ie School of Architecture

Hearst Tower in Manhattan

Está situado sobre la Octava Avenida entre las calles 56 y 57.La torre fue diseñada por Norman Foster. Abrió sus puertas en octubre del 2006 tras tres años de construcción. Con la colaboración de Gensler, Foster incorporó un diseño verde y rasgos de construcción para crear un ambiente de oficina que conserve energía para 2000 empleados de Hearst.La torre en realidad ocupa la cáscara del edificio original Hearst de 6 pisos, construido en 1928. Esta estructura reforzada, fue diseñada para llevar una torre de oficina, pero fue cancelado.
Gensler, con Foster & Partners, fue capaz de proponer un diseño sostenible para la torre de cristal y acero triangular, que se eleva 597 pies de la base de 40000 pies² del edificio original, un eslabón entre lo viejo y lo nuevo. La fachada de caliza prefabricada en forma de L, del edificio de original con columnas retro, balaustradas, esculturas, y ventanas fue conservada y restaurada. Su fachada, ahora se abriga alrededor para la nueva torre.El exterior es una serie de triángulos de acero de cuatro pisos sobre una fachada inclinada de cristal de piso-a-techo, permitiendo la entrada de luz natural. La torre tiene una forma triangular con sus esquinas recostadas hacia atrás, el efecto acentúa las dimensiones verticales del. La torre esta unida con el edificio existente por una falda transparente de cristal que inunda los espacios inferiores con la luz natural, dando la impresión de una torre de cristal que flota ingrávidamente encima. La torre ha sido diseñada con un complemento lleno de tecnologías modernas y una disposición de lugar de trabajo abierta. Además de la revista y oficinas corporativas, hay también un estudio de difusión ultramoderno, un centro de fotografía digital, un centro de la salud de primera clase abierto a empleados a precios subsidiados, un centro de conferencias ejecutiva y el comedor, una cafetería corporativa de 340 asientos un teatro de 168 asientos( el Teatro Joseph Urban),etc.

Gross Area: 856,000 square feet/79,500 square meters
Total Usable Area: 650,218 square feet/60,470 square meters
Number of Stories: 46

Completed: 2006

Photographed by Chuck Choi

Client: Hearst Corporation
Architect: Foster and Partners
Norman Foster
Brandon Haw
Mike Jelliffe
Michael Wurzel
Peter Han

David Nelson
Gerard Evenden
Bob Atwal
John Ball
Nick Baker
Una Barac
Morgan Flemming
Michaela Koster
Chris Lepine
Martina Meluzzi
Julius Streifeneder
Gonzalo Surroca

Fit Out:
Norman Foster
Brandon Haw
Mike Jelliffe
Chris West
John Small
Ingrid Solken
Michael Wurzel Peter Han

Associate Architect: Shell and Core
Adamson Associates
Fit Out: Gensler

ie School of Architecture lo descubrió en abril de 2009

listas: s_XXI , services_ARCHITECTURE EXHIBITIONS , use_OFFICE_WORK_SPACES

etiquetas: foster , steel

mies van der rohe

1965-1968
La Neue Nationalgalerie (Nueva Galería Nacional), es un museo diseñado por el arquitecto alemán Ludwig Mies van der Rohe. Está ubicado en Berlín, en la zona de Tiergarten, y fue inaugurado en 1968.

El museo forma parte del complejo de edificios culturales de Berlín (Kulturforum), y está principalmente dedicado al arte del siglo XX, con particular énfasis en expresionismo, cubismo y Bauhaus. Contiene obras de Klee, MunchKandinsky y Pablo Picasso, entre otros importantes artistas.

Arquitectura

Este museo es la última obra del afamado arquitecto Mies van der Rohe, y la primera que realizó en Berlín.[1]

Exteriormente el edificio se constituye como un gran zócalo de piedra sobre el que se eleva una enorme cubierta metálica cuadrada sustentada por ocho pilares perimetrales. Retranqueado de la cubierta, se dispone un cerramiento enteramente de vidrio, por lo que visualmente, el espacio del museo es prácticamente un trozo de explanada cubierto, sólo interrumpido por dos pastillas de comunicación vertical y aseos. Sin embargo, en condiciones normales, el espacio de museo contiene elementos de tabiquería que varían con las distintas exposiciones y que limitan esa continuidad visual. Este edificio es una de las muestras más representativas y refinadas de la búsqueda de la elegancia mediante la simplicidad conceptual y constructiva: un reflejo de la famosa frase »menos es más« que popularizara este mismo arquitecto.

