Tschumi's Acropolis Museum explores Greek history

BERNARD
TSCHUMI
ALYSSA LOU MEI LIN 0331074
BRENDA ANG SHAU YING 0331171
CHIN YI HUI 0331784
CHOO XUE NI 0331864
GO XZE SHEAN ANDREA 0331455
LIM YI HENG 0330759
SHAWN NG XIN WEI 0330422
BUILDING
CONSTRUCTION AND
MATERIALS
MARCH 2018

T A B L E O F C O N T E N T S
1. ABOUT THE ARCHITECT
2. ACROPOLIS MUSEUM
2.1 INTRODUCTION
2.2 DESIGN CONCEPT
2.2.1 SITE CONTEXT
2.2.2 DESIGN INTENTION
2.2.3 USER EXPERIENCE
2.3 MATERIALITY
2.3.1 GLASS
2.3.2 CONCRETE
2.3.3 MARBLE
2.4 CONCLUSION
3. ALESIA MUSEUM
3.1 INTRODUCTION
3.2 DESIGN CONCEPT
3.2.1 SITE CONTEXT
3.3 MATERIALITY
3.3.1 CONCRETE
3.3.2 WOOD
3.3.3 ROCK
3.4 CONCLUSION
4. ZENITH CONCERT HALL
4.1 INRODUCTION
4.2 DESIGN CONCEPT
4.2.1 SITE CONTEXT
4.3 MATERIALITY
4.3.1 STRUCTURE
4.3.2 INTERIOR
4.3.3 ENTRANCE
4.4 CONCLUSION
5. PARIS ZOO
5.1 INTRODUCTION
5.2 DESIGN CONCEPT
5.2.1 CAGE STRUCTURES
5.2.2 LANDSCAPE
5.2.3 CIRCULATION
5.2.4 SPATIAL EXPERIENCE (BRIEF)
5.2.5 SITE CONTEXT
5.2.6 USER EXPERIENCE (IN DEPTH)
TA B L E OF CO N TEN TS
4
5
15
22
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T A B L E O F C O N T E N T S
6. RICHARD E. LINDNER ATHLETIC CENTRE
6.1 INTRODUCTION
6.2 DESIGN CONCEPT
6.2.1
6.2.2
6.2.3
6.3 MATERIALITY
6.3.1 STEEL
6.3.2 CONCRETE
6.3.3 GLASS
6.4 CONCLUSION
7. CONCLUSION
7.1 STEEL
7.2 GLASS
7.3 CONCRETE
7.4 WOOD
8. REFERENCE LIST
5.3 MATERIALITY
5.3.1 WINDOWS INTO
LANDSCAPE
5.3.2 THE GREAT ROCK
5.3.3 TIMBER FAÇADE FENCE
5.3.4 AVIARIES
5.4 CONCLUSION 39
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50

A B O U T T H E A R C H I T E C T
BERNARD
TSCHUMI
Born in Lausanne, Bernard Tschumi (1944) is
unanimously considered one of the key interpreters
of deconstructionism.
Born into the art (his father was Jean Tschumi, 1904-
1962), he graduated from EHT in Zurich in 1969, has dual
nationality (Swiss and French) and lives and works in Paris
and New York.
In the seventies he taught at the Architectural
Association of London, then at Princeton and Cooper
Union; from 1988 to 2003 he was Dean of the Graduate
School of Architecture at Columbia University in New
York.
4
Bernard Tschumi essentially represents an experimental
(and today once again current) understanding of
architecture and is talented in disciplines such as film, art
and philosophy. Born in 1944 in Lausanne, he has exerted
a commanding influence as an architect and architectural
theorist on contemporary architectural discourse in the
past decades. Numerous drawings, sketches and collages
grant a wide overview of his most important buildings and
projects.
Space and event
Tschumi does not define architecture in terms of form, but as a
space for events. For these, he developed notations in early
experimental projects, inspired by cinematic motion scenarios
and montage techniques. This engagement leads to his first
major architectural project, Parc de la Villette in Paris
(competition winner in 1983), with a structure developed from
an overlaying of grids composed of points and lines, as well as
event spaces. The striking red pavilions are reminiscent of
Russian constructivism; Parc de la Villette is considered one of
the key architectural deconstructivist works.
P H I L O S O P H Y
Concept, context, content
Tschumi is critical of contextual architecture that primarily
orients itself towards what exists in the surroundings. Rather,
he develops strategies of reciprocal referencing between
building, content and surroundings, as expressed in the
Acropolis Museum in Athens, for instance.
1 B I O G R A P H Y

NEW
ACROPOLIS
MUSEUM
Project year : 2009
I N T R O D U C T I O N
The Acropolis Museum tells the story of life on the
Athenian Acropolis and its surroundings by combining all
the scattered collections, including the small Acropolis
Museum built in the 19th century.
The rich collections tell the visitors the historical times of
the Athenian Acropolis. In order to complete this program,
an archeological excavation which are the ruins from the
4th through 7th centuries A.D, are left safely beneath the
building where visitors can view through the first floor.
The building is conceived as a base, a middle zone and a
top. As you move upwards through the building you also
move through time, passing from prehistory to late roman
period.
At the top of the building there is a glass gallery, over 7
meters high, which is rotated 23 degrees from the lower
floors to allow a direct view of Acropolis. Here, we can
view the sculptures taken from Parthenon while also
seeing the temple itself beyond. Below this are the main
galleries, a multimedia space, a bar and a restaurant.
I m a g e 1 . 2 S c u l p t u r e s a t g l a s s g a l l e r y
A C R O P O L I S M U S E U M |
D i a g r a m 1 . 1 P e r s p e c t i v e o f
A c r o p o l i s m u s e u m
I m a g e 1 . 1 V i e w f r o m g l a s s g a l l e r y t o
P a r t h e n o n
D i a g r a m 1 . 2 A x o n o m e t r y o f
A c r o p o l i s
5
2 . 1 I N T R O D U C T I O N

Located in the historic of Makryianni district, the Museum
stands less than 1,000 feet southeast of the Parthenon.
The top-floor Parthenon Gallery offers a 360-degree
panoramic view of the Acropolis and modern Athens. The
Museum is entered from the Dionysios Areopagitou
pedestrian street, which links it to the Acropolis and other
key archeological sites in Athens. (Refer to image 1.5)
D E S I G N C O N C E P T
The building directly reflects what is inside the museum was
designed with Greek mathematical clarity to reflect the
importance of Greek history on the building. (Refer to
Diagram 1.3)
Tectonic and programmatic element.
Movement
The lower 2 volumes are placed according to the street grid
where the Parthenon gallery will be aligned to replicate the
original alignment of the Parthenon. The glass walls allows
the pediment sculptures to be lit by sunlight exactly as in
their original location. (Refer to Image 1.4)
2 . 2 . 2 D E S I G N I N T E N T I O N
2 . 2 . 1 S I T E C O N T E X T
The collection is installed in chronological sequence,. The
visitor’s route is therefore a clear, three-dimensional loop. It
goes up from the lobby via escalator to the double-height
galleries for the Archaic period; upward again by escalator
to the Parthenon Gallery; then back down to the Roman
Empire galleries and out toward the Acropolis itself. (Refer
to diagram 1.4)
Light
D i a g r a m 1 . 3 E x c a v a t i o n s i t e b e l o w
A c r o p o l i s m u s e u m
D i a g r a m 1 . 4 C i r c u l a t i o n o f m u s e u m
i m a g e 1 . 3 S i t e p l a n o f m u s e u m
I m a g e 1 . 4 S c u l p t u r e s a t g l a s s g a l l e r y
6

To get to the Parthenon Gallery, visitors follow a
processional path planned by Tschumi that takes them
through various levels of the museum and through
layers of time. Its circulation, an angular spiral, begins
at the first level where a fritted glass floor and a curved
void under the entrance canopy reveals the excavated
ruins below. (Refer to image 1.5)
Proceeding inside, you can find an inclined ramp also
fitted with a glass floor over the excavations and edged
by a glass display containing artifacts from the lives of
the ancient Greeks. A short monumental stair ahead
leads to level 1, where fragments from the pediment of
the 6th century B.C. stand. The angled stainless-steel
brise-soleil (architectural feature that reduces heat
gain) backdrop distracts the eye from the ancient
marble pedimental sculptures of the Hecatompedon.
(Refer to image 1.6)
Then to the south side of the building, visitors find
themselves in a monumental, 33foot high hall. Here, 6th
century youth and maiden statues from the Archaic
period stand on marble pedestals among a forest of
concrete columns. (Refer to image 1.7)
D i a g r a m 1 . 5 S e c t i o n
I m a g e 1 . 5 E x c a v a t e d r u i n s
I m a g e 1 . 6 I n c l i n e d r a m p t o
g l a s s g a l l e r y
I m a g e 1 . 7 S c u l p t u r e s
1
2
3
2 . 2 . 3 U S E R E X P E R I E N C E
7

M A T E R I A L I T Y
Glass is used in abundance in the overall construction of the
museum, and one of its main functions was to maximize the
appearance of natural lighting for a multitude of different
purposes. It is also used as an integral part to showcase the
ancient city and excavation sites located under the museum.
Due to the hot climate, fritted glass (a black-dot screen) is
used to protect both sculptures and viewers from glare and
allow transparent, unimpeded views from inside and at night.
F R I T T E D G L A S S
I m a g e 1 . 8 I n t e r i o r I m a g e 1 . 9 F r i t t e d g l a s s
Natural light plays a large part in the experiential quality of the space. The abundance of glass in the area serves to integrate
natural lighting into the museum experience. The clients felt that the exhibits could not accurately be portrayed under artificial
lighting. Due to this, glass panels were installed in many areas of the museum in order to allow the sun cycle to illuminate the
exhibits in a way similar to that of ancient times. The unique illumination of these takes the Museum visitor to a specific
headspace in which they can understand the true intention behind these historical pieces of art.
2 . 3 .1 G L A S S
D i a g r a m 1 . 7 F r i t t e d G l a s s
D o t d i a m e t e r : 3 m m
4 0 % C o v e r a g e
D i a g r a m 1 . 6 S c u l p t u r e s
In the Parthenon Gallery, the frits on the glass serve to protect the museum
visitors and exhibits from the strong glare of the sun. The black dots absorb the
excess heat without compromising the amount of natural sunlight that enters the
gallery. Another important thing to note is that the fritted glass does not obstruct
the views for the visitors at the museum. It allows for complete transparency in a
360 degree view.
8

