TRANSPARENCY, MINIMALISM AND COMPLEX GEOMETRY IN GLASS

Hugh Dutton
Architect
HDA
France
This paper will review three recent popular architectural themes:
Transparency, minimalism and complex geometry as they arise in several
recent projects in our HDA office in Paris. Concepts in cable structure
engineering are discussed in the context of the continuing search for
ephemeral structure. Projects involving complex surfaces using curved
glass are presented with discussion on the industrys response to this new
challenge. The computer is ever-present throughout the process, from the
generation of complex surfaces, to its use in engineering analysis as well
as in the sophistication of industrial techniques.
Design and Fabrication Process
The design begins with the architectural concept or idea. In our own
design office the process begins by developing a corresponding technical
concept that is compatible with this initial architectural concept and tries
to express the architectural idea in its very own technical resolution.
Product research, engineering and analysis follows to optimise structural
and technical performance. Detailed drawings and specifications are then
produced to define the work package to be realised by the contractor.
Computers are an essential tool in this process. To begin, they are used
for graphic representations and definition of the geometry of the project.
Recent software packages enable architects to conceive and represent
complex shapes and surfaces. For engineering, computers can be
exploited non-linear and finite element analysis of problems that were not
previously solvable with traditional methods. CAD software can be used
for complex geometry previously unmanageable by hand. Recent
software also permits simulation of thermal performance of facades as
well as scientific representation of solar exposure and aerodynamic
simulations. These highly useful and practical electronic tools however
should never be considered as an alternative to the designers intuitive
understanding of the design. Indeed the risk of losing control of the
process is of critical importance in a world of ever increasing dependence
on the machine.
In the future we remain hopeful however that the use of electronic data
can allow a smoother transition between the designer and the fabrication
process as more and more of the industrys tools use numericallyoperated systems.
Structure and glass components are integrated as far as possible to
optimise materials and transparency. At the conception phases of the
project development the critical issues of structural performance, safety,
user well-being, energy conservation, durability, and maintenance are
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integrated into the design. Work package specifications are developed to

define clear and realisable guidelines for the quality realisation of the
work and specify particular quality control procedures for critical
components or fabrication procedures.
TRANSPARENCY
Transparency has always been an important concept in Modern
architecture with the notably famous Bauhaus transparent corner by
Gropius as a classic and highly publicised example of this ambition.
Fig.1
Transparency was the principle theme of architect Adrien Fainsilber in
our work on the La Villette Bioclimatic Greenhouses project with Peter
Rice at RFR in the early eighties. Rice proposed the use of the first cable
trusses as wind bracing for glass to remove visually heavy bending
structures from the facade plane. Specific articulated bolts were
developed to adapt to the deflection movements of the cables. Other
projects at RFR continued to develop the idea of cable structures using
the articulated bolt system and amongst these the 50 Avenue Montaigne
24m high by 16m wide suspended glass plane in 1993 is a significant
example.

Fig.1 Bauhaus
Architect : Walter Gropius

Fig.2

Fig.2

Bioclimatic Facade

Architect : Adrien Fainsilber

Engineer/ Facade Concultants :
RFR / Contractor : CFEM (now
Eiffel

Fig.3
The technology of transparency involves exploiting the structural
capacity of glass through tempering as well as inventive engineering for
cable structures using non-linear analysis methods. Both designers and
the industry are adapting themselves to these new techniques.

Fig.3 Avenue Montaigne

Architect : Epstein Glaiman
Vidal/ Contractor : Eiffel

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The recent Cartier Foundation building in Paris by Jean Nouvel includes

large extensions of the glass facade beyond the building volume whose
sole raison detre is visual effect as they serve no structural purpose.
Fig.4

Fig.4 La Fondation Cartier

Architect : Jean Nouvel/
Engineers : Ove Arup

The transparent image is finding a new justification in recent years as a

potential demonstration of energy conservation through the use of double
skins. They are employed to exploit solar radiation created in the void
between the two glass skins resulting from the greenhouse effect. The
techniques involve using a void between two glass skins as a buffer zone
to decrease heat loss. It is also possible to trap energy that can be drawn
off to contribute to lowering heating demands. In the hot seasons the void
is used as a location for shading devices that are protected from pollution
and wind damage. The stack effect of air in the void is permits heat to be
drawn away from the internal glass surface thereby reducing cooling
loads for the building air conditioning systems.

