1

the future

of the farmer

'werkplaatsen-gebouw'

Delft Universily of Technology

Leo G.w. Verhoef (assoc. prof.)

Renovation and Maintenance Techniques

Delft, 26 June 1998

 2 CONTENTS

3 Introduction
4 012 International Renovation Module
8 PT Cracow
10 TU Delft
12 FH Münster
14 Historical analysis of the former 'Werkplaatsen gebouw'
22 The architecture of 'van de Broek & Bakema'
30 Masterplan 'Wilhelminapier'
38 Programme of wishes
40 The different design solutions
42 Change of mass
66 Light
90 Routing
104 Change of programme
122 Special use
130 Facade
152 Facade systems

This book is presented in relation with the

Publisher Editorial assistance exhibition of the future of 'het
Publications Office Mrs. V.L. van Dam-Foley werkplaatsengebouw' which was held at the
Faculty of Architecture Faculty of Architecture of the TU Delft from 15
Delft University of Technology General assistance June until 5 July 1998. We are grateful for the
Berlageweg 1 David Keuning help of the Netherlands photo archives, the
2628 CR Delft Daan Zand belt 'projectburo Kop van Zuid' , who supplied the
The Netherlands necessary information, andof course the
Design and lay-out contributors of the articles including the
Commissioned by T. Schauder, W . Möller, students and their mentors, because it is their
research and education group J. Methorst, H. Berkman creativity that can give future to buildings.
renovation and maintenance of FH Münster and TU Delft Last but not least we are very grateful for the
financial support of 'het ontwikkelingsbedrijf
Illustrations (cover) © copyright 1998 of the municipality of Rotterdam and the FH
Frits J. Rotgans renovation and maintenance Münster. Without their help it would have
JA Vrijhof ISBN 90-5269-260-2 been impossibleto publish this book.
 INTRODUCTION 3

This book shows the essentials of the work of students on a theoretical commission to renovate 'het werkplaatsengebouw' for new functions. The
students from the TU Delft, the PT Krakow and the FH Münster tried to find the best adaptations to give the building a new life. 'Het
werkplaatsengebouw' is situated on a peninsuia in the city of Rotterdam. This area is important because of the booming building activities and,
because of these activities, it serves as a visiting card for the municipality The functions of buildings on th is peninsuia are mainly related to the high-
quality offices, to several types of housing and to special activities required in such a high quality area, includes facilities for shopping and relaxation .
The building designed by the architectural firm 'Van de Broek & Bakema' can be considered a young monument.

To be able to work together on an international basis is an important goal for the students. Internationally weil known architects are invited to lecture
for the benefit of both the students and of others working in the building industry. They teil the audience about their philosophies in relation to
renovation as the future task for architects. The audience, especially the student body, learns from these contributions and this assists in the formation
of their own philosophies.

David Christophe, a student of the 1997 course wrote: "It is commonly believed that the architect who deals with renovation should first of all have a
historical knowledge of the building he is working on, al most like an archaeologist. It is even more important for him to have a good knowledge of the
society for which the renovation is to be executed, a knowledge of today's and tomorrow's society, of its technical, economical, social, political and
cultural aspirations.
Renovation therefore consists largely of a need to adapt and transform, in order to inscribe the building in the present, in relation with its past and in
preparation for future use and re-use. It is only through the acceptance that this architecture is not to last forever and is to be further remodelled and
re-adapted, that the architect can serenely and with humility bring the building on to a higher level, by inscribing it inside the continuum of a dynamic
history of man.

Ruth Ashby, student of the 1998 course describes the essentials for renovation as follows: "Because buildings are still so often structurally and
technically sound, but qualitatively and economically unsound, a dilemma begins about the feasibility of renovating or demolishing. Different aspects
of this dilemma have had priority at different times in our history. Priorities vary in other parts in the world because local factors need to be considered,
influenced by both practical resources and cultural ideologies. The task of the renovator is to acknowledge the existing building, respecting what is
there, understand the limitations and research the appropriateness of the building for re-use before embarking on the process of adapting the building
for a different use and function. Buildings have always been adapted, changed and adjusted, very often bit by bit without consideration for the whoie.
Here often necessity is the mother of invention, and the renovation takes place for practical and functional reasons. The better approach to the
renovation is to take into account the whole picture with its surroundings, fitness for purpose (suitability) and feasibility.
Different building typologies, fashions and trends have influenced the approach and attitude to confronting the issues of how to deal with existing
buildings. Emphasis on the durability and life span of buildings has varied dramatically. The importance of a building to the community influences the
attitude to the building. The building typology, style and architectural value of ten also influence decisions made about its renovation. The relative
wealth of the community at the time, materials available, the old and new function, climate and typology.
The first thing to accept about renovation is that the resto red is going to be different to the original. This though, is an opportunity to breathe new life
into an old building. The approach taken outlined by Herbert Bühler is as follows.
"Conserve the typology, no sentimental romanticism, respect the historic areas as such, study the scale and proportion of the original, in order to be
aware of it when designing additional parts to the building, were applicable preserve old details. Entertain the idea of using space underground and
respect the design quality."

These careful descriptions related to renovation give hope for the future of our cultural and urban heritage. We have to focus on the building stock as
our heritage to lead it in a good way to the future and that in architectural, economic and environmental ways.

It is a pleasure to see in how many ways and with what visions and creativity a building such as 'het werkplaatsengebouw' can be changed to fit for
future purposes by 50 or 60 students. The design work of students is at stake here. All, using their individual abilities, produced their ideas within the
limitations of a double page and wrote a text as a basic background to their plan. There are differences in the quality of ideas and presentations but,
as an overview of possibilities adaptations, it is good to have them in print.

Let us learn from this!

Leo G.w. Verhoef (Assoc. Prof.)

Renovation and maintenance techniques
4 D121NTERNATIONAL RENOVATION MODULE

012 international renovation module

012 is an international renovation module. Dutch students, participants in the Erasmus study
programme (who already studying in Delft) and students from abroad may take part in this project.
Other universities are also involved in the project, including The E.T.H. Zürich, TU Frankfurt, TU
Krakow and TU Münster. In 1998, the technical universities of Delft, Krakow and Munster participated.

The project

The students have to make a design for the former "Werkplaatsen Gebouw" of the Holland-America
Line (HAL) designed by the late Professor J. Bakema. The project involves both technical and
architectural problems.
The building is situated on a peninsuia in the old harbour of Rotterdam, from which passenger and
cargo vessels formerly sailed for America. The entire peninsuia was used by the HAL. The buildings
included a hotel, arrival and departure halls and warehouses. The "Werkplaatsengebouw" was a
warehouse. The people emigrating to or returning from America stored their luggage in the "Werkplaat-
sengebouw". The repair of furniture of the Holland-America-Line also took place in the building.
Nowadays th is peninsuia is no longer used by the HAL; however, it is located in the middle of
Rotterdam's biggest developing area, the Kop van Zuid. This area is being transformed into an office
and business district and is linked with the old commercial centre of Rotterdam by the Erasmus-bridge.

The assignment

The assignment was to create a high-quality office building with related facilities. Technically speaking,
the facade is very interesting because it is a minimum facade and intended solely to keep out wind, rain
and burglars. To use this building for new functions it is necessary to solve both architectural and
technical problems. One of the main questions is how to renovate such a recently built listed building

Why international

Architecture has ceased to be strongly nationalistic. We no longer speak of typically Flemish or

Spanish architecture. Moreover, big assignments are often awarded in prize contests in which
architects with an international reputation take part. The influence of architects who are operating on an
international scale on the current architectural style is very clear. This applies both to new buildings and
to existing buildings that need renovation to fit them for their future purpose. The interested public is
weil informed about buildings designed for to-morrow, and can read about them in the international '
publications of to day.
In many senses, the borders of countries have almost ceased to exist. Regulations specifically
designed for one country are now viewed in the light of the European scale. Students who are studying
in Germany or in Poland may find themselves working in the Netherlands. This means that universities
must take a European view, but they should also be aware of the worldwide opportunities for the
employment of their graduates, ensuring that their educational programmes are appropriate to current
and future requirements. Here the building task is moving further towards the re-use of existing
buildings, rather than to opting for new buildings but the economic dimension on agiobal scale shows
that there are areas were the principle task remains the design of new buildings. For example, the
economic development in SE Asia in recent years has led to an enormous demand for new buildings.
Local architects alone cannot immediately fulfil the sudden demand for architectural design and that
means that architects are designing wherever they are needed.
Since in in Europe the building task is changing more and more in the direction of re-use of existing
buildings than the construction of new buildings, in countries like the Netherlands renovation no longer
a task for the future. At present renovation, re-use and maintenance form the major proportion of the
work of the building industry so in such countires renovation will have to be given more attention in
university education programmes. Later, when there is an increase in commissions for this tuype of
work in other countries , we can expect architects with experience in this filed will also go where the
commissions are.
 5

All in all, it is necessary that students learn from

each other at an international level. They can
learn much by trying to design for specific
buildings in other countries which have, for them ,.
unusual uses of building materiais. One of the
first basic requirements is to learn is how to cope
with existing buildings in an aesthetic,
architectural and economie way. When doing
this they will appreciate that many buildings were
designed for a very specific purpose. Now-a-
days demands are changing very quickly and
buildings have to be flexible enough to
accommodate to su eh demands. Achallenge for
renovators is to adapt buildings to serve new
functions in such a way that if th ere are further
changes in the future théy remain potentially
strong enough to cope with the new demands.
This is also an international aspect what has to ~
be understood as quickly as possible. ir
The best way to learn is to listen to architects
who have proved capable of extending the life of
buildings by using good methods to change
them. That is why the international module 0-12
attracts weil known architects who are willing to
show students wh at can be achieved , while at
the same time implicitly to teaching them about
the philosophy behind the renovation of
buildings. People who are working
professionally in the field of the renovation and
others who are interested are always welcome to
join the international lectures.

Internationallecture evenings

The lecturers invited in 1997 were:

- Philippe Robert of Reichen et Robert, Paris,

France
- Olaf de Nooyer of the Renzo Piano Building
Workshop speaking about the Lingotto building
-Ivo Waldhör, Sweden
- Joop van Stigt, Amsterdam, the Netherlands.

The lecturers invited in 1998 were:

- Herbert Bühler of Bühler and Bühler, Munich,

Germany
- Günther Oomenig ,Graz, Austria
- Arnoud Fougerasse, Montrouge, France
- Joop van Stigt, Amsterdam , The Netherlands
- Aldo van Eyck, Loenen a/d Vecht, The
Netherlands
The 'Prouvé' chair as a representation of the
virtual presence of Aldo van Eyck.
Oue to circumstances his lecture was given by
Joop van Stigt.
6 D12 INTERNATIONAL RENOVATION MODULE

Rodrigo Alaminos Rodriguez and Gemma Vidal I Carner wrote about the lecture of Herbert
Bühler: "Th ere is a contradiction between historie buildings and new functions. And in the
examples that he shows there always was a serious respect for the old , but also the wish to
underline the difference between that what exist and that what is needed to fulfil the new function.
In the first project conserving the typology and the historie details nothing was added with
exception of a new glass facade in front of an existing stone wall. The floor integrates the new
heating system .
:/~
X
./ .~
I
I~

In the renovation of an school, the image of the old building was changed only by introduction of
light (directing, reflection, .. )
The difference between new and old is used to express an intention . He wants contrast between
new and old, but always in sucha way that can be understood how the existing building works in
terms of structure, function, ...

---_.-
"'--------

- Herbert Bühler of Bühler and Bühler, Munich,

.dO
 7

-Arnoud Fougerasse, Montrouge, France

- Joop van Stigt, Amsterdam, The Netherlands
8 PTCRACOW

The faculty of Architecture of the Politechnika

Krakowska provides one of the eight degree-
courses in architecture which are associated
with technical universities in Poland. It is one
of the biggest and oldest courses in
architecture and occupies the leading position
with regard to both the numbers of students
and of members of sta ft.
The discipline was established in 1945 and
celebrated its fiftieth jubilee three years ago.
The tradition of this discipline, which was
interrupted during the years of the Second
World War, extends back to the eighteenth
century, when the Chair of Mechanics and
Engineering Studies was founded at the
Jagiellonistic University. Between the First
and Second World Wars there were two High
Schools in Krakow that had Departments of
Architecture: the Academy of Arts and the
School of Industry.
In Krakow there are now 1100 students of
architecture, who are under the tutelage of an
academic staft of 220 th at includes 30
professors. Education in architecture is
provided by eight institutes, which are largely
integrated with each other with regard to both
education and research.

Within the education and research

programmes it is possible to specialise in
particular areas. These inciude design, town
planning, environmental planning, the history
of architecture and building restoration,
landscape architecture, the technical basis of
design and urban planning (building physics
and building construction, bearing structures,
housing technology, urban infrastructure and
environment). The basic idea of the education
in the faculties is the integration of the
subject, which leads to a complex educational
programme for the students. The education
must introduce the undergraduates to the
rules that govern the existence and mutual
involvement of the specific aspects of the
architectural course. The basic part of the
course is composed of many additional
compulsory subjects and elective subjects in
both the general and specialised areas.
In each year great emphasis is placed on
expressive development (sketching, painting,
sculpture); in addition the programme has
many compulsory practical summer projects
in various fields (design, town planning,
building physics, restoration) . The course
lasts four years (8 semesters). The ninth
semester is intended to be used for the
diploma project and examination . On
graduation, the student is awarded the title of
Master Engineer/Architect. The teachers of · Zesp61 Teatru im. j. Slowackiego i Teatr Miniatura. Projekt renowacji i modemizacji - aksonometria - schemat ideowy
the subject of architecture are practising Slowncki Theatrc complex and Miniatura Theatre. Showing the renovation and modernization design; axonometry; idea diagram
TIlt

t
he edifiee seems to be magie, indeed! Wyspianski
considered it to be a "Wawel Castle" of Polish Natio-
nal Theatre; and he wrote his drama "Wyzwolel1ie"
("Liberation") especially for that theatre. People used to
arrive there for hundred years, from all parts of partitioned
Poland-to satisfy their desire for Polish history eontained
in dramas written by Slowaeki, Fredro, Miekiewicz ...
Unfortunately, during almost hundred years the building
went more and more to wràck and ruin. It seemed to be
irreversible. But-owing to the bold decision taken by Mr
Tadeusz Mazowiecki-since 1990 the edifice started to revert
to its previous glamour. Owing to our arehitects, eonstrue-
tors and teehnicians, the building will be the very same-
although not the identical one. The difference between furni-
shing from before hundred years and the present one could
becompared to the Mickiewicz's drama "Dziady" th at could
be written by using a computer now; but hundred years
ago the author wrote it with a guill. H's really difficult to
get rid of a feeling that the edifice situated at the St. Roch
Square has been for years a particular "witness" of Polish
history!
9
architects who have been successful
throughout Poland . Scientific work, and
practical and theoretical research run parallel
with the creative employment. The results
appear in the form of numerous theses ,
leading to the award of a Pho or Dr. Habil.
After their degree examination the graduates
are given an opportun ity to continue their
education by post graduate studies within the
framework of various special isations
(especially the protection and care of
monuments and listed build ings and also in
the area of environmental and town planning).
A special feature of the discipline of
architecture in Krakow is that it seeks links
between traditional and new building
developments (paying particular attention to
the protection and care of listed buildings)
within the area of the architecture and urban
building . At the same time the discipline
reflects modern developments in the techn ical
and technological senses.
Much attention is devoted to the threats to
buildings and to the environmental aspects
that are emerging during the present times.
This aspect also involves the problems that
are linked to the political changes in the
country . All these questions and problems are
reflected in the study programme, in scientific
research and in the many designs of our staff
from the field of architecture. The Faculty of
Architecture provides a master's course in
which 50 participants prepare their
dissertations and acquire the necessary
knowledge to complete their colloqu iums and
seminars .
The Faculty of Architecture has many foreign
connections with both universities and
practising architects . The most developed of
these are the cooperations with the
universities of Munster, Venice, Turin ,
Plymouth , Knoxville-Tennessee, and
Budapest en Zagreb. In the context of this
cooperation there are exchange programmes
for professors and lecturers, seminars,
exchange programmes for graduates and also
combined workshops for professors and
students. Many the students participate in
these exchange program mes and many
foreign students participate in general or
specific parts of the architecture programme
in Kracow.
At present, Krakow is participating in two
"Tempus " programmes, one with Venice,
SevilIe and Las Palmas and one with Turin en
Milan .
 10 TU DELFT

Re-use and new building

The study prospectus gives a brief explanation

which indicates that the education programme
stresses the design and construction of new
buildings. Less attention paid to the re-u se or
renovation of existing buildings. In practise we
see the opposite. In a country like the
Netherlands the value of existingbuildings
amounts to some 1800 billion guilders. Each
year we add to this by constructing new
. buildings, while others are demolished. The
economie value of new buildings is relatively
'small compared with the cost of renovation and
maintenance of the existing buildings.
Demolition costs money, while the
.environmental costs also continually increase.

Faculty of Architecture

Students who successfully complete the five years course in architecture are entitled to use the
abbreviation ir. before their names. On reaching this point a many former students start their practical
lives. Some start out as professional architects, but many choose other fields, showing that their
creative way of thinking is valued by society. After the first stage, which leads to graduation, a further
. four-year phase of study may lead to the award of a PhD in a technical science.

The organization of the degree courses

The courses of the faculty of architecture follow a basic a system of project-orientated learning. Each
project has to be studied over a period of eight weeks. During the first two years ten projects have to
be studied. These may involve central ideas such as 'the house', which integrate such aspects as
architectural design, history and theory, bearing structures and mechanics, informaties and drawing.
Other basis subject areas are 'form and function ', 'building processes' and 'design and re-use'. In all
these areas the acquisition of knowledge is integrated with a design task. By following such a system
students discover earlier in the course of their study whether their choice of the faculty of architecture
was the indeed the best one. In the third year of the degree course, again a choice has to be made.
Now it is concerned with specialization. Five options are offered: architecture (A), Building
Technology (B), Town-planning (S), Real Estate Management and Project Management (BMVB) and
Social Housing and Urban Renewal(VHSV). In relation to renovation the specializations of
Architecture and Building Techniques are especially important. Architecture (A) and Building
Techniques (B) both focus on buildings. The first more on the design aspect the latter more on
construction . Both specializations provide the opportunity to opt for a special theme like the ageing of
buildings 'and re-use.
 11

Restoration, Renovation and re-u se

The title suggests that there is a clear distinction between restoration, renovation and re-use. In reality
the differences are becoming smaller than in earlier times. Even with regard to listed buildings, the
ideas relating to the approach to restoration approach may differ greatly. A
restoration approach, in which a return to the original state is the target (however impossible this may
bel, is one possibility. Another option is to take an approach in which previous changes are
considered to be equally as important as the original state, since they teil us something about the
history of the building. Withregard restoration, these are the options. From the financial point of view
institutions as Dutch heritage, or other gremia no longer have enough money for necessary
restoration interventions. To raise the necessary funds for restoration it is necessary to seek new
functions for the buildings. Now, however, most functions demand that there is far more light or
comfort than was previously considered acceptable. Adaptations are needed. The adapted building
can remain, serving a useful function and has a sound financial basis. The difference between
restoration and renovation becomes smaller. From a technical point of view also, the differences
between renovation and restoration are smalI. In both cases the newest techniques are used for the
interventions needed to execute the desired changes. Wh en buildings are to be renovated, the
intervention often extends beyond the building itself. Often the area and the infrastructure adjacent to
the building play a part in the intervention. Some of the buildings, or perhaps part of a building may be
pulled down or totally changed. The renovation of buildings also involves aspects reli:lting to
restoration and to the construction of new buildings. Using existing buildings is also a starting point for
the design process. This means"that it is essential to have information aboutthe building and about
the situation in relation to the desired programme. It also means that it is necessary to determine what
has to remain from historical, cultural and town planning points of view, as weil as the technical
possibilities and the economie feasibility. How the adaptation satisfies new functions or how the
desires for re-u se can be realized in existing buildings is even more important is. The interactions
created by renovation must be .of such quality that the building, with its historical elements, can
function in the present and that options for future re-use remain open. This is an important challenge
for architects and also for the educational program mes of universities.

Environmental targets for the next fifty years are

intended to reduce the use of energy by 50%,
nevertheless the rate of the population growth
continues to increase while the standard of
living for a large part of the population is still too'
low. Prolonging the use of buildings and of
building materials makes a positive contribution:
the cost is limited, it helps to proteet the
environment and this kind of measure is easy to
achieve. To some extent the existing building
stock has to be changed. This is necessitated
as a result of demographic changes and
changes in the organisation of production
processes, for example, from agriculture to
industry. The industrial locations themselves
also tend to move from inner cities to the edges
or from a one country to another with lower the
production costs. Buildings become empty and
can be re-used for other functions.
12 FH MUNSTER

Profile and study parameters

The fundamental principles of the study of architecture were established by the

Royal School of Building, which was founded one hundred years ago and which
was primarily of regional importance. The present day study system is based
on European values for the exercise of the distinguished profession of architect.

The academic staff includes 21 professors and 30 professional architects who

have been commissioned to cover special branches of the subject, as weil as
several guest professors. In addition there are approximately 60 tutors and non-
academic members of staff, who are involved the in workshops and
administrative duties. As experienced architects, the numerous professors and
guest professors contribute to the educational system that is typical of this
subject area, extending it by participating in open discussions. There are about
one thousand students, which means that the faculty of architecture in Munster,
in the republic of Germany, is one of the five biggest educational institutions in
this field.

The Faculty of Architecture of the Technical University of Munster was placed

i h in the 'ranking' of the field of Architecture in all German speaking technical
universities in Germany, Austria and Switzerland . This clearly reflects the
effects of the efforts to produce a functionally directed education system, as
weil as the practical value that th is path of study. The entrance qualification for
the study of architecture is assessed by a test during the interview. The
students who have been accepted followan initial curriculum that has been
deliberately made strict. Building onto this, the teachers in Munster have found
a way of studying that is characterised by the fact that the students work in
small groups under the direct supervision of their professors and without the
intervention of others. In most cases, this method of education is further
extended by the support of tutors.

There are several of alternative study options, so the students can make
choices based on their individual interests and aptitudes. This gives them an
opportunity to develop their own styles and a 'master-pupil' relationship is often
created between the architect and his former teacher. International contacts are
also based on personal involvement. Following ten years of intensive contact
with the Polytechnic of Krakow, the increasing possibilities for exchanges and
for cooperation with the Delft University of Technology are now considered by
teachers and students alike, to give further enrichment of international
cooperation. This is evidenced by the participation of the Faculty of Architecture
of Munster in the international module for renovation and reuse, taking as its
example the reuse of the 'werkplaatsengebouw' of Prof. J.B. Bakema in
Rotterdam.

After the initial project of Mart Stam in Frankfurt, this has become the second
example in a series. This series will derive from the relations between Delft and
Munster and between various other Faculties of Architecture in Europe,
including the Polytechnics of Krakow and the E.T.H. in Zurich. The plan is to
continue this series that is so important for the experience of the students by
setting up a workshop in Krakow as an international contribution to the year
2000, wh en Krakow will be the Cultural Capitalof Europe.

The European discussion of the architectural solutions is of great importance to

the common orientation of the field of architecture in the future. This is all the
more important if the Faculty of Architecture is to change its educational
programme in relation to the German degree of Diploma-Engineer to conform
to the international standard for a 'Masters' degree in Architecture.
13
14 HISTORICAL ANALYSIS OF THE FORMER 'WERKPLAATSENGEBOUW'

Paolo Monesi

THE HALL WORKSHOP

- ~~.- ....

The workshop and warehouse building of

Holland-America Lijn (th at we'lI short in HAL), •.. ",.~~\~ \. •..

situated on the Wilhelminapier between the =:;::;~~:.;:] ~~.~~~~.:/

Arrival hall on the Maashaven, and other
workshops prospecting on the Rijnhaven, was
designed in 1951-53 and built since th at year
on the place of a similar function building.
Since the design operation took so much
time, many changes have been led to the first
project during its drawing up, like, for
voormalige aankomsthal H,A.l.
instance, the variation of the prefabricated
panel dimensions of the addition of a third
floor.
The need that pushed to ask to architects Van
den Broek and Bakema was the creation of a
modern and functional structure serving as
repair workshop for ship's furniture of Holland-
America Lijn ocean liner company. Besides
we should say that the architectonic
characteristic of the building can be easily
attributed to the work of Van den Broek (1898-
1978), as Bakema 91914-1981), in the bureau
since 1948, could have only parially voormollQ wefkploorsengebauw H AL

contributed, probably when the project was

already started off.

The site

Rotterdam, as weil as other harbour town,

identify itself through its being a town of
water: like in a turning over game between
solid and voids, black and white, Rotterdam
has its life not on the land but on the water; its
relationship with water is still today profound
and whoever only simply would pass across
the town, couldn't neglect this ' strong
presence; besides the river opens to the near
sea and from here towards the "new
continent"; even the feeling of great distances
is another characterisitc of the town. Quays,
piers, floating cranes, bridges, squat boats,
ships are fundamental elements of town's
(mobile) skyline; seen from the river, it seems
that the sadly famous bombardment, which in
may 1940 completely destroyed the town,
didn't happen ; water cancelled it; in reality this
bombardment radically changed the aspect of
the new Rotterdam land, making it a (1)

fragmented town, wounded in several points: iii

<
and these wounds left today the place to deep ,...
'"
scars in the urban fabric. Scars that they ëï
attempted to hide with new buildings. '"
Ul

The Wilhelminapier, on the left bank of the

Nieuw Maas, was continuously changed since
 15

13h SOl i:U ï53 ï53 i53 ï 5 .~ 753 7S3 7S3 sm 13-'
I I I I

1939; its history was always related to that

one of the Holland-America Lijn ship
company; consequences of bombardment are
easily discernable comparing the two pictures
from 1946 and 1939; since 1946 many

. ,; . •
buildings were placed trom Van den Broek
and Bakema bu reau : the Arrival Hall , some
11
. \
\
warehouses and the repair workshop.
The workshop , on the central axis of the pier

.. . • •
\
, . and behind the cUNed roof shaped Arrival
Hall , shows its proper importance of the
construction and its relative height (almost 20
• m) is relevant from the Maashaven side; who
would observe the pier trom the Nieuw Maas
(C

(3 or from the Scheepvaartskwartier, on the right

c: bank of the river, can easily discover the
. ~.
::>
c.
undulated sequence of the six vaults of the
Aankomshal and , behind this , the white mass
of the workshop; more west he couid notice
the romatic and electric brick office building
• ' 1· by HAL, built in 1901 on the extreme of the
,. ' .:
pier, which outlooks, as a lighthouse, towards

o
\ the not far away open sea .
According to a drawing , a bright advertising
sign by the Holland-America Lijn was
supposed to be placed on the top roof of the
workshop; this as a demonstration of the site
importance atlributed to the building.
The Wilhelminapier, artificially created at the
..... end of the last century, is characterized to
o
o have lengthened shape which bends, parallel
to the Eiland island, to include the Rijnhaven .
Buildings that have been built here have a
similarly lengthened shape; besides, the ones
on the central axis are with rounded or 45
cut corners : caused by obvious practical
• reasons , to make easy the manouvres to
II!. means ot transport, it is nowadays an
,, importand distinguishing mark.
• j. •
• •
Vl
CD The functional program
(')
o
::>
c. The building is structured as a massive '800
~- ~·r~~ building on 4 levels with an underground floor.
. ~ .
• ot · But the application of concrete technology and
the large use of glass betrays its modernity.
One of the most interesting solutions that Van
" den Broek adopted was a transversal passage
.\ next to the centra I axis which allows the
crossingfrom one side to the other of the
•• • building ; this is situated almost in the middle
of the structure and was used primarily as
main entrance for walkers but also as a
gangway for lorries and cars that could pass
from one side to the other of the building
avoiding to turn it all around.
16 HISTORICAL ANALYSIS OF THE FORMER 'WERKPLAATSENGEBOUW'

Paolo Monesi

On the underground floor, reachable by a

ramp, we re placed the dressing rooms with
shower boxes and toilettes for the workers.
Was also foreseen a bicyleparking and the
central heating boiler romm; a dark
warehouse room was on the east side
probably for long term stay items.
On the ground floor, shared in two parts by
the mentioned corridor stand the rooms to
stock the wares (in the east dark side), and
some offices next to the windows (on the west
side). A lift for materials and one for people
serves from here the other floors . The other
three storeys are appropriate workshops to
built or repair furniture (timber work),
mechanical pieces (metal work) and so on.
Three cranes, on the south side, connected
with iron beams, allow the materials to be
brought from inside to outside, ready to be
loaded and shipped. This system, so much (')

used in harbour structure and from here o

VI
transferred in dutch dwelling tradition,
characterizes the south front of the building;
, -1 -- .,, ,
'?
VI
(1)

vertical white iron bars on the lower floors, to

1.
- Î
J i ...ë,
(')

protect the windows fraom damages due to '"

hanging objects, come out to be interesting
architectonoical details.
The entire exterior aspect of the building at a
first glance is a whole of unity, where the
regular grid of frame windows pools all the
fronts; but after a beter contemplation, you
may notice that every window is the direct
result of the interior function: as a genetical
message, what is present inside the building
is transferred outside. Storeroom spaces are
declared outside thought by sheds; working
spaces are represented outside by full
windows; emergency exits are visible
exteriorly by tall volumes, and so on. the
general aspect of the building is so far the
result of reciprocal interaction of solids and
voids from the plan to the front design and
every little detail is combined with the whoie.

A free space

What is important to stress here is the main

functional program: we can consider the all
plans as free spaces defined by the grid
system of octagonal pilasters, wiht a central
service area (with staircase, lifts and toilette)
being the heart of the construction; two other (')
staircases volumes (emergency exits) are o
VI
next to the corners both on the east and west '?
si de: the symmetry is first asserted and later VI
(1)

denied and the result of it is an ideal rotation ...o'

(')

'"
 17

of the complex; a diagonal straight line can be

designed crossing the plan from one external
staircase to the other and passing through the
central service area.

The structural skeleton

As the client asked for a flexible and lighting

structure, the architects adopted expressly the
same solution employed more than 20 years
before by Van der Vlugt and Brinkman for the
Van Nelle Factory, that is a mushroom
colums structureal system. However the
design plan of the workhop is quite particular
as the longitudial axes of the pilasters are not
parallel but have origin in a determinated
point (focal point) standing about 750 metres
west of the building. The axial distance
between every pilaster is changing from m
6,79, on west side, to m 7,65 , on east side.
This big light is renderd possible by the
largeness of the column's capital (diameter
max. 2,50 m about) so that is may support
the entire weight of the floor section; as a
consequence, the space determinated by 4
pilasters (about 50 square meters) was quite
available for working activities. The
mushroom column system, however, was
also suggested by the structural system both
of the "leidsche Veem" (wood structure) and
of the HAL office building (steel structure),
both on the same pier.
On some drawings dated 1951 it is shown as
the building was supposed to have only two
storeys over the ground floor, so we may
conclude that the client decided in a very last
moment to add one more floor, probably
because of increased needs; but this was
already foreseen by the building program of
the architects .

THE GEOMETRICAL RATIO

Background

Geometry and proportional systems have

been handed down continuously in the long
tradition of aesthetic theories in western
culture. In the Netherlands interest in
compositional metrics can already be seen in
P.J.H. Cuypers. He, in turn, probably took
them from the master schemes in the
drawings of medieval buidings in the writing of
Viollet le Duc .
18 HISTORICAL ANALYSIS OF THE FORMER 'WERKPLAATSENGEBOUW'

Paolo Monesi

Jan Hessel de Groot was probably the first

dutch to expose interesting examles over
theory of porportion. Berlage receipted the
idea by de Groot and his Beurs is a brilliant
example of use of proportional scheme based
over a ratio of 5/8. The Amsterdam school,
mainly with De Klerk and Kramer, is not
indifferent to geometrical theories. Later on in
De Stijl these theories we re filtered through
Rietveld : he will design his famous red-blue
chair following geometrical schemes, based
upon the square of 10 cm. In 1923 Cor van
Eesteren writes: "We examined the reciproca/
ratios in measurements, in proportion, in
space, in time, in materia/s and we found the
way to built and join them together in a
who/e". Mondrian and Van Doesburg, in the
first period, developed theri rectangular
abstraction overmodular grids like . the
"Quadratur en Triangu/ator" of Berlage. De
Stijl searches for the idealistic abstraction in
art as it has been found in every natural law of
the cosmos; and this is possible through an
universal principle based upon exact ratios.
Seen in this context, even the equivocal term
of "neoclassic", frequently used in the critics
of OUd, takes on a new significance.
The .influence of F.L. Wright in the
Netherlands, already stressed by Fanelli, is of
a great importance in the understanding of
decorative and geometrical design in the
euripean avantgarde and we can easily notice
it in some orjects by Rietveld, Oud, Oudok,
Duiker, Van der Mey etc.
Le Corbusier, whose classical researches
over modular system of measurement was
exposed in 1945, played a very important role
in the connection of the Avantgardes with the
Modern Movement. His Modular, based on the
Golden Ratio, can be considered a
rediscovery of classical ratios in the metric
system: in fact, before him all the geometrical
ratios we re part of the research over medieval
building made by Viollet Ie Duc; Le Corbusier
brought the world of geometrical ratio from
the darkness of medieval age to the lightness
of classical spaces and what betore was
simple relationship of spaces, with him it
becomes real measure in the metric decimal
system.
This is notthe right place to teil more about
Le Corbusier geometrical theories and for a
further research about theme we deliver to the
bibliographic reference or to the vast
bibliography about this architect.
 19

The Golden Ratio?

