Professional Documents
Culture Documents
By Chandler H. Pruitt: Angelo State University Sports Complex
By Chandler H. Pruitt: Angelo State University Sports Complex
SPORTS COMPLEX
by
Chandler H. Pruitt
A THESIS
IN
ARCHITECTURE
BACHELOR OF ARCHITECTURE
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f igures
Figure 1-1 - Map of Angelo State University 21
Figure 2-1 - Solar Angles for San Angelo 40
Figure 2-2 - Climatic Data for San Angelo 41
Figure 3-1 - Topographical map of proposed site 39
kemper arena
Figure 5-1 -
Floor plan including site 69
Figure 5-2 -
View looking northwest 70
Figure 5-3 -
Views of main building 72
Figure 5-4 -
View looking toward smaller building... 73
Figure 5-5 -
Interior view of the smaller building
showing skyl ight 74
Figure 5-6 - Interior view of the larger building
showing sky light 75
Figure 5-7 - Structural cables supporting the roof
of the larger building 76
exeter gymnasium
Figure 7-1 -
Floor plans ^^
Figure 7-2 -
East facade 88
Figure 7-3 -
South facade 88
Figure 7-4 -
Interior view of galleria 89
Figure 7-5 -
Lower entry showing canopy framework... 90
Figure 7-6 -
Interior view of International Room.... 91
Figure 7-7 -
Lighting fixtures 92
Figure 7-8 -
Longitudinal section through
grandstand 93
Figure 7-9 - Interior views showing trusses and
columns 94
Figure 7-10 - Structural detail 94
Figure 7-11 - Axonometric showing structural framing 95
carver-hawkeye arena
foreword
"Programming" can be likened in a definitive way to
that of a theatrical program - "a brief outline of the
order to be followed, or the feature or features to be
presented, and the persons participating."' Programming
is an effort to define the reasons, needs, objectives
and goals that are the purpose of the building.
8
introduction
"Designing a gymnasium is not one of
the more difficult architectural
problems."'
phi 1osophy
Significant architecture is one which
is worthy of being built, is capable
of influencing people, and is
important enough to be maintained and
preserved.
objectives
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intent
Football, basketball, and track and
field venues are great "potential
spaces". All spaces have potential,
but sporting venues have unique
opportunities.
issues
issue (n)
* concern
» matter
» point
« problem
« question
adaptabi1ity
The facility must provide a certain amount of
convertabi1ity/expandibi1ity/flexibiIity. At Angelo
State University it is u n r e a s o n a b l e to think that the
athletic complex will only be in use for the main
sporting events. The facility must allow itself to be
available for a multitude of athletic practices,
including b a s k e t b a l l , volleyball, tennis, and limited
use by track and football.
T | ~ — — > • • . . - • - ••
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21
circulation
Two types of circulation should be addressed - that
incorporating the automobile and that incorporating the
pedestr ian.
Figure 1-1
All the people watching the game and buying the hotdogs
have to get in and out of the stadium, so the design of
concourses and ramps becomes important.
Toilets, refreshments?
23
c l i m a t e contro1
All three mechanical systems - heating, ventilating,
and air-conditioning - are interrelated and should be
planned together.
context
see site considerations
control
Consider the need to separate the participant from the
non-participant.
cultural/societal benefits
The facility can be a positive point for Angelo State
University and San Angelo. It can afford the school
and community national recognition while providing
viable service and entertainment.
education
Ideally, the aim of athletics is to help people live
healthy, satisfying, and energetic lives by d e v e l o p i n g
and maintaining optimum physical efficiency, by
developing useful knowledge and physical skills, by
acting in socially useful ways, and by enjoying
wholesome physical recreation."
entry/exit
Admission gates should be located near the parking lots
and other main approaches to the s t r u c t u r e . T h e number
and size will depend on projected and potential
attendance. Exits should permit the crowd to vacate
the enclosure within 10 m i n u t e s . T w e n t y - t w o inches of
linear exit space should be permitted for each 5 0 0
spectators or as specified by local code. At least o n e
gate 14 feet high and 14 feet wide should be provided
to accommodate trucks and buses.'
faci1ity capacities
Angelo State University supports approximately 90-100
football players, 20-25 men's basketball players, 20-25
women's basketball players, 20 volleyball players, 30-
35 women's track athletes and 40-50 men's track
athletes. These are the maximum amount of participants
expected, not the average.
historical references
Sports and recreation have strong ties to history.
What the Coliseum is the Romans, what Soldier Field is
to the Chicago Bears, what the Los Angeles Coliseum is
to the Olympics, so must the buildings at Angelo State
be an icon for the school.
image/mood/atmosphere
The image/mood/atmosphere are the consequence of the
addressing of the other issues. The decisions should
26
ingress/egress
The complex, made convenient for users should be easily
accessible to them, with inviting approaches and
unconstrained routes.
internal environment
* COLOR - Consider the color of walls, ceiling and
floor. Determine whether it is more important to
provide a warm, pleasant background than good contrast
for activity?
27
isolation
Outdoor athletic facilities should be isolated from
persistent and unnecessary distractions. Conversely,
these facilities should be located so their use does
not become a distraction for nearby classrooms and
Iiving uni ts.
lighting
Several areas of the site and facility will demand
different kinds, intensities, and locations of
lighting. The parking lots will need security and
visibility lighting for after-dark circulation, as will
the exterior of the building. Interiora11y, different
lighting needs will exist for the entry and service
amenities (restrooms, concessions, etc.). The arena
itself will necessitate differing lighting for the
spectator galleries and the athletic movement spaces.
materials
» FINISHES - Consider finishes for activities
considered and levels of p l a y / p e r f o r m a n c e .
noise transference
This can be a problem if there are rooms below a weight
training room. High activity areas should not impede
on the activities occurring in the administrative
portion of the building. The mechanical equipment
should not be a audial hindrance or distraction for the
athletic events.
order/organization
orientation
Certain orientation requirements exist in athletic
facilities. For instance, an open-air football field
must be oriented with the length of the field on a
north-south axis to minimize the sun's effect on the
players, during games and practices.
32
The planned orientation of the additional facilities
can be important for solar integration, favorable
entries, dynamic views to and from the site, existing
conditions, and/or the internal arrangement of spaces.
psychological effects
Much research has been conducted on psychology and
sport. There are obvious differences between golf and
full-contact football. It is such differences that can
be explored in order to reveal athletes' influences on
structure, color, shapes, etc. or how these physical
attributes influence the athlete and performance.
scale
The athletic complex that I will propose will no doubt
be the single largest structure on the entire campus.
Important axes and views can be created as the result
of its presence, transforming the campus. The danger
comes if that focus is incongruous with the present
one.
security
The athletic and physical education complex presents a
unique security problem. The facilities and the
programs attract large numbers of individuals who move
at all times during the day and week and through many
areas in different directions.
sequence of spaces
« VISUAL RELATIONSHIPS - Which elements will benefit
from being overlooked? from outside? from inside?
service groupings
It is essential to have adequate and conveniently
placed storage space if the facilities are to be fully
usab1e.
sight lines
A sight line is a straight line from the eyes of the
seated spectator, over the heads of others below, to a
point on the field that represents the spot nearest the
structure that should be in his field of vision."
unsat is factory.'
