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These new images by photographers Hufton + Crow reveal the pairing of angular and curved concrete volumes at the art and music complex completed by French architect Christian de Portzamparc in Rio de Janeiro (+ slideshow).

Christian de Portzamparc's Cidade das Artes opened to the public in January, creating a new cultural landmark for the Brazilian city with facilities including a large concert hall, a chamber music auditorium, cinema screens and exhibition galleries.

Bounded on both sides by major roads, the building is located within Rio's Barra da Tijuca district - a developing area described by the designer as lacking in "strong urban marks and public spaces".

In response, Portzamparc developed a building that centres around a large public plaza, which is raised 10 metres off the ground and offers views towards the Siera Atlantica Mountains and the sea.

"The building is a little city contained in one big structure, raised and established on a vast terrace," said the architect.

Two large horizontal slabs of concrete form the primary floor level and roof of the complex. These are interspersed with a variety of elevated boxes, large curving fins and splayed columns that frame the various internal activities.

Portzamparc hopes that visitors will compare some of these forms with the "beautiful curves" of the distant mountains.

The Cidade das Artes is primarily organised over three storeys. The large philharmonic hall can accommodate 1,800 spectators, although this is reduced to 1,300 during orchestral performances.

As well as the main performance spaces, the building also contains dance studios, music rehearsal rooms, restaurants, a media library and the headquarters of the Brazilian Symphonic Orchestra.

Photography is by Hufton + Crow.

Here's a project description from Christian de Portzamparc:
Cidade das Artes - Brazil - Rio de Janeiro
The Cidade das Artes is situated between sea and mountain, in the centre of fourteen kilometres of plain which saw recently developing the new major district of Rio de Janeiro: Barra da Tijuca. The landscape is monotonous, deprived of strong urban marks and public spaces. The site is structured by two highways that cross the district. In the centre of this cross, designed by Lucio Costa, the Cidade das Artes will be in the very heart of the new city.

The building is a little city contained in one big structure raised and established on a vast terrace ten metres above ground, from which one will see the mountain and the sea, floating upon, a public park, a tropical and aquatic garden, draw by Fernando Chacel.

This terrace is the public space; it is the gathering place that gives access to all facilities. There, Cidade das Artes will gather a large variety of places: a concert room, worldwide unique, because convertible in room of opera and in theatre, a room of chamber music and popular music, movie theatres, dance studios, numerous rehearsal rooms, exhibition spaces, restaurants, a media library.

The Cidade das Artes is seen as a large house, a great veranda above the city, homage to an archetype of Brazilian architecture.

Between the two horizontal plates of the roof and the terrace are set the large curved concrete walls that contain the halls in an interplay of volumes and voids.

The project is a public symbol, a new landmark in the greater Rio area, an urban signal, floating on the plain with a large visibility.

The architecture echoes the beautiful curves of the Siera Atlantica Mountains and the line of the sea. The place will become, for the travellers of the train which will arrive on Ayrton Senna Avenue, the front door in Barra da Tijuca.

Programme: Cultural equipment: Philharmonic Hall (1,800 seats) transformable into an Opera Hall (1,300 seats), Chamber Music Hall (500 seats), electroacoustic room (180 seats), headquarters of the Brazilian Symphonic Orchestra, music school, 10 rehearsal rooms, media library, 3 movies theatres, restaurant, shops, administration offices, technical spaces and parking lots.

Architect: Christian de Portzamparc
Client: City Hall of Rio de Janeiro, Secretaria Municipal das Culturas
Acoustics: Xu Acoustique - Xu Ya Ying - (France), Acùstica & sônica (Brazil)
Scenography: Changement à Vue - Jacques Dubreuil (France), Ze Augusto Nepomucen (Brazil)
Landscape designer: CAP, Fernando Chancel
Surface: 46,000 sqm
Gross Total Area: 90,000 sqm

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Christian de Portzamparc's Cidade das Artes complete in Rio de Janeiro

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These new images by photographers Hufton + Crow reveal the pairing of angular and curved concrete volumes at the art and music complex completed by French architect Christian de Portzamparc in Rio de Janeiro (+ slideshow).

