Construction and Architecture Magazine 09 jan feb 2011

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Cover StoryCover Story

Shanghai Tower has emerged as one of East Asia’sleading financial centers. It will be the second tallestbuilding in the world when it opens in

2014.Designed by a team of Gensler architects to embodyShanghai’s rich culture, the 632-meter-high mixed-usebuilding will complete the city’s super-high-rise precinct. Itis the most forward-looking of the three towerssymbolizing Shanghai’s past, present, and future. Gensler’svision for Shanghai Tower has taken tangibleform aftercompletion of the immense foundation. Soil conditions inShanghai—a clay-based mixture typical of a river delta—meant supporting the tower on 831 reinforced concretebore piles sunk deep into the ground.

The tower’s scale and complexity have created somany“firsts” for China’s construction industry that morethan100 expert panels have been established toanalyzeevery aspect of the design. Workers are busybuilding forms for the concrete core and erecting thegigantic composite supercolumns—measuring 5 x 4 m. Atthe base and reinforced with steel plates that weigh 145metric tonnes each—that will provide structural supportfor the tower. To carry the load of the transparent glassskin, Gensler designed an innovative curtainwall that issuspended from the mechanical floors abovand stabilisedby a system of hoop rings and struts. And the strategic

division of the tower into nine vertical zones will supplythe lifeblood of the building’s heating,cooling, water, andpower throughout with less energy and at lower cost.

From the ground to the top

Workers positioned rebar and poured the mat foundation inMarch 2010. The structural core takes shape as constructionmoves ahead with technical complexities of the tower’sstructure, glass enclosure, and mechanical systems are skillfullymanaged. Soil conditions in Shanghai—a clay-based mixturetypical of a river delta—meant supporting the tower on 831reinforced concrete bore piles sunk deep into the ground. Forthree days, a small army of workers assembled to complete themarathon, 60-hour continuous concrete pour. When the jobwas finished, more than 61,000 cubic meters of concrete had

been used to create the six-meter-thickmat foundation. The tower’s scaleand complexity have created somany ‘firsts’ for China’sconstruction industry that morethan 100 expert panels have beenestablished to analyse every aspectof the design. Workers are busybuilding forms for the concretecore and erecting the giganticcomposite super columns—measuring 5 x 4 m at the base andreinforced with steel plates thatweigh 145 metric tonnes each—that will provide structural support

» January – February 2011 » Construction And Architecture Magazine020 » January – February 2011 » Construction And Architecture Magazine020

Designed by Gensler architects, Shanghai

Tower will be symbolic of a nation whose

future is filled with limitless opportunities.

Symbolising past,

present and future

020-22] Cover Story-Shanghai Tower.qxp 11/01/2011 7:03 AM Page 20

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Construction And Architecture Magazine » January – February 2011 » 021

for the tower. To carry the load of thetransparent glass skin, Gensler designedan innovative curtain wall that issuspended from the mechanical floorsabove and stabilised by a system of hooprings and struts. And the strategicdivision of the tower into nine verticalzones will supply the lifeblood of thebuilding’s heating, cooling, water, andpower throughout with less energy andat lower cost.

The highlight:

Shanghai Tower completes Asia’s firstsuper-high-rise precinct, the centerpieceof the city’s international financialdistrict. The three mixed-use towers areinterconnected, served by Shanghai

Metro, and accessible from across thecity. The Lujiazui zone in Shanghai hasgone from farmland to financial centerin two decades, resulting in a skylineand architectural landscape that need aunifying landmark. With a roundedtriangular footprint derived both fromthe bend in the nearby Huangpu Riverand from its relationship to the Jin MaoTower and the Shanghai WorldFinancial Center, Shanghai Tower willstand as a beacon and a signature iconfor the city of Shanghai. At the sametime, it completes the precinct’sharmonious trio of buildings and giving

the precinct its defining silhouette in thesky. The spiraling form of the towerrotates as it rises, signifying theemergence of China as a global financialpower.

Innovation takes the prize:

To refine the tower’s shape, Gensler’steam used a series of wind tunnel tests tosimulate the region’s greatest naturalforce, the typhoon. Results produced astructure and shape that reduce windloads by 24 percent—ultimatelyyielding a savings of $58 million inconstruction costs. A simple structure,public spaces within the double façade,and sky gardens based on Shanghai’straditional open courtyards will make

Shanghai Tower an unrivaled asset forthe Lujiazui district. Three importantdesign strategies were assimilate-theasymmetry of the tower’s form, itstapering profile, and rounded cornerthat would allow the building towithstand typhoon wind forcescommon to Shanghai. Using windtunnel tests, Gensler and structuralengineer Thornton Tomasetti refinedthe tower’s form, ultimately reducingbuilding wind loads by 24 percent. Theresult is a simpler and lighter structurewith unprecedented transparency and a32 percent reduction of costly materials.

Light reflectance off the curtain wall wasmodeled using Ecotect software, whichshowed that the ‘staggered’ curtain-walldesign was much more desirable. Thisseries of drawings illustrates the layeringof structure, composite floors, innerskin, and exterior curtain wall. Thesimplified mega-frame proved to be aneconomical approach to construction.

Two curtain-wall schemes—‘staggered’ and ‘smooth’—were studiedextensively. The tests revealed that astaggered skin made of glass panels setvertically was far superior to a smoothskin of angled glass, which would reflectmuch more light onto neighboringbuildings. The simplicity of ShanghaiTower’s structure is a response to manychallenges: a windy climate, an activeearthquake zone, and clay based soils.The heart of the structural system is aconcrete core. The core acts in concertwith an outrigger and super columnsystem, with double-belt trusses thatsupport the base of each verticalneighborhood. This makes for an easierand faster construction process—asignificant cost savings for the client.The outer curtain-wall designincorporates metal shelves at each floorlevel, producing the preferred staggeredconfiguration.

The landscaped sky lobbies will besocial and retail hubs for eachneighborhood within the building.Landscaped atriums are located atregular intervals throughout thebuilding. Many options were studied,but wind tunnel tests pinpointed a 120-degree rotation as optimal forminimizing wind loads. The innovativedesign incorporates two independentcurtain walls—the outer skin is cam-shaped in plan, the inner one is circular.The space between them forms atriumsthat will house landscaped publicgardens at regular intervals throughoutthe building. These sky gardens willimprove air quality, create visualconnections between the city and thetower’s interiors, and provide a placewhere building users can interact andmingle. Gensler’s design teamanticipated that three important designstrategies—the asymmetry of the tower’sform, its tapering profile, and rounded


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corners—would allow the building towithstand typhoon wind forcescommon to Shanghai.

Floor space: The entire tower will have an inside-

outside transparency and is the onlysuper-high-rise building wrapped inpublic spaces and sky gardens. Eachneighborhood is dedicated to a primaryuse, but is enriched by complementaryamenities and services. The upper floorswill house hotels, cultural venues, andan observation deck. Central floors willhouse office space. A six-story retailpodium concentrates shopping anddining near the base. And the groundfloor will serve as an ‘urban market,’connecting people to each other, tonearby services, and to Shanghai’sMetro. This conceptual image showshow the innovative hub and- spokesupports for the outer curtain wall createcourtyards that serve each of the verticalzones. Office levels will be served by aseparate lobby that streamlinespedestrian circulation into the buildingand allows quick access to elevators.

Shanghai Tower’s six-level retailpodium that resonate with traditionalChinese culture will be the ultimatedestination for shopping and large-scalegatherings. The glazed west end of thepodium and the rooftop terrace signalthe location of the conference centerthat adjoins the retail floors. Clad inluminous cast-glass tiles, the distinctivepodium offers a luxury retail and leisureexperience that incorporates a mix ofpremium brands, one-of-a-kindspecialty retailers, and high-concept

dining. Strategically placed entrancesfrom the tower, street, and undergroundtransit station funnel pedestrians intoactive public spaces connected by anetwork of concourses, escalators, stairs,and balconies. The retail complex iscomprised of two distinct zones— twolevels below grade and four above—whose clarity of organisation makes foreasy navigation. Most people will enterfrom the subway into a lower-levelconcourse that functions like amarketplace. Slicing through both zonesis a five-story atrium with an expansiveglass façade that opens toward the city,filling the shops with natural light,enhancing the visibility of luxurytenants, and establishing an importantconnection between inside and out.

Sustainable tower:

Wind tunnel testing of the tapered,asymmetrical tower focused ondefining the optimal shape of theexterior skin and showed that reducingwind load makes for a lighter, moreefficient structure that conservesnatural resources. A central aspect ofthe design is the transparent, secondskin that wraps the entire building. Theventilated atriums it encloses conserveenergy by modulating the temperaturewithin the void. The space acts as abuffer between inside and outside,warming up the cool outside air inwinter and dissipating heat from thebuilding interior in the summer.Mechanical equipment is spacedstrategically in each zone of thebuilding to provide optimal flexibility,reduce operating costs, and conserve

energy. The tower’s topmost levels willhouse rows of vertically aligned windturbines and a spiraling parapet that isintegral to a rainwater collectionsystem.The foundation of thisapproach is state-of-the-art waterresource management practices andhigh-efficiency building systems. A full33 percent of the site is green space,with landscaping that breathes fresh airinto the city and shades paved areasthat radiate heat. Locally sourcedmaterials with high-recycled contentare being used when available. And thebuilding’s heating and cooling systemswill tap the power of geothermaltechnology to deliver energy fromfluids maintained at the earth’sconstant temperature. ShanghaiTower’s sustainable strategies willreduce the building’s carbon footprintby 34 000 metric tonnes per year. �

» January – February 2011 » Construction And Architecture Magazine022

Location : Lujiazui Finance andTrade Zone, Pudong district,Shanghai, ChinaDesign Architect : GenslerLocal Design Institute :Architectural Design & ResearchInstitute of Tongji UniversityOwner, Developer, Contractor:Shanghai Tower Construction &Development CoLtdStructural Engineer : ThorntonTomasettiMEP Engineer : CosentiniAssociatesLandscape Architect : SWAArea : 30,370 sq mtHeight : 36.9 mtTower height : 632 mtStories : 121 occupied floorsArea : 380,000 sq mt above grade141,000 sq mt below gradeStories : 5 stories above gradeArea : 46,000 sq mtProgram:Office, luxury hotel,entertainment, retail, and culturalvenues, podiumTotal floor area in sq met: 521kWeight of in metric tonnes : 1 200Number of structural piles in entireproject : 2,000Number of elevator : 106.

