RIC

HA

RD

GEO

RG

E R

OG

ERS

Qualifications

AA Diploma, M Arch (Yale), RIBA, RA (Hon),

FAIA (Hon)

Dr RCA (Hon), BDA (Hon), FREng, HonDDes

Education

1954-59 Architectural Association, Yale

University

1961-62 Fulbright, Edward Stone and Yale

Scholar

Life:

Rogers was born in Florence, Italy on 23rd July 1933. He went to St Johns

School, Leatherhead upon moving to England.

LIFE

AN

D A

CH

IEV

EMEN

TS1983 Member United Nations Architects

1985 The Royal Gold Medal for Architecture

1986 Chevalier, lOrdre National de la LgiondHonneur

1984-87Academician, International Academy of Architecture

1989 American Academy & Institute of Arts & Letters: Arnold W runner Memorial Prize Honorary Member,Bund Deutscher Architekten

1999 The Thomas Jefferson Memorial Foundation Medal In Architecture

2007 Laureate of the Pritzker Architecture PrizeThe Minerva MedalTau Sigma Delta Gold Medal

2000 Praemium Imperiale Architecture Laureate.

Rogers Work is rooted in history, yet directed towards the future. His art is, by definition, social and communal created by a community of designers. Indeed, Rogers cannot conceive of architecture without people.

Early Influence:

Ernesto Rogers- his father was an architect too.Building by Ernesto Rogers. Torre Velasca (Milan)

For Rogers, buildings were always permeable and not closed fortresses against the streets.

Richard entered Architectural Association (AA) School in London in 1954. He was influenced by his teacher/ mentor Peter Smithson who said that Richard was too

interested in history and historic cities unlike Peter, who had the more pop vision. This influencelater formed a part of the ideology behind Pompidou Centre.

INFL

UEN

CES

Form follows profit is the aesthetic principle of our

times.

In 1960, he married Susan (Su) Brumwell, a student of sociology and daughter of Marcus Brumwell who was a man of great business, scientific and artistic talent.

He left AA in 1959 with no great sense of direction, save for a vague Italian influence

Wright was my first god-Richard Rogers

In 1961, Richard and Su went to USA for pursuing their masters degree in architecture.

The head of the Yale school, Paul Rudolph, was a great influence on both Rogers and Foster. Other teachers like Serge Chermayeff and James Stirling also changed the way of thinking influenced the work done by Team 4.

Richard was amazed by the architecture prevalent in the States with tall high rise buildings, technology and amazing energy. It was possible to live in a modern way, in a modern house uncluttered by the baggage of centuries.

Rogers was particularly excited by Soriano and the way he handled steel in a much less precious way than the Miesian approach. Rogers fell in love with the idea of mass produced house, made with standard industrial components.

The Wrightian influence is subtly apparent in rogers buildings and certainly his legacy of an organic element is evident in every one.

Everyone has the right to walk from one end of the city to the other in secure and beautiful spaces. Everybody has the right to go by public transport. Everybody has the right to an unhampered view down their street, not full of railings, signs and rubbish.

INFL

UEN

CES

Richard Rogers

Team 4

Rogers met Foster and Brumwell at Yale and started Team 4 on returning to England with Cheeseman in 1963.

By 1967, Team 4 had split up, but Rogers continued to collaborate with Su Rogers, along with John Young and Laurie Abbott.

Rogers subsequently joined forces with Italian architect Renzo Piano.

After working with Piano, Rogers established the Richard Rogers Partnership along with Marco Goldschmied, Mike Davies and John Young in 1977.

Then came Rogers Stirk Harbour + Partners in 2007. Founders: Graham Stirk, Ivan Harbour, Richard Rogers. The firm maintains offices in London, Shanghai and Sydney.

Wendy Cheeseman Sue Brumwell Norman Foster

PR

AC

TIC

E

IDEO

LOG

IES

AN

D P

RIN

CIP

LES

"All forms of technology from low energy intensive to high energy intensive must aim at conserving natural resources while minimizing ecological, visual, and social damage to the environment, so that by using as little material as possible, we reach a self-sustaining situation where INPUT EQUALS OUTPUT"

His works reject the classical past, while enthusiastically embracing a technological future with its accompanying aesthetic.

SUSTAINABILITY

Richard Rogers is an architect who understands the significance of collaboration. As a man with an intense social mind and a thirst for fairness in architectural and urban design, Rogers substantial portfolio of completed and proposed buildings is driven by the Athenian citizens oath of I shall leave this city not less but more beautiful than I found it.