If a horizontal walk is used in the spectator seating
area, the next tread above should be high enough to
permit the spectators to look over those persons
walking in front of them. In addition, the first tier
of seats should be high enough to allow its occupants
an unobstructed view.
* COMPACTNESS - There are two interesting aspects about
this objective that affect the design. The first is
the limit of viewing distances. The second is the
influence of preferred viewing locations related to the
activity arena.*'
The limit of viewing is determined by the ability of
the spectator farthest from the activity to be able to
distinguish the smallest moving object: this is, in
the case of football, the ball; in track & field, it is
usually the runner, particularly as he approaches the
finish line.**
spectator needs
Decide the purpose and comfort level. Decide whether
fixed or moveable. Consider cleaning. Consider noise
levels (retractable seats can be noisy). Consider fire
exits. Consider storage. Consider sight-lines for
viewing.
storage
Establish needs for storage for: sports equipment,
cleaning materials and equipment. Storage is
frequently underprovided and should be carefully
considered; as an approximate guide allow a minimum of
10 per cent for activity space area. Is it better
centralized or dispersed? What are the critical
dimensions, height, length, and turning requirements to
determine economical storage space, methods of storage
- freestanding, lean, pile, or raised?'*
structure
Sports arenas must provide long, column-free spans to
insure optimum sight lines for viewing. Because of the
high proportion of structure in arenas and stadiums, it
frequently follows that the structural arrangement
chosen can, to a large extent, dictate the aesthetic
and functional success of the building.'*
time
Basketball and football are controlled by time limits.
The scoreboard and time clock becomes integral to the
game, for players and spectators alike. High
visibility and readability are necessary.
37
36
examination of
'•&,fY':
s i t e considerations
The proposed buildings will occupy a
site currently utilized as a track
and field stadium and football
practice fields. The campus core is
in close proximity to but not in
direct contact with the site.
Student dormitories lie approximately
200 yards to the north; an elementary
school and rehabilitation clinic
inhabit land to the south; and two
churches lie roughly 300-400 yards to
the west. A major roadway separates
the site from open land to the west.
(see Figure 3-1).
» ACCESSIBILITY
adjacency
Great care must be taken to preserve the present nature
of the existing surroundings (i.e. nearby
neighborhood, local businesses, elementary school, and
churches).
expansion
Centers frequently outgrow initial provisions.
Expanded building space must be proportionally met with
expanded parking space. Expansion should preserve the
integrity of the whole while preserving the stated
i ssues.
prominence
Is the site in prominent position? Should the public
pass the door? Public awareness by seeing the building
and by use of signs is important.
proximity
While the buildings must not impede on the surrounding
sites they must cater directly to the college. The
needs and desires of those who are to be served, those
40
site selection
Has the site been selected? Have alternatives been
considered? What are the opportunities for motor
traffic movement and parking space? What are the soil
conditions and drainage? What is the proximity of the
site to the campus proper?
41
42
examination of
c l i m a t i c data
The climate is generally classified
as serai-arid or steppe. but has some
humid temperate characteristics.
Warm, dry weather predominates,
although changes may be rapid and
frequent with the passage of cold
fronts or northers.
High temperatures
of summer are associated with fair
skies, south to
southwest winds and dry air. Low
umidities, however
. are conducive to personal comfort
because of rapid
evaporation. Rapid temperature drops
occur after sunset
.and most nights are pleasant with
lows in the upper
60s and lower 70s. Rapid temperature
drops occur in the
region. Temperat winter as cold polar air invades the
short time are not ure drops of 20 to 30 degrees in a
produced record uncommon. Cold polar outbreaks have
low
throughout the are a • temperatures of zero or below
43
angelo state
elo State is a progressive
versity with high academic
standards and professional
expectations for its student body,
and one of the university's major
goals is to provide a stimulating
educational climate which will offer
students maximum opportunities for
academic achievement and personal
growth.
athletics
The University sponsors comprehensive athletic programs
for men and women which are among the most popular
aspects of student life at Angelo State. Men's
intercollegiate teams represent the University in
football, basketball, track and field, cross country,
golf, and tennis. Women's intercollegiate teams
compete in basketball, volleyball, track and field,
cross country, and tennis.
t h e campus
Angelo State is located on 268-acre tract of land which
supports its $110 million physical plant. The campus
is relatively new, beginning its strong expansion in
the late 1960's\and early 1970's. The buildings are
focussed linearly about a central circulation core
which runs the length of the campus. All the buildings
are strongly "boxey" in nature and are composed of tan
brick with white accenting details. No major focus
exists on the campus, save the circulation core. The
east end of the campus is anchored by two 10-story
dormitories, while the west end terminates with the
Student University Center, a misnomer at best.
51
52
t h e community
San Angelo is an attractive and progressive city of
approximately 80,000 people located in the heart of
West Texas ranch country. The city and the surrounding
area provide a readily accessible social and physical
environment for cultural and recreational activities,
essential to the University community.
Amarillo
NORTH
1/2 M 1MILE
background
It is important to try to determine
what is meant by a stadium, and for
the purpose of this examination the
stadium is considered as a field or
running track for individual or team
competition in an arena surrounded by
rising, stepped tiers for the
accommodation of standing or seated
spectators, with coverings that do
not, however, cover the field to
enclose the whole building.
history
The stadium was first produced by the ancient Greeks to
fulfill a religious and social need. It was one of a
group of buildings in which culminating rites were
performed.
56
The competitions, which varied in number and nature,
began at sunrise with foot races for single runners,
pairs or teams of six. Those were followed by
wrestling; boxing and the pentathlon, which comprised
contests with discus, javelin, a foot race, jumps and
wrestling. All these contests were held in the
stadium.
The stadium was the foot racecourse in cities where
games were celebrated, and it was eventually used for
other athletic performances. It was usually straight
at the end used for the starting-place and semi-
circular at the other, and was always 600 feet long,
although the actual foot unit varied in length in
different states. It was sometimes planned with its
length skirting the side of a hill so that the seats
could be cut out of the hill slope, as at Olympia,
Thebes, Epidauros, and Delphi; or it was constructed on
the flat, as at Athens and Ephesus.
types of stadia
Large, elaborate stadiums are often more the result of
national pride than of suitability for athletic
competition. Nevertheless, it has set the pattern for
stadia throughout the world.*
58
case kemper
studyarena
Although the building was intended to
be an element for the display of
physical competition and events it
has, in its simplicity, become an
elegant structural expression.
miscellaneous information
» ARCHITECT
C.F. Murphy Associates, Helmut Jahn Des i gn
Pr inci pal
59
* SCOPE
The building was designed for a variety of sports,
shows, and conventions. It seats 16,000 to 18,000
peopIe.
