Construction and Architecture Magazine 09 jan feb 2011

World Architectural Wonders

Cover Story

Symbolising past,
present and future
Designed by Gensler architects, Shanghai division of the tower into nine vertical zones will supply
Tower will be symbolic of a nation whose the lifeblood of the building’s heating,cooling, water, and
power throughout with less energy and at lower cost.
future is filled with limitless opportunities.

S

hanghai Tower has emerged as one of East Asia’s
leading financial centers. It will be the second tallest
building in the world when it opens in
2014.Designed by a team of Gensler architects to embody
Shanghai’s rich culture, the 632-meter-high mixed-use
building will complete the city’s super-high-rise precinct. It
is the most forward-looking of the three towers
symbolizing Shanghai’s past, present, and future. Gensler’s
vision for Shanghai Tower has taken tangibleform after
completion of the immense foundation. Soil conditions in
Shanghai—a clay-based mixture typical of a river delta—
meant supporting the tower on 831 reinforced concrete
bore piles sunk deep into the ground.
The tower’s scale and complexity have created so
many“firsts” for China’s construction industry that more
than100 expert panels have been established to
analyzeevery aspect of the design. Workers are busy
building forms for the concrete core and erecting the
gigantic composite supercolumns—measuring 5 x 4 m. At
the base and reinforced with steel plates that weigh 145
metric tonnes each—that will provide structural support
for the tower. To carry the load of the transparent glass
skin, Gensler designed an innovative curtainwall that is
suspended from the mechanical floors abovand stabilised
by a system of hoop rings and struts. And the strategic

020 » January – February 2011 » Construction And Architecture Magazine

From the ground to the top
Workers positioned rebar and poured the mat foundation in
March 2010. The structural core takes shape as construction
moves ahead with technical complexities of the tower’s
structure, glass enclosure, and mechanical systems are skillfully
managed. Soil conditions in Shanghai—a clay-based mixture
typical of a river delta—meant supporting the tower on 831
reinforced concrete bore piles sunk deep into the ground. For
three days, a small army of workers assembled to complete the
marathon, 60-hour continuous concrete pour. When the job
was finished, more than 61,000 cubic meters of concrete had
been used to create the six-meter-thick
mat foundation. The tower’s scale
and complexity have created so
many
‘firsts’
for
China’s
construction industry that more
than 100 expert panels have been
established to analyse every aspect
of the design. Workers are busy
building forms for the concrete
core and erecting the gigantic
composite super columns—
measuring 5 x 4 m at the base and
reinforced with steel plates that
weigh 145 metric tonnes each—
that will provide structural support

Cover Story

The highlight:
Shanghai Tower completes Asia’s first
super-high-rise precinct, the centerpiece
of the city’s international financial
district. The three mixed-use towers are
interconnected, served by Shanghai

Metro, and accessible from across the
city. The Lujiazui zone in Shanghai has
gone from farmland to financial center
in two decades, resulting in a skyline
and architectural landscape that need a
unifying landmark. With a rounded
triangular footprint derived both from
the bend in the nearby Huangpu River
and from its relationship to the Jin Mao
Tower and the Shanghai World
Financial Center, Shanghai Tower will
stand as a beacon and a signature icon
for the city of Shanghai. At the same
time, it completes the precinct’s
harmonious trio of buildings and giving

the precinct its defining silhouette in the
sky. The spiraling form of the tower
rotates as it rises, signifying the
emergence of China as a global financial
power.
Innovation takes the prize:
To refine the tower’s shape, Gensler’s
team used a series of wind tunnel tests to
simulate the region’s greatest natural
force, the typhoon. Results produced a
structure and shape that reduce wind
loads by 24 percent—ultimately
yielding a savings of $58 million in
construction costs. A simple structure,
public spaces within the double façade,
and sky gardens based on Shanghai’s
traditional open courtyards will make

Shanghai Tower an unrivaled asset for
the Lujiazui district. Three important
design strategies were assimilate-the
asymmetry of the tower’s form, its
tapering profile, and rounded corner
that would allow the building to
withstand typhoon wind forces
common to Shanghai. Using wind
tunnel tests, Gensler and structural
engineer Thornton Tomasetti refined
the tower’s form, ultimately reducing
building wind loads by 24 percent. The
result is a simpler and lighter structure
with unprecedented transparency and a
32 percent reduction of costly materials.

Light reflectance off the curtain wall was
modeled using Ecotect software, which
showed that the ‘staggered’ curtain-wall
design was much more desirable. This
series of drawings illustrates the layering
of structure, composite floors, inner
skin, and exterior curtain wall. The
simplified mega-frame proved to be an
economical approach to construction.
Two
curtain-wall
schemes—
‘staggered’ and ‘smooth’—were studied
extensively. The tests revealed that a
staggered skin made of glass panels set
vertically was far superior to a smooth
skin of angled glass, which would reflect
much more light onto neighboring
buildings. The simplicity of Shanghai
Tower’s structure is a response to many
challenges: a windy climate, an active
earthquake zone, and clay based soils.
The heart of the structural system is a
concrete core. The core acts in concert
with an outrigger and super column
system, with double-belt trusses that
support the base of each vertical
neighborhood. This makes for an easier
and faster construction process—a
significant cost savings for the client.
The outer curtain-wall design
incorporates metal shelves at each floor
level, producing the preferred staggered
configuration.
The landscaped sky lobbies will be
social and retail hubs for each
neighborhood within the building.
Landscaped atriums are located at
regular intervals throughout the
building. Many options were studied,
but wind tunnel tests pinpointed a 120degree rotation as optimal for
minimizing wind loads. The innovative
design incorporates two independent
curtain walls—the outer skin is camshaped in plan, the inner one is circular.
The space between them forms atriums
that will house landscaped public
gardens at regular intervals throughout
the building. These sky gardens will
improve air quality, create visual
connections between the city and the
tower’s interiors, and provide a place
where building users can interact and
mingle. Gensler’s design team
anticipated that three important design
strategies—the asymmetry of the tower’s
form, its tapering profile, and rounded

corners—would allow the building to
withstand typhoon wind forces
common to Shanghai.


for the tower. To carry the load of the
transparent glass skin, Gensler designed
an innovative curtain wall that is
suspended from the mechanical floors
above and stabilised by a system of hoop
rings and struts. And the strategic
division of the tower into nine vertical
zones will supply the lifeblood of the
building’s heating, cooling, water, and
power throughout with less energy and
at lower cost.

Cover Story

Construction And Architecture Magazine » January – February 2011 » 021

Floor space:
The entire tower will have an insideoutside transparency and is the only
super-high-rise building wrapped in
public spaces and sky gardens. Each
neighborhood is dedicated to a primary
use, but is enriched by complementary
amenities and services. The upper floors
will house hotels, cultural venues, and
an observation deck. Central floors will
house office space. A six-story retail
podium concentrates shopping and
dining near the base. And the ground
floor will serve as an ‘urban market,’
connecting people to each other, to
nearby services, and to Shanghai’s
Metro. This conceptual image shows
how the innovative hub and- spoke
supports for the outer curtain wall create
courtyards that serve each of the vertical
zones. Office levels will be served by a
separate lobby that streamlines
pedestrian circulation into the building
and allows quick access to elevators.
Shanghai Tower’s six-level retail
podium that resonate with traditional
Chinese culture will be the ultimate
destination for shopping and large-scale
gatherings. The glazed west end of the
podium and the rooftop terrace signal
the location of the conference center
that adjoins the retail floors. Clad in
luminous cast-glass tiles, the distinctive
podium offers a luxury retail and leisure
experience that incorporates a mix of
premium brands, one-of-a-kind
specialty retailers, and high-concept

dining. Strategically placed entrances
from the tower, street, and underground
transit station funnel pedestrians into
active public spaces connected by a
network of concourses, escalators, stairs,
and balconies. The retail complex is
comprised of two distinct zones— two
levels below grade and four above—
whose clarity of organisation makes for
easy navigation. Most people will enter
from the subway into a lower-level
concourse that functions like a
marketplace. Slicing through both zones
is a five-story atrium with an expansive
glass façade that opens toward the city,
filling the shops with natural light,
enhancing the visibility of luxury
tenants, and establishing an important
connection between inside and out.
Sustainable tower:
Wind tunnel testing of the tapered,
asymmetrical tower focused on
defining the optimal shape of the
exterior skin and showed that reducing
wind load makes for a lighter, more
efficient structure that conserves
natural resources. A central aspect of
the design is the transparent, second
skin that wraps the entire building. The
ventilated atriums it encloses conserve
energy by modulating the temperature
within the void. The space acts as a
buffer between inside and outside,
warming up the cool outside air in
winter and dissipating heat from the
building interior in the summer.
Mechanical equipment is spaced
strategically in each zone of the
building to provide optimal flexibility,
reduce operating costs, and conserve


energy. The tower’s topmost levels will
house rows of vertically aligned wind
turbines and a spiraling parapet that is
integral to a rainwater collection
system.The foundation of this
approach is state-of-the-art water
resource management practices and
high-efficiency building systems. A full
33 percent of the site is green space,
with landscaping that breathes fresh air
into the city and shades paved areas
that radiate heat. Locally sourced
materials with high-recycled content
are being used when available. And the
building’s heating and cooling systems
will tap the power of geothermal
technology to deliver energy from
fluids maintained at the earth’s
constant temperature. Shanghai
Tower’s sustainable strategies will
reduce the building’s carbon footprint
by 34 000 metric tonnes per year.

