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DEREK JAMES KLEYNHANS Advanced Building Technology

Image Source: http://it.trekearth.com/gallery/Europe/France/North/Ile-de-France/Paris/photo1531085.htm

APG4041S | 30 October 2019

THE INTERSECTION BETWEEN SCUPLTURAL ARCHITECTURE AND THE RATIONAL LOGIC OF FORM AND SPACE MAKING FRANK GEHRY’S Fo n d at i o n Lo u i s Vu i t t o n [ Deconstructivism ]

Image Source: elovart.com/25_france_paris_fondation_louis_vuitton_photo_deux

CONTENTS *

3

ABSTRACT

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4

DECONSTRUCTIVISM IN ARCHITECTURE

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8

IMAGES: FONDATION LOUIS VUITTON

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10

CONTEXT

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12

POLITICAL CAPITAL

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13

ARCHITECTURAL DESIGN

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17

THE SITE & THE BUILDING

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18

PLAN DRAWINGS

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20

DESIGN ANALYSIS DIAGRAMS

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22

STRUCTURE

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24

ENVELOPE

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26

SEQUENCE OF WORKS

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27

BUILDING PERFORMANCE

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29

SUSTAINABILITY

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31

CONCLUSION

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32

REFERENCES

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34

LIST OF CONTRACTORS & TRADES

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

A BSTRACT

This inquiry interrogates elements of architecture associated with the building’s envelope or skin: whether it be its roof or its walls or the ambiguity between the two. The basis of the inquiry situates itself in opposition to the historical or traditional function of the abovementioned architectural devices. Deconstructivism

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

D ECONSTR UCTI V I S M IN POST-MODERN ARCHITECTURE

DECONSTRUCTIVISM, These forms often lend themselves to a

A MOVEMENT OF THE sculptural manifestation of built works such

ARCHITECTURAL ERA OF POST-MODERNISM FINDS ITSELF IN FORMS WHICH DEFY RATIONAL AND FUNCTIONAL ARCHITECTURE.

as the many designs of Frank Gehry, Zaha Hadid and Daniel Liebeskind.

It is perceived as the fragmentation of form and the manipulation of a building’s envelope which seeks to disrupt notions of harmony, continuity and symmetry. It is often characterized by non-rectilinear shapes which di` and distort the architectural impression of a building, allowing endless possibilities of alternative space making. But even irrational Deconstructivist architecture is faced with the practical responsibilities of form making and tectonics. James Risser (1992) refers to the limitations of construction in realising architecture as art. However, Risser concedes that the “functionalism of modern architecture was more symbolic” in ordering social forces upon the cartesian plane. In which case Post Modernism and Deconstructivism may in itself be an architecture of freedom which allows for uniqueness to emerge – disregarding its egoistic and selfdetermined expression. Deconstructivism, according to Risser, is perhaps the conflict between imagination and reason. However magnificently, Deconstructivism challenges the binary notions of form. Arguably, the most beautiful tensions which arise is its intersection with the rigidity of functional space and form which due to the bureaucracy of client, brief, budget and program, finds its manifestation within the curved sheets of steel, the soaring wings, the branches which grasp at the heavens or the melting skin. The point at which the organic terminates and meets the rational both spatially but also in construction – through the physical making of these sculptural forms.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

“The new order is disorder. Nature has an order, but it doesn’t all look like Greek temples. And I think, since a human being is designing a structure, that for me, it has to do with humanizing and engaging the user and being episodic instead of singular in its experience.”

- Frank Gehry

Image Source: https://mag.citizensofhumanity.com/blog/2017/02/13/frank-gehry/

Through investigation, it is clear that Deconstructive forms find its voice in the language of digital technology (Schumacher, 2009); parametric design being a key driver for the production of irrational, organic forms. However, no matter how irrational deconstructive architecture is perceived to be, its tectonic assembly is usually through a kit of parts or a repeated construction method in an irregular or algorithmic way. This merely speaks to the conception of form or its specific design but not necessarily the process of making them. Generally speaking, it can be assumed that the physical architecture is produced by a variety of elements of the same nature, assembled in various ways to achieve discontinuity and free form. However, the sculptural elements are made up of rigid elements, small enough to appear organic or bendable, or are rigid in expression but ununiformly so. Frank Gehry’s Foundation Louis Vuitton has been both an architectural achievement and an eyesore. Regardless, its intricacy in solving questions of construction are remarkable in understanding how two incredibly different types of space can coexist and produce a building of multiple characters, perceived in different iterations of space within the building. Firstly, we look at the intersection of the building’s armour with the rational exhibition spaces and secondly, we consider how even irrational-looking architecture requires logical methods of existing. An investigation into Frank Gehry’s Foundation Louis Vuitton suggests that the interaction between the free form and the rigid constraints of internal program intersect largely through visual access or after a threshold is breached (internal/ external). Alternatively, Daniel Liebeskind’s Jewish Museum in Berlin regulates the internal program through the architectural principles of the building’s skin or outer expression. My argument will combine all known literature concerning the initial design process vs. the brief, the digital technology involved in achieving irregular form with the unknown (or known but isolated) literature of how organic architecture

