September 16, 2016

OVE ARUP: THE PHILOSOPHY OF TOTAL DESIGN AT THE VICTORIA & ALBERT MUSEUM




ENGINEERING THE WORLD: OVE ARUP AND THE PHILOSOPHY OF TOTAL DESIGN PART OF
THE VICTORIA & ALBERT MUSEUM ENGINEERING SEASON




ENGINEERING THE WORLD: OVE ARUP AND THE PHILOSOPHY OF TOTAL DESIGN PART OF
THE VICTORIA & ALBERT MUSEUM ENGINEERING SEASON
June 8, 2016 – November 6, 2016
Revealing the untold design stories behind some of the world’s most famous buildings, such as the Sydney Opera House and the Centre Pompidou in Paris, to recent projects such as Crossrail, the V&A will stage the first ever major retrospective on Ove Arup (1895-1988), the most influential engineer of the 20th century, as part of the V&A Engineering Season. Engineering the World: Ove Arup and the Philosophy of Total Design, staged in cooperation with the global engineering and design consultancy Arup, will survey the life, work and legacy of the firm’s Anglo-Danish founder featuring over 150 previously unseen prototypes, models, archival materials, drawings, film and photography, as well as new immersive digital displays featuring animations, simulations and virtual reality.
Ove Arup was the pioneer of a multidisciplinary approach to design that has defined the way engineering is understood and practiced today. His theories on ‘Total Design’ centred on bringing all professions involved in a project together from the start and also advocated closer collaboration between architects, engineers and builders. Training first in philosophy, and with a highly poetic and imaginative sense of design, Ove revolutionised the fields of civil and structural engineering. Arranged chronologically and spanning around 100 years of engineering and architectural design, the exhibition will present a selection of Arup’s grounbreaking projects over the last century, including collaborations with leading architects like Berthold Lubetkin, Renzo Piano, Richard Rogers and Norman Foster. The exhibition will also explore the pioneering work undertaken by Arup worldwide today, including major infrastructure projects like Crossrail, currently Europe’s largest underground railway, innovative technologies for acoustics studies like SoundLab®, and SolarLeaf, an experimental bio-reactive façade system that uses microalgae to generate renewable energy. The exhibition will immerse visitors in the creative and collaborative work of engineers, architects and designers who, together, design our buildings, cities and urban systems.
Zofia Trafas White, co-curator of the exhibition, said: “Ove Arup was the greatest engineer of the 20th century. Unconventional and playful in his approach, his collaborative working style revolutionised building design during his lifetime and influenced how buildings are made today. Ove Arup’s career began at the height of the Modern Movement in the 20th century and went on to last over five decades. The exhibition will paint a picture of the man whose ideas led to the creation of one of the most innovative and influential engineering consultancies working today and will present Arup’s key contributions to almost one hundred years of engineering developments in built environment design. Engineering the World will shed new light on the behind the scenes engineering stories that made possible some of the world’s most iconic buildings."
Tristram Carfrae, Deputy Chairman of Arup Group, commented: “Ove Arup founded our firm with a highly original vision, combining philosophy and engineering to create a holistic approach to design that he called ‘total architecture’. Given the significant challenges the world faces, this pioneering approach to engineering design has never been more relevant than today. For his life and our on-going work to be recognised and celebrated by such a world renowned institution as the V&A is very gratifying. It demonstrates how Ove was a pioneer of his time and how the firm continues to follow his pursuit of creativity and innovation based on world class expertise. The V&A tells this story beautifully and we feel sure this exhibition will be an inspiration to the next generation of engineers, designers and all those interested in the built environment.”
The exhibition will begin with the section A portrait of Ove Arup ( 1895 - 1938 )’ revealing him as a philosopher, poet and practitioner, tracing his early career during the burgeoning Modernist design movement and his education in philosophy, mathematics and engineering. It will explore the profound effect Ove’s relocation to London in 1923 had in shaping his understanding of modern engineering practice, through encounters and dialogues with leading Modernist architectural theorists like Walter Gropius, founder of the Bauhaus, and Le Corbusier, as well as his collaborative projects with experimental architects such as Tecton Group and the Modern Architectural Research (MARS) think-tank. Highlights will include technical studies and models for early projects like the Penguin Pool at London Zoo, and a lithograph portrait of Ove Arup by Le Corbusier. Memorabilia from Ove’s personal drawing collection will shed light on his personality, sense of humour and charisma, including his original doodles and doggerel – hand drawn sketches that often accompanied his fanciful poems and notes.

Ove an His Firm ( 1938 – 1988 ) ’ will chart Ove’s career over five decades across the 20 th century – a time of great social, political and technological change and the cataclysmic Second World War. Organised around Ove’s own writings on what he called his philosophy of Total Design, this section of the exhibition will explore the manifesto of guiding principles he created for his firm and the company’s evolution into a breeding ground of talent an experimentation.




Ove’s contribution to the war effort will be explored, especially his pioneering designs for improving wartime air raid shelters and crucial work on the Mulberry temporary harbours deployed during the D-Day landings in France in 1944, which were built to facilitate rapid offloading of soldiers and cargo. The story of the Sydney Opera House will reveal the key engineering idea that made its completion possible – the first ever application of computer generated calculations to a building project. The original Ferranti Pegasus computer used  by Arup engineers, said to have saved at least ten years of manual calculations, as well as preliminary sketches, technical drawings, models used for stress testing, and previously unseen original calculations for the gravity-defying roof will be shown. A showcase of the Pompidou Centre will explore the Arup engineer team’s contribution to the design of the building’s most distinctive feature – its external structure and exposed services.
One of Arup’s first commissions for an art gallery, the Menil Collection in Houston, Texas, completed in 1986, will show the intuitive approach taken to the design of lighting effects in collaboration with architect Renzo Piano’s team. Prototypes of the gallery roof’s key leaf’ reflector panel that enabled a unique daylighting system, which revolutionised atmospheric and lighting standards in art galleries throughout the world, will be displayed alongside an array of test models and study drawings unveiling the evolution of the design. Ove strongly believed that ‘design should embody a sensible way of building’ an encouraged an approach that united invention with functionality and a respectful use of resources. This section will feature the firm’s collaborations with leading emerging architects of the time which pioneered new approaches to construction that are still influential in building design today, including the firm’s collaboration with Foster + Partners on the Hong Kong Shanghai Bank HQ, which used unprecedented elements of prefabricated construction, and the Kansai International Airport Terminal Building that united structural design with environmental engineering concerns.  The last ever project completed by Ove himself, the Kingsgate Footbridge in Durham, close to his birthplace of Newcastle, will illustrate the essence of his Total Design ideals.
The final section of the exhibition Arup after Ove ( 1988 - 2016 )’ will explore Ove’s legacy and highlight recent work by Arup to consider the future of cutting-edge engineering solutions and their role in our built environment. Major infrastructure projects such as Crossrail will be brought to life via a new digital interactive map showing underground tunnelling allowing visitors to navigate through London’s underbelly. Arup’s new technologies for acoustics and environmental sound studies will be showcased through immersive simulations, including a recreation of an Arup SoundLab presenting case studies for concert halls and studies for the much-debated HS2 railway route. The exhibition will also look at Arup’s engineering solutions for open source housing design, including the firm’s recent collaborations with Architecture 00 on WikiHouse, as well as innovative crowd flow analysis projects undertaken for cultural attractions around the world, including the V&A.
The exhibition is co-curated by Maria Nicanor and Zofia Trafas White from the V&A’s Design Architecture and Digital department.













