BUILT
PROJECT GALLERIES AND DESCRIPTIONS
Architecture gives form to the invisible pulses and rhythms of life. It gives pattern to structure and structure to pattern. It is an elemental mystic power that is innate to all things.
The physical manifestation of this power is a consequence of the desire for the invisible to be made visible. This desire, this great motivating force is essential to the life of a thing.
It is a process which organizes and composes various interrelated forces into a unified whole. Architecture is the comprehensive expression of all science and art . . . the wellspring of interconnectedness and function art.
TDR’s architecture is world famous. Our success lies in our commitment to: the use of non-toxic materials; effective labor-saving construction, structural systems that have proven to be highly earthquake resistant, fireproof, flood-proof and termite-proof, utilization of solar and wind power to create self-sufficient energy, elimination of utility bills, and protection and preservation of the natural ecology of the surrounding environment.
Our Designs range from residential remodels to the world’s tallest office building. TDR was the first architecture firm to design the San Francisco Giant’s baseball team stadium and was part of the design team for the 1976 Montreal Summer Olympics. Our architectural designs, strikingly unique and insightfully planned, have been featured worldwide and our knowledge of innovative building materials and construction methods is unparalleled.
1976 Olympics
1976 Olympics
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Montreal, Canada
In 1974, while working in the architectural offices of Victor Prus Associates, one of the largest commercial firms in Montreal, Canada, and with Francoise Dallegret, a prominent Industrial Design firm also in Montreal, Canada, I was asked to join the Organizing Committee of the 1976 Montreal Summer Olympics as Assistant to the Senior Coordinator of Design and Construction, Mr. Eugene Corriveau.
As Mr. Corriveau’s assistant, I was privy to the correspondences and day-to-day operations of on-site construction and the management of engineering teams which served the construction site. I was also involved in the design of the entire site layouts, the outdoor furnishings, the design of the Olympic medals-with Francoise Dallegret as head designer, and evaluation of the daily construction process. Throughout the construction process, there were many strikes by certain construction teams, such as the welders, the concrete and mechanical systems installers, the plumbers and electricians. This created pandemonium among the various construction teams and increased the overall cost of the Olympic buildings by six to seven times the original budget! All of this I had to attend to along with a team of secretaries and on-site construction observers.
Eventually, the buildings were completed on-time, except for the main stadium tower, which was only half-complete at the time of the 1976 Montreal Summer Olympic Opening Ceremony. A decade later, the entire stadium was completed as designed.
Another reason the Olympics buildings were so immersed in labor disputes and construction delays is because the principal architect, Roger Tallibert, made no effort to understand the porous and muddy soil of the grounds of the Olympic site and was obsessed with the use of concrete as the primary construction material. This created profound problems from the very beginning of design and construction and everything escalated from this bad start. This could have all been prevented if the site and soils were properly and thoroughly studied and understood.
Before an architect begins any thought of a design he/she must understand the parameters of the circumstances and the physical limitations of every aspect of the environment. If architect, Roger Tallibert, had thoroughly understood the site and its soils, and even more, understood the flora, fauna, insects, birds, and animals that inhabited that site, he would have a vast amount of data from which to design. As it was, he seemed not to care about any of these things, except for what he could see, and that is not enough. This is where I learned, first hand, that you must thoroughly research the ground and site of a project before you can begin to design something relevant to the area.
Overall, the 1976 Montreal Summer Olympics were very successful and catapulted such athletes as Nadia Comaneci, Olga Korbut, Bruce Jenner, Sugar Ray Leonard, and Leon Spinks, into historical status.
For me, the Summer Olympics experience was an epiphany that showed me the importance of organization, personal involvement, and team communication. It was after the Olympics that I went on to Columbia University’s School of Architecture and, there, first promulgated my observations of nature’s intelligence and the importance of understanding nature as a basis for design and the future survival of
humanity.
Balaba Residence
Balaba/Salcedo Residence Kitchen Design Oakland, California USA
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The kitchen area consists of a 3 meter long suspended solid butcher block wood table that is connected to the recycled granite countertop. The countertop undulates and becomes infused with the walls. All the cabinet facing is undulating birch wood with tiny drilled holes in the pattern of ocean waves. The owner wished to have something that reminded her of her native Philippine ocean landscape.
At night, when the lights are turned on, the cabinets create a startling mural of light that surrounds the entire kitchen. All cabinet work was hand made by Mario Philipona, who was a visiting student/intern from Holland, and a small crew of other interns. Bent and stressed fiberglass corrugated panels were used to create built-in countertop to ceiling lights and solid Pine wood hemispheres rotate as light switches with a touch of the hand. A specially designed “Eyeball” serving table was designed as part of the kitchen ensemble and stores under the suspended kitchen block wood countertop. The suspension structure allows for easy access and storage of this free-standing table under the countertop.
Butterfly Pavillion
Exposition Building for the International Celebration of Innovation San Francisco, California, USA
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Owner: Mr. John Brown
Location: San Francisco, California
This 1200 square meter, 13 meter high, building was carefully planned and prefabricated at a cost of $30,000 US and was erected in five days by one to three persons. It is an excellent example of evolutionary principles put to practice. Simple and efficient materials; Teflon coated nylon, stainless steel cables, steel re-bar and a 13 meter high steel tube, were used to great effect. Economy of materials, conservation of labor and time for construction and efficient elegance of form as function, resulted in a functional and aesthetically attractive (30,000 persons on first opening day) building which housed an exhibition space within. Particularly memorable is the experience at night when dramatic lighting produces a spectacular image–like a giant butterfly about to take flight. The building was nicknamed the “butterfly” pavilion because it seemed to bring up the image of a butterfly in most visitors’ minds. The fabric structure “shell” was sewn by machine in a sail makers shop. The tension cable were pre-calculated and laid out by hand on the actual site before completion.
Construction Materials: Teflon-coated sail cloth, galvanized steel cable, forty foot high steel mast, I-beams, #4 rebar and acrylic paint.
Special Features: Donated “seconds” sail cloth material, tension-cable building membrane structure.
Owner Requirements: The building must be “eye-catching”, it must enclose 5000 to 6000 square feet, it must be able to be erected within five days and the cost of the building must not exceed $30,000.00
Ecological Requirements: None
General Background of the Project: The Celebration of Innovation Exposition Committee, in San Rafael, California, was searching for an architect who could design, and arrange to construct, a building that would attract a lot of attention, be easy to erect and extremely economical to build. The secretary of the organization serendipitously went through various names in the Yellow Pages and “had a feeling” that our firm was “creative”. When called, I was surprised by their “method” of choosing an architect. Further discussions presented a very challenging proposal indeed–to design and erect a 6000 square foot building within seven days of a prescribed deadline. Through in-depth talks with the Executive Director we were chosen to take on the project on the basis of some preliminary sketches which showed a giant, sail-like building constructed of anchored tension cables rising four stories to a metal sculpture centerpiece.
