Architecture Exam #2

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Name: Acropolis Museum Date: 2001-09 Architect: Bernard Tschumi Location: Athens, Greece Client: competition via museum (?) Purpose/Function: The design for the new Acropolis Museum began with a simple question made up of three independent parts. How does one design a building located only 300 meters away from the most influential building in Western civilization? Additionally, how does one design a building when its site is an extraordinary archaeological graveyard containing the remains of many centuries of civic life in Athens? Relation to surroundings: It has to house marble sculpture in a city that has a heavily polluted atmosphere. Sculpture was without environmental protection in old Acropolis Museum. Yet, in addition to providing adequate protection for the Parthenon marbles, the New Acropolis Museum also had to preserve and provide access to the Roman and early Christian ruins beneath the new museum on the 5.68-acre site. Ordering of spatial form/movement: Four exhibition levels in museum: (1) Archaeological excavation at ground level, which includes exhibition space for portable finds. When conservation work is completed and ramps are installed above excavation, visitors will have option of beginning their tour from excavation. For time being, visitors can gain a sense of excavation environment form views available through huge opening at Museum entrance and through glass-paneled floors, looking down. In March 2003 Tschumi walked the site with archaeologists, negotiating the location of every column. (2) Sloping ramp at ground floor, which links this floor to first floor, which contains exhibits from slopes of Acropolis; (3) First floor level, divided into two sections by central parallel building service cores, which are also structural, and by its large central atrium: one for exhibits from Archaic Period; one for works from post-Parthenon era: the Propylaia, Sanctuary of Nike, Erechtheum, and objects dating from classical period to end of antiquity; floor made of same marble as Parthenon. (4) Third floor, which displays architectural sculptures from Parthenon. Skeletal structure: trapezoidal form that contains a rectangle that repeats the proportions of the Parthenon, as a 9:4 rectangle. Seismic isolators sandwiched between grade floor structure, lobby level. Because they minimize transfer of ground motion to structure above in event of a temblor, isolators allowed designer to create a more transparent and open museum than they otherwise could have in earthquake-prone Athens. Ext & Int: Walls clad in prefabricated concrete slabs with large round perforations; floor entirely glazed, with opaque glass in parts to relieve vertigo. Otherwise, clear glass floor exposes ruins below. concrete columns that raise structure off ground to expose archaeological site below; top grid is a glass box, aligned with Parthenon opposite, containing a main exhibition hall and café and offering panoramic views of monument. In between concrete columns and the glass box is central volume of building: middle grid, with its geometry shifted from above and below. Relation to historic types of archi: At top of museum, a daylight-filled gallery providing views of Parthenon, Athens, Gallery is devoted to display of ancient temple's surviving marbles. Surviving frieze elements, of which Greece possesses under half, are displayed, surrounded by a glass-enclosed court. Relation to theories/principles of architect: "The argument of the building is that you can address the past while being totally contemporary, totally unsentimental. The way to address a complex problem is with totality clarity. There was a mathematical precision in the work of the ancient Greeks. I'm trying for an equivalent precision in this building."

Name: Date: Architect: Location: Client: Purpose/Function: Relation to surroundings: Ordering of spatial form/movement: Skeletal structure: Ext & Int: Relation to historic types of archi: Relation to theories/principles of architect:

Name: Ara Pacis Museum Date: 2003-06 Architect: Richard Meier and Partners. Location: Rome Client: Mayor of Rome Purpose/Function: Involved not only appropriate housing for famous ancient sculptural works, but also optimally placing the observer in relationship to views of the surrounding historical site and reciprocally making each museum's contents again part of experience of the contemporary city, so to reintroduce the heritage to the present. Relation to surroundings: contained proposals in the fields of strategic infrastructure and transportation, the development and promotion of the city's cultural heritage, environmental protection, and the development of scientific research. Ordering of spatial form/movement: the control of sunlight was one key element. And it is approached up a flight of steps, and then a pause at a landing, and then up another flight of steps up to a level where one can now look back across the square at the Augustan monument, where Mussolini himself at one point planned to be buried. And then if I walk toward the entrance to the museum, then I am walking along a travertine wall, a very richly textured stone in terms of plant and animal fossils that are embedded in it. But to enter the building I pass under a canopy, which immediately breaks the scale, because I'm forced into a lower, more confined passage Skeletal structure: Taller sheltering canopy of white concrete, which is a very carefully cast architectural concrete, with white marble plaster forming the outer surface. columns on its corners that frame the panels of sculptural relief. But then this is a way of controlling the light on the Ara Pacis, because also on either side is a low iron content glass. Therefore it's an energy conserving glass because it doesn't allow a lot of heat to be built up. Ext & Int: There is a skylight that washes the travertine wall with daylight, so that I see dramatically the textures of the surface. It's a glass that is sheltered from the most severe sun, both by the roof's overhang and by a series of exterior horizontal louvers along its sides. Tempered glass which encloses altar is composed of two layers, each of 12mm, separated by cavity filled with argon gas and provided with an ionic layer of a noble metal to filter the light rays. Relation to historic types of archi: It seems clear that the topographic connection of the museum with the ruins will increase the interest of both and help further developments for the glory of the great Emperor whose name the zone bears. Relation to theories/principles of architect: Building designed to be permeable and transparent in midst of urban environment.