Fig.5a & 5b
Dusseldorfer Stadttor

Architects : Petzinka Pink &

Partners

Fig.5a/b

The recent competition-winning design by architect Bernard Tschumi for

the New York African Arts Museum involves a giant clear glass box
envelope around the museum itself. In this case the glass box is also
justified as an energy recuperation device.
Fig.6
Fig.6 African Arts Museum
Architect : Bernard Tschumi/
Engineers : Ove Arup/ Facade
Consultants : Israel Berger

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Fig.7
Architectural design concept: Architect Paul Andreu established a clear
architectural concept of a transparent hemispherical shell that was to give
the users of the museum the feeling of being in a maritime environment
whilst sheltered from the elements and also to create a strong visual
symbol for the city at the port gates to the harbour.
Technical concept The shell structure theory combining a lamella
lozenge geometry with the necessary diagonal bracing for triangulation
also used for glazing support. Solar shading is provided by perforated
sheeting integrated into the laminate of the bolted glass panels with
varying degrees of transparency as a response to the solar exposure of the
dome.

Fig.7 Osaka Maritime Museum

dome
Architect : Paul Andreu/
Engineers : Tohata & Ove Arup/
Technical Design Assistance :
HDA

A single layer structure is achievable with this lattice shell structure

concept: triangulate a four sided planar lozenge. The dome geometry,
again in comparison to the geodesic, is a Lamella geometry of ever
diminishing lozenges from equator to pole instead of the varying
triangles of the geodesic. This geometry was selected for the pleasing
spiralling effect achieved by the crossing over of the continuous
structural members. The glass is fixed to the dome structure around the
perimeter of each structural lozenge as well as the central cross-over
point of the tension X bracing. The dimensions of each structural
lozenge, beginning at the equator, were determined by a maximum of
what could be achieved with four pieces of glass, with their internal
corners positioned on the tension bracing cross-over point.
Fig.8
The dome glass is a sandwich of tempered and heat strengthened glass
with perforated metal sheet between them. The perforated holes varying
size according to the amount of solar protection required. A pattern of
contours representing the sun energy projected onto the dome throughout
a year was plotted on the surface. Each contour was made with an ever
increasing amount and size of penetrations. The areas of the dome
receiving most radiation, beginning with the summit have only 10%
holes, the next with 20%, then 40%, 60% and clear glass on the north
face and the equator, thereby optimising protection and transparency. The
product employed was based on a product of Asahi glass used on earlier
projects under the trade name Lamimetal.

Fig.8 Osaka Maritime Museum

dome
( Internal View )

Fig.9

Fig.9 Osaka Maritime Museum

dome
(Computer-generated dome
contours by HDA)

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Each lozenge of four glass panels is individually fixed to the dome,

independently of the adjacent lozenges, such that they behave like scales
on a fish capable of adapting to the movements of the steel shell in
earthquake conditions, thermal expansion, deflection in wind or any other
displacement of the steel. The panels are suspended at two upper points
with all other attachments capable of lateral movements using hinged
connections. The bolt attachment is the articulated countersunk bolt
developed at La Villette .
Fig.10

Fig.10 Osaka Maritime Museum

dome
( by Day & Night )

MINIMALISM
Minimalism, with economy and simplicity too have long been important
themes in modern architecture. The architectural expression is found in
the simple quality of the materials employed, presented with minimal
detailing. These qualities are found historically in Japanese architecture,
and a notable example is the traditional Shoji screen walls that create
subtle light filters and space dividers.