View From Exhibition Place of Victoria & Albert Museum 






View From Exhibition Place of Victoria & Albert Museum 
















View From Exhibition Place of Victoria & Albert Museum 








SYDNEY OPERA HOUSE
Over 2,500 performances and events each year.
Seven performance spaces; 20 lifts; more than 1,500 additional rooms.
Declared UNESCO World Heritage site in 2007.
Project of the Year Award 2007, Association of Consulting Engineers of Australia (joint award with CRC for Construction Innovation).
Sydney Opera House is an astonishing architectural - and engineering - feat. From its prominent position on Bennelong Point, architect Jørn Utzon’s magnificent vision gracefully adorns Sydney Harbour. With its shimmering sails, this exhilarating building has come to define its city and even the nation of Australia. Beyond its iconic status, the Opera House is a busy performing arts centre, home of Opera Australia, The Australian Ballet and the Sydney Symphony.
Design of the Opera House began in the 1950s. Ove Arup was engaged early in the design, and began to turn a daring concept into a physical reality. Arup’s engineers confronted an engineering challenge that has since become one of the profession’s epic tales - the design and construction of the building’s enormous, pre-cast concrete shells. The complex design work for the shells was achieved through the pioneering use of computers to model the roof and analyse its structure.
The Opera House opened in 1973 and since then, Arup has continued to partner its custodians in the care and maintenance of this extraordinary building, most recently with design work for a programme of refurbishment and upgrades. In 2007, Arup helped lay the groundwork for a facilities management system for the Opera House that could assist with management of the 35-year-old building’s systems and operations and provide a framework for future refurbishments.

http://www.arup.com/projects/sydney_opera_house












DEMONSTRATION MODEL OF SYDNEY OPERA HOUSE ROOF GEOMETRY, 1961
This model shows the breakthrough that the architect engineering team made on the Sydney Opera House scheme in autumn 1961.  The discovery of the ‘spherical solution’ was a turning point for devising the final, buildable version of the roof’s design. In this scheme, the roof was based on the geometry of a single sphere. Each triangle that formed the outer surface of the roof was a portion of that sphere. The ingenuous engineering solution, demonstrated by this model, gave the roof the desired shape, and crucially, a geometric regularity that allowed parts to be prefabricated as repeating components.
Jørn Utzon, model made by Paul Gulberg ©

RIBA Archives and Drawings Collections 








View From Exhibition Place of Victoria & Albert Museum 






View From Exhibition Place of Victoria & Albert Museum 




Sydney Opera House Under Construction, 6 April 1966
© Robert Baudin For Hornibrook Ltd.
Courtesy Australian Air Photos
















DOODLE BY OVE ARUP, 1950 - 1980  

Ove had a spirited personality and stood out as an unconventional engineer. His education in philosophy, mathematics and engineering, combined with a passion for the arts, was highly unusual at the time. He was a charismatic man known for his sense of humour, and his witty persona and artistic nature translated into a compulsion for doodling. Appearing on notebook pages, meeting agenda documents and accompanying his own doggerel (fanciful poems and notes), Ove’s playful sketches express his lively imagination. The exhibition marks the first time that his doodles have been on public display.    
Private Collection  




THE PENGUIN POOL AT LONDON ZOO, 1934

Ove was interested in experimenting with reinforced concrete as a building material and became the go-to expert on this from the 1930s onwards. He partnered with fellow émigré and Tecton experimental architect, Berthold Lubetkin, on the critically-acclaimed Penguin Pool at London Zoo. Completed in 1934, Ove’s contribution to the ambitious scheme included the gravity-defying spiralling ramps based on complex mathematical calculations. The ramp formations were inspired by behaviourist research that mimicked the penguins’ natural habitat. The design, admired for its technical virtuosity, established Ove’s reputation as a leading consulting engineer on the London scene. The Penguin Pool has been Grade I listed since 1970.  

Frederick Willia m Bond, Zoological Society of London
Library © ZSL London Zoo  




View From Exhibition Place of Victoria & Albert Museum 








PORTRAIT OF OVE ARUP BY LE CORBUSIER, 1955

This portrait of Ove Arup has never been on public display before. It was made by the architect Le Corbusier and includes a handwritten dedication – a testament to the pair’s friendship. Here, Ove is portrayed with his signature wispy hair and hands clasped in a bridge-like formation. Le Corbusier’s 1923 book, Towards a New Architecture, which celebrated the importance of the engineer, had a profound influence on Ove. The portrait, which hung on Ove’s office wall until his death in 1988, sparked a new line of research for V&A curators. They uncovered many never-before-seen documents that proved that rather than being just part of the same Modernist circle, Ove and Le Corbusier were in direct contact; that there was an intellectual exchange between them about their work and that they shared a similar philosophy of thinking.

