ANGELO STATE UNIVERSITY SPORTS COMPLEX

by

Chandler H. Pruitt

A THESIS

IN

ARCHITECTURE

Submitted to the Architecture Faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for the Degree of

BACHELOR OF ARCHITECTURE

Progr.

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AC sat 2 i"'^ list of f igures

Figure 1-1 - Map of Angelo State University 21 Figure 2-1 - Solar Angles for San Angelo 40 Figure 2-2 - Climatic Data for San Angelo 41 Figure 3-1 - Topographical map of proposed site 39

kemper arena

Figure 4-1 - Bermed pedestrian walk 59 Figure 4-2 - Floor plan 60 Figure 4-3 - Exterior view showing entrance overhangs 61 Figure 4-4 - Site plan 62 Figure 4-5 - Facade showing skin panel grid 63 Figure 4-6 - Interior view of Arena floor, seating and secondary structure 64 Figure 4-7 - Longi tudinga I section 65 Figure 4-8 - Axonometric cutaway section 67

tokyo Olympic complsx

Figure 5-1 - Floor plan including site 69 Figure 5-2 - View looking northwest 70 Figure 5-3 - Views of main building 72 Figure 5-4 - View looking toward smaller building... 73 Figure 5-5 - Interior view of the smaller building showing skyl ight 74 Figure 5-6 - Interior view of the larger building showing sky light 75 Figure 5-7 - Structural cables supporting the roof of the larger building 76

exeter gymnasium

Figure 6-1 - Axonometric showing interior spaces.... 79 Figure 6-2 - View showing campus entry 80 Figure 6-3 - View showing public entry 81 Figure 6-4 - Interior view of circulation core 82 Figure 6-5 - Building section 83 Figure 6-6 - Weathering steel structural framework.. 84 4

mi 1 ford jai alai

Figure 7-1 - Floor plans ^^ Figure 7-2 - East facade 88 Figure 7-3 - South facade 88 Figure 7-4 - Interior view of galleria 89 Figure 7-5 - Lower entry showing canopy framework... 90 Figure 7-6 - Interior view of International Room.... 91 Figure 7-7 - Lighting fixtures 92 Figure 7-8 - Longitudinal section through grandstand 93 Figure 7-9 - Interior views showing trusses and columns 94 Figure 7-10 - Structural detail 94 Figure 7-11 - Axonometric showing structural framing 95 carver-hawkeye arena

Figure 8-1 - Floor plans 99 Figure 8-2 - Section perspective 99 Figure 8-3 - Exterior view showing glass block wall and entry 100 Figure 8-4 - Space frame structure supporting transluscent fabric 101 Figure 8-5 - Interior view of Arena showing skylights 102 Figure 8-6 - Structural diagrams 103 Figure 8-7 - Structural detail of roof and frame system 105 fujisawa municipal gymnasium

Figure 9-1 - Site plan 107 Figure 9-2 - Section of the main arena 108 Figure 9-3 - North-South section 108 Figure 9-4 - Second floor plan 109 Figure 9-5 - Samurai warrior's helmet 109 Figure 9-6 - Interior view of main arena showing structural trusses/skyl ight iii Figure 9-7 - Exterior view - smaller gymnasium in the foreground 112 Figure 9-8 - Exterior view showing glazed tile of main arena 113 Figure 9-9 - East elevation 114 Figure 9-10 - West elevation 114 Figure 9-11 - Birds-eye view of model showing structural system 115 Figure 9-12 - Interior view of model showing structural system HQ works by phi lip cox national athletics stadium

Figure 10-1 - View of grandstand 119 Figure 10-2 - View of grandstand showing entry berms 119

Sydney footbal1 stadium

Figure 10-3 - Longitudinal section 123 Figure 10-4 - Site plan 123 Figure 10-5 - View showing undulation of the roof...124 darling harbour exhibition hall

Figure 10-6 - View showing structural supports 127 Figure 10-7 - West elevation 128 Figure 10-8 - Enlarged view of structural detaiI....129 tsukuba municipal gymnasium

Figure 11-1 - Site plan 130 Figure 11-2 - Main hall looking out entry doors 131 Figure 11-3 - Exterior view of entry 132 Figure 11-4 - Interior view of main gymnasium 133 Figure 11-5 - Plan and section 134 Figure 11-6 - Axonometric 134 Figure 11-7 - South facade 135 Figure 11-8 - West facade 136 6

foreword

"Programming" can be likened in a definitive way to that of a theatrical program - "a brief outline of the order to be followed, or the feature or features to be presented, and the persons participating."' Programming is an effort to define the reasons, needs, objectives and goals that are the purpose of the building.

8

introduction "Designing a gymnasium is not one of the more difficult architectural problems."'

"From the beginning, the building was conceived as a large box within a structural frame."'

"Circulation is the only area in a gymnasium where you can be creative. The rest is set by sports regulations. **' "The current rash of stadiums is typical of the cycles architecture goes through. They are generated by developers; what goes well in one place is assumed to go well in another."* "The team has won despite playing in a facility more suited as a place to milk cows."' "...The game between Monterey and Coronado took place tonight in »the box* ."* We may now be entering a different period of social evolution. Leisure, not work, may be becoming more significant in life's interests, Just as much as work, leisure may be crucial to the development of self- identity and self-realization, Any concept of leisure planning should therefore be concerned with the totality of life satisfactions, more specifically, with considering how the provision of facilities in sport, recreation, arts, education, tourism and recreation generally can better serve human needs.

Leisure has a number of different functions to perform in society: it develops personality, it teaches, it provides relaxation and entertainment, and it promotes physical fitness and mental alertness.

One of the main forms of leisure is athletics. Athletics has permeated our society. We see it as a major portion of the nightly news, a section in the newspaper, a continuous onslaught of New Year's Day bowl games, the hype of a Super Bowl, the escalating saIar ies of the 'entertainers' themselves, and an identity for communities and schools. In light of the promi nence of athletics architects have the responsibility to provide an enriching environment for the spectators and athletes alike.

Architectural composition, space by space, detail by detail, has a profound impact on the comfort, emotions, security, and understanding in humans. The success of architectural space and, in turn, a series of successful architectural spaces is dependent on the creation of an environment in which the human being can understand spaces easily and can grasp their image. This easy readability entails a feeling of openness that detonates the possibility of participation in the space on the part of the individual.

Humans have the capacity to per ceive and dis t ingu i sh env i ronmenta l cue s on a mu11 i tude of I eve 1s. No one can be cons i dered the "average pe rson", each in d i V idua1 hav ing di fferent 1 eve Is of sensor y percept ion and d i seernment . Ob V ious1y, a buiId ing cannot be tailored to mee t such sp ecific demands imp Ii ed throug h that train of thought An attempt must be made to use natura 1 and artif icial constraint s: phys i ca1, Iogica1, semant ic, and cu1 tura1.^ As choic es become more visible and un derstandab1 e, the resuIts o f the actions become 10 apparent. The users become participants, encouraged to interact on many levels.

This project provides an opportunity to explore those possibilities of designing an environment for athletes and spectators that is stimulating and encouraging.

Architecture can be a positive contributor to mental and emotional enrichment. If the public sees the building as a mundane, meaningless 'box' then maybe the building type needs to be rethought. Instead of sterile 'boxes' that do little to enhance the athletic experience, the place itself can support the idea of excitement, festivity, prominence, and competition.

Unfortunately, many architects have produced and many people have accepted, the 'box' and 'circulation' idea of architecture. When architects talk of architecture in such absolute terras as a gymnasium being simple architecturally then maybe they are not exploring the possibilities. Architecture need not be complex to be great, but many simple gymnasiums are simply ugly.

In my res earch I discove red many issues conce rni n g the va1 id i ty and necessity of at hIet ies and phy s i ca 1 compet i t i no. The neg at i ve aspect s of c ol le giate athletics could, and ha ve been , the topi c of long d i scourses among the educ ators an d the e ducate d as we 1 I as coaches and participan ts. Th ese and re 1 ate d mora 1 issues w i1 I not be addresse d in this res earch speci f ica1 Iy. Thi s d i scussio n w i I 1 attemp t t o ad dress the reaso ns and needs o f the b ui1d i ng If so me of these mo ra1 i ssues are he 1 ped by si gnif i cant archi tectu re then all as soc iated part ie s bene fit f rom the exerc ise. Architec ture is not th e so 1u t io n but on Iy an ai d in such cases

The athlete is rarely seen as a "middle-of-the-road" type in society. The lofty status given the successful athlete often creates opportunities that he normally could not attain without his public image. Other people view the athlete as a lesser person, unqualified in the "real world". Sadly, most often his popularity and acceptance depends on his athletic achievements. Architecture is not a direct solution to the social pressures put on the athlete, but it may provide him an opportunity to perform better. 11

The other main 'participant' in the athletic event is the spectator. He can be classified as a participant because he can, in the least, be emotionally involved. For the spectator, athletic events may be a rare outlet for emotional expression and frustration.* ' The athlete often represents to the spectator how he views himself in the spectators mind, for the athlete is the spectators' team, country, and his own fulfillment in sport achievement.'

A certain and strange symbiotic relationship is inherent between the athlete and the spectator. The athlete seems to perform better with the encouragement of a supporting fan, and there is nothing like a losing team to keep the fans away. In this respect, architecture cannot guarantee happy athletes or spectators.

How then has the trend toward artificial turf and plush comfort in domed stadiums altered the nature of the game of football? Playing remains the same. Time and space remain important elements in the coaches' strategy and the athletes' performances. But the shift from natural to artificial environments has changed the fans' perception of these contests.

Artificial turf, besides destroying players' knees, also destroys the illusion of natural wilderness within the city and reduces the importance of chance - a halfback stepping in a hole. The plushness of theater seats and the extravagance of electronic scoreboards make the fan a passive observer of spectacle, rather than a vicarious participant in the reenactment of ancient virtues. The very rich can even view the games now from the comfort of glassed-in suites, cut off entirely from the natural elements. The domed stadiums eliminate the natural elements as an aspect for all the fans, and the players as well. By moving the game indoors, the domed stadiums sever any connection with the natural environment and reduce heroic mythic sport to theatrical spectacle.

Like shopping centers, stadiums are surrounded by acres of concrete and asphalt. 12 and the automobile has become the primary means of assembling and dispersing the crowd. In the less pretentious stadiums we players seemed the focal point. We were bound to our fans in a common undertaking. We were not merely ornaments or objects of the spectators' amusement. To feel a unity with one's won fans and a sense of representing them against a threatening foe is to feel oneself to be truly a "hero".

