Framing Design Criteria

8/12/2019 Framing Design Criteria

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FRAMINGDESIGNCRITERIA|ARCHITECTURAL CHARACTER||STRUCTURAL EFFICIENCY & ECONOMY|||MECHANICAL & ELECTRICAL SYSTEMS

REQUIREMENTS||||OPENING FOR STAIRS & VERTICAL FENESTRATIONS


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ARCHITECTURAL

CHARACTER Structural Framing as an Architectural

Expression


3/23

SUVARNABHUMIINTERNATIONAL

AIRPORT(BANGKOK, THAILAND)

New building designtrends such as openarchitecture, curvedplate, and exposed-to-view structural

elements havechanged therequirements for rollbending equipmentused in construction.


4/23

LLOYDS BUILDINGBY RICHARD ROGERS(LONDON, ENGLAND)

Expressed structure and exposedservices as ornamental order.

Steel frame with glass curtain wallconstruction.


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Massive structural expressionist cast exoskeleton, "exterior"escalators enclosed in transparent tube.

CENTRE GEORGESPOMPIDOUBY RICHARD ROGERS & RENZO PIANO(PARIS, FRANCE)

High-tech steel and glass construction system


6/23

LYON AIRPORTSTATIONBY SANTIAGO CALATRAVA(LYON, FRANCE)

It is an iron structure, which is mostly exposedboth inside and out. The walls of the buildingfacades, on the north and south, contained 25iron bars each one, which are covered by largewindows.

The two interiorsarches help tosupport thestructure of the

lobby, and exteriorarches support ironlarge wings.


7/23

HIGH RISEAPARTMENT

TOWERBY SANTIAGO CALATRAVA(MALM, SWEDEN)

In order to follow the buildings twisting structure,

which was inspired by a human body in movement,

the glass faade features a complex double-curvedshape. The tower is made from concrete, steel,

glass, and recyclable aluminum.


8/23

STRUCTURALEFFICIENCY &

ECONOMYIn terms of:

MaterialsSpan Capability

Availability of Material

Skilled Labor


9/23

GLENN MURCUTTARCHITECT AND ENVIRONMENTALIST

The Pritzker Prize-winning architect

Glenn Murcutt is not a builder ofskyscrapers.

Marika-Alderton

House

The Marika-Aldertonhouse exemplifies thedwelling in its simplestform. Designed for an

Aboriginal couple, theconstruction has a strongenvironmental focus andis ingeniously designedto adapt to the hot,tropical climate of theNorthern Territory

Source: http://marty-dab310.blogspot.com/

The Aboriginal proverb - 'touchthe earth lightly' - plays a centralrole in the inception of his

designs, solidifying the intimaterelationship between the built andnatural environment

Murcutt chooses materials that canbe produced easily andeconomically: Glass, stone, brick,concrete, and corrugated metal. Hepays close attention to the

movement of the sun, moon, andseasons, and designs his buildingsto harmonize with the movement oflight and wind.


10/23

GREAT BAMBOO WALLHOUSEBEIJING, CHINACOMPLETED IN 2002 BY KENGO KUMA & ASSOCIATES

As for the material, we used bamboo as much as possible, since its considered ashaving a significant meaning among Chinese and Japanese cultures. Depending ondensity of bamboo and its each diameter, it offers a variety of partitioning of space.Making the most of that characteristics, we decided to place a bamboo WALL, a layer ofbamboo along the sites inclination just like the Great Wall. The Great Wall in the past

partitioned off two cultures, but this BAMBOO WALL would not only partition but alsounite life and culture in various manners as the Great Wall in particles.

Kengo KumasKey Design Philosophies:

Particalisation Blurring Boundaries of Interior and Exterior Transparency Erasing Architecture Local materials or materials pertinent to

context Nature and Built Environment Peacefully

Coexisting Simple but critical application of basic

materials (wood, rice paper, water, bamboo,nature, light)

Source: http://kumabytannerdab310.wordpress.com/part-1c-application/


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SHIGERU BANHUMANITARIAN ARCHITECTWE DONT NEED INNOVATIVE IDEAS. WE JUSTNEED TO BUILD NORMAL

THINGS THAT CAN BE MADE EASILY AND QUICKLY. A HOUSE IS A HOUSE.

Japanese architect Shigeru Ban, who

isinternationally known for his workwith paper architectureand itsimplementation in the aftermath ofnumerous disasters around the globe.