Project details
Location : Lujiazui Finance and
Trade Zone, Pudong district,
Shanghai, China
Design Architect : Gensler
Local
Design
Institute
:
Architectural Design & Research
Institute of Tongji University
Owner, Developer, Contractor:
Shanghai Tower Construction &
Development CoLtd
Structural Engineer : Thornton
Tomasetti
MEP Engineer : Cosentini
Associates
Landscape Architect : SWA
Area : 30,370 sq mt
Height : 36.9 mt
Tower height : 632 mt
Stories : 121 occupied floors
Area : 380,000 sq mt above grade
141,000 sq mt below grade
Stories : 5 stories above grade
Area : 46,000 sq mt
Program:Office, luxury hotel,
entertainment, retail, and cultural
venues, podium
Total floor area in sq met: 521k
Weight of in metric tonnes : 1 200
Number of structural piles in entire
project : 2,000
Number of elevator : 106.

Cover Story

Cover Story
Project: MOMEMA
Client: Dubai Properties, Dubai
UAE
Key dates: Expected completion:
2011
Building surface: 41,200 m2
Building site: 25,000 m²
Architectural firm: UN Studio

A reflection of sea elements
MOMEMA, designed
world renowned
architecture firm UN
Studio first part of a new
cultural hub in Dubai will
brings together elements
of the sea and Dubai's
tradition of seafaring.

M

OMEMA
Dubai
recognises the opportunity
to create an entirely new
type of museum, which consists of a
vibrant urban centre, where
professionals, collectors and public
meet each other. Set to be a
community-building
institution
within the city, and offer to both
visitors and residents a continuously
changing palette of experiences and
events. The building is positioned to
take full advantage of the prominent
location in the Culture Village.
With its Dhow-like prow rising up,
the building offers panoramic views to
the surroundings, and vice versa.’
‘Inside, the design of this new museum
stimulates contemplation, but by other
means than enforcing a restricted optical
field. There are no abrupt transitions.

The space (the time) you have left
behind is undividedly part of the space
you are in now, is part of your ecological
field, is still perceptible, still surrounding
you; the art contained in those spaces
follows this principle. Formats,
mediums, and times can be effortlessly
arranged together and rearranged. There
are never too many people; this museum
thrives on audiences, vernissages, and
spectacle. The museum will cover an
area of 25,000 sq m and is expected to
be completed in January 2011.


The new cultural hub will be located
on 40 mn sq ft of land in the historic
district of Jadaf. In addition to the
Museum of Middle East Modern Art,
this landmark project will include an
amphitheatre for live performances and
international cultural festivals, an
exhibition hall and smaller museums
displaying local and international art, as
well as a shipyard for traditional dhow
builders. It will also include residential,
commercial and retail zones. It will also
hold a variety of spaces to exhibit arts
and cultural exhibitions, art galleries,
leasable workshop spaces, auditorium,
and amphitheatre for live performances
and international festivals. In addition,
offers a boutique hotel with 60 keys and
a boutique retail promenade on the
active Culture Village waterfront, as well
as a high end signature restaurant on the
top level, with 360 degree views of
Dubai Creek.



Project details

developed the idea of the UK Pavilion
exploring the relationship between
nature and cities. London is the
greenest city of its size in the world;
the UK pioneered the world’s first ever
public park and the world’s first major
botanical institution, the Royal
Botanic Gardens at Kew.
The process
From here came, Heatherwick’s idea
of
involving
Kew
Gardens’
Millennium Seed bank whose mission
is to collect the seeds of 25percent of
the world’s plant species by 2020. The
design process evolved to produce two
interlinked and experiential elements:
An architecturally
iconic Seed
Cathedral, and a multi-layered
landscape treatment of the 6,000m2
site. The Seed Cathedral sits in the

Iluminated by sunlight
The UK Pavilion, Seed Cathedral expresses British
creativity and environmental setting an early benchmark
for a country’s portrayal of innovation and progress.

T

he UK Pavilion has been
designed by Heatherwick
Studio
led
by
the
internationally acclaimed Thomas
Heatherwick. The initial design
strategy for the UK Pavilion
established three aims to meet the
FCO’s key expectation that the
pavilion should become one of the
five most popular attractions. The first
aim was to design a pavilion whose
architecture was a direct manifestation
of what it was exhibiting. The second
idea was to ensure a significant area of
open public space around it so visitors
could relax and choose either to enter
the pavilion building, or see it clearly
from a calm, non-queuing vantage
point. And thirdly, it would be unique
among the hundreds of other
pavilions.

meaningfully with the theme, Better
City, Better Life, and stand out from
the anticipated trend for technology
driven pavilions, filled with audiovisual content on screens, projections
and speakers. In collaboration with a
wider project team, the studio

Idea and conception:
Heatherwick Studio sought an
approach that would engage


centre of the UK Pavilion’s site, 20 m
in height, formed from 60,000 slender
transparent fiber optic rods, each 7.5
metres long and each encasing one or
more seeds at its tip. During the day,
they draw daylight inwards to
illuminate the interior. At night, light
sources inside each rod allow the
whole structure to glow. As the wind
moves past, the building and its optic
‘hairs’ gently move to create a
dynamic
effect.Heatherwick

previously experimented with texture
and architecture at a much smaller
scale with his Sitooterie projects.
Inside the darkened inner sanctum
of the Seed Cathedral, the tips of the
fibre optic filaments
form an
apparently hovering galaxy of slim
vitrines containing a vast array of
embedded seeds. The seeds have been
sourced from China's Kunming
Institute of Botany, a partner in Kew
Royal Botanic Gardens’ Millennium
Seed Bank Project. Visitors will pass
through this tranquil, contemplative
space, surrounded by the tens of
thousands of points of light
illuminating the seeds. These fiber
optic filaments are particularly
responsive
to
external
light
conditions so that the unseen
movement of clouds above the Seed
Cathedral are experienced internally
as a fluctuating luminosity. The
studio's intention is to create an
atmosphere of reverence around this
formidable collection of the world’s
botanical resources; a moment of
personal introspection in a powerful
silent space.
The formations:
The Seed Cathedral is made from a
steel and timber composite structure
pierced by 60,000
fibre optic
filaments, 20mm square in section,
which pass through aluminum sleeves.

Cover Story
The holes in the one metre thick wood
diaphragm structure forming the
visitor space inside the Seed Cathedral
were drilled with great geometric
accuracy to ensure precise placement
of the aluminum sleeves through
which the optic fibre filaments are
inserted. This was achieved using 3D
computer modeling data, fed into a
computer controlled milling machine.
This accuracy ensures that the Seed
Cathedral’s fibre optic array creates an
apparent halo around the high
structure, with the fiber optic
filaments rippling and changing
texture and reflectivity in the gentlest
wind. The wavering external surfaces
of the Seed Cathedral form a delicate
connection between the ground and
the sky. Among the Expo’s sea of hard
surfaces, the Seed Cathedral’s
surrounding landscape is conceived to
act as a continuation of the building’s
texture. A special artificial grass surface
has been uniquely developed to act as
a welcoming and restful public space.
Beneath the Seed Cathedral and the
landscaped surface area is a canopied
and naturally ventilated entrance and
exit sequence for the Seed Cathedral.
This circulation zone, running along
three edges of the site, contains a
narrative of three innovative
environmental installations designed
by London-based design studio,
Troika. They are: Green City, Open
City, and Living City.
Creative reasons:
The creation of the extraordinary
and complex Seed Cathedral structure
and the landscape architecture was
achieved through close collaboration
between construction managers Mace,
lead engineers Adams Kara Taylor,
services engineers Atelier Ten and
highly skilled Chinese engineers and
contractors. In order to reduce
unnecessary transportation, 75
percent of the materials for the UK
Pavilion have been sourced from
within a radius of 300km around
Shanghai. It is also the British
government’s intention that most of
the materials of the UK Pavilion will
be reused or recycled.


Project details

FACT SHEET – UK PAVILION,
Location: Shanghai, China
Public Opening: 1st May 2010
Site area: 6,000m2
Seed Cathedral dimensions: 25m x
25m x 20m
Seed Cathedral floor area: 105m2
Optic fibres: 60,588
Optic fibres length: 7.5m
Seeds in Seed Cathedral: 2,17,300
Landscape area: 4,490 m2
Public park area: 2,405 m2
Accommodation area: 1525 m2
Exhibition area: 1,280 m2
Lead Designer: Heatherwick Studio
Project
team:
Thomas
Heatherwick,
Katerina
Dionysopoulou, Robert Wilson,
Peter Ayres,Stuart Wood, Ingrid
Hu, Jaroslav Hulin, Chiara Ferrari
and Ramona Becker
Main Client:
Foreign &
Commonwealth Office
Project Manager: Mace Group
Structural Engineer: Adams Kara
Taylor
Environmental Engineer: Atelier
Ten
Fire & Risk engineering: Safe
Consulting
Executive Architect: Architectural
Design & Research Institute of
Tongji University
Supporting Architects: RHWL
Quantity Surveyor Davis Langdon
& Seah
Walkway Exhibition Design: Troika
Content Advisory Team: Mark
Jones, John Sorrell, David
AdjayeContent Advisor
Philip
Dodd.



