is qi HF a Cy ae] 5 ORNAMENT eA ee sy NY AND MICHAEL KUBO Co ahaa )be 3 ‘ Ne tale A eu er eee eee One etary A Co) rene ee ES at en LUE ls Pear] *1-3 Sa tra to es with. Architecture’s Ee nis x RU) a composite ie CCA ae selec eoaCemta Ce Aa aL ee ET well as in ible forces (cultural, political, » ; cemncea ie PN gait ay lle tna) ead eld rts) RTL ences Taner) eS WUT ds Tn Dea Cee POOR ome Cu la it Lakes PRE Pree Atal eel (oR Un Celt) architectural RE CUPReRe euCCRC) Riel CUE 1 (co tas bookisa ie as Pe ea Cem mantle a i PSE mititateaed pererrts % MUoe- lei ta specific affects, d ina, the idea urs eu Ey yee meme Cottle Cee] aL A Each ft adele tial a) xploit ue Fe ak ea Bas » orhament and material. ieee ie nec Peel Let Ce PaCS La La os whose ie Eley resilient i in oe Tepe ety) Ceri oy oe 1Sate il fou ar,THE FUNCTION OF ORNAMENT Edited by Farshid Maussavi and Michael Kubo With drawings by J. Seth Hoffman, Joshua Dannenberg Raha Talebi and Fred Holt|THE FUNCTION OF ORNAMENT Farshid Moussavi Architecture needs mechanisms that allow it to become connected to culture. It achieves this by continually capturing the forces that shape society as material to work with, Architecture’s materiality is therefore a composite one, made up of visible as well as invisible forces. Progress in architecture occurs through new concepts by which it becomes connected with this material, and it manifests itself in new aesthetic compositions and affects. It is these new affects that allow us to constantly engage with the city in new ways. The aesthetic composition of buildings has been explored in various ways in history. In the twentieth century, Modernism used transparency to achieve a direct” representation of architectural elements of space, structure and program. But recent history contributed to making the use of literal transparency obso- lete, prompting a discussion on the expression of buildings. Postmodernism used décor, and Deconstructivism used the geometry of collage, as styles in place of transparency. But style cannot easily adjust to changes in culture. Currently a number of conditions require us to reevaluate these previous tools for constructing building expressions. These include a growing number of building types that are “blank.” Department stores, shopping malls, cineplexes, libraries, and museums do not require any relationship between inside and outside Contemporary technology and the need for sealed and controlled environments necessitate bigger service voids, plant rooms, storage spaces, and server rooms, increasing the size of these buildings. In addition, the architect's role is becoming increasingly specialized in the design of the outer shell, leaving the interior to other designers. This is particularly true of speculative developments where the tenants are not known at the outset of a project. New environmental regulations designed to achieve greater energy efficiency further contribute to this newcondition, Glass alone is unable to provide effective levels of environmental con- trol, and needs to be enhanced through layering or by providing areas of opacity that increase its thermal performance, This alters the use of glass in buildings in such a way that pure transparency cannot produce the building expression. In all these cases, architects must in effect give the building an expression that is independent from the interior yet contributes to the urban setting. The role of architects need no longer involve the entire fabric of buildings. It can now address in lesser or greater depth the synergy between the interior and the exterior, from the surface of the envelope through to the entire fabric. This radically alters the expression of buildings. Liberated from representing the interior, the opportunity is to find tools through which architecture can engage with the urban setting, It is clear that in a multicultural and increasingly cosmo- politan society, symbolic communication is harder to enact as it is difficult to gain a consensus on symbols or icons. Representational tools are less coded and unable to produce convergence with culture. Ornament as Contingent: Décor and Communication Communication can be framed historically. The relationship between the inte- rior and the exterior of buildings range from the poché space of the Romans to the theatrical effects of the Baroque, from Gottfried Semper’s theory of orna- ment to Adolf Loos’s opposition to it. For Semper, the functional and structural requirements of a building were subordinate to the semiotic and artistic goals of ornament. For Loos, on the other hand, ornamentation was a crime. In his view, ornament was used in traditional societies as a means of differentiation; modern society needed not to emphasize individuality, but on the contrary, to suppress it Hence for Loos, ornamentation had lost its social function and had become unnecessary.’ Modernism brought to architecture an obsession with transparency. Transpar- ency was meant to make architecture more “sincere,” in sharp contrast with the bourgeois practice of decoration. Architecture was no longer supposed to disguise functions, but to make them visible and to render the city and its buildings imme- diately readable. Such was the paradigm that dominated architecture and urban design well into the 1960's.A critique of this approach was formulated in the decade that followed. In the first instance, Robert Venturi and Denise Scott Brown denounced the Modernist paradigm as cynical and dull, and proposed to replace transparency with décor? For them, décor helped to integrate buildings within the urban realm and give them meaning in the eyes of the public. Their proposal endorsed a radical break between buildings as function and buildings as representation, accepting as a creative factor the contradiction between space, structure and program on the one hand, and representation on the other. Venturi and Scott Brown argued that architects, intent on generating expression out of the internal orders of buildings, ignored the “ready-made” cultural expressions that would enable architecture to communicate with a wider public. However, Postmodernism fast became obsolete. In the absence of a common language or system of understanding, the kind of communication proposed by Postmodernism could not reach the wider public. Inherited symbols remain dependent on a particular cultural moment or context and cannot survive changing conditions. If architecture is to remain convergent with culture, it needs to build mechanisms by which culture can constantly produce new images and concepts rather than recycle existing ones. Ornament as Necessary: Affect and Sensation Many buildings of the twentieth century continue to effectively relate to culture by creating sensations and affects.’ Similar to Sigfried Kracauer’s suggestion that ornamental mass movements in a stadium “bestow form to a given matter,”* these buildings produce affects that seem to grow directly from matter itselt. They build expressions out of an internal order that overcome the need to “communicate” through a common language, the terms of which may no longer be available. It is paradoxically in this way that building expressions remain resilient in time. This book documents some of these experiments carried out by architects in constructing unique affects. These affects may start with found imagery or ico- nography as raw cultural material. However they do not remain as pure acts of consumption, but rather are disassembled and reassembled to produce new sen- sations that remain open to new forms of experience. It is in this way that theyare contemporary and committed to progress. Operating through direct sensa- tions, they bypass the need for the codification of language and are able to shift across space and time. They may produce indirect analogies, but their primary purpose is to render the invisible forces in contemporary culture visible. For example, recent experiments with data, diagrams, and other non-represen- tational methods are effective in exploring an unmediated process to visualize technology as a cultural force. The cases studied in this book reveal an in-built sense of order, a consistency against which we can test our experience.’ Against the symbolic interpretation of culture by Postmodernism, the dynamic nature of culture requires that build- ings each time define their own ground and develop an internal consistency. It is precisely through these internal orders that architecture gains an ability to per- form relative to culture and to build its own system of evaluation. These orders are therefore not about “pure architectural expression,” removed from culture, of the kind that was dismissed by Postmodernism. They are not about being pure, but about being consistent. They do not aim at being disconnected but, rather, contaminated with culture. Louis Sullivan proposed such a need for consistency and organicity in building expressions.