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August R Rulewich - Precedent Study - Habitat 67

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August R. Rulewich - Precedent Study - Habitat 67

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Jubilee Church - Richard Meier & Partners Architects

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The Jubilee Church (La Chiesa del Dio Padre Misericordioso), conceived as part of Pope John Paul II's millennium initiative to rejuvenate parish life within Italy, is located outside central Rome.

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In this Canadian housing complex, 354 identical prefabricated concrete units are arranged in random combinations, forming 146 residences. Habitat ’67 was originally designed as a thesis project for Safdie’s architecture master’s degree at McGill University. The concept was to introduce a new lifestyle to guarantee people privacy, fresh air and gardens in order to resolve the issues caused by overpopulation in urban areas.

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Two large horizontal slabs of concrete form the primary floor level and roof of the complex. These are interspersed with a variety of elevated boxes, large curving fins and splayed columns that frame the various internal activities

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"The building is a little city contained in one big structure, raised and established on a vast terrace," said the architect

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The Cidade das Artes is seen as a large house, a great veranda above the city, homage to an archetype of Brazilian architecture.

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The building is a little city contained in one big structure raised and established on a vast terrace ten meters above ground, from which one will see the mountain and the sea, floating upon, a public park, a tropical and aquatic garden, draw by Fernando Chacel.

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AD Classics: Expo′98 Portuguese National Pavilion / Álvaro Siza Vieira

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Completed in 1998 in Lisbon, Portugal. This article was originally published on January 2, 2015. To read the stories behind other celebrated architecture projects, visit our AD…

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Portuguese National Pavilion Lisbon by Alvaro Siza

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galinsky description, photographs and visitor information for the Portuguese National Pavilion, Lisbon by Alvaro Siza

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The eye-catcher of the pavilion is undoubtedly a thin, curved, concrete sail that, as it were, forms a canopy above the underlying square. The concrete roof shell weighs no less than 1400 tons and measures 50 by 67 meters. On both sides we see 14m high porches that support the concrete awning through cables. Because of the earthquake danger in Lisbon, the canopy and adjacent building are completely separated and everyone supports their own structural support structure. {text Pantheon Architectuurreis 2011}

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 reinforced concrete can be molded to any shape

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Reinforced Concrete Building Design - Sketch Up Animation

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Reinforced Concrete Building Design - Sketch Up Animation. (Reinforcements Details) (Sun 08.02.15) by Al Jameel.

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Katyn Museum, Warsaw, by BBGK Architekci
1 of 5

Rivesaltes Memorial Museum, Rivesaltes/Ribesaltes, by Rudy Ricciotti
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Kannikegården, Ribe, by Lundgaard & Tranberg Architects
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deFlat Kleiburg, Amsterdam, by NL Architects and XVW architectuur
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Ely Court, London, by Alison Brooks Architects
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Five projects are in the running for the Mies van der Rohe Award 2017, including a London housing scheme by Alison Brooks and a church building in Ribe by Lundgaard & Tranberg Architects that shelters 12th-century ruins.

The three other shortlisted buildings are: an Amsterdam housing block by Dutch studios NL Architects and XVW Architectuur, a Warsaw museum by Polish firm BBGK Architekci and a memorial in Rivesaltes by French practice Rudy Ricciotti.

The Mies van der Rohe Award is given to the best building completed in the last two years by a European architect.

The biennial award named after German-American architect Ludwig Mies van der Rohe and is the most prestigious accolade in European architecture.

The five finalists were selected from a shortlist of 40 projects by a jury led by UK architect Stephen Bates and including architects Gonçalo Byrne, Peter Cachola Schmal, Pelin Derviş and Dominique Jakob.

They beat stiff competition from a lineup that included OMA's Fondazione Prada in Milan, the Suvela Chapel in Ribe by OOPEAA Office for Peripheral Architecture and the Skjern River Pump Stations by Johansen Skovsted Arkitekter.

The jury will now visit the five buildings shortlisted for the 15th edition of the prize to make their final decision.