Technology cannot be an end in itself but must aim at solving long-term social and ecological problems.

The Pompidou Center in Paris was an example of High Tech architecture designed by Richard Rogers and Renzo Piano (1977). High Tech uses technology in an almost Futurist way. It confines itself to a unity of materials, time and mood, continuing the totalizing impulse of Modernism. Inside and outside is a continuum.

High Tech is the style of architecture practiced by Richard Rogers and Norman Foster. High-tech architecture, also known as Late Modernism or Structural Expressionism, is an architectural style that

emerged in the 1970s, incorporating elements of high-tech industry and technology into building design.

Rogers was concerned that architecture had lost contact with the public:his use of emblems from aircraft design constitutes a familiar, accessibleimagery, as do the toy-like colours of the Pompidou Centre. This theoryof Inside-out was termed BOWELLISM by critics.

The architectural solution lies in the complex and often contradictory interpretation of the needs of the individual, the institution, the place and history. The recognition of history as a principle constituent of

the program is a radical addition to the theories of the Modern Movement.

Rogers has devoted much of his later career to wider issues surrounding ARCHITECTURE,URBANISM, SUSTAINABILITY and the ways in which cities are used.

BOWELLISM

TOW

N

PLA

NN

ING

&U

RB

AN

DES

IGN

Paris MtropoleDESIGNS FOR A METROPOLITAN PAR IS OF THE FUTURE

The major problem facing the le-de-France region is the fragmentation of its governance structure, which prevents it from implementing strategic action on a metropolitan scale.

9/11ths of the citizens of the le-de-France region live outside of the centre of Paris but speak only with a fragmented voice. The City of Paris, with its 2.1 million inhabitants, enjoys representation through its Mayor and is therefore capable of undertaking coordinated action inside of the ringroad.

Expansion of the principle of intercommunality and creation on a

long-term basis of eight Communauts dAgglomration

with powers and a structure similar to those the City of Paris has today.

Historicity

Creation of 23 administrative entities, each with a similar

population, in the region of le-de-France.

Democratic Integration

le-de-France is divided into two sub-regional governments. The urban municipalities are separated from

the rural municipalities.

Urban-Rural Coexistence

PROBLEMS IN THE ADMINISTRATIVE SET-UP

BU

ILD

ING

PA

RIS

ON

PA

RIS

Compactness has to be the first rule of contemporary urban design. It is a concept that generates efficiency, interaction and urbanity.

Proximity produces efficiency, interaction and interchange.

In terms of mobility and transport, compactness reduces journey distances and times. Energy costs, network losses and ecological footprint are consequently minimised.

Socially, the citizens of the metropolis are brought together and from this proximity they will gain both a communal and cultural benefit.

The first step consists in precisely identifyingbrownfield land. The abandoned orunderexploited sites of the city willtomorrow have an inestimable value.

The existing urban footprint is capable ofabsorbing a very considerable part of urbangrowth. Land that is un- or under-usedneeds to be identified, and a coordinateddevelopment strategy needs to beimplemented for its inclusion andintensification.

PU

BLI

C T

RA

NSP

OR

T N

ETW

OR

KS Complementing the radiocentric network with a circumferential network linking the hubs

and populations of the premire couronne. The circumferential links will not be identicalin capacity or cost. Local underground, tram and tram-train systems will complement eachother in order to maximise the value and impact of investment in new systems.

An extension that will link La Dfense to the national and European high-speed trainnetwork and that will recognise and strengthen the important role that this business districtplays in the region.

Aiming to integrate freight into the public transport network by creating multimodalinterchanges.

PO

LYC

ENTR

IC M

ETR

OP

OLI

TIA

N P

AR

IS These hubs will be better connected, as they will be situated at the key interchanges of a transport network that has been enhanced and balanced out by the circumferential links proposed.

These new polycentres will be defined not only by their relationship with the centre but also by their relationship with the neighbouring hubs and the other centres of the region.

The creation of polycentres is intimately connected with the creation of proximity, mixed use and social diversity.

BU

ILD

ING

BA

LAN

CED

CO

MM

UN

ITIE

S

It is not a case of displacing communities and pushing them further

from the centre. It is a case of sensitive integration - ADDITION NOT SUBSTITUTION

INTEGRATING NATURE INTO THE METROPOLISTHROUGH AN INTEGRATED OPEN-SPACE NETWORK

A green belt to limit the uncontrolled expansion of the physical footprint of the metropolis.