‘ In Sullivan's buildings, like all the cases documented here, this organicity leads to ornament that grows from the material organization and is inseparable from it. Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth: Itis through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object. It is not a mask determined a priori to create specific meanings [as in Postmodernism], even though it does contribute to contingent or involuntary signification {a characteristic of all forms). It has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an “empty sign” capable of generating an unlimited number of resonances. Whereas décor and representation promoted by Postmodernism correspond to a self-limiting movement from the possible to the real which cannot create anything new, ornament is in line with non-representational thought and the creative actual- ization of the virtual. Decoration is contingent and produces “communication” and resemblance, Ornament is necessary and produces affects and resonance.Drawing Affects The research in this book aims to show that ornaments are intrinsically tied to architectural affects. The Seagram headquarters carefully attaches I-beams to its cladding layer to build a vertical affect. The Ricola Laufen factory uses slats of different heights on its exterior cladding to build a weighted affect. The Prada Tokyo store uses a diagrid with carefully selected concave and convex glass panels to give a quilted affect to its exterior. The 30 St. Mary Axe office tower introduces a diagonal ventilation system, a diagrid, and two colors of glass to contribute a spiral affect to the form. None of these specific decisions are crucial to the operation of the building interior, but they are vital to the affects they trigger in the urban landscape. Frits, laser-cut sheets, glass tubes, pleated floor plates, perforated screens, complex tilings, and structural patterns are some examples of our contemporary ornaments. Our initial phase of researching the cases included here revealed that they have conventionally been documented in two opposing ways. At one end of the spec- trum, there are glossy architectural magazines with exquisite photographs, which display the affects created by these buildings without showing why they are pro- duced. On the other hand, there are sophisticated magazines that document the construction of buildings in detail, but rarely with any explanation of the motives that led to the specific choice or the resulting affect. The graphic approach to this research aims to bridge this gap, discussing the construction of buildings and the production of affects as a seamless continuity, as two realms that are interconnected. Each case is discussed over four pages on two double spreads. The first double spread is dedicated to the affect, while the second double spread is devoted to the material used to construct these affects. The “section perspective” is used to reveal the relationship between material and affect in each case. We have ascribed examples to three main classifications: The first classification is that of depth. It orders building components from the deepest to the thinnest: Form, Structure, Screen, and Surface. Ornament can relate to depth in a number of ways. It can work with the entire form, with the load-bearing structure, or exploit the sectional depth of the cladding. The Form category includes those buildings where the entire building organization is usedto produce the resulting expression, The Structure category includes those cases that use the load-bearing structure. The Screen category includes those cases that operate through layers inserted between the interior and exterior, main- taining some visibility of the interior. The Surface category includes those cases that add an independent layer entirely detached from the building interior. The second classification is that of material, ordered from the most intrinsic to the interior content, like program, to the most extrinsic, like branding This reveals that architecture's materiality includes visible as well as invisible forces. The manipulation of material in response to these forces structures the ornament, The third classification is that of affect. The interplay between depth (form, structure, screen or surface] and a specific material {such as program, image, or color] produces the ornament (for example complex tilings, perforated screens, or structural patterns] which transmits unique affects in each case The research has revealed a number of tendencies: Factories and retail typologies are mostly found in the Surface depth category The IBM Training and Manufacturing Center, Usine Aplix, and Ricola Mulhouse are all factories which, due to the radical disconnection required between interior and exterior, exploit the micro-depth of their surfaces to produce unique affects. Towers are mostly found in the Form and Structure depth categories. In the same way that Sullivan suggested that towers need intrinsic expressions’, Marina City is vertically fluted; the Capsule Hotel is aggregated; 30 St. Mary Axe is spiraling; Johnson Wax is banded; the Seagram headquarters is vertically decorated Same material can produce different affects depending on the ornament it cre- ates. The Banque Lambert headquarters and the Beinecke Library, both of them designed by Gordon Bunshaft of SOM in the same period, have a similar “lattice construction system on the exterior. The Banque Lambert prioritizes structure over enclosure, setting back the glass and exposing the cast structural members to produce a directional tapered grid as ornament which emphasizes a latticed affect. Beinecke Library clads the structural members in granite sheathing and marble panels to construct a translucent box as ornament which contributes to a textured affect. Two different affects are transmitted from two different orna~ ments that are generated from two different processes.New systems of production have opened up possibilities for differentiation and customization. These are explored through investigations of patterns in the Structure, Screen and Surface chapters. These create different affects in each case. The Aichi Pavilion is modular and is based on the geometry of the tile. The John Lewis department store is based on the seamlessness of a pattern at the edges of a simple square patch [very much like Escher patterns]. Federation Square is based on a regular 2D geometry that is confused and masked by a series of extrapolations in 3D. The Serpentine Pavilion is based on a regular algorithm that produces an irregular pattern that is then cropped. Differentiation is a contemporary affect repeatedly explored in many cases through different material. These materials include tiling, color, layering, pix- elating an image pattern. Examples in the four chapters of the book show a progression from historical to contemporary examples: 4 out of 6 cases in Form are pre-1990 (66%I; 6 out of 9 in Structure (66%]; 4 out of 16 in Screen (25%), and 3 out of 11 in Surface (27% This reveals the specific emphasis in each period — on formal and structural expressions in Modernism, and on Screens (especially) and surfaces in contem- porary examples. The screen category is larger than the others, perhaps because it lies closest to contemporary conditions, where architects are responsible for a smaller depth of the building, The Screen might be the most contemporary cat- egory through which building expressions currently emerge 1 See Gottrieg Semper, “The Four Elements of Architecture: A Contnbution ta the Comparative Study of rchitecture 1m The Four Elements of Architecture and Other WntagsICambedge. Cambridge Unwersty Press, 19891, and Adal Loos, “Ornament and Ceme,”m Ornament and Crime: Selected Essays (Calforma: Ariadne Press, 1997) 2 See Robert Ventun, Denise Scott Brin, ang Steven lgenaur, Learning fram Las Vegas: The Forgotten Symbolism of Architectural Form (Cambridge: MIT Press, 1972, 2 Fora defintiono art as the creation of sensations and fects, see Giles Deleuze and Félx Guattar, What is Philophy? [ew York: Columbia Unversity Press, 1994), e=p Chapter 7, Percept, Atfect, and Concept,” pp. 163-200 Gilles Deleure, Francis Bacon: The Logie of Sensation, rans Danel W.Senth IMianeapolis: University of Minnesota Press, 2003 esp. Chapter 13, “Analogy. pp. 91-99. 