The sta dium is becoming 1 ess a source of psychic regener ation and more a theate r in which th e specta tor demand s to be enter ta i ned by show mansh ip and victor ies, an d where the player s imp Iy ea rns a sala ry. The commer cia 1 and past oral asp ects of s port hav e coexi s ted since t he 1920 's in re 1a t i ve equ i 1i br i um. But the recent trend to ward do m i nance by techno 1o gy signa I s a fundament a 1 rev i s i on of Amer i can spor t - a shift from myt hie gam e to OStentat ious spe ctacIe.' '

That is the view of a former professional football player. He has a concern for the nature of the game and the role of the participant in that game. Whether or not his concerns are those of every participant is uncertain. Nevertheless, his views are not to be taken 1ightly.

Yes, the game is becoming more show and theatrics and the architecture is reflecting such. What follows is an architect's view on sport and architecture.

Sport, lik e museums and festivals, can't be seen apart from community interest and public support: it is a part of the recreational and leisu re sector. Sports events arouse widespread interest, and this has to be ach ieved in part through the appropriate st ructure of their venues. A sports hall nowadays must not appear a purely formal machine or a featureless technological box, nor even a n earth-covered mound. Rather, it ought to be a kind of festival building with express i ve force in the urban setting. This, at I east, is the concept and the purpose under lying this project: the sports hall as a fest i va1 venue, an arena, a building for 13

festivals and celebrations, a glowing glittering dome, a modern circus marquee for spor t.

Who is right? 1 choose the archi tect's V i ew There is certainly a need to address the h is tor icaI s i gn i f icance of the athlete and the athlet ic event, but as our culture has changed so has our e xpectat ions of sports, As denoted previously, the spor ting event is becoming more emphasized as a media and a leisure a ctivity, an activity to be enjoyed by all. The athlet ic event is assuming that athlete and spectat or a 1i ke are invo1ved, that one could not exist without the other, Thus, the event holds a certain entertai nment qua 1i ty for all involved. Is it theatrics? Most cer tai nIy it is. 14 statement of

phi 1osophy

Significant architecture is one which is worthy of being built, is capable of influencing people, and is important enough to be maintained and preserved.

"Nearly all sports as we know them seem to be memories and in a way ceremonial reenactments of situations that were once of paramount importance to our survival."'

Beyond the bare functional dimensions of designing a build ing, and beyond deciding how to dip into avai lable technology, there are other "purely ob Jective matters" involved - those forces that are liberating and constricting our lifestyle; the rapid, often disorienting chan ges in our society; the need to be sparing in our use of resources, materials, and en ergy; all the codes and laws cropping up, at every turn; dramatically increased public awareness of historical buildings, places , and streets that, in turn, strongly urges u 8 to design new buildings that acknowledge the scale and character of what exists' 15

"The design of the sports hall cannot be examined in purely functional terms. Apart from its functional purposes, it is first and foremost a piece of urban design."'

Significant architecture can have a prominent place on the college campus and be an integral part of the community and the environment as well; it is urban design. Athletic complexes by their sheer size become than just a building for that campus; they become a dominant building for the city.

Significant architecture stimulates the senses, provokes thought and imagination, sparks the emotions, and serves as a reference for future physical encounters. In its simplest terms, it has meaning, able to convey an idea to the mind. Thus, significant architecture is transformed from bricks and sticks into a valuable learning tool, a method for understanding the environment and the world. goa 1 s and objectives

goal

* to create significant architecture

objectives

* to provide good visibility in the arena from every part of the viewing point at all times.

» to provide accessibility to the stadium from the campus and the city, and movement within the stadium itself, that is easy and unrestricted.

* to provide a civilized and inviting environment.

« to provide an arrangement of spaces within the stadium and their relationship to each other that enables management to use the stadium for a variety of purposes.

» to ensure a florr plan and spatial volume suited to the everyday functional requirements of the main arena.

* to provide storage for large and highly varied sports and gymnasium equipment. 17

* to devise a structural system that can rationally cover the large space.

* to create unity between the rather large stadium and the smaller arena.

* to create a festive space responding to the enthusiasm of sports.

» to fulfill the idea that the sports complex is a symbol for the city and the school.

* to provide a space easily understood by all.

» to create a space which entails a sense of openness and provides the possibility of participation in the space on the part of the individual.

* to reduce walking distances.

* to provide for the handicapped.

» to provide sport as a leisure activity.

» to create a stimulating working environment.

» to maintain a secure environment.

* to create an environment adaptable to a multitude of activities year round.

» to create a simple circulation system that is easily accessible and informative. 18 statement of

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^5s.; intent

Football, basketball, and track and field venues are great "potential spaces". All spaces have potential, but sporting venues have unique opportunities.

In response to athletic and demographic richness on the college campus I have chosen to study the area of sports/recreation, creating physically a multi-use sports complex on the campus of Angelo State University, San Angelo, Texas.

More specifically, the complex will deal with the intercollegiate athletic sports of football, basketball, volleyball, tennis, and track and field. In addition, related administrative offices and athletic amenities will be provided.

The sports are played within rigid boundaries - out-of- bounds lines, half-court lines, midfield, goal lines, foul lines, start and finish lines, lanes, etc But addindiuuingg playerpiayers withiwi^nin thestnese par^mparametere >-wi sa "-ic^toscreates) a fluidity within the rigid boundaries. The players add the third dimension to the plane of the playing surface. * . Ba11B_iis_ i.•n _ m -otion are limited by ceilings or gravity as well as opponents High jumpers and pole 19 vaulters defy that gravity by pushing the limits of man and gravity in order to scale heights. The players even push the limits of the boundaries by reaching beyond the lines to retrieve errant balls. Grace and style blend with power and force.

Thus exists the juxtaposition of the rigid and the fluid. The challenge lies in addressing this situation architecturally. My desire is that my architecture will express the celebration of sport, the beauty and grace of sport, the power and force of sport, and the nature of a familiar place. 20 examination of

issues

issue (n) * concern » matter » point « problem « question adaptabi1ity The facility must provide a certain amount of convertabi1ity/expandibi1ity/flexibiIity. At Angelo State University it is unreasonable to think that the athletic complex will only be in use for the main sporting events. The facility must allow itself to be available for a multitude of athletic practices, including basketball, volleyball, tennis, and limited use by track and football. mfMHWNWMlHIMi T |~——>••..-•- ••

21

The facilities should bring about a sensible and reasonable solution for future requirements. circulation Two types of circulation should be addressed - that incorporating the automobile and that incorporating the pedestr ian.

Automobile traffic will be directed onto our site from University Avenue and South Jackson Street. On-campus traffic can enter the site via Dena Drive, Zenith Drive, and Varsity Lane. (see Figure 1-1.)

Where will the major parking locations exist in relation to the stadium? the arena? the administration?

Angek) State University Campus

Figure 1-1

All the people watching the game and buying the hotdogs have to get in and out of the stadium, so the design of concourses and ramps becomes important.

Cars entering and exiting the site must have an adequate amount of exits as well as exits appropriately placed in relation to existing road systems. Whereas 22 the pedestrians are p rovided sufficient exit adjacency and quick dispersal, in like manner, the automobile should be provided sue h benef i ts.

When the spectators o r participants are on foot, the paths and destination s must be clearly defined while the walking distances are reduced to a minimum.

How the pedestrian an d automobile blend is critical to safety and personal se cur i ty.

The foremost purpos es of planning for traffic circulation and contro I include: minimizing congestion in corridors, stairwe lis, locker rooms, and spectator areas; minimizing the disturbance of students and staff in offices; providing for ease of building supervision and separation of mov ement; and providing for future building expansion.'

On the interior of the building the circulation spaces must be of ample width and allow safe passage even in emergency situations. Poor circulation can have adverse effects on both comfort and sense of personal space.

Corridors which are continuous and straight, providing unbroken vision, add qualities of safety and security to the building, its contents, and its users. Corridors are best lined up with entrance doors, providing unbroken vision, adding qualities of safety and security, providing a commanding view of the doorway from the corridor and of the corridor from the entrance door. Avoid angular corridors, and eliminate niches or cubbyholes.*

Consider the building's functions in relation to its normal patterns of use. Circulation can help management. Avoid long corridors and blind areas. It is desirable for public to pass by refreshment areas.*

Circulation can be enhanced and sometimes controlled by encouraging favorable, enjoyable routes.

Are there problems of vertical movement? i.e. for the disabled, storage, service.

How wilI the handicapped be served?

Toilets, refreshments? 23 climate contro1 All three mechanical systems - heating, ventilating, and air-conditioning - are interrelated and should be planned together.

Mechanical ventilation is preferred to open windows.*

Planned placement and insulation of high-noise equipment is necessary. communi cat ions A good press box is need at the football stadium. Each newspaper should have its own working space, while television and radio personnel need separate booths. A duplicating and processing area, telephones, a distribution and storage area for food, and a deck for photography should be included in the design.'

In the arena there should be adequate provision for sportswriters. A press box is recommended. If tables are placed at courtside, they should be done so with the safety of the athletes in mind.*

The public address system must reach every seat in clarity and intensity. context see site considerations control Consider the need to separate the participant from the non-participant.

Clearly visible on the approach to the complex should be regularly spaced entry positions, sufficient in number to admit at a rate fast enough to avoid large admission queues and yet slow enough for the comfortable distribution of spectators within the ground.' 24 cultural/societal benefits The facility can be a positive point for Angelo State University and San Angelo. It can afford the school and community national recognition while providing viable service and entertainment.

The demographic composure of a college is constantly changing. College students graduate only to be replaced by others. The only thing that remains constant is the age range of the students. Conversely, the demographic composure of the city surrounding the college is relatively constant. Both groups are important for the support of athletic events.

Are there any symbols that for the ever-changing population of the college campus? How does this relate the city base of people to the changing college population? Can both be served effectively? If so, how? education Ideally, the aim of athletics is to help people live healthy, satisfying, and energetic lives by developing and maintaining optimum physical efficiency, by developing useful knowledge and physical skills, by acting in socially useful ways, and by enjoying wholesome physical recreation."

Can significant architecture on the college campus be a stimulus for creativity and emotions? entry/exit Admission gates should be located near the parking lots and other main approaches to the structure. The number and size will depend on projected and potential attendance. Exits should permit the crowd to vacate the enclosure within 10 minutes. Twenty-two inches of linear exit space should be permitted for each 500 spectators or as specified by local code. At least one gate 14 feet high and 14 feet wide should be provided to accommodate trucks and buses.'