Name: Central Building, BMW Series 3 Manufacturing Plant Date: 1998-2005 Architect: Zaha Hadid Location: Leipzig, Germany Client: BMW Purpose/Function: formal, technical, social focus of plan that keeps entire operation running smoothly, capable of churning out 650 box-fresh Series 3 BMWs daily. Officially opened in mid May 2005 by Chancellor Schröder, new plant was one of Europe's largest construction projects; reassuring commitment by BMW to industry, economy of its native land. Renewed connectivity is what this building was about - Germany knit back together by its automobile development Relation to surroundings: Located almost exactly at center of Germany, Leipzig was chosen for its auspicious geography (easy connections to BMW center, Munich). Historically Saxony is car-making country, Audi, Porsche, Volkswagen are in addition to now BMW. There was therefore this pool of skilled workers associated with this particular industry. Leipzig's unemployment still c. 20% and since reunification population has dropped by some 100,000 down about 500,000. Plant on brown field site 0.5 hour drive n. from central Leipzig, near new airport, motorway, trade fair complex. BMW providing area with 5,500 new jobs. Ordering of spatial form/movement: Skeletal structure: diagonal piers, beams of reinforced concrete; other structure, skin of welded steel. Ext & Int: structural and spatial continuity over 295 foot x 950 foot site with stepped work trays, silent conveyors for automobiles between adjacent Assembly, White Body, and Paint Shop buildings. Relation to historic types of archi: Relation to theories/principles of architect: Also mediates between factory floor and office, between white collar, blue collar, between product, process. Key aim was organizational transparency, achieved by a fluid layering and interpenetration of space, so that people are aware of other kinds of activities going on around them. There's an aim to present this restitching of Germany in a cinematic way through the emblem of automobile manuafacturing.

Name: Church of God Our Merciful Father Date: completed 2003 Architect: Richard Meier Location: Rome Client: commissioned under Pope John Paul II (re: vatican's request to build 50 churches) Purpose/Function: Divised as an enclosure to help people resituate themselves in the world. area is degraded, could be available with new oedipus with a place of welcome, using the emblematic meaning of the church to strengthen the community. Has given neighborhood sense of pride Relation to surroundings: In a worker's suburb of Rome; sign of contradiction to the world (dialogue with urban fabric) Ordering of spatial form/movement: Multiple modes of arrival. ense of transparency and sense of the present future, not the past.Designed to realize meaning of openness; Space meant to innoble those who enter it in terms of structure and activities that take place within and outside of it. Distinct but related to surroundings. Glass, wood, stone, look up: What makes a church timeless is the bright ordained light of looking up. Directly influenced by natural light. Depending on season, interior looks different Skeletal structure: How to make a shell thats cantilevered 84ft from ground? pre cast concrete blocks, 360 of em. All part of the same curvature. Segments of the same sphere. Casting each of these blocks from the same ting, equal degrees of curvature. Slots for steel cables to pass between them; once blocks are in place, cables are tightened to make the structure stable. Steel to give concrete an unusual form Ext & Int: All white concrete; curvilinear and rectilinear elements. More sacred spaces = curved. Square represents earth and 4 elements and intellect Circles represent holy trinity, symbolizes community via water (baptism). Built upon idea of water. Treated with titanium dioxide which oxidizes the pollutants in the air to keep the facade white Relation to historic types of archi: Shares common language of roman churches of LOOKING UP. Relation to theories/principles of architect: Central idea for creating sacred space is truth, authenticity, clarity, peace, tranquility, uplifting. Express spirituality. Think of original material of architecture: space and light

Name: Cultural Center Jean-Marie Tjibaou Date: 1991-98 Architect: Renzo Piano Location: Bay of Magenta, Nouméa, New Caledonia Client: French government posed competition Purpose/Function: Kanak cultural center -- culmination of a long struggle for the recognition of our identity; on the French Government's part it is a powerful gesture of restitution. Relation to surroundings: Site is Tina Peninsula, on outskirts of Nouméa, New Caledonia's capital of 70,000 inhabitants. ADCK originally wanted project in Nouméa proper as forceful cultural presence in midst of very French city, and were at first dismayed at relative remoteness of site ten km from city's center. Yet they ultimately accepted site, since it was also location of Melanesia 2000 festival organized by Tjibaou. Given Kanak ties to landscapes that carry memory, Tina Peninsula had real power. Ordering of spatial form/movement: Cultural center has a comprehensive program: a 400-seat auditorium, which is largely underground. It has exhibition spaces for Kanak art. It has interpretive exhibitions that talk about history of Kanak society and culture such as it is now. Not meant to be retrospective exhibit hall, but rather one to be created by the Kanak leadership. Skeletal structure: These (galleries) are framed in steel and wood and they are open to landscape around them, in a warm tropical climate where issues of ventilation are very important for well-being Ext & Int: On one level, they look like basketwork, so they have a kind of local indigenous association. But on another level, their scale makes them look almost like radio telescopes. As if their scale makes them look almost like cosmic symbols, meant to be visible from a distance. Piano created a double-layer flat roof with 2 differentiated layers and an air space between. This was enormously helpful in keeping interiors of habitable. Wood is iroko, a kind of mahogany grown in Guinea, Africa, that is insect and moisture resistant and ages to a silver gray over time Relation to historic types of archi: They represent their beliefs through objects and the arrangement of their settlements. They have architectural metaphors for describing how their society functions. And the most important unit of Kanak society, both materially and metaphorically is the hut, made and woven from material, vegetal matter. These are huts that are round, circular structures, built by the owner for that owner's lifetime. And they almost always have a center post, and they have peripheral posts and they have horizontal woven fabric between the peripheral posts that encloses interior of the huts. Relation to theories/principles of architect: Piano studied and immersed himself in their culture to be sure that he captured the traditional elements of their society in an accurate way while still making a contemporary visualization of this cultural center.