4 Sigtiag Kracauer, “The Mass Ornament,” in Kracauer, The Mass Ornament: Weimar Essays, rans, Thomas Y. Levin (cambridge: Harvard Unversity Press, 1995, p79, In this essay, Kracauer lav that The postion that an epoch occupies sn the historical process can be determined more strikingly ram an analysis af its ncanspicuous surface-level expressions tat rom that epochs judgments about ise. 5. See EH. Gombrich, The Sense of Order: A Study the Psychology of Decorative Art New York’ Phaidon. 1984, {See Louis H. Sullivan, “Ornament in Architecture,” Kindergarten Chats and Other Writings New York: George Watenbora & Co.. 1967) 7 Lous H. Sullivan, “The Tall Buling Artistically Considered,” n Kindergarten Chats and Other Writings New York: George Wittenborn & Co, 1947).‘CONTENTS FORM oO 2 cy ry os 6 ‘STRUCTURE oo oe oe io " a 3 ie 6 ‘SCREEN 6 iW ie i 20 a 2 a 2% Fy 2% 2 2 Ed 30 at SURFACE 2 2 Fy 38 6 ” 20 2 io a a ‘rca program pregram construction ‘lading ight shag construction construction construction cladding cladding pattern pattern rogram program ‘construction ‘adding ing ‘cladding pattern pattern pattern ‘branding ‘branding image ‘color light light tight ‘lading lading ‘cladding pattern attern reflection color image image image tiated ‘agregaied spiral banded “dematerialized amorphous Undviated lattices ‘oblique ‘caleiess vertical ‘uilted ‘modular ‘random rele diverse ‘modular ‘usticates textured pleated ‘discontinuous ‘itferentat ‘embroidered complex kinetic ‘itterentiated geometric Tuminous. weighted deep. difterentiated tartan alternating ‘camoutlaged tonal gradates textured branded serial Marina City Apartments Capsule Hotel 30St. Mary Axe Street “Johnson Wax Laboratory Tower ‘Tower of Winds Selfridges Department Store ‘Church of the Christ the Worker inque Lambert Headquarters (arson Pirie Scat Department Store MIT Simmons Halt ‘Seagram Building Prada Acyama Store US Embassy ‘Serpentine Pavilion Millara House Sllodam Housing Berlin Free University Dominus Winery Beinecke Rare Book Library Christian Dior Omatesande Store ‘Sendai Mediatheque Aichi Spanish Pavilion John Lewis Department Store ‘The Atrium at Federation Square {Louis Vuitton Roppongi Hills Store ‘Louis Vuitton Nagoya Store ‘be Young Museum ‘Torre Agbar Headquarters Institut du Monde Arabe Maison de Verre ‘Kunsthaus Bregenz Ricola Lauten Warehouse Signal Box ‘Boehringer Ingelheim Oifices and Laboratories ‘Christian Dior Ginza Store 16M Training and Manufacturing Center Usine Apix {Laban Dance Center Ricola Mulhouse Factory ‘Nexus Housing ‘Santa Monica Place Garage ‘Eberswaige Library 16 0 Ey Ey 2 36 a “é 0 56 38 2 86 70 % 80 a 92 % oo 108 08 112 ie 120 ie 128 132 136 140 md 180 186 158 163 168 170 1% 78 182 188FORM 01 02 03 04 05 06 fluted aggregated spiral banded dematerialized amorphousif [ | UUM 4~~ program 3 lu The Marina City towers create a fluted affect by visually unifying two programs with very different organizations: sloped parking ramps and flat apartment floors. The spiral floors of the parking program below, the projecting balconies of the radial apartments above, and a consistent structure of fluted arches for both programs are combined to construct the affect of a large. fluted column. Apartments NS Fiat floor plate with Levels 21-61 fluted perimeter Parking N Spiral floor plate with Levels 1-19 circular perimeterwt ay tpt ——— we | Se 01 rhe fluted profile performs structurally is tapered arch that supports the cantilever 23f ghe apartment terrace —~ — Glazing inset to prioritize the fluting of the floor plates as the exterior image |____—— structural colurnn at interior apex of fluted profile | Radial partition wall between apartments——_ “aggregated ~~““ program ——>» ae The Capsule Hotel uses the programmatic units of the hotel to create an aggregated affect. Rooms are designed as capsules dimensioned to fit within a regulating module that allows for different configurations of capsules around the central core, generating a three-dimensional composition of elements that contributes to the dynamic aggregation of the whole. rear entry rear entry The sleeping capsules come in four configurations = two rear-entry and two side-entry types — which can be attached to the core in different orientations, staggered with a one-third or two- thirds offset in plan. The capsule dimensions are regulated by the grid in three dimensions: the height and width are both two-thirds the length of the capsule. The vertical positions of the sleeping capsules are also determined by the stair landings of the central core. Three stair runs make a complete revolution around the central elevator shaft, giving adjacent capsules a one- third offset in section to match their offset in plan,Cipsule Hotel Kisho Kurokawa 1972 Tokyo, Japan 02 The vertical offset between capsules reflects the locations of stair core Jandings at one-third intervals | — Steel truss structure is concealed to contribute to the affect of dynamically aggregated capsules IP | Stair core with [ landings at one-third ae ome \_ Radial windows placed at the ends of The panelization of each capsule into thirds the capsules reinforce the changing reveals the regulating grid that determines orientation of the units, adding to the the offset of the capsules in plan directionality of the aggregation0 St. Mary Axe Street Structural diagrid reinforces the centrifugal spiral affect of the form Norman Foster 200% London, UK Spiraling interior air shafts are used for stack ventilation of the tower Diagonal areas of dark glazing for the air shafts versus clear glazing for office spaces reinforces the spiral affect 03Frank Lloyd Wright 1950 Racine, US ‘Johnson Wax Laboratory Tower~~ cladding ———+ In the Johnson Wax Laboratory Tower dauble-height bands of horizontal glass tubes replace the conventional strip windows of the office tower, acting as a light filter between interior and exterior. Combined with an alternating pattern of floors and mezzanine levels in section and the rounded corners of its profile, the affect is a banded column whose interior contents are registered as a blurred presence on the exterior. Plate glass Plate glass mullions, COeDCOCOCDD ~ / / (ppeteocoted ieee oeooicetetenteted) a Hollow pyrex tubes are used instead of ‘ conventional glazing to . form a self-similar "micro- banding” that reinforces the larger banded order of the building, The horizontal coursings of the glazing also repeat the horizontal coursing of the brick bands that define the floors. Scalloped aluminum racks “Koroseal’ ring with pyrex. couplers‘Johnson Wax Laboratory Tower Hollow pyrex tubes ‘and pyrex couplers ‘with Koroseal sealant Rounded corners of tower reinforce banded affect Recessed mezzanine level visible behind double-height banded glass tubes, Brick cladding expresses banding of floor plates Frank Lloyd Wright 1950 Racine, US Pyrex tubes attached with wire to aluminum racks mi Laboratory desk and shelving integrated with height of brick claddingJoh) ——— _-»»dematerialized ~~ IIIwer of Winds Toyota 1967 Yokohama, Japan 05~~ light ———+ : “s The Tower of Winds produces a dematerialized affect by cladding an existing cooling tower with layers of lighting: neon tubes, mini-lamps and floodlights, reflected in mirror and perforated aluminum panels. The illumination responds to environmental conditions around the tower, producing a constantly changing, dematerialized affect composed of ephemeral patterns of light. 1 Indaytime, the tower is 2 Mirrored acrylic plates sheath 3. 1,280 mini-lamps respond in perceived as a blank volume the cooling tower, multiplying real time to surrounding noise of perforated aluminum, the artifical lighting affects patterns. 