC’s roof. Louvers made of locally grown black locust striate the southern facade of the building, adding a weathered aesthetic to the glass and concrete. Smith notes that black locust is one of the hardest woods and is used elsewhere in the park. The louvers mimic a moveable Cumaro wood screen that helps shade the staff dining room.

Chin says she hears repeatedly from occupants and visitors that they love the building. It’s the kind of feedback that the animals in the exhibits she designs can’t give. “These [outdoor] seats are filled in good weather. People bring their laptops out. It’s actually getting used the way we hoped it would,” she says. “I feel like we grew up a little when we came here.”

Architect
FXFOWLE
22 West 19 Street
New York, NY 10011
212-627-1700

Location:
The Bronx Zoo
2300 Southern Boulevard
Bronx, NY 10460

Completion Date: June 2009

Gross square footage:
Building gross floor area: 35,146 square feet
Building footprint area: 15,493 square feet
Total conditioned square footage: 33,000 square feet

Construction cost: $29 million

http://archrecord.construction.com/projects/Building_types_study/Office_Buildings/2011/CGC-Bronx.asp

Riverside Museum | Zaha Hadid Architects

The historical development of the Clyde and the city is a unique legacy; with the site situated where the Kelvin flows into the Clyde the building can flow from the city to the river. In doing so it can symbolise a dynamic relationship where the museum is the voice of both, linking the two sides and allowing the museum to be the transition from one to the other. By doing so the museum places itself in the very context of its origin and encourages connectivity between its exhibits and their wider context.

The building would be a tunnel-like shed, which is open at opposite ends to the city and the Clyde. In doing so it becomes porous to its context on either side. However, the connection from one to the other is where the building diverts to create a journey away from the external context into the world of the exhibits. Here the interior path becomes a mediator between the city and the river which can either be hermetic or porous depending on the exhibition layout. Thus the museum positions itself symbolically and functionally as open and fluid with its engagement of context and content.

Building

The building is conceived as a sectional extrusion open at opposing ends along a diverted linear path. The cross-sectional outline is a responsive gesture to encapsulating a wave or a ‘pleated’ movement. The outer pleats are enclosed to accommodate the support services and black box exhibits. This leaves the main central space to be column-free and open.

Circulation

Circulation is through the main exhibition space. Openings are envisaged in the roof and walls as appropriate. It is perceived that there should be views out of the exhibition space. These would allow the visitors to build up a gradual sense of the external context, moving from exhibit to exhibit. All openings would be solar controlled so that total black out could be achieved when required. At the end, with a view of the Clyde and the Kelvin, is the café and corporate entertainment space. These also allow access and overflow into the open courtyard. The end elevation is like the front elevation with an expansive clear glass façade. It has a large overhang to reduce solar exposure to the building interior. It will allow expansive views up and down the Clyde.

Landscape

The landscape is designed to direct the activities surrounding the building. A ring of varying stones slabs creates a shadow path around the building. On the west side the hard surface progresses to a soft landscape of grass to create an informal open courtyard space. A line of trees will be added alongside the existing ferry quay to reduce the exposure of this area to prevailing winds. Along the south side and the east, shallow water pool features are used to give continuity with the river at quay level.

Project credits / data

Project: Riverside Museum
Location: Glasgow, Scotland
Year: 2004 – 2011
Program: Exhibition space, cafe, retail, education
Total Area: 11 000 m²
Exhibition Area: 7000 m²
Site Area: 22,400 m²
Footprint Area: 7,800 m²
Materials: Steel Frame, Corrugated Metal Decking, Zinc Cladding, Glass-reinforced gypsum interior surfaces

