[Deitingen Service Station, Solothurn Switzerland, 1968]

With the discussion of efficient and sustainable design more important than ever in architecture, we
thought it would be relevant to brush-up on the work of Heinz Isler. Born in 1926, the Swiss artistdesigner-engineer developed his concepts and methods for thin shell concrete structures in the
1950s, came to prominence with his constructions in the 1960s and continued developing his ideas
and built-forms into the 1990s.

[Norwich Sports Village Hotel, Norwich England, 1991, Architect: J.A. Copeland]

An anomaly of the engineering world, he directed his efforts away from the mathematics of
engineering and focused on the physical model. This study into physical modeling put emphasis on
form and stability. The goal to create structures of high efficiency with the lowest possible
environmental impact led Isler to explore 3 types of formwork: molded earth, inflated rubber
membranes, and draped fabrics.

The studies with fabric are most interesting to us because of the relationship between the fabrics
capacity for tension and the concretes capacity for compression. The small scale models, made

from draped fabric, define the most effective structural curvatures, however the material in this
model is primarily in tension something fabric is very good at. In order to apply this same
curvature to concrete, the model is frozen with epoxy resins and then flipped 180 degrees, thereby
putting the material into compression a strong characteristic of concrete. This geometry can be
scaled up to whatever size necessary. Such simple and elegant relationships between geometry and
material properties are fascinating to us.

Adding to the overall efficiency of the built-work, Isler often used fiberboard as the construction
formwork, a material known for its insulation qualities. This not only helps keep the heat in but
regulates the temperature of the concrete inside and outside the shell, subsequently controlling the
expansion and contraction of the concrete.

[Indoor Tennis Center, Heimberg Switzerland]

Complimenting the conceptual and structural importance of Islers studies in thin shell concrete
structures is a poetry rarely achieved in engineering and architecture. For us architects, its a
reminder of the important relationship between built-form and the geometries inherent in nature. All

too often, it seems us architects strive to force materials into built-forms which are contradictory to
their natural properties and to physics in general. As Islers studies demonstrate, the solutions to
built-form are often times simple and obvious; the answers are already coded into the material itself.

[Bruhl Sports Center,1982, Solothurn Switzerland, Architect: J.A. Copeland]

[Wyss Garden Center, 1961, Solothurn, Switzerland]

[La Tene Tennis Center, Neuchatel Switzerland, 1983, Architect: J.A. Copeland]

[Truffaut Villeparesis, Lle De France, France, 1977]

[Cafe-Restaurant Wiesentalstrasse, Grisons Switzerland, 1975, Architect: Th Domenig]

[Deitingen Service Station, Solothurn Switzerland, 1968]

[Ecola Nationale de Ski et dAlpinisme (ENSA), Charmonix-Mont-Blanc, 1974, Architect: Robert Tallibert]

[Sicli Company Building, 1970, Geneva]

The model has an answer to (nearly) everything Heinz Isler

[The Engineers Contribution to Contemporary Architecture HEINZ ISLER by John Chilton, Riba Publications]

Resources:
The Engineers Contribution to Contemporary Architecture HEINZ ISLER by John Chilton, Riba
Publications
The Art of Structural Design, A Swiss Legacy, Princeton University Art Museum, David P.
Billington
Conceptual Structural Design, Bridging the gap between architects and engineers by O. Popovic
Larsen & A. Tyas
All photos by Yoshito Isono, Structurae

Geodesic Shell
The structure of this shell is
woven from isocurves and
geodesic curves on a surface.
Geodesic curves are also called
plank lines, they can be build
from straigth, but twisted
planks. Mrten Nettelbladt
studied them on his blog.
Geodesic shells build in wood
have been studied at the
laboratory for timber
construction of the EPFL.
Planks generated from lines on
a surface with this script:
TwistedBeams.zip
The (straight) bamboo strips of
this chinese hat are following
geodesic lines. Photo by
drs2biz.

More Geodesic Shells

Mrten Nettelbladt kindly adviced me of the Korkeasaari Lookout Tower, an example of a

geodesic structure build of wood.
The Japan Pavillion at the expo 2000 by Shigeru Ban and Frei Otto is an example of an
geodesic shell build of paper tubes.

Ville Hara
HUT Wood Studio Workshop
Korkeasaari Lookout Tower
Helsinki Zoo, Finland
Situated on a site eighteen meters above sea, with spectacular views of the sea and the city of
Helsinki, the tower is a delicately transparent landmark of Korkeasaari Island.