A network of ecological corridors, linking the regions important natural spaces and ensuring the continuity of biospheres and the migration of species.

New unbroken pathways for pedestrians and cycling lanes to enable citizens of the city to move around safely, serrounded by vegetation and shaded by trees.

The idea of transforming the under-optimised surface area of the rooftops of Paris into a large green carpet, creating approximately 391KM2 OF GREEN ROOFTOP SPACE and provide significant benefits in terms of well-being, temperature, ecology and rain-water collection.

A Cit Technique that integrates a new park with new integrated co-generation and waste treatment

centres, new public facilities, reinforced transport and logistics

systems, new buildings and revitalized, reconnected edges.

10 PRINCIPLES FOR METROPOLITAN PARIS

1. Restructure Metropolitan Governancein Ile-de-France

2. Build Paris on Paris

3. Complete the Metropolitan TransportNetwork

4. Create a Polycentric Metropolitan Paris5. Build Balanced Communities

6. Rebalance the Regional Economy

7. Bridge the physical barriers of the City

8. Create a Metropolitan Open SpaceNetwork

9. Reduce the Environmental Footprint ofMetropolitan Paris

10. Invest in High-Quality Design

CO

NC

LUSI

ON

S

Architect Richard Rogers

Structural Engineer

Buro HappoldConsulting Engineers

LocationLondon, England, United Kingdom

Date 1996 - 1999

Building Type exposition hall

ConstructionSystem

fabric enclosure with tensile support

Climate mild temperate

Contexturban waterfront

StyleHigh-Tech Modern

Area 100,000 m

MILLENNIUM EXPERIENCE DOME

Civic Trust Award Commendation

2000

European Structural Steel Design Award

2000RIBA Award

2000

Commissioned to mark the beginning of the new millennium, the Millennium Dome was intended as a celebratory, iconic, nonhierarchical structure offering a vast, flexible space. Although a high-profile project in its own right, the building also formed a key element of the master plan by Richard Rogers Partnership (RRP) for the future development of the entire Greenwich Peninsula.

The land upon which the Millennium Dome sits was once heavily contaminated by toxic runoff andwaste from the East Greenwich Gas Works. The Millennium Dome was originally supposed to be muchsmaller than it turned out to be and was meant to be a conservatively-sized exhibition. In 1997, theLabor government pushed the size and scope of the proposed dome to its limits and led to thedevelopment of the enormous structure that exists today. It was decided that the project would beboth a reclamation effort of the Greenwich Peninsula and an enormous celebration of the coming ofthe new millennium.

HIS

TOR

Y

NMillennium Dome

Access Pathways

The site is surrounded by river Thames from 3 sides. The circular shape fits in the site like a perfect piece in a jigsaw puzzle.

The Domes height is restricted to match the skyline in vicinity.

The access routes are from one side, through which the dome is visible even from a large distant becoming the centre of atraction.

SITE

CO

NTE

XT

Withers of Imagination together plotted the projection of the comets and stars, dawns and dusks ontothe Domes surface prior to its detailed structural rationalization. For Davies, an enthusiasticastronomer, the idea of time was uppermost in his mind the 12 hours, the 12 months, and the 12constellations of the sky which measure time are all integral to the original concept. Indeed the 12towers are intended to be perceived as great arms, out-stretched in celebration.

The ultimate inspiration forthe Dome was a great sky,a cosmos under which all

events take place theradial lines and circles of the

high-tensile roof structurerecall the celestial referencegrid of astronomical maps

throughout the ages.

CO

NC

EPT

EVO

LUTI

ON

Designed in association with engineers Buro Happold, thekey objectives were lightness, economy and speed ofconstruction.

The Dome is suspended from aseries of twelve 100 meter steelmasts, held in place by more than 70kilometers of high strength steelcable.

100,000 m2 of enclosed space (2.2million m3), the structure is 365metres in diameter, with acircumference of one kilometer and amaximum height of 52 metres.

Scale section of the dome showing smaller built structures inside.

Radially planned, the centre of the dome hosts a large open space and a stadium.

Blackwell tunnel ventilation

52 m

Entrance from south

The structure solved with great elegance the problem of how to enclose and protect theseparate exhibition zones from the vagaries of the British climate.

The Millennium Dome was constructed to be the home of a very large exhibition. But due toits failure to attract visitors it was sold and came up by the new name of O2 Arena.

It is under the process of being used at the Olympic gamesbecause of its vast open space. It proves perfect for suchsports arenas.