Cover Story

Making of the greatest
expression of architecture

Foster + Partners to
remodel the Camp
Nou Stadium, home
of FC Barcelona

C

amp Nou (Catalan for ‘new
field’, often reversed in English
to become Nou Camp) is a
football (soccer) stadium in Barcelona,
Catalonia, Spain. With a capacity of
98,787 - making it is the largest stadium
in Europe. The stadium is the home
ground of FC Barcelona. Its official
name was Estadi del FC Barcelona
(translates as FC Barcelona Stadium)

until 2000, when the club membership
vote to change the official name to the
popular nick name Camp Nou.
History:
Barcelona had outgrown their old
stadium, Camp de Les Corts which held
60,000 supporters and the Camp Nou,
built between 1954 and 1957, was
designed by architects Francesc Mitjans-


Miró, Lorenzo García Barbon and Josep
Soteras Mauri. The capacity has varied
between 93,053 at its opening to
1,20,000 for the 1982 FIFA World Cup
before the outlawing of standing
sections at the stadium brought the
capacity to below 99,000 in the late
1990s.
Camp Nou in the future:
The aim of the project is to turn the
stadium into an integrated and highly
visible urban environment. Whilst not
aiming for a substantial increase in
seating capacity, proposals must
accommodate a minimum of 50 percent
of seats to be under cover.
Reconstruction plans are being
considered; addition of a few stands and
restrooms. There will be about 120,000
seats. FC Barcelona’s Camp Nou
Stadium, one of the world’s greatest
football venues, is to be extensively
remodeled. Following an international
competition, Foster + Partners have
been selected as the architects for this
renewal of the stadium, which is
celebrating its 50th anniversary this year.

Cover Story
Partners and project architect said, “We
are extremely excited to have won this
design competition. In its 50th year this
is a fantastic opportunity to give a timely
regeneration to the Camp Nou. The
design respects the characteristic
asymmetric seating bowl and as well as
embodying the club colours in its form,
the remodelled stadium that incorporate
the latest construction technology so
that the stadium can remain in use by
the club throughout the works.

The stadium, already the largest in
Europe, will be enlarged to
accommodate over 1,06,000 fans,
together with extensive new facilities
including hospitality and public areas.
A new roof will also be created to shelter
the fans. The stadium will be enclosed

by a brightly coloured mosaic outer skin
that wraps around the building and
continues over a new roof. The multicoloured
enclosure
comprises
overlapping translucent tiles in the club
colours. The myriad of tiles can be seen
as symbolising the loyalty and devotion
of FC Barcelona’s fans worldwide. On
match nights, the stadium will glow,

providing a new architectural icon for
the city. In the same way that FC
Barcelona is ‘more than a club’, the new
Camp Nou will be much more than a
stadium.
Lord Foster, Chairman and Founder
of Foster + Partners said: ‘It is an
enormous honour to have
been selected to remodel
Camp Nou Stadium for
FC Barcelona, such an
important symbol for the
Barca fans and the
Catalan people. Football
is a powerful and
democratic force that
brings together all social
classes in celebration,
therefore a stadium,
perhaps more than other type of
building is a truly democratic space, the
design of a stadium is the greatest
expression of an architecture that goes
beyond aesthetics to have a social
agenda. In this sense I believe that there
is a wonderful connection between
football and architecture.’Mouzhan
Majidi Chief Executive of Foster +


Project details
Project: New Camp Nou Stadium
for FC Barcelona
Client: FC Barcelona
Architect: Foster + Partners
Collaborating Sports: Architect
(Competition)
AFL
Original Stadium Architects:
Francesc Mijtans-Miro, Garcia
Barbon and Soteras Mauri
Inaugurated: 24 September 1957
Projected Stadium Footprint:
52,000 m²
Projected Floor Area (gross):
180,000 m²
Approximate Budget: Euro 250
million
Projected Capacity: Increased from
98,000 to 106,000 seats (Largest
stadium in Europe)
Seating Bowl: Existing seating bowl
retained with upper tier expanded to
accommodate extra seating capacity.
Asymmetric upper tier of stadium to
be retained. Presidential box retained
on west side.



Cover Story

A tribute to the icon
Walt Disney Concert Hall by Frank Gehry is a tribute to
the Walt Disney's devotion to the arts and to the city.

A

tribute to Walt Disney's
devotion to the arts and to
the city the Frank Gehrydesigned building opened on
October 23, 2003. Both the
architecture by Frank Gehry and the
acoustics of the concert hall
(designed by Yasuhisa Toyota) were
praised in contrast to its predecessor,
the Dorothy Chandler Pavilion. The
Walt Disney Concert Hall in
Downtown Los Angeles, California is
the fourth hall of the Los Angeles
Music Center. Bounded by Hope
Street, Grand Avenue, 1st and 2nd
Streets, it seats 2,265 people and
serves (among other purposes) as the
home of the Los Angeles
Philharmonic orchestra and the Los
Angeles Master Chorale.

2003, the project had cost an
estimated $274 million; including the
parking garage which had solely cost
$110 million.The walls and ceiling of
the hall are finished with Douglas-fir
while the floor is finished with oak.
The Hall’s reverberation time is
approximately2.2 seconds unoccupied
and 2.0 seconds occupied.

The structural facts
The project was launched and
completed 1991. Construction of the
underground parking garage began in
1992 and was completed in 1996.
Plans were revised, and in a cost
saving move the originally designed
stone exterior was replaced with a less
costly metal skin. Upon completion in


Reflection problems
After
the
construction,
modifications were made to the
Founders Room exterior; while most
of the building's exterior was
designed with stainless steel given a
matte finish, the Founders Room
and Children's Amphitheater were
designed with highly polished
mirror-like panels. The reflective
qualities of the surface were
amplified by the concave sections of
the Founders Room walls. Some

Cover Story

residents of the neighboring
condominiums suffered glare caused
by sunlight that was reflected off
these surfaces and concentrated in a
manner similar to a parabolic mirror.
The resulting heat made some rooms
of nearby condominiums unbearably
warm, caused the air-conditioning
costs of these residents to skyrocket
and created hot spots on adjacent
sidewalks of as much as 60 °C
(140°F). After complaints from
neighboring buildings and residents,
the owners asked Gehry Partners to
come up with a solution. Their
response was a computer analysis of
the building's surfaces identifying
the offending panels. In 2005 these
were dulled by lightly sanding the
panels to eliminate unwanted
glare.The design of the hall included
a large concert organ, completed in
2004, which was used in a special

concert for the July 2004 National
Convention of the American Guild
of Organists.
The making
The organ's facade was designed by
architect
Frank
Gehry
in
consultation with organ consultant
and sound designer Manuel Rosales.
Gehry wanted a distinctive, unique
design for the organ. He would
submit design concepts to Rosales,
who would then provide feedback.

Project details
Project: Walt Disney Concert Hall
Location: 111 South Grand Avenue
Los Angeles, California, U.S.
Type: Concert hall
Built: 1999–2003
Opened: October 23, 2003
Construction cost: $240 million
Capacity: 2,265


The organ was built by the German
organ builder, Caspar Glatter-Götz,
under the tonal direction and
voicing of Manuel Rosales. It has an
attached console built into the base
of the instrument from which the
pipes of the Positive, Great, and
Swell manuals are playable by direct
mechanical, or ‘tracker’ key
action, with the rest playing by
electric key action; this console
somewhat resembles North-German
Baroque organs, and has a closedcircuit television monitor set into
the music desk.
It is also equipped with a detached,
movable console, which can be moved
about as easily as a grand piano, and
plugged in at any of four positions on
the stage, this console has terraced,
curved ‘amphitheatre’-style stop-jambs
resembling those of French Romantic
organs, and is built with a low profile,
with the music desk entirely above the
top of the console, for the sake of clear
sight lines to the conductor. From the
detached console, all ranks play by
electric key and stop action.In all, there
are 72 stops, 109 ranks, and 6,125
pipes; pipes range in size from a few
centimeters/inches to the longest being
9.75m (32 feet) (which has a frequency
of 16 hertz).



Cover Story

A symbolic interpretation
of a natural landscape
The Library Spain –
Medellin, Colombia, a
structure is a perfect
example of geography as
an element of hierarchy
and architecture as the
epitome of favoring that
‘new natural contract’
tuned with a landscape
and in a natural order.

M

edellín the city is located in
the north of Los Andes
mountain ridge. It is one of
the most topographically broken places
of Colombia and one of the most visited
and touristic points in the city. The
image is precisely what the project aims
at as it intends to integrate itself into the
landscape and become an interpretation
of it. The project is noticeable from a big
part of the city, allowing it to redefine
itself as the symbol of a new Medellin, as
a way of making people feel identified
and receiving the building as their own.
More than a building, it proposes the
construction of an operative geography
that belongs to the valley like a
mechanism of organisation of the
programme and the zone, showing the
unknown directions of the irregular

mountain contours, not like a
metaphor, but like an organization of
the form in the place, a folded building
cut like the mountains. A landscape
building that redefines the folded
mountain structure in form and space,
nullifying the idea of the landscape like
a background and encouraging the
ambiguity building-landscape.
Planning and the process of
construction
The proposal was to fragment the
structure in three groups: The library,


the rooms, and the auditorium; then
join them with a bottom platform that
allows flexibility and autonomy,
improving the people’s participation
considering each volume operates
independently. The project is organised
in two structures: the first one is the
building – landscape (rocks) and the
second one is a platform that integrates
and transforms the cover into a square
that looks into the valley; this way, the
building is empowered as a meeting
place, multiplying the connections and
letting it develop as a reference point.
The building as icon
The project is organised under two
structures: the first, by buildings and
landscape (rocks) and the second by a
platform that integrates them and
transforms it into a deck-plaza that
functions as an outlook towards the
valley. The place is made by small brick
houses, product of auto construction;
and residue of green areas as a result of
the impossibility of construction on it.
The sector consists of small brick houses
caused by self construction and waste of
green areas, resulting from the inability
to build on steeps slopes, this
organization produces a uniform texture

Cover Story

of the city with no visible hierarchy. This
is why the proposed building seeks to
stand out as a building-landscape icon,
constructing the site and maintaining
the tension, the geography as an element
of hierarchy and the architecture as a
texture. Additionally to make an icon
building, the first premise was to
develop a construction that, through its
interior design, could descon textualise
the individual from the poverty that is
experienced in the outside creating a
warm atmosphere based on natural
light, allowing a great ambient of study
and lecture.
Topography and geography:
It develops a landscape related to
geography and urban topography
inserted for organisational rules to
develop projects that favors a ‘new
natural contract’. It folds, map and tears;

Features general building
construction:
The project is a double-support
structure: the first consists of an
articulated metal membrane that

supports and arms the exterior skin
panels; the second is a particular
portal concrete frame structure that
makes up the internal volume, dilated
from the outer skin, to allow entry of
light from above. The platform
consists of a mixed structure of steel
columns and concrete plates, the
materials used were black slate,
stained glass and various wood veneers
and stone floors. A regulated
temperature mechanism was designed,
a ‘thermosyphon’, through the
creation of a system of air circulation
upstream
(negative
pressure)
removing excess of heat and allowing
the optimisation of solar energy.