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Image Source: joselito28.tumblr.com

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

FO NDAT I O N LOUI S V UI TTON BUILDING CASE SELECTION

PROJECT NAME:

FONDATION LOUIS VUITTON

PROJECT TYPE: ART & CULTURAL CENTRE LOCATION: JARDIN D’ACCLIMATATION, BOIS DE BOULOGNE, PARIS, FRANCE CONSTRUCTION DATES:

2008-2014

PROJECT OWNER/CLIENT:

LOUIS VUITTON FOUNDATION |

LVMH MOET HENNESSEY COST:

EURO 100 MILLION INITIAL BUDGET

(ASSUMABLY EXCEEDED BY 1/3 OF) PROGRAM:

GALLERIES | EXHIBITION SPACES |

RESTAURANT | AUDITORIUM | TERRACES FOR FUNCTIONS | LIBRARY SIZE: 11700SQM ARCHITECT:

FRANK GEHRY, GEHRY PARTNERS LLP.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Images Source: Iwan Baan

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

CONTE XT

BERNARD ARNAULT, CEO AND CHAIRPERSON OF LVMH (LOUIS VUITTON MOET HENNESSEY) HAD BEEN INTRIGUED BY FRANK GEHRY’S GUGGENHEIM MUSEIM IN BILBAO, SPAIN AND HAD WANTED TO PARTNER WITH THE ARCHITECT EVER SINCE IN DESIGNING A HOME FOR THE FONDATION LOUIS VUITTON.

BERNARD ARNAULT

FRANK GEHRY

GEORGES-EUGENE

LOUIS VUITTON MOET-HENNESEY

AMERICAN ARCHITECT

HAUSSMANN

Image Source (Bernard Arnault) https://www.forbes.com/sites/luisakroll/2018/01/26/luxurygoods-titan-arnault-now-richer-than-zuckerberg-after-record-lvmh-results/#5a1c1b4b5ff3 Image Source (George Eugene Haussmann) https://www.museeprotestant.org/en/notice/georges-eugene-haussmann-1809-1891-2/

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Image Source: Minor Sights

JARDIN D’ACCLIMATATION

In order to free the design of the constraints of being situated within Paris’ city centre, Arnault took advantage of LVMH’s concession to the 20-hectare Jardin d’Acclimatation in the Bois de Boulogne. (Czech and Slovak Leaders, n.d.). The Bois de Boulogne was established in 1852 and is the 2nd largest park in Paris today – consisting of more than 845 hectares. A large amount of the park’s natural environment was reconstructed during the 1800s by Napoleon III who envision streams and lakes to bring the arid promenade to life. Under Georges-Eugene Haussmann (concurrently the person responsible for the transformation of Paris between 1853 – 1870) lakes were constructed and the earth piled into islands and hills to create the landscape which is still in existence today, along with the designed network of roads and paths (de Moncan, 2009). The Jardin d’Acclimatation, situated to the north of Bois de Boulogne, was established in 1860 as a 19-hectare zoo and later a children’s amusement park. During mid-colonialist times, the Jardin saw the exhibition of native African peoples, including Bushmen and Zulus, until 1931 when it was finally deemed politically incorrect (Minor Sights, n.d.).

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

P OLI TI CA L CA PI TA L According to (Wainwright, 2014), the planning codes of the Bois de Boulogne prohibited the erection of buildings in the protected park – Certain structures being allowed under special circumstances. The Fondation was to be built on the site of an existing, but derelict, bowling alley. The existing structure – which was to be demolished - defined the height limitations of the new-build to a mere 2-stories (Giovannini, 2014), undefined by measured height restriction. Private residents, together with environmentalists, had the building permit revoked in court. Soon thereafter, the French National Assembly passed legislation which considered the project part of public interest and a “Major work of art for the whole world” (The Economist, 2014). I surmise that this decision was based on Bernard Arnault’s intention to relinquish the ownership of the Fondation Louis Vuitton as well as LVMH’s cessation to the Jardin d’Acclimatation back to the city of Paris, a mere 55 years after its completion (The Economist, 2014).