Between many architectonic researches

published in the after war period a lot of them
were about the proportion of building from the
Renaissance. More than 200 publications in
the period between 1945 and 1958 discuss
about the problem of proportion in ancient
architecture, and it is a witness about the
growing interest on this subject. But certainly
the main publication that could have
influenced most of the architects from the
Modern Movement was the Le Corbusier's
Modulor edited in 1950: "I'm about to speak of
a grid of proporlion, etc. , which is expressed
in numbers, figures and plans, but for which I
haven 't yet discovered the definition, or, if you
prefer the explanation" . The invention that Le
Courbusier is going to present here is the
Modulor, that is a system of dimension based
on the Golden Ratio. One of the main worries
of Le Corbusier, since the Domino stuctural
system dated in 1919, was to protect his
inventions by a patent. A model of the "règle
graduée" based on the Modular measuring
system was patented in 1946. We don't know
if Van den Broek and Bakema we re aware of
this method already since 1946, but is is very
probable that they used some proportional
measurement for their works . An article over
the revue Forum , in 1948, signed by Bakema
is about the new and free feeling of the space
in the contemporary archtiecture, reporting, as
an ancient exemplification of spacial order,
the facade of the Amiens Cathedral , fully
proportionated. It is curious that the plan of
the house he shows, as an exemplification of
the useless of proportion's theories, is
however in the ratio of 3/5 (10 metres long
and 6 wide) that is a classica I ratio suggested,
by the others, by Palladio in The Five Books
of Architecture, to rapport the room's
dimensions.
The prefabricated panel, used on the north
and south front, is 1/3 larger than the axial
distance between two pillars; that is 250 cm ;
this measure, divided for 0,618 (Golden
Ratio) is equal to the height of the panel , that
is 405 ,2. Is it only an accident of is it a real
design?

Rhythm and panels

The distance between two pilaster on the

north and suoth front is 752 cm; the problem
to be solved here was the right rhythm of the
20 HISTORICAL ANALYSIS OF THE FORMER 'WERKPLAATSENGEBOUW'

Paolo Monesi

facade; split the space in six parts, each of

125 cm, the architects at first opted for a
partition of two panels of about 375 cm each;
in this way the single panel was split in th ree
parts vertically and in four equal parts in
horizontal giving to the rhythm of the whole
front a sense of monotony and rigidity; than
they decided to share the space in three
panels of 250 cm each; this new partition
resluted to be lighter and stretched. We don't
know if this new choice was done for aesthetic
or more technical (weight, dimensions and
easier moveability) reasosn, but the result of it
was that the panel itself is proportionally more
correct; it is almost 1/2 larger that height, it
has a superior window band of about 56 cm
that run around all the building, a second
band with an almost-square window of about
250 cm and a lower band of concrete of about
120 cm.
Again if we consider the west front, that is the
shorter, we may find probably more
interesting proportions: in fact here the panel,
being 225 cm large is exactly in the ratio 1/2 \
being the height 450 cm (panellength, 410 +
=
floor height, 40 450 cm; furthermore we can
divide the total length of one floor in four
equal parts of 112,5 cm each; the result of
this operation shows that the window panel
design is not casual but inserted in a
proportional system of a square of 112,5 cm.
Sometimes the panel is fully filled up with
concrete (except for the superior window band
which is always present), some other times it
is substitute by a crane door or by brise-soleil.

Proportions

Considering the last floor of the building as a

later addition we may consider that the total
length of the building (105.38 m) is 1/7 of the
total height (15.40 m) as every "module"
encloses two pilasters intervals (15.00 m).
Even for the other two fronts we have got
similar geometrical ratio, but , as the panel
dimension is changed, so the ratios are
changed.
Since the building was thought as a
strudureal system where floor could be added
freely (of course until a maximum of two),
then it is comprehensible that hardly any
proportion could be foreseen on the facades.
Only one floor has been added, and drawings
demonstrate that it happende from October
1952 and April 1953. For this reason every
 21

doubt is left to assert definately the above

proportional theories .

Conclusions

Following the conversations with architects

th at worked or met Van den Broek and
Bakema as prof. H. Hertzberger, mr. J.E.
Rijnsdorp and H.B.J. Lops , to which we asked
if Van den Broek employed the geometrical
ratios as tools of project design, the
answering was that he never used any, and
that if some ratio could be find out, this was
the product of a coincidence: the philosophy
of their work was simpie, humbie and totally
functional ; the creation of space was only the
result of a research over spaces tor the man
and materiais.
However, my opinion is that a little of the
dutch tradition in proportion theories and a
little of Le Corbusier ideas over Modulor
System should have filtered in the Van den
Breok and Bakema bureau ; may through the
younger Bakema; may be not; may be
everything is really random ; who knows? The
debate is open for other ideas.
22 THE ARCHITECTURE OF 'van de Broek & Bakema'

ir. Izak Salomons

The architecture of Van den Broek and Bakema (Ieft) and Van den Broek with the model of the Delft civil Engineering building
Bakema

When the Dutch architects J.H. van den Broek

(1898-19780 and J.B. Bakema (1914-1981)
started their co-operation into a joined
architectural office in Rotterdam in 1948 they
also gave life to a remarkable period in post-
war Dutch architecture.
The office of Van den Broek and Bakema
became one of the largest of the country and
was also well-known internationally. The office
got commissions in many different sectors of
building practice. Designs were made tor
department stores, schools, office buildings,
churches and housing .

'Van den Broek and Bakema' had astrong

influence on the development of built
environment in The Netherlands. A
characteristic feature of their work was that no
hierarchical distinction was made between
architecture and town planning. And thus,
many imaginative urban plans were brought
about in the office.
The enthusiastic devotion of the two leading
architects is reflected in the participation in a
great number of national- and international
competitions, for buildings and town-planning
projects, the designs for the important national
reconstruction exhibitions in Rotterdam - 'The residential quarter of tomorrow' (Alexanderpolder) at the E55 Exhibition
'Ahoy' in 1950 and 'E55' in 1955, as weil as for
the Dutch pavilion for the World exhibition in
Brussels in 1958.

Another sign of the all-embracing energy the

two architects who jointly managed their
architectural office devoted to their
architectural profession, was the active way in
which they took part in the theoretical and
ideological development of architecture, and
thus in architectural education. For a long
time, they had both been part-time
('extraordinary') professors of architectural
design at the Technological University of Delft,
Van den Broek trom 1948 till 1966, Bakema
from 1964 till his death in 1981 .

In the architecture of Van den Broek and

Bakema the individual contribution of both
architects is visible and tangible, but the co-
operation within the office resulted in a new
architecture with a joint character.
Van den Broek was sixteen years older than
Bakema and had already been active in the
Modern Movement in Holland before the war.
He had dealt with housing especially in
Rotterdam, bringing about several projects
 23

Vroesenlaan 1935 (Van den Broek) that caught the attention , like his town-
planning scheme for Matheneserbrug , the
high-rise housing at Ungersplein en the U-
shaped block of apartments at the
Vroesenlaan , opening towards the park. The
dwellings featured sl iding partitions and wall-
beds providing different use of space during
day- and night time.

Van den Broek was considered an analitic

mind and a typical functionalist, but he was
also an aesthete, which was already clearly
visible in his own work of the pre-war years.
It was not until the beg inning of the war that
the sixteen-year- younger Bakema started his
career as an architect. He too feit at home
amidst the modern movement and had a great
admiration for both Rietveld and Le Corbusier.
Both architects being modern in an
undogmatic way, had no problem with the use
of natural building materials and free forms
just before and after the war.
Le Corbusier, for instanee, applied a robustly
plastic style for his Unité d'habitation in
Marseilles, built between 1946 and 1952, later
refered to as Brutalism .

In the post-war years a new modern style

developed, becoming commonly accepted in
modern Dutch architecture. It was
functionalistic in its intention by means of vast
daytime plan. o pen
glass surfaces and flat roofs. Van den Broek
nig htt ime plan . c10sed
and Bakema's architecture also belongs to that
common movement but is yet directly
Summerhouse Breukelen, arch. G. Rietveld 1940-1941 recognizable.
In this style, a project's concept is somewhat
clearer than that of most other contemporary
modern buildings, the floorplans being just a
bit more simple and direct. The glass facade is
divided into horizontal strips with windows at
eye-Ievel that can be opened. It is adynamie
form of architecture, directed towards the
future and with the ambition to shape the open
modern society that soon would come into
being.
This architecture is the forceful counterpart of
the traditionalistic way of building of the 'Delft
School ', the other important current of Dutch
architecture which , being influential for years
to come after the war, coincided with a more
traditional view of society.

In modern architecture to which it belonged,

the work of Van den Broek and Bakema had
an own place and face. Compared to buildings
by contemporary modern Dutch architects, like
Oud , Rietveld, Maaskant, Van Tijen, Kloos and
Elling, it appears to be less severe and
24 THE ARCHITECTURE OF 'van de Broek & Bakema'

ir. Izak Salomons

abstract, and not only fuctional and honest. It Department stores near the Lijnbaan shopping area in Rotterdam
is a dynamic style that is related to Russian
Constructivism of the nineteen twenties.

The independent architectural style of Van den

Broek and Bakema was the theme of a special
number of the Dutch architectural magazine
Forum, containing heavy criticism by Van
Tijen, the architect who built the Bergpolderflat
in Rotterdam, the first Dutch gallery flat,
before the war, constructed with a steel frame.
Van Tijen thought that the architecture of Van
den Broek and Bakema had developed into a
too personal and expressive direction, and had
deviated from the sober pre-war functionalism.
Bakema and Van Tijen knew each other weil
from the first years of the war when they had
worked together with Van den Broek en with
Maaskant, Van Tijen's associate on the study
project 'Possibilities for dwelling in the new
Rotterdam'. That had been a progressive
research about housing design, architecture
and town planning. Van Tijen's criticism hit
hard and was rejected by Bakema in the same
number of the magazine.

On the occasion of the award in 1963 of the

'Prix de la Critique 1961' from the Association
Internationale des Critiques d'Art a large
exhibition was held in the museum of
Boymans Van Beuningen in Rotterdam, with
the manifesto-like title 'Building for an open
society'.
The importance attached to the work of Van
den Broek and Bakema at that time, also
internationally, appears from the many issues
that the Swiss architectural magazine Bauen
und Wohnen dedicated to it.

Buildings

Important features of the Van den Broek and

Bakema's buildings are the clear plan, the
spatial effect and a pursuit for architectonic
expression, all in all 'the function of form' or
'expressive functionalism' . For Van den Broek
and Bakema a functional floor plan - important
as it may be - was no guarantee for good
architecture and the same applies for pure
abstraction in the manner of Mies van der
Rohe. Function and form are equivalent
starting-points for the creation of a dynamic
image.

A typical example of this expressive

architecture is the sharp angle of the
department store of Ter Meulen Wassen Van
Vorst in the centre of Rotterdam at the corner
 25

The Marl town-hall of the Lijnbaan shopping area, both designed

by Van den Broek and Bakema. The rotation
of the building volumes at that side is
particularly emphasised, in the same way as
once was the case with Amsterdam School
architecture.
The folded concrete roofs of the main
auditorium of the University of Technology of
Delft and of the town hall in the German town
of Marl form another example. In both cases a
large span and an expressive form enable to
express that in these buildings with an
important public function large numbers of
people are welcome.

This concept is an expression of the

democratie mass society, established in
Western Europe - and also in the federal
Republic of Germany - after the Second World
War. It is an architecture with an urban
dimension , that plays an important role in the
urban image. This 'architecture-urbanism'
increasingly became a main topic of the office.

Town-planning

In town-planning projects the issue of the

growth of scale was dealt with. This had
become an urgent problem with the sudden
increase of the Dutch population in the post-
war years .
Doing so, the office carried on with the pre-war
town-planning work of Van den Broek and with
the study project 'Dwelling possibilities in the
new Rotterdam' made in the first years of the
Hengelose Es 1962
war as areaction to the bombardment of the
Rotterdam city centre.
Already then , Van den Broek had not only
dealt with the development of good housing
floor plans, but also with combining different
housing types in a coherent urban plan.

In the post-war years of scale-expansion the

main issue was to find ways to substitute the
pre-war perimeter bloek, and in connection
with the ever growing scale of modern life, to
find town-planning solutions that were liveable
and safeguarded a good integration with the
landscape.
The answer to this set of problems was found
in the theme of the dwelling group or 'visual
unit'. It had started modestly as a repeatable
composition of different housing types into a
group with the same size as the former
perimeter bloek. Gradually it developed into a
collection of housing consisting of the largest
possible variety of dwelling types, composed
26 THE ARCHITECTURE OF 'van de Broek & Bakema'

ir. Izak Salomons

into a unity on large scale, that was clearly 'Architecture-Urbanism'

recognizable in the landscape.

Another instrument that was developed to

meet the increase of urban scale was the
'core-wall building' . Accompanying large traffic
arteries in the heart of town-planning schemes
with its elongated form, it was applied in
connection with the visual units in the scale of
the landscape. Examples are the Pampus
project in the Amsterdam harbour of 1965 and
the project of 1970 for the centre of
Eindhoven.

For Van den Broek and Bakema, town-

planning projects we re a pre-eminent way to
envisage the images of the future. Therefore
the office participated regularly - not only in
regular town-planning commissions, but also
in competitions. The Pampus project for
Amsterdam was even initiated by the office
itself as an independent project without a
formal commission .
The second plan for Alexanderpolder is an
example of th is. Where The first plan for the
Alexanderpolder district still came into being
within the Rotterdam CIAM-group 'Opbouw',
was the second plan a further elaboration of it,
made in the Van den Broek and Bakema office
by Bakema and Stokla. In the second plan,
further development of the 'visual group' or
housing unit into a cohesive architectonic or
urban image was elaborated, tailored to the
large scale of modern urbanized landscape.

Taking part in architectural and town-planning

competitions was an important form of
research for the office and a usa bie
supplement to the daily practice of working on
specific building commissions. It was a
concrete way of participating in the forming of
the public opinion on spatial planning of the
environment. It was considered by Van den
Broek and Bakema a social obligation
concerning all architects. But in that respect
they have always remained an exception .

Housing

Housing units or visual groups were put

together out of the largest number of dwelling
types that was possible with a specific size of
a unit. This was an early expression of the
awareness that modern society is developing
in a pluriform direction, in which everybody
can form his life in an individually different
way .
 27

The Pampus project As the housing units in successive studies

became larger, they could be composed out of
a larger number of dwelling types. The urban
research and the research of good floor plans
by the office thus could go even .
New dwelling types were the gallery flat, the
gallery maisonnette and the split-level type
(applicable in apartment buildings of different
height) with dwellings along gallery street
decks of interior corridors , like the appartment
block at the Berlin Hansa district of 1957.
In most cases housing was developed in the
office by the project architect J. M. Stokla. The
dwellings he designed not only have a
functional lay-out but are also spatially clear
and strong. In the main outline there is a clear
overall zoning principle and the spaces are as
generous and as rectangular as would be
possible with small post-war dwellings for
present-day standards. Windows are large and
window frames are white. The façades show -
in the same way as the urban plan - the idea
of the infinitely continuous space of De Stijl.
Second Alexanderpolderplan (by Van den Broek and Bakema)
The workshop building

The workshop building for the Holland America

Line doesn't have a special position within the
Van den Broek and Bakema projects. It is a
functional and utilitarian architecture without
architectonic pretensions. The commission fits
in the office's other utilitarian projects, like Van
Nelle and the buildings for the Rotterdam
Municipal Transport and for the laboratories of
the Delft Technological University along the
Rotterdamse weg .

The workshop building is a rectangular and

transparent building of four stories, 39 to 43
metres wide and 105 metres long, with
continuous façade walls of glazed elements of
vibrated concrete. At ground level these
elements are divided into four parts; th ree with
a height of ca. 110 cm and a top of ca. 60 cm ,
at the other floors the division is 2 x 110 + 1 x
60 cm . These continuous horizontal window
strips define the architectural image. The
basement storey included , the building has a
total height of 22 metres.

The continuous window planes are divided in

vertical strips, linked two by two, which is
displayed by an alternation of thin and thick
vertical stanchions. The upper three storeys
canti lever slightly over the ground floor. At the
corner of the side façade, the floor of the
. second storey proceeds into the stairs of a
staircase,where the façade is entirely glass,
28 THE ARCHITECTURE OF 'van de Broek & Bakema'

ir. Izak Salomons

being a vertical element in a mainly horizontal Research Laboratorium for T.U. Delft
image.
The architecture is functional. The composing
elements are carefully designed, but not in a
preconceived aesthetic way. Wherever it suits,
apart from glass the façades may be closed
surfaces, and out of the roof protrude elevator
shafts and installation structures. Taking into
account the future construction of an extra
storey, these roof-structures are even higher
than one would expect.

As far as situation and function are concerned,

the workshop building is related to the
Thomsen building in the Rotterdam harbour
and to the metal industry building of Van
Houten. The latter - a very pure example of
utilitarian Van den Broek and Bakema
architecture - has been pulled down.
There existed different HAL. buildings. Known
best were the departure and arrival halls. The
arrival hall with its vaulted concrete roofs,
large windows and majestic stairs in the
middle of the hall, is an examplary creation of
Van den Broek; rational, elegant and frank. It Residential tower West-Berlin
dates from the time when Van den Broek was
already professor in Delft and when Bakema
was his partner and stand-in in the office in
Rotterdam.

Joedicke in his book 'Architektur und

Städtebau' mentions F. Swaneveld as co-
working architect for the HAL-buildings.
H.Lops, who had worked with Van den Broek
since 1928, was in charge of working out the
workshop building. lts architecture is also
related to the small T.U. buildings in Delft
(a long Rotterdamse weg), of which Rijnsdorp
was the project architect.
Both Lops and Rijndorp spoke about the
amicable working-atmosphere in the office in
the post-war years. At that time there was
always somebody who had the main
responsibility for a certain project and had to
negotiate about it. Official project architects
did not exist then.
Van den Broek and Bakema regularly visited
the drawing-room, instructing for example
about facade proportions. In th is way the
workshop building became a real Van den
Broek and Bakema's.

What is characteristic of the office's

architecture of those years? In the workshop
building it is the simple functional outline, of
both floor-plans and construction . The total
absence of traditional forms. The spatialness
and transparency. The use of mushroom-like
 29

Residential tower West-Berlin constructions in the style of the Van Nelle

factory, the horizontalism of facades, based on
human measure, enabling transparency ,
ventilation and windows that can be opened
and closed . The dynam ic of the staircase with
its emphasized position at the corner and the
slanting line of the sta irs expressed in the
facade. The bright colour of the painted
concrete, the neutrality of the facade based on
the repetition of one well-chosen element.

Van den Broek and Bakema in our time

Function , space and expression are the main

characteristics of Van den Broek and
Bakema's architecture. In comparison to the
present neo-modernistic current it is more
basic and less aesthetically preconceived.
Detailing and use of material are well-
considered and functional Because of this the
work is often simple and clear, and that's that.
There is no decorative play of material and
form. The use of colour is functional too , and
decoration is limited to art th at is separately
visible.
The attention is focused on basics: spatial
outline and the mutual relation of space within
a building and that of inner and outer space.
Entrances are important, and transparency in
as many directions as possible. Expression is
attained by the play of volumes . Decoration
and colour accents are modest and explicable
by functional considerations.
In the later work of Van den Broek and
Bakema the original architectural clearness is
slowly fading away from the office's
consciousness. This is a common
phenomenon of the sixties and seventies. At
that time of social emancipation , dweil ers'
participation and starting environmental
consciousness , architecture primarily had to
be socially explicable. This starting-point is
related to functionalism though at the expense
of artistic quality.
In the nineties things have become almost the
other way round . Nowadays modernistic
compositions are common and architects are
having much larger freedom of expression
than in the severe post-war years.

In the works of Van den Broek and Bakema

some aspects of the origin of present-day
architecture is visible. It also reminds us that it
is possible to use architecture and town
planning for developing images of the future
that have an impact on society. Individual
buildings are of importance, but even more
important are the connections between things.
30 MASTERPLAN 'Wilhelminapier"

Projectbureau Kop van Zuid i.s.m. Palmboom & v.d. Bout

the plan.

The structure of the plan is determined by the

three building strips parallel to the river and the
three sightlines and public connections at
ninety degrees to the river. These three
crossings are less abstract than in the Foster
plan. Public squares of plazas have been
situated between the middle zone and the
quays, which clearly define the spatial '
relationship between the interior climate on the
v-----
pier and the perimeters of the pier. These ,\
squares are raised to a certain extent in \'
\.
relation to the quays and are finished in the
manner of residential areas, "baiconies" along
the river and the Rijnhaven. Along the river as
large public atria, dramatising the view of the
river. Along the Rijnhaven, the scale of the
surrounding buildings is smaller and the
atmosphere of the inland navigation harbour is
more inti mate than that of the river. Considering
that no parking facilities need to be built under
these squares, the "baiconies" here can simply
be fitted with a leafy roof. In this way, the
structure of the public space is clearly defined
in the masterplan in relation to the boundaries
of the building locations.
Along the Maas and the Rijnhaven, the
street pattern and sight hnes
buildings are high: 95 metres and 55 to 70
metres respectively. This height of building
allows the required programme for the
Wilhelmina pier to be realised within the building ,/'j ---,~
typology designed in the plan. In the zone
,
I
I
~,/ ' , ' , '
I , I I
along the river, it is permitted in certain I,' ,/ ,I / ,,'
circumstances to build higher. It must be ,( '. , ' I / ,I' ,/
considered however that further compaction of , I

I _ - - - -
the programme would mean that underground
parking in two layers would no longer offer
sufficient capacity to conform to the parking
standards laid down in het zoning scheme.
The profiles of the streets and the quays have
been adapted in the extension of the study
carried out of this subject.
The head, middle and tail of the pier form the
exceptions in the characteristic crosssection
of the masterplan. The two streets converge at
the Wilhelminaplein, and cross the profile of the
city boulevard. At the point where the southern
street bends towards the crossing point, the
standard cross-section in two high building
zones along the perimeters and a lower zone
with buildings in the middle is brought to an end. transparency on the scale of the city
 31

Program
The buildings in the three zones have clearly
been placed in a frontage line. In front of th is
2,500 m2 museum 11 5,000 offices frontage line, a building has been placed which,
4,000 rentable space in terms of scale, relates to the court complex
2 40,000 m2 offices • and forms both the spatial and functional
12 290 student housing units link/pivot between the pier and the
3 40,000 m2 offices • Wilhelminaplein.
13 175 residential units The HAL departures terminal forms the point of
4 6,000 m2 expo 1,000 retail differentiation in the middle of the pier within the
regular cross-section. The long, stretched-out,
5 40,000 m2 offices· 14 320 residential units low building lies slightlty off the frontage lines,
2,000 retail the quay in front of the building is wide. The two
6 60,000 m2 offices· passages along both sides of the departures
15 175 residential units terminal make th is broad quay accessible for
7 6,000 m2 hotel 1,000 retail service traffic. The head of the pier is the point
where everything converges; the access
8 4,500 m2 offices 16 205 residential units street, the quays and the magnificent view
1,000 retail downstream. A special spot for an exceptional
9 5,500 m2 offices programme which serves to further dramatize
17 10,000 offices the identity of the Wilhelmina pier as a
10 100 residential units 12,000 hotel peninsuia in the middle of the river, on the
2,500 m2 retail 1,000 retail dividing line between port and city. The building
here is low, the Hotel New Vork continues to be
the optica I bow of the Wilhelmina pier 'ship'. The
sightline from the Wilhelminaplein to Hotel New
• in these figures the floor arease below 8 meter Vork forms the dividing line between the high
height are excluded. buildings and the lower ones.

section
32 MASTERPLAN 'Wilhelminapier"

Projectbureau Kop van Zuid i.s.m. Palmboom & v.d. Bout

traffic

traffic structure.

In connection with the urban design division of

the Wilhelmina pier into three zones, the
provision of traffic access is organised by
means of a looped street around the middle
zone. On th is access street, motorized traffic
drives in one direction only; from the cross-
roads close to the approach to the Erasmus
bridge, the traffic enters the pier from the Iraflic circulalion
northern side and leaves it from the southern
side.
Cyclists may ride on both directions, with the
exception of the approach to the cross-reads.
Three passages have been designed at regular
intervals through the middle zone for all traffic.
These passages are accessible from both
directions and ensure that traffic circulates
over the whole of the Wilhelmina pier.

traffic flow intensity.

In connection with the urban design programme

for the 'Kop van Zuid', forecasts have been Iraflic inlensity
made of the expected amount of traffic in the
'Kop van Zuid'. In terms of the Wilhelmina pier,
this will be terminating traffic only; there will be
no through traffic. Assuming a fully built up
Wilhelmina pier with the programme as adopted
in the zoning scheme 'Kop van Zuid', 13,000
motor vehicles per day are expected. This
means an intensity of 6,500 motor vehicles for
both the northern and southern streets.
One factor which may have a slight influence
on these intensities is the people-mover or
tapis·roulant. If a people-mover system or
tapis-roulant is linked to the Wilhelminaplein parking garage access
metro station, use of public transport will
increase, which could lead to a decrease in
traffic flow intensity.

entrances and exits parking garages.

The entrances and exits from the parking

garages are linked to the structure of the
underground parking garages. These garages
can only be reached from the main access
route.
 33

A clear division of the entrances to the parking

garages over the pier is proposed. A good
division ensures the minimum possible
congestion during rush-hour traffic move ment.
In the proposed division, the entrances and
exits ar not placed too close to the cross-
connections through the middle strip. This is to
prevent improper use of the traffic circulation .
.............. .. ...........
provisioning .

The st reet profile is sufficiently broad that

stopping for the loading or unloading of small
goods can take place along the st reet. For
provisioning of the buildings, use is made of the
entrances to the parking garages. This
concentrates the 'conflict points' between
pedestrians and cyclists. In addition, their
position in relation to the cross-connections is
also intended to prevent improper use of the
traffic circulation .
j 830_______ ___~60~0_____ ~_____ ~1~2__________
- - ____~ 5 -t--
There are two service streets through the
middle strip on the western side of the pier.
These are not crossings for through traffic , but
pedestrian areas in which loading and
unloading is permitted.

street profile.

For the traffic loop around the middle strip, the

carriageway has a fixed width of 6 m. This
provides enough space for one-way motor
traffic and a two-way cycle path. Furthermore,
it is possible to stop on the right-hand side of
the carrriageway to drop people off or for
loading and unloading.
The amount of space for pedestrians on the
access st reet can vary. Both along the building
on the northern si de and on the southern side
of the pier, the pavement is partly covered by
the arcade.
The three cross-connections through the
middle strip have a total width of 17,5 m. Two-
way traffic is permitted here; a carriageway of
7,5 m has been designed for this purpose.
600 750 400

stree l sect Îons

34 MASTERPLAN 'Wilhelminapier"

Projectbureau Kop van Zuid i.s.m. Palmboom & v.d. Bout

plan structure and flexibility

The plan structure results in a zoning by scale

which is significant as a set of preconditions for
future building.
In the strip along the river, the parking garage
is caught between the quay construction and
the side road, and is 53 metres wide. Assuming
a parking capacity of 308 places, the parking
provision for an office of 40,000 m2 gross floor
area is 78 metres long. The typology for the
office complexes in the plan assumes building
volumes of 20,000 m2• The buildings have a
standard office building depth of 16,20 metres G ~j- - 1~O~-~"-------_n"I!
and a surface area per floor of 780 m2• In
accordance with the Foster plan, these two
building volumes are linked two by two in the
building lines riv er plots master plan • •-
:.. _________ .... ... j
~
~ !---' '-'~ ____________________ J
:
twin tower concept.
In this way, two standard office buildings, each
of 20,000 m2 , are situated on a parking facility
for 40,000 m2 • The footprint of such a complex
- - - - - - - -- -
-- --- ._-----
is determined by the structure of the public "-:-,
space and in the case of a standard location is i
33 metres deep and 48 metres wide. The
building envelope above 8.50 metres is more Foster plan: twin tower concept
spacious and looms over the substructure. The
dimensions of this maximum building envelope
is 48 square metres. The space in th is .. - . ' ... ...._-------_.,- ..
------
envelope between the two standard office
disks is 16 mand can be used for a mulitude of
purposes.
Several building types are possible within th is
standard building envelope, depending on the
list of requirements for the individual office master plan 94 : twin tower concept
complexes.
In order to illustrate th is flexibility, a theoretical
series of the tower concept, up to and including ---- ------
the core office and more compiled building
types have been drawn.

To further optimize the flexibility of the building

possibilities, it is possible to extend the
maximum building envelope of the locations on
each side of the departures terminal with a strip
alternative 1: independant towers
I
"-:.~- sr -}
't
'lI

of about 12 meters. Should use be made of th is

possibility, this will have direct consequences
for the development possibilities of the
surrounding locations. For this reason, this
possible extension of the building envelope is
linked to requirements vet to be laid down for
the entire strip to the east or west of the alternative 2: a mix of building types
departures terminal. This is illustrated by the
 35

series of drawings of the building strip to the

east of the departures terminal.
:;'" On the southern side, along the Rijnhaven, the
Ü
2 programme for a standard building location (plot
Vi 13 and 15) consists of 175 dwellings and 212
c
'"
0. parking places. The parking facility built is
caught between the side carriageway and the
existing quay construction along the
Rijnhaven . Two residential towers with a height
of 55 meters are situated on top. These towers
are linked by a 4 to 5 storey high building in the
frontage line along the st reet. The space up to
the frontage line along the Rijnhaven can be
used in a flexible manner. The building
envelope for the tower building is 36 meters
deep. Assuming a width of 22 meters per tower,

CJ
th is results in a layout typology of 5 dwellings
per storey. The dwellings have an average
gross size of 150 m2 •

,i public space
~ __J
The public space on the Wilhelmina pier is to be
divided by the urban design structure into th ree
zones; the quays along the river and the
Rijnhaven, the inner area where the
----, warehouses used to be and the !wo strips for
-LJ the new high-rise buildings. This tripartite
'0"
0. division has !wo peculiarities: the

:[]l
,
;
I
~

~
~
i
i
I

~
~

~
c
'"
Q;

"0
C
:J
0
Wilhelminaplein and the Koninginnenhoofd, and
the surroundings of the previous head office of
the Holland-Amerika Lijn, the present Hotel New
Vork. The quays along the river and the
I ' I c;, Rijnhaven form the cohesive perimeter around
I
i the Wilhellmina pier. Accessible to the public,
I
I i! they offer a walk with long views over river and
1- Rijnhaven. In addition, the quays retain their
working function: for inland navigation at the
Rijnhaven, and along the river for cru ise ships.
The quays are paved with cobble stones; a
strip of concrete industrial paving slabs
provides a flat surface on the river side for
provisioning.
o
0.
The inner area around the former warehouses
consists of gene rous pavements on each side
'"
c
:§ of the access streets. The carriageways are
3
.D
asphalt, forming an entity with the main roads in
"Kop van Zuid" . For the pavements, use has
been made of long, sand-coloured tiles. The
light colour brings a light quality to the narrow
st reet profiles and fits in weil with both the
existing brick buildings and the modern,
technical materials of the new office buildings.
36 MASTERPLAN 'Wilhelminapier"

Projectbureau Kop van Zuid i.s.m. Palmboom & v.d. Bout

9 >l ~
, "
In the wide pavement in the middle strip, an <r:
ëo
cD
element newly to be developed wil! provide <i: I:
I: , .2
lighting for the carriageway and pedestrian o
.~
, , t>
Q)

!: ~ IIs ,:
on
area, and an opportunity to hang up festive Q)

'"
bunting. I'

The public area in the high-rise zone along the .

river is largely situated on the roof of
:: I:
l_.!-
L.. __ ... ____ J

underground parking garages. Rising about a

metre above the surroundings, th is offers a
perfect opportunity to enjoy the view from
ample benches. Two squares form the entrance
'.
,
: 6 ,
L___ J
,,
areas to the office buildings. A glass roof ,, ,
~I
construction offers protection against wind and 9',
,
rain. Three comparable squares have been ,,,
designed at the side of the Rijnhaven. As there
is no substructure of parking garages, trees
offer protection. ,
~--- _.. -_... -- -- - ----------- _.. ----
Widely varying atmospheres can be found
within a smal! area. This demands a coherent
detailed specification of the public space. It is
proposed that a collection of furniture be
designed for the entire public space, including
the sites sold. Two areas may form exceptions: ,,,
the landing square and the head. l- -- ------------------- -------- --- '
The landing square forms the approach area to ,, .
the "Kop van Zuid" and the Wilhelmina pier. The
square is the lively hub of traffic routes and
pedestrian flows. Architectural objects and
special buildings are the most important eye-
catchers. The overhead rails for the trams and - --, ------- -T
, /
carriageway lighting on cab les create the
/
impression of a roof above the square. Two /
groups of trees on each side of the square
reinforce the framework of the high-rise building
and add an element of a smaller scale to the ••
.
•
I
/
I
/
large entry space to the "Kop van Zuid" area. I
In contrast to this, the Koninginnenhoofd offers I
peace and perspective. In the northern strip, a 1--- ----- ------- -- -- ------- ------ I

i~
special programme has been indicated. a high- I
level garden, linked to the upper storey, forms
a balçony over the river. A raised jetty offers
l : I ! li ,
/
/
I
: .. .. .. _____ ..L
the ultimate vantage point. On the quay, the ~ --'--_: ---- ------- ---- ------------
terrace of the Hotel New Vork is situated,
complete with an awning and tea pavilion. The
jetty for the service to the right bank of the I-
\
---1-------------------------------- :, ,---------r
I
Maas is on the Rijnhaven. #: /.
ti .~.
.... $
§ 6, -< I
I •
\
I ,
:,' /
/
+- ------------ ~ --------- -------------- ' I
I
/
I _ _ ____ - _ .. _~

, , :
\C~ R :a --EE~~ i::.
1
 37

<t- direct access parking.