Project details
operations that build architecturelandscape at the same time,
reformulating relations between depth
and figure, an approximation in the
search of alternative ideas capable of
favoring that ‘new natural contract’
tuned with a landscape and a natural
order. The proposal is related to the
image and identify of the city, through
architectural-landscape, part of its
landscape inspires the building to be
interpreted as a new topography. A
landscape building that redefines the
folded structure of the mountain as
form and space, eliminating the idea of
landscape as a background and
enhancing the building ambiguitylandscape.


Project: España Library
Built up area: 3,727 m2
Public Space area: 14,265 m2
M2 Constructed cost: US 1,027 m2
Project Area: 2,960 m2
Chief Architect: Giancarlo Mazzanti
Architectural firm: Giancarlo
Mazzanti & ARCHITECTS
Location:
Santo
Domingo,
Colombia
Project Year: 2005
Construction Year: 2007
Constructed Area: 5500 sq m
Concrete Structure: Sergio Tobón
Steel Structure: Alberto Ashner
Structural Engineer: Sergio Tobon,
Alberto Aschner
Photographs: Sergio Gómez



Cover Story

Terminal 3 of Indira Gandhi
International Airport will become
the world’s third largest passenger
terminal in terms of size

being given to greener and more ecofriendly materials. French company
Saint-Gobain Gyproc has built the
prefabricated walls and false ceilings
around the terminal. The project has
forced supplier’s local vendors to raise
the bar when it comes to the quality of
their products. For all the companies
involved, the work Saint Gobain
Gyproc has done in the terminal has
become a showcase for their other
clients. The terminal may be turning the
corner on solving one of India’s most
intractable problems: a notoriously poor
infrastructure. On completion Terminal
3 of Indira Gandhi International
Airport will become the world’s third
largest passenger terminal in terms of
size. The terminal which will be

An eco-friendly attempt to
create futuristic airport

M

ade of glass and steel, the
swanky new Terminal 3 at
Delhi's International Airport
has
presented
huge
business
opportunities for a whole range of
companies. It is certainly bigger than
anything India has ever seen and has
more than double the airport's
passenger capacity. The Terminal 3 is a
joint venture consortium led by GMR
with a 54 percent stake, the Airports
Authority of India has a 26percent stake,
Fraport holds 10percent and Malaysia
Airport owns the remaining 10 percent
of the shares. A multinational team of
almost 30,000 workers have been
involved in the construction of the
building. The terminal building is larger
than the new terminals of Mumbai,
Hyderabad and Bangalore combined. It
has eight levels; with a built-up area of

5.5 mn sq ft and an apron area of 6.3
million sq ft. The common check-in
concourse has 168 check-in counters
and 98 immigration counters for
international passengers. The terminal
also has 78 aero bridges and a 100-room
transit hotel. It is seen as a symbol of
new India setting an example for publicprivate partnerships.
The construction
The terminal is encased in sheets of
glass etched with images of Indian
dancers and has been designed by
London architects HOK International.
Passengers will experience a terminal
that maximizes the use of natural light,
giving a feeling of openness. The
important highlight of this airport has
set new standards in the construction
business in the country with importance


completed in a record time of
37
months
represents
India’s
transformation from an important
regional country to an international
destination for commerce and travel.
incorporates "natural" features and
"warm" tone extensively to balance the
sterile feel of glass and steel. The roof has
been designed to allow natural light to
enter the building.

Materials used:
• Building: 600,000 cubic meters of
concrete, equivalent to 240
Olympic size swimming pools, and
200,000 tonnes of reinforced steel
• Roof: 18,000 tonnes of structural
steel
• Floor: 110,000 sq m of granite
imported from Bahrain
• Windows: 95,000 sq m of glass
wall curtain, equivalent to 13
football fields
• Curtains: 100,000 sq m imported
from China
• Runway: material used sufficient
to build a 70km long, eight-lane
highway

Cover Story

Recreating an
home atmosphere

establishment
voluntarily
understanding
their
physically
weakened state. A sort of assembled
structure, the same as a toy which a
child might build and, thus, have
employed materials with different
shapes: zinc for the ‘bubble’, wood for
the accommodation, water green steel
for the consultations. Each element in
this ‘large toy-building’ presents its
own form/matter vocabulary. Located
at the eastern end of this complex, the
building resembles the stern of
the ship. Its curved shape is designed
to be a gentle transition forming a link
with the
straight lines of the
existing buildings.
The zinc shell built over a
laminated and glued timber frame
forms the building's protective visual
membrane which provides protection
from the inside to the outside and
from the outside to the inside. The
two wings are covered with
weatherboarding, used here as a
symbol of warmth to recreate an
atmosphere of home.

Project specification
Vauclaire Hospital Centre,
France is project where
each element in this
‘large toy-building’
presents its own
form/matter vocabulary.

T

he project involves the
construction of a 20-bed
admission unit for ‘Les Deux
Vallées’ psychiatric sector in MontponMénestérol is a relaxing and
entertaining architecture where the
architects have tied to create a stress
free admission. Residents enter this


Architects: Blandine Rougon-Sarlin
and Christophe Damian, DESA
architects
Architecture Firm: Arodie Damian
Architectures,an agency based in
Paris, Lyons and Bordeaux.
Location: France
Operation: Construction of a 20-bed
admission unit for voluntary
commitment
and
medical
management centre for the “Les
Deux Vallées” psychiatric sector.
Main contractor: Arodie Damian
Architectures, Coteba (Mérignac)
Project Manager: Vauclaire Hospital
Centre
Surface areas: 1 491 m² (net area)
Total cost: 2 M excl. VAT
Main materials: Zinc, wood
paneling, pre-lacquered sheet metal
brise
soleil,
thermolacquered
galvanized steel mashrabiya, metal
paneling
Photo
credits:
Dominique
Constantin



Cover Story

Culture in its most
pervasive and
innovative form

T

o create spaces for the
unexpected, spaces to inspire us,
spaces where the collective and
individual can coexist, to inspire
experimentation,
invention,
heterogeneity and freedom is to liberate
culture, describes Edgar Gonzalez,
Brisac Gonzalez on this structural
innovation. In collaboration with Oslo
studio Space Group an international
architectural practice the idea is to give

this building’s permeated façade with
glimpses of the interior spaces with an
auditorium that will feature undulating
walls. The merger of activities in the
Kristiansund Opera and culture house
represents culture at its most radical and
innovative form. Two existing buildings
sit on the proposed site will be fully
refurbished and incorporated into the
new proposal. Kristiansund, Norway
Opera and Cultural centre will provide


The London
based
architectural firm
Brisac Gonzalez
makers of the
opera and
cultural centre in
Kristiansund,
Norway are all
set to provide
interiors that will
create spaces for
the unexpected,
where collective
and individuals
can coexist.

glimpses of the interior spaces to create
spaces for the unexpected, spaces where
the collective and individual can coexist,
to inspire experimentation, invention,
heterogeneity and freedom is to liberate
culture.
Architectural structure:
A ribbon-like glazed walkway, which
will also serve as an exhibition gallery,
will connect the existing building on
one side to the main foyer of the new
building. The building will house a
600 seat auditorium, library, education
centre, symphony rehearsals, ballet
centre, youth centre and restaurants. A
consortium comprising Oslo based
Space Group and Brisac Gonzalez has
won joint first winner in a shortlisted
competition for the design of the new
opera and culture in Kristiansund,
Norway. The 1,500 m2 projects consist
a 600 seat auditorium, library,
symphony rehearsals, ballet centre,
restaurants, youth centre and
education centre. The new opera and
culture house amalgamates opera,
library, school, cultural facilities, and
youth center.