A PAMPHLET PROVIDED TO VISITORS

One of Rogers design principleis the flexible use of space. Itcan be seen in the Pompidoucentre, Lloyds building etcwhere the internal space is notbroken up by services(Bowellism) and a free floorplan so that the building can beused for any purpose in thefuture not hindered by aspecific design scheme makingit economical and moresustainable.

FUN

CTI

ON

AL

AN

ALY

SIS

STR

UC

TUR

AL

AN

ALY

SIS

The structural concept is apparently vey simple. Tensioned steel cables are arranged radiallyon the surface of the dome and held in space at the nodes by hangar and tie down cables at 25m intervals. The surface is defined as a spherical cap. Between the cables, tensioned, coated fabric is used as cladding.

The diameter was 360, the main masts were moved out andcentral ring was designed. To keep the tie down cables clear ofthe planned internal structure, the masts were supported on abase 10m high.

To improve visual appearance and access to the domeat ground level the radial cables were collected at theperimeter by catenary cables to 24 anchorage points atground level.

A central node of 30m diameter cable ring was decided made of 12-48

mm thick cables.

To reduce the risk of water damage, a lining was installed

under the main fabric. There had been considerable amount of

experience with fabric roofs with linings where condensation had

not been a problem.

Each of the 12 masts is 90m long and weighs approximately95 tonnes. The mast is octagonal in cross section with all thelongitudinal members being 323mm diameter circular hollowsections.

The cable net consists of individual cables

connected together using fabricated and

galvanized brackets at each node.

The tunnel vent area was a separate project. A 50m diameterhole was required in the roof.

Consequently the roof comprises of 144 separate panels offabric manufactured by Birdairs.

STR

UC

TUR

AL

AN

ALY

SIS

MIS

CEL

LAN

EOU

SRoofing Material: PTFE(Polytetrafluoroethylene) coated Glass Fibers

PTFE is hydrophobic: neither water nor water-containing substances wet PTFE, asfluorocarbons demonstrate mitigated London dispersion forces due to the highelectronegativity of fluorine. PTFE has one of the lowest coefficients of friction against anysolid.

The weight of the roof is lesser than the weightof the air inside the dome.

The cover of the Dome is made of PTFE-coatedglass fiber, which has an estimated minimumlifetime of 25 years.

Its symmetry is interrupted by a hole throughwhich a ventilation shaft from the BlackwallTunnel which rises for ventilation of the tunnel

The translucent material allows ampleinflow of light and is strong enough to holdpressures.

LocationPeafiel, Valladolid, Spain

Uses Category Industrial

Dates2004 - Spring 2008

Client Protos Bodegas

Area

Site area 10 005 sqm

Gross Internal Area

19 450 sqm

The ArchitectRogers StirkHarbour + Partners

Climate Wet and warm

Cost 15 million

PROTOS WINERY

The aspiration of the client's brief was to create a building that wouldbe emblematic and respond to its context, particularly when viewedfrom the castle. The design would also be sympathetic to traditionalmethods used in the construction of wineries. The new winery willhave the capacity to process 1 million kilos of grapes per year.

SITE

CO

NTE

XT

The new building, which presents a modernreinterpretation of traditional winery construction, islocated at Peafiel, a small village near Valladolid inCastille, northern Spain. The winery sits at the baseof a small hill surmounted by a medieval castle.Bodegas Protos already utilizes the subterraneanarea beneath the castle with more than 2 kilometersof tunnels and galleries used for ageing wine.

PROTOS WINERY

CASTLE

SITE ENTRANCE

Relation between the settlement and the winery in terms of materials and form.

SITE

CO

NTE

XT

The main entrancelevel is on the plinthof the building. It isaccessible fromstreet level on thenorth side via agentle ramp, andallows for tractorsdelivering thegrapes during theharvest on thesouth side of thebuilding.

The winerys triangular shape is placed in such a way that it responds to the settlement and the castle on its broader edge while the narrow edge provides a very smooth transition from the vast farmlands towards the city.

CO

NC

EPT

EVO

LUTI

ON

A series of simple parabolic roofs create a form that

is sensitive to the grain of the town.

The concept was based on the functional aspects and the

climatological aspects of the winery.

Mezzanine

Cellar

Entrance

Concept diagram showing progression of the grapes through the different levels of the building

Only the ridge of the roof form would be facing the direct sun decreasing the contact surface area.

