‘VERTICAL CITY’ IN JAKARTA

CCTV HEADQUARTERS

BUzz- WoRTHY BUILDINg IN 2012

Edition 11th / December 2012

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Published by PT. ARKIPURI INTRA NASIONAL ARKdesign Jakarta Office

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EDITION 11

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DECEMBER 2012

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Architecture

Photo source : http://modelab.nu/?p=689

Written by Paul Tan

Last edition of AQ 10, we discussed “Urban Living”, mainly from a personal point of view. When you travel during the Christmas and New Year break, you can observe these big cities in the world you visit. Then reading this edition of AQ 11, we look at the buildings in highly developed urban settings such as Beijing. We also read about projects designed by architects coming from all over the world, creating their signature in the future plans of large and tall developments in cities such as Jakarta, London, and Dalian.

I certainly hope our energetic new Jakarta governor and his deputy (who are in our mailing list) read these articles because what the private sector is planning, require huge infrastructure investment, in particular public transportation, garbage, and energy. Food for thought....

We wish you a very peaceful Christmas 2012 and a prosperous New Year 2013.

You can imagine what Jakarta would be like in a decade or even less. A little frightening?

Architects are like “ants” coming to places where there is plenty of vibrant economic growth “sugar”, like Indonesia today. Particularly in support of urban developments in the big cities like Jakarta, Surabaya, Medan, and Makassar.

t e c h n o l o g y

04RecentPublication

MVRDV pRoposes 400 MeteR tall ‘VeRtical city’ in JakaRta

our inspiration for the commercial podium and public spaces was Java’s natural setting – lush jungle and stone surrounded by expansive ocean.” says David Rogers, Faia, Jerde Design Director.

“

by Karissa Rosenfiled on ArchDaily

05RecentPublication

MVRDV, in collaboration with The Jerde Partnership, ARUP, and developer Wijaya Karya – Benhil Property, have unveiled plans to create a new landmark in Jakarta, Indonesia. Dubbed Peruri 88, the 400 meter tall vertical city integrates retail, offices, housing, a luxury hotel, four levels of parking, a wedding house, a mosque, an imax theater and an outdoor amphitheater, with an extensive amount of green space.

The team presented the plans to city and site owner, Peruri, as part of a developer’s bid competition for the prominent site.

The site, which is owned by Peruri, is located at Jl. Palatehan 4 Jakarta, a block formerly used as Mint which sits right next to a future metro station.

Peruri 88 combines Jakarta´s need for green space with Jakarta´s need for higher densities whilst respecting the typologies of the current urban fabric.

The mix use project offers a great variety of office and housing typologies, from large office surfaces to living/working units, from lofts to townhouses, from terraced houses to patio living. Each of these stacked urban blocks comes with a semi-public

“Peruri 88 is vertical Jakarta, it represents a new, denser, social, green mini-city – a monument to the development of Jakarta as a modern icon literally raised from its own city fabric,” says Winy Maas, MVRDV co-founder.

“peruri 88 is vertical Jakarta, it represents a new, denser, social, green mini-city – a monument to

the development of Jakarta as a modern icon literally raised from its own city fabric,” says Winy

Maas, MVRDV co-founder.

roof park, an abundance of gardens, playgrounds, spas, gym’s, outdoor restaurants and swimming pools available to the inhabitants and office employees. The tall trees on these decks will provide extra shade whilst the height of the parks allows for a cooling breeze.The high rise, a luxury hotel from the 44th floor to the 86th floor, rises from a platform with park, swimming pool and the marriage house. On top of the hotel a panoramic restaurant and viewing platform complete the structure at the 88th floor.

The commercial podium which is located from levels B2 to the 7th floor is designed by Jerde Partnership with MVRDV. Its most characteristic feature is the central plaza, sheltered by the stacked volumes of the mid-rise it offers multiple outdoor layers of restaurants and shadow and natural ventilation. A series of escalators connects the shopping and retail centre to the parks of the mid-rise.