Since the building was to have a short-term life, it was considered a temporary exhibition building, many of the usual concerns of insulation, acoustics, HVAC systems, solar orientation, foundations, drainage, etc., could be dispensed with. Essentially the building is built like a giant spider web pulled laterally and anchored into the ground along a parabolic arch pattern. From this scallop-shaped parabolic arch rose the cables, all converging to a single point 40 feet high and expanding outward again to form an arc created by a series of points. #4 rebar was driven into the ground for anchoring. This proved to be simple and effective. Turnbuckles and rings were placed around each rebar shaft. When all points of intersection with the ground was complete, then the whole cable system was tensioned for equilibrium. It was like fine tuning a huge musical instrument.
From this tension cable web skeleton a waterproof membrane was then attached. This membrane was hand sewn from four-foot wide rolls at Pineapple Sails Company in Oakland, California. Figure 3.51G shows the sewing of the membrane which permeated the 5000 square foot workroom of the company. At the scalloped edge areas a triple layer was sewn to reinforce all edges from possible tearing under unpredictable wind loads. The shimmering quality of the material under sunlight gave it an ethereal character. The entire membrane took two weeks to sew.
The inclined steel cable in-tension created a lightweight, stable “frame” on which the sailcloth membrane roof could be attached like a translucent skin. The membrane was attached by a series of ring clips, Figure 3.51R, which connected to the taunt steel cables at strategic positions. Wind uplift was an issue to be reckoned with during construction. The membrane was unrolled from the ground upwards and clipped to the inclined cables along the way. A crane lifted and pulled the cloth into position bit-by-bit until the whole membrane sheath reached a state of equilibrium.
Figures 3.51H to 3.51Q show the erection sequence of the tent membrane structure. When the completed structure was in-place then a group of painters were to paint the finishing design onto the membrane while it was laid flat on the ground. At the time of construction there was over 30,000 feet of open parking area with which to coordinate the entire erection process.
The building has since been dismantled and the site sold to the developers of San Francisco’s Design Galleria Company. The Design Galleria now stands where the Celebration of Innovation Exposition building once stood in 1987.
Ecological House of the Future
Shenzhen Ecological Theme Park
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The Ecological House of the Future is part of the Shenzhen Ecological Theme Park and was a concept created by the former vice mayor of Shenzhen, China, Mr. Wang Zhu. The first section of the gallery shows the House of the Future, followed by renderings of the Ecological Theme Park. The goal was to create an environment that taught visitors about the intelligence of plants, trees, and a wide variety of agricultural species of southern China. The challenge of the design was focused on how to encourage visitors to experience the teachings of nature in a first-hand way that was fun, memorable, educational and exciting in ways that make visitors want to come back over and over again.
The Vice-Mayor had put me in-charge of the overall plan of the project and the locations of all buildings. Unfortunately, within a half-year’s time, the Vice Mayor was jailed for embezzlement, and I suddenly did not have a high ranking government official to support my leadership in the project. Senior project designers, because they were older than me, became the Principal designers and took over planning of the 400 acre site.
I designed a series of spectacular “experience” buildings for the site and this particular one was built. This building was the first residential scale building in the world to have a transparent glass pool roof so that rain water could be caught and directed towards an interior waterfall. This waterfall falls into an exterior pond of water hyacinths, mugwort, cattails, and other water cleaning plants. This water is used for sinks and showers. Showers are saw dust-filled, for water-conservation, and the organic matter is composted for growing gardens for vegetables and fruits.
The building, designed in 1999/2000, was designed to be constructed of spray-on, reinforced concrete, and water-proofed with spray-on fiberglass resin. Floors are native flagstone with recycled hot water radiant heating. Up to the year 2000, there existed no circular kitchens in China, and this design was the first constructed circular kitchen, allowing the cook to relate and converse with guests in the house. A 5-meter long, roll-out kitchen buffet table contracts and expands from the kitchen counter wall.
All lighting in all the rooms are built into the wall and ceiling surfaces so the walls themselves are the setting for individual lights. The walls and ceiling of the home are continuously curving, undulating, as if to live inside a giant meandering sculpture. The house is an expression of bridging humanity and nature to share life’s functional efficiency and inspire a creative dimension to everyday living.
Florence Fang Residence
Flintstone House
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THE FLORENCE FANG RESIDENCE: KITCHEN AS FUNCTIONAL ART
Northern California, USA
The current owner of this unique home and kitchen is Ms. Florence Fang. She has worked tirelessly to create a home unlike any other in the world, as exhibited by photos. The exterior of the beloved “Flintstone House” is seen in the gallery followed by a few images of models for a second home on the property, and finally the interior of the home, namely the kitchen, which was designed in its entirety by Tsui Design and Research. (The kitchen was originally commissioned by Ms. Korie Edises.)
The kitchen space in any home is the central workspace that literally sustains the occupants of a home. It has become the space where all the central activities, communication and relationships occur. It is the crossroads of all activities which take place in a home. Simply stated; it is the heart of the home.
A kitchen can also be these things and much more. For most, a kitchen is a hub-bub of activity, a workplace, an area to create and produce. Given the nature of the space should we not take full advantage of our common historical notions of a kitchen and transform it into something uncommon and extraordinary?
There is an extraordinary woman who lives in northern California and wanted an extraordinary kitchen. The owner, who wishes to remain anonymous, is an individual who lives among works of art. Her life is surrounded by artworks from different artists and she has a particular liking to certain colors–brownish orange, ochre yellows, deep reds, and purples. The new kitchen replaced an existing kitchen that was a utility and workspace consisting of a sink, floor cabinets, stovetop, and refrigerator. The owner wanted the kitchen to be express her sense of a life of art. Something that was different and lively.
The kitchen was conceived as a place full of life. Every detail is considered as a significant part of the whole. It has been said that ” there is more design per square inch than anywhere else in the world”. And perhaps that is true–for every aspect of the space is a stunning, visual banquet of interest and jubilation.
The design intention was to understand the way people move and circulate around existing areas such as the stove, the sink, the dishwasher, the refrigerator, doorways, etc., and compose the circulation of the space in a way that is efficient, comfortable and convenient. The placement of work areas and the heights of cabinets, the angles of handles, the position of lighting fixtures, all are designed to accommodate the natural movements of the human body. In this way, the kitchen is “alive” with the best aspects of functionality and emotional delight. It is a wonderland of color, form, reflectivity, and surprise. A place for an individual with the heart of an artist.
SPECIAL FEATURES
Undulating steel pipe support for 1/2inch thick tempered glass, curving kitchen countertop.
Seating area of glass and bent wood painted cabinets with a chemical reactant paint to produce a rust surface.
Perforated seat backing and sink screen with lighting behind. Backlighting also makes the fiberglass kitchen sink glow with an ethereal light.
Sculpted built-in lighting.
Specially designed entrance and exit gates.
Soffit lighting with solid glass rocks that glow with light.
Glass blocks of varying shapes to create free-standing sculptural walls and partitions.
Hand-cut perforated screen murals as window treatments.
Cantilevered circular wall display coves with hidden lighting to accent works of art.
Steel cable suspended glass countertop with undulating flexible aluminum electrical coils to a glass block and brushed copper grouping base.