CO

NC

EPT

EVO

LUTI

ON

The building is a contemporary reinterpretation of the traditional winery in terms of the effective use of thermal ground mass, large flexible warehouse typology and construction materials.

The design approach towards the structure of the building hasbeen to generate a modular system of industrialized componentsthat are assembled on site.

Each phase of the wine-making process requires a very specificenvironment in terms of the temperature and humidity, but allrequire cooling and need to remain constant.

An underground link has been provided to the old winery by a network of tunnels.

The underground cellar is a 5,000 sqm flexible space for the storage of barrels and bottles containing ageing wine and has adjacent facilities for barrel cleaning, an historical wine archive and areas for staff. The 7.5 metre high space has an intermediate mezzanine surrounding the sunken patio that hosts the social facilities wine-tasting room, lounge, multi-purpose space and a small auditorium. These spaces have views to the external garden and elevated views of the barrels and bottles.

Two voids in the solid base create a large double-height space at production level and a cascading patio around the office and representative facilities. The garden brings natural light and ventilation to the offices, and generates an outdoors break-out space with framed views of the castle. The light structure consists of five interlinked vaults, which are suspended by 'V' props above laminated timber arches with an 18m span . The modular and systematic nature of the roof's structure means that the vaults can vary in length and follow the diagonal perimeter of the triangular base.

FOR

M A

NA

LYSI

SCompositionally, the building is based on a light, articulated structure that sits on a solid base. Theplinth anchors the building to the ground as its volume is mainly buried underground. The triangularform makes maximum use of the site and resolves the difference in site levels, also creating a horizontalplane from which the structure spans. The base of the building manifests itself externally in stoneperimeter walls and pavement across the access level.

Compositionally, the building sits on a triangular plinth which fills the site. Five interlinked parabolicvaults supported by laminated timber arches, are clad with large terracotta tiles to create a light,articulated structure. This modular form breaks down the overall mass and scale to create a structurethat is sympathetic to the surrounding buildings and countryside.

The roof has been composed as a faade, since it becomes the building' s elevation when seen fromthe castle of Peafiel. The terracotta tiles of the roof covering, compliments the surrounding buildingsand acts as a rain screen with a ventilated cavity.

FUN

CTI

ON

AL

AN

ALY

SIS

The production level is situated above, and is also partly buried in the ground. It accommodates the fermentation and storage vats as well as the bottling plant, packaging equipment, technical areas and vehicle access bays. The administrative facilities are on both this level and also arranged around the patio.

The cellars mezzanine and production levels accommodate the administrative and social facilities offices, wine-tasting areas, areas for social functions and a small auditorium for presentations and marketing events. The scheme also includes a stepped, sunken garden which frames views of the castle above whilst also bringing natural light down into the office space. The main entrance level is for both workers and visitors, and the sheltered space generated by the overhang of the roof allows views of the production floor below. This space will be used for the selection of grapes during the harvest, which will be delivered by tractors via the ramp on the northern side of the building.

STR

UC

TUR

AL

AN

ALY

SIS

STR

UC

TUR

AL

AN

ALY

SIS

The design approach towards the structure of the building has been to generate a modular system of industrialised components that are assembled on site.The concrete substructure of the base that accommodates both the cellar and production levels, is constructed of pre-cast concrete elements This bespoke system which was developed for the building, is an innovative structural solution of elements that can be assembled as a simple unidirectional system but that behaves like a bidirectional frame when completed.

The production level structure is formed by a nine by nine metre grid of columns, column-heads, beams and planks. The resultant structural depth is comparable to an in-situ solution - which was an important consideration in reducing the excavation - and benefits from quality control and speed of construction.

The structure of the light enclosure is formed by a modular system of laminated timber arches that span 18 metres, placed at nine metre intervals along the length of the span. The surface of the roof appears to float above them, as it is separated by a series of steel 'V' props. It is formed by a grid of timber beams and a structurally composed panel of timber and insulation.

The first arch of the light structure was erected in February 2006. The design of the delicate roof structure was also based on off site industrialisedfabrication and simple and rapid in-situ assembly. This modular system starts with laminated timber arches that span 18 metres across the access level, with triangular steel base connections to the concrete structure.

A series of 'V' and tensors separate the arches from the parabolic vaults, which are composed of secondary and tertiary beams and a multilayered roof panel. Again, the design of the structural system allowed most of the structure to be free-standing in intermediate phases of the construction process and was completed in May 2006. With the major structural elements in place, construction of the facades and internal partitions, services and wine making machinery, light structures such as glass and steel stairs and bridges, finishes and fit-out elements has now begun. The building programme was completed by Autumn 2008.

