Abalos+Sentkiewicz: Essays On Thermodynamics. Architecture And Beauty

Abalos+Sentkiewicz 速

Essays on Thermodynamics, Architecture and Beauty

The organization into four chapters or books corresponds to the issues that a projective definition of architecture must necessarily address.

How we redescribe the SUBJECT of architecture in contemporary culture: Somatisms What is the PROTOTYPE catalyzed by social, technical and cultural changes, how it is defined and why: Verticalism What is the MATERIAL CULTURE that enables the construction of a new techne with a scientific and cultural basis: Thermodynamic Materialism Which DESIGN TECHNIQUES serve to design the future by expanding the current limits of experience: The Assemblage of Monsters

Somatisms

Thermodynamic Materialism

Thermodynamic Materialism

The Assemblage of Monsters

The Assemblage of Monsters

Verticalism

Verticalism

Somatisms

Throughout this book, four colors are used to organize the contents and facilitate navigation.

The sum of these colors, combined with the four chapters, draws a map of ideas, relations and projects that is necessary to a reading of this book as an essay of future architecture scenarios.

BLACK is the color of the lines and letters, of reviewed experience, the basis of our codes of expression.

ORANGE is the color that describes the chapters and facilitates perception.

The color BLUE shows the results of experimental proposals developed in the field of academia.

SILVER is the color of initiation that amalgamates references, images and quotations of knowledge, of pure ideas, and also of our phantasms.

5

Somatisms

8 Somatisms_IA 14

Beyond Thermal Monotony_Salmaan Craig

24

Thermodynamic Beauty_IA

26

Zarathustra’s House_IA

32 Grotesque-Somatic_IA 44

In Praise of the Doodle_IA

47

Double Doodle Lamp. A Bedside Table Lamp

50

New Kroken Park

62

Cristina Enea

70

Biobio Theater

76

Taipei Performing Arts Center

82

Lolita Office Building

Tromsø, Norway

San Sebastián, Spain Concepción, Chile Taiwan, RPC

Madrid, Spain

Thermodynamic Materialism

Thermodynamic Materialism

The Assemblage of Monsters

The Assemblage of Monsters

Verticalism

Verticalism

Somatisms

Somatisms

7

Diagrams and forms of the thermal interactions that take place in the urban environment/ public space. Jianxiang Huang

13

Rational Thermal Comfort Indices

Two Node Model

One Node Model PMV-PPD The Predicted Mean Vote (Fanger, 1972) is derived from the physics of heat transfer combined with an empirical fit to sensation.

SET & ET Standard Effective Temperature (SET) (Gagge, 1971, 1986) is the equivalent air temperature of an isothermal environment at 50% RH in which a subject, while wearing clothing standardized for the activity concerned, has the same heat stress and thermoregulatory strain as in the actual environment.

COMFA The COMFA model (Brown & Gillespie, 1995) provides a swift comfort index in landscape areas based on a person thermal balance.

Multi-Node Model UTCI The Universal Thermal Climate Index is the air temperature of the reference condition with the same physiological response as the actual condition. The index is base on the UTCI-Fiala human biometeorological model that is the most complex compared with previous ones.

Different modelings of the human body as cylinders with layers that respond differently to the thermal stimuli corresponding to some of the parametric models for mediating human behavior.

Jianxiang Huang

Couple inside Jay Baldwin’s dome. Jack Fulton Alejandro de la Sota, Dwellings in Alcudia, Mallorca. 1983-1984

25

Thermodynamic Beauty An examination of design techniques quickly identifies two models for the aesthetics of thermodynamics—two ways of operating that seem to be linked to different climates and prototypes.

One model has to do with the construction of a technified, parameterized, artificial environment promoted in Anglo-Saxon circles, based on managing comfort artificially by mechanical means, with environmental strategies proposed on the basis of a typical seasonal cycle. The other model stems from the tropical and subtropical belt (including the Mediterranean), the geography of sunshine, and is based on a skilful, sensualist management of more elementary means (bricolagiste, to use Claude LéviStrauss’s word), with a thermodynamic cycle that is daily rather than seasonal. Obviously, these two ways of operating encompass various levels of approach (for example, in the continental climate of large parts of Spain), but their general characterization serves to identify the original types to which both ultimately refer: the greenhouse and the shade house.