Project details


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MOMEMA Dubairecognises the opportunityto create an entirely new

type of museum, which consists of avibrant urban centre, whereprofessionals, collectors and publicmeet each other. Set to be acommunity-building institutionwithin the city, and offer to bothvisitors and residents a continuouslychanging palette of experiences andevents. The building is positioned totake full advantage of the prominentlocation in the Culture Village.

With its Dhow-like prow rising up,the building offers panoramic views tothe surroundings, and vice versa.’‘Inside, the design of this new museumstimulates contemplation, but by othermeans than enforcing a restricted opticalfield. There are no abrupt transitions.

The space (the time) you have leftbehind is undividedly part of the spaceyou are in now, is part of your ecologicalfield, is still perceptible, still surroundingyou; the art contained in those spacesfollows this principle. Formats,mediums, and times can be effortlesslyarranged together and rearranged. Thereare never too many people; this museumthrives on audiences, vernissages, andspectacle. The museum will cover anarea of 25,000 sq m and is expected tobe completed in January 2011.

The new cultural hub will be locatedon 40 mn sq ft of land in the historicdistrict of Jadaf. In addition to theMuseum of Middle East Modern Art,this landmark project will include anamphitheatre for live performances andinternational cultural festivals, anexhibition hall and smaller museumsdisplaying local and international art, aswell as a shipyard for traditional dhowbuilders. It will also include residential,commercial and retail zones. It will alsohold a variety of spaces to exhibit artsand cultural exhibitions, art galleries,leasable workshop spaces, auditorium,and amphitheatre for live performancesand international festivals. In addition,offers a boutique hotel with 60 keys anda boutique retail promenade on theactive Culture Village waterfront, as wellas a high end signature restaurant on thetop level, with 360 degree views ofDubai Creek. �


Project: MOMEMAClient: Dubai Properties, DubaiUAE Key dates: Expected completion:2011 Building surface: 41,200 m2Building site: 25,000 m²Architectural firm: UN Studio

Project details

MOMEMA, designed

world renowned

architecture firm UN

Studio first part of a new

cultural hub in Dubai will

brings together elements

of the sea and Dubai's

tradition of seafaring.

A reflection of sea elements

024] Cover Story_Museum of Middle East Modern Art, Khor Dubai, UAE Final.qxp 11/01/2011 7:43 AM Page 24

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The UK Pavilion has beendesigned by HeatherwickStudio led by the

internationally acclaimed ThomasHeatherwick. The initial designstrategy for the UK Pavilionestablished three aims to meet theFCO’s key expectation that thepavilion should become one of thefive most popular attractions. The firstaim was to design a pavilion whosearchitecture was a direct manifestationof what it was exhibiting. The secondidea was to ensure a significant area ofopen public space around it so visitorscould relax and choose either to enterthe pavilion building, or see it clearlyfrom a calm, non-queuing vantagepoint. And thirdly, it would be uniqueamong the hundreds of otherpavilions.

Idea and conception:

Heatherwick Studio sought anapproach that would engage

meaningfully with the theme, BetterCity, Better Life, and stand out fromthe anticipated trend for technologydriven pavilions, filled with audio-visual content on screens, projectionsand speakers. In collaboration with awider project team, the studio

developed the idea of the UK Pavilionexploring the relationship betweennature and cities. London is thegreenest city of its size in the world;the UK pioneered the world’s first everpublic park and the world’s first majorbotanical institution, the RoyalBotanic Gardens at Kew.

The process

From here came, Heatherwick’s ideaof involving Kew Gardens’Millennium Seed bank whose missionis to collect the seeds of 25percent ofthe world’s plant species by 2020. Thedesign process evolved to produce twointerlinked and experiential elements:An architecturally iconic SeedCathedral, and a multi-layeredlandscape treatment of the 6,000m2site. The Seed Cathedral sits in the

centre of the UK Pavilion’s site, 20 min height, formed from 60,000 slendertransparent fiber optic rods, each 7.5metres long and each encasing one ormore seeds at its tip. During the day,they draw daylight inwards toilluminate the interior. At night, lightsources inside each rod allow thewhole structure to glow. As the windmoves past, the building and its optic‘hairs’ gently move to create adynamic effect.Heatherwick


Iluminated by sunlight

The UK Pavilion, Seed Cathedral expresses British

creativity and environmental setting an early benchmark

for a country’s portrayal of innovation and progress.

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previously experimented with textureand architecture at a much smallerscale with his Sitooterie projects.

Inside the darkened inner sanctumof the Seed Cathedral, the tips of thefibre optic filaments form anapparently hovering galaxy of slimvitrines containing a vast array ofembedded seeds. The seeds have beensourced from China's KunmingInstitute of Botany, a partner in KewRoyal Botanic Gardens’ MillenniumSeed Bank Project. Visitors will passthrough this tranquil, contemplativespace, surrounded by the tens ofthousands of points of lightilluminating the seeds. These fiberoptic filaments are particularlyresponsive to external lightconditions so that the unseenmovement of clouds above the SeedCathedral are experienced internallyas a fluctuating luminosity. Thestudio's intention is to create anatmosphere of reverence around thisformidable collection of the world’sbotanical resources; a moment ofpersonal introspection in a powerfulsilent space.

The formations:

The Seed Cathedral is made from asteel and timber composite structurepierced by 60,000 fibre opticfilaments, 20mm square in section,which pass through aluminum sleeves.

The holes in the one metre thick wooddiaphragm structure forming thevisitor space inside the Seed Cathedralwere drilled with great geometricaccuracy to ensure precise placementof the aluminum sleeves throughwhich the optic fibre filaments areinserted. This was achieved using 3Dcomputer modeling data, fed into acomputer controlled milling machine.This accuracy ensures that the SeedCathedral’s fibre optic array creates anapparent halo around the highstructure, with the fiber opticfilaments rippling and changingtexture and reflectivity in the gentlestwind. The wavering external surfacesof the Seed Cathedral form a delicateconnection between the ground andthe sky. Among the Expo’s sea of hardsurfaces, the Seed Cathedral’ssurrounding landscape is conceived toact as a continuation of the building’stexture. A special artificial grass surfacehas been uniquely developed to act asa welcoming and restful public space.Beneath the Seed Cathedral and thelandscaped surface area is a canopiedand naturally ventilated entrance andexit sequence for the Seed Cathedral.This circulation zone, running alongthree edges of the site, contains anarrative of three innovativeenvironmental installations designedby London-based design studio,Troika. They are: Green City, OpenCity, and Living City.

Creative reasons:

The creation of the extraordinaryand complex Seed Cathedral structureand the landscape architecture wasachieved through close collaborationbetween construction managers Mace,lead engineers Adams Kara Taylor,services engineers Atelier Ten andhighly skilled Chinese engineers andcontractors. In order to reduceunnecessary transportation, 75percent of the materials for the UKPavilion have been sourced fromwithin a radius of 300km aroundShanghai. It is also the Britishgovernment’s intention that most ofthe materials of the UK Pavilion willbe reused or recycled. �

FACT SHEET – UK PAVILION,Location: Shanghai, ChinaPublic Opening: 1st May 2010Site area: 6,000m2Seed Cathedral dimensions: 25m x25m x 20mSeed Cathedral floor area: 105m2Optic fibres: 60,588Optic fibres length: 7.5mSeeds in Seed Cathedral: 2,17,300Landscape area: 4,490 m2Public park area: 2,405 m2Accommodation area: 1525 m2 Exhibition area: 1,280 m2Lead Designer: Heatherwick StudioProject team: ThomasHeatherwick, KaterinaDionysopoulou, Robert Wilson,Peter Ayres,Stuart Wood, IngridHu, Jaroslav Hulin, Chiara Ferrariand Ramona Becker Main Client: Foreign &Commonwealth OfficeProject Manager: Mace GroupStructural Engineer: Adams KaraTaylorEnvironmental Engineer: AtelierTenFire & Risk engineering: SafeConsultingExecutive Architect: ArchitecturalDesign & Research Institute ofTongji UniversitySupporting Architects: RHWLQuantity Surveyor Davis Langdon& SeahWalkway Exhibition Design: TroikaContent Advisory Team: MarkJones, John Sorrell, DavidAdjayeContent Advisor PhilipDodd.

Project details

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Camp Nou (Catalan for ‘newfield’, often reversed in Englishto become Nou Camp) is a

football (soccer) stadium in Barcelona,Catalonia, Spain. With a capacity of98,787 - making it is the largest stadiumin Europe. The stadium is the homeground of FC Barcelona. Its officialname was Estadi del FC Barcelona(translates as FC Barcelona Stadium)

until 2000, when the club membershipvote to change the official name to thepopular nick name Camp Nou.