Architecture is rooted in the basic humanneed for shelter. But the profession todaypays little attention to situations where theneed for shelter is most urgent, such asafter a disaster.

Ban first made his name in the mid-1990swith his use of lightweight paper tubes asstructural and enclosing elements inbuildings. In paper tubes, Ban found amaterial that is cheap, strong, sustainable,and readily available, but its wholesomebrown blandness is hardly glamorous.

Presenting a low cost and lowimpact alternativeto aluminumor wood structural supports, Banwas able to build fifty paper tubeand tarp shelters to temporarilyhouse a portion of the wars

displaced, his first chance to

evaluate the paper architecturesystem in practical use.

The temporary shelters that hedesigned for occupation bydisaster survivors thereconsisted of a beer crate andsandbag foundation, 4mm thick

paper tube walls with waterproofsponge tape for insulation, and atensile fabric roof. By deployingcommon and easily recyclablematerials to their maximumeffect, Mr. Bans prototype for adry and sturdy 170 sqf homecost under $2000 and took amatter of hours to build.

source: http://michaeljamescasey.com/blog/?p=1084http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/#.UvW5WfldUdU
http://michaeljamescasey.com/blog/?p=1084http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://www.japantimes.co.jp/culture/2013/04/23/arts/shigeru-ban-between-function-and-beauty/http://michaeljamescasey.com/blog/?p=1084


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In this, Bans architecture is rooted in

the modernist credo that function

begets beauty. Such an architecturesees its main task as problem-solving. Disasters create huge

problems; architectures mission is to

solve them.


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MECHANICAL &ELECTRICAL

SYSTEMSREQUIREMENTS LOCATION and DIRECTION must be

coordinated with the intendedstructural framing of the building


14/23

THE COLOR CODE

The colors have been used as

cover for the structure element,according to a "code" defined bythe architects- blue for air circulation (airconditioning)- yellow for electrical circulations- green for the flow of water

- red for the movement of people(escalators, elevators).

This is "color code" as a symbolof the multidisciplinary CentrePompidou, which refers to thetitle of the program quarterly

magazine.

CENTRE GEORGESPOMPIDOUBY RICHARD ROGERS & RENZO PIANO(PARIS, FRANCE)

Within each floor level, there are

exposed below-ceiling services

for air delivery, ductwork, and

lighting.

"Anatomical" section looking

south through structure, wall,

and exterior services.


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16/23

HOUSE INNIPPONBASHIWARO KISHI +

K.ASSOCIATES/ARCHITECTSThe house was built on an extremelysmall plot of land in downtown Osaka.The facade of the building, 2.5 m inwidth, fills the entire front of the site. Thehouse is 13 m deep, and the lower threefloors were kept as low as possible.

As a result, the structure not onlyemphasizes the vertical direction buttakes full advantage of the depth of thenarrow site.

view from the back: dining roomwith 6m high ceiling + roof garden

steel beams and pillars can beseen throughout the interior

Source: http://www.mooponto.com/2013/10/23/house-in-nipponbashi-waro-kishi-k-associates-architects/


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PLAN |SECTION |AXONOMETRIC


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THE COMMUNITY CENTEROF SYNTSALO(FINLAND)

ALVAR AALTO


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NEMAUSUS SOCIALHOUSINGJEAN NOUVEL


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THE HOUSE OF JEANPROUV

Working from the postulate that there wasno structural difference between a piece offurniture and a building, Jean Prouvdeveloped a constructional philosophy

whose artifice-free aesthetic offunctionality and fabrication applied the

same principles to furnishings andarchitecture. First produced in small seriesin the 1930s, his structures wereassembled and integrated with the aid ofshrewdly designed systems formodification, dismantling and moving ofboth furniture and buildings.


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HOUSE INNAKAGYOWARO KISHI

House in Nakagyo stands in the middle of a typicalKyoto district with mixed-use commercial andresidential buildings to the south. The narrow site isoriented north-south and fronts streets on the southand west sides. It is designed for a dealer of antiquesand the first floor provides a place to receive visitors,while the second and third floors provide residential

quarters.

HOUSE IN NAKAGYO


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HOUSE IN NAKAGYOWARO KISHI


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QUE, CHRISTINE JANN O. 2100445 ARCH. ED B. LLEDO

BS ARCH 5 INSTRUCTOR

MIDTERM REQUIREMENT IN AR425B

Framing Design Criteria

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