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Genci
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by Genci Shteto
Date:
Shteto 2019.05.20
14:49:45 +02'00'
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The Aesthetics of Structure
Table of contents
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The Aesthetics of Structure
1 Table of Images
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The Aesthetics of Structure
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The Aesthetics of Structure
2 Summary
In 2009 Mr. Denis Dutton presented his theory of evolutionary aesthetic. According to
that theory our sense of beauty is related to our primordial instinct of survival and he explains
meticulously the way how this works. In fact the essence of Dutton’s theory is a simple and
short conclusion; deep in our mind the healthy and the beauty are the same thing. Inducting
this short conclusion to the case of structural aesthetic in this thesis is made a research to find
a relationship between various type of structures and how they reflect their healthy and how
their healthy is “converted” in Beauty.
The examples presented are rated in ascending order beginning with some random
cases and positioning the best ones in the end of the study material. In the end the research is
synthesized in a three dimensional graphic chart where the conclusions are combined with the
progressive positive proprieties of each case.
In conclusion the structure not only has a specific aesthetic charge but relating the
aesthetic of structure to its psychological impact upraises the structure to the top of
architectural aesthetic instruments.
3 Keywords
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The Aesthetics of Structure
4 Introduction
During the history of architecture not all parts of the building have evolved in the
same way. The ornamental or functional features have reached their perfection in many
examples of ancient religious buildings or aristocratic residences during the renaissance, that
even today it may be considered incomparable. On the other hand the structural frame has
demonstrated to be not only the most rigid part of the building (as it normally had to be) but
also the most conservative component of it. Some dimensional records of vault or dome
spans have been unbreakable for more than one thousand years. (Pantheon 43.3m dome
diameter-Figure 1).
The factors for this historical stiffness of the building’s structure have been first of all
technological. Designing methods have been also another obstruction factor till the computer
era arrived. But during the last century and more significantly in the last decades the tendency
is reversed. Structure is becoming the "final frontier" of the designing teams all over the
world. The idea is: everything can be achieved, maximal span, maximal tall. In this
consideration almost every famous building of the last period has been firstly a structural
achievement. This actual avant-garde role of structure is affecting and sometimes is even
transforming the architectural theory and consequently any or many aesthetical principles.
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The Aesthetics of Structure
It is quite evident that structure is becoming the most impressive feature of every
architectural object. This presence and evidence of the building structure is changing also the
common taste from the sociological point of view. So structural engineering is definitively
becoming an artistic vocation. As an artistic activity it must be habilitated with a theoretical
aesthetic background.
But the concept of the Aesthetic Structural Design itself is not very usual in the
literature. Many books treat the relationship between structure and architecture in general and
do not consider designing and the creation of the structural model as an artistic process. At
this point emerges a crucial question:
For sure Aesthetic Structural Design is not a definition. It cannot be found as such in
Wikipedia or in any dictionary or even in Google search. Nor it is a concept or paradigm
because nobody can imagine a clear thing, situation or process relevant that term.
“Any formulation of the criteria by which the merits of a structure could be judged is
inevitably controversial”. (Macdonald, 2001)
At the first glance Aesthetic Structural Design seems to be a fluid concept because if
we talk about an aesthetic structure this means that structure must be evident or somehow
manipulated artistically in a building. In this case making the structure more than a load
bearing supply should be an architectural choice. This means that we are just talking about
architecture and not about structure. In other words the aesthetic attributes of structure
become aesthetic attributes of architecture.
But let’s consider structural design as a creative process or more as a “form giving”
one or as it is called lately a “morphogenetic process”. And it becomes something more than
just calculations. It becomes an aesthetic process.
The above conclusion may be the first approach to the question that the aesthetics of
structure exists. As it exists it is obvious that like everything else it must be searched and
found.
The art of building has been always an art of modelling. This is a very important
distinction between architecture and all the other arts. Architecture through centuries has
been a modelling dependent art. With modelling is intended the whole process of designing,
calculating, scale models etc. Every aesthetic judgement and decision is made during the
modelling process. The quality of modelling has evolved tremendously during the last
decades. However in this modelling and designing evolvement, structural design has been a
little late comparing to other parts. Architects have been always more predisposed to modify
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The Aesthetics of Structure
or to change or to optimised their work. Instead engineers due to their voluminous work have
always been more conservative to remake their work. This kind of gap between architecture
and structure don’t exist anymore.
5 Evolutionary aesthetics
The environmental aspect of the building is really important but its solidity is much
more. So a healthy building is primarily the one that resists against its own load, wind and
seismicity. And is the structure that makes the building healthy and as result: beauty.
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The Aesthetics of Structure
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The Aesthetics of Structure
Another argument
in favour of this theory is
the famous archistar
Santiago Calatrava. There
are many sketches
designed by him
demonstrating how
Calatrava takes
inspiration from vigorous
human figures. In the
(Figure 4) the related
sketches indicates more
than just similar static
schemes to the
corresponding architect’s
works. They are a pure
reflection of the healthy
radiation of his
masterpieces.
So a "firmitas"
structure is always a
"venustas" one. And
maybe in this perception
of firmness, we find the
Aesthetics of Structure.
This confirms that the
structure has its own
particular aesthetic
contribute in an
architectural object. In
other words structure not
only must be sustainable
or rigid but also it must
look like one.
Architecture is the
art of building. This Figure 4. Inspiration sketches of Calatrava
means that architecture is
that kind of art, toward which expectations are much wider than just visual effects.
Architecture is “felt”, architecture is “lived”. In this context the “skeleton” is included as an
organic part of the building. Its implication in the building may be very complicated in form
function modulation and aesthetic but the structure is always perceived.