I
As far as provisions for direct access to
~
building entrances are concerned, it has been
"0
.~
assumed that these are in principle not
E
~ necessary. After all, the width of the st reet
C profile offers enough room for stopping along
I
(I
g
.
>-
~
<7
..
the carriageway, and the street has a peaceful
character as only terminating traffic is present.
"
"0
1 ~
u Should provisions for direct access to building
:!
~
<7
'ö entrances nevertheless have to be designed in
~
. exceptional circumstances, these wiU have to
~

g'

r ~
be given a clear form. The main entrances of
~
0. the buildings concentrated close to the
0. 0>
u ~ e squares and plazas should then be considered
:ë ;: :§
0>
~
0. .~ ] as possible locations for provisions for direct
access to building entrances.
:N
~, ~
C'
C urban design rules
L
The urban design rules are divided into five
categories. These categories are, in sequence:
the substructure, the superstructure,
transparency and two alteration options.
The rules relating to the substructure define the
structure and organisation of the public space
by means of frontage lines, the building to be
implemented, desired situation of the parking
garage or service entrances.

T n ·
~
This set of rules forms the guarantee of a clear
and high-quality distinction between the areas
~0.
to be sold and the public areas.
C' ~ The rules for the superstructure re late to the
"0
C
~ ~ ~ ~ maximum envelope of building above 7 meters
L ~
~

~ : high along the Rijnhaven or 8,5 metres along

. .~ ! I
.<:
0> .,
~ the Maas. This guarantees the future quality of
, "'E ~
0. 0.

~ ~ ~ the profiles of the public st reet and the quays.

c u ~ ~
,;
0 ,; The sightlines, sight zones, public passages
"" . "0 .<:
~

C' e 0.
0. e ~
0 'ö 'ö
_ and the building percentages in the exterior wall
~ ~
C
~
0
0; ~ ~
~
! >

.I
e ~ .; 8

··
"0 ~ surfaces along the length of the pier affect the
~ ~
§ '"
~

:g,
~ ë'"
'" c
e ë e .~ ~
,;
:§ degree of transparency guaranteed in the
,g S ,g .!!
.
:Ë 3
3 0. .a skyline of the pier.
.a >- >- 'ö >-

~2'
E E

·.
[ ~2' .2'~ E" u
~
"
.;;E ~ Two alteration options have been added at the

· .~ .2'
.~ :ë :ë ~ :g :ë location of the two plazas along the river quay
~
0 0 E
~ E 0

in order to promote flexibility. Before being able

2
..,, D I D
;; ~ ij to make use of these, the consequences for
··
:;
·
~

e
0-
~ the entire river front must be studied in both
pragrammatical and spatial terms.
"
.~'" .~'"
~

",..-1
1 ·
:;
"
~

··
:;
a:
38 PROGRAMME OF WISHES

Programme of wishes

The new function for "het werkgebouw is a high standard office building with extra facilities added
to. Important is the fact that the building runs longitudinally with streets on both sides. That is
why the building needs central entrances on both si des. After entering the building, the visitor
must experience an impression of space. In this area, an information desk is in use during
opening hours. Escalators are preferred to elevators to avoid the formation of queues waiting for
the elevators

Offices

The space directly behind the facades is intended for offices. The offices must not be designed as
boring office cells or as empty landscape offices. Transparency and openness are keywords in
the multifunctional use of spaces. Considering the volume of the building and the possibility to
divide it in offices of about 600 m2 , it is necessary to introduce two extra staircases, one on each
longitudinal facade. Toilets and cloakrooms must be designed in coordination with these.

Office supporting activities

In the middle area to the left and the right of the entrance hall, other functions can be
accommodated, such as meeting lecture and reception rooms. If these office-supporting rooms
are not in use, the rooms should be transparent. When they are in use, however, a simple
aesthetic means must be insta lied to prevent people from looking into the rooms. Other
supporting activities are a space for copying and binding reports and other documents, a
helpdesk to solve computer problems, a restaurant for the employees, a fitness centre and a day-
care room for children.

Activities connected ta the building

Technical services, domestic offices, heatinglventilation/air conditioning (h.v.a.c.), post collection

and delivery, depots and first aid.

Special Activities

To give the building a feeling of luxury and a more vivid atmosphere, part of the building will be
subiet for special activities. For example the centra I area of the ground floor, possibly together
with a part of the cellar, could be used for exhibitions. Provision could also be made for a grand
café and several shops like a grocery store, a bookshop, a hairdresser, a fruit and vegetable
shop, or gift shops.

Other demands

In addition to the measures needed to adapt he façade and construct new stairs and entrances,
the façade also needs attention from the point of view of building physics. It is necessary to
consider the addition of insulation on the inside or the outside of the façade panels. In th is
context, insulation means more than merely adding materials to the existing facade.

Another very important requirement is daylight. In one way or another light has to be introduced
from above to light the middle area. If it is necessary to demolish or to change a part of the
existing structure to reach this target than this is allowed on condition that safety is not atstake.
Of course, the cost and effect of the measures is important. The general wish is to design in such
a way that there is a difference between the character and atmosphere between the more private
office functions and the more public functions.

The possible uses for the cellar require investigation. It may be possible to use part of it for car
parking. If parking lifts we re used it might be possible to accommodate up to three cars, one
above the other. The quality of offices can be enhanced by the provision of parking lots.
 39

Programme in m 2 , overall 15.000 m2

Offices

The term "office" has a broad perspective. No longer are offices a combination of cells or
alternatively open spaces, (landscape offices). To develop and to design a modern offices
building see the brochure of the National Building Service of the Ministry of Public Housing, Town
Planning and the Environment entitled "Kantoorinformatie, de werkplek belicht".
The directing idea for re-use of "het werkgebouw" is to situate the offices in the outer zone of the
building, adjacent to the façade.
The depth of the office area is based on the structure of the columns , in such a way th at within
the office area the columns are symmetrically spaced. According this system the maximum depth
of the office is L+2A. L is the distance between the heart clines of the columns, while A is the
distance between the heat of the column and the inside of the facade. Because of the structure of
the columns , the offices will also have a slightly tapered form .
From a structural point of view, it is relatively easy to make big openings in the floors in the
middle area between the columns. This is the area outside L/4 from heart column .
Daylight is very important in the offices. This aspect will strongly influence the design.
At both the ends of "het werkgebouw" , there are emergency staircases , but it is necessary to add
a further staircase on longitudinal façade. These are also the places to accommodate toilets ,
c1oakrooms etc. Between the four staircases offices of about 625 m 2 can be located, which
implies that there will be 2500 m2 gross office floor per storey. Adding together the ground floor,
first, second and third there will be about 10.000m 2 gross office surface available.

Office supporting activities

4 meeting rooms each 125 m2 , in total 500 m 2

4 lecture rooms each 50 m 2 , in total 200 m 2
reception 300 m 2
copying department, producing reports 100 m2
help desk 30 m 2
restaurant for employees, also open to visitors 500 m 2

Activities connected to the building

technical services 100 m 2

domestic offices 100 m 2
heating/ventilation/air conditioning ( h. v a.c.) 60 m2
post delivery 30 m2
first aid 30 m2
storage space 1000 m2

Special activities

exhibitions 500 m 2
a grand café 200 m 2
shops (grocery, bookshop, hairdresser, gift shop etc.) 800 m 2
day-care centre for children 100 m2
fitness cent re 200 m 2

Total requirements

offices 10.000 m2
office supporting activities 1.630 m 2
activities connecting to the building 1.290 m 2
special activities 1.800 m 2
40 THE DIFFERENT DESIGN SOLUTIONS

The different plans

With a given programme of wishes andan existing building, it is always interesting to see how
architects manage to find their own solutions by fitting their plans to the building. The differences
are based on the creativity of the individual architects and the ways in which they interpret the
strengths of the design and the quality of the existing building. The significance of the solution in
relation to the immediate surroundings of the building is also important. This is true for the
'werkplaatsengebouw' of the architectural firm Van den Broek en Bakema.
For the students, an important factor is whether they look at the building as a building worth
preserving or merely as an economic unit; a collection of building elements, both the function and
appearance of which can be changed .

The plans designed by the student-architects show a variety of solutions and follow a variety of
directions. In analysing the plans, it was usually possible to determine the dominant aspect that
led to the design. To produce some sort of order we arranged the plans according to what we
considered the dominant aspect. This does necessarily mean that the chosen factor was the only
one that determined the plan, or that it was given a much stronger weighting than other factors by
the student submitting the plan.

The design factors are:

change of mass;
light;
routing;
change ofprogramme;
special use;
facades.

Change of mass

The projects placed under heading 'Change of mass' are designed in such a way that the new
form has a bigger mass than the original one. The order progresses from small changes to major
modifications. The first example is aredesign with only an element on top of the building as an
eye-catcher. The second example adds a new floor to the existing building, which was always an
option that could be easily realised. The third group of changes includes the addition of building
elements to the existing building in such a way that these elements break through the original
building envelope. Subsequent designs use the area originally covered by other buildings. The
positioning of each plan is related to the possibilities of changing the site plan for the 'Kop van
Zuid'.

Light

Many of the proposed interventions involve the creation of means to introduce light into the
building in relation to the functions given in the programme of wishes. The most extreme are the
redesign plans in which functions which do not require natural light are placed in the middle part
of the building. One of these plans uses the middle part as a showroom for cars and for a car
park. Here individual parking space is provided next to each office th at is rented .
Slowly but surely, we proceed through a series of solutions proposing the location of lecture
rooms and meeting rooms in the middle part of the building. This group continues with options
using small light shafts to create light spots within the building, finally increasing to the creation
of big openings in the building.

Routing

Routing has been chosen because in some study projects, owing to their degree of visibility, the
routing of means of access to and through the building plays a dominant role.
 41

A big staircase extending through the building and always visible is one example. Alternatively,
large wide staircases that are circular in form may work in such a way that the staircase is partly
astaircase and partly a slope. Another example develops the routing so that it is like strands of
spaghetti going up into the building.

Change to the programme of wishes

The order in which the projects are presented is related to the given programme of wishes. The
first examples differ very little from those given in the programme. Then small changes are
added, leading, for example, to the inclusion of hotel functions in relation to the high quality
offices and to the addition of apartments. Later plans deviate even more from the given
programme of wishes but, on the other hand, we know that the Municipality of Rotterdam itself
also wishes to use the building for another purpose.

Special use

We selected this group to give a better illustration of some of the basic ideas. One of the designs
uses a horizontal division of functions instead of avertical division. The office function is also
translated into the provision of office accommodation for young people and for 'sport related'
offices. The last plan in this group opts for a different type of spaces, 'blobs', which dramatically
change the atmosphere in the building.

Facades

The question is what to do with the minimum facade. The discussion concerns the forms and
new functions, not the architectural quality. Can the facade be used for the offices or for the
public functions? Several interventions, for instance, are intended to retain the present outside
image but to improve the insulation by adding material to the inside of the facade and to change
the windows by using double glazing . The range extends from doing nothing at all that will
change the appearance of the facades to the partial or total removal of the facade. To give the
student's solutions a place in the list of options we have added a chapter on facade systems as
an appendix.
42 CHANGE OF MASS'mast'

Helmut Lorenz, Anja Meerhoff • Prof.DipLing. H. Bühler

 43

. . . . . . . . . . . .••............
........................ . . .. .

.. :::::::::.:;.,:.::::::~': ~: ~: ~: ~: ~: ~ ~ ~ ~ ~ ~ ~ ~.~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~: ~::::':"

... ...................................................
44 CHANGE OF MASS 'creating an inside world'

Andreas Feijen, Marianne Korat. ir. T. Jütte

When we looked at the new plans for the

Wilhelmina Pier we noticed that the adjoining
buildings had corridors. We thought it would
be interesting to create a connection between
the building of the Holland America Line, our
design~object, and these new buildings, so we
wanted to create a gallery which would run
through the building, opening into an enclosed
space. This was to enhance the idea of
creating an inner world with the facilities that
a normal working space would need.
Inside this enclosed space there are the most
public functions like a lower arena where
exhibitions and informal meetings can take
pi ace. This is to create an inviting area from
which the whole building can be experienced.
From this space the structure of the building
can be viewed, this being an essential part of
the initial design by Van Broek and Bakema.
The 'important elements are the mushroom
urban context
columns and the floors that are projected
*outside in the facade. To have more light
penetrating into the building we cut out parts
of the floors around the mushroom columns.
In this way the columns are emphasised by
their vertical sequence running from the
ground floor to the top floor.
We thought of creating a space served and a
'serving' space, the latter ' being a box that . ~
houses all the functions that the offices on the
upper floors might need. This box is
L . -.
-
separated from the projected offices that are
behirid the facades of the building. This box ..
also creates different spatial characteristics,
the large space being the most public, and the
gallery-space being an area for vertical
movement. The area between the offices and
the box is the most private space.
ground floor
We added an extra floor, both for functional
reasons (the big program), and
architectonically, to create a classical division
of the facade into three parts, consisting of a
basement, a middle section and a roof. The
entire building is covered by a roof structure
that consists of steel beams and panels that
control the flow of light into the building. We
!-.
made a differentiation between the warm light
of the south and the cold light of the north.
This northern light is reflected into the building
by yellow panels.
For the facades we decided to retain the
concrete panels which are also characteristic
of the building. Only on the ground floor did
we change the facade by using a different
material to create the same irregular
structure. To invite people into the building we south façade
 45

wanted to use glass to create an open grouncf

facade with views into the inside.

A part of our concept that we wanted to elabo-

rate was the box with all the 'serving' functi-
ons. These functions are an exhibition area on
the ground floor, a fitness centre and meeting
room on the first floor and a copying room
and meeting room on the second floor. On
the third floor there is an office for domestic'
matters and a meeting-room , on the fourth
floor there is also a meeting-room and a section a~a

restaurant. Connecting these functions are the

elevators and the staircases.
In contrast to the transparent facade of the
offices the outside appearance of the box is
closed off.
To emphasise the separation of the box from
the existing building we wanted to use
materials that are not used in the original
building, like steel and wood. To further
emphasise the different structure of the box
we introduced a grid system.
We used the existing floors for the new box to
secure the stability of the whole structure. The
floors between the box and the offices have
openings in them to allow light to penetrate .section b-b
deep into the building.
The bridges that connect the box to the offices
are located in these spaces and detached
from the construction.

box nortn faeode

Plrs"tctiyt
46 CHANGE OF MASS 'bakema'

Przemyslaw Hrycan, Hubert Kolarczyk • Prof.Dr.-lng. habil. A. Kadlucka

 47

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48 CHANGE OF MASS 'the class building'

Goffredo Poggiaroni • ir. A.C. Mandrekar

The building is based on the principle of twö-

dimensional growth and does not have a ( \
visually complete top level. It is characterised
by a schematic repetition of the compositional j
elements of the facade, that give it a rigid and
cold atmosphere and a *flat/straight visual
effect. The second most important feature is
that the interior space is horizontal in its
development and the inside space is much too
dark for any of the proposed functions.
My main idea was to let the building grow in a
vertical direction and to make a different
division of the interior space by creating a big
public space opening onto different floor levels.
Inside a promenade connects three different
big boxes that characterise the building and
that extend to the top floor level.
The final result is a building cut through by
three independent structures.

1
1
v .
..... 1
 CHANGE OF MASS 'the boat office' 49

Marco Polastri. ir. H. van der Heijden

The idea to demolish and renovate the

Bakema building in this way was suggested
by the coldness of the external aspect.
I thought that it might be mazing put a shape
like that of a ship in the centre because
Wilhelmina Pier is situated in the most
important port in Europe. It is in a city that
does not care about the sobriety of its
architecture, but enjoys breaking into it by
admitting impressionistic modern styles.
I achieved this by changing the external
aspect only of the more important facade,
which faces the front of the New Vork Hotel.
The existing facades remain on the other
th ree sides sa the aid external walls serve
only as a shell.

View of the front with the "baat" which breaks

out from the new facade made of
semitransparent Plexiglas panels

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Scheme of the plans, ground floor and second Technical detail of the new facade structure
floor. Above the longitudinal section

Technical detail of the aid facade structure

50 CHANGE OF MASS 'inside-outside'

Maia Bujak, Michal Miçtka, Dominika Sçk, Pawel Zuk • Prof.Dr.-lng. habil. A. Kadlucka
51
52 CHANGE OF MASS 'vertical volumes'

Barbara Crocci • ir. T. Jütte

The building and the main concept of the

project

From my point of view the building of Van den

Broek and Bakema is characterised by its
strongly horizontal structure. This appears
clearly in the drawings of the facades, which
show the slabs of the floors and the partitions
of the facade itself that is the same
throughout the length of the building. Some
vertical elements can also be seen projecting
from the mass of the building. These are the
centra I staircases, the two safety staircases
on the east and the west facades and the
chimney. All these elements suggested me
that I should work on integrating horizontal
and vertical lines.

The project

In trying to find a way in which to integrate

horizontal and vertical lines I considered using
kinds of towers which have vertical masses
that should reveal themselves both inside and
outside the building. They appear in the
ground floor, completely disappear on the first
floor, reappear in the floor above and continue
in this pattern.
Where th ere are vertical structures I have put
on a new shell that is a glass facade. Th is
retains all the height of the floor, while in the
'horizontal building' I have retained the old
facade, adding a new one inside for a better
insulation and in this way creating a climate
facade.
Inside I also have horizontal and vertical
elements. Apart from the previously
mentioned staircases and the towers , I have
added a new staircase opposite the old one,
which has the same shape and two atriums
that cut through the building from the ground
to the top. For the horizontal building I added
two curved lines which are sometimes wal Is,
sometimes glass partitions, and sometimes
the edges of the atriums and which form an
ideal connection between the vertical
connection elements (staircases).
 53

Functions

On the ground floor I have put the community

functions such as the shops, the restaurant,
the children's room and the fitness centre.
Above this I have three floors of offices with
all their facilities, while on the fourth floor part
of the building is occupied by offices and by
the grand cafe which provides a view outside
towards the Erasmus Bridge and the city of
Rotterdam.
The remaining part of th is floor is for the
exhibition rooms. Here some rooms
correspond with the 'towers' while in the
remaining parts the space is divi.cted by
mobile panels. These can be placed
according to the requirements of the exhibitor.
On each f100r parts of the paved area have
been raised to give a different quality to the
space. Here it is possible to have more private
offices and see different views from those at
the normal level of the floors, owing to the
effect of the different floor levels.

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54 CHANGE OF MASS 'one and two'

Reimar von Meding • ir. A.C. Mandrekar

1 Re-using the city

The urban aspect

An urban analysis based on the master plan

of Foster Offices was made for the
reconstruction of the "Werkgebouw HA L. ".
The same density was used to put the
masses of the high rise office towers onto the
Wi lhelmina Pier. The most important change
appears in the axis formed by the old
buildings: a public square has been
introduced to form the heart of the pier. The
reconstruction of the building had to introduce
a higher quality to this square and had to
provide for some activities in the square.

The connection

The most important intervention was the

introduction of a pedestrian bridge that
connects the square to the roof of the
bu ilding . This continues the function of the
square onto the roof where a terrace
accommodating a restaurant and café creates
an urban spa ce. A steel pergola is used to
demonstrate this continuity to the visitor. Even
when walking at ground level one can already
imagine what is going to happen on the roof.
The bridge gu ides the visitor to the roof. But
this is not its only purpose; the bridge has
also been introduced to increase awareness
of being on a pier. From the ground level of
the pier there is almost no opportunity to see
the surrounding water. From one level higher
it is possible to look down onto the water,
which is why it was necessary to make the
square public.

Entering the building

The main entrance to the offices is on the

other side of the building. If you want to enter
the building from the square you pass the
shops that are located on the ground floor.
Removing the aid facade from this part and
placing a new glass one deeper within the
building creates an arcade that wil! give the
shops a improved quality. Walking under this
arcade you enter the building via a ramp that
guides you to the first floor, where the
entrance hall with areception and information
desk located .
 55

2 Re-using the building

This program involves a new function as

an office building which it should now be
possible to rent to different organisations.
Only the first, second and third floors are
LONGITUDINAL SECTION used for offices. To make the building flexible
offices adjacent to the windows can be rented
in units of about 90m 2 with a depth of 12m.
The zone in the middle of the building remains
ROOF free. Here all public facilities like lecture
Restaurant rooms and conference rooms are located.
Café
These bigger rooms can also be hired
Square
independently of the offices - for example for
acongress - because they can be reached
without crossing the office-zone. If you rent a
bigger part of the building it is also possible to
THIRD FLOOR use the middle as workspace for teamwork.
Offices Several parts of the floors are cut out to
Conference Room provide access for light for these spaces and
Lecture Room
to make them more attractive.
Technical Service
Space and light

The openings in the floors that admit light are

SECOND FLOOR not meant to provide light for the entire
Auditorium
Offices building but to create 'light accents'. The old
Conference Room block of concrete for the stairs and lift stands
Lecture Room in one of these openings. lts walls will be
painted white to guide the light into the
building and to show the vertical element in
this very horizontal building. The openings in
FIRST FLOOR
Entrance Hall with Reception ~IP:~:::ç::j the floors conneet the upper three levels. This
Helpdesk & Copy Departement '==~~~~ is what had al ready happened in the design of
Offices van den Broek and Bakema wh ere the ground
Conference Room floor is an independent element. The opening
Lecture Room through the entrance hall is the only
connection through all levels. It is there
because there should be one place inside
from which to experience the dimensions of
the building .
GROUND FLOOR
Exhibition
Shops The façade system
o 0 0 0

The facade of the high-quality offices has to

proteet the building against the effects of
moisture, sound and temperature. The
BASEMENT concrete elements cannot do this. To make
Exhibition sure that insulation will be of high quality we
Storage have chosen to fit it all round the building.
Technical Service ~ This will be done by using the old elements as
Shops
E§?'~
a basis and screwing press-profile onto the
1:2000
o 0 0 0
outside. All the new elements such as double
glazing, windows and blinds will be fixed to
this.
56 CHANGE OF MASS 'the interlock'

Gemma Vidal Carner, Rodrigo Alaminos Rodrigues • ir. H. van der Heijden

The project started by considering the

meaning of 'Renovation'. With regard to a
building, it means designing a project that
should be able to re-start some activities
according to new demands and . also .•
establishing a dialogue between the existing
elements and the new ones, while taking into
account of the differences between them (e.g.
[QJ
structure, materiais, light.) In field of offices
we thought about a new type of worker: he '
comes to Rotterdam for a short time and
needs a place to work and to rest. So in a
programmed way, the project deals with the
ö
progressive use of spaces, which range from ~~ ... -p w
>
w
the more public to the private, and also with
the possibilities for different types of users .
~~
+
(e.g. (individual, group, team).
l--·t 1 11
0 .... .0 = = . / ," .

t !f"4:. ! ..' ..
. 0 " "l!J'O
8~itf

In architectural terms, we think that ' the

reasons for intervention in the existing!!iJ ...
L[iJ-iii
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IiI!i]j
,.
LliNri-.in,
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liP~ ..cUiTI}-iliii
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building must arise from understanding of the
building itself and also from its links with its PRIVACITY OEGREES.
actual surroundings, rather than from the
programmatic and technical demands. The
new landscape of which it will form part in the
future must also be taken into consideration .
Nowadays, the 'Werkplaatsenggebow' is like
a monument to post-war architecture (with
its typical columns and interesting facade)
and it works as a screen behind the departure
building of the Holland America Line. In the
future this will not change and there will be a
system of squares on the ground floor of the
peninsuia. .
 57

The project started by aiming to add a new .

box in or around the old box to solve the
technical problems. Finally, the new box was
moved to the side facing the Holland America
Line building and the project interlocks the
two boxes, where the image of the screen is
kept and a new square is introduced in the
basement of the building. The light is the link
at of the boundary, just where public vertical
circulation is introduced, and divides the plan
into three strips. The offices are in the middle,
with their private space to the si de,
overlooking outdoors and having different
relation with the old skin and the new one.

fACAOE RENOVATION: Even in the plan, these differences exist, so

one of these spa ces tries to keep the
characteristics of the old storage building
(with a free space as it used to bel· The other
is a completely different space because the
new box floor is moved down and cut, giving
split levels to th is part, either showing or
hiding the old facade that takes an inner
position.
The different relationships between both
facades on each their side is what
characterises the inner space, in the same
way that the light is introduced through them
in the building. Old and new make an
interlocking system that creates a new
building, which tries to emphasise the old
one. Two become one.

The offices are understood as being a space

in which to work and receive visitors. Ready
individual work places, the offices are free
and flexible spaces in which curtains, light
and views are the tools. Twice on each floor,
just near the entrance to the offices, there are
the common services: a place for social
relationships: people resting at the end (near
the outdoor facade), making copies, or just
talking. Look above you ... The sky, sounds,
bridges ... You can't cross it. .. Privacy.
58 CHANGE OF MASS ' .. a renovation for bakema, a place for rotterdam ..'

Massimo Pauletto, Steffen Vogt • ir. A.C. Mandrekar

t . floor
1 : 500 offic••
1 : 500

north f •• lII!ade 1:5 00 nat t ....de 1 : 500 cro.. ..ction 1: 500

F"'t
l2t
-.
~
.-
 59

for Rotterdam
~

ENERGY
60 CHANGE OF MASS 'the human scale sandwich'

Natasja Roodbergen , Sanne Meelker • ir. F. Colautti

--)
Urban Reflection

Although the urban design for the Wilhemina

Pier y Norman Foster is weil thought out, we
tradition41 sa ndwic h
feel that it disregards one aspect: the human
scale. With its towers , which on a Dutch
scale, are of unusual heights, there is a risk
that pedestrians will feel like dwarves in a
land of giants. Measures have been taken to
prevent this on the two quaysides but, in our !
opinion , the middle zone has been forgotten .
Hence, our concept keeps the human scale in
mind as much as is possible. The Las
Palmas building remains a big , dirty 'blue-
collar' or workingman's building and , if one
wishes to keep some of the harbour activities
on the Wilhelmina Pier, it should not be
transformed into a shiny new office building.

The strip

To give the people who work in the high-rise

office building on the pier something
interesting to look down onto, rather than just
another boring strip of bitumen, we pro pose
making a strip of apartments, roof terraces,
cafes and a 'boulevard' to connect the
buildings in the middle zone. We kept this
idea in mind throughout the design process
for the Las Palmas build ing.
. ~.

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,-, i

o o 0
topview roof

/
/

~ stai rway to sportschool entrance a nd bicyclebasement

firu OO<H
 61

restau r ant / cafe

The sandwich

We were very keen to respect the legacy of

the building and its site. We do this by
keeping the character of the old building intact
as much as possible. Only the ground floor
facade will be demolished . This will leave a
volume of three white layers raised above the
street level and supported on immense
mushroom columns. These layers resembie
three slices of bread in a sandwich. This is
just what we wanted to do with the building: to
make a very nice sandwich . However, it is just
the opposite of a traditional sandwich , which
has the slices of bread on the outside and the
interesting filling is between them .

Activity

The top layer (apartments and a cafe) and the

ground floor (day-care centre, library,
swimming pool ) of the building will become
hives of activity. These features should
provide a spectacle for the passing
pedestrian ; a reason not only to just walk
along the quays, but also to move into the
middle zone. To achieve this we will replace
the old closed ground floor facade by a glass
facade. In several places we will break open
the ground floor to expose the basement in
order to allow the passers-by an interesting
view of the activities taking place th ere.
Furthermore, we have created a passageway
underneath the build ing . This will provide a
more interesting route for pedestrians from
one avenue to the other, as an alternativeto
jUst taking one of the narrow streets between
the buildings in the middle zone.
62 CHANGE OF MASS 'the hurted duke'
Ibon Usobiaga. ir. H. Wilton
In accordance with the location and the new
functions of the building, which include the
provision of offices and services, I propose
dividing the building into two parts.
The first is a public area that includes
different services such as shops, exhibition
halls, a dining room, a gymnasium and a
restaurant. This part is directly connected to a
square that will relate the building to the
surrounding space. The second part, which is
located on the upper floors, is the office area.
To achieve this aim I will create an atrium
and a wall , wh ich will make us experience
these two parts as one spa ce. The atrium
includes the vertical services, concentrating
them in the centra I part of the building and the
communal functions are beside the wal!. This
will allowafree plan, giving access to light
and creating a more dynamic distribution of
the space.
 63

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64 CHANGE OF MASS 'the box of glass'

Sara Orsenigo • ir. A.C. Mandrekar

Introduction

One of the most interesting points is

represented by the "free" space at present
existing between the building in question and
the Hotel New Vork.
My project therefore originates from the
intention of creating a route of functions that
':PJA22A
starting from New Vork Hotel - where public • 'I'

activities already exist - enters the building

and, passing through the various floors,
reaches the top floor where an exh ibition area
will be located and where the various artists
and craftsmen occupying stud ios will be
allowed to show their products. ;----- _.~----- - ----*

' - - -- - - --~----
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Projected route .. . ~'.r::;, r:--'. ~~ . ,I. --.:; . •/

What I have really tried to do is to respect

. •

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the entity of the build ing as much as possible, , I' ['::1 lil-
~._------- - ------ - ---.;
while at the same time effecting astrong and
firm intervention, that is visible and
recognisable. This is intended to introduce
"light" as an element through "cuts" that in my C· :., ' l-'.-.=-=e=
~. .. ' . . . r . '- . " rl
.,I
opin ion look interesting and easy to
/. ; . :..f:':'::~:::~~
, ~. . ,
understand. These generate the idea of
forming real boxes of light entirely
l'
, .. 'o._._:.r:::
j'--:'::I .~.. . ..
~..:..J
'? j

.
.
..c. E
..
~
; I
composed of glass, through which light I L; . . ".....-t-- :--.~
penetrates into each floor. Tied to the building I. '- - - . '===.
. . . .,,·l. i· , . ' 1. .-
- -
itself, they form something really separate,
with their own performance and structure.

r
Their fitting is in no way accidental ; these
boxes have been conceived in relation to the
sta ircase blocks, projecting out of the building
~""~ "I~·r_~~··
~. . . . . L-.:- " ~ ..
. .l.:, ' ~' r ,-&tr::-]
structure but completely independent of it
, . ,:, /:. . ..-.- .,..LT:' .: ...~.-
•,./ ..
~. "7,.", .n. , . . .~
having a fully separate inner soul. In the
1 • •
same way, the resulting new "light boxes" are
. /--'-- I" . • . -. ' . "
supported by a new structure and project out , .
of the building creating real "totally free
inside spaces 'made' of light". They are
located along the longer sides of the entire
building extending from the basement to the
roof and above, thus extending beyond the
perimeter of the building and forming
elements visible from every side.
My "real route" , starting from the basement,
now becomes visible.
Where the resulting boxes are visib le on the
facade, there is a "relative access" to the
basement.

I call it "relative" since we enter spa ces

completely free and full of light and in one of
these spa ces (the one directly facing the
square) are located the flights of stairs the
real "route makers". They are designed to be
suspended, "floating " in this "empty" space
 65

.
v
-' ~ ~~ /

~. ~~
til ~
~

and composed of light -non rigid materials ..