F R I T T E D G L A S S – F L O O R I N G
In many parts of the museum, sections of the flooring is removed and replaced with glass to allow visitors to look down at the
excavation sites. This act lets the visitors truly experience the history and prominence of the site with their own eyes. Visitors then
are able to truly find a connection with the architectural prominence of the site and form a deeper appreciation for the reason
behind the construction. This allows the visitors to relate the information gathered to something that is concrete and physical. (Refer
to image 1.11 and 1.12)
I m a g e 1 . 1 2 E x c a v a t i o n s i t e I m a g e 1 . 1 3 E x c a v a t i o n s i t e ( I n t e r i o r )
The glass panels that are used in the Acropolis museum have certain features that allow it to be widely utilized in a user heavy
area. The glass used on the transparent flooring area is inscribed with an anti-slip pattern in the form of fritted glass. A series of
small black ceramic dots are baked into the glass and create a grip that prevents slippage.
The gallery is constructed to be fully enclosed by glass. Due to
this, visitors at this floor are able to gaze at the surroundings
with a totally unobstructed view. Because of this design, the
visitors may view the ancient artefacts in the same context it
was meant to be viewed in historical times. The glass walls
also serve to make the elevation seem higher and more out of
touch with the modern surroundings. Because of this, the
visitors may have a sense of being brought back in time and
can view the exhibits in a different, more understanding light.
Natural lighting may also invoke curiosity in the museum
visitor. They will follow the natural orientation of the light and
this will lead them around the museum. The light creates a
journey or experience for the visitor and this may let them
explore the exhibits without following a set path.I m a g e 1 . 1 0 E x c a v a t i o n s i t e
( I n t e r i o r )
Square-shaped skylights(Frosted glass panels) are placed on
the ceilings of the 4th floor. Some parts of this level’s floor are
made out of glass that allows visitors to view straight down
into the Gallery of the Slopes. The panels of frosted glass
double as a skylight to allow the flow of natural sunlight and
also to prevent direct contact with harsh rays
F R O S T E D G L A S S
I m a g e 1 . 1 1 F r i t t e d g l a s s
9

Concrete is featured heavily in the structure of the acropolis museum. Concrete is a strong, sturdy building material and is
used to construct the multitude of wide, thick columns in the museum.
At the main entrance, concrete columns tower over museum
visitors and create an arresting stance. This gives a sense of
perspective to the museum visitors- it creates the feeling that
the museum is larger and more majestic. These emotions
cause the visitors to truly appreciate the scale and complexity
of the museum architecture. This can also help the visitors to
appreciate the contents of the museum more- as they will
immediately relate what they see to the feelings that they
experienced when they passed through the entrance.
2 . 2 . 2 C O N C R E T E
The concrete columns also serve a different, more in-depth
purpose inside the museum. In galleries full of artwork, the
space is often crowded and difficult for the mind to navigate.
The presence of the concrete columns that are placed
sporadically around the galleries create a ‘resting area’ for the
visitors’ minds. The columns create blank spaces at intervals
and allow the visitor space between experiencing the many
exhibits. Furthermore, the concrete columns function as a
neutral backdrop that does not detract from the main exhibits.
The importance of a neutral backdrop is crucial because it will
not distract the visitors and change their headspace or break
their concentration. This creates a very seamless experience
for the museum visitor.
M U S E U M E X T E R I O R
Pre-cast concrete wall with a pattern of circular holes in the
panels that give texture to the surface. Holes function to
reduce noise in a space defined by hard finishes.
The placement of the concrete columns are also integral towards
guiding the museum visitor along the interior. The movement or
flow of the circulation was an important part of the museum’s
design concept. Visitors are naturally drawn towards the large,
hulking columns and this indirectly creates a pathway for them to
follow. The large columns guide the museum visitors through an
experiential journey. This really maximizes the impact that the
exhibits have on the minds of the museum visitors. Due to this,
those who come to the museum have their experiences
heightened through a well-rounded pathway and journey
through the museum.
M U S E U M I N T E R I O R
C O L U M N S
W A L L S
I m a g e 1 . 1 4 E x t e r i o r
I m a g e 1 . 1 5 S c u l p t u r e
I m a g e 1 . 1 7 C o l u m n s
I m a g e 1 . 1 6 I n t e r i o r
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2 . 2 . 3 M A R B L E
A large part of the museum’s design concept takes into
account the movement or journey of visitors through the
museum. The choice of marble also takes into account the
importance of these two concepts in the museum. Marble
not only creates a pathway for the visitor’s journey, it also
allows light to be distributed naturally along the interior of
the museum. All areas of the museum will be well lit and
can be enhanced by the natural light instead of artificial
light. In this way, it also encourages the flow of natural
light in places where glass is not present.
The pedestals that showcase the exhibits are constructed with
light or neutral coloured marble so as not to detract or pull
attention away from the main exhibits. These pedestals are
used as a backdrop for the statues. The beige colour does not
distract the users’ attention from the highlight. Because of
this, it creates a seamless transition for the museum visitor
when they look from exhibit to exhibit.
Statues which are found on the 2nd floor, are placed on a
simple pedestals made out of the same light-colored marble
as the floor. In order for the statues to stand out.
The marble that is used to make the flooring of the Acropolis
museum is dark in colour instead or neutral or light coloured.
This creates a stark contrast with the rest of the museum’s
interior. Due to this, the visitor’s line of sight is directly drawn
to the flooring. Using this contrast in colour, the clients
wanted to utilize this to encourage the circulation in the
museum. Because the dark marble is attention grabbing,
visitors indirectly follow the placement of the flooring. The
marble is strategically placed along the main routes and
around important exhibits- and visitors are drawn to these
areas. This forms a sense of circulation that does not require
signboards or the spoken word.
P E D E S T R A L S F L O O R I N G
I m a g e 1 . 1 8 M a r b l e f l o o r i n g
I m a g e 1 . 1 9 P e d e s t r a l s I m a g e 1 . 2 0 E x t e r i o r
11

The double glazing of the outer skin and the single-glazed inner skin are connected by 90degrees glass fins and stainless steel pins.
The two layers define a 70 cm cavity with integrated operable solar shades. The outside, waterproof layer is low iron, coated glass
with a pattern of black fritted dots to limit heat gain and glare. The inside glass and fins are low iron, laminated glass. The interior
skin begins at 2.3m from the floor in order to provide less obstructed view at eye level. This also allows the conditioned air to flow
into the gallery space at floor level to enter the cavity through a displacement ventilation system, rise within the double skin and
then be extracted at the level of the dropped ceiling. Air supply is located near the core. There is also a radiant floor system of
flexible pipes within the concrete slab of the gallery. It was conceived mainly for cooling but also used for heating.
Conceptually, the Parthenon Gallery is an outdoor space.
There is an abundant of natural light so to replicate this
effect, glass panels with steel railings were used as the walls
of this particular floor. The steel columns were to replicate
the columns of the Parthenon
46 stainless steel columns approximately 35cm in diameter
surround the core. Their number and spacing imitates the
Parthenon and they form the skeleton of the abstracted
exhibition structure. Every other steel columns sits directly
atop a concrete column below. The steel used in this museum
serves as a structural support and to enhance the aesthetic
value of the space. The steel reinforces the concrete,
preventing it from cracking easily.
T O P F L O O R O F A C R O P O L I S M U S E U M
I m a g e 1 . 2 1 E x t e r i o r I m a g e 1 . 2 2 E x t e r i o r
12

C O N C L U S I O N
2 . 4 M A T E R I A L S U S E D I N C O N S T R U C T I O N O F T H E A C R O P O L I S M U S E U M
Glass is one of the most extensively used
materials in the Acropolis museum. Its
unique transparency provides museum-
goers with a sensory and emotional
experience in all parts of the museum.
The glass used to construct the
walls of the parthenon gallery
is a purified, low-iron glass that
does not have a greenish tint,
allowing for total clarity.
Minuscule black frits also line
this glass and this helps to
absorb and deflect excess heat.
The transparent flooring
panels are made of laminated
safety glass, and its thickness is
50mm in order to ensure it can
withstand severe weight load.
Frits are also present here to
create anti-slippage.
The handrails in the exterior
and interior of the museum is
made of laminated glass- it
adds to the element of safety
as laminated glass does not
become harmful shards when
shattered-instead it is held in
place by the laminated film.
The skylights in certain areas
of the ceiling allow natural
lighting to pass through while
still maintaining privacy. This
is due to the use of frosted
glass that is clear sheet glass
sandblasted to have a blurred
effect.
G L A S S
I m a g e 1 . 2 3
E x t e r i o r
I m a g e 1 . 2 4
E x t e r i o r
I m a g e 1 . 2 5
E x t e r i o r
I m a g e 1 . 2 6
E x t e r i o r
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C O N C L U S I O N
Marble is used mostly in the interiors of the Acropolis
museum. Other than an aesthetic appearance, marble also
has many properties that make it useful towards
fabrication of the Acropolis Museum.
The pedestals on which the statues are placed are crafted
out of an ochre-rose toned marble, more commonly
known as Parian Marble. This marble is fine-grained, lends
itself to being easily sculpted but is still sturdy and is the
perfect shade to complement the coloring of the statues.
The black marble used for circulation purposes in the
museum is known as Nero Marquina Marble. It has a
compact grain and white veining throughout. Its dark
shade creates contrast with the beige tones of the
museum interior, and this aids the flow of human
circulation.
In the Acropolis Museum, concrete is mostly used in
the structural integrity of the building. The tensile
strength of concrete makes it able to withstand huge
loads and support the building construction.
The large, broad pillars
located at the entrance of
the museum are used to
hold up the cantilevered
overhang and are one of the
main supports around the
museum. They also serve as
a welcoming tool for
museum visitors.
These inner columns are
made out of sandblasted
cement and serve a dual
purpose- to uphold the
structural integrity of the
museum as well as creating a
vertical ‘forest’- a neutral
coloured backdrop to aid in
the visual and sensory
experience of the museum
visitors.
The interior walls are made
and cast from precast
concrete. This creates a very
fluid continuation when
viewed with the pillars. Small
circles are cast into the wall
at intervals-these
perforations aid in acoustical
dampening. This allows for
sufficient noise control
within the museum.
Concrete, along with steel
forms the skeleton of the
museum. A grid of beams
and columns are the basis on
which other materials are
connected to form the final
structure of the museum.
C O N C R E T E M A R B L E
I m a g e 1 . 2 7
E n t r a n c e
I m a g e 1 . 2 8
C o l u m n s
I m a g e 1 . 2 9 I n t e r i o r
w a l l s
I m a g e 1 . 2 9 B e a m s
I m a g e 1 . 3 0
P e d e s t a l s
I m a g e 1 . 3 1 M a r b l e
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ALESIA MUSEUM
INTERPRETATION
CENTRE
Project year : 2012
The Alesia Museum and Archaeological park’ by
Bernard Tschumi Architects occupies the historically
significant site of Burgundy to pay homage to one of
France’s most important battles some 2000 years ago
between Julius Caesar and the Gauls. Both participants
in that war was represented by the two separated but
related structures without obstructing the ancient
location which is still home to an uncompromised
medieval town. The two phase construction took place
as the interpretative centre was opened in 2012 while
the museum was scheduled to open in 2015.
To commemorate the history of the famous battle
between Julius Caesar and the Gauls in the 52 B.C. and
also mark that particular archaeological site, a scheme
of two separated but related structures were built in
central France – Burgundy.
One of the structure is an interpretative centre which was
opened in 2012 and will display and show the events of the
battle and its aftermath. On the other hand, the other
building is an archaeological museum which was later
opened in 2015 and will present the archaeological site and
the artefacts unearthed there from the battle. Together,
these two structures make up the Alesia Museum Complex.
A L E S I A M U S E U M |
I m a g e 2 . 1 A l e s i a m u s e u m
I m a g e 2 . 2 I n t e r i o r
I m a g e 2 . 3 F a c a d e
15