History:

Barcelona had outgrown their oldstadium, Camp de Les Corts which held60,000 supporters and the Camp Nou,built between 1954 and 1957, wasdesigned by architects Francesc Mitjans-

Miró, Lorenzo García Barbon and JosepSoteras Mauri. The capacity has variedbetween 93,053 at its opening to1,20,000 for the 1982 FIFA World Cupbefore the outlawing of standingsections at the stadium brought thecapacity to below 99,000 in the late1990s.

Camp Nou in the future:

The aim of the project is to turn thestadium into an integrated and highlyvisible urban environment. Whilst notaiming for a substantial increase inseating capacity, proposals mustaccommodate a minimum of 50 percentof seats to be under cover.Reconstruction plans are beingconsidered; addition of a few stands andrestrooms. There will be about 120,000seats. FC Barcelona’s Camp NouStadium, one of the world’s greatestfootball venues, is to be extensivelyremodeled. Following an internationalcompetition, Foster + Partners havebeen selected as the architects for thisrenewal of the stadium, which iscelebrating its 50th anniversary this year.


Foster + Partners to

remodel the Camp

Nou Stadium, home

of FC Barcelona

Making of the greatest

expression of architecture

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The stadium, already the largest inEurope, will be enlarged toaccommodate over 1,06,000 fans,together with extensive new facilitiesincluding hospitality and public areas.A new roof will also be created to shelterthe fans. The stadium will be enclosed

by a brightly coloured mosaic outer skinthat wraps around the building andcontinues over a new roof. The multi-coloured enclosure comprisesoverlapping translucent tiles in the clubcolours. The myriad of tiles can be seenas symbolising the loyalty and devotionof FC Barcelona’s fans worldwide. Onmatch nights, the stadium will glow,

providing a new architectural icon forthe city. In the same way that FCBarcelona is ‘more than a club’, the newCamp Nou will be much more than astadium.

Lord Foster, Chairman and Founderof Foster + Partners said: ‘It is an

enormous honour to havebeen selected to remodelCamp Nou Stadium forFC Barcelona, such animportant symbol for theBarca fans and theCatalan people. Footballis a powerful anddemocratic force thatbrings together all socialclasses in celebration,therefore a stadium,

perhaps more than other type ofbuilding is a truly democratic space, thedesign of a stadium is the greatestexpression of an architecture that goesbeyond aesthetics to have a socialagenda. In this sense I believe that thereis a wonderful connection betweenfootball and architecture.’MouzhanMajidi Chief Executive of Foster +

Partners and project architect said, “Weare extremely excited to have won thisdesign competition. In its 50th year thisis a fantastic opportunity to give a timelyregeneration to the Camp Nou. Thedesign respects the characteristicasymmetric seating bowl and as well asembodying the club colours in its form,the remodelled stadium that incorporatethe latest construction technology sothat the stadium can remain in use bythe club throughout the works. �

Project: New Camp Nou Stadiumfor FC BarcelonaClient: FC BarcelonaArchitect: Foster + PartnersCollaborating Sports: Architect(Competition) AFL Original Stadium Architects:Francesc Mijtans-Miro, GarciaBarbon and Soteras Mauri Inaugurated: 24 September 1957Projected Stadium Footprint:52,000 m²Projected Floor Area (gross):180,000 m² Approximate Budget: Euro 250millionProjected Capacity: Increased from98,000 to 106,000 seats (Largeststadium in Europe)Seating Bowl: Existing seating bowlretained with upper tier expanded toaccommodate extra seating capacity.Asymmetric upper tier of stadium tobe retained. Presidential box retainedon west side.

Project details

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Atribute to Walt Disney'sdevotion to the arts and tothe city the Frank Gehry-

designed building opened onOctober 23, 2003. Both thearchitecture by Frank Gehry and theacoustics of the concert hall(designed by Yasuhisa Toyota) werepraised in contrast to its predecessor,the Dorothy Chandler Pavilion. TheWalt Disney Concert Hall inDowntown Los Angeles, California isthe fourth hall of the Los AngelesMusic Center. Bounded by HopeStreet, Grand Avenue, 1st and 2ndStreets, it seats 2,265 people andserves (among other purposes) as thehome of the Los AngelesPhilharmonic orchestra and the LosAngeles Master Chorale.

The structural facts

The project was launched andcompleted 1991. Construction of theunderground parking garage began in1992 and was completed in 1996.Plans were revised, and in a costsaving move the originally designedstone exterior was replaced with a lesscostly metal skin. Upon completion in

2003, the project had cost anestimated $274 million; including theparking garage which had solely cost$110 million.The walls and ceiling ofthe hall are finished with Douglas-firwhile the floor is finished with oak.The Hall’s reverberation time isapproximately2.2 seconds unoccupiedand 2.0 seconds occupied.

Reflection problems

After the construction,modifications were made to theFounders Room exterior; while mostof the building's exterior wasdesigned with stainless steel given amatte finish, the Founders Roomand Children's Amphitheater weredesigned with highly polishedmirror-like panels. The reflectivequalities of the surface wereamplified by the concave sections ofthe Founders Room walls. Some


Walt Disney Concert Hall by Frank Gehry is a tribute to

the Walt Disney's devotion to the arts and to the city.

A tribute to the icon

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residents of the neighboringcondominiums suffered glare causedby sunlight that was reflected offthese surfaces and concentrated in amanner similar to a parabolic mirror.The resulting heat made some roomsof nearby condominiums unbearablywarm, caused the air-conditioningcosts of these residents to skyrocketand created hot spots on adjacentsidewalks of as much as 60 °C(140°F). After complaints fromneighboring buildings and residents,the owners asked Gehry Partners tocome up with a solution. Theirresponse was a computer analysis ofthe building's surfaces identifyingthe offending panels. In 2005 thesewere dulled by lightly sanding thepanels to eliminate unwantedglare.The design of the hall includeda large concert organ, completed in2004, which was used in a special

concert for the July 2004 NationalConvention of the American Guildof Organists.

The making

The organ's facade was designed byarchitect Frank Gehry inconsultation with organ consultantand sound designer Manuel Rosales.Gehry wanted a distinctive, uniquedesign for the organ. He wouldsubmit design concepts to Rosales,who would then provide feedback.

The organ was built by the Germanorgan builder, Caspar Glatter-Götz,under the tonal direction andvoicing of Manuel Rosales. It has anattached console built into the baseof the instrument from which thepipes of the Positive, Great, andSwell manuals are playable by directmechanical, or ‘tracker’ key action, with the rest playing byelectric key action; this consolesomewhat resembles North-GermanBaroque organs, and has a closed-circuit television monitor set intothe music desk.

It is also equipped with a detached,movable console, which can be movedabout as easily as a grand piano, andplugged in at any of four positions onthe stage, this console has terraced,curved ‘amphitheatre’-style stop-jambsresembling those of French Romanticorgans, and is built with a low profile,with the music desk entirely above thetop of the console, for the sake of clearsight lines to the conductor. From thedetached console, all ranks play byelectric key and stop action.In all, thereare 72 stops, 109 ranks, and 6,125pipes; pipes range in size from a fewcentimeters/inches to the longest being9.75m (32 feet) (which has a frequencyof 16 hertz). �

Project: Walt Disney Concert HallLocation: 111 South Grand AvenueLos Angeles, California, U.S.Type: Concert hallBuilt: 1999–2003Opened: October 23, 2003Construction cost: $240 millionCapacity: 2,265

Project details

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Medellín the city is located inthe north of Los Andesmountain ridge. It is one of

the most topographically broken placesof Colombia and one of the most visitedand touristic points in the city. Theimage is precisely what the project aimsat as it intends to integrate itself into thelandscape and become an interpretationof it. The project is noticeable from a bigpart of the city, allowing it to redefineitself as the symbol of a new Medellin, asa way of making people feel identifiedand receiving the building as their own.

More than a building, it proposes theconstruction of an operative geographythat belongs to the valley like amechanism of organisation of theprogramme and the zone, showing theunknown directions of the irregular

mountain contours, not like ametaphor, but like an organization ofthe form in the place, a folded buildingcut like the mountains. A landscapebuilding that redefines the foldedmountain structure in form and space,nullifying the idea of the landscape likea background and encouraging theambiguity building-landscape.

Planning and the process of

construction

The proposal was to fragment thestructure in three groups: The library,

the rooms, and the auditorium; thenjoin them with a bottom platform thatallows flexibility and autonomy,improving the people’s participationconsidering each volume operatesindependently. The project is organisedin two structures: the first one is thebuilding – landscape (rocks) and thesecond one is a platform that integratesand transforms the cover into a squarethat looks into the valley; this way, thebuilding is empowered as a meetingplace, multiplying the connections andletting it develop as a reference point.

The building as icon

The project is organised under twostructures: the first, by buildings andlandscape (rocks) and the second by aplatform that integrates them andtransforms it into a deck-plaza thatfunctions as an outlook towards thevalley. The place is made by small brickhouses, product of auto construction;and residue of green areas as a result ofthe impossibility of construction on it.The sector consists of small brick housescaused by self construction and waste ofgreen areas, resulting from the inabilityto build on steeps slopes, thisorganization produces a uniform texture


The Library Spain –

Medellin, Colombia, a

structure is a perfect

example of geography as

an element of hierarchy

and architecture as the

epitome of favoring that

‘new natural contract’

tuned with a landscape

and in a natural order.