Photo: Jussi Tiainen, HUT photography laboratory

Established in 1889 Helsinki's Korkeasaari Zoo, located on Korkeasaari Island, has animals from
Finland and around the world housed in large natural enclosures.
The competition for the design of the ten-meter-high timber tower, presented to students of
architecture at Helsinki University of Technology, was organized by the Korkeasaari Zoo in
collaboration with Wood Focus Finland.

Photo: Jussi Tiainen, HUT photography laboratory

The load bearing structure consists of 72 long battens, with a section of 60mmx60mm, that are bent
and twisted on the site from seven pre-bent types. Over 600 bolted joints hold the shell structure
together.
Having no weather protection the wood is treated with a linen oil-based wood balm with UVprotection.
The free form of Haras winning entry, inspired by the natural setting, follows the existing low stone
wall and skirts around a small birch grove.

Photo: Jussi Tiainen, HUT photography laboratory

Photo: Jussi Tiainen, HUT photography laboratory

When the drawing of the irregular form proved difficult Hara moulded a plastoline model. Digital
images of the model then functioned as a basis for the AutoCAD drawings.
Using the level drawings he constructed a 3D-computer model onto which he taped the curved
battens to form the grid shell.
Students at the Wood Studio workshop developed the draft design further by assembling scale
models and exploring structural details.

Photo: Jussi Tiainen, HUT photography laboratory

Photo: Jussi Tiainen, HUT photography laboratory

Photo: Jussi Tiainen, HUT photography laboratory

To test if the pre-bent battens, that form the basket-like grid shell, tolerated bending and twisting
Hara laminated full-scale pieces of the battens. When the laminated timber resisted twisting he
resorted to steaming, a traditional method in boat building.
The effect of surface treatment with linen oil-based wood balm on moisture content was determined
by moisture tests and the durability of the joints was proved by tension tests.

Photo: Jussi Tiainen, HUT photography laboratory

The tower was erected by an international group of eight students of architecture. With the hot,
sunny summer drying up the timber, the duct pipes that were used for steaming proved useful. It
took us three months to complete the job.
The Helsinki University of Technology Wood Studio workshop was started by Professor Jan
Sderlund in 1994. The course was aimed to contrast the rather pragmatic building technology
courses. It is characterised by innovation and artistic approach. The students are selected by an
annual student competition and half of them are foreigners.
The department of Architecture now has a new professorship for wood architecture with Professor
Georg Grotenfelt running the Wood Studio course.
More information on upcoming courses: georg.grotenfelt@hut.fi

Area: 82 square meters

Design phase: 2000-2002
Client:: Korkeasaari Zoo (Helsinki)
Developer: PWD (Helsinki City Public Works Department)
Construction Management
Architectural design:
HUT Wood Studio/ Ville Hara, architect, SAFA
Structural engineering:
DI Hannu Hirsi, DI Lauri salokangas /Nuvo Engineering
Ville Hara (born 1974), architect, SAFA
Studied in Finland at Helsinki University of technology and in France at Ecole d'Architecture ParisBelleville, graduated 2002. Has worked in France, Croatia and Germany (Sauerbruch Hutton
Architects), 1999- at SARC Architects Ltd. From 2004 own office Avanto Architects with Anu
Puustinen and teacher at HUT.
Nomination for Mies van der Rohe Price 2003; Archiprix 2003: nominated for Hunter Douglas
award, participants' favourite; Wuorio Price 2003; Ar+d Emerging Architecture Price 2003
Competitions: Das Neue Berlin 2nd prize 1999, HUT Department of Architecture Wood Studio
competition 2nd prize 1999, 1st prize 2000, Funerary chapel competition Vantaa, Finland 1st prize
2003 (with Anu Puustinen)
Various positions of trust: architecture students' guild, HUT students union, the Finnish Association
of Architects, The Museum of Finnish Architecture.

Neo Geo: geodesic construction in

contemporary architecture
The principles of geodesic construction were developed by the pioneering American architect and engineer R Buckminster Fuller in the middle of
the last century as part of his efforts to use science and technology to address universal issues. His vision has inspired successive generations of
architects and geodesic designs have played a fundamental role in defining the architectural landscape of the past few decades. Architonic takes a
look at some recent projects that combine the brilliance of Bucky
s ideas with twenty-first century technology, resulting in complex yet efficient
structures with a futuristic aesthetic.