Everything must be fluid and perceivable as
an attempt (in so far as possible ) to let the
columns give origin to the space, through
)
keeping their integrity. .3
The space is planned in such a way that the
existing spatial perception is maintained
(reference is made to the columnar grid ): • ~TIC.Vl.,\1t. ,s'T'EEL
neither real partitions nor walls exist; there ~"'R.VC.TV~
are only a few low transparent sectors
dividing the space. Everything is composed of
steps, exhibition areas and meeting points.
And here the ateliers are introduced to
emphasise the meaning of " route": steps
after steps. Up on the flights you can
participate in the work that is being carried
out at that moment inside a building that is
created for the work itself. Everything leads to
the exhibition in order to give "life" to the area
and to the building , even after the working
time.
The floors are connected to each other not
only by the flights of the stairs, but also by
1--
the light boxes, by the light itself and, finally,
by the various functions .
As explained above, these boxes extend
beyond the perimeter of the building to
elements connecting with the existing ones. -~-~_ ..
They are weil defined and primariiy 'self
supporting '. I would dare say that they are
bearers of an additional and very important .:
,
_ f.
.
.
element: light. . -'. ~
"-" ';Ir~
.~

Structural route
~ ",1
-_._ \\
-,
IJ

"~' _--D
Entirely made of glass, each box is - ... -..
completely supported by an independent \\ j ..'
->I
t t -' ê _.~

reticular steel structure that, like an arm , \ ,~ .- ' A

,) \ I' ,.-'"
~,- ~-\
starts from the basement and little by little . '\\, 0

l\i, I ' ~ I/f ~

_~.,,-_ . - - -
rises to support the transparent glass \ ,
1\' II -" -:; , r ___

windows. \,~I~ . -~.\ _____

Between steel structure and glass sections \~' ..
- - -- - ~
~ ----
proper supporting anchors are located so that
the glass windows are completely suspended.
\\-_
\ ' I"
.. -.--_.-----
66 LIGHT 'the use of the dark space'

Jokin Martinez Iturregi • ir. H. Wilton

LAS PALMAS
THE USE OF' THE DARK S~l:tCli:.: ,Lotsof~\ buildings which
""'" . " " . . s or dwellings are"<ê'f'êäte:d ::'ire origin as "

ging
give them a use which doesn' t
parking. In this way a new concept
parking together with offices .
. ------_._- -.-- --- -- .-.---- -_._- .
I
I

Jokin Mllrlinez Jturregi

 67

HOTEL NEW YORK

FLOOR 1 AND 2
~ .
68 LIGHT 'hybrid'

Daniel Festag • ir. H. van der Heijden

SART

MoveD rACADE VIEW

4 OFFICE

secnON WITH BOXES

3 OFFICE
o

2 MARKET
PERSPECTJVe NIEW LAYER.

1 STORES

-I ~~
I
I
I
I
: ~~
_ I

E PARKING:
 69

• •
• • • • • .
D'
- . ! ! i ! !
I 1111111'
•

SITUAnON

ö ö

R
- ~

, ö
~- --- - - - -~- - - - - -

CONCEPT

AOO AND MOVED

ö 0

0. 0
o 0
PROPORnON 1
o

o 0 0

•
o 0

o 0

o 0

PROPORnON 1

o 0
o

o
•
0

0
o

-- 0

0 o

omlt
o
• 0

• • • • •
o 0 o o o 0 o 0

o o o o
~O o
VIEW FROM wtLLEMSKADE 0 0 0 0 0 0
0

o 0 o o 0

SCALE 1 : SOO
70 LIGHT 'life is multidimensional'

Daniela Büter, Sandra Desmarowitz, Gernot Hildbrand, Franziska Kist. Prof.Dr.lng H.E. Menneman, DipLIng. M. Thesing

MICROCOSM:

1. The 'littie woridJof human nature; man

viewed as an epitome ;ofthe,'great world Jor
universe.
2. In extended sense"applied to a
community or,,;o thercomplex .unity .{
regarded as presenting~p epitome of>the
world J or as consituting1a little world in I

itself.

-. - --",

. - . _._-_ .. ---_._- -- ----- ~?r;~{f~lij[;

 71

The Wilhelmir:ta pier should

function like a smal! town. The
proposed use of the pier con-
stituting living and working ,
should be improved by additio-
nal leisure facilities. The cen-
trally situated Bakema building
fulfills this role with alively
abundance which satisfies
many different requirements.
Functions such as fitness, rela-
xation, workshops, offices,
a24hour shopping mali, cafés
and restaurants and other ser-
vices are all united under one .
roof.
Apart from a few careful altera-
tions, the facade remains
much preserved. It reminds
one not only of the past atmos-
phere of the area but also of
the expressive functionalistic
style.

functIons: prospect of Rotterdam

sport,refaxatlon
workshops,studios
24 hóur shopping
mall,cafés and restáu-
rants

access to pUbIic space

····1······1.. • swimmiing lane

72 LIGHT 'night d'light'

M.M. Graafmans • ir. H. Wilton

The entrance The New Cultural Square My mind is drifting off and the surroundings
Passing the shop windows, I walk to the I enter the New Cultural Square, and see that make me feel as if I'm back in Pare Guel
entrance, which is accentuated by a big a fashion show is still going on. It's already again . I look at my wateh, and see it's almost
billboard saying, "Open air movie 1984, getting dark outside, but the square is ten o'dock, time for the movie. I walk to the
playing tonight". As I enter the building I see a illuminated by the light shining down from the bar, order a glass of beer and some nacho
system of elevators and escalators going to . cu bes in which the cafe is situated. I don't chips, and walk back to the New Cultural
the upper floors. really feel like fashion tonight so I leave the Square.
New Cultural Square, cross the internal street,
The internal st reet and walk down the ramp to the Old Cultural
The internal street is accentuated by a curved Square. Working D'light
screen, which goes up through the ceiling .
Normally I take the escalators to go to my The Old Cultural Square The next morning
office on the top floor, but this time I'm here The mushroom columns are like trees in a I wake up with a headache. Maybe it's the
for something else. It's not work this time; it's forest, and the coloured light is falling through beer and the vod kas. I have an aspirin, a cup
pleasure. While I walk to the centre of the the ceiling onto the square, like light through of black coffee and some corn flakes. Then I
street, 1 can already see the special light the branches of the trees. I sit down at a small leave my apartment, walk to the subway
effe cts of the images projected onto the table and look around . In the left corner there station, and take the subway to station
outside of the big curved translucent screen. are some musicians playing, and as I look out Wilhelmina Pier. Here I get out and walk past
over the square towards the Hotel New Vork, I the waterfront in the direction of Hotel New
can see a flame-eater performing . In the . Vork. It's busy, although it's still early. A lot of
,centre of the square there are some statues, . . sharply dressed men are going into their big .
 73

glass boxes, which separate the centre of the
pier from the waterfront. The advantage is
that the waterfront is now a pedestrian area,
because the offices also separate the cars
from the waterfront. When I reach Las
Palmas, I cross the st reet and enter the
building.
Las Palmas
I'm a bit early, but that's no problem. I enter
the Old Cultural Square, and sit down for a
nice cup of cappuccino. It's nice to sit down
and relax, with a newspaper, and a cup
coffee before work. It's going to be a beautiful
day. I can see a very bright light falling
through the light tubes down onto the square.
It must al ready be very sunny outside. After
finishing my coffee, I get up, walk to the
internal street, take the escalator through the
core of the building, and go to my office on
the 4th floor, say "Good morning" to the
secretary, and enter our segment.
The light-radiator
It's four o'clock when the group arrives. The
secretary sends them to the waiting room next
to the vide. from where thev can look into the
building, including the presentation rooms, but
they can 't see what's inside. The plans are
hanging on the walls when they enter.
Because of the translucent facade , it's very
light inside, but there is no direct light, so the
plans and drawings are very weil lit. They sit
down; curtains move in front of the walls , and
the 'compuvid ' starts the presentation . The
customers are very pleased, and so are we.
We want to celebrate so the entire group goes
down to the Old Cultural Square to have
some beers in the sun . Before my work is
done, I have to deliver some drawings to the
west side of Las Palmas.

D'light tubes
I always .Iike to go to the west side. This is the
more creative part of the building, with some
UGHT ,~é"'l.· RETtGmOAJ /"-' ~e-/IJ ..IP"""l small studios and ateliers. The special part of
I ÜCHr Tut3~!>/ l-V CWoSEO
.J;J/JCtr/
c--'CI-IT ;?I1t.JI-9Tol? /
"'Ni:>

Sr;w.4/2.t"
this side is the centre . It's a space that can be
Ot/) Cut.TulUt ~6hIARE //..Jrell;<tlfl
Ne-w cUlTU/lAL used as a meeting room , but also as
exhibition space. It's not a normal space,
defined by walls. No, it's a special space,
defined by coloured light, which is falling
through light-tubes. These tubes pierce
through the build ing and provide modified
daylight to every floor. With a system of
rotating coloured shields around the tubes
special places can be created . There are no
meetings at this moment, so I rotate some
shields and create a beautiful spectrum of
colours. Then it's time to stop playing. I
deliver the drawings to the repro-area , and
return to the east-side.
74 LIGHT '3D-system'

Dorota Le~niak, Marcin Pleti, Norbert Wawro • Prof. Dr.-Ing. habil. A. Kadlucka

- renovation of "Het Werkgebouw"of the

Holland - America Line

Îl1 con,,'enti(~~~~~~~l~~~
performances) ;-~;i~~~"~~
exhibitions of

of fair enterprises

the interior as a gigantic chang~g structurè

with aluminium stairs, walls,footbridges,
platforms floors and ceilings easily rearranged
whenneeded. The parts ofthe system are to
be stored in the basement and delivered to the
place ofuse by designed transport lifts.

1,1 1,1 1,1 1,1 1,1 1,1 1,1 1,1

WALL PANELS
2,2 2,2

I 2,2 2,2 2,2

D 2,2 2,2

I I 2,2
 75

they need based on the module of the

Our two main incentives within the process columns. This is very much required
of renovation of the building are: regarding the purpose of the building.
- realising the value of the existing structure
BASIC
- maldng it suitable for the new proposed The mushroom columns have their
STRUCTURE
ELEMENT

the space, especially in tlte --' 19 rg~~g to the insidè. The idea of

le,l;\y~;g ~tè~~:enCYinthe glass r??f is cop.ti~ued on

.. (m~shlf:~ 1;;~~~~oundP()or';'hereweenable~e 'public
STAIRS '.. the.' cèi!îfgs. 10:~~i~àss , under .the building ; aJld ~ee the
which they were sustaining. This
.1., ' .
leav;~ us [interiQr, • wso not enterihg it. Tks ( glass
)\V· t ',._, , '.\
2,2
with a huge space into which we intend to passage is designed with;regard tokthe fact
.....
intro duce a modul ar system, easy to that a pier is going to be apopular
1,1 assembie and disassembie which should entertainment zone for the Rotterdam
enable the future users to create the space inhabitants.

D1
1,1 1,1 1,1 1,1 1,1

2,2 2,2 2 ,2 ~ 2,2

2,2 2,2

WALL PANELS
76 LIGHT 'function and form'

Léon Wielaard • ir. F.WA Koopman

Las Palmas
Ir-...
The building at the Kop van Zuid typifies
Rotterdam . A no-nonsense build ing in a
î( Îr'"
working city that lives from the water, it .. Î
consists merely of concrete slabs , col umns Hi î i7
and facade elements. Exceptions, like the ... p ~1-
cranes and the roof beam are placed just
where they are functionally needed . The
i! ~ !i
renovation design aims to keep the box intact
Î
seetion . -. ' sectien o.b'
and to use the exceptions in a new way. To
make the building alive and interesting,
provisions for various functions have been
situated within the building : offices,
apartments, shops , a café and a swimming
pool.

Design

The design tries to explore the opportun ities of

the building. The existing building is the beat; r---
the new elements are the melody. The lighting t"'rrrr
I '
~ ~ ~
Ipr:~ 4: .
problem is solved by making it into a theme. .. I 11 U II
Light is brought into the building via a big
I ' I ~
~

atrium, small lighting shafts and via the ( I I I

J
I

~! ~~
!;
bottom of the swimming pool. The pool on the
~ .~
roof shows the strength of the buildirtg . The
offices are located around the large open-air
atrium. They surround a square at the first
floor level and galleries at the higher levels.
The apartments have a separate entrance.
I

I!
i

sectlon
I
d
e-c'
~ \
;
i
:
:::l:_~'

1
:I
, ,.~?~

!
~
1-'
~
,
Ir-
..
1
r
l *
I 'I
1
[~ .
\ 'I
.

They have a standard packet consisting of a

loggia, a light shaft and a bathroom. The
remaining interior space can be partitioned
according to the wishes of the residents . o'
l b'
l
----
'-
The facade 0 0 0 0 0 0

-
0 0 0

The facade had to be designed to fit the new 0 0 0 0 0 0 0 0 0

requirements. To ensure adequate insulation,
the steel windows have been replaced by

[XJ
0 0 0 0
aluminium ones. The sunblinds are fitted 0

outside, behind concrete elements. They are

guided by rod rigging . 0 0 0 0 0
c'-
~ rg]
Materials 0
0 0 0 0 0 0

The materials have been chosen to fit both

the building and Rotterdam : simple and 0
- 0 0 0 0 0 C 0 0

functional. Various types of glass have been

used to obtain the desired interplay of light. I I J ,
0
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'b
seeond floar
 77

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78 LIGHT 'greater X office'

Kathrin Pladeck, Tanja-Anna Lutz, Bernd Gesterkamp • Dipl. -Ing. A. Keys

 79

- - _ .
80 LIGHT 'about offices and renovation'

Maite Echegaray Martin. ir. A.C. Mandrkar

Het werkplaatsengebouw

~-f
This building is situated in the planned office
area in Rotterdam , so its renovation and
reuse requires not only the provision of more l~_ ~- J
. .
office space, but also some public facilities. It
was also considered interesting to provide
hotel rooms associated with the offices.

Another aim was to introduce some light into

~
I
1
1
I
--.

'[J
•

~
n

1 1
the centre of the building , which, owing to its ~ .~--...
width , is dark. This has been accomplished by L-1 ,.~

making openings to form two atriums. These

atriums divide the building into two areas. On D.,~ _ _ I
the ground floor, there is a shopping area in :
open connection with one atrium that contains L._ .- __I1
a public park while the second atrium is
surrounded by general facilities for the offices.
There is a lecture room in the middle. The
upper floors of one atrium are surrounded by
conventional offices, while the other one has
the 'hotel offices'. In both cases , access is
provided by a balcony that is open to the
atriums .

One of the main aims was to avoid cutting the

capitals of the columns . This means that the
positioning of partitions is arranged to respect
the mushroom columns . To open the space
as much as possible, many of the partition
walls stop short of the ceiling at the level of
the capita Is, but where silence is needed, the
upper part is glazed. Facilitiessuch as toilets ,
which must be enclosed , are constructed from
extended curved elements to make the space
more fluid.
 81

Constructional details

The actual modules of the facade do not

provide enough insulation. To avoid the
formation of a thermal bridge the insulation is
fitted inside the concrete elements c The
existing window frames are replaced by
aluminium frames with double-glazing. This
solution avoids changing the appearance of
the facade. A sunblind system has been
mounted on the outer side of the south facing
facade. The floors have been raised so that
the working surfaces are higher in relation to
the windows and more will reach the working
area, while at the same time under floor
space is provided for the domestic
engineering installations.

TOIlETS
e ·LI~O --
f'AtL..

ALIJMP,JI!}M
.,.(JINDo ...

He'''~'- ~,..o,., . . tt
~NSVL..A""IO N
82 LIGHT 'about renovation'

Santiago Alonso • ir. F. Colautti

About renovation

We decided to apply our ideas about

renovation to this project. This was quite
difficult and interesting because the building is
very strong in the sense th at the space and the
functions were strongly coordinated. However, Third floor
we tried to use this apparent disadvantage and
keep the personality of the old building, thus
avoiding the loss of its original identity.

We wanted the building to be a part of the

place where it is situated. That is why we
decided to create an open ground floor, with
different commercial areas acting like a
permeable skin and inviting exploration of the
square inside the building.

Because of the mixed function of the building,

we created a communication area in the
middle of it, so that it would be possible to link
all the areas together, while still retaining
Second floor
enough privacy.

We also decided that it would be a good idea

to have a big atrium in the centre of the
building to provide access for natural light and
to create a visual relation between the parts. In . .
~

order to provide space and to make th is idea

valid it was necessary to remove part of the
.
1_-4__~__+-~~~~4-~~~~==T8~O~c~c~o o m · ':
..
~
*""
structure in the cent re of the building. """
Oe>
.,,,,.
me
The office area and the library have internal ~~ __-r__t-~~~~t--1--~--~--AOe> .
staircases to allow people to use the various
services without going out to the main
communication area. All the corridors, open
spaces and visual relations are designed to
First floor
facilitate the circulation inside the building.

The third floor has a different character

because it is the place wh ere social activities
will take place. Meeting and lecture rooms,
supported by a small restaurant, compliment
the different uses of the building.
j.: .~ f~, ~
The facade is one of the most characteristic
elements of the building, with a modular
structure and appearance suitable not only for
an industrial building but also for offices. We
therefore decided to use the old facade, with
new insulation in order to improve the comfort
of those using the building.
J O
Ground floor
Ol
..
 83

I
ji ~j 1+ ::tJ:·q~ ll±E= -:1+1'1= _ ; :FFi..If!=RI I=!=l:l.::!:t H+Hf Jl -'~
Ilê - -t- -.- -f'.f:r:1:E
I
':=f;'~1-'- p++ ::H~ FR :-1+ c:p=p:
~
I I

Santiago Alonso Fdez.de Garayalde

Ainhoa Sorozabal
84 LIGHT 'Sun-prism'

Andra Galánfi • ir. F. Colautti

third floor

Sun-prisms

Since the interior of the building is too dark, I

cut some openings in the slabs. These are
sun-prisms creating atriums that carry light
into the building. The sun-prisms are made of
glass and, because they are of varying
heights above the building, they present an
interesting scene like a little city on the roof.

The horizontal prisms

I have also designed some horizontal prisms

on the ground floor and the third floor. These
do not introduce more light into the building,
but put some emphasis on the entrances.
 85

ground floor

Plants in the building

To highlight the presence of light, plants will

be grown at the bottom of each sun-prism.

Columns and trees

The columns form the very substance of the

building, giving the impression of a forest. I
am highlighting this similarity by planting
some trees along axes of the columns. These
are made visible on the ground floor by
shifting the facade behind them .

Green roof

There is also some vegetation in the open

areas formed by the sun-prisms. The
spectacular view of the green roof and the
structure of the sun-prisms can be enjoyed
from the canteen located on the roof and from
the surrounding buildings.
86 LIGHT 'project chinese box'

Valerio Curti • ir. A.C. Mandrekar

The assigned project is destined to become a'

modern office building with related facilities.
Owing to the nature of the surrounding
buildings, the depth of the floors themselves,
the light structure of the facade, and the
strong constructive elements, this conversion
will only be possible if some of the
characteristics of th.e construction itself are
changed.

The facade is so important because it is a

well-known feature of the image of Rotterdam ,
but in order to fulfill the modern requirements Figure 1 - Entrance view
some changes are required.

The idea that is emerging for the project is to

use the industrial, docks and shipping-related
language, in the same way as the building
has been used , just changing floors and
ceilings in a very simple and preconceived
way.

This is meant to be achieved by drilling holes

inside the structural grid connecting column to
column. This will permit kilo-lux of wonderful
diffused light to penetrate the building from its
roof. Everything can be checked in advance
Figure 2 - Bird-eye view
and modified while the building is in use. Last
but not least, when the new functions are no
longer required Las Palmas can again be
given a new life by the following
reconstruction.

Related to the re-use of things is the use of

old, recycled containers, bollards and
platforms that are very common in the
Rotterdam harbor, to create spaces for shops,
the "grande-cafe," the restaurant and the
stock rooms in the ground-floor and the
mezzanine. Owing to the weather conditions
in Rotterdam, the two internal I'iazzas are
covered. They are situated in the middle
between the two commercial centers : one to Figure 3· Roof
the left and one to the right of the entrance.

The entrance itself is situated in the centra I

part of the north facade; to the right of it there
is a ramp for the underground car park, which
will be mechanised to permit the parking of
approximately four hundred cars. In front of
the existing ramp there will be a new lighter
one, used for the exit.

Tc access the building from its middle point,

one has to turn left or right into the atrium and
to walk up to the information-desk (mason
Figure 4 • Third noor
 87

d'accueil) then, by turning 180 degrees, it is butwell-defined , because I think that the
possible to reach the main core. architecture of the building that I am working
on was not supposed to fulfill all the possible
The old central service core has been uses . It was designed to function only as a
replaced by an escalator core enciosed by warehouse and to provide workshops.
glass-block walls: four escalators extend to
the upper level of the building, passing As my project is quite easy, but at the same
through openings drilled in the network of time complex, the only possible way to show ·
concrete slabs and at the same time the intentions and the purposes is via realor
supported by the mushroom-like pillars. computer modeis. However it is also true that
every architectonic project can only be
The curved bridges giving access to new · appreciated in terms of real architecture, (that
types offices; similar to the ones used to is actual construction), so I am looking
create the Lloyds' building in London , permit forward to having my project built .
free use by the public but also ensure that
there is a controlled micro-climate for each
working place. Lecture and meeting rooms ,
the fitness center and all the other public
facilities are situated in the spaces located on
the third floor backing onto to the brise-soleil
facade panels , the latter being used in and
over the atrium spaces .
The glass tubes passing through all the levels
containing the main systems: light (natural
and artificial by use of fiber-optics) , circulation
(circular metallic stairs and elevators), water
(heating and air conditioning , services,
kitchens and a big aquarium used as a
heating reservoir) , fire (directly and freely ~

Figure 5 • Ground floor

used in fire resistant glasses for heating
circulating air and water) , glass-houses
(providing light, rare and tropical trees ,
vegetation and maybe animais), cables , tubes
and services , and everything el se which could
be needed in the unknown and uncertain
future of this building.

The open ings also permit vertical transport

through the slabs one of the problems,
together with the central location of the
warehouse itself in the city of Rotterdam , that
have caused it to be abandon ed.
Figure 6 . Section over r amps
On the roof, people can relax under a light,
new steel and glass structure in a garden .
This takes advantage of the wonderful views
over the city of Rotterdam . It incorporates the
idea of increasing the height of the building as
8akema had already wished to do and
provides for the technical necessity of having
the air conditioning tubes extending from the
upper part of the building down through the
openings drilled in it.

My intervention is intended to modify the

building in a way that in the future will allow
only certain kinds of functions : very flexible
~ igure 7 . Office type axonometry
88 LIGHT 'inside reconstruction'

Caroline Witten dal • ir. F. Colautti

Program
The offices are situated on the second and
third floors , near the windows and spaces with
by natural light. They are smal! transformabie
boxes with sliding wal!s on rails so that the
people working in them can arrange them as
they like. The offices can be built on a special
pattern so that everybody gets a view and
light. Some other type of offices, such as
cel!s for special work and free landscape
office areas for group use wil! also be
included in the design. The shops are
accessible from the street; they are located
near the openings, while the space in the
middle wil I be used as a market place. The
storage space and the car park will remain in
the basement as they we re before.
Circulation
SITE ~ For the circulation , I am keeping the existing
system, but the original main staircase and
The building was formerly a warehouse for elevator wil! serve the public using the
produets from the port. It wil! be in the centre cafeteria. The office staff can then use the big
of a zone of high-rise buildings. It was more service-elevator. A new staircase wil! . be
important to retain the historie value of this constructed in the direction of the new axis, its
building than its function. For this reason, I position being near the entrance and rest area
think that it is important to keep much of the
original spatial distribution within the building,
such as the entrance, the means of circulation
(elevatorand stairways), and some special
rooms. The public wil! then be able to
appreciate the original function as a part of
the life history of the building.
Concept and functions
Site
new site map shows that only a few direct
views through the tower are possible ... The
direction of the Erasmus Bridge wil! be used
to create an extra floor with the cafeteria and
the children 's area. The space left on the roof,
with a view over the Maas wil! be used to
make a terrace-garden for the cafeteria.
Entrance
I chose to keep the existing entrance because
of the basis my concept and also because it
also works . A wal! coming down from the
cafeteria roof wil! improve the appearance
outside.
 89

near the stairs and the elevator

Service
Service spaces are created along the existing
service axis, which includes the elevator and
staircase system, and there will be some
more closed rooms . At the end of this axis
(near the new stairway) , will be the to ilets and
the service rooms . The more enclosed rooms
will be used as meeting rooms .
ground floor . Architectural system
Insulation
Insulation will be achieved by using double-
glazing . A system will also be used to break
the cold bridge; This system involves the
elevation of the floor on pilots. The raising of
the floors also permits the use of under-floor
heating and gives the occupants of the offices
a better view from the windows . The sliding
rail system for the new walls will be integrated
within the new floor.
Mushroom columns
Same openings will be made within the
building to admit light and provide views of
the spaces situated in the centre of the I
building. I have chosen to retain all the !
original structure of the building . In same
places the mushroom columns will not
support any floor areas. The resulting
platforms will be used ,ta make passageways
aaaa and lighting systems.
a a a.·
I:·· ·.:. ·: ..··, .:

3'· floor

DETAIL INSULATION
==slidin~a~a"
---:-7"'-.,.;,,-=1=__
double ~i <- office sliding wal! _----,..:c......J : ______~_-
_--second floor

gla~ \ i
~ \~ void tor healing
syslem
~.J . ". ~ second floor \
\
Ó"
I' ,,>
ij "- ---,-,.,-L---,---,- -----,--.IJ<I=- exis ling floor

exiting floor
 90 ROUTING 'anderson communications'

Christof Brinkman, Frank Lütke-Vestert, Oliver Saure, Lorenz Tettenborn, Thomas Westerloh • Prof.Dipl. -lng. J . Bolles-Wilson

anderson
communications
342 Park Lane
GB - Preston K7D 3EJ

DearSirs,

we are happy to inform you that our new developments in communications-

technology have al ready reached production status. Since the CeBit starts not
earl ier than in three months time we are interested to present our new products to
our partners at this point of time. We offer you on 500 m" from june 23 until july7
2008 the possibillity to test extensively all the innovations which will make your
data transfer faster and more effective. Like last year again we rented locations at
the Las Palmas-Building, Kop van Zuid. This building is within easy reach and will
provide you with high quality technical installations and excellent catering. We
would like you to be our guest at one of the groundfloor lunchboxes.

More infonnation is available under

http://www.Las Palmas.nVC121Anderson communications

Please do make reservations in time so that we can book hotel rooms and
organize transfer from airport or central station. Like last year we are able again to
offer you tickets for a performance at the Luxor Theatre. Please inform us in time if
you are interested.

You will find us at :

Anderson communications
Las Palmas
Staircase C12
Wilhelminapier
34 GF 54 Rotterdam
The Netherlands

Phone: 0031- (0 )10.456824 -76

e-mail: anderson@LasPalmas/C12.nl

Parallel 10 the usual aclivilies in Ihe Las Palmas - Building our presentalion as
weil as the satellite communications fair lake place on Ihe third tloor which is open
10 Ihe public.

o 2 3
A
 91

staircase interventien

~ 2 rOl 1
supply interventien

~J
lunchbex

public staircase
92 ROUTING 'the anthill'

Renate M. Verheul • ir. A.C. Mandrekar

Las Palmas
.- - -
I
- - --,
•

~~
Within the urban design of Sir Norman Foster
for the Wilhelmina Pier in Rotterdam the Las
Palmas building of Bakema is still the very
autonomous building that it always has been.
It is considered important to keep the building
\. /
in this way, with very little connection to its " ---. -" "- ..........
neighbours. left
up: concept
The facade is actually the only part under a middle: cross-section
down: hor. and vert. section facade
preservatio·n order and effort has to be put
into saving this part. Since the facade is rl9.h1
'inviolate'/'untouchable' it became one of the up: toilet bloek and section of roof column
middle up: roof plan
starting points of the design. This led to an middle down: 2nd floor plan
approach from the inside towards the outside down: ground floor plan
(also a Bakema principle) in which the facade
'inside next to the facade. The panels can be '
had the role of boundary.
opened for natural ventilation (a Bakema
principle) and cleaning. The floor is lifted up tp
Respect for the building leads to the question:
provide space for domestic engineering and in
What is missing (to make a good office)?
order to be able to look outside (another
That question has been the basis of every
Bakema principle).
proposed interference with the original design .
The floor is made of prefabricated elements
An effort has also been made to elaborate
that are self-supporting (folded steel plates,
Bakema's principles.
insulation top floor); the carrying capacity
comes from the insulation.
The anthill

For the offices 'flexi-working' was demanded. The division

In the program for flexi-working th ere is a
clear division into introverted and extroverted
areas. Taking that aspect in relation to going
from inside to outside, led to the concept of
the anthill came up.
In the inside is activity that spreads out
towards the facade where it is quiet. This
works also vertical : you enter the ground floor
from outside or the parking (level -1) and the I
higher you the quieter gets, until 'the other
world ' on the roof.
The missing parts
The building absolutely needs some aspects
to meet our current demands. It needs a roof
to end it in avertical way, a new facade or
adjustment for insulation, stairs, light, toilets
and the possibility to look outside while sitting
in achair.
Insulation
The old facade consists of a closed basis at
ground level, and three open levels, while
Ooi' . & ~"
there is beautiful view from the top of the
building; but the facade is visually incomplete.
Levels like the first three can easily be
repeated , which was a possibility Bakema
offered in his desi'gn that was never executed. ! '.
,,
In the facade qfol,Jl;1I~. , 3rd level th ere are LU j
concrete grills ,intended to provide ventilation
for drying wood . They create a very special,
but dark atmosphere. The iron beams on the
south facade under the era nes also have a
special effect on the inside.
To emphasise the quietness next to the
facade loggias of different appearance have
/
been made at various places. On the south
side they are placed behind the iron beams of
the cranes .
In order to keep the plans flexible two toilet
I
blocks are placed in the centre, together with ~
extra fire escapes. These divide every floor ~ ·~/'-..-7':7

into two or four office areas with shared liP. '"

~
In order to maintain the facade a warm box
per floor was needed . Double glass panels options in the 'anthill'.
that can open have been placed inside on a The grills in the facade are re-used vertically
distance of 70 cm to mark the quiet zone as the facade for the toilet blocks (horizontally .9l ~
 93

four grill panels) next to two old concrete

panels from which the glass has been taken.
To maintain the peace, the view and
+ openness on the top of the building, while
making the building visually complete a steel
frame was put on. The light opening is closed
by glass at floor level. The steel is not treated
and at some places there are pergolas made
of reinforced concrete si abs. The columns
have a specific form relating to the octagonal
columns underneath. Within the frame, space
I I ~ is given to the boxes for the restaurant,
I 11 + =m- + kindergarten and domestic engineering

~ ~1 I)< I~8 installations.