Name: Elbphilharmonie Date: 2003-2017 Architect: Jaques Herzog and Pierre DeMeuron Location: Hafencity District, Hamburg Client: NDR Symphony Orchestra Purpose/Function: to create "a genuine public attraction" in a neighborhood that "people knew about but had never really noticed." Ample attention paid to creating public spaces amidst inherently private concert hall, hotel, apartments, allowing project to fulfill its egalitarian mandate despite relatively exclusive nature ofthe concert hall typology. Relation to surroundings: northernmost German city, almost Scandinavian appeal; one of most heavily bombed cities with strategic port, munitions factories Ordering of spatial form/movement: At ground level, entry sequence is tightly, theatrically controlled. Massive, curved escalator takes users on disorienting journey through an ornate tube lined in Venetian plaster occasionally interrupted with a view outward toward harbor. Escalator leads from entrance directly to top of old warehouse, whose periphery serves as large, panoramic public plaza dotted with restaurants, bars, and spa. All of building's programs, from hotel lobby to the concert halls themselves are accessed from plaza, which functions as hinge that unites various uses of building, and different spatial sequences designed to accommodate each program, in a single public space. Skeletal structure: By going up to the top of the complex, you find an indoor event space adjoining a small outdoor terrace, where you can see up close the white perforated-metal disks that animate the roof's wavelike contoured peaks. Ext & Int: Façade of addition is composed of variable mixture of flat and curved glass panels, either flaring outwards or compressing inwards with resulting gap filled in by swiveling ventilation panels. Result is subtle but striking façade that reacts to changes in light to appear both liquid and solid, translucent or reflective. Curved escalator, designed so that ascent cannot be seen in full from one end to another, is first of its kind and needed to be custom-engineered. In order support weight of glass addition, 650 vertical reinforced concrete piles were added to gutted interior of Kaispeicher A. At plaza level, structural language shifts to one of dramatically slanted piles, necessary to evenly disperse weight of irregularly shaped addition above. Sculptural glass of new façade would not have been feasible without then recent innovations in fabrication of high-performance curved Insulated Glazed Unit (IGU) glass panels. Each curved panel needed to be individually heated, molded, cooled, weatherproofed, a process requiring enormous technical expertise and attention to detail. Relation to historic types of archi: Relation to theories/principles of architect: Looking to build enthusiasm and cultivate a community via architectural language.

Name: Fondation Luis Vuitton Date: 2006-14 Architect: Frank Gehry Location: Bois de Boulogne, Paris Client: Bernard Arnault Purpose/Function: Fondation will host a permanent collection, rotating exhibitions, performances and lectures. Relation to surroundings: planned within the city's beloved 2,000-acre public park, there used to be a bowling alley there, now abandoned. Ordering of spatial form/movement: nterior becomes particularly complex, with varied levels and half-levels and a number of circulation options. They are not standard white boxes but designed so that no galleries are identical; several odd-shaped, intimate rooms are referred to as 'chapels.' Peak experience = leaving upper galleries to emerge onto one of multi-level terraces that top the museum. Skeletal structure: 126,000-sq.-ft museum, with a concrete-and-steel structure The museum building is a concrete-and-steel structure largely clad in 19,000 white concrete panels. Surrounding it are 12 curving translucent canopies, or sails, made of 3,600 glass panels supported by steel and wood members—the second structure. Ext & Int: clad in 19,000 glass fiber-reinforced high-performance concrete panels (its white, irregular jutting, curving shapes have been dubbed "the icebergs"). The VFW is set in its own pool of water, with a cascade that runs down tiled steps to the east of the building, outside the auditorium, one level below the lobby. The lower level contains two large flexible galleries and one small one, with poured resin floors (as in all the museum's galleries); those rooms, like the auditorium, allow glimpses of the reflecting pool outside. Thanks to the ever-changing skies of Paris, the glass sails are constantly transformed—one moment transparent, and, the next, silvery opaque and reflecting the passing clouds. Relation to historic types of archi: Beside the idea of a garden pavilion, the architect was inspired by the 19th-century Bois de Boulogne itself, built under Napoleon III, with its man-made lakes and Grand Cascade. Relation to theories/principles of architect: I do not consciously try to create disorder, however, I think disorder has it own order. the project breaks dramatically from traditional geometric and material principles by mass-customizing folded glass and curved concrete panels on a huge scale.