The winner of the €60,000 (£51, 000) award will be celebrated in a ceremony at the Mies van der Rohe Pavilion in Barcelona in May 2017.

Past winners of the Mies van der Rohe Prize include Barozzi Veiga's Szczecin Philharmonic Hall in Poland (2015), the Harpa Concert and Conference Centre in Iceland (2013), David Chipperfield's Neus Museum in Berlin (2011) and Snøhetta's Opera House in Oslo (2009).

See the five projects in the running for this year's award:

deFlat Kleiburg, Amsterdam, by NL Architects and XVW Architectuur

Ely Court, London, by Alison Brooks Architects

Kannikegården, Ribe, by Lundgaard & Tranberg Architects

Katyn Museum, Warsaw, by BBGK Architekci

Rivesaltes Memorial Museum, Rivesaltes/Ribesaltes, by Rudy Ricciotti

40 European architecture projects shortlisted for Mies van der Rohe Award 2017

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Five finalists shortlisted for Mies van der Rohe Award 2017

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Five projects are in the running for the Mies van der Rohe Award 2017, including a London housing scheme by Alison Brooks and a church building in Ribe by Lundgaard & Tranberg Architects that shelters 12th-century ruins.

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Raw concrete ceilings are concealed beneath the faceted green roof of this environmental education centre in the Czech town of Vrchlabí, designed by Petr Hájek Architekti to sink into the topography of the surrounding parkland (+ slideshow).

Prague office Petr Hájek Architekti designed the Krkonoše Mountains Centre for Environmental Education (KCEV) at a park that also contains a 16th century castle, and it sits alongside an administrative building for the nearby Krkonoše Mountains National Park.

Staedel Museum extension by Schneider+Schumacher

To minimise its visual impact on the surrounding parkland, the building is partly submerged in the sloping site and its ridged roof is covered in growing sedum that acts as a camouflage.

A passageway separates the new building from the existing administrative headquarters and leads to the entrances of both buildings. The new centre is aimed at promoting ecological awareness, and contains a conference room, classroom, exhibition space and research laboratories.

The undulating geometric surfaces of the building's roof directly reference slopes found in the Krkonoše mountain range, which marks the border between the Czech Republic and Poland.

Metal gutters in the gaps between the roof's angled planes are intended to represent mountain ridges and break up the natural appearance of the sedum surface.

The sheer wall facing the existing building is fully glazed and allows visitors to observe lessons taking place in a classroom on the basement level, which features laboratory benches and library shelving.

A doorway next to the staircase in the teaching facility connects this room to a triangular exhibition space, which adjoins an auditorium with banked seating for 76 people.

The triangular plan of the exhibition space sits below a section that is spliced from the rear of the building to accommodate glazed walls at ground-floor level, allowing natural light to reach the rooms below.

Structural concrete used for the building's shell is left exposed on internal walls and ceilings that retain the faceted surfaces of the exterior.

Plywood with a prominent grain adds a natural counterpoint to the raw concrete and is used for flooring, furniture and infrastructure including the staircases and shelving.

The design of the internal structures was based on the dimensions of the raw wooden sheets to reduce the amount of waste material.

A car park is also nestled beneath the sloping concrete ceiling and illuminated by daylight entering through the glazed wall.

Photography is by Benedikt Markel.

Here is some project information from the architects:
KCEV (Krkonoše Mountains Centre for Environmental Education)
The building is situated into a city park in front of the administration building of KRNAP (Krkonoše Mts. National Park). The building geometry is derived from the geometry of Krkonoše Mountains. Every edge or slope on the building could be found in its real, natural topography. In between of the metal vectors, which represent the mountain ridges, there is growing sedum.

The new building is set apart from the existing one to create an entrance platform. This public space atmosphere is supported by fully glazed side wall through which it is possible to look into the building and indirectly become a part of an ongoing lecture or seminar inside of the building.

The building itself is energy efficient and should represent the ideas of the National park and preservation of nature. Main bearing structure and underground walls are made out of face concrete. Inner partitions and furniture are made out of plywood. Design of furniture and dimensions of its basic parts are adapted for the size of plywood plates and because of that there are no wasted residues.