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The Aesthetics of Structure
Any way in many books about architecture may be traced two distinct points of view
regarding structure:
• Structure as a whole
• Detailed architectural implication of structure
"It has long been recognised that an appreciation of the role of structure is essential to
the understanding of architecture. It was Vitruvius, writing at the time of the founding of the
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The Aesthetics of Structure
Roman Empire, who identified the three basic components of architecture as firmitas, utilitas
and venustas." (Macdonald, 2001)
Structure “as a whole” aims to consider the structural system of the building as a
unique framework of the same or similar physical characteristics. This consideration is not
always feasible because many buildings are a mixture of structural systems. (Charleson,
2005, p. 20). There are multiple reasons other than functional that lead to a combination of
structure schemes. In most cases this structural diversity is an architectural choice. Hôtel du
Département, Marseilles is a typical example.
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The Aesthetics of Structure
Figure 6. Cultural Complex Luz. Herzog & de Meuron, Sao Paulo, Brasil
The complexity of the building is determined by the variety of functions but the
building seems to be a unique entity with its continuous and cantilevered slabs in all the floor
levels creating variable spaces in dimensions and altitude. ii
1- Structure totally unreadable, like the example of Statue of Liberty in New York
(Figure 5) or like The Seattle Central Library. (Figure 8) Although the statue of
liberty is a monument, considering architecture as “the art of building” it is pretty
evident that there is too much art of construction in that “monument” till the point
that it may be better considered a monumental architecture as other cases during
this thesis.
2- Nothing but structure like the case of WTC hub (Figure 9)
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The Aesthetics of Structure
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The Aesthetics of Structure
There are many factors that establish integral characteristics of a certain structure.
These characteristics are described deliberately by Angus Macdonald giving many carefully
selected examples and accurate interpretations for each case. These factors may be
summarised as follows:
• materials used
• Efficiency of structural schemes (arrangements)
• Efficiency of structural forms
• Relationship between structure complexity and structure efficiency
• Relationship between span, form and load bearing
• Relationship between structural efficiency and structural costs
In general these relationships are very complex and always interrelated. In the
following graphic is shown the relationship between structural efficiency and structural costs
with a particular span and load condition. The quantity and therefore cost of materials
decreases as more efficient types of structure are used. The latter have more complex forms,
however, so does the cost of construction and design increases with increased structural
efficiency. The curve showing total cost has a minimum point which gives the level of
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The Aesthetics of Structure
efficiency which is most cost-effective for that particular structure. If labour costs increase in
relation to material costs, the location of the minimum in the total cost curve is displaced to
the left indicating that a structural form of lower efficiency will now be the most cost-
effective. (Macdonald, 2001, p. 64)
This other overall opinion about structure considers the ability of structures as
potential to enrich architecture. It is generally focused on details of structural elements or
isolated structural combinations to create architectural duties or architectural functions.
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The Aesthetics of Structure
As such, structure can be used to define space, create units, articulate circulation,
suggest movement, or develop composition and modulations.
Aesthetic qualities in the building exterior like modulation, screening, filtering even
texturing in the case of bearing walls. He argues the role of the structure scaling in giving
monumentality to the building. Then he "enters" to the aesthetic and expressive role of the
entry as a connection point between exterior and interior. Logically he continues with the
importance of structure in the interior. Despite the modulation settled by structure according
the "critical functional dimensions" and despite the role of the structure in determine
flexibility or space creation or even articulating the layout of the building he argues "the
potential for exposed structure to enrich interior architecture visually and conceptually".
(Charleson, 2005, p. 104)
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The Aesthetics of Structure
7 Case study
In this thesis a series of examples are evaluated by the rate of integration they have in
the designing process and how these examples may be positioned in an aesthetic structural
catalogue. In other words it will be described how these objects relate to the final conclusions
of the study.
Some of the examples may be famous and awarded, they may even be places of
pilgrimage. Few of them are Architectural icons and masterpieces of the modern history of
architecture. In general are selected those examples that have used the structure naturally and
have not constituted a tendency or a style in Architecture. Buildings like Centre Pompidu or
Hong Kong and Shanghai Bank in Hong Kong have used the appearance of their structure
establishing a new style mostly known as “High-Tech” or “Structural Expressionism”. Being
a tendency or a style means to be a contemporary fashion while the aim of this thesis is to
point out that the aesthetic of structure is not a style dependent attribute. In general Aesthetic
Structural Design (as it is considered here) is different with the concept of beauty or
aesthetics of a building. Anyway the aesthetic of structure suppose to strongly contribute to
the aesthetics of the building.
It will be started with examples that have nothing to do with Aesthetic Structural
Design so they may be seen as "excusive premises" or as a first attempt of contouring from
the outside the concept of Aesthetic structural design. Then there are gathered some examples
of "discrepancy" between structure and architecture and what may be considered the most
representative examples of the term are placed in the end. In some other cases the reading of
the structure from the exterior turns out to be deluding in the interior. Another group is
compiled by objects which history of design or the reason of any structural solution may
transform the object to be more interesting from the point of view of Aesthetic Structural
Design.
Structural details
Structural discontinuation
Artificial tectonics
Structure under “pressure”
Structural accentuated
Empty Architecture
Coordinateless
Mono-block
The artistic Structure
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The Aesthetics of Structure
8 Structural details
Surprisingly the kind of material is not the most important conditional factor.
In general these guiding proportions are for columns 1/15 and beams 1/12. These
orientating proportions may be called as Efficient Proportions. After calculations the
dimensions of structural elements may vary not more than 20% for an experienced engineer.
So these efficient proportions are the most probable and most average dimensions used.
Being such they became a collective memory. In other words common people statistically
collect unconsciously this kind of data (proportions) and use them as a mental reference. Here
proportions become aesthetic criteria of the structural element. Moreover the material is not
readable because as we said above the material is not the determinant factor. Logically we
may say that the filling of healthy that the structure radiate is and must be disseminated in all
structure.
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The Aesthetics of Structure
In the
following example
(Figure 12) the
columns are not
load bearing as they
are too slim.