Name: Gare do Oriente Date: 1993-98 Architect: Santiago Calatrava Location: Lisbon, Portugal, near heart of the city Client: for northeastern district of Lisbon, For 1998 World Expo, competition Purpose/Function: Lisbon coming out of a period of dictatorship, wants to reingage internationally;Structure provides a system of pedestrian access between the various transport modes while at the same time establishing on the local scale a connection between the two separated urban areas of the Olivais district. Who uses a bus terminal? When are they there? → low income. They may have night shifts or early morning shifts → well-lit at night. Wants to enrich the lives of all, not just the wealthy. Relation to surroundings: The project is caught between a railway and the river embankment, a wasteland historically dividing residential and industrial areas; however, the location was intended to be developed into a vital district after the closing of the fair. Ordering of spatial form/movement: This piazza provides access to a shopping mail that occupies a multilevel hall under the platforms. Below ground is a park-and-ride automobile facility and a metro link. Skeletal structure: Gentle concrete arches speak of wind-worn artifacts smoothed to perfection by nature's forces. palms of steel, glass flourish on a 17-meter grid. In a tree-structure motif, parasols merge column and roof, and branches intertwine to cover eight railway lines. Ext & Int: Above the platforms, steel-and-glass trees interlock to form a continuous level of transparent roofs arranged on a 17-meter grid. Relation to historic types of archi: Trees are supposed to speak to regional existance of palm trees. Linked to nearby districts Relation to theories/principles of architect: kinda mentioned above

Name: Heydar Aliyev Cente Date: 2007-2013 Architect: Zaha Hadid Location: Baku, Azerbaijan Client: Government (?) Purpose/Function: Named for leader of soviet era Azerbaijan from 1969-82, and president of Azerbaijan, to put Baku on the map (similar function to Guggenheim Bilbao). Reinvent post Soviet-era Relation to surroundings: 250,000 housing buildings that were taken down to make this, cut off ppls supply of electricity, water, etc, to squeeze them out slowly. Some buildings were demolished with people still inside them.. Absolute human rights violation. Also right next to the airport. Ordering of spatial form/movement: When you come into its folded spaces, not far away is an art gallery. Steel-column-less space frame supporting cladding of glass-fiber reinforced polyester. Slots of light in the surface Skeletal structure: ^^ Ext & Int: Auditorium is formed of curved strips of american oak planed in situ Relation to historic types of archi: Meant to be post-soviet, but connect to a pre soviet imperial model Relation to theories/principles of architect: Combining regional architectural language while modernizing it through Hadid's distinct style

Name: Islamic Cemetery Date: 2003-12 Architect: Bernardo Bader Location: Westernmost providence of Austria Client: Altach Municipality Purpose/Function: to realize the wish of an immigrant community seeking to create a space that fulfills their spiritual aspirations and, at the same time, responds to the context of their adopted country with a culturally sensitive design and aesthetic. Relation to surroundings: Simple in expression and poetic in form, it not only engages the natural landscape in an intelligent manner but also suspends any notion of declaration. While emphasizing spiritual pluralism, the Cemetery also provides the final destination for a minority group in a dominant society Ordering of spatial form/movement: Prayer place, grave plots, space set aside for regional Skeletal structure: Poured in place concrete, layered treatment of pours parallel to the earth. Ext & Int: Passage otw to prayer space: framed in wood, traditional regional craft specialization, majority of history; pattern on the screen is an islamic traditional pattern, material element articulates the idea of coexistenced Prayer space; range of issues in designing this space. Has to face mecca. Prayer mats;/rugs getting lighter towards the light. Woven by refugee women giving them employment and connection. Towards prayer wall we see traditional letters laid out in blocks of wood "allah, muhammed, in an old form of arabic script". Partially about tradition and modernity. What else is designed in this space, communal space for prayer: Lighting fixtures, how to create aura of ineffable through material goods Materials suspended in the screen; wood oriented towards mecca Relation to historic types of archi: Calling upon Islamic tradition and architecture while integrating it into this environment and engaging this local landscape/culture. Relation to theories/principles of architect: When one is buried here, they are no longer a refugee; articulating and sustaining materials.

Name: Jewish Museum Date: 1989-99 Architect: Daniel Libeskind Location: Berlin Client: Berlin Museum Purpose/Function: Puts past and present in context and also projects an idea for the future. Using the elements of the architecture for a spatial and experiential metaphor for tragedy Relation to surroundings: Directly contextualizing the tragedies that occurred in Berlin and in the larger German area. Ordering of spatial form/movement: to enter this building, you must enter the old building first. Long corridor, underground level, to gradually go up an inclined surface to get into the main exhibition space YOu have to get in through a very complex path to understand the complexities of Jewish history in Berlin Very unusual experience; not just about the wow, but about the experience of dislocation Jarringly new, unexpected, so much so that you feel like you've arrived in a new place. In the exhibition level, an unusual set of spaces Intentionally disrupted by a wall, not part of the exhibition space. They're like voids. It's an emblem, where the not visible has made itself apparent as a void. Very little remains of the Jewish population of Berlin. Evocative of an absence rather than a presence. This void should be made visible, accessible. Ext & Int: Exterior: Zinc; a metal that is emblematic of Berlin's material - the more traditional form of zinc that will take some years to become part of the city; will oxidize. recognizably berlin because the cladding is part of the museum. Interior: corridor walls carry names of deported Jews Relation to historic types of archi: The older part of the museum, the Berlin Museum, is a completely different/more traditional architectural language Relation to theories/principles of architect: Using the elements of the architecture for a spatial and experiential metaphor for tragedy