* REASONS
The arena is the first step in the redevelopment for
use as an industrial park of land formerly occupied
by the Kansas City stockyards.
* DATE
Construction began in late May 1973 and largely
completed in November 1974.
» CONSTRAINTS
The constraints were budget and a compressed
scheduIe.
» CONCEPTS
Jahn had a strong design based on a solution for a
special column-free space. He based the building
design loosely on Mies' Crown Hall.
circulation
Landscaped berms provide a pedestrian way around the
entire building at the concourse level, (see Figure
4-1. )
climate control
Four rooms for the mechanicals are provided at the
upper level. Each room provides air and ventilation
for 1/4 of the building. The supply vents encircle the
building above the upper tier of seating, allowing air
to fall over the arena. (see Figure 4-2.)
60
CRITIQUE:
The division of the units and their placement in the
corners is an appropriate response to the heating
and cooling needs of an arena. He expounds on the
theme of his structural functionality by letting the
rooms act as overhangs for the entrances while
accenting the lower level curves of the interior
seating. He rids the building of the unsightly
roof-top mechanical units.
form
C.F. Murphy As sociates believe that archi tectural form
evoIves f rom a thorough planning proces s on the one
hand, and appl ied building technology on t he other. In
this way they follow their master, Mies va n der Rohe.
The oval shap e of the interior, with over lapping upper
and lower sea ting tiers, brings the spect ator as close
as poss ib1e t o the arena floor, while keeping to a
minimum the ex panse of the structural span of the roof.
Four rooms for the mechanicals at the uppe r 1 eve I give
the bui1d ing a rectangular shape and ereate overhangs
prov iding for cover for the spectator ent ranees. (see
Figure 4-3.)
image/mood/atmosphere
Externally, the building expresses its muscularity and
purity through the structural system and its
nondescript white finish. 1nterioraI 1y, technical and
structural components have been left exposed, producing
a lively, hardworking character entirely appropriate to
its recreational use. The color adds gaity and
contrast to the functional austerity of the concrete.
ingress/egress
Access is by a perimeter road to 400 parking spaces and
a ring road round the building for public transport and
servicing. (see Figure 4-4.)
> CRITIQUE:
Overall, a very strong response to the needs of
large trucks and busses attempting deIi very and
passenger drop-off that can cause ci reu1 at ion
problems. For quick dispersal of departing
spectators Jahn has provided easy access to pub 1ic
transportation from any of the corner exits.
63
internal environment
Throughout, the basic palette remains consistent.
Mechanical systems are left exposed and painted yellow.
The seating is painted a bright blue.
> CRITIQUE:
The interior maintains a simple, almost minimal
aura. Graphics convey their information easily and
CO 1 orfu11y.
see: image/mood/atmosphere
lighting
The building was not designed with any natural lighting
considerations. The arena floor is lit with mercury-
vapor lamps suspended from the joist structure.
Additional lighting is a mixture of incandescent and
fluorescent fixtures.
materials
SKIN SYSTEM - The skin is composed of metal panel
cladding mounted on steel raullions and girts spaced 18
feet and 15 feet on centers respectively. The panels
are a standard industrial product that includes both
fiber glass insulation and an inner liner.
sight 1ines
Sight lines have been carefully worked out so that
every spectator has an unobstructed view whether the
focus of action be the court center or overhead. The
maximum distance from the most remote seat to the
center of the Arena is 200 feet in the long axis, 150
feet^in the short axis. (see Figure 4-6.)
spectator needs
The first few rows of seats are retractable and an
insulated wood floor can be put down in three to four
hours.
structure
Kemper Arena was almost entirely composed of
industrialized building parts. The superstructure
consists almost entirely of factory-made parts - steel
structure, steel decking and steel cladding panels
eliminating the wet trades and so speeding up
construction and cutting down the cost.
> CRITIQUE:
The arena's most striking design feature, of course,
is the series of three exposed triangular roof
trusses. Being only three in number and resting
precariously as points on the pilings, the trusses
give the building an almost feminine touch in an
obvious masculine, dynamic, massive application of
the truss system. The building almost 'floats',
being literally and visually suspended from the
truss network. Jahn leaves no doubt to their
purpose; they are not superfluous in any way. As a
complement to the exposed trusses he exposes the
pilings above grade, tying the nimble points of the
trusses elegantly to a solid concrete base.
case study
t o k y o Olympic complex
Tange has "created". He expanded on
a system already thought to have
reached its limits. As a monument,
it ranks with the Sydney Opera House.
As an Olympic venue, it is has not
been matched in drama or recognition.
miscellaneous information
» ARCHITECT
Japanese architect Kenzo Tange
* SCOPE
The complex, called the National Gymnasium consists
of two separate gymnasiums, a building which
connects them, and extensive ground works on a
roughly triangular and rather limited site. The
main building seats 13,000 people for swimming and
diving, 16,000 when the pool is floored over for
judo matches. The smaller annex seats 4,000
spectators for basketball, 5,400 for boxing. The
connecting building is long, straight, and narrow,
and its roof makes a promenade linking the two
spectator annexes. (see Figure 5-1.)
» REASON
The buildings were constructed initially for use in
the 1964 Olympic Games, to be used later in national
and international athletic events.
69
» TECHNOLOGICAL ISSUES
The two buildings are seen to be formal, always
ceremonious, acknowledging of each other with their
wide jib-sail openings parallel and opposite. The
variety and complexity increases as one drops to
earth, but the sense of formality is always present.
This may be attributed to the exacting nature of the
tension system which is expressed again and again in
the detaiIs.
climate control
Air is vented through the horizontal louvers running
along the peak of the roof.
see 1ighting
context
The two gymnasiums, despite their feeling of masterful
strength and the monumental size of the bigger one, are
feminine objects on that masculine base. They are not
twins which were in style at the time, and they are not
mother and daughter - the same thing seen through
alternate ends of a telescope. They are more like
sisters, one big and capable, the other small and
playful, both composed in softly rounded continuous
curves with hardly one straight-1ine in either of them.
(see Fi gure 5-2. )
form
The origin of the forms was almost literally
sculptural. The spaces are true negatives of the
external forms. The pools' building is an almost
symmetrical enclosure under the one central lantern
71
whi1e the smaller building is defined by the central
mast.
> CRITIQUE:
Glamorous. The buildings forms have been likened to
Utzon's Sydney Opera house. They do not obviously
say "sporting events", nor do they need to, but they
are unmistakably identified with the 1964 Tokyo
oIympics.
••^'-ir^iT,'!-*-.
ingress/egress
(see Fi gure 5-1. )
CRITIQUE:
Entry and exit are simple and well-defined. The
tails of the billowing roofs naturally "draw" people
to themselves. The two complexes are joined by the
non-competitive, indistinctive promenade, allowing
linear, pass-by opportunities, lessening the
confusion of choice.