4 Rings of white neon light 5 Floodlights at the foot of & The different lighting patterns periodically indicate the time; the tower are controlled by ‘combine to produce a constantly structural rings appear to float computer to create a larger changing dematerialized affect around the neon tubes. scale of illumination, at night.eof Winds Toye te 1987 Yokehama, Japan 05 outer layer of White neon rings Existing concrete perforated aluminum ventilation core Eladding disappears and water tank stright sheathed in acrylic mirrored plates on the two sides without louvers Existing louvers vent shopping area below Structural tie cables attach layers of cladding tointerior core Mini-lamp rings \— Steel columns ‘support the rings of lightingne a oO xo Q oOo, — oO“es shape > ~ The Selfridges Department Store uses the curving shape of its enclosure in combination with a regular tiling system to create an amorphous affect. A matrix of curved, reflective anodized aluminum disks are mounted onto a double-curved concrete shell, giving a visual scale to the blank volume of the department store. The dynamic combination of a regular tiling system adapted onto an irregular form creates an amorphous, reflective object, at the urban scale. The disks — over 15,000 in total — are always mounted normal to the plane of the surface at their connection points. ‘Aluminum: Plastic Concrete disks membrane shell The curvature and reflectivity of the disks combine with the form of the building toenhance the amorphous affect.ee aol [orca LOS ol [KR meee ‘Anodized ( plastic sealing coat Concrete and steel floor slab Stainless steel paneling at base polished to mirror finish Aluminum gutter concealed by disks Concrete perimeter edgingSTRUCTURE 07 08 09 10 11 12 13 14 15 undulated latticed oblique scaleless vertical quilted modular random relief1960 Atlantida, Uruguay“construction —> The Church of Christ the Worker creates an undulated affect through the structural rationale that generates its form, based on a series of double-curved roof arches and enclosing walls that determine the tectonic system of the entire building The curve of the edge beam approximates the shape of the moment diagram created by the vault, converting bending into axial forces — a more efficient structural system, The wall profile that results produces a curving pattern of shadows that reinforces the undulating affect. The roof vault of the church is a rigid, double-curved reinforced masonry shell This geometry and its resulting structural forces determine the undulated profile af the enclosing walls that support the roof, — Distributed spreading force of vault Counter-force of a post-tensioned ties Shear force fon edge beam [= Moment force fon edge beam| El 1960 Atlantida, Uruguay | church of Ct snrist the Worker undulation ofthe Hee hich has more yal eave atthe op than Sethe bottom — means attr umber of bricks tech horizontal row i creases fram bottom to ie ‘omplex. vec generating 2 comp tprce-cimensional pattern The The bricks are always narmal to the axis of the wall; the rotation {ris axis around its endpoint {ftthe floor] means that ' bricks are canted in two directions, front-to-back and side-to-side Brick cavity wall with concealed high-strength mortar and steel reinforcement to give priority to the undulated brick surface“ Construction —> ed structure — the inverse of the typical curtain wall — to prioritize the lattice on the exterior. The tapering of the precast units in one dimension and the pin-joint between them emphasizes the horizontal over the vertical, giving a directionality tothe lattice.Banque Lambert Headquarters SOM / Gordon Bunshat 1962 Brussels, Belgium 08 ———————— Fixed sash held back from structure to prioritize the lattice on the exterior Pin-joints break theeontinuly Integrated heating the lattice and services i the vertical dimension and gives directionality othe lattice in ne horizontal dimension In situ concrete slab The lattice members of the envelope are solid structural units engaged with the floor slabLouis Sullivan Hl “3 < oN e Ey a 8 ig 5~~ Construction —» “ ‘The Carson Pirie Scott Department Store provides deep recesses in the structural grid whose faces in turn host decoration that attracts attention when seen on the oblique, the typical viewpoint for passers-by on the sidewalk below. The resulting affect makes Glazing is recessed, the department store more visually prominent when seen at an a providing the deep jams angle, prioritizing the oblique view over the frontal view. and headers lined with decorative terracotta tiles. The pedestrian view dictates a the location of the foliate decoration: the sills, which are not visible from the street, are blank, The visual density of the foliate decoration increases the more oblique the view, privileging the expression of decoration fram the close view of the pedestrian. In the distant view the faliate decoration recedes, privileging I the structural grid and giving the — building a more restrained appearance =e! bt in its urban contextcarson ie Scott Department Store Projecting frame reinforces foliate decoration as lining inset into deep structural frame Blank window sill at underside of the deep structural frame Louis Sullivan 1906 chcape, US 09 Recessed window casing provides the recessed zone for foliate decoration Decorative terracotta tiles, with foliate decoration The face of the structural grid is undecorated, prioritizing the oblique over the frontal_— “scaleless we a” -IT Simmons Hal __ Seven Hl 2002 Cambri 10 eo ] | =! f [ - a Ee) = | j a | | eed E. an F- a] ] = | I - l te | a j | |“construction —> we The Simmons Hall darmitory at MIT uses the exterior structural grid to produce a scaleless affect, exploiting the size of the windows within the grid to conceal the true scale of floor plates and rooms within, Typical rooms are defined by a 3x3 matrix of openings rather than a single window of typical dimension, making it impossible to discern the location of floors and walls from the exterior. Since we visually judge the scale of the building relative to the size of the individual window — assumed to be the size of a standard window — the dormitory appears much larger than it actually is. => ——] The tiling pattern of L-shaped aluminum panels et that clad the face of the Ld grid further obscures the boundary between different floors and rooms.MIT Simmons Hall Steven Holl 2002 Cambridge, US 10 L-shaped aluminum facing panel —~ The depth of the structural frame and its cladding further emphasize the grid and reinforce its scaleless quality Reinforced structural concrete frame Recessed window within the depth of the frame gives priority to the grid‘Seagram Building __ Ludwig Mies van der Rohe 1958 New York, US“construction —» “ The Seagram Building uses the steel structural grid of the skyscraper to create a vertical affect, by attaching a series of decorative I-beams to the envelope that prioritize the vertical lines of the structure over the horizontal floor plates. The |-beam sections attached —, to the facade are part afthe prefabricated window units \ that make up the skin — revealed by the horizontal \ gap between |-beam sections from floor to floor. Z The true structural columns are ZZ encased in fireproofing, while the decorative I-beams attached to the envelope “express” the concealed structure underneath. Terminating the curtain wall prior to the corner S/S ‘maintains the expression of each facade as an independent (non-load bearing] system, and reveals the full dimension of the structural columns behind,Seagram Building Lig Mies van der Rohe 1958 NewYork, Us 11 Heating system integrated with interior sill Gray-pink tinted window glass Suspended light ceiling Extruded bronze |-beams attached to the vertical structural members. Recessed bronze spandrels cover the floor plates | — The bronze mullions terminate at the building soffit, exposing them as non-structural when seen from street level ] Bronze-clad structural column“cladding ———>Prada Aayams Store Herzog & de Meuron 2002 Tokye, Japan 12 Zee Structural stee! |-beam encased in calcium silicate jiamand-shaped bi fire-resisting cladding glazing panels. in three shapes: flat, convex and concave The diagrid of the envelope is extruded within the interior depth of the building to construct structural tubes that house changing rooms Stainless steel ging fixing between glazing layer and diagrid structure Floating” floor plates of perforated sheet aluminum below a concrete composite slab with epoxy-resin coatingMATERIAL ladding SC ot modular cid The envelope of the US Embassy breaks down mi theregulr gr ofthe envelope mio a modular steel acete lading units [made of a precast structural frame with set window and moldings) with doors itl ease a alternating pattern oF 2 discrete modular element. TW Stone-clad precast Corrugted —] Eu F Atelier LN (varetan window — K Small balcony ‘4 mam J Big balcony L Live-work Til 0 Maisonnette aaa 7 ne P Senior living A R Patio Community store rooms, S Penthouse The differentiation of unit types is balanced by grouping together units into bays, sometimes stacking over multiple floors. The shared material finishes of these groupings and the arrangement of corridors specific to each unit type partitions define “neighborhoods” within the building, expressed on the exterior. West elevation pattern East elevation patternLL RELprogram —» modular 'q ry = 3“program ———> modular = The cladding of the Berlin Free University uses program to create a modular affect, through an array of weathered Cor-ten steel and glass modular panels that accommodate different programmatic needs along the exterior and permit the continual reconfiguration of the skin in response to changes over the life