House of the Seven Boulders
House of Seven Boulders Alameda, California US
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Alameda, California USA
The rear portion of the house opens onto a beautiful water canal. An extensive pink flagstone patio/deck contains an array of large, rounded boulders that nestle among a water slide, form a recycled waterfall and partially border a sunken garden at the water’s edge. A circular boat landing dock, also of pink flagstone, receives boats and swimmers from the canal. Multiple level changes create a dynamic and invigorating daytime environment. At night, the built-in undulating wall lights, water slide, and waterfalls reflect upon the canal water creating an elegant and magical appearance. Specially designed chairs, buffet table, colored glass mural, and ceiling wood grill and rice paper skylight complete the design of this marvelous building.
Reyes Residence
Remodel & Addition for Remy & Vince Reyes Oakland Hills, California USA
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Owners: Vince and Remy Reyes
Location: Oakland, California
Project Managers: Mr. Scott Looney and Ms. Tze Yan Szeto
Contractor: Mr. James Corrie, Man Made Construction and Tsui Design & Research Inc.
Date: 1991 to 1993 (Design and Construction)
Cost: $44,000.00
Square Footage: Approximately 700 square feet
Construction Materials: Douglas Fir, plywood, acrylic panels, marine fiberglass, galvanized metal pipe, steel cable, “Structolite” plaster, concrete and schedule 40 steel pipe.
Special Features: Spiral viewing window, frameless acrylic openable windows, earthquake resistant tension cable shelves and tables, hand-sculpted structural plaster, radiant recycled water floor heating, hinged “dragonfly” roof ventilation “wings” operated by hand ratchet cranks, earthquake resistant truncated cone structural design, “Polygal” thermal/translucent skylights, outdoor tension cable bracing system.
Owner Requirements: Convert the ground floor to accommodate a single bedroom, a bathroom, office/study, photo gallery, storage areas and an exterior solarium recreation room. Include a stairway up to the second level (main entrance level).
Ecological Requirements: None
General background of the Project: Vince and Remy Reyes live in a house in Oakland, California with their three children and grandfather. They needed more room in their home and wished to remodel an existing ground floor/basement as well as build an exterior recreation room to their house. The Reyes’ wanted something innovative with the feeling of softness and continuity. The overall design was developed jointly between architect and owners with both parties sketching out their ideas and the architect bringing the ideas together in a cohesive whole. Working drawings and the issuance of a permit to build went smoothly. The building department personnel were excited about the project. In fact, when the building inspector arrived to issue the certificate of completion, he brought his camera to take photographs. Similarly, the neighbors seem very supportive of the project during its construction and enthusiastic individuals freely volunteered their time to see the project to completion.
The structure is the first instance of creating a “living” architecture or what we call an Evolutionary Architecture at TDR. That is, using nature as a basis for design and producing buildings that contain working and moving parts as significant features that respond to environmental, technological and programmatic requirements. With the introduction of buildings that move, architecture is better able to respond to the changing requirements that are put upon it–like a living organism. Architecture is no longer a static machine. This new sense of structure and order is a natural evolution that will take us into the 21st century. Gone is the heavy-handed and dark roof structure. Gone is the box-like rigidity and confining implications of rectilinearity.
Professional cost estimators and contractors bid on the project with square foot costs in the $150 to $250 range. Some estimators could not give a cost to the design. These bids were beyond the budget of the owners therefore a team of intern architects at Tsui design and Research, Inc., organized to construct the design. In total the construction required eleven months of labor and the involvement of of twenty-six skilled and unskilled laborers. A great deal of experimentation was involved in the construction. New kinds of materials had to be found and new application techniques were created. For instance, a fire-resistant plaster material called “Structolite” was applied as an interior sculptural finish over one-inch diameter “truckers rope” to create the undulating wall treatments. Under normal circumstances the sculptural details would have to be custom plastered. We created a simple, economical procedure that eliminated costly hand-forming. Innovative applications were created almost weekly with great success. The greatest challenge throughout the construction was to keep up the spirit of daring and imagination without succumbing to conventional means and results.
Specifically, the interior contains a master bedroom, two walk-in closets, a hall photo gallery, an office/workspace, a bathroom and three large storage areas. A carpeted stairway leads to the upper floor. The gallery culminates at the solarium recreation room half circle in plan. This glass, wood and stone structure is shaped like a truncated cone with an unusual wing-like roof with hinged fiberglass “dragonfly wing” structures that open and close with a turn of the crank. This opening roof feature allows cool breezes and sunlight to enter the room directly and maintains an even and comfortable temperature range throughout the year. Experientially, the intention of this design is to let the viewer directly observe the changing qualities of light and to be sentiently aware of the movement of clouds, the sun and moon and the presence of stars.
All walls, floors and ceilings were designed to be continuous–to convey a sense of unity and repose and to let the spaces seem expansive. With this curvilinear quality of unity the eye is carried around the space; there are no visual planes and corners to cut and butt up against one another. All is a harmonious play of soft light. Ornament becomes an integral feature of the structure. The continuous curves of the shelves, suspended on thin steel cables, are well suited to children for there are no sharp angles to fall on or bump into. Tables and walls gracefully accommodate the natural flow of circulation. Floors are radiantly heated by recycled hot water running near the surface of the concrete slab. All rooms are comfortable and evenly heated. The natural colors of deep red, natural wood and white gives the whole a countenance of quiet dignity. All aspects of the construction are custom crafted with close supervision and participation by the architect and much of the work was done without experienced labor. Many of the details were drawn in actual size on-site by the architect. Curvilinear characteristics have a deeper value than mere appearance. Curved forms are able to support themselves and resist forces much more efficiently than flat and angular surfaces. Curved surfaces use 1/3 less materials per given volume than rectilinear forms. The solarium is conical in shape–one of the strongest shapes in nature–and can resist shaking. It is also a very stable form as the base is greater in area than its upper portion. The conical form is also very efficient in cooling because the hot air rises and is funneled quickly out of the space.
All heating and cooling is passive. Even small details such as the steel cable tension wires holding the shelves and tables were designed to address earthquake forces quickly by allowing the shelves to “float” and flex during shaking. Using these steel cables provided a tremendous cost savings. The cable hardware cost about $150.00 total. Compare this with the cost of $1000.00+ for typical labor and materials. The cables were in-place within half a day as compared with two to three days for a skilled carpenter. By inventiveness and resourcefulness it is estimated that the cost savings to the owner was nearly $96,000.00 based on bid costs by other contractors.
Self-Sufficient House
Self-Sufficient Residence Midwest, USA
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Location: Midwest, USA
Date: 1996-1997
Cost: $60,000.00
Square Footage: 1000+ Square Feet
Construction Materials: Reused automobile tires, reused telephone poles, recycled aluminum cans, reused plate and tempered glass, reused lumber, acrylic, flagstone, native stone, sand, stucco and bermed soil.
Special Features: All south-facing glass wall for solar heat gain, north-side waterfall for summer cooling and winter heating, 4 foot diameter spherical wood stove for heating, all recycled structural materials, entire roof acts as rainwater catch directed to 16 foot diameter water cistern at west end of house, outdoor soak tub, north side 18 foot high soil berm, all automotive tires encased in concrete and stucco. All power generation is done through photovoltaic panels. Water is from an underground aquifer and rainwater. Insulation is provided by bermed dirt, automobile tires, aluminum cans, concrete and stucco.
Owner Requirements: Use as many recycled, locally found materials as possible. Ecological relationships are a primary issue to be addressed in the design. Integrate the principles of permaculture for building/site relationship. Find cost efficient methods and materials especially for the functioning of electrical, plumbing, heating and cooling systems.