MIS

CEL

LAN

EOU

SThe evaluation of the passive energy devices were the base for the design of environmental control systems of the building: a chilled water based system is used in the cellar while a mixed mode air system is used in the production level.

The design introduces the use of traditional material -such as timber structural elements, timber roof, terracotta tiles, walls clad in local stone - but in a unique and modern format that reinterprets the nature of these materials using current technology.

Computer simulation was used by the design team to evaluate and adjust the performance of the passive energy devices of the light structure of the building: the ventilated terracotta rain screen of the roof surface, the nine metre overhangs in the north face and the solid east and west facades with an external tubular rain screen. Similarly, the contribution of the ground mass surrounding the sunken volume of the base of the building and its exposed concrete structure were tested as a fundamental contribution to the large thermal mass of the cellar and production levels.

Use of vernacular and eco-friendly

material and steel structure

cuts down costs further.

MA

DR

ID B

AR

AJA

S A

IRP

OR

T TE

RM

INA

LIntroduction:

The Barajas project is the largest so far undertaken by thepractice - more than one million square metres of buildingswith a budget of around one billion Euros. The newterminal and satellite are designed to handle up to 35million passengers annually, establishing Madrid as a majorEuropean hub, and are located some distance to the north-west of the existing terminal complex.

View from the approach road showing the undulating roof, clearly expressing the three processing zones, separated by canyons:

Project data

LocationMadrid-Barajas, Spain

Type Transport

Built Area

Terminal 470,000m

Satellite 315,000m

Car Park 309,000m

Access Roads 64,000m

Total 1,158,000m

Dates

Tender 1997

Design 1998 - 1999

Construction 2000 2005

Full Operation 2010

ClientAENA(Spanish National Airports Authority)

The ArchitectRichard Rogers Partnership

New Terminal

Satellite terminal

N

The building benefits from a north-southorientation with the primary facades facingeast and west the optimum layout forprotecting the building against solar gain.

CO

NC

EPT

Barajas is a model of legibility, with a straightforward linear diagram and a clear progression of spaces fordeparting and arriving passengers.

The accommodation is distributed over six floors; three above ground for check-in, security, boarding andbaggage reclaim, and three underground levels for maintenance, baggage processing and transferringpassengers between buildings.

The lower levels of the building, robustly constructed in concrete, contrast strikingly with the light-weighttransparency of the passenger areas above.

A simple palette of materials and the use of a kit-of-parts approach to detailing reinforces the direct simplicityof the architectural concept as well as facilitating the ultra-rapid construction programme and maximising thepotential for flexibility.

The basic concept behind the designing of the airport terminal was to create asimplistic linear building, departing a clear progression of spaces.

FUN

CTI

ON

AL

AN

ALY

SIS

The new terminal features a clear progression of spaces for departing and arriving travellers. Thebuilding's legible, modular design creates a repeating sequence of waves formed by vast wings ofprefabricated steel. Supported on central 'trees', the great roof is punctuated by roof lights providingcarefully controlled natural light throughout the upper level of the terminal.

New Terminal Satellite Terminal

Functionally establish Madrid as a major European hub. Serve an influx 35 million passengers annually

1 Airside Passengers2 Landside Passengers3 Vertical & Horizontal

circulation4 Retail5 Airport services6 luggage handling Automatic system

Terminal level 0

New Area Terminal (4)

TEC

HN

ICA

L D

RA

WIN

GS

1 Airside Passengers2 Landside Passengers3 Vertical & Horizontal

circulation4 Retail5 Airport services

Terminal level+1

New Area Terminal (4)

TEC

HN

ICA

L D

RA

WIN

GS

1 Airside Passengers2 Landside Passengers3 Vertical & Horizontal

circulation4 Retail5 Airport services

Terminal level+2

New Area Terminal (4)

TEC

HN

ICA

L D

RA

WIN

GS

1 Airside Passengers2 Landside Passengers3 Vertical & Horizontal

circulation4 Retail5 Airport services

Satellite level 0

Satellite level +1

Satellite terminalTE

CH

NIC

AL

DR

AW

ING

S

Satellite level +2 1 Airside Passengers2 Landside Passengers3 Vertical & Horizontal

circulation4 Retail5 Airport services

Satellite terminal

TEC

HN

ICA

L D

RA

WIN

GS

TEC

HN

ICA

L D

RA

WIN

GS

FOR

M A

NA

LYSI

SThe building is covered by a wave roof supported on central trees and is punctuated by rooflights that providecarefully controlled natural light throughout the upper (departures) level of the terminal, and oversailing the edgeof the building to shade the facades. Given the multi-level section, a strategy was also needed to bring naturallight down into the lower levels. The solution is a series of light-filled canyons that separate the parallel slices ofspace that denote the various stages of transit, from the arrival point, to check-in, security and passport control, todeparture lounges and finally to the aircraft.

