Catp- Unit v - Contemporary Architecture- Part1

AR3701 - CONTEMPORARY ARCHITECTURE: THEORIES AND PRACTICE

UNIT V -
CONTEMPORARY
ARCHITECTURE
NATURE OF CONTEMPORARY SOCIETY. CONTEMPORARY
ARCHITECTURE
ARCHITECTURE FROM THE LATE 20TH CENTURY - Overview of larger changes in society
from late 20th century and their influence on architecture. characteristics
• Use of computer-
TECHNOLOGY IS CHANGING ARCHITECTURE. aided design.
COMPUTER IN THE PROCESS OF DESIGN
When the architect uses the computer in the process of design and representation, he • Advanced
connects to it creating a coupled cognitive system, where the man and the machine exchange technology
ideas and information. Thus, any change that occurs on the computer or the designer leads to a
change in the outcome of the design. • Modern building
The invasion of digital technology into our daily lives in the age of modern technology, materials.
especially computers, is an essential irresistible matter. The use of such technologies in the
designing process adds a new dimension to the architectural product, which enables us to • Design elements
visualize our ideas that are not fully expressed. of both past and
present day.
DIGITAL MODELS WITH BUILDING AND MODELLING INFORMATION PROCESS OF CALCULATING
Combination of
THE QUANTITIES AND THE SPECIFICATIONS
• Post modernism,
In the last years, Many new software programs launched for digital models having Building and
• High-tech
modelling information, which could be used for building the model and producing the 2D
architecture and
drawings simultaneously. In addition to installing technical information on parts of the project
• new
in a way that they are able to identify the building parts and the constituting materials such as
interpretations
the columns and walls. Thus, eases the process of calculating the quantities and the
of traditional
specifications is facilitated and helps at cost cutting where ever necessary without hassle .
architecture
NATURE OF CONTEMPORARY SOCIETY. CONTEMPORARY
COLLABORATION AND CORDINATION USING BIM ARCHITECTURE
Cloud-Based Platform and digital Tools like BIM 360 and Autodesk Construction Cloud facilitate real- characteristics
time collaboration among architects, engineers, and contractors, improving coordination and
reducing errors. • Several different
ANIMATED DIGITAL DESIGN MODELS EXPERIENCED THROUGH VIRTUAL REALITY. styles
However, the means of representation in architectural design greatly affects the result of the design
• Modern styles
process since such means are what express the design and transfer it from the imagination of the
blend and share
designer to the visual world. The ambition and creativity of the designer would not lead anywhere
without the animation means capable of expressing it in an efficient way. Example - a camera has various features
been produced provided with a computer enabling it, while directed to the building or the
• Highly conceptual
construction, to compare the reality with digital design and to project an image including the parts
forms and designs
constructed and those remaining of the design to integrate reality and the virtual reality.
SIMULATIONS TO CALCULATE ENVIRONMENTAL IMPACTS & STRUCTURES SAFETY • Architecture
UNDER DIFFERENT SIMULATED ENVIRONMENTS • is fluid in style
Sustainable design practices benefit immensely from digital tools. Through 3D
modeling and simulation, we can explore various sustainable materials, construction ARCHITECTURAL RESPONSES AND
methods, and environmental impacts before starting a project MOVEMENTS TODAY
PARAMETRIC ARCHITECTURE
• PARAMETRIC DESIGN AND
The world of computational design means architects are pursing new
DIGITAL PROCESSES
frontiers where architecture can be generated through the writing of
algorithms and software, where interactive physical mechanisms can be • GLOBALISATION • PHENOMENOLOGY
built that respond to their environment, adapting and evolving as
• SUSTAINABILITY • COMPLEXITY.
necessary.
AR3701 CONTEMPORARY ARCHITECTURE: THEORIES AND PRACTICE - SYLLABUS
UNIT V - CONTEMPORARY ARCHITECTURE - 12
• Nature of contemporary society.
❑ Architectural responses and movements today –
• parametric design and digital processes • Globalisation • complexity.
• sustainability • phenomenology
❑ Ideas and works of –
▪ ZHA ▪ Steven Holl ▪ Pallasma
▪ contemporary Dutch ▪ Mcdonough ▪ Murcutt.
architecture ▪ Yeong
▪ Bjarke Engels and BIG ▪ Zumthor
▪ OMA and Rem Koolhaas
• Outline of contemporary architecture in the non Western world.
• Large scale changes in India from the 90s.
• Outline of post 1990s architecture of India.
UNIT V - CONTEMPORARY ARCHITECTURE - 12
▪ NATURE OF CONTEMPORARY SOCIETY. • PHENOMENOLOGY
▪ PARAMETRIC DESIGN AND DIGITAL PROCESSES ❑ PETERZUMTHOR(BORN 1943)
▪ COMPLEXITY. ❑ STEVEN HOLL (Born – 1947)
❑ ZHA ❑ JUHANI PALLASMA (BORN 1936)
▪ CONTEMPORARY DUTCH ARCHITECTURE ▪ GLOBALISATION

❑ REM KOOLHAAS (BORN 1944) OFFICE FOR • OUTLINE OF CONTEMPORARY

METROPOLITAN ARCHITECTURE (OMA) 1975 ARCHITECTURE IN THE NON-WESTERN
WORLD.
❑ BJARKE INGELS GROUP
• LARGE SCALE CHANGES IN INDIA FROM THE
▪ SUSTAINABILITY 90S.
❑ GLENN MURCUTT (BORN 1936) • OUTLINE OF POST 1990S ARCHITECTURE OF
❑ WILLIAM MCDONOUGH (1951- 2023) INDIA.
❑ KEN YEANG (BORN 1946)

PARAMETRIC DESIGN AND DIGITAL PROCESSES - innovative approach to design
DEFINITION
• PARAMETRIC DESIGN in architecture is a process that uses algorithms
and mathematical equations to create designs that can respond and
adapt to changing parameters and conditions.
• PARAMETRIC DESIGN is a manipulation of geometric forms and
elements done through computation – to produce complex structures
and architectural designs.
• Parametric architects know about parameters such as Site context,
Environmental factors, User interface, Program, Material technology,
Manufacturing. Heydar Aliyev Center
• Parametric design can be utilized as a powerful tool that provides
solutions for visual, material, and structural issues.
• Parametric design will offer an overall aesthetic and structural
perspective. So, you can’t separate the aesthetic from the functionality
of the design.
• The entire design process will use digital methods for optimization,
computation of data, design evolution, and extends to construction and
fabrication.
• Parametric design is always evolving, so there is room to adapt to
contemporary technology.
Walt Disney Concert Hall
PARAMETRIC DESIGN AND DIGITAL PROCESSES - innovative approach to design
POTENTIAL AND BENEFITS

• It is less time-consuming and easier to deal with complex issues during the process.
• It allows architects to create complex, innovative and sustainable structures that were previously impossible to achieve
using traditional design methods.
• It is essential for the future because it enables architects to address the challenges of an increasingly complex and
interconnected world, from environmental sustainability to urban planning and social dynamics, while also opening up
new avenues for creative expression and experimentation pushing the boundaries of what is possible in architecture.
ATYRAU
BRIDGE / NEW
MOON
ARCHITECTS -
KAZAKHSTAN
PARAMETRIC DESIGN AND DIGITAL PROCESSES - DIGITAL FABRICATION
DIGITAL FABRICATION is a computer-controlled design and manufacturing process where the digital data, in the form of a
CAD file, defines the instruction to the fabrication equipment to produce the output.
• The CAD data usually becomes the axis coordinates that move the equipment arm.
• The process can be either subtractive or additive or even robotic automation.
• Regardless of the type, it allows architects, designers and engineers to create and test prototypes as well as mass
production.
USES & BENEFITS
PREFABRICATION - parts of a building are constructed off-site, usually in factories, and then assembled on-site shortens the
on-site construction period but also reduces waste and carbon footprint. These building components constructed in concrete
and glass are potentially renewable materials.
PROTOTYPING - By having a prototype, we can test joineries, facades and the whole structures and it is a great way to
experiment during design development. Developing and Testing New Materials
AUTOMATING CONSTRUCTION USING ROBOTICS - framed structures and prefabricated materials are done entirely by the
robots. Architects and researchers are hopeful that such processes will lead to a more controlled and safer work environment
while prompting better productivity.
BETTER INTEGRATED DESIGN AND CONSTRUCTION STAGES - design, analysis and manufacturing closer together for safer
structural designs and construction.
• Faster and more accurate.
• Reduces the manpower necessary for fabrication and construction processes
• The potential of fabrication is also limitless.
https://www.novatr.com/blog/digital-fabrication-guide
ADDIVTIVE FABRICATION
3D Printing-the material is melted / liquid material , deposited through a nozzle onto the base platform
layer by layer
Binder Jetting - the nozzle deposits the powder and the binding agent in layers.
SUBTRACTIVE FABRICATION
Laser cutting cutting and/or engraving according to the input

CAD file.
CNC (Computer Numerical Control ) machining computerized
operation that gives shape to the object by removing excess
material. includes processes such as milling, drilling, grinding
and turning.
Most Used Fabrication Materials -Steel , Copper,
Thermoplastics, Wood
CNC milling or by way of robotic arms.