Client: Glasgow City Council

Architect: Zaha Hadid Architects | http://www.zaha-hadid.com/
Project Director: Jim Heverin
Project Architect: Johannes Hoffmann
Project Team: Achim Gergen, Agnes Koltay, Alasdair Graham, Andreas Helgesson, Andy Summers, Aris Giorgiadis, Brandon Buck, Christina Beaumont, Chun Chiu, Claudia Wulf, Daniel Baerlaecken, Des Fagan, Electra Mikelides, Elke Presser, Gemma Douglas, Hinki Kwon, Jieun Lee, Johannes Hoffmann, Laymon Thaung, Liat Muller, Lole Mate, Malca Mizrahi, Markus Planteu, Matthias Frei, Michael Mader, Mikel Bennett, Ming Cheong, Naomi Fritz, Rebecca Haines-Gadd, Thomas Hale, Tyen Masten
Competition Team: Malca Mizrahi, Michele Pasca di Magliano, Viviana R. Muscettola, Mariana Ibanez, Larissa Henke

Services: Buro Happold [Glasgow, UK]
Acoustics: Buro Happold [Bath, UK]
Fire Safety: FEDRA, Glasgow
Cost Consultants: Capita Symonds
Project Management: Capita Symonds
Photographers: Helene Binet (construction & roof), Zaha Hadid Architects (aerial view)

+ All images and drawings courtesy Zaha Hadid Architects

http://plusmood.com/2011/05/riverside-museum-zaha-hadid-architects/

here see more pis from archtracker:

http://www.archtracker.com/glasgow-riverside-museum-zaha-hadid/2011/06/

and from architect’s website:

Glasgow, Scotland 
2004–2011

Aerial Photography © Courtesy of Hawkeye Aerial Photography

PROGRAM:
Exhibition space, cafe, retail and education

CLIENT:
Glasgow City Council

AREA:
Total Area: 11000 m²
Exhibition Area: 7000 m²
Site Area: 22400 m²
Footprint Area: 7800 m²

CONCEPT:
The historical development of the Clyde and the city is a unique legacy; with the site situated where the Kelvin flows into the Clyde the building can flow from the city to the river. In doing so it can symbolise a dynamic relationship where the museum is the voice of both, linking the two sides and allowing the museum to be the transition from one to the other. By doing so the museum places itself in the very context of its origin and encourages connectivity between its exhibits and their wider context.

The building would be a tunnel-like shed, which is open at opposite ends to the city and the Clyde. In doing so it becomes porous to its context on either side. However, the connection from one to the other is where the building diverts to create a journey away from the external context into the world of the exhibits. Here the interior path becomes a mediator between the city and the river which can either be hermetic or porous depending on the exhibition layout. Thus the museum positions itself symbolically and functionally as open and fluid with its engagement of context and content.

CONSTRUCTION PHOTOGRAPHY, AUGUST 2010:

Construction Photography © Hélène Binet

Construction Photography © Hélène Binet

Construction Photography © Hélène Binet

CONSTRUCTION PHOTOGRAPHY, APRIL 2010:

Construction Photography © Zaha Hadid Architects

CONSTRUCTION PHOTOGRAPHY, JUNE 2009:

Construction Photography © Zaha Hadid Architects

Aerial Photography © Courtesy of Hawkeye Aerial Photography

Construction Photography © Zaha Hadid Architects

CONSTRUCTION PHOTOGRAPHY, FEB 2009:

Construction Photography © Hélène Binet

Construction Photography © Hélène Binet

Construction Photography © Hélène Binet

COMPUTER RENDERS:

North Aerial View, Render © Zaha Hadid Architects

South Aerial View, Render © Zaha Hadid Architects

North Elevation, Render © Zaha Hadid Architects

Side Elevation, Render © Zaha Hadid Architects

DRAWINGS:

Diagram © Zaha Hadid Architects

Ground Floor, Drawing © Zaha Hadid Architects

Elevations, Drawing © Zaha Hadid Architects

Sections, Drawing © Zaha Hadid Architects

VIDEO:

Video © Zaha Hadid Architects

ARCHITECT:
ZAHA HADID ARCHITECTS
PROJECT DIRECTOR: Jim Heverin
PROJECT ARCHITECT: Johannes Hoffmann
PROJECT TEAM: Achim Gergen, Agnes Koltay, Alasdair Graham, Andreas Helgesson, Andy Summers, Aris Giorgiadis, Brandon Buck, Christina Beaumont, Chun Chiu, Claudia Wulf, Daniel Baerlaecken, Des Fagan, Electra Mikelides, Elke Presser, Gemma Douglas, Hinki Kwon, Jieun Lee, Johannes Hoffmann, Laymon Thaung, Liat Muller, Lole Mate, Malca Mizrahi, Markus Planteu, Matthias Frei, Michael Mader, Mikel Bennett, Ming Cheong, Naomi Fritz, Rebecca Haines-Gadd, Thomas Hale, Tyen Masten
COMPETITION TEAM: Malca Mizrahi, Michele Pasca di Magliano, Viviana R. Muscettola, Mariana Ibanez, Larissa Henke

CONSULTANTS:
SERVICES: Buro Happold (Glasgow, UK)
ACOUSTICS: Buro Happold (Bath, UK)
FIRE SAFETY: FEDRA, (Glasgow, UK)
COST/PROJECT MANAGEMENT: Capita Symonds

http://www.zaha-hadid.com/cultural/glasgow-riverside-museum-of-transport

Student Residence in Paris | LAN Architecture

French architects LAN (Local Architecture Network) recently has completed 5 buildings complex of student accommodation located in Paris, 18 Arrondissement.

The driving idea guiding our project stems from the challenge of responding to the necessity for urban integration and creating optimum comfort for the residence’s occupants in a convivial and intimate environment.LAN

images courtesy LAN Architecture | Photo by Julien Lanoo

The context
The project for a student residence was considered in the context of the urban fabric of the La Chapelle district in Paris and its role in its evolution. The plot is on the corner of rue Philippe de Girard and rue Pajol in the 18th arrondissement, close to the ZAC Pajol, an ambitious redevelopment of former railway yards, on which social, cultural and sports amenities are currently being created.

The district is a very heterogeneous mixture of Haussmannian residential buildings, factories and workshops, and therefore has a richness and wide diversity of situations unusual within Paris itself.

The street and the courtyard
The project is composed of several buildings, whose volumes and voids depend on the context. On the street, three six-storey volumes are separated by two rifts providing access to the residence and vertical circulation.

The heights of the buildings at the back of the plot vary according to neighbouring buildings. In the middle, a spacious courtyard is lit by a rift in the south building, an extension of an existing void.

The courtyard, the heart of the project, provides access to the various buildings and defines their interrelationship. A 15 x15 metre square, it ensures sunlight for all the rooms and acts as a kind of green lung.

The materials
The strategy of creating a duality between street and courtyard was pursued in the choice of materials. The facades, instead of imposing a single image on the project, participate in creating the varying atmospheres of the spaces they envelop and delimit.

The buildings on the street are clad in dark, slate-coloured brick, while the buildings around the courtyard are clad with larch planking with folding louvred shutters in front of the windows and balconies. The facade along the entry passage is also clad with larch and announces the feeling of the space within. All the ground and wall surfaces in the courtyard are clad with the same light-coloured, flexible material, normally used for sports areas and playgrounds.

The choice of materials was dictated by technical and architectural concerns. Our research was guided by a desire for durability and the sober, refined and classical nature of our project.

The circulations
Generally speaking, the empty spaces in the courtyard and circulations could be said to be ‘junk space’ in that they are by-products of the design of the buildings. The project’s ambition was to give these spaces so much quality that they create a genuine ‘plus’ for residents. The exterior spaces, interacting with the communal spaces and acting as a buffer between private spaces, are not merely for circulation but provide the conviviality our project seeks to create. As these spaces were not part of the project specifications, their uses can be defined and developed by residents.

The specifications
The brief specified the construction of a student residence of around 150 rooms, communal spaces, administrative premises and a caretaker’s apartment, with RIVP acting as project manager for the CROUS, which will run the residence.

As one enters the residence via the rift on the left, one successively discovers the reception spaces, the administrative premises (on the corner of the street and the passageway), the communal facilities and the study and leisure areas around the courtyard.