Image Source (Initial Sketchs by Frank Gehry) https://paintingvalley.com/louis-vuitton-sketches#louisvuitton-sketches-11.png

The sailing yacht Suzanne, designed by William Fife, 1911 https://www.reddit.com/r/sailing/comments/ 8doyqg/the_sailing_yacht_suzanne_designed_by_william/

Image Source (Jardin d’Acclimatation: http://mamalovesparis.com/revamped-jardin-dacclimatation-paris-2018/ The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

AR C H I T ECTURA L D ES I G N BUILDING CASE SELECTION

Design Considerations & Constraints

Generative Architectural Ideas

In an interview (Giovannini, 2014), Frank Gehry explains that due to the site’s constraints, the project was conceptualized and represented as a garden building, reminiscent of the garden’s history of glass architecture during the 19th Century (Czech and Slovak Leaders, n.d.), while drawing on antecedents such as Joseph Paxton’s Crystal Palace in Hyde Park.

Gehry explains that each of these two elements were independently developed which speaks of the intersection between the rational and the asymmetrical, parametrically designed façade/roof. The reason for the disconnect in these two forms are largely because the exhibition spaces had been prescribed by the curator as needing to be classical while the building itself needed to be imposing and almost a monumental representation for the client. The ‘Icebergs’ were then developed to interact, subtly, with the deconstructivist elements which surrounded them by allowing natural light and circulation to occur between the two.

But due to the nature of the building’s program, a glass pavilion would not have been suitable to house exhibition halls filled with art. As such, Frank Gehry’s Foundation Louis Vuitton, integrates the pragmatic use of functional exhibition space with Deconstructivist principles (in retrospect) of form making and its rather sculptural interpretation. Gehry explains that the height restriction could be and effectively was exceeded with the use of transparent glass in the undulating façade – which embodied the notions of pavilion structures. The solid twostorey exhibition building of solid walls (clad in fiber-reinforced concrete panels) became known as the icebergs while the remaining façade elements became known as the sails – an architectural interpretation of the Suzanne Yacht of 1911 (ArchDaily, 2014). The Fondation Louis Vuitton reached a height of more than 56 meters, following the design articulation of the upper Gallery spaces which reached this height through sculpted skylights while the alternate spaces consisted of mezzanine levels, therefore not technically exceeding the 2-storey limit.

Gehry’s initial sketches express dynamic contours throughout the façade as if it were a boat or yacht being pushed by horizontal forces (Wiki Arquitectura, n.d.). Ultimately, this was the initial idea which resulted in the dynamic design of form, evident in the undulating envelope of the building in its glass canopies but also through the sculpted ‘icebergs’. Gehry was inspired by the nature of the park, its lakes and streams which had all been constructed. Gehry saw reason in creating a Grotto (artificial cave) beneath the structure to allow for cascading water to envelope the base of the structure. This would allow the building spatial efficiency in creating more galleries 7 meters below ground but also allow the Fondation Louis Vuitton to float, like an anchored boat, at the entrance to the Jardin d’Acclimatation. The building’s ground floor hovers, separated from the park with connecting paths and walkways which is considered the entrance to the Jardin. It is an active space which allows for social and public activity. Gehry’s aesthetic object was to produce a building which situated itself in the park like a sculpture would. Gehry had experimented with undulating glass facades before, but now had the ability to fully explore the freedom of deconstructive architecture. From the upper terraces, canopied by the sails, views extend to the City of Paris, La Defense and beyond while sailing through a sea of trees – integrated due to the use of glass.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Image Source: ArchDaily

Image Source: ArchDaily

Image Source: ArchDaily

Image Source: ArchDaily

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Image Source: ArchDaily

EXPRESSION OF MATERIALS & THE CELEBRATION OF TECTONICS

Image Source: ArchDaily

While the exterior of the building is clad (hiding the structure which supports it) and the interior of the gallery spaces sculpted with rendered plaster, Gehry allows glimpses of the elements which allow the Fondation its integrity. In spaces such as stairwells, Gehry articulates the structural use of steel by leaving it exposed. And while much of the internal spaces represent soft, light spaces, the exterior terraces boast steel and timber members, allowing the expansive envelope its structure. The representation of space within the galleries differ greatly from those between the galleries and the exterior spaces and thus forges a multiplicity of atmosphere, experience and potential. The building, which seems rather futuristic, displaced and foreign to the architecture of Paris, is in fact aligned not only with Paris’ prospective future (La Defense) but also with its historical involvement in the Industrial Revolution which saw the production of building elements through technological advances in France. Additionally, the building marries Architecture (and technology) with the Fashion industry – one of Paris’ biggest economies. Ultimately, the building consists of sleek textures of stone, ceramic tiles, plastered walls, glass and steel while colour is used sparingly, if at all. The materials used in the construction of the building along with their inherent colour qualities and chosen coatings of a softer colour palette allow the Fondation to reflect its surroundings while remaining true to its materiality.

