Structure as Architecture

Part A

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Aim of the book

This book seeks to change the view of

structure as a purely technical
component of architecture.
It aims to raise architects perception
of structure as an integral element of
architecture.
It also encourages architects to
design structure themselves.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Main contents

The main contents of this book are:

An introduction about the issue.
Two building studies.
Relationships between architectural and
structural form
Building exterior.
Building interior (including lighting)
Building function and symbolism.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Introduction

The potential for structure to enrich

architecture:
. . . structure can be used to define space,
create units, articulate circulation, suggest
movement, or develop composition and
modulations. In this way, it becomes
inextricably linked to the very elements
which create architecture, its quality and
excitement.
Clark, R. H. and Pause, M. (1985). Precedents in
Architecture. Van Nostrand Reinhold, p.3.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Clark and Pauses statement above begins
by describing the architectural qualities of
structure and then suggests how structure
might enrich architecture.
But is such a positive attitude to structure
realistic?
What was the last building you experienced
where structure either created the
architecture or contributed a sense of
excitement to it?
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Often our day-to-day experience of
structure can be described as
unmemorable.
In much of our built environment
structure is concealed.
Opaque faade panels hide structure
located on a buildings perimeter.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Fortunately, in addition to this,
sufficient precedents of positive
structural contributions to
architecture exist.
Where structure is given a voice, it
contributes architectural meaning and
richness, sometimes becoming the
most significant of all architectural
elements in a building.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Two building study

The following two building study

illustrate the considered use of
exposed structure in very different
architectural contexts.
First, the BRIT School for art, London,
is considered.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 While it displays an lively exterior
structure, its structure as experienced
from the interior adopts a more
utilitarian stance.
As the curriculum was still under
development during the building design
process, interior space had to be flexible
enough to accommodate changing
needs, including future expansion

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 BRIT School: Exoskeleton with the core behind
it.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Free-standing masonry piers in front of the
building.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 The architectural form contains a central
three-storey core surrounded by a two-
storey podium.
Two contrasting structural systems, the
load-bearing core and an exoskeletal
framework, support the architectural form.
The reinforced concrete masonry core
satisfies acoustic requirements, while
trusses are used to leave the first floor
completely free of interior columns.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Exposed structure plays numerous
architectural roles on the exterior.
Along the building, the piers and the
steel columns modulate and liven up
exterior walls with their visual mass
and diverse materiality.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Innovative details
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Roles reverse in the second building,
the Baumschulenweg Crematorium,
with its impressive exposed interior
structure.
The absence of exterior doors and
conventional fenestration or other
visual clues creates uncertainty in
interpreting the buildings scale

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Crematorium, Baumschulenweg, Berlin,
Germany. Front elevation.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Even from a distance, visitors become
aware of the roof slab discontinuity.
Above the two side-entry portals a
roof slot reveals a glimpse of sky.
Walls dominate the exterior
elevations, functioning as both
structure and cladding.
Minimum structural details are used.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Light is admitted through the ceiling.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Light-slot between the side wall and the roof
slab.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Columns are the primary architectural
elements of the large interior.
Their presence, together with an
unusual lighting strategy, results in a
space with a special environment that
is well suited to its function.
Their random placement recalls the
spatial qualities of a native forest
rather than an orderly plantation.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Scattered large diameter columns
disrupt obvious linear circulation
routes between destinations beyond
the hall.
columns subdivide the main floor area
into four relatively large gathering
spaces that can be used in the same
time for different groups.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 This study illustrates the potential of
structure to enrich architecture.
While the exterior structure of the
school makes significant aesthetic
contributions, interior structure is
notable only at the crematorium.
Although both structures convey
meaning, the contrast in how one
reads them is striking.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

Relationships between
architectural and structural form

This chapter is the first of seven that

imagine visiting a building and
progressively exploring in greater
detail the roles structure plays in
various areas and aspects of its
architecture.
As such it observes and reflects on
architectural issues arising essentially
outside the building.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Practice Hint:
From a location some distance away,
the form or massing of the building,
rather than any exterior detail,
dominates visually and invites an
exploration of the relationships
between architectural and structural
form.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The most commonly encountered
situation in the relationship between
architectural and structural forms can
be considered consonant.
In some examples, and for various
reasons, architectural and structural
forms may contradict each other.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The following slides consider seven
structural systems that typically
exemplify a synthesis between
architectural and structural form.
In these cases structure defines
architectural form and often
functions, at least partially, as the
building envelope.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The order in which the structural
systems are discussed begins with
shell structures that of all structural
systems most closely integrate the
two forms.
The remaining systems then generally
follow a progression from curved to
more linear and planar forms.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

1. Shell structures

Shell structures achieve the most

pure synthesis of architectural and
structural forms.
They resist and transfer loads within
their minimal thicknesses.
They rely upon their three-
dimensional curved geometry.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Interior of a concrete shell structure.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Palazzetto dello Sport, Rome, Italy.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Interior ribbed surface of the shell.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Shell structures can also be
constructed from linear steel or
timber members, as in geodesic or
other braced domes.
Although in these cases the many
short structural members shape a
faceted structural surface which must
then be clad, structure nonetheless
defines architectural form.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The huge greenhouses of the Eden
Project, Cornwall, are such examples.
Hexagons, a geometrical pattern
found in many naturally occurring
structures, are the building blocks of
these shells, or biomes as they are
called.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Eden Project, Cornwall, England. A cluster of interlinked
biomes.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Due to the long spans of up to 124
m, the outer primary hexagonal steel
structure is supplemented by a
secondary inner layer of tension rods.
Although structure here acts as
building skin in a very minor way, it
defines an organic architectural form
whilst achieving rational, economic
and transparent construction.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Biome interior structure consisting of outer primary
hexagons and an inner layer of braced rods.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
2. Fabric structures

