Download - 0-14 Tower, Dubai, UAE
CONTENTS
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CONTENTS:
Chapter – 1 ABSTRACT
Chapter – 2 ARCHITECTURAL DESIGN
2.1. INTRODUCTION ......................................................................................................................................................................................... 4
2.2. THE DESIGN STUDIO ................................................................................................................................................................................. 5
2.3. THE DESIGN PROCESS ............................................................................................................................................................................. 6 2.3.1. Starting a design project ................................................................................................................................................................................................. 6 2.3.2. Developing a design project ............................................................................................................................................................................................ 7
Chapter – 3 0-14 TOWER
3.1. LOCATION .................................................................................................................................................................................................. 8
3.2. DESCRIPTION OF THE TOWER ................................................................................................................................................................. 9 3.2.1. Main data ........................................................................................................................................................................................................................ 9 3.2.2. Plan views of the structure ............................................................................................................................................................................................ 10 3.2.3. Elevation view of the structure ...................................................................................................................................................................................... 12
3.3. CONCEPT ................................................................................................................................................................................................. 13
3.4. REVOLUTIONARY .................................................................................................................................................................................... 14
3.5. SIMILAR PROJECTS ................................................................................................................................................................................. 15
3.6. SPACE DISTRIBUTION ............................................................................................................................................................................. 16
3.7. THE CONCRETE SHELL ........................................................................................................................................................................... 17
3.8. DESIGNERS OF THE TOWER .................................................................................................................................................................. 20
1 Abstract
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This work aims to analyze 0-14 Tower, reinforced concrete building placed in United Arab Emirates in
Dubai city. This building has strange exoskeleton facade made of reinforced concrete with huge openings to
allow light to flow through building. Load bearing system consists of external wall – exoskeleton and
internal core composed by several inner walls. Thickness of outer wall is 40cm and building has 22 stories.
Architects Jesse Reiser and Nanako Umemoto have designed this building which looks like sculpture.
2 Architectural design
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Fig. 2-1: Initial sketch design for a hiltop house showing the relationship between the plan, section, site and details. Considering both large-and small-scale elements; landscape and architecture, fragments and the whole picture
2.1. INTRODUCTION
The architectural design process
is as diverse as the people who practice it. The variety and
richness of approaches to the subject can be seen in the
radical differences between architects‘ work. In any
architectural competition, no two entries will be the same.
What inspired the architect? Why is there no one ‗correct‘
answer to a given architectural problem? Talk to any
architect or study their work and you will begin to notice
that there is both method and inspiration behind their
approach. This book sets out to explain the process of
design by tying together the experiences of those involved
in the practice and learning of architecture.
Architectural projects are generally discussed by
the public and the profession after they have been built
and handed over to the client. At this point a degree of
hindsight and post-rationalization makes the complicated
story of a project‘s development intelligible. However, the
process of architectural design itself is still shrouded in
mystery, little discussed and rarely represented in
publications or interviews with architects.
Chapter – 2 Architectural design
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Fig. 2-2: This figure shows a scene common to both professional and student design studios, with flexible shared working space wquipped for drawing, making and collaboration
What value do we place on the wastepaper basket of crumpled
preliminary sketches or rough concept models?
The way that an architect designs – the process that they follow – is
constructed by the individual; it is entirely built around their own values, skills and
preoccupations. It is important that architects are conscious of, and reflect upon,
their own design process; not only because this is what they bring to a design
project as creative individuals, but also to enable them to take ownership of the
process in order to avoid carelessly repeating outdated or obsolete actions.
2.2. THE DESIGN STUDIO
This chapter places architectural design in its familiar context: the
design studio. This is where the creative work happens; it is an
environment common to both architectural education and the profession. It is a
place of practical things; a place of production containing equipment for making
models, for drawing digitally and by hand. It is often supported by specialized
workshops and printing facilities. Resources for research, such as architectural
books and journals, will also be on hand. The studio has its own culture: it is a
place where research, experimentation, discussion and the testing of ideas can
take place before they are put into action on site. the gathering together of like-
minded colleagues capable of collaboration and constructive criticism assists the
development of architectural proposals and the Postering of mutual
preoccupations.
