Structure

A structure might be described as a series of components or ‘structural elements’ which, when fitted together, are capable of withstanding the loads and forces to which they are subjected.13 _{Roland Ashcroft}

The materials of the given structure will be an initial reference point. The design of structure usually falls within the remit of architects and engineers rather than within the scope of interior designers. Yet a project may demand that alterations to a structure may have to be carried out, in which case the relevant consultants would be engaged but under the guidance of the designer.

Load-bearing materials could commonly be

Concrete—framed structure of columns and beams of walls and floors. Steel—framed structure of columns and beams of walls and floors.

Timber—for smaller sized buildings other than concrete and steel. Framed structures.

Brick, block or stone—walls.

All of the above would be sized according to the loads being imposed and be in situ or prefabricated.

Non-load-bearing:

Timber—normally creating stud partitions to be faced with plasterboard or other panel to suit.

Metal—framing to form partitions as with timber.

Floors—the framework can be as suggested above, but the whole floor area can be prefabricated infill of a variety of materials. The ground floor is usually built into the ground and does not require spanning as the upper floors do.

12_{Louis Isadore Kahn (1901–1974) was an American architect based in Philadelphia,}

Pennsylvania, USA. He was a professor of architecture at the School of Design at the University of Pennsylvania. He was awarded the AIA Gold Medal and the RIBA Gold Medal.

13_{Roland Ashcroft, Construction for Interior Designers (Harlow, Longman Group Ltd, 1985) p. 1.}

Apart from the function of the structure, the material is selected for possible exposure if it suits the interior materials concept of what is to be seen.

5.6.1 Case Study 6—Surfrider HQ

One example of a given structure is shown in Fig. 5.11. These are industrial sheds before interadapted into the Surfrider HQ as seen in Chap. 2 to provide exhibi- tion, offices, meeting rooms and cafeteria. To understand the designers’ approach to their rehabilitation, here is a mission statement by the designers (Fig. 5.12):

Each project is studied and developed with a high degree of specificity, with an over- all approach oriented toward a particular attention drawn to the building “quality of use” and the search of an optimum in the relationship between site and architecture.

Each of the projects developed in the office are moved by a voluntary “common sense” approach to the notion of “environmental quality”, the good knowledge of local geographical constraints, the comprehension and assimilation of current materials and construction techniques.

Here is the designers’ statement explaining their design approach to these skeletal buildings, which involve the following responses where materials are concerned:

Fig. 5.11 Surfrider foundation European Headquarters: Biarritz, France, 2012. Designed by

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1. Survey to confirm, condition, materials, structural weaknesses and dimensional control. Determine what can survive and what needs removal or replacement. 2. Analyse existing geometry and proportions of plan, sections and the 3D

volume.

3. The process of cladding, surfacing and filling will now take place.

The project for SURFRIDER FOUNDATION EUROPE headquarters is housed in

two pre-existing industrial sheds. Existing volumes have been completely emptied

and uncluttered, the skin envelopes isolated to meet the new 2012 thermal regula- tion and the existing roofs containing asbestos replaced by new steel sandwich pan- els integrating zenithal lightning as well as all the new technical fluids equipment.

The floor, entirely freed on an overall surface of 1000 m2 _{can thus accommo-}

date, under a single unifying roof, the two programmatic entities forming the new space: a free area destined for educational exhibitions purposes and a zone of ter- tiary activities for approximately 60 workers (open space, boxes, meeting rooms, cafeteria…)

The two different programs develop on each side of a gigantic wooden wave-

like partition wall.

This technical element is made from a highly performing layering of sandwich composite wood panels habitually used in transportation construction (boats and trains construction industry) and allowing for a maximum treatment in term of acoustical issues (insulation + absorption).

The “wave” separates the volume in two parts and act as a real soundproof screen, thus permitting two distinctive programs to cohabit in a same generic and unifying space. The sound coming from the noisy exhibition area (young kids classrooms are common visitors) bumps and slides on the outside “reverberant” birch surface of the wave, being projected further up towards the under face of the

Fig. 5.12 Same as Fig. 2.8 in Chap. 2 showing completed interior 5.6 Structure

existing sheds roofs which are acoustically treated for absorption. The under face of the waves, beneath which long table elements are plugged, is entirely treated as a sound “absorbing” surface, thus providing a particularly comfortable zone for working. By “slicing” the existing volume in two different parts, using a long fur- niture element clearly identifiable as a “WAVE”, SURFRIDER FOUNDATION users can thus refer to a strong identity-maker element whose technical capacities

also permits to profit from the generous pre-existing volume rather than clearly

separate it into two different isolated entities.

5.6.2 Pallotta Teamworks

Figure 5.13 is another example of an industrial shed being interadapted into office space by the imaginative reuse of steel shipping containers. Here is the architect’s statement:

Taking cues from the mobile ‘tent cities’ created by the Client to shelter charity event participants each night, the ‘breathing’ tented islands were devised to act as giant air diffusers, minimizing the volume of conditioned air required for comforta- ble working. The tents also provide intimate and distinct work neighborhoods, dis- tributing air and reflecting diffused light. Suspended from the roof support column grid, to avoid adding any new structure, they stretch in different directions accord- ing to programmatic needs of the workspaces. Their corners are anchored down by prefabricated shipping containers, which, at an average cost of $3400 each, were the least costly way to house private offices and support facilities. Air, power and sprinkler feeds funnel directly down from the roof, supported by the columns.

Entering the building through a large screen-printed sunshade, the reception area features an island desk modeled on Buckminster Fullers’ Dymaxion world

Fig. 5.13 Pallotta

Teamworks New

Headquarters ‘main street’, Los Angeles, California, USA. Architects Clive Wilkinson, 2002. Photograph by Benny Chan—Fotoworks

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map, a projection showing the continents as one continuous land mass, accu- rately reflecting their true surface areas, showing no boundaries or states. From this area, a dark blue open-ended shipping container forms a portal to the main volume of the building and onto the main street, leading on to the square with its executive tower, a 3-high six-pack of orange containers.

The refreshing adaptation of the shipping containers involves softening their metallic quality by the addition of timber cells which project into the ‘street’, hence providing more visual connections with the volume of the space. Furniture and softer floor coverings add to the comfort of usability.

5.6.3 Rockstar Villa

The plan of this villa in Fig. 5.14 can be seen in Fig. 1.7 of Chap. 1. The struc- ture is made of steel columns and beams combining with concrete and timber. The walls are painted plaster, and the floors are finished in polyester and polyurethane coating. The open organic design reflects the climate of the Balearic Islands with white being the dominant colour, which is the norm in hot climates as it allows the colours of vegetation and clothing to stand out.