Visually they are
used inside the slab
without a visible
beam, as they
usually do in the
Corinthian order. In
this case it may be
said that the
In the next
example (Figure 13)
the upper small
columns are evidently
fake. Even though
there are 9 columns
they do not
correspond to any
rhythm or modulation
with the lower
columns. Pilasters are
too long and without
a visible horizontal
connection (normally
at the levels of the
slabs) giving the
impression of a Figure 13. University of Berati
vertically continuous
wall which, from a statics point of view, could not be so high. In this case Pilasters are out of
“efficient proportions” and consequently not aesthetic.
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The building of The University of Utrecht in the Netherlands (Figure 14) is a project
made by the architect Rem Koolhaas and the engineer Rob Nissje. The two-story building
should withhold a large restaurant, two big lecture theatres and examination halls. The lecture
theatres upper slab with a relatively large span is solved in a very special manner. The
concrete slab of only 200mm is reinforced with steel reinforcement out of concrete, forming
some kind of false ceiling. It expresses how the structure works.
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9 Structural discontinuation
This term is used to describe that kind of design or building that assigns different
consideration of structure from exterior to interior. This discontinuation is even more
important if the building is seen from the same public or people. In the three following cases
the exterior expresses a quite different idea from the interior part.
The design of the Extension Victoria and Albert museum-competition (Figure 16)
shows an external form not generated by the structure. The structure does not create real
architectural volumes in the way it is suppose to do in this building. The deconstructivist idea
of exterior is just an envelope where the floor plans are cut like elevation lines to the distorted
cubes surface.
The China pavilion at Expo 2010 in Shanghai, China, was the largest national
pavilion at the Shanghai Expo. This expensive building which is estimated some 220 million
US dollars reaches the height of 70m. The exterior part, in contrast with interior, is inlaid
with traditional symbolism. This symbolism evokes an excellent Chinese structural technique
known as the “dougong”. This ancient technique of two thousand years ago was used to
support large overhanging eaves by superposing a series of roof brackets at each corner just
like the red decorated timber like joists in the china Pavilion. iii In fact this red beams are not
used as structural elements. Even though they don’t represent structural elements per se, they
do evoke a traditional method of construction. Despite the architectural effect they are used
as ventilation ducts camouflage. The overall form is very useful as it creates self shading but
the aesthetic of structure is confusing not only because a symbolic structural tradition is used
as decoration (not representing itself as structure) but in the interior it disappears and
becomes the ending of air condition ducts.
The unity of the structural aesthetic is divided in two different treatments creating an
aesthetic structural ambiguity.
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Figure 17. China Pavilion. World Expo Park. Shanghai. He Jingtang 2010. detailed symbol of Duagong in
the middle.
The Giesel Library in San Diego California is a similar architectural solution but
contrasts with China Pavilion as aesthetic structural treatment case.
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The Stealth building in Culver City, California is described by the architect himself:
“The aspiration is to investigate a changing exterior form and a varying interior space; to
construct a building whose constant is constantly moving, re-making both outside and
inside”. (Charleson, 2005, p. 48) In fact the idea is to create an evolving section over the
Figure 19. Stealth building. Culver City, CA. Eric Owen Moss Architects
length of the building from a square to a triangle. (Giaconia, 2006) The structure in fact is not
involved in this “movement” and as such it does not match the “evolving section” It just
works as a normal rectangular system not “obedient” to the whole. Even the main metallic
truss over the entrance is visible partly from exterior and mostly from the interior. This
discrepancy of aesthetic role of structure in relationship to the sophisticated architectural idea
is more visible in the interior. The problem is neither the architectural value, (as in fact it is
too innovative) nor the functional efficiency but the way columns are standing out tells of a
neglected aesthetic role of structure.
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10 Artificial tectonics
If the general structural system is quite normal and the façade is transformed without
a special architectural volume but just remaking a certain surface this may be called an
artificial tectonics. It may create interesting makeover to the building but seems not to
involve the structure in a genetic way.
The construction company Sur Yapi office building in Turkey, (Figure 20) sits on a
dominant point of a hillside. The overall volume of the building is just the regular form of a
parallelepiped and the structure is regular and the columns have the same span. Using the
difference between the glassed and tiled plan is created a sort of irregular contour which is in
fact a triangular mesh gathering two polylines in two parallel plans but one behind the other.
The effect is spectacular and seems to compensate the regular genetic form of the building
that otherwise would be very monotone.
Even though it is not structural, the carved sharp form to the stone like surface, recalls
of a structural operation to the solid crust discovering a shining glass element. Just because
this is not a real involvement of structure but artistically it pretends to be like one, it may be
included in the group of artificial tectonics. The contrasting irregularity of the façade with the
well-modulated structure and overall volume, suggests just a visual effect to enrich the
elevation of the building in a decorative style and not an embryonic solution in the design
process timeline.
The RO-AL furniture store in Gjokaj near Tirana (Figure 21) is a two store exposition
building. The north glass façade is divided by some alucobond prismatic forms without any
structural role but in a certain way that may evoke structure. This evocation does not
correspond to the right impression that structure must conjure.
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The Aesthetics of Structure
The third example of this group is the famous a 76-story skyscraper designed by
Frank Gehry. (Figure 22) “8 Spruce Street”, Beekman Tower, New York. The building
received the Emporis Skyscraper Award for 2011. The structure is a normal rectangular
system as the edges of the vertical plans are all straight. The original idea of “squeezing out”
the flat façade with a parametric like tectonics is used to make attractive a simple extruded
volume
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The Aesthetics of Structure
In this group are selected two cases of an extreme structural challenge. Their
structural design process was so problematic that made them famous also for their problems.
These cases are described thoroughly because knowing their design history the final
conception and consideration of the aesthetic of the building respectively may vary
drastically. Their novel story subject regards mostly the structure and how the fidelity to the
primary architectural idea led to “heroic” structural designing efforts.