Private Collection © FLC, ADAGP, 
Paris and DACS, Lond on 2016 




SHIP DOCKED AT MULBERRY HARBOUR, 1944

In his early career, Ove gained experience in maritime structure design. This experience led to a major UK government commission during the Second World War. Working in secret, Ove was one of over 500 contractors involved in the design and making of the floating Mulberry Harbours used on D Day, and its aftermath, for the rapid deployment of troops and supplies. Ove’s contribution was an ingenious design for one small but crucial element – a shock-absorbing fender that allowed ships to dock safely.     
© Imperial War Museum  










THE CENTRE POMPIDOU PARIS DESIGN BY 
RENZO PIANO & RICHARD ROGERS






CENTRE POMPIDOU, PARIS – THE GERBERETTE SOLUTION
A team of Arup engineers worked together with architects Renzo Piano and Richard Rogers from the start to realise an experimental vision for the Centre Pompidou in Paris, which was opened in 1977. Its central feature of vast interior spaces required an unconventional solution. The engineering team led the design process that put the structural frame and the pipework of the building’s services on its exterior. This was achieved through what became known as the gerberette solution. These exposed elements would become the building’s defining feature. 

© Ian Dagnall  Alamy Stock




















THE CENTRE POMPIDOU PARIS DESIGN BY 
RENZO PIANO & RICHARD ROGERS






THE SHARD DESIGN BY RENZO PIANO




THE SHARD DESIGN BY RENZO PIANO
Three Arup projects make 2014 RIBA Stirling Prize shortlist, July 21, 2014
Renzo Piano’s The Shard, Zaha Hadid’s London Aquatics Centre and Fielden Clegg Bradley Studio’s Manchester School of Art are all being considered for one of the UK's most prestigious architecture prizes.
Arup's multi-disciplinary engineering skills have been integral to delivering the architects’ vision for these three world-class buildings, which are shortlisted for the 2014 RIBA Stirling Prize. 
The Shard is the highly visible landmark at the heart of London Bridge Quarter, standing at 310m (1,016ft) tall. Arup has been responsible for designing the building services that have been integral to delivering Renzo Piano’s vision for this slender elegant high rise building. Arup’s innovative designs for the mechanical, electrical, public health and fire engineering services were crucial in ensuring the building’s functionality within its iconic form and complex geometry.
The Royal Institute of British Architects (RIBA) has called this year's Stirling Prize shortlist “one of the strongest in years”. Celebrating architectural excellence, the Stirling Prize recognises the building that has made the greatest contribution to the evolution of architecture over the past year. The shortlist was drawn from 50 British projects and nine international projects receiving the 2014 RIBA National Awards.
The six exceptional shortlisted buildings will now go head-to-head for architecture’s highest accolade, to be awarded on 16 October 2014.
You may visit to see more information and more photographs about project of The Shard by Renzo Piano to click below link from My Magical Attic blog.   

https://mymagicalattic.blogspot.com.tr/2016/03/the-shard-design-by-renzo-piano.html










THE SHARD DESIGN BY RENZO PIANO






THE MENIL COLLECTION DESIGN BY RENZO PIANO




View From Exhibition Place of Victoria & Albert Museum 




THE MENIL COLLECTION DESIGN BY RENZO PIANO
Located in Houston, TX’s Museum District, the Menil campus is anchored by Renzo Piano’s first American building, the Menil Collection. Designed to house the modern art collection of John and Dominique Menil, the resulting museum blends effortlessly with its surrounding neighbor hood and utilises as much natural light as possible.
"It is an exemplary project in many ways. It is primarily about light."
Peter Rice (1935-1992), award winning Arup structural engineer and author
The Menil Collection is one of the first modern buildings in the United States to use a floor air supply system. In order to allow uniform daylighting in the gallery spaces and achieve the architectural form desired, Arup developed a system to supply air to the galleries from below, now known as ‘displacement’ ventilation.
The design for the roof of the Menil Collection began with a clear understanding of the client’s wishes regarding the standard of daylight and internal environment within the galleries. In order to affect control of the daylight entering the galleries, the design developed into separate ‘beam light trusses’ which were later dubbed as ‘light leaves’. Computer programs and mock-ups were developed to model the daylighting performance of the proposed system. Physical models of the light leaves were developed and their shape considered from a structural and architectural viewpoint. The final design proved to be both visually unifying while providing the correct daylight control.
" The special quality of the light and contact between the internal spaces of the gallery and the outside weather add a diurnal quality to the experience of visiting the gallery. "
— Peter Rice
The Menil Collection was selected by the American Institute of Architects (AIA) to receive its Twenty-five Year Award in 2013. The award recognises architectural design of enduring significance.
Arup provided structuralmechanical,electricalplumbing and fire protectionlighting and daylighting design services for this museum.

http://www.arup.com/projects/the_menil_collection




Bas Relief on Blueprint, The Menil Collection, Houston (Texas), 1982–1987,
Project Piano & Fitzgerald, Architects
© Francesco Pino/Fondazione Renzo Piano, 2009,
Courtesy Fondazione Renzo Piano






THE MENIL COLLECTION DESIGN BY RENZO PIANO








SERPENTINE SACKLER GALLERY DESIGN BY ZAHA HADID




SERPENTINE SACKLER GALLERY DESIGN BY ZAHA HADID
The Serpentine Sackler Gallery, London, officially opened its doors today.
New life has been breathed into The Magazine, a grade II* listed building in Kensington Gardens originally designed as a Gunpowder Store, hence the name, Magazine. With 900 square metres of new gallery, restaurant and social space, the Serpentine Sackler Gallery will be a new cultural destination in the heart of London.
Working alongside, Zaha Hadid architects, Arup provided engineering design services for the contemporary extension. The result is a light and transparent structure that complements, rather than competes with, the neo-classical architecture of the original building.
“ The project presented a number of key challenges for the sensitive restoration of the existing building and the design of the new extension. We are all immensely proud of our contribution to this fantastic new addition to the Serpentine Gallery’s portfolio of buildings ”.
— Ed Clark, Project Director, Arup
The Gallery is also one of the first buildings in the UK to use a simultaneous heating and cooling ground source heat pump at this scale. Arup’s engineering design aspirations included the ability to provide heating and cooling simultaneously and optimise heat transfer from both systems and ground boreholes.  This innovative system reduces the energy reliance from the ground boreholes and recycles heat between different parts of the building.
The new Gallery is named after Dr. Mortimer and Theresa Sackler, whose Foundation has made the project possible through the largest single gift received by the Serpentine Gallery in its 41 - year history. This funding has enabled the unique listed building to be brought into public use for the first time in its 206 - year history, providing a new cultural destination and landmark for London.
You may visit to see more information and more photographs about project of Serpentine Sackler Gallery design by Zaha Hadid to click below link from My Magical Attic blog. 