PARAMETRIC DESIGN AND DIGITAL PROCESSES – HUMAN-FREE CONSTRUCTION
Combining both automation and digital fabrication, there is a move to more human-free construction, robots will work in
teams to build complex structures using dynamic new materials, while structures will self-assemble.
• Drones flying overhead will scan the site, and Inspecting the work
• Using the data collected to predict and solve problems before they arise,
• Sending instructions to automated builders with no need for human involvement.
• These ideas could also address the dangers of construction and make zero harm a reality.
PARAMETRIC DESIGN AND DIGITAL PROCESSES – INTERACTIVE AND RESPONSIVE ARCHITECTURE
• The physical setup for the immersive design environment links multiple projectors, infrared motion sensors, and
visualization and analysis software.
By turning the slats, the children are able to manipulate what the kindergarten looks like on a daily basis. The wood slats
also provide a learning experience for the children, helping them learn the different colours.
PARAMETRIC DESIGN AND DIGITAL PROCESSES – KINETIC FACADES / DESIGNS
INTEGRATING INTERACTIVE KINETIC FAÇADE DESIGN

TO IMPROVE DAYLIGHT PERFORMANCE BASED ON
OCCUPANTS’ POSITION
The dynamic nature of daylight and occupant's

position can cause some issues such as heat gains
and visual discomfort, which need to be controlled
in real-time operation.
Responsive facades have been pervasively used for
preventing daylight glare and meeting daylight
performance requirements.
Al Bahar Towers
PARAMETRIC DESIGN AND DIGITAL PROCESSES - REAL TIME SIMULATIONS
• New design techniques incorporate material properties, energy

flows, and structural performance with an agent-based
simulation system. Exploration of a bottom-up approach to
construction where rules guided the assembly of the structure.
• Custom software analyzed the emerging structure, simulated
alternative rules, and applied these to evolve the construction.
• Real-time data can help architects adapt designs to local climate
conditions, ensuring better resilience and efficiency.
COMPLEXITY
Rapid urbanization led to the growth of megacities. Architects began focusing on high-density housing, mixed-use
developments, and urban regeneration projects to accommodate growing populations. Globalization also resulted in the
blending of architectural styles and ideas across cultures.
DESIGN COMPLEXITY
• Multidimensionality - Modern architecture often involves intricate forms, geometries, and structures that challenge
traditional design approaches. Parametric and algorithmic design tools enable architects to explore complex shapes and
relationships.
• Integration of Systems - Buildings must integrate various systems, including structural, mechanical, electrical, and
plumbing (MEP), requiring careful coordination and sophisticated design strategies.
SPATIAL COMPLEXITY
• Layered Spaces- The design of buildings and urban environments often involves multiple layers of space, including public,
semi-public, and private areas, creating dynamic and multifunctional environments.
• Circulation and Flow- Complex circulation paths and transitions enhance user experience but require thoughtful planning
to ensure intuitive navigation through spaces.
CONTEXTUAL COMPLEXITY
• Site Conditions-The physical context of a site, including topography, climate, and existing infrastructure, can create
challenges that necessitate innovative design solutions.
• Cultural and Historical Factors- Architects must consider local cultural, social, and historical contexts, leading to designs
that respect and respond to their surroundings while still pushing boundaries.
. Organized complexity elicits a harmonious response; versus disorganized complexity that is perceived as randomness
Architecture is successful by connecting visually, emotionally with the observer/user through its complexity.
An architect needs to understand complexity, its intentional generation, and how to manage emergent complexity as a
design tool.
COMPLEXITY
TECHNOLOGICAL COMPLEXITY
• Advanced Materials- The use of new materials and construction techniques can introduce complexity in both design and
execution. Understanding material behavior is crucial for achieving desired outcomes.
• Building Information Modeling (BIM)- BIM facilitates complex coordination among different disciplines, but it also requires a
deep understanding of software and data management.
ENVIRONMENTAL COMPLEXITY
• Sustainability Goals- Designing for sustainability involves complex considerations related to energy efficiency, water
management, and materials sourcing, often requiring integrative design approaches.
• Climate Adaptation- Architects face the challenge of designing buildings that can adapt to changing environmental
conditions, incorporating passive and active strategies for climate resilience.
USER-CENTRIC COMPLEXITY
• Diverse User Needs - Modern architecture must accommodate a wide range of user preferences and accessibility
requirements, necessitating adaptable and flexible designs.
• Interactivity and Experience- Incorporating interactive elements, such as smart technologies, adds layers of complexity to
user experience, enhancing engagement but also complicating design.
AESTHETIC COMPLEXITY
• The relationship between form and function can lead to complex architectural expressions that prioritize both aesthetic
appeal and practical use. The choice of materials and attention to detail can introduce richness and depth, contributing to
the overall complexity of the design.
Complexity in architecture is a reflection of the challenges and opportunities faced by architects in a rapidly changing world.
Embracing this complexity can lead to innovative solutions that enhance the built environment, responding effectively to the
needs of users and the demands of sustainability, technology, and context. As architectural practices evolve, the ability to
navigate and harness complexity will remain essential for creating impactful and meaningful spaces
ZHA is Zaha Hadid architects you can't expect
me introduce myself again
DO YOU ?
Refer to unit 3 notes for biography ,design
approach , philosophy and works
HEYDAR ALIYEV CENTRE - BAKU, AZERBAIJAN
Zaha Hadid Architects was
appointed as design architects of
the Heydar Aliyev Center following
a competition in 2007.
The Center, designed to become
the primary building for the
nation’s cultural programs, breaks
from the historical Islamic
architecture that is rigid and often
monumental Soviet architecture
that is so prevalent in Baku,
aspiring instead to express the
sensibilities of Azeri culture and the
optimism of a nation that looks to
the future. Fluidity in architecture
is not new to this region.
SITE RESPONSE
• Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely
terraced landscape that establishes alternative connections and routes between public plaza, building, and
underground parking.
• This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into
a key design feature.
DESIGN CONCEPT
• The design of the
Heydar Aliyev Center
establishes a
continuous, fluid
relationship between its
surrounding plaza and
the building’s interior.
• The plaza, as the ground surface, accessible to all as

part of Baku’s urban fabric, rises to envelop an
equally public interior space and define a sequence
of event spaces dedicated to the collective
celebration of contemporary and traditional Azeri
culture.
• Elaborate formations such as undulations,
bifurcations, folds, and inflections modify this plaza
• Elaborate formations such as undulations,
bifurcations, folds, and inflections modify this plaza
surface into an architectural landscape that performs
a multitude of functions , welcoming, embracing,
and directing visitors through different levels of the
interior.
• With this gesture, the building blurs the conventional
differentiation between architectural object and
urban landscape, building envelope and urban plaza,
figure and ground, interior and exterior.
HEYDAR ALIYEV CENTRE - BAKU, AZERBAIJAN ,2012
During the day, the building reflects the

light, constantly altering its appearance
according to the time and the
perspective.
By night, the building is gradually
transformed by the illumination which
flows from the interior, which develops
the formal composition to reveal its
contents and maintain the fluidity
between the interior and exterior.
HEYDAR ALIYEV CENTRE - BAKU, AZERBAIJAN ,2012
The continuous architecture contains THREE MAJOR
PROGRAMS, including the museum, exhibition halls
and convention centre, mainly composed by rigid
concrete structure grid free from external space
frame with a single movement joint. The three spaces
are separated from each other and have their own
entry and security areas. Also they share some
common places under the continuous external skin.
In order to make column free space, the certain wall
and envelope serve as vertical elements.
GEOMETRY, STRUCTURE, MATERIAL – KEY ATTRIBUTES

One of the most critical yet challenging elements of the
project was the architectural development of the building’s
The museum occupies 9 floors with exhibition halls, skin.
administrative office, restaurant and a cafeteria. It consists of
The ambition was to achieve a surface so continuous that it
a permanent gallery and a temporary exhibition gallery. appears homogenous, required a broad range of different
In the temporary gallery, a double-height space lobby is in the functions, construction logics and technical systems had to
entrance with curve ceiling in the above. be brought together and integrated into the building’s
envelope. Advanced computing allowed for the continuous
control and communication of these complexities among the
numerous project participants.
STRUCTURE
space frame system. Combined view
TWO
STRUCTURAL
COLLABORATING
SYSTEMS
Concrete cores
• A concrete structure combined with a space frame system.

• to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the interior, vertical
structural elements are absorbed by the envelope and curtain wall system.
• The specific geometry of the surfaces encourages unconventional structural solutions, such as the introduction of curved
“starter columns” to achieve the inverse shell of the surface.
MATERIALS
• Glass Fiber Reinforced Concrete (GFRC)
and Glass Fiber Reinforced Polyester
(GFRP) were chosen as ideal cladding
materials, as they allow for the powerful
plasticity of the building’s design while
responding to very different functional
demands related to a variety of situations
- plaza, transitional zones and envelope.
• THE SPACE FRAME SYSTEM enabled the

• The building, whose construction of a free-form structure and
smooth, distorted grid- saved significant time throughout the
work of polyester- construction process, while the
reinforced fibreglass substructure was developed to
panels do not have visible incorporate a flexible relationship
connections. between the rigid grid of the space frame
and the free-formed exterior cladding
joints . These joints were derived from a
process of rationalizing the complex
geometry, usage, and aesthetics of the
project.
LIGHTING
• To emphasise the continuous relationship between the exterior and interior
of the building, the illumination of the Heydar Aliyev Cultural Centre was
carefully considered.
• The use of semi-reflective windows allows the interior to be perceived
without revealing the trajectory of the spaces.
Concelaed
lighting strips
in Internal
surface of
ceiling, it is
created by
gypsum board
supported by
cables to meet
acoustical and
lighting
requirements.
Baku, which in old Farsi means ‘where wind
• Numerous studies were carried out on the surface
beats’, is subject to high wind loads
geometry practical solution to construction issues
throughout the year, and as the city lies with in
a seismic zone, the project’s structural
engineers faced a multitude of challenges.. The
free form structure of the project derives from
the architectural design concept of modifying
Moment Diagram under wind load a single surface to adopt different functional
requirements
• STRUCTURAL DESIGN of the whole

complex will be reviewed through
diagrams and the computer-based
structural analysis.
Shear diagram under wind load The space frame will be subjected to a large
bending moment. In order to solve this
problem and ensure structural stability, the
structural engineer will thicken the space
grid here, from the other parts of the single
layer into multi-layer, to provide adequate
Member axial reactions under wind bending resistance.
• The computer-based structural analysis answered technical concerns such as accommodating movement due to
deflection, external loads, temperature change, seismic activity and wind loading.
❑ CONTEMPORARY DUTCH ARCHITECTURE - the vanguard arts and architecture movement from the 1920s.
CONTEMPORARY DUTCH ARCHITECTURE reflects a forward-thinking approach, balancing aesthetics with functionality and
environmental consciousness.
• Contemporary Dutch architecture is characterized by innovative design, sustainability, and a strong connection to the
urban environment. Its main features are -
❑ SUSTAINABILITY
Emphasis on eco-friendly materials, energy efficiency, and integration with natural landscapes. Many buildings incorporate
green roofs, solar panels, and water management systems.
❑ BOLD AESTHETICS
Architects often experiment with form, using unusual shapes and materials. This can include a mix of glass, steel, and
concrete, often resulting in striking visual designs.
❑ ADAPTIVE REUSE
Many projects involve repurposing existing buildings, blending historical elements with modern techniques.
❑ COMMUNITY ENGAGEMENT
A focus on creating spaces that foster community interaction, often through public squares, parks, and mixed-use
developments.
❑ INFLUENTIAL ARCHITECTS
Notable figures like REM KOOLHAAS, MVRDV and BJARKE INGLES have significantly shaped contemporary Dutch
architecture, pushing boundaries and exploring new concepts.
BJARKE INGELS – Danish architect – 1974 AND
BIG -2006
• Bjarke Bundgaard Ingels is a Danish architect,

founder and creative partner of Bjarke Ingels
Group (BIG).
• In Denmark, Ingels became well known after
designing two housing complexes VM Houses
and Mountain Dwellings.
• In 2006 he founded Bjarke Ingels Group, which
grew to a staff of 400 by 2015.
THE BIG PHILOSOPHY

