Ariake Gymnastics Centre

The Ariake Gymnastics Centre

Nutshell

The Ariake Gymnastics Centre offers a very large space in timber frame construction with an exceptionally harmonious atmosphere.

The Ariake Gymnastics Centre is designed to function in two phases; initially as a Olympic sports facility, it will be converted into a permanent exhibition hall.

The Ariake Gymnastics Centre is desi­gned to func­tion in two phases; initi­ally as a tempo­rary inter­na­tional sports compe­ti­tion faci­lity, then, after taking out the tempo­rary spec­tator stands, it will be converted into a perma­nent exhi­bi­tion hall.

A unique feature of this faci­lity is its exten­sive and gene­rous use of timber throug­hout the buil­ding. This is a posi­tive realiza­tion of “wooded faci­li­ties” and “sustaina­bi­lity” announced in the Tokyo 2020 candi­dacy file. The mate­rial was also selected to express the memory of this district which was once a timber storage pond.

Based on the archi­tec­tural concept of “a wooden vessel floa­ting in the bay area,” timber is used wherever possible, speci­fi­cally in the roof frame struc­ture, facade, spec­tator seats, exte­rior walls, etc. while carefully conside­ring the charac­te­ristics of wood in each appli­ca­tion.

Function, structure, and space are tightly combined to achieve beauty and richness in simplicity, which is the essence of Japanese traditional wood architecture.

The arena ceiling is a wood frame struc­ture desi­gned to reduce the weight of the overall struc­ture. The concourse space, where spec­ta­tors approach the arena, is inten­tio­nally placed outdoors. The wood facade takes into account acou­stic and thermal insu­la­tion proper­ties.

Func­tion, struc­ture, and space are tightly combined to achieve beauty and rich­ness in simpli­city, which is the essence of Japa­nese tradi­tional wood archi­tec­ture that we hope spec­ta­tors and athletes from all over the world will expe­ri­ence.  

The site is located in the midst of a vast, wide-open land­scape along a canal. Yet the design also needed to take into account the resi­den­tial envi­ron­ment of the medium-rise and high-rise condo­mi­nium buil­dings in the vici­nity. The hori­zon­tally long and flowing lines were achieved by keeping the buil­ding height as low as possible, redu­cing the overall volume and control­ling the height of the eaves.

Lightening the weight of the structure by using wood for the roof is effective for buildings constructed on sites with poor soil conditions.

By posi­tio­ning the circu­la­tion concourse on the outside of the buil­ding and crea­ting an open and broad approach space, the design attempts to avoid the impene­trable exte­rior typi­cally found on large-scale sports faci­li­ties created by the mono­li­thic walls.

Ligh­tening the weight of the struc­ture by using wood for the roof is effec­tive for buil­dings cons­tructed on sites with poor soil condi­tions. In this project, we adopted a simple struc­ture that uses single members of large glued lami­nated timber with high heat capa­city, rather than trusses consis­ting of a number of small members, to achieve both fire resis­tance perfor­mance and struc­tural stabi­lity.

Japan’s first complex struc­tural system using Timber Beam Strings Struc­ture and Canti­lever Trusses created a large wood-frame space that dyna­mi­cally covers the arena.

Project data

Client

The Tokyo Orga­ni­sing Committee of the Olympic and Para­lympic Games

Address

Ariake Gymnastics Centre
1 Chome-10–1 Ariake,
Koto City
Tokyo 135‑0063
Japan

Opening

2020

Photograph

Ken’ichi Suzuki
SS

 

Plans

Video

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Senda di Dragun

Senda dil Dragun in Graubünden

At eye level

The “Senda dil Dragun” is the longest tree-top walk in the world. It combines nature and state-of-the-art technology, in spectacular fashion.

“Senda dil Dragun” in Laax creates a special experience of nature and sensitizes visitors to the forest and its inhabitants on the path created.

Grau­bünden is home to one of the longest treetop trails in the world. With a length of 1.56 kilo­me­tres and a height of 28 metres, the “Senda dil Dragun” is a unique natural expe­ri­ence. A long foot­bridge leads through the middle of the forest in Laax. Here visi­tors can expe­ri­ence the spruces, firs and pines of the Laax forest from an unusual perspec­tive at a height of 2 to 28 metres.

Some­times at eye level with the tops of the moun­tain forest and in other places close above the forest floor where young trees and ferns grow.