of the institution. Composite panel types in two widths and varying heights are combined according to the proportional increments of Le Corbusier's Modulor system, producing a highly varied surface when arrayed along the length of the building. Fixed window Operable window ‘| type Y Z | | 4 4 Storage unit Storage unit type! type 2 TZ | 4 G : W Operable window Cor-ten Adjustable type 2 panel sun screenCandi-Josie-Woods, ean Prouvé 1972 Berlin, Germany 17 Berlin Free University Windows and spandrel panels are joined together with neoprene gaskets and stiffened by exposed steel channels. Movement in the gasket provides ‘enough tolerance for the panels to adjust to the planning grid of the interior Projecting steel channel between panels, Neoprene gasket Al of the exposed metal is Cor-ten steel! — a worn, weathered surface that ‘emphasizes the industrial aesthetic of the buildingrusticatedDominus Winery Herzog & de Meuron 1997 Napa, US“ Construction =~ rusticated ~ The Dominus Winery constructs a rusticated affect through an exterior gabian wall of wire mesh cages filled with smaller stones at the bottom and larger stones at the top, creating a complex visual pattern of stones and crevices. The varying size of the stones and the rock-like appearance of the wall play on traditional rustication in a wall that isin fact highly crafted and constructed. Ss Lh Da IS KY < 7 4 N } 2p x Office level - largest stones, —_ Mezzanine level - medium stones Cellar level - smallest stones — ‘The size and density of the stones in each gabian are used to control the interior climate: a dense aggregation of smaller stones at the base provides cooling and shadow for the lower level of wine casks, while a looser aggegation of large stones at the top allows patches of light to the offices at the upper level.Dominus Winery Herzog & de Meuron 997 Napa, US 18 he gabian wall is self- Main structure supporting only — a rain of concrete and Screen and light filter — steel framing not the main structural enclasure for the building ‘Suspended ceiling Service catwalk at mezzanine Wire mesh gabians with varying sizes of rocks found on site _—— Conerete slab backing wall at lower levelcladding ——» REL. QSBeinecke Rare Bock Library __SOM Gordon Bunshaft Yen“cladding ———» ~ textured _ The cladding of the Beinecke Exterior granite __Vierendee! truss Wk" Vermont Interior granite Library creates a textured cladding marble panel cladding affect through a two-sided surface with a different visual performance on each face, appearing as an opaque structural cage on the exterior and a glowing, translucent light filter fn the interior. From the outside, the faceted cladding of the structural grid gives, scale and texture to the ‘opaque box; from within, the thinness of the marble infill panels transmit a soft, glowing light to the interior, Providing visual texture through the irregular veining of the translucent stone sheets. The exterior enclosure is conceived as a free-standing structural cage that both houses and protects the rare ‘books inside, contained in a transparent vertical glass box suspended within the interiorBeinecke Rare Book _ 506 / Gordon Bunshat 1962 New 19 When seen on the oblique, the deep faceting of the granite cladding increases the visual depth and texture of the enclosure Coffered ceiling with inset lighting On the interior, the thinness of the infill panels turns the cladding into a translucent box, diffusing light through the veined texture of the marble Concealed Vierendee! truss Mezzanine to book stacksChristian Dior Omotesando Store __Kazuyo Sejima, Ryue Nishizawa 2003 Tokyo, Japan~~ cladding ; mun The pleated affect ofthe Christian Dior Omotesando store is created by a series of ‘acu formed translucent acrylic panel = placed behing a layer of frited glass flush with the skin, creating an appearance that varies between fat and plected according fo different icity emistiontaratieerectincey The irregular banding ofthe floor Pate — with varying heb for tach loor that are further masked by horizontal strips in between floors ~ sets the scale forthe undulates vertical pleating of the rar scane pera i rr aq Mold A/B Mold C : i i level & i i | | | > ; | d [ 7. | a Mold 0 Mold ¢ c = level 3 levels 3 and & - 4 Different mold are used on diferent levels of the envelope depending on their : eight. The irregular heights of each level mean the vacuum-formed panels are cut ofa diferent intervals, varying the pleated affect without increasing the : number of molded forms. Wu ° 5 | stl Irregular horizontal banding of envelope True floor heightsrE onerumas sR [Fs |e sees 20 The skin is a thin cavity that conceals the interior of the store, while the combination of flat glass and pleated ‘acrylic panels creates the illusion of adeep facade aw Vacuum-formed moveable acrylic panels Fritted glass ‘Aluminum faceplate Periodically positioned fiber ‘optic lighting artificially illuminates the acrylic panels at night to enhance the pleated affectSenda Mediatheque Toye lte 2000 Sendai, 21 | Toyo ito 2000 Sendai, Japan |celadding ‘discontinuous The “endless” volume of the Sendai Mediatheque — conceived asa fluid space of real and virtual information — is delimited by a discontinuous set of four elevations with three distinct facade types, each determined by their orientation and program The discontinuous affect of these completely independent systems expresses the “arbitrary” enclosure necessary to turn ‘a continuous space of flows into a building. North facade East facade West facade South facade Floor plates concealed by ceramic fritting Metal brackets connecting outer glazing to glass support ribs. Double-glazing with air cavity—_ cladding ——> © discontinuous = The “endless” volume of the Sendai Mediatheque — conceived 28a fluid space of real and virtual information — is delimited by a discontinuous set of four elevations with three distinct facade types, each determined by their orientation and program. The discontinuous affect of these completely independent systems expresses the “arbitrary” enclosure necessary to turn a continuous space of flows into a building West facade ay facade Floor plates concealed by ceramic fritting Metal brackets connecting outer glazing to glass support ribs, Double-glazing with air cavityaver pattern itiater rooster The Aichi 1 Distorting the 2 Each of the six Pavilion creates hexagonal geometry tiles is coded a differentiated within the perimeter with its own affect through produces a regular color, further patterning, based module of six differentiating onatile unit unique tiles the tiles, producedfrom = YY og ee NL ‘a module of six regular hexagons. 3 Each of the six shapes is cast as a glazed ceramic tile, produced in both solid and perforated versions. Each tile has front and back halves, connected by brackets that are clamped into a supporting stanchion. 4 The basic unit of six tiles is mirrored and rotated to produce four orientations of the modules, which are then aggregated to form the pattern of the facade. 5 Color adjacencies between the modules further obscure the original module of six tiles, increasing the differentiated affect.<1 | |\ Ee 3 2g 2e reign Office Architects Aichi Spanish Pavilion The cornice of the pavilion is definedavenian pattern sors The Jahn Lewis Department Store produces an embroidered affect through a pattern of four different panels that can be seamlessly tiled by sharing the same pattern at their edges. The pattern provides areas of transparency and areas of opacity that, when repeated on two layers, makes the envelope less transparent when seen obliquely and more when seen frontally, giving the shop floors a high degree of privacy from the exterior {where the oblique view is typical in its urban context} while preserving maximum views and light from the interior [where the frontal view is, prominent). The fragmented patterns of the context, reflected in the mirror frit of the outer layer, combine with the applied geometric pattern to create an embroidered affect Four different lace panels share the same pattern at their perimeter, allowing the panels to be tiled seamlessly to generate an embroidered affect across the entire envelope. The vertical and horizontal symmetry of the perimeter pattern allows each panel to be rotated, producing a set of eight tiles that are aggregated to produce a seamless embroidered affect, When seen obliquely from below the mirror fritting makes it When seen frontally from inside looking out the two layers difficult to judge the depth of the pattern as both reflections _of the pattern collapse on each other, providing greater and the pattern behind are seen simultaneously. transparency from the shop floor.Sohn Lewis Department Store | Foreign fice Architects 2008 Leicester, UK 23 Dropped ceiling cavity with services ceramic frit pattern on inner layer Mirror frit pattern on outer layer More transparency when seen frontally from shop interior More opacity —/| wan seeh cama om [.