The natural, verdant landscape of Burgundy plus the
medieval buildings of the town Alise-sainte-reine make
up the context for both structures.
The location of the interpretative centre marks the location of
the Roman fortifications while the museum represents where
Vercingetorix and his Gallic troops were trapped in their
stronghold on the slopes of Mont Auxois.
To achieve the effect of the building being there but
not overpowering the site, the buildings adapt to the
context through the use of natural materials such as
wood and rock, which allows them to appear as
nonobtrusive as possible by blending in with their
surroundings.
The form of Tschumi’s buildings were inspired by the
description of how Caesar faced enemy from within and
without by constructing 2 rings of fortifications, one ring
facing inwards towards the besieged enemy while the
other facing outwards to repel relief forces. (Refer to
Diagram 2.2)
The Romans and Gauls are represented with the use of
wood and stone, symbolizing an offensive and defensive
structure, also one long-lasting and the other temporary.
3 . 2 . 1 S I T E C O N T E X T
I m a g e 2 . 4 S i t e p l a n
I m a g e 2 . 6 R o c k M u s e u m
D i a g r a m 2 . 2 A n c i e n t R i n g f o r t i f i c a t i o n
The interpretative center is built of wood, much as the
Roman fortifications would have been at the time of the
siege. The roof of the building is a garden planted with
trees and grass, camouflaging the presence of the
building when seen from the town above.
D i a g r a m 2 . 1 S e c t i o n
A L E S I A M U S E U M |A L E S I A M U S E U M | 16

3 . 3 . 3 U S E R E X P E R I E N C E
A faint Piranesian air is given to the place when the attenuated
spiraling stair that leads visitors up to the exhibition and
orientation areas and conference rooms winds up and around,
along with the daylight that is filtered in from the glazing at the
top and side walls
To emphasize more on the ethereality effect, translucent glass
floors are added to the upper reaches of the spiral stairs
Concrete ramps that spiral upward combined with the lighting
gives one the feeling of being surrounded by a series of rounded
ambulacra.
Timber slats inside the building gives the visitors an incredible
view of the outside and a sense of being on a look-out in an
antique fort.
Entering the building through its concrete steps which also
connects users to the Roman encampment, the visitors first enter
the central void which is actually the floor of a 154-seat lecture
hall and is topped by a concrete disk. Wonky columns can be seen
supporting the gigantic disk.
The design of the interior and the exterior creates a sort of
contrast. The exterior was given a fine scale and an appearance
that recalls a temporary construction with its alternating angled
wooden slats while the interior is like a monolithic space pierced
by angled, circular columns due to its design of using mostly
concrete. Any view of the exterior lattice is prevented by walls, as
if saying that it is impossible to experience both at the same time.
To confront the wooden again, one needs to enter the program
spaces or go up to the roof. Finally, the visitors come onto the roof
terrace planted with shady trees and get to look down onto the
reconstructions of the Roman battlements with a 360 view as a
keen awareness of the surrounding landscape is vital to the
visitors’ experience.
17
D i a g r a m 2 . 3 I n t e r i o r
D i a g r a m 2 . 4 C i r c u l a t i o n
I m a g e 2 . 7 C o n c r e t e s t a i r s
I m a g e 2 . 8 S p i r a l l i n g s t a i r s
I m a g e 2 . 9 F a ç a d e ( I n t e r i o r )
I m a g e 2 . 1 0 G l a s s E x t e r i o r

3 . 3 .1 C O N C R E T E
Precast method is used due to it being more versatile and quality-controlled. Carefully finished concrete, mixed with white sand,
which is an extremely high quality material is used for the concrete of the walls, floors and ceilings in the interior of the
Interpretative centre as they are exposed in most of the spaces that are accessible to the public The central axis of the building is
taken into account when planning, designing and positioning the formwork. To ensure a smooth pour the warped surfaces of the
ramp demands a more labor-intensive wood formwork.
P R E C A S T C O N C R E T E
The slender concrete columns that are tilting quixotically
while some are perpendicular are the supporting structure
for the concrete disc.
They are designed this way as Bernard Tschumi did not
want the columns to seem too monumental all the while
keeping the rotunda sober and pure
R E I N F O R C E D C O N C R E T E
The walls and columns use metal framework while the
cement part is the same as the other areas of the interior.
As for the archaeological museum, gabion mesh filled with
yellow-tinged limestones surround the building and
represents the defensive nature of the Gauls. Also, it is due
to the durable and corrosion-resistant nature of the
limestone. This construction method allows air movement
through the building while creating an environment of
moderate temperature inside. Although old-fashioned
materials like stones are used, modern technology helps
transform the whole building into a contemporary building.
3 . 3 . 2 R O C K
18
I m a g e 2 . 1 1 S p i r a l l i n g s t a i r s I m a g e 2 . 1 2 C o n c r e t e s t a i r s
I m a g e 2 . 1 3 C o l u m n s
D i a g r a m 2 . 5 G a b i o n M e s h
f i l l e d w i t h r o c k s

3 . 3 . 3 W O O D
The wood was assembled on-site and connected using
galvanized steel pins and sleeve connections and arranged in
an ornate herringbone pattern which sets it apart as an icon.
Wrapped in a rustic screen of diagonally placed heavy
timber pieces, the interpretation centre emerges from the
rolling landscape while bringing the façade alive.
The Interpretative Centre mainly uses wood for its exterior.
This is to give the building protection and to camouflage the
strength of the concrete against the green landscape. In turn,
the building is humanized and seems more approachable
compared to a concrete exterior.
The wooden façade of this building was built using laminated
larch wood which was from Germany where they practice
bending ringed elements using steam. Larch wood was
chosen because of its durable and waterproof qualities plus
its resistance to rot which is perfect for exterior purposes
where it will be exposed to the weather all the time. The
layer of laminate gives the wood extra protection to prolong
its life as an external cladding in Alesia’s temperate climates.
The wooden outer layer acts as a brise-soleil which filters light
as it enters the building and causes patterned shadows to
occur throughout the visitor centre.
Glass tinted with manganese dioxide to make it black is
used for the layer after the wooden exterior.
Similar to the glass, the black concrete also helps make
up the second plane of the building.
These two work together to create a double envelope
concept which helps to control the humidity and
temperature, protecting the interior from varying
climates.
F A C A D E
B L A C K G L A S S
B L A C K C O N C R E T E
19
I m a g e 2 . 1 4 E x t e r i o r
D i a g r a m 2 . 6 S e c t i o n s h o w i n g f a c a d e
D i a g r a m 2 . 7 W o o d J o i n t
I m a g e 2 . 1 5 E x t e r i o r

3 . 4 M A T E R I A L S U S E D I N C O N S T R U C T I O N O F T H E A L E S I A M U S E U M
C O N C L U S I O N
W O O D C O N C R E T E
The use of wood in the Alesia Museum serves a
multitude of purposes, be it aesthetic or functional.
The many properties of wood are what makes it
suitable to integrate Alesia Museum into its
surroundings.
Wood fashions one of the main structures of the
Alesia Museum. The entire outer façade is made out
of laminated larch wood that is easily bent and
shaped- allowing the exquisite herringbone pattern
of the façade to be bent to fit the cylindrical shape of
the museum.
This is the main way the building is made to blend in
with the fields and look like part of the landscape.
The exhibits in the upper gallery of the Alesia Museum
are displayed on panels of wood. This material -wood is
used in order to create harmony with the other major
wood elements in the museum. It creates a fluid and
complimentary look when viewed as an overall-and a
strong contrast is created with the steel and the glass.
Concrete is used in the making of the main base and
structure of the museum, although not much can be seen
from the exterior. However, concrete is featured heavily
in the interior of the Alesia Museum.
The primary structure of the building is constructed of
concrete. The concrete foundation is laid and pillars are
erected. Although the concrete cannot be seen after the
addition of the secondary and tertiary structures, it is
what holds the entire formation together.
The interior gallery features a series of concrete pillars
that arrest your attention as soon as you enter the interior
of the museum. These pillars are made of white concrete-
a mixture of concrete and white sand- providing a very
smooth finish that is pleasing to touch and look at.
The walls and ramp in the interior of the museum have
a very clean finish and serve to lead the visitor upwards
and deeper into the museum. Because it had to be
visually appealing and attractive to the human eye,
polished concrete was used as the material of choice,
due to its shiny effect.
20
I m a g e 2 . 1 6 W o o d e n F a c a d e
D i a g r a m 2 . 8 I n t e r i o r
I m a g e 2 . 1 7 C o n c r e t e c o l u m n s
I m a g e 2 . 1 8 S p i r a l s t a i r s
I m a g e 2 . 1 9 S p i r a l s t a i r s