‘‘I think we believe very strongly in the discussion forum culture of the studio compared
to what you might call an office. So everyone has the same chair and everyone has the
same desk. Everything is open and everyone has access to everything. Everyone’s
opinion is aired. I like that and I like to be able to talk to and reach everybody. I
wouldn’t like to be in a separate place at all. If I want a separate place I just go for a
walk.’ John Tuomey, O’Donnell+Tuomey Architects
Chapter – 2 Architectural design
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Fig. 2-3: Site location for future building
2.3. THE DESIGN PROCESS
This chapter describes the cerebral process of design and the skills needed to implement design ideas and develop as an architectural
designer. Architectural design problems are complex and require creative solutions. Although architects often make provocative, didactic or stylistic
judgments about different forms of Architecture that they either value or deride, there is not one ‗correct‘ way to design. Architectural experiences,
influences and inspirational tutors or colleagues contribute towards the making of an architect but each person responds differently to these stimuli
and must make their own value judgments.
Ultimately, the moment of design springs from the individual imagination, no matter how collaborative the circumstances that provoked it.
This chapter attempts to define experiences and skills that are common to all architects engaged in the design process and to give substance to
some of the more cerebral and intangible qualities of architectural design. The better the architect understands their actions, the greater their
freedom to develop and explore the different possibilities inherent in their own design process.
2.3.1. Starting a design project
A typical design project begins with a research, experimentation
and analysis phase to understand the problems set by the brief: surveying
the site, sketching, interviewing clients and users, mapping and analyzing
the site. The project may be real, based on reality or entirely imagined.
The brief may even be open, requiring the student to complete it, to
identify a site, client or building type(s). The brief is normally designed to
allow students to develop their own interests and build upon those of the
tutor.
There will often be elements of group work and cooperation at this
point to accelerate the group‘s knowledge and understanding at a time
when much research is needed. While absorbing all of this information, it
is possible to explore multiple ideas and potential solutions to the design
problem through preliminary sketches, diagrams and sketch models.
Different ideas need to be explored and tested out.
Chapter – 2 Architectural design
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Fig. 2-5: Organization of the location
Fig. 2-: Site location for future building
2.3.2. Developing a design project
Once the design problem has been understood and restated, the designer will begin to make decisions on the focus and direction of the
project. Experimentation and testing through drawings and models continue but these should become more defined. This definition often arises
from a decision by the designer to focus on a few particular issues each time; for example, entrance to the site, relevant local social issues, how to
build with a particular material.
During the design development phase ideas are refined, decisions made and
complexity increased. Drawings and models explore the proposal in part and as a
whole, moving back and forth between the general and the particular. This may lead to
a questioning of decisions made in the earlier phases and often requires a return to an
earlier stage to make changes before moving on again. At various stages along the
way judgments need to be made about how to represent and communicate the work.
Learning new skills and how to use new tools will help support and develop the design
work. No two architects follow exactly the same path. It is quite usual to jump between
stages and to deliberately return to others. It is very normal, necessary even, to get
stuck and make mistakes that can be learned from. It is important for you to breathe
life into the project and
contribute to its direction by
participating in the debate
going on in the design studio.
3 0-14 Tower
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Fig. 3-1:
Location of the tower
3.1. LOCATION
Dubai, United Arab Emirates
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Fig. 3-2: 014 Tower, Dubai, UAE
3.2. DESCRIPTION OF THE TOWER
3.2.1. Main data
Architect
Reiser + Umemoto
Client
Creekside Development Corporation
Plot Area
3.195 m2
Building Footprint
557 m2 (typical office floor)
Gross Floor Area
15.979 m2
Height
117 m
Building costs
Unknown
Elevators
3 + 1 Servicelift
Status
Completed 2009
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Fig. 3-3: Ground floor
3.2.2. Plan views of the structure
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Fig. 3-4: Third floor Fig. 3-5: Typical floor
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Fig. 3-6: Elevation view (section A-A ; section B-B)
3.2.3. Elevation view of the structure
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Fig. 3-7: Business Bay, Dubai
Fig. 3-8: Interior (after construction ; under construction)
3.3. CONCEPT
The O-14 tower is located on the Business Bay
in Dubai, an extension of the Dubai Creek. The
bay comprehends a diverse collection of post-
modern towers on a tabula rasa, an artificially
created landscape. Almost all towers are
situated on the waterfront. The urban plan
prescribes a plinth of four floors and a
superimposed tower. At the side of the main
access road the plinth is set back, at this point the
tower is completely visible.