\— the superimposed ca partnered es ere The pattern does not continue to the ground, ‘emphasizing the skin as ‘an embroidered "fabric’ wrapping the masonry construction rather than a load-bearing element~~ pattern ———+» ~ The envelope of the Atrium at Federation Square creates a complex affect through a patterning provided by the structure ofits exterior cladding, using a regular pattern in two dimensions to generate a seemingly random composition of elements in three dimensions. A triangle of proportions 2:1 is tiled ina regular pattern to generate a simple pinwheel geometry that can be nested in two dimensions, 208 st oq Striangles 20 triangles © BB triangles The pattern is tiled in regular rectangular patches that fil the rectilinear perimeter of the envelape. The local variation of the triangles within each patch camouflages the regularity of the overall tiling 3 Extruding the pattern into two layers, assigning the members of the pattern randomly to either the inner or the outer layer, and adding independent diagonal bracing members enhances the appearance of complexity over the regularity of the pattern. Exterior mullions Exterior structure Diagonal Connecting Interior Interior bracing struts structure mullions‘The Atrium at Federation Square _Lab Architecture Studio The pinwheel patterning determines he geometry of the interior and exterior layers, while diagonal structural members and struts. between the two layers are completely independent of the pinwheel pattern 2003 Melbourne, Australia Z La a 24 Exterior structure _— Exterior mullions Diagonal bracing between layers Support struts Interior mullions Interior structure0 Se i See Cat: ssreaese AS G00 xOC S00 © C J VOU eee oN 22 oy QO sm MG YYOQOOQDOQ S w) 5 x) S) ) OOOON OVI MNIG OW 2 JOOOK noeOU" OOO" EIB Serer nahh J Ricceceee D) OOOO W U4 a4) BOO OOO oe ie Q x io LIE au &) 50 US &) QD) Oe de) yO) wi AYN y) JQ @) ) ©) OOE y aD 8 © IOOOQOOOOOOED BOOOQOHOOOOOOO SGGOSOOODOOOOHOO( g LS IS R RS IRIS O28 YY bi I’ COOIAVAGOO@O OOOOOOEES) AAAS OSOSO YY AVL AYRYACVSH eS @ *\ ) NSC QYUCR“branding ———» “kinetic The kinetic affect of the Louis Vuitton Roppongi Hills store is produced through a circular pattern associated with the Louis Vuitton brand, extruded into a deep screen composed of multiple layers of glass, glass tubes, and perforated stainless steel. The abstract circular elements of the logo are reconstituted with a catalogue of architectural materials that generate varying conditions of transparency and reflection (on the interior of the building. | | interior The composite of the layers forms a deep screen that provides varying degrees of transparency or opacity when seen from Jifferent angles: more transparent the more frontal the viewpoint, more opaque when seen cn the oblique. viewing angles © Porosity according to viewing angle O degrees 10 degrees 20 degreesLouis Vuitton Roppongi Hills Store Jun Aoki, Eric Carlson, Aurelio Clementi 2004 Tokyo, Japan The full fagade is composed - of 28,000 transparent e : glass tubes [each 10cm z in diameter and 30 cm in lengthl, suspended within 2rellective perforated stainless steel panels ‘and sealed between two plates of glass Exterior tube screen : Interior logo screen Intermediate glass layerZs ine ) Spee y <~ branding — moiréd oe Louis Vuitton bag with pattern Logo pattern Display boxes are placed within the depth created by the inner and outer layers of glass, based on program areas within the building, Bridging between the two layers. ‘of glass, the result is a series of floating boxes, visible through the diffuse screen of the moiré pattern. The outer glass surface of the Louis Vuitton Nagoya store is fritted with the checkerboard pattern of the Louis Vuitton brand, with the same pattern printed on the outer face of a solid wall 1.15 meters behind. The identical surface pattern and the distance between the layers creates a moiréd affect, giving the screen an ambiguous depth.Lous Vuitton Nagoya Store Sum Aoi 2004 Toyo, Japan 26 A projecting cornice terminates the outer glass layer Structural glass fins between the layers remove the presence of structure — Two layers of checkerboard pattern — Display box open tointerior A thin horizontal / strip defines the base of the buildinga8 6.0 € ebeaett Hae cee Be © OOS PE 32889 elehlan ae tah at FDDO0QQOO ,PQOLO8 DODEX FREE 5600000 5) QGGQE BOI BOO.S we SEides8 QVIQVGOVOOO \©OQOQVAPD © 9BOVOVOQVIOVYVIIIIVGIO / )©QOQO9 O08 OQOQOQOOQOGOBOSE ) differentiated VOVOQVO®PI OH AIOVOVOIIOVOVIOVIOY \©OQGOQDODPI HD OVOVOHVIOOVOVIOVOOVO \POVOGVOG©VOVOVOVIOVOVIOVIOO \OVOQGBO® OB OVOVOQVOOQOVIOVGOVO \POVOQBVOAOVOVAVOVOVIOVOVOVOO \OVOVGOYXY ©BOVBVOQVOQOOVAOVIOVOVO IPOVDOEG © 2B O©AVOVOVOVIOVOVIOVOO aes oe ee 08 sO 828 sa? seme?KITTS WOES Coe ® © OG Bewseao od Eee eae PSS DOo® © o> pean CdOQ {és ©O®) Ligee TOO OSE Q©e2O a ies ear ©O©O QOOQ8 ¢ 9 OQ@O CEXXVO ( 30h OVO SPHERES sesese Holoss See 66006 e @)@0@ (0) 9 (2 (ee OO sss © © ) 3 4 : 50.06 3523 Sci Soseeses PS (SSgegeeessecessceesegssees: Ne scesescesssesesososooooscs 5 (209009 F000 OOOCORS ° 3 .e@¢ P20 SOOO 06 i |~“image —— > “differentiated “" ‘The embossed copper envelope of the De Young Museum uses an image of vegetation from the context as. ‘material” to create a differentiated affect, translating it into a pixelated matrix which is then built as a three- dimensional series of embossings and perforations. The resulting pattern of gradients does not depend on the legibility of the image that generated it, but creates a differentiated series of holes that resonate with the surrounding landscape. 1 Black and white: images of the vegetation an the site 4 The pixel pattern is translated into an alternating grid of protruding and depressed embossings, stamped to four depths — greater depths corresponding to darker areas in the image. Each copper panel contains a seven by thirty field of embossings, 5 Six different diameters of perforation are projected onto the panels in response to ventilation and lighting requirements. These follow a twelve by fifty grid on each panel. 6 The two patterns are superimposed. Due to the misalignment of the twa patterns, the perforations do not cancel out the embossings. 2 Invert: blacks become white and whites become blacks 3 Pixelate: tone is converted into adot matrix aeeenercd 3888055088" Barge o:°De Young Museum Herzog & de Meuron 2008 Sanrrancsco,us 2 Embossed and perforated copper cladding panels bis ti Aaj shad | ten one second evel = sales o— | Folded coper s i | louver screen : 3 : i Embossed copper cladding panels.a differentiated[ il nena LT“Color ——— differentiated ~~ The envelope of the Torre Agbar offices explores a differentiated affect by using coloring to integrate window openings and solid walls into a pixelated pattern of squares. The patterning cof square cladding panels in various colors combines with the irregular window cut-outs to create a differentiated appearance that is reinforced by the horizontal bands of louvers that screen the envelope. The outer concrete shell of the tower is pierced by square pixelated window openings arranged ina random pattern. The middle layer of colored corrugated panels absorbs both openings and solid wall into a unified pattern of squares, dissolving the image of the building into a differentiated series of pixels, An outer layer of transparent glass louvers (controlled by temperature sensors} with varying degrees of openness acts as a screen that further masks the difference between solid and opening, increasing the differentiated affect.Torre Agbar Headquarters Sean Nowel 2008. Barcelona, Spain 28 pivoting glass lowers Esterior shel of reinforced eee cial rails q) 7 structural conerete blocks — Maintenance walkway between cladding and louvers NX Suspended ceiling set back from exterior wall — Color pattern of the corrugated aluminum weather panels combines with the cut-outs of the window openingsdia S v ~ he. Tur gue ri as EER gee, <——S betalight == ee “geometric aa The envelope of the Institut du Monde Arabe — a museum devoted to Arab culture — produces a geometric affect by using light to create a mechanized version of a mashrabiya, a traditional ornate screening device in Arab culture, Light diaphragms operated by computer-controlled sensors vary their level of opening over the course of the day, casting patterns of light and shadow that create a geometric affect on the