Fabric or membrane structures

represent another type of surface
structure.
These structures, where tensioned
fabric initially resists self weight and
other loads, also rely upon their
three-dimensional curvatures for
structural adequacy.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Fabric form, thickness and strength
must match the expected loads, and
all surfaces must be stretched taut to
prevent the fabric flapping during
high winds.
Like shell structures, there is no
distinction between the architectural
and the structural forms.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Fabric structures, however, require
additional and separate compression
members to create high-points over
which the fabric can be stretched.
Arches, with their curved forms, are
well suited and aesthetically the most
sympathetic to the curving fabric
geometry.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 However, masts and cables which are
more common, introduce dissimilar
geometric forms and materiality.
Their linearity, density and solidity
contrast with the flowing double-
curved, light-weight and translucent
fabric surfaces.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Stellingen Ice Skating Rink and Velodrome, Hamburg,
Germany. Overall form.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Contrasting architectural qualities of fabric surface and
interior structural elements.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
3. Catenaries

Catenary structures, like fabric ones,

transfer loads to their supports
through tension.
The simplest example is a draped
cable spanning between two high
points.
They are usually designed so that the
roof self-weight exceeds wind suction.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Reinforced concrete is sometimes
chosen as a catenary material for this
reason.
Catenary tension members are
usually distinct from the cladding and
exposed within or outside the building
envelope.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Dulles International Airport, Washington, DC, USA.
Inclined piers support the catenary slab.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
Hall 26, Trade Fair, Hanover, Germany. Three catenaries
span between masts.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Exposed steel catenary members connect to an interior
mast.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

4. Ripped structures

Ribbed structures can also become

almost synonymous with enclosure.
They generate and define
architectural form, although their
skeletal character often necessitates
a separate enveloping system.
Ribs usually cantilever from their
foundations or are supported near
their bases.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Licorne Soccer Stadium, Amiens, France. Curved ribbed
walls enclose the spectators.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Wall ribs, props and longitudinal girts.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The integration of girts with ribs to
form these multi-bay frames avoids
the need for diagonal bracing, which
is more economical.
This is intended to preserve the
orthogonal pattern of ribs and girts.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 If ribs are inclined or curved in
elevation they may be supported by
other opposite ribs to achieve
equilibrium, as in the case of a ribbed
dome.
Ribbed structures generally enclose
single volumes rather than multi-
storey construction.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The Reichstag Cupola, Berlin, Germany, Foster and
Partners, 1999. Radial ribs and circumferential tubes.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 A similar combination of primary
structural ribs and secondary
horizontal tubes defines the
architectural form of the Reichstag
Cupola, Berlin.
In this case, ribs lean against each
other via a compression ring at the
top.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

5. Arches

Arches also offer a

potential synthesis of
architectural and
structural form.
At Ludwig Erhard
House, Berlin,
repeated arches
structure a vault-like
building form.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The Great Glasshouse, Carmarthenshire, Wales, Foster
and Partners, 1998. Arched roof.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 This is an example of reasonably
conventional arch, where arches are
regularly spaced and aligned
vertically.
But at the Great Glasshouse, arches
form a curved roof.
In the latter case, arches are
unsymmetrical.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Clarity of the arched structural form
is undiminished by the small diameter
tubes.
These tubes run longitudinally to tie
the arches back at regular intervals to
a perimeter ring beam.
This beam also prevents the arches
from buckling.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

6. Framed structures

Synthesis of architectural and

structural form extends beyond
curved forms.
Most orthogonal beam-column
frameworks integrate well within
prismatic architectural forms.
Office building is a typical example.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 La Grande Arche, Paris, France. Frames within a frame.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 An interior vierendeel truss to the right.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 La Grande Arche, Paris, itself a huge
open frame when viewed in frontal
elevation, comprises a hierarchy of
frames.
The long-span roof and the structure
that spans over are also framed in
the form of three-storey deep
vierendeel trusses.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Vierendeel truss elements are
exposed within the roof exhibition
areas.
Although their chamfered top-chord
sections depart from the
orthogonality of most of the structure
they do resonate with the overall
chamfered building form.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Uncompromising orthogonal
strictness characterizes the cubic
form and perimeter frames of the San
Cataldo Cemetery columbarium.
The exterior surfaces that are
penetrated by unglazed openings can
also be considered as highly pierced
walls (simulating extermination).

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 San Cataldo Cemetery columbarium, Modena, Italy.
Rigorous orthogonality.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 Pitched portal frames are another
example.
This structural form integrates with
architectural form in the Princess of
Wales Conservatory, London.
In this building, the architect
manipulates basic multi-bay portals

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Princess of Wales Conservatory, London, England. Pitched
portal frame variations.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 The form is geometrically simple but
enriched with the fine transformations
that introduce unevenness.
However, unlike most portal frames,
the side rafters connect directly to
the perimeter foundations, to reduce
the buildings visual impact on its
surroundings.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

7. Walls

The wall is another structural system

capable of participating in the
integration of architectural and
structural forms.
As exemplified by the Faculty of
Journalism, Pamplona, walls not only
dominate its faades, but also define
interior spaces.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 Faculty of Journalism, Pamplona, Spain. Walls visually
dominate the exterior.
Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.
 An interior architecture of walls.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.

 The linear form of the walls
strengthens the orthogonal
architecture they support, enclose
and subdivide
Careful attention has been paid to
surface textures, and lightening of
the concrete colour.

Ref.: Andrew W. Charleson, 2005. Structure as Architecture. London: Architectural Press.