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The Aesthetics of Structure
each side, rather than at the corners. This design solution allowed the church to be under the
foot print of the skyscraper but with a huge structural sacrifice. To accomplish these goals
LeMessurier designed a metallic frame that conducts the load in the middle of each elevation
charging them consequently to the four 35m
high columns.
At that moment LeMessurier had two choices: to commit suicide or to secretly (not
publically) reinforce 200 bolted joints by welding two-inch-thick steel plates over each one of
them and save thousands of lives. The whole delicate and hidden to public operation was
completed in three months and the eminent disaster was made known only in 1995. After the
repairs, the building was absolutely safe.
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The Aesthetics of Structure
It is difficult to find a book about architecture that doesn’t mention the opera house
from a specific point of view but Alan Holgate makes it a case study in his book and
describes meticulously, based on original documents, all the contradictions and difficulties of
this rare case in the architectural history. (Holgate, 1986)
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The Aesthetics of Structure
There is a range of possible forms which meet this criterion, but any deviation from the
disciplined form imposed by statics introduces bending moments which the thin shell is
unable to resist”. (Holgate, 1986)
The design and modelling of the shells lasted nearly 5 years utilising the technology
of that time and finished with the reassignment of Utzon who didn’t see his project finished,
for the rest of his life.
If Utzon was right (as certainly he was) Figure 31. Shell's modelling
here derives a very important conclusion: The
aesthetic of structure is subordinated to the architectural overall aesthetics.
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The Aesthetics of Structure
12 Structural accentuated
In this group are selected two examples which structural clean scheme is imposed to
all the architectural form. In both cases the span is enormous and the internal horizontal stress
created by the static scheme is very apparent and impressive. This relationship between
architecture and structure may happen in rare cases where the most important thing is the
span. In both examples the covering concrete slab is just hanged and takes its natural catenary
curve section. Even the slab is of reinforced concrete it is deformable just as any other
catenary form (hanged chain like curve). Besides the deformability, it remains the problem of
rain water collection which not casually is collected in the middle of the curvature and the
problem of withstanding the colossal horizontal stress.
At ceremonial plaza at the southern end of the Portuguese Pavilion (Figure 32), built
for Expo ’98, (65 m long by 58m wide designed by Alvaro Siza Vieira) the problem of
horizontal stress of about 3000 tons caused by just the slim slab of only 20cm is solved by
two massive rectangular structures transformed in porticoes with nine transversal walls
instead of columns. Flatter the slab the higher the horizontal stress. The walls are used as
buttresses or diaphragms. In this case the deformability of the structure is not a problem
because the building is opened. While the problem of rain water is solved by a transversal
slope of 30cm.
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The Aesthetics of Structure
In the case of Washington Airport, while the static scheme is quite equal with the first
case, (Figure 33) the architectural effect is totally different. The slab curvature resembles the
form of a huge aircraft wing. Even more the asymmetrical section form of the building recalls
of the sloped position of the aircraft wing in the departure moment. But this asymmetry has
also a practical genius value: the rain water is collected towards the short columns of 13m
which are 8 meter shorter than the opposite row columns. The deformability is faced
excluding the extremes of the catenary form slab which result the most deformable. The
columns pass through the slab in purposeful wholes just to avoid the rigid joint. The floor
surface is smaller than the roof surface at least for two structural reasons: the sloped columns
afford better the weight from the slab and to exclude the lateral part of the deformable slab
which should be connected with glassed walls. Reasonably in the case of the Dulles
International Airport Terminal the structural concept seems to be leading all the design
process.
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The Aesthetics of Structure
13 Empty architecture
Empty architecture may be defined any construction not related to any technical
function. Television towers or bridges do not enter in this group even though they are
volumetrically empty. Empty Architecture building’s aim is just symbolic or monumental and
they usually become landmarks of the city. Their functional attributes are not fundamental
and sometimes are even missing. That’s why they may be called “Empty architecture”.
Surprisingly this “functional emptiness” is reflected in their visibility. In this thesis these
specific examples are relevant for the fact that their aesthetic values of Structure are the same
for their Architecture. These are the extreme cases where everything is architecture and in the
same time everything is structure. The artistic values of architecture are achieved mostly by
means of structure.
The “Tower of ring” by Japanese firm “Eastern design office” (Figure 34) seems to be
the most empty of all. It is situated in the middle of the downtown centre of Tianjin near
Beijing, China. Its simplicity seems to emphasise its emptiness. The whole structure is
created almost by only two kind of structural elements: the horizontal sinusoidal elements
and vertical thin columns made intentionally nearly invisible. During the night the invisibility
of the vertical elements is insured by a continuous changing colour led illumination. The
sinusoidal form of the horizontal elements creates the idea of a cylinder formed by a series of
thin rings and pulled up vertically by a supernatural force. But structurally this clever idea of
the sinusoidal pattern, in cooperation with the thin columns in the back plane forms a
triangular and undeformable surface which holds this tower of the height equal to a 20 floor
skyscraper.
The elevation view or better the longitudinal section of the “Gateway Arch” is “filled”
only 8% (Figure 35). That makes it distinguishable from any memorial arch despite the 95
million dollars of the construction estimation value. The arch is the centrepiece of the
Jefferson National Expansion Memorial in St. Louis, Missouri. The Gateway Arch was
designed by architect Eero Saarinen and structural engineer Hannskarl Bandel in 1947. Both
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The Aesthetics of Structure
the width and height of the arch are 192m. iv The triangular section indicates a very intelligent
solution because visually from the most points of view it makes the Arch to seem slimmer
than any other form. A rectangular section seen diagonally would be represented wider for
the same inertia moment. The variable dimension of the triangle section from 16m per side
in the bottom to 5.2m in the top enhances the perspective effect of the entire structure seen
from the ground and also expresses the structural reaction of every section because the arch
has to be solid also from the horizontal wind forces normal to the plan of the Arch which
causes a bending moment progressively greater from top to the base of the section.