Location: Vrchlabi, Czech Republic
Client: Krkonoše Mountains National Park Administration
Architecture firm: Petr Hajek Architekti
Architect: Petr Hájek
Participation on the concept: Helena Línová, Michal Volf
Design participation: Cornelia Klien, Andrea Kubná, Ondřej Lipenský, Helena Línová, Martin Prokš, Martin Stoss, Michal Volf, Jan Kolář
Graphic designer: Kristina Ambrozová
Civil engineer: Jan Kolář
Geometry of the shell: Jaroslav Hulín
Portable furniture: Cornelia Klien, Martin Stoss

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Petr Hájek Architekti's KCEV education centre

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Raw concrete ceilings are concealed beneath the faceted green roof of this environmental education centre in the Czech town of Vrchlabí, designed by Petr Hájek Architekti to sink into the topography of the surrounding parkland (+ slideshow).

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For a strong, ductile and durable construction the reinforcement needs to have the following properties at least:

High relative strength

High toleration of tensile strain

Good bond to the concrete, irrespective of pH, moisture, and similar factors

Thermal compatibility, not causing unacceptable stresses in response to changing temperatures.

Durability in the concrete environment, irrespective of corrosion or sustained stress for example.

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While these prodigious structures were the centre of attention, a new and more significant technology was developing: the steel- framed high-rise building. It began in Chicago, a city whose central business district was growing rapidly. The pressure of land values in the early 1880s led owners to demand taller buildings. The architect-engineer William Le Baron Jenney responded to this challenge with the 10-story Home Insurance Company Building (1885), which had a nearly completely all-metal structure. The frame consisted of cast-iron columns supporting wrought-iron beams, together with two floors of rolled-steel beams that were substituted during construction; this was the first large-scale use of steel in a building. The metal framing was completely encased in brick or clay-tile cladding for fire protection, since iron and steel begin to lose strength if they are heated above about 400 °C (750 °F). Jenney's Manhattan Building (1891) had the first vertical truss bracing to resist wind forces; rigid frame or portal wind bracing was first used in the neighbouring Old Colony Building (1893) by the architects William Holabird and Martin Roche. The all-steel frame finally appeared in Jenney's Ludington Building (1891) and the Fair Store (1892).

The foundations of these high-rise buildings posed a major problem, given the soft clay soil of central Chicago. Traditional spread footings, which dated back to the Egyptians, proved to be inadequate to resist settlement due to the heavy loads of the many floors, and timber piles (a Roman invention) were driven down to bedrock. For the 13-story Stock Exchange Building (1892), the engineer Dankmar Adler employed the caisson foundation used in bridge construction. A cylindrical shaft braced with board sheathing was hand-dug to bedrock and filled with concrete to create a solid pier to receive the heavy loads of the steel columns.

By 1895 a mature high-rise building technology had been developed: the frame of rolled steel I beams with bolted or riveted connections, diagonal or portal wind bracing, clay-tile fireproofing, and caisson foundations. The electric-powered elevator provided vertical transportation, but other environmental technologies were still fairly simple. Interior lighting was still largely from daylight, although supplemented by electric light. There was steam heating but no cooling, and ventilation was dependent on operating windows; thus these buildings needed narrow floor spaces to give adequate access to light and air. Of equal importance in high-rise construction was the introduction of the internal-combustion engine (which had been invented by Nikolaus Otto in 1876) at the building site; it replaced the horse and human muscle power for the heaviest tasks of lifting. Over the next 35 years, higher steel-frame buildings were built; in Chicago the Masonic Temple (1892) of Daniel Burnham and John Root reached 22 stories (91 metres or 302 feet), but then the leadership shifted to New York City with the 26-story Manhattan Life Building (1894). The Singer Building (1907) by the architect Ernest Flagg rose to 47 stories (184 metres or 612 feet), Cass Gilbert's Woolworth Building (1913) attained a height of 238 metres (792 feet) at 55 stories, and Shreve, Lamb & Harmon's 102-story Empire State Building (1931) touched 381 metres (1,250 feet). The race for higher buildings came to an abrupt halt with the Great Depression and World War II, and high-rise construction was not resumed until the late 1940s.