A symbolic interpretation

of a natural landscape

038-40] Cover Story_Library of Spain.qxp 11/01/2011 7:14 AM Page 38

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of the city with no visible hierarchy. Thisis why the proposed building seeks tostand out as a building-landscape icon,constructing the site and maintainingthe tension, the geography as an elementof hierarchy and the architecture as atexture. Additionally to make an iconbuilding, the first premise was todevelop a construction that, through itsinterior design, could descon textualisethe individual from the poverty that isexperienced in the outside creating awarm atmosphere based on naturallight, allowing a great ambient of studyand lecture.

Topography and geography:

It develops a landscape related togeography and urban topographyinserted for organisational rules todevelop projects that favors a ‘newnatural contract’. It folds, map and tears;

operations that build architecture-landscape at the same time,reformulating relations between depthand figure, an approximation in thesearch of alternative ideas capable offavoring that ‘new natural contract’tuned with a landscape and a naturalorder. The proposal is related to theimage and identify of the city, througharchitectural-landscape, part of itslandscape inspires the building to beinterpreted as a new topography. Alandscape building that redefines thefolded structure of the mountain asform and space, eliminating the idea oflandscape as a background andenhancing the building ambiguity-landscape.

Features general building

construction:

The project is a double-supportstructure: the first consists of anarticulated metal membrane that

supports and arms the exterior skinpanels; the second is a particularportal concrete frame structure thatmakes up the internal volume, dilatedfrom the outer skin, to allow entry oflight from above. The platformconsists of a mixed structure of steelcolumns and concrete plates, thematerials used were black slate,stained glass and various wood veneersand stone floors. A regulatedtemperature mechanism was designed,a ‘thermosyphon’, through thecreation of a system of air circulationupstream (negative pressure)removing excess of heat and allowingthe optimisation of solar energy. �

Project: España LibraryBuilt up area: 3,727 m2Public Space area: 14,265 m2M2 Constructed cost: US 1,027 m2Project Area: 2,960 m2Chief Architect: Giancarlo MazzantiArchitectural firm: GiancarloMazzanti & ARCHITECTSLocation: Santo Domingo,ColombiaProject Year: 2005Construction Year: 2007Constructed Area: 5500 sq mConcrete Structure: Sergio TobónSteel Structure: Alberto AshnerStructural Engineer: Sergio Tobon,Alberto AschnerPhotographs: Sergio Gómez

Project details

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Made of glass and steel, theswanky new Terminal 3 atDelhi's International Airport

has presented huge businessopportunities for a whole range ofcompanies. It is certainly bigger thananything India has ever seen and hasmore than double the airport'spassenger capacity. The Terminal 3 is ajoint venture consortium led by GMRwith a 54 percent stake, the AirportsAuthority of India has a 26percent stake,Fraport holds 10percent and MalaysiaAirport owns the remaining 10 percentof the shares. A multinational team ofalmost 30,000 workers have beeninvolved in the construction of thebuilding. The terminal building is largerthan the new terminals of Mumbai,Hyderabad and Bangalore combined. Ithas eight levels; with a built-up area of

5.5 mn sq ft and an apron area of 6.3million sq ft. The common check-inconcourse has 168 check-in countersand 98 immigration counters forinternational passengers. The terminalalso has 78 aero bridges and a 100-roomtransit hotel. It is seen as a symbol ofnew India setting an example for public-private partnerships.

The construction

The terminal is encased in sheets ofglass etched with images of Indiandancers and has been designed byLondon architects HOK International.Passengers will experience a terminalthat maximizes the use of natural light,giving a feeling of openness. Theimportant highlight of this airport hasset new standards in the constructionbusiness in the country with importance

being given to greener and more eco-friendly materials. French companySaint-Gobain Gyproc has built theprefabricated walls and false ceilingsaround the terminal. The project hasforced supplier’s local vendors to raisethe bar when it comes to the quality oftheir products. For all the companiesinvolved, the work Saint GobainGyproc has done in the terminal hasbecome a showcase for their otherclients. The terminal may be turning thecorner on solving one of India’s mostintractable problems: a notoriously poorinfrastructure. On completion Terminal3 of Indira Gandhi InternationalAirport will become the world’s thirdlargest passenger terminal in terms ofsize. The terminal which will be

completed in a record time of37 months represents India’stransformation from an importantregional country to an internationaldestination for commerce and travel.incorporates "natural" features and"warm" tone extensively to balance thesterile feel of glass and steel. The roof hasbeen designed to allow natural light toenter the building. �


An eco-friendly attempt to

create futuristic airport

Terminal 3 of Indira Gandhi

International Airport will become

the world’s third largest passenger

terminal in terms of size

• Building: 600,000 cubic meters ofconcrete, equivalent to 240Olympic size swimming pools, and200,000 tonnes of reinforced steel

• Roof: 18,000 tonnes of structuralsteel

• Floor: 110,000 sq m of graniteimported from Bahrain

• Windows: 95,000 sq m of glasswall curtain, equivalent to 13football fields

• Curtains: 100,000 sq m importedfrom China

• Runway: material used sufficientto build a 70km long, eight-lanehighway

Materials used:

042] Cover Story_Delhi Airport.qxp 11/01/2011 7:15 AM Page 42

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The project involves theconstruction of a 20-bedadmission unit for ‘Les Deux

Vallées’ psychiatric sector in Montpon-Ménestérol is a relaxing andentertaining architecture where thearchitects have tied to create a stressfree admission. Residents enter this

establishment voluntarilyunderstanding their physicallyweakened state. A sort of assembledstructure, the same as a toy which achild might build and, thus, haveemployed materials with differentshapes: zinc for the ‘bubble’, wood forthe accommodation, water green steelfor the consultations. Each element inthis ‘large toy-building’ presents itsown form/matter vocabulary. Locatedat the eastern end of this complex, thebuilding resembles the stern ofthe ship. Its curved shape is designedto be a gentle transition forming a linkwith the straight lines of theexisting buildings.

The zinc shell built over alaminated and glued timber frameforms the building's protective visualmembrane which provides protectionfrom the inside to the outside andfrom the outside to the inside. Thetwo wings are covered withweatherboarding, used here as asymbol of warmth to recreate anatmosphere of home. �


Architects: Blandine Rougon-Sarlinand Christophe Damian, DESAarchitects Architecture Firm: Arodie DamianArchitectures,an agency based inParis, Lyons and Bordeaux. Location: FranceOperation: Construction of a 20-bedadmission unit for voluntarycommitment and medicalmanagement centre for the “LesDeux Vallées” psychiatric sector.Main contractor: Arodie DamianArchitectures, Coteba (Mérignac)Project Manager: Vauclaire HospitalCentreSurface areas: 1 491 m² (net area)Total cost: 2 M excl. VATMain materials: Zinc, woodpaneling, pre-lacquered sheet metalbrise soleil, thermolacqueredgalvanized steel mashrabiya, metalpanelingPhoto credits: DominiqueConstantin

Project specification

Recreating an

home atmosphere

Vauclaire Hospital Centre,

France is project where

each element in this

‘large toy-building’

presents its own

form/matter vocabulary.

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To create spaces for theunexpected, spaces to inspire us,spaces where the collective and

individual can coexist, to inspireexperimentation, invention,heterogeneity and freedom is to liberateculture, describes Edgar Gonzalez,Brisac Gonzalez on this structuralinnovation. In collaboration with Oslostudio Space Group an internationalarchitectural practice the idea is to give

this building’s permeated façade withglimpses of the interior spaces with anauditorium that will feature undulatingwalls. The merger of activities in theKristiansund Opera and culture houserepresents culture at its most radical andinnovative form. Two existing buildingssit on the proposed site will be fullyrefurbished and incorporated into thenew proposal. Kristiansund, NorwayOpera and Cultural centre will provide

glimpses of the interior spaces to createspaces for the unexpected, spaces wherethe collective and individual can coexist,to inspire experimentation, invention,heterogeneity and freedom is to liberateculture.

Architectural structure:

A ribbon-like glazed walkway, whichwill also serve as an exhibition gallery,will connect the existing building onone side to the main foyer of the newbuilding. The building will house a600 seat auditorium, library, educationcentre, symphony rehearsals, balletcentre, youth centre and restaurants. Aconsortium comprising Oslo basedSpace Group and Brisac Gonzalez haswon joint first winner in a shortlistedcompetition for the design of the newopera and culture in Kristiansund,Norway. The 1,500 m2 projects consista 600 seat auditorium, library,symphony rehearsals, ballet centre,restaurants, youth centre andeducation centre. The new opera andculture house amalgamates opera,library, school, cultural facilities, andyouth center.


Culture in its most

pervasive and

innovative form

The London

based

architectural firm

Brisac Gonzalez

makers of the

opera and

cultural centre in

Kristiansund,

Norway are all

set to provide

interiors that will

create spaces for

the unexpected,

where collective

and individuals

can coexist.

Culture in its most

pervasive and

innovative form

046-48] Cover Story_kristiansund opera house project.qxp 11/01/2011 7:24 AM Page 46

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The site and the making:

There are already two significantbuildings on the site – a 19th centuryschool building and an early 20thcentury Folkets Hus (People’s House).To engulf them by a third largerbuilding would diminish theirintegrity. The design strategy is tocreate a porous cultural compound ofthree very different free standingbuildings that are autonomous yetconnected. The two existing buildingswill be fully refurbished and filled witha host of new activities. A ribbon-likeglass bridge that doubles as exhibitiongallery connects the library in theFolkets Hus to the main foyer of thenew building. An underground

passage will link it to the stage level ofthe new auditorium.