72
* IMAGE/MOOD/ATMOSPHERE
> CRITIQUE:
Tange creates a m ood appropriate to the purpose of
the events. Ori ginally created as Olympic venues,
the structures ri se boldly and elegantly to express
the importance a nd majesty of the Games. The
monumenta1ity of his forms are unmistakable. By
avoiding cliche a nd forthright copying of the two
structures Tange c reates not just one monument, but
two - each tied st rongly with hints of form and
materials. In add ition, his use of natural lighting
adds a sense of so ftness to the interiors.
lighting
A tier of horizontal louvers running along the peak of
the roof admits daylight to vast^ interior,
" ~'" and also
serves as an air vent. (see Figures 5-5 and 5-6.)
> CRITIQUE:
The natural lighting softens the interior, much as
the pneumatic domes do. Yet, by using a long,
horizontal light Tange accents the activity on the
floor, emphasizing the importance of the event
(similar to a spotlight). Tange also utilizes the
lighting system to provide a means of venting air, a
simple, yet dynamic approach to environmental
control that is so often overlooked in athletic
faci1i ties.
structure
The main building's roof is slung in twi n catenary
curves from two 14 inch thick steel cables which are
stretched between two great concrete masts an d anchored
by massive blocks at each end of the buildi ng. These
masts are diametrically opposite across a ci reu1ar
plan. Branch cables which carry parallel , to the
perimeter, where their ends are fixed to the concrete
structure behind the last rows of seats. The re are two
main longitudinal or spinal cables. Each side roof
clings to its own. Light steel bents, cur ving down
from the main cables to the cantilevered ri se of the
stands, support a roof of welded steel plates
case study
e x e t e r gymnasium
The Exeter Gymnasium is a building of
variety. The structure cannot be overlooked;
its function is obvious. The circulation
core is enticing and participation is
encouraged by the entry ramp. No sense of
alienation is conveyed by this building, a
problem for the massive size of many
gymnasium and arena complexes. The lighting
becomes a compliment to the interior
functions of the building, providing natural
mapping of progressions, reducing confusion
and providing choice. Everyone can be a
participant in this building.
miscellaneous information
* ARCHITECT
Kallman and McKinnell
» SCOPE
The gymnasium is a small space, seating 900,
connected to an existing structure.
» COST
$5,375 mi I 1ion/$26.5 per sq. ft.
79
adaptabi1ity
The size of the gymnasium allows the simultaneous use
of three basketball cross-courts (50 ft. X 84 ft.)
separated by two curtains. Alternatively it also
allows the simultaneous use of one main court (50 ft. X
94 ft.) with 18 rows of folding bleacher seating for
900 spectators.
ci reulation
All the activities are sequentially visible to visitors
and athletes as they move through the complex along its
multi-level central spine. The circulation system is a
forceful network. The first level is for athletes, and
the second and third level are for visitors. (see
Figure 6-1. )
> CRITIQUE:
The circulation spine, with its continuous sky-
light, dominates the building and gives the feeling
of continuity to the very powerful space inside.
The spine allows visitors a clearly defined path.
80
Activities are arranged along the path reducing
confusion and providing choices, not impositions,
for the V i si tors.
ingress/egress
Entry to the building is by a long ramp, reminiscent of
Le Corbusier's ramp at the Carpenter Centre. The ramp
faces the campus and is used by students and faculty,
while another entry on the opposite side of the
building faces the town and is used by the public,
(see Figures 6-2 and 6-3.)
> CRITIQUE:
The approach is very graceful. The ramp provides a
slow ascent into the building, relieving the danger
and concentration required from climbing stairs.
All people, particularly the handicapped, are give
non-discriminate entry to the gym. The skewed angle
of the entry enhances the form of the building, more
prominently, the circulation spine and the truss
system.
1ighting
All sport areas have openings arranged to avoid direct
sunlight; office spaces are also lit by indirect
natural light. Splayed windows, recessed into the
lower part of the walls are one of the several ways in
which the architects provided indirect natural light in
the sports areas. Another is the use of a continuous
clerestory in the circulation core to accent the flow
of traffic, (see Figure 6-4.)
> CRITIQUE:
The Exeter Gymnasium effectively uses natural light.
The light does not impede on the playing surfaces,
which can cause glare for participants. In
addition, care was taken to provide light to the
who 1e bui1d ing.
see: circulation
organization
The sports facilities are organized about a circulation
spine on three levels; the second level gives access to
the spectators' seating, the squash court gallery and
the removable bleachers in the gym.
structure
Pr eca st concre te struts, formed on the site, act as
count erforces t o the stee 1 trusses which support roofs
over the gym, poo 1 and r inks; and they frame the roof
of t he spine, The pre cast concrete struts rest on
Conor ete girde rs suppo rted by paired columns on
oppos i te s i des of the sp ine. The gym has an exterior
truss system of weather ed steel pipe. Like Jahn's
Kempe r Arena, the trus s system provides a clear
inter ior whic h reduces distraction for everyone
fol lo wing the baI 1 or w atching a dive. The system
makes for I eg ibi1i ty f rom outside and inside and allows
for expans ion (the end walls are non-1oadbearing).
(see Figures 6- 5 and 6-6. )
LMK I D THOMPSON
CAOt OVMNikSIMt
CRITIQUE:
This building follows a similar yet opposed approach
to the exterior truss system of the Kemper Arena.
Whereas Kemper's trusses were graceful, the trusses
of the Exeter Gym are much harder in appearance due
to their rigid corners, dark color (weathering
steel), and their firm footings. They convey a
sense of work, not majesty. The effects of the
weathering steel on staining and durability are not
known.
84
study
mi 1 f o r d j a i a l a i
s p o r t s complex
The Milford Jai Alai complex captures
the essence of a sporting event. The
activity is the stage, yet everyone
is an active participant, from the
visitor approaching from the highway
to the front-row spectator, to the
patron in the restaurant.
miscellaneaous information
* ARCHITECT
Herbert Newman Associates Herbert Newman,
partner-in-charge
* SCOPE
The 150,000 sq. ft. building is on a 21 acre site
with parking for 2000 cars set on the terraces on
the hillside. The main grandstand seats 4,800
spectators. Additional space is composed of various
lounges, betting areas, and mechanical spaces.
» REASONS
The building was built as a result of the
Connecticut government allowing pari-mutual betting.
87
» COST
BuiIding cost $9.2 mi I 1 ion
* CONCEPT
Architect Herman Newman says, "The design concept
attempts to create an urban, festive environment
which is colorful and fun,"
circulation/organization
Connecting the tw o entrances is the "galleria". This
grand space is t he key both to the functioning of and
circulation with in the whole facility - and to that
sense of festivit y. The galleria steps up two levels
corresponding to the slope of the site and the
spectator grands tand. Upon entering the galleria, one
moves under color ful banners into a 250 seat restaurant
or into betting lounge number 1 to the left. Beyond
that, the first step of an escalator leads up to an
intermediate leve 1, with a small bar to the right and
betting lounge number 2. The second flight of
escalators leads to level 3. Off its lobby there is
the secondary ( self-park) entrance; to the right a
10.000 sq. ft. International Room which offers
refreshments and closed circuit television room; and to
the left, betting lounge number 3.