The Peruri 88 commercial podium reflects the city’s historic islands with reflective bodies of water and landscape traversing the public street levels, while integrating a sunken garden plaza. “Our inspiration for the commercial podium and public spaces was Java’s natural setting – lush jungle and stone surrounded by expansive ocean,” says David Rogers, FAIA, Jerde Design Director.

The buildings structure has five principle cores and is less complex than visually apparent. Four traditional constructed tall towers rise up between which bridging floors will be constructed. Arup will continue to develop and rationalize the structure to satisfy regulations and the budget.

A number of international hotel, retail and apartment operators have shown interest in the building and if the team wins construction will start swiftly..

Source : <http://www.archdaily.com/295962>

Rendering by RSI-Studio

06RecentPublication

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CCTV HeadquarTersOffice for Metropolitan Architecture |

Too Big To Fail? : Long awaited and much debated, the enormous headquarters for CCTV finally opens, already a symbol of the new Beijing. But what does it actually say about architecture and China today?

By Clifford A. Pearson on Acrhitectural Record

P romising to “kill the skyscraper,” Rem Koolhaas and his colleagues at Office

for Metropolitan Architecture (OMA) grabbed international attention in 2002 when they won the competition to design a huge headquarters in Beijing for China Central Television (CCTV), the state-run news and entertainment network. Polemical and hyperbolic as usual, Koolhaas said the skyscraper had become “corrupted” by its proliferation around the world and “negated by repetitive banality.” So instead of joining the race to build ever taller, his scheme bent the high-rise into a loop of interconnected activities. Four years after it was originally scheduled to open—in time for the network to broadcast the Beijing Olympics from its new home—CCTV is finally moving employees into the controversial building, a 5.1 million-square-foot structure that even before it was completed had imprinted its swaggering form on the fabric of the city and the mental map of its citizens.

The building shares a 45-acre site with a low-rise, ring-shaped service structure and a 31-story tower called the Television Cultural Center (TVCC), both of which OMA also designed.

Beijing, China

The service building provides power to the entire complex and houses security personnel, while TVCC will have a Mandarin Oriental hotel, a public theater, restaurants, and shops. TVCC famously burned in February 2009 when fireworks celebrating the lunar New Year engulfed the building's skin in flames just months before the hotel was set to open. It is being repaired and should be complete in 2013.

The site anchors a new central business district emerging from an industrial area built during the Mao era. Plans call for about 300 high-rises there, which is one reason why OMA took a different approach with CCTV. According to Koolhaas, three of the four other firms competing for the job (KPF, SOM, and Dominique Perrault) proposed skyscrapers, while only Toyo Ito offered something different (a disc-shaped structure with a small tower). “The form of our building was attractive to the client,” says Koolhaas. “It set us apart.”

“The form of our building was attractive to the client,”

says Koolhaas.“It set us apart.”

That form derived from OMA’s program-driven approach to design. “We presented the building as a diagram of all the company's components and made the argument that it was important that they confront each other,” says Koolhaas. Earlier, OMA had worked for Universal Studios on a headquarters in Los Angeles and learned that media companies often suffer from being fragmented. So the firm connected CCTV’s operations—including broadcasting, production, and administration—along a circulation loop that moved from the building’s base up a sloping tower, across a right-angled bridge (called the overhang), and down a second sloping tower. The underground podium and large, right-angled base provided much more contiguous space for studios and production facilities than a skyscraper would have, which appealed to the client’s technology people, reports Koolhaas.

08DesignNews

The OMA team was led by Koolhaas, Ole Scheeren (a partner until he left the firm in 2010), partner David Gianotten, and project manager Dongmei Yao. The firm worked closely with East China Architectural Design & Research Institute, which provided both architecture and engineering input.