The MyZeil centre in Frankfurt by Massimilano Fuksas demonstrates the complexity of
form that can be achieved with modern materials and techniques
Geodesic construction is founded on the principle that the triangle is an inherently stable
form, independent of size, and that a triangular framework held together in tension enables
the creation of structures that are lightweight but profoundly strong. Applying these building
methods to spherical forms encloses the maximum interior volume with the least amount of
surface area, meaning significant material and cost savings can be achieved. These inherent
benefits have ensured that geodesic methods remain a relevant and popular choice for
architects and developers seeking to 'do more with less'.

Cornwall, UK: almost two million people visited the Eden Project's biomes in their first year
of opening

 One of the most successful and popular modern geodesic buildings celebrates its tenth
anniversary this month. The Eden Project in Cornwall, England, has become one of the top
three charging attractions in the UK and is a testament to the enduring appeal of geodesic
structures and an exemplar of sustainable building techniques. The eight interconnected,
truncated domes that form the main part of the design by Nicholas Grimshaw Architects are
closely related in form to the original geodesic domes that Buckminster Fuller envisaged as
controllable environments that could house people on a small or monumental scale. The
domed shape offers practical benefits that are essential to the survival of the diverse range of
plants that grow inside: the large, transparent surface allows plenty of natural daylight to
enter, whilst the concave interior form creates a natural airflow and reflects and concentrates
the warmth, preventing radiant heat loss.

The transparent surface allows plentiful daylight to reach the plants inside the world
s
largest greenhouse; photo Grimshaw Architects
Buckminster Fuller claimed that many of his designs were anticipatory,
as they preempted
the technology required to implement them to their maximum potential. One of the key
obstacles he faced was finding a suitably robust and weatherproof material with which to
skin the complex latticed framework a problem that was subsequently solved by advanced
new plastics. The Eden Project
s domes are covered in EFTE foil, a polymer that offers good
corrosion resistance and excellent performance when exposed to high temperatures. The
triple-layered transparent surface allows daylight to heat the interior spaces and then
insulates them, maintaining the stable temperature that the plants inside need.

Shigeru Ban
s geodesic cardboard tower was sponsored by Sonoco, a global supplier of
industrial and consumer packaging, and stood on London
s South Bank for the duration of
the 2009 London Design Festival


Cast-aluminium joints connected the cardboard tubes a method that Ban has used in
various previous cardboard-construction projects
The ease with which geodesic structures can be transported and constructed is an advantage
in many scenarios, saving a great deal of time, money and materials. Some of the earliest
geodesic structures that Buckminster Fuller built were designed as temporary pavilions,
intended to demonstrate the engineering and manufacturing capabilities of America to the
world. One of the first geodesic structures seen by the general public was a dome made from
cardboard tubes presented at the Milan Triennale in 1954, which came away with the highest
award, the Gran Premio. For the 2009 London Design Festival, Shigeru Ban designed his
own geodesic cardboard structure a 22-metre cone made from compressed cardboard tubes
that became the tallest paper tower ever made.


   

       
   
    
Nigel Young

Glazed vertical strips on the northern elevation allow light to penetrate the faade photo
Nigel Young
At last year
s Expo 2010 in Shanghai, China, some of the world
s leading architects
employed geodesic forms in their designs. Foster + Partners
3,000-square-metre pavilion

for the United Arab Emirates was one of the largest at the fair and featured a triangulated
lattice of flat stainless-steel panels joined by adjustable nodes making it easy to construct
and demount quickly.

Shanghai, China: the membrane roof that covered the Expo Boulevard created by Knippers
Helbig had a total surface area of 65,000 square metres the largest of its kind in the world;
photo Thomas Ott

The diameter of the glass light funnels increases from 16 metres at the base to 80 metres at
the upper edge; photo Thomas Ott


Expo Boulevard cross section; Knippers Helbig
The main thoroughfare at the Expo was created by German engineers Knippers Helbig and
featured six enormous 'Sun Valleys', each with a surface area of approximately 5,000 square
metres. These structures funnel light and air into the basement area and are joined to a
tensile membrane that provides shelter. The entire 1,000-metre-long and 100-metre-wide
construction was designed with efficiency in mind whilst also needing to withstand the
threat of wind, snow and earthquakes. The building is set to form the centre of a new urban
district in Shanghai.