Ecological Requirements: Every functional item must utilize ecological concepts as a directive of the design. Building and site should be mutually enhanced by each others presence.
General Background of the Project: The client is a unique individual. Having been Vice-president of a local copy business for several years the client decided to step-out of this stress-ridden business world and live close to the earth–to live off the land. He acquired 8 acres of property and decided, at first, to build a log cabin-type of residence on the site. Having gone to see the fabricators of this type of building he was immediately disenchanted with this approach to architecture. He then searched for anything that might be of interest in publications and through the Internet. He came upon our web site and perused it with interest. Having liked what he read and saw he arranged to come by my office for a closer look at things.
It was immediately clear to me that I did not need to educate this man about the principles of evolutionary architecture. A rapport was instantaneous. Mr. Gorsuch returned to Columbus, Ohio to think over what was he really wanted.
Some weeks later I went to visit the site in the midwest about 25 minutes. We walked the site. That evening we developed a preliminary concept: the building would be small and would respond to the many and varied environmental factors particular to the site–it would become an ecological benchmark within the natural environment. The budget dictated using the most common, easily found materials available–the least expensive that were structurally sound. Many calls were made to local building materials recyclers and salvage companies. The building would be heated and cooled in the cheapest way possible–by the sun, shade and moving water. It would be constructed of throw-away tires and telephone poles.
The orientation of the building was vital to its function; directly south for maximum sunlight and heat with a great soil berm to the north for maximum insulation from cold winter winds. The south heat can be controlled by the presence of a large continuous garden dissipating blinding south light and solar heat gain. All light and heat is provided by the sun. A waterfall at the north wall of the interior provides moving water-cooled air and added heat in the winter by way of an instantaneous propane gas heater heating tank to the waterfall.
All cabinetry, shelves, appliances, baths, sinks, etc. are built-in to the structure of the house–an integral part of the house. Wherever possible each structural element of the house supports itself without additional material and buttressing. For instance, the south-facing glass sheets are mitered at a 90 degree angle so that each piece is reinforced by each other without the need for cross-bracing and framed reinforcing. The house features a north-side entrance tunnel made of concrete and aluminum cans forming a continuos parabolic archway. Since he client himself is the builder of the house, detailed drawings had to be delineated in such a way as to be readable to a person who has no previous experience reading and interpreting construction drawings. All furniture was uniquely designed for the house and built by the client. The entire house with all appurtenances is built by the client with occasional assistance from Carl Bauer, a local contractor who built a tire-house for his family.
It became clear that the design of the house extended into the site itself: the placement of fruit trees, vegetable and herb gardens, chicken coops, ponds, access roads, barns, etc., all became a crucial design in the overall scheme of things which related to the functional importance of the house–to monitor and harvest the fruits of the land. The resultant design was developed to make use of every available space within. Enclosed spaces have multiple uses: refrigerator and storage under the stairs, mechanical shelf cove over the office and bathroom, garden, laundry together in one room.
All structural items were chosen and dimensioned to be relatively easy to handle without heavy machinery and with only two to three persons. Automotive tires are placed one-at-a-time by a single person and the telephone poles are placed in reinforced concrete holes formed by tires placed in the ground. The poles can be positioned by two or three persons and permanently fixed into place. Fundamentally, the structure of the house is made of the reused materials of tires and telephone poles. These are then covered by concrete and stucco to form an encased shell and to create a continuous structural unity throughout the wall to guide stress and strain forces.
Ten photovoltaic solar panels provide electrical power to the building and these panels are connected to converters which operate the 12 volt lighting, the water pumps and all appliances. The south-oriented building captures sunlight at a 120 degree swing from dawn to dusk year round. The roof is designed with a continuous incline so that during rains, which are frequent, water is directed by gravity to the north wall of the house and then, through a westerly gutter, to the west side cistern catch basin. The basin is 8 feet deep and 16 feet in diameter. Water from the basin is pumped into the house on demand. The concave curve of the north wall combined with the stepped incline stacking of the tires effectively resists overturn forces from the great north soil berm. The curved design is, in fact, strengthened by the pressure of the soil by pushing the tires tightly together enhancing their ability to act as a unified structural system. The earth and building form an interconnected structure–the one exalting and stabilizing the other over a 120 foot long distance.
The owner considers building and living in the house an adventure and is excited to begin a new way of life harvesting the bounty of the land taking lessons from nature.
Tardigrade/Fish House
Residence for Florence and Willian Tsui aka Tardigrade House/Fish House
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Owners: Florence Tsui
Location: 2747 Matthews St., Berkeley, California USA
Date: 1993-1995 (Design and construction)
Total Cost: $250,000.00
Square Footage: 2000 square feet
This structure, also known as Ojo del Sol, is based upon the world’s most indestructible living creature–the Tardigrade, with its oval plan and parabolic top it utilizes the same structural principles nature employs in creating an astoundingly durable design. Internationally touted as the world’s safest house it features an oval reinforced concrete foundation over a series of large perforated drain pipes that immediately dispel any water built up and heaving from the soil or sudden flood conditions. Water is immediately taken out through a large storm drain. The house is partially buried in the soil about 1.5 meters and the walls are made of recycled styrofoam and cement block called “Rastrablock”. It is impervious to water, fire, termites, has a 40+ R-Value rating and reduces sound by 50 decibels. It is also 10% less expensive than conventional framing construction and much less labor intensive since the blocks are simply glued together, rebar placed inside and concrete poured in. The upper structure is a series of parabolic arches connected by stressed wood sheathing and sprayed with reinforced concrete tied into the recycled block system creating a continuous, unified shell. A series of black flex tubing is placed on the roof to act as passive solar warm air vents. The house has proven itself to be cool in the hot summer months and warm in the cold winter months, all without mechanical air conditioning and heating machinery. A 5 meter diameter south-facing window acts as a light and heat (winter) magnifier to provide light to the central 10 meter high rotunda living area. From this open rotunda light and heat is distributed to the rooms of the house at two levels. Inside, the house contains three ever-deepening levels at the ground floor. The house grows more spacious the deeper one walks into it. The core living area features a suspended spiral ramp with steel cables radiating from the roof skylight. The 220+ square meter house contains a living/conversation area, a recreation room, music/study room, laundry, kitchen and antique display area, three bathrooms, three bedrooms, continuous hallway cabinets, sunken outdoor patio and garden. All but three of the windows in the entire house are openable. All shelves and cabinets are built into the structure of the house and cannot be broken apart in an earthquake. All forms are curvilinear for safety and ease of passing. Every part of the house is interconnected structurally with every other part of the house. The structure disperses stresses and strains that act upon it unilaterally. Manually operated opening and closing “Nostril” windows let in fresh air without letting in insects. Its aerodynamic shape also prevents fire, carried by wind, from adhering to its surface, helping to prevent fire.
Construction Materials: Concrete, styrofoam/cement block, “Hardwall” structural plaster, Stucco, Non-toxic waterproofing, acrylic, marine fiberglass, douglas fir, recycled wood, birch veneer plywood, “Opalina” iridescent paint and rich gold exterior paint.