The “Senda dil Dragun” (Dragon Path) has a Rhaeto-Romanic name and its dimen­sions make it one of the longest treetop paths in the world. Some other trails in the world are longer, but they touch the ground. Not like the path in Laax. Supported on stilts, the Senda dil Dragun floats conti­nuously above the forest floor.

As a filigree structure, Webnet offers great tensioning force and sufficient flexibility.

The project in Laax creates a special expe­ri­ence of nature and sensi­tizes visi­tors to the forest and its inha­bi­tants on the path created. Hidden between the trees, the dragon path winds its way through the land­scape along as natural a line as possible. In doing so, the path shows conside­ra­tion for the tree popu­la­tion. Visible from afar are the two ascent towers in Laax Murschetg and Laax Dorf. The towers are 37 and 27 metres high.

For the railings, towers and barrier fences of the tree top walk, the plan­ners of the project were looking for a trans­pa­rent, light­weight and high-quality element as infill and fall protec­tion.

The stain­less steel mesh Webnet fulfils exactly these requi­re­ments. As a filigree struc­ture, Webnet offers great tensio­ning force and suffi­cient flexi­bi­lity. The net is weather­proof through all seasons, extre­mely hard-wearing and requires virtually no main­ten­ance. An ideal solu­tion for the cons­truc­tion of a forest path.

A total of around 3,200 square meters of Webnet were installed. The longest individual Webnet element is around 60 meters long.

Jakob Rope Systems deli­vered the indi­vi­dual nets to Laax, cut to size. A total of around 3,200 square meters of Webnet were installed there. The longest indi­vi­dual Webnet element is around 60 meters long. All Webnet elements are inte­grated into round tube frame cons­truc­tions. The treetop path is also acces­sible to visi­tors in winter. In order not to damage the Webnet elements during snow clea­ring work, protec­tive skir­ting boards were installed along the railings.

For the inte­gra­tion of the Webnet elements into the overall cons­truc­tion project, Jakob Rope Systems worked toge­ther with the archi­tects from Hofmann & Durisch (Flims Dorf). The metal cons­truc­tion work was carried out by the company Ragettli Metallbau AG (Flims Dorf).

 

Project data

Stainless steel mesh

Jakob AG
Dorf­strasse 34
CH — 3555 Trub­schachen

Designer

Hofmann + Durisch AG
Via Nova 17
CH — 7017 Flims-Dorf

Operator

Flims Laax Falera

Metallbau

Ragletti Metallbau AG
Via Punt la Reisga 14
Ch — 7017 Flims Dorf

Opening

2021

Photograph

Jakob Rope Systems

Author

Jakob Rope Systems

Address

Senda dil Dragun | Baum­wip­fel­pfad
Via Murschetg
CH — 7032 Laax

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Common Monnem

Common Monnem

Mannheim together

Florian Budke combines architecture, graphic design and typography in his work. He also invents so-called supergraphics.  

Mannheim is not only known for its square city layout and Baroque palace, but also for its diverse citizenry.

Mann­heim, a medium-sized city in southwes­tern Germany, is known for its grid-plan city layout, its baroque palace and its bruta­list buil­dings – but also, and above all, for its ethni­cally and cultu­rally diverse popu­la­tion. This diverse and colourful mix of people can be expe­ri­enced, among other places, in Neckar­stadt East and Neckar­stadt West, two districts northwest of the city centre.

The cultural link between the two neigh­bour­hoods is ALTER, a public space situated next to the Alter Mess­platz, which, with its free sports and cultural acti­vi­ties, is a place to meet, pass time and get toge­ther.

A graphic has been installed on a sports pitch at ALTER that tries to express all the posi­tive quali­ties of this commu­nity-crea­ting space: a ‘super­gra­phic’ that seeks to visually repre­sent and streng­then the exis­ting cohe­sion of the people and its atmo­sphere.

The project also aims to set a marker for the preser­va­tion of public cultural spaces, both within the city and beyond.

The aspect of active togetherness already came into play during the realisation, because several interested people spontaneously followed the public call for help every day.

“Common Monnem – toge­ther Mann­heim”: The title of the project is composed of the words “Common” and “Monnem”.

The 38-metre-long and 16-metre-wide super­gra­phic with a total area of over 560 square metres follows a typo­gra­phic approach. This draws refe­rence from the basic geome­tric motifs in the poster for 1975 State Garden Show in Mann­heim. The iconic skyscra­pers over­loo­king ALTER were also cons­tructed around this time. The over­sized lette­ring “Common” forms the focal point of the graphic. The letters are oriented towards the centre of the pitch – analogous to players who gather toge­ther in a circle before a game begins: they hook into each other in a circle and thus form a unit.