C O N C L U S I O N
S T E E L G L A S S
In the Alesia Museum, steel is largely only used for
structural support and is not a prominent feature in the
overall look of the museum. Even so, the steel parts are
carefully crafted to compliment the final look of the
museum.
The secondary structure of the Alesia Museum is a steel
structure that wraps around the perimeter of the primary
concrete structure. This steel structure is used as a
connecter between the main structure and the tertiary
wooden façade.
Long, vertical steel poles are used to support the
wooden façade. These poles are made from stainless
steel and run along the length of the second floor
gallery. They create a contrast with the horizontal
alignment of the herringbone façade- igniting visual
interest in the visitors.
Galvanized steel pins as well as sleeve connectors are
used to secure the laminated wood façade of Alesia
Museum in place. It ensures extra sturdiness in case of
natural elements.
The glass elements of Alesia Museum are used to enhance
the openness of the space-mainly to provide natural lighting
in the area and to complement the existing materials.
In the ground floor of the Alesia Museum, laminated glass
is used for the large pane windows along the perimeter of
the building. It is useful in allowing full penetration of
sunlight, illuminating the ramps and leading the way for
the visitors.
The skylights in the Alesia Museum are made of safety
laminated glass- which is glass that has been heat
strengthened and bonded together with PVB. This ensures
that the glass does not shatter and injure visitors below. It
also provides equal lighting to all areas of the museum.
The surrounding walls on the second floor are also made of
a low-iron glass that prevents the greenish tint in normal
glass. It serves to illuminate the entirety of the second floor
and create a play on light and shadow especially when
placed in front of the wooden façade.
21
I m a g e 2 . 2 0 E x t e r i o r
I m a g e 2 . 2 1 I n t e r i o r
I m a g e 2 . 2 2 G a l v a n i z e d s t e e l p i n s
I m a g e 2 . 2 3 L a m i n a t e d g l a s s
I m a g e 2 . 2 4 S k y l i g h t s
I m a g e 2 . 2 5 I n t e r i o r

ZENITH CONCERT HALL
Project year : 2013
The Rouen Concert hall was used as a civic tool to
boost economic expansion and cultural development
of the Rouen community, France in the 21st century.
This building is located in an unassuming context that
has no particular attractions; it is a simply a parking lot
like many other sites around the world. The site can be
reached in an hour and a half from Paris.
The concert hall is held by three masts with the aid of
suspension cables. The thin, vertical spaces near the
bottom of the structure are illuminated and hint to the
visitor about the furnishings in the interior. It has the
capacity to hold up to 70,000 people in the spacious
exhibition halls and is a way to boost the communities’l
sense of culture in the area.
R O U E N C O N C E R T H A L L |
3 . 1 Z e n i t h c o n c e r t h a l l
22

As seen from National Route 138, the 7000-seat concert
hall, open public space, and new 70,000 square-foot
exhibition hall provides a strong contemporary image, a
spark of cultural and economic rebirth placed on 70 acres
of a site structured by dramatic lighting and a grid of
plantings. The complex is designed to be seen with equal
interest whether heading to or away from Rouen on the
highway. (Refer to image 3.1)
Located alongside a highway, the context of this
location possesses no significant elements or
attraction, it is a simply a parking lot like many other
sites around the world. The site can be reached in an
hour and a half from Paris.
4 . 2 . 1 S I T E C O N T E X T
D i a g r a m 3 . 1 S i t e p l a n
The design features a 300 m long and 60 m wide,
combining an exhibition hall for trade shows and
conventions with a concert hall. The enclosure of the
concert hall is unique and crucial for structural purposes.
The enclosure features a double envelope with one shell
made out of concrete, the other out of steel.
The plan features an asymmetrical layout, outstanding
element creates a huge contrast with rows of low
exhibition halls at the side.
The quasi-circular hall and its rectilinear exhibition wing
gives the form an unique identity to the community that it
is striking.
The auditorium is designed in an irregular fan shape that
can easily be divided and reconfigured for different
audience sizes, depending on the event. (Refer to diagram
3.3)
D E S I G N P R I N C I P L E S
D i a g r a m 3 . 3 S h e l l o f c o n c e r t h a l lI m a g e 3 . 2 V i e w o f R o u e n f r o m h i g h w a y
D i a g r a m 3 . 2 S h e l l o f c o n c e r t h a l l
23

B E T W E E N T W O E N V E L O P E S
The reason behind the double envelope design is to act as a
sound buffer between the inside of the auditorium where the
volume can rise up to 115 decibels during rock concerts, and
the outside, where only 35 decibels are permitted.
The “in-between” space between the two envelopes functions
as social gathering space where friends and family gather to
enter the concert hall. Cafes and bars leads the users to the
stairs and ramps and finally to the auditorium above the
ground level.
Bernard’s ingenious design by creating the main entrance
between the two envelopes creates visual emphasis.
The sort of idea which the big entrance is hidden and it
implores users to discover the entrance by walking around the
complex.
The 2 envelopes, inner one that supports the seats, the outer
one keeps out the rain, thus circulation created between two
envelopes. (Refer to diagram 3.2 and 3.3)
I m a g e 3 . 3 E n t r a n c e
D O U B L E E N V E L O P E D E S I G N
E N T R A N C E
4 . 2 . 3 U S E R E X P E R I E N C E
D i a g r a m 3 . 4 A x o n o m e t r y o f Z e n i t h
24
The entrance is glassed-in and its transparency allows light to
shine through unobstructed. In the later hours, visitors may
almost feel that this causes the entrance to be especially
illuminated. Since the concert hall and the exterior are
separated by a double envelope, the lobby is designed to be
light and airy- a sharp contrast with the horizontal form of the
exteriors and the dark enclosure of the concert halls.
The existence of the double envelope acts as a sound buffer as
well as an in-between space. Visitors are more likely to perceive
their experience as more three dimensional when they enter
the in-between area. It opens the suggestion for more
possibilities rather than just an entrance and exit. The design of
the lobby- with clean concrete surfaces and metal cladding
details suggests movement to the user instead of staticity. The
metal skin of the concert hall has a strong horizontal alignment
and is punctuated at intervals with vertical steel elements. This
allows it to remain dynamic without being too overpowering.
The initial impression of the concert hall is designed to be
nothing short of breath-taking- it is the only large structure in
an otherwise flat context. It captures attention in the line of
sight even from a distance.
I m a g e 3 . 4 E x t e r i o r
D i a g r a m 3 . 5 S e c t i o n a l
P e r s p e c t i v e
When approaching the concert hall, the curved exterior of the
concert hall creates visual continuity for the visitors- their focus
is not on a specific or particular element in the building. The
element of continuity implores users to gain a sense of
curiosity and walk around the perimeter of the building to find
the entrance. The entrance itself is designed to be arresting-
the circular form is broken where the entrance is.

M A T E R I A L S
D i a g r a m 3 . 6
S t r u c t u r a l c o m p o s i t e
e x p l o d e d a x o n o m e t r y
The roof itself is composed of light metal trusses supported by the masts and
suspension cables for 200-foot spans. Metal is chosen for the roofing as it is strong
and lightweight. It gives the auditorium the same feeling as the ‘in-between’ space
where there is the presence of concrete and metal. The combination of this material
produces a brutalist feeling, exposing the nudity of the materials chosen.
Concrete used in inner shell acts as a
heat insulator and sound buffer. Pre-
cast concrete used in interior creates
a very “raw” ambience, somewhat
shimmering which Bernard wants.
4 . 3 . 2 T R A N S P A R E N T S E A T S I N A U D I T O R I U M -
P L A S T I C
Bernard’s intention is to create contrast of people, highlighting the silhouettes of
people, motion of bodies, and their transitionary and transitional arrangements
inside and against the concrete shell that supports the weight. The use of
transparent plastic seats gives emphasis to the nudity of pre-cast concrete in the
auditorium hall. (Refer to diagram 3.3)
The auditorium is designed so that spaces may be closed off, depending on the
various entertainment or political functions taking place. The front section of the
transparent, acrylic plastic, folding seating is movable, and a plenum below the floor
delivers air through the seating areas. (Refer to image 3.6)
D i a g r a m 3 . 7 s e c t i o n
I m a g e 3 . 7 A u d i t o r i u m
R O O F I N G - M E T A L T R U S S E S
S T R U C T U R E - C O N C R E T E
The exterior metal skin (intended to be aluminium, but ultimately steel, for heft)
that encloses the building proper; the other, the inner concrete shell around the
auditorium.
The metal skin is used as a ventilation system
where air flow is apparent throughout the ‘in-
between’ space.
The space between the two envelopes is devoted
to the lobby, cafe, and a dynamic interweaving of
ramps and stairs.
F A Ç A D E - M E T A L S K I N
I m a g e 3 . 6 C o n s t r u c t i o n o f
s t r u c t u r e
I m a g e 3 . 5 M e t a l s k i n
25
4 . 3 . 1 S T R U C T U R E

4 . 3 . 3 G L A S S E D - I N E N T R A N C E
The entrance is the result of 2 overlapping ellipses from 2
different points in the auditorium. This is to accommodate
changes in topography without the need for a plinth. The
Fenestration pattern of this complex is across the horizontal
axis of the metal skin. Allowing diffused light to enter, lighting
up interiors fairly. The light exterior enclosing wall of
corrugated steel is pierced with an upper band of fenestration
and braced with curved ribs that continue to the ground
The corrugated, steel-clad concert hall and a rectilinear
exhibition wing of aluminium and glass partially enclose an
outdoor exposition area. The lightweight truss roof of the
concert hall is suspended by cables from three masts, while
the exhibition hall's roof is an arched truss system.
Poured-in-place and precast concrete are used for floors,
ramps, and open-riser stairs of skin is composed of two layers
of metal with insulation between, while HVAC ducts are
placed perfunctorily over the glazing around the base.
The concrete structure's Piranesian spaces are dramatized by
the uplights on the columns, and by daylight admitted through
the band of glazing on the upper part of the outer envelope.
Open-riser stairs and linear steel handrails also heighten the
sense of porosity and interpenetration of space.
C O N C R E T E
S T E E L
I m a g e 3 . 8 E x t e r i o r
D i a g r a m 3 . 1 1 I n t e r i o r
I m a g e 3 . 9 I n t e r i o r
I m a g e 3 . 1 1 I n t e r i o r
I m a g e 3 . 1 0 I n t e r i o r
26

C O N C L U S I O N
P L A S T I C G L A S S
Z E N I T H C O N C E R T H A L L |
Clear plastic seats used in auditorium hall to highlight
the silhouettes of body motion, allowing people to see
the materiality and the texture of concrete on floor
clearly. is abundant.
Insulated Glazed Units
Placed at entrance, Insulated glazed glass units
contains a glass is separated into two layers by air.
The glass cannot allow heat through it because of air
between the layers and acts as good insulators. The
glassed-in glazed entrance ensures the regularity of
temperature in the complex.
Glass used in complex to differentiate exterior and
interior. Glass allows penetration in to the ‘in-
between’ space lighting the interior fairly, exposing
the combination of concrete and steel.
Laminated glass
Laminated glass is used in all windows throughout
the whole exhibition and concert hall complex. When
laminated safety glass breaks, the broken pieces of
glass stick to the internal tear-resistant plastic layer.
The pieces do not break away and the broken sheet
remains transparent. This adds safety to the users.
The glass also increases privacy by reflection.
The materials used of the seat is a Polystyrene. General
Purpose Polystrene (GPPS), also known as crystal-
clear polystyrene, is a clear polymer which exhibits
High stiffness and good dimensional stability. The seats
are strong and not easily bend or broken. The cost for
this material is cheap as it is abundant.
27
4 . 4 M A T E R I A L S U S E D I N C O N S T R U C T I O N O F T H E A C R O P O L I S M U S E U M
I m a g e 3 . 1 2 P l a s t i c s e a t s
I m a g e 3 . 1 3 I n s u l a t e d g l a s s u n i t s