interior. OROOOSS ®QOOOOOOOOOOO OngeererO) O8OR © Oscoscose©) a paeseaes OsOOOsO Mashrabi ya diaphragm, maximum opening OsOOO 50} Mashrabiya diaphragm, maximum closure 1 INE doth as’): ah) ms a s - # wor +1.00 Diaphragm dilation sequence large and small diaphragms}Institut du Monde Arabe Jean Nouvel [seg eee? Perforated aluminum panels around each ‘mashrabiya” guarantee the varying exposure of the interior and increase the diffuse lighting through the envelope Geometric screen of diaphragms Ye V7 Ageometrc afectis i The level of opening created on the interior Ey varies throughout by patterns cast by ight the day, operated by filtering through the computer-controlled sensors that measure the shifting intensity of the sun diaphragm envelope“= cinematicpee ey bebambaebaad aioe baie aaiadaltic t “cinema — light ——_—___» ‘The custom-made glass blocks of the Maison de Verre act as a projection screen for light in both directions, creating a cinematic affect that alternates between external illumination by day and internal lighting by night. Light rays bounce back ‘onto the glass blocks from interior objects, producing a luminous cinematic screen of blurred interior images. Interior steel columns Ladder prop flood lights Large PISIDS porary rein Main wing = 2S, = Leo for light fixtures Side wing with inset windows flood lights ‘Small ete a ag a gS Z $a $2 i ‘The envelope is composed of 3,617 Nevada-type glass blacks [20 x 20 x 4 cm]_ Main deere | Perec tee Painrrance BD The sloped ceiling assists in bouncing light to the interior Texturized Nevada glass block panels Steel support structure Glass blocks are expressed as a non-structural wrapping, sometimes concealing the floor plate and sometimes, revealing it Interior objects are illuminated and cinematically projected back onto glass facade as blurred silhouettesKunsthaus Bregenz Peter Zumthor Bregenz, Austria= light = =luminous = Kunsthaus Bregenz creates a luminous affect F | through a self-supporting envelope of shingled frosted glass panels that form a deep lighting system, bringing natural ight into the stacked galleries inside in varying lighting conditions Lighting within the cavity between floors registers the shadowy concrete gallery spaces ‘on the exterior, showing the surrounding interior cavities as luminous volumes both in daylight and with arti | ial light at night. ‘A four-way bracket allows all four panels to overlap simply at each corner without touching. Tilting the panels both horizontally and vertically produces a two-way shingled surface. The outer and inner layers of glass operate as a light cavity, allowing indirect daylight into the interior spaces of the musem while doubling as a lighting system by night. Shingle system of etched glass panelsKonsthaus Bregenz Peter Zumthor 1997 Brogens, Austria 31 Interior fluorescent lighting \ with prismatic louvers ‘maintains the luminous affect in daylight Etched glass panels act as light refractors that - insulate against cold and heat : and create a luminous affect — Suspended glass ceiling — Steel framing with diagonal bracing Light cavity between floorsSURFACE 32 33 34 35 36 37 38 39 40 41 42 weighted deep differentiated tartan alternating camouflaged tonal gradated textured branded serialThe Ricola Laufen warehouse is clad in stacked composite panels whose height decreases from top to bottom, giving the volume a weighted affect. The progressive increase in the height of the panels from bottom to top subtly distorts the scale of the building, making it seem far taller than it really is. In the distant view, the decrease in scale from top to bottom makes the base heavier than the top — a contemporary interpretation of traditional proportions that increases, the visual density of the base. The averscaled cornice at the top and the tripartite division of panel sizes play on the classical visual order of base, shaft and capital, contributing to the weighted affect of the whole. In the near view, the difference in height of the panels is nearly indistinguishable when seen cn the oblique, leaving the true scale of the volume visible without distortion ~ cladding ———> “weightedRicola Laufen Warehouse Herzog & de Meuron | 1987 | Laufen, Switzerland — Wooden struts of projecting cornice — Insulated membrane enclosure [ities ecco — Woaden “console” ‘supports for rain screen — Conerete composite rain screen panels, Concrete block supports for rain screen purlinsUAHHAA MAAK AAAALAAAAA DARD RDAL LYre cc LLLSignal Box Partially visible windows behind the louvers increase the variation between thinness and depth Vertical rows of brackets used to maintain the twist, in the louvers Areas of twisted louvers appear opaque or transparent depending on the viewpoint alternately permitting or concealing the box behind Herzog & de Meuron | 199% Basel Swizerind OD Conerete structure of signal box. Window framing Weather membrane | Battens and sheathing attached to the concrete structure provide a surface for attaching the brackets that support the louversae differentiated“cladding ——» “differentiated The existing skin of the Boehringer Ingelheim laboratory is clad with glass panels tinted in 8 colors to form a differentiated image across the envelope, masking the repetitive office spaces behind with a color pixelation that produces a differentiated affect. Fixed panels Operable windows When the operable glass louvers are closed a pixelated graphic is legible across the entire facade, masking the repetitive floor plates. behind. When the louvers are ‘open the image is broken by the open louvers, ‘emphasizing aseries of colored bands in liew of a cohesive imageBoehringer Ingelheim Offices and Laboratories Sauerbruch Hutton Fixed glass ———— panels held by i metal purlins | Operable glass louvers held by pivoting brackets [shown in closed position} 2002 Biberach,cermary — Service passage held by braces Fixed and operable | window-units Operable louvers in open position Pivoting bracket for operable glass panel Weather barrier =I panelsChristian Dor Ginza Store iui tn 2006 Tokyo, Japan 35 RSpaenBa pee~= pattern, ———> fartan z ‘The envelope of the Christian Dior Ginza store creates a tartan affect through an offset pattern of dats on two layers, one perforated and one silkscreened. The resulting combination produces a flickering view through an envelope whose scale in depth is difficult to judge. 1 Perforations in the outer 2 Inner panelsare silk- 3 Innerandouter panels 4 The smaller pattern skin create a striped screened with an identical align, but the smaller repeats every two panels pattern inscribed within pattern of different sized _pattern is shifted and the larger every three, nine metal panels. dots, one third smaller. relative to the grid. so they appear not to align, ‘The repeated dot pattern implies that the inner actual land outer patterns should align. Because fame the inner pattern is a scaled-down version of the outer pattern, the resulting perspectival distortion makes it appear farther away than it actually is The cavity between the outer and inner layers is illuminated with fiber optics, combining with the shifting visual alignment of the two patterns. to occlude or illuminate the perforations as the viewing angle changes and create a flickering tartan affect. perceived (stance peters| 2006 Tokyo, Japan Fiber-optic illumination 0000000 piitiN a Mt eel nod 4! al weet MOOK: vie gnnvnNnONO RL 0 Hilti icopKORONOLOOLOG i) iN DUT mt yn icon tot i ct =i NY Hon gta Perforated metal panels he Wy Envelope stanchion t—| a irs one Support brackets Silkscreened dot pattern Thermal barrier Building structure~~ Dattern ———» “alternating “" ‘The cladding of the IBM Manufacturing Center produces The two wings of the an alternating affect through a composition of two-tone factory — administrative blue panels arrayed in a repeating pattern, breaking down and manufacturing — each the scale of the building in the landscape and producing have a different alternating a shimmering optical pattern that blends with the sky. pattern of two-tone panels and strip windows, visually unified by the repetition of aluminum mullions set at a common width. ‘Administrative wing pattern Manufacturing wing pattern~~reflection —» *“camouflaged ee| Usine Aplix. Dominique Perrault | 1999 Nantes, France“reflection —> The Aplix Factory creates a camouflaged affect by using reflective metal panels to fragment and multiply the surrounding landscape. The folded metal panels reflect in two directions simultaneously, superimposing multiple views into a fragmented image of sky and landscape that camouflages a large building within its context. The corrugations of the folded panels are