The graphic’s connec­tion to its loca­tion is also rein­forced by the choice of colours. The pink, for example, picks up on the colour of ALTER’s facade, while the green estab­lishes a rela­ti­onship with the adja­cent green space on the banks of the Neckar river. The red, blue and yellow are taken from Mannheim’s city coat of arms.

The intended theme of active toge­ther­ness was already present during the realiza­tion of this project. Nume­rous inte­rested people spon­ta­neously responded to the public call for help on a daily basis. Thus, while the super graphic was being created, the declared goal of the project was already being realized: “Common Monnem – Toge­ther Mann­heim”.

Project data

Design

Florian Budke

Organiser

POW Mann­heim e. V.

Team

Hein­rich Schmid, MWM Head­quar­ters | Cater­pillar Energy Solu­tions GmbH, MVV, Montana Cans, Farben­haus Metzger

Address

Am Alten Mess­platz
Dammstr. 1
D — 68169 Mann­heim

Opening

2021

Photograph

Marius Heim­burger

Author

Florian Budke

 

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L’Arc de Triomphe, Wrapped

L’Arc de Triomphe, Wrapped

Le grand art

Six million visitors in 16 days: Christo and Jeanne-Claude’s “L’Arc de Triomphe, Wrapped” has also been a commercial success.

No tickets or reservations were required to admire and touch the artwork.

An esti­mated 6 million people viewed Christo and Jeanne-Claude’s L’Arc de Triomphe, Wrapped, Paris, 1961 — 2021 during its 16 days from September 18 through October 3, 2021. The project, realized in part­ner­ship with the Centre des monu­ments nati­onaux (CMN), in coor­di­na­tion with the City of Paris and with the support of Centre Pompidou, wrapped the Arc de Triomphe monu­ment in 25,000 square meters of recy­clable silvery blue fabric and 3,000 meters of recy­clable red rope.

The artwork was free and acces­sible to the public, no tickets or reser­va­tions were required to view and touch the tempo­rary work of art. The artwork of Christo and Jeanne-Claude created an excep­tional enthu­siasm: six million visi­tors came to admire L’Arc de Triomphe, Wrapped”.

Like all of Christo and Jeanne-Claude’s past projects, L’Arc de Triomphe, Wrapped received no public funds or spon­sor­ships, and was enti­rely funded through the sale of original works of art by Christo, inclu­ding prepa­ra­tory studies and collages, models, artworks from the 1950s and 1960s and litho­graphs. The cost of the project was appro­xi­m­ately 14,000,000 Euros (16 million USD). The cost includes plan­ning, engi­nee­ring, buil­ding, staf­fing, main­ten­ance, and removal of the work of art.

Of the 6 million visitors, an estimated 3.2 million were tourists. This means an approximate 235 million euros in tourism revenue during the 16 days.

More than 1,200 workers contri­buted to the project, inclu­ding manu­fac­tu­rers, engi­neers, buil­ding contrac­tors, onsite moni­tors, and secu­rity personnel. The cons­truc­tion team was made up of 140 indi­vi­duals with 95 clim­bers, who unfolded the fabric panels on each of the four facades of the Arc de Triomphe from its rooftop terrace.

Over 350 welcome moni­tors greeted visi­tors to the artwork and handed out free fabric samples throug­hout its 16 days. The majo­rity of moni­tors were from France, however, they repre­sented appro­xi­m­ately 20 diffe­rent natio­na­li­ties, and languages spoken inclu­ding French, English, Italian, Spanish, German, Bulga­rian, Chinese, and Japa­nese.

Accor­ding to the Paris Conven­tion and Visi­tors Bureau, an esti­mated 6 million Pari­sians and visi­tors from around the world expe­ri­enced L’Arc de Triomphe, Wrapped, Paris, 1961–2021 in person and explored the area outside of its peri­meter, inclu­ding shops and restau­rants. Of these 6 million, it is esti­mated that 3.2 million were visi­tors (tourists staying in the area or day-trip­pers who spent several hours near to the monu­ment) and 1.1 million were prima­rily moti­vated to see the artwork, gene­ra­ting an esti­mated 235 million euros in tourism revenue during their stays.

The Place de l’Etoile was closed to car traffic for the three weekends of the exhibition and was reserved entirely for pedestrians.