Or better yet, in an updated version of Marc-Antoine Laugier’s primitive hut, Buckminster Fuller’s small glass dome and the shade of a beach bar, however trivial at first glance, represent two precise, culturally rooted ways of understanding the relationship between the physical environment and architecture.

They also help us to understand the two disciplinary mutations we have witnessed with the change of century. On the one hand, new scientific disciplines (mainly physical and ecological) have emerged, integrating parametric software into their design tools and thereby enabling systemic analyses of dynamic phenomena.

On the other, we have seen the promotion of the landscape design tradition, the integration of biological knowledge into the tectonic knowledge inherited from modern academic programs whose original organization, based on the figure/ground duality, no longer functions at any level—planning, territorial or socio-political.

IA

83

Lolita Office Building

Madrid_Spain

This is a commercial building beside the M40/A6 cloverleaf, with a small park at its feet, and views of the city to the south and of the mountains to the north. The guiding concept is to create a stimulating work atmosphere by replacing the typical material and modular vestiges of the office building with an indoor landscape that interrelates with the different scales of the landscape outside: the landscape of motorways, their kinetic lines replicating and accompanying; of the distant views, towards which its volumes are turned; of the public park and its own garden, with which it interacts by means of the shadows of the trees and the reflection of the water.

The building imposes its presence precisely because it trusts to the resources of geometry, scale and proportion, reducing to the utmost the constructive elements used. The atmospheric and noise pollution of the place necessitates a hermetic triple-glazed facing with mechanical air renewal at night, employing large high-insulation glass panels to allow a panoramic relation with the natural and artificial environment of Madrid.

85

87

CONSTRUCTIVE SYSTEM. TYPICAL SECTION STRUCTURE

Reinforced concrete reticular structure FACING

_Aluminum frame, SCHร CO type FW 60+ SG free from thermal bridge, RAL 9003 color: glazing comprises a 10mm colorless outer pane, 15-mm chamber and 6+8-mm colorless internal double glazing with silicone seal _ 1-m blank jambs with ALUCUBOND aluminum composite panel, exterior coil coated PVDF paint finish in RAL 9003 color and waterproof glass wool felt between the structure and the panel _Ledge running across the faรงade concealing a fan coil air-conditioning system beneath a 35-mm deep aluminum top, 6 mm thick, with laser-cut curved impeller INNER FINISHES

_Raised inspection floor of 600x600 mm tiles _False ceiling of water-resistant plasterboard with insulation in exterior bays; inspection ceiling in interior bays of metallic-look extruded aluminum slats with linear recessed lighting _Internal partitions of glass and plasterboard

98 Verticalism_IA 112

Two Images?_IA

132

A Delirious Circle_IA

138

Telef贸nica Gran Via Building

140

State Public Library

150

Yiwu Zhongfu Plaza

160

Residential Building in Calle Orfila

172

Osmose Station Grand Paris Project

180

Tour Porte de la Chapelle

188

Mixed Use

198

Solar Tower, Soci贸polis

212

A Few Secrets of the Post-Gravitational Archaic

Ciro Najle

Madrid, Spain

Barcelona, Spain Yiwu, China Madrid, Spain Paris, France

Paris, France

Nanjing, China Valencia, Spain

Thermodynamic Materialism

Thermodynamic Materialism

The Assemblage of Monsters

The Assemblage of Monsters

Verticalism

Verticalism

Somatisms

Somatisms

97

Telefónica Gran Via Building Madrid_Spain

The Telefónica building (currently unoccupied) and the Círculo de Bellas Artes are the two prototypes of skyscrapers (private and public) with which Madrid experimented in the early 20th century.

The project aims to transform Madrid’s Telefónica building, the first high-rise office block in Spain, into a center for science, art and technology. To do so, it drastically modifies its introverted character, utilizing the building’s existing resources to turn it into an extrovert, public and easily accessible structure that forms part of the network of the city as a new museum type and a vertical garden, a rock to climb and discover the city: an observatory of the outside and an experimental center on the inside.