Name: MAXXI: Museum of XXI Century Arts Date: 1998-2009 Architect: Zaha Hadid Location: Rome (near Tiber River) Client: Italian Government Purpose/Function: National Museum Relation to surroundings: Borrowing curvilinear form from the river in the landscape nearby Ordering of spatial form/movement: Major gallery spaces on ground level, secondary spaces over them, connecting to adjacent buildings Skeletal structure: Self-compacting concrete, 40 ft wide galleries w 400 ft long, steel trusses overhead and parallel gallery walks, cantilevering floor slab Ext & Int: Major gallery spaces on ground level, secondary spaces over them, connecting to adjacent buildings Part of a larger set of structures, Self compacting concrete: weight of the concrete is chemically engineers so it compacts the material as its poured. Distinct from what most concrete does. Merger of chemical engineering with formal sensibility. Managing sunlight; 8ft high trusses clad with glass fiber reinforced concrete Relation to historic types of archi: Connected to historical/traditional buildings (?) Relation to theories/principles of architect: Trying to create a museum without it being a white, square box.

Name: Memorial to the Murdered Jews of Europe Date: opened may 2005 Architect: Peter Eisenman Location: Berlin (east of Tiergarten) Client: German Gov? Purpose/Function: memorial Relation to surroundings: political, economic, and cultural heart of the city. was formerly Reich's Ministry gardens; Goebbels underground bunker still edges it on north. Used to house Hitler's HQ. Ordering of spatial form/movement: Left untouched, site would be flat, sandy waste; large paved surface needs complicated but inconspicuous drainage system; run-off water taken to underground reservoir for irrigating trees planted among low stelae on west side of site. No fence; security guards patrol night and day. Skeletal structure: stele three feet wide, eight feet long; loom three meters above you in center, or 15 feet off ground where ground sinks eight feet from periphery; there, noise of road is stilled; paths paved in concrete tiles or small cubic blocks embedded in gravel. Ext & Int: 5.5 acres; 2,711 concrete pillars; cobblestone walkways between stele Relation to historic types of archi: calls upon the Greek gravestones. Relation to theories/principles of architect: the goal = maintain memory of unthinkable experience but also admonish future generations to never again violate human rights; resist all forms of dicatorship.

Name: Museum Quai Branly Date: 1998-2006 Architect: Jean Nouvel Location: on Left Bank, east of Eiffel Tower, Paris Client: Chirac Purpose/Function: houses African, Pacific Oceanic, indigenous American and Asian art from Musee des Arts Africains et Oceanians and 250k objects. Relation to surroundings: When you say context, people think you want to copy the architectural languages nearby; Context is contrast. In the center of Paris Ordering of spatial form/movement: Whole site is about accessibility, unusual approach to museum building, rust colored metal louvers that frame the glass, material embodiment of patrons attitude; It presents exhibitions to a city that reads with one typa architectural language; Ascend into gallery; "River" - elevated curving gallery; This river is natural to the art that is in the museum from all over the world -- Purified presentation of objects; Wanted to have a sense of mystery to let patrons experience the art in a pure way Skeletal structure: Exterior is made intentionally non-classical by rust-colored blinds and colored boxes for the intimate appended galleries. a subtle pattern, reminiscent of aboriginal art work, can be discerned on building's façade. Inside a number of aboriginal artists have painted the ceilings in bold, swirling patterns that are illuminated by night so that they are visible from the street. Ext & Int: the green wall -- A set of choices made by Patrick Blanc. alluminum and glass interior are being used to support a complex institutional meaning. 650 ft long gallery. Glass and metal -> unusual choices in materials Relation to historic types of archi: To convey an idea of accessibility, as a means of opening French cultural institutions that were otherwise inaccessible or closed off. Associated with limestone buildings. Relationship of central Paris to its periphery. City and ring of inner suburbs were joined in an effort to redress a century's worth of urban decisions that exacerbated the cultural divide. High income in concentrated districts (8, 16) and western suburbs. North eastern suburbs had much less This disparity is what was meant to be hurdled Bring better access to jobs and businesses, if it works, the whole goal is an overarching sense of belonging for immigrant families and all socio economic brackets; Resources being redistributed Relation to theories/principles of architect:

Name: Norwegian National Opera House Date: 1999-2008 Architect: Craig Dykers as lead architect Location: Eastern Oslo Harbor, former industrial dockside Client: for the Norwegian Opera and Ballet Purpose/Function: cultural center to make Norway attractive for visitors etc. Signature buildings, cultural flagships, iconic buildings; a building that is famous to represent a movement or style or era. They're part of a city but meant to represent for the city. Emphasis is on distinctive design; imagability. Easy to communicate, unabashed visibility. Not part of an ensemble. (this is why they can be on waterfronts) buildings that stand for the larger city. Relation to surroundings: On a harbor. Post industrial waterfronts become public spaces Ordering of spatial form/movement: From afar, like a marble-and-glass iceberg floating in the eastern Oslo harbor of Bjorvika. The building brings to mind typological and urbanistic features of other, similar structures Skeletal structure: Main stage's fly tower, clad in artistically patterned aluminum panels, rises powerfully above this dominant horizontal plane. Covering the opera house's gestural forms is an astounding jigsaw puzzle of substantially dimensioned cut stone composed of 36,000 computer-designed and -arranged marble and granite pieces. The white marble gives way to green Norwegian granite at and below the water line of the harbor. Careful positioning of stone joints, along with a range of surface textures, low ridges, and striations, addresses the necessities of ice and snow buildup and consequent water drainage. the immense, curving, three-story wall surrounding the main stage performance hall. The wall, like an oak-battened ship's hull moored within a marble-and-glass drydock, contrasts well with the horizontal dynamic of the brighter, cooler, and sharper materials of the exterior. Ext & Int: digitally fabricated stone and glass for sculptural effect. Main auditorium, 1,400 seats, for traditional opera, ballet; experimental performance hall, 400-600 seats; roofscape: 36,000 computer-designed and -arranged white Carrara marble green Norwegian granite at/below harbor water line interior: lobby, three-story oak wall of pre-assembled panels; theater: hand-crafted oak balustrades. Relation to historic types of archi: Oslo residents frequently strolling across the dramatically sloped planes of its marbled roofscape. While fitting well into the low hills of its surrounding landscape on the Oslo Fjord, and already an invigorating urban presence in the quickly redeveloping Bjorvika district, the new opera house effectively symbolizes the creative aspirations of its occupants from the worlds of ballet and opera. Relation to theories/principles of architect:

Name: Paul Klee Center Date: 1998-2005 Architect: Renzo Piano Location: Bern, Switzerland Client: Dr. Müller (swiss surgeon) Purpose/Function: To house the works of artist Paul Klee Relation to surroundings: Klee was from Bern, in a land dominated by the Alps, the countryside around the Swiss capital of Bern is shaped by rolling hills that invite nothing more dramatic than unhurried contemplation. Ordering of spatial form/movement: there are three glass-faced "hills" of descending height and size: the north with reception areas, a children's museum and a 300-seat underground concert hall; the second with two floors for the permanent collection and temporary exhibitions; and third/south for offices and storage. Skeletal structure: With gallery that rises to 35 feet at its highest point, ceiling-like scrims create a more intimately scaled space for exhibited works. Panels also diffuse illumination from metal-halide light fixtures that project up to ceiling, as well as halogen lights closer to artworks. The three hills are connected by a promenade which Piano has named Museum Street. Ext & Int: stepped-metal louvers. In designing center, Piano and colleagues came up with a scheme that divided museum into three hill-like forms. A 492-foot-long glazed concourse along entrance facades connects the "hills," a series of parabolic arches formed from bent steel profiles that gradually merge into grassy knoll at rear of complex. At front, where three pavilions spring energetically from ground, glass walls and metal louvers partially fill in open spaces between the girders. Since three hill-like structures assume different curves, arches shift in radius from one to another and from pavilion to pavilion. Irregularity of radii meant that number of box-section girders had to be hand-welded, yet large portion could be fashioned by machine. The proximity to nature is reinforced by the building's white oak floors and wooden staircases. Relation to historic types of archi: topographic experience Relation to theories/principles of architect: to create a sense of lightness, to create a sense of lightness, a mood that fits Klee's art

Name: Philharmonie de Paris Date: 2007-15 Architect: Jean Nouvel Location: Parc de la Villette, 19th arrondissement of Paris Client: Chirac Purpose/Function: A place for all generations and backgrounds; dramatic to relocate FROM the center of teh city to the periphery of it - this is for the sake of inclusion and to draw attention to this part of town that isn't quite glorious Relation to surroundings: Thanks to the suspended design, one has the impression of being surrounded by and immersed in music and light Ordering of spatial form/movement: In Paris Philharmonic exists like a prestigious event, which maintains the harmonious relationship with the Parc de la Villette, Cité de la Musique and the Paris ring road. Skeletal structure: curvilinear pathways, overlayed geometric systems Ext & Int: Aluminum-clad buildings (doesn't oxidize so it stays shiny), which in models, drawings, computer-generated images resembles a mound of loosely stacked plates topped by a 170-foot-high-sail. Its 2,400-seat auditorium is designed in "vineyard" style, with audience on all sides of the orchestra on multilevel "terraces." novelty of auditorium was to "suspend" balconies—they are attached to the building via access passages—in a way that allows sound waves to circulate around them and behind the balconies. Relation to historic types of archi: 135-acre site of old slaughter house, which became Science and Technology Museum; Relation to theories/principles of architect: sought to create a space in which the sound would envelope, not overwhelm the audience. Central to the project is the belief that because of its location that hall will draw new audiences to classical music, including younger people and suburban families.