Entries should be well lit from dusk to dawn for security reasons. Provisions should be made for a 25 paved access roadway and at least one entrance large enough to accommodate trucks.'"

The lobby should be designed for ticket selling and collecting so that the traffic will flow in a straight line, or nearly so, from the entrances to the box office to the ticket collectors. To avoid congestion, approximately two-thirds of the lobby should be planned for accommodating box offices and ticket purchasers. The remainder should be reserved for ticket holders, who should have direct access to admission gates.''

The seating capacity and the number of seats in each section will determine the number of seats in each section will determine the number of entrances and exits required. It is highly desirable to have exit ramps leading from stepped aisles. Ramps, stairs, and passageways should be as wide as the deck aisles served. Stairs or ramps not opening directly into a street or open space should have lanes at least 20 feet wide leading out of the area.'* faci1ity capacities Angelo State University supports approximately 90-100 football players, 20-25 men's basketball players, 20-25 women's basketball players, 20 volleyball players, 30- 35 women's track athletes and 40-50 men's track athletes. These are the maximum amount of participants expected, not the average.

The stadium will be designed for a capacity of 20,000 spectators and the arena will be planned for 5,000 spectators. historical references Sports and recreation have strong ties to history. What the Coliseum is the Romans, what Soldier Field is to the Chicago Bears, what the Los Angeles Coliseum is to the Olympics, so must the buildings at Angelo State be an icon for the school. image/mood/atmosphere The image/mood/atmosphere are the consequence of the addressing of the other issues. The decisions should 26 be a conscious effort to create a piece of worthy architecture, one in which people care to inhabit and subsequently enjoy.

- San Angelo's perception - visitor's perception - employee's perception - participant's perception - schoo1/student perception ingress/egress The complex, made convenient for users should be easily accessible to them, with inviting approaches and unconstrained routes.

Access to the site becomes important because it will involve automobiles and pedestrians. Many people from other cities as well as local citizens will approach the site. Included also will be the student body, many of whom will be walking to the site. As these groups become an integrated whole on the site, access to the building becomes significant. The problem here is that while their arrival may spread over a couple of hours before the game, everybody wants to leave at the same t ime.

How will circulation routes and entrances relate to possible layouts for various activities?

How will spectators gain entry for events? Are secondary entrances be needed? Control? Emergency exits?

Is there a need for vehicular or other special entry to sports arena or stadium (eg. ambulances)? Door sizes?

Will there be areas that need direct entry by-passing the normal circulation system (eg. first aid)? internal environment * COLOR - Consider the color of walls, ceiling and floor. Determine whether it is more important to provide a warm, pleasant background than good contrast for activity? 27

* HEATING, LIGHTING - Determine overall environmental requirements, temperature, and lighting requirements. Activity generates its own heat but not all levels of activity need same temperature (eg. social and office areas).

» AMBIENCE - The complex should have a warm, pleasant (welcoming) appearance. Activity areas can be both attractive and functional but color and furnishings can be used to great effect. isolation Outdoor athletic facilities should be isolated from persistent and unnecessary distractions. Conversely, these facilities should be located so their use does not become a distraction for nearby classrooms and Iiving uni ts. lighting Several areas of the site and facility will demand different kinds, intensities, and locations of lighting. The parking lots will need security and visibility lighting for after-dark circulation, as will the exterior of the building. Interiora11y, different lighting needs will exist for the entry and service amenities (restrooms, concessions, etc.). The arena itself will necessitate differing lighting for the spectator galleries and the athletic movement spaces.

Specialized lighting will cover the stadium for football as well as occasional night track and field meets.

Internally, the administration shall have another group of lighting suitable to their individual needs.

In gymnasiums, the ideal lighting fixture has both an indirect and a direct component, throwing surface light on the ceiling to give it about the same brightness as the lighting unit itself. There is less need, however, to provide high-ceiling areas with direct-indirect fixtures. An even distribution of light is required to permit the individual to see quickly and distinctly in any part of the room. Supplementary lighting on areas 28

as those containing goals or targets, and to place dimmers on the lighting in spectator areas

Supplementary light sources should be shielded from the eyes of participants and spe,ctators in order to provide the proper brightness balance.

Incandescent, fluorescent, mercury-vapor, and sodium- vapor lighting systems are most commonly used in gyms. The incandescent light is instantaneous, burns without sound, and is not affected by the number of times the light is turned on or off.

Incandescent lights and fixtures are considerably cheaper in initial cost, are easier to change, and the lamp, within limits, may be varied in s i ze wi th i n given f i xture.

Incandescent fixtures have high spot brightness and give off considerable heat (not good for high levels of i I Iuminat ion).

Fluorescent fixtures have a long life and give off at least two and one-half the amount of light that incandescent lamps give for the same amount of current. Mercury-vapor lighting is most expensive in terms of initial installation, but the overall cost is cheaper than incandescent. The primary objection is that mercury-vapor give off a bluish color. However, when combined with proper incandescent light mercury-vapor can be highly satisfactory.

Skylights supplemented with artificial light can be very effective and cut down on energy costs. The artificial light level is monitored by sensors to determine the necessary wattage needs. Artificial lighting produces heat, so air-conditioning costs can be cut up to one-half and lighting costs up to one- third I s

The lighting of sports halls is one of the most important factors in their design. The decision of whether to daylight the hall or provide a 'blind box' will be taken early in the design process and can have a significant effect on the building form. Whereas an artificial lighting installation can be designed to serve the needs of the hall both by day and by night, a daylight system must usually be supplemented by electric lighting in order to maintain the recommended 29 illuminance when daylight fades. The artificial lighting installation will then take over completely when darkness has fallen. Ideally it is an advantage if both the daylight and electric light can be directed from the same positions. Such an arrangement will cause least visual disturbance to players and spectators when the changeover is taking place.

The lighting system must adequately meet the visual needs of the players. Often it may be necessary to follow the path of a ball or other object which may be comparatively small and be moving at a high speed. The movements and actions of other players must also be seen clearly and each player should be able to play his or her won part without hinderance from deep shadows or glare.

When spectators are present they must be able to follow the progress of the activity over the whole of the area involved easily. The viewing distance of the farthest spectators from the center of the action is an important consideration when determining the illuminance required.

For objects to be seen they must contrast in brightness or color, or both, with their background. The greater the contrast the more clearly they are seen. A designer usually has more freedom to control the color and reflectance properties of the various surfaces in sports halls than he has outdoors. He can select the surface finishes of ceiling, walls and floor to provide the best background.

Wall finishes should generally be matte to avoid specular reflections form windows and artificial light sources. There should not be strong patterning on walls and ceilings as this may cause some confusion when following the flight of a ball.

The account of light recommended for individual sports depends very much on the speed of the action and the size of the ball or other object in use.

The distribution of light across the space above the playing area should be reasonably uniform also. If this is not so players may experience some difficulty in judging the flight of a high ball. A fast-moving object will appear to change speed when passing from a light to a dark zone. 30 If some light can be directed onto the ceiIing, or roof, the contrast between the light source and its background will be reduced and glare restricted.

One of the most important daylighting requirements is uniformity of illuminance. Playing areas should be as free as possible from areas of high and low illuminance which give the interior a 'peaky' appearance.

Glazing has to be carefully positioned to avoid glare, either from the sun or from patches of bright sky. Side windows are likely to be more troublesome in this respect since, in addition to glare, there are likely to be problems arising from silhouetting against bright areas of glazing.

In many sports the ceiling forms a large part of the background against which a ball is viewed, therefore due regard should be paid to the brightness of the ceiling, whichever system is employed.

The reflectors should be designed to give some upward light onto the ceiling as well as a downward light.'* materials » FINISHES - Consider finishes for activities considered and levels of play/performance.

» CEILING - Consider acoustic absorbency. Consider color - reasonable contrast against the ball.

» FLOORS - Consider different types of floor available for purpose and level of performance. Consider color. Consider markings - temporary or permanent. Consider cleaning and maintenance. Are the bleachers retractable? If so, they can possibly cause damage to f loors.

In the weight training area the floor must withstand dropping or heavy weights. Floor must be slip res i stant.'*

Machinery vibration or impact sounds can be reduced by use of the proper floor covering and/or by installing the machinery on floating or resilient mountings.'

Criteria: flexibility, durability, cost. 31

* WALLS - Moisture-resistant walls with good acoustical properties are recommended. Most modern gyms have smooth surfaces on the lower portion of the walls so they may be used as rebound surfaces. Rough-surfaced walls collect dirt easily and are difficult to clean.'"

* SPECTATOR SEATING - see spectator needs.

see internal environment noise transference This can be a problem if there are rooms below a weight training room. High activity areas should not impede on the activities occurring in the administrative portion of the building. The mechanical equipment should not be a audial hindrance or distraction for the athletic events.

Sound through ducts can be reduced by the use of baffles, or by lining the ducts with sound-absorbent, fire-resistant materials. The ducts may also be connected with canvas to interrupt sound. Pipes can also be covered.

In high sound transmissions spaces double wall construction can be utilized.'' order/organization

orientation Certain orientation requirements exist in athletic facilities. For instance, an open-air football field must be oriented with the length of the field on a north-south axis to minimize the sun's effect on the players, during games and practices. 32 The planned orientation of the additional facilities can be important for solar integration, favorable entries, dynamic views to and from the site, existing conditions, and/or the internal arrangement of spaces. psychological effects Much research has been conducted on psychology and sport. There are obvious differences between golf and full-contact football. It is such differences that can be explored in order to reveal athletes' influences on structure, color, shapes, etc. or how these physical attributes influence the athlete and performance.

The other factor to consider is the spectator. As a "non-participant" he can influence and can be influenced by the athletes and the architecture. scale The athletic complex that I will propose will no doubt be the single largest structure on the entire campus. Important axes and views can be created as the result of its presence, transforming the campus. The danger comes if that focus is incongruous with the present one. security The athletic and physical education complex presents a unique security problem. The facilities and the programs attract large numbers of individuals who move at all times during the day and week and through many areas in different directions.

It is reasonable to believe that all students and visitors who come to the building have a distinct purpose in coming and should be welcome. This is the type of building which people enter through many outside doors and disperse to offices, classrooms, dressing rooms, activity areas, and spectator galleries. There should be some plan for pedestrian control and for the handling of visitors.