https://mymagicalattic.blogspot.com.tr/2013/10/serpentine-sackler-gallery-design-by.html










SERPENTINE SACKLER GALLERY DESIGN BY ZAHA HADID






LETTER TO OVE ARUP FROM WALTER GROPIUS, 1966

Ove’s ideas about design practice were informed by dialogues with contemporary leaders in the field of Modern architecture, including Le Corbusier, Berthold Lubetkin and Walter Gropius, founder of the Bauhaus school. Gropius shared Ove’s concern for the need of greater unity between engineers and architects, as demonstrated by this letter. This issue would become central to Ove’s understanding of what he would call ‘Total Design’. For Ove, this meant to ‘join all the professions right from the start’ of a building project. His philosophy redefined the way architects, designers and engineers work together. This letter, from Ove’s personal archive, is on display for the first time. 
Private Collection  




MILITARY HISTORY MUSEUM BY DANIEL LIBESKIND




MILITARY HISTORY MUSEUM BY DANIEL LIBESKIND
State of the art extension of a neoclassical building with artistic spaces.
Impressive architecture designed by Studio Daniel Libeskind.
The Military History Museum of the Bundeswehr in Dresden with its new extension is one of the largest and most innovative museums of its kind in Germany.
The visitors are attracted not only by its impressive architecture but also by a completely new exhibition concept with focus on people and human rights.
The architectural concept is expressed by an extension building as a wedge of glass, concrete and steel intersecting the 135 years old neoclassical museum building.
The new extension part represents the modernisation of the exhibition concept in general and the revitalisation of the historic arsenal building in particular. The façade of the new extension building has been designed in contrast to the solid old façade and is open and transparent.  
Arup has supported Studio Daniel Libeskind with shop drawing review and site inspections for this geometrically complex steel façade.
You may visit to see more information and more photographs about project of Military History Museum Dresden by Daniel Libeskind to click below link from my magical attic blog.

https://mymagicalattic.blogspot.com.tr/2013/12/dresden-military-history-museum-design.html














MILITARY HISTORY MUSEUM BY DANIEL LIBESKIND












NATIONAL STADIUM ( BIRD’S NEST ) DESIGN BY HERZOG & DE MEURON




NATIONAL STADIUM ( BIRD’S NEST ) DESIGN BY HERZOG & DE MEURON
The building’s dynamic form creates a new icon for China and the city of Beijing.
Design ensures that all spectators are as close as possible to the action and have clear sight lines.
Gross floor area 254,600m2 with seating capacity for 91,000 including 11,000 temporary seats.
The Chinese National Stadium was the 2008 Olympic Games’ most striking structure, recognised all over the world. The building’s dynamic form and vast scale create a new icon for China and the city of Beijing.
The circular shape of the stadium represents 'heaven', while the adjacent square form of the National Aquatics Center (Water Cube), also design-engineered by Arup, is a reflection of the Chinese symbol for Earth.
The structural form of the stadium is popularly described as a 'bird’s nest', with its pattern inspired by Chinese-style 'crazed pottery'. Seemingly random, the pattern abides by complex rules for which advanced geometry was defined.
To ensure a compact and optimum design, the seating bowl was established first, with the outer façade wrapping around it. The design ensures that all spectators are as close as possible to the action and have clear sight lines.
As Beijing is located in one of the world’s most active seismic zones, Arup used advanced seismic analysis to test the stadium under various earthquake conditions and ensure that the structure can withstand major shocks.

http://www.arup.com/projects/chinese_national_stadium














NATIONAL STADIUM ( BIRD’S NEST ) DESIGN BY HERZOG & DE MEURON






LAS VEGAS HIGH ROLLER




LAS VEGAS HIGH ROLLER








TIMBER WAVE DESIGN BY AMANDA LEVETE ARCHITECT




TIMBER WAVE BY AMANDA LEVETE ARCHITECT
LONDON DESIGN FESTIVAL
September 2011 marks the fourth year of Arup’s support of the London Design Festival. Renowned for its innovative projects, this year's festival features two installations designed in collaboration with Arup as part of its Landmark Projects initiative.
Arup Director Ed Clark said: “Participating in these experimental installations at the London Design Festival is hugely valuable to us. They provide a great chance to evolve new modelling, analysis, design and construction techniques.
The two projects this year are very different to each other but share a sculptural elegance which will make an instant impression on festival visitors and passers-by.
Design is central to the work that we do as engineers and these installations provide an excellent opportunity to demonstrate the interplay of artistic creativity and technical expertise that is inherent in all design. ”
Timber Wave
Visitors to the festival’s hub, the Victoria and Albert Museum, will pass through a stunning three dimensional latticework spiral, built from oil-treated American Red Oak entitled ‘Timber Wave’.
Designed by Amanda Levete Architects (AL_A) in collaboration with Arup, and supported by the American Hardwood Export Council (AHEC), the oak used in the temporary self-supporting 12m diameter arch is more traditionally used in furniture making. The temporary frame to the entrance of the V & A will remain in place until 15 October.
Size + Matter: Two Lines
‘Two Lines’ is a pro-bono collaboration between David Chipperfield Architects and Arup’s structural engineering and glass specialists. This installation will feature in the London Design Festival’s Size + Matter project at the Southbank Centre.
Consisting of a unique 3.5m high installation made up of two structurally-independent, identical, interlocking structures, the ‘lines’ are linked geometrically, composed of vertical and horizontal laminated glass planes and walls. The walls use Sefar Architecture Vision fabric.
The metal-coated fabric mesh, black on one side and metallic on the other, is layered between two sheets of glass and gives the installation's panels both translucent and reflective qualities.
You may visit to see more information and more photographs about the project of Timber Wave to click below link of My Magical Attic blog.

https://mymagicalattic.blogspot.com.tr/2014/03/timber-wave-by-amanda-levete-architects.html