139

Gran Via Observatory, Madrid, Spain, 2011

147

220

Thermodynamic Materialism_IA

230

Interior Spanish Pavilion at the Venice Bienniale 2014

Venice_Italy

236

Sources and sinks, a typological/thermodynamic outline_IA+RS 242

Thermodynamic materialism. Project

Iñaki Ábalos, Renata Sentkiewicz

262

THP__Thermodynamic Prototype

274

Antoni Tàpies Foundation

286

Leisure Centre in Azuqueca de Henares

298

Atelier Albert Oehlen

308

Swiss Pavilion

314

Ábalos Thermodynamic and Performance Turn

Charles Waldheim

318

Isasi House in Itziar

Barcelona, Spain Guadalajara, Spain

Bülher, Switzerland

Gais, Switzerland

Guipuzkoa, Spain

Thermodynamic Materialism

Thermodynamic Materialism

The Assemblage of Monsters

The Assemblage of Monsters

Verticalism

Verticalism

Somatisms

Somatisms

219

231

Interior

Spanish Pavilion at the Venice Bienniale 2014. Venice_Italy

275

Antoni TĂ pies Foundation

Barcelona_Spain

The prime objective in the renovation of the Antoni TĂ pies Foundation is to open the entire historic building to the public with new gallery, archive and education spaces, concentrating the administrative areas in a new threestorey pavilion at the rear of the plot with an exit to the courtyard at the centre of the city block.

However, most of all the new Antoni TĂ pies Foundation aims to help consolidate a new generation of museums seen as centres for cultural production, proposing a multiple spatiality in keeping with the diversity of artistic practices, the need for thermodynamic balance, the appreciation of heritage that has been passed down, and a shift from atmosphere to the intensified experience of visitors, who are offered a view of the complex programmatic fabric that supports cultural production and the Modernista building itself as an integral part of the exhibition system.

In environmental terms, the extension represents a substantial improvement in natural lighting of the original building and in the form of the complex, including the intervention in a single volume for improved control and reduction of energy exchange, thanks to which the surface area is increased and the existing HVAC systems modified.

299

Atelier Albert Oehlen

BĂźlher_Switzerland

A small construction on a steeply sloping, almost permanently snow-covered site produces a white prismatic volume that is embedded into the ground on the north side and projects into the landscape to the south, housing an open-plan space as an artist’s studio and a semi-basement for storage. A large picture window connects the studio with the landscape outside, and two skylights provide overhead lighting. The principal volume and the skylights are triangles that stand out on the mountainside, giving the building its characteristic outline. With its industrial finishes, volumes and white colouring, the project seeks reasonable mimesis with the residential constructions around it and the snowy landscape of the Saint Gallen region.

In environmental terms, the built volume is made as compact as possible, part of it being set into the ground. The south-facing openings (with adjustable and monitored outdoor blinds) capture solar radiation and produce the best lighting for the work room. Heating is provided by geothermal energy based on high-inertia constructive systems: concrete structure in the basement and laminated wood in the rest of the building, with particle board panels and recycled paper insulation, clad with industrial boarding and a landscaped roof that is a continuation of the site.

336

Monster assembly_IA

348

Protocols applied to high-rise mixed-use prototypes.

Iñaki Ábalos, Renata Sentkiewicz

372

Dualisms_

Iñaki Ábalos, Renata Sentkiewicz

376

Hotel and leisure centre on the M-40

390

High-Speed Train Station, Park and Urban Design

Logroño, Spain

428

New Natures: Abalos+Sentkiewicz’s Intermodal station in Logroño

Madrid, Spain

Stan Allen

444

Zhuhai Huafa Contemporary Art Museum

462

Building Monsters_Philip Ursprung

Zhuhai_China

Thermodynamic Materialism

Thermodynamic Materialism

The Assemblage of Monsters

The Assemblage of Monsters

Verticalism

Verticalism

Somatisms

Somatisms

335

Monster assembly The monster is not an end in itself; it is a moment of negotiation in the process between what we need to know and what we need to know how to forget in architecture. The monster is a point of inflection between the technical construction of the logics of the project and the aspiration of using it to gain access to a new idea of beauty that bears no relation to these logics. It is the state of the process in which it becomes necessary to create coherence out of the simple accumulation of disparate objective data, knowing that rejecting is as important as choosing and that, therefore, the core of the task is to manage “imperfection� productively.

The assembly of the monster may be physical (figurative) or mathematic (parametric); beware of trying in advance to smooth out the contradictory logics that inform and give consistency to the system; to construct the monster properly, it is vital not to erase the incoherence of the different conflicting material and spatial organizations, but to leave the marks of the battlefield.

Andjelka Badjnar, Matilde Gonzรกlez Asteinza, Iva Petkovic

339

2.1 - ClimaƟc parameters and natural energy sources 2.2 - External form factor in relaƟon with the climate

WINTER CONDITIONS

SUMMER CONDITIONS COMBINATION

SUN

OBJECTIVE: To increase direct sunlight exposure to passively heat on cold outdoor temperature.