Security is accomplished in 2 ways: - Constructing the facilities according to a 33

plan which allows for maximum security. - Adopting an administrative plan for the direction and control of all persons using the building.'"

The issue of security must address proper emergency lighting, adequate signage combined with efficient circulation, and functional communications. sequence of spaces « VISUAL RELATIONSHIPS - Which elements will benefit from being overlooked? from outside? from inside? service groupings It is essential to have adequate and conveniently placed storage space if the facilities are to be fully usab1e.

A major consideration in connection with storage is the provision of adequate entrances to storage areas. A loading dock and elevator may also be required, depending on the type of supplies and equipment to be used.

Central receiving storage rooms, to which all equipment and supplies are delivered and which should be accessible by truck. sight lines A sight line is a straight line from the eyes of the seated spectator, over the heads of others below, to a point on the field that represents the spot nearest the structure that should be in his field of vision."

Recommended focal points for sight lines are as follows: for football, the nearest side boundary lines; for track, about knee-height of the runner in the nearest lane.** Sight lines should be considered in relation to the increase in elevation between successive rows. Spectators should have focal points of vision at the court boundary line nearest the seats. Focal points more than three feet above those boundary lines are 34 unsat is factory.' If a horizontal walk is used in the spectator seating area, the next tread above should be high enough to permit the spectators to look over those persons walking in front of them. In addition, the first tier of seats should be high enough to allow its occupants an unobstructed view. * COMPACTNESS - There are two interesting aspects about this objective that affect the design. The first is the limit of viewing distances. The second is the influence of preferred viewing locations related to the activity arena.*' The limit of viewing is determined by the ability of the spectator farthest from the activity to be able to distinguish the smallest moving object: this is, in the case of football, the ball; in track & field, it is usually the runner, particularly as he approaches the finish line.**

The better limit for viewing is 150 meters.*^

The other factor is the desire spectators have for preferred viewing locations. This can change substantially the plan of the stadium.**

Viewing can be much improved by setting back the first row of spectators and by curving the rows in plan as in the ancient Greek stadia. Each of these is helpful individually and together they become very beneficial. The resultant shape is a quadratic plan arena."

Another factor affecting good viewing is orientation. An attempt should be made to give both teams, as nearly as possible, identical lighting conditions.

In determining the rake, the lines of sight from the eyes of spectators in each row to the focus should be clear of, or at worst tangential to, the top of the head of the spectator in the row in front. This will give a profile which is parabolic, with the rake increasing with the viewing distance.*' 35 spectator needs Decide the purpose and comfort level. Decide whether fixed or moveable. Consider cleaning. Consider noise levels (retractable seats can be noisy). Consider fire exits. Consider storage. Consider sight-lines for viewing.

Under normal circumstances of an athletic event more spectators will be accommodated in this building than participants.

Can spectator seating be accommodated? For which activities and to what scale and level of competition is spectator seating required? Should it be fixed or mobile, permanent, or stored?

Spectator spaces should be separated from the gymnasium floor and other activity areas. Entrances to the seating area should be direct from the outdoors or from corridors or foyers without requiring travel through locker rooms or across gymnasiums.

Comfortable and appropriate seating space should be provided.' '

see sight lines storage Establish needs for storage for: sports equipment, cleaning materials and equipment. Storage is frequently underprovided and should be carefully considered; as an approximate guide allow a minimum of 10 per cent for activity space area. Is it better centralized or dispersed? What are the critical dimensions, height, length, and turning requirements to determine economical storage space, methods of storage - freestanding, lean, pile, or raised?'*

Central receiving storage rooms, to which all equipment and supplies are delivered and which should be accessible by truck."

Utility storage rooms adjacent to gymnasiums so bulky equipment may be easily moved to the floor and back to storage.'* 38 Off-season storage rooms are critically needed.

Storage for electrical equipment such as piano, phonograph, microphones, etc. jnay be needed. Facilities for the dispensing and storage of playing equipment should be on or readily accessible to the site. These facilities should include space for maintenance equipment, and for benches, tables, and chairs, and rest rooms for men and women. structure Sports arenas must provide long, column-free spans to insure optimum sight lines for viewing. Because of the high proportion of structure in arenas and stadiums, it frequently follows that the structural arrangement chosen can, to a large extent, dictate the aesthetic and functional success of the building.'*

The choices of a structural system are numerous and must be examined for their viability, form, weight, economy, aesthetics, and functionality.

Those systems encountered in research were pneumatic domes, tensile systems, interior long-span trusses (single direction and double direction), and roofs supported by external frames and trusses, and often some combination of systems. time Basketball and football are controlled by time limits. The scoreboard and time clock becomes integral to the game, for players and spectators alike. High visibility and readability are necessary. 37 36 examination of

'•&,fY': site considerations

The proposed buildings will occupy a site currently utilized as a track and field stadium and football practice fields. The campus core is in close proximity to but not in direct contact with the site. Student dormitories lie approximately 200 yards to the north; an elementary school and rehabilitation clinic inhabit land to the south; and two churches lie roughly 300-400 yards to the west. A major roadway separates the site from open land to the west. (see Figure 3-1).

» ACCESSIBILITY

see circulation, ingress/egress 39

Figure 3-1 - Topographical map of proposed site adjacency Great care must be taken to preserve the present nature of the existing surroundings (i.e. nearby neighborhood, local businesses, elementary school, and churches). expansion Centers frequently outgrow initial provisions. Expanded building space must be proportionally met with expanded parking space. Expansion should preserve the integrity of the whole while preserving the stated i ssues. prominence Is the site in prominent position? Should the public pass the door? Public awareness by seeing the building and by use of signs is important. proximity While the buildings must not impede on the surrounding sites they must cater directly to the college. The needs and desires of those who are to be served, those 40 who serve, and those who must provide financial support for the project, are of the utmost importance. site selection Has the site been selected? Have alternatives been considered? What are the opportunities for motor traffic movement and parking space? What are the soil conditions and drainage? What is the proximity of the site to the campus proper? 41 42 examination of

climatic data

The climate is generally classified as serai-arid or steppe. but has some humid temperate characteristics. Warm, dry weather predominates, although changes may be rapid and frequent with the passage of cold fronts or northers.

San Angelo is located near the center of Texas at the northern edge of the Edwards Plateau. Ground ele^Ition ranges from about 1,700 to 2,700 feet above sea leve? Topography varies from level and s 1 i ght 1 y%: n i^Ho

High temperatures of summer are associated with fair skies, south to southwest winds and dry air. Low umidities, however . are conducive to personal comfort because of rapid evaporation. Rapid temperature drops occur after sunset .and most nights are pleasant with lows in the upper 60s and lower 70s. Rapid temperature drops occur in the region. Temperat winter as cold polar air invades the short time are not ure drops of 20 to 30 degrees in a produced record uncommon. Cold polar outbreaks have low temperatures of zero or below throughout the are a • 43

The rainfall is typical of the Great Plains. Much of the rainfall occurs from thunderstorm activity, and wide variations in annual precipitation occur from year to year. Heavy rainfall occurs in April, May, June, September and October. Also, in the late summer months, heavy precipitation may occur when tropical disturbances move inland over south Texas and pass near the San Angelo area.

The prevailing wind direction is from the south, and winds are frequently high and persistent for several days. Dusty conditions are infrequent and occur in early spring when west or northwest winds predominate. The frequency and intensity of the dust storms are dependent on soil conditions in the Texas Panhandle and in New Mex ico.' 44 introduction to

angelo state

elo State is a progressive versity with high academic standards and professional expectations for its student body, and one of the university's major goals is to provide a stimulating educational climate which will offer students maximum opportunities for academic achievement and personal growth. the student body The enrollment is approximately 5,900, representing every region of Texas and the United states, as we I 1 as numerous foreign countries. Academically, Angelo State ranks among the most outstanding in the state.

Major factors in the success of Angelo State are the high caliber of students attracted to the University and the fact that the institution's philosophy is one that places major emphasis on the individual student ' n 3;nr u 44 athletics The University sponsors comprehensive athletic programs for men and women which are among the most popular aspects of student life at Angelo State. Men's intercollegiate teams represent the University in football, basketball, track and field, cross country, golf, and tennis. Women's intercollegiate teams compete in basketball, volleyball, track and field, cross country, and tennis.

The men and women compete in the Lone Star Conference as members of Division II of the National Collegiate Athletic Association (NCAA). The men's teams have captured numerous conference and national titles, and the women's teams have achieved equal success at state, regional, and national competitions. 45 46 47

San Angelo ranks first among 20 major cities tested in Texas for clean, fresh air. In addition, the city was recognized as one of the ten best cities in the nation within the 50,000 - 250,000 population range based upon its exceptional business environment and the quality of life provided for its citizens.

Amarillo

NORTH

1/2 M 1MILE Figure 3-4 - State and cit y maps 53 54

background

It is important to try to determine what is meant by a stadium, and for the purpose of this examination the stadium is considered as a field or running track for individual or team competition in an arena surrounded by rising, stepped tiers for the accommodation of standing or seated spectators, with coverings that do not, however, cover the field to enclose the whole building.

The sports themselves have definite characteristics. In basketball, the athletes' skill is demonstrated by their grace and precision within the density of bodies in a limited space; vertical space becomes as important as horizontal space. Football strikes a balance between the urban sports and pastoral baseball. Climate is important. Wind strength and direction, rain, snow, and excessive cold or heat affect the style of play, but cannot actually cause the game to be cancelled. The game presses against this artificial restraint by allowing the clock to stop for incomplete passes, a player's stepping out- of-bounds, or simply the teams' desire for a "time out." Thus a sixty-minute game usually lasts about three hours, but length can vary greatly. By clever manipulation of time, a team can run several plays in 55 mere seconds to prevent defeat before the final gun. If time is not defeated here, it is at least expanded and contracted.'

Football space, too, combines the openness of the country and the compaction of the city. The limits of the football field are precise, prescribed, and consistent. On one part of the field the players are as densely compressed as in basketball, but action can occur in the wide space around them. At some distant point on the field, a thrown ball, a receiver, and a pass defender can simultaneously converge, creating the drama of the game. The progress of a team is measured completely by its movement through space.'

The fierce combativeness of football recalls the Wild West, where survival depended on success in personal physical confrontations.'