SOCIAL PROGRAMME & SPECIALISED ACTIVITIES The Fondation Louis Vuitton has foor area of 11700m2 of which 7000m2 are usable floor space and 3850m2 are gallery spaces (FIDIC Awards 2015, 2015). The building consists of 11 galleries of various shapes and sizes, a 350-seater Auditorium and multilevel roof terraces (WSP, n.d.).

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Image Source: Wiki Arquitectura

Image Source: Wiki Arquitectura

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

T HE S I TE AND THE BUILDING

Roof

+-46000 mm

NGL (Park) Level -1

-7000 mm

Basement +-12500 mm

The Fondation Louis Vuitton is located at the midpoint between the historical City centre of Paris (South East) and the contemporary La Defense (North West). Situated in the north of Bois de Boulogne, it mediates the entrance to the Jardin d’Acclimatation to the north while being bordered on the south by the Île Aux Cèdres, Island of Cedar trees. It also finds itself as one of the many perimeter buildings which add to the boundedness of the Amusement Park. Regardless to say, the Fondation is surrounded by greenery, bodies of water and constant foot traffic. The Fondation Louis Vuitton is founded 12.5 meters below grade and the adjacent park (in its own pool of water) and reaches a height of up to 56 meters above ground (Czech and Slovak Leaders, n.d.). Due to the nature of the park’s existence and function as an amusement park, the topography in this location is relatively flat without much variation in terrain. The project, therefor, did not actively call for retaining structures. However, the artificial pool of water which collects at the bottom of a cascading or terraced water feature, was constructed beneath the building and mediates (at the highest point) the level change towards the lower galleries. This constitutes the larger part of the landscaping found on site. At grade, the drop in level to the grotto invokes a subliminal pause, before the user directs themselves into and through the building via bridging pathways. The building consists of two entrance/exit thresholds: one located to the south of the building, mediating entrance in to the building from outside of the Jardin, and the other located to the north of the building, mediating entrance from the building into the Jardin. The entrance hall therefore becomes a thoroughfare. However, entrance is regulated from outside of the building (especially on busy days) where users are permitted access according to the allocated entrance time of their visit.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Drawing Source: Architectural Review . com

Gallery

Level -1

Gallery

Level 0

Gallery

Level 1 The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

Ga lle ry

Gallery

Level 2

Level 3

Level 4 The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

VOLUMES

CIRCULATION & SERVICES MASSING Image Source: Flickr.com

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

D ES I G N A NA LYS I S DIAGRAMS

Mediators between Building & Site

Image Source: Fondation Louis Vuitton

ENTRANCE

Image Source: Wiki Arquitectura

PROGRAM

The south entrance, being the main entrance, is a grander arrival. It is accentuated by its own floating canopy of fritted glass above the entrance doors and bejeweled with the Brand name and logo of Fondation Louis Vuitton. The north entrance, used mainly as the exit, retreats from the envelope of the building and is held by the glass structures. The restaurant is situated on this side of the building which opens up to the Jardin d’Acclimatation – and is perpetually shaded by the building. The overall site to park threshold is mediated by pathways of cobblestone which wrap around the Fondation Louis Vuitton. Externally, the grotto is accessible from 4 points on the perimeter of the site via staircases which lead directly to the basement floors and pathwats without entering the building. Some of these stairways are incorporated with service rooms situated away from the building and tucked underneath the steps or underneath walkways along the perimeter.

FORM

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making

STR UCTUR E FONDATION LOUIS VUITTON Very few sources interrogate the geotechnical conditions of the site, but what is known is that the building is founded above two water sources which assist the building in terms of passive heating and cooling.

Substructure Foundation The Fondation Louis Vuitton, founded 12.5 meters below the ground level, sits on a 2600mm thick foundation of Steel Reinforced Concrete. This slab was constructed earlier on in the process before the studies on load distribution had been completed. Furthermore, the deep slab allows for a tight distribution of uniform loads. The Foundation slab required 11000m3 of concrete and 12tons of steel. The rest of the surrounding construction, not structurally linked to the main building, is founded upon reinforced concrete rafter/slab foundations of approximately 500-600mm in thickness. Basements The lowest floor, represented in diagrams as exhibition space but may very well be space dedicated to building services, is situated below the level of the pool of water. Retaining Walls Based on calculated assumptions, all retaining walls as well as basement walls are constructed of steel reinforced concrete. Image Source: Wiki Arquiectura 22 THE INTERSECTION

Image Source: Fondationlouisvuitton.fr

Image Source: Fondationlouisvuitton.fr

Image Source: Trimble Consulting

Primary Structure

Secondary Structure

The primary structure of the building is separated into three ‘blocks’ of structure, located in the west, the center and the east. Essentially, the superstructure begins at the reconstructed ‘ground level’ of the grotto or pool of water (Level -1).