• BIG "has abandoned 20th-century Danish
modernism to explore the more fertile world
• YES IS MORE BIGAMY E.G. Mountain Dwellings
of bigness and baroque eccentricity.
• UTOPIAN • Instead of remaining faithful to a single
• BIG's world is also an optimistic vision of the
PRAGMATISM idea, Bjarke urges designers to connect
future where art, architecture, urbanism
• HEDONISTIC more than one idea together to collectively
and nature magically find a new kind of
SUSTAINABILITY create what is most desired.
balance.
• VERTICAL • He takes multiple elements that might not
• Yet while the rhetoric is loud, the underlying
SUBURBIA seem to fit together and puts them
messages are serious ones about global
• BIGAMY together. whatever you dream of can be a
warming, community life, post-petroleum-
reality
age architecture and the youth of the city.
BJARKE INGELS – Danish architect – 1974 AND BIG -2006
THE BIG DESIGN PHILOSOPHY

“YES IS MORE” Eg . Via 57 West
• There’s one end of the world travelling to utopian and wild ideas
• and the other sticking to the predictable and boring boxes.
• Bjarke hopes to create an amalgamation of both to take a PRAGMATIC UTOPIAN approach to design.
HEDONISTIC SUSTAINABILITY e.g. Amager Bakke Resource Center

• sustainability that improves the quality of life and human enjoyment
• Hedonistic Sustainability aims to make the idea of sustainability more approachable to everyone.
• Bjarke’s aim was to prove that design can be made economically profitable and environmentally sustainable.
• Bjarke urges people to stop thinking about buildings as masses or structures, but instead as ecosystems that we thrive in.
VERTICAL SUBURBIA . E.g. 8 house

• harmony between integration, accessibility, users, and the community.
• He realized that everybody living in a large apartment has different lives and unique interests.
• So it didn’t make sense for everyone to live in the same kind of building.
• to create conversational spaces that connect private and public lives, they are also built to reflect their surrounding
environment and nature.
• They incorporate cheap materials in their design to prove that good design doesn't have to be an expensive affair
https://www.whereisthenorth.com/article/bjarke-ingels-famous-buildings-and-his-design-philosophy
BIGAMY E.G. Mountain Dwellings
• Instead of remaining faithful to a single idea, Bjarke
urges designers to connect more than one idea
together to collectively create what is most desired.
• He takes multiple elements that might not seem to fit
together and puts them together. whatever you
dream of can be a reality
MOUNTAIN DWELLINGS - COPENHAGEN, DENMARK,2008
• 80 courtyard penthouses apartments above a multi-story car
park.
• The apartments scale the diagonally sloping roof of the
parking garage, from street level to 11th floor, creating an
artificial, south facing 'mountainside’.
• Each apartment has a "backyard" on the roof of the property
in front and below it. The resulting courtyard penthouses
“a concrete hillside covered by a thin layer of housing,

cascading from the eleventh floor to the street edge”
"the splendors of the suburban backyard with the
intensity of an urban lifestyle"
we decided to merge the two The parking wants to be connected with the
Copenhagen has beautiful natural views
functions into a symbiotic street and the housing wants sunlight, fresh air
but flat land without topography
relationship. and a view.
The program is 1/3

what if the parking became
residences and 2/3
the foundation of the
parking
housing – like a concrete
Rather than designing
hillside covered by a thin
two separate buildings –
layer of housing, cascading
a parking and a housing
from the first to the
block
eleventh floor.
All apartments have sun

filled roof gardens, amazing
views and street parking on
the tenth floor!
The Mountain appears as a
suburban neighbourhood of
garden homes, flowing over
a 10 story building –
suburban living with urban
density.
MOUNTAIN DWELLINGS - COPENHAGEN, DENMARK,2008
• The sloping roof is covered with a single layer of

80 PENTHOUSES.
• Each apartment has an L-shaped floor plan and a
terrace and small garden outside, located on the
roof and in-front on lower-level apartment. The
design is inspired by suburban rowhouses
developments.
• THE ROOF GARDENS consist of a terrace and a

garden with plants changing character according to
L-shaped floor plan small garden
terrace the changing seasons.
• The building has a huge WATERING SYSTEM (which
collects rainwater and uses it for automatically
watering the roof gardens during dry periods.)
which maintains the roof gardens.
• The apartment and the garden is separated by a
GLASS FAÇADE with sliding doors to provide light
and fresh air.
GLASS FAÇADE
PARKING
• The residents of the
80 apartments will
be the first to have
the possibility of
parking directly
outside their homes.
The gigantic parking
area contains 480
parking spots and a
sloping elevator that
moves along the
mountain's inner
walls. In some places
the ceiling height is
up to 16 meters
which gives the
impression of a
cathedral-like space.
• different colors
as each floor in
the parking area
has different
colors.
THE FACADE
• The north and west facades are covered by perforated aluminum plates, which let
in air and light to the parking area.The holes in the facade form a huge replica of
Mount Everest.
• At day the holes in the aluminum plates
will appear black on the bright
aluminum, and the gigantic picture will
resemble that of a rough rasterized
photo.
• At night time the facade will be lit from
the inside and appear as a photo
negative in different colors as each floor
in the parking area has different colors.
The sloping arrangement of the courtyard penthouses captures the
surrounding peaceful and organic hillside.
“YES IS MORE” Eg . Via 57 West
• There’s one end of the world travelling to utopian and wild
ideas
• and the other sticking to the predictable and boring
boxes.
• Bjarke hopes to create an amalgamation of both to take a
PRAGMATIC UTOPIAN approach to design.
VIA 57 WEST – NEWYORK- 2016
• VIΛ 57 West is a
tetrahedral apartment
building in New York
City.
• The building contains
709 housing units and
has a maximal height of
142m.
DESIGN CONCEPT - COURTSCRAPER

The 32 stories high residential block has a floor plan that reminds of
compact and efficient historical courtyard buildings in Europe,
but adds the lightness and wide views of an American skyscraper.
Between low and high
Combines contrasts that do not seem compatible
• UTOPIAN PRAGMATISM amalgamation of utopian and wild
ideas to take a PRAGMATIC UTOPIAN approach to design without
sticking to the predictable and boring boxes.
VIA 57 WEST CONCEPT DIAGRAM VIA 57 WEST – NEWYORK- 2016
The constellation of various heights enables the sunlight to enter the block from
the west and to provide enough sunlight for the river-facing apartments.
A SERIES OF STUDY MODELS EXPLORES POTENTIAL BUILDING FORMS
• The north-east corner arises to 142m high
peak, which leads down towards the other
three lower corners of the building
• The structure’s courtyard thus opens up
towards the Hudson river and guarantees as
many views as possible
the distinct tetrahedronal shape is a hyperbolic paraboloid

or a warped pyramid.
From the east, the

COURTSCRAPER
appears to be a
slender spire.
Apart from that the building’s

outer appearance changes –
from a pyramid to a giant glass
spire – depending on where the
beholder’s point of view is.
The primary materials of the apartments are oak wood floors

and cabinets, and white porcelain tiles in the bathrooms.
"Scandimerican", another layer of the European-American

hybridity.
a bonsai Central Park.
A building maintenance unit
(BMU) is an automatic,
remote-controlled, or
mechanical device, usually
suspended from the roof,
which moves systematically
over some surface of a
structure while carrying
human window washers or
mechanical robots to maintain
or clean the covered surfaces.
https://www.youtube.com/watch?time_continue=33&v=C_neIsVp8lE&feature=emb_logo
HEDONISTIC SUSTAINABILITY e.g. Amager Bakke Resource
Center
• sustainability that improves the quality of life and human
enjoyment
• Hedonistic Sustainability aims to make the idea
of sustainability more approachable to everyone.
• Bjarke’s aim was to prove that design can be made
economically profitable and environmentally sustainable.
• Bjarke urges people to stop thinking about buildings as masses
or structures, but instead as ecosystems that we thrive in.
AMAGER BAKKE RESOURCE CENTER, COPENHAGEN,
2017
• A Danish waste-to-energy conversion plant
(combined heat and power incineration)
• designed by Bjarke Ingels Group (BIG), facility
on 41,000 sq.m site on the outskirts of the city
will combine a waste-to-energy plant with a
333,681-square-foot ski area, including a mile of
ski runs and a terrain park.
• The plant will turn roughly six pounds of kitchen
garbage into five hours of heating and four hours
of electricity.
• Waste input - 400,000 t/year (1095t/day)
• Thermal Output - 160,000 houses / year
• Electric output -62,500 houses / year
“When working on these kind of utilitarian Facilities, you need to be DESIGN CONCEPT
adamant about demonstrating the verifiable, quantifiable added value • Copenhagen has no mountains but has snow
that any deviation from the norm represents” • So Bjarke had fun with the design as he
“Our design philosophy - Hedonistic sustainability “ incorporated a ski slope in the roof with CO2
Living sustainably should be both positive and pleasurable” -Big emitting from the Chimney
the architects’ desire to create a building that is economically, • The building acts as a landscape calling it the
environmentally, and socially profitable. Amager Bakke or Amager Hill.
AMAGER BAKKE RESOURCE CENTER, COPENHAGEN, 2017
• Skiers will access the slopes via an elevator

adjacent to the incinerator’s smokestack,
which will transport them to the top of the
ski slope
• SKI SLOPE - a destination for extreme
sports enthusiasts with its parks, dunes,
and a lagoon for kayaking and
windsurfing.
• THE EXTERIOR PLANTER WALL - is
composed of a checkerboard grid of
stacked planters with glazing between,
creating a sort of supersized green
masonry wall of great porosity that will
provide the interiors with substantial
natural light and give the elevations a
patterned appearance.
• SMOKE RING - Its chimney marks each ton
of carbon dioxide exhausted by venting a
steam “smoke ring,” giving Copenhagen’s
population a clear and playful indication
of the plant’s productivity.
FAÇADE DESIGN
• building is wrapped in a facade of cast in place concrete
faced with aluminum
• stacked planters with glazing between to provide natural
light to interiors
CLIMBING WALL
• destination for
Building systems communicate with the urban and social
extreme sports
settings.
enthusiasts
OUTDOOR RECREATIONAL PARK - integrating a ski slope into the roof