Fig.11 Traditional Japanese

Shoji Screen

Fig.11

( The From of Japanese

Windows- Nakamura Ayako )

Many recent projects return to this simplicity and often it is the simple
glass box with minimally detailed glass such as the recent Porte
Audermer civic centre by Jakob and Macfarlane which uses simple
alternation of laminate and clear glass, that displays timeless elegance.
Fig.12

Fig.12 Porte Auderner

(Orange Box )
Architects : Jakob & Macfarlane

The cable net concept is a recent development of transparent point-fixed

glass systems in this similar minimal tendency. As an alternative to the
expression of highly visible spatial cable structures this concept was
developed Helmut Jahn and Jorg Schlaich at the Kimpinsky Hotel in
Munich with stunning recent developments by Jan Stormer and Werner
Sobek at the Bremen University entrance hall or Vignoly and Dewhurst
Macfarlane at the Kimmel Centre in Philadelphia. Wind loads are
resisted by pure tension in simple planar nets of highly stressed cables
working in a similar way to a tennis racket. The cable wind bracing
structures in these projects have little more visual presence than the
waterproofing joints between the glass panels.

Fig.13 Kimpinsky Hotel

Architects : Helmut Jahn/
Engineer : Jorg Schlaich

Fig.13

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Singapore Changi International Airport Terminal 3 Facades

Fig.14
Architectural Concept: The architects PWD Airport Development
Division in collaboration with SOM proposal for the main building of the
new terminal is a simple rectangular volume whose roof and walls are as
simple and ephemeral as possible with a capacity to adapt themselves
subtly to varying light conditions.
Technical concept
Minimal structural support systems using tension components to
minimise visible structure, either as a cable net or as bowstring assisted
traditional mullions. A homogeneous grid of glazing framing is achieved
in both cases. Solar radiation and glare protection is provided either
through high performance coatings on the glass, fritting or shading
louvers, whose support is provided by the bowstring tension system.

Fig.14 Singapore Changi

International Airport T3
Architects : PWD & SOM/
Facade Consultants : HDA

The cable net design is a hierarchical two way grid of primary cables
tensioned between the roof and the concrete slab in the vertical direction
and secondary ones tensioned between columns in the horizontal
direction. Visible deflection of the system is a major concern and the
horizontal cables provide assist the vertical ones limiting it to less than
1/50th the span. Though the facade is close to 300m long, the cable
system is conceived in distinct and individual bays each 15 wide and 18m
high. The cable system is isolated from local support deformations using
springs at the anchors. Specific adaptations are made for wide door
openings.
The glass panels are heat strengthened laminated glass with solar
protection fritting to reduce glare in a similar approach the Osaka
maritime museum discussed above. The glass is clipped to the cable grid
at the cable clamps using a specific and individual casting design.
Fig.15

Fig.15 Singapore Changi

International Airport T3
( HDA Cable Clamp design )

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The other facades of the building are double-glazed in response to the

local OTTV regulations and consist of a homogeneous grid of rectangular
tubes with stiffening tension rods to form bowstring mullions for the
principle vertical spans. As these spans vary, the rod configuration varies.
In-plane bracing is achieved with alternating bays of the facade used as
Vierendeel ladder frames. Glass panels are fit into unitised frames on
adjustable fixings to the steel frame. Each bowstring mullion is in fact
two back to back half Vierendeels with the tubular frame spine working
in compression and the rods in tension.
Fig.16

Fig.16 Singapore Changi

International Airport T3
( HDA Vierendeel ladder frames
& Frit Glass Configuratiion )

Particular attention is paid to the spreader penetrations at the glass nodes.

The tension system is exploited to support the shading louvers.
Fig.17

Fig.17 Singapore Changi

International Airport
( HDA Sun-shading device )

This bowstring system is similar to one realised for the recently opened
Inchon International Airport in Seoul Korea as far as detailing is
concerned.
Fig.18

Fig.17 Singapore Changi

International Airport
( HDA Bowstring mullion
system )

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Fig.19

Fig.19 Inchon International

Airport
Architects : KACI with Kurt
Fentress/ Facade Design : HDA

COMPLEX GEOMETRY
Complex geometry is another architectural theme of considerable recent
popularity. Architecture has always been particularly attracted by the
beauty of complex and curved shapes. A personal historical favourite in
the glass field is the Bicton palm house where the delicate glass skin
contributes to the structural stability through shell action.
Fig.20
Fig.20 Bicton Palm House
Architects : H & D.Bailey