The hall:

The objective for the auditorium issimple: allow for the greatest numberof guests to be as close as possible tothe stage. From the stage, theperformers will see an ocean of people,wall-to-wall. The multi-purpose hall,driven by the demand for flexibility, isoften the victim to the paradoxes of

big- small, invisible-exposed,functional-beautiful. The design ofthis hall is one were flexibility existswithout succumbing to the generic.On the top floor of the new buildingrestaurant, the orchestra rehearsalroom can be combined to create a verylarge room. An expansive exteriorterrace adds greater flexibility in asetting where different scenarios, bethey planned, impromptu, orincidental can occur.

Facade:

The façade of the new building iscurtain-like, selectively revealing theactivities within. From the exterior,the perception is of a soft dress,covered in small reflective sequins,shimmering, constantly changing, andflowing. From the inside, the lightingvaries from translucent to transparent,providing an even light throughoutthe building. �

Name of project: Opera and CultureHouseClient: Kristiansund Kommune,Norway Cultural FoundationLocation: Kristiansund, NorwaySurface area: 5 000 m² Cost: $100.0 million approxArea: 500,000 sq ftHeight: 100 ftLength: 500 ftWidth: 360 ftDesign Period: 2010Architect: Brisac GonzalezAcoustics: Norconsult as / Akustikon Theatre Consultant: Ducks ScenoMichel Cova, Frans Swarte, AlinaDelgadillo, Analyse DuperrierLandscape: Sundt & Thomassen Logistics: AtkinsVisualisations: Luxigon Designer: Alex Protasevich, ArchitectArchitectural Style: Modern

Project details

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The passenger terminal complexat Suvarnabhumi Airportresulted from an International

Competition and established the basisof collaboration between WernerSobek, Matthias Schuler and HelmutJahn. The challenge was great andunusual. The task of creating a newgateway to Thailand in a tropicalclimate necessitated a differentapproach to architecture andengineering. Through the integrationof the disciplines the complexproblem resulted in a sophisticated,intelligent yet simple solution. After

11 years of planning and constructionthe Terminal was opened passengertraffic in late 2006.

Architecture and engineering:

The design took into considerationMurphy/Jahn’s experience withairport terminal design, starting in the1950’s. Those buildings includedO’Hare International Airport inChicago and particularly the NewUnited Airlines Terminal of the mid1980’s and the near completedrenovation of Terminals 3 forAmerican Airlines and Terminals 2,

the work in the commercial zone ofthe New Munich Airport whichincluded the Kempinski Hotel, theMunich Airport Center andinfrastructure, parking andlandscaped areas and the newTerminal 2 at the Airport inCologne/Bonn. It also responded tothe challenge that airports today are anew building type. They have becomea strange combination oftransportation center and ‘mall’. Theyconstitute cities outside cities and givethe first and last impression of a city,region or country. They are places tomeet for people of all facets of life.

Architecturally important seem isthe openness and comprehension andexperience of the open spaces, thegesture of the roof and spaces asmemorable images and the way theblurring of the boundaries betweenpublic and private space make anairport terminal a model of a ‘Mini-City’. Like in a city the experienceleads through squares, streets androoms for transportation, commerceand private uses. In the design andexecution of Suvarnabhumi Airport,innovative and integratedarchitectural, structural andenvironmental design were used, newmaterials and systems of advancedtechnology were developed andunusual construction processes


Own gateway to the world

Passenger Terminal

Complex, Suvarnabhumi

International Airport,

Bangkok, Thailand is a

perfect amalgamation of

innovation and integrated

architecture, structural and

environmental design.

050-52] Cover Story_Suvarnabhoomi Airport Bangkok.qxp 11/01/2011 7:27 AM Page 50

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required to meet the design goals.The results are advanced long span,lightweight steel structures, exposedpre-cast concrete structures, clear orlow E-coated glass, a three layertranslucent membrane, integratedcooling, using water as a low energycarrier and the thermal mass ofconcrete and a displacementventilation system with minimal air-changes. Those components and partsserve in their total composition and inuse more than in their conventionalroles. They maximise daylight andcomfort, yet minimise the use ofenergy with significant life cycle costsavings. The installed cooling poweris reduced close to 50 percentcompared to a conventional system.The three layer translucent membranewas developed to mediate between theexterior and interior conditions,dealing with heat and noise

transmission, while still allowing fornatural daylight within the building.

The result is a building floodedwith controlled daylight in a tropicalclimate. Architect and engineersspeak here the same language, a

process we refer to as Archi-Neering:the architect thinks about thetechnical consequences of the formshe designs and the engineers considerthe aesthetic results of their conceptsand decisions.

In a building with such advancedtechnical concept and construct it isimportant to establish a connection tolocal cultural tradition and art. This isdone through the shaded gardensflanking the terminal, which representThai landscape in cities and in thecountry, a jungle garden between theterminal and concourse, traditionalartistic patterns and colors on glazedsurfaces and floors and Thai artifactsplaced at the airside centers andconcourses. �

Architect : Murphy/JahnAssociate Architect / Engineer: ACTConsultantsProject Management: TAMSConsultants / Earth TechStructural Concept / ConcourseSuperstructure/ Facades: WernerSobek IngenieureClimate and EnvironmentalConcept: Transsolar EnergietechnikMain Terminal Superstructure:Martin/MartinStructural Concrete: John A. Martin& AssociatesMechanical / Electrical / Plumbing:Flack + KurtzLighting Art : Yann Kersalé BNP Associates, Inc.: BaggageConsultantGeneral Contractor: ITO JointVenture

Project details

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Imagine, you arrive at the station andthe doors of your train are justabout to close. The train has left

without; you have missed your train.Left behind on the platform boredom ishitting you, a strong relation to time ispart of waiting. Your trip is interrupted;the continuity of travelling is gone.While waiting you become aware ofyour surroundings, experiencing thestation as a place.

The station, designed by architectHans Moor, was opened on August 29,2005, as part of the one-stationextension of the East-West Line orCaland Line from its previous terminusDe Tochten. Unlike the sectionbetween Capelsebrug and De Tochten,this section does not use overhead wiresto provide traction power, but uses athird rail instead. The station consists ofone island platform between two tracks.This experience of an interruption playsan important role in the design for thenew metro station. The experience istransformed into different qualities ofwaiting places, the station is surroundedby a green park with water, a bridge etcand gives a splendid view to thesurroundings including LakeZevenhuizen. A special quality of voidsare enclosed by the platform, whichprovides visibility and offers thetraveller a sense of safety as well as abetter access to daylight under therailway viaduct. The station has three

glass coverings with added louver-boards for protection against wind andrain. Each covering distinguishes itselfin relation to the others and aresimultaneously interrupted by smallwaiting places, they manifestthemselves between these coverings. Inthe development transparency isguaranteed without damaging thedegree of presence; light construction ofsteel and glass is used in contrast toheavy concrete for pillars and viaduct.

The concept:

The concept of the metro station wasdeveloped by means of two

characteristics of travelling. Firstlytravelling is concerning speed andcontinuity, stations are places forconnection and different types oftransport come together. The most ofold the underground railway stationslijken have stocked each other, since theBeneluxlijn particular and other gone.For every station of the undergroundrailway line the plan has been takenanother architect at approached. Thusthe stations got several qualitiesconcerning the specific locations. Thattreatment seems has pleasedmunicipality work Rotterdam and theRET well and for the futureunderground railway stationNesselande a question was therebywritten out for young architects.

Bridge building:

The bridges form the connectionwith the different traffic flows of thearea and had to be suitable forpedestrians, cyclists and cars. Thearchitects thought of giving a differentmeaning to the bridge with apossibility to apply artificial lighting.The design doesn’t light the bridgewith street lamps and lights as thebridge transforms and is lit ‘fromwithin’. Space is created with the helpfrom technology with the lightingdepending on each other and form anopen structure. The configuration oflight sources, ranging from small tolarge, indicates the track the car isfollowing. ‘Artificial lighting’ wasgiven and the driver the sense that thebridge isn't just a connecting piece,but also a space in the darkness. Bymoving forward, the driver findshimself in a track of light; he issurrounded by a configuration ofartificial lighting. The bridge isconcrete and dispersed with glass‘dots' special units, designed by aglass- and light supplier, have glass atthe top and the bottom, so day lightcan enter the space under the bridge.The influence of artificial lighting ispresent on a bridge in many ways thatlight LED lighting is indicativelighting, which means it is sufficientin comparison with general lightingprinciples. �


Naturally different

railway station

metrostation nesselande Rotterdam is a subway station

that provides visibility and offers the traveller a sense

of safety as well as a better access to daylight under

the railway viaduct.

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The project is characterised by itsresponse to the urban setting inparticular to Firestone

Boulevard, its vision for a unique officework environment within a highlysustainable building design, and by itsformal and structural elegance. Thethree level mixed use building includes acafé and retail space at the ground floorand two levels of open office spacesabove. The office spaces are configuredaround a center atrium space that opensup to Firestone Boulevard creating themain entrance for the building. Theephemeral quality of the buildingenvelope is realised through a high techfabric enclosure system that utilisesmultiple layers of fabrics with differentdegrees of transparencies/ opacities. Thisenvelope is able to adjust to the differentexterior light conditions and provideconsistent natural daylight levelsthroughout the office spaces. While themore delicate fabric encloses for theupper two office levels, the restaurant

and retail spaces on the ground flooropen up to the street with a glassenvelope. Landscape elements create agreen barrier between the outdoorseating area of the café and FirestoneBLVD.