31,000 sq.m of ski-slope of varying skill levels (derived from Alpine mts)
and a climbing wall during winter.
ROOFTOP ACTIVITY
PARK
• hiking trails
• Playgrounds
• fitness structures
• trail running
• climbing walls and
• incredible views of SMOKE RING GENERATOR
the waterfront in A mechanism that releases a smoke ring every
summer. time the plant produces one ton of CO2.
• The green panel mimicked the feel of snow
• Building also managed to successfully reach its carbon-neutral goal.
https://www.architectmagazine.com/awards/p-a-awards/amager-resource-center-designed-by-bjarke-ingels-group-big_o
VERTICAL SUBURBIA . E.g. 8 house
• harmony between integration, accessibility, users, and the
community.
• He realized that everybody living in a large apartment has different
lives and unique interests.
• So it didn’t make sense for everyone to live in the same kind of
building.
• to create conversational spaces that connect private and public
lives, they are also built to reflect their surrounding environment
and nature.
• They incorporate cheap materials in their design to prove that
good design doesn't have to be an expensive affair
THE 8 HOUSE , DENMARK ,2006
The 8 house is built to meet the unique needs of its 475 units’ residents. The ‘8’ shape allows for 2 large courtyards, turning
the space into a huge community rather than an apartment. It encourages social interaction that is unrestricted to just the
ground level and is instead on all levels now.
• The 8 House sits on the outer edge of the city as the
southern most outpost of Orestad.
• The bowtie-shaped 61,000 sqm mixed-use building of
three different types of residential housing and
10,000 sqm of retail and office
• Rather than a traditional block, the 8 House stacks all
ingredients of a lively urban neighborhood into
horizontal layers of typologies connected by a
continuous promenade and cycling path up to the
10th floor creating a three-dimensional urban
neighborhood where suburban life merges with the
energy of a city, where business and housing co-
exist.
• The 8 House creates two intimate interior courtyards, separated by the centre of the cross which houses 500 sqm of
communal facilities available for all residents.
• At the very same spot, the building is penetrated by a 9 meter wide passage that allows people to easily move from the
park area on its western edge to the water filled canals to the east.
• Instead of dividing the different functions of the building – for both habitation and trade – into separate blocks, the
various functions have been spread out horizontally.
• Besides café in the S-W corner All the building communal
functions are concentrated in the center on the figure 8 ,
becoming a vertical focal point for different social activities
common room , guest apartments, lounges , cinema and roof
terrace connecting them in a common stair
• A SOCIAL TOWER BUILDING that binds the house together from
basement to attic
• shopping life and urban plazas, social life of the row houses,
balconies of the apartment, roof gardens of the penthouses and
roof gardens and terrace gardens
• Make house 8 one architectonic idea merges the different
functions of plazas , courtyards , stepped streets, mountain paths
where public life traditionally takes place on the ground, pushing
everything upwards and privatizing, house 8 allows social life to
invade the higher altitudes
DESIGN CONCEPT ARCHITECTONIS SYMBIOSIS What if we stack different functions like an urban layer cake, one
activity/function on top of the other
Commercial space on the bottom of

create a city in one create a variety like in historic city the Building, shops have deeper floor
building. The entire Where different facades on identical than the housing
neighbourhood conceived buildings designed by different architects
as one bldg. on a homogeneous mass
Two rows on
pent row
houses with A layer of Residences like more privacy With a green path life roof garden in
front garden apartments on the extra floor space, like a private front garden and communal
and roof the 3rd and 4th connecting path where kids meet each other in front like in
garden level traditional neighbourhoods. Turning the bottom row in to
traditional 2 storey row houses
THE 8 HOUSE ,
DENMARK
,2006
TWO
To create a E-W
DISTORTIONS OF The master plan
connection/ Converting the 4 sided block in to a figure 8, creating
THE BLOCK required a direct way
passage, we tied 2 new plazas and extending the pavement in to the
optimize from amagger
a knot on the building as a direct connection between the 2 new
maximum view common to heinsens
block urban spaces in the east and west
and sunlight square
causing a
walkway to rise
and fall in to a
continuous
mountain path
that moves all
the way up to N- The opposite corner
E corner we push the commercial space to the ground in S-W. To compensate this
pushed entirely to the
connecting upper we lift up the Commercial functions to a 4 storey bldg. Simultaneously
ground to open up a S-W
part of the block lifting the row houses and the apartments changing its direction from N-E
courtyard and apartment
all the way to the to the sunny S-W overlooking a fantastic view , overlooking the roofscape
to and view to amager
bottom instead of neighbours
and letting more sunlight
lively urban
neighborhood into
horizontal layers of
typologies connected
by a continuous
promenade and
cycling path up to the
10th floor creating a
three-dimensional
urban neighborhood
where suburban life
merges with the
energy of a city,
where business and
housing co-exist.
The ‘8’ shape allows for 2 large courtyards, overlooking a fantastic
view , overlooking the roofscape instead of neighbours ,turning the
space into a huge community rather than an apartment. It
encourages social interaction that is unrestricted to just the ground
level and is instead on all levels now.
VM HOUSES, DENMARK -2005
• Housing project consisting of two adjacent apartment buildings.
• M House with 95 units was completed in2004 and V House with 114
units, in 2005.
• Inspired by Le Corbusier's Unité d'Habitation concept, 2 residential
blocks, with footprints in the shape of the letters V and M, have been
designed with an emphasis on daylight, privacy & views.
• 80 different types of apartment

in the complex, adaptable to
individual needs.
REM KOOLHAAS OMA (OFFICE OF METROPOLITAN ARCHITECTURE)
• Remment Lucas Koolhaas is a Dutch architect, architectural theorist, urbanist and Professor in
Practice of Architecture and Urban Design at the Graduate School of Design at Harvard
University.
• He is often cited as a representative of Deconstructivism.
• He is seen by some as one of the significant architectural thinkers and urbanists of his
generation, by others as a self-important iconoclast.
• In 2000, Rem Koolhaas won the Pritzker Prize. In 2008, Time put him in their top 100 of The
World's Most Influential People.
• He was elected to the American Philosophical Society in 2014.
DESIGN PHILOSOPHY
His work emphatically embraces the contradiction of two disciplines - Architecture & Urban design. “powerful forces of
urbanism” into unique design forms and connections organized along the lines of present-day society.
• Koolhaas celebrates the city’s hyper-dense “culture of congestion” as a cultural incubator, a place where unprescribed
interaction could lead to innovation and creativity.
A key aspect of architecture that Koolhaas questions is the “Program“ with the rise of modernism in the 20th century the
"PROGRAM" BECAME THE KEY THEME OF ARCHITECTURAL DESIGN.
• It was in this text that Koolhaas first proposed the idea of “CROSS-PROGRAMMING,” intentionally introducing unexpected
program types within buildings of different typologies, such as running tracks within skyscrapers.
• the design features volumes of varying form and materiality colliding in unique ways to create new types of space and a
visually stimulating composition.
Boldly produces buildings that differ visually to their surroundings.
“people can inhabit anything. And they can be miserable in anything and ecstatic in anything. More
and more I think that architecture has nothing to do with it. Of course, that's both liberating and
alarming.”
Koolhaas’ being called “the most controversial figure in architecture” and “an anti-architect,” but those descriptions fail to
capture the career of a man who is always chasing the next step in architecture and how he can think bigger.
SEATTLE CENTRAL LIBRARY - SEATTLE , UNITED STATES,2004
DESIGN VISION
• The concept involves the reinvention of the library as an access
point to information presented in a variety of media.
“The new library does not reinvent or modernize traditional,
they are just packaged in a new way ”
explain in the OMA study.
• Flexibility in contemporary libraries is conceived as the creation

of generic floors on which almost any activity can be developed.
• Programs are not separated, rooms or individual spaces not
given unique characters.
• The relentless expansion of the collection inevitably come to
encroach on the public space.
• In short, this form of flexibility, the library strangles the very
attractions that differentiate it from other libraries.
• Instead of its current ambiguous flexibility, the library could
cultivate a more refined approach in organizing spatial
compartments, each dedicated to and equipped for specific
services.
Flexible within each compartment, but without the threat of one
section hindering the other.
SEATTLE CENTRAL LIBRARY - SEATTLE , UNITED STATES,2004
The 11 FLOORS AND

UNDERGROUND GARAGE of
the 427,000-sq.ft building will
be connected by escalators,
three passenger elevators
and one freight elevator Of
the 355,000 square feet that
make up the library itself,
138,000 square feet and 8906
shelves will be devoted to
books. An atrium rises from
the Fourth Avenue level to
the 11th floor, where it is
topped with glass. While
some floor plan details could
change according to the
changing needs
SEATTLE CENTRAL LIBRARY - SEATTLE ,
UNITED STATES
TO REALIZE THIS, KOOLHAAS APPLIED
• The project that the building would
be flexible for future expansions.
1. With the possibility of GROUPING
OF SPACES according to the needs
of the building.
2. STACKED VERTICALLY allowing

optimization of surrounding views
3. THE PLATFORMS connected to the
study would provide open spaces, work
and social interaction.
The library does not consistently use

traditional names that help make your
stay exciting.
• The third floor of the library is called
“living room “.
• The location of the book series is called
organized the program requirements of “spiral” and
the library into five independent platforms • computing space is called “mixing
chamber”
The interior is divided into 5 DISTINGUISHABLE BLOCKS from
the outside.
All of them culminates in a
TERRACE ON THE ROOF.
ADMINISTRATION
COLLECTIONS AND READING
ROOMS
MAIN LIBRARY
SPACE
PUBLIC READING
AREA CAFÉ
deployed in the
large atrium
THE PARKING
AREA
MEZZANINE- Function - Information and research. Features - Two floors. On
the upper floor, a cluster of information desks that architects call the "mixing
chamber" or "trading floor" This is the principal area for getting started on a
search. Computer stations and reading and research areas are also on this floor.
The lower floor contains computer labs and meeting
ENTRANCE LEVELS
FIFTH AVENUE - Function- Public space, building entrance, fiction collection,
teen area, cafe. Features - Large, informal area known as the "living room"
features seating and outlets to plug in laptop computers. Escalators lead up to
information areas and down to Fourth Avenue level. Fiction collection is stored
in area under mezzanine. Teen area on Fifth Avenue side.
FOURTH AVENUE – Function- Main entrance area geared toward patrons who
speak English as a second language. children's area, study rooms, auditorium,
staff area. Features - Drop-off Lane in front. This floor keeps changing in layout.
STAFF LEVEL, GARAGE- Function - Parking, staff offices, shipping and receiving.
Features - Staff for between Fourth and Fifth avenue levels includes delivery
bays with entrance on Madison Street, staff entrance on Spring Street. Ramp to
underground garage is on Spring Street,
HEADQUARTERS - Function- Administration of citywide public library system.
Features- Two floors of offices and meeting rooms, Views of Mount Rainier from
the southeast corner. Some government publications will be stored here, and as
more are issued in digital format more office space will become available. The roof
will be covered with grass so the building looks attractive from above.
COLLECTIONS – Function- Housing for non-fiction collection, main reading ramp