The ground floor has been opened up

replacing the old facade by a new one

\~
I consisting of glass folded around the
f==
I columns. In this way a transitional state is
\~~

/1 I
I
achieved between the outside and the interior
of the building. (a 8akema principle). The old
gates on the west side are used for shop

~~
windows.
"- Af'
~
~
--
--:;6
I J All the floors have been given light by making
a big opening inside the building. This light
I ~
'hole' is used for the anthill-activities and
vertical transportation, based on walking on
o 0
stairs towards the light.
The people who work in the anthill are given a
I feeling of security by the provision of a roof
0 0 0 o 0 o o 01 _ _ _ _ 0_ __ ~ _

~
I
over their heads. For this the columns have

rr :~.:~
--
lllIll ,__ been kept and they are connected by concrete i
0

~
\ lllIII
--
1S
I
I
I
o

o
beams. The same principle is used in th6
offices by suspended halogen lights.
0
c __ D I The toilet block is coloured red, since that is
UL-----L~---~~ J I
o 0 thecQlour-accent that 8akema used. Also I
--9 o o
Ö-- - 0 --- 0 o 0
putting a red 'box 'in the middle creates a
SO~I~ r~duction.
I

1'3 The offices are carpeted in lavender, a restful

0 0
colour; while the floors in the anthill are
covered with dark lavender rubber. The
0 0 furniture is made off Gumwood (light colour)
° o 000 o
and the details are in stainless steel.
M O

0 0 0
UJlllI)c
0 o o
r
o
I
"' 1-
o 0

Numbers in the ~Ian

[ ~]IIllID) I 1 entrance 10 office cell
o 11 loggia
~I - - - 2 reception
0 0 0
3 storage 12 office space

o
tc~
ol
_: 0
Flex-units
4 mail-wall
13 board room!
leclure room
0 0 0
<lIIIIILj I 5 mail-room 14 toilet block
,IIIIL) 6 central 15 steel bridge
computer 16 restaurant
°
:~
0 0 0 f-'O'-----"l ° 7 shops 17 kindergarlen
1 l- 8 typing room 18 domestic
o installation box
o
0 0 0 0
o
° 9 coffee-
corner
J
94 ROUTING 'the ramp - the street'

F. Torzo. ir.T. Jütte

The walks along Wilhelmina Pier are read as

rivers of different dimensions; one of those
detaches from the main path and moves
inside the building . It is a wooden ramp THt RArllf - 11lEJfl.ar
which starts on the ground floor and then,
( 'V~lIC. <PAGE.)
suspended in the air, it moves until it reaches
the roof, where it sculpts an artificial
landscape as a scenario.
This public space is astreet, which in some
places widens out to form small squares
where there are seats. The street moves
freely inside the void created by the tension
between the two systems of offices that
extends over three floors.
The language of the public space, the ramp,
is free and organic, contrasting with the silent
character of the offices. The ground floor is a
fluid space, an indoor complex of squares
crossed by wooden paths that signal
entrances, and by scattered seats. A scenic 1I~IUlC4-L c.cN/JfCOoN)

feeling is given by the wood en skin, always $1?~VI C€>

trembling under the height of the heads of
the mushroom pillars, which serves as a
facade for the shops that changes its shape
and dimension in relation to the need.
The ramp-street, suspended by cables from
the roof, carries people to the different floors
of the offices, getting close without really
touching them; then it locks itself inside the
centra I concrete bloek, where all the vertical
connections are concentrated.
During the night the offices are closed but the
inner facades are illuminated , while all the
shops and the roof cafe remain open.
The study of the offices is an attempt to
create different spatial atmospheres in space
that is already strongly characterised. On the
north east side there is the Bakema van der
Broek space: the inner glass facades do not
cross the pillars and the wooden movable
partitions between the different units are
orientated so that transparency is
guaranteed . The rhythm of the glass facades

l~'~4"
is a projection of the outside facade, but on
moving to the interior it loses its vertical
lines, so that only the horizontal lines remain.
The same happens on the south west side,
where the wooden partitions are lost in the
inner glass façade, and where only wooden
window frames, stand like boxes. On th is

f 0§
side the partitions cross the pillars.
The materials are used are glass, steel,
aluminium, and wood, as reminders of the
original image of the building, which was
used to produce furniture for boats. The
project is intended to work with stratification,
fragments, collage, and seduction.
95
96 ROUTING 'the column forest - the poetic structure'

Jens Jenslin • ir. A.C. Mandrekar

The column forest-The poetic strueture

Most of the character of the original building derives from the mushroom-shaped columns. The entire redesign .
has been carried out with this structure in mind. This becomes most obvious in the two office floors, where the
columns are used as space creating elements. The wooden deck and the wood en ceiling never touch the
columns, but always embrace them.

The exhibition hall-The spatial experience

The slab between the basement and the first floor is partly opened to create an entrance hall.
- .i~~~l
~
./'....A.A.A n-
A grand cafe and different kind of exhibition halls are located there. ~
-. f5;s
~ \>-

~::<!---
-- ----..:;;
• • • ~ ";' ~ ~
-.- ~
';'
I
~ -~
k.
• • • .- -
': --+---
-.~ - • ·~ 1 ·
/~
:' ." - -,
• • • ~' ~ • • • •
11 _JIJ~
• • • • ;.~.
. "
-- • • •
2~ 6
• • • • •
• • •

The facade-Untouehed but covered

It is impossible to insulate the facade directly at the façade panels if you also want to keep the character of the
facade. Therefore it is logical to glue a second skin outside the facade panels. There is much to be gained by
doing this:
- insulation of the facade and the creation of a heat accumulation zone between the glass and the panel.
- protection of the facades from rain, wind and air pollution.
the opportunity to show the people in the street that the facade is something special, important to keep for
VERTICAL WALL SECTION
the future, like an old painting in a museum
 97

The offices

The first and the second floors are used for offices. The inner wall structures of the original design are retained
in some places that are now used for kitchens and coffee rooms. The floors are basically divided into two
zones:

-The working zone

A wooden deck and a wooden ceiling are mounted on the inner side of the outer columns all around the
building. Under this deck and ceiling many kinds of installations and artificial light are installed. Four
workstations are located in every space between four columns. Many docking stations in the wooden deck
make it possible for the employees to create a number of different kinds of patterns to furnish th is space.

-The transport zone

The distance between the facade and the first columns ought to remain untouched. This zone, with its concrete
surfaces, is kept all along the facade of the building for personal movement, and at strategie places the path is
widened to create rooms for recreation and coffee breaks.
I I
~-----~--------------~----~-----,

i: l~
I" ~
I ';~ 111

I~;~~
/'.
11;1r-=~={::==:=::=~===::è::tfT_
I;
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i,

1:1 "w,~
The fitness centre
On the third floor of the building a fitness centre is located . For this function the inner structure of the original
design is kept, since natural light is not an important factor. Here the interplay between the facade cassettes
and the inner wall structure here becomes especially interesting . '~1 " I , - .---"-.
,. -. ---LJ...l~~~

, ,
- Ii !I [I • I •• I
:::, 1I lill
El """,~,..-1-...;.,+;,u.;..~~-l :~
t- .-'" t.'.-::-: ~ :~. / 1
ij j ,. l

~ :.:-.'.:t
t::::
;-:::::. -- .
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5
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!""" . _ ..... _ . _ .. . . . _ . .....

,..-.. _ .......... _ ..... e ...... ·_ : .... .
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,
98 ROUTING 'Iamination'

Alex Quintin Nunez • ir. F.WA Koopman

~ ..., ,,'

/"
.......,-

When thinking about the idea of renovation

and trying to give a new use to the building I
thought it would be more interesting to
introduce a new structure representing the
intervention across the building. This structure
is like a continuous line that starts in the
square and crosses the building, folding, and
trying to give or create spaces with different
qualities tor different uses in the middle area.
I propose locating an office area in the lateral
areas, which are tree spaces that could be
divided in different ways depending of the
requirements tor the offices.
In the middle area the proposed intervention
is a cultural centre.
These two uses are related in a tew ways, but
in tact they work independently.
 99
•• ="'~ . ... ~ ....... ... -". ,---."--.

0 0 0
0

0 0 0

LJ
lJ
0 0

0 0 0
100 ROUTING 'loop'

Fabian Holst, Petra Müller • Prof. Dipl.-Ing. H. Bühler

I I I I

",
!
~~~

I Î
~ I1
I
I1 IWI
~~~

11 I I I 1I mi

:. : .... -
_.-------_._--_..

I:" { ,,,, ' n'_ , . - . " , , -

L.-J
 101

rft'!'.!~?'~-·1IfIII'
,--
t" ~ ~ .

among the rav~f

;,."
~ ""'~.--~

f"-...·-
. -. .~:_~.~II:f.' •

the stFi!t.
_a._
is
past the
space las p~all~m~ais!.!!!!~==.!!!!!
starts
a surface rai
across existi
the swing a
smoothly s
along the
into the building.
inside the glade, the forest of columns, the clift.
the automobil is on the way between space and wrapping
exterior. down to the surface.
the passer-by follows the light.
to the higher horizontal.
devided space behind him, but forward, upward.
almost outside into the garden.
the looks above.
maybe still to the plattform in order to look down.
the other way.
olong the clearing and the cliff.
towards the other end of the space.
an about-turn.
a long space.
slightly falling.
. ·passing the tunnel, undertl:1ehorizontal, sinking
:. _: _.9r.-J~'.~.~~nk-ing. . ~. I • '-,\

?:':" unt'i. Pth,e edg~ .: - \ ". , ; , ; ,

! the light is mi\rrored i'~ ;;~pe m a ds.
\. , one stepi over· tre line. \i'1\':
L . under ·' th~ plaza" thenu~s'tai rS '.
~j;hereareother.è ways .,_.! ,
..álways -the horizontals.
lh the end o,u t.! of thel a s p a lm Çl s.
onto the pla~ n j Ispace igoes up and stays:.;
you "leave, ypu i tome. " dnd the game starts on ce mor~. ,
_. " -,) i !1 ' ' .-

'.' ,'"
.'
102 ROUTING 'breaks'

Urs Hasenberg, Monika Zieger • ir. F. Colautti

 103

------r-----------
o o ,_
----------------------------
C .. -&--. . '.'
----------~-----.

c·

c o c·
o
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---~ - - - - - - - - - - - - - - - - -- - - - - - - -'- - - - . - - - - - - - - - - .•• - - - - - __ •• 01-._ _ _ __

104 CHANGE OF PROGRAMME 'vital spaces'

Inaxio Lera Durantez • ir. A.C. Mandrekar

11 ••• We may live without her (architecture),

and worship without her , but we can not

remember without her... 11
Ruskin.

Now, after designing a renovation work,

I'm convinced that buildings are more than
the shelter for our activities. They represent
us beyond our life, they permit posterity to Roof plan
interpret us and they illustrate our past to us.
It is in this context that the preservation of
buildings from the past acquires enormous
importance in a culture.

When I had to design a project for the

Wilhelmina Pier I first tried to understand the
future of the pier. I understood it by
considering three strips. The central strip
could balance the new (the two strips of high-
rise buildings near the water) and the old (the
centra I strip of renovated old buildings with
the Hotel New Vork at the end of the pier
trying to look for the relation with the now
distant dockyards of Rotterdam).
To keep the character of the building I am
conserving the facades and the 'spirit' of the
strong structure.
Two openings are made in the building to • • • • • • • • • • • • • • •
provide light and to remind people of the
relation between Rotterdam and its port, • • • • • • • • • • • • •
nowadays about forty kilometers away from -- . .---/
this part of the city.
One opening is occupied by a crane which is
the 'star' of the west skyline. In the other
opening a ship will be shown so that you can
see it from a different points . of view
depending on which floor you are on.
• •
• •
• •
0
I

• •
•
•
•
•
•
•
.- '
---- ---- .-><. -----
----- -----
I~--_----------~·O
•
---- ----. •
• • •
•

• •

• • • • • • • • • • •
• ~ • •
A new core for vertical communication is
proposed in the central part of the building. Office plan
The way of working with the structure is clear.
I understand th at each mushroom shaped • • • • • • • ~
• •
column has a 'vita I ' or controlled space. So
wherever I remove a column I have removed
the 'vital' space that it controlled. In this way I
.• • • • • • • • • I
• I
• •
r----- --,
am providing light in the dark part of the • •
I
I
I
I • • . •
r
I
I
I
I •
~çi,
I I " 1 ~ •• , .
I
building without destroying the character of I i {~ ("
". ,!,
I
I I
p •• • --- -.
I
I I I I
the structure. • I I
• • • I
.. n'r.:Jn". -,.... .....
~t':;.. .# ,
I
•
I I I
L _______ .JI

The modules for the offices are set around • • • • • • • • • • • •

these openings and the space near the
• 1
facade is used as a st reet inside the building.
• • • • • • • • • • • ... ..1
Ground floor plan
 105

Modules of "Vita I spaces"

Diverse arrangements tor the "vital space" modules.
From a simple office toa house-office.

,.

--. - - -- -'- . _.. . 1 · -- - -

- -=

ICJ[=:Ji
I !
I
I
I
106 CHANGE OF PROGRAMME 'service building'

Mireia Matas Estany • ir. H. Wilton

The main new function that is proposed for

this building is to provide high quality offices.
Because of its specific characteristics and
location (surrounded by offices and housing),
and to avoid the emptiness produced by
zoning, I propose creating a building with
many other additional functions . This will be
achieved by incorporating a variety of services
and leisure activities that will keep the building OFAC~S
alive for 24 hours a day.

For this reason , th ere is a huge disco in the

cellar, shops and th ere are bars on the ground
F.:i I
,
floor, a health centre on the first floor, offices .Jm.IfM, 1/ OFFICE H07ëL.
y,'Y(
~OU5IN6'
. 1.)'
on the second floor and a special apartment OfflCE5 'i OFFIC~S

hotel on the top floor. The two upper floors .... ... .'
--' . HEiAU'H CENTER.
are strongly related to each other, as they
have been designed to provide offices to rent
I' ~ !.
r ~[l
'1- ..
,SHOPS ~ l.EISURE

I DISf:(I
for people who need an office and a place to
stay in Rotterdam for a limited period of time.

Part of the building has been demolished to

make a special street running through the
building, which is also the main entrance to it.
For this purpose the facade has been given a
different section by reusing the old concrete
panels that are now suspended by means of a
new structure to provide the entrance and to
invite people to enter the building .

OFFICES HOV5iNG
 107

.. -- --
:-:-:-.:~-_ . -

[j
~ s i

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108 CHANGE OF PROGRAMME 'housing and working'

Elena Redondo Hernando • ir. H. Wilton

When an entire functional product becomes

unnecessary it is possible to throw it away or
to consider what it, or its components, could
be used for. Fortunately awareness of the
environmental and ecologieal · values of our
immediate surroundings is increasing.
Because of this interest in local conditions
rather than those of distant places the concept
of recycling has become worthwhile.

As a city recently rebuilt Rotterdam, needs to

I",ode dtlailing
renew itself, to grow inwards, in other words
to recycle itself. The Kop van Zuid is now in
process of changes that create a lot of
perspectives. The Bakema and Van Der
Broeck building, which is involved in this
process, is trying to find a role for itself
between the area with huge offices and the
projected new residential sector.

The value of this building is embodied in its

quality as a product of its time; a product
created to be used in the context of the
harbour. The materials used are also products
of that time. Now it is not only the function of
the building and its surroundings that is
changing, but also the time. Recycling a
building that we have decided should remain
in its own time requires consideration
consider which of its properties will be able to
become a part of its future future.
As a commitment to its time, the outside
appearance and the distribution of the
functional areas inside are, in my opinion , the
primary considerations that govern the
renovation of the building that I prefer to call \
recycling. \
For the first consideration I propose a second
interior skin adapted to the function of each
space. The uniformity of the original facade
remains in the outside and it is possible to
recognise it from the inside but with the filter
of th is time/new use needs.

voids
 109

In response to the second consideration, the

building now has more than one function , and
must be adapted to the new residential and
offices surrounding.

The ground floor becomes an open facade for

an exhibition area and a shopping centre. The
second and the third floors combine living
and working areas in order to offer an
alternative to the high number of office space
proposed in the surrounding buildings. On the
first floor there is a restaurant and there are
facilities for children , making a link between
the public area in contact with the street, and
the more private area of the two upper floors.

The access to the residential areas is located

in the ends of the building, reusing the
existing staircases and adding elevators. In
contact with the façade, and related to this
vertical connection, the corridors give access
to one floor of the duplex and also to the
working places. The working area is a fluent
space wh ere stairs, new floors and light
combine to create an open but also
personalised atmosphere. The residential
areas are like individual elements that share
this atmosphere, although they are clearly
different

The central staircase still has the role of

principal entrance, and to stress this the
existing passage in the ground tloor has been
widened. This also provides the public access
c~ to the working areas.

I~

oeces 10 Ihe living Orfet publie verlieol (omunicolion

working areal
110 CHANGE OF PROGRAMME 'cultural spot'

Irene Bauer, Mareike Babel, Ulrich Kröckel, Victor Vrecko • Prof. J . Reichardt

., ,1
;'; 'J ;'t}

SPIRIT
THE CONCEPT FOR THE STOREROOM
WHICH WAS DESIGNED 8Y 8AKEMA ,
COMPRISES OF CUlTURAl FORUM FOR
All OF THE NATIONES REPRESENTEO IN
ROT TER

SE CULTURES THE

ONS AND PRESENT THEIR MEI~CflIA

10 THE PU8L1C

STORE

•• &~~"$'.1l.
SITUATION
t\!lf$! '. . . . -w •• tI: .. - .......... _--
 111

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ORIENTATION

I1 11

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f}

: ORIENTATION

PERSPECTIVE
112 CHANGE OF PROGRAMME 'multi media'

Grzegorz Dresler • Prof.Dr.-lng . habil. A. Kadlucka

Sound, text, graphic, motion and

statie pictures displayed by
éómputers- m u I t i m e d i a
c()nt~mporary element of life,
arch ifeêtu re; which becomes more
lInreèl,motion.
La,;·
 113

-. -. ..-------
. -.----------.---- .
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r-'
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r--------:=:==::===::==~::==:~~-
0 0 \ 0

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3 level

I 1. media theater
2. stairs ,ramps
3. administration
4. lecture hall
5. museum of
contemporary art
114 CHANGE OF PROGRAMME 'artist's corner'

Gerrit Bornemann, Hoiger Drenker, Maike Frischbutter • Prof. R. Beckmann

~ - CONFERENCE MODULE
- APARTMENTS FOR ARTISTS

Ui'ilI'J - DEVELOPMENT DEPARTMENT OF MULTIMEDIA

-INTERNATIONAL LAYOUT-DEVELOPMENT
- COMPUTER- PRESENTATION ROOMS
AND
OPEN OFFICES

~ - PROTOTYP DEPARTMENT AND PHOTO LAB

- OFFICES AND PRESENTATION AREA

~ - STUDlOS FOR ARTISTS

- EXHIBITION

g&I - YOUNG CHILDREN'S EDUCATION

- ART EDUCATION - CENTRE
- EXHIBITION
- BISTRO

I ' .•.. j - ART

EXHIBITION
- MULTIMEDIASHOWS

~ - CAFETERIA

_ - AUKTIONEERS AND ADMINISTRATION

I)fig - MARKET OF THE ARTS

(JUNK AND DESIGNERS' PRODUKTS)

I. , .•.· 1- MARKET AREA

~-FOYER

[··,. ,·. . 1- LIGHT - ART EXHIBITION

~-DISCO

~ - PARKING AREA FOR CARS I BICYCLES

_ - STORAGE ROOMS

_ - TECHNICAL INSTALLATIONS
 115

T h e d e a

Rotterdam - Mainport Europe -

and an old "Bakema" building

Nowadays containers are dominating

the port of Rotterdam. They are
installed in the Bakema building
to remind of the history of the port.
Without destroying the historical
structur, the containers are integrated
into the old construction. They fit into
the old arrangement of the columns.
However, they still remain recognizable
as new elements. As testimony to the
modern building techniques, it wil!
soon appear dressed in a she" of glass
something special.

As a creative island in between highly

modern office buildings, studios for
artists, auctioneers and a market of
the arts wi" preserve the inviduality
of the building. In memory of the
exchange of goods with distant
countries, there wi" be the "flea - market
of the continents".

An "ARTISTS' CORNER" wil! be

created midst of the hustle and
bustie of today's city life.
116 CHANGE OF PROGRAMME 'las palmas 2'

Maria Barcina Roda. ir. F.W.A. Koopman

Although the Las Palmas building has its owri

character, we cannot ignore the fact that will
be surrounded by skyscrapers that will give the
building a new qualities, very different from
those it had when it was designed. That is why
the main idea of the project was to study the
sunlight, the main appearance, and the
opened areas that the building will acquire
from the main plan proposed.
The plan of the building is going reflect wh at is
happening outside. The new project will use
the old structure; the mushroom shaped
pillars, the concrete slabs, and the old facade;
trying to adapt them to a new program.
The proposed program is trying to adapt some
offices in Las Palmas building, but it sounds
rather strange reuse a building for offices
when the surrounding buildings are going to
accommodate a thousand new high tech
offices . That is why I started thinking about
another option for a program that could give
the building and the entire area a public or
centra I character. I thought it could be nice
consider it as a cultural centre, wh ere th ree
kinds of schools (music, art, and theatre)
could be included. Each function is going to
need a different kind of qualities, so here I
made use of the analysis I mentionerj before.
 117

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....... __ .,--'-'- "'-J---

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Within the massive area of the project are th ree independent structures, each for a different function and
with different qualities th at are joined together in trying to solve the problem of the access of light.
The partitions, or the ephemeral elements, also depend on the proposed functions . Closed boxes made
of wood , for the music school, brick partitions for the artists, with some free space in the middle for
exhibitions and gridiron and a metal structure with organic shapes fo r the theatre school.
118 CHANGE OF PROGRAMME 'fishy world'

Mirja Gawlista, Imke Schröcler, Nina Som mer, Carolin Teltenborn • Prof.Dr.-lng. J. Cejka

generalthema of this design is Water.

thema has been lraflslatod inlo different
Iitne actlvitles; Aquarium. fjsh markel,
restaurant. dlving school end a 75 m
The existing OVarslzed
new functions becauso
lha extra we/ghl of the
wáltertianks. Tho oxtrema deplh of Ihe
floor has been used for the aquarium.
the darkness was needed.
 I , 119

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120 CHANGE OF PROGRAMME 'community of houses'

André Pannenbäcker, Thomas Wagener, Bernd Schnoklage • Prof.Dr.-lng. H. Bühler

the comunity of houses

The present global sItuatIon se ems

unique and threatenlng. Yet the pro-
blem of ouerpopulation has in fact
reached such · an alarmlnghelght
on ce before when, about 1a.aaa
years ago, a rapldly growlng popula-
tlon Increaslngly used lts resources;
resources that through the techni-
ques of huntlng and gathering alone
could no longer sufflce nor be replel-
shed.
Then, lII(e today, men trled through
uarlous means to dampen the dan-
gerous situatlons; they tried almost
euerythlng - It often ended up in
dead-ends, or In desaster. through
eHperlments or concldence, men
found the new deuelopments to be
adequate solutlons. planting 'natural
sun collectors', using fertUizers to
artlficlally boost production and
maKImizing breedlng... In short: to
farm.
The deuelopement of manIeInd Is
leadlng today to the urbanisatIon of
the landscape, f1nally chocking the
latter, along wlth lts usage.
'WIlheimina Pier', wlth lts Manhattan
lliee skyline, Is an eKample of how,
through multl-Iayerlng and densl-
flcatlon, the urban centers of the
sprawllng city-regions rise and the
otherwlse isolated homogenerous
functIons of the socIety meet. The
'stage setting' of dluerse program-
matJe elements sets-up a scenery of
semi-publIc character on the pier. In
subscrlblng to the denslfied cliché:
Holland • cheese, tomato, tUlip, we
choose cheese as the conceptural
basis for our design.
 121

@ mllk-coollng
@ feed manger
CD single st all
@ food storage
® mllklng-statlon
Cf) hanl-dung-preparatlon
® cow-coach
® dung remoual
<D food table
(j) silo
® dr1nklng-statlon
CD concentrated 'eed preperatlon
4!Y hom remoual
@ uetar Inarian
® mllk processing
@ cold-storage depot
® IIqult manure tank
<0 delluery room
(!) Inlemlnatlon station
CD emergency slaughter
@ mllker break room
@ cow washing station
@l mllk homogenlzlng

G
122 SPECIAL USE 'media machine'

Ralf Beune, Hoiger Hoffmann, Christian Veddeler • Prof.Dr. -lng. J. Bolles-Wilson

Ci.j~
ra

van
the attempt of this
programmatic
ZUID
architecture
breaks aff conventionsO
and is here
required to be organized in a
symbiatic fusion
between old and new.
the strategical theme penetrates
the existing by using the
appearently strange and logical
non-distinct structures.
a reanimation of the aid and a
further developement of
conventional notions

of everyday standards . .
 123

C<·j~
van
in their own logic the blobs
conquer ZUID
bakema
independent of farmer
structures, leaving conventional
boundaries
and gaining a new way of free
experi mentation .
this happens
in a manner of asymbolie

co-existence
of old and new.
far the relation of function
and the .sitting on top of the. roof
"electronic revolution"

installations and exhibitions.

 124 SPECIAL USE 'body and soul unfolded'

Christian Aldrup, Thomas Walcher • Prof.Dr.-lng. B. Schmidt-Kirchberg

J.B.Bakema' s las Palmas will be

the heartbeat of Wilhelminapier
for recreation and sportiveness.
The connecting veins of the
commercial north si de and the
residential south bank Aow
alongside an attractive shopping
mali to meet the entrance ramp.
The complete range of recreation
means physical training as weil as
meditative contemplation.
The cutting line defjnes an area of
piled storeys for mutation to a
folded structure of varying levels
and spaces.This dynamic fold
waves a web between old and
new and Aowingly connects the
areas: sheltered roof green, pool,
sauna, climbing wall, squash, ··•
work out, common hall, club,
various restaurants, sunken green, ··••
and gym building. ··
Different daylight spacas are ··
created by the shaped distance of ·· •• •
the old and new structures. With
shadow and light, with the rising .
••
•• ••
"
and falling wave, with action and •• ••
•
contemplation the contradiction of
reality shows.
.... ..
The sheltered ramped roof greens
..... ........
..-.......
invite interest in contemplation,
stilIness, and introversion. It is the
eye catcher for the users of the
neighbouring high rise buildings. mutation
The small garden nests radiate the
idea of introversion to the inner
building. The sunken green
transmits the image of calmness
even to the public street life.
 125

1 squash
2 comman hall
3 sunken green
.4 gym void

5 roof green
-8 6 dimbingwall
7 pool
8 badminton

=
126 SPECIAL USE 'culture versus offices'

Sonia Jardi Llorente • ir. F.w.A. Koopman

A new use - a new idea

The new use will provide a cultural centre and

offices. At one si de the cultural centre borders
the square while at the other sides offices
face offices. The open area in the cultural
centre will win space and add height to the
square form of the roof. The long direction is
very strong in this pier, so structure of the
building must extend in the same direction .
The open area breaks into this elongated
shape adding light and movement.

The façade - response to the new use

To meet the requirements of the new uses th

building must be insulated . The original
panels are left in place, the alterations being
confined to the inside of the panels. In
addition to insulating material, new double
glazed steel-framed windows are fitted. In this
way the original appearance of the facade is
retained.

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I 28 SPECIAL USE 'offices for starters'

Cabrero Molina • ir. A.C. Mandrekar

The reuse problem

A new activity in the building provides an

opportunity to make changes in the building
th at allow the development of a new function ,
which in this case is the provision of offices.
I tried to work in two directions: with the
program and with the building. The term
Il I . . .. .. J
'offices' is not sharply defined, 50 it is perhaps
better first to consider the type of people who
will be using the offices. I thought that is this
case it might be a good idea to use the
building for people who are just starting their
own businesses I wanted to make offices for
young people, mixed with workshops and
studios for artists and craftsmen. For this new
function I have worked with the Bakema I
building, deciding which elements it is best to I
I
keep and which elements it is best to keep
and which it i.s necessary to add. I decided to 1I

keep the modern idea of an open plan and to .. . ........

add the necessary light. In th is way I worked l I
with an atrium to admit light go into the
building and to replace the two dimensional ' 11
open plan by a three dimensional one (The
opening provides the third dimension). This
open space is the dynamic area of the I
building. Between this empty space and the
edge of the slab th ere is room for special
activities like exhibitions. The offices and
workshops are placed round the open space,
near the facade. Within th is space the open
plan and columns are retained, the partitions
between the offices being flexible and the
furnishings designed to be compatible with
the concept of free plan. In this way I also
have th ree vertical links with the toilets, the
existing one in the middle and two more at the
ends, to allow people to move freely within the
building.

The renovation problem

The principal renovation problem is the

facade, we have to keep the original
appearance of the building and give it the
necessary insulation for the new activity. I
decided to keep the existing facade panelling
and to work on the interior faces of the panel.
For the insulation of the panels pieces of
prefabricated concrete and glass fibre with
insulation will be fitted, the panels hanging in
these pieces. After this the inside finish and
new double glazed steel windows will be ::::J~_ _ _---1...l..-....J...L-_ _.lI..-_ __

added.
 129

'mil U ,

'tEE . . .
yCllJ'IG I'I:OI'LE OffICES

2 FLOOR

. , \' . . . , . "

YOlNG I'I:OPLE OfFICES

. . . . . ' .

yQl.OIG I'I:OPLE OfF ICES "I

ROOf FLOOI

\ 1 I ~
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,
 130 FACADE 'a work of art to preserve'

A. Grassigli, F. Francescucci • ir. H. van der Heijden

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Lo~"

'.' '. '. "' ,.' I,

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l·· ;:. ::·:·q··J ··..-····, . ·q····..·.... ·..

'~.
···\····-·C····-'l;;:~r-'-'
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In a first analysis of the building we were struck

by structural system in sight and by repetition
of spaces ,in such a way that none is
distinguished each other.Giving a new function
to the building the first thing we thought was to
deal with the building as it was a work of art to
preserve.Of course the new function forced us
to interact with the old structure creating new
spaces and new attractive views, but, even if The two lateral parts maintain the boring
we worked in a unsentimental way, we tried to repetition of columns and spaces through all
maintain the primary meaning of the building the building' s height, we only add panels to
more than the columns or the concrete slabs. keep apart functions, and get them aside.
We thought it was important and necessary to The central part is composed of a void and of a
keep the same language of 8akema 's work , system of walking that serves to live all the
but since now are ninties we had to speak the building. Here are set the staircases (keeping
same language in a modern way, made of new the symmetry of the old staircases) placed side
materials and new technique. To create a very by side with a service volume of concrete,
important and strong space used from each reminding to the big white volume existing right
part of the building we removed two central now.
series of mushroom columns through all The entrances are on the shortest side of the
building 's height, getting a big void.About the building next to the staircases.
structure we supported the old one with a new
shell of steel columns bearing new floors,
walkway, getting a new system of
views.Looking at the section, we used the
cellar as a public space, and we added a new
floor on the top of the building(as it was
planned by 8akema itself).Delivery on the

r-;r·
plants follows a smooth scheme : the
basement and the ground floor are turned into
a public zone made of shops, a grand cafe', fll~- fJ-;-' I~J;-I;'-I~----I;---Fl~-;--:-'
and entertainment places. o Cl 0 0 Cl .!!_~_.~~_9 .... ?..... !"---J0 /0 la 0
. ........... . . . ......... . .
. b-d: --.-----..
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The first, the second, and the third floor are
only offices floors, and the top floor is still a
public place, but completely new, because r ,,'~'O
.:- : -:c:"":rtit~
there are neither mushroom columns nor the

": .
[-. _ ._] .
old facade, nor the old roof, and this place is
going to provide a big restaurant, an exhibition
!u.
-.,---

È
space, a conference room.
Giving attention to the plants what is clear ' -~-~--_:-::--. ~
about the new building is the distinction of
three part: old/new/old . .. Hl~:"X.\ . :. . . . . . . . . . . . . . . . . ~.O
., .... r~~( _ 11:
__ . _ .J_" - --- .
 131

About the facade we didn't change anything of

the old one, we ju st put a glass shield, as a
second skin, to upgrade the climate conditions
and to keep the meaning of the building
through the transparency .
The way we worked was exactly the same as
we did in the inside.
We put a series of steel columns in front of the
old facade.
Both the outside and the inside are treated in
the same way : something new in front of
something old.
Through the new structure , that is mostly
transparent, you can read the old building in all
its meaning, that's what we wanted to reach.
132 FACADE 'private and public'

Sylvia Faure. ir. F.WA Koopman

The concept of my renovation is based on two
main components of the site: its position
between the Rijnhaven and the Nieuwe Maas
(from which there are good viewing points)
and the actual design of the island. The
buildings divide the space into three long
My idea is to separate public and more private
spa ces . Therefore, I have situated the
shopping centre and the entrance hall for the
offices on the ground floor. The offices and
related services are th en connected on three
levels and on the roof, I have placed the
r:--. ': : J.~: ';
1 ': :. .• '. . . ~ -'

parallel lines and the traffic circulation "leisure functions" such as the cafe, and the
between them takes place in two one-way restaurant in a square. In the basement there
streets between the buildings. Therefore, my are parking and storage spa ces .
idea is to create a perpendicular break, to As I want to keep as much as possible of the
open this mass, and to join the two sides of old exterior and the static aspect of the
i the island. building , I will change the facades on the
The position of the two gaps to be thus ground floor and will cut a big opening ~ ~r"'\
111 ç.-;~
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created depends on the actual surroundings (atrium) in the middle to admit light (a third ofll
and on the future master plan for the the columns will disappear).
Wilhelmina Pier. On the Nieuwe Maas, there Sylvia Faure . d;é::> ,!. ~
,-, , I ~II ~ r~ .. 1-.,
i!I L.C:J..--l ' lV l!i'...: ..
is a gap between the Maritime Simulator I

Centre and .the planned new buildings, while

.. ... .. .. . . .
I
on the Rijnhaven there wil I be a garden
between two towers. : ~;""" .,~; " :~~~T' 'I~~:' ~.~:; :-~= ~ ~ : :~.:!

:o~
This means that my building will be turned in
a new direction and. will suggest a kind of
promenade going from one river to the other.

The actual building was a warehouse. It is

based on a very strong structure of tree floors
.... .... . l !

_.....
\

~-
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I

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~ o.~;

and mushroom-columns. The facades consist i:

of prefabricated elements (concrete and
glass), except on the ground floor, which has
some brick and metal parts because of its !... J L. o.i
............ ... ........................... :............. :::.:1"--..., ..... :.
IJ ' •

previous functions. Another particular feature

is that th ere are two emergency staircases on
each narrow side.