Cover Story

The site and the making:
There are already two significant
buildings on the site – a 19th century
school building and an early 20th
century Folkets Hus (People’s House).
To engulf them by a third larger
building would diminish their
integrity. The design strategy is to
create a porous cultural compound of
three very different free standing
buildings that are autonomous yet
connected. The two existing buildings
will be fully refurbished and filled with
a host of new activities. A ribbon-like
glass bridge that doubles as exhibition
gallery connects the library in the
Folkets Hus to the main foyer of the
new building. An underground

passage will link it to the stage level of
the new auditorium.
The hall:
The objective for the auditorium is
simple: allow for the greatest number
of guests to be as close as possible to
the stage. From the stage, the
performers will see an ocean of people,
wall-to-wall. The multi-purpose hall,
driven by the demand for flexibility, is
often the victim to the paradoxes of

Own gateway to the world

bigsmall,
invisible-exposed,
functional-beautiful. The design of
this hall is one were flexibility exists
without succumbing to the generic.
On the top floor of the new building
restaurant, the orchestra rehearsal
room can be combined to create a very
large room. An expansive exterior
terrace adds greater flexibility in a
setting where different scenarios, be
they planned, impromptu, or
incidental can occur.


Facade:
The façade of the new building is
curtain-like, selectively revealing the
activities within. From the exterior,
the perception is of a soft dress,
covered in small reflective sequins,
shimmering, constantly changing, and
flowing. From the inside, the lighting
varies from translucent to transparent,
providing an even light throughout
the building.

Project details
Name of project: Opera and Culture
House
Client: Kristiansund Kommune,
Norway Cultural Foundation
Location: Kristiansund, Norway
Surface area: 5 000 m²
Cost: $100.0 million approx
Area: 500,000 sq ft
Height: 100 ft
Length: 500 ft
Width: 360 ft
Design Period: 2010
Architect: Brisac Gonzalez
Acoustics: Norconsult as / Akustikon
Theatre Consultant: Ducks Sceno
Michel Cova, Frans Swarte, Alina
Delgadillo, Analyse Duperrier
Landscape: Sundt & Thomassen
Logistics: Atkins
Visualisations: Luxigon
Designer: Alex Protasevich, Architect
Architectural Style: Modern



Cover Story

Passenger Terminal
Complex, Suvarnabhumi
International Airport,
Bangkok, Thailand is a
perfect amalgamation of
innovation and integrated
architecture, structural and
environmental design.

T

he passenger terminal complex
at Suvarnabhumi Airport
resulted from an International
Competition and established the basis
of collaboration between Werner
Sobek, Matthias Schuler and Helmut
Jahn. The challenge was great and
unusual. The task of creating a new
gateway to Thailand in a tropical
climate necessitated a different
approach to architecture and
engineering. Through the integration
of the disciplines the complex
problem resulted in a sophisticated,
intelligent yet simple solution. After

11 years of planning and construction
the Terminal was opened passenger
traffic in late 2006.
Architecture and engineering:
The design took into consideration
Murphy/Jahn’s experience with
airport terminal design, starting in the
1950’s. Those buildings included
O’Hare International Airport in
Chicago and particularly the New
United Airlines Terminal of the mid
1980’s and the near completed
renovation of Terminals 3 for
American Airlines and Terminals 2,


the work in the commercial zone of
the New Munich Airport which
included the Kempinski Hotel, the
Munich Airport Center and
infrastructure,
parking
and
landscaped areas and the new
Terminal 2 at the Airport in
Cologne/Bonn. It also responded to
the challenge that airports today are a
new building type. They have become
a
strange
combination
of
transportation center and ‘mall’. They
constitute cities outside cities and give
the first and last impression of a city,
region or country. They are places to
meet for people of all facets of life.
Architecturally important seem is
the openness and comprehension and
experience of the open spaces, the
gesture of the roof and spaces as
memorable images and the way the
blurring of the boundaries between
public and private space make an
airport terminal a model of a ‘MiniCity’. Like in a city the experience
leads through squares, streets and
rooms for transportation, commerce
and private uses. In the design and
execution of Suvarnabhumi Airport,
innovative
and
integrated
architectural,
structural
and
environmental design were used, new
materials and systems of advanced
technology were developed and
unusual construction processes

Cover Story
process we refer to as Archi-Neering:
the architect thinks about the
technical consequences of the forms
he designs and the engineers consider
the aesthetic results of their concepts
and decisions.
In a building with such advanced
technical concept and construct it is
important to establish a connection to
local cultural tradition and art. This is
done through the shaded gardens
flanking the terminal, which represent
Thai landscape in cities and in the
country, a jungle garden between the
terminal and concourse, traditional
artistic patterns and colors on glazed
surfaces and floors and Thai artifacts
placed at the airside centers and
concourses.

required to meet the design goals.
The results are advanced long span,
lightweight steel structures, exposed
pre-cast concrete structures, clear or
low E-coated glass, a three layer
translucent membrane, integrated
cooling, using water as a low energy
carrier and the thermal mass of
concrete and a displacement
ventilation system with minimal airchanges. Those components and parts
serve in their total composition and in
use more than in their conventional
roles. They maximise daylight and
comfort, yet minimise the use of
energy with significant life cycle cost
savings. The installed cooling power
is reduced close to 50 percent
compared to a conventional system.
The three layer translucent membrane
was developed to mediate between the
exterior and interior conditions,
dealing with heat and noise

transmission, while still allowing for
natural daylight within the building.
The result is a building flooded
with controlled daylight in a tropical
climate. Architect and engineers
speak here the same language, a


Project details
Architect : Murphy/Jahn
Associate Architect / Engineer: ACT
Consultants
Project Management: TAMS
Consultants / Earth Tech
Structural Concept / Concourse
Superstructure/ Facades: Werner
Sobek Ingenieure
Climate
and
Environmental
Concept: Transsolar Energietechnik
Main Terminal Superstructure:
Martin/Martin
Structural Concrete: John A. Martin
& Associates
Mechanical / Electrical / Plumbing:
Flack + Kurtz
Lighting Art : Yann Kersalé
BNP Associates, Inc.: Baggage
Consultant
General Contractor: ITO Joint
Venture



Cover Story

Naturally different
railway station
metrostation nesselande Rotterdam is a subway station
that provides visibility and offers the traveller a sense
of safety as well as a better access to daylight under
the railway viaduct.

I

magine, you arrive at the station and
the doors of your train are just
about to close. The train has left
without; you have missed your train.
Left behind on the platform boredom is
hitting you, a strong relation to time is
part of waiting. Your trip is interrupted;
the continuity of travelling is gone.
While waiting you become aware of
your surroundings, experiencing the
station as a place.
The station, designed by architect
Hans Moor, was opened on August 29,
2005, as part of the one-station
extension of the East-West Line or
Caland Line from its previous terminus
De Tochten. Unlike the section
between Capelsebrug and De Tochten,
this section does not use overhead wires
to provide traction power, but uses a
third rail instead. The station consists of
one island platform between two tracks.
This experience of an interruption plays
an important role in the design for the
new metro station. The experience is
transformed into different qualities of
waiting places, the station is surrounded
by a green park with water, a bridge etc
and gives a splendid view to the
surroundings
including
Lake
Zevenhuizen. A special quality of voids
are enclosed by the platform, which
provides visibility and offers the
traveller a sense of safety as well as a
better access to daylight under the
railway viaduct. The station has three

glass coverings with added louverboards for protection against wind and
rain. Each covering distinguishes itself
in relation to the others and are
simultaneously interrupted by small
waiting places, they manifest
themselves between these coverings. In
the development transparency is
guaranteed without damaging the
degree of presence; light construction of
steel and glass is used in contrast to
heavy concrete for pillars and viaduct.
The concept:
The concept of the metro station was
developed by means of two


characteristics of travelling. Firstly
travelling is concerning speed and
continuity, stations are places for
connection and different types of
transport come together. The most of
old the underground railway stations
lijken have stocked each other, since the
Beneluxlijn particular and other gone.
For every station of the underground
railway line the plan has been taken
another architect at approached. Thus
the stations got several qualities
concerning the specific locations. That
treatment
seems
has
pleased
municipality work Rotterdam and the
RET well and for the future
underground
railway
station
Nesselande a question was thereby
written out for young architects.
Bridge building:
The bridges form the connection
with the different traffic flows of the
area and had to be suitable for
pedestrians, cyclists and cars. The
architects thought of giving a different
meaning to the bridge with a
possibility to apply artificial lighting.
The design doesn’t light the bridge
with street lamps and lights as the
bridge transforms and is lit ‘from
within’. Space is created with the help
from technology with the lighting
depending on each other and form an
open structure. The configuration of
light sources, ranging from small to
large, indicates the track the car is
following. ‘Artificial lighting’ was
given and the driver the sense that the
bridge isn't just a connecting piece,
but also a space in the darkness. By
moving forward, the driver finds
himself in a track of light; he is
surrounded by a configuration of
artificial lighting. The bridge is
concrete and dispersed with glass
‘dots' special units, designed by a
glass- and light supplier, have glass at
the top and the bottom, so day light
can enter the space under the bridge.
The influence of artificial lighting is
present on a bridge in many ways that
light LED lighting is indicative
lighting, which means it is sufficient
in comparison with general lighting
principles.

Cover Story
between Cheng De Road and Wen Lin
Road. This linkage space is the center
access to the grand foyer and all three
theaters. On the south side the Grand
Plaza transitions into a garden that
gently slopes up towards Jiantan road to
allow for shops and restaurants to be
placed underneath and accessible from
street level. Both the garden and the
Grand Plaza provide a large outdoor
space for the thousands of pedestrians
that visit this area. It is lined with shops
and restaurants at the ground level and
covered by a large roof of the theater
above. The shops and restaurants are
located along Wen Lin Road and Jian

Expression of richness and diversity
The proposal for this
mixed use office building
in Downey, California
creates a world-class
landmark building aiming
to enhance the cities
vision as the premier
quality city.