Situated on and joined at carefully determined

Substructure To the west and centre of the building, the primary structure consists of reinforced concrete columns and walls for the Gallery space as well as free-standing reinforced concrete columns supporting the steel structure for the icebergs above. To the east, we see a combination of both reinforced concrete columns and walls but also steel columns which support the curtain walls surrounding the Auditorium. The free-standing columns located to the east continue their journey through the ground floor (Level 0) to support structural floors and lastly the sails of steel, timber and glass. Icebergs which ascend from and are built at the level of the grotto, begin their primary structure of steel columns at the footing, bypassing the need for concrete substructure. All primary concrete structure not associated with the gallery spaces are rotated off axis and are slanted to meet the requirements above. Superstructure Throughout the building, the primary structure remains similar to the above-mentioned substructure. In essence and as a rule, the primary superstructure consists of reinforced concrete columns and walls around all gallery/exhibition spaces. The rest of the primary superstructure is made up of steel H columns, girders and trusses; thus, all free-standing columns terminate at the height of the ground floor galleries. All floors are part of the superstructure and are constructed of concrete.

points on the primary structure, steel frames are constructed which support the Icebergs. Joining these steel frames back to the primary structure allows for freedom in placing the iceberg elements which do not necessarily terminate at the level of the grotto. The secondary steel frames are also support structures for what are referred to as ‘tripods’ – the tertiary structure which will support the sails (Wiki Arquitectura, n.d.).

Tertiary Structure

The Icebergs’ secondary structure, attached to the steel frames, are massive cladding support panels prefabricated in a workshop and includes steel structure, insulation and waterproofing. These panels measure 12.5 meters by 2.5 meters. The rest of the tertiary structure is reserved only for the sails. The tripods are made up of steel and Glue Laminated Austrian Larch timber beams embedded with steel rods and connection plates (McGuigan, 2014) to which 179 Glulam timber beams – ranging between 3 – 28 meters in length - are bolted at angles ranging between 0-250deg. These timber member dimensions in width range between 400mm x 400mm to 400mm x 1200mm (Archello, n.d.).

THE INTERSECTION 23

E NV E LOPE

Image Source: FIDIC

Image Source Fidic:

Cladding Cladding Support Panels Following the primary structure of the Icebergs, big composite cladding support panels are fixed to the Steel framework. These panels are 12.5 x 2.5m in size and are prefabricated in a workshop. The composite consists of a steel structure, insulation and waterproofing (FIDIC Awards 2015, 2015). Ductal® Panels The support panels are then cladded with 19’000 High Performance Fiber-Reinforced Concrete Panels or tiles (McGuigan, 2014). The Ductal® panels (FO B3 White Titanium) are used to clad the extensive combined 9000m2 façade area of the Icebergs (Ductal Engineering Solutions, 2016). 60% of the panels are unique and all of them are cast in silicone molds at a French factory and are installed on the support panels of welded steel (McGuigan, 2014). The casting-based manufacturing process of the organic fibre-reinforced concrete allows the panels to achieve a thickness of 25mm. A Vacuum Mold (VM), developed by MSV and patented by Lafarge in 2008, is achieved by positioning the deformable silicone mold on a template using vacuum pockets. The flexibility of the formwork creates a smooth finish and unique curvature. The geometries are provided by a CNC-machined polystyrene template and when flat is measured at 1500mm x 400mm. Each panel contains a code which follows it from manufacture to assembly. There is little room for error as each inter-panel horizontal joint is only 10mm and each vertical joint is 7mm. High durability is guaranteed by a water and oil repellent protection solution, produced by Guard Industrie. UV weathering tests are done and any panels, accessible to the public, are covered in an anti-graffiti coating. (Ductal Engineering Solutions, 2016) 24 THE INTERSECTION

Image Source: Trimble Consulting Image Source: Wiki Arquitectura

Glazing Systems

Image Source: https://www.interiordesign.net/slideshows/

The Fondation Louis Vuitton consists of 13500m2 of Exterior glazing. Produced in Italy by Saint-Gobain the glazing panels are made with unique shapes and curvature (1.5m x 3m). The glass panels are attached to a base structure using a framework of 2000 tons of carbon steel, 2000 tons of high strength duplex stainless steel and 800m3 of wooden beams, (Design Build Network, n.d.). For the Undulating sails, located externally to the building, 3600 unique panels of curved, laminated, fritted glass was produced by Saint Gobain. The glass is fritted for translucency and to reduce solar heat gain. (McGuigan, 2014).`