OBJECTIVE: To reduce direct sunlight exposure on south and west direcƟon, to expose on morning light and indirect light on north and east direcƟon.

N

N

N

N W

E

W N

N

E

N

E

W

S

N

S

N

E

E

E

W N

S

S

W

S

W

N

E

N

S

W

E

S

S

S

S

WIND

OBJECTIVE: To reduce local relaƟve humidity level by increasing the velocity of the wind to remove the vapor from staƟc air.

N

N

W

E

N

W N

N

E

E

W

S

NW

S

N

E

SE

NW

S

S

W

E

SE

W N

S

W

S

W

E

S

S

S

POSITIVE (+)

POSITIVE (+)

TERRAIN

OBJECTIVE: Using geothermal cooling from the earth and sea by locaƟng some of the mass underground.

OBJECTIVE: To reduce local relaƟve humidity level by liŌing the mass from the ground level.

SEA

LAND

Constant temp of 16.3 C on - 10 m elevaƟon

Seawater cooling

HUMIDITY

GEOTHERMAL

FINAL DEFORMATION

OBJECTIVE: To combine deformaƟon from various external climaƟc parameters and according to their importance deform the nal massing.

E

N

S

W

E

N

S

W

03. TilƟng the north and south face to minimize direct sun exposure.

mer

E

N

S

W

02. DeformaƟon into a linear massing to introduce venƟlaƟon.

Raising the mass to create more uniform venƟlaƟon on the leeward side.

01. Volumetric box

E

N

S

W

05. Roof angle to provide more surface area towards the indirect sun on the north

04. LiŌing the top massing of the south side elevaƟon to provide more room for incoming summer wind (SW) to penetrate inside the void and also as a device to bring winter wind (NW) of a higher elevaƟon down to the void.

Sum

FINAL DEFORMATION

t gh

t li

ec dir

In

YES

ter Win

71

S

E

E

N 25

W

S

NO

SUN MOVEMENT DIAGRAM Winter Wind

S

N

S

W

Summer Wind

N

W

N

N

E

S

06. Minimizing western facing facade by dematerializing the western massing.

In contrast using eastern facing massing as a wind scoop that will take in both summer and winter winds to venƟlate from within the courtyard.

WIND MOVEMENT DIAGRAM

PASSIVE SYSTEM STRATEGIES

S

E

S

E

W

N

Thermodynamic SomaƟsms S

E

W

N

Courtyard provides more surface area for ven la on poten al with wind and also crea ng massing that is thin to provide cross ven la on to passively cool the interior spaces.

S

E

W

N

COURTYARD

DOUBLE FACADE An extra layer of glass facade with operable openings to regulate how air movement enter the periphery of the building. This layer helps in modera ng incoming air, heat it up with the help of solar radia on during winter months and to pressurize the air during summer months. It helps with blocking external sound pollu on.

E

D

C

B

A

W

N

S

E

N

THERMAL MASS HEAT DEPOSITORY

RADIANT FLOOR HEATING

CONVECTIVE COOLING

Radiant hea ng using water pipes on the concrete core to passively heat interior spaces with passive system, using groundwater to pump water all throughout the oor slabs and walls.

Using convec ve cooling to passively cool the interior spaces without the risk of condensa on. Cool air will be distributed by passing air to ice making and refrigera on machines. This distribu on will be help by pumps or fans.

South and west facing facade exposed to direct solar radiance during the day are poten al to become a thermal mass depository by hea ng up oorslabs for free night cooling on summer months.

ACTIVE SYSTEM STRATEGIES F

G

H

S

E

S

E

W

N

N

I

S

E

W

N

S

E

W

GEOTHERMAL COOLING / HEATING

MECHANICAL FLOOR

WIND TURBINES

South and west facing facade exposed to direct solar radiance during the day are poten al to become a thermal mass depository by hea ng up oorslabs for free night cooling on summer months.

Located on top of the north facing massing, ven la on is possible due to its exposure to the exterior. Its wasted heat also used to heat the interior, while also ac ng as a tool to a ract summer wind due to anaba c air movement.

Wind turbines situated ver cally composing a small windfarm.

The turbines are installed at the highest point of the massing to reach the most wind velocity.