Este espacio a nivel de superficie es sólo una parte del museo, que hace las veces de atrio, mientras que las salas de exposición principales se sitúan bajo tierra.

listas: s_XX , use_MUSEUM_MUSEO

etiquetas: acero , mies van der rohe , piedra , steel , stone

edificio de oficinas y vivienda

NOMBRE DEL EDIFICIO: Fuller Building, aunque es más conocido como Flatiron Building debido al parecido del mismo con las planchas de hierro de la época.

ARQUITECTO: Daniel Hudson Burnham (1846-1912). El estilo de muchos de los rascacielos de Nueva York se lo deben a este arquitecto.

AÑO DE CONSTRUCCIÓN: Se finalizó en 1902.

DESCRIPCIÓN: La importancia del edificio en la zona, ha hecho que se le llame a este distrito, distrito Flatiron. Tiene una situación muy particular debido a la forma triangular de la parcela. La parte de la punta del edificio, tiene tan sólo 2 metros de anchura. Debido a su peculiar forma, ha sido comparado con un buque que navega por Broadway.
Durante 10 años fue el edificio más alto de Nueva York, con sus 21 pisos de altura (87 metros).
Edificio de propiedad privada destinado a uso de oficinas y alguna vivienda.
Es uno de los primeros rascacielos construidos en Nueva York, ha sido el precursor de la era de los rascacielos (Chrysler Building y Empire State). Es de estilo modernista, con rasgos renacentistas.
Su estructura es de acero recubierta de piedra caliza y ladrillo terracota vidriado; con detalles ornamentales que cubren la piel de la estructura (arcos, columnas, pilastras, flores de lis, medallones, mascaras…)
Las fachadas de Broadway y la Quinta Avenida son idénticas, mientras que la de la Calle 22 es algo más simple por debajo de la cornisa continua.
El interior del edificio está considerablemente menos ornamentado y se ha remodelado para adaptarse a los inquilinos. Tiene un gran vestíbulo de hierro con escaleras de mármol.
El exterior del edificio se divide en tres partes, al igual que una columna clásica griega, la base (algo más ancha que el resto, con 2 plantas), el eje y la parte superior a modo de capitel. La parte superior, del piso 18 al 21, rompe con el resto del edificio en cuanto a los huecos abiertos.

ie School of Architecture lo descubrió en marzo de 2009

listas: s_XIX , s_XX , use_OFFICE_WORK_SPACES , use_RESIDENTIAL_VIVIENDA_colective , use_URBANISM_URBANISMO

etiquetas: daniel hudson burnham , fuller building , steel , stone

rem koolhaas
OMA

GETTING TO MOA & CONTACTS

Directions
The MoA is located to the left of the main gate of Gwanak Campus, Seoul National University. Take the subway or a bus to the main gate and walk through the staircase of the amphi-plaza on the left of the gate. If you are driving, you can use the university parking lot (parking fees applicable).

Transportation
Bus: 5511, 5512 (previously 413), 5513, 5516 and 5518
Subway: Seoul National University Station on Seoul Subway Line 2, Exit No. 3 (use school shuttle buses, city buses (5511–3) or taxicabs)

* For more information regarding transportation, please refer to snu.ac.kr website.

Parking
Use the Grand Stadium Parking Lot or designated parking spots on campus.
Hours of operation: 00:00–24:00 (parking fees is applicable depending on time)
Parking fees: minimum 1,500 Korean won/30 min, 500 Korean won per 10 min thereafter.