TIMBER WAVE DESIGN BY AMANDA LEVETE ARCHITECT












THE VICTORIA & ALBERT MUSEUM LONDON 




THE VICTORIA & ALBERT MUSEUM
A Brief History of the Museum
The Victoria and Albert Museum's collections span two thousand years of art in virtually every medium, from many parts of the world, and visitors to the museum encounter a treasure house of amazing and beautiful objects. The story of the V&A's foundation helps to explain its astonishing richness and diversity.
The Museum was established in 1852, following the enormous success of the Great Exhibition the previous year. Its founding principle was to make works of art available to all, to educate working people and to inspire British designers and manufacturers. Profits from the Exhibition were used to establish the Museum of Manufactures, as it was initially known, and exhibits were purchased to form the basis of its collections.
The Museum moved to its present site in 1857 and was renamed the South Kensington Museum. Its collections expanded rapidly as it set out to acquire the best examples of metalwork, furniture, textiles and all other forms of decorative art from all periods. It also acquired fine art - paintings, drawings, prints and sculpture - in order to tell a more complete history of art and design.
Generous funding and a less competitive art market than today's meant that the young Museum was able to make many very important acquisitions. The Museum itself also grew, with new buildings being added as and when needed. Many of these buildings, with their iron frames and glass roofs, were intended to be semi-permanent exhibition halls, but they have all survived and are one of the finest groups of Victorian buildings in Britain.
In 1899, Queen Victoria laid the foundation stone of a new building designed to give the Museum a grand façade and main entrance. To mark the occasion, it was renamed the Victoria and Albert Museum, in memory of the enthusiastic support Prince Albert had given to its foundation.
Throughout the 20th century, the collections continued to grow. While expanding its historical collections, the V&A also maintained its acquisition of contemporary objects, starting with a collection of Art Nouveau furniture in 1900.
The Museum's ceramics, glass, textiles, dress, silver, ironwork, jewellery, furniture, sculpture, paintings, prints and photographs now span the cultures of Europe, North America, Asia and North Africa, and date from ancient times to the present day.
Although the V&A's collections are international in their scope, they contain many particularly important British works - especially British silver, ceramics, textiles and furniture.
The British collections enable the V&A to explain not just the history of design in the British Isles but also the broader sweep of their cultural history. The British Galleries are designed to give visitors from this country and from around the world a new insight into the history of Britain by bringing us closer to the thoughts and lives of key people in an influential culture.
The Victoria and Albert Museum also offers visitors the chance to experience at first hand the splendour of the arts of Asia. Britain's long association with India and South East Asia has given the V&A the opportunity to acquire magnificent works from the cultures of that region. Objects in all media are represented, including stone and bronze sculpture, furniture and woodwork, jewellery and metalwork and collections of Indian miniature painting and textiles which are among the most important in the world.
Visitors can also enjoy galleries devoted to the art of Japan, China, Korea and the Islamic world. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic gallery displays some truly spectacular carpets.
The V&A also reflects the diverse nature of contemporary Asian cultures, collecting contemporary Asian art and design as diverse as Japanese studio crafts and Indian film posters.
Contemporary design has always been at the heart of the V&A's work and the Museum remains true to its founding mission of promoting excellence in design and manufacturing. It works hard to encourage contemporary designers, acquiring their work, and providing inspiration through its displays.
Many of Britain's most successful designers have used the V&A as a source of ideas and stimulation and visitors to the V&A have the opportunity to see their work alongside the historic collections which helped shape them.
Henry Cole, the V&A's first director, declared that the Museum should be a 'schoolroom for everyone'. The V&A today offers visitors the chance to explore more deeply by using its study rooms, guided tours, gallery activities, lectures and special events. Whether you want to enjoy the galleries independently, or get more closely involved, there are many ways to discover the delights of the Victoria and Albert Museum.
http://www.vam.ac.uk/content/articles/a/a-brief-history-of-the-museum/






THE VICTORIA & ALBERT MUSEUM DIRECTOR DR. MARTIN ROTH










THE VICTORIA & ALBERT MUSEUM DIRECTOR DR. MARTIN ROTH






THE VICTORIA & ALBERT MUSEUM LONDON












BOMBAY SAPPHIRE DISTILLERY DESIGN BY HEATHERWICK STUDIO




BOMBAY SAPPHIRE DISTILLERY DESIGN BY HEATHERWICK STUDIO
Double win for Arup at FACADE 2015 Awards, 11 Dec 2015
Arup celebrated success at the Society of Façade Engineering’s annual international awards FACADE 2015 – celebrating façade engineering excellence.
The Bombay Sapphire Distillery in Hampshire, UK, was presented with ‘Outstanding Façade Innovation’ and Guy’s Hospital Tower in London was crowned ‘Façade of the Year’ in the Refurbishment category.
The Arup team supported Heatherwick Studio with geometrical optimisation, structural and detail design of the glass façade of the Bombay Sapphire Distillery. The greenhouse-style structures demonstrate a unique and innovative approach of employing curved glass as a structural component. The award was given jointly to Arup and the contractor, Bellapart, because the project stood out for the tight integration of the design team as well as the structural glass innovation.
On Guy’s Hospital Tower, Arup was appointed to deliver a high quality, energy- efficient solution that would go on to secure the future of the tower for the next 30 years. A once in a generation opportunity was taken to improve the performance of the building using the best current façade technologies and the finished scheme exceeds current building regulation requirements. Key to the success of the project, the judges highlighted that the hospital was able to remain operational throughout the refurbishment works.
“ These awards celebrate the best in international façade engineering and we are delighted that all our hard work has been recognised by our peers. The two winning projects couldn’t be more different, yet they both showcase the extraordinary vision of our clients, outstanding engineering and design, and collaboration between all involved. ”
— Dave Richards, UK Façade Engineering Leader, Arup
The Society of Façade Engineering was formed in 2004 as a joint initiative of CIBSE, IStructE and the RIBA. It brings together architects, façade engineers, building services engineers, structural engineers and contractors in a forum where they can work together to advance knowledge and promote good practice in facade engineering.
You may visit to see more information and more photographs about project of Bombay Sapphire Distillery Design by Heatherwick Studio to click below link from My Magical Attic blog. 

https://mymagicalattic.blogspot.com.tr/2014/09/bombay-sapphire-distillery-design-by.html












BOMBAY SAPPHIRE DISTILLERY DESIGN BY HEATHERWICK STUDIO








THE KINGSGATE FOOTBRIDGE








OVE ARUP’S SKETCH STUDIES FOR THE KINGSGATE FOOTBRIDGE, ABOUT 1961
 In 1961, 66-year old Ove took on the design of a small UK project – a new footbridge over the river Wear in Durham. Ove oversaw the project from concept to final construction, during a time when the Sydney Opera House scheme was in full-swing. The bridge exemplifies the essence of Ove’s Total Design ideals. The elegant simplicity of its symmetrical design united aesthetic and construction concerns within one ingenious, cost efficient scheme, fabricated on-site in two halves that were swung together in 40 minutes. On display in the exhibition are Ove’s early sketches for the bridge that reveal that a symmetrical design was an idea from the outset.