Football is the product in part of industrialization, but it is also an antidote to its most dehumanizing effects. These sports represent several important aspects of American cultural history, but their roots in pastoral myth serve perhaps their most important funct ion.*

Much of the appeal of basketball and footba11 lies in their combination of strategy and chance, skill and accident - the parameters of the fro ntiersman's life. Sports also attract us because of their certainty. Each game is played according to known rules and culminates in an unambiguous conclusi on (with the rare exception of ties). But this certai nty is tempered by fate and the "supernatural." Cli mate and playing conditions affect the outcome, and "m iracles" regularly occur that make the players larger than life - truly mythical gods and heroes.'

The stadium has traditionally been a focal point within the community, in which strangers discover at least a temporary bond with their neighbors. history The stadium was first produced by the ancient Greeks to fulfill a religious and social need. It was one of a group of buildings in which culminating rites were performed. 56 The competitions, which varied in number and nature, began at sunrise with foot races for single runners, pairs or teams of six. Those were followed by wrestling; boxing and the pentathlon, which comprised contests with discus, javelin, a foot race, jumps and wrestling. All these contests were held in the stadium. The stadium was the foot racecourse in cities where games were celebrated, and it was eventually used for other athletic performances. It was usually straight at the end used for the starting-place and semi­ circular at the other, and was always 600 feet long, although the actual foot unit varied in length in different states. It was sometimes planned with its length skirting the side of a hill so that the seats could be cut out of the hill slope, as at Olympia, Thebes, Epidauros, and Delphi; or it was constructed on the flat, as at Athens and Ephesus.

The Romans spurned competitive physical sports. They preferred public displays of mortal combat as those were considered to be good training for a nation of warriors. The oval amphitheater, with its rising tiers of seats, may be regarded as a compound of two theatres, stage to stage, thus making an auditorium around an elliptical arena. Amphitheaters were a triumph of Roman architecture and engineering for a combination of theatre and competition.

The arena. a Latin word meaning sand or beach, was so called because of the sand with which it was strewn to absorb the blood of the combatants.

The stadium as a building type disappeared and in medieval times competitions on foot or horseback were held in open meadows with temporary staging for spectators. Edifices for jousting at the lists were not of a permanent nature.* the modern stadium The design of and the facilities provided by Olympic stadia have had a substantial effect on the forms of provisions for a lower level of participation.

Usually a track surrounds the field and gives multi­ purpose facilities - but the conditions for viewing 57 footba11, i.e. the spectator/pIayer relationship, is thereby impaired,^ types of stadia Large, elaborate stadiums are often more the result of national pride than of suitability for athletic competition. Nevertheless, it has set the pattern for stadia throughout the world.* 58

case study kemper arena

Although the building was intended to be an element for the display of physical competition and events it has, in its simplicity, become an elegant structural expression.

As unfashionable as the large and the monumental may be, the Kemper Arena succeeds fashionably. The structure is bold yet unobtrusive; the skin is simple yet elegant; the interior is minimal yet appropriate. miscellaneous information » ARCHITECT C.F. Murphy Associates, Helmut Jahn Des i gn Pr inci pal 59

* SCOPE The building was designed for a variety of sports, shows, and conventions. It seats 16,000 to 18,000 peopIe.

* REASONS The arena is the first step in the redevelopment for use as an industrial park of land formerly occupied by the Kansas City stockyards.

* DATE Construction began in late May 1973 and largely completed in November 1974.

» CONSTRAINTS The constraints were budget and a compressed scheduIe.

» BUDGET AND COSTS The building came in at its budgeted $10.2 million. Changes requested by the owners as the multi-use character of the building became more pronounced, added approximately $1.2 million.

» CONCEPTS Jahn had a strong design based on a solution for a special column-free space. He based the building design loosely on Mies' Crown Hall. circulation Landscaped berms provide a pedestrian way around the entire building at the concourse level, (see Figure 4-1. ) climate control Four rooms for the mechanicals are provided at the upper level. Each room provides air and ventilation for 1/4 of the building. The supply vents encircle the building above the upper tier of seating, allowing air to fall over the arena. (see Figure 4-2.) 60

Figure 4-1 - Bermed pedestrian walk

Figure 4-2 - Floor plan 61

CRITIQUE: The division of the units and their placement in the corners is an appropriate response to the heating and cooling needs of an arena. He expounds on the theme of his structural functionality by letting the rooms act as overhangs for the entrances while accenting the lower level curves of the interior seating. He rids the building of the unsightly roof-top mechanical units. form

C.F. Murphy As sociates believe that archi tectural form evoIves f rom a thorough planning proces s on the one hand, and appl ied building technology on t he other. In this way they follow their master, Mies va n der Rohe. The oval shap e of the interior, with over lapping upper and lower sea ting tiers, brings the spect ator as close as poss ib1e t o the arena floor, while keeping to a minimum the ex panse of the structural span of the roof. Four rooms for the mechanicals at the uppe r 1 eve I give the bui1d ing a rectangular shape and ereat e overhangs prov iding for cover for the spectator ent ranees. (see Figure 4-3.)

Figure 4-3 - Exterior view showing entrance overhangs

> CRITIQUE: see climate control 62 image/mood/atmosphere Externally, the building expresses its muscularity and purity through the structural system and its nondescript white finish. 1nterioraI 1y, technical and structural components have been left exposed, producing a lively, hardworking character entirely appropriate to its recreational use. The color adds gaity and contrast to the functional austerity of the concrete.

> CRITIQUE see materials, structure, internal environment ingress/egress Access is by a perimeter road to 400 parking spaces and a ring road round the building for public transport and servicing. (see Figure 4-4.)

Figure 4-4 - Site plan

> CRITIQUE: Overall, a very strong response to the needs of large trucks and busses attempting deIi very and passenger drop-off that can cause ci reu1 at ion problems. For quick dispersal of departing spectators Jahn has provided easy access to pub 1ic transportation from any of the corner exits. 63 internal environment Throughout, the basic palette remains consistent. Mechanical systems are left exposed and painted yellow. The seating is painted a bright blue.

> CRITIQUE: The interior maintains a simple, almost minimal aura. Graphics convey their information easily and CO 1 orfu11y.

see: image/mood/atmosphere lighting The building was not designed with any natural lighting considerations. The arena floor is lit with mercury- vapor lamps suspended from the joist structure. Additional lighting is a mixture of incandescent and fluorescent fixtures. materials SKIN SYSTEM - The skin is composed of metal panel cladding mounted on steel raullions and girts spaced 18 feet and 15 feet on centers respectively. The panels are a standard industrial product that includes both fiber glass insulation and an inner liner.

The expansion joints became extrusions to accentuate the panel joints visually. Jahn used the extrusion joints to provide a means of thermal expansion. (see Fi gure 4-5. )

The panels cost $3.50 per sq. ft.

- WALLS AND FLOORS - Partitions are mostly ground face block and floors are concrete.

- CEILING - A measure of acoustical control is achieved with a fiberboard ceiling suspended from the metal deck. > CRITIQUE: The skin system is elegant. Jahn echoes the functionality of the trusses in the treatment of the joinery of the panels. The grid created makes the scale of the trusses more manageable. 64

Figure 4-5 - Facade showing skin panel grid sight 1ines Sight lines have been carefully worked out so that every spectator has an unobstructed view whether the focus of action be the court center or overhead. The maximum distance from the most remote seat to the center of the Arena is 200 feet in the long axis, 150 feet^in the short axis. (see Figure 4-6.)

Figure 4-6 - Interior view of Aren: 65 spectator needs The first few rows of seats are retractable and an insulated wood floor can be put down in three to four hours. structure Kemper Arena was almost entirely composed of industrialized building parts. The superstructure consists almost entirely of factory-made parts - steel structure, steel decking and steel cladding panels eliminating the wet trades and so speeding up construction and cutting down the cost.

The architects have used three primary, rigid steel structural bents on the outside. These are 27 feet deep and spaced at 153 feet on center. These massive structural elements are tubular sections with diameters that vary from 48 inches for the top chord, to 30 inches for web members, and 36 inches for bottom chords. Wall thicknesses for these sections range between 1/4 inch and one inch.

The roof is framed by 9 foot secondary trusses, suspended from the primary structural bents. Steel supports are made of tubes. which are relatively inexpensive and fire resistant, and provide maximum buckling resistance with minimum amounts of materials, (see Figure 4-7.)

Figure 4-7 - Longitudinal section

The joinery of the trusses, designed to be watertight, is created by the intersection of stiffener plates, the largest having a thickness of 2 inches. 66 Supporting the truss sections and transferring their load to grade are concrete pilings driven 60 feet into the earth. These pilings were placed at a slight incline to resist the outward thrust of the trusses.

A secondary system of bar joists and trusses is suspended from the main superstructure and carries a standard metal deck.

The structural system was utilized to provide as much interior space as possible without encumbering it with bulk and distracting structural supports or having to wrap it in a bulky envelope.

Internally, a 300 foot X 400 foot area of unobstructed viewing area is provided by the structural system, (see Figure 4-8.)

Figure 4-8 - Axonometric cutaway section 67

The arrangement of the supports gives the exterior great stability and wind resistance.

The cost was $8.22 per sq. ft.

> CRITIQUE: The arena's most striking design feature, of course, is the series of three exposed triangular roof trusses. Being only three in number and resting precariously as points on the pilings, the trusses give the building an almost feminine touch in an obvious masculine, dynamic, massive application of the truss system. The building almost 'floats', being literally and visually suspended from the truss network. Jahn leaves no doubt to their purpose; they are not superfluous in any way. As a complement to the exposed trusses he exposes the pilings above grade, tying the nimble points of the trusses elegantly to a solid concrete base.

Internally, the secondary system meets Jahn*s expectations of unobstructed viewing space. As a result, the interior avoids the cavernous effects that some deep structures can provide. Yet, the interior structure does not maintain the Vivaciousness as the exterior. 68

case study tokyo Olympic complex

Tange has "created". He expanded on a system already thought to have reached its limits. As a monument, it ranks with the Sydney Opera House. As an Olympic venue, it is has not been matched in drama or recognition. miscellaneous information » ARCHITECT Japanese architect Kenzo Tange * SCOPE The complex, called the National Gymnasium consists of two separate gymnasiums, a building which connects them, and extensive ground works on a roughly triangular and rather limited site. The main building seats 13,000 people for swimming and diving, 16,000 when the pool is floored over for judo matches. The smaller annex seats 4,000 spectators for basketball, 5,400 for boxing. The connecting building is long, straight, and narrow, and its roof makes a promenade linking the two spectator annexes. (see Figure 5-1.) » REASON The buildings were constructed initially for use in the 1964 Olympic Games, to be used later in national and international athletic events. 69

Figure 5-1 - Floor plan including site

» TECHNOLOGICAL ISSUES The two buildings are seen to be formal, always ceremonious, acknowledging of each other with their wide jib-sail openings parallel and opposite. The variety and complexity increases as one drops to earth, but the sense of formality is always present. This may be attributed to the exacting nature of the tension system which is expressed again and again in the detaiIs.