The Admirant entrance building by Massimiliano Fuksas in Eindhoven, Netherlands, fits

five floors of commercial and office spaces inside its amorphous form; photo Rob Hart


The complexity of the surfaces and interior spaces requires detailed planning, using
modelling software to create practical spaces; photo Rob Hart
Geodesic structures do present some distinct disadvantages for conventional applications.
Despite their ability to enclose a high volume using minimal material, the lack of straight
sides can reduce the amount of usable space. Advanced engineering software has helped to
combat this issue, enabling architects to calculate the optimum position for floors and walls
and enabling the design of unusual forms that still retain acceptable levels of functionality.

The fluid form of Fuksas
MyZeil complex connects Frankfurt's Zeil, an important shopping
street, with the historic Thurn and Taxis Palace


The building houses shops, offices, a sports centre, a cinema and various public spaces, with
views of the city beyond the twisted glass faade

MyZeil plan view; Massimiliano and Doriana Fuksas

Italian architect Massimiliano Fuksas has employed geodesic principles in many of his
recent buildings, including the MyZeil centre in Frankfurt, Germany. The complex, twisted
forms that he creates rely heavily on digital software to generate practical spaces that are
also organic and dynamic in form. The MyZeil project features a geodesic skin which
envelops the site and is pierced by various funnels and voids that allow light to enter the
interior and help direct the flow of movement around the building.

The formal language of HOK Architects
Dal Museum in Florida references the dynamism
and contrast that are recurrent themes in Dal
s imagery photo HOK/Moris Moreno
Yann Weymouth project architect for the recently opened Dal Museum by HOK
Architects in St Petersburg, Florida counts Buckminster Fuller among his architectural
heroes and thought it fitting to utlilise his methods in this build as Fuller was also a
contemporary and friend of the surrealist master. The building features a solid concrete
bunker interrupted by a glass and steel Enigma
that allows natural daylight to enter the
large atrium.

Each of the precise and unique components needed to create the Enigma arrived on site precoded and mapped to their specific location, ready to be fitted together like a huge jigsaw;
photo HOK/Moris Moreno


Building Information Modelling (BIM) software was required to visualise the complex
forms and evaluate their structural integrity during the development phase; HOK
The bulbous geometric construction is the first of its kind in the United States and was made
possible by computer-generated 3D models that helped to create a structure that is organic
yet remarkably robust. Yann Weymouth says: 'The flowing, free-form use of geodesic
triangulation is a recent innovation enabled by modern computer analysis and digitally
controlled fabrication that allows each component to be unique. No glass panel, structural
node or strut is precisely the same.'

The poured concrete staircase carries visitors from the ground level entrance to the galleries
on the third floor; photo HOK/Moris Moreno
One of the building
s most important functions is to protect the priceless collection of
artworks from the potentially devastating hurricanes that plague this stretch of coastline. In
this context, the choice of solid concrete seems appropriate but what about the undulating
glass form? Fortunately, the inherent stability of geodesic construction and the use of 4-

centimetre thick, insulated and laminated glass panels means the Enigma can withstand the
impact of winds and debris resulting from a Category Three hurricane.

Specialist geodesic dome manufacturer Pacific Domes donated this 40-foot structure to a
charity in Haiti following the earthquake in 2010. It now houses a school; photo Pacific
Domes, Inc
Geodesic principles were just one part of Buckminster Fuller
s vision for a world in which
advanced materials and engineering contribute to an improved standard of living for
everyone. 'Through technology, man can do anything he needs to do,' he claimed, and, with
increasingly sophisticated physical and digital technologies available to the current
generation of architects, what is required most is a willingness to commit to using them in
the creation of buildings that are as efficient and ecologically responsible as possible. In this
way, perhaps we can continue progressing towards Bucky
s ultimate ambition: 'To make the
world work for one hundred percent of humanity, in the shortest possible time, through
spontaneous cooperation, without ecological offense or the disadvantage of anyone.'

airplane shed by uco

Vritable tour de force architectural, la toiture forme un hexagone de 90 mtres de largeur faisant
ainsi cho au plan du btiment. Les lames de la charpente, espaces de 2,90 mtres, dessinent une
trame hexagonale qui voque le tissage dun chapeau chinois.