From the beginning of the design process, OMA collaborated with Cecil Balmond and a team of engineers at Arup. To resist the huge forces generated by two towers—each sloping six degrees in two directions—as well as significant potential seismic and wind events, Arup devised a scheme that turns the entire exterior into a continuous structural tube. This system is formed by a web of diagonal steel braces that expresses the pattern of forces acting on the building and serves as an important visual element on all of the facades. Where structural forces are greater, the web of braces is denser; where the forces

are less intense, the web is looser. As a result, the exterior surfaces read as a kind of engineering map with a formal beauty of its own. While the towers and exterior braces are angled, the interior cores' housing elevators, stairs, and risers are vertical. Arup and OMA had considered canting these elements as well, but the cost of angled elevators made it unfeasible. In addition to the cores, vertical columns support the towers' floor plates. Because the towers slant, these vertical columns can't rise the full height of the building. So two-story-deep trusses transfer loads at roughly halfway up the structure, and a two-story-deep transfer deck in the overhang carries loads from vertical columns to the external tube structure.

The architects clad the building in fritted glazing that reduces solar loads inside and creates a monolithic surface that mimics Beijing's notoriously gray skies. Most curtain-wall buildings

in big Chinese cities look dirty almost immediately, but CCTV’s glazing handles the pollution by blending in. Combined with the irregular pattern of the external bracing that obscures floor levels, the glass skin makes it hard to grasp the building’s scale. In certain light and at certain distances, the 768-foot-tall structure seems almost to disappear. Yet seen from other angles and at other times of the day, it looms aggressively over apartment blocks. “From wherever you look at it, it keeps changing in form,” says Scheeren. “It escapes a singular definition.”

“In a city with a strong and permanent identity, it introduces a degree of uncertainty,” says Koolhaas. “It changes from every angle—sometimes looking robust, sometimes fragile.” Although gigantic in square footage, it would have been almost three times as tall (about 2,300

09DesignNews

feet) if it had been a single tower—nearly 700 feet taller than the Shanghai World Financial Tower, currently the tallest building in China. Its ambiguous scale informs even the nickname local residents have given it: da kucha, or “big undershorts.” For many years, its radical design alienated the local architectural establishment, which complained that OMA and other foreign firms use China as a laboratory for alien experiments.

10DesignNews

While big-name architects usually design only the shell and core on high-rise projects, OMA did the CCTV interiors too. Because of the complex's vast size, the firm approached the interiors as a combination of generic and specific spaces. Entering from a plaza between CCTV and TVCC, visitors are dwarfed by the unstable-looking forms, then get a visual jolt from the dynamic

Koolhaas has been attacked by some people for working for the mouthpiece of the Chinese Communist Party. But he says, “We are part of a generation of architects that for the first time is able to work on a global scale, and that means engaging different kinds of regimes. Our work is based on a longer engagement, as these countries change.”

lobby with its angled ceilings and imposing skylights. People arriving by subway emerge here too, ascending an escalator into the dramatic space. A public loop takes visitors past broadcast studios identified by colored panels set behind glass, through halls made grand by steel arcades, and eventually to the spectacular overhang, where—if they dare—they can walk over clear glass discs set in the floor and look 37 stories down. Throughout, OMA used a simple palette of materials to help with navigation, wrapping one tower's core in Cor-Ten and the other in aluminum, and cladding floors in public spaces with creamy travertine.

Has CCTV killed the skyscraper? Of course not—a fact made clear by the towers starting to crowd around it. But it offers an intriguing alternative, one that uses its odd geometry to provoke questions of architectural etiquette—such as how to fit into (and stand out from) a context in flux. Its awkward form, though, grows on you, like a geeky classmate who might seem strange at first but increasingly smart as you get to know him. The audacity of the building's structural gymnastics and its innovative approach to scale and expression could only happen right now in China, a country trying hard to convert its cash reserves into global prestige and one where clients are willing to assume high levels of risk. CCTV represents a remarkable moment in Beijing's history, one that may already be slipping away as China's radical transformation slows.