Contact
Tel: 880-9504 / Fax: 886-9502
Administrative Office: 880-9503-5 / Curatorial Office: 880-9506-9
E-mail: info@snumoa.org
Address: MoA (Museum of Art, Seoul National University), San 56-1, Sillim-dong, Gwanak-gu, Seoul 151-742

ie School of Architecture lo descubrió en octubre de 2009

listas: s_XXI , use_AUDITORIUMS_AUDITORIOS , use_EXHIBITIONS HALLS_CONGRESS , use_LANDSCAPE , use_MUSEUM_MUSEO

etiquetas: koolhaas , oma , steel , truss

Architect: Smiljan Radic Clarke
Location: Los Lirios, Rancagua, Chile
Collaborators: Danilo Lazcano, Gonzalo Torres
Structural Engineer: Claudio Assar Olguín
Technical Inspection: Smiljan Radic
Contractor: Eugenio Durán
Constructive System: Masonry
Project Year: 2005
Construction Year: 2006
Site Area: 1600 sqm
Constructed Area: 210 sqm
Photographs: Gonzalo Puga

ie School of Architecture lo descubrió en octubre de 2009

listas: s_XXI , use_RESIDENTIAL_HOUSING_individual

etiquetas: acero , casa , courtyard , house , ladrillo , masonry , patio , steel , wall

Architect Philip Johnson, born in Cleveland, Ohio in 1906, has become one of architecture's most potent forces. Before designing his first building at the age of 36, Johnson had been client, critic, author, historian, museum director, but not an architect. In 1949, after a number of years as the Museum of Modern Art's first director of the Architecture Department, Johnson designed a residence for himself in New Canaan, Connecticut for his master degree thesis, the now famous Glass House. Philip Johnson was the first recipient ot the prestigious Pritzker Architecture Prize when it was established in 1979.

listas: s_XX , use_RESIDENTIAL_HOUSING_individual

etiquetas: acero , philip johnson , steel

The entrance sports dynamic Art Deco decor, whereas the 35-storey facade itself is non-ornamented, with glazed tiling (blue-green coloured terra-cotta brick that grades in hue as the building rises) between horizontal stripes of large, green metal-framed windows, giving an unprecedented amount of light. The more decorative top of the building, with the name of the company displayed in large Art Deco letters, is again less strict.
The use of horizontal bands of windows -- and disposing of the traditional masonry walls in favour of totally using the advantages of steel frame -- was dictated by the need to secure as much natural light as possible. The form of the building also follows the usage of its interior, with the lower floors housing the company's printing plant, with office floors occupying the tower above and executive floors at the top.
The lobby of the building is decorated with opaque Carrera glass and stainless steel.
The McGraw-Hill Building is a transitional building in terms of styling. Many aspects of the building suggest Streamline Moderne, the final phase of Art Deco. At the same time, it is cited as one of the first examples of the International Style in the United States.
Streamline Moderne aspects of the building include the blue-green terra cotta cladding as well as the strong horizontal lines. The blue-green color used in this building was a popular shade during the Art Deco era. The Eastern building in Los Angeles is also similar in color. While the building was under construction, the architect was very concerned about consistency with the shade of the blue-green terra-cotta bands. He personally inspected the shipments to insure that they were consistent with the other bands that had already gone up.
Although you can't tell from this picture, the ground floor is a combination of green, silver and gold. As the building rises, it quickly becomes the blue-green color you see in the picture. The drastic setback is a direct result of the zoning laws that were passed after the Equitable building was completed, but also a very typical aspect of Art Deco/Streamline Moderne skyscrapers..
The International Style, a book written by Henry-Russell Hitchcock and Philip Johnson, gave this new style a name and introduced it to the public. The book was written as a catalog to accompany an exhibit at the New York Museum of Modern Art, but became such an important book for this architecture movement that it is still published today. The book primarily focused on European architects and buildings since this is where the movement started. However, it does include a few buildings in the United States including the McGraw-Hill building.
This building can be classified as International Style primarily because of it's regularity and lack of applied ornamentation. You can see the future Modernist movement in this building.
In the 1970's McGraw-Hill decided to move their headquarters to Avenue of the Americas. Although the fate of the building was uncertain for a few years, Group Health Incorporated decided to use it for their corporate headquarters in 1974. GHI later moved out as well, but the building was then established enough to avoid any questions of its future.
Raymond M. Hood (March 29, 1881 – August 14, 1934) was an early-mid twentieth century architect who worked in the Art Deco style. He was born in Pawtucket, Rhode Island, educated at Brown University, MIT, and the Ecole des Beaux-Arts in Paris. At the latter institution he met John Mead Howells, with whom Hood later partnered. Hood frequently employed architectural sculptor Rene Paul Chambellan both to create sculpture for his building and to make plasticine models of his projects.