Private Collection  






THE KINGSGATE FOOTBRIDGE




View of Kings Gate Bridge, Durham, 1963
Reproduced by Permission of Durham University Library






COOLED CONSERVATORIES DESIGN BY WILKINSON EYRE ARCHITECTS




COOLED CONSERVATORIES DESIGN BY WILKINSON EYRE ARCHITECTS
Top prize for Gardens by the Bay at World Architecture Festival
06 Oct 2012
Gardens by the Bay was awarded the prestigious World Building of the Year award at the World Architecture Festival on Friday 5 October.
It also won for best display building for its two conservatories, the Cloud Forest and the Flower Dome.
Officially the prize went to Wilkinson Eyre Architects for the design of the Cooled Conservatories, but festival director Paul Finch stressed at the awards ceremony that this was a magnificent team effort and that the whole team should be recognised.  Arup worked with architects Wilkinson Eyre to provide the conservatories’ fire and façade engineering design.
Often regarded as the Oscars of the architectural world, the three-day festival was held at the Marina Bay Sands from 3-5 October. This is the first time it has been held outside of Barcelona, Spain.
You may visit to see more information and more photographs about project of Cooled Conservatories Design by Wilkinson Eyre to click below link from My Magical Attic blog. 

https://mymagicalattic.blogspot.com.tr/2015/09/cooled-conservatories-singapore-design.html














COOLED CONSERVATORIES DESIGN BY WILKINSON EYRE ARCHITECTS












THE DONGDAEMUN DESIGN PLAZA BY ZAHA HADID




THE DONGDAEMUN DESIGN PLAZA BY ZAHA HADID
The Asian Association of Lighting Designers have honoured Arup with a Gold Award for our work on the Dongdaemun Design Plaza.
The Dongdaemun Design Plaza is a cultural hub at the centre of a historic district of Seoul, creating a new civic space for the city. It is a home to a variety of public spaces including art/exhibition halls, a convention centre, a museum space, design labs, seminar rooms and other associated facilities.
The architectural free form of the building is covered with more than 45,000 curved aluminium panels, incorporating a field of pixilation and perforation patterns that help to create dynamic visual effects depending on the lighting conditions and seasonal changes. At night the building comes alive first through the reflections of the neon lighting of the surrounding colourful cityscape, then through the interplay of the built-in façade lighting animating the building skin, reflecting the characteristics of its unique urban setting and minimising light pollution to the night sky.
Sustainability was a key driver for the client so daylight linked control and high efficiency, long life lamps were installed throughout.
Arup worked closely with Zaha Hadid Architects on the design of the building and its façade which resulted in a cohesive, energy efficient and aesthetically tuned lighting project that demonstrates how architects, façade specialists and engineers can collaborate effectively on challenging architectural forms.
“ We are delighted to receive this top accolade from the Asian Association of Lighting Designers. The Plaza is one of the main cultural hubs in the centre of one of the busiest districts of Seoul so it was important that the lighting signifies and reinforces Dongdaemun Design Plaza’s identity as a hub for art, design and technology. We have been able to achieve this in a visually dynamic and stimulating way. ”
- Florence Lam, Global Lighting Design Leader, Arup
The Asian Lighting Design Awards rewards the projects that have excellent contributions on the outstanding technical and research developments, innovative design, energy-efficient and successful applications, which have been highly praised by the users. This award, which is endorsed by International Year of Light and Light-based Technologies (IYL 2015), is one of the most influential in the Asian lighting design field.
You may visit to see more information and more photographs about project of Dongdaemun Design Plaza design by Zaha Hadid to click below link from My Magical Attic blog. 

https://mymagicalattic.blogspot.com.tr/2014/04/dongdaemun-design-plaza-ddp-design-by.html










THE DONGDAEMUN DESIGN PLAZA BY ZAHA HADID








EIFMAN THEATRE ( DANCE PALACE ) DESIGN BY UNSTUDIO




EIFMAN THEATRE ( DANCE PALACE ) DESIGN BY UNSTUDIO
21,000m2 dance theatre, home to the Eifman Ballet.
Innovative façade system, adjustable for viewing and acoustics requirements of each performance.
Architect UNStudio and Arup are collaborating on the design of a new theater complex in the historic centre of St. Petersburg, Russia.
On completion, the 21,000m2 dance theatre will be home to the Eifman Ballet, headed by prolific choreographer Boris Eifman. The 'dance palace' will form part of the European Embankment city quarter masterplan for a new urban square in St. Petersburg.
Arup will provide multidisciplinary work on this project including building services, fire engineeringacoustic designlighting designfaçade engineering and building physics.
The building will include an open and inviting theatre that can accommodate 1,300 guests: 1,000 in a large auditorium and 300 in a small auditorium.
The design gives careful consideration to circulation in the spacious foyer and creating a transparent relationship with the surrounding public square and city.
Integration with neighbouring buildings will be achieved through the building's scale - which in elevation follows St. Petersburg’s typical 28m roofline.
The building will also feature an innovative façade system comprising opaque and perforated triangular cladding panels, the combination of which can be varied to allow more or less openness depending on performance, desired views and required orientation.
In the main auditorium, a horseshoe form was chosen for acoustic advantages and the proximity to the stage it allows.
You may visit to see more information and more photographs about the project Dance Palace design by Unstudio from my magical attic blog to click below link.

https://mymagicalattic.blogspot.com.tr/2014/08/dance-palace-st-in-petersburg-design-by.html








EIFMAN THEATRE ( DANCE PALACE ) DESIGN BY UNSTUDIO








SOLAR LEAF © ALGAE FAÇADE PROTOTYPE PANELS ( SCALE 1:1 ), 2016

The exhibition includes a series of full-scale SolarLeaf© Algae Façade prototype panels, as an example of how Arup continues to innovate the field of building design today. SolarLeaf© is a new experimental bioreactive building façade system developed by Arup with Colt International. It uses microalgae to generate renewable energy to heat buildings as an alternative and environmentally-friendly energy source






View From Exhibition Place of Victoria & Albert Museum 




Crossrail: Tunnel Boring Machine Jessica Breaks Through Into
Stepney Green Cavern, February 2014
Photographer Robby Whitfield © Crossrail Ltd