Features- A gradual slope at an angle of about 2 degrees winds through four floors
of book stacks. The design allows for both browsing and quick searches, with
escalator and elevator stops labelled with Dewey Decimal Systems numbers
corresponding to materials on each floor
Bookshelves won't be packed to capacity, so the collection can grow substantially
The idea is to keep the nonfiction collection in one reliable, spacious place and
avoid the confusion of shifting books into other rooms. The slope will be gentle
enough for wheelchairs and book carts. Aisles between shelves will be flat.
main reading ramp with Dewey

Decimal Systems numbers
MATERIALS
1. The building is covered by a striking glass and steel structure.
2. Designed taking into account the function and aesthetics, the building has incorporated many elements supporting
sustainability, it has been awarded the “Silver ” Certification granted by U.S.Green Building Council, becoming one of the
largest buildings in receiving certification for Leadership in energy and Development.
3. Koolhaas is known for his creative and economical use of monotonous materials.
4. Most carpets are made with metal wires directly to clean them with water.
SKIN &
CONCRETE
provide only
lateral
support
Support STEEL &

for skin VERTICAL
COLUMNS
Concrete ribs Run through
through the the entire
entire building
building
CONCRETE &
TRUSSES
In book spiral
CONCRETE
INTERIOR
TRUSS STEEL
&DIAGONAL
BEAMS to
support
STRUCTURE
• “form ” followed by the “function” was performed. STEEL &
• Project Architects organized the program requirements of the library into five independent GARAGE
BEAMS
platforms, although connected, stacked vertically allowing optimization of surrounding
views, wrapped in a skin of steel and glass.
Inside the building, a spiral This spiral that rises four
structure provides a floors, has required the
continuous surface with creation of a system of
side shelves that offer zigzag ramps accessible to
different themed all ages and needs. These
collections. ramps are supported on
slender columns
constructed economically.
Stepped terraces along
Spring Street, of PUBLIC READING AREA CAFÉ
deployed in the large atrium
translucent glass and
steel, allow light into
the section of the
building below
SEATTLE CENTRAL LIBRARY - SEATTLE , UNITED STATES - INTERIOR
• The main feature of the interior is its large public spaces and leisure
reading, illuminated with natural light coming through the glass walls.
• All Areas bind with brightly colored escalators except the
collections.
• the furniture and objects are modern and colorful design.
• The stairs and entrances to public meeting areas are painted in
red and lime yellow.
• The escalators are finished in fluorescent lime color, lined with
Koolhaas backlit panels. They only go up stairs and down by elevator ..
loves bright
colors.
• public meeting areas - Inside the metal structure is painted light blue.
• Only in areas of the public square in carpet level rises, with photographs of
Petra Blaisse plant material printed on the fabric of the carpet, creating a
biology lab effect.
• The bright white pillars with bases have high finishes in black,
where the fire insulation sprinklers glitter.
In addition to the asymmetries and color, Koolhaas makes a

terrific use of concrete.
In the area dedicated to language learning floor is maple wood.
maple floorboard ,a walk-able surface of relief letterforms. evokes a tactile experience of book production and
reading.
• The library provides a
“meeting level” with curved
walls painted red.
In particular, the Seattle Library has had a profound impact on
architectural approach and diagramming in architecture—the word-
bubble programmatic diagram used to outline spatial relationships has
since been utilized by architects worldwide.
The library’s pivoting planes highlighting views of the city have also
convinced critics that elegant form can be derived from focusing on
user experience.
CCTV TELEVISION STATION AND HEADQUARTERS, BEIJING, 2012
• CCTV defies the skyscraper’s typical quest for ultimate height.
• Rising from a common platform, two towers lean towards each other
and eventually merge in a perpendicular, 75- metre cantilever.
as a reinvention of the skyscraper as a loop
• The CCTV building
was part of a park
for the media,
aimed at creating a
landscape of public
entertainment
areas shooting
outdoors and
production studios
as an extension of
the central green
axis of the CBD
The project as a whole includes- (Central Business
• The China Central Television headquarters District)
building (CCTV building)
• The Television Cultural Centre (TVCC)
• A service and security building
• A landscaped media park with external features
MASSING MASSING
&
PROGRAM
slope at 6°
• Its two main towers are interconnected at their base by a
common platform and joined at the top via a cantilevered L-
shaped overhang.
• the total building form can be seen as four distinct volumes
• two of them leaning towards each other from opposite corners
of the site, and joined at the top and bottom by the other two,
both horizontal and with opposite 90° angles in their middles.
• The building was constructed by joining three volumes created a
unique final volume.
The CCTV building is divided
into five sections –
administration, commercial,
newsrooms, broadcasting
and production –, and its
form facilitates the
combination of the entire
process of TV-making in a
‘loop’ of interconnected
activities.
• 234m tall, CCTV building consists of a nine-storey
'Base' and three storey basement
• two leaning Towers that slope at 6° in each direction
• Two towers rise from a 7-story platform, one is
dedicated to news broadcasting and the other includes
services and research areas.
• They are joined by a cantilevering bridge on floor 36,
generating a 75-meter overhang.
• 9 to 13-storey 'Overhang', suspended 36 storeys in the
air, all combining to form a 'CONTINUOUS TUBE’.
CCTV PLAN F1 CCTV PLAN F41 CCTV PLAN F 22-25

STRUCTURE & FACADE
The structure of the CCTV Headquarters, and the forces at work within it, is visible on its
façade- a web of diagonals that becomes dense in areas of greater stress, looser and more
open in areas requiring less support. The façade itself becomes a visual manifestation of
the building’s structure
Through a seismic simulation program,

so the forces at work within the
the CCTV guarantees resistance to
structure are rendered visible
earthquakes of eight degrees in
on the facade
intensity.
CANTILEVER CONSTRUCTION
• PROPOSED METHOD 1- Constructing a temporary
tower at the full height of the overhang to use as a
platform for construction of the overhang in-place.
• PROPOSED METHOD 2- Constructing the base of the
overhang on the ground, then lifting it into place
between the two towers.
• CHOSEN METHOD- Constructing the overhang as a
series of cantilevers from each tower until they meet
in the middle.
FUNCTION OF
BASEMENT
• Water Storage
• Air Exchange
• Electrical
Location of plant rooms • Parking
COOLING THROUGH VAV (variable air volume)

• system is economically beneficial.
• reduces the risk of drips or leaks damaging broadcast equipment.
• Any recirculated air in the building would pass through the AHU filters,
preventing any spread of infections.
• The plants serving broadcast functions would have the heating and
humidification capacity to operate in an emergency without recirculation.
https://issuu.com/anusha29/docs/cctv_headquarters_case_study
TRANSFER TRUSS STRUCTURE Connecting
internal cores ,columns and external tube
structure
Three storey basement with retaining walls &

with the help of the piled raft resist the upward
force of the water pressure around the site.
The superstructure were redistributed through

the "PILECAP" RAFT FOUNDATION to to provide
adequate strength and stiffness.
• Triangulate structure with diagonal support
beams connected at Nodes and Rings intersect
the nodes.
• Combines a hollow tube with a truss, Loads
follow diagonals, gravity and lateral loads can
be transferred by the system to the ground
• forming a regular pattern of diamonds
become. dense in areas of greater stress,
looser and more open in areas requiring less
support. The facade itself becomes a visual
manifestation of the building’s structure
VERTICAL
COLUMN
GLAZING
EXTERNAL DIAGRID
FRAME STRUCTURE first layer-
main steel
SYSTEM/ EXOSKELETON structure with
The structural challenge reinforcement
posed by the loop form

(stability during
construction had to be second layer-
DIAGRID guaranteed) is addressed additional
orthogonal
with an exoskeleton, steel structure
rounded off with a
PERIMETER
BEAM • grid of columns and
ORTHOGONAL • DIAGRID -organized
CLADDING STEEL third layer-
STRUCTURE with a triangulated outer steel
web of diagonal, structure with
reinforcement
• horizontal and as the first
SELF-SUPPORTING HYBRID FACADE STRUCTURE features vertical elements, so layer
high-performance glass panels with a sun-shading of 70 the forces at work

percent open ceramic frit, creating the soft silver-grey color within the structure
that gives the building a surprisingly subtle presence in the are rendered visible
Beijing skyline. on the facade.
https://arquitecturaviva.com/works/canal-de-television-y-sede-de-la-cctv-9
AN "OPEN LOOP" takes visitors through
the building, exposing the daily work of
the studies and the history of CCTV,
culminating over the cantilever, with
spectacular views of the financial district,
the Forbidden City and the rest of
Beijing.
https://www.slideshare.net/Palak0202/cctv-headquarters-beijing
Butterfly plates will be welded to
BUTTERFLY PLATES
bring all these 3 members together
• Connections must withstand the probable maximum load that was delivered to them
from the clamps, with minimal performance and a relatively low degree of stress
concentration .
• high levels of stress can lead to breakage of fragile welds under cyclic seismic loading.
• butterfly shape plate was adapted to soften the corners and notches until potential
regions of performance were minimized and degree of concentration of efforts placed
at normal levels allowed in the practice of civil and mechanical engineering.
• Enabling the vertical and horizontal elements to remain comparatively unstressed in an
earthquake • Node construction
VERTICAL CORES & LOOBY DISTRIBUTION
CASA DA MUSICA, CONCERT HOUSE, CULTURAL CENTER
, PORTUGAL, 2005
• The Casa da Musica, the new home of the National
Orchestra of Porto, stands on a new public square in the
historic Rotunda da Boavista.
• It has a distinctive faceted form, made of white concrete,
which remains solid and believable in an age of too
many icons.
• Casa da Musica reveals its contents without being
didactic, it casts the city in a new light.
Through both continuity and contrast, the park on

the Rotunda da Boavista, after our intervention, is
no longer a mere hinge between the old and the
new Porto, but it becomes a positive encounter of
two different models of the city.
https://www.archdaily.com/619294/casa-da-musica-oma
Where to innovate in a case of a traditional typology like the concert hall?
The past 30 years architects have attempted to escape the domination of the "shoe-box" concert hall. DESIGN
Considering the acoustical superiority of this traditional shape, the Casa da Musica attempts to CONCEPT &
reinvigorate the traditional concert hall by redefining the relationship between the hallowed interior PHILOSOPHY
and the general public outside.
building as a solid mass
from which were eliminated
the two shoe-box-shaped
concert halls and all other
public program creating a
hollowed-out block. The
building reveals its contents
to the city without being
didactic, at the same time
the city is exposed to the
public inside in a way that
has never happened before.
we chose not to build the new concert hall in the ring of old buildings defining the Rotunda but to create a solitary building
standing on a travertine-paved plateau in front of the Rotunda's park, neighbouring a working class area.
OMA chose not to articulate the new concert hall as a segment of a small scale circular wall around the Rotunda da Boavista
but to create a solitary building standing on the new Intimate square connected to the historical park of the Rotunda da
Boavista and enclosed by three urban blocks.
With this concept, issues of symbolism, visibility, and access were resolved in one gesture.
MASSING & ENTRANCE
• 9-floor-high asymmetrical polyhedron covered in plaques of white
cement, cut by large undulated or plane glass windows.
• Accessible through a front stairway and stands at the center of a
vast open plaza of marble, yellow with hint of brown.
• Deliberately no large central foyer, instead, a continuous public