To enable visi­tors to enjoy L’Arc de Triomphe, Wrapped, Paris, 1961–2021 safely and close up, the Place de l’Etoile was closed to vehi­cular traffic and pede­stria­nized for the three weekends of the display. This excep­tional closure to traffic was orga­nized with the support of the City of Paris and the Préfec­ture de Police, and enabled over 1.4 million Pari­sians and visi­tors to enjoy the artwork car free thanks to the pede­strian peri­meter during the weekends.

Deinstal­la­tion of L’Arc de Triomphe, Wrapped, Paris, 1961–2021, began on October 4 and ended by November 10, 2021. During this time, the inte­riors and the pano­r­amic terrace of the monu­ment, managed by the CMN, remained open to the public.

As done in all past projects by Christo and Jeanne-Claude, the mate­rials used to create L’Arc de Triomphe, Wrapped will be reused, upcy­cled, and recy­cled.

Christo died on 31 May 2020 at his home in New York City. He worked on L’Arc de Triomphe, Wrapped until the end. The project was realised under the direc­tion of his nephew.

Project data

Artist

Christo und Jeanne-Claude

Client

City of Paris
Centre des monu­ments nati­onaux (CMN),

Address

Arc de Triomphe
Pl. Charles de Gaulle
F — 75008 Paris

Opening

2021

Photographer

Wolf­gang Volz
André Gross­mann
Shunk-Kender

Author

Christo und Jeanne-Claude

  

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Fish Trap House IV

Fish Trap House IV

Beautiful trap

Fish Trap House IV was not only a contribution to the Taiwan Lantern Festival 2020, it also aims to preserve valuable handmade culture.

Fish Trap House IV is a contribution to the annual Taiwan Lantern Festival, which is very spectacular in Taiwan.

Artist Cheng Tsung FENG applies Taiwa­nese tradi­tional fish traps as the theme of artwork. Invited hundreds of local in Taichung to work­shops to learn weaving the art craft of the fish trap. With them hundreds of fish trap was made and hang bamboo sign with their wishes on it. People surround hand by hand unite toge­ther. Rewrite the precious art craft which is going to vanish into our memory and body.

Recently, Cheng Tsung FENG was invited to create a lantern in the most fabu­lous event — Taiwan Lantern Festival. He began a huge coll­ec­tive work plan for this two-week cele­bra­tion.

During the proces­sing, FENG and his part­ners drove a truck and went to four farmers’ asso­cia­tions in the festival’s loca­tion, Taichung. He found out hundreds of inha­bi­tants who didn’t have any expe­ri­ence for basket weaving. FENG taught them how to weave basket with bamboo and shared the story behind the tradi­tional fish traps.

Feng taught the farmers how to weave baskets and told them the history of traditional fish traps. This is how Fish Trap House IV was born.

They finished over two-hundred basket units and bring these units toge­ther in the loca­tion. Finally, it became a grand instal­la­tion art in public.

After the end of the festival, this grand instal­la­tion art work carefully unpi­cked and took back to their maker by truck. Each basket unit has their own tag which is written down the wish of maker.

These basket weaving item and invi­sible craft skills will keep Inte­grate into their lives. This expo­sure sparks new ideas and possi­bi­li­ties.

Fish Trap House IV has not only been a contribution to the Lantern Festival 2020, it also aims to preserve this valuable culture.

Those tradi­tional craft lesson became into their own personal expe­ri­ence. It inspired those inha­bi­tants in farmers’ asso­cia­tions to make some­thing new. A number of people said they would make a lamp­shade, others would make duck cages, and the others would pile up like a Christmas tree with this bamboo basket units.
Cheng Tsung FENG led and taught people making fish trap hand by hand. People reunite toge­ther as each unit gathe­ring in site. Expect body expe­ri­ence, there’s no text record to preserve those precious hand­made culture.

By this coll­ec­tive work plan, FENG write down these craft origi­nate from Taiwan into our memory. Keep those ancient treasure live in our body for eter­nity.