A normal load bearing arch that serves to create spans, is normally compressed
perpendicularly to the curve of the arch itself. In that case the section of the arch should be
constant and the theoretical form should be parabolic but as it bears only its own weight load,
which is always vertical, it takes a pure mathematical function form of “hyperbolic cosine”
that describes the shape of an inverted catenary curve. Even the Arch is hollowed to
accommodate a unique tram system that takes visitors to an observation deck at the top the
absence of a serving structural role and also the “scarce” volumetry makes this case to be
classified as Empty architecture.
Any way this kind of Triumphal arc leads to deep reflections. How much architecture
is in it?
Is it totally architecture or totally Structure? The simplest answer is: it depends on the
point of view.
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The Aesthetics of Structure
14 Coordinateless
In the history of architecture the structural part besides the load bearing function has
also a very important role. Structure is used also as a referential virtual coordinative system.
All the axial and quote measurements in a design sheet are referred to the structure. In the
“coordinateless” architecture any coordinative system or at least any regular Cartesian system
doesn’t exist. Thus the referencing role of the structure is suppressed. This isn’t just a
practical question as the structure is the first to be build during the execution phase of the
project but also a conceptual question because the dimensional accuracy of the most sturdy
part of the building is always crucial. But maybe all of this belongs to the past because the
building process is possible due to the High-Tech positioning equipment and the concept of
traditional coordinative referring is entrusted to computer aided technology. This continuous
curvature in every direction except of the floor surface camouflages a clear structure. This is
the extreme case of amalgamation of the aesthetics of both architecture and structure.
Even though Coordinateless architecture is related pretty much to Zaha Hadid there is
infinity of them designed and constructed in the last years by many other architects till the
point that it may be considered a tendency. The futuristic new station in Riyadh v is a devote
example of the coordinateless architecture. (Figure 36) To contrast the flat surface of the
floor it is painted black instead all the other part is white. The white part has only curved
surfaces where vertices are totally missing. The structure is readable but is difficult to
distinguish the finiture from the load bearing part of it. Nevertheless the readable structure in
this case creates the perception of a “healthy organic” structure.
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The Aesthetics of Structure
15 Mono-block
The buildings considered in this group are very different from each other but they still
have some common structural aesthetic characteristics. Somewhere in their height they differ
entirely from their basement footprint. Some differ in the top as “La grande Arch” and some
just in the ground floor as Yongin M curved house or “The Crystal” building. The structure is
not perceived as a framework but as a megalithic “stone edge” like frame. In some cases the
structure comports like a unique structural element as in “Cultural Centre” in Bergen,
Norway and in this case structure is read exactly the way it acts, but in majority of the cases
the structural system is ramified in much smaller structural elements. The architectural effect
is monumental and impressive. Anyway this kind of architectural and structural form, in most
of the cases, is perceivable only from outside. The interior normally demonstrates that the
structure is much more fragmentised than the exterior may show.
La grande arch, (Figure 37) designed by Johan Otto von Spreckelsen is a clean
geometric form inspired by the famous triumphal Arch in Paris. Geometrically it represents a
cube of about 110m of edge carved by another smaller cube. It is also perceived as a clean
structural form: a single structural frame consisting of two vertical elements covered by a
horizontal element. The horizontal part is made useful only as it is used for expositional
purposes otherwise it should miss natural light.
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The Aesthetics of Structure
The dimensions of the Sheraton “Huzhhou Hot Spring” Hotel (Figure 38) located on
the shores of Lake Tai in China are nearly the same with the Grand Arch. The Hotel,
designed by MAD Architects has some 320 rooms all viewing on the marvellous lake Tai in
the middle of which it is located. Even the destination, function and architectural style are
very divergent, from the point of view of Aesthetic of structure this building is very similar to
the precedent example except that the alternation from the footprint comes smoothly till it
become an arch on the top.
Figure 38. sheraton huzhou hot spring resort' by MAD architects, huzhou, china
The architectural idea is very interesting because practically the plan layout of each
floor is the same and it just “moves” left or right giving the form of the horseshoe which on
the other hand, is a lucky symbol. This solution makes possible the use of the upper part
differently from the “La grande Arch”. The Aesthetic of this “monoblock” structure may be
found to the toroidal form partly immerged to the waters of the lake. The Structural aesthetic
similarity of these two distant and diverse objects in all other their properties confirms the
conclusions drown in the beginning of the case study: The aesthetic of structure is not style
dependent.
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The Aesthetics of Structure
38
The Aesthetics of Structure
Figure 40. Tadao Ando: Centro Roberto Garza Sada at UDEM, Mexico
Centro Roberto Garza Sada designed recently by Tadao Ando's (Figure 40) is a
“monoblock” structure which in comparison to the tree previous examples is more similar to
a bridge than to an arch. It touches ground in only two extreme spots and its twisted
volumetric form creates some stepped hyperboloid parabolic surface underside. Most of the
building is unfinished and unpainted concrete. The brutalist view of the exterior is also
implemented everywhere inside. Not casually it is called “Tabula rasa”. But the relevant
characteristics of the building to Aesthetic structural design is that the “monoblocked”
structure is almost perceivable in the interior because of some characteristics masterfully used
by the architect as the stadium like hall, natural lighted voids, the “flying” underside surface
used partially for stairs and the sloped auditorium floor because as it is mentioned in the
beginning of the chapter, the monoblock structures are difficult to perceive as such from the
interior.
In the main façade concrete wall of the Centro Roberto Garza Sada are incised the
words “The gate of Creation.”
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The Aesthetics of Structure
Figure 41. joho architecture / jeong hoon lee: yongin M curved house, seul
The “Yongin M curved house” signs the second division of the monoblock group
which is characterised by the so called “the monoblock change” in the level of the ground. It
is designed by Korean firm JOHO architecture. (Figure 41) The functionality of the Villa is
the one of a quite normal villa with social functions in the lower floor and bedrooms upstairs.