route connects the spaces around the Grand Auditorium by means
of stairs, platforms and escalators.
• The building becomes an architectural adventure.
MASSING & PROGRAM
• The form arises from the definition of the two
largest auditoriums.
• These two pieces were arranged, the form was
molded to be able to adapt to the rest of the
program
• The remaining spaces between the exposed public
functions consist of secondary serving spaces such
as foyers, a restaurant, terraces, technical spaces
and vertical transport.
• A continuous public route connects all public
functions and remaining spaces located around the
Grand Auditorium by means of stairs, platforms and
escalators the building becomes an architectural
adventure.
• The loop creates the possibility to use the building
for festivals with simultaneous performances; the
House of Music.
the building have a diamond shape, but the dry plaza on which it rests has similar characteristics of the city around.
the complex the appearance of a solid object, a carved rocky body.
from is that of attached bodies appears as excavated voids and the the system of internal voids was continuous a set of
residual spaces . The remaining volume, located between the exterior surface and the interior spaces, takes on a solid
appearance. The project is then conceived as a system of solids and voids
GRAND AUDITORIUM, conceived as a simple mass hollowed out end-to-
end from the solid form of the building, the Casa da Musica also contains
a smaller, more flexible performance space with no fixed seating, ten
rehearsal rooms, recording studios, an educational area, a restaurant,
terrace, bars, a VIP room, administration areas, and an underground car
park for 600 vehicles.
• Inside, the elevated 1,300-seat (shoe box-shaped) Grand
Auditorium has corrugated glass facades at either end that open
the hall to the city and offer Porto itself as a dramatic backdrop
for performances.
• Innovative use of materials and color throughout was another
imperative.
• the unique curtain-like glass walls at either end of

the Grand Auditorium
• the walls are clad in plywood with enlarged wood
patterns embossed in gold, giving a dramatic jolt
in perspective
SECTION
PLAN
Lobby space of the Casa da Música

• the VIP area has hand-painted tiles picturing a
traditional pastoral scene
THE ROOF TERRACE is patterned
with geometric black and white tiles,
floors in public areas are also paved
in aluminium.
• Arup and OMA researched the concrete mix for
external facades
• The buildings 400mm thick faceted shell and the
• two 1m thick walls of the main auditorium are
• the buildings primary load carrying and stability
system.
• The auditorium walls act as internal diaphragms tying the shell together in the longitudinal direction.
SUSTAINABILITY
SUSTAINABILITY as “meeting the needs of the present without

compromising the ability of future generations to meet their own needs.”
SUSTAINABLE DEVELOPMENT is then based on three dimensions- social,
environmental and economical
• Sustainable architecture is also referred to as green architecture or environmental
architecture or ecological design
• And lessen the environmental impact of buildings by efficiency and moderation in
the use of materials, energy, and development space and the ecosystem at large.
• Sustainable architecture uses a conscious approach to energy and ecological
conservation in the design of the built environment.
• Building Information Modelling BIM is used to help enable sustainable design by allowing architects and engineers to
integrate and analyze building performance. BIM services, including conceptual and topographic modelling, offer a new
channel to green building. BIM enables designers to quantify the environmental impacts of systems and materials to support
the decisions needed to design sustainable buildings.
• It challenges architects to produce smart designs and use available technologies to ensure that structures generate minimal
harmful effects to the ecosystem and the communities.
• Designing a detail-oriented sustainable building which includes efficient and conscious use of materials, energy, resources,
space planning, weather, and many other factors with the help of latest methodologies and techniques that are proven to be
effective and cost-efficient at the same time.
WILLIAM MCDONOUGH (1951- 2023)
• American architect, designer and author.
• Trained at Dartmouth College and Yale University. In 1981 McDonough founded his
architectural practice.
• Career is focused on creating a beneficial footprint.
• McDonough is founding principal of William McDonough + Partners, co-founder of
McDonough Braungart Design Chemistry (MBDC)
• co-author of Cradle to Cradle: Remaking the Way We Make Things and The Upcycle: Beyond
Sustainability—Designing for Abundance.
• Awards - Presidential Award for Sustainable Development, National Design Award,
Presidential Green Chemistry Challenge Award
DESIGN PHILOSOPHY
• Sustainability is a theme of his career
• Through his Cradle to Cradle philosophy, a renewed look at the things that we make
Sometimes referred to as
and their impact on both our bodies and the world.
“the leading environmental
• McDonough’s buildings are designed to function for a predetermined lifespan, after architect of our time,” in his
which they can be broken down into their various parts whose core elements can be roles as architect, designer,
used a new to solve a different design problem. author, educator and social
• McDonough’s design set in motion the trend of green building in the United States and leader.
lead to the formation of the US Green Building Council.
McDonough has changed the discourse on Architecture’s relationship to the environment, a relationship he believes is only
sustainable through a symbiotic attitude. “What I’m trying to look at is how do we make humans supportive of the natural
world, the way the natural world is supportive of us.”
NASA SUSTAINABILITY BASE - RESEARCH CENTER IN MOFFETT FIELD, STATE OF CALIFORNIA, U.S.
• NASA and William McDonough + Partners have teamed up to DESIGN GOAL - a model of effectiveness and
create Earth’s first high performance space station. sustainability.
• The innovative, 50,000 square-foot office building is located at • The Sustainably Base’s overall goal is to rely
the entrance to NASA’s Ames Research Center in Moffett Field, only on renewable forms of energy as they
California. become cost effective.
• William McDonough stated, “Design is the first signal of human
intention.”
• design a building that goes beyond LEED Platinum in its pursuit
of Cradle to Cradle solutions.
• The building site is designed to be NET ENERGY
POSITIVE- on average over the year produces more
energy from renewable energy sources than it
imports from external sources.
• Through the two strategies of optimizing energy
demand and providing the needed supply through
renewable sources.
• Excess production is metered onto the local
electrical grid at the Ames substation.
THE BUILDING'S LUNAR
SHAPE
• BUILDING SHAPE It is
oriented to maximize the
amount of daylight that
reaches the offices inside,
and to take advantage of
the natural wind
• Oriented in the direction
of prevailing winds allows
for unobstructed air flow.
OSMOSIS WATER RECYCLING SYSTEM TO TREAT GRAY WATER from sinks and showers for reuse in toilet and urinal
flushing.
WATER FIXTURES used throughout the building optimize
performance, including quality and quantity of flow and
automated control systems.
Ground Source Heat Pump - 106 well bores, 58º F ground temperature year round (4 heat pumps)
Groundwater reduces the demand for potable water. An existing facility to pump and cleanse contaminated MEW
groundwater is located near the building site. Sustainability Base uses this cleansed water to irrigate the landscape.
SOLAR PHOTOVOLTAIC AND vegetative screens
THERMAL PANELS
ON SITE RENEWABLE ENERGY GENERATION - Roof mounted photovoltaics BUILDING INTEGRATED PV CELLS IN
STEEL FRAME
• Photovoltaic panels are designed to generate up to 30% of building electricity requirements
• 432 panels in 24 strings of 9 modules on each building (north and south)
• Solar thermal panels provide domestic hot water
SUPER INSULATED EXTERIOR METAL STRCUTURAL EXOSKELETON – most iconic feature -
PANEL SYSTEM - with high performance • structural performance during seismic events
glazing provides a tight, warm envelope • provides a framework for daylighting and shading strategies
for cool Bay Area mornings. • creates a column-free interior space that facilitates workplace flexibility.
AN INTELLIGENT LANDSCAPE
• designed using drought tolerant and California native plants, incorporates bioretention swales provide storm water
storage and filtration.
• All of drip irrigation system is provided with cleansed groundwater.
https://www.archdaily.com/231211/nasa-sustainability-base-william-mcdonough-partners-and-aecom
SKYLIGHTS provide additional LARGE FLOOR TO FLOOR WINDOWS and The open office floor plan is divided into
natural light narrow building floor plates provide neighborhoods of 25-30 people, linked by common
EXTERIOR HORIZONTAL AND excellent natural lighting deep into the services and aligned along an INTERIOR STREET not
VERTICAL ALUMINUM SHADES - interior of the building. only provides free flow of sir but also provides space
reduce heat gain and mitigate glare. for team-building and collaboration.
INTELLIGENT, HIGH-
PERFORMANCE LIGHTING
SYSTEMS
LED FIXTURES in many
areas of the building
Sophisticated lighting
control system
automatically dims lights
to adjust for ambient
conditions and time of
day
When the interior gets
too warm, OPERABLE
WINDOWS CONTROLLED
BY USERS AND BUILDING
MANAGEMENT SYSTEMS
create gentle cross-
ventilation.
MAXIMIZED DAYLIGHTING AND VENTILATION - optimized daylight + views and ventilation - Louvered sunshade ,
Insulated metal panel & operable , automated windows with insect screens
The interior supports the health and well-being of all occupants.