Source : http://archrecord.construction.com/projects/portfolio/2012/11/China-Central-Television-OMA.asp

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11DesignNews

CCTV Headquarters

The WoW FacTor

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An engineering marvel, CCTV flaunts its technological prowess in its radical geometry and exposed

steel bracing. And its most daring structural element is the “overhang,” a nine-to-13-story bridge that makes a right turn in midair as it spans the gap between the two angled towers. Looming 37 stories above the ground, it juts out 245 feet from one tower and 220 feet from the other. During construction, the two arms of the overhang were cantilevered from the towers before being connected to form a more stable

bridge and complete the building’s continuous structural tube. Making that connection was a dramatic moment during construction and required a precise fit. Because the sun warms and expands the steel in each part of the building at a different time during the day, construction workers had to complete the task early in the morning when the arms are the same temperature. Visitors today who take the public tour through CCTV get a visceral understanding of the engineering feat when they arrive at the overhang and walk over three clear glass discs set in the deck of the 37th floor. A veritable forest of exposed steel bracing here also helps bring the construction story alive for anyone visiting the space. —C.A.P.

On the 37th floor in the overhang, visitors can walk over glass portals and look down to the plaza (left). Exposed steel bracing forms a continuous tube structure that resists the huge forces generated by the building’s cranked and leaning forms. (red:left)

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Source : http://archrecord.construction.com/projects/portfolio/2012/11/China-Central-Television-OMA.asp.

Big, BolD, anD Buzz-WoRthy BuilDings in 2012AD spotlights a dozen showstopping architectural projects around the world that people will be talking about this year—and beyond.

| Text by Josephine Minutillo on Architectural Digest

12DiscourseDiscussion

AZERBAIJAN CULTURAL CENTER Photo: © Zaha Hadid Architects

Zaha Hadid’s signature sexy curves are on full display in the Heydar Aliyev Cultural Center, a fluid form constructed of glass-reinforced concrete that emerges from the folds of the landscape’s natural topography. This major new venue will play a pivotal role in the redevelopment of the Azerbaijani capital, housing a conference hall with three auditoriums, a library, and a national museum.

azerbaIjan Cultural Center IN BAKU BY ZAHA HADID ARCHITECTS

PHOENIx INTERNATIONAL MEDIA CENTER Rendering and photo: Courtesy of BIAD UFo

Dnb HeaDquarters IN OSLO BY MVRDV

For nearly 20 years, the Dutch firm MVRDV has created bold, often boldly geometric projects. Its headquarters for the Norwegian financial group DNB in the fast-developing Bjørvika neighborhood on Oslo’s waterfront is no exception. “The building is basically a large box of Legos,” says MVRDV principal Winy Maas. “Shuffling individual components of the block slightly allows for more natural light inside. Removing some elements and adding others elsewhere creates fantastic outside spaces. This play leads to an unexpected, complex structure.” pHoenIx InternatIonal MeDIa Center IN

BEIJING BY BIAD UFO

For years China has imported big-name architects (Rem Koolhaas, Zaha Hadid, Steven Holl) to create out-of-this-world structures. But now China is producing its own generation of daring designers. Beijing-based BIAD UFo’s Phoenix International Media Center is giving Herzog & de Meuron’s “Bird’s Nest” Olympic stadium a run for its money. The complex features a pair of buildings with offices and TV-broadcasting facilities encased in a dramatic doughnut-shaped shell of swirling steel.

lonDon brIDge tower BY RENZO PIANO BUILDING WORKSHOP

At 72 stories and 1,016 feet high, it dwarfs the mostly low buildings around it and will be the tallest building in the European Union. Nicknamed the Shard, because of its façade of tapering glass panels, the tower will contain offices, apartments, a hotel and spa, restaurants, shops, and, at its pointed top, a 15-story public viewing gallery.

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LONDON BRIDGE TOWER photo: Hayes Davidson and John McLean

DNB HEADqUARTERS Rendering courtesy of MVRDV

Of all the buildings added to the London skyline in the run-up to the Olympics, the most imposing is unquestionably Renzo Piano’s London Bridge Tower, located on the south bank of the Thames, next to the bustling London Bridge transportation hub.

sHenzHen stoCk ExCHANGE BY OMA

OMA, the international firm cofounded by Rem Koolhaas, has stated that its building for the Shenzhen Stock Exchange has to reflect the financial markets, not just physically accommodate a trading floor and offices. As if buoyed by the same speculative euphoria that drives investors, the building’s rectangular base appears to hover several stories off the ground. “The concept of the building is simple but strong,” says partner-in-charge David Gianotten. “The floating podium of the otherwise generic building liberates the ground level, which becomes a new public square of Shenzhen.”