Charpente
La structure de la charpente est faite
de bois lamell-coll, hautement
rsistant et offrant des longueurs hors
normes, superpos en deux couches
dans les trois directions de
lhexagone.
Ce maillage permet de franchir des
portes importantes denviron 40
mtres, et de faire de la toiture un
lment autoportant, qui repose sur
quelques appuis seulement.
La toiture possde une gomtrie non rgulire, tout en courbes et contre-courbes, qui enveloppe les
diffrents lments du btiment, et notamment les trois galeries dexposition. Cette charpente en
bois est lune des plus grandes et des plus complexes ralises ce jour. Des tudes arauliques en
soufflerie ont permis den contrler les performances.
Pour lanecdote, cette structure sinspire dun chapeau chinois trouv Paris par Shigeru Ban.

Membrane
A linstar de ce type de chapeau, lensemble de la structure en
bois est recouvert dune toile protectrice, membrane base de
fibre de verre et de tflon.
Cette membrane assure une tanchit leau, cre un
environnement naturellement tempr et participe lapproche
nergtique trs pousse de lensemble du btiment,assurant aux
uvres les meilleures conditions dexposition et de conservation.

Les essais sur la toiture

La complexit de la toiture rside dans sa forme,
dans ses dimensions (8 000 m2) et dans sa
technique de fabrication. Des tudes arauliques
ont t ralises fin 2005 pour tester les
performances techniques de ce vaste chapiteau
qui abritera les espaces dexposition.
La toiture spectaculaire du Centre PompidouMetz a fait lobjet dtudes minutieuses et
approfondies. A lissue dun appel doffres
international lanc en 2005, lorganisme nantais
CSTB (Centre Scientifique et Technique du
Btiment) a t retenu pour raliser trois sries danalyses : tudes des actions de la neige,
caractristiques et effets du vent, tudes du confort au vent.
Spcialiste reconnu mondialement, le CSTB, dont le nom est associ de grands projets comme le
viaduc de Millau, lArche de la Dfense ou des gratte-ciel aux Etats-Unis, est un des seuls
prestataires en France dans ce domaine dintervention. Le CSTB a travaill sur lexploitation des
donnes mtorologiques locales, avant la mise en fabrication de trois maquettes quil a quipes de

capteurs en cuivre. Les essais proprement dits ont dbut en dcembre 2005.
Cest dans la soufflerie Jules Verne Nantes amnage avec dnormes ventilateurs et des canons
neige que le futur Centre Pompidou-Metz a t soumis rude preuve. Huit sries de mesures ont
t effectues pour tudier lincidence du vent sur le btiment mais aussi sur son environnement, ce
qui permet danalyser sa rpercussion sur les visiteurs. Une autre maquette a subi pendant plusieurs
jours des chutes de neige par -15C. Les techniciens lont dcoupe pour quantifier la neige
accumule sur les diffrentes

YO! here is a pretty cool construction system that have been develloped by Frei OTTO
and then applied in several building like the Japanese Pavilionby Shigeru Ban with Frei Otto at
Expo Hanover 2000, the Polydome of the EPFL (cole polytechnique de Lausanne) or the Dowland
gridshell by Edward Cullinan Architects + Structural Engineer Buro Happold.

Few words to explain how to build one in your backyard:

1- Do a planar wooden grid that can rotate on crossings...
2- Pull slowly the point(s) that

you want to see up until you get the shape you wanted...

3- Block the points that you want to keep on the ground with weights or punctions...
4- Cover the grid with thin plank that you nailled into the grid, do this two or three layers...
5-You got your own gridshell building!
following some pictures:
Japanese Pavilion, Expo 2000 Hanover, Germany (Shigeru Ban with Frei Otto) .(D)

Polydome de l'EPFL (CH)

Downland Gridshell (UK)

Case Study: Mannheim Multihalle

As introduction to Elisavas Advanced Design & Digital Architecture Masters (ADDA), students
where asked to work up with an interesting building and describe why they found it interesting.
Oriol Carrasco developed a Case Study on the Frei Otto Mannheim Multihalle, constructed in
Mannheim (Germany) in 1975, for be part of the RuralCity exhibition held in Mannheim the same
year.

One of the most important facts about the Multihalle (and the reason why Oriol chose it) is the
generation process of the pavilion, based on a Gridshell.
Otto developed a Gridshell form finding process that involved hundreds of scale models of
Gridshells. He developed a catalog with several forms and shapes that the Gridshells can generate
when hanged. Just like Gaudi, Otto worked on scale models to see the behavior of the grid he was
working on. The studies he did where about form and shape but also involved architectural basic
needs, as space and light.
The Gridshell is a structure which derives its strength from a double curvature surface. The most
important thing about this kind of membranes is the perimeter, which has to be rigid enough to
support the deadweight of the structure and most important, all the loads sitting above it. Otto
worked on models with a rigid permiter from which to hang the Gridshells he fabricated. After that
he hanged on the Gridshell small loads that would represent actual and real weight of the materials
used to build the structure and the membrane.