Name: Planetarium, Valencia Science Center Date: 1991-98 Architect: Santiago Calatrava Location: Turia River Bed, Valencia, Spain Client: Purpose/Function: Helping the city to believe in itself, its future. City presenting itself as a center of advanced technology, hence attractive for investment. increase a city's or a region's intellectual or cultural as well as its financial capital, meaning that the new architecture becomes a destination and a symbol of local potential. Relation to surroundings: Old river bed abandoned for years; mayors proposed making a motorway, but that option finally was rejected with advent of democracy, fervent neighborhood protests. now verdant sunken park called "Garden of the Turia," allows cyclists, pedestrians to traverse much of city without/roads Ordering of spatial form/movement: Visitors enter the planetarium underground, through a sunken gallery that leads to the base of the theater. The vaultlike, exposed-concrete gallery houses ticket booths, a restaurant, and gift shop. There's also a staircase that leads up to the soaring space beneath the planetarium's elliptical shell. Skeletal structure: Running along center of exterior shell is an enormous poured-in-place concrete arch spanning 90 meters, with shallower arches placed parallel on each side. Fixed glass skylights span each of side arches; beneath those, a bonelike cage of steel ribs, controlled by pneumatic struts, can open and close like an eyelid, revealing sunken tile-encrusted orb of IMAX to outdoors. Ext & Int: Structural concrete and steel shell creates a weblike vault above the planetarium. The "eyelid" incorporates a system of slats mounted on pivoting central stems. As the mobile structures slowly open out, slats reveal the interior of the sphere, simultaneously giving it a light and floating appearance --> metaphor for knowledge Relation to historic types of archi: Calatrava won competition to develop a complex for the science museum and planetarium on the southern banks of the dried-up bed of the Turia River, not far from the bridge he would complete in 1995. Calatrava was faced with challenging task: to design within context of a peripheral, abandoned, and, at the time, a site that was thought to be a hopeless area. Relation to theories/principles of architect: Calatrava's impulses come from nature: the structures of animal skeletons, feathers, crustacean shells, and the human body. also embodies another of Calatrava's fascinations: architecture that moves. each work is a site-specific inflection of his personal style. his new architecture gives local people hope because he has renewed these old sites

Name: Punta Nave Building Studio Date: 1991 Architect: Renzo Piano Location: Genoa, Italy Client: N/A, his own studio. Building Workshop paid for the building; UNESCO funds much research. Purpose/Function: Personal studio for working and for collaborative elements Relation to surroundings: Overlooking Gulf of Genoa, west of Genoa, at Vesima; on land with a farmhouse that has for generations belonged to Piano's family and that he had long wanted to put to suitable use. Ordering of spatial form/movement: Building is a single volume whose floor steps with slope, almost as continuations of terracing outside. A sophisticated, highly serviced version of agricultural greenhouses found on slopes, and reached only by a funicular from coast road below, this is a laboratory and workshop shared by Building Workshop and UNESCO. Skeletal structure: kinda explained throughout Ext & Int: The workshop building is organized in sections that step topographically down hills, providing most workspaces with a view to the Mediterranean Sea. The glass roof is partially covered with solar-controlling louvers that interact automatically with changing daylight conditions. Relation to historic types of archi: His family had a farm here -- also it is honoring the topography of the site; harmonious with the environment Relation to theories/principles of architect: a greenhouse on top of the sea, the perfect interpretation of the environment. meant to cultivate a spirit of experimentation and inquiry with materials and how their properties can shape the relationship of architecture to climate. encourages collaboration across specializations

Name: Swiss Re Building (The Gherkin) Date: 1997-2004 Architect: Sir Norman Foster Location: London, just outside of historic conservation zone Client: Swiss Re Purpose/Function: One of 15 skyscrapers endorsed by mayor at the time for the purpose of building upward and concentrating population near the center of London. First environmentally friendly skyscraper of London. Relation to surroundings: In the center, part of the de-industrializing of London. By many architectually historic buildings; Saint Paul's dominated the skyline, this is the first time that architects had the opportunity to transform teh city's look since 17th century Ordering of spatial form/movement: Six fingers of office space on each floor, each rotated 5 degrees relative to adjacent floors, between office finders enable natural ventilation of building for at least 40% of year. Building doesnt occupy its full lot - leaves mad space for pedestrians. Light and air on 3 sides that is not lost with the utilization of LED lights Skeletal structure: 36 diagonal column (less steel) Ext & Int: Relation to historic types of archi: Relation to theories/principles of architect: 30(0)k people a day go through Londo Bridge Station. From an environmental perpective, condensed occupancy near transportation hubs, thats better than sprawled occupancy far away.