N

W

PIEZOELECTICITY GENERATION Using vibra on as a generator for electricity, new developments with generators embedded underneath roadways top layer to generate electric energy using moving cars on high traffic.

SUMMER WINTER ELECTRICAL PASSIVE SYSTEM STRATEGIES

ACTIVE SYSTEM STRATEGIES

E

W Radiant ooring

N

S

Convec ve Cooling

Prevailing Summer Wind

HEAT EXCHANGER

Titanium dioxide nanopar cles photocataly c pollutant remover

UNDERGROUND HIGHWAY

To geoexchange heat to cooling by radiant water piping line SUBSOIL THERMAL STORAGE

Heat from the mechanical oor will be used for anaba cally move the air into the courtyard during summer

Assemblage of a thermodynamic monster (qualitative organization).

Glenn Hajadi. BIArch

147 W

COMPOSITE THERMODYNAMIC MONSTER

x Energy

367

SUMMER SOLSTICE June 21st 15 hours of sun Area (m2)

3

2.350

47

3.850

42

4.250

52

2

x Energy

WINTER SOLSTICE December 21 9 hours of sun

S

07:55

E

71

06:30

25

1650 5.000

17:23

15.450

N

W

21:30

BCN SUN PATH SUMMER PREVAILING WIND

S

E

W

N WINTER PREVAILING WIND

BCN WIND ROSE

Area (m2)

0

2.350

50

2.500

75

4.250

95

2.5 - Basic aggregaƟon system 2.6 - Topologic organizaƟon

1650 5.000 14.100

E

S

N

W

37 m COMPOSITE THERMODYNAMIC MONSTER SCALE 1 : 300

TIC CUBE SUMMER LE 1 : 500

Thermodynamic SomaƟsms

151

393

401

Essays on Themodynamic, Architecture and Beauty: Ábalos+Sentkiewicz

Acknowledgements This publication was made possible by Graham Foundation Grant

Authors Iñaki Ábalos, Renata Sentkiewicz

Printed and Bound in China

Editor Lluís Ortega Editorial coordination Ábalos+Sentkiewicz Juan Enríquez, Jorge García de la Cámara Editorial coordination Actar Publishers Ricardo Devesa Translations Elaine Fradley, English Published by Actar Publishers New York, 2015 Graphic Designer Ramon Prat Distributed by Actar D Inc. New York 355 Lexington Avenue, 8th Floor New York, NY 10017 T +1 212 966 2207 F +1 212 966 2214 salesnewyork@actar-d.com Barcelona Roca i Batlle 2 08023 Barcelona T +34 933 282 183 salesbarcelona@actar-d.com eurosales@actar-d.com

ISBN English: 978-1-940291-19-2 A CIP catalogue record for this book is available from the Library of Congress, Washington D.C., USA. Copyright © 2015 Actar Publishers © of the texts, their authors. © Images: Images of the Ábalos+Sentkiewicz buildings by José Hevia unless pages 18-19 by Bleda y Rosa; page 107 by Paolo Roselli; and pages 321, 332-333 by Ibon Aranberri.

Plans, images, drawings and collages of the projects by Ábalos+Sentkiewicz unless noted. Images of the academic projects, by Iñaki Ábalos, Renata Sentkiewicz and the students show in each page.

Rest of the images: Pepin van Roojen, p. 10.

Kiel Moe, p. 11T Philippe Rahm, p. 11B. Jianxiang Huang, pp. 12, 13.

Luis J. Soltmann - Fundación César Manrique, p. 14.

Kimimasa Mayama, European Pressphoto Agency, pp. 16-17.

Beth Yarnelle Edwards, pp. 20-21.

Jack Fulton, p. 24T. Fundación Alejandro de la Sota, p. 24B. Artists Rights Society, New York and VG Bild-Kunst, Bonn, p. 26.

Fundación César Manrique, p. 34.

Fondation Le Corbusier, pp. 35, 113, 122, 125.

Juan Guzman - Instituto de Investigaciones Estéticas/ UNAM, p. 37.

Bleda y Rosa, pp. 38-41.

Lee Friedlander - Fraenkel Gallery, San Francisco, p. 112.

United States Department of Interior, National Park Service, Frederick Law Olmsted National Historic Site, pp. 123, 127.

Fundación Arquitectura COAM, pp. 132, 136-137.

Frank Scherschel - Time&Life Pictures/Getty images, p. 348.

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