> CRITIQUE:
The architect uses the power of circulation to his
advantage. He organizes his spaces to meet the
needs of a jai alai complex (i.e. the circulation
passing through the betting lounges). The same idea
can be utilized in a sporting arena, more
specifically, taking the spectator past the obvious
ticket booth, the concessions, the restrooms, trophy
cases, lounges, all according to the intent of the
intentions of the space. Conversely, the spectator
must be given choices.
image/mood/atmosphere
The approach to the jai alai complex provides the first
hint of the festive nature of the building, with its
colorful banners waving from the roof of the building.
(see Figures 7-2 and 7-3 JMI-.
"fyj^
> CRITIQUE:
Everywhere in the building the excitement and color
of the game is heightened by the excitement and
color generated by the design. The banners and
flags are used discriminate1y to aid in the festive
mood, and they add motion to the rigidity of the
buiIding.
ingress/egress
There are two entrances - the valet parking entrance,
and a secondary entrance for those who park their own
cars. The main entrance to the Milford fronton is
90
> CRITIQUE:
The main entrance's open glass wall offers
approaching visitors a sense of the brightness and
color inside. The secondary entrance is well
defined on the self-parking side. Its approach
provides a grand view of the 180 foot span of the
trusses across the grandstand area and the 60 foot
cantilever over the galleria.
internal environment
(see Figures 7-4 and 7-6.)
> CRITIQUE:
The spaces are rich with color and light. The
indirect lighting softens the atmosphere. The color
enlivens the structure and gives vitality to the
space.
Iighting
Jai alai is incredibly fast and demanding. The speed
calls for complete clarity of the ball by the athletes
and spectators.
92
> CRITIQUE:
The lighting system is unique and much preferred to
conventional downlights. The use of indirect
lighting in this fashion is encouraging for all
court sports. Although a complete indirect lighting
system may prove somewhat impractical for a
basketball arena, the implications of indirect light
being integrated with direct light are promising.
mater i a l s
The building's exterior is surfaced with Dryvit, an
insulating finishing system. Added to the surface are
integral supergraphics.
93
> CRITIQUE:
The spectator seating is arranged linearly with the
court. Although the sight lines are structurally
unobstructed, a spectator viewing from a remote,
frontmost corner may encounter human obstructions.
structure
The grandstand space is spanned by exposed steel
trusses 20 feet on center which cantilever 60 feet
beyond the grandstand space to form the roof of the
galleria and restaurant spaces and extend beyond as a
sunshade. (see Figure 7-9.)
wmMw^:swm^^2
3-I»MFL(.
;*T^'T^^•^-•T-^-T"'^•^x•
3-«llF.L 11
M*' fc STIFTR
C i- "' - '• ley ^^''• . • ^——J-- j/« nurr
/
95
> CRITIQUE:
The exposed structure is seen on the interior as
well as the exterior, Internally, the structure is
painted bright colors to compliment the des i gn
96
see: image/mood/atmosphere
97
98
case study
carver-hawkeye arena
The Carver-Hawkeye arena represents
the potential of structure in an
athletic arena. The truss structure
allows the massive skylights to be
incorporated in the roof structure,
and also permits the use of the glass
block walls. The simple interest in
the structure system invites people
to explore it more closely. The
surprise of the spacious interior,
almost wholly underground, is
heightened by the freedom of
structure.
miscellaneaous information
* ARCHITECT
CRSS with The Durrant group as associate architects
and Geiger Associates as structural engineers
» SCOPE
The program called for an indoor sports arena with
13,000 fixed and 2,000 moveable seats. The building
provides an arena and seating for major collegiate
athletic events, as well as various shows and
entertainment. It also houses the support
facilities for the athletic program, (see Figure 2.)
COST
$17.6 mi 11 ion
» LOCATION
Iowa City, I owa
99
adaptabi1ity
The building houses 60,000 sq. ft. of office space and
support space. This section housing wrestling
practice, trainer and fitness areas, all 1ocker/shower
rooms, press rooms, classrooms, and offices.
circulation
( s e e F i g u r e s 8-1 and 8-2.)
:r.t L T::::i
"• ,..».••''••>
PLAZA LEVEL-
LEVEL THREE
SECTION PERSPECTIVE
> CRITIQUE:
By placing the seating totally underground cross-
traffic can be eliminated, thus enhancing the views
of the seated spectators. The consequence of this
luxury is that it is long walk to the lower seats of
the arena from the upper concourse, and vice versa
(approximately 3 stories).
entry/exit
The entries are defined appropriately by the inflection
of the glass block walls. (see Figure 8-3.)
lighting
openings s fntIL I . '^^ ^'^^^ "'^rlng these
openings ,s intended to out down on lighting needs
101
> CRITIQUE:
The building is an appropriate alternative to the
pneumatic structures in terms of daylighting and
structural image. Sensitivity was given to normally
sensitivity-deprived areas, namely the offices and
the restrooms.
102
materials
I ? % h r h ' M S ' ' ''''°"^ '° ^"^ S'^ = ^ ^•°°'< °n the exterior
of the building. The block proved to be versatile U
103
> CRITIQUE:
The weathering steel have already caused staining
problems. The mechanical equipment was painted to
match the staining effects, and the billowing
material is staining badly, causing light
transmittance problems.
si te
Its site was almost made for the building type, with a
natural ravine into which arena seating could be carved
with relative comfort.
structure
steel skew-chord truss and metal deck on reinforced
concrete columns, caps, and pilings.
> CRITIQUE:
The building is somewhat disproportiona1 externally,
with the structure dominating the shell of the
buiIding.
DIAGONALS C
PEHIPHERAl
UPPER
CHORD
• - i B O n O M CHORD
-m^
'^l
,1 l^^UPPER CHORD ;
-joi^OMJ
TRUSS PLAN
FORCE DIAGRAM
- O6N0T' -
CUMTV
case study
fujisawa municipal gymnasium
In the Fujisawa Gymnasium, Maki has
mastered the expression of the
pluralistic age. He honors his
historical convictions, yet produces
a building that speaks of the future.
His careful use of materials and
juxtaposition of forms are
contributing factors in the success
of this sporting venue.
miscellaneous information
* ARCHITECT
Japanese architect Fumihiko Maki
» SCOPE
The gymnasium complex consists of a main arena, 2000
seats, with gallery, lounge (68,000 sq. f t . ) ;
subarena, with judo and kendo arenas, restaurant,
and offices (41,000 sq. ft.); and archery range
(1600 sq. ft.)
» SITE
The site occupies a flat open field, 640,000 sq.
ft., 30 miles from Tokyo. (see Figure 9-1.)
* DATE
Construction completed in late 1984.
107
* BUDGET AND COSTS
2,830,000,000 yen, building construction only.
* CONCEPTS
The main design theme was to give each part its own
distinctive form but to consolidate them all within
the image of a general gymnasium.
» THEORETICAL CONDITIONS
Maki takes a Modernist path essaying to wed place
and technology in a single, unified expression. He
feels that the architect's province must encompass
both image and substance. He is out to fashion an
architecture of our times specific to the place.