Name: Tate Modern Date: 1994-2000 Architect: Herzog and De Meuron, Harry Guger (they won via their design entered in a contest) Location: Situated on south bank of the River Thames, London. Previously a power plant Client: Sir Henry Tate Foundation (public and private partnerships) Purpose/Function: First museum devoted to modern art in London. Relation to surroundings: Concerns: visibility, centrality (enormously valuable), its unusual to have a central sight available for development. A part of the London skyline. Ordering of spatial form/movement: Dismantling, no entrance on ground level, rather entering on basement level to create a larger volume Skeletal structure: plain red brick exterior and powerful symmetry of its horizontal mass, bisected at the center by a single tall, square chimney. Building was articulated on three sides by a series of immense, well-detailed windows. The only decoration came from brickwork crenellation along building's edging, cleverly mitigating its great bulk. Retained this core spatial volume and worked with the pre existing shell of the boiler room/power plant Ext & Int: Divided the central part of the building into different gallery sections. Unfinished hardwood floors to retain some of the industrial quality of the building. Echoes the bands of frosted glass inside on the north side of the gallery. The swiss light (top of the tower) - marking the transformation of this building. In the building there were huge oil tanks (south side basement). Architects proposed to use the oil tanks as art exhibition spaces. Relation to historic types of archi: Built within an older building. Relation to theories/principles of architect: Available to people of all education levels and socio-economic statures. Maintaining the history and honoring the artists via putting them on the board. Approachable space. Gallery emphasizes that nothing surrounding a work of art is neutral -- Everything has an impact on the way we interpret what we see.

Name: The Shard Date: 2000-2013 Architect: Renzo Piano Location: London Bridge Station, Borough of Southwark Client: Irving Sellar, then Qatar investors Purpose/Function: 87 stories. 1018 feet tall, mixed use program (offices below restaurants, hotel, apartments) Relation to surroundings: 300k people use subways, buses and intercity trains at London Bridge Station every day. Physical expression of energy at the most bustling busy place of London. Ordering of spatial form/movement: Designed for access from london bridge station - only 48 parking spaces in the whole building for those who are handicapped. The rest of the people are reliant on public transit Skeletal structure: Concrete foundation, steel frame for office floors and public spaces of the hotel Then another concrete frame for the hotel guest rooms and the residences. A steel frame for the observation galleries (all to protect wind). Ext & Int: tapering profile ; enhanced by open apex. The building doesnt seem to end, no sharp stopping. 8 glass panes stay separate. Looking like a still growing flower The shard: very different than Gherkin where there are towers around it. The shard stands alone. Shard is language of glass, historic consciousness. Clearest glass you can manufacture; Double skin of clear glass with 10 inch cavity.....Effect where the glass seems to disappear the higher the building gets - feels unfinished like they never finished putting the building together - purposeful incompleteness, like a growing flower Relation to historic types of archi: Riffs on idea of the cathedral Relation to theories/principles of architect: Too often buildings are opaque and mysterious. we wanted this one to be transparent - an expression of the weather in london. Changing all the time. Reflects the sky. You can spend a day in front of it and itll never be the same. Riffing on the historical idea of a cathedral

Name: World Trade Center Transportation Hub Date: 2007 Architect: Santiago Calatrava Location: Ground Zero, Lower Manhattan Client: financed by the Federal Transit Administration for PATH Purpose/Function: To solve practical problems posed by destruction of this vital transportation exchange center, and aid in healing severe psychological trauma. Primarily a permanent transport focal point for Lower Manhattan Relation to surroundings: Main hall, known as the Oculus, is the centerpiece of a sprawling network of underground connections among the World Trade Center's office towers and a station for PATH train to New Jersey, which the agency says will serve 100,000 commuters per day, an estimate that rose to 150,000 to 200,000. Ordering of spatial form/movement: You descend into it via a very long escalator. Configuration of structure inspired by image of bird released from child's hand. Bird figure becomes a unique symbol and most appropriate for site and occasion. Skeletal structure: Station's main hall is enclosed by an elliptical glass dome with two enormous steel-and-glass canopies protruding out of its top like giant eyelids. Column free. Wings -- but they're stationary Ext & Int: Structure above grade as free- standing object made out of glass and steel. Volume of hub above ground, space around it offers yet another break, or pause, amid dense buildings planned for site. On main concourse, about 40 feet below street level, 120 feet below apex of glass roof visitors will be able to look up at column-free clear span Relation to historic types of archi: It has to feel as important as Grand Central or the old Penn Station." "Those places are the gates to the city. New York City has a tradition of great stations. There are cities in the world that don't have that. New York has it Relation to theories/principles of architect: Loves to fold the idea of life and movement into the design while also memorializing 9/11 and simultaneously serving the community of commuters. Wants to make it feel special and unique

Name: Zeitz MOCAA (museum of contemporary African art) Date: 2017 Architect: Thomas Heatherwick Location: Cape Town, South Africa Client: Victoria and Alfred Waterfront Authrority, (established by Growthpoint Properties and Government employees Pension Fund, as private company to manage 100+ hectares water front tourist destination.) Purpose/Function: for art collection of Jochen Zeits (ex CEO-puma) and a five story hotel Relation to surroundings: tallest building in Sub-Saharan Africa. Silo district across from Victoria and Alfred waterfront Ordering of spatial form/movement: What do you do with a place filled with silos? Proposed carving out a huge space from those grain elevators; the space generated from digital scan of a singular grain of corn. When you get in the building theres a crazy interior atrium. Inspired by its own historic character Skeletal structure: Old concrete core that housed silos for different types of grain Ext & Int: Glass roof, Sculpture gallery at the top, glass that creates the roof for main space, Theatricality should be inherent to pieces of public infrastructure, Interested in soulfulness of public space, Galleries are conventional - this is what the curators preferred. Relation to historic types of archi: literally built inside a silo Relation to theories/principles of architect: Didnt want to destroy the authenticity of the original form

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