Tange had three main reasons for choosing a tensile system. The most compelling was simply his conviction that tension is heir to the future, that the natural evolution is from beam, to vault and dome, to suspension. His second reason was practical: the concave form of a suspended structure encloses a great deal less space per unit 70 of floor area than the convex form of any vault or dome, thus reducing the load on air conditioning and the problems of acoustics. Thirdly, he likes tension's flexibility, its promise of spatial freedom. In his Tokyo buildings he wanted to avoid a closed form, he wanted free space to greet and to disperse the great numbers of visitors, to rid the enclosure of any sense of restriction, and to permit a spatial continuity between different elements in the complex. climate control Air is vented through the horizontal louvers running along the peak of the roof.

see 1ighting context The two gymnasiums, despite their feeling of masterful strength and the monumental size of the bigger one, are feminine objects on that masculine base. They are not twins which were in style at the time, and they are not mother and daughter - the same thing seen through alternate ends of a telescope. They are more like sisters, one big and capable, the other small and playful, both composed in softly rounded continuous curves with hardly one straight-1ine in either of them. (see Fi gure 5-2. )

The buildings have an intense regional character. They are reminiscent of pagoda architecture. The end view is the main gymnasium is a striking visual reflection of the gable end of the main sanctuary at Ise. The plan of the main building, the circle with the two jib- sails - or the double sail shape, or the loosely gripping hands - reflects a symbol in the Tange family crest. form The origin of the forms was almost literally sculptural. The spaces are true negatives of the external forms. The pools' building is an almost symmetrical enclosure under the one central lantern 71

whi1e the smaller building is defined by the central mast.

> CRITIQUE: Glamorous. The buildings forms have been likened to Utzon's Sydney Opera house. They do not obviously say "sporting events", nor do they need to, but they are unmistakably identified with the 1964 Tokyo oIympics.

••^'-ir^iT,'!-*-.

Figure 5-2 - View looking northwest ingress/egress (see Fi gure 5-1. )

CRITIQUE: Entry and exit are simple and well-defined. The tails of the billowing roofs naturally "draw" people to themselves. The two complexes are joined by the non-competitive, indistinctive promenade, allowing linear, pass-by opportunities, lessening the confusion of choice. 72

* IMAGE/MOOD/ATMOSPHERE

(see Figures 5-3 and 5-4.)

> CRITIQUE: Tange creates a m ood appropriate to the purpose of the events. Ori ginally created as Olympic venues, the structures ri se boldly and elegantly to express the importance a nd majesty of the Games. The monumenta1ity of his forms are unmistakable. By avoiding cliche a nd forthright copying of the two structures Tange c reates not just one monument, but two - each tied st rongly with hints of form and materials. In add ition, his use of natural lighting adds a sense of so ftness to the interiors.

Figure 5-3 - View of main building 73

Figure 5-4 - View looking toward smaller building 74 lighting A tier of horizontal louvers running along the peak of the roof admits daylight to vast^ interior" ~'" , and also serves as an air vent. (see Figures 5-5 and 5-6.)

> CRITIQUE: The natural lighting softens the interior, much as the pneumatic domes do. Yet, by using a long, horizontal light Tange accents the activity on the floor, emphasizing the importance of the event (similar to a spotlight). Tange also utilizes the lighting system to provide a means of venting air, a simple, yet dynamic approach to environmental control that is so often overlooked in athletic faci1i ties.

Figure 5-5 - Interior view of the smaller building becomes the entrance to the building. 75

Figure 5-6 - Interior view of the larger building showing skylight 76 sight lines/spectator needs The seats naturally rise in the center fo follow sight 1ines. structure The main building's roof is slung in twi n catenary curves from two 14 inch thick steel cables which are stretched between two great concrete masts an d anchored by massive blocks at each end of the buildi ng. These masts are diametrically opposite across a ci reu1ar plan. Branch cables which carry parallel , to the perimeter, where their ends are fixed to the concrete structure behind the last rows of seats. The re are two main longitudinal or spinal cables. Each side roof clings to its own. Light steel bents, cur ving down from the main cables to the cantilevered ri se of the stands, support a roof of welded steel plates

In the smaller annex the single main cable (composed of 6-inch steel cables) is held out from the mast, set behind the last row of seating, by a rigid spiral truss. Roof decking is carried on bents between the cable and the perimeter wall.

All the connections are explicit, and each of the main stay cables to a decisive termination in a massive concrete ground anchor which is pierced through, exposing the cable embedded there convincingly. These ground anchors also teminate the walls of the concrete structure.

The concrete which makes up the major compressive, or conventional, building elements is bulky and immensely strong. The concrete has curves too, but not the same as the tensile curves.

In both structures standing seams express the structure beneath.

A corner of each roof membrane is stretched far out to a point like a jib-sail, staying the mast, and at the same time providing an opening underneath, which becomes the entrance to the building, (see Figure 5-7.) 77 CRITIQUE: The concrete and the tensile system complement each other amicably. The complexity of the system is handled elegantly and diversely.

Figure 5-7 Structural cables supporting the roof of the larger building 78

case study exeter gymnasium

The Exeter Gymnasium is a building of variety. The structure cannot be overlooked; its function is obvious. The circulation core is enticing and participation is encouraged by the entry ramp. No sense of alienation is conveyed by this building, a problem for the massive size of many gymnasium and arena complexes. The lighting becomes a compliment to the interior functions of the building, providing natural mapping of progressions, reducing confusion and providing choice. Everyone can be a participant in this building. miscellaneous information * ARCHITECT Kallman and McKinnell » SCOPE The gymnasium is a small space, seating 900, connected to an existing structure. » COST $5,375 mi I 1ion/$26.5 per sq. ft. 79 adaptabi1ity The size of the gymnasium allows the simultaneous use of three basketball cross-courts (50 ft. X 84 ft.) separated by two curtains. Alternatively it also allows the simultaneous use of one main court (50 ft. X 94 ft.) with 18 rows of folding bleacher seating for 900 spectators. ci reulation All the activities are sequentially visible to visitors and athletes as they move through the complex along its multi-level central spine. The circulation system is a forceful network. The first level is for athletes, and the second and third level are for visitors. (see Figure 6-1. )

Figure 6-1 - Axonometric showing interior spaces

> CRITIQUE: The circulation spine, with its continuous sky­ light, dominates the building and gives the feeling of continuity to the very powerful space inside. The spine allows visitors a clearly defined path. 80 Activities are arranged along the path reducing confusion and providing choices, not impositions, for the V i si tors. ingress/egress Entry to the building is by a long ramp, reminiscent of Le Corbusier's ramp at the Carpenter Centre. The ramp faces the campus and is used by students and faculty, while another entry on the opposite side of the building faces the town and is used by the public, (see Figures 6-2 and 6-3.)

> CRITIQUE: The approach is very graceful. The ramp provides a slow ascent into the building, relieving the danger and concentration required from climbing stairs. All people, particularly the handicapped, are give non-discriminate entry to the gym. The skewed angle of the entry enhances the form of the building, more prominently, the circulation spine and the truss system.

Figure 6-2 - View showing campus entry 81

Figure 6-3 - View showing public entry 1ighting All sport areas have openings arranged to avoid direct sunlight; office spaces are also lit by indirect natural light. Splayed windows, recessed into the lower part of the walls are one of the several ways in which the architects provided indirect natural light in the sports areas. Another is the use of a continuous clerestory in the circulation core to accent the flow of traffic, (see Figure 6-4.)

> CRITIQUE: The Exeter Gymnasium effectively uses natural light. The light does not impede on the playing surfaces, which can cause glare for participants. In addition, care was taken to provide light to the who 1e bui1d ing.

see: circulation organization The sports facilities are organized about a circulation spine on three levels; the second level gives access to the spectators' seating, the squash court gallery and the removable bleachers in the gym.

> CRITIQUE: see circulation 82

Figure 6-4 - Interior view of circulation core 83 structure Pr eca st concre te struts, formed on the site, act as count erforces t o the stee 1 trusses which support roofs over the gym, poo 1 and r inks; and they frame the roof of t he spine, The pre cast concrete struts rest on Conor ete girde rs suppo rted by paired columns on oppos i te s i des of the sp ine. The gym has an exterior truss system of weather ed steel pipe. Like Jahn's Kempe r Arena, the trus s system provides a clear inter ior whic h reduces distraction for everyone fol lo wing the baI 1 or w atching a dive. The system makes for I eg ibi1 i ty f rom outside and inside and allows for expans ion (the end walls are non-1oadbearing). (see Figures 6- 5 and 6-6. )

LMK ID THOMPSON CAOt OVMNikSIMt

Figure 6-5 - Building section

CRITIQUE: This building follows a similar yet opposed approach to the exterior truss system of the Kemper Arena. Whereas Kemper's trusses were graceful, the trusses of the Exeter Gym are much harder in appearance due to their rigid corners, dark color (weathering steel), and their firm footings. They convey a sense of work, not majesty. The effects of the weathering steel on staining and durability are not known. 84

Figure 6-6 - Weathering steel structural framework 85 86 OMPLEX, Milford, m. , ,

study mi 1 ford jai alai sports complex

The Milford Jai Alai complex captures the essence of a sporting event. The activity is the stage, yet everyone is an active participant, from the visitor approaching from the highway to the front-row spectator, to the patron in the restaurant. miscellaneaous information * ARCHITECT Herbert Newman Associates Herbert Newman, partner-in-charge

* SCOPE The 150,000 sq. ft. building is on a 21 acre site with parking for 2000 cars set on the terraces on the hillside. The main grandstand seats 4,800 spectators. Additional space is composed of various lounges, betting areas, and mechanical spaces. » REASONS The building was built as a result of the Connecticut government allowing pari-mutual betting. 87

The Jai Alai stadium allows betting on men as opposed to horses or dogs.