His accomplishment lies in integration and
assimilation and in his consideration of context.
context
The context offered few directives, and the site is
flat, surrounded only by mottled semiurban development.
The region is agricultural in nature interspersed with
mixed industrial, residential and resort areas. Maki
generated the building from the program and conjured
images.
> CRITIQUE:
The complex dominates its surroundings, not by its
mass but by its pretentiousness.
form
see: image/mood/atmosphere, lighting, mater ia1s,
scale
internal environment
The interior space of the main gymnasium is marked by
distinctions. Spectator areas and arena floor are made
distinct, with the distinction reinforced by the
ceiIing shapes.
1L n[|n 1
SOUTH-MOMTH 36CTION
image/mood/atmosphere
The imagery he employs has traditional roots. The
resemblance to the rear view of a Samurai warrior's
helmet is astounding. The local people have likened it
to a beetle, kabutomushi, or "helmet insect," in
Japanese. (see Figure 9-5.)
CRITIQUE:
Maki emphasizes that each building must have a
certain degree of familiarity, something that can
touch our emotions. He accomplishes that when he
gets the metaphorical associations with the Samurai
helmet and the beetle. They also shoulder strong
reflections of traditional Japanese structures in
their detailing and symbolism.
lighting
The trusses supporting the roof of the main arena
integrate longitudinal skylights, creating a strong
axial orientation of the interior while accenting the
structural qualities of the building. The sharpness of
the trusses give an otherwise heavy roof a sense of
lightness. (see Figure 9-6.)
CRITIQUE:
The skylights of the main gymnasium were we I 1-
placed, running parallel with the gym floor and not
directly over the playing surface itself. Some
glare results from the side and end lights.
Ill
mater i a l s
The buildings are clad in a 0.4 mm thick stainless
steel shingling system to combat the corrosive forces
of pollution. The sheathing has resulted in a sleek
and handsome shell marred only by the dimpling effects
of construction. (see Figure 9-7.)
•!^m!^^fm
> CRITIQUE:
The materials almost make the building seem
imperceptible, almost an optical illusion. Maki
achieves a layering system without having to layer -
by the subtle change in surface angles, the sun
creates different intensities of light bounce from
the surface.
seal e
The program dictated volume and it is the pieces which
dominate the link, resulting in a balance of power that
remains to some degree unresolved. (see Figures 9-9
and 10.)
fjif elevation
Watt Wrvarion.
> CRITIQUE:
There is strong tfension created between the two
gymnasium complexes. The tension occurs as a result
of the formal geometry of the southern gymnasium
combatting the informal geometry of the northern
gymnasium. The two parts are also handled at
different volumetric scales creating an asymmetrical
imbalance. Finally, the sub-arena shifts off the
main axis.
structure
The gymnasium employs a relatively simple structure
with two major trusses and two subsidiary cross
trusses, akin to an airplane hangar. (see Figures 9-6.
and 9-12. )
'3
Bird's-eye vie\
structural system
116
117
•muuwja—i
118
case study
works by phi l i p cox
national athletics stadium
Cox sets a fine example to architects
building large scale projects. He
emphasizes sensitivity to the site,
to the context of place. By
addressing such issues he has created
a building much more grand than a
monster stadium of ghastly scale and
proportion. This building is
completely appropriate to its
physical needs and its setting.
miscellaneous information
* ARCHITECT
Australian architect Philip Cox
* SCOPE
P a r / o ? ' t h i ° % ^ P " ' = '^""'Pl'- h^s been oonstruoted as
» CONCEPT
It was decided that the grandstand should appear as
a light structure hovering over the 1andscape. (see
Fi gure 10- 1 . )
SITE
Placed in the open country between the town center
of Canberra and the suburb of Belconnen.
context
Cox is a great exponent of the vernacular and the
stadium must be seen as a translation of vernacular
principles to a building of heroic dimensions. the
extensive site and rolling hills of the surrounding
landcape influenced the design. (see Figure 10-2.)
> CRITIQUE:
Here is the area in which Cox shines. The stadium
is sensitive to the surroundings. This is not
common among large structures. By using materials
appropriate to the site, being sensitive to scale,
and applying a structural system that is sensitive
to the surroundings, he creates a large, unobtrusive
stadium.
see materials, scale
120
materials
Cox uses stone-faced berms to reflect the natural
materials present on the site. The berms are also
congruent with the rolling hills of the surrounding
envi ronment.
seal e
Though the stadium is grand by virtue of its
inescapable size, it is a modest building which fits
easily and gracefully into its landscape.
structure
The struts and t he guy wire s are 1i ght to avo i d
conf1ict with the s imp 1e curve s of the des ign. The
trim is strai ghtfo rward, robus t, and ec onom i ca 1 To
achieve the require inent of a no -column s pect ator a r e a ,
a tensile system w as inco rporat ed using cab 1 es and a
series of externa 1 masts
to s upport a st ee 1 f ramed
roof. The roof c ables a
re sup ported b y fi ve t apered
masts at the rear of the stad ium and b a c k - stay ed to
ground anchors. Th e masts i n jointe
are p d at bot h ends
to allow rotation d ur i ng e
rect io n. Each mas t is back-
stayed by two cab Ies f ixed to post-te ns io ned ground
121
> CRITIQUE:
Simple yet appropriate. The roof is a bit awkward
at its end connections. It almost appears as if the
roof is a secondary addition to an existing stadium.
122
Sydney f o o t b a l 1 stadium
Cox was seeking to create a building
that would thrill and awe. He
produced that building in the form of
the Sydney Football Stadium. Its
success lies in the exhilarating
experience of the game expressed
through the excitement of the place.
miscellaneous information
» SCOPE
The stadium was designed to accommodate Australian
football, seating 38,500 spectators.
* CONCEPT
Cox wished to create a place appropriate to the
event. His intent was to create a place that would
thr iI 1 and awe.
* SITE
The stadium is located in a residential area already
inundated with cars, crowds, and arc lights.
context
> CRITIQUE:
It is unclear whether Cox addressed the residential
VnH.l^''7^.V^.''^^^' ""'^ expression is, however,
something that is light and tactile. Some could be
other. r , S ° ' '! enriching the environment while
others could contend that it was not appropriate to
123
form/structure
The canti levered roof is suppor ted on a tubular steel
tr iangula ted space-frame truss, The stadium swoops up
and down around the field, de fining the playing and
seat ing a reas. The playing fi eld is submerged three
meters be low the natural ground -level, increasing the
sense of containment. From the field there is a strong
centr i petal force arising from t he circular geometry of
the stadi um's perimeter which co unters the longitudinal
pull of t he playing area and th e elliptical opening in
the roof overhead. (see Figures 10-3, 10-4, and 10-5.)