One could state that every tower in Dubai
is supposed to be unique, and as a result that all
towers are generic. On the one hand O-14
confirms all clichés. The tower is built as a
generic office tower with a free floorplan and no
users yet in mind. The tower seems
unreasonable expensive and as a result of the
crisis, the tower is at the moment empty and for
sale. On the other hand the design comprehends
distinguishing elements like the concrete shell,
the free form facade and the high quality standard
of the end result. The tower is composed of a four
floor parking basement, a four story plinth with a tower superimposed on it. On top of the tower is a mechanical space. The floorplan of the tower is
a squeezed square, with an elevator core in the center. The facade comprehends a casted shell with over 1.300 openings, creating a mesh-like
effect. The shell functions as a structural exoskeleton and filters the light entering the building. A meter behind the shell is a floor to ceiling glass
facade. The space between the concrete shell and the glass facade works according to the chimney-effect: the heated up mass of the concrete
shell and the glazed windows are ventilated away instead of passed on to the interior.
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Fig. 3-9: Double facade with chimney-effect
3.4. REVOLUTIONARY
Outer appearance and structure are two of the most
important elements of a skyscraper. The O-14 tower is clearly
rooted in the history of both elements. Whereas the first
skyscrapers just expressed a structural story of brick and steel, a
language to express the new typology was developed soon. Over
time the language of the tower has slowly evolved. Milestones
are the towers of Sullivan in Chicago, the developments in
Manhattan in the 20‘s and 30‘s, the modernistic developments in
the first decades after WWII, the high-tech towers from Rogers
and others, up to the post-modernistic experiments and the
pluralistic language of today.
In the last decade a few buildings were developed in
Japan which had a concrete freeform facade. This type of facade
integrated structure with a more or less random pattern of
openings. The O-14 tower could be seen as a next step within
this development. The form of the openings is namely very
difficult to accomplish. Different from its Japanese ancestors the
O-14 tower does not integrate the structure and the facade.
The O-14 tower has an exoskeleton, with a facade a meter behind it. Exoskeletons do already exist for decades, but are seldomly useful
due to high maintenance costs. The idea of an exoskeleton which protects the building from the sun is innovative and interesting. The density of
the openings in the shell is very high. This turns the perforated shell almost into a concrete diagrid. Diagrids are nowadays state of the art in
skyscraper design. However, concrete diagrids are almost impossible to realise due to the difficult joints.
The O-14 tower is an interesting alternative; the structure is freeform and effective. As a conclusion one could state that the difficult form
and the density of the voids in the shell, combined with the idea of an exoskeleton filtering light, makes this tower stand out from the mass of
generic towers in Dubai.
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Fig. 3-10:
COR building
Fig. 3-13:
Sinosteel Plaza
Fig. 3-11:
Hotel de las Artes
Fig. 3-14:
Stratatower
Fig. 3-12:
Mikimoto
Fig. 3-15:
TOD's
3.5. SIMILAR PROJECTS
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Fig. 3-16: Longitudinal section of the tower
3.6. SPACE DISTRIBUTION
The master plan for Business Bay calls for towers on a podium that
contain parking, with street-level arcades linking to retail shops and building
lobbies. Reiser + Umemoto convinced the developer to place parking
underground on this 34,000-square-foot site and have a two-story elevated
podium wrap the tower on three sides to accommodate more office space and
a restaurant. The revision mean the front facade could still be read as
monolithic and scale less, while elevating the podium allows pedestrians
access to a plaza at the back overlooking the bay. A truss spans the rear of
the podium to keep the ground less cluttered by columns, and bridges on two
levels link the podium to the tower.
Since the exoskeleton would offer lateral resistance to wind, the
architects and engineers found that the elevator core and the concrete shell
could be lighter than normal. The shell, which Reiser refers to as ―atectonic,‖
lacks any break in its surface, including expansion joints. But the hole-ridden,
contoured slipcover of concrete required a dense basket weave of rebar — its
underlying ―structural tectonic,‖ in Reiser's words. The team tied the rebar at
intersections with stirrups in the zones of high stress, creating a diagrid with
40 percent openness.