Project data

Artist

Cheng Tsung FENG

Team

Coor­di­nator: Yu-Xuan LAI(Ding Yong Culture Crea­ti­vity Co., Ltd)
Project manager: Wan-Ting CHANG, Jia Jhen HUANG
Curator: Min SU(Netizen Produc­tions)
Artistic Director: Tony CHANG
Execu­tive Director: Chia Chi CHIEN(Love2fruit)
Project Advisor: Wei-Zhen ZHANG
Visual Design: Yu-Hsuan LIAO
Marke­ting PR: Yu Yu CHOU
Design Assistant: Ming Yu HSIEH, Hsuan Hsuan WU

Address

Taichung
Taiwan

Opening

2020

Photograph

Yi-Hsien LEE (YHLAA)

Author

Cheng Tsung FENG

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Gissi Sports Hall

The Gissi Sports Hall

A good argument

The recreational offer of small community is important to prevent the urban exodus. The Gissi sports hall is a good example.

With the construction of the Gissi Sports Hall, the municipality has sent a strong signal against the urban exodus.

Gissi lies in the hilly land­scape of the Provincia di Chieti on the edge of the Apen­nine Moun­tains. With just over two and a half thousand inha­bi­tants, the Italian muni­ci­pa­lity is quite mana­geable and also very old – even the Romans settled in the area, which is shaped by viney­ards and fruit and olive trees. Wine lovers parti­cu­larly appre­ciate the area since the grapes for the popular Monte­pul­ciano d’Abruzzo grow here.

But like almost all small towns in central and southern Italy, it is not easy to get resi­dents to stay. To make a change here, the muni­ci­pa­lity decided to build a multi-purpose hall prima­rily used as a play­ground and gymna­sium, as well as reno­vating the outdoor areas and crea­ting a foot­ball pitch made of arti­fi­cial turf.

The new sports hall takes a central posi­tion in the public life of Gissi. It is clearly visible from the town hall, the stadium and the swim­ming pool.

The archi­tects of Beatrice Comelli archi­tetto have divided the volume into two levels. The entrance level is open and trans­pa­rent. It was clad with poly­car­bo­nate, which has an enormous signal­ling effect when illu­mi­nated. The pitch level, on the other hand, was lowered and is made of concrete.

Now volleyball, basketball, skating and social events are part of the Gissi community’s offerings. 

This buil­ding project was also urgently needed because there had previously been no gymna­sium at all, meaning that the sports faci­li­ties were not suffi­cient either for primary or secon­dary school pupils living in the village, nor for the public and parti­cu­larly not for the local volley­ball team. It is part of the ASD Sport­land asso­cia­tion, which was founded in 2010 with the aim of provi­ding the resi­dents of Gissi with more sporting and social oppor­tu­ni­ties – inclu­ding volley­ball, basket­ball, skating, and summer acti­vi­ties for children and young people.

To make way for the new multi-purpose hall, an older part of the middle school buil­ding was demo­lished and replaced by the new sports hall.

We contri­buted to the rede­sign by supp­lying a two-tone Polytan Indoor GYM Point surface in blue and ochre. This point-elastic indoor sports floor is flexible and ther­e­fore shock-absor­bent, which is espe­ci­ally important for children’s and school sports, but also for amateur and recrea­tional sports.

The equipment of the sports areas underlines the distinctly harmonious effect of the Gissi sports hall.

In front of the hall, we have also installed a Liga­Grass Pro arti­fi­cial turf pitch, which is suitable for multi-func­tional use. The Liga­Grass Pro fila­ment with its trian­gular cross-section ensures even greater fibre stabi­lity and gives the turf more volume and struc­ture. As a crimped Polytan arti­fi­cial turf system, the Liga­Grass Pro also features BiCo­lour colou­ring.

Gissi’s new multi-purpose hall, which was offi­ci­ally opened on 14 September 2020, is intended to be a place for sporting acti­vi­ties, but also to serve as a meeting place and space for cultural, educa­tional and leisure acti­vi­ties that promote inte­gra­tion and social cohe­sion in the commu­nity.

The hall was built with the help of funding from the Italian National Olympic Committee (CONI) and the Italian Sports Credit Insti­tute. It is also handi­capped-acces­sible in line with CONI stan­dards for sports faci­li­ties, and features an entrance ramp at the main door, for example.

Project data

Architects

Beatrice Comelli archi­tetto
Via Manin 6/4
I — 33100 Udine

Gaspari Carlo Archi­tetti
Via Fedele Romani, 11
I — 65123 — Pescara

 

Client

Gissi Commu­nity

Pitches

POLYTAN GMBH
Gewer­be­ring 3
D — 86666 Burg­heim

Address

Palestra Comu­nale Poli­va­lente
Via dello Stadio 1
I — 66052 Gissi CH

Opening

2020

Photograph

Beatrice Comelli

Author

Polytan

#

Plans

Video

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