> CRITIQUE:
Cox masters the structural expression. He desired
the building to be thrilling, and the structure
enforces the thrill. His structure speak their
intent clearly. Here the intent was to produce a
light yet strong structure. Cox succeeds. He is
sensitive to repetitive elements, and relieves their
potential monotony through the swelling roof. Each
element becomes seemingly independent of the others,
each deserves a closer inspection. He thus creates
a visually striking series of glamorous pieces all
working to paint a grand picture, a celebration.
image/mood/atmosphere
As the roof sweeps up and dips down it defines a space
unified and continuous and never static. The brick-
faced concrete seating area is solid and heavy,
creating a crater under the white bonnet. Cox sees the
roof as a cloud floating above the earthy base. The
light form creates a powerful sense of enclosure.
CRITIQUE:
Exhilarating, The images are strong. Cox stimulates
the senses, If I were in this building 1 would want
to touch the structure. But perhaps his strongest
appeal is to the eye. The rolling structure
/ '
125
seal e
Concerned with scale. Cox pulled the northern rim of
the roof down in salute to the residences and the major
traffic route that lie to that side. The corresponding
southern point was also dipped in a token gesture to
the weather conditions that threaten from that
d i rect ion.
> CRITIQUE:
The scale is massive. It is unclear whether it 1s
appropriate to its surroundings.
> CRITIQUE:
This is a fitting response to the needs of the
spectators. The steep ascents and descents may be
tiresome, but entering at mid-level will alleviate
some of that problem. Cox concentrates on the
spectator becoming a participant. And the athlete
is surely affected positively by the close
affiliation with the fans.
126
d a r l i n g harbour
e x h i b i t i o n hal 1
miscellaneous information
» SCOPE
The Exhibition Building was one of many designed for
Sydney's Bicentennial celebration. The project is a
government-backed transformation of a harbour -frent
site into an inner city entertainment center.
» SITE
The site is flat, bounded to the east by the
commercial and retail core, and to the west by a
visually strong wall of nineteenth century
woolstores. The freeway system slashes across the
site.
127
context
Cox produced a building comprised of five halls. The
concern arose as to their appropriateness to the
surrounding city. In response. Cox's buildings help
bring a coherence to the place.
see structure
image/mood/atmosphere
The image and atmosphere is one of festivity,
heightened by the powerful forms Cox creates. by
staggering the five halls, he also creates a rich and
eventful building, presenting ever-changing views of
the facades. This arrangement gives individual
identity to each hall but still allows the total
complex to operate as a unit. The building is warm and
light-hearted. (see Figure 10-6.)
CRITIQUE:
Once again Cox produces a building with a strong
image reinforced by a structural p r e s e n c e . He is
sympathetic to the needs of the e x h i b i t i o n space.
see organization
organization
The buiIding is d i V ided into z o n e s . By d i Viding the
plan longitu dinally into th ree zones , the exhib i tors
are convenien 11y 1ocated a 1o ng the we stern w a l l , near
to the de I ivery zone, whi le the ex tens i ve g1 a s s -
enclosed pub 1 ic foyers Iine the east ern wa1 1 outs ide
the enclose d and protec ted exh ib i t i on spaces,
contr ibut ing to the V i taIi ty of the mo st pub 1i c face of
the buiIding. A terraced t borough-f are en 1i vened by
canti1 evers, a w n i n g s , stairs , ba1ust rades, fIagpo1es
and so on is provided at m e z zanine 1 eve 1 all ow ing the
passer-by to look down on the act i V i ty i ns ide.
> CRITIQUE:
What could have been a vast, mute spatial container
has been given a highly active expression. The
organization provides the visitor with c h o i c e s , able
to overview the environment before making a decision
about his amount of involvement. T h e reduction in
size of the inner units affords a more intimate
environment, bringing a more familiar scale to the
edif i ce.
structure
Cox chose an expressive steel structure in response to
the expectations of exhibition h a l l s . The f l a m b o y a n t ,
exposed, mast and cable system selected p r o v i d e s a
festive note, and successfully links the building with
the masts of the tall rigged ships by the adjacent
harbour front. (see Figures 10-7 and 10-8.)
129
BSDBQQfmQsannn , ,
case study
t s u k u b a m u n i c i p a l gymnasium
Toki produces a building with boxey
proportions. Through careful
division of functions and
articulation of surfaces he creates
an intimate building. This building
is as much a celebration as those
previously examined, but achieves its
success in its simple organization
and aesthetic beauty.
miscellaneous information
* ARCHITECT
Shin Toki and Associates (supervised by Kenzo Tange)
» SCOPE
The Gymnasium was designed as a main gymnasium as
well as a judo and kendo hall. The principal
activities in the main gymnasium are volleyball and
basketball, but gymnastics can also be practiced
there.
SITE
The site is at the base of Mount Tsukuba, against a
backdrop of undulation mountains to the north, and
fields and gardens to the south, The site is to be
completed with tennis courts and a sw imm ing poo 1.
(see Fi gure 11-1. )
131
^
•e
- ^ -
• t
•;k....
entry
The en try is sandwiched between the main gymnasium and
the j udo and kendo hall. In contrast, it is
transp arent and more open. This has been done because
of re 1axation for the citizens has been planned between
the g ymnasium and the nearby grounds, as well as to
prov i de spatial continuity. (see Figures 11-2 and 11-
3. )
i/
...
> CRITIQUE:
The entry is perhaps the weakest point of the
building. Upon approach the columnated, pinnacled
ends speak entry. Allowing the visitor to discover
the entry can be a strong element, but Toki creates
a confusion of elements.
1ighting
The building is top-lit by a triangular-shaped
translucent panel running the length of the building.
Additional daylighting is provided by punched windows
along the building's perimeter. (see Figure 11-4.)
CRITIQUE:
The top-light proves to be very bright. It could be
a definite hinderance to volleyball and basketball
when the athlete looks skyward for a ball. In
addition, the punched windows create strong bright
spots and high floor glare, also potentially
d i stract i ng.
134
materials
The structure is reinforced concrete, expressed on the
exterior, accented with inlaid tile.
> CRITIQUE:
Toki uses materials well. He breaks up a
potentially monotonous and rather extensive exterior
by adding decorative relief and inlaid tiles in a
linear form. By doing so, he has reduce the scale
of the exterior to a more manageable scale. He
wisely and successfully incorporates his mechanical
vents and drain pipes to be congruous with grids.
organization
The functions are polarized and separated by a common
entry. The main gymnasium lies to the north while the
judo and kendo hall occupies the south. The top-light
extends the length of the building, tying the two
masses together. (see Figures 11-5 and 11-6.)
> CRITIQUE:
The differing functions require differing physical
ceiling heights, materials, etc. Toki's approach to
the organization is both economical and
aesthetically appropriate.
3: T
^ T l CZ3 r— I-=•]
4
r.
Figures
-•••••
11-5 and
E
11-6 - P ian,
rHi—rv
s e c t i on
I ' I—»—r
135
spatial
qualities
th9 approach
The approach should not be overpowering, yet should be
bold. As with the Milford Jai Alai complex the
approach can set the initial mood of the activities.