ie School of Architecture lo descubrió en abril de 2009

listas: s_XX , use_OFFICE_WORK_SPACES

etiquetas: art deco , ceramic , raymond hood , steel , terracota

By 1830, the use of cast iron as internal structure was a fact. However all the buildings had an external enclosure, to protect the building from
weather, fire, and they provided the building against overturning. The skeleton frame has not enclosure at all, and it needs by itself to bear the loads and provide stability.

They afford this with 4 different methods:
1- Rigid connections between columns and beams (Hungerford Fish Market,1833 by Charles Fowler). Usually accomplished by interior masonry (or concrete) stair towers and elevator shafts that creates a vertical rigid core that resists deformation and torsion of the building due to external lateral forces.
2-Shear Walls - Exterior (or interior) walls built of masonry or concrete that act as a vertical cantilever beam resisting lateral loads. Problems - may interfere with exterior windows, labor intensive, heavy.
3-Moment-Resisting Beam-to-Column Connections - Typically accomplished by fabricating extra connection angles, welds and bolts that greatly increase the rigidity of the connection. Problems - extremely labor intensive and expensive.
4-Diagonal Bracing: The addition of diagonal "X" or "K" bracing that resists lateral loads. Problems - may interfere with exterior windows.. It was very used in railway stations
(Pennsylvania State railway, 1910).
Crystal Palace, with no enclosure at all, just glazing, Paxton, 1850. As an skeleton frame we can include the Eiffel tower, 1886.

The skeleton frame made the curtain walls and glazing possible, since all the dead loads are in the internal structure and not in the enclosure anymore.

The advantages of steel skeleton frame:
1. Can build very tall and wide (tallest buildings in the world)
2. Light weight and strong (much lighter and stronger than concrete)
3. Prefabricated - frames assemble quickly
4. Precise and predictable (excellent quality control)

Disadvantages of steel skeleton frame:
1. Steel is an expensive material (much more expensive than masonry or concrete)
2. Frames are unstable
3. Needs fire protection
4. Needs separate "skin" (walls and floors).

Connections while making a skeleton frame:
1 Rivets - Generally not used any more for reasons such as low strength, safety and poor quality control.
2 Bolts - Come in two varieties - carbon steel and high-strength. The carbon steel bolts obtain their strength through shear (or tension) along the shaft of the bolt only.
3 Welding - Welding is accomplished by mechanically joining steel together by heating electrodes into a molten state, which forms one piece from two. Creates extremely rigid connections. The most common type of weld used for building structures is the "fillet" weld, which joins pieces at right angles. It is common to shop-weld connection angles to beams and columns, then field-bolt them together at the job site.

ie School of Architecture lo descubrió en diciembre de 2009

listas: learning_CONCEPTS , s_XIX

etiquetas: skeleton frame , steel

Home Insurance Building was erected in 1885, Illinois. The rchitect was William Le Baron Jenney, an engineer.

This building is the begining of curtain wall, as it is the first offices building in using a Skeleton frame made out of steel and iron.
The skeleton consists in horizontal beams and vertical columns, all made out of metal. It is said that it is not a pure steel framed structure since it rested partly on granite piers at the base and on a rear brick wall, to hold the building against wind.
It had 12 stories high, and it is consider as the first skyscraper.
Jenney discovered that steel frame could support a tall building as well as the stone walls could. The buildng weighed one-third as the same one built in masonry.
As the skeleton supported all dead loads in the building it was possible to start thinking about glazing skyscrapers, and do more and more openings until reach a completely glazed skyscraper.

ie School of Architecture lo descubrió en diciembre de 2009

listas: s_XIX , use_OFFICE_WORK_SPACES

etiquetas: curtain wall , home insurance , le baron jenney , skeleton frame , steel

ie School of Architecture lo descubrió en diciembre de 2009

listas: s_XX , use_OFFICE_WORK_SPACES

etiquetas: piedra , steel , stone