Image Source: Fidic

Roof Terrace Finishes

All floors in the gallery spaces are surfaced and finished with poured resin. (McGuigan, 2014) External terraces are clad in stone: Rocamat’s “Rocherons Dore”. The stone is beige shade and slightly pink. Quarried in Burgundy, the stone is sawn to heights of 30m. (SNROC, n.d.). Image Source: https://studios.com/projects/fondation_ THE INTERSECTION 25

S EQU E N CE OF WOR K S Construction on site began in March 2008 with the start of earthworks and the diaphragm walls; followed by civil works which commenced in September 2009. By 2011, contractors had completed the construction of the carcass of the Fondation Louis Vuitton and had fitted the Steel framing structure. 2012 saw the installation of the Ductal Ultra High Performance Fibre Reinforced Concrete panels and then the glass roofs. By 18 December 2013 the final building and finishing elements had been installed and the building was accepted on the 28 February 2014. In 2014, all landscaping surrounding the building had been completed and the building was opened to the public in October 2014.

Image Source:https://www.lemoniteur.fr/article/canali

Image Source:https://www.lemoniteur.fr/article/canali

Image Source:https://www.lemoniteur.fr/article/canali

Image Source: https://www.lemoniteur.fr/article/canali-

26 THE INTERSECTION

B U I L D I NG PE R FOR M A NCE

Image Source: https://www.interiordesign.net/slideshows/

Image Source: https://www.interiordesign.net/slideshows/

Acoustics

Natural Light

Auditorium

Daylighting is captured through the voluminous, sculpted lights shafts/skylights which pass indirect and filtered light into the gallery spaces. Most of the program on ground floor and intermittently between the gallery spaces on lower and upper floors are enclosed by glass curtain walls which allow the natural daylight to penetrate either through the whole floor or at carefully placed openings throughout the building’s circulation and ante-spaces.

The auditorium is a space designed for various performances including live classical music performances. Critical considerations included the shape of the room, the glazed curtain wall and material finishes. The acoustic brief dismissed electronic sound equipment and had to function without it. Smooth surfaces were limited to the upper half of the auditorium while the lower half consisted of curved glass in order to reduce direct sound reflections. Sound reflectors of cast aluminium help project the sound towards the audience. Sound is further diffused by the walls (MDF, steel and wool) and ceilings (MDF, steel and melamine foam). (Nagata Acoustics, 2014)

In the Fondation Louis Vuitton, Daylight is meant to assist in changing the quality of the cultural centre by considering the ephemeral qualities of time – thereby reflecting different light quality and transforming the building as the day progresses from morning to evening. Sunscreeding and the control of Daylight penetration is regulated by Screen-printing on glazing (Curtain Walls) as well as through fritted glass panels (Sails). Both the screen-printing on glass surfaces and the fritted glass reduces solar radiation and the amount of light which is allowed to penetrate.

Image Source: Nagat Acoustics

THE INTERSECTION 27

Image Source: https://studios.com/projects/fondation_

Horizontal Wind Loads

Service Coordination

Due to the irregular forms which constitute the Fondation Louis Vuitton, the building did not comply with the stringent application of European regulations. Therefore, engineers had to invent a technique to allow and record wind effects. Wind pressures were physically recreated in a wind tunnel of 3000 sensors. The data was then processed, fine-tuned and fed back into the calculation model to ensure that the building could accommodate dynamic effects (FIDIC Awards 2015, 2015).

The majority of the MEP (mechanical, electrical and plumbing) services provided by Setec Bâtiment are hidden. These includes cameras, fire detectors, switches, service panels and more.

Fire Safety Engineering

Technology in Paramteric Design

Fire testing, done by Efectis, was based on conventional construction systems and rather confirmed the fire resistance of each element, not considering the dismissible construction or finishing elements. That is: the fire resistance of all steel member, timber Glulam beams, interior plaster boards (which required and added additional fire resistance), concrete and laminated glazing. Rigorous testing confirmed the building’s efficiency, even in rooms with tall ceilings.

The reality of parametric design is that it requires digital tools to plot points in space which create the irrational forms and parameters. Gehry’s office adopted program software originally used for the aviation industry in France to realise the big forms which first breathed life as scaled physical models. Alternatively, the execution of parametric design also has its roots in digital animation techniques of the mid-1990s (Schumacher, 2009).