C O N C L U S I O N
Z E N I T H C O N C E R T H A L L |
C O N C R E T E S T E E L
Pre-cast concrete as a major element used in auditorium
and for structural purposes. Material chosen gives a
minimalist effect to the building interior as it has no
ornamentation.
Sound walls used in auditorium walls. sound walls are
erected as a noise barrier between concert and
community in that area. Using precast concrete for as
the auditorium structure can cut noise from 115
decibels to 35 decibels as legally permitted by Rouen
city council. The walls then covered by fabrics to reduce
echo in concert hall
Reinforced concrete beams are structure made up of
Concrete which is provided with steel bars along the length
of the member. The steel bars placed in the member add
to the strength of the structure. The beams are used to
lifting the upper part of the auditorium and also to provide
structural support. The void generated used as a space for
social interaction in the ‘in-between’ space.
Pre-cast staircases
Parts of the flights and landings are made onsite. The
parts are then placed together to form custom size
ramps and stairs designated to suit to the design of the
‘in-between’ space. The railing made out of precast
concrete to attach the flight of staircases and adds safety
to the users.
Corrugated steel-clad façade.
The metal skin made out of steel consist of steel beams
to give support of the façade. The curved steel beams
forms a skeleton to provide support for the steel
cladding. Steel strips placed from top to bottom. Some
parts are laminated glass to allow light penetration.
Arch truss system
The roof itself is composed of light metal trusses made of
steel supported by the 3 masts and suspension cables for
200-foot spans. The roof gives support to the façade
which it attaches the curved steel beams from ground to
top.
This material is apparent throughout the entire complex
façade. It gives a modernist feeling to the concert hall.
The metal skin creates a visual interest along the high
way, attracting attention from viewers as the ellipse
form is dynamically striking.
Handrails
All interior hand rails and some railings are made out of
stainless steel. This element completes the overall
composition of materiality as steel matches with
concrete. The feeling created in this space is rather
minimalist and raw.
28
I m a g e 3 . 1 5 S o u n d w a l l s
I m a g e 3 . 1 6 R e i n f o r c e d c o n c r e t e
I m a g e 3 . 1 7 P r e c a s t s t a i r c a s e
I m a g e 3 . 1 8 M e t a l s k i n
D i a g r a m 3 . 1 2 A r c h t r u s s s y s t e m
I m a g e 3 . 1 9 H a n d r a i l s

Z O O P A R I S |
PARIS
ZOOLOGICAL
PARK
Project year : 2009-2014
Constructed mostly from concrete rock which after 70 years has become unsafe for habitation, the Paris Zoo’s reconstruction
builds around its important conservationist inheritance in order to preserve its identity while creating a new mode of animal
presentation and educational experience. The design team, including Atelier Jacqueline Osty for landscape design and master
planning, Bernard Tschumi urbanistes Architectes with Véronique Descharrières for the new architectural project and the group
Synthese, with Bernard Hemery for renovation and technical buildings, used techniques of immersion, visibility and camouflage to
simultaneously address the comfort of the animals in their habitats and to create a strong sensual and emotional visitor
experience. For the architects, the design concern goes beyond the decoration and mimicry of nature and moves into the specific
realm and requirement of each animal. The priority is not to create architecture in the traditional sense of the term for the zoo,
but to instead create specific mediums so as to hide, complement or blend the buildings into a natural setting, allowing for a new
sense of immersion never before seen in zoo design.
I m a g e 4 . 1 P a r i s Z o o l o g i c a l P a r k
29

5 . 2 . 5 S I T E C O N T E X T
5 . 2 . 3 C I R C U L A T I O N
5 . 2 . 2 L A N D S C A P E
5 . 2 . 1 C A G E S T R U C T U R E S
5 . 2 . 4 S P A T I A L E X P E R I E N C E
The dense green mass is revealed over the 4-km
circuit that offers visitors multiple points of view. The
main, ribbon-like circuit enables people to move
through all the biozones for an overall view of the
gardens, while byways allow them to deepen their
understanding of their experience and discoveries,
all of which are there to surprise.
The park's forested surface area has been increased
by 40%.In total, 171,000 plants accounting for 870
different plant species have been planted on the site
and in the greenhouse: 2,258 new trees, including
native species (maple, hornbeam, rowan, holly,
privet, oak, hazel, etc.) and more exotic trees
(banana, goldenrain, nothofagus) tropical essences in
the greenhouse (amboyant, traveller's tree, papaya,
etc.)over 150,000 shrubs, perennials,grass types and
aquatic plants.
The new Vincennes Zoo is thus composed of five
biozones: Patagonia, the Sudanese Sahel, Europe,
Guyana and Madagascar with a sixth, Equatorial
Africa, to be completed at a later date.
The lengthy and complicated process of establishing
the animal collection plan for the zoo was carried out
by zoo technicians from the Museum as well as a few
outside technicians. Another issue was animal
welfare and comfort standards within the zoo
complex. This resulted in the exclusion of a few
species that could not manage to be comfortably
held in captivity.1
2
3
4
5
Surrounded on both sides by extensive greenery, the
air quality and temperature inside the zoo is
optimum for both the animals and the visitors. As for
the third side which is facing the city, it is made sure
that only residential buildings are there and no
factories or shops are present to maintain the air
quality around that area. Other than that, with a few
bus stops nearby specially for the zoo, accessibility is
made convenient for the visitors
D i a g r a m 4 . 1 P a r i s Z o o l o g i c a l P a r k
Z O O P A R I S | 30

5 . 2 . 6 U S E R E X P E R I E N C E
6
6
2 EUROPE: A STROLL IN THE WOODS
This biozone is the only biozone that is created to mimic the local landscape. Its
main purpose is to raise awareness in the public sector about Europe’s biodiverse
natural land. The vegetation is diverse and acts as a sort of dense green backdrop
for the separate animal enclosures. Separate enclosures have differin g sets of
vegetation and this allows the user to relate each animal with a different setting.
The visual impact on the landscape was also considered when creating the rocks in
the wolf enclosure- the natural hierarchy in the wolf packs was seen as crucial but
the rock formation also fits into the surroundings without creating a contrast in
visual continuity.
3 GUYANA: THE TROPICS UNDER A BELL JAR
The Guyana biozone houses a multitude of enclosures that boast climate
differences-for example a tropical climate and its following vegetation. By utilizing
the small enclosed space instead of seeing it as a setback, a successful contrast
between this biozone and the one before it was crafted. A play on water and the
stark difference in temperature suggests to the user that the space is a more
secretive, intimate one. The water sounds can be heard long before the waterfall
actually comes into sight. This piques the parkgoers’ interest and curiosity.
1 MADAGASCAR: THE ISLAND’S TWO FACES
This biozone is composed of two very different forests- a tropical one as well as a
dry one, each with their own different ecosystems. Certain elements in these
areas retain similarities- they both share the element of verticality. The bamboo
that sticks straight up arrests attention, as do the tree trunks and supporting
infrastructure. The parkgoers notice these vertical elements and visualize contrast
with the horizontal landscape. In order to have a solid difference between the two
ecosystems, the placement of landscape is arranged so that one of the ecosystems
is hidden by dense vegetation. This gives the feeling that there is a stark
separation between the two without the need for an actual border.
The zoo was completely rebuilt on a new concept which was far
from having animals exhibited like in some amusement park.
Today the zoo is organised into five major natural environments
(called biozones). Everything was designed as to recreate the
most natural habitat possible for the 190 species. Along the
pathways, a series of instructive panels indicate which species
are endangered and why. Some of them can be found
throughout the park inside exploration pavillons with video
screens and interactive displays.
1
2
3
4
5
D i a g r a m 5 . 2 Z o n i n g o f P a r i s
Z o o l o g i c a l P a r k

5 THE SUDANESE SAHEL: A PLAIN STRETCHING TO THE FOOT OF THE GREAT ROCK
The Sudanese Sahel is made out of a large, vast plain with a seemingly unbroken horizon and is the largest biozone on the Paris Zoo.
The flat planes are made to stretch and end at the foot of the ‘Great Rock’. How this was achieved is by making the Great Rock tall
and commanding- it is also the only vertical structure in a largely horizontal landscape. The sightline is broken abruptly by the tall
structure, immediately drawing the user’s attention to it. When separating the different enclosures without the use of visually
distracting walls, the zoo employed the use of ha-ha walls- trenches dug into the ground and filled with plants that act like fences.
When viewed from a low point, this creates an undulating landscape that is rich in volumes. the zoo also attempts to use ‘framing’ to
create specific places at which to view the animals in harmony with the background and the landscape. All the elements combine to
create a ‘picture-perfect’ view for the park-goers.
U S E R E X P E R I E N C E
In Patagonia, the sense of space in park-goers is heightened by the removal of the surrounding boundaries, more particularly, the
vertical elements that line the area. Due to the lack determent in vision, the park-goers’ sightlines are effectively extended further,
towards Daumesnil Lake. This continuum is enhanced further by the colour of the ground. Dark colours are utilized in the form of
sand and gravel to transport the user to this specific area. Although visually unified, the pools in the sea-lion and penguin enclosures
allow for some variety in the way they are arranged. This serves to spark interest in the park goers in an otherwise continual
landscape. These elements then create a harmonious landscape that is horizontal yet has hidden curves when explored in depth.
4 PATAGONIA: VASTNESS IN MINIATURE
I m a g e 4 . 5 P a t a g o n i a I m a g e 4 . 6 P a t a g o n i a
I m a g e 4 . 7 S u d a n e s e S a h e l