» COST BuiIding cost $9.2 mi I 1 ion

* CONCEPT Architect Herman Newman says, "The design concept attempts to create an urban, festive environment which is colorful and fun," circulation/organization Connecting the tow entrances is the "galleria". This grand space is the key both to the functioning of and circulation with in the whole facility - and to that sense of festivit y. The galleria steps up two levels corresponding to the slope of the site and the spectator grands tand. Upon entering the galleria, one moves under color ful banners into a 250 seat restaurant or into betting lounge number 1 to the left. Beyond that, the first step of an escalator leads up to an intermediate leve 1, with a small bar to the right and betting lounge number 2. The second flight of escalators leads to level 3. Off its lobby there is the secondary ( self-park) entrance; to the right a 10.000 sq. ft. International Room which offers refreshments and closed circuit television room; and to the left, betting lounge number 3.

The grandstand can only be entered via one of th betting lounges tucked under grandstand seating above These seats can be entered by a vomitoria. Conversely the spectators have a short walk to any of the bettin g windows. (see Figure 7-1.)

Figure 7-1 - Floor plans 88

> CRITIQUE: The architect uses the power of circulation to his advantage. He organizes his spaces to meet the needs of a jai alai complex (i.e. the circulation passing through the betting lounges). The same idea can be utilized in a sporting arena, more specifically, taking the spectator past the obvious ticket booth, the concessions, the restrooms, trophy cases, lounges, all according to the intent of the intentions of the space. Conversely, the spectator must be given choices. image/mood/atmosphere The approach to the jai alai complex provides the first hint of the festive nature of the building, with its colorful banners waving from the roof of the building. (see Figures 7-2 and 7-3 JMI-. "fyj^

Piigur e 7-2 - East facad<

Figure 7-3 - South facade 89

The noise and excitement of the fans in the grandstand pours into the great galleria and even into the bars and restaurants beyond. (see Fi gure 7-4. )

> CRITIQUE: Everywhere in the building the excitement and color of the game is heightened by the excitement and color generated by the design. The banners and flags are used discriminate1y to aid in the festive mood, and they add motion to the rigidity of the buiIding.

Figure 7-4 - Interior veiw of galleria ingress/egress There are two entrances - the valet parking entrance, and a secondary entrance for those who park their own cars. The main entrance to the Milford fronton is 90

under a bright yellow translucent canopy supported on a wood truss system. (see Figure 7-2, 7-3, and 7-5.)

> CRITIQUE: The main entrance's open glass wall offers approaching visitors a sense of the brightness and color inside. The secondary entrance is well defined on the self-parking side. Its approach provides a grand view of the 180 foot span of the trusses across the grandstand area and the 60 foot cantilever over the galleria.

Figure 7-5 - Lower entry sh owing canopy framework 91 internal environment (see Figures 7-4 and 7-6.)

> CRITIQUE: The spaces are rich with color and light. The indirect lighting softens the atmosphere. The color enlivens the structure and gives vitality to the space.

Figure 7-6 - Interior view of International Room Iighting Jai alai is incredibly fast and demanding. The speed calls for complete clarity of the ball by the athletes and spectators. 92

The unique lighting is totally indirect, avoiding any glare in the eyes of the players when they look up. It utilizes 60 luminaires, 30 on each side of the court at six foot intervals, which create an asymmetric distribution of light washing the ceiling plane uni form 1y.

Each luminaire has a 1500-W tubular high-intensity- discharge (HID) lamp, protected by heat-, impact-, and UV-resistant glass. (see Figure 7-7.)

^m^^mwM' ^ For ease of maintenance, the luminaires for the grandstand area are mounted in groups of four on a T-bar that can be swiveied to an upright position for relamping luminaires.

Figure 7-7 - Lighting fixtures over seating area

> CRITIQUE: The lighting system is unique and much preferred to conventional downlights. The use of indirect lighting in this fashion is encouraging for all court sports. Although a complete indirect lighting system may prove somewhat impractical for a basketball arena, the implications of indirect light being integrated with direct light are promising. mater ials

The building's exterior is surfaced with Dryvit, an insulating finishing system. Added to the surface are integral supergraphics. 93

The "fast" court demanded crack-free, and plumb playing surfaces. Special consideration was given to the front wall, which absorbs the brunt of the high-speed ball, and the side walls, which need to be dense and smooth. Expansive cement was used for the floors to avoid cracks. sight lines/spectator needs The grandstand seats 4,800 people in an unobstructed area 180 feet wide. (see Figure 7-8.)

L0N6ITUDINAL SECTION THRU CNAHOSTANO Figure 7-8 - Longitudinal section through grandstand

> CRITIQUE: The spectator seating is arranged linearly with the court. Although the sight lines are structurally unobstructed, a spectator viewing from a remote, frontmost corner may encounter human obstructions. structure

The grandstand space is spanned by exposed steel trusses 20 feet on center which cantilever 60 feet beyond the grandstand space to form the roof of the galleria and restaurant spaces and extend beyond as a sunshade. (see Figure 7-9.)

For the side and end walls, a low-slump concrete was used to avoid honeycombing and to provide a dense, smooth surface. The concrete mix for the floor utilized expansive cement to avoid cracks.

Wind load is transferred from exterior wall through the truss system to shear walls. The truss network is stiffened by struts and cross-bracing in the vertical plane and cross-bracing in the horizontal and sloping 94 planes between trusses. The forces induced by the wind in the structure are directed in stepped fashion through the compression members between trusses. In the transverse direction. the structure works as a diaphragm to transfer loads to the long shear walls, (see Figure 7-10.) wmMw^:swm^^2

Figure 7-9 - Interior views showing trusses and columns

#4 TIES FULL LENGTH ,FULL PCNET WELO S/8' ti 12* WIDE ,(TOP a BOTTOMI BOTTOM CHORD OF TRUSS

, ^1f. . . % % . N V s V S - ^ . - J 1 3-I»MFL(.

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Figure 7-10 - Structural detail

/ 95

Stability was the main design problem for the structural engineers. The challenge was to solve the problem at low cost. They had to knit together the disparate parts so the building would act as a unit to resist wind and possible tremors.

The truss system is exposed to views and stands brightly over the unobstructed spectator area.

Newman wanted the tall (some are 65 ft.) columns to appear massive. The size he wanted were 4 feet in diameter, and concrete proved to be expensive. So the designers decided to use steel columns enclosed by tubular fiberboard forms which were coated with Dryvit synthetic plaster. On the long side where columns mesh with a masonry wall, the semicircular shape was made with gypsum board over steel furring channels. (see Figure 7-11. )

Figure 7-11 - Axonometric showing structural framing

> CRITIQUE: The exposed structure is seen on the interior as well as the exterior, Internally, the structure is painted bright colors to compliment the des i gn 96

concept. Externally, the trusses become definers of activity. The supportive activities (lounge, restaurant, etc.) are shown as a solid mass while the sporting area becomes light and airy, showing its grit and purpose. In addition, the step-down of the spectator area creates interest in the structural members, breaking up the repetitive monotony of the ceiling. The architect effectively uses columns to define and separate zones instead of solid wa11s. By doing so he maintains a sense of continuity throughout the building. The excitement of the cheering fans bleeds from space to space. This concept can be applied to an arena and stadium. One of the strongest emotions present in an athletic event is the anticipation involved.

see: image/mood/atmosphere 97 98

case study carver-hawkeye arena

The Carver-Hawkeye arena represents the potential of structure in an athletic arena. The truss structure allows the massive skylights to be incorporated in the roof structure, and also permits the use of the glass block walls. The simple interest in the structure system invites people to explore it more closely. The surprise of the spacious interior, almost wholly underground, is heightened by the freedom of structure. miscellaneaous information * ARCHITECT CRSS with The Durrant group as associate architects and Geiger Associates as structural engineers » SCOPE The program called for an indoor sports arena with 13,000 fixed and 2,000 moveable seats. The building provides an arena and seating for major collegiate athletic events, as well as various shows and entertainment. It also houses the support facilities for the athletic program, (see Figure 2.)

COST $17.6 mi 11 ion

» LOCATION Iowa City, I owa 99 adaptabi1ity The building houses 60,000 sq. ft. of office space and support space. This section housing wrestling practice, trainer and fitness areas, all 1ocker/shower rooms, press rooms, classrooms, and offices. circulation (see Figures 8-1 and 8-2.)

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PLAZA LEVEL- LEVEL THREE

LEVEL ONE N -• I > LEV EL TWO

£ii ure 8-1 - Floor hplan s 100

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inim;: rr -j»' rs.'" ^TiTnrr^ '/^^•^rp^^5:j=,^L^ii±t±

SECTION PERSPECTIVE Figure 8-2 - Section perspective

> CRITIQUE: By placing the seating totally underground cross- traffic can be eliminated, thus enhancing the views of the seated spectators. The consequence of this luxury is that it is long walk to the lower seats of the arena from the upper concourse, and vice versa (approximately 3 stories). entry/exit The entries are defined appropriately by the inflection of the glass block walls. (see Figure 8-3.)

Figure 8-3 - Exterior view showing glass block wall and entry lighting openings s fntIL I . '^^ ^'^^^ "'^rlng these openings ,s intended to out down on lighting needs 101 during the day; they glow at night. Offices for two floors below benefit from the terrace skylights and windows on the northwest side.

Lighting can be adjusted appropriately for different types of performances or ceremonies, as well as being sufficient for television coverage. (see Figures 8-4 and 8-5.)

Fi gure 8-4 Space frame structure supporting transluscent fabric

> CRITIQUE: The building is an appropriate alternative to the pneumatic structures in terms of daylighting and structural image. Sensitivity was given to normally sensitivity-deprived areas, namely the offices and the restrooms. 102

As in the Fujisawa arena, the lighting occurs directly over the' court, giving the main activities added prominence.

Figure 8-5 - Interior view of Arena showing skylights materials

I?%hrh'MS'' ''''°"^ '° ^"^ S'^ = ^ ^•°°'< °n the exterior of the building. The block proved to be versatile U 103 creates a grid pattern on the walls while allowing light to permeate the building during the day, and allowing light to permeate the exterior at night.

> CRITIQUE: The weathering steel have already caused staining problems. The mechanical equipment was painted to match the staining effects, and the billowing material is staining badly, causing light transmittance problems. si te Its site was almost made for the building type, with a natural ravine into which arena seating could be carved with relative comfort. structure steel skew-chord truss and metal deck on reinforced concrete columns, caps, and pilings.