Urban Concept:

The proposal for the Performing ArtsCenter in Taipei creates a world-classinstitution which is characterised byboth its response to its urban andcultural environment, and by its formaland structural elegance. The projectembraces the concept of a Grand Plazaas being a center hub between the Shilinnight market and the TRTS Jiantanstation. This is achieved by lifting themultiform theater off the ground andcreating a covered outdoor linkage space

between Cheng De Road and Wen LinRoad. This linkage space is the centeraccess to the grand foyer and all threetheaters. On the south side the GrandPlaza transitions into a garden thatgently slopes up towards Jiantan road toallow for shops and restaurants to beplaced underneath and accessible fromstreet level. Both the garden and theGrand Plaza provide a large outdoorspace for the thousands of pedestriansthat visit this area. It is lined with shopsand restaurants at the ground level andcovered by a large roof of the theaterabove. The shops and restaurants arelocated along Wen Lin Road and Jian

Tan Road and together with the Grandplaza and the garden space embraceTaipei's lively streetscape by creating acontinuous experience from the busystreets of the Shilin night market to thePerforming Arts Center and the trainstation. Design Concept - The proposalfor the Taipei Performing Arts Center isintended to become an importantlandmark building in the region thatexpresses the richness and diversity ofperforming arts and creates a destinationpoint for the area. For the developmentof the design we used a unique processusing actual sounds as a basis. Themorphology and shape of the buildingwas designed using sound-waves thatwere analysed and transformed intothree dimensional vectors. These vectorsbecame the formal and structural


Expression of richness and diversity

The proposal for this

mixed use office building

in Downey, California

creates a world-class

landmark building aiming

to enhance the cities

vision as the premier

quality city.

056-58] Cover Story_Taipie Culture.qxp 11/01/2011 7:30 AM Page 56

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framework for the design of the exteriorenvelope. The building materializes witha metal and glass enclosure that revealsits activities in a variety of scales andangles to the city.

Organizational Concept- Front ofHouse - The three theaters is groupedaround a center foyer accessible fromthe Grand Plaza. The Grand Theaterand the Playhouse are located to thenorth while the Multiform Theater islifted off the ground and connected tothe foyer on the south side. Theconcept for the front of house was tocreate a spectacular center lobby spaceenclosed with glass and a Grand Staircase that connects to the main foyer ofeach theater. This creates a visualrelationship between all three theatersand the foyers around a center space.Its' dynamic shape and glass facades isto encourage the people of Taipei toexplore the building and embrace it asan exciting artistic showplace for thepublic. Each theater has a singlecontrol point at the main foyer leveland individual circulation from thereto the upper gallery levels. This allowsfor the general public to experiencethis space without necessarily accessingthe theaters. The ticketing, coat checkand general information for all threetheaters is located on the ground level.

Theater Concept - The concept forthe theaters was to design a flexibleworld class performance space thatallows for a variety of differentperformance genres and is especiallytailored to the needs of the Taiwaneseinterdisciplinary performing artsscene. The Grand Theater seats 1,500people with a main floor and threebalcony levels. It can easily beconfigured to support performancesthat range from opera, ballet andorchestra performances tomultidisciplinary performancesincluding drama, dance, multimediaperformances, drum -percussions,Zen meditation, martial arts, etc. The800 seat Playhouse is designed as aproscenium theater with two balconylevels. However the orchestra pit wasdesigned to support differentperformance styles. The MultiformTheater has a total of 800 seats with

two balcony levels and maximumflexibility in regards to stage andseating layout and is designed to allowfor a variety of configurationsincluding center stage, thrust stageand front stage configurations.

Back of House -The back of houseis organized most efficiently anddesigned as a state of the art venuethat fulfills all the requirements of thevarious forms of contemporary

performing arts and complies with theneeds of Taiwan's diverse performanceculture. Back of house areas for theGrand Theater and the Playhouse arelocated to the north across BailingHigh School and with direct and easyaccess to all stages. Each theater has aseparate backstage access from ChengDe Road and Ji Ho Road. Boththeaters share the loading dock whileindividual scenery assembly spacesand large orchestra rehearsal arelocated with direct adjacency to thestage. The majority of the rehearsaland dressing rooms are in closeproximity of the stage to allow for easyand convenient access. Theadministration offices, conferencerooms and the library are locateddirectly above the back stage and areoverlooking Bailing High School. Theback of house for the MultiformTheater is located on level 5&6 on thesouth side and adjacent and below theTheater. The back of house area isconnected to the undergroundloading dock with a large freightelevator. The Multiform Theater has aseparate back stage access from theGrand Plaza.

Access and Parking- The mainpedestrian access for all three theatersis through the Grand Foyer accessiblefrom either Wen Lin Road or ChengDe road. In order to handle theincreased volume of pedestrian trafficfrom the train station to the grandtheater we are proposing a new underpath crossing Wen Lin Road. Allvisitor, VIP and staff parking for theproject are underground with accessfrom Cheng De Road. The drop offzones for taxi and busses are locatedadjacent to the Grand Plaza . Thereare two separate loading docks. Oneloading dock to the north adjacent toBailing Senior High School, withaccess from Cheng De road. Thisloading dock allows for unloading onstage level for both of these theaters.The second loading dock isunderground with access fromCheng De Road. It services theMultiform Theater with a largefreight elevator as well as the shopsand restaurants above. �


� Client: Taipei City Government,Department for cultural affairs

� Program: Performing arts center-Opera house, Playhouse,Multiform Theater

� Size: 40,000 sqm� Budget: 130 Million USD� Completion Date: Unbuilt-

Competition 2008� Material: Steel, metal, glass� Interiors: Wood, concrete, glass � Architect: B+U, llp, Herwig

Baumgartner, principal, ScottUriu, principal

� Team: Paul Macherey, Justin Oh,Phillip Ramirez, Art Zargaryan,Daniel Saltee, Yaohua Wang

� Engineer: Structural Engineer:ARUP

� Mechanical engineer: ARUP� Associate architect: S.C.S &

Associates� Theater Consultant: Theatre

projects consultant� Acoustician: Nagata Acoustics

TAIPEI PERFORMING ARTSCENTER Taipei, Taiwan

056-58] Cover Story_Taipie Culture.qxp 11/01/2011 7:30 AM Page 58

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The US Census BureauHeadquarters, designed bySkidmore, Owings & Merrill

LLP, has achieved LEED GoldCertification from the US GreenBuilding Council. The 1.5 million-sq ftbuilding’s perceived and actual impacton the site is reduced by limiting theoffice program to eight stories andintegrating the architecture into thelandscape. Carved FSC-certified whiteoak covers the outward-facing sides ofthe building, which forms a brise-soleilthat reduces solar heat gain and createsdappled patterns of shade and warmlight inside the office. Underneath the‘wood veil,’ green tinted precastspandrels match the cast of thelandscape and are fully glazed tomaximize daylight. Located in theSuitland Federal Center near downtownWashington DC, the building received

maximum points in the Innovation inDesign category and high points in theSustainable Sites category. Gary Haney,AIA, SOM’s Design Partner for theCensus Bureau project said,“All creditshould be given to the GSA and CensusBureau for allowing to pursue a designthat is not only innovative but pointstoward a future direction in whicharchitecture can be truly useful inbuilding sustainable cultures andeconomies.

The structure:

The design blurs the distinctionbetween the building and landscape bycamouflaging the structure and itsscales. Two separate buildings grow from

one single mass, cleaved apart to create acentral garden that integrates thebuilding with its landscape, whilemaintaining one cohesive vision. Largewindows protrude from or are recessedinto the building, creating officelounges, conference rooms, andinformal meeting areas. The adjacentparking garages are sheathed in a green,wire armature for ivy. This ivy veilcomprises a ‘skin’ of leaves that filterlight, increase oxygen content withinthe garages, and allow for naturalventilation. The designers incorporatedwater reclamation, recycled buildingmaterials, minimal energy consumptionand natural day lighting into thebuilding. The building’s shape, massing,and cladding create a new language forsustainable architecture.The CensusBureau complex is a study in how todesign a very large corporate campuswith minimal impact to its site throughsustainable design, while exploring anarchitectural expression that celebratesand heightens its relationship to thelandscape.GSA building receivesmaximum points for Innovation inDesign category.

The US Census BureauHeadquarters, designed by Skidmore,Owings & Merrill LLP, has achievedLEED Gold Certification from the USGreen Building Council. Located in theSuitland Federal Center near downtown


US Census Bureau

Headquarters, Suitland,

Maryland designed a very

large corporate campus

with minimal impact

exploring an architectural

expression that celebrates

and heightens its

relationship to the

landscape.

Maintaining relationship

with the eco-system

060-64] Cover Story_US Sensor bureau.qxp 11/01/2011 7:32 AM Page 60

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Washington DC, the building receivedmaximum points in the Innovation inDesign category and high points in theSustainable Sites category. Gary Haney,AIA, SOM’s Design Partner for theCensus Bureau project said, “All creditshould be given to the GSA and CensusBureau for allowing us to pursue adesign that is not only innovative butpoints towards a future direction inwhich architecture can be truly useful inbuilding sustainable cultures andeconomies. The 1.5 mn-sq ft building’sperceived and actual impact on the siteis reduced by limiting the officeprogram to eight stories and integratingthe architecture into the landscape.Carved FSC-certified white oak coversthe outward-facing sides of the building,which forms a brise-soleil that reducessolar heat gain and creates dappledpatterns of shade and warm light insidethe office.

Underneath the ‘wood veil,’ greentinted precast spandrels match the castof the landscape and are fully glazed tomaximize day light. The design blurs thedistinction between the building andlandscape by camouflaging the structureand its scales. Two separate buildingsgrow from one single mass, cleavedapart to create a central garden thatintegrates the building with itslandscape, while maintaining onecohesive vision. Large windowsprotrude from or are recessed into thebuilding, creating office lounges,conference rooms, and informalmeeting areas. The adjacent parkinggarages are sheathed in a green, wirearmature for ivy. This ivy veil comprisesa ‘skin’ of leaves that filter light, increase

oxygen content within the garages, andallow for natural ventilation.