Animal welfare is at the heart of the new Vincennes Zoo design. Animals move about in enclosures where they can hide in recesses
from prying eyes. To give maximum pleasure to visitors, Atelier invites them into “the picture” through the use of expansive bay
windows, enabling them to discover enclosures and their occupants in their best light. Designed with thin anthracite-colored
metallic structures like art objects are placed in strategic places, offering unusually close proximity to animals.
The strength and type varies depending on the animal
and other safety features incorporated with the
enclosure. In most situations is laminated (impact
resistant) glass, also referred to as hurricane glass.
According to the last set of plans I looked at relating to
this, the glass specified was two pieces of 1/4″ Heat
Strengthened Tempered Glass sandwiching an
interlayer that was between 1.5mm and 2.3mm thick
creating an overall glass thickness of roughly 14mm to
about 20mm thick.
Focusing on the interlayer, this is what gives the glass
its strength and resistance. The interlayer is PVB
(Polyvinyl butyral) layer. It minimizes the chances of the
glass being penetrated by sharpened object, protects
against break-ins and vandalism, and can withstand
repeated blows from blunt objects such as hammers,
bricks, and so on.
5 . 3 . 1 W I N D O W S I N T O L A N D S C A P E
They stress the staged composition by framing little bits of
theatre such as lions or wolves perching on rocks, pumas
stretching along a branch or the aquatic games of otters and
penguins, with each view being specific and echoing a staged
landscape. Offering depth of field or zoom-ins on rocks, tree
trunks and groves, these windows are part and parcel of the
circuit. They are also educational tools enabling observation
of the animals and their ways of life without disturbing them.
T E M P E R E D G L A S S
I m a g e 4 . 8 P a t a g o n i a
I m a g e 4 . 9 P a t a g o n i a
D i a g r a m 4 . 3 T e m p e r e d G l a s s

5 . 3 . 2 T H E G R E A T R O C K
L A N D S C A P E D R O C K S , R O C K - C L A D B U I L D I N G S
Atelier structured its brief around the Great Rock. An iconic element in the zoo’s and even Paris’ skyline, an urban benchmark, the
Rock was renovated in the 1990s. The rock theme and its many permutations are the essentials of the surroundings and are
present on all scales. Although certain “landscape rocks” seem to exist solely to adorn a view, they fulfil various functions, not only
protecting plant life and defining enclosures but also for animal well-being as they facilitate feeding the animals and quenching
their thirst.
The landscaped rocks in the rhinoceros enclosure, for
example, are the zoo’s only ones that are not hollow but
fully filled because they would have quickly been damaged
by such powerful creatures. Not all the rocks are new,
however. Some are vestiges from the old zoo and have
been preserved as specific heritage and amply displayed,
such as those in the pond in front of the entrance to the
greenhouse.
The technique for building the Great rock had been
acquired to produce manmade rocks one by one, but
frameworks of different textures have been used for each
biozone. The steel rod acts as the skeleton of the rock
around which specific concrete was poured. The rock was
then hand sculpted and given a patina. Each rock was
designed with the help of the museum’s staff to avoid any
danger to the animals. They couldn’t be too steep or too
flat and also to needed to be designed so that hooves or
horns wouldn’t get stuck in them.
I m a g e 4 . 1 0 S u d a n e s e S a h e l
I m a g e 4 . 1 1 P a t a g o n i a I m a g e 4 . 1 2 M a d a g a s c a r

Three dimensional filter applied to the facade of the shelter and associated with the spaces of enclosure, in order to create a visual
depth for the landscape. The use of timber on the facade creating the nature view and unpolished timber provide a rough texture on
the facade to generate the wildness of the Madagascar zone. Uncovered wooden beams act as "filters" to protect animal shelters and
visitor centres. The wood is larch wood, of local origin. The wood helps to filter the light and reduces the heat gain in practical
envelopes, reducing energy bills.
Larch wood is very durable. It is also effective at enduring
knocks and scrapes, making it a popular choice for zoo
fences. For most larch wood cladding projects the boards are
left untreated in order to demonstrate the natural product to
its full effect. Little or no maintenance is required on the
boards making it a long-term cost effective cladding solution.
Larch wood cladding can be cut and fitted in many different
ways, making it a diverse material to work with. It can be
installed both horizontally and vertically, cut straight or with
naturally shaped edges.
5 . 3 . 3 T I M B E R F A Ç A D E F E N C E
L A R C H W O O D
D i a g r a m 4 . 3 A n a t o m y o f A v i a r y

The zoo’s aviaries break the image of simplistic boxes and
cages covered by heavy metal nets. All references to pet
shops, farms, urban settings or wire fencing have been
eradicated. The steel-tube structures of the five
landscaped aviaries.
5 . 3 . 4 A V I A R I E S
A metallic galvanised framework provides the desired
shape, supporting an arbour on which mortar is sprayed
(a mix of sand and cement). The 1st layer is then shaped
and striated, while the second is sculpted to give the
desired texture and to create false cracks. The patina is
carried out by painters using an airbrush gun to build up
the right shade of grey in accordance with the setting, as
well as to create the illusion of lichen and moss. Each
measuring between 1 and 6 metres high, the new
imitation boulders serve to demarcate specific zones,
hide animal and handler movement and to structure the
pens and runs.
5 . 3 . 5 M E T A L L I C G A L V A N I Z E D
F R A M E
The net and wire-fencing mesh (in metal or polyethylene)
was determined according to the animals in each aviary.
This means not just birds but also primates and the big
cats, in other words all climbing animals. The technical
work itself disappears into the landscape hidden by the
color black or by imitating posts and tree trunks. Although
the aviaries were designed as a consistent and unified
whole, each one houses particularities according to its
occupants and the ground it stands on.
D i a g r a m 4 . 4 A x o n o m e t r y o f A v i a r y
D i a g r a m 4 . 5 F e n c e
I m a g e 4 . 1 4 A v i a r i e s

C O N C L U S I O N
T I M B E R G L A S S
5 . 4 M A T E R I A L S U S E D I N C O N S T R U C T I O N O F T H E P A R I S Z O O
Aviaries
The aviaries in this zoo is covered by the laminated
glass, the covered glass creating the greenhouse effect
to the space and allow the plants and animal live in a
comfort habitat. The greenhouse effect refers to
circumstances where the short wavelengths of visible
light from the sun pass through glass and are absorbed,
but the longer infrared re-radiation from the heated
objects are unable to pass through the glass. This
trapping leads to more heating and a higher resultant
temperature.
Glass is a versatile material which has many different
properties and uses, that it has presented Architects
with many new possibilities and designs. Glass is a
transparent hard substance created by the application of
heat to sand or quartz
The strength and type varies depending on the animal
and other safety features incorporated with the
enclosure. In most situations is laminated (impact
resistant) glass, also referred to as hurricane glass.
Focusing on the interlayer, this is what gives the glass its
strength and resistance. The interlayer is PVB (Polyvinyl
butyral) layer.
Window
Transparent laminated glass provide the clear view for
the visitor and able to enjoy the depth of designed
animals habitat. It also allows the visitors to feel
completely immersed with the surrounding nature due
to complete visual clarity.
Laminated glass
Timber is an ingenious building material that is gaining
increasing significance: it is renewable, sustainably
cultivable and preserves the environment due to its
ability to store CO2. New technological developments
and construction techniques pave the way to innovative
timber building designs such as higher buildings with
ten storeys and more.
Larch wood cladding is a very durable exterior cladding.
Its life span is at least 50 years, but has been known to
last much longer. Little or no maintenance is required
on the boards making it a long-term cost effective
cladding solution. Larch wood cladding can be cut and
fitted in many different ways, making it a diverse
material to work with. It can be installed both
horizontally and vertically, cut straight or with naturally
shaped edges. That is why it is used as the facade as it
can form different shapes and create the depth of the
facade and roofing.
Polished larch wood creates a more compact, clean
finish. Polished larch wood project clean and tidy lines
which could direct the visitors’ vision and lead them to
the next biozone. Wavy polished larch wood becomes a
dynamic element in this zoo and it succeeds making the
spaces more alive.
Raw larch wood facade of the shelter create a visual
depth for the landscape. The use of raw timber on the
facade creating the nature view and unpolished timber
provide a rough texture on the facade to generate the
wildness of the Madagascar zone. Uncovered wooden
beams act as "filters" to protect animal shelters and
visitor centres.
Raw larch wood
Polished larch wood
D i a g r a m 4 . 6 F e n c e w i t h
w o o d e n s l a t s
I m a g e 4 . 1 6 P a t a g o n i a
I m a g e 4 . 1 7 A v i a r i e s

C O N C L U S I O N
S T E E L R O C K
Stainless steels are corrosion resistant. It is suitable to
use in humid weather country such as europe. It has a
low carbon content Stainless steel contains the alloy
chromium and can also include nickel or molybdenum.
Stainless steel is strong and can withstand high
temperatures and low temperatures so its a popular
material in four seasons country. There are more than
100 grades of stainless steel, making it an extremely
versatile material that is customizable depending on
your purpose.
An I Beam, also known as an H beam or a universal
beam. The web is capable of resisting shear forces, while
the horizontal flanges resist most of the beam’s bending
movement. The I shape is very effective at carrying shear
and bending loads in the web’s plane. The construction
industry widely uses I beams in a variety of sizes.
stainless steel I beam is used to connect the wood slats
and black-coated metal cladding.
Steel frame is use as the border for all of the glasses in
this zoo. Steel frame is used because it can support the
glasses and shaped it in the right view. They are flexible,
which makes them very good at resisting dynamic
(changing) forces such as wind or earthquake forces. A
wide range of ready-made structural sections are
available, such as I, C, and angle sections.They can be
made to take any kind of shape, and clad with any type
of material. A wide range of joining methods is available,
such as bolting, welding, and riveting
Steel frame
I beam
Stainless steel
The addition of manmade rocks was critical towards the
welfare of the animals in this particular biozone.
Produced by casting around an iron rod, they are hand
sculpted and given a specific patina. Their designs were
carefully calibrated to avoid being too steep or too flat-
crucial in reducing risk towards animal habits in this
habitat.
In other enclosures, namely the rhinoceros habitat, the
manmade rocks are the only ones that are fully filled
instead of hollow due to the strength of the creatures.
This is to reduce damage done to these rocks. The
preservation of rocks from the old zoo as heritage were
also taken into account and put on display in the current
zoo.
The “Rock” remains as one of the most iconic elements in
the zoo since being renovated in the 1990s. The constant
theme of rocks in this biozone along with its multitude of
placements and arrangements are what creates interest
and variation in the horizontal landscape. Besides an
aesthetic and visual element, these rocks fulfil various
other functions, namely to support the naturally
occurring fauna and to reinforce the natural landscape
D i a g r a m 4 . 7 F e n c e w i t h s t a i n l e s s s t e e l s t r u c t u r e
D i a g r a m 4 . 8 m a n m a d e r o c k s
I m a g e 4 . 1 8 G u y a n a