Steel long-span construction

Long-span structures in steel developed more slowly than the high-rise in the years from 1895 to 1945, and none exceeded the span of the Gallery of Machines. Two-hinge (made of a single member hinged at each end) and three-hinge (made of two members hinged at each end and at the meeting point at the crown) trussed arches were widely used, the largest examples being two great airship hangars for the U.S. Navy in New Jersey-the first built in 1922 with a span of 79 metres (262 feet), the second in 1942 with a span of 100 metres (328 feet). The flat truss was used also, reaching a maximum span of 91 metres (300 feet) in the Glenn L. Martin Co. Aircraft Assembly Building (1937) in Baltimore. Electric arc welding, another important steel technology, was applied to building construction at this time, although the principle had been developed in the 1880s. The first all-welded multistory buildings were a series of factories for the Westinghouse Company, beginning in 1920. The welded rigid frame became a new structural type for medium spans, reaching a length of 23 metres (77 feet) in the Cincinnati Union Terminal (1932), but widespread use of welding did not come until after 1945.

Reintroduction of concrete

The second industrial age also saw the reemergence of concrete in a new composite relationship with steel, creating a technology that would rapidly assume a major role in building construction. The first step in this process was the creation of higher-strength artificial cements. Lime mortar-made of lime, sand, and water-had been known since ancient times. It was improved in the late 18th century by the British engineer John Smeaton, who added powdered brick to the mix and made the first modern concrete by adding pebbles as coarse aggregate. Joseph Aspdin patented the first true artificial cement, which he called Portland Cement, in 1824; the name implied that it was of the same high quality as Portland stone. To make portland cement, Aspdin burned limestone and clay together in a kiln; the clay provided silicon compounds, which when combined with water formed stronger bonds than the calcium compounds of limestone. In the 1830s Charles Johnson, another British cement manufacturer, saw the importance of high-temperature burning of the clay and limestone to a white heat, at which point they begin to fuse. In this period, plain concrete was used for walls, and it sometimes replaced brick in floor arches that spanned between wrought-iron beams in iron-framed factories. Precast concrete blocks also were manufactured, although they did not effectively compete with brick until the 20th century.

The first use of iron-reinforced concrete was by the French builder François Coignet in Paris in the 1850s. Coignet's own all-concrete house in Paris (1862), the roofs and floors reinforced with small wrought-iron I beams, still stands. But reinforced concrete development began with the French gardener Joseph Monier's 1867 patent for large concrete flowerpots reinforced with a cage of iron wires. The French builder François Hennebique applied Monier's ideas to floors, using iron rods to reinforce concrete beams and slabs; Hennebique was the first to realize that the rods had to be bent upward to take negative moment near supports. In 1892 he closed his construction business and became a consulting engineer, building many structures with concrete frames composed of columns, beams, and slabs. In the United States Ernest Ransome paralleled Hennebique's work, constructing factory buildings in concrete. High-rise structures in concrete followed the paradigm of the steel frame. Examples include the 16-story Ingalls Building (1903) in Cincinnati, which was 54 metres (180 feet) tall, and the 11-story Royal Liver Building (1909), built in Liverpool by Hennebique's English representative, Louis Mouchel. The latter structure was Europe's first skyscraper, its clock tower reaching a height of 95 metres (316 feet). Attainment of height in concrete buildings progressed slowly owing to the much lower strength and stiffness of concrete as compared with steel.