SHENZHEN STOCK ExCHANGE Rendering and photo: © OMA

barnes FounDatIon IN PHILADELPHIA BY TOD WILLIAMS BILLIE TSIEN ARCHITECTS

After a long legal battle for permission to relocate Albert Barnes’s singular painting collection from his suburban estate to downtown Philadelphia, the Barnes Foundation will open its new home on Benjamin Franklin Parkway in May. Designed by New York architects Tod Williams and Billie Tsien, the museum is clad in a tapestry of gray and gold limestone and topped by a glowing light box. Inside, approximately two dozen rooms will display the foundation’s masterworks by Renoir, Cézanne, Matisse, Picasso, and others. The architects, for their part, note that “the new building brings this extraordinary collection into the light and cultural pulse of Philadelphia.”

queen alIa InternatIonal aIrport IN AMMAN, JORDAN, BY FOSTER + PARTNERS

The firm even designed the world’s first private spaceport, for Virgin Galactic, which opened this past fall in New Mexico. But its expansion of the Queen Alia International Airport in Amman explores a vision of what a 21st-century airport can be. With a broad canopy reminiscent of Bedouin tents, it’s designed to evoke a distinctive sense of place and to provide an enhanced gateway to the region. The high-tech roof is made up of photovoltaic canopies that not only shield passengers but harness sunlight for renewable energy while allowing for natural ventilation.

a performance hall—is one of its biggest projects to date. The building’s floating, wavelike envelope (which sits atop a load-bearing shell structure) and soft, rippling surfaces evoke the forces of the sea, referencing Dalian’s history as an important port.

DalIan InternatIonal ConFerenCe Center IN DALIAN, CHINA, BY COOP HIMMELB(L)AU

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BARNES FOUNDATION Rendering courtesy of the Barnes Foundation

qUEEN ALIA Rendering courtesy of Foster + Partners

DALIAN INT Rendering: © ISOCHROM.com, Vienna

slICeD porosIty bloCk IN CHENGDU, CHINA, BY STEVEN HOLL ARCHITECTS

With offices in Beijing now, as well as New York, Steven Holl has quite a lively practice in China, having completed a string of major projects in recent years. His latest is Sliced Porosity Block in Chengdu, in the southwestern province of Sichuan. Comprising five towers, the three-million-square-foot hybrid complex has residential and work spaces, shops, and facilities for recreation and culture. “It is neither a tower nor a slab or perimeter block,” Holl says. “It’s a sculpted mass, where the exoskeleton structure of concrete is sliced according to precise angles to allow sunlight to reach surrounding buildings.”

Airports are nothing new for Foster + Partners.

Founded in 1968, Viennese firm Coop Himmelb(l)au has taken its unique brand of Deconstructivist architecture from Europe to the U.S. and more recently to China. At nearly 1.3 m illion square feet, its Dalian International Conference Center—which includes exhibition spaces and

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SLICED POROSITY Photo: © Iwan Baan

parrIsH art MuseuM IN WATER MILL, NEW YORK, BY HERZOG & DE MEURON

When Herzog & de Meuron’s original design for the Parrish Art Museum’s new home in Water Mill, New York, was scrapped for financial reasons, the Swiss architects came up with a second, simpler plan. Instead of a cluster of small individual buildings, they created a single, dramatic, 615-foot-long structure with concrete walls and an aluminum roof that draws inspiration from the artists’ studios scattered throughout the East End of Long Island. The architects view the redesigned building, which will triple the museum’s existing gallery space, as a distillation of their original plans. “It’s been a long journey,” Pierre de Meuron says of the Parrish. “But it was important for us to be able to make a second project.”