A simple palette of materials andstraightforward detailing reinforce thedirect character of thearchitecture. Internally, the roof is clad inbamboo strips, giving it a smooth andseamless appearance. In contrast, thestructural 'trees' are painted to create akilometre-long vista of graduated colour.The lower levels of the building housebaggage handling, storage and plant areas,and offer a striking contrast with thelightweight transparency of the passengerareas above

SPA

CE

AN

ALY

SIS

Light-filled 'canyons' divide the parallel floors that accommodate the various stages ofpassenger processing - from point of arrival, through check-in and passport and securitycontrols to departure lounges and, finally, to the aircraft.

The canyons are spectacular full-height spaces, spanned by bridges in which arriving anddeparting passengers, though segregated, can share the drama of the imposing space. Thecanyons also act as locators, underlining the clear sense of direction and legibility that isfundamental to the scheme.

Check-in

Canyons providing natural light to the vertical and horizontal circulation View showing the gradation of

colour applied to the steelwork

STR

UC

TUR

AL

AN

ALY

SIS

The construction of the Barajas Airport terminal has been undertaken in three constructional layers thebasement which drops to as much as 20 metres (66 feet) below ground in some places, the three storeyconcrete frame above ground, and the steel-framed roof. The concrete work is in-situ, although specialattention has been focused on areas where the concrete will be visible, such as the edge strips to the canyonsin which steel shuttering has been used. In a bid to limit the height of the building, post-tensioned concretebeams restrict the depth of the beams to only 90 centimetres (three feet). The beams were cast in lengths of72 metres (236 feet), with concrete planks used to span between them to create the 18 by 9 metre (60 by 30foot) grid.

Above, the concrete tree trunks on the top floor provide fixed base points for setting out the roof steelwork. The structural system for the roof works outwards from the tree trunks where four inclined branches prop a pair of double-S modules. In this way, each pair of tubes plus the roof steel stabilise the roof structure in both directions.

Basement

Three level concrete frame

Steel frame

Facade and roof detail

Cable kippers truss

The facade structure is in the form of cable kipper trusses at nine metre (30 feet) centres. A pair of cablesbegin at a common point at ground level, one arcing in and one out, held apart by compression struts thatalso support the horizontal glazing mullions. As the cables approach the roof they come back together, heldby a V-bracket, making a fish outline, hence the name kipper truss. A jacking system was used between theroof and terminal floor during erection which when released ensures that adequate permanent tension wasintroduced in the cable trusses.

The roof then passes over the cladding line at the edges of the building, emphasising the roof rather thanthe facade. To further reduce the visual impact of the facade, shading is not introduced at the cladding linebut is hung from the roof overhang which is propped with elegant Y-shaped props at the ends of eachmodule.

Detail view of bamboo ceiling Roof overhang on Y-shaped props

STR

UC

TUR

AL

AN

ALY

SIS

Cable kippers truss

Bamboo roof detail

Light canyons

STR

UC

TUR

AL

AN

ALY

SIS

MIS

CEL

LAN

EOU

SDespite the extreme heat of summer in Madrid, the designteam were committed to the use of passive environmentalsystems wherever possible, while maximising transparencyand views towards the aircraft and the mountains beyond.The facades are protected by a combination of deep roofoverhangs and external shading. A low energy displacementventilation system is used in the pier, and elsewhere a moreconventional high velocity system is used.

Within this loose-fit system, the roof emerges as the defining architectural element. It floats overthe building, propped rather than supported at the perimeter, so that the impact of the main facadeis deliberately minimised. Internally, the heavily insulated roof is clad in laminated strips of Chinese bamboo, giving it asmooth, seamless appearance.The facade is supported by a series of tensioned trusses, held in place by the roof and floorstructures.Horizontal aluminium fins span between the trusses on which the high-performance glass is fixed.Heavy vertical support members are avoided and the result is a seamless horizontal aestheticunderlining the main axis of the building.Natural stone is used as flooring throughout the terminal, adding to the seamless integrity of thespace.