This building has to be transformed into an

.,
~

office building and the two main difficulties)

are how to provide access for light inside and
how to renovate the facades .

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My renovation structured the building in
four different parts:
• The shopping which main entrances
correspond to the two gaps, so will drive you
from the Rijnhaven to the Nieuwe Maas, This is
a nice inside area only made with glass
facades and covered with a glass roof. The
shops have only entrances from the court yard
because the main function of this building is
offices, so this has to be clear and found easily.
That's also the reason why the volumes of the
•shops are situated behind.
This offers also a gallery before arriving in the
hall. In this part there are only small and long
windows at different levels, giving the
impression of speed. They teil you what is
inside but not invite you to stop. Further, the
windows become bigger
Compared to these, the elevations of the
offices' reception are completely transparent
and opened on the streets around,
• The parking area with two ramps coming
from the two long streets. The pedestrian exits
are placed in the middle and create two small
boxes in the shopping center. In this basement
are also the storages for offices and shops.
• The roof which becomes a kind of outside
level with gardens and terraces. In the middle
takes place a square divided in four parts: the
restaurant, the cafe, the fitness center and the "
child room". This is opened on the two rivers
and on the south, and more closed on the
courtyard. A lot of different points of view from
this high position are possible.
• The three levels in between consist of
offices. The space for the reception, the
exhibitions and the vertical circulations divide
them in two parts. Each of these two parts is
again divided in two by the "coffee-corners",
which function as a junction. These rooms are
relaxed spaces and need nice views . That's
why they are placed above the gaps, and
completely opened on the outside. Here are
also the old emergency stairs that are used by
people working here. In this part are the toilets
and heating also connected. In the two other
133
ELEVAnON SOVTHIEAST 1:200
CROSS SECT10N B·8' 1:200
These boxes land on the old floors but have
corners on each floor, are the domestic affairs
their own new structure. They are made of zinc
and the technical services . These have only
and have big windows on the lateral sides.
small and high windows, which reinforce the
corner.
In the two small sides are the administration ,
the services and other activities as a helpdesk
or a post delivery ...
So the offices are placed on the two long sides
of the building, around the court yard. Their
organization is very simpie, they consist or in a
large space which opens on a corridor (th is one ElEVATIQN SOUTHJWEST !:200
is directly connected to the courtyard), or in two
bands separated with a corridor (one looking at
the outside,rhe other at the inside). The inside
facade is made of glass panels (transparent or
translucent) sliding to permit entrances in the
offices. To avoid the monotony, they are not
placed in a regular rhythm.
The partitions of the offices depend on the
place ofthe meeting and lecture rooms. These
have been thought as some box es with two CROSS SEC TI ON CoC' 1 200
functions: to animate the inside elevation
(appear as some events which punctuate the This was the explanation about the renovation
glass wall) and to create several kinds of of the "werkgebouw", which has been
spaces for the "free plans" of the offices (each transformed into a "promenade-building" in this
company can organize the space as it wants) . strong site.
134 FACADE 'a box in a box'
Tania Ciammitti, Agnes Hemmes • ir. H. van der Heijden
The Wilhelmina Pier, better known as the Kop
van Zuid, will become a new centre of
economic and social activity. Different
functions like housing, working and recreation
will be integrated and it will be given a
-+-+-----t---+ I I I 1 I +-
.,. - '" /" I" ' '" t .. '0' IU ,.. , .. , .. , .. 1'. - ...
completely new face, dominated by modern
~tENr
high-rise buildings. At the same time the
integration of the existing valuable buildings
~
....--.--.,.-...,-...J
...... . and the new architectural, spatial and
functional elements in this urban space will be
guaranteed. Where the old and the new are
incorporated identity is very important; the
existing buildings will contrast with the new
architecture, old against new. Even though
the 'werkplaatsengebouw' for example is not a
listed building it does have a historical value.
Such buildings are reflections of the past, and
hold memories that should sustained.
This identity was one of the starting-points of
our design. We looked at the building as a
'found object' and have tried to use existing
elements of the building, such as the
staircases on the outside, the elevator, the
ramp and the vaulted roof, and incorporate
them into the new design. From the analysis
of the building two very clear characteristics
emerged: firstly the inner structure of the
mushroom-shaped columns, and secondly the
facade. Within the functional limitations we
have retained these elements as much as
possible. Three of the four facades have been
~P.qnIlIl!I!til! "i largely retained, except at the ground floor
level. Here, to give the building a more open
.~ and inviting character, we have removed the
""""'01) i facade, while on the east side we have
created an entirely new facade. There were
two reasons for doing this. Firstly there is
minimal access for light. This is the darkest
part of the building and more natural light is
required for the functions in this part of the
building. If the old facade is compared with
the new one, the resemblance is clear. Both
have a rich , elegant, transparent, rhythmical
character, dominated by glass and structural
elements. The same transparency is carried
through in the walls of transparent and less
transparent glass on the ground floor level.
This kind of transparency is very literal. It is a
quality of the material or substance itself.
Inside the Bakema building we added another
kind of transparency, which can be seen as
more illusionary transparency, an inherent
quality of the organisation of forms and
substances. (Col in Rowe, ' The Mathematics
of the Ideal Villa and Other Essays '). Most of
the concrete structure and the mushroom
columns, which still are of a very high quality,
have been retained . We have only created
three narrow voids to bring in the sunlight.
None of the columns have been demolished
for this 'operation'. The staircases are also
located in the voids. The ground floor and the
roof are public space. The first, second and
third floors in between provide office space.
The plans for the first, second and third floor
are based on the found objects - the
staircases and the elevator - two or th ree
voids and four 'boxes' of offices. The plans
are very balanced and have astrong,
harmonising structure. Two elements are
important, the offices and the circulation
space, which in the plan are of equal value,
neither being allowed to dominate the other.
The space inside the offices is as important
as the space outside these boxes. This is
what we call 'illusionary' transparency.
The office block itself consists of wood and
glass walls. So we have created the idea of a
box within in a box. The offices do not make
contact with the outside walls, there being a
small corridor between, where people can
walk from one place to the other. Behind the
old facade we created a new 'second skin'
facade. It would be very difficult to insulate
the original facade, so we have put all the
insulation on the new facade by using double-
glazing . Both facades have the same
character. They are both very transparent and
refined in detail and each has it own rhythm.
From the outside you can clearly see this new
facade and the office 'boxes'. From the
outside it is possible to see what is happening
inside, there is arelation, some sort of
dialogue between different spaces.
 135

The walls do not coincide with the structure of

the columns. We did not want to create the
illusion that it was not the columns but the
walls that would have a supporting function.
The walls are there to delimit the office space
and function and to provide sound and
temperature insulation. The walls have been
designed in such a way that they can be
easily removed, thus ensuring flexibility so it
will be possible to change the function of this
building when necessary.
FI

To stress the idea of the boxes, a few box

shapes project above the roof of the building,
but the plan of the office-floor is not continued
on the roof. The functions of the roof can be
distinguished from those of the other floors in
that they are more public. We have created
two platforms, which are not connected to
each other.

In this renovation project we have tried to give

this building a new function with minimal
changes, at minimal cost and with the
maximum number of qualities. Transparency,
identity and flexibility we re the most important
key words in th is case.

TECHNICAL DETAIL ON THE FACAOE

TECHNICAL DETAIL ON THE NEW FACAOE ~

.",,"'",

. JJ I±+ It
"""'" FACADE EAST ' FACADEWEST
136 FACADE 'the slice'

Julia Schellhase • ir. F.WA Koopman

Concept

To get light into the centre of the building, a

'slice' has been cut out of it. The space is an
atrium that creates a new attractive street
almost in the middle of the island and
connects the two main roads with each other.
Now, the building is divided into two parts,
connected by the glass facade of the atrium.
There is a public space on the ground floor
and along both sides of the atrium. The
offices are located at the two head ends. Each
office area has in its own centre and its own
access through a vide that will admit some
light into that part.

The atrium
The main entrance of the building is reached
via the atrium, but th ere are also secondary,
smaller entrances from the head ends of the
building which lead to the office area.
In the open space of the atrium are two
staircases placed in the middle, attached to
the gallery and opposite to each other. Two
bridges at the same level connect the galleries
of either side. An elevator is positioned in the
middle of these bridges. There are two extra
ramps that connect the bridges with each
other, one from the first to the second level
and one from the second to the third level.
Their aim is to punch through the facade. The
idea is that it is possible to go outside and
have a view onto the street along the facades .

The floors
On the ground floor one finds the exhibition
hall in the northern part, the children's day-
care centre, the grand cafe with the reading
room and some shops is in the south. There
are also two entrances leading to the
information desks of the office area .

I .~.;: I~·
....-~M.,.....,
l ; =- As mentioned before, there is public space,
" '~ / ' ~/ " including shops, on both sides of the atrium.

tt~t~~F-~T~" f~~~~j~;}~~~~:~~~~~~0~\~~~~~
t j~:p ~~. ~~;e~~~r~:J.~:~F~\;~:don~:::d::: ~:iut:~ can be used as a meeting or lecture room .
The restrooms, copying machines and
possibly a coffee corner are also adjacent to
the atrium .. .
. 11 There is a small deviation on the third floor.
. ::;~!.:!~:~I!gtiijt::~:: .; ~ ~ ~~;; ~:~~f[; ~!;::;:,~ Because two columns are missing a
 137

gymnasium is placed there, accompanied by

sports facilities that include a fitness centre,
squash courts and a sauna.
On the other side, instead of the standard
offices , there open ateliers lit by extra roof
lights .
The basement will contain parking space and
storerooms.

Construction

The roof construction of the atrium consists of

a glazed saw tooth roof. The glass facade is
supported by an alum inium frame
construction that carries the vertical loads. It
is supported by a horizontal space structure
that is fixed to the ceilings at both sides. The
glazed roof is supported by the same kind of
beams , to which the ramp construction can
also be fixed .

The facade

The existing facade becomes a double skin

system . The old elements will be kept and
renovated and their positions will sometimes
'- -'- ", f----: {""--', be changed . Behind the original single glass
~ 6:m f=;,
facade there will be a second layer at distance
of almost one metre. That inner skin will be a
double glass facade with windows and sliding
doors .
Si Openings are cut into the floors in order to
, '-'-'1 :'--1 i"'---] Q
~ tz,zJ ~ l!!Jl make air circulation possible. It will be a
_____._____ . __ J
climate facade that wil l work as a buffer in
winter time, when warm air is sent through the
space and as a cooling zone in winter time,
'. " '. /· 1;-J' '. '.-- when cold air will circulate through that spa ce.
"~bt-~-----r· Behind the outer skin lamellae are placed for
protection from the sun and also to direct light
onto the ceilings and reflect it to the back part
of the rooms.
The idea is to construct an 'intelligent' facade
to save energy but that will create a
comfortabie climate too .
Even the atrium will have a climate function
with a system that works by using plants,
sunshades and air ventilation to have and

M~-T1J§~
produce an 'intelligent' climate circulation .
Possibly sun collectors can be insta lied in the
lanterns to complete the energy saving
system.
138 FACADE 'light ships'

Sadbh O'Regan • ir. F. Colautti

CORE

Core of a new developing area.

SITE PLAN
Re-use of the building should take
on the task of being a communal
centre.

The integration of permanent

market shops and offices should
serve to fu/fil this function.

LIGHT SHIP

The concept was to locate both .' ['

;~ ~o 8W1! ~-Do -;:'--,- --~
offices and a public market in ~ 0 0 0

:.:1~~:.: "
one building, and to conneet the .., r'" .... 0 " (". 0 n " r " ':

two functions by means of a large

tapered light ship!

This light ship is a~n visible in L_~_

: , ~JoHi:J _,~~l '- :."."".:
0

'. '
the plans, opening up towards the
roof-scape.
 139

RENOVATION CONCEPT

Retaining as much as possible of

the existing.

Only removing the existing when

the new function deerns it
necessary.
EAST ELEVATION
New additions to be of contrasting
material to the already existing so
th at the distinction is always
visible.
CONCEPT APPLlED

Except for the ground flooyall

facades have been retained and
renovated. A new skin of glazing
has been inserted on the inner
side of the facade, held in place
by cylindrical steel columns and
nodes. UPPER FLOOR
The ground floor has been
replaced by a system of moveable
steel screens to give a more open
atmosphere to the public market .
area,

.New walkways, routes and SLIDING P

circulation towers are constructed
using steel and glass to provide a .
light, transparent feeling ása >-
contrast to the more solid feelof GROUND FLOOR
the already existing structure.
 140 FACADE 'unlimited space inside'

Lorena Maria Ciapparelli • ir. T. Jütte

The concept

On entering the Holland-America Line building 1

one experiences asensation that space is l
horizontal infinity. I1
I want to keep the good characteristics of the 1
existing building, and in my opinion this is its
main quality. Obviously I cannot destroy this
unlimited space by adding walls.
Another element of the building I want to keep
-
is its image and in my renovation project I
have tried to destroy as little of the structure
as possible.
In fact I retain the original staircases and the
concrete structural grid.

The Renovation project

In my opinion a renovation project has to

respect the existing building, adding new
Tt\€. t-IEW S'rAIRG\SES AND T1-\E
qualities by very evident interventions rather TOKE.nES
than imitating the . architectonic language of
the original designer. A~Sï01E.D ~
My project comprises some additions in order cr "'f1-{E. ~r . · ~ :?8I:ND
to change the function of the building. AtfD T1-+E. THlf2D ~
The offices th at I designed are a new type of
working spaces, they are something in IZZ

between the landscape office and the

enclosed room .

Additions

My additions are:
-Some volumes that penetrate the floors.
They comprise two staircases, positioned to VçLvHE.~ T+\~<J3i..\ · TI··\E
provide some linear visual links with the
existing ones, and six thinner volumes for the
ffi?\XlUQE AI'1t:> 'tHE 11$<F\r,:}
toilets.
-A roof made as a floating heavy slab with
some openings that provide light to the fourth
floor. The structure that stands under the roof'
is made of thin pillars creating a different
pattern from that of the mushroom pillars ..
Under this slab the oval volume of the 'grand
cafe' stands as an isolated object. The rest of
the fourth floor is a free space with some
workstations on wheels made as cubic boxes .
. -On the first, second and third floors I solved
the problem of the division of the space within
the offices without walls by adding some
"islands" and openings in the floors.
A panel of soft material on the ceiling can
absorb the noise that is free to spread .
 141

Each floor can be divided into four parts

around the openings, inside which spiral stairs
are situated to link the areas vertically so that
different companies can rent them.
-On the ground floor that is dedicated to
public functions, "islands" and horizontal
slabs subdivide the space. Transpareney is
maintained by the use of glass in vertical
dividing panels.
_ •• • _._ . .
r--" '--.~'

'In the south part of the ground floor (the most

,open to the outside) there will be the shops.
In the other one there will be functions as the
reception , the fitness club and all the faeilities
for the offices.

The facade

To keep the image of the original building by

Van de Broek and Bakema, I retain the
existing facade, but I add a sliding glass
facade inside it.
By making some holes in the floors , I
developed a eli mate facade that works in two
. different ways, depending on the position of a
rotating element.
During summer air flows through the entire :: i I
height of the building and goes out, taking
ADETAI L OF TI-tE "I, I
away the heat eolleeted by the vertieal blinds. jI ' : ! I

During winter air eireulates in the space of ~K.