Special Features: The house is a precise ellipse in plan and contains four bedrooms, three bathrooms, a circular living room, sunken outdoor patio and carport. The two story structure utilizes a unique system of recycled styrofoam and cement blocks reinforced with steel and concrete. This material called, Ener-grid Block, is lightweight, fireproof, waterproof, termite-proof and extremely earthquake resistant. Structurally the block creates a reinforced lattice structure, very much like the skeleton of the Cholla cactus. Stress and strain forces are distributed equally throughout the lattice network. The continuous elipse wall forms an extremely durable shell chosen because of its properties of lateral rigidity.
The walls of the house are angled inward at 4 degrees to create a compressive structure with a low center of gravity; further aiding in resistance to lateral turn-over forces produced by strong earthquakes. This approach to structure has proved to be superior to the box configurations that is typical of buildings of the past. The curvilinear continuity of the ellipsoid form distributes loads in a dispersed manner tangent to the surface, thereby preventing point loads which are potentially destructive to the structure as a whole. This approach to structural integrity increases the internal strength of the frame while minimizing the surface area. By contrast, the box frame is poor at negotiating point loads because it needs supplementary reinforcing to resist tangential forces. In addition, the joints are at greatest risk because stress and strain forces stagnate at the corners requiring further rigidification and bracing to prevent the natural tendency to skew.
Another advantage of the Tsui house design is that the exterior walls, being curved, deflect and accelerate wind currents around the surface preventing the vacuum suction phenomenon, so prevalent in flat plane surfaces, from occurring. The dimpled surface further enhances the efficiency of the aerodynamic shape by relieving wind friction. One of the most pronounced dangers of flat surface buildings are their ability to draw fire to themselves. Flat planes are fire targets in a high-risk fire area where winds are unpredictable. When a flame-carrying breeze contacts a flat surface it creates a small vacuum on that surface. This vacuum sucks fire onto the wall and accelerates the process of flame spread. By curving the walls, as in this design, this vacuum effect cannot occur and winds and flames are taken away from the surface helping to prevent flame build-up. For the Tsui house design an additional ring of four water jets immerse the exterior of the house in the event of a neighborhood fire. This precaution renders the house virtually fire-proof from the outside.
The design program approached the house as a living organism capable of actively responding to various natural elements of the site. A prominent example of this is the subsurface solar water tubes that are positioned to correspond to the sun-ray like exterior motif that covers much of the upper level of the house. Water in the black tubes is heated by the sun throughout the day. At night the stored heat is radiated back into interior of the house walls and provides radiant wall heat. This subsurface solar heating system was conceived by studying the bone and capillary structures of two dinosaurs, the Dimetradon and the Stegosaurus. Both reptiles utilized a form of biological solar heating by way of the large sail-like structure on the back of the Dimetradon and the series of plate structures on the back of the Stegosaurus. In both these ancient reptiles the plate structures were surrounded by a very packed configuration of blood veins. The sun heated up these veinfilled plates and helped to regulate the body temperature of these reptiles. Thus a form of living solar heating was being practiced 150,000,000 years ago.
The continuous curvilinear form of the building maximizes the capacity of the exterior surfaces to drain away water, particularly when the exterior jet sprinklers are activated. For this and other reasons the house contains no eaves, soffits, shingles and related architectural features common to traditional buildings. Waterproof sealant is used both as an admixture to the cement plaster exterior as well as separate surface coating. The styrofoam/cement blocks render the house impervious to termites.
On the interior there exists no stairs–the multiple levels inside the building are reached by a series of ramps which culminate in a central circular ramp at the midpoint of the house, figure 10. The name of the house “Ojo Del Sol” (The sun’s eye) or Tai Yang Yen, in chinese, comes from the eye-like “oculus” window, fifteen feet in diameter, facing south, which disperses sunlight inside the house and warms the floors surface. In the daytime the floor absorbs this solar heat. At night it radiates into the spaces within.
The circular “oculus” window on the south-side of the building disperses sunlight into the house to warm the floor surface.
The ground level is three feet below grade to make insulation more effective. Three levels divide the ground floor into three living zones. The upper floor level features a series of specially designed trusses modeled after seagull bone marrow. The challenge here was to create an overhead truss system that minimized material usage, was extremely lightweight for ease of transporting and placement, and was very strong. In nature, an ideal candidate for fulfilling these requirements was the seagull bone. The bone is comprised of a series of angled struts integrated to the bone surface from bottom to top. By minimizing the number of struts and open space the seagull bone becomes a wonder of natural engineering. By understanding the principle at work in the bone we are able to solve the problem of material/weight efficiency without having to resort to the convenient but inefficient use of pre-manufactured beams and struts.
Owner Requirements: Maximize the usable square footage of the lot (35 feet wide by 100 feet long with a 28 foot height restriction). No stairs. Four bedrooms. Three bathrooms. A place to park a car. Privacy from neighbors. Lots of light. Conserve heating and cooling bills wherever possible. Absolutely waterproof foundation. Minimize or eliminate grass areas. Fans in all bathrooms. A place to display art items. Do not go over budget. Spaces open to one another.
Ecological Requirements: None. The owners were gradually educated about the benefits and advantages of a nature-based, ecological approach to designing their home. They grew to support this ecological attitude especially if it meant a cost savings and a simpler way of maintaining the home.
Tsui Design & Research
Tsui Design & Research Inc., Headquarters Emeryville, California USA
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Owner: Eugene Tsui
Location: Emeryville, California USA
Date: 1991 and 1992 (Phase I) 1996 and 1998 (Phase II)
Cost: Initial Building: $285,000.00; Phase I Build-out: $40,000.00; Phase II Build-out: $80,000.00
Construction Materials: Recycled styrene and concrete blocks, wood, metal, Polygal plastic, glass, steel cables, recycled newspaper, formed conduit pipe, formed copper pipe, spray-on cellulose, Structolite plaster, nontoxic paint, waterproofing made from water-based glue and paper, recycled tin cans and trucker’s rope.
Special Features: Suspension cable suspended floors, 20 foot high entrance waterfall, self-invented waterproof materials, recycled granite and broken mirror countertops, recycled water heating system, plant and water-based water recycling systems, plant-based interior temperature and humidity control, solar and hydrogen gas power systems.
Owner requirements: Completely self-sufficient office environment using plant life for interior environmental control. Building countenance must express and implement the principles of Evolutionary Architecture. Plan must accommodate an interdisciplinary use of space affording an adventuresome spirit in the interaction of people, yet convey a sense of self-reflection and mystery. Spaces must contain the incubus of the sacred with a vision of the far-reaching.
Ecological Requirements: Every aspect of design, construction and the finished building utilize the utmost in energy conservation, materials conservation and nontoxic materials use. Wherever possible the building itself shall be an educative experience in understanding the nature-based technology, structure and aesthetic experience.