Inside the 398,655-square-foot tower, occupants are protected from
the high heat and gusts of sandy wind, while they still have expansive views
out. In some respects the design could provide an influential prototype for
other desert buildings. It comes as no surprise that the sculptural solution was
expensive to build.
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Fig. 3-17: Formwork for concrete shell
3.7. THE CONCRETE SHELL
The concrete shell is forty centimeters thick. The shell is not only the structure of the building, it acts as a sunscreen open to light, air, and
views. The 1300 openings on the shell modulate depending on structural requirements, views, sun exposure, and luminosity. The pattern is not
based upon the program of the interior, since the program is not fixed. The openings are achieved by introducing computer numerically cut
polystyrene void forms into the rebar matrix, and sided with modular steel slip forms prior to the concrete pour. Super-liquid concrete is then cast
around this fine meshwork of reinforcement and void forms. The procedure is relatively labour intensive. However, the result is quite satisfying. The
holes are sharp and the edges good.
The concrete pour offered its own challenges since the subcontractors ignored the architects' 3-D modeling of the formwork for the holes.
Their own methods turned out to be OK, says Reiser, but some deformation of the foam forms in the holes at the bottom required wrapping them
with melamine laminate.
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Fig. 3-18: Facade pattern Fig. 3-19: South facade Fig. 3-20: West facade
The concrete shell of O14 provides an efficient structural exoskeleton that frees the core from the burden of lateral forces and creates highly
efficient, column-free open spaces in the building‘s interior. The future tenants can arrange the flexible floor space according to their individual needs.
The shell is not only the structure of the building, it acts as a sunscreen open to light, air, and views. The openings on the shell modulate
depending on structural requirements, views, sun exposure, and luminosity.
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Fig. 3-21:
Facade layers
The overall pattern is not in response to a fixed program, (which in the tower typology is inherently variable), rather the pattern in its
modulation of solid and void will affect the arrangement of whatever program comes to occupy the floor plates.
A space nearly one meter deep between the shell and the main enclosure creates a so-called ―chimney effect,‖ a phenomenon whereby hot
air has room to rise and effectively cools the surface of the glass windows behind the perforated shell. This passive solar technique essentially
contributes to a natural component to the cooling system for O14, thus reducing energy consumption and costs, just one of many innovative
aspects of the building‘s design.
The holes are achieved by introducing computer numerically cut polystyrene void forms into the rebar matrix, and sided with modular steel
slip forms prior to the concrete pour. Super-liquid concrete is then cast around this fine meshwork of reinforcement and void forms resulting in an
elegant perforated exterior shell.
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3.8. DESIGNERS OF THE TOWER
Jesse Reiser
Nanako Umemoto
Jesse Reiser and Nanako Umemoto have practiced in
New York City as Reiser + Umemoto, RUR Architecture P.C.
since 1986. Jesse Reiser is currently an Associate Professor
of Architecture at Princeton University. Nanako Umemoto is
currently a Visiting Professor at the University of Pennsylvania
and leads a yearly design workshop at Hong Kong University.
Reiser + Umemoto, RUR Architecture P.C., an internationally
recognized architectural firm, has built projects at a wide
range of scales: from furniture design, to residential and
commercial structures, up to the scale of landscape design
and infrastructure. The firm approaches each project as the
continuation of an ongoing inquiry, delving into relationships
among architecture, territory and systems of distribution. By
working on projects of varying scales, from the architectural to
the regional, the firm has developed flexible strategies and
techniques that seek to open structures that are now ossified
and to integrate domains.
Jesse Reiser received his Bachelor of Architecture degree from the Cooper Union in New York and completed his Masters of Architecture at
the Cranbrook Academy of Art, and in 1985, was appointed as a fellow of the American Academy in Rome. Architect and Landscape Architect
Nanako Umemoto graduated from Cooper Union following her studies at the School of Urban Design at the Osaka University of Art. In addition to
teaching together at Columbia University, they have individually taught and lectured at various educational and cultural institutions throughout the
United States, Europe and Asia, and their work has been widely published and exhibited for over 20 years. The firm was awarded the Chrysler
Award for Excellence in Design in 1999, the Academy Award in Architecture by the American Academy of Arts and Letters in 2000, and in May
2008, Jesse Reiser and Nanako Umemoto were awarded the Presidential Citation from President George Campbell of the Cooper Union for
outstanding practical and theoretical contributions to the field of Architecture.
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