View From Exhibition Place of Victoria & Albert Museum 




TBM ASSEMBLY TUNNEL






TBM ASSEMBLY TUNNEL








CALIFORNIA ACADEMY OF SCIENCES DESIGN BY RENZO PIANO




CALIFORNIA ACADEMY OF SCIENCES DESIGN BY RENZO PIANO
Double LEED® Platinum sustainability rating from US Green Buildings Council.
Largest LEED Platinum public building in the world.
Uses one-third less energy than comparable structures and generates five percent of total energy demand.
Founded in 1853, the California Academy of Sciences is the largest cultural institution in the City of San Francisco. Its previous home, damaged in a 1989 earthquake, was razed and replaced on the same site in Golden Gate Park. The state of the art facility, featuring a wide range of green building technologies and strategies, is currently the greenest museum in the world.
The $488 million facility, opened to the public on 27 September 2008, is the result of a seven year collaboration between Arup, and the architects Renzo Piano Building Workshop and Stantec Architecture.
Arup’s scope on the project was comprehensive. It encompassed structural and complete building services engineering ( mechanicalelectrical, and plumbing ), in addition to fire safety consulting, facade engineering, lighting design, sustainability consulting, acoustics consulting and pedestrian planning.
" On behalf of the City of San Francisco, I am extremely proud and thankful for your unflagging support and dedication to seeing this project through to final LEED Platinum certification. The potential for educating the public on issues of sustainable design and green building is vast. This building's living legacy will continue to be something of which we can all be very proud. "
—Mr. Mark Palmer, Municipal Green Building Coordinator, City and County of San Francisco
The visually-striking building features an undulating 2.5 acre living roof with a perimeter steel canopy supporting photovoltaic cells, a large glass skylight supported by a tensile net structure, a freestanding 90-foot diameter planetarium dome, five separate iconic aquarium tanks and a 90-foot diameter glazed dome housing a rainforest exhibit.
" The roof of the academy's central space is a swoop of glass open at the top, supported by a thin web of tense cables underneath. It was engineered with great dexterity by the firm Arup, and hovers with a grace that dazzled visiting architecture critics. "
—John King, San Francisco Chronicle

http://www.arup.com/projects/california_academy_of_sciences


















CALIFORNIA ACADEMY OF SCIENCES DESIGN BY RENZO PIANO








HELSINKI CENTRAL LIBRARY DESIGN BY ALA ARCHITECTS




HELSINKI CENTRAL LIBRARY DESIGN BY ALA ARCHITECTS
New low energy library for Helsinki with 1.5m visitors per year.
Arup is responsible for a full range of engineering services to arrive at a totally integrated and sustainable solution.
The new 16,000m2 library building of Helsinki will consist almost entirely of public spaces and will serve as the new focal point for the city and Finland's impressive public library network.
The project has been selected as the winning entry out of 544 entries from all over the world. Arup is responsible for a full range of engineering services including energy efficiencysustainabilitystructural engineering, building servicesfacade engineering and fire safety to arrive at a totally integrated, sustainably conscious solution for the building. 
Economic structural solution
The winning entry is based on the idea of dividing the functions of the library into three distinctive levels: an active ground floor, a calm upper floor, and an enclosed in-between volume containing the more specific functions. This concept has been developed into an arching form that invites people to use the spaces and services.
"The architectural concept has required us to develop an economic structural solution combining a 3D arched element in combination with more conventional building solutions. The project includes a large column free foyer area at ground level, 27m cantilever balcony at second floor level, a floating cloud roof structure and the provision for a future tunnel to be built beneath the building."
 — Paul Dunne, Director, Arup
New benchmark for energy consumption
Arup's team in Dublin worked closely with ALA Architects to realise the challenging energy efficiency target of the competition brief. Arup also developed sustainable solutions for the building and integrated sophisticated structural solutions to carry out the architectural expression of the competition proposal. The energy target for the project is equivalent to 120kWh/m2 per annum, which represents a new benchmark for energy consumption in a modern high-technology library facility.
It has been estimated that the library will attract 5,000 visitors per day and 1.5m visitors per year. The central library is planned to open in 2017 which will be the centenary year of Finland's independence.
You may visit to see more architectural information and photographs project of Helsinki Central Library design by ALA Architects to click below link from my magical attic blog.

https://mymagicalattic.blogspot.com.tr/2014/07/helsinki-centre-library-design-by-ala.html














HELSINKI CENTRAL LIBRARY DESIGN BY ALA ARCHITECTS












ARUP HISTORY
In 1946, philosopher and engineer Ove Arup set up his consulting engineering business in London. In the more than 60 years that have followed, the business has grown into an international consulting firm of unparalleled scope, owned in trust for its employees and using the business principles that Ove Arup first set out – and which he articulated for posterity in 1970 in his forward-looking ‘key speech’. 
Right from the start, Arup was known for its close and exceptionally productive collaborations with leading and avant-garde architects. In its first two decades, the firm expanded rapidly, and earned a formidable reputation for devising advanced and economical solutions for buildings – a reputation it still enjoys today. 
By 1976, Arup’s reputation had become truly global with the completion of the Sydney Opera House. By this time, the firm had opened offices in Northern Europe, Southern Africa, South East Asia and Australia. Its breadth of expertise was already considerable: this ranged from offshore engineering, acoustics, facades, and specialist skills such as impact, blast, risk and seismic engineering, to relatively-niche areas such as designing transportation containers for nuclear waste.
The firm’s portfolio today is broad and wide-ranging. Many of the world’s most iconic sports stadia are Arup projects – such as Beijing’s Water Cube, the Singapore Sport's Hub and London Aquatics Centre.
Arup’s work goes beyond buildings and infrastructure, however. We collaborated with car manufacturers on the design of the SuperLight car, which uses considerably less energy than the petrol equivalent. Through our Operational Readiness, Activation and Transition (ORAT) service we help clients and other stakeholders plan for the seamless opening and operation of major facilities like airports and hospitals or for major events. Arup has also developed a range of proprietary computer modelling tools which it sells around the world, as well as innovations such as our SoundLab, an aural-realisation tool with which clients can hear subjectively how different design options perform acoustically – before they are actually built.
Arup now has over 92 offices across Europe, North America, Africa, Australasia and South East Asia. We employ more than 12,000 people globally. Our revenue in the year ending March 2014 exceeded £1bn.
ARUP FUTURE
Every Arup project is designed with the future in mind. Arup designers consider future trends such as climate change, as well as how an individual site or its immediate surroundings may be developed in the future. The availability of materials and best practice in sustainability also play a significant part.
Each year, Arup reinvests a share of its profits in research as part of the firm’s pursuit of technical excellence. Some of our research projects are conducted by specialists within Arup; others are collaborations with academic institutions or partnerships with industry.
Arup invests in strategic global research projects that arm us with the insight and knowledge we need to plan effectively for future trends. One such report, Cities Alive, makes five recommendations that will bring much-needed green infrastructure to the forefront of the design and planning of cities and urban environments.
Investing in Arup’s own people is a key part of the firm's approach to business. A rigorous technical training program – as well as training on disciplines such as project management – equips Arup people for the challenges offered by the world’s most exciting projects. The emphasis on training and technical excellence means that Arup continues to attract and retain many of the world’s best engineers and designers.
Arup even rewards exceptional achievement – by individuals in projects and contribution to design engineering as an industry – with an honorary title. Each of the 39 Arup Fellows are eminent in their fields, and their innovative work sets an inspiring example to others at Arup and beyond.
Diversity of opinion and ideas are highly prized at Arup, whose online skills networks hum with debate and provide a forum for the exchange of ideas and knowledge. With projects all over the world and offices in 40 countries worldwide, Arup remains a diverse group of individuals from a range of cultural backgrounds. This diversity helps foster the creativity that is Arup’s hallmark.