PARRISH ART Rendering: © Herzog & de Meuron

pazHou Hotel IN GUANGZHOU BY AEDAS

As bombastic as any building conceived in the past decade, the Pazhou Hotel, designed by the international firm Aedas, stacks guest-room floors in two staggered piles atop a nearly 200-foot-high atrium that links exhibition and retail spaces. Located in Guangzhou’s rapidly expanding Pazhou district, the new building strives to be unique among the bold designs that already occupy the area, including Zaha Hadid’s Opera House just across the Pearl River.

kaMppI CHapel oF sIlenCe IN HELSINKI BY K2S ARCHITECTS

Neither large nor overly expressive, the Kamppi Chapel of Silence on Helsinki’s busy Narinkka square is an antidote to the hectic lifestyles of today’s urban dwellers. Designed by the local firm K2S Architects, the 3,200-square-foot structure has a windowless façade of curving spruce planks and a gently shaped alder interior that embraces visitors in the warmth of wood and offering quiet sanctuary.

PAZHOU HOTEL Rendering courtesy of Aedas

Source : http://www.architecturaldigest.com/

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KAMPPI CHAPEL Rendering © K2S Architects

16DiscourseDiscussion CONCRETE GREEN BUILDING

NOV. 2012 EDITION: ONE WORLD TRADE CENTER

FACT BASE—HIGH STRENGTH CONCRETE q&A

(CONTINUED)

Background: One World Trade Center1 (WTC), also known as the Freedom Tower, is the main building of the World Trade Center in New York City’s Financial District. It is 1776 feet tall at its highest point, the top of a 408-foot antenna, and has 2,600,000 square feet of floor area, including sixty-nine office floors. The owner is the Port Authority of New York and New Jersey (PONY/NJ). The concrete subcontractor is Collavino Construction Co. of Jersey City, NJ.

The owner’s drive for a sustainable design was central to the development of the tower and resulted in uncommon durability requirements; a challenge to use less than 400 pounds of cement per cubic yard of concrete (which is less cement than is used in most standard concrete mixes for common applications such as basement slabs, garage floors, and sidewalks) as well as provisions for recycling construction debris and materials, and integration of renewable energy, day lighting, and the reuse of rainwater.Construction of 1 WTC began in 2006 and is scheduled for completion in 2013. The building’s supporting columns are made of steel and concrete ranging in strength from a high of 14,000 psi to a low of 8,600 psi. The columns on the first forty floors are made from 14,000–12,000-psi concrete and the upper floors with 10,000–8,600-psi mix designs.

BASF’s Green Sense® service was used to help Eastern Concrete Materials, A U.S. Concrete company, develop the right EF Technology® application for the project. EF Technology is a sustainable concrete mix design platform that uses BASF’s Glenium® high-range, water-reducing admixtures. The EF Technology mix designed for 1 WTC substantially replaces Portland Cement with supplementary cementitious materials such as fly ash, slag, and silica fume, waste byproducts of industrial processes. This resulted in significant savings of 30,000 gallons of water, 8,000,000 kWh of energy, 12,000,000 pounds of carbon dioxide emissions and 750,000 pounds of fossil fuel.

Q: What is the history of super-strength concrete?A: High-strength concrete was developed in the 1980s using unique chemical admixtures and mix-proportioning techniques to address performance challenges with high-rise construction.

Q: Is 14,000 psi concrete, (being used in 1 WTC) a new concoction?

A:The highest strength ready-mixed concrete Eastern Concrete Materials and NYC Materials (U.S. Concrete companies) had produced previous to 1 WTC was 10,000 psi. Prior to the construction of 1 WTC, 14,000-psi, ready-mixed concrete had been used but never on this scale or for a project with so many challenging placement, structural, and environmental performance requirements. (In fact, the concrete actually reached 18,000 psi at fifty-six days).

For example, 1 WTC’s owner, PONY/NJ, was very interested in sustainable design and required that the high-strength-concrete mix designs use no more than 400 pounds of cement per cubic yard, in effect mandating that uniquely high levels of supplementary cementitious materials such as fly ash, slag, and silica fume be used in lieu of cement.