T

he project is characterised by its
response to the urban setting in
particular
to
Firestone
Boulevard, its vision for a unique office
work environment within a highly
sustainable building design, and by its
formal and structural elegance. The
three level mixed use building includes a
café and retail space at the ground floor
and two levels of open office spaces
above. The office spaces are configured
around a center atrium space that opens
up to Firestone Boulevard creating the
main entrance for the building. The
ephemeral quality of the building
envelope is realised through a high tech
fabric enclosure system that utilises
multiple layers of fabrics with different
degrees of transparencies/ opacities. This
envelope is able to adjust to the different
exterior light conditions and provide
consistent natural daylight levels
throughout the office spaces. While the
more delicate fabric encloses for the
upper two office levels, the restaurant

and retail spaces on the ground floor
open up to the street with a glass
envelope. Landscape elements create a
green barrier between the outdoor
seating area of the café and Firestone
BLVD.
Urban Concept:
The proposal for the Performing Arts
Center in Taipei creates a world-class
institution which is characterised by
both its response to its urban and
cultural environment, and by its formal
and structural elegance. The project
embraces the concept of a Grand Plaza
as being a center hub between the Shilin
night market and the TRTS Jiantan
station. This is achieved by lifting the
multiform theater off the ground and
creating a covered outdoor linkage space


Tan Road and together with the Grand
plaza and the garden space embrace
Taipei's lively streetscape by creating a
continuous experience from the busy
streets of the Shilin night market to the
Performing Arts Center and the train
station. Design Concept - The proposal
for the Taipei Performing Arts Center is
intended to become an important
landmark building in the region that
expresses the richness and diversity of
performing arts and creates a destination
point for the area. For the development
of the design we used a unique process
using actual sounds as a basis. The
morphology and shape of the building
was designed using sound-waves that
were analysed and transformed into
three dimensional vectors. These vectors
became the formal and structural



Cover Story

framework for the design of the exterior
envelope. The building materializes with
a metal and glass enclosure that reveals
its activities in a variety of scales and
angles to the city.
Organizational Concept- Front of
House - The three theaters is grouped
around a center foyer accessible from
the Grand Plaza. The Grand Theater
and the Playhouse are located to the
north while the Multiform Theater is
lifted off the ground and connected to
the foyer on the south side. The
concept for the front of house was to
create a spectacular center lobby space
enclosed with glass and a Grand Stair
case that connects to the main foyer of
each theater. This creates a visual
relationship between all three theaters
and the foyers around a center space.
Its' dynamic shape and glass facades is
to encourage the people of Taipei to
explore the building and embrace it as
an exciting artistic showplace for the
public. Each theater has a single
control point at the main foyer level
and individual circulation from there
to the upper gallery levels. This allows
for the general public to experience
this space without necessarily accessing
the theaters. The ticketing, coat check
and general information for all three
theaters is located on the ground level.
Theater Concept - The concept for
the theaters was to design a flexible
world class performance space that
allows for a variety of different
performance genres and is especially
tailored to the needs of the Taiwanese
interdisciplinary performing arts
scene. The Grand Theater seats 1,500
people with a main floor and three
balcony levels. It can easily be
configured to support performances
that range from opera, ballet and
orchestra
performances
to
multidisciplinary
performances
including drama, dance, multimedia
performances, drum -percussions,
Zen meditation, martial arts, etc. The
800 seat Playhouse is designed as a
proscenium theater with two balcony
levels. However the orchestra pit was
designed to support different
performance styles. The Multiform
Theater has a total of 800 seats with

TAIPEI PERFORMING ARTS
CENTER Taipei, Taiwan
Client: Taipei City Government,
Department for cultural affairs
Program: Performing arts centerOpera
house,
Playhouse,
Multiform Theater
Size: 40,000 sqm
Budget: 130 Million USD
Completion Date: UnbuiltCompetition 2008
Material: Steel, metal, glass
Interiors: Wood, concrete, glass
Architect: B+U, llp, Herwig
Baumgartner, principal, Scott
Uriu, principal
Team: Paul Macherey, Justin Oh,
Phillip Ramirez, Art Zargaryan,
Daniel Saltee, Yaohua Wang
Engineer: Structural Engineer:
ARUP
Mechanical engineer: ARUP
Associate architect: S.C.S &
Associates
Theater Consultant: Theatre
projects consultant
Acoustician: Nagata Acoustics
two balcony levels and maximum
flexibility in regards to stage and
seating layout and is designed to allow
for a variety of configurations
including center stage, thrust stage
and front stage configurations.
Back of House -The back of house
is organized most efficiently and
designed as a state of the art venue
that fulfills all the requirements of the
various forms of contemporary


performing arts and complies with the
needs of Taiwan's diverse performance
culture. Back of house areas for the
Grand Theater and the Playhouse are
located to the north across Bailing
High School and with direct and easy
access to all stages. Each theater has a
separate backstage access from Cheng
De Road and Ji Ho Road. Both
theaters share the loading dock while
individual scenery assembly spaces
and large orchestra rehearsal are
located with direct adjacency to the
stage. The majority of the rehearsal
and dressing rooms are in close
proximity of the stage to allow for easy
and
convenient
access. The
administration offices, conference
rooms and the library are located
directly above the back stage and are
overlooking Bailing High School. The
back of house for the Multiform
Theater is located on level 5&6 on the
south side and adjacent and below the
Theater. The back of house area is
connected to the underground
loading dock with a large freight
elevator. The Multiform Theater has a
separate back stage access from the
Grand Plaza.
Access and Parking- The main
pedestrian access for all three theaters
is through the Grand Foyer accessible
from either Wen Lin Road or Cheng
De road. In order to handle the
increased volume of pedestrian traffic
from the train station to the grand
theater we are proposing a new under
path crossing Wen Lin Road. All
visitor, VIP and staff parking for the
project are underground with access
from Cheng De Road. The drop off
zones for taxi and busses are located
adjacent to the Grand Plaza . There
are two separate loading docks. One
loading dock to the north adjacent to
Bailing Senior High School, with
access from Cheng De road. This
loading dock allows for unloading on
stage level for both of these theaters.
The second loading dock is
underground with access from
Cheng De Road. It services the
Multiform Theater with a large
freight elevator as well as the shops
and restaurants above.

Cover Story

Cover Story

Maintaining relationship
with the eco-system
US Census Bureau
Headquarters, Suitland,
Maryland designed a very
large corporate campus
with minimal impact
exploring an architectural
expression that celebrates
and heightens its
relationship to the
landscape.

T

he US Census Bureau
Headquarters, designed by
Skidmore, Owings & Merrill
LLP, has achieved LEED Gold
Certification from the US Green
Building Council. The 1.5 million-sq ft
building’s perceived and actual impact
on the site is reduced by limiting the
office program to eight stories and
integrating the architecture into the
landscape. Carved FSC-certified white
oak covers the outward-facing sides of
the building, which forms a brise-soleil
that reduces solar heat gain and creates
dappled patterns of shade and warm
light inside the office. Underneath the
‘wood veil,’ green tinted precast
spandrels match the cast of the
landscape and are fully glazed to
maximize daylight. Located in the
Suitland Federal Center near downtown
Washington DC, the building received

maximum points in the Innovation in
Design category and high points in the
Sustainable Sites category. Gary Haney,
AIA, SOM’s Design Partner for the
Census Bureau project said,“All credit
should be given to the GSA and Census
Bureau for allowing to pursue a design
that is not only innovative but points
toward a future direction in which
architecture can be truly useful in
building sustainable cultures and
economies.
The structure:
The design blurs the distinction
between the building and landscape by
camouflaging the structure and its
scales. Two separate buildings grow from


one single mass, cleaved apart to create a
central garden that integrates the
building with its landscape, while
maintaining one cohesive vision. Large
windows protrude from or are recessed
into the building, creating office
lounges, conference rooms, and
informal meeting areas. The adjacent
parking garages are sheathed in a green,
wire armature for ivy. This ivy veil
comprises a ‘skin’ of leaves that filter
light, increase oxygen content within
the garages, and allow for natural
ventilation. The designers incorporated
water reclamation, recycled building
materials, minimal energy consumption
and natural day lighting into the
building. The building’s shape, massing,
and cladding create a new language for
sustainable architecture.The Census
Bureau complex is a study in how to
design a very large corporate campus
with minimal impact to its site through
sustainable design, while exploring an
architectural expression that celebrates
and heightens its relationship to the
landscape.GSA building receives
maximum points for Innovation in
Design category.
The
US
Census
Bureau
Headquarters, designed by Skidmore,
Owings & Merrill LLP, has achieved
LEED Gold Certification from the US
Green Building Council. Located in the
Suitland Federal Center near downtown



The building’s shape, massing, and
cladding create a new language for
sustainable architecture.
About Skidmore, Owings
& Merrill LLP
Skidmore, Owings & Merrill LLP
(SOM) is one of the leading
architecture,
interior
design,
engineering, and urban-planning firms
in the world, with a 75-year reputation
for design excellence and a portfolio that
includes some of the most important
architectural accomplishments of the
Washington DC, the building received
maximum points in the Innovation in
Design category and high points in the
Sustainable Sites category. Gary Haney,
AIA, SOM’s Design Partner for the
Census Bureau project said, “All credit
should be given to the GSA and Census
Bureau for allowing us to pursue a
design that is not only innovative but
points towards a future direction in
which architecture can be truly useful in
building sustainable cultures and
economies. The 1.5 mn-sq ft building’s
perceived and actual impact on the site
is reduced by limiting the office
program to eight stories and integrating
the architecture into the landscape.
Carved FSC-certified white oak covers
the outward-facing sides of the building,
which forms a brise-soleil that reduces
solar heat gain and creates dappled
patterns of shade and warm light inside
the office.
Underneath the ‘wood veil,’ green
tinted precast spandrels match the cast
of the landscape and are fully glazed to
maximize day light. The design blurs the
distinction between the building and
landscape by camouflaging the structure
and its scales. Two separate buildings
grow from one single mass, cleaved
apart to create a central garden that
integrates the building with its
landscape, while maintaining one
cohesive vision. Large windows
protrude from or are recessed into the
building, creating office lounges,
conference rooms, and informal
meeting areas. The adjacent parking
garages are sheathed in a green, wire
armature for ivy. This ivy veil comprises
a ‘skin’ of leaves that filter light, increase

oxygen content within the garages, and
allow for natural ventilation.
SOM
The designers incorporated water
reclamation, recycled building materials,
minimal energy consumption and
natural day lighting into the building.