;!
one floor and enters the double pavement I
where it is re-heated and spread in the space
\
above.
I

~~~' =:::~ ='t=---c:::====

'CC ::

-',
"
"*
I

- -11:r~~~1i"T'V'V'V"'<7V
-I m~lUllmo22
142 FACADE 'a box for people'

Paolo C. Casero • ir. A.C. Mandrekar

The building is constituted of two elements:

I
the structure, which gives flexibility,
functionality and freedom in horizontal space,
and the skin that is a "slave" of the functions
inside the building and that provides the
image of the building in the city of Rotterdam .

This "Re-use" will originate a change in the

functions inside the building: the storage of
things will become the "storage of people," the
"restoration of things" will become the
"refreshment of people" and the products of
work will become the products of a new type old vertical elements
of work. Basically the building will be
converted from a box for things to a box for
people. This is the reason why, in the design,
different functions are inserted into glass
boxes inside the biggest box that is the
building itself.

The interior space needs more light to

I
accomplish the new functions and it also
needs to be organized without losing
flexibility. These two points led to the creation
of vertical elements such as vertical service
towers and openings. The latter are of
different sizes on the different levels in order
to create various floor shapes th at can be
•
used for different purposes. The horizontal • service towers
space on the different levels has to be visually
free to let the light through and to let people
new vertical elements
look through. For this reason the boxes for
people are made of glass.
ê circulation towers

Every new function is placed so as to "use"

the specific areas and the specific elements of o 0

the building . For example the projection

rooms are placed behind the existing sun
screens, the children's day care area *uses
the roof of the ramp to the cellar as a o
TI
o 0
Dir o 'i 0

playground. 5!
On the roof a 'grand-cafe' is placed to take
o~ o 0

advantage of the view of Rotterdam and also o 0 0 0-0

,:
0 0 0
~~
to create the "never built" upper storeys of the ~; 0 t~
building. The new facade is placed inside the o 0 0 0 0 0 0

old one so that the external appearance is

retained and that it can also be seen from the
inside. ~ Holes
Plan of the first level
 143

axonometry

. ;.:

I'

section of the old and of the new facade

-;;';
144 FACADE 'jus de respect'

Emmanuel Lamotte • ir. T. Jütte

Politics:
oufside:
to keep the same
envelop and the
same volume.

inside:
to have a great amount
of different spa ces
inside this prismatic
envelop.
*to have continuity and
diversity in the ,
o
officescape. o i0 o o

*to have a hierarchy that 1

permits different o o
degrees of privacy o o o ~ o I
· .. · .. • .... ·· .. -.. ···r··;
,, ':
Plans:
o o
: . o
around 3 voids, an
interplay of
enclosed offices, o 0
corridors, open
spaces, patios,
lighting, thus o 0

creating numerous
and different
workplaces
connected to each
others in many
ways .
the inter play of ramps,
lifts, slabs, and
staircases creates
the same continuity
in the vertical
direction .
Facade elements:
the choice of an outside
wood/glass facade
solves many
technical problems
such as thermal
bridges, insulation,
and opening
windows .
The wooden slats hide
the concrete slabs.
Behind the double -
glazing you can
easily envisage the
old façade. The
whole system
emphasises the lf
horizontal direction
of the former
facade.
 145

'R eferences
--- - - --- r f"lrF -.. __._... _.-
I r i
Bakema(1914-1981 )
La tourette
Continuity
cocoon offices
~ U~ :
Roof
green garden
.- ~.' -.
SAMO double glazing
22
beeldend functionalisme .-

IJ i'fl:
.-:
Rotterdam expansion
MVRDV Concrete
slabwood slat Patio vs
Loggia
Brutality vs respect
Jus de Pomme
Domino House Free
plan man
mushroom column
massive structure
\
I t I I

\
Malevitch cross
HAL Hotel N.Y. Twan
Van de Broek( 1898-
-------l~IH T
,~
1978) public facilities >J
Stairs+Ramps+Lifts
Arto Lindsay
Hole+light+Roof
water/air tighness
computer screen
meeting rooms to
rest/to work
to seeklto find
tribute or death to
corridors
never the same
wilhelmina pier no
ships water+air+wind

old/new fitness center o 0 o ~ 0 s I":' 0 , ......

'-
\.....: IJ ' :.
"
,_ 0

,_' C .; , - \......
_
,) -
0

restaurant
\':>"-':: !~ o /'\.~,J
'\.-. </
inside/outside o 0 o .-
~ 0 0 o Vo r: 0
., ,-,
,)
ceiling/floor ,
-

,;
/fQ
Het werkgebouw
postwar to 90s " ... ,
, "

ra' ("
~
c (\
n
'-'
:;
Le corbusier v
,.'... ~
... ~

C
0
0 0
oC
0
0
0
~o

0
0

arch itectu re ~Î

~
%;:1
~
~' ---L .....
Basel Herzog&de 0 0 0 ~~ 0
// 0
§l ~
Meuron E3 , ., .---I~
never ending spaces 0 0 0 0 0 0
bart simpson morton
feldman blonde
redhead 0 0 0 0 0 o
de stijl amsterdam
schools corner
moebius stuff
watermills
 146 FACADE 'screening'

Paul van der Kuil. ir. H. van der Heijden

To me the building is a concept of columns Level·'

1 shops
with a screen covering the columnar structure. 2 storage for shops
Viewed in its direct surroundings, the storage grand cate
toilets grand cate
appearance of the covering screen is very depots
important to me. The facade shows parking garage
something of the history of the Wilhelmina Level 0
Pier, which will be very different from its future 1 courtlsquare
but which it will be very important to maintain. void to Shops
receptiori
The original columnar structure is 4 post delivery,
a b
very suitable for use as flexible office spa ce. helpdesk

Some 15000 m2 of office floor area is

1irstoid J l
grand cqte n n
needed. This is about 75% of the building. I

ffi
copy deportment
officefloor o 0

removed the other 25% of the building, while 10 toitet broek

retaining the facade as a spatial screen
:g: :
level 1·3 ij
supported by new columns, this empty east 1 expo (1-2)/mtness(3) 9 o 0

part of the building now formed a square, 2 technical s9IYices (3)

3 domestic services (3)
which could open up the rigidity of the 4 officeftoor o
building and add some extra necessary public 5 toilet bloek : 11
=...ll-___~, _i.,-=~_:"_-_.::,~_-=~.~~;;',.:-_~
space to the surroundings.
The building is packed into a new
highly transparent facade, which, together
level 4
1
2
techinlcal room
kitchen
storage
I n

b c
with the new columns of the square-screen restaurant

forms a second spalial screen around the

building. This facade is constructed by using
a high-tech glazing system, showing the new
future of the building but, because of its
superb transparency also respecting the old.
In the designing the interior I tried to
keep as much clarity as possible, the building
was and still is only a storage for cu bic
meters. ~ .~-'--

In th is way, since my new additions are 1-

intended to enrich the building not to insult, it I
could respect the original functional
architecture in the best terms. My renovation
involves screening the old building and
preparing it for its future

rF
tt
,
~I
I'-'- !
I a: ' h- '

h U.~LL
I
~ I t:'t IU
f-L

I tï\1t'

~ N
~
 147

-fffi
L

1
B q
Q (

x J
n
:=.J I
I
I I \

I 111

c ~ R
148 FACADE 'a screen print facade'

Emanuele Mattutini • ir. F.WA Koopman

The given (renovation of Las Palmas building

in the Kop van Zuid in Rotterdam) is taken as
a premise on which to develop a theoretical
speculation on the re-use of modern

,'0"'-'_/.\ " -
architecture. ", " " ," .. , --\ \/1\. ,\ .\ /I
"',, ,\I,
The question of what was deserving of " "" .. . /' I /'
., ' ". " I .,,-\\
'eternal life' in this building, associated with \ , ',
::~ , .. , ,I\/,
the need to find a role and field of operation ::: ' ' ; ,
for the architect led to the decision of remove
\I',
",:"
.
. • '
': '
\..
\
/ "/"
" , ;\ " \
//

the old facade (a minimal cheap envelope

which was conceived to serve purposes that
no longer exist). This action reduced the Task
building to its very essence, the concrete
frame made of floors, columns (in this
particular case "mushrooms columns"), a
perimeter and a core. Apart from these
features the shape and function of the building
were completely undetermined. The empty
floors permit total invention on every level; the
program itself was abstract: build offices.
Attention, as a sort of "negative" attitude, was
focused on the complementary part of the
office spaces: the facilities and services. It
was decided to concentrate the facilities and Essence
services in the inner, darker area of the
building in order to shape a core surrounded
by the "officescape": this is the specific area
where the particular needs of each activity will '<'-- lJ~:r:r
. . • '
'r
I.
--' -~
J"" I" ,." •• ]
I -. . . ..
,
" .-
be generated. The core, being free from ties
.... . L~ , .:.: .
and limits (this kind of freedom is almost
unknown in renovation of traditional buildings)
develops in a different way on each floor.
..,~ : -:. :" : . ~
_=t '::1'",1:.___~:\:__:' :1
Unity within this heterogeneity is reached by
wrapping it with a skin made of corrugated
panels. Daylight is literally injected here by
Undetermination
means of two light wells that reach the lowest
floors and that fit into the existing grid of
columns .
The new facade is as simple as possible.
As it is a filter, a buffer zone, different
functions and textures overlap in it, including
communication, protection from sunlight, and
perception.
Since there is no place for memory in modern
architecture, a picture of reclaimed land (the
symbol of the continuos reshaping and Invention
reinvention of The Netherlands) by Mike
Heizer will be printed on the new glass
facade. Sun filtering is achieved partly by this
screen print, and partly by random alternation o o
on the south facades of both transparent and
translucent panes. At the ground level blind
panels as weil as the complete absence of
wall, i. e. the road crossing the building,
alternate with the glass facade enriching the
perception of the building by many grades of Diagramatical plans: development from the
transparency. Mike Heizer basement (top) to the roof (bottom)
 149

New facades

... _--
,~, .

external skin

internal skin

First floor
150 FACADE 'flexibility as a device'

Pedro Pimentel. ir. A. Mandrekar

This assignment was considered as a

renovation task and not as a restoration .
Renovation is a reinterpretation of the old, as
a way of discovering the expressive factors of
a building and th en showing them in an actual
way.
The new functions of the building demanded a
new meaning. The pre-existing building was
just another element to be taken into account
as the site or the programmatic demands.
The chalienge was to clarify the principles of
the building and to impart a new meaning to
them.

The site

The site is a history of occupation: yesterday

the harbour image, tomorrow the business
centre. Today the building is a residue
between the old and the new Rotterdam.
These considerations were set in the design of
a public space that the plan of Foster does
not contemplate.
In this square old and new will come together.
On one si de freestanding columns will turn
into lamps; on the other side bearing walls will
become supporting elements for access
ramps with incorporated lam ps. In the middle
an exhibition gallery with workshops, will give
a cultural function to the area.
The basement of the New Vork hotel can be
used as an extension of the cafe and a part of
the square as its esplanade.

The building

The building is mainly an interaction between

two forms of understanding. On one hand the
structural composition which consists of a
heavy brick base which sustains a light white
box. On the other a bearing structure made of
freestanding mushroom columns, which is
th en filied in according to the practical needs.
The general strategy for the design was based
 151

on two main aspects: first keeping the

structural composition both in regard to
spatial design and programmatic use, and
second to show the constructive truth behind
the appearance.

Office floor

The office was designed by taking into

consideration wh at made the building
unsuitable for new functions, the main one
being the lack of light, which also made it less
flexible.
Flexibility in architecture gives freedom, but it
is essential to have a structure or a layout
behind it, otherwise this freedom turns into the
absence of meaning and order.
To light the central area of the building three
transverse openings were made. This solution
was the most flexible, considering the division
of the office floor in six parts, since it also
allowed division into one, th ree and four parts .

Panels and bricks

The idea was to use the existing materials but

to give them a different purpose, which is
connected to the new meaning of the building.
They should also be used with the same care
as was exercised by Van den Broek and
Bakema. The panels , which make the facade
interesting, were a key element in the design .
They are what make this building so
interesting and important. This was the first
pre-fabricated facade in the Netherlands.
These were the elements that filled in the
space between the slabs and separated the
indoor trom the outdoor space. They were
added elements. They were movable, which
gave them an interesting tlexibilty.
The panels were rotated 90 degrees so it was
possible to see through the facade and so
they could be used as a wind resisting
structure for the new facade. This also
allowed privacy in the offices if you consider
the perspective approach as is suggested.
The bricks were used to build the new dividing
walls. These walls do not touch the ceiling , S
Bakema's walls in the ground floor did, so it is
clear that they are not load bearing walls , but
just necessary elements introduced in the
structure.
The new facade is made of glass in order to
have transparency. This facade was
designed, as a new layer which was
juxtaposed to the pre-existing structure for
practical reasons, like that of Bakema in the
south facade.
 152 FACADE SYSTEMS
dr.ing. J.L. M. Renekens
Panel façade witll built-in windows ;Uld
rulJber sealings. NIeuw Amsterdam, Amsterdam.
Architect: Pi de Bruijn
.~r_____----' THE ALUMINIUM/GLASS FAÇADE
T
he aluminiumjglass façade is a building enve·
lope detaclled from tlle supporting structure.
1 ···
The façade functions like an interface beo
11 .
~r-------,i
tween the interior and tlle exterior. According to
Eekhout [3.1]. an alurniniumjglass façade is a 'type of
façade, tlle exterior sllell of which may run over several
storeys and may be composed of relatively lightweight
conslruction elements with integrated windows as weil
Until 1973: Cur/ain wall wW) single
climElte separatioll.
as spandrel elements'. A more comprellensive defini·
tion is given in Cilapter 1. Since tlle aluminiumjglass
façade is fastened around the building like a skin, it is
also ca lied curtain wal I. The façades can be grouped
as follows:
• up to 1973, curtain wall with single climate separa·
tlon;
• up to 1995, curtain wall with lherrnally insu lateel cli·
l11ate separation;
• as of 1995, alul11iniumjglass façade witll climate·
anticipating interface. (Fig. 3.1)
Untif 1995: Curtain wAl! witll tllermallj The aluminiumjglass façades are divided into true
insulated climate separaliOI1.
and false façades. (Fig. 3.2) Tlle true aluminiumjglass
facade, also ca lied complete aluminiumjglass façade,
. - U,· .- encloses tlle building lil\e a s l\in or membrane. Tllis
,r-
type of façade can be defined, frol11 a construction
·point of view, as self·supporting. as tlle forces actlilg
on it are transferred to tlle columns or floor slabs via
the façade l11ullions. [3.3] In tlle case of false alumini-
ul11jglass filçades. anc110ring is possible at several
pOints due to the single façade shell located at the
I)acl\. Tllis facade receives its required strengtil and
rigidity l11ainly from the internal building structure. False
Alu/JIlrI/Ufll/glêlss laçöde.
L _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ ______ alul11iniumjglass façades can I)e suMivided into mu lt i-
3.1
layer façades Witll cold and warm wall shells. In both
types of façade, therl11ally insulated, transparent win·
dows are incorporated. In tlle case of tlle cold façade,
the interior shell is insulated at the exterior side, and
an aesthetic panel construction, the ·rain shield', is in·
sta lied at shell distance. The air space is ventilated by
ambient air. In the case of warm façades, the non-
transparent components are finished with a closed
shell of thermally insulated sandwich panels installed
at shell distance: the sllell is 'warm'. For false alumin i-
umj glass façades, the interior shell I11USt be airtight.
False aluminiumjglass façades can easily be erected
due to the various possibilities of anc110ring to tlle inte-
rior shel l.
Alul11iniumjglass façades are not only used in new
construction work. Presently, false aluminiumjglass
façades are used on a larger scale for the 'ove r-
cladding' of existing façades. TIlUS, the technical level
anel tlle outward appearance of existing buildings are
upgraded. One disadvantage migllt be a loss of charac-
teristic design, structure, nnd texture of the façade.
Tlle first curtain wa ll systems consisted of steel
stick system constructions. 'The form of the façade
Ilas been defined by a grid of rectangularly crossing
lines; it received its form by t lle profile system Wllicll
was often combined with a vertical accent or even an
accentuation of tlle constructive design of the building
skeleton. Tlle surface-filling elel11ents of tlle tirst cur·
tain willis consisted of glass or metal panels. Anotller
curtain wall system, also used at tllat time, was based
on storey-high metal sheet elements into Wllich tlle
transparent sub·components were integrated.' (Fig.
3.3) Since the fifties, curtain wall façades mainly con-
sist of steel and aluminium for the structural parts. sin-

, -- - - - - --
3.3 Profile griri with vertical flc centUi'l tion. StotCy- llIgh pond cOl11poncnts
lransparen/ glé/zlI1g.
gle glazing for transparency, and insulated panels witll
varying exterior finishings (among others, aluminium
sheets, painted glass) for tlle non-transparent sur-
faces. As of 1973, the development from single to dou-
ble glazing applicatians could no langer be reversed.
During the eighties, it was fashionable ta execute the
closed and open parts of tlle façade in sun-reflective
glazing. (Fig. 3.4) TIlUS, the characteristic reflective
buildings ca me into being, in Wllicll, from tlle exterior,
na difference between the transparent and the non-
transpare nt glass panels can be noted. Lately, same
changes did take pi ace in this area. Within the group of
true aluminiumjglass façades, glass is still used, 110W-
ever, the Ilard anel irnpersonal reflective façades made
of sun-reflective glazing are no langer fashionable Witll
architects anel are less tolerated. e.g., by the Dutcll
'Committees for the assessillent of construction pro-
jects with respect to aestlletic guidelines·. Alternatives
are. among others, non-colourecJ glazing elements Witll
transparent coatings, natural stones, aluminium pan-
els, and screen-print glass qualities (painted glass).
(Fig. 3.5) Natural stones and ceramic tiles are increas-
ingly applied for false aluminiumjglass façades. (Fig.
3.6) [3.31
THE SYSTEMATOLOGY OF
LIGHT FAÇADES
A
ccording to van Dale (1984), a system is 'the
entirety of organizing principles'. [3.41 Tlle or-
ganizing principles are decisrve for a discus-
sion of the systematology of aluminiullljglass façades.
We want to start with a general typology according to
the cOlllposition of tlle façades and the ir execution;
153
--_._- - --
IVI Ul bUlI/ -1 1! 3.5 Co/rf façade (v/l IJ profiled panel
cladcJmg mdde of alU/11If/ JUIII .
RUydl Llvlary. Tlle Hague.
Architect.' 00 .205. Delft
---------------------~
tllis will be followed by tlle systeillatology of the differ-
ent types of façade witll respect to functional requrre-
ments. Also, tlle composition of tlle aluminiullljglass
façade of material elements will be discussed. Finally,
tlle demands made by mechanics, structural pllysics,
use, tectonrcs, and environment sllall be discussed.
For the aluminiumjglass facade, the clloice of tlle
systelll is strongly determined in the des rgn phase by
tlle type of building and the façade appearance de-
sired. Also the means and possibilitres for tlle ll1anu-
facture and erection of tlle façacJe play an rmportant Trut! alumifJ/W/1 laç'a(/e
role. In a second design pIlase, tlle abstract concept is
transformed into concrete form (l11aterralrzatron ).
Besides tlle clloice of material , type of construction,
and system, the design is furtller developed up to tll e
princrples of construction details and assembly as weil
as installation. Finally, the specifrcatron will contain Ll
fully described anel detailed façade system on Wil reil
tlle tender will be based.
For the aluminrum/glass façades presently of-
fered, two essentially clrfterent systems can be distrn-
guislled: trade systems and project systems . Com- FFJlse alullliniull1 -glass façi1de " co/d s/l ell .
pa nies offering systeills develop. manufacture. anel
supply standard-type system profiles to companies
specia lizing in façade construction Wllicll take over tlle
production and installation of the façade. A trade sys-
tem cOll1prises the engineering and the complete range
of system profiles developed, assembly and installa
ti on of components. joints, and accessories. Tile type
of surface filling and the surface treatment are defined
by the project arcllitects. Current trade systems can be
supplied ex stock by the companres offering such sys-
tems.
Fa/se alummiuI/I-gla:3s façade: war/l/ stlell.
Project systems are specially eleveloped per pro-
3.2
FACADE SYSTEMS

dr.ing. J.L.M. Renekens

3.4 Façacle 1\,1(/1 SlIfJ rcf/CClIve gla71llg.

Ume(/éi 0/q f:3viltltng. Usa/wo
ArcIHtec/s: Hirosill IIrlr;.J + /lielier S Tf'l/mnfl/la COIp

- ---- - - - - - .-- - -- - -- - - - - -.- -- - - 1
_~L-l-,
tlSS!mJ~ m
;" n i,
~-~
-F==F
_. _ J J _"
I/Uilt Vll'W
3.7 HonlcJnfallVllldow vdod
'
L J.
'L . L I ' L "I
DWI>-i~
J ---.J
i~ ~~... ,
r,"-n,'i ';~ 1
L : __LJ _ .ij
front view verticalsection
honzontal sectlon
3.R VertieRI window b;md.
Ject by tlle companies specializing in and qualified for
façade construction. A project system is based on a
number of principles related witll structural physics,
outward appearance, composition, and installation. up
to tlle incorporation of hardware for doors and win-
dows. Witllin tllese principles, variations are possible,
mainly in width or depth and shape of the profiles
Project systems can also be developed on the baSIS of
trade systems.
A system specially designed for a project is tailor-
made, Obviously, such a system can fulfill nearly all
wishes. lts character is aften very innovative, e.g. with
respect to design, properties related to structual
plwsics, integrated installation, use of material, fasten-
ing, panel anc haring, or assembly. It must be noted
here that extra time is required for the concept and pro-
duction wllen such systems are developed. Care sys-
tems and also new tracle systems aften derive from tai-
lor-made systems.
Elements Filling the Openings An opening in
the building envelope can be closed by windows, insert-
ed façades, or by curtain walls. A small opening in a
massive façade (windowopening) can be closed by a
window. A horizontal (Fig. 3.7) or a vertical (Fig. 3.8)
combination of windows is also called window band. If
tlle façade is constructed between tlle floors and walls
or supports, this is referred to as an inserted façade.
(Fig. 3.9) When tlle façade as a whole is completely
ancl continuously erected in front of lIle supporting
structure, this is referrecl to as a curtain wall. (Fig.
3.10)
Tile sense of rotation of tlle windows (and doors) -
viewed from above - is called rigllt-closing if the moving
155
'1 .I
I
IJ
-.r::1
i
3.6 Cold fa(,.ï:u}t-' cUfllpu::;eu o/l;eri;lII11C
lifAS. HAa~se Poort. T/le I-Iague.
4rcilltect Ro/) Ligrvoet. Kraaljvanger
UTI)/s
part can be closed in clockwise direction, in tlle con
trary - anti-clockwise - it is defined as leftclosing. (Fig.
3.11)
A number of types can be distinguished:
• There are four basic princlples to open a WIndow:
Turnlilg and sliding in Ilorizontal direction, vertical tilt-
ing. and horizontal or vertlcal opening. There are a
number of combinatlans in acldltion to tllese types.
• Windows can be opened towards tlle interior or ta-
wards tlle exterior. A vertieal pivot casement window
can be opened towards tlle interior as weil as towards
the exterior.
• Tile window and tlle surrounding frame may be in·
serted elther visibly or invisi lJly from the outside.
• Glazing and spandrel elements can be put from lIle
inside or from the outside.
Drawings of tlle sense of rotatlOn of Windows are
always made In tlle outslCle proJeclion. TIlase lurning
outward are drawn with full lines. wllil the point inuicat-
ing the closing side. dotted lines are used for parts
turni ng inward.
As indieated, an inserted façade is a façade com·
ponent inserted between the floors and supports or
walls of a building. An inserted façade IS storey-hlgll. It
is composed of several glass surfaces into WlllCll often InV/ard operllng. closlng on (he IeM..
one or more moving parts (windows, doors) are incor·
porated. Vertical profil es are called mullions, horizontal 3.11 Wllen mdica tmg the opening
c.ilreCUOfl, prujl'cllufI (rolJl Ule outs/de
profiles are called transoms, (Fig. 3.14) A horizontal is tal,en as a basis.
window bami is located in tlle space IJetween tl18
floors. usually running in front of the supports or walis.
anel horizontally constitutes a strung glazed window
opening. (Fig. 3.7) A vertical window band l11ay Ilave
varying widtllS witllin a façade. It is located between
tlle supports or walls and runs in front of tlle floor
156 FACADE SYSTEMS

dr.ing. J.L.M. Renekens

··· "-1_ _- _

-1,.

. . . .:
·1· '.. Aesthetic
'raincoat ' -
train stlielclJ

Tréll1sparent
element
(windOI.\' I
- - " .vl

fron! vle\'! \'cl1 11":éil sectio!) 11Onlonl i'li ~",cllon

3.9 l'L'indolV façade (insellecJ facaclei.

3.18 Cold façade. 3.21 COld facade:

pressure equalizalwl1 . wAtA/"- find AÎr·riglJtness .

.. __ .. l.. __ _ ...
front view verl lcal seclion 110111Onli'11 sec1ion

3.10 Aluminiu/ll /f,IASS fAGAriP.

slabs. (Fig. 3.8) Usually, vertical break-tllrouglls of tlle
floor slabs are outlined: open surfaces, elevators,
staircases. An alurninium/glass façade is tlle ligllt-
weigilt. self-supporting, clirnate-regulating and separat-
ing construction fixed to tlle supporting structure of the
building CIS the building envelope. The alulll iniulll/ glass
façade norlllally is located in front of the floor and of
tlle supports or walls. (Fig. 3.10)
(iJ
\ CLASSIFICATION ACCORDING 1'0
• Tile façade can easily be replace cl, sectionlilgs of tlle
building can be cllanged;
• the façade is of light weigilt;
• environmental aspects can be tahen into account by
an appropriate selection of material and an appropriate
composition of the structure;
• possibi lities are good for construction in panels;
• the façade is relatively inexpensive;
• it can be adapted to tlle projected life time of the de-
sign.

(~
Disadvantages ilre:
'21 TIIE COMPOSITION OF FAÇADES
• There are less possibilities for ilccullluiation of the

W
(( :il
Q 3) Ilen dividing alul11iniul11/glass façades ac- façade (whicll l11ay also be an advantage, naillely in the
I.~ cording to their composltion, we distin- case of actively regulating façade constructions: the
guish between true and false façades. façade illllllediately responds to tlle signals of function-
The latter will be furtller subdivided in anotller para- al adjustment);

1. Upper triJOSOnl 6 . SpilndrCI panel

2. Intermediate transom
3. lower Iran som
4. Rxed window Ot nxed pane
5. Outward swing window.
closlng on lhe rlght
3 .14 Profilt1 dem..JlI!ini;1/iOI!S.
7. lateral mullion
8. Intermedlate mullion
9. l ateral mullion
graph.
The True Aluminium j Glass Façade TIlere is
no interior sllell in true alul11iniul11/glass facades. (Fig.
3.15) Tile facade constitutes the only separation be-
tween tlle exterior and tlle interior clilllate. It is self-
supporting. i.e. it takes up its dead weigilt and tlle wind
load a nel transfers It to the l11ain supporting structure
via tlle fastening pOints . Principal ly, tlle aluminium/
glass filçade is fastenecJ to the supporting structure ,
1110stly of slleleton-type. at eilch floor of tlle tlLlilding.
Tlle façade constitLites the functional ilnd ilestlletic
construction for climatc separation. Tile separating
fLinctions can I)e reactively controllcd by mcans of sup
plementing tecllniques (cl illlate control).
Advantilges of tlle true aluilliniulll j glass facade
are:
• fire security requires further measures to be tallen;
• the water- and wind-tight completion of tlle building
sl<eleton takes relatively rnore time;
• 1110re severc damilges may occur during 1I1e con,
struction time:
• wllen replacing the façade . the use of the rooms is
ternporarily impedcd.
The False Aluminium j Glass Façade Tile false
illuminium/glass façade actually is a functional sllell in
front of an illternal (secolld) façade construction. (Fig.
3.17) The false aluminiullljglass facade receives its
strength ancl rigicl ity to a large extent from 1I1e internal
facade cOllstructioll. The fastening of lhe aluillinium/
glass façade Ililnging outs ide of tlle second exterior
wall (the interior shell) is made by bored anchorings. As
a rule. the false aluminium jglass facade is fa stened to
a closed building structure witll transpare nt ope nings

3.15 True i:llulllluillllJ/glass raCde/e, IV/UC Bw/äing. MUllicll.
Arc/l/teets: Ivlurph)'/ Jalm. C/licago
(windows). Two types of the false aluminium/glass
façade can be distinguislled: tlle cold and tlle warm
façade.
The Cold Façade It worhs lihe an aesthetlc rain
coat and, together with tlle interior shell, forms an air
space ventilateel IJy ambient air. (Fig. 3.18) TtliS
also contains outer air. The façade Il1sulation IS localed
at the exte rior sicJe of 1I1e interior she ll. TlllS type is of-
ten used in front of a bui lding wlth load-bearing façade
panels or a concrete wall shell. Tile ope nings in the in-
terior sllell are sealecJ with a thermally insulated win-
dow in a window frame. Tlle interior shell is insulated,
and tlle entire construction is completed witll a weatll-
er-proof, non-illsulated exterior sllell Wllicll is anc110red
to tlle interior sllell at shell dlstance. The panels of the
exterior sllell can be insta lied wit110pen JOIllt. (Fig.
3.19)
The aesthetic raincoat's function is to protect the
internal insulalion matenal agalnst wetness
shie ld) and to create tlle desired outward appearance
of tlle building by cladding tlle bach wal!. The rain pro-
tection is based on the principle of pressure equaliza-
tion, Due to tl1e openings in the exterior shell, tlle air
pressure in tlle air space is (nearly) equal to the exteri-
or air pressure. Due to tlle pressure equalization withln
tlle air space, tlle preclpitatlon does not move In hOf!-
zonta l direction. By proclucing the interior shell In an alr-
tight manner, the passage of water to tlle insulation
Illaterial is avoidecl. (Fig. 3.20) At the same time, tlle
water vapour, diffuslng from tlle interior to tlle exterior
within tlle air space, is carriecl away. (Fig. 3.2 1 )
The functionality of tlle air space can be improved
by compartmentation and thus be better controlled.
157
3 ..l7 War/)) (dCc/cic; to lilt: lell. lilt' vU/IU IIJg fl iJm t;' of
1/1e eXpäl!SIQf! uw/rl/flg . Ce l1 le rnO lll f . .4 m sfer(ia rn
l'rr.I Jitec ts : Wilt ;m r( Van Weil ;\(cfll fec (s
This is ll1ainly effeetive at the corners of tlle building
and at tlle lower and upper sldes of tlle air space,
since undesired all' currents and, consequently, differ-
ences in air pressure in tlllS space are avoided. At tlle
same time, a reduction of tlle wind loael on exterior
sllell elements can IJe achleved at tlle corners ol tlle "
space builcilng and at the roof edges.
In the case of the cold façade , waler allCl willel
tlglltness are acllievecl in tl1e following sequence: for
tlle cold exterior sl1ell, tl1e ralll water pmtection is con-
trolled, tlle air tiglltness is acllleved by tl1e interior sl1ell
being of airtight construction. Tl1e window elements,
wlliell are nearly always installed elming tlle pil ase of
comp letion, must be anehoreel to tlle intenor sllell in an
air- and watertigllt Illanner. (Fig. 3.22)
Tlle bUilt-in window is a tllenllally insulateel lacacle
element. Wllen IJeing connecteel to tlle colel exterior
shell, tlle Insulateel willdow IS also ll1ermally Illsulatecl
all around. Thls transition from colcllo warm is a clisael-
(rain vantage of th is façade system. It nwl\es it more diffi-
cult to build with caillponents. Far tlle project of Delftse 3.19 ilssemv/y of gramte façade
c/dULiing lV IU lo pen JO/li l.
Poort, Rotterdam , is was tllerefore decided to use non-
insulated window profiles anyway. By sealing tllese
transparent componcnts with insulation l11atena!. a suf
ticient thermal insulatlon value could be acllleved . By
implementing tllese measures, bUilding IJy components
was really possible, Wlllch was also necessary rlue to
tlle volume of tlle project a nel tlle required speerlof
IJulleling.
The Warm Façade A warm pre-set f"çade has il
warm shell closed against tlle outside air. (Fig. 3.23)
Tl1e spandrel panels contain tllC façade insulation and
are installed, togetller with tlle transparent COlllpO-
 158 FACADE SYSTEMS
dr.ing. J.L.M. Renekens
3.20 A/rtig/1t execution ot l/Je interiOI
s /lell of a r.old façAde.
3.24 Climate façade.
{ rnust be as airtight as possible in order to avoid a leak-
3.25 Climille (iJCwJe
(sandwich-type o f
cons rructioll ,! .
3. 26 C/imö le Wlm/V L-\ ',
3.22 Water- ana 81rtiglll connecLÎon of
IVil1do\\' panels WWl tlle building
frame (interior she/J).
nents, to the load-bearing building structure at shell
distance. Tlle profiles used must be equ ipped witll a
tllermal isolator. One advantage, cam pa red to tlle cold
sllell façade, is tllat tll is type of composition is mucll
more suitable for building by means of panels and su-
per·panels (building of larger units). Tilis is a complete
façade in front of a (normally) load·bearing façade.
Disadvantages are: Iligller building casts (compared
witll tlle true aluminiurn-glass façade) and less possibil-
ities of Clloosing material for the non-transparent parts
(cornpared witil the cold façade made of aluminiurn).
Furtherrnme, the accessibility in case of water or air
leakage is rnucll lower, and tile systern is tile least flex-
ible for replacement or adjustment of tile façade. Water
and wind tightness are dealt witll in tlle exterior shell.
Also, for tllis type of construction, tlle interior sM11
age of hurnid interior air into t/le air space: tllis leads la
loss of heat and brings alJout tlle danger of formation
of condensation water witllill tlle shell. The winrJow ele-
rnents must be fastened airtigllt to tlle interior sllell
and must be connected witll the non-transparent com-
ponents in a water- and wind-tigilt mannel'.
The Climate Façade Tile climate facade, as it
118S IJeen Imown since tlle seventies, deviates from Hle
types of façades described alJove: il is composed of an
air space and of an rnsulaled exlerior glass slle ll as
weil as of a non-insulalecl interior glass pa ne . A climate
facad e is composed of a regular exterior facade witll
transparent doulJle sheet elements witiloUt opening
parts and of a separate interim pa ne made of transpar-
ent single glass. TIlere is a wide space between tlle ex-
terior aml tlle interim sllel l suitable for tlle installation
Warm
air space -------i'v-'
Ir <iJ1spi-tlC;fll
e lCllle llt
(wil illo w ) - ----jl
In sulateel
panels - - - - - - - 1 ( 1
Wdl e r ,md
Clir lJön ier _ _ _ _....J
3. 23 Warm façade: water· allo äirligll t area.
of sun controlling equipment. Tllis space is connected
witll tlle air circulation. During winter time, the ileat
evacuated from tile room air provides an artificial in-
crease of the temperature of tlle interior sl1ell, wh ich is
very comfortabie. Most of tlle clirnate façades are
equipped in SUCll a way tllat convected solar energy
can be re·used. Tl1e air, heated by tlle sun witllin the air
space, is evacuated and led through a Ileat excllanger,
by which part of the interior heat evacualed can be re-
covered. During summer time, it is possible to collect
tll e sol ar energy and to evacuate it, til US leading 10 re-
duced cooling needs within tlle building. An important
and characteristic feature of the climate façade is the
fact tllat no air conditioning equipment is required. One
advantage of tllis system is largel' usabie space witllin
tlle building. Since tilere is no drop in teillperature, a
comfortable room climate is created , even near tlle
façade. A second advantage is tlle fact tllat tlle sun-
controlling equipment is independent of lhe wind laad
and can, thus, be used independent of the he igil t of
tlle building. With respect to sun protection installa·
tions, this type of façade needs less l1laintenance. On
tlle other hand, cleaning work is more difficult tllan tllat
of tlle single·sheet façade due to the separated inside
and outside panes witl1 the air space in between. If the
room air is led away over the complete façade, one
speaks of a ellmate façade (Figs. 3.24 and 3.25) , if
lhe arr is evacuated tllrough the window, of a climate
window. (Fig. 3.26) [3.7] In case of a combination of
IlOtil, alle speal(s of a climate window band.
A clil1late façMe is preferé!ble to a climate window.
In case of a clilllate façade. tlle spandre l is included in
tlle system and is also heated by the room air. Tile radi-
ation teillperature is approxilllated to tlle interior air

3.27 Second-sf<in facacJe.
temperature. Often, a filter is built in in order to collect
the dust from the ventilatioll.
The covering of the air space must be connected
airtigllt Witll the exterior frame. In order to have a cam·
fortdble feeling regarding daylight, a light coloLir IS re-
quired on the coverings. The clepth of tlle air space is
nonnally between 60 dnd 200 mm. The interior glass
pane Illay IJe Illade of frailleless toughened glass or
Illay be put into a complete window. [3.7J It IllUSt be re-
Illovable, slidable, or turnable for cleaning of the interi-
or pane, of tlle sun protection installation, and of tlle
surface of the exterior and interior glazing. Tlle sliding
glass panes are the simplest way of fulfilling this re-
qUirement. Tile air space gets dirty by the air clrcula-
tions.
The ventilat ion of a clllllate façade Illdy correspond
to th at of a regular façacle. Althougil a variabie flow rate
contral in cl imate façades Illay be very interesting (Iow
air evacuation witllout sun, Iligll air evacuation witll
sun), such a contra I is se ldom used. Due to practical
anel fillancial reasons, the decision is aften Illade in
favour of a constant flow rate systeill. Since tlle Illateri-
al's teillperature of tl,C interior shell deviates on ly in-
significantly frolll tlle room air teillperature, a high ther-
Illal cOlllfort is acllieved by llleallS of a clilllate façade.
n,e equ ivalent U value amoLlilts to IJetween 0.6 and
1.35 W/1ll 2 K. [3.7J A clilllate façade Witll a ventllated
spanclrel must IJe praviclecl with an insulation Idyer at
the Interior side of tlle exte nor shell in orcier to avoid
built-up Ileat prab lems.
The sun protection devices within the air space
Illay consist of Ilorizontal or vertical louvers or of a hori-
zontal venetian blind. Vertical louvcrs Illay, under cer-
tain circumstances. move due to the air circulating in
159
City LilJrary. V/ersen (0).
AlcIHlet:{s: Jallsell & ErgueCIIJel1, Ous:;,eltlurf
the air space. Under the aspect of an effectlve ligllt
contral, light adjustillent. and heat recovery, an auto-
Illatlc control, posslbly allowing individual acij ustillent,
is preferabie.
The clilllate façades allow a lower solar energy
transmission (SET) factor. Depending on the sun pro-
tection anel flow rate, values of approx. 0.11 la 0.23
can be achievecl. Tile sun radiation is IJest controlled
by louvers of light colour. A clilllate façade with sun pro-
tection device witllin tlle air space Illay, tllroUgh perfor-
Illance, compete with lIle exterior shading devices and
has the additional advantage of being independent of
tl,e wind. Without shading device, the SET factor
amoLrnts to approx 0.5 (for cOlllparison: SET of trans-
parent IIlsulating glass = approx. 0.7).
The maintenance casts of clilllate façades may be
lower tllan those of regular façades. This is Illainly due
to tlle lower energy casts and tlle reduced Illainte-
nance reqUired far tlle SUil protection. The cleaning of
bath tl,e sllell sides of tlle interior and exteriar glass
panes, however, is a cost-increasing factor.
Second.Skin Façade Relative ly new are tlle sec-
ond-skin façades. (Fig. 327) Tilese façades Ilave been
constructecl for the use and control of the Inciclent sa-
lar energy (sun heat. sunligllt, ancl elayligllt) ancl for tlle
natural ventilation of the interior rOOI11S. Principally,
transparent glaling IS used, and windows t!lat can Ile
opened are integrated into the interior façade. Sa far.
tllere is no apprapriate term available in Dutcll for tllis
type of façade. We clailll to introduce a new denolllina-
ti on system in tlllS booll (see also tlle diagralll at tlle
beginning of this Cilapter).
Second·skin façades consist of an interror con-
160 FACADE SYSTEMS
dr.ing. J.L. M. Renekens
3.29 SticJ(-system type of cOflsrruction.
3.30 Ladder lype of conslrucl1on.
3.31 PAnel type of construction.
3.33 Superpanel type of consrrucriol1.
struction made of transparen! insulating glass, a wide,
climate-insulating air space with sunlight control de-
vice, and an exterior construction of transparent single
glass panes. Tile air space forms a buffer between the
exterior and tlle interior climate. (see Chapter 9, From
Passive to Reactive Façades)
The Glas s Roof The roof is also defined as Ule
fifth façade of a building. The glass roof must be de-
signed under aestlletic aspects, especially at a time,
when tilere are many high-rise buildings from which one
can look down at tlle glass roofs. A glass roof is a
transparent spatial enclosure and can, tecllnically
spealdng, be integrated in an adapted systelll of tlle
aluminium /glass façade. (Fig. 3.28) Speal\ing of
strength, it is subject to st rong loads as it is continu-
ously exposed to direct sun radiation (UV load) and the
natural water flow is hindered by 1Ile flat or inclined cov-
ering elements_ For an aluminium/glass roof it makes
sense to install a 'second' lield at the interior in which
possible leakage water as weil as condensate water
may be caught and drained away. Furtllermore, care
must be tal\en tllat the glass used in the lowest glass
slleet be secUl'ed against breaking. Safety glazing is
made ol glass laminated with a PVB foil or epoxy resin
coating, a combination ol laminated glass and polycar-
bonate (intrusion-delaying eonstruction), the well-known
armoured glass, or fully prestressed glass. (see also
Chapter 5, Glass)
External sealing ol tlle glass rools ean be acllieved
with silicone mastic. Frequently, the horizontal joints
are sealed 110rizontally witll Illastic. Tlle advilntage is