Between 1900 and 1910 the elastic theory of structures was at last applied to reinforced concrete in a scientific way. Emil Morsch, the chief engineer of the German firm of Wayss and Freitag, formulated the theory, which was verified by detailed experimental testing at the Technical University of Stuttgart. These tests established the need for deformed bars for good bonding with concrete and demonstrated that the amount of steel in any member should be limited to about 8 percent of the area; this assures the slow elastic failure of the steel, as opposed to the abrupt brittle failure of the concrete, in case of accidental overloading. In 1930 the American engineer Hardy Cross introduced relaxation methods for the approximate analysis of rigid frames, which greatly simplified the design of concrete structures. In the Johnson-Bovey Building (1905) in Minneapolis, Minnesota, the American engineer C.A.P. Turner employed concrete floor slabs without beams (called flat slabs or flat plates) that used diagonal and orthogonal patterns of reinforcing bars. The system still used today-which divides the bays between columns into column strips and middle strips and uses only an orthogonal arrangement of bars-was devised in 1912 by the Swiss engineer Robert Maillart.

The concrete dome

Concrete was also applied to long-span buildings, an early example being the Centennial Hall (1913) at Breslau, Germany (now Wrocław, Poland), by the architect Max Berg and the engineers Dyckerhoff & Widmann; its ribbed dome spanned 65 metres (216 feet), exceeding the span of the Pantheon. More spectacular were the great airship hangars at Orly constructed by the French engineer Eugène Freyssinet in 1916; they were made with 9-centimetre- (3.5-inch-) thick corrugated parabolic vaults spanning 80 metres (266 feet) and pierced by windows. In the 1920s Freyssinet made a major contribution to concrete technology with the introduction of pretensioning. In this process, the reinforcing wires were stretched in tension, and the concrete was poured around them; when the concrete hardened, the wires were released, and the member acquired an upward deflection and was entirely in compression. When the service load was applied, the member deflected downward to a flat position, remaining entirely in compression, and it did not develop the tension cracks that plague ordinary reinforced concrete. Widespread application of pretensioning was not made until after 1945.

Shell construction in concrete also began in the 1920s; the first example was a very thin (6 centimetres) hemispherical shell for a planetarium (1924) in Jena, Germany, spanning 25 metres (82 feet). In 1927 an octagonal ribbed shell dome with a span of 66 metres (220 feet) was built to house a market hall in Leipzig. Many variations of thin shells were devised for use in industrial buildings. The shell emerged as a major form of long-span concrete structure after World War II.

Development of building service and support systems

Vertical transportation

Elisha Graves Otis developed the first safe steam-powered roped elevators with toothed guide rails and catches in the late 1850s. The steam-powered hydraulic elevator, which was limited to buildings of about 15 stories, was developed in 1867 by the French engineer Léon Édoux. The development of the electric motor by George Westinghouse in 1887 made possible the invention of the high-speed electric-powered roped elevator (called "lightning" elevators in comparison to the slower hydraulics) in 1889 and the electric-powered moving staircase, or escalator, in the 1890s.

In the second industrial age, environmental technologies developed rapidly. Most of these technologies involved the use of electric power, which declined in cost during this period. The carbon-arc electric light was demonstrated as early as 1808, and the British physicist Michael Faraday devised the first steam-powered electric generator to operate a large carbon-arc lamp for the South Foreland Lighthouse in 1858. But the carbon-arc lamp was so bright and required so much power that it was never widely used and was rapidly superseded by the simultaneous invention of the carbon-filament bulb by Thomas Edison and Joseph Swan in 1879. The carbon-filament bulb was highly inefficient, but it banished the soot and fire hazards of coal-gas jets and soon gained wide acceptance. It was succeeded by the more efficient tungsten-filament incandescent bulb, developed by George Coolidge of the General Electric Company, which first appeared in 1908; the double-coiled filament used today was introduced about 1930.

Edison experimented with gas-discharge light tubes in 1896, and Georges Claude in France and Moore in England produced the first practical discharge tubes using noble gases such as neon and argon; these tubes were first used to outline the facade of the West End Cinema in London in 1913 and were rapidly exploited for signs and other decorative purposes. In 1938 General Electric and Westinghouse produced the first commercial fluorescent discharge lamps using mercury vapour and phosphor-coated tubes to enhance visible light output. Fluorescent tubes had roughly double the efficiency of tungsten lamps and were rapidly adopted for commercial and office use. Light intensity increased in all buildings as electric costs decreased, reaching a peak in about 1970. Gaseous-discharge lamps using high-pressure mercury and sodium vapour were developed in the 1960s but found only limited application in buildings; they are of such high intensity and marked colour that they are used mostly in high-ceilinged spaces and for exterior lighting.