1 WTC also had a strict requirement for controlling the heat of hydration, and the workability of the concrete had to be maintained for a two-hour window. This is a relatively long time for concrete to remain workable. This is especially true for a high-strength concrete that loses its workability because it sets up faster than a low-strength concrete. However, it was necessary due to the over-the-road and up-the-tower time that the concrete spent in transport through New York City and up to the tower’s highest floors. So, 1 WTC’s high-strength, environmentally friendly,

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Q: Was the concrete invented for this building?

A: Yes, the entire concrete solution was custom-designed for this project and required the use of the most advanced mix-design and modelling technology in the industry. The ability to create this revolutionary mixture lies in Eastern Concrete’s EF Technology® using BASF’s Green Sense Concrete service to produce sustainable concrete with maximum performance.

Q: Has there been a trend in increased use of extra-strong concrete?

A: Yes. The trend has been to utilize higher-strength concrete especially over the last ten years. Prior to that time, 6,000-psi concrete was considered high strength. When the ready-mix producers demonstrated the ability to produce high-strength concrete, engineers and architects began designing buildings accordingly.More specifically, in New York City, one of the world’s leading high-rise markets, high- strength concrete applications first appeared in the early nineties with designs delivering strengths of 7,000–8,000 psi. Mixes with these strengths are relatively commonplace today, but at the time, they were unique and expensive because they used high levels of cement and micro silica, both of which are expensive. Today, we achieve these strengths by using less expensive supplementary cementitious materials such as fly ash and slag in lieu of cement and micro silica.

and workable-mix designs are unique, if not revolutionary, concoctions.

It wasn’t until 1999 that 12,000-psi concrete was produced in the New York City area for the Trump World Tower. The cured mix yielded an average strength of about 17,000 psi, and, in 2000, the project won an award from New York City’s Concrete Industry Board (CIB) for consistent delivery of high-strength concrete. In 2012, 1 WTC will also be receiving an award from the CIB for its role in taking concrete sustainability and performance to new heights. After the Trump Tower was completed, higher-strength mixes (e.g., 8,000-9,000-psi) became more commonplace in the city, but 10,000- and 12,000-psi mixes were still uncommon. After 2005, the high end of the high-strength market started to open up with the projects such as the Beekman Tower, WTC Tower 7, and other WTC projects. However, 1 WTC, where construction began in 2007, was the first to require 14,000-psi concrete. Even after the Trump Tower, more projects started to specify higher strengths; 9,000, 10,000, 12,000, but 10,000 and 12,000 were still not that common until after 2005. Today’s chemistry and mixture-optimization know-how also ensure high levels of concrete durability, constructability, and sustainability, providing design professionals and contractors with the certain performance they need for the hassle-free specification and use of high-strength mixes.

Q: What makes it so strong?

A: A unique blend of concrete ingredients, including cementitious materials (cement, fly ash, slag, and silica fume), blended aggregates

(coarse stone, and fine sand) and the latest technology in admixtures (chemicals added to concrete to impart specific performance and workability properties) enable the production of ready-mixed concrete with very low water content, which creates high strength. One of the key reasons the concrete is high strength is because the more water that is used in making concrete, or in placing it and finishing it, the weaker the concrete becomes. Low water contents supplemented with chemicals that mimic the workability provided by higher levels of water produce high-strength concrete.

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Q: Is it going to be a trend setter for future concrete concoctions?

A: Yes. The future of high-rise construction will be high-strength, more durable, and more sustainable concrete. Most new projects have 10,000–14,000-psi concrete as part of the design, as well as a requirement for sustainable construction driven by the Leadership in Energy and Environmental Design (LEED®) certification that many public and private owners seek or require for their projects.

Additionally, as a result of US Concrete’s increasing experience with high-strength mix designs, we have been able to apply our knowledge of how concrete ingredients interact and the properties they impart to concrete to develop new mixes that solve other construction problems. A perfect example of the application of knowledge gained from understanding high-strength-mix design technology is the proprietary

concrete technology developed by U.S. Concrete, Aridus® Rapid Drying Concrete. Aridus Concrete is a 7,000–8,000-psi mix made with a high percentage of supplementary cementitious materials.

