MUNICH STADIUM COMPLEX :

The Munich stadium complex for the 1972 Summer Olympics is an example of a tectonic use of structure and building techniques .Designed by the German architect Gnther Behnisch and the engineer Frei Otto, the Olympic stadium was considered revolutionary for its time.Originally the site was the setting of 1930's airfield , a former training ground . A 300 m tall broadcast tower makes a landmark on the site. The stadium was built by Bilfinger Berger between 1968 to 1972 in a pit made by bombings Munich suffered during World War II that made construction easy. This included large sweeping canopies of acrylic glass stabilized by steel cables that were used for the first time on a large scale. Otto and Behnisch conceptualized this sweeping tensile structure that would flow continuously over the site imitating the draping and rhythmic protrusions of the Swiss Alps. This resulted in a suspended cloudlike structure that appears to be floating over the site branching in between the natatorium, gymnasium, and the main stadium.The sweeping and transparent canopy was to symbolize the new, democratic and optimistic Germany.The continuous tensile surface that bridges all of the main buildings of the Olympic Games is subject to a hierarchical structural system that creates a series of volumes across the site. The canopies membrane is suspended from a multitude of vertical masts that allow for the dramatic draping curves of the surface to flow dynamically across the site changing form, scale, and sectional characteristics.Without doubt the most remarkable feature of the stadium and the adjacent buildings is the tensile roof structure. It has become not only a landmark for the city of Munich, but has been a precedent for many more innovations in this field of study in later years. It is especially the size and the grandeur of the roof which has inspired many architects and designers. The roof grid over the main stadium is formed by nine saddle-shaped nets of 25mm steel cables spaced in a 762mm square grid. The saddle spans up to 65m and reaches a maximum height of 58m. The nets are supported over the seating areas by eight tapering masts behind the stadium, ranging from 50 to 70m high. Smaller bow-shaped nets connect the larger membranes and wrap around the supporting masts.The cable nets are doubly curved. The resulting double-curved saddle shape prevents the canopies from easily fluttering in the wind. The total length of steel cable in the complex exceeds 408km and tension loads in the cable net are as much as 5000 tons.In some cases these piers are as much as 18m deep and 6m wide. These enormous foundations were required to resist the tremendous tensile stresses in the cable network and the live loads imposed by winds across and under the open structures. In addition to its connection to the landscape, the acrylic glass panels that clad the tensile membrane establish a relationship to its context and the light exposure that it experiences. The acrylic panels shimmer in the sunlight, reflecting the light, the color of the sky, and the surrounding landscape. When illuminated, the suspended membrane appears as a cloud formation swarming over the site. Even after almost 40 years after its completion, the tensile tent-like structure appears just as it did during the 1972 Olympics, the lines, form, structure, and the architectural awe still remain. Given the

climate conditions in Munich and especially the prevailing wind direction, both the tensile roof and the main seating area are oriented at the western edge. Approximately 65% of the stadiums visitors are thus given shelter from the natural elements. The roof and the higher seating area on the western side also guarantee the eastern seats to be somewhat more protected from wind. The project was constructed before the modern digital age, so an interesting feature is that most of the calculations have been done by hands. As sited in books , Otto started with models of the roof at a 1:125 scale. He measured the mechanical forces in the individual wires of the net with gauges he had developed himself. Later on scale of 1:10 models were made and tested . This resulted in a unique design. The engineering was thus merged with beauty of design .