DIVERSITY & INCLUSION
Arup recognises that to produce work of quality, to maintain our reputation for innovation and creativity and to understand and delight our clients we need to fully embrace the skills, abilities and knowledge that only a diverse and inclusive workforce can deliver. We are committed to promoting the value of diversity and equality throughout our firm.
As an organisation working in over 119 nations, we recognise and respect each other’s differences and strive to build a working environment where those different perspectives are actively harnessed to create the best solutions for our equally diverse client base.
Our senior leadership are fully committed to ensuring we create an inclusive environment based on fairness, respect and merit. This creates equal opportunities for everyone to grow and develop within the firm.
We will provide opportunities for people regardless of their background or circumstances, whether through recruitment, retention, career progression, reward or learning and development.
A diverse and inclusive Arup is essential for our future success and to meet our core mission of “Shaping a Better World”.
BUSINESS APPROACH
Arup looks at every project with a fresh perspective, no matter how big or small it may be. The firm supports and promotes in its people a willingness to think laterally. Often, this willingness to take a creative approach produces ideas and concepts that may not have been immediately obvious, but which often deliver the best solutions.
Arup invests heavily in research and development, which informs its approach to projects and keeps it focused on 'future-proofing' its design, as well as best practice now. It also invests in skills networks and facilitates the constant exchange of ideas between its people, no matter where they are based or what discipline they belong to.
The firm’s commitment to sustainability informs the firm’s approach and is at the heart of every project. The firm is acutely aware of the responsibility it has in designing and influencing the built environment, to do the best possible work for current and future generations.
The result is solutions that work for clients and for the people who use them and live or work in and around them.
You may visit Arup web page to have more information about the company and background to click below link.
http://www.arup.com/about_us












A PORTRAIT OF OVE ARUP
The exhibition begins with Ove’s early career during the burgeoning Modernist design movement and his education in philosophy, mathematics and engineering. It explores the profound effect his relocation to London in 1923 had in shaping his understanding of modern engineering practice, through encounters with leading architectural theorists like the Bauhaus founder, Walter Gropius, and Le Corbusier, as well as his collaborative projects with experimental architects Tecton Group. Technical studies and models for early projects like the Penguin Pool at London Zoo, and a lithograph portrait of Ove Arup by Le Corbusier are on display. While memorabilia from Ove’s personal drawing collection sheds light on his sense of humour and charisma, including his original doodles and doggerel – hand drawn sketches that often accompanied his fanciful poems and notes.
OVE & HIS FIRM (1938 – 1988)
The exhibition profiles Ove’s career over five decades across the 20th century – a time of great social, political and technological change and the cataclysmic Second World War. Guided by Ove’s own writings on his philosophy of Total Design, it explores the principles he set out for his firm and the company’s evolution into a breeding ground of talent and experimentation. 
Ove’s contribution to the war effort is explored through his radical designs for improving inadequate wartime air raid shelters and crucial work on the Mulberry temporary harbours deployed during the D-Day landings in France in 1944, built to facilitate rapid offloading of soldiers and cargo. The story of the Sydney Opera House reveals the key engineering idea that made its completion possible – the first ever application of computer-generated calculations to a building project. On show is the original Ferranti Pegasus computer used by Arup engineers that is said to have saved ten years of manual calculations, as well as preliminary sketches, technical drawings, models used for stress testing, and unseen original calculations for the gravity-defying roof. A showcase of the Pompidou Centre explores the Arup engineer team’s contribution to the design of the building’s most distinctive feature – its external structure and exposed services – and the creation of a new architectural style where the engineering of a building defined its appearance. 
Ove strongly believed that ‘design should embody a sensible way of building’, and encouraged an approach that united invention with functionality and a respectful use of resources. The exhibition features the firm’s collaborations with leading emerging architects that pioneered new approaches to construction that are still in use today. These include Arup’s collaboration with Foster + Partners on the Hong Kong and Shanghai Bank HQ, which used unprecedented elements of prefabricated construction, and the Kansai International Airport Terminal Building that united structural design with environmental engineering concerns. The last ever project completed by Ove himself, the Kingsgate Footbridge in Durham, near his birthplace of Newcastle, illustrates the essence of his Total Design ideals. 
ARUP AFTER OVE (1988 – 2016)
This section examines Ove’s legacy and highlights recent projects by Arup showing how cutting-edge engineering solutions are transforming our built environment. Major infrastructure projects such as Crossrail are brought to life via a new digital interactive map showing underground tunnelling allowing visitors to navigate through London’s underbelly. Arup’s new technologies for acoustics and environmental sound studies are showcased through immersive simulations, including a recreation of an Arup SoundLab® presenting case studies for concert halls and studies for the much-debated HS2 railway route. The exhibition also looks at Arup’s engineering solutions for open source housing design, including the firm’s recent collaborations with Architecture 00 on WikiHouse, as well as innovative crowd flow analysis projects undertaken for cultural attractions around the world, including the V&A.