The 143 rooms have three different typologies. Students have furnished rooms with an average surface area of 18m², with a bathroom and a kitchen area. The view of the courtyard creates a calm atmosphere conducive to concentration and study. The desks are always located near an outside view in order to benefit from natural lighting. Ten rooms were specially designed for people with reduced mobility.

Energy performance
The project complies with the “Habitat and Environment” label’s VHEP specifications. A combination of compactness, treatment of the envelope, and solar heat coupled with high-performance ventilation and heating (urban heating and solar panels) creates pleasant and comfortable accommodation. The concrete structure, insulated on the outside with 12 cm of mineral wool, brick or wood cladding and highperformance double-glazed fittings, provides efficient thermal insulation.

In winter the buildings retain their interior heat, and in summer their exterior insulation reduces solar and internal overheating, while inertia enables the capture of daytime heat and its retention during the night.

Urban Integration
The site’s strategic position at the junction of several streets in a bustling Paris district channelled our research towards a lively façade providing views into the heart of the block and encouraging appreciation of this inner space.

The two vertical rifts and the ground-floor transparency created by the bicycle park draw attention inwards and define this project emulating traditional buildings in Paris’s former inner suburbs.

Continuity
The project is developed in a double scale perspective: one is the street’s scale and the other is the building courtyard’s one, respectively in a vertical and in an horizontal volumetric system. The urban strategy focalize on contextualising the best the project into the existing landscape, extending the voids of the suburb’s tissue in aim to not make interfering the new construction on the habitual lightening of the neighbourhood.

Transparences
This communal space is related directly to the public space outside by the vertical rifts in the block on the street side. The transparency this creates strengthens the link between the plot’s exterior and interior and attracts attention to the activity in the courtyard.

Circulations
The circulation system is very legible: the four vertical circulations are located at the plot’s four corners. All circulations are lit naturally so that the landings can act as meeting places.

Common spaces
The exterior (common spaces) corridors retain an ambiguity with regards to their usage. They are infact conceived not solely as distributors but rather as collective spaces where social gatherings could occur.

Bricks
The elevation facing the street is cladded with slate colored bricks. The nuance and the texture of the surface, as well as the façade’s composition contribute to the over whole dynamic effect.

Wood
The elevations facing the interior courtyard are cladded with thin vertical wood panels. Same facade treatment continues in front of the openings of the windows, where the grid becomes shutters. Which gives a strong unity to the whole courtyard elevations.

The rooms
Our prime concern in the design of the students’ rooms was to create sunny accommodation that is easy to live in and personalise.

+ Project credits / data

Project: Construction of a 143-room student residence
Project manager: RIVP
Location: 21 rue Pajol and 65 rue Philippe de Girard, Paris 18, France
Budget: 8M € HT
Project area: 3,950 m²
Delivery: February 2011
Team: LAN (architects), Franck Boutté (HEQ consultant), LGX Ingénierie (HVAC, main contractor)
Project leaders: Sebastian Niemann, Venezia Ferret
Photographer: Julien Lanoo

http://plusmood.com/2011/06/student-residence-in-paris-lan-architecture/

 

National Library of France | Dominique Perrault

Previously featured here on ArchDaily as one of our AD Classics, the National Library of Franceby Dominique Perrault was built in hopes to be the most modern library in the world. The competition of 1989 that included projects from 244 internationally renowned architects was won by Dominique Perrault, who was only 36 years old. Photographer Franck Bohbot recently shared with us an extremely rare glimpse of the National Library, with a completely empty interior.

http://www.archdaily.com/141352/update-national-library-of-france-dominique-perrault/

 