When the form findig process was over, and Otto just had in mind what he wanted to build, the
construction process begun. Take in mind that in that time computers where not as accessible as
they are now, so all the calculations where done by hand.
The Gridshell was assembled on the ground and very carefully it was put it in place. Due its
dimensions, this process was quite long and a lot of scaffolding was needed. The other important
fact about its size was the stifness of the entire structure, Ottos team designed it composed by
hundreds of small triangular cells to give the whole structure the strenght needed. Obviously there
were parts that needed and extra structural reinforcement.

The resulting building that Otto designed turn out to be an amazing construction, from the inner
space to the smallest details of structure. Finally the building served as exhibition space and hosted
the restaurant of the RuralCity exhibition.

If you want to know more about the Frei Otto Mannheim Multihalle, there is an IL (IL 13) that
covers the entire work process, detailing technical aspects of the design and showing all
construction phases.

Tang Palace by FCJZ

A woven net of bamboo creates a curved suspended ceiling inside this restaurant in Hangzhou,
China by architects FCJZ.

The internal spaces of Tang Palace are defined by linear bamboo screens and the central concrete
core is wrapped in back-lit bamboo sheets, creating a light-box effect.

Private rooms are located on the upper levels, suspended above and visible through the restaurant
ceiling.

Photographs are by Shu He.

More restaurants on Dezeen

The following information is from the architects:

Tang Palace, Hangzhou

The restaurant is located on the top floor of a superstore in the new town area of Hangzhou, with 9meter high story height and a broad view to the south. Composite bamboo boards are selected as the
main material, conveying the design theme of combining tradition and modernity.

In the hall, to take advantage of the story height, some of the private rooms are suspended from the
roof and creating an interactive atmosphere between the upper and lower levels, thus enriching the
visual enjoyments.

The original building condition has a core column and several semi-oval blocks which essentially
disorganised the space. Hence, our design wants to reshape the space with a large hollowed-out
ceiling which is made from interweaved thin bamboo boards; and extending from the wall to the
ceiling.

The waved ceiling creates a dramatic visual expression within the hall. The hollowed-out bamboo
net maintains the original story height and thereby creates an interactive relation between the levels.
We also wrapped the core column with light-transmitting bamboo boards to form a light-box, which
transforms the previously heavy concrete block into a light and lively focus object.

The entrance hall also follows the theme of bamboo. The wall is covered with bamboo material
which follows the original outline of the wall, turning it into a wavy surface. In this way, the surface
echoes the hall ceiling as well as performs a guiding function for customers.

The design of private rooms embraces different characteristics. The rooms on the first level are
relatively bigger and share the features of expanded bamboo net from the wall to ceiling and
ornamentally engraved wall surfaces. Meanwhile, the different folding angles and engraved patterns
make each room different from one another. The rooms above on the south are smaller and feature a
special waved ceiling pattern and simple bamboo wall surface, which creates interesting and
spacious room features.

The key design concept of the space is that the suspended rooms are connected with suspended
bridges and sideway aisles. The semi-transparent wall provides a subtle relationship between the
inner and outer spaces, bestowing people with a special spatial experience.

In this design, we hope to create diversified and yet an interrelated interior spaces through the
different usages of the new bamboo material, responding to the local culture while seeking
intriguing spatial effects.

Project: Tang Palace, Hangzhou, China

Location: 6th Floor of MixC, No. 701, Fuchun Road, Jianggan District, Hangzhou, China
Client: HongKong Tang Palace Food&Beverage Group Co., LTD.
Area: 2460
Materials: Bamboo, Composite Panel, Rubbed Concrete

Designer: Atelier Feichang Jianzhu

Principal Designer: Chang Yung Ho
Project Architect: Lin Yihsuan
Design Team: Yu Yue, Wu Xia, Suiming Wang
Construction Period: February 2010 July 2010
General Contractor: Shenzhen C.S.C. Decoration Design Engineering CO., LTD Beijing Branch
Finish material: Wall bamboo(1f), marble(2f)/ Flooring terrazzo(1f), carpet(2f) / Ceiling
bamboo net(1f), painting(2f)