Heating and cooling systems

Steam and hot-water heating systems of the late 19th century provided a reasonable means for winter heating, but no practical methods existed for artificial cooling, ventilating, or humidity control. In the forced-air system of heating, air replaced steam or water as the fluid medium of heat transfer, but this was dependent on the development of powered fans to move the air. Although large, crude fans for industrial applications in the ventilation of ships and mines had appeared by the 1860s, and the Johns Hopkins Hospital in Baltimore had a successful steam-powered forced-air system installed in 1873, the widespread application of this system to buildings only followed the development of electric-powered fans in the 1890s.

Important innovations in cooling technology followed. The development of refrigeration machines for food storage played a role, but the key element was Willis Carrier's 1906 patent that solved the problem of humidity removal by condensing the water vapour on droplets of cold water sprayed into an airstream. Starting with humidity control in tobacco and textile factories, Carrier slowly developed his system of "man-made weather," finally applying it together with heating, cooling, and control devices as a complete system in Grauman's Metropolitan Theatre, Los Angeles, in 1922. The first office building air-conditioned by Carrier was the 21-story Milam Building (1928) in San Antonio, Texas. It had a central refrigeration plant in the basement that supplied cold water to small air-handling units on every other floor; these supplied conditioned air to each office space through ducts in the ceiling; the air was returned through grills in doors to the corridors and then back to the air-handling units. A somewhat different system was adopted by Carrier for the 32-story Philadelphia Savings Fund Society Building (1932). The central air-handling units were placed with the refrigeration plant on the 20th floor, and conditioned air was distributed through vertical ducts to the occupied floors and horizontally to each room and returned through the corridors to vertical exhaust ducts that carried it back to the central plant. Both systems of air handling, local and central, are still used in high-rise buildings. The Great Depression and World War II reduced the demand for air-conditioning systems, and it was not until the building of the United Nations Secretariat in New York City in 1949 that Carrier produced a method of air conditioning that could deal effectively with the large heat loads imposed by the building's all-glass curtain walls. The conditioned air was delivered not only from the ceiling but also through pipe coil convector units just inside the glass wall. The pipe coil convectors contained centrally supplied warm or cold water to further temper the heat loss or gain at the perimeter; conditioned air and water were centrally supplied from four mechanical floors spaced within the building's 39-story height.

Carrier's "Weathermaster" system was energy-intensive, appropriate to the declining energy costs of the time, and it was adopted for most of the all-glass skyscrapers that followed in the next 25 years. In the 1960s the so-called dual-duct system appeared; both warm and cold air were centrally supplied to every part of the building and combined in mixing boxes to provide the appropriate atmosphere. The dual-duct system also consumed much energy, and, when energy prices began to rise in the 1970s, both it and the Weathermaster system were supplanted by the variable air volume (VAV) system, which supplies conditioned air at a single temperature, the volume varying according to the heat loss or gain in the occupied spaces. The VAV system requires much less energy and is widely used.

In the early 1950s, air-conditioning systems were reduced to very small electric-powered units capable of cooling single rooms. These were usually mounted in windows to take in fresh air and to remove heat to the atmosphere. These units found widespread application in the retrofitting of existing buildings-particularly houses and apartment buildings-and have since found considerable application in new residential buildings.

The relatively high energy costs of the 1970s also prompted interest in various forms of solar heating, both for interior spaces and for domestic hot water, but, except for residential passive solar heating, the relative decline in energy prices in the 1980s made such systems unattractive.

The study of thermodynamics in the late 19th century included the heat-transfer properties of materials and led to the concept of thermal insulation-that is, a material that has a relatively low rate of heat transfer. As building atmospheres became more carefully controlled after 1900, more attention was given to the thermal insulation of building enclosures (envelopes). One of the best insulators is air, and materials that trap air in small units have low heat-transfer rates; wool and foam are excellent examples. The first commercial insulations, in the 1920s, were mineral wools and vegetable-fibreboards; fibreglass wool appeared in 1938. Foam glass, the first rigid insulating foam, was marketed in the 1930s, and after 1945 a wide variety of plastic foam insulations was developed. Since the 1970s most building codes have set minimum requirements for insulation of building envelopes, and these have proved to be very cost-effective in saving energy.