Horizontal aluminium fins

AwardsRIBA Award for Buildings in Europe 2000

DA

IMLE

R C

HR

YSL

ER R

ESID

ENTI

AL

Location Berlin, Germany

Type Residential

Dates 1993 - 1999

Client Daimler Chrysler debis Immobilienmanagement

The Architect Richard Rogers Partnership

The brief called for a mixed use scheme comprising office space, housing and retail. The housingcomplex occupies the upper levels of B8, one of the three blocks which make up the project.

The three buildings designed by RRP for Daimler Chrysler on Berlin's Linkstrae form part of thePotsdamer Platz masterplan by Renzo Piano. B8 is predominantly residential, with retail areas onthe ground, first and second floors.

CO

NC

EPT

Integrating low-energydesign within a dense urbanenvironment, the buildingsoptimise passive solar energy,natural ventilation and daylightso that all office spaces arenaturally ventilated.

The brief stipulated that RRP work within the context of the traditional Berlin square block, with buildings no more than nine storeys high formed around potentially oppressive internal courts. To one side, the buildings had to address an enclosed retail arcade raised several storeys above ground level. Working within these constraints, the practice was able to subtly subvert the municipal masterplan to produce buildings of strikingly contemporary appearance which, most significantly, utilised a low-energy servicing agenda.

CO

NC

EPT

The key to this strategy was the erosion of the blocks attheir south-east corners to allow daylight to penetrate thecentral courts, which were turned into covered atria, toilluminate interiors, and to facilitate views out of thebuildings. The atria are naturally ventilated throughoutthe year, with heating mechanically augmented in winter.The two office buildings and one residential block weredesigned for natural ventilation throughout, withintensive research by the RRP team and specialistconsultants into the servicing programme partly fundedby an EU grant. As a result, it was estimated that energyconsumption in the office buildings would be half thatgenerated by a conventionally air-conditioned building.

SITE

PLA

NN

ING

N

South Side opened up

Flats and offices enjoying view of park

Ground floor plan

commercialcommercial

Winter gardens

circulation

TEC

HN

ICA

L D

RA

WIN

GS

Typical floor plan

residential

Winter gardens

offices

TEC

HN

ICA

L D

RA

WIN

GS

Top view

residential

Winter gardens

offices

circulation

TEC

HN

ICA

L D

RA

WIN

GS

SEC

TIO

NS

Winter gardens

In the original masterplan the three buildings are shown as closed blocks measuring c. 50 m square,but the RRP design opens up the south-east side of the blocks facing the park. This building formallows light to penetrate into the courtyard, atrium and internal spaces, as well as providing allflats with unobstructed views out over the park.

Solar panels used strategically to maximise energy gain

SPA

CE

AN

ALY

SIS

The hollow core plan form of the office buildings is cutaway progressively from roof level down flooding theatriums with natural light. The atriums are fully naturallyventilated. Fresh air is supplied through the plenumlocated between retail and the offices.

The faades of the buildings incorporated clear and opaqueglass panels, solid areas of ceramic tile cladding, andexternal and internal blinds, a sophisticated mix whichallowed the internal environment to be adjusted inresponse to the requirements of users. Visually striking,RRPs contribution to the Potsdamerplatz developmentchallenged conventional wisdom, producing a pioneeringlow-energy environment for business accommodation

STR

UC

TUR

AL

AN

ALY

SIS

The ratio of glazing areas to solid wall construction isdetermined by the orientation and analysis of heatlosses and solar gains and by orientating the housingblock to the South-East this maximizes sunlightpenetration into the courtyard and living spacesbeyond.

The glazing areas to the North-East and North-Westfacades are comparatively small which reduces heat lossduring the winter months. The high proportion of glazingto the South-West and South-East elevations results in ahierarchy of spaces with the living areas opening ontothe courtyard and the majority of bedrooms situated tothe North-East/North-West sides.

Conservatories or winter gardens adjacent to these living areas maximise the passive use ofsolar energy. The winter gardens act as direct solar gain spaces and buffer zones, with pre-heated air used to ventilate or warm the internal accommodation space in winter. Sun shadingprovided by aluminium louvres on sliding tracks prevents overheating in summer.

The double-height penthouses are fully glazed to the courtyard side. The glazing system issupported by a water-filled steel structure which acts as a radiator during the winter.Electronically operated sun-shading devices and opening windows minimise solar gain andmaximise natural ventilation during the summer.

MIS

CEL

LAN

EOU

S