Aridus® Rapid Drying Concrete mix help prevent unsightly, inconvenient, unhealthy, and costly moisture-related floor-covering failures that are an everyday problem no one likes to talk about. This problem has become even more prevalent over the last decade as floor-covering adhesives have moved from solvent to water-based in order to eliminate environmentally unfriendly volatile organic components (VOCs). Aridus® Rapid Drying Concrete system uses vapor barriers and specially designed, self-desiccating concrete made with ASTM-listed materials that consume free water to control the moisture vapor emission rate (MVER), and internal relative humidity (IRH) of concrete so that ASTM-tested, manufacturers’-specification-compliant floors can be delivered in 45 days after the building is enclosed and conditioned for 48 hours.

Q: Why was high-strength concrete chosen for the WTC?

A: High-strength concrete facilitates the design of smaller, structural-member cross-sections (e.g., columns and walls) that provide more net usable or rentable floor area because less space is consumed by the structure. This is especially important in high-rise buildings in high-rent

districts in which the supporting members can be very large. High-strength concrete also enables design of safer structures because key supporting members, such as elevator and stair enclosures, often relied upon to resist wind, seismic, and other impact forces, can be designed with an extra measure of strength (i.e., safety).

A: The ready-mixed concrete delivered to 1 WTC was pumped to the highest elevation to which concrete has ever been pumped in the Americas. Even more remarkable, because the mix design was so workable, pumping was accomplished with a single pump that moved the concrete from ground to the topmost story instead of to an intermediate station where it would have been remixed before being transferred to a second pump to move it to a higher level.

Q: What else was unique about the concrete delivered for 1 WTC?

Source : http://www.concrete-greenbuilding.com

19ARKdesignProjects

Location

Status

Architect

Under Construction

Paul Tan / Cucu Surya

Jakarta, Indonesia

OFFICE ONE

GALLERY WEST

Location

Status

Architect

Construction Documentation

Paul Tan / Hema Saepudin

Jakarta, Indonesia

EcoSmart Igloo Ventless Glass Fireplace

20InnovationTechnology

The ecosmart Igloo glass Fireplace is designed with a futuristic appeal to enhance any contemporary decor. Designed by Paul Cohen, this EcoSmart Fire Designer fireplace offers a unique and distinctive appeal. It is distinctive and original, featuring a toughened glass surround that conveys a disappearing effect. A stainless steel bench is suspended between the glass surround, and this unique form allows the flame to ‘dance’ in many directions off the reflective glass panels, generating ambiance and warmth and ensuring a stunning center-piece.

Source : http://www.thefancy.com/things/125682399823533683/Table-Fireplace-by-MOMA

Created as a portable work of art, the Igloo fireplace is sleek, minimalist lines add an element of chic to residential units, apartments, houses, and commercial premises including offices, bars and restaurants. Fueled by denatured ethanol - an environmentally friendly, renewable energy - the Igloo, like the rest of the Designer Range, is clean and green fireplace.

INTELLIGENT

LIVING

www.vkool-indonesia.com

21Events

ground Breaking

Majestic Point Apartment Serpong

December 7, 2012

Photo from left : Paul Tan | Halim Chandra | Marcellus Chandra

Asiek Widodo | Victor Irawan | Boedi Poerwoko

22StayInformed

Meidy Suriansyah, ST

University of New South Wales, NSW, Australia

Master of Urban Development and Design

Meidy Suriansyah, ST

ARKdesignNewTeamMembers

Felicia gunawan, ST, M. BEnv, MUDD

Mercu Buana University,Jakarta, Indonesia Bachelor of Architecture

A Merry Christmas and Happy New Year 2013

®PT. ARKIPURI INTRA NASIONAL

Taman Kebon Jeruk Blok G1 No. 58, Jakarta Barat 11630p +6221 5869369 / 5869371 / f +6221 5304456 / e jakarta@arkdesign-architects.com

www.arkdesign-architects.com

ARKdesign ARchitects Wishing you