Although natural daylighting and
ventilation is maximized, the building
still has an ACTIVE HEATING AND
COOLING SYSTEM to maintain comfort
highlighted energy systems used include
RADIANT HEATING/COOLING-Hot water
radiant wall heating panels
• Radiant cooling ceiling panels, 40%
less energy use than typical VAV
systems
• Natural ventilation with automated
windows to allow flushing during
evening hours
• Localized heating or cooling is
provided by radiant panels , allowing
for longer periods of natural
ventilation.
• A RAISED ACCESS FLOOR throughout
the open area allows for user and
system flexibility, and is connected to
a dedicated outdoor air system to
provide fresh air distribution when
Modeling suggests users will only need to use the building’s electrical lighting 42 days the building’s windows are closed.
out of the year.
Example of Radiant Heating / Cooling
MATERIALS A RIGOROUS MATERIALS SELECTION PROTOCOL FOR SUSTAINABILITY BASE WAS IMPLEMENTED. STRATEGIES
INCLUDED – CRADLE TO CRADLE CERIFIED PRODUCTS
• BUILDING TECHNIQUE USES MATERIAL EFFICIENTLY - an external braced frame to reduce the amount of steel (by
weight) in the building. The lightweight insulated metal panel cladding also reduced the amount of material required
for construction.
• MATERIALS WITH HIGH RECYCLED CONTENT - The main components of the design concrete, steel, glass, aluminum had
high recycled content and were regionally available, thereby reducing transportation energy. Material content
considerations included recyclable/recycled materials, salvaged materials, locally available and/or rapidly renewable
materials and certified wood.
• DESIGN FOR DISASSEMBLY was facilitated by choosing a steel structure (rather than concrete) that can be easily
dismantled or repaired after a seismic event.
• Exterior cladding was provided in PRE-FABRICATED UNITIZED COMPONENTS.
• AUTOMATED BUILDING CONTROLS SYSTEM- To assist with the achievement of a high-performance building,
Sustainability Base incorporates software developed by NASA for projects such as the Mars Rovers, Opportunity and
Spirit. NASA software has been adapted to monitor the building through a wireless sensor network which will provide
real time data to the building controls system.
• MATERIAL SAFETY ,MATERIAL HEALTH CONCERNS resulted in a specification process that favored materials that were
beneficial to human health, ecological health, and were designed for technical and/or biological cycles. When these
materials were not available due to performance requirements, remaining materials were evaluated for obvious risks to
the biosphere.
901 CHERRY OFFICE BUILDING / YOUTUBE HEADQUARTERS
CALIFORNIA - 1997
• The current headquarters of YouTube.
• 2-story , 18116 sqm , environmentally friendly Office building
DESIGN CONCEPT
Building Like A Meadow – A building designed for flexibility
PHASE 1
over time
PHASE 2
YouTube LLC, a Google-owned company, illustrating that a PHASE 3
building design as a flexible and adaptable organism can
successfully adapt to new user groups.
901 CHERRY OFFICE BUILDING / YOUTUBE HEADQUARTERS CALIFORNIA - 1997
THE BUILDING INTEGRATES MANY INNOVATIVE DESIGN STRATEGIES

• Raised Flooring • GREEN ROOF
• Displacement Ventilation • DAYLIGHTING all justified through rigorous cost-benefit
• Operable Windows • HEATING AND VENTILATION analyses.
• Extensive Daylighting • MATERIAL SELECTION
YOUTUBE HEADQUARTERS CALIFORNIA - 1997
• First extensive green roof in California ,6” soil membrane, Planted

with native grasses.
BENEFITS
• Rainwater retention - this grass roof reduces stormwater runoff
from the site
• Assists with thermal insulation of building
• dampens noise from the nearby airport. from nearby San
Francisco Airport dampens noise from the nearby airport.
• Habitat preservation
The undulating 70,000 sq. ft roof is covered in native grasses and wildflowers, responding to the surrounding terrain
echoing the coastal savannah ecosystem.
901 CHERRY OFFICE BUILDING / YOUTUBE HEADQUARTERS CALIFORNIA - 1997
HEATING ,COOLING & VENTILATION
SYSTEMS
UFAD SYSTEM (Underfloor Air Distribution)
• Perimeter Fan Coil Units
• Displacement ventilation (DV - a method
of air distribution that moves conditioned
air into a room at a low velocity located
near floor level, displacing warmer air
upwards) provides) local mixing of air and
• smaller cooling loads
OPERABLE WINDOWS
• Hybrid cooling: Combines natural
ventilation with mechanical cooling
systems
NIGHTTIME PRECOOLING SYSTEM
• Uses natural ventilation to cool a building
at night so that it's ready for the next day
• Climate of San Bruno is temperate and
ideal
• temperatures for thermal comfort are
reached at night during summers
YOUTUBE HEADQUARTERS CALIFORNIA - 1997
MATERIAL SELECTION
• Reduced materials use
• Two-story design reduced need for
fireproofing and associated design
considerations
• FSC-certified wood (sustainably
sourced wood) in flooring, veneers and
benches Recycled wood flooring and
veneers, office furniture, interior
benches, ceiling tiles
• Low-VOC (volatile organic compounds
that emits harmful gases into the air
from products or processes) paints and
carpets
DAYLIGHTING
• Three main office sections are organized around a 30’ x 90’
atrium
• topped by a skylight.
• Extra high ceilings
• ALL workspaces are located within 30' of windows or
daylighting from atriums
Occupants feel as though they are spending the day outside, enjoying abundant daylight, fresh air at their control
and multiple views of the outdoors.
Loft-like openness and generous common spaces encourage both planned and informal interaction, creating a
strong sense of community
NIKE EUROPEAN HEADQUARTERS, NETHERLANDS, 1999
• Office buildings with parking below and the commons building
surround a large central public lawn which includes one of the
largest rainwater collection systems in Europe.
• The campus continues the tradition of physical excellence through
incorporation of a jogging track that bridges the entry doors, a
central pond that becomes an ice rink in the winter and numerous
athletic fields and courts.
• The flexible, adaptable workplace, designed to convert to housing
in the future, includes strong connections to the outdoors through
daylighting, natural ventilation and access to views.
• Located within easy access to the train station and the city
DESIGN CONCEPT
Recognizable corporate identities through its
emphasis on world-class athletic performance.
Native To Place
Employee health is optimized through the use of
low-VOC finishes in a virtually PVC-free
environment.
NIKE EUROPEAN HEADQUARTERS, NETHERLANDS, 1999
• Employee health is further optimized through the use of

low-VOC finishes in a virtually PVC-free environment.
• Renewable energy sources provide 30% of the total
supply, due in large part to one of northern Europe’s
largest geothermal heating and cooling systems.
• Designed and built on a schedule as rapid and ambitious
as any European office complex of its size, the project
offers a model of effective resource management,
community connection, long-term flexibility, and
aesthetic appeal while reflecting its tenants’ commitment
to corporate social responsibility.
https://mcdonoughpartners.com/cradle-to-cradle-design/
GLENN MURCUTT
• Murcutt is one of Australia's best-known architects, and the only Australian winner of the
prestigious Pritzker Prize, which he won in 2002 in recognition of his innovative and
environmentally sensitive buildings. He built his reputation creating a succession of sustainable
houses across Australia.
Glenn Murcutt is a modernist, a naturalist, an environmentalist, a humanist, an economist
and ecologist encompassing all of these distinguished qualities in his practice as a dedicated
architect who works alone from concept to realization of his projects in his native Australia.
DESIGN PHILOSOPHY
• His designs are based on the idea that as a race we have an ego-logical Responsibility to
nature. It means taking special safeguard to the surrounding landscape, sun, topography
wind directions, temperature and light .
• His style is uniquely vernacular architecture. His designs fit into the Australian landscape features.
• He works with keen observation of the natural conditions like, wind direction, water movement, temperature and light.
• Sustainable designing i.e. highly economical , multi-functional and earth-friendly.
• FOLLOW THE SUN- capitalizing natural light with long and low shape featuring verandas, skylights, adjustable louvers, and
movable screens in his linear designs.
• LISTEN TO THE WIND- His ingenious systems for ventilation assure that cooling breezes circulate through open rooms. At the
same time insulated from heat and protected from strong cyclone winds.
• USE OF SIMPLE MATERIALS- Instead of imported tropical wood, polished marble and costly brass and pewter, he uses
inexpensive materials readily available in his native Aussie landscape, like steel, local timber, glass and stone.
• As a result of building’s functionality, few of his designs are called for natural air-conditioning.
• His buildings reflect his desire to maintain harmony with environment.
AUSTRALIAN ISLAMIC CENTRE, 2019
• The brief was for a modern and Australian building
that would contribute to a positive interpretation
of the mosque as a welcome architectural feature
of suburban Australia.
• Drawing upon the long history of mosques as part of
the built fabric of Australia’s multicultural and
multidenominational society, the Australian Islamic
Centre has deep significance for its community.
• It symbolizes the maturity, vibrancy and
permanence of their congregation while also offering
a physical and visual manifestation of a new dialect
for Islamic architecture.
• It is the first truly contemporary Australian mosque, the Australian Islamic Centre in Newport, Melbourne, is an
architectural and social marker of a new perception of Islam in Australia.
• By respectfully recalibrating historical Islamic design conventions for contemporary Australia – a country with a well-
established and growing Muslim population ,this project heralds a new interpretation of mosques as a future part of our
suburbs.
• In designing this building, Glenn Murcutt has drawn on modernist principles while responding to the project’s community
and traditional contexts.
Typical features of a mosque
Minaret
Dome
Large open
forecourt
His design for the building draws from the functional and semiotic language of traditional mosque architecture, considering
fundamentals such as :
• The orientation towards mecca (of a mihrab niche) within a qibla wall
• A large hypostyle (columned) central prayer hall
• Bodies of still water
• Provision of facilities for ablutions completed prior to prayer
• And separate spaces, as required culturally, for men and women.
The building is organized as a set of interconnecting spaces arranged
across two levels.
At Ground Level - At first floor- accessed via dedicated
1. A congregational hall arrival stairs,
2. Library 1. A congregational hall for women.
3. Café
4. Commercial kitchen
5. Sporting hall
• The expansive verandah
offers a generous gathering
space reminiscent of
traditional mosque
courtyards and provides
additional space for large
congregations, such as
those that gather during Eid
prayer.
• To the south, the courtyard
and verandah are bordered
by a slender water pond
and shielded on one side by
the expansive minaret wall.
• Australian Islamic Centre
arranges 24 steel columns
to create 3 bays from east
to west and three from
north to south, reflecting
traditional mosque
geometry.
Transparency of indoor main prayer hall AUSTRALIAN ISLAMIC CENTRE, 2019
Murcutt’s design also deviates from time-honored design
principles in important ways:
• It negates the need for a high domed roof, Instead offering
a facade that favors transparency over enclosure,
• Through the transparency and openness of its formal
design, this mosque offers a new look inside walls
traditionally closed to outsiders, and thus acts as a form of
communication in itself.
• To the south, the courtyard and verandah are bordered by a slender

water pond and shielded on one side by the expansive minaret wall.
• Reimagines the form of the minaret - the tower from which the call to
prayer was traditionally announced – as an elevated wall demarcating
an arrival courtyard.
• Beyond the verandah, glass doors open directly onto the double-height volume of the main prayer hall.
• A clear line of sight is maintained from outside the mosque right through the prayer hall to the main mihrab, qibla wall,
and water gardens.
• The rooftop prisms are lined with multi-colored glass, and were designed to resemble lanterns.
• It negates the need for a high domed roof, Instead offering a facade that favors transparency over enclosure,
The rooftop prisms are lined with multi-colored glass ,were

designed to resemble lanterns.
Glazed lanterns - 55 - 3m high roof-mounted

lanterns naturally illuminate the main prayer hall.
Glazed in colors (yellow, green, blue and red), these
lanterns face the four points of the compass, drawing
triangles of colored daylight into the building in an
ever-changing pattern determined by the sun’s
movement.
“It’s all done through eye-hand thinking, and
drawing. When I am thinking, and I am drawing
by hand, I have arrived at where I was going
before I’ve realised I’ve arrived. That’s not the
same with a stencil or a computer, it’s entirely
different.”
MARIKA-ALDERTON HOUSE , 1994, ARNHEIM LAND, NORTHERN TERRITORY, AUSTRALIA
DESIN CHALLENGES
• The challenge of creating a livable home
in a tropical warm and humid climate
where temperature never drop below
25°C and can reach 40°C.
• Another challenge was to keep out the
various species of reptiles and spiders,
some poisonous.
• To create a structure strong enough to
withstand hurricane winds
commonplace.
• Potential flooding during monsoon
season
the Marika-Alderton House, like the
Thailand house set on stilts, has to deal
with a tropical climate.
Design should avoid methods "culturally alien" as the air conditioning mechanical intervention.
Before designing the house, he did extensive research for three years bout aboriginal culture and history. Part of the
research was to share a life with family which helped him better understand client's needs. The layout of other space
follows aboriginal customs. The whole house must always be in contact with nature, apart from bathroom and utility
facilities which should be placed deep inside the external envelope. He created a structure that could fluctuate with the
natural changes of the environment.
ZONE-DIVIDED DWELLING- which allows for
flexibility of use throughout the year
• The entry takes us to the main living area
accompanied by kitchen cum dining. four small bedrooms for guest or
• The main living area (E side) receives breezes visiting family members.
from sea during day and stays cool.