Project Facts
Project: The US Census Bureau
Headquarters
Location: Suitland, Maryland, New
York
Architectural Firm: Skidmore,
Owings & Merrill LLP (SOM)
Completion Year: 2007Site Area:
30 acresProject Area: 1,508,013
ft2Building Height: 39 mNumber
of Stories: 8


20th and 21st centuries. Since its
inception, SOM has been a leader in the
research and development of specialized
technologies, new processes and
innovative ideas, many of which have
had a palpable and lasting impact on the
design profession and the physical
environment. The firm’s longstanding
leadership in design and building
technology has been honored with more
than 1,400 awards for quality,
innovation, and management. The
American Institute of Architects has
recognized SOM twice with its
highest honor, the Architecture Firm
Award—in 1962 and again in 1996.
The firm maintains offices in New
York, Chicago, San
Francisco,
Washington, D.C., London, Hong
Kong, Shanghai, Brussels, Abu Dhabi
and Dubai.

Cover Story

Cover Story



A global marvel
Ferrari World Abu Dhabi is the new development, housing the world’s largest
indoor theme park, marks a very special place in the globally marvelous projects.
The scheme is a celebration of an established design icon and the creation of a
new architectural landmark.

A

thrilling brand experience, a
multi-sensory celebration of a
true design iconFerrari World
Abu Dhabi is the latest architectural
interpretation of classic Ferrari body
shell and is a built expression of the
passion and excitement of one of the
world’s most emotive brands. The iconic
landmark leisure destination reflects
both the integrity of the Ferrari brand
and the ambitions of Abu Dhabi Benoy
designed Yas Island mega-scheme in
Abu Dhabi, sits the world’s first Ferrari
Theme Park – a thrilling brand
experience like no other, a multi-sensory
celebration of a design icon. The vision
was to create a form that would be
unmistakeably Ferrari, an expression of
the passion and excitement of one of the
world’s most emotive brands.
Structurally speaking
Externally the Ferrari World Abu
Dhabi building expresses the language
and values of the Ferrari brand itself.


Benoy’s vision - to create a building
that reflects Ferrari’s sinuous form, is
directly inspired by the classic double
curve side profile of the Ferrari GT
chassis. The double curve was
proportionately applied in elevation
to set the structure’s length and
height. This proportion gave rise to

the dynamic scale of the building at
700 m from tip to tip of the tri-forms.
The metal skin roof is highly insulated
and the main façades utilise highly
efficient glass to reduce thermal loads
and glare. The roof houses no Ferrari
World Abu Dhabi plant or equipment
and provides the back drop to a huge
Ferrari logo that will welcome all
passengers flying into Abu Dhabi
International Airport. Internally, a
collection of over 20 high octane
attractions provide excitement for the
whole family. The focal attraction will
be the 60 m high ‘G-Force Tower’ –
one of the most intense ‘freefall’
experiences in the world. Several roller
coasters continue the adrenalin raising
theme, including the world’s fastest,
reaching speeds in excess of 200kph.
Architecturally…
Ferrari World Abu Dhabi’s location,
scale and purpose combine to present
enormous architectural challenges.
The building, that occupies a total
area of 176,000m2, was conceived as a
simple ‘ground hugging’ structure, a
red sand dune. A three pointed star in
plan, with extensive tri-form claws to

embrace outdoor attractions, the
silhouette was derived from the
sinuous double curve of the classic
Ferrari body shell. On the distinctive

red, metal skin roof – and
immediately visible to all those flying
in to Abu Dhabi – sits the largest
Ferrari logo in the world. This feature
clearly
demonstrates
Benoy’s
confidence in creating designer
destinations and the company’s
genuine understanding of the impact
of fusing brand appeal with functional
considerations.

Key Facts
• The 86,000 sqm enclosed area of Ferrari World Abu Dhabi can fit 7 football
fields in'head to toe'.
• The total roof area of 200,000 sqm uses enough aluminum to cover 16,750
Ferraris, or if you laid the roof flat you could place 20,100 Ferrari's side by side
and end to end.
• If Ferrari World Abu Dhabi was turned upright, it would be the tallest man made
structure in the world at over 300 floors!
• The Ferrari logo on the roof, the largest ever created, measures an incredible 65m
in length and covers an area of 3,000 sqm which could fit at least 7 basketball
courts.
• The volume of concrete in Hoover Dam could fit inside Ferrari World Abu
Dhabi.
• 100,000 cubic meters of concrete were used to pour the slabs of Ferrari World
Abu Dhabi, which is 10,000 cubic meters more than what was used for
Wembley Stadium in London.
• Ferrari World Abu Dhabi has the largest space frame structure ever built with a
total of approximately 172,000 members and 43,100 nodes.
• Ferrari World Abu Dhabi needed 12,370 tons of steel to create its structure; the
Eiffel Tower only needed 7,000 tons.
• The gross footprint area of the plaza level is equivalent to approximately 15
American Football fields.
• The Empire State Building could be rebuilt in the same time it took to clad the
200,000 sqm of roof for Ferrari World Abu Dhabi; approximately 14 months.
• Formula Rossa, the world's fastest roller coaster, has the same G force one would
feel driving in an F1 car and braking at maximum speed.
• Bell'Italia displays more than 40,000 hand-planted miniature trees.
• Ferrari World Abu Dhabi includes 1,200 dining seats – enough to feed the entire
park at full capacity in 3 hours.
• Ferrari World Abu Dhabi will have for the first time under one roof Four
Michelin star experienced Italian chefs.
• There is a total of 663 jelly palms surrounding the two coasters. Each palm
produces 4 pounds of fruit.
• A football field needs 8,400 sqm of grass coverage; to cover the area around the
roller coasters at Ferrari World Abu Dhabi, 4.5 times that amount was used approximately 39,000 sqm of ground cover.


Cover Story

Cover Story

A 'Zenith' of a structure
Zenith Concert Hall in Limoges, France designed by
Bernard Tschumi Architects, has something of the
dynamic wrapping form created by the architect in the
steel-and-concrete Rouen building.

Z

enith first facility of this type was
designed by the French
architects Chaix & Morel in the
Parc de la Villette in Paris (1984), where
Bernard Tschumi, AIA, designed the
park's grounds and his signature red
'follies' (1983-98). Occupying a forested
site just outside the city center, the
Zénith has something of the dynamic
wrapping form created by the architect
in the steel-and-concrete Rouen
building.
The construction, environment and
acoustics:
The entrance hall is concentric in
shape.The auditorium is
situated in the heart of the
forest and is clad entirely in
wood, creating a landmark
whose materials reflect its
immediate surroundings. Its
measurements and geometry
are designed to ensure
maximum comfort for both
spectators and performers. In
addition, wood would introduce certain
warmth into the building, which
includes a flexible hall intended to
accommodate between 600 and 8,000
spectators. Two light building envelopes
stand between the entrance to the
Zenith and the forest surrounding it.
Once in the atrium, visitors are able to
feel the trees' presence through the
translucent skin of the outer façade.
Approaching the concert hall, the first
thing visitors see before entering the
darker, more intimate interior is the
double envelope of the building, whose
design alludes to the nearby forest
opening. The double skin assembly is

supported by a light, wooden frame
structure, providing acoustic and
thermal insulation for the concert hall.
Inside the performance space, wood has
been used on the walls and ceiling due
to its warm acoustic properties. The
reception hall is light and airy, in sharp
contrast to the dark halls bathed in
artificial light.
The wood allows for excellent
acoustics and adds a feeling of warmth.
Together, the rows of seats, the
partitions and the ceiling create a
dynamic
but
welcoming
atmosphere.Michel Desvignes, Tschumi
used a layered gravel-and-earth system
based on volcanic stone from
the nearby Puy-de-Dôme
region, which assures the
necessary stability for parking
while allowing grass to grow.
For maximum technical
reliability
The intention with this
project was to create a
powerful regional emblem that would
enjoy a local, national and international
reputation and encourage the cultural and
economic development of the city. Inside
the entrance hall, a multiple wooden arch
structure stabilises the high points of the
curved facade.To ensure that the values
for the load paths are accurate, the
metallic external structure supported by
the pillars has been designed using a 3D
computerised model and an evaluation
mock-up model. Computerised models
were also crucial in establishing the
geometry of both beams. The curvature of
the beams creates a 'hull' effect that is
visually very striking.