This 700 square meter office currently contains two levels of office and laboratory facilities. Completed construction will add another 1250 square meters of space with four storeys. When completed the entranceway features a 7 meter high waterfall through which visitors enter into the “wave wall” reception area. Floor elevations change with a series of ramps leading to work stations, a full circular kitchen, conference area and countertop storage areas. A driveway ramp leads to a loading area and many tension cable shelves line the space for library and reference books. A central 200 square meter open space accommodates exhibitions, structural model experiments, parties and lecture gatherings. Two specially designed full baths feature recycled granite and marble countertops, swirling cement bas reliefs, translucent walls with seashells, circular tile and glass marbles and a waterfall tub and multi-person shower area. A special stair design of structural plate steel leads to the second level and a 6 meter diameter geodesic sphere houses the computer office. All second level structures are suspended by stainless steel cables for safety in event of an earthquake. The suspended levels will “float” over earthquake tremors and remain flexible. A 6 meter by 8 meter reinforced concrete vault is an archival room and wind tunnel testing facility. Most of the interior walls are made from “Rastrablock” recycled styrene and cement blocks and spray-on cellulose to provide acoustic insulation and a kind of soft, human feel to the walls. The cellulose is sprayed over a galvanized mesh which acts as a structural frame. The upper third floor level is more office space and a gallery for small displays. The roof contains a recreation garden area which culminates in a circular swimming pool. Photovotaic panels are attached to opening and closing transparent panels that let in breeze and a “Living Machine” recycled water system is positioned around the periphery of the roof deck.
General Background: In 1988 having finished his Doctoral studies at the University of California, Berkeley, Eugene Tsui was looking for a suitable place to begin his architecture practice, design facility and educational center. It had to be centrally located in the San Francisco Bay area yet be able to contain at least 5000 square feet of enclosed space. Open land was preferable but none was found to have easy access by automobile and be affordably priced. The alternative was to find an existing building which could be modified to accommodate the needs of an office, workshop and school. A strategic area of the San Francisco Bay is a tiny town called Emeryville. Just one square mile in area the city is a central hub to major cities in all directions. A 5500 square foot building was purchased and retrofitting was begun immediately with the first phase build-out implemented primarily by voluntary apprentices and intern architects. During this first phase process many new structural systems and materials were explored and developed through trial and error. The general design was initiated in 1990 and modified several times to the present.
The building plan was developed to accommodate a multipurpose use of space. An exhibition/performance area could seat up to 350 people for music performances, lectures, poetry readings, seminars and workshops. To the south are located the main suspended drafting tables and built-in cabinets. The east-facing entrance is a twenty foot high waterfall with two crescent-shaped doors as pass-through walkways. This leads into the reception area which features a large bas-relief monochromatic mural of turbulent ocean waves and a brilliant sun peering through. At your feet are desert flagstones forming plateaus and ramps throughout the principal workspace. The machine shop is located just behind the front roll-up door and is completely enclosed by recycled styrene and cement block walls and structural plastic (Polygal) clerestory window panels.
Further west into the plan are two unusual bathroom structures made of bent plywood and stucco cement, moss rock, reinforced concrete recycled white and brown granite, ceramic tile and glass rocks (solid glass chunks). The upside-down truncated cone of bathroom I gives an expansive feeling to an otherwise confined space. The interior walls are made of hand-sculpted plaster bas-relief design surrounded on the upper edge by a continuous band of light. Indoor plants hang from this light well. The truncated cone shape is an excellent form for earthquake resistance. It is economical in its use of materials, has a high strength to weight ratio and is simple to erect.
Bathroom II features a solid wall made of moss rock which becomes a seven foot waterfall that plunges into the granite, rock and ceramic tile bathtub/pond. A multi-person shower room connects with the main tub/pond and the whole is covered by a steel reinforced wall with tranluscent sheets of clear plastic coated with nontoxic sealant to give a dynamic, aquatic ambiance. The experience is as if you are in the underside of a giant cresting wave, “shooting the tube” in surfer terminology, and the wave is suddenly frozen in action. All materials are waterproof. To enter the shower/bathing area one pivots a colored glass mural from the toilet and sink area.
Much of the floor, at ground level, is painted a sky blue to express a sense of expansiveness. In-floor glass blocks are lit by hidden bulbs. The floor design is formally integrated with the overall scheme. Just as all of nature’s creatures and their habitats are a continuous whole so the individual elements of human design are essential as constituent parts of a structural whole. Every structural element of the Tsui Design and Research building is a continuous extension of those parts that support or are supported by it. In other words, the four story building acts as an integrated unit dispersing stress and strain loads and transferring them uniformly around the entire structure rather than to static points. Structurally speaking the building behaves like a living, dynamic organism instead of a static, geometric box.
All interior walls are made of galvanized, 3.4 rib-lathe sprayed with a cellulose (recycled newspaper) and water-based glue compound. The labor savings using this method are tremendous. 5000 square feet of compound curved surfaces and fluctuating arcs where covered in 2 days. Such a task would require at least six to eight weeks using common troweled-and-floated plastering methods. Conservative estimates approximate the cost savings by up to two-thirds of conventional bids. Added benefits include the acoustical and insulative value of the cellulose material. Three inches of cellulose attains an R value of 16+. Three inches of the same material has a decibel absorption rating of many decibels higher than plaster. The material does not ignite and retains its strength after being thoroughly soaked by water. Some areas are again coated with a durable protectant.
The Tsui Design and Research facility is a self-sufficient prototype for office/school environments and a forum for experiments in structure, materials and methods of construction. The overall plan is previously designed but the specific materials and construction methods are purposefully left open to the implementation of new ideas and developing materials that may just have been discovered. This spontaneous decision-making process allows for the most effective applications of new materials. It readily accommodates the acquisition of new information without the customary rigidity and obligations normally involved in construction documents and the in-field building process.
One of the most dramatic and striking features of the office design is the south and north-facing opening roof panels and retractable membrane (tent) structure which encompasses the east and west side of the building. The desire here was to liberate the inner sanctum of space and infuse it with a profusion of sunlight–bring the heavens into the building and let the building reach upward and outward to the surrounding cosmos. This is created by the use of translucent, hinged panels made of marine-grade fiberglass treated with a ultraviolet coating. The hinged panels are manually operated through a mechanism of gears. The panels act as deflectors of breeze and help dissipate stagnant heat by offering a way of escape from the interior. Simultaneously they also function as sun visors to help regulate sun and heat buildup.
The retractable roof structure acts in much the same way that a convertible car roof acts upon the passengers of an automobile. The desired effect is simply that of opening the interior workings of the building to expose everything to the great warmth of sunlight. In this way the internal spaces become expansive like the great outdoors, illuminated with great draughts of space and brilliance. At times sunglasses become a standard tool of choice and the office as actively invigorating as any sun-drenched beach.
The frontal conference cocoon serves as the all-pervasive “eye” of the street. This aerodynamic structure cantilevers prominently over the street below. The structure is assembled with a series of curved trusses which, in unison, form the outward shape of the room. Made of reinforced, lightweight concrete with an interior spray-on cellulose material for insulation, the room’s upward inclined walls lend a gracious sense of expansiveness and security. A walkway bridge leads from the helical stairway of the exhibition area to the entrance landing of the conference structure. Directly above this form rises the swimming deck and the retractable membrane roof. During the hot summer months this tent canopy is raised by a series of pulleys to let sunlight directly bath the lower workroom area and the upper patio deck.