28 THE INTERSECTION

S U STA I NA BI LI TY Rainwater Systems Rainwater, which is recovered from the glass canopies and stored in a separate system, is first used to clean the facades and windows (Czech and Slovak Leaders, n.d.). Rainwater is also collected in a separate tank of sufficient capacity, filtered and fed into the three pool systems and all bathrooms, while excess rainwater is used to irrigate the green areas and terraces of the building – this includes the re-infiltration of pool drain water as well as the water accumulated after backwashing the geothermal systems due to settlement (FIDIC Awards 2015, 2015).

Energy Efficiency Highly detailed calculations of the building’s carbon footprint were performed early on in the design development process to regulate the material specifications of the building moving forward (FIDIC Awards 2015, 2015). Geothermal energy systems (supplied by Siemens) for warming and cooling the building using natural and renewable resources. The two sources of ground water situated underneath the building have a constant temperature of 12deg Celsius. The first water source (Paris Limestone Water Table) is situated 25 meters below the ground level while the second water source (Chalk Water Table) is situated 60-80 meters below grade (Fondation Louis Vuitton, 2014). This water is pumped via a closed circuit through a heat exchanger which either warms or cools (depending on the current climate) the secondary circuits which regulate the temperature of the rooms. Afterwards, the water is returned to its source without being consumed (Czech and Slovak Leaders, n.d.). These passive systems, along with active systems, developed and produced by Siemens, help regulate internal conditions via an automatic system which keeps the exhibition spaces at a temperature of 24deg Celcius in summer and 20deg Celcius in winter with a humidity rate of 50%. These temperatures are paramount in preserving the exhibits and for achieving maximum visitor comfort (Siemens, 2014). Considering Gehry’s vast portfolio of architecture, The Fondation Louis Vuitton is perhaps one of his finest works with reference to Deconstructivism in that it presents itself as a cohesive project, despite the individuality of forms and architectural elements. It responds to its environment in an innovative way which allows the project a rationality and substantiates its sculptural form. Interestingly, the Fondation Louis Vuitton has attained the HQE (in France), equivalent to LEED Gold.

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Image Source http://www.abitare.it/it/architettura/

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CONCLUSION Deconstructivist Architecture often boasts a complex constructive logic, which is the case for the Foundation Louis Vuitton which, at first, conceals it throughout out the exhibition spaces but allows the tectonics to be celebrated through the Pavilion (roof) spaces which offer views of the park and the city (Giovannini, 2014). These pavilions are of folded and overlapping planes of glass, supported by steel and timber members. It is clear, through the Foundation Louis Vuitton, that when freedom of form is employed, the tectonics and construction responsibilities of a building is not far behind in accomplishing it - and can always be rationalised. What is also clear, through this case study, is the way in which the envelope of a building can be manipulated to effect such form and create a multiplicity of spaces. There is no more basis for the historical and traditional definitions for a roof and a wall.

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R E F E R E NCES

ArchDaily, 2014. Fondation Louis Vuitton / Gehry Partnerss. [Online] Available at: https://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners?ad_ source=search&ad_medium=search_result_all [Accessed 20 August 2019]. Archello, n.d. Foundation Louis Vuitton Museum. [Online] Available at: https://archello.com/project/foundation-louis-vuitton-museum [Accessed 20 August 2019]. Czech and Slovak Leaders, n.d. The Louis Vuitton Foundation. [Online] Available at: https://www. czechleaders.com/iva-joseph-drebitko/the-louis-vuitton-foundation [Accessed 29 October 2019]. de Moncan, P., 2009. Les Jardins du baron Haussmann. s.l.:Editions du Mécène. Design Build Network, n.d. Louis Vuitton Foundation, Paris. [Online] Available at: https://www. designbuild-network.com/projects/louis-vuitton-foundation-paris/ [Accessed 29 October 2019]. Drebitko, I., n.d. Czech and Slovak Leaders: The Louis Vuitton Foundation. [Online] Available at: https://www.czechleaders.com/iva-joseph-drebitko/the-louis-vuitton-foundation [Accessed 29 October 2019]. Ductal Engineering Solutions, 2016. The facades of the Fondation Louis Vuitton dressed with Ductal® concrete. [Online] Available at: https://www.ductal.com/en/architecture/facades-fondationlouis-vuitton-dressed-ductalr-concrete [Accessed 29 October 2019].