structural, stiffening them so that they require no framing, no bolts or other visible connections that would detract from the camouflaged affect. Concealed framing structure Folded metal panels — The low, spread-out mass of the building helps it disappear in the landscape, blending with the line of the horizon when seen from a distance. = camouflaged Site planUaioe bolic | Soma ican ico 37 A thin folded metal cornice covers the corrugations at the top ofthe bulding, Cancealing the profil ofthe building 50 the depth of the nvelope disappeers | | \ \ Backing | Cechannel i] i ‘structure | IHL ; TUTTI A WLR i HIN { 1 i | | i 4] Landscape reflections WLU I} WN A TA ty WP HN | TATA WANT EEE EEG M | | I i i] | | | = Corrugated panels —Laban Dance Center London, UKEar) I or ; mim The layered envelope ofthe Laban 40 mm polycarbonate Double glazed Dance Center creates a tonal affect cladding translucent by color-coding the diferent interior “| glass programs behind an exterior of translucent polycarbonate panels A different color is given to each dance studio [each with its own size, height, and forml, while the outer polycarbanate layer blurs the different colors into a series of tonal gradients whose intensity varies over the course ofthe day Anodized aluminum a. EB support magenta ml. m2 mB structure turquoise = green gt 2 The chromatic system is composed af three colors, each with three tonal nee Steel mullion support brackets West facade, nighttime gradationLaban Dance Center 38 Transparent polycarbonate panels protect against glare and heat radiation Translucent glass behind polycarbonate diffuses light into dance studios Aluminum, Support structure behind flush polycarbonate surface Semi-reflective exterior windows mirror landscape Stee! mulllon support brackets allow polycarbonate to flat \ Shove ground plane \= gradated inage —» *~~ image , The envelope of the Ricola Mulhouse Factory constructs a gradated affect by silkscreening a Kar! Blossfeldt photograph of a leaf onto the back of polycarbonate cladding panels. Differing light conditions cause glare or reveal the image so that the leaf appears in places deeply engraved and in others barely visible. The vegetal motif recalls the herbs Ricola Uses in its products, but itis the transience of the image that forms the visual identity of the building — a play on the typical opacity and bulk of industrial sheds. Strip lighting backlights the pattern at night and aligns with interior lighting The angle at which light strikes the polycarbonate facade determines the gradation of the leaf image. 1 Back lighting = clearest image 2 Diffuse light = visible 3 Direct light = glare / obscured image gradated ae Polycarbonate panel2. HE] of with ting rot Project of ncealed back-lighting (silkscreene: AS SAV a is Wate ip SS S< Sra ~ SS ee e f 7 o Gs! o = = ~ x< oO” ~iio AONE A 2 IY a wews image_ wtextured 7" Fukuoka Housing produced a textured affect through its cladding. An image associated with traditional Japanese architecture — cast panels that reference the 45-degree stone coursing typical of monumental walls in traditional Japanese masonry construction — is used to create a monolithic, textured affect that wraps the housing units. The 45-degree blocks are aggregated through a series of reflections and translations to produce a random-looking, yet repetitive texture, The pattern is arbitrarily cropped by the perimeter of the building to highlight its presence as texture.Nexus Housing Office for Metropolitan Arcitectre | 1991__Fukuoke, Japan 40 Precast textured concrete panels Exterior patios (on top floor screened by double height of textured facade Cropping of textured stone pattern Integral beam system carrying floor and wall loads |— Structural column behind glazing of ground floor _ Glazed storefront ———— below housing units. Concrete sidewalkPre ROK ReSNdOonDi 1980 Santa Monica, US Frank Gehryrare image __ branded a The garage of the Santa Monica Place shopping mall uses a metal mesh screen to turn the surface of the building into a billboard at the scale of the city, screening the parking structure with large-scale lettering that signifies the name and presence of the / | shopping mall in its urban context. | The branded affect is made more dynamic by the layering of chain-link 2 screens that cast shadows on the concrete parking structure behind, The shadows of the south-facing screen move across the concrete floors of the garage over the course of the day, producing an affect deeper than the thin surface of the facade.Steel tube screen structure SS Standard chain-link ‘Smaller chain-link letters painted white Access stair Concrete block wall behind screen ‘Santa Monica Place Garage Frank Gehry 1980 Santa Monica, US ae ee mesh screen ri Concrete column and beam parking structure |__| —— Standard chain-link fencing, a cheap off-the shelf material, used as a “found object” in the urban landscape“= serialEberswalde Library Herzog & de Meuron, Thomas Ruff 1999 _-Eberswalde, Germany~«~image —- © serial The Eberswalde Library The irregular rhythm of the horizontal creates a serial affect by bands of images, of varying heights Cladding the floors in bands one, two, or three panels tall — of concrete and glass panels, obscures the regular rhythm of the floor covered with silkscreened plates and clerestory window bands. photographs, dissolving the envelope into a pattern of repeating images, Silkscreened ceramic frit glass panel 1. Silkscreen is placed over glazed panel. 2. Ceramic is applied thraugh screen. 3. Silkscreen is removed and ceramic is heat-fused to glazed panel. Silkscreened cast concrete panel 1. Image is silkscreened onto formwork. liner using setting retardant. 2, Panel is cast 3. Panel removed from formwork after setting, Retardant and unset concrete rinsed and brushed from T face of panel, Window pattern Image PatternSilkscreened cast concrete panels. ‘mask the presence of interior floor slabs and walls Double-height silkscreened images are cut off by the transparent windows. Transparent windows interrupt serial pattern of images Herzog & de Meuron, Thomas Ruff 1999 Eterewalde, germany Clerestory window masked by silkscreened glass panel above head height provides diffuse lighting Shelving integrated with exterior wall Integrated desk set at height of transparent windows for direct views‘The Funetion of Ornament Esited by Farshid Mousavi and Michael Kubo Published by Actar Infofactar com Final Drawings. Joshua Dannenberg 01,03, 06, 10, 12, 18,21, 28,32, 33, 34,40, 41 J. Seth Hoffman 02,07, 08,09, 11, 13, 14,15, 16,17, 22,23, 27,38,36.37,39 Fred Holt 25.26.37 Raha Tali 06, 05, 19,20, 24,29, 20,31, 98 Preliminary Drawings Zenin Adrian (16) Dubravko Bacie [37] Matthew Bennet (01,19, 36) David Brown [02,241 Carol Chang (33) Soohyun Chang (39) Dan Clark 06, 42), Joshaa Dannenberg (12, 18, 40,411 Luce Boyce Father (28, 34) 4, Seth Hotinan (07,09, 15, 17,23, 38) Feed Holt (28,26, 37] ‘ry Jacobs (26) ‘Sharon Kio [27] Michelle Lee 103, 21 ‘Guy Nahum (10) Peter Niles (31,38) Raho Taleb (04,19, 20,29, 30) BikateriniTyfonidow (08) Sebastian Velez 108, 11, 14) Chee Xu l2al Graphic Design Manvel Coys Digital Production Leandre Linares Printing Ingoprint SA Distribution Actar 0 Roca Batle 2-4 08023 Barcelona Tel +9699.418 77 59 Fax +34 99618 67 07 otice@actar-a.com wow actar-d.com ‘The Function of Ornament ‘Studio at Harvard University Graduate ‘School of Design, Spring 2008 Professor Farhi Mousavi Masters Teaching Fellow Michael Kubo Students Zenin Adrian, Dubravko Baci, Matthew Bennet, Dave Brovin, Carol Chang, Soohyun (Chang, Oan Clark, Joshua Dannentera, Lucie Boyce Father, J. Seth Hollman, Fred Hal. Zhya Jacobs, Sharon Kim, Michelle Lee, Guy ‘Nahum, Peter Niles, Raha Taleb, Aikaterin Tryfonidow, Sebastian Velez, Chee Ku From the Harvard University Graduate ‘School of Design we would ike to thank Alan ‘Atshuler, Dean; Pat Roberts, Executive Dean, and Toshike Mor, Chair of the Architecture Department Fr their support we woul ike to thank renee Scalber, Kari Jormakka, and Edvarda Lima ang David Mah of Foa, The drawings inthis book are etiely the work and interpretation of students a the Harvard University Graduate Schoo! of Design, bases on publicly availabe information on the works represented, Material from Farshid Moussavis seminar ‘course "The Function of @rnament (Spring 2008 used with permission frm the Harvard University Graduate School of Design All rights served Gol the edition, Actar ‘Got the texts, their authors ol the drawings, Harvard University Graduate School of Design {SBN 84-96540-50-2 OL B-21166-2008 Printed and bound in the European Union Barcelona 2008 Hanard Unversity Graduate Schatof Design