The exterior walls of the building give the countenance of an exploding star cluster expanding outward from the central 20 foot waterfall immersed over a curved sheet of reinforced glass. This waterfall is recycled throughout the entire building. A series of parabolic reflecting mirrors at roof level focus intense sunlight on a small diameter clear tube with water running through it. The heat kills the bacteria in the water as it passes through the tube. The water then is gravity fed down the various levels of use; toilet water, running tap water, plant water, etc. finally reaching the east waterfall to begin the cycle again.
This integrated water system is an example of seeing the architecture as a living organism. Knowing that a strong environment of biodiversity is essential to continued vigor in an ecological system the selection of water habitats, plants, fish, vegetation and trees linked to the interior and exterior environment of the office would become, in theory, a self-governing life replenishing system of its own.
Watsu School
The Watsu School at Harbin Hot Springs Middletown, California USA
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Owner: Mr. Harold Dull, Director
Location: Middletown, California USA
Date: 1992 to 1996, will be completed this year.
Cost: $4,500,000
On a majestic hillside overlooking the forested ravine and mountains of northern California sits a most unusual building. It is a special school of massage that is performed in water. Harold Dull, the inventor of this system, has built a school which features five 81/2 meter to 10 meter diameter spheres formed in wood and sheathed in stucco cement and waterproof vinyl composite. A waterfall seemingly connects two outdoor pools, with a cave behind it. The spheres contain classrooms, commercial kitchen, and offices, sleeping quarters, residential quarters and a three-story studio. Fireproofing is created by a series of outdoor sprinklers at the center roof of each sphere. In case of fire the spheres are immediately immersed in water becoming impenetrable to fire. At the base of each sphere is a water trough of moving cold water that naturally cools the air around the sphere. Small tubular openings contain solar-powered fans that draw the water-cooled air in and push hot air out the roof top openings; creating a natural, continuous air exchange system. Recycled paper pulp mixed with water-based glue is sprayed into the open structural cavities of the walls to provide excellent insulation. The spherical shape–minimizing surface area while maximizing volume covered and structural strength–has proven itself to maintain a cool interior temperature even when the outside temperature reaches beyond 42 degrees Celsius and even without the insulation put in. The spherical shapes also activate wind flow to further cool the buildings. They are also extremely durable and stable; easily able to resist earthquake forces acting upon them. In fact, it has been proven that the sphere is the strongest most efficient shape in the universe. Every detail of the building is unique including the stone retaining walls in which the rocks seem to grow straight out of the wall with brilliant glass marbles placed between the stones. The floors too are made of silver quartzite flagstone with flattened glass marbles of iridescent and transparent quality shimmering in the floors. This is a one-of-a-kind building open to public tours and visited by millions of persons from around the world.
Construction Materials: Native boulders and stone, Madrone, Birch, Douglas Fir and Redwood(dome structures), glass, Polygal, spray-on cellulose, spray-on concrete, acrylic waterproofing, galvanized steel pipe, waterproof nylon and ceramic tile.
Special Features: Five 3/4 spheres with two spacious levels in each; spheres are extremely strong and efficient–excellent for use in this earthquake and landslide area. All five spheres can be built in two weeks time and be ready for assembly prior to issuance of the building permit; the building faces predominantly north–away from the sun for insulative purposes in this very hot climate; solar-powered ceiling fans in every sphere create a continuous circulation of fresh air that is drawn in over a series of water-cooled troughs at ground floor level; Spray-on cellulose is used as both inner wall insulation and interior wall finishing providing very good acoustic insulation as well; opening windows provide natural, economical cross-ventilation for temperature control; all stair areas are simultaneously used for equipment storage; vegetation is used to control solar gain adapting to summer and winter climatic changes; an exterior sprinkler system over every sphere can be manually activated in case of fire or extreme heat rendering the building virtually fireproof; passive solar glass tubes provide hot water throughout the building; on-site boulders and rocks are used as barriers to keep large animals away.
General Background: Mr. Harold Dull is the inventor of a new form of therapeutic massage called, Watsu. It is administered in a pool or large body of water and utilizes stretching and shiatsu techniques in a weightless, aquatic environment. A pool of water is essential to the therapy. In the summer of 1991 one of our intern architects was learning the techniques of Watsu from Mr. Dull when, during the course of casual conversation, Mr. Dull mentioned that he had a vision of a school for Watsu that should be like no other building in the world. The intern suggested Mr. Dull contact us to discuss various ideas and possibilities.
When Harold Dull came for his visit he was visibly delighted with what he saw in our office and we talked further about the kinds of uses he envisioned. The nature of the site was crucial to understanding the limitations of the design. After spending three days at the site making note of the soil qualities, the sun movement, the climatic and panoramic qualities, the challenges of the project began to become clear.
Earthquakes and soil slides loomed as destructive occurrences. The heat, normally around 90 to 100 degrees eight months a year was another challenge. The south-facing slope of the site overlooks a beautiful, tree-lined valley with green mountains rising beyond. Fire ever threatens the site and being uphill the air currents would potentially fan the flames of any burning object.
Taking these many hazards into account the building required structural qualities and features that effectively addressed these hazards. Thus, the character of the building must be based upon a structural system that was rigid enough to disperse earthquake shaking yet be economical in its use of materials and subsequent enclosure of space. Geodesics came into view here as they are inherently strong, lightweight, economical–using 1/3 less materials to cover the same amount of volume as a box of equal size. Because the dome shape also minimizes the amount of surface area it means less heat build-up from the intense sun. The shape also lets water fall evenly around itself creating a cooling feature consistent with its form. Geodesics also provides an aerodynamic efficiency suited to this hillside site.
The final constructed design was developed in response to Mr. Harold Dull’s desire to give each functional area more privacy instead of being grouped together. To achieve this meant creating a series of structures in close proximity to each other. Again, geodesics seemed to be an intelligent choice for a structural system. Taking into account economy and structural strength we decided to use the geodesic sphere as a basis for enclosed volume. The framing struts of the spheres could be cut before the construction permits were issued saving even more time. The five 3/4 spheres can be framed and sheathed in two weeks. The bottom half of the sphere is attached to a concrete ring apron, which makes the structure itself work as an integrated unit dispersing omnidirectional stress and strain forces. An added benefit are the aerodynamic characteristics of the sphere. It is an excellent form for wind creating relatively little turbulence on its surface.
Inside insulation is provided by a honeycomb, prefabricated paneling system called Hexcel, . This paneling is cut into triangular shapes suited to the unit cells of the geodesic spheres and clipped into place. The R-values are in excess of R-24 and the panels are inflammable and do not lose strength when immersed in water and dried. They are also termite-proof. The panels provide a one-step construction process of structure, sheathing, insulation and interior wall membrane thereby eliminating three time consuming and costly steps in construction.
Interior finish is provided by a spray-on cellulose material called, Thermo-con, which is recycled paper mulch mixed with water-based glue. The material is non-toxic, slightly soft to the touch and can be sculpted by using the spray gun to build up chosen areas. One inch thickness provides approximately R-6 insulation values and it is extremely sound absorbing. Its density can be controlled upon application and a wide selection of color is available. For our uses a white color was chosen to reflect heat and to create the ambiance of expansive space.