tllat no water stays in situ whiell is tlle case when us-
ing the elaillping and clipping techniques. The latter is
less uselul owing to the leakage risks, tlle dirt deposit,
and tlle algae forillation. A leakage Illay occur, if fas-
tenlllg nuts perlorate a waterproofing Iland tllat may
have been installèd underneath. A disadvantage of Ule
proceclure witll mastic is tlle necessity ol regular in-
spections and the maintenance ol the mastic fillings.
To increase safety, tlle horizontal mastic joints can also
be made witll a 50/60 mm wide silicone mastic band .
Ratller Irequently, 1Ilere are transitions between
roofs and lacades in tlle lorm of station-roofs or in-
clined walis. Tlle regular opinion is tllat a facade sys-
tem lunctlons in like man nel' bOUl horizontally and verti-
cally. But great caution is recommended 11ere. particu-
larly lor tlle water sealing and tlle drainilge of leakage
water, internally or externally.
CLASSIHCATION ACCORDING 1'0
DIFFERENT CONSTRlJCTION MI' TIIODS
Stick-System Construction As aluminiulll/glass
façades usually have large surlaces, it can easily be
understood 111at, at the beginning , tlle traditional type
ol construction was applied at tlle IJuilding site. All ele-
ments were individually transported to Ule site to be
ilssernbled ilnd installed on site. Later developments
led to a higller degree ol industrialization .
A stick-systelll façade is composed as follows.
(Fig. 3.29) First. tlle dirnensioned rnullions (vertical pro-
files) are ancllored at tlle construction of the building.
TIlen, tlle transoills (ll0rizontal profiles) are installed
and tlle surface filling eleillents are finally inserted.
Tile surface fillings Illay consist of spandrel panels as
weil as of solid glass panels or opening windows.
Often, eleillents are prefabricated storey-higll, al-
lowing for dilatation, witll Ule lixed point of tlle mullion
at tlle upper side: each Illullion hangs on this point,
Ilence the designation curtain wilil. Due to the therrnal
1ll0Veillents of tlle construetion, the porti on to be in-
stal led at the lower end is slide bearing. Connections
between Illullions and transoills can be executed in dif-
ferent ways:
• Joining pieces are instalied on tlle mullions to which
1Ile transoms are fastened. The advantage is 1I1at the
Illullions as weil as the transoms can be sawn straight;
• 1I1e transoills are instalied bu11-connected and are
fastened to the mullions on supporting blocks;
• 1I1e transoills are fitted into recesses in the Illullions
and made watertigllt (this rnetll0d is seldom used).
The rnounting tecllnique often is tl18 saille for non-
transparent panels and transparent glazing, e.g. joining
by claillping or by glazing beads. It is recolllillended not
to use tlle line mounting tecllllique , since especially
here it is dilficult to replace transorns or Illullions.
Construction ol the façade at tlle building site al-
lows an easy compensation lor tlle differences in di-
Illensions occurring during the building ol tlle sllell. The
disadvantages of the stich-systern façades are 1I1e
longel' installation time at the building site and the de-
pendenee on weatller. [3.31 For smal I works, it is an
eeonomlcal and good installation technique. Nurnerous
standardized sticl\- system façades can be found in tlle
trade.
Ladders At 1Ile transition frorn the traditional con-
struction tecllnique (assemilly ol all elements at the
site ) to rationillization (work-saving rnetll0cls), Ule lad-
der construction rnethod has been graduilily developecl.
(Fig. 3.30) A laclder is a sub-element ol the facade, con-
sisting of two or more mullions .- at least one storey
higll -, several transoills. and previously installed panel

3.34 Instal/atio/l of prefaLmcdled super-panels.
fiJiings, such as spandrel elements and fixed or open-
ing windows. Tl1e ladders are fastened to tl1e building,
dimensioned and anc110red. A space of the size of a
transom is reserved between two instalied ladders.
The missing transorns and the surface filling eiernents
are inserted later. Thus, tilere is no mullion dupllcation.
This tecl1nique aJlows a larger nurnber of asselTllJly
hours to be perforrned in tl1e fac tory and less at the
builcling site. The ladder construct ion teclmique is also
used for glass roofs, with the ladders having a perfectly
integrated, internal water drainage syste111.
Panels For the panel construction technlque,
storey-high, but still easy to handle façade panels are
brougl1t fro111 the factor y and fastened to the building
construction. (Fig. 3.31) The façade panels are fully
prefabricated and often installed with spand rel panels
and transparent glazing; tlley lTlay also carry test cer-
tificates guaranteeing their quality. (Fig. 3.32) In con-
trast to tllat are tlle systems Wllicll are instalied at tl1e
building site, where final quality control can hardly be
carried out.
The panel construct ion frequently works according
to tlle interlocl,ing system ('male' and 'female'); an al·
ternative is the neutral coverrng be ad above tlle JOints.
For this technique, tll e panels are frequently arranged
all around storey-high, Wltll a final element at tlle end
showing deviating details. Double muIlIons and tran-
soms are used wilere tlle cllfferent panels meet.
Usually, the same width is used for all l11ullions and
transol11s, in order to secure a collerent outside ap-
pearance: the wldtl1 of tlle l11ullions and transoms is
crucial for butt connections. Consequently, the façade
profiles are less slim than is tl1e case with stick system
161
3.28 G/azert rnnf J}rofile systAtn
façades and with the ladder-type façades. The prefabri-
cated panels require a 111g11er degree of dlmensional
tolerances of the bUilding frame than tlle stick-syste111
construction. Thls may aJlow for a less narrow transi-
tion zone between tlle prefalJricated façade elements
and the building frame into whicll these elements are
inserted.
Due to the largely industrral manufacturing of
façade elements, a better quality control is possible,
and advanced tecllniques can be used for the façade
works and for the functional perfor111ance. Panellzation 3.32 A InstallRt/On of façade panels.
per111lts sl10rt 1110untlng times at tlle building site, tflus
leading to less dependenee on the weather.
Super-panels Tl1is type of construction is based
on the largest passlble façade panels delivered prefab-
rrcated to tlle building site. (Fig. 3.33) Tl1e possibility of
road transportation and tlle 110isting capacity at tlle
building site dictate tlle maximum di11lensions of tl1e el-
ements. The façade consists of fully finished façade
panels, at least storey-high and - wide (modul ar dlillen-
sion ol tlle building) which are lowered Into position at
the façade and anchored In place. The façade panels
are frequently mounted on a (temporary) sulJ·fra111e far
transportation and installation. (Fig . 3.34)
The advantage of tllis type of construction is tlle
controlled rnanufacturing of super-panels and tlle quick-
Iy achievable wind- and watertiglltness of tlle building
envelope. Tlle double- sided filling of the 101nts is fl'e-
quently neutral (e .g. double rubber layer) and is not of 3 .328 Storélge of racdcle panels.
file 'ma le-and-Ie11lale' type as IS in panelization.
 162 FACADE SYSTEMS
dr.ing. J.L.M . Renekens
Main supporting stwcture made of sleel and in a panel type of construction.
10 Fleer Streel, Londoll.
AfcIJitecls: Adria/l Smitl1/S0M
CLASSIFICATION ACCORDING
TO FUNCTIONS
,
Plimmy lone General Des i gnations The primary zone of an
(co r e ) -_ __
aluminium façade is tl1e tecl1nico-functional area where
performances of building physics and active functions.
such as tl1e operation of the opening panels. are car-
ried out. The composition of profile systel11s can be
Secondary and
lertiary zone - - adapted to specific perforl11ances at project level. Tl1e
secondary zones are used for reinforcing. assembling,
and fastening to the principal building frame. The ter-
tiary zone is reserved for design works. (Fig. 3.35)
Function. fastening l11ethods. anel tl1e completion
of assel11bled profile panels depend on the zone in
3.35 ClassifiCRtion of profile
zones. which they are located. (Fig. 3.36)
Sect i o n Systematology Tl1e facade l11anufactur-
ers directly purcllase their alul11inium sections frol11 tlle
extruding cOl11panies if they have designed tl1eir own
sections, or frol11 companies specializing in systelll
constructions if tlley process tracle systems. If special
sections are required on project level, tlle engineering
elepartillents develop SUCl1 customized sections. Tllese
sections, too, 11ave to function like a system: it is de-
fined as project systeill. Tl1e cxtruding cOlllpany re-
ceives tl1e section geol11etry to l11anufacture tlle dies
for exlrusion of tl1e alul11iniul11 sections (and, possibly
provicje tllem with a therl11al Isolator). In Europe, tilere
are only a few façade ll1anufacturers carrying out tl1e
extrusion process on tlle" own. However, in the USA
and 111 Japan, tlle biggel' façacJe Illanufacturers l11al~e
use of tl1eir own extruding presses. A few façade manu-
facturers, llowever. perforl11 tlle cOl11position of lhe
3.36 Flll1ctions of the indlvidual profile zones.
therl11ally insulated profiles thel11selves by applying the
encapsulation or sealing teclllliques.
System l11anufacturers have been establisl1ed as
tl1ey specialised in tl1e developl11ent and production of
cOl11plete façade systems as sel11i-finished products,
and left the engineering and manufacturing of building
applications at project level to the façade l11anufactur-
ers. In tl1e course of til11e, tilrougil tl1is division of work,
the offer of such trade systems has expanded greatly,
I11UCl1 1110re so tl1an an individual façade l11anufacturer
would be able to develop on project basis.
A systel11 l11anufacturer usually offers several sys-
tel11s of section series and accessories l11atcl1ing with
each otl1er. With t rade systems , all110st only variations
of section series, surface treatl11ent (colour). and types
of opening panels are feasible. It is true tl1at tlle varia-
tion in profile sllape is limited, but this is approved and
controlled. Quick cJelivery ex stock is possible , tl1e sys-
tel11 11as proved itself. Tl1e price includes tl1e system
engineering at tl1e beginning and tl1e support by appli-
cation engineering for the façade contractor. It is also
possible to order variilnts of systems from systel11 con~
struction cOl11panies. Within the stanclardized program
Illostly cl1anges in tl1e profi le sl18pe can be macle Wl1icl1
are produced and delivered as profile systel11s on a
project basis. In tl1is case, tl1e delivery til11e is exten(l~
ed by tlle time requrred for l11anufacture of tl1e dies ilnel
for extrusion of tl1e special profiles. Usually, the series
deviilting frol11 the stanclard range are not included in
tl1e regular program as trade systel11; tl1e speCial pro ~
files are depreciflled on IJrOject level, anel tl1e design
rights are restricted to tl1e project. if notlling else 11as
IJeen agreed upon.
A core system 118S strictly defined prillciples of

Glas!> façéi(jf;! construc.:!Îon: Single glass Idçade Dnd spatial glazed roof wltll
rransition climare. Dutcll Mmistry for Resldential Building. Planmng. Bull
Environment. Tlle Hague.
Arcllitect: Ja/J Hoogstau
construction and execution for tlle technical and func-
tional performances to be supplied . Among otller fea·
tu res. t11ese include water- and windtigl1tness and ther-
mal insulation, but also frames for door and window
11ardware and the insertion of rubber profiles. How to
put these principles into concrete shape depends on
the IIldividual procluct. By working according to these
principles for the primary functional zone, many varia-
tions in shape and outsicle appearance of the sections
are possible (on lhe secondary and tertiary zone). As
regards tl1e accessories, standardized parts are used
to tlle greatest extent possible. Tilese include, e.g.,
isolators, corner and T-connectors, rubber framings,
Ilardware. 'and ancl10r boots.
A system specially designed for a project is cus-
tomized. In designing a project system. a long time for
design and development, the quantity of different sec-
tions. and the minimum order quantily for aluminium
(often from 250 to 500 kgs per extrusion) 11ave to be
taken into account. Extrusion dies are relatively cl1eap
(about US$ 775 to 2.600), llowever, after tl1eir use
tl1ey are stored only for lilnited periods af time. Tilis as-
pect IllUSt be considered in connection witl1 possible
future requirements (expansion and damages, among
otI1ers).
Existing systems and salutions are often unsatis-
factory for new façade concepts which 11ave ta meet
special requi rements. Then. a completely new façade
system has to be developed. mostly for a special or
large-size project. If such a project system is success-
fui. the façade system can be transformed into a stan-
dardizecl syslem. In sucll case, a tllird party mayalso
design and develop solutions derived from the project
system. As soon as a new façade design is used more
163
Image glass uml>rella. office bUl/cf/ng. IVf/Areten
frequently. the system manutacturers. as a rule, will
adopt it by develaping. manufacturrng. and marketing
standard solutlons.
'~
A core system . in mosl cases. is t11e extensian of
a standardlzed system: tl1e technico-functional zone
(the core) of the standardized system is maintained.
i I
but tl1e design deviates in the secondary and tertiary
i;·l'"--'
_:i
zone. Façade manufacturers. designing and developing : !
façade systems by themselves, are able to create their : [
StanLiard system i :
own standard system as proJect-independent co re
sytem . based on certain principles and certain types of
façades. (Fig. 3.38)
Form and Staties Metal proflies for aluminium/
glass façades must transfer a number of loads to tlle
building frame: tlle load of tl1e dead weigilt and tl1e
weight of tl1e surface fillings, tl1e wind load on tl1e
façade, and eventually loads occurring only in intervals
(througil window cleaning worl\s, snow on roofs and
canopies). Mullions and transoms are mainly loadeel IJy
Core systcm
the wind (vertical direction of force on tl1e building) and
by the weight of tl1e façade (vertical direction of force).
Transoills are loaded IJY the deal1 weight, the weigilt of
tl1e panels and of the glazlng panels as weil as by wind.
(Fig. 3.39)
For panels wlth interrnediate transoms, intermedi-
ate mullions, anel surface fillings. tlle load must be de-
terillined per mullion and transom. In case of wind
pressure and suction movements of tlle Wind. tlle sur·
face fillings are 11eld by tl1e sections (c lamping beacls.
glazing beads at t11e interror or exterior. hooks. adl1e- Tailor-made system
sive agents, nuts or bolts). Above all, tl1e wind suction
is an important aspect for cl1elllical fixing techlllques
(Sealed and glued glazing panels). 3.38 PrairIe sysle/lJcJlology.
164 FACADE SVSTEMS

dr,ing. J.L.M. Renekens

For the fastening of tlle façade panels it must be
determined, wilere tlle fixed and the sliding anchorage
are to be positioned on tlle building frame. Tllis is
closely related willl changes in longitudinal dimensions
of panels, resulting lrom tllermal cllanges , and witll tlle
constructive deformations in tlle Illain bui ld ing frame.
The ancllor bracllets must be designed according to
the strengtil, the same as the devices for fastening (an-
chor rails, plastic dowels [square-head bOlts], strad·
dling anchors). Specialsections (steel or aluminium)
can also be fastened to the façade profiles for rein-
forcement. In tlle case of a larger span or if a door is in-
co rporated into a joint beam of tlle profiles, stronger
sections may I)e required in certain points. Oc-
casionally, aluminium sectio ns are reinforced in tlle in-
3.39 Protiles IVith ascendlllg widrh anä terior by a steel section insert. (Fig. 3.40)
ngldily.
Possibilities for Fixing and Arrangement Tile
manner in Wllich tlle aluillinium / glass façade is fas·
tened to tlle building frame depends on tilree factors:
the type of building frame, the fastening methods, and
tlle type of tlle façade element to be fastened.
Tile build ing frame mostly consists of a steel or
concrete skeleton or of a closed interior shell. The mu l-
lions are mostly fastened to the build ing frame at tlle
heigilt of tlle floor slabs and prepared for dilatation at
the lower side. In Ule case of closed buildings, tIlere
are more possibil ities for anclloring Wllich facilitates
the construction.
Fastenlilg points are difficult to reach after installa-
tion of the façacle. Nevertlleless, lIley are exposed to
negative cllemical influences from the environment.
Corrosion can be caused by chlorine (de-icing salt, sea
water, rinsing Irom concrete), bad ventilation (and con-
sequently accumulation of humidity), as weil as Dy con-
tact corrosion witll metals with strongly differing ten-
tems, tlle mullions are located on tlle exterior side.
Tiley have a large exterior surface, tllerefore radiating
much Ileat which will also lead to a reduction of the
temperature at the section element on the interior
side, Ih us with great certainty producing a surface lor
condensation.
In the opposite case, il the supporting part of tlle
mullion is located in tlle interior. mucll less condensa-
tion problems will arise due to tlle smaller exterior sur-
face. Then, condensation can only arise under extreme
conditions (Iligh air humidity in tlle interior, lowoutside
temperature ). Tile section, in most cases, constitutes
tlle weak part in the tllermal insulation of tlle façade
Wllicll is even weallened by the tllernlally unfavourable
border Joint of tlle insulating glass lillit. (Fig. 3.41)
Wilen calculating U values, as a ru Ie tlle same U va lue
is aften assumed for a glass borcier of 50 mm as for a
section. There is a great negative effect of the Ileat-
conducting aluminium spacer mainly for tlle glass bor-
der joi nts of small glass surfaces. Developments are
under way to replace this co ld bridging of the insulating
glass unit by insulating spacer profiles. (see Chapter 5,
Glass)
Thermal Break Systems Since tlle end of tlle
seventies it Ilas been regular practice to equip alumini-
um profiles with tllernlal break systeills. Tile isolators
of tlle aluminium façade profiles (mostly made of plas-
tic), are fastened I)y claillping, bolting, glueing, encap-
sulating, sealing, faam ing. or combinations of tllese
metllods. (Figs. 3.42 la 3.45) Presently, Illainly sealed
isolators are used for cost-ellective constructions, and
double-encapsulated polyamide isolators are used for
façaele work witil Ileavier loads and of a Illore expen-
sive type.

3.40 Profile reinforcp.lllent by an ;/lsellerJ
sleef profile.
3.41 Therma/{y unfävor(-l/)Ie /)Clrderjoint of
fin insulatinR glass umt.
sion values. In order to avoid this, fastening materials
of stainless steel. or of aluminium are used to the great-
est possible extent.
The type and arrangement of tlle façade panel de-
termine the reqUired strengtil and tlle necessary types
of arraegement of tlle fastening material. Super-panels
are aften conscious ly equipped wit ll three-dlmensional,
adjustable ancllor slloes made of steel. Ligllt sheets
are Ilung, clamped, glued, nailed, or screwed.
Form and Structural Physics As to the struc-
tural physics of aluminiumjglass façades, lhere are
two l1lain aspects whic ll must be taken into consiclera-
tion: the Ileat loss must be reduced. and tlle formation
of condensate at tlle interior side ol tlle profiles IllUSt
I)e avoided. For l1letals, and IllOSt of all alul1llnium, are
goud conductors ol Ileat and constilute a relalively low
cold I)ridging in tlle façaele.
In same ol tile early alulllilllum j glass façade sys·
Form and Appllcation Tile farm of a profile is
not only defined by aestiletic aspects, but also by Ille
functions to be fulfilled by it. Witll glazed rools, tlle inte-
rior profile also farms a special interior water drain.
Since the interim wate r drain is perfomed in steps, tlle
mullions normally are of greater Ileigllt tllan tlle tran-
soms. Transoills allow water to drain into tlle mullions.
tile Illullions for tlleir part transport it onto tile roofs or
into drain pipes.
TIlere are profile systems nvailal)le in Wllicll lile in-
tenor profile is also used as a cooling or Ileating tube.
Tiley Ilave a larger surface . Due to tlle jOllltS, SUCll wa-
ter-filled systems are made of steel and welcled.
Massive Ilot-rolleel steel setting profiles were used
IJefore and silortly aftel' World War 11 to a great extent
for single-glass windows aml (pre-set) façades. Tilese
profiles are very slim. They we re not used any langer af-
ter tlle energy crisis, as tiley (ofllled a consicleralJle
cold bridging and were 100 nRrrow 10 allow tlle i)uilcling

3.50 RulJIJer sealing profiles with opemnr, wlnrlm'l's .
in of clouble-glass panes. Furtl1errnore. they tend to
warp. consequently lead ing to draugl1ts. Tl1ey cause big
problems when renovations are planned. Based on
structural pl1ysics and tl1eir requirements. façacle reno-
vations often askecl for a replacement of the setting
profil e by a (wider) insulated aluminium profile. From an
arcl1itectural point of view, llowever, tl1e original out-
ward appearance of tl1e slimmer steel profile must be
l11a intained as fa r as possible. Tl1e renovation profile
can be executed with beve lled glass ledges; also devi-
ating (= Iigl1ter) colors are possible to l11ake it look nar-
rower 50 that tl1e setting profile maintains its slil11 ap-
pearance. (Fig. 3.43)
Furthermore. the forl11 of the profiles is influenced
by integratecl grooves for the window cleaners' cradle.
by the sun-protection equipment and air conditioning
channels.
CLASSIFICATION BY CHOICE
OF MATERlAL
Materials and Combinations The cOl11bination
of different materials in one façade system often is de-
riveel from the requirement to Increase the therlllal in-
sulation value, but also aesthetic aspects may play a
role here. The following combined profiles are used:
• stee l/aluminiu m;
• wood/aluminiul11 (Fig. 3.47);
• plastic/aluminium (Fig . 3.48);
• plastic/wood/aluminium.
In Southern Europe. often aluminiul11/wood win-
dows are used - wood on tl1e inside. aluminium on the
outsicIe. Tl1e exterior sides of plastic profiles may con-
sist of aluminium clip beads to allow for color varrations
165
3. ' /ï AllllllllJillln/ woorl lVllldnw 3 . IR Win rJmv s\,sfem, ()/a stlc af tI)(-~ 3.:19 S rc;t e m cons lst mg of
syste l1l. a lumlllium a t t!le interior. alUlllllll U/ ll ar tllO alUJllinitll n/ru hhe r sealing
ex/er/uI. ex/ cl iO!, wofllcs .
of the piaslIc. Also. In the case of greater spannlllg,
profile reinforcements made of steel or of aluminium
are built into the plastic profiles. Aluminium/steel sys-
tems are used for greater widtilS (strengtil ) and for fire-
proof constructions (temperature load). In tl1is case, 3.42 Encapsulared pla stic Is olators .
steel is the constructive material , clamping and cover
beads made of aluminium are used for tl1e exterior
sides. InteriOl- profiles made of steel are used as 11eat-
ing and/or cooling systems (steelilas a lower coeffl-
cient of expansion than aluminium and can more easi ly
be weldeeI). but also for façades fastened to a stee l
skeleton frame. With respect to the better corroslon-re-
sistance of alu minium and tl1e greater freedom in sllap-
ing of aluminium sections, mostly aluminium clamping
3 .43 Sea/cd '-0 5111 150la(Or5
and clipping beads are used for tl1e exterior sides of
SUCl1 systems.
Wl1en combining different materi als to compose a
façade system, tl1e tl1ern1al behavlour of the elements.
the rigidity of the combination. anel tl1e corrosion IJe-
haviour must be consldered. Wooden frames. coverecl
by alum inium profiles at the exterior. can rot. if there is
no ventilation between wood anel aluminium througl1
which humicli ty can drain. Glass-fiber reinforcecl, clrawn
3 .44 FOBrned Isulators .
plastic profiles (puitrusion) 11ave not vet been devel-
opecl mucll further due to tl1e high costs for dies and
their rough shapes. An advantage of tl1is material is its
relatively higl1 strength and tl1e low coefficient of expan-
sion . In tl1e case of plastic/aluminium cOlllbinatlons.
rubber sealings must also be included. (Fig. 349)
Here, synthetic rubber is used for the clamplilg of tl1e
surface fillings as weil as for the tl1ermal IIlsulation.
(Fig. 3.50) This technique has been aclopted from tlle
automobile industry in the fifties .
3.4 5 Bo /le d Isolä lo rs.
166 FACADE SYSTEMS
dr.ing. J.l.M. Renekens
3.52 GIR7in~ witll clamping and clipping beads. 3.53 Glaling witll glazinp' beads .
Surface Fillings Wilen designing the façade con-
cept. it is the arcllitect's task to compose a façade of
tlle materials avai lable and in accordance witll his
ideas. Of importance are the different designs of mate-
rial, tlle individu al surface structure and texture. the
selection of colours , tl1e overmeasure, the detailed de-
sign. and tectonics of the façade concept. Tlle use of
the material is determined by tlle individual façade
system. An aluminiumjglass façade with cold shel l. for
instance. offers more possibilities for tl1e combination
of different materials (Fig. 3.18) than a false alumini-
um /glass façade with warm sllell. (Fig. 3.23)
Window frames and the façade frame farm a linear
profile grid within whicll surface-filling components can
be fastened. Windows and glass panels are transpar-
ent panels, spandrels and pos si bie intermediate pan-
els are (often)·non-transparent. Tl1e panels are mainly
fastened I)y claillping or glazing I)eads in a profile. In
tl1e case of cold façacles. tl1e pane ls of \he exterior
sllell are mostly fastened by hanging. glueing. or bolt-
ing tn the profiles.
Tl1e transparent panels are nearly always made of
glass:
• Glass panes (single or double glass), fastened by
clamping or glazing beads: (Figs. 3.52 - 3.53)
• glass panels witl1 an internal sealant frame. fas-
lened to an internal struclure (str uctural sealant glaz-
ing. see otl1er paragrapl1 in this cI1apter): (Fig. 3.54)
• glass panels wllicll are faslenecl ll1echanically ancl
without frame \0 lhe II1ternal structure (boitecl élnel
structural glazing. see otl1er section in this Chapter).
(Fig. 3.55)
The glazing of spandrels is often composed of
paintecl or coated glass. It becoilles non·transparent I)y
3.54 StrucluraJ seaJant glazing.
painting or black coating (opacifier). or by combining
glass plates with a closed backplate to form a sand-
wich panel (s lladowbox). If the spandrel glazing is to
look like transparent glass. it is recommended to
choose an identical type of coating for both compo-
nents (metal oxide coating) . But variations are possible
regarding tlle aillount of Iigl1t transparency (TL value ).
(see also Chapter 5, Glass)
The opaque panels are used between tl1e transpar-
ent su r faces and as spandre l panels . Two main vari-
ants can be distinguished:
• Single panels often serve as an exterior skin of the
façade. protecting the insulaled inlernal construction
(cold façade). Tl1e panels consist of glass. painted
steel, stainless steel, aluminium, glass-fiber reinforced
polyester. Trespa or Eternit, ceramic tiles. granite.
wood, or a composite material. Some of these panel
materia ls Sl10W a reinforcement whicl1 depends on the
fastening \0 \11e interna l structure. (Fig. 3.56) It is also
possil)le \0 apply noise-reducing ma\erial to tlle non-vis-
ible side of tl1e me\al sheets . tl1US reducing the noise
caused by rain and hail. This is Illainly applied in
oblique or horizont al slleet areas .
• Composite panels consist ol an ex\erior skin. a core
layer, and an interior skin. (Fig. 3.57) In the case of
sandwicll panels, intorior and exterior sl<in are glued to
tl1e insulating care. or tl1e care space I)etween the inte-
rior and exterior sheet is filled with a 11ard plastic faam
(PUR or PIR). Tl1e co re layer can also consist of a rein-
forcernent. e.g. an aluminium 110neycornl) filling.
Dilatation, Toleranees Longi\uclinal transforrn a-
tions due to clifferences in ternperature rnay present a
particular strain for tl10 construction. In order to pre-

3.55 Point laad fastening of a gJazmg.
Centre (Je Congrès. Reims (F) .
Alc/Jitect: Clauclc Vascolll. Pans
vent tIliS, the Illounting space for panels into proliles,
as weil as for connections ol sections with prefabricat-
ed elements, must be taken into account. Often, the
length ol mullions is equivalent to two storeys, i.e. ap·
prox. 7 meters. II the temperature at installation is
20 "C, a difference ol temperature ol 40 'C will cause
a maximum profile extension of approx. 1 mm per me-
ter of length, consequently a totalof 7 mm. Tllis move-
ment must be considered for the muilion connectlons,
meaning tllat na leakage or l110vement noise can occur.
When lastening tlle Illullions to tlle anchor brackets, it
11as proven to be practical to use the upper lastening
as a lixed po int, wllile tlle lower and intermediate las-
tenings are then performed in a slide-bearing tech-
nique. The length of transoms must be considered to
be temperature-dependent. toa. Hung panels must be
anc110red in a vertically fixed man nel' at the upper side
and sliding horizontally; bi-directional sliding is usecl for
mounting to tlle internal structure. Constructions witll
bolted glazing strongly liepen cl on tlle type ol ancIlor-
age. II incorrectly applied, the glass will break. For
glass panels, tlle two uppermost drilled holes are regu-
lar, matcll ing holes , while tlle two lower ones are ob-
long lloles. One ol tlle upper 110Ies Sl10WS a nal,ow
matclling size, whi le tlle otller one must also allow lor
110rizontal movements. The functional quality ol an in-
stal led laçade par tly depends on the occurrence or
non-occurrence ol tllermal transformations. Dimen-
sioning must also take into account the processing and
installation tolerances. structural tolerances of tlle
IJllilding frame and the cleflexion of fiool' slabs, or tlle
creeping and sllri nkage ol concrete.
167
Sandwich Sandwich. Shadow- Insulating lnsulating
tapered box glas5 unit double
glass unit
Transparent (re1Iective) glass
Panels or non·transparent glass
Insulation
Wood or plastics
lnterior panels
Al uminium foi l
3.57 Cumpus/ll..: panels. 3.:56 1/T/iI/L'l/U/V i'vIC1ûl1l. Jean Prouve
Performances of the Aluminium / Glass Faça-
de Decisive factors lor a 11igll·quality use of tlle
building are a healthy end comfortable mtel'ior climate,
low energy consumption, and low environmentalload.
The most important performances of a façade can be
divlded into functlonal, arcilltectural. constructive.
structural-physical, and technlcal fielcls. Tlle archltec-
tural design cleals, among others. with the visual ap-
pearance of tlle laçade, lor Wllicll tecto nics or the tecll-
nical COI11POsition of tlle façade play an important role.
Pllysical performances of tlle building may, first of all,
be distinguislled according to features of noise and
Ileat insulation, as weil as of 118at accumulation. but al-
sa with respect to the incidence of sunlight and day-
Ilgllt. Technical perlormances of tlle builclmg are princi -
pally related to stability and strength, wätertiglltness,
and air permeabrlity, but also to fire protection, co n-
struction and combination of tlle elell1ents, to l11anufac·
ture, assembly, and installation. Froll1 tllese, the tecll-
nica l features of tlle materials are rlerived. Tlle ele-
ments used l11ust functionally periarm witll 1'8spect to
resistance, safety, cOrl'osion resistance (in tlle case of
l11etal façades), compatibillty, cleaning tecllniques. and
possibrllties ol replacement.
Not all of tllese performances are of equal ill1por-
tance. Witll respect to structural-physlcal features. the
following sequence ol priority can, for example, be as-
sumed: airtightness, inciclence of sunlight and dayligllt,
ventilation. therll1al insulatron, sound pmoling.
Stability Aluminium/glass façades principally are
non-structural liglltweight façade constructions. Tlley
do not contribute to the strengtil and stability ol the
skeleton and l11ust guarantee tlle transfer olstrains af·
168 FACADE SYSTEMS
dr.ing. J.L.M. Renekens
fecting the façade to the building frame.
Tl1e continuous strain is causeel by the dead weigilt
whicl1 is strongly determined by the material cl10sen.
Glass is heavier than plastic material, aluminium is
ligl1ter in weigl.1t than steel. Incidental strains may be
caused by tl1e use of 11anging elements or added-to
canopies or balconies. Profile systems witl1 glazing and
non-transparent panels sometimes contribute addition-
al stability Wl1icll must, llowever, not be included in tlle
ca lcu lations of the section dimensioning. Independent
of the type of strain, anc110ring materials must not vi-
bra te wl1en strain is exerted on tl1e façade. It IS th ere-
fore recommended to secure tl1e anchorings after they
have been adjusted. (see Cl1apter 7, Structural Pl1ysics
and Staties)
Water- and Wind-Tightness These factors are
primary requirements to be lullilled by a façade. Tl1e
weatl1er-load ol a façade depends on its location (at
tl1e seaside or witl1in tl1e land) as weil as on tl1e 11eigl1t
of tl1e building. Furtl1ern10re, tl1e existence of otl1er
buildings around tl1e façade, its shape and orientation
are of importance. A positive wind-tigl1tness at tl1e
same time generates a favourable watertightness, A
controlled ventilation of the façade construction allows
tl1e leading away of 11umidity deposit, condensate, and
vapour. Tl1e water protection of façade systems is
l11ainly bascd on tlle principle of double protective mea-
sures and pressure equalization in tl1e air space.
COll1partmentation ol tl1e air space reduces tl1e move-
ment of air Wl1ich, in turn, helps to acl1ieve better wa-
ter- and wind-tigI1tness. The quality ol laçade sealings
must be critically vieweel, as it may be insuflicient due
to careless execution, early aging, incompatibility of tl1e
material, and damages. Practice 11as shown tl1at it is
not wise to combine the water- and wind-tigl1tening ele-
ments in one joint: water and wind barriers must, il
possible, be separated lrom each otl1er.
Tl1e ingress ol water tlwougl1 tl1e interior shell must
be avoided at all cost; this leads to tl1e exterior sllell
I)eing equipped Witl1 adJoining details. Tl1is first barrier
is ca lied 111e first line ol delence' . Tl1e exterior sllell
functions like a screen, water ean enter tl1e interior due
to differences in air pressure and wind, anel it must
tl1en again be led away to tl1e exterior. In order to be
ab Ie to control tl1e water flow, many facaeles are diviel-
ed into watertight compartments.
Holes and crevices in the laçade may cause draft
In tlle interio r space, TIlUS, tl1e joints in tl18 interior
sllell must I)e closed airtigl1t. Tl1is is called tl1e 'second
line of defence'. Tl1IS is I)esl do ne in two steps, thus
creating a zone in the air space in Wll icl1 the air move-
ment comes to rest.
Wind CiJuses a rJifference in air pressure (pressure
or suct ion movement) between tl1e Clir outside ilnd tl1e
air space, The air entering tilrougil the exterior sllell
co mes to rest in tl1is air space, In oreler for the air
1110vement to lose its driving force, attent ion must be
given to the equalization of tl1e air pressure within tl1e
lacade and of the exterior air pressure. This can be
acl1ieved bI' inserting 110Ies or joints in tl1e exterior
sllell, allowing for tl1e access ol a 11igl1er volume ol air
in tl1e case of low air pressure and il11mediate outlet ol
air in tl1e case of excess pressure . Tl1e air 1110vement
compensating SUCll dilferences in air pressure is ca lied
pressure equalization. Pressure equalization allows tl1e
façade panels witll open joints and an internal air
space to lunet ion as water protection, and serves to
drain water whicl1 penetrated into the prolile frame to
the exterior.
Tl1e combination ol wind pressure and suction
movements may generate particularly 11igl1 lorces at
tl1e corners of tl1e building, In order to avoid too power-
ful 110rizontal air movements in the facade area ol a
cold laçade, the air space at the building corners is
sealed with vertical louvers installed over tl1e entire
height. In the case ol higher buildings it may be ne ces-
sary to close tl1e air space at several spots in order to
reduce tl1e compartmentation.
Acoustic Measures Tl1e (DutcI1) Co nstruction
Regulations stipulate tl1e values witl1 whicl1 the protec-
tion against exterior noise of a façade construction
must comply. (see Cl1apter 7, Structural-Physics and
Statics) Tl1e disturbing grating, creaking, and whistling
of the façade construction must be avoided by the re-
spective construction techniques_ Single panels must
be equipped with noise protection material, if a noise
load is to be expected by rainfalls. In most cases, tl1is
is not necessary, il verticalmeta l panels are used.
Ventilation Tl1e quality of tl1e air ins icJe is an im-
portant element of comfort. The lollowing aspects l11ay
be tl10Ugl1t ol:
• extent ol air Illovement (draft):
• oxygen content;
• air temperature;
• air il1lpurities, SUCl1 as ozone. foreign gas, but also
dust, bilcteria;
• air humidity;
• odour.
Tl1e users ol a building actually prefer to control
and adjust tlle air quality themselves. Tl1e 1110St
lavoured possibility is the use ol opening windOWS; ven-
tilation flaps are also accepted. Tl1e variation ol possi-
bilities depends on a series of factors, Mainly in 11ig11-
rise builcJings, opening windows are 11ard to incorpo-
rate, taklilg II1to accounl tlle higll wineJ load and tl1e
safety ilspects. Double aJullliniullljglass façades really
offer prngress in tllis area: (lue 10 tl1e special external

air space, windows can be operated independent of the
elimatie eonditions. Even if t lle noise level inereases, it
has been witnessed tllat openable windows are eonsid-
ered an increase of comfort. Aeration by means of win·
dows can also be used for cooling during nights.
light Control Only parts of the total sunligllt
reaching the transparent elements of a building also
penetrate into tlle interior space. This depends on tlle
type of glass used and on tlle possibly used sun·eon·
trolling system. The incidence of daylight into tlle build-
ing is controlled by sun·controlling measures. These
are equally important for tlle avoidance ol Ileat build·up
111 tlle rooms and of an increasing cooling load.
Sunlight and daylight do play important roles with
respect to comfort at the workplace. Tllis aspect will be
dealt with in detail in Chapter 6, Control of Incident
Solar Radiation.
Fire Prevention and Protection The lire pre·
vention and protection regulations lor façades have
been stipulated in tlle (Duteil) Construction Regul-
ations. There are five problem areas witll respect to fire
prevention and protection:
• The fastening of the façade may fail;
• tlle façade sealing between floor slab and façade
panelmay fail;
• fire Illay skip frolll a burnrng façade element to the
next floor above;
• fire in the interior may penetrate through the laçade
panel;
• fire at tlle exterior Illay penetrate tllrough the façade
panel.
Besides t lle prevention of l ire, tlle main objective
of preventive measures is to avoid accidents to people
in case of fire and to lim it tlle damages caused by fire
and smoke. (see Chapter 7 , Structural Physies and
Statics)
Safety of U se Tile respective data are also stipu·
lated in tlle (Dutch) Construction Regulations. The In·
creased product li ab ility has also atlributed more i111-
portance to tllese safety aspeets. Tilese are not only
related to the safety of tlle users. but also of tlle
cleaning personne l and the visitors of the build ing.
Durability The IIfe time of tlle façade is of great
illlportance and is to be eons idered during tll e des ign
phase. Due to the growing fluctuation of people working
in a builcling and the increas ingly cll anging functions ol
same, functional adaptability. flexibility, and removabili·
ty of façade panels have become prerequisites.
Facades and façade panels must have an optimum
durabillty with respect to enVll"onmental aspects. Til e
clloice to be made in aceordance wltll tllese require·
169
ments varies from a ane·time use witlloUt maintenanee
(e.g. a filter) on element basis to an adequately Illain-
tained façade cladding made of durable material (e.g.
natura I stones) witll a presuilled IIfe expectancy carre·
sponding to tllat of the building frame. It may realis ti·
calty be assumed tllat the developments ol t lle next
generation (20 to 25 years ) wilt bring about furtller
progress, especialty wllen considering tlle develop·
ments Ilaving been made in this field since 1973 .
Investigations have shown that metal façades must be
replaced or renovated after 20 to 30 years due to a
cllange in requirements of use. Tile techn ical life t ime
is consideralJly longer. It is remarkable that the li fe
time of insulating glazing, wlliell was always assumed
to be approx. 25 years , seems to be longer; based on
tllis assumption , tlley are built in by us ing tecll nique s
altowing their replacement. Even the relatively primitive
insulating glazing used dunng the sixties often stilt
funetions welt. The glazing used nowadays wilt certa inly
reacll an equivalent lile time. The life t ime of tlle
façade must be deeided upon in relation witll the In-
vestment and is, thus. one of the basic des ign as-
peets. Up to now, tlle main objeetive was to prove Iligll
quality at final inspection, life time of tlle product was
important on ly under tlle aspect of tlle guarantee peri·
od, which was short. and its definition contained a lot
of smalt print. Nowadays, the lile time of the product
must be known on element level at the time ol IJldding.
since the executing parties wilt be made responsible
for quality during the period of performance/lile time
agreed upon.
An important aspect for the durability of a
Illetal/glass façade is its clean ing. It is generalty known
th at tlle glass elements of a façade must be cleaned
regularly (four times a year). It is less known, however,
tllat aluminium must also be cleaned witll water and
tens ides and nnsed several times a year. Tilis wilt pre·
vent impairing of the protective coating of aluminium by
cllemical substances from surface dirt. (see Chapter
4, Surlace Treatment, Cleaning and Maintenance)
Visual Quality The outside appearance of a
façade plays an important role lor passers·by and for
the people working in the building. Wiletiler people feel
comfortable in a building IS also determined by tlle way
in whicll tlle worl< environment is experieneed by tlle in
dlvldual. Design. sectioning. selection ol matenal, func·
ti onality. colour, view. and ligllt do Ilave a deeisive influ·
ence on the cllmate at tlle workplace. A tecllnicalty and
functiona lly gooel façade is of durable quality only, if it
considers tlle quality needs of tl18 individual 's worl d of
experience, and if tl18 facade becomes a communic a·
t ive and infarmative medium as welt. Leading arclli·
tects Ilave devoted great altention to this aspect during
tlle past years.
170

The end of a succesful D12 project

"renovation the future task~

The international cooperation b,etween

,the faculties of Münster, Cracow and Delft
goes further on,