What makes this building special is the structure. In order to comply with the client's need for
ample parking space, the two-story brick house rests elevated from the ground plane on a
concrete “tray” supported by three thin footings and a central circulation core. Structurally
speaking, the concrete tray serves as a “flying” foundation, because the upper structure is
planted over that concrete plane just like it was the real foundation.
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The Aesthetics of Structure
The large three-dimensional steel structural system of “The Crystal” (Figure 42) acts
as a real “mono-block” structure while freeing the building of columns and creating
maximum flexibility in the office spaces. It is a creation of Schmidt Hammer Lassen for
Figure 42. 'the crystal' by schmidt hammer lassen architects, copenhagen, denmark
Nykredit headquarters in Copenhagen and as it is obvious, takes its name from its light,
crystalline form. vii The “monoblock” stands over three points and inducts the idea that all the
volume follows the deformation of the base. As in the previous example all the floors are
situated over a platform that still touches the ground level. The platform or base is also used
as a basement but this time is bended in 4 sloped surfaces and is not used as just a passive
“tray”. The upper structure is not settled over the platform but acts as a whole. The deflection
of the basement that interacts with the perimetric steel grid makes the volume undeformable.
In this case the “monoblock” structure perception corresponds to the real way the structure
comports.
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The Aesthetics of Structure
The following ciclotronic like form building (Figure 43) is just a competition proposal
for a new cultural centre in Norway by Portuguese design and engineering firm Cerejeira
Fontes architects. If developed it should be a rare case of construction typology where a
42
The Aesthetics of Structure
43
The Aesthetics of Structure
In this last group of examples the structure isn’t just perceived but it is used as an
artistic mean. This means of course that the structure is fully integrated to the aesthetic of the
whole building but this aesthetic is realised mainly by manipulating the structural framework.
The Soumaya Museum (Figure 45) has some complex characteristics mentioned in
this thesis like monoblock and coordinateles and in fact expresses a beautiful combination of
them. The building is located on a former industrial zone which today presents a very high
commercial potential and plays a key role in the reconversion of the area: as a preeminent
cultural program. The Soumaya Museum was conceived as a sculptural building that is both
unique and contemporary. Its avant-garde morphology and typology define a new paradigm
in the history of Mexican and international architecture. viii
The urban position of the building creates a dynamic silhouette for the viewer that
moves around it. The futuristic form and the High-Tech finishing style of aluminium give the
impression of an alien alike building. In fact the organic skinned volume of the building
seems to be used in a way that gives the impression of challenging the gravity lows, moving
freely in any direction. This is what may be classified as an artistic use of structure in this
example.
The shell of the building is constructed with 28 steel curved columns of different
diameters, each with its own geometry and shape, offering the visitor a soft non-linear
circulation all through the building. Located at each floor level, seven ring beams provide a
system that braces the structure and guarantees its stability. The most interesting part of the
structure is the upper floor space which is covered by a roof that acts like dome with a lantern
in the top. It is a unique space and shows the same contour of the cover seen from the outside.
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The Aesthetics of Structure
French architect
Christian de Portzamparc,
winner of the 1994 Pritzker
prize, conceived the new
“Chateau Du Cheval Blanc”
(White horse castle) in Saint-
Emilion. (Figure 46) The new
establishment is located under a
massive sweeping structure
with a rooftop garden and is
always visually and spatially
connected to the rows of
grapevines. The entirely
concrete structure consists in
six curvilinear load-bearing
elements that flow
longitudinally through the
building as the main support
system connected by a series of
crossbeams.
45
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46
The Aesthetics of Structure
Maybe the only way to construct a structure of glass walls and glass roof of 63m of
height and 220 of length is the solution adopted in the “Tokyo International Forum”, central
lobby above the concourse level. (Figure 48) x The main structure is detached from the glass
surfaces and consists in a series of inverted metallic arches that keep the glass walls and glass
roof to the intersection line between roof and walls. In this way the frame of the glass walls is
just hanged from that spot and the frame of the glass roof works in traction as an arch tyrant.
(Anup. 1997) This makes both frames (walls and roof) much lighter comparing to any other
glass wall structure of more than 60 meters. The planimetric form gives the main structure of
the series of inverted arches a surprising form of the wooden frame of an ancient ship. Than
this “ship” is supported by only two columns giving the maximum flexibility to the hall. The
ship like structure is equally perceivable from the outside and from the inside because the
transparency of the building. This mixture of art, structural logic and clean perception of the
structural function arise this case to the most rated examples in this study. xi
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The Aesthetics of Structure
Another series of arches is used in Berlin to hang a whole building. In this case the
arches stay upright and have a variation of span from 30 to 60m according to the building
footprint. The arches stand 7m parallel from each other. This may be considered the cleanest
structure in an urban environment except of any hanged bridge. But differently of any bridge
structure the Ludwig Erhard xii Haus, (Figure 49) building has up to ten floors. The arch is a
well known form-active structural element; meaning the most efficient structure. On the other
hand instead of columns (probably for the height of the building the columns should be
50x50cm) the slabs are hanged on ribs of less than 10cm of diameter. Using arches the
building is totally free of columns in the ground floor. All these factors make the whole
structure much lighter and this leads further more to material reduction. Another
extraordinary characteristic is the seismicity proof of the structure even though Berlin is not a
seismic zone. The hanged building is not “rigid” and consequentlly not fragile. The light
slabs float on air without striking dinamic forces on joints as in any supposed beam-column
system building. xiii
Arches are all different in dimensions from each other but their dimensions change in
a parametric design method creating a NURB curved surface except of the north elevation
that has to be flat, according to a 19th-century building code regulation. The structure of the
building is perceivable and readable in its integrity and in structural elements like for
example the rib joints. Is difficult to imagine why this kind of making structure, with such
numerous benefices is just an exemplar and not a usual way of building. At least, except of its
wondeful Grimshaw architecture it has a contribution on the Aesthetic Structural Design.