A T H L E T I C C E N T E R |
RICHARD E.
LINDNER
ATHLETICS
CENTER
Project year : 2013
The architect Bernard Tschumi created a design that was highly conceptualized when designing the Richard E. Lindner Athletic
Center. When deciding the context or site for this multipurpose athletics facility, Bernard Tschumi chose a site that was located in
between the many sports departments of the university. Even though this location proved to be convenient for a multitude of
reasons, the problem remains that the site is squeezed into a boomerang-like shape by many existing fields, a stadium and a
recreation center. The plan was to create a hub for all the departments, a space where everyone could utilize as a communal
area. Another important concept in the creation of this center was that it was meant to be a centralized terminal- for this,
Tschumi envisioned an atrium-like space that spanned the entirety of the center. This atrium would be full sized- encompassing
all five floors. To achieve this particular and unique form, a steel diagrid frame was created and this effectively rendered the
building column-free. What this produced was a five-story truss that allowed ample space for five floors.When viewing the
exterior, what can be seen is a façade that is arresting and sharp. A series of triangular shaped cutouts adorn the exterior of the
curved façade. The dramatic interior and exterior are highlighted by the ‘Heritage Hall’ installation that showcases the many
achievements of the university in regards to athletics. What’s more is that this center actually connects the north and south ends
of the campus- creating a connective space whose uses extend to more than just an athletic center, creating a natural path that
users gravitate towards.
I m a g e 5 . 1 R i c h a r d E . L i n d n e r A t h l e t i c C e n t r e
39

The architectural design concept was
contributed by several difficult site constraints
including an existing below-ground mechanical
area with a requirement of a column-free
structure, requirement of access to existing
loading docks and service tunnels that could not
be moved. This resulted in a diagrid structure as
the building's facade was developed in response
to all these constraints as well as giving a
unique image to the building.
It's free-form curvilinear shape is designed to
take advantage of the tight constraints of the
site. The main idea of the building formation
is crafted the building to suit this site and the
university plan. The building seems to squeezed
and fit into a sort of boomerang shape by
turning 90 degrees within an alley-sized space
between a new arena and the school’s football
field, thus architecturally unifying many
facilities of Varsity Village, joining the north and
south entrances of the university campus with
the five-story Athletic Center. Although it looks
separated from the main campus, it is actually a
part of the university
6 . 2 . 1 S I T E C O N T E X T
A S T R U C T U R A L E N V E L O P E
D i a g r a m 5 . 1 R i c h a r d E . L i n d n e r
A t h l e t i c C e n t r e
6 . 2 . 3 U S E R E X P E R I E N C E
40
While circulating floor by floor, the view upon
entering the five-story atrium users evokes a
sense of openness. Visual balance is achieved as
you can see the floor on both sides extending
and guiding your view to reach the middle,
overlooking an escalator that connects every
single floor. An open atrium enhances the space
by bringing natural light from top, as users look
at the top of the building, they are able to see
the skylights that illuminate the whole interior.
This brings about a sense of spirituality and the
entire space looks wider than it actually is.
As you first enter the building through the main
entrance at ground floor, the red monumental
stairs contribute to the feeling of upward motion
and enormity. Zig-zag lines of stairs extend
upward, leading your view from below to the top.
It serves as the emphasis for the whole space,
linking to the upper floor. It catches the user’s
attention with its vibrant red that provides users
with a sense of strength, power and passion. Black
and white pictures from photo gallery record past
achievements of athletes, reminding users of their
historical moments.
Entering the upper floor, users are able to walk
around to the open corridor with glass handrails.
This brings a sense of clarity and openness to
surroundings. Diagrid walls that are made with
precast concrete panels display a diverse and
modern visual appeal. The continuity between
designs makes you feel in awe and evoke an
energetic feel. The juxtaposition of concrete and
glass walls work together to depict a sense of
solid and void, allowing users to feel enclosed
inside a space.
I m a g e 5 . 3 S t a i r s
I m a g e 5 . 4 c o r r i d o r

6 . 3 M A T E R I A L S
6 . 3 . 1 S T E E L
Insulated structural steel frame with 575 precast
concrete cladding panels allow the building to
bypass the typical issues of facade composition.
For example, excess heat can be insulated by
steel frame that coated with spray-on material,
preventing the building from overheating when it
is exposed to the sun during summer days in USA
as well as function as fire protection towards the
interior. Plasticity and ductility of steel prevent
the building’s structure from sudden cracks or
collapsing during earthquakes.
In Warren Truss, the diagonal members are placed
alternatively to create a shape of W, forming alternately
inverted equilateral triangle-shaped spaces along its
length. They have equal compression and tension without
bending or torsional forces on them. It also requires less
numbers of members compared to other types of steel
trusses, providing the building with an immense strength
to be built up to five stories. This configuration combines
strength with economy of materials and can therefore be
relatively light.
The diagrid (diagonal grid frame) was wrapped
into the shape of the building, forming an
exoskeleton that supports the weight of the
building’s interior and allows the envelope to act
as a continuous truss bridging the spaces below. It
is a highly efficient structural system in which
column elements are laid out in a diagonal pattern
at relatively close spacing.
I m a g e 5 . 5 C o n s t r u c t i o n p h a s e
I m a g e 5 . 6 D i a g o n a l g r i d f r a m e
D i a g r a m 5 . 2 D i a g r i d
A T H L E T I C C E N T E R | 41

Curvy facade with precast-clad triangular cutouts wrap the
form of whole building and squeeze all athletics department
into a whole building and arrange around a soaring five-story
atrium.
The Lindner Center was finished with light gray, light
sandblasted precast concrete panels. The natural color of
concrete appear on the facade, demonstrating the sincerity
to materials with a pure and clean sense. It smooth texture
built consistently seems well-fit with the complex triangular
cutouts, performing an aesthetic appearance.
Concrete was chosen as the main material for the facade
because concrete can be used to absorb heat in order to
keep the interior of a building cool throughout the day.
Natural ventilation can be used to cool the concrete down
and warm the room.
With the steel diagrid in place, the precast
panels began arriving on site for staging and
installation. The complex geometry of the
Lindner Center required the creation of 145
unique shapes out of 567 total precast
concrete panels. Because of space limitations
on site, there was limited staging room which
made assembly of components difficult. This
again played to the strengths of precast
because the panels were fabricated off-site
while the steel frame was erected, then
brought on site for installation.
6 . 3 . 2 C O N C R E T E
Precast concrete construction rises to all the
challenges of modern buildings in terms of
energy efficiency, moisture control and
durability, while requiring minimal maintenance.
It is resistant to rain penetration and wind-
blown debris. Unlike materials that deteriorate
quickly, it can withstand winters of freeze-thaw
cycles in United States.
D i a g r a m 5 . 3 P e r s p e c t i v e
D i a g r a m 5 . 4 S t r u c t u r e o f f a c a d e
42

Glass is featured heavily in the interior of the building-
allowing an abundance of natural light into the enclosed
space. The transparency of the material opens up the interior
and gives clarity to the entire inside of the structure.
The precast panels were made with one
downward pointing triangle window in the
middle. The sides of the panels and the bottom
of the panel above framed the upward pointing
triangle windows. To accommodate flat glass,
and to facilitate their removal from the precast
molds, the panels were designed with non-radial
window returns. Panel bottoms had a curved, 30
degree slope.
Glass railing designed at the both side of every walkways
included staircase throughout the whole building, showing an
aesthetic appearance, provide zero coverage towards users’
activities at walkways. The circulation can be clearly observed
to allow users to interpret directions easily.
6 . 3 . 3 G L A S S
L A M I N A T E D G L A S S
Inside, windows were installed with two pieces of
right angled triangular glass each, framed to
form an isosceles triangle. Having two pieces of
flat glass accommodated the building’s curvature
while keeping control of costs. The frames were
recessed 14 to 15 inches into each
panel. Inverted flat-pane triangle windows are
contained within the precast panels; upright
triangle windows are fitted between the precast
panels.
I m a g e 5 . 1 0 I n t e r i o r
I m a g e 5 . 1 1 W i n d o w
I m a g e 5 . 1 2 W i n d o w ( I n t e r i o r )
43

Precast concrete cladding panels installed onto the facade, giving the exterior
of building a clean and smooth texture while portraying strength towards
building. Concrete cladding is inserted to prevent the spread of fire and
minimises air leakage from inside of building.
C O N C L U S I O N
C O N C R E T E
6 . 4 M A T E R I A L S U S E D I N C O N S T R U C T I O N O F T H E A T H L E T I C C E N T R E
Precast concrete columns were erected to allow space to be created by carrying
the load of the building with its high compressive strength. “V” columns were a
logical extension of the diagrid design theme, and minimized the number of
columns required to support the structure. Column covers completely enclosed
the steel columns.
Precast concrete walls increase the stability of the building due to its
triangulation. It does not deteriorate, experience or undergo excessive stress,
lose strength or deflect over time. It provides excellent protection
against impacts from explosions while requires little or no maintenance,
I m a g e 5 . 1 3 C o n c r e t e f a c a d e
I m a g e 5 . 1 4 P r e c a s t c o n c r e t e
c l a d d i n g p a n e l s
I m a g e 5 . 1 5 V c o l u m n s
I m a g e 5 . 1 6 I n t e r i o r

C O N C L U S I O N
G L A S S S T E E L
Laminated glass used to provide UV-resistance, security
and safety. It acts as an effective barrier for sound and
protects users from sound annoyance from outside the
building. Its excellent break-in protection also protects
users in interior from flying objects due to sports activities
happening at the stadium outside. In considerations of
thermal and solar-control, Insulated glass reduces solar
heat gain internally, allowing sunlight to pass through a
roof window while radiating and reflecting the vast
majority of the sun’s heat outside. As a result, the skylight
can still allow abundant levels of natural daylight into the
building, to maintain a comfortable and pleasant
environment.
Stainless steel railing system is installed by attaching it to
the laminated glass railing because it is durable and
reliable due to its resistance to rust as well as corrosion.
Handrails in the interior are made of laminated glass. It is
a safety glazing material as the sandwiched interlayer
gives the glass structural integrity and keeps it from
shattering apart to ensure users' safety.
Frosted tempered glass provides the same open plan feel
with just as much natural light as any other type of glass,
without compromising privacy as it obscures the view
from the exterior of the building.
I m a g e 5 . 1 7 S t a i r w a y
I m a g e 5 . 1 8 F r o s t e d g l a s s
I m a g e 5 . 1 9 C o n s t r u c t i o n p h a s e
I m a g e 5 . 2 0 S t a i r w a y
It can last for a long period without compromising its
aesthetics. It adds more protection as well as security to
the users circulating around the building.