Berlin Central Station | gmp Architekten von Gerkan, Marg und Partner

Competition 1993 – 1st Prize

Design Meinhard von Gerkan and Jürgen Hillmer

Design team Jens Kalkbrenner, Manfred Stanek

Project managers, long-distance rail Hans-Joachim Glahn, Klaus Hoyer

Project manager, glass roofs Prisca Marschner

Project managers, building slabs Prisca Marschner, Susanne Winter

Project team Christel Timm-Schwarz, Bettina Kreuzheck, Michael Scholz, Petra Kauschus, Monica Sallowsky, Tomomi Arai, Klaus-Dieter Schimpf, Ivan Ivanov, Katrin Junge, Jan Koettgen, Karsten Fritsche, Burkhard Pick, Risteard Mac Diarmada, Silke Petry, Bernd Kottsieper, Dirk Tietgen, Matthias Holtschmidt, Kemal Akay, Andreas Ebner, Frank Anacker, Stefan Both, Henning Raske, Meinhard Rudolph, Jochen Köhn, Dirk Hünerbein, Hubertus Pieper, Vita Römer, Elisabeth Mittelsdorf, Ralph Preuß, Peter Karn, Amra Sternberg, Radmilla Blagovcanin, Ahrend Buchholz-Berger, Hans Münchhalfen, Maike Carlsen, Ivanka Perkovic, Antje Pfeifer

Structural engineering Schlaich Bergermann und Partner; IVZ/Emch+Berger

Lighting design Peter Andres + Conceptlicht GmbH

Mechanical services Ingenieurgesellschaft Höpfner

Client Deutsche Bahn AG represented by DB Projekt Verkehrsbau GmbH

Construction period 1996–2006

Gross floor area 175,000 m² – 5 transportation levels

Site area 100,000 m²

Photographers:

Juergen Schmidt

Luftbild Berlin

Marcus Bredt

www.marcusbredt.de

 

 

Berlin’s new Central Station – Europe’s largest train station for long-distance, regional, and local transport – was built on its historical site in the Tiergarten District, west of Humboldthafen. At this station the new underground north-south link of the InterCityExpress service connects with the west-east line running on a curved railway track. Additionally, suburban railway tracks in both directions, as well as an underground line from north to south arrive at this station. The north-south track runs 15 m below ground level in a tunnel, which also passes below the River Spree and the Tiergarten. A train station for long-distance journeys with eight platforms, four platforms for long-distance and regional transport as well as a new train station for the U5 underground line positioned parallel to the eastern platform was realized in this location. The east-west line is elevated 10 m above street level und corresponds to the previous course of the railway tracks. A total of four long-distance railway tracks and two urban train tracks run on four newly constructed urban railway bridges.

The traffic of the train station is organized on three levels:

Level –2:
Long-distance and regional lines
from north to south; U5 underground
line
Level ±0:
Local public transport; individual
transport (access road, short-term
car park); bicycles and pedestrians;
tourist transport (coaches, ships)
Level +1:
Long-distance and regional lines
on the urban railway track; S3, S5,
S6, S7, and S9 urban railway lines.

The new Berlin Central Station comprises a total floor area of 175,000 m², with approximately 15,000 m² reserved for shops and gastronomy, 50,000 m² are provided as office space in the arch buildings, 5,500 m² serve for operational railway use as well as 21,000 m² as circulation area. The  platforms cover an area of 32,000 m², the garage comprises 25,000 m².

http://www.gmp-architekten.de/en/projects/berlin-central-station.html

James Hotel | ODA Architecture and Perkins Eastman Architects

This SoHo boutique hotel was designed by ODA Architecture in collaboration with Perkins Eastman Architects. Custom interiors by ODA Architecture with Amanda Sullivan, blend artistic essentials and luxurious functionality. The hotel design strategy was to bring community together with hospitality. Each detail of the hotel was meticulously fashioned to inspire the senses with a blend of traditional as well as contemporary.

Architects: ODA – Architecture, P.C. and Perkins Eastman Architects, P.C.
Location: New York City, New York, USA
Interior Design: ODA – Architecture, P.C. and Amanda Sullivan
Project Area: 67,000 sqf
Photographs: Frank Oudeman, Robert Granoff

 

The 3rd floor Sky Lobby and reception area are accessible by a glass elevator transporting guests from the ground floor to a private living room and Urban Garden. The bedrooms suites are vivid and white, with cozy, cotton bed linen and recycled dark wood floors. Each room provides a completely different experience of the city and the bathroom glass walls allow guests to never take their eyes off the skyline.

http://www.archdaily.com/140096/james-hotel-oda-architecture-and-perkins-eastman-architects/