The Economist, 2014. Fondation Louis Vuitton: Winged Victory. [Online] Available at: https:// www.economist.com/books-and-arts/2014/10/11/winged-victory [Accessed 29 October 2019]. Wainwright, O., 2014. The Guardian: Frank Gehry's Fondation Louis Vuitton shows he doesn't know when to stop. [Online] Available at: https://www.theguardian.com/artanddesign/2014/ oct/21/frank-gehry-fondation-louis-vuitton-shows-he-doesnt-know-when-to-stop [Accessed 29 October 2019]. Wiki Arquitectura, n.d. Wiki Arquitectura. [Online] Available at: https://en.wikiarquitectura.com/building/louis-vuitton-foundation/ [Accessed 18 August 2019]. WSP, n.d. Fondation Louis Vuitton, Paris. [Online] Available at: https://www.wsp.com/en-HK/projects/fondation-louis-vuitton [Accessed 29 October 2019]. 32 THE INTERSECTION

FIDIC Awards 2015, 2015. The Fondation Louis Vuitton, Paris: FIDIC. Fondation Louis Vuitton, 2014. The Fondation Louis Vuitton Press Release, Paris: s.n. Giovannini, J., 2014. Architect Magazine: Fondation Louis Vuitton, Designed by Gehry Partners. [Online] Available at: https://www.architectmagazine.com/design/buildings/fondation-louis-vuitton-designed-by-gehry-partners_o [Accessed 29 October 2019]. Giovannini, J., 2014. Fondation Louis Vuitton, Designed by Gehry Partners. [Online] Available at: https://www.architectmagazine.com/design/buildings/fondation-louis-vuitton-designed-by-gehry-partners_o [Accessed 21 August 2019]. Hartoonian, G., 2002. Frank Gehry: Roofing, wrapping, and wrapping the roof. The Journal of Architecture, 7(1), pp. 1-31. Johnson, P. & Wigley, M., 1988. Deconstructivist Architecture, New York: The Museum of Modern Art. McGuigan, C., 2014. Architectural Record: Fondation Louis Vuitton. [Online] Available at: https://www.architecturalrecord.com/articles/7525-fondation-louisvuitton?v=preview [Accessed 29 October 2019]. Meghiddo, R., 2018. Cultural Weekly. [Online] Available at: https://www.culturalweekly.com/saw-doc-part-2-paris-builds/a-louis_vuitton_5/ [Accessed 1 August 2019]. Minor Sights, n.d. France: JARDIN D'ACCLIMATATION. FROM HUMAN ZOO TO DISNEYLAND AVANT LA LETTRE. [Online] Available at: http://www.minorsights.com/2016/06/france-jardindacclimatation-Paris.html [Accessed 29 October 2019]. Nagata Acoustics, 2014. Auditorium, Fondation Louis Vuitton, Paris: Nagata. Pritchard, O., 2004. Gehry Monster: Fondation Louis Vuitton by Frank Gehry. [Online] Available at: https://www.architectsjournal.co.uk/buildings/gehry-monster-fondation-louis-vuitton-by-frank-gehry/8671856.article [Accessed 20 August 2019]. Risser, J., 1992. Siting Order at the Limits of Construction: Deconstructing Architectural Place. Research in Phenomenology, Volume 22, pp. 62-72. Schumacher, P., 2009. Parametricism - A new Global Style for Architecture and Urban Design. Architectural Digest, 79(4). Siemens, 2014. Fondation Louis Vuitton Museum in Paris. [Online] Available at: https://new.siemens.com/global/en/products/buildings/references/foundationlouis-vuitton-museum-in-paris.html [Accessed 29 October 2019]. SNROC, n.d. SNROC: Fondation Louis Vuitton. [Online] Available at: http://www.snroc.fr/fr/realisations-adherents/fondation-louis-vuitton_81_P36.html [Accessed 29 October 2019]. THE INTERSECTION 33

Contractors & Trades

General contractor: VINCI Construction Architect of record: Studios Architecture, Paris office Engineer(s): Facade engineering: RFR + T.E.S.S. Primary Structure and MEP: Setec Batiment Consultant(s): Landscape: Atelier Lieux Et Paysages Lighting: L'Observatoire International Lighting: Ingelux Acoustics (Auditorium) Nagata Acoustics Acoustics (Base Building): LAMOUREUX Sustainable building consultants ' S'PACE/TERAO Building Maintenance: TAW Contractor ' Hofmeister Roof Engineering Primary Structural system (Concrete) by VINCI Construction Primary Structural system (Steel): Urssa Canopy Structure (Wood Glulam): Hess Timber Canopy Structure (Steel): Eiffage Construction Metallique Exterior cladding (Stone Cladding): Rocheron Dore supplied by Rocamat Exterior cladding Installer: EDM, Ateliers de France Metal/glass curtain wall: SIPRAL Rainscreen (terra cotta, composite, etc.): Glass Canopy (Verriere) by Eiffage Construction Metallique Ductal Cladding on Icebergs: LaFarge product CAD system, project management, or other software used: Gehry Technologies ' Digital Project

Building Case Study Report Derek Kleynhans 30 October 2019