NAMASTE HOTEL :
In the recent years Dubai architects WS Atkins created a landmark structure following the long tradition of great Indian architecture. The traditional Indian greeting of Namaste, where the hands are clasped together in greeting, is the inspiration for the design of this tower. In Sanskrit Namaste` means I bow to you`. It has a spiritual significance of negating ones ego in the presence of another. Currently under construction this 300m-62 storeyed mixed use tower will encompass a hotel, office and retail space.It will comprise of exclusive restaurants, bars, banqueting, spa facilities along with A grade office space, retail space and luxury hotel. The Architecture of the Namaste Hotel builds on the ancient Indian expression. The two wings of the hotel are clasped together like hands greeting the city of Mumbai. In this way the architectural design of the hotel provides the ultimate symbol of hospitality and welcome, as seen in the as seen in the cultural context of India.The tower has been designed to cater for large scale Indian weddings. The occasion of a Mehndi ceremony (where the hands and feet of the bride and groom are decorated with henna) is often one of the most important pre-wedding rituals in India. The design seeks to build on the theme of the clasped hands by referencing the intricate Mehndi patterns through the treatment of the building skin. The tower will be cladded in white Alpolic and glass fritted glazing that combines to form an architectural scale graphic on the exterior of the building. This will create a sense of transparency and depth to the building while at the same time helping to maintain the thermal qualities required to meet the buildings envelope design criteria. It is proposed that the large scale canopies over the drop-off points area support an array of solar thermal collectors. Given the available surface area and annual sunlight conditions these have the potential to provide 12% of the energy required to heat the hot water for the hotel.The tower is made up of two separate wings (or hands) which together form the architectural expression of Namaste. The space between the wings forms the corridor spaces. At either end of the corridor space a pair of open atria will offer hotel guests dramatic framed views out over the city. The geometry of the podium is designed to integrate fully with the design of the tower. Thus it is a highly symmetrical form that responds to the wing like canopies above the drop off. Containing mostly

retail, the facade of the podium is activated with water features and fountains that cascade down to street level. A number of studies have been made to determine the most efficient and simple means by which to produce the double curvature of the facade. The current method has assumed that the slab edge at varying floors is of constant curvature . This curvature is extruded at second arc that defines the curvature of the building in elevation. Amdavad ni gufa , designed as an art gallery by B.V. DOSHI in Ahmedabad is a unique juxtaposition of art and architecture. The cave-like underground structure ,partly above the ground , has a roof made of multiple interconnected domes, covered with a mosaic of tiles which creates a deep visual influence on the mind when one enters in the courtyard. On the inside, irregular tree-like columns painted in bold colours ,support the domes. Enigmatic in its spatial experience the form of Gufa is a direct translation of climatic and constructional obligations and makes an abstraction of personals fancies. Buried spaces, earth mounds, raised volumes and china mosaic finish renders the architectural energy conscious, in an otherwise harsh hot dry climate. Material resources are further optimised through its shell like forms and Ferro cement construction techniques. A simple wire mesh and mortar lined floor in a form of natural sag of cloth, evolved through scaled model studies, not only creates an influence on one's visual perception but also eliminates the need of any kind of foundation, as the basic form is continuous and efficient in optimising the stresses and its distribution. Similar economy of material is achieved through roof shells in a form guided by computer designs which resolve stresses to a minimum, requiring only an inch thick ferro cement shell without any form work. Broken ceramic crockery and waste tiles were used to cover the domes' exterior, which bears a transversal mosaic of a snake.The construction is carried out with simple hand tools and by semi and unskilled workers on site. The structure's contemporary architecture draws on ancient and natural themes. The domes are inspired by the shells of tortoises and by soap bubbles. The mosaic tiles on the roof are similar to those found on the roofs of the Jain temples at Girnar, and the mosaic snake is from Hindu mythology. The Buddhist caves of Ajanta and Ellora inspired Doshi to design the interior with circles and ellipses, while Hussain's wall paintings are inspired by Paleolithic cave art. The interior is divided by tree trunks or columns similar to those found at Stonehenge. Though designed to display paintings, the cave has no straight walls, instead using a continuation of the curved dome structure which extends down to the floor. The domes themselves are supported by irregularly shaped inclined columns, similar to those found in natural caves. The entire design is made up of circles and ellipses. Light arrives though snouts, creating spots of light on the floor which move around as the day progresses, intended to create a mystic atmosphere. Every time the play of light and shadow keeps changing thus revealing a new aspect of the space for the visitor .Hussain used the gallery's walls as a canvas, painting on them with bold strokes and bright colours. The artwork depicts human figures and motifs of animals, including his famous horse figures. He also decorated features

such as doors and even air conditioners. The figures were designed to resemble ancient cave paintings in a modern environment.