Glass as a building material

Glass underwent considerable development in the second industrial age. The making of clear plate glass was perfected in the late 19th century, as were techniques of sandblasting and etching it. In the United States in 1905 the Libbey Owens Glass Company began making sheet glass by a continuous drawing process from a reservoir of molten glass; its surface was somewhat distorted, but it was much cheaper than plate glass. Prefabricated panels of double glazing about 2.5 centimetres (1 inch) thick were first made in the 1940s, although the insulating principle of air trapped between two layers of glass had been recognized much earlier. Hollow glass blocks were introduced by the Corning Company in 1935. In 1952 the Pilkington Brothers in England developed the float glass process, in which a continuous 3.4-metre- (11-foot-) wide ribbon of glass floated over molten tin and both sides were fire finished, avoiding all polishing and grinding; this became the standard method of production. Pilkington also pioneered the development of structural glass mullions in the 1960s. In the 1950s the rise of air conditioning led to the marketing of tinted glass that would absorb and reduce solar gain, and in the 1960s reflective glass with thin metallic coatings applied by the vacuum plating process was introduced, also to reduce solar gain. Heat-mirror glass, which has a transparent coating that admits the short-wavelength radiation from the sun but tends to reflect the longer-wavelength radiation from within occupied spaces, was introduced in 1984; when combined with double glazing, its insulating value approaches that of a wall.

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Building construction - Early steel-frame high-rises

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Building construction - Early steel-frame high-rises: While these prodigious structures were the centre of attention, a new and more significant technology was developing: the steel-framed high-rise building. It began in Chicago, a city whose central business district was growing rapidly. The pressure of land values in the early 1880s led owners to demand taller buildings.

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600 tons of TX Millennium white cement, incorporating titanium dioxide, produced at Italcementi's cement works of Rezzato, Brescia, Italy;
2,600 tons of aggregates obtained by grinding white Carrara Marble;
550 tons of special mortars for executing the structural joints between the precast elements and for grouting both cable sheaths and post-tensioned bars by injection;
8 kilometers of post-tensioning steel cables;
7,5 kilometers of post-tensioning steel bars;
300 design drawings to cope with the building's structural complexity, the large variety of block geometries and all construction details.
12,000 man hours devoted to studying, researching and eventually developing the TX Millennium cement;
23,000 man hours work from the design stage through to execution.

7,000 plus visiting engineers and architects to the building site during the variousconstruction phases confirming the complexity of the construction process and the innovative solutions adopted.

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CONSTRUCTION DETAILS 600 tons of TX Millennium white cement, incorporating titanium dioxide, produced at Italcementi's cement works of Rezzato, Brescia, Italy; 2,600 tons of aggregates obtained by grinding white Carrara Marble; 550 tons of special mortars for executing the structural joints between the precast elements and for grouting both cable sheaths and post-tensioned bars by ...

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Concrete frame buildings can be clad with any kind of cladding material. Common cladding materials are glass, aluminum panels, stone sheets, and ceramic facades. Since these structures can be designed for heavy loading, one could even clad them in solid masonry walls of brick or stone

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Concrete frame structures are strong and economical. Hence almost any walling materials can be used with them. The heavier options include masonry walls of brick, concrete block, or stone. The lighter options include drywall partitions made of light steel or wood studs covered with sheeting boards. The former are used when strong, secure, and sound-proof enclosures are required, and the latter when quick, flexible lightweight partitions are needed.

When brick or concrete blocks are used, it is common to plaster the entire surface - brick and concrete - with a cement plaster to form a hard, long-lasting finish

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Strong

Economical

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Concrete Frame Construction | Concrete Frame Structures

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Learn all about Concrete Frame Structures and how Concrete Frame Construction works.