At ground level, vertical pipe supports are placed at various angles creating a sense of dynamic movement. These columns are integral with the built-in furniture and wall systems of the spheres. Each of the five spheres are surrounded by a continuous trough of water. Above these troughs are a series of hollow tubes which draw-in fresh air that is cooled by passing over the water troughs. Once inside the air warms up and rises passing through a series of open vents at the periphery of the second floor. The warmed air continues to rise following the curving walls of the sphere until it reaches the peak of the sphere and exits through the upper vent cap opening. A solar powered fan blows air down to create a continuous flow cool and warmed air to keep the interiors cool when temperatures outside soar to beyond 90 degrees Fahrenheit. Opening windows, located mostly on the north sides for cooler air, provide cross-ventilation–a natural air conditioning system.
The design of the Watsu center also features two pool areas, one indoor and one outdoor, both connected by a waterfall. The enclosed pool is surrounded by a glass canopy with metal “spikes” pointing skyward. These spikes contain directional lighting to light the immediate grounds of the school. Heat gain from the sun is controlled by the use of planted potato vines and Bougainvillea which grow dense and lush in the summer and thin-out during the winter.
The pools are four feet deep and are warmed by passive solar tubes which face south. The water is recycled through a filtering system in the underground mechanical room. A continuous ramp leads from the pool deck level into the water and concludes at pool floor level. The pools are easily accessed by the physically impaired. Of note is how the elongated pool soars out over the hillside creating a compelling visual experience from its deck area. The entrance to the Watsu complex is from the north by way of the parking area. One passes through two lighted water fountains and under a bridgeway which spans between spheres one and two. The presence of water is a prominent feature of the school and introduces the visitor to the principles of Watsu.
Williams Addition
Williams Addition Berkeley, California USA
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Location: Berkeley, California
Date: 1996
Cost: $25,000.00 including design, architect’s fees, permits, engineering and construction
Square Footage: 150 Square Feet
Construction Materials: 2×6’s, 4×8’s, concrete, stucco, spray-on recycled paper, acrylic, Styrofoam and metal lathing
Special Features: Truncated, 21 foot high conical structure 14 feet in diameter. Single 6 foot diameter clear acrylic hemisphere skylight for natural lighting. Inclined “nostril” vents at top and bottom for natural air circulation. All shelves and storage built-in as part of the structure for earthquake resistance. Spray-on cellulose insulation and pure white colored interior finish.
Owner Requirements: Minnie Williams wanted a bathroom and laundry area that is functional, secure and safe. She was not concerned about views but wanted ample natural lighting. She had no particular shape or preference to image.
Ecological Requirements: None
General Background of the Project: The Williams family owns a three bedroom bungalow overlooking a large park in Berkeley, California. Minnie Williams, wife and mother of two young adults, was looking for a contractor to build an addition to her existing house. A contractor’s referral service put her in-touch with our firm. Upon inspecting the site I asked if she had any preferences for what the structure would be. She said she had none and was receptive to any ideas. The limited budget dictated use of easily located materials with typical construction methods.
Being in a sensitive earthquake zone I knew that the structure must be stable and intrinsically strong. One of the simplest shapes to use was a cone, like the Tee-pee of the indigenous cultures of California and also like the common ocean barnacles found in San Francisco Bay and the Pacific Ocean. I already knew about the barnacle’s extreme resistivity to tremendous wave forces and using nature’s conical model made sense. Being symmetrical the cone would be easy to construct. The curved surfaces would help reinforce any lateral loads being placed upon it and the structure as a whole would be integral. Four 4″x8″ inclined pylons were positioned at a 90 degree angle from each other and bolted together with steel gusset plates. All other 2’x6′ beams were placed off of these four main inclined beams. The small top and large bottom makes for a naturally stable geometry instantly recognized by the local building inspector. Nature knows the value of the conical form and created the ocean barnacle in this form to resist and dissipate constantly over-turning forces placed on it from buffeting waves. In nature’s environment the ratio of the weight of the barnacle to the poundage of wave force placed upon it, is reasonably close to the uplifting forces generated by an earthquake, hurricane or tornado. Therefore, a conical form makes structural sense in this regard.
All structural members were laid out on a protractor grid from a center point. Sectional sills of trapezoids were laid out along the circular periphery to form the basis for raising the inclined beams of the conical wall.
The difference in the existing house finished floor elevation and the new ground level elevation is mitigated by a shallow set of steps that lead from the laundry area to the shower, toilet and sink area. Light from above bathes the space in a mysterious and reposeful way. The spray-on finished applique of white paper and water-based glue looks exactly like newly fallen snow on a miniature mountainscape and the insulative and acoustic absorption exceeds 60 decibels. The quietude inside the space approaches the religious. Visitors have commented on its other-worldliness when walking through and seeing the light bathing the space from above and the deep silence within the room
Outside a geometric bas relief creates an intertwining of ocean wave patterns and circular motifs. These were hand-formed with recycled Styrofoam and stucco material. This ornament helps to carry through the scale of the existing building while giving the new structure a textural feature whose shadows move, appear and dissolve with the changing sunlight.
Twelve finials rise at 30 degree angles to meet the sky. Tiny wires of needle-like metal point upwards from this sealed wood limbs. These were requested by the owner to prevent birds from sitting on the finials.
The exterior paint is a pearlescent pigment, mixed with white with an iridescent sparkle and gold flakes combination that required one week of trial and error before arriving at the right effect. The iridescent reflectivity reflects the sun’s rays away from the surface and helps to make the interior cool.
The conical form also allows the sun to touch less surface area when it is high in the sky during hot summer months. During low sun angles in the winter months the sun captures more surface area creating a uniform heating effect when it is most needed. This same solar design orientation, with some modifications, is used by certain species of termites presented earlier in the previous chapter. The entire structure took 3 1/2 months to complete.
ZED: Zero Energy Dwelling
ZED: Zero Energy Dwelling
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ZERO ENERGY DWELLING (ZED)
Mount Shasta, California USA
When we hear about a “zero energy dwelling” (Zed) design, we often discover that the building may still use electricity, air-conditioning, ventilation machinery, electricity draining stoves, toasters, televisions, computers, and an endless variety of appliances. The electricity use in most Zeds are offset by solar panels, windmills, and other technological devices. “Zero Energy” is not true zero energy. The energy use still remains the same: it is just no longer on the urban electrical grid. Tsui Design created an electricity-less home, a habitat that uses no electricity because that is the level of living we want to achieve globally in order to survive the future. To reduce our use of electricity, heating/cooling systems, and appliances by 95% is what it may take to turn around our global environmental impact enough to restore our natural conditions to live a healthy future life. During World War II, the industrialized city of London, England, reduced their electrical/industrial footprint to 5% normal use- this is a goal to strive for globally.
The design of the ZED began with maximizing the structural strength of dwelling while minimizing the materials used and maximizing the enclosed space. We created a spherical geodesic dome that was calculated and cut to exact angles by a group of students. 5 mm thick, 15 cm diameter, round metal plates are used to connect the angled struts of the dome. The bottom layer of struts was left open and reinforced with an angled steel pipe anchored to the ground into concrete block footings.
The total sphere is 8 square meters. Cooking is done from a roll-out solar oven heated by reflected sunlight from three 1.2 meter diameter solar reflecting parabolic dishes. Cooking must be done in sunlight (no evening cooking) even in cold temperatures. A wood stove at the ground level supplies heating and cooking sources during the coldest, no sun days of winter.