Main living area ,
• While, the master bedroom (W side) kitchen cum
Master
becomes coolest at night because of its dining
bedroom
placement at the rear end.
• The main living areas which need ventilation
during the day, such as the kitchen, are in the
east side of the house, while the sleeping
areas are to the west, where it is cooler at
night.
• Follows the aboriginal belief Parents should
sleep to the west of children (so relating age
to the sunrise and sunset, which represents
the beginning and end of the life).
• Then there are four small bedrooms meant
for guest or visiting family members.
• The bathroom and utilities are away from
exterior walls as required by the clients but
fully ventilated by pivoting tubes.
THE STILTED STRUCTURE
• Because the structure rests on stilts, air circulates underneath
and helps cool the floor.
• Protects it from tropical reptiles
• Protect against flood waters during monsoon season
• The stilted structure also allows the house to have a small
footprint on the land and avoid disturbing the vegetation that
may be growing.
CALCULATING THE ANGLE OF THE SUN FOR THE DESIGN OF OVERHANGING EAVES
• WIDE EAVES PROTECTING FROM SUN - Murcutt designed the eaves to drop far enough to provide shade year-round
epitomises
• ADJUSTABLE SHUTTERS & MOVABLE LOUVERS to control the flow of air and wind.
• HARVEST BREEZES Allowing breezes to flow inside through adjustable shutters.
• THE VERTICAL FINS directing cool breezes in the living Spaces.
Simplicity in its design is the driving factor that filters the multi faceted effects of the environment throughout the
structures.
The low pressure of the hot air causes it
to rise, allowing for cool air to be pulled
in the Stack effect
MECHANISM FOR EXPELLING HOT AIR - THE PIVOTED TUBE

• Expels hot air and helps in cooling down the interiors.
• It is open to fresh air but insulated from intense heat and protected from strong cyclone winds.
MATERIALS
• The materials used are simple, easily assembled from prefabricated units helped contain construction costs.
• There are no glass windows but plywood walls, tallow wood shutters, and corrugated iron roofing.
AS A CONTAINER OF HUMAN ACTIVITIES unlike the privatised living practises of westernised society, the aboriginal clients of
the house required a dwelling that allowed interaction with the surrounding environment, which Glenn's design fully satisfies.
Glenn has combined his own creative vision with the aboriginal idea, creating a unique and valuable bridge between cultures,
that's why Marika has called it THE BRIDGE HOUSE
the landscape can be viewed from any part of the house.

• DURING THE DAY, the house can be completely opened up revealing a lightweight structure that allows the harvesting of
natural breezes
• DURING THE NIGHT the house can be completely locked down providing the cave like intimacies we require while sleeping.
• Marika Alderton house, tilting plywood panels can be raised and lowered like wings.
• Opening and closing like a plant, the house embodies Murcutt's concept of a flexible shelter that exists in harmony with
nature's rhythm.
Murcutt’s design strives to convey the irrational need for
the machine to do all the work when the environment can
provide it for free if we just took the time to map out the
energy flows.
https://www.slideshare.net/slideshow/glenn-murcutt-128313025/128313025
https://www.dezeen.com/2019/02/18/glenn-murcutt-key-projects-architecture/
SIMPSON-LEE HOUSE, WAHROONGA, 1962 SHORT HOUSE, KEMPSEY, 1980
This pavilion-like house in Wahroonga was designed by Murcutt to Short House was conceived as two adjoining volumes set askew,
meet his clients' demands for a minimal, monastic-like dwelling. which separated its sleeping and living areas.
It is orientated towards a fall in the landscape, which is framed It has since been extended, but continues to be characterized by its
through large expanses of glass that slot into its visually, and timber frame and corrugated metal roof modelled, which was
physically, lightweight steel frame. informed by farm shed construction techniques.
MAGNEY HOUSE, MORUYA, 1984 ARTHUR & YVONNE BOYD EDUCATION CENTRE, CAMBEWARRA, 1999
Large windows with retractable louvres puncture the north- The Arthur and Yvonne Boyd Education Centre is an arts education complex
facing wall of Murcutt's Magney House, which was developed in West Cambewarra, which houses a mix of workshop and event spaces
to respond to its specific climate and site. alongside 32 bedrooms.
While its form acts as a windbreaker, it is topped by a V- A glass-fronted hall forms the heart of the building, topped by a large
shaped roof that collects rainwater that is recycled for reuse. overhanging roof that is designed to frame views of the Shoalhaven River.
THE GLENN MURCUTT 2019 MPAVILION DESIGN , MELBOURE, AUSTRALIA DESIGN CONCEPT / NARRATIVE
“In the high humidity of the
tropical climate we laid out a
tablecloth on the ground,
establishing ‘place’. After lunch, I
put my rucksack against the
aircraft’s undercarriage and laid
down, and there above me was
the beautiful wing, lined with
aircraft fabric—which led me to
the MPavilion’s roof—with the
tablecloth as my place, together
with my view the Yaxchilán, and
the surrounding forest.”
“Observation has been my big
learning tool. To observe what the
sunlight is like, where it’s coming
from, where it’s going to, what
angle is it at, what shadow
pattern is coming, look at the
trees, look at the way the light
separates the elements in the
Murcutt’s MPavilion frames beautiful views of the Queen Victoria Gardens and the landscape.”
city.
• FORM of a long, white, suspended roof that offers shade but is
open to the weather, constructed of special fabric stretched over a
lightweight frame, which mimics the technology used in early
aircraft wings.
• Murcutt has replaced the tablecloth of his memory with a
concrete slab to define a place for people to gather.
• Permeable (Open) relationships between the structure and the
landscape. Visiting MPavilion is a multisensory experience.
Murcutt has thought deeply about the

• orientation (position in the landscape), elevation
(height) and the perspectives (views) that the pavilion
would feature.
• Murcutt’s chief goal is to achieve harmony
pavilion to frame features of the landscape between its

upright columns, floating roof and concrete foundation
DESIGN PROCESS
• Glenn Murcutt prefers to begin his process drawing by hand
because he finds it brings a unique quality to the design process
that cannot be experienced through digital technology.
• These sketches were then transformed into digital plans.
• This was a necessary step because suppliers and builders needed
exact dimensions to be able to translate Murcutt’s design into a
physical structure.
“When you draw with pen or pencil you can pass emotion in that. You can feel it because you are visualizing what you’re
drawing. It’s not just a line on paper, a line represents the beginning of space, and to visualize is the most critical aspect for
an architect, to be able to think in those 3 dimensions. The pen or pencil achieve that. It is the same for many people that
write poetry… How would you get any emotion out of a mouse? You’re not going to get any emotion because it is totally
devoid of it."

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AR3701 - CONTEMPORARY ARCHITECTURE: THEORIES AND PRACTICE

❑ REM KOOLHAAS (BORN 1944) OFFICE FOR • OUTLINE OF CONTEMPORARY

❑ KEN YEANG (BORN 1946)

POTENTIAL AND BENEFITS

Laser cutting cutting and/or engraving according to the input

CNC milling or by way of robotic arms.

INTEGRATING INTERACTIVE KINETIC FAÇADE DESIGN

The dynamic nature of daylight and occupant's

• New design techniques incorporate material properties, energy

• The plaza, as the ground surface, accessible to all as

During the day, the building reflects the

GEOMETRY, STRUCTURE, MATERIAL – KEY ATTRIBUTES

space frame system. Combined view

• A concrete structure combined with a space frame system.

• THE SPACE FRAME SYSTEM enabled the

• STRUCTURAL DESIGN of the whole

• Bjarke Bundgaard Ingels is a Danish architect,

THE BIG PHILOSOPHY

THE BIG DESIGN PHILOSOPHY

HEDONISTIC SUSTAINABILITY e.g. Amager Bakke Resource Center

VERTICAL SUBURBIA . E.g. 8 house

“a concrete hillside covered by a thin layer of housing,

The program is 1/3

All apartments have sun

• The sloping roof is covered with a single layer of

• THE ROOF GARDENS consist of a terrace and a

DESIGN CONCEPT - COURTSCRAPER

the distinct tetrahedronal shape is a hyperbolic paraboloid

From the east, the

Apart from that the building’s

The primary materials of the apartments are oak wood floors

"Scandimerican", another layer of the European-American

• Skiers will access the slopes via an elevator

OUTDOOR RECREATIONAL PARK - integrating a ski slope into the roof

• The green panel mimicked the feel of snow

• Building also managed to successfully reach its carbon-neutral goal.

Commercial space on the bottom of

• 80 different types of apartment

• Flexibility in contemporary libraries is conceived as the creation

The 11 FLOORS AND

2. STACKED VERTICALLY allowing

The library does not consistently use

COLLECTIONS – Function- Housing for non-fiction collection, main reading ramp

main reading ramp with Dewey

Support STEEL &

In addition to the asymmetries and color, Koolhaas makes a

CCTV PLAN F1 CCTV PLAN F41 CCTV PLAN F 22-25

Through a seismic simulation program,

COOLING THROUGH VAV (variable air volume)

Three storey basement with retaining walls &

The superstructure were redistributed through

posed by the loop form

high-performance glass panels with a sun-shading of 70 the forces at work

Through both continuity and contrast, the park on

• Deliberately no large central foyer, instead, a continuous public

• the unique curtain-like glass walls at either end of

Lobby space of the Casa da Música

SUSTAINABILITY as “meeting the needs of the present without

The interior supports the health and well-being of all occupants.

THE BUILDING INTEGRATES MANY INNOVATIVE DESIGN STRATEGIES