In recent years, the computer has enabled architects to manage the

massive information required to define and represent complex shapes
with examples such as the outstanding Guggenheim Museum in Bilbao
by Gehry or the British Museum of Norman Foster with Buro Happold.
Fig.21
Fig.21 Bilbao Museum
Architect : Frank O Gehry

Fig.22

Fig.22

British Museum

Architect : Norman Foster

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Hammerson Lattice Grid Atrium Roof

Architectural concept:
The architect Brauns intention was a delicate Cubist interplay,
overlapping and interlocking of surfaces and spaces.
Technical concept was the determination of a geometry that responded to
the building surface planes and inclined entry direction creating a
triangulated surface that could then exploit shell action by transforming
itself into a complex surface where structural performance was required.
The atrium enters the building on a diagonal axis beginning with a street
opening then passing under the main floor plate to terminate in a
courtyard. The lattice roof structure consists of a grid of steel tubes
whose plan directions follow the facade planes of the courtyard with a
diagonal stiffening cable in the diagonal direction. This triangulated
lattice grid is transformed into a three dimensional shape where it is open
to the sky and requires structural capacity for snow loads and large spans.
In the courtyard, the free edge is supported by a tied arch, causing the
lattice to be warped into an anticlastic shape that is then refined by
structural analysis form-finding..

Fig.23 Hammerson Lattice

Grid Atrium Roof
Architect : F. Braun
(HDA Atrium roof study model )

Fig.23
A laminated glass covering is fitted to the lattice in triangular panes, so
that the rigid planes of glass could follow the three dimensional surface.
In the cases of exposed roof area, the panels are in insulated glass, and in
protected area like the ceiling it is a translucent laminate.

Fig.24

Fig.24 Hammerson Lattice

Grid Atrium Roof
Architect : F. Braun
( Cleints Internal Perspective )

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Fig.25

Fig.25 Hammerson Lattice

Grid Atrium Roof
Architect : F. Braun
(HDA Structural/ perfomance
analysis of lattice grid )

Drugstore Publicis
Fig.26
Architectural Concept: Fluid movement of transparent skins of glass in
front of an existing 70s mirror glass facade, giving the building a new
image through a complex series of curved glass screens that revitalise the
existing facade.
Technical concept Making it possible through a rigorous mathematical
definition of the geometry of the glass/support interface. The supporting
structure is in symbiosis with the glass surfaces and designed to
compatible curves that are then exploited for their structural capacity.
Curved glass too is exploited for structural capacity of its shape.

Fig.26 Drugstore Publicis

Architect : Building Inc. LA
Facade Design Consultants &
Engineers : HDA

Fig. 27

Fig.27 Drugstore Publicis

( HDA Theoretical Geometry
analysis of Curved Glass Form )

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A primary structure of sinuous tubes are fixed to the columns of the

existing building so as not to interfere with the existing facade. The glass
is fixed to extruded stainless steel profiles with structural silicone. The
glass itself is curved to developable and mathematically definable shapes
such as cylinders, cones and simple tores. The project depends on the
precise dimensional control of structural design. The architectural limit
for this project is defined by the industrial limit of curved glass and we
hope to exploit new developments in the glass industry where the
traditional and time consuming artisanal method of curving glass to handmade moulds might be replaced with computer controlled alternatives.
Fig. 28

Fig.28 Drugstore Publicis

( HDA Primary & Secondary
structures for supporting glass )

Fig. 29

Fig.29 Drugstore Publicis

( HDA on-site Glass Mock-up )

INDUSTRYS RESPONSE
Development in laminated glass, tempered glass, curving glass,
translucent and coloured interlayers as reviewed by other speakers in this
conference are the response of the industry to these architectural
intentions.
It is the responsibility of the designers to understand the industry and
what the industrys capabilities and limitations are. It is also the
industrys responsibility to respond to the architectural ambitions and by
developing new techniques that make the architectural ambition feasible.

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