During daylight hours the structure and monumenta1ity
can speak volumes, while at night the expression of
structure is subject to the lighting, which can create
dominant directional cues and accents. The lighting
can have strong associationa1 values, and often be seen
for several miles. The transformation of the building
from daylight to nightfall offers some interesting
139
ingress/egress
The next step is the ingress to the site. Ease of
ingress, not the difficulties of parking, should be a
major focus of the building. It is desirable to
maintain the shortest walking distances possible while
insuring safety and security through proper lighting
and circulation paths. The visitors should feel
comfortable in moving freely about the property.
entry
The entrances should be markedly defined for ease of
recognition. In addition, they should be easily
accessible from and convenient to the parking. The
entrance needs to be more than an opening or a place
between two points, but instead a transition from one
event to another. The entry should communicate
acceptance and direction.
reception/1obby
Arena
Stadium
concess ions
The concessions are often overlooked in spor t s
complexes, but are one of the most widely used s paces.
The concessions should be easily accessible, u sed as
pass-by spaces available to the participants as they
walk to their seats (much the same way the Milfo rd Jai
Alai spectators were routed through the b ett ing
venues). Concession areas should be brigh t and
informative, easily recognizable from a mo derate
distance. They are a service to the arena, and shou1d
be given prominence. Large, periodic crowds she u I d be
expected and accommodated. Getting a Coke and p
opcorn
should be a celebration.
restrooms
? W L J ^''^i''^^ "'°"^'^ ^°'^ ^ mundane space can be
natural li^ht J H ' ' ' " -genuity. By introducing
shun t L H \ ^ ^ restroom areas, the restrooms can
I f ^ o i n ^ to'.'n' ^"^^^^^^i°"^l feel they tend to harbor.
If going to the restroom is an event, (and for some it
141
mechanicals
Another oft-overlooked area is mechanica 1 space.
Maintainence and installation of mechanical equi pment
should be considered. Also, consideration should be
given as their placement in regard to noise and ai r-
flow output. Kemper Arena is a fine example of we 1 1 -
placed mechanicals that serve in close proxi m i t y the
area they support as well as provide a secondary
purpose of sheltering the entrances. In this way, the
mechanical systems don't become boxes on roofs that are
unsightly to observers. For my project at Ang eIo State
University the two 10-story dormitories will over Iook
the main arena, citing an appropriate respons e to the
placement of the maechanicaIs.
the arena
The arena space should be magnificent. A certain
tension and expectation are carried in the minds of the
spectators and athletes. They should not be
disappointed. The vastness of the space provides the
initial awe. The focus is obviously the court. The
initial view should be commanding, looking down on the
players who seem to be so small, yet larger than life.
They are the spectacle. For the players, the
anticipation and emotion come from entering the bright
lights, feeling that they are the focus. They are
142
the stadium
Walking into a stadium can be awe-inspir ing. Chi 1dr en
want to run on the track or the footbal 1 f ield. For
many spectators, it is a place of fanta sy o r memo r i es
past. Natural curiosity should be heig hten ed by the
noise bleeding into the c i r c u l a t i o n co r r ido r s . The
curiosity should be provided with an aven ue to the
answer. Discovery! The discovery is th e c uI mi na t i on
of the progression. The discovery s hou I d not be
antic1imactic. The brightness of the car p e t - like g r ass
is given a formal, rigid order by the str i p e s . The
stripes, goal posts, and end zones a re d i rect iona 1
tools and should be utilized as such. Ea ch s eat sh o'u 1 d
be felt as unique, a distinct place among the who I e
press box(es)
The press box can be an overpowering element of an
athletic complex. My desire is to see it integrated
into the environment of the stadium and arena. Press
box" should become an obsolete term; 1 see the space
as Press Accomodations. These a c c o m o d a t i o n s shouldbe
143
The press box has always taken its place at the apex of
the stadium. I will explore the possibility of
relocating the space. Obviously, it is desirable to
film the action from the highest place, so some
consideration must be afforded to those groups.
locker rooms
Passageway spaces leading from the play space to the
dressing rooms, showers, and lavatories are often
unpleasant in gymnasium building s, but they provide an
essential interval before and a fter playing and should
therefore be psychologically refreshing. Koichi
Nagashima, a Japanese architec t provided a courtyard
between the gymnasium and showe r and dressing rooms of
a small public gymnasium. Whet her or not that is the
appropriate solution for my bu ilding is unclear, but
the implications of opportun ities is encouraging,
Locker rooms and their connect ion to the main space
should provide stimulation ins tead of a cold, damp
aura. The locker room should p rovide both excitement
and solitude. Interaction should be a choice,
Privacy, associated with some sense of ownership is
important. The space is the preparatory space for
games, so distractions should b e few. A common space
should be provided for meetings.
offices
The offices will be the most widely used spaces.
Therefore, the needs of their inhabitants should be
addressed sensitively. Windows allowing light and
natural ventilation are desirable. If windows cannot
be supplied, some form of natural lighting should be
introduced into the space (as in the Carver-Hawkeye
Arena).
144
summary
The buildings should be imaginative works of arresting
configuration fashioned for visual potency and delight.
The act of creativity can make the resulting spaces
familiar yet original, understandable yet full of
discrepancy, simple yet complex.
list of
endnotes
foreword
introduction
2. Ibid.
4. Ibid.
9. Ibid.
10. Ibid.
statement of philosophy
statement of intent
3. Ibid.
4. Ibid., 31.
5. Ibid., 38.
6. Ibid., 72.
8. Flynn, 1.
9. Ibid., 25.
10. Ibid.
11 bid.
12. Ibid.
16. Ibid.
17. Ibid.
148
18. Ibid.
22. Ibid.
23. Ibid.
26. Ibid.
27. Ibid.
28. Ibid.
29. Ibid.
30. Ibid.
34. Ibid.
35. Ibid, 40.
36. "The Stadium: All-American Monument,
1.
149
introduction to angelo state university
3. Ibid., 17.
4. Ibid., 30.
background information
1. Oriard, 37.
2. Ibid.
3. Ibid.
4. Ibid.
5. Ibid.
6. "Stadiums,"
7. Ibid.,
8. Ibid.,
exeter gymnasium
carver-hawkeye arena
mjinr'-aammmmmmmmt
152
c o n c l u s ion
During the concept exploration phase of my tnesis
project I attempted to identify those physical
characteristics that lended themselves 1) to the
functional nature of an athletic complex, and 2) to the
aesthetic and theoretical nature of sport.
final analysis
My programming summary stated, "The buildings should be
imaginative works of arresting configuration fashioned
for visual potency and delight. The act of creativity
can make the resulting spaces familiar yet original,
understandable yet full of discrepancy, simple yet
complex." I feel that 1 have confidently fulfilled my
goaIs.
I .11 I'l • " H I I B C ^ ^ W W W
162
concourse
24) First production of the vomitory entry stairs
bordered by an enclosing wall.
s1ide sheet 3
1) - 5) Aerial views of the stadium and arena.
10) and 11) Aerial views of the arena showing the grid
walls, one extending into the plaza.
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