SOM

The designers incorporated waterreclamation, recycled building materials,minimal energy consumption andnatural day lighting into the building.

The building’s shape, massing, andcladding create a new language forsustainable architecture.

About Skidmore, Owings

& Merrill LLP

Skidmore, Owings & Merrill LLP(SOM) is one of the leadingarchitecture, interior design,engineering, and urban-planning firmsin the world, with a 75-year reputationfor design excellence and a portfolio thatincludes some of the most importantarchitectural accomplishments of the

20th and 21st centuries. Since itsinception, SOM has been a leader in theresearch and development of specializedtechnologies, new processes andinnovative ideas, many of which havehad a palpable and lasting impact on thedesign profession and the physicalenvironment. The firm’s longstandingleadership in design and buildingtechnology has been honored with morethan 1,400 awards for quality,innovation, and management. TheAmerican Institute of Architects hasrecognized SOM twice with its highest honor, the Architecture FirmAward—in 1962 and again in 1996.The firm maintains offices in NewYork, Chicago, San Francisco,Washington, D.C., London, HongKong, Shanghai, Brussels, Abu Dhabiand Dubai. �

Project: The US Census BureauHeadquartersLocation: Suitland, Maryland, NewYorkArchitectural Firm: Skidmore,Owings & Merrill LLP (SOM)Completion Year: 2007Site Area:30 acresProject Area: 1,508,013ft2Building Height: 39 mNumberof Stories: 8

Project Facts

060-64] Cover Story_US Sensor bureau.qxp 11/01/2011 7:32 AM Page 64

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Athrilling brand experience, amulti-sensory celebration of atrue design iconFerrari World

Abu Dhabi is the latest architecturalinterpretation of classic Ferrari bodyshell and is a built expression of thepassion and excitement of one of theworld’s most emotive brands. The iconiclandmark leisure destination reflectsboth the integrity of the Ferrari brandand the ambitions of Abu Dhabi Benoydesigned Yas Island mega-scheme inAbu Dhabi, sits the world’s first FerrariTheme Park – a thrilling brandexperience like no other, a multi-sensorycelebration of a design icon. The visionwas to create a form that would be

unmistakeably Ferrari, an expression ofthe passion and excitement of one of theworld’s most emotive brands.

Structurally speaking

Externally the Ferrari World AbuDhabi building expresses the languageand values of the Ferrari brand itself.

Benoy’s vision - to create a buildingthat reflects Ferrari’s sinuous form, isdirectly inspired by the classic doublecurve side profile of the Ferrari GTchassis. The double curve wasproportionately applied in elevationto set the structure’s length andheight. This proportion gave rise to


Ferrari World Abu Dhabi is the new development, housing the world’s largest

indoor theme park, marks a very special place in the globally marvelous projects.

The scheme is a celebration of an established design icon and the creation of a

new architectural landmark.

A global marvelA global marvel

066-68] Cover Story_Ferrari World.qxp 11/01/2011 7:35 AM Page 66

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the dynamic scale of the building at700 m from tip to tip of the tri-forms.The metal skin roof is highly insulatedand the main façades utilise highlyefficient glass to reduce thermal loadsand glare. The roof houses no FerrariWorld Abu Dhabi plant or equipmentand provides the back drop to a hugeFerrari logo that will welcome allpassengers flying into Abu DhabiInternational Airport. Internally, acollection of over 20 high octaneattractions provide excitement for thewhole family. The focal attraction willbe the 60 m high ‘G-Force Tower’ –one of the most intense ‘freefall’experiences in the world. Several rollercoasters continue the adrenalin raisingtheme, including the world’s fastest,reaching speeds in excess of 200kph.

Architecturally…

Ferrari World Abu Dhabi’s location,scale and purpose combine to presentenormous architectural challenges.The building, that occupies a totalarea of 176,000m2, was conceived as asimple ‘ground hugging’ structure, ared sand dune. A three pointed star inplan, with extensive tri-form claws to

embrace outdoor attractions, thesilhouette was derived from thesinuous double curve of the classicFerrari body shell. On the distinctive

red, metal skin roof – andimmediately visible to all those flyingin to Abu Dhabi – sits the largestFerrari logo in the world. This featureclearly demonstrates Benoy’sconfidence in creating designerdestinations and the company’sgenuine understanding of the impactof fusing brand appeal with functionalconsiderations. �

• The 86,000 sqm enclosed area of Ferrari World Abu Dhabi can fit 7 footballfields in'head to toe'.

• The total roof area of 200,000 sqm uses enough aluminum to cover 16,750Ferraris, or if you laid the roof flat you could place 20,100 Ferrari's side by sideand end to end.

• If Ferrari World Abu Dhabi was turned upright, it would be the tallest man madestructure in the world at over 300 floors!

• The Ferrari logo on the roof, the largest ever created, measures an incredible 65min length and covers an area of 3,000 sqm which could fit at least 7 basketballcourts.

• The volume of concrete in Hoover Dam could fit inside Ferrari World AbuDhabi.

• 100,000 cubic meters of concrete were used to pour the slabs of Ferrari WorldAbu Dhabi, which is 10,000 cubic meters more than what was used forWembley Stadium in London.

• Ferrari World Abu Dhabi has the largest space frame structure ever built with atotal of approximately 172,000 members and 43,100 nodes.

• Ferrari World Abu Dhabi needed 12,370 tons of steel to create its structure; theEiffel Tower only needed 7,000 tons.

• The gross footprint area of the plaza level is equivalent to approximately 15American Football fields.

• The Empire State Building could be rebuilt in the same time it took to clad the200,000 sqm of roof for Ferrari World Abu Dhabi; approximately 14 months.

• Formula Rossa, the world's fastest roller coaster, has the same G force one wouldfeel driving in an F1 car and braking at maximum speed.

• Bell'Italia displays more than 40,000 hand-planted miniature trees. • Ferrari World Abu Dhabi includes 1,200 dining seats – enough to feed the entire

park at full capacity in 3 hours. • Ferrari World Abu Dhabi will have for the first time under one roof Four

Michelin star experienced Italian chefs. • There is a total of 663 jelly palms surrounding the two coasters. Each palm

produces 4 pounds of fruit. • A football field needs 8,400 sqm of grass coverage; to cover the area around the

roller coasters at Ferrari World Abu Dhabi, 4.5 times that amount was used -approximately 39,000 sqm of ground cover.

Key Facts

066-68] Cover Story_Ferrari World.qxp 11/01/2011 7:35 AM Page 68

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Zenith first facility of this type wasdesigned by the Frencharchitects Chaix & Morel in the

Parc de la Villette in Paris (1984), whereBernard Tschumi, AIA, designed thepark's grounds and his signature red'follies' (1983-98). Occupying a forestedsite just outside the city center, theZénith has something of the dynamicwrapping form created by the architectin the steel-and-concrete Rouenbuilding.

The construction, environment and

acoustics:

The entrance hall is concentric inshape.The auditorium issituated in the heart of theforest and is clad entirely inwood, creating a landmarkwhose materials reflect itsimmediate surroundings. Itsmeasurements and geometryare designed to ensuremaximum comfort for bothspectators and performers. Inaddition, wood would introduce certainwarmth into the building, whichincludes a flexible hall intended toaccommodate between 600 and 8,000spectators. Two light building envelopesstand between the entrance to theZenith and the forest surrounding it.Once in the atrium, visitors are able tofeel the trees' presence through thetranslucent skin of the outer façade.Approaching the concert hall, the firstthing visitors see before entering thedarker, more intimate interior is thedouble envelope of the building, whosedesign alludes to the nearby forestopening. The double skin assembly is

supported by a light, wooden framestructure, providing acoustic andthermal insulation for the concert hall.Inside the performance space, wood hasbeen used on the walls and ceiling dueto its warm acoustic properties. Thereception hall is light and airy, in sharpcontrast to the dark halls bathed inartificial light.

The wood allows for excellentacoustics and adds a feeling of warmth.Together, the rows of seats, thepartitions and the ceiling create adynamic but welcomingatmosphere.Michel Desvignes, Tschumiused a layered gravel-and-earth system

based on volcanic stone fromthe nearby Puy-de-Dômeregion, which assures thenecessary stability for parkingwhile allowing grass to grow.

For maximum technical

reliability

The intention with thisproject was to create a

powerful regional emblem that wouldenjoy a local, national and internationalreputation and encourage the cultural andeconomic development of the city. Insidethe entrance hall, a multiple wooden archstructure stabilises the high points of thecurved facade.To ensure that the valuesfor the load paths are accurate, themetallic external structure supported bythe pillars has been designed using a 3Dcomputerised model and an evaluationmock-up model. Computerised modelswere also crucial in establishing thegeometry of both beams. The curvature ofthe beams creates a 'hull' effect that isvisually very striking. �


Name of project: Concert Hall inLimogesLocation: City of Limoges, FranceGross square footage: 110,000 sq. ft.Site area: 15 acres Total construction cost: $30.6millionTotal Budget: 36.6 million USD Owner: City of Limoges, FranceArchitect: Bernard TschumiArchitects, Site Architect: ArchitectAtelier Photo courtesy: Christian RichtersAcoustics: CialLandscape Architect: MichelDesvigne avec Sol PaysageFacade Advisor: Hugh DuttonAssociatesFinancial Consultant: BureauMichel ForgueLot's builded SHON Surfaces: 2.1acres, '8500 m2' Building Dimensions: 300 ft, "90 mdiameter" Height: 72 ft, '22 m' Parking: 1500-vehicles-capacityparking surface 10 acres or 4ha Frame weight: 606 tonnes, "550tonnes" Concrete: 14,400 sq ft, "4400 m3 Roof: 88 tonnes, "80 tonnes Polycarbonate envelope: 10,500 sq.ft. '3200 m2 Earth-stone Paving Material:65,600 sq. ft. '20 000 m3 Structure: Concrete wall, metal, andwood frame Translucent envelope: Alveolarpolycarbonate Inner envelope: Acoustic woodtrestle Wooded seats: 4,500 seats made in 4different stains Type of Wood: Douglas pine Floors: Concrete and self-glossedpaving Stage Equipment: Catwalk and liftbridge built in the metal frame rooftruss (diameter: 80 meters) External ground: Earth-stone mixedfor grass and natural vegetation

TAIPEI PERFORMING ARTSCENTER Taipei, Taiwan

A 'Zenith' of a structure

Zenith Concert Hall in Limoges, France designed by

Bernard Tschumi Architects, has something of the

dynamic wrapping form created by the architect in the

steel-and-concrete Rouen building.