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The Aesthetics of Structure
The structural envelopment of the twenty-three storey skyscraper O-14 xiv in Dubai
makes this building an excellent example for this study. This distinctive work of New York
architects Reiser + Umemoto, (Figure 50) reveals a white exoskeleton structure that is indeed
multifunctional.
It is used as a load bearing structure, surrounding the slabs by a distance of one meter
and is connected by concrete beams. This way the typical plan of 600m2 except of the core of
stairs and lifts is free of columns.
It is used as solar filter protecting a glass façade and reducing considerably the
cooling expenses.
It is used as air conditioner creating an air stream that moves vertically between the
white exoskeleton and the rest of the building. The movement of air cools the glass surface
behind the holey concrete.
But the most formidable property is the aesthetic of its structure. The white concrete
surface has a parametric rule of hole-pattern and this makes it more organic and in a certain
way gives life to the building. This impression of a “touchable” structure manipulated
artistically crystallises an exceptional case of structural aesthetic. This aesthetic do not
resides on the external pattern of the concrete envelope but in the essential and genetic role of
the structure.
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The Aesthetics of Structure
17 Conclusions
In the case study are analysed 28 buildings that are selected by the way the aesthetic
of their structure influences the aesthetic of the building. These 28 objects are divided in
groups by the main aesthetic behaviour of their structure and for each of them are expressed
few considerations that relate them to the final conclusions. Conclusions are divided in two
groups: general and referential.
Attached to the conclusions is compiled a table that rates the objects according to the
considerations expressed and the referential conclusions.
General Conclusions
Referential conclusions
Structure aesthetics and its «healthy» status may be perceived even though the
structure is not clearly read.
Aesthetic Structural design is an integral design process using structure and its
aesthetics (as it is perceived here) as a form generator.
The following table and graphic shows the rating of every case described in the thesis
material according to the principles mentioned above.
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51
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The Aesthetics of Structure
18 Bibliography
Bodhe, A. S. et al., 1997. Case study of Tokyo forum. s.l., University of Arizona
research project.
Carroll, C. et al., 2008. CCTV Headquarters, Beijing, China: Building the structure.
The Arup Journal, Volume 2, pp. 41-43.
Clark, R. & Pause, M., 1985. Precedents in Architecture. s.l.:Van Nostrand Reinhold.
Du Sautoy, M., 2012. A 4 Dimensional Cube in Paris. The Number Mysteries. s.l.:s.n.
Dutton, D., 2003. Aesthetics and Evolutionary Psychology. The Oxford Handbook for
Aesthetics.
Dutton, D., 2009. The Art Instinct -Beauty, Pleasure and Human Evolution.
Bloomsbury Press: New York.
Furtado, R., Oliveira, R. & Moás, L., 2006. Casa da Música, Porto, Portugal. Naples,
Fédération Internationale du Béton.
Holgate, A., 1986. The art in structural design. Oxford: Oxford University Press.
Larsen, O. & Tyas, A., 2003. Conceptual Structural Design: Bridging the Gap
Between Architects and Engineers. London: T. Telford.
Macdonald, A. J., 2001. Structure and Architecture. Wiltshire: The Cromwell Press.
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The Aesthetics of Structure
Time Inc. Home entertainment, 2004. Great buildings of the World. New York: Time
books.
Web pages.
1. http://www.damninteresting.com/a-potentially-disastrous-design-
error.[accesed_12/06/2013]
2. http://www.arup.com/_assets/_download/D6E6AB4D-19BB-316E-
4017A36ECEDCE0D6.pdf[accesed_12/06/2013]
3. http://www.arcspace.com/features/rafael-vinoly-/tokyo-international-
forum.[accesed_12/06/2013]
4. http://space-modulator.jp/sm81~90/sm87_contents/sm87_e_ludwigerhard1.html.
[acced_12/06/2013]
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The Aesthetics of Structure
19 Technical notes
i
The Genetic code is the most concentrated information in space and complication. If converted in
binary numbers it is about 1.5 GB situated in the 1/1 000 000 part of a cubic milimeter. Every living creature is
generated from this information. But this information is not copied exactly the same as a computer file. The
errors bared in the genetic code make humans not the clone of each other. The Evolution is based just on these
“errors” selecting them in two ways descovered By Charles Darwin; natural selection and sexual selection. The
sexual selection is based on the ability of every living creature (animal or human) to “read” the quality of the
Genetic code of the partner.
ii
This interdisciplinary centre, begun in 2009 and scheduled for inauguration in 2016, will combine
dance and music, amateurs with professionals, and performers with spectators in a 1750-seat theatre, 500-seat
recital hall, and 400-seat flexible experimental theatre. A wide ramp protrudes from the structure like an
elevated entry promenade that also contains an outdoor performance venue and connects to the 850-car
underground parking garage. The entry sequence presents the user with a lively, layered series of spaces that act
as a three-dimensional public square servicing the 2000-student music school, cafe, garden, ticket booth, or
dance.
iii The China pavilion at Expo 2010 in Shanghai, China, colloquially known as the Oriental Crown was
the largest national pavilion at the Shanghai Expo and the largest display in the history of the World Expo. It
was also the most expensive pavilion at the Shanghai Expo costing an estimated US$220 million. The 69.9-
metre high pavilion was meticulously designed with profound meaning and symbolism. The architectonic
feature of the building was inspired by the Chinese roof bracket known as the “dougong” the traditional wooden
bracket used to support large overhanging eaves which dates back nearly 2,000 years. The overhanging columns
of the main China pavilion and exterior of the Chinese joint provincial pavilion are decorated with Diezhuan
characters, calligraphic characters used on official seals. The inverted pyramid design and the lower courtyard
offer a large overhang for self-shading. There is a 0.36 mega-watt solar energy system on the rooftop while the
thermal panels and insulating glasses on the exterior are energy-saving initiatives. Not casually this proposal
was chosen through 344 designs by architects from all over the world. [China Daily]
iv
The Gateway Arch is an arch that is the centrepiece of the Jefferson National Expansion Memorial in
St. Louis, Missouri. It was built as a monument to the westward expansion of the United States. At 192m, it is
the tallest man-made monument in the United States, the largest architectural structure designed as a weighted
or flattened catenary arch.