Name of project: Concert Hall in
Limoges
Location: City of Limoges, France
Gross square footage: 110,000 sq. ft.
Site area: 15 acres
Total construction cost: $30.6
million
Total Budget: 36.6 million USD
Owner: City of Limoges, France
Architect:
Bernard
Tschumi
Architects,
Site Architect: ArchitectAtelier
Photo courtesy: Christian Richters
Acoustics: Cial
Landscape
Architect: Michel
Desvigne avec Sol Paysage
Facade Advisor: Hugh Dutton
Associates
Financial Consultant: Bureau
Michel Forgue
Lot's builded SHON Surfaces: 2.1
acres, '8500 m2'
Building Dimensions: 300 ft, "90 m
diameter"
Height: 72 ft, '22 m'
Parking:
1500-vehicles-capacity
parking surface 10 acres or 4ha
Frame weight: 606 tonnes, "550
tonnes"
Concrete: 14,400 sq ft, "4400 m3
Roof: 88 tonnes, "80 tonnes
Polycarbonate envelope: 10,500 sq.
ft. '3200 m2
Earth-stone Paving Material:
65,600 sq. ft. '20 000 m3
Structure: Concrete wall, metal, and
wood frame
Translucent envelope: Alveolar
polycarbonate
Inner envelope: Acoustic wood
trestle
Wooded seats: 4,500 seats made in 4
different stains
Type of Wood: Douglas pine
Floors: Concrete and self-glossed
paving
Stage Equipment: Catwalk and lift
bridge built in the metal frame roof
truss (diameter: 80 meters)
External ground: Earth-stone mixed
for grass and natural vegetation



TAIPEI PERFORMING ARTS
CENTER Taipei, Taiwan

The strength
in expressions
Wei-Wu-Ying Metropolitan
Park in Taiwan, a name
that will soon be
symbolized as a logistically
planned modern cultural
city with its advanced
theatre designs and facility
techniques..

T

he Wei-Wu-Ying Metropolitan
Park, the site of a former
military complex, is the
location for the new Wei-Wu-Ying
Center for the Arts of Taiwan. The
complex features a concert hall, an
opera house, a theatre, a recital hall and
a large outdoor seating area. Hosting a
total of 6,000 seats and the most
technologically advanced theatre
facilities, the new cultural complex will
draw world class performing artists and

theatre companies. The surrounding 65
hectare park is an integral part of the
design brief.
Banyan trees:
An important source of inspiration
for Mecanoo’s building design were the
existing centuries-old banyan trees on
location. The banyan tree is one of the
world’s largest trees. Mecanoo’s building
complex is 225 m wide and 160 m
deep. Because of the openings in the
roof, the passageways and open spaces,
an almost porous building is created in
which interior and exterior blur. The
partially grass and plant covered roof
creates natural and efficient building
cooling in the subtropical climate. The
large roof also provides an informal
public space where the city residents
can stroll, practice Tai Chi, mediate or
just relax. Inspired by ancient Greek
theatre, outdoor seating space was


designed on the roof complex at the
point where the roof dips to the
ground. The surrounding park in turn
becomes an informal stage. The park
design is a logical continuation of the
theater complex with its public open
spaces and roofscape. Building and
landscape merge naturally, forming a
unified whole.
Programme: Theatre complex of
141,000 m2 in the Wei-Wu-Ying
Metropolitan Park with a total capacity
of 6,000 seats: Concert Hall 2,000
seats, Opera House 2,250 seats,
Playhouse 1,250 seats, Recital Hall 500
seats, public library of 800 m2, 1,000
m2 of rehearsal/education halls for
music and dance, 2 conference halls
with 100 and 200 seats and stage
building workshops.

Project details
Design: 2007-2009
Execution: 2010-2013
Location: Taiwan
Client: Preparatory Office of The
Wei-Wu-Ying Center for the Arts of
the Council for Cultural Affairs,
Taiwan
Architect:
Mecanoo
architecten, Delft, The Netherlands
Local architect: Archasia Design
Group, Taipei, Taiwan
Structural engineer: Supertech,
Taipei, Taiwan
Mechanical engineer: Yuan Tai,
Taipei, Taiwan
Electrical engineer: Heng Kai,
Taipei, Taiwan
Acoustic consultant: Xu Acoustique,
Paris, France
Theatre consultant: Theateradvies,
Amsterdam, The Netherlands; Yi Tai,
Taipei, Taiwan
Lighting consultant: CWI lighting,
Taipei, Taiwan
Organ consultant: Oliver Latry,
Paris, France
Roof and facade consultant: CDC,
Taipei, Taiwan
3D advisor: Lead Dao, Taipei,
Taiwan
Awards: Chicago Athenaeum
International Architecture Award,
International Design Award 2009,
Cityscape Architectural Award 2008

Crushing and Screening Equipments
SPECIAL FEATURE:

SPECIAL FEATURE:

the ground limit etc. He further states, “We
are focused on that and tried to advise the
construction companies how to make and
design crushing system and what is the
next. From 1998-2000 we had an
opportunity to get more into technical
details or technology of the crushers. With
the encouragement from the construction
and the infrastructure industry we first
made vertical shaft impact crusher which
was very essential for road construction to
shape the material and bring to a
specification at the most. This how we
started from one equipment to the other,
then the plants and more.
From 2002 to 2007 tremendous demand
was seen where we have supplied more than
300 plants all over India. Elborating on the
hardships faced Mr Rao says, “The journey
is not a white coloured job. You have to
stand in the field; you have to understand

Widening market
horizon year after year
Be firm, fair and honest.Remain
customer focused and thrive to
enhance customer satisfaction at all
times is the mantra followed by the
team NAWAEngineers. GN Rao,
Managing Director, NAWAEngineers
in his insightful interview with
Remona Divekar on the company
and this advancing industry.

W

ith a vision to engineer the
future, NAWAEngineers has
designed and supplied crushing
equipment that offers a complete crushingscreening-conveying programme backed by
uncompromising quality and expert service.
GN Rao, MD, NAWAEngineers speaking
on the company’s success explains, “From
the time we began started in 1998 as a
consulting engineering company we over the
years now have developed world-class plants
and equipment indigenously, surpassing
customer expectations. With the

background we have in this type of industry
that is of crushing and screening at point of
timew was neglected and was always looked
down as a road side industry. Our
commitment to customers and their faith in
our expertise has motivated us to develop
high product configurations with rock solid
reliability.”
The change began from:
The road construction industry has
brought in very stringent specifications
what is aggregate specification, sizes, what is


what is happening, touch the material, and
climb up, you have to see how the rationales
are working, these things form the core
elements of the job. But graduating steadily
we made a mark amidst multinational
companies like Metso, Sandvik and more so
the feather in the cap came by receiving
recognition by construction major like
Jaiprakesh Associates who are our regular
customers.
Difficulties in setting up a crushing plant,
setting the capacity or determining the
capacity:
Crushing means for example take granite
since it is most difficult for a machine to
crush a hard stone. There is a tremendous
amount of physics and geometry involved
in a crusher. When crushers or crushing
equipments are made technology plays an
important role. For example when you
want to crush a hard stone like granite and
quartzes that is where machines function
you need to have the experience of the
material; you need to have the experience
of the mechanism, you need to have the

successful efforts from the capital goods
manufacturers. The economy has to
bring in the stability in the prices. For
individuals it is beyond certain limit. I
cannot cut corners to make a bad
product because the steel prices have
gone up. So this is problem capital goods
manufacturers’ face.
New innovation in
technology and trends
Market requirement is the high capacity
plants. We started with 100 -300 tonnes
per hour. Earlier the road packages were
Rs 100 crores to Rs 200 crore. Now it is
Rs 1,000 crore to Rs 2,000 crore because
the stages are increased and these are all
BOT project and then you need to build
them quickly because your revenue will
come. These are for road. Everyone is
looking at faster completion of projects.
You need to squeeze the time; you need
experience of the machinery to make the
crushing successfully happen and this very
much a neglected area. Quarry duty is
always a toughest thing so eventually
setting up a crushing plant is always
difficult thing. It is also equally difficult to
select a crusher and crushing system and
design it.
Demand drivers for newer technologies:
Road construction and dam construction
are highly mechanised. We have a lot of
road making machinery and other things.
We have concrete and batch mixing
plants, we have so many other asphalt
mixing plants and so many other rests are
part of system. As far as the crushing
industry is concerned the crushing
manufacturers they have to set up their
own plants which is basic raw material for
all the infrastructure projects. Any
construction project the basic raw
material is the crusher stone or crusher
sand. So these are the areas we have mostly
focused and seen that machines is
equipped to perform various applications
and situations, various rock and that is
what we have done over a period of time.
Cope up with the changing clients’
preferences, fluctuating markets, and the
increasing raw material rates:
It is one of the problems in India. The
problem is the raw material keep

changing, unlike countries like China
and Japan. We have a high inflationary
rate in India so the inflationary rates are
the product of so many factors. As a
machine manufactures we have to keep a
check on the steal cost, casting, forging,
and these materials I would say are not in
our hand. To control the cost we get back
to the material management, we see, we
keep our stocks less and we purchase at
the right movement, we purchase in bulk
and keep a stock and fine culmination of
all these points but we don’t see any


the raw material rates at a higher
capacity. Higher capacity plants are the
order of the day. For that we have several
steps and we already taken the
technology from the US and we have
purchased the highest capacity crushers
at the latest technology. Whatever we
could design in-house and according to
the time schedule we have designed the
big jaw, cone crushers, and bigger
vibrators. From 300-400 tonnes per hour
we are geared to make up to
600 tonnes per hour.

Construction and Architecture Magazine 09 jan feb 2011

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