070] Cover Story_Limoges Hall.qxp 11/01/2011 7:36 AM Page 70

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The Wei-Wu-Ying MetropolitanPark, the site of a formermilitary complex, is the

location for the new Wei-Wu-YingCenter for the Arts of Taiwan. Thecomplex features a concert hall, anopera house, a theatre, a recital hall anda large outdoor seating area. Hosting atotal of 6,000 seats and the mosttechnologically advanced theatrefacilities, the new cultural complex willdraw world class performing artists and

theatre companies. The surrounding 65hectare park is an integral part of thedesign brief.

Banyan trees:

An important source of inspirationfor Mecanoo’s building design were theexisting centuries-old banyan trees onlocation. The banyan tree is one of theworld’s largest trees. Mecanoo’s buildingcomplex is 225 m wide and 160 mdeep. Because of the openings in theroof, the passageways and open spaces,an almost porous building is created inwhich interior and exterior blur. Thepartially grass and plant covered roofcreates natural and efficient buildingcooling in the subtropical climate. Thelarge roof also provides an informalpublic space where the city residentscan stroll, practice Tai Chi, mediate orjust relax. Inspired by ancient Greektheatre, outdoor seating space was

designed on the roof complex at thepoint where the roof dips to theground. The surrounding park in turnbecomes an informal stage. The parkdesign is a logical continuation of thetheater complex with its public openspaces and roofscape. Building andlandscape merge naturally, forming aunified whole.

Programme: Theatre complex of141,000 m2 in the Wei-Wu-YingMetropolitan Park with a total capacityof 6,000 seats: Concert Hall 2,000seats, Opera House 2,250 seats,Playhouse 1,250 seats, Recital Hall 500seats, public library of 800 m2, 1,000m2 of rehearsal/education halls formusic and dance, 2 conference hallswith 100 and 200 seats and stagebuilding workshops. �


Design: 2007-2009 Execution: 2010-2013 Location: Taiwan Client: Preparatory Office of TheWei-Wu-Ying Center for the Arts ofthe Council for Cultural Affairs,Taiwan Architect: Mecanooarchitecten, Delft, The Netherlands Local architect: Archasia DesignGroup, Taipei, Taiwan Structural engineer: Supertech,Taipei, Taiwan Mechanical engineer: Yuan Tai,Taipei, Taiwan Electrical engineer: Heng Kai,Taipei, Taiwan Acoustic consultant: Xu Acoustique,Paris, France Theatre consultant: Theateradvies,Amsterdam, The Netherlands; Yi Tai,Taipei, Taiwan Lighting consultant: CWI lighting,Taipei, Taiwan Organ consultant: Oliver Latry,Paris, France Roof and facade consultant: CDC,Taipei, Taiwan3D advisor: Lead Dao, Taipei,Taiwan Awards: Chicago AthenaeumInternational Architecture Award,International Design Award 2009,Cityscape Architectural Award 2008

Project details

The strength

in expressions

Wei-Wu-Ying Metropolitan

Park in Taiwan, a name

that will soon be

symbolized as a logistically

planned modern cultural

city with its advanced

theatre designs and facility

techniques..

072] Cover Story_Wei-Wu-Ying Center for the Arts, Kaohsiung, Taiwan.qxp 11/01/2011 7:38 AM Page 72

With a vision to engineer thefuture, NAWAEngineers hasdesigned and supplied crushing

equipment that offers a complete crushing-screening-conveying programme backed byuncompromising quality and expert service.GN Rao, MD, NAWAEngineers speakingon the company’s success explains, “Fromthe time we began started in 1998 as aconsulting engineering company we over theyears now have developed world-class plantsand equipment indigenously, surpassingcustomer expectations. With the

background we have in this type of industrythat is of crushing and screening at point oftimew was neglected and was always lookeddown as a road side industry. Ourcommitment to customers and their faith inour expertise has motivated us to develophigh product configurations with rock solidreliability.”

The change began from:

The road construction industry hasbrought in very stringent specificationswhat is aggregate specification, sizes, what is

the ground limit etc. He further states, “Weare focused on that and tried to advise theconstruction companies how to make anddesign crushing system and what is thenext. From 1998-2000 we had anopportunity to get more into technicaldetails or technology of the crushers. Withthe encouragement from the constructionand the infrastructure industry we firstmade vertical shaft impact crusher whichwas very essential for road construction toshape the material and bring to aspecification at the most. This how westarted from one equipment to the other,then the plants and more.

From 2002 to 2007 tremendous demandwas seen where we have supplied more than300 plants all over India. Elborating on thehardships faced Mr Rao says, “The journeyis not a white coloured job. You have tostand in the field; you have to understand

what is happening, touch the material, andclimb up, you have to see how the rationalesare working, these things form the coreelements of the job. But graduating steadilywe made a mark amidst multinationalcompanies like Metso, Sandvik and more sothe feather in the cap came by receivingrecognition by construction major likeJaiprakesh Associates who are our regularcustomers.

Difficulties in setting up a crushing plant,

setting the capacity or determining the

capacity:

Crushing means for example take granitesince it is most difficult for a machine tocrush a hard stone. There is a tremendousamount of physics and geometry involvedin a crusher. When crushers or crushingequipments are made technology plays animportant role. For example when youwant to crush a hard stone like granite andquartzes that is where machines functionyou need to have the experience of thematerial; you need to have the experienceof the mechanism, you need to have the


Crushing and Screening EquipmentsCrushing and Screening Equipments


SPECIAL FEATURE:

Widening market

horizon year after year

Be firm, fair and honest.Remain

customer focused and thrive to

enhance customer satisfaction at all

times is the mantra followed by the

team NAWAEngineers. GN Rao,

Managing Director, NAWAEngineers

in his insightful interview with

Remona Divekar on the company

and this advancing industry.

078-80] Special Feature-Crushing and Screening-NAWA.qxp 11/01/2011 3:08 AM Page 78

experience of the machinery to make thecrushing successfully happen and this verymuch a neglected area. Quarry duty isalways a toughest thing so eventuallysetting up a crushing plant is alwaysdifficult thing. It is also equally difficult toselect a crusher and crushing system anddesign it.

Demand drivers for newer technologies:

Road construction and dam constructionare highly mechanised. We have a lot ofroad making machinery and other things.We have concrete and batch mixingplants, we have so many other asphaltmixing plants and so many other rests arepart of system. As far as the crushingindustry is concerned the crushingmanufacturers they have to set up theirown plants which is basic raw material forall the infrastructure projects. Anyconstruction project the basic rawmaterial is the crusher stone or crushersand. So these are the areas we have mostlyfocused and seen that machines isequipped to perform various applicationsand situations, various rock and that iswhat we have done over a period of time.

Cope up with the changing clients’

preferences, fluctuating markets, and the

increasing raw material rates:

It is one of the problems in India. Theproblem is the raw material keep

changing, unlike countries like Chinaand Japan. We have a high inflationaryrate in India so the inflationary rates arethe product of so many factors. As amachine manufactures we have to keep acheck on the steal cost, casting, forging,and these materials I would say are not inour hand. To control the cost we get backto the material management, we see, wekeep our stocks less and we purchase atthe right movement, we purchase in bulkand keep a stock and fine culmination ofall these points but we don’t see any

successful efforts from the capital goodsmanufacturers. The economy has tobring in the stability in the prices. Forindividuals it is beyond certain limit. Icannot cut corners to make a badproduct because the steel prices havegone up. So this is problem capital goodsmanufacturers’ face.

New innovation in

technology and trends

Market requirement is the high capacityplants. We started with 100 -300 tonnesper hour. Earlier the road packages wereRs 100 crores to Rs 200 crore. Now it isRs 1,000 crore to Rs 2,000 crore becausethe stages are increased and these are allBOT project and then you need to buildthem quickly because your revenue willcome. These are for road. Everyone islooking at faster completion of projects.You need to squeeze the time; you need

the raw material rates at a highercapacity. Higher capacity plants are theorder of the day. For that we have severalsteps and we already taken thetechnology from the US and we havepurchased the highest capacity crushersat the latest technology. Whatever wecould design in-house and according tothe time schedule we have designed thebig jaw, cone crushers, and biggervibrators. From 300-400 tonnes per hourwe are geared to make up to600 tonnes per hour. �


Crushing and Screening EquipmentsCrushing and Screening EquipmentsSPECIAL FEATURE:

078-80] Special Feature-Crushing and Screening-NAWA.qxp 11/01/2011 3:08 AM Page 80

Business

Construction and Architecture Magazine 09 jan feb 2011