C O N C L U S I O N
A L E S I A M U S E U M
The use of steel in the Alesia Museum is not as the main support or structure. Rather, it is used as an intermediary
material. It is used to support the tertiary structure-the wooden herringbone façade. Steel remains only as a secondary
construction material in Alesia Museum- but it also contributes towards the overall aesthetics of the building in more
minor aspects. The small details like the frames and handrails and made of steel and create a very polished, sleek look
for the visitors.
A C R O P O L I S M U S E U M
The Acropolis Museum utilizes steel in a slightly unconventional way. Other than using it in the construction of the main
structure, the entirety of the east and west facades are also crafted out of steel and have a sleek finish. The use of the
vertical steel panes are rationalized by contrasting it with the largely horizontal form of the Acropolis Museum. The metallic,
sleek finish of steel also stands out firmly from the mirrored surface of the glass exterior. Its uses in the structural integrity of
the building are not forgotten but nevertheless- the hulking steel panes that make up its exterior are what truly arrest the
attention of the visitors.
R O U E N C O N C E R T H A L L
This building really takes advantage of steel in all its aspects. The exploration of steel is very evident- most of all in its
striking façade- a hollow shell made of insulated corrugated metal. What it portrays to users is that of steel in a vastly
different form- it gives the feeling of flexibility and permeability, whereas steel is usually seen as bulky or sturdy. Steel is
also seen in the sleek masts that hold up the spans of the building- creating a vertical landmark and increasing visibility for
an otherwise monotonous form.
R I C H A R D E . L I N D N E R A T H L E T I C C E N T E R
Although the main purpose of steel in this building is structural, there is a very unique and different approach to the
situation. Rather than having the form of the building determine the placement of the steel supports, this building does
exactly the opposite. The façade of the Athletic Center is predetermined by the steel truss that serves as the base of it.
Since the building has no other structural supports save the steel truss, the element of steel in this building manages to be
both structural and aesthetic at once. This creates a distinctive component that is largely unseen in commercial buildings
nowadays.
P A R I S Z O O L O G I C A L C E N T E R
Even though steel has little place in a natural environment, the Paris Zoological center manages to successfully integrate it
into its surroundings. The basic uses of steel here include as structural support for the buildings- but the standout
component here is the large steel truss that encompasses the atrium. The steel seamlessly flows into the surroundings- this
is because the connective areas are cleverly hidden behind the landscape of the area, eliminating any sense of artificiality
from the atrium. Another large use for steel is the fence that mimics the form of the elephants- immaculately allowing a
harsh material like steel to integrate with the natural context. In summary, the clients managed to utilize steel to its fullest
potential while successfully masking its industrial look and feel in the natural environment.
7.1 S TEEL
Steel is an alloy of iron and carbon and it is widely used in construction-mainly for infrastructure and large or
small scale buildings. Its high tensile strength and relatively low production cost make it very suitable for a
wide number of applications. Steel is also very adept at holding its shape after it has been bent or reshaped.
46

C O N C L U S I O N
Glass is a tough material that is completely see-through. Its other properties include resistance to heat, pressure as well as breakage.
Its unique combination of qualities allow it to be used in a wide variety of instances during building construction. Although glass is
commonly fully transparent, there are many kinds available that have different uses for different situations.
Glass, although widely used in the construction of the building, is not a main material in the Alesia Museum. Its uses are mostly
secondary and work to tie different materials together. Separate elements of the museum are tied together by the use of glass- for
example the glass walls in the upper gallery allow visitors to completely look through and see the main façade. Here, glass also serves
to tie the outside context to the interior of the building, like in windows and skylights. It promotes the use of natural lighting rather
than artificial lighting.
When viewing the Acropolis Museum from a distance, what captures the attention of the visitors are the largely glass facades. In this
building, glass has a wide range of uses aesthetically and functionality wise. As one of the main materials, it is used to connect and
unify visitors to not only the excavations but also to the current city. It lets visitors experience something emotional and elevates the
meaning of their visit. Functionality of glass is also considered- as it is used to provide natural light to many parts of the museum and
creates an ambience of curiosity. Suitability of glass in this context is apparent.
The use of glass is fairly minimal, and is only used at the entrance of the Rouen concert hall. It creates visual interest when breaking
the continuum of the metal façade and also allows light to seamlessly flow in and out of the structure. For this building, the emphasis
is placed on the aesthetic uses and only mildly on the functionality.
Rather then the exterior of the building, glass is mostly used in the interior of the Athletic Center. It is used to magnify the feel and
the ambience of the athletic hub. Glass is used in the windows, railings and other exhibits. Due to the abundance of natural lighting,
glass enables the interior to be really illuminated as the sunlight is reflected and refracted off the many glass surfaces inside. Users
can really perceive that glass is more than just a transparent material- it is multidimensional.
Here, the main purpose served by glass is more functional than aesthetic. The main reason for the large quantity of glass is to bring
the visitor closer to nature. Glass is able to create the illusion of a barrierless and borderless experience, which is why it is used in
place of a ceiling in the case of the atrium. Also, when viewing animal enclosures, glass panels are used to allow the user to have the
“perfect” framing without placing them in harm’s way. Because of its properties, glass allows for a fuller experience without having to
sacrifice visual clarity.
7.2 GL ASS
47

C O N C L U S I O N
7.3 C O N C R ETE
48
C O N C R E T E
Concrete is a man-made material that consists of Portland cement combined with water and an aggregate. Concrete is so widely
used in the construction of buildings due to it being low-cost and having a long lifespan. Concrete is also very low maintenance
and can be shaped easily prior to drying or hardening, allowing for a variety of shapes to be formed.
The primary structure of Alesia Museum is made out of large concrete floor slabs, further stabilized by sturdy concrete pillars that
were later erected. Concrete was used to withhold the secondary as well as tertiary structure- meaning it had to be very sturdy and
stable. It cannot be seen when looking from afar but the interior of the entire structure is made of polished and sandblasted
concrete. Concrete pillar serve an aesthetic and functional value- holding up the second floor of the museum while creating an
ethereal feel for visitors that pass through. The use of concrete here is the perfect marriage of function and aesthetics.
In the Acropolis Museum, concrete is also used in equal capacity for function as well as for aesthetic value. The clients utilized
concrete to create a raw, industrial feel for the interior of the structure. Pillars of varying sizes give different feelings to the visitors-
large pillars may serve as a welcoming tool whereas the smaller pillars form a neutral backdrop for the exhibits. The concrete walls
also make use of circular cutouts to create acoustical dampening.
The inner shell of the concert hall is fabricated from precast concrete. It creates a stark contrast with the dynamic exterior- the
concrete gives a light, streamlined finish to the interior of the concert hall. It also integrates well with the glass-as it does not portray
a dark, enclosed space. In this context, concrete is not just used for structural support purposes but also to complete the interior and
seamlessly tie it to the other materials.
The façade of the Athletic Center is made out of precast concrete panels that follow the shape and form of the diagonal steel truss.
Because of the pre-existing shape, the casted panels were done in a triangular shape- creating the iconic and recognizable exterior of
the building. This also shows that concrete can be easily malleable and shaped, unlike the usual perception that concrete is
unwielding and tough.
Concrete is also not a main element in the zoo. Although it is used in many structures around the vicinity of the zoo, it is not easily
noticeable. It is used to create rock-clad exteriors for the buildings around the enclosures and also to create fake rocks in the
different biozones. It is also widely utilized when creating the enclosures for the animals. The concrete elements in the zoological
park are easily overlooked but nevertheless crucial for the basis of the construction.

C O N C L U S I O N
7.4 WO O D
49
W O O D
Wood is a naturally occurring material that is stiff and sturdy and yet light and flexible- making it a widely sought after material
for most construction works. It has high compressive strength and is high in durability and has low carbon emissions. This
unique set of properties allow wood to suit a wide variety of construction needs.
The façade of Alesia Museum is the largest and most important element in its construction. The larch wood is used to create an
exterior that is lightweight and is able to withstand the elements. It gives the impression of intricacy and flexibility. The
herringbone patterned façade is the final and tertiary layer of its construction. In this building, wood serves to connect the
visitors to the environment and allow a play on light and shadow in the interior.
P A R I S Z O O L O G I C A L P A R K
Wood used in this extensive park is mostly for aesthetic and decorative purposes. Even so, the decorative elements are also
functional. An example is the ‘elephant’ fence-which is steel overlaid with wood in order to make it more harmonious with the
natural context. Another instance is the wooden pavilion in the transitionary space between two biozones. Its strong horizontal
lines create a clear pattern against the plain sky. This also creates light and shadow in an outdoor setting. The use of wood
creates minor but sweet nuances in the extensive land of the zoological park.

R E F E R E N C E S
R E F E R E N C E S
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September 19, 2018, from https://www.architectural-review.com/today/circular-reasoning-tschumis-interpretation-centre-
of-the-muso-parc-alsia/8630609.article
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https://www.archdaily.com/254235/alesia-museum-bernard-tschumi-architects
3. Alésia Museum and Archaeological Park Alésia, 2003-2012. (n.d.). Retrieved September 18, 2018, from
http://www.tschumi.com/projects/8/#
4. J. H. (2012, April 02). Alésia Museum Interpretive Center. Retrieved September 22, 2018, from
https://archidose.blogspot.com/2012/04/alesia-museum-interpretive-center.html
5. B. S. (Ed.). (n.d.). Architecture landscape Alésia Museum Park. Retrieved September 22, 2018, from
https://www.theplan.it/viewcorso/3074
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September 22, 2018, from https://www.tripadvisor.co.za/LocationPhotoDirectLink-g3175264-d2545457-i137996155-
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9. L. Z. (2012, July 17). Gorgeous Wood-Wrapped Alesia Museum Rises in Burgundy, France. Retrieved September 20, 2018,
from https://inhabitat.com/gorgeous-wood-wrapped-alesia-museum-opens-in-burgundy-france/bernard-tschumi-alesia-
museum5-2/
10. P. M. (2018, September 22). History Museum in France - Peter Mauss - Photographers - Esto Photographics. Retrieved
September 20, 2018, from http://ezrastoller.com/photographers/peter-mauss/history-museum-in-france
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Retrieved September 17, 2018, from https://docplayer.fr/42900329-Le-centre-d-interpretation-d-alesia-de-bernard-
tschumi-compte-rendu-d-une-visite-au-museoparc-alesia.html
12. S. (2012, September 25). MuséoParc Alésia. Retrieved September 17, 2018, from
https://ricardokambara.wordpress.com/2012/09/24/museoparc-alesia/
13. Nyawara, B. (2015, October 30). Alesia Museum in Le Pre Haut, France, a Throwback at History by Bernard Tschumi
Architects. Retrieved September 20, 2018, from https://www.archute.com/2015/10/30/alesia-museum-in-le-pre-haut-
france-a-throwback-at-history-by-bernard-tschumi-architects/
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new-Acropolis-Museum-Athens-Greece-Bernard-Tschumi
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https://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects
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Tschumi's Acropolis Museum explores Greek history

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