The Gateway Arch was designed by architect Eero Saarinen and structural engineer Hannskarl Bandel
in 1947. Construction began on February 12, 1963, and ended on October 28, 1965, costing US$13 million at
the time (approximately $95 million in 2013). The monument opened to the public on June 10, 1967. Both the
width and height of the arch are 192m. The arch is the tallest memorial in the United States and the tallest
stainless steel monument in the world.
The cross-sections of the arch's legs are equilateral triangles, narrowing from 16m per side at the bases
to 5.2m per side at the top. Each wall consists of a stainless steel skin covering a sandwich of two carbon-steel
walls with reinforced concrete in the middle from ground level to 91m, with carbon steel to the peak. The arch is
hollow to accommodate a unique tram system that takes visitors to an observation deck at the top.
The form is a pure mathematical function of “hyperbolic cosine” that describes the shape of an inverted
catenary.[wikipedia.org]
v
The new metro station will be built at the edge of the massive 3,300,000 m2 King Abdullah Financial
District in Riyadh and will act as a major interchange between three of six new metro lines. Comprised of a
series of undulating waves and a golden lattice that functions much like the ancient mashrabiya (Characteristic
Arabic window enclosed with carved wood screen) that filters sunlight and promotes natural ventilation.
vi
The CCTV Headquarters is a 234m, 44-storey skyscraper on East Third Ring Road, Guanghua Road
in the Beijing Central Business District (CBD). The tower serves as headquarters for China Central Television
(CCTV) that was formerly at the China Central Television Building located at 11 Fuxin Road some 15km to the
west. Groundbreaking took place on June 1, 2004 and the building's facade was completed in January 2008.
Rem Koolhaas and Ole Scheeren were the architects in charge for the building, while Arup provided the
complex engineering design. This structure includes 473,000 m2 of floor space. The building’s shape and form
meant that it fell outside the prescriptive codes for buildings in China.
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The Aesthetics of Structure
In total, 133 343m3 of concrete went into the foundations of the Towers and podium. Some 42000 steel
elements with a combined weight of 125000 tonnes, including connections, were erected at a peak rate of 8000
tonnes per month.
vii
The Crystal is a free-standing, environmentally friendly and award-winning extension of Nykredit
headquarters in Copenhagen, Denmark. The typical floor plan is disposed in a Z-shape around two atria,
ensuring that all workstations are well lit and enjoy a view. The disposition of the plan allows the
accommodation of an open plan, separate offices or meeting rooms. The double-glazed façade has integrated
solar screens and is decorated by a subtle silk screen frit design that mitigates solar ingress, reflects daylight,
and gives the building a homogenous expression which enhances its sculptural form. The design team has
brought a holistic approach to the environmental strategy underlying the project. The scheme manages to
combine a completely transparent office building with an exceptionally low energy-consumption at 70 kWh per
sqm. The roof is covered with highly efficient photovoltaic panels generating 80,000 kWh per year.
[Archidaily.com].
viii The heterogeneous collection of the museum is housed in a continuous exhibition space spread
over six levels, representing approximately 6,000 m2. The building also includes an auditorium for 350 people,
library, offices, a restaurant, a gift shop and a multi-purpose gathering lounge.
ix All these fine façade and structure, or their integration, would not have been possible without base-
isolation system provided under the ground floor. The isolation system, consisting of 14 high-attenuation
laminated-rubber bearings, drastically reduces earthquake input and enables the building to resist it mostly by
the thin reinforced concrete façade. It also minimizes the earthquake-induced deformation of the façade and
consequently the width of the seal, or the allowance for deformation due to earthquake, between the reinforced
concrete façade and the glasses. In this building, the base-isolation system is an indispensable element for the
integration of façade and structure as well as earthquake-resistant performance. (Masayoshi Nakai. 2008)
x Located at the nexus of four subway lines and two major train stations, the site generates significant
pedestrian traffic. The theatre lobbies overlook the plaza which serves as civic space and visually filters into the
Glass Hall, set along the railroad tracks at the eastern boundary of the site [arcspace.com].
xi The Glass Hall facade uses approximately 20,000 square meters of 17.5mm laminated heat-
strengthened glass. Laminated glass is made by sandwiching a plastic interlayer between two panes of glass and
has been commonly found in car windshields for nearly 60 years. By using laminated glass the architects were
able to meet both the aesthetic needs of the centre’s design, as well as provide the safety and comfort features
necessary for a structure that would be highly populated [arcspace.com].
xii Ludwig Erhard was the first Minister of Economy (and later Prime Minister) and contributed greatly
and miraculously to the economic reconstruction of post-war West Germany.
xiii There are 15 arches wrapped by 0.4 mm-thick stainless steel installed at intervals of 6.9 meters,
suspending the floors from the first floor upward. The maximum span of these arches reaches 61.2 meters, with
a height of 38.6 meters. The suspending structure restricted the height of each floor to 3.53 meters, and yet, the
architects realized a ceiling height of 2.99 meters, which was an amazing feat. The office space has two large
atriums to break the monotony and bad taste of spaces without windows. The roofs between the arches are of a
shell construction and slabs of the office spaces are made of pre-cast concrete. Because the suspended floors
may move vertically by as much as 50 mm, the facade of the foyer looks like it has been buried under the ceiling
of the ground floor. [space-modulator.jp]
xiv
The name “0-14” refers to the site number of the Business Bay district, Dubai.
56