To accommodate roof movement under loading, expansion, and contraction conditions, the design incorporates several features. Roof expansion and contraction, generating lateral forces, is allowed guided movement at half of the column connections. By designing the overall roof in segments, vertical loading deflections measured in feet rather than inches can be managed.

The truss is exposed to widely divergent temperature differences and swings. In winter, upper truss members can be at a below zero outside temperature, while the lower chord is at a comfortable inside level. Thermostatically-controlled heating elements wrap through roof members.

Because of the fast-track procedures, steel was chosen to best satisfy geometric, weight, and erection requirements. To enhance the energy-conserving aspects of the earth-protected building, it was desirable to exclude the roof structure volume and ventilated enclosure. Further architectural considerations, such as lightness of scale and an effort to blend with surrounding trees led to the weathering steel skew- chord space truss. (see Figures 8-6 and 8-7.) 104

> CRITIQUE: The building is somewhat disproportiona1 externally, with the structure dominating the shell of the buiIding.

The space frame itself is stunning. The exoskeleton is representative of another successful attempt of using an external truss system to free the interior of unwanted obstacles. On the interior, CRSS achieves what Jahn failed to in the Kemper arena - they create a vibrant atmosphere to match the vibrant exterior.

DIAGONALS C PEHIPHERAl UPPER CHORD •-iBOnOM CHORD -m^ '^l ,1 l^^UPPER CHORD ;

" PART PLAN BOTTOM CHOflO

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TRUSS PLAN

FORCE DIAGRAM

Figure 8-6 - Structural diagra ms 105

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Figure 8-7 - Structural detail of roof and framing system 106

case study fujisawa municipal gymnasium

In the Fujisawa Gymnasium, Maki has mastered the expression of the pluralistic age. He honors his historical convictions, yet produces a building that speaks of the future. His careful use of materials and juxtaposition of forms are contributing factors in the success of this sporting venue. miscellaneous information * ARCHITECT Japanese architect Fumihiko Maki » SCOPE The gymnasium complex consists of a main arena, 2000 seats, with gallery, lounge (68,000 sq. ft.); subarena, with judo and kendo arenas, restaurant, and offices (41,000 sq. ft.); and archery range (1600 sq. ft.) » SITE The site occupies a flat open field, 640,000 sq. ft., 30 miles from Tokyo. (see Figure 9-1.) * DATE Construction completed in late 1984. 107 * BUDGET AND COSTS 2,830,000,000 yen, building construction only. * CONCEPTS The main design theme was to give each part its own distinctive form but to consolidate them all within the image of a general gymnasium.

Figure 9-1 - Site plan

» THEORETICAL CONDITIONS Maki takes a Modernist path essaying to wed place and technology in a single, unified expression. He feels that the architect's province must encompass both image and substance. He is out to fashion an architecture of our times specific to the place. His accomplishment lies in integration and assimilation and in his consideration of context.

Whereas Tange's space was meant to express national unity and continuity, the Fujisawa Gymnasium is multifaceted and diverse, expressive of the diverse nature of Japanese urban society. Current Japanese architectural themes of fragmentation, coexistence of opposites, and the labyrinth, appear in Maki's gymnasium. 108 context The context offered few directives, and the site is flat, surrounded only by mottled semiurban development. The region is agricultural in nature interspersed with mixed industrial, residential and resort areas. Maki generated the building from the program and conjured images.

> CRITIQUE: The complex dominates its surroundings, not by its mass but by its pretentiousness. form see: image/mood/atmosphere, lighting, mater ia1s, scale internal environment The interior space of the main gymnasium is marked by distinctions. Spectator areas and arena floor are made distinct, with the distinction reinforced by the ceiIing shapes.

Maki is obsessed with the layering of spaces, a traditional Japanese theme. The internal spaces carry the same layering language as the exterior through the abrupt expansion and compression of space. (see Figures 9-2, 9-3, and 9-4.)

Section of the main aim*

Figure 9-2 - Section of the main arena 109

1L n[|n 1 SOUTH-MOMTH 36CTION

Figure 9-3 - North-South section

Second-floor plan. Kale: 1/1.000. image/mood/atmosphere The imagery he employs has traditional roots. The resemblance to the rear view of a Samurai warrior's helmet is astounding. The local people have likened it to a beetle, kabutomushi, or "helmet insect," in Japanese. (see Figure 9-5.)

The roof was made to appear to float, by connecting to the base concrete with pin joints. The resulting images created by the light entering the building have been likened to dragonfly's wings. 110

Figure 9-5 - Samurai warrior's helmet

CRITIQUE: Maki emphasizes that each building must have a certain degree of familiarity, something that can touch our emotions. He accomplishes that when he gets the metaphorical associations with the Samurai helmet and the beetle. They also shoulder strong reflections of traditional Japanese structures in their detailing and symbolism. lighting The trusses supporting the roof of the main arena integrate longitudinal skylights, creating a strong axial orientation of the interior while accenting the structural qualities of the building. The sharpness of the trusses give an otherwise heavy roof a sense of lightness. (see Figure 9-6.)

The natural light allowed to enter the building at eye level creates some glare patterns on the glossy floor.

Natural lighting is supplemented with typical ambient 1ighting.

CRITIQUE: The skylights of the main gymnasium were we I 1- placed, running parallel with the gym floor and not directly over the playing surface itself. Some glare results from the side and end lights. Ill

A sense of familiarity and orientation is created between the interior and the exterior as the trusses

maintain their identity on the inside as well as the outs i de.

ain arena showing Figure 9-6 Interior view of the m structural trusses/skylight 112 mater ials The buildings are clad in a 0.4 mm thick stainless steel shingling system to combat the corrosive forces of pollution. The sheathing has resulted in a sleek and handsome shell marred only by the dimpling effects of construction. (see Figure 9-7.)

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Figure 9-7 Exterior v iew smaller gymnasium in the foreground

Maki uses a palette of silvers and grays that come alive in light. The southern wing is clad with a silver ceramic tile with almost the same reflective 113 qualities of the stainless steel, yet retaining a matte finish when not in direct sunlight. (see Figure 9-8.)

Figure 9-8 - Exterior view showing glazed tile of the main arena 114

The roofs were made discontinuous to take advantaged of the fact that the way the sunlight is reflected is very different for metal surfaces that are angled even slightly differently.

Metals suggest a variety of qualities, for example, hardness, strength, precision, and even a capacity to inspire awe.

> CRITIQUE: The materials almost make the building seem imperceptible, almost an optical illusion. Maki achieves a layering system without having to layer - by the subtle change in surface angles, the sun creates different intensities of light bounce from the surface.

The three disparate parts are unified by the stainless steel and ceramic tile. The lesson to be learned is that structural details need not be the overriding component in unifying groups of buiI dings.

The building is a great example of the Japanese tradition of detailing and craftsmanship parallel with the modern technology. seal e The program dictated volume and it is the pieces which dominate the link, resulting in a balance of power that remains to some degree unresolved. (see Figures 9-9 and 10.)

fjif elevation Figure 9-9 East elevation

Watt Wrvarion. Figure 9-10 - West elevation 115

> CRITIQUE: There is strong tfension created between the two gymnasium complexes. The tension occurs as a result of the formal geometry of the southern gymnasium combatting the informal geometry of the northern gymnasium. The two parts are also handled at different volumetric scales creating an asymmetrical imbalance. Finally, the sub-arena shifts off the main axis.

His forms are juxtaposed on the site, tied together by an unpretentious bri dge of offices and entry, The two could easily sta nd apart from each other and be complete. It is i n the consistency of the detailing that the two re late. While the main arena speaks activity under i ts shell, the sub-arena is reserved and has a langua ge that belies its internal nature. In this sense , one is reminded on Jorn Utzon's Sydney Opera Hous e. Neither speaks of their nature but stand as art in nature, making a statement of the virtues ity of architecture itself. structure The gymnasium employs a relatively simple structure with two major trusses and two subsidiary cross trusses, akin to an airplane hangar. (see Figures 9-6. and 9-12. ) '3

Bird's-eye vie\ structural system 116 117

Figure 9-12 - Interior view o f model showing structural system

•muuwja—i 118

case study works by phi lip cox national athletics stadium

Cox sets a fine example to architects building large scale projects. He emphasizes sensitivity to the site, to the context of place. By addressing such issues he has created a building much more grand than a monster stadium of ghastly scale and proportion. This building is completely appropriate to its physical needs and its setting. miscellaneous information * ARCHITECT Australian architect Philip Cox * SCOPE Par/o?'thi°% ^P"'= '^""'Pl'- h^s been oonstruoted as M^id!" ihr:x"x i:::i- ^.irri r. 'r^i '-^

or Olympic stindird. *'°' °^'"" '° Co„monwea, Ih 119

» CONCEPT It was decided that the grandstand should appear as a light structure hovering over the 1andscape. (see Fi gure 10- 1 . )

Figure 10-1 - View of grandstand

SITE Placed in the open country between the town center of Canberra and the suburb of Belconnen. context Cox is a great exponent of the vernacular and the stadium must be seen as a translation of vernacular principles to a building of heroic dimensions. the extensive site and rolling hills of the surrounding landcape influenced the design. (see Figure 10-2.)

> CRITIQUE: Here is the area in which Cox shines. The stadium is sensitive to the surroundings. This is not common among large structures. By using materials appropriate to the site, being sensitive to scale, and applying a structural system that is sensitive to the surroundings, he creates a large, unobtrusive stadium. see materials, scale 120

Figure 10-2 - view of grandstand showing entry berms materials

Cox uses stone-faced berms to reflect the natural materials present on the site. The berms are also congruent with the rolling hills of the surrounding envi ronment. seal e

Though the stadium is grand by virtue of its inescapable size, it is a modest building which fits easily and gracefully into its landscape. structure

The struts and t he guy wire s are 1i ght to avo i d conf1ict with the s imp 1e curve s of the des ign. The trim is strai ghtfo rward, robus t, and ec onom i ca 1 To achieve the require inent of a no -column s pect ator area, a tensile system w as inco rporat ed using cab 1 es and a series of externa 1 masts to s upport a st ee 1 f ramed roof. The roof c ables a re sup ported b y fi ve t apered masts at the rear of the stad ium and b ack- stay ed to ground anchors. Th e masts are p i n jointed at bot h ends to allow rotation d ur i ng e rect io n. Each mas t is back­ stayed by two cab Ies f i xed to post-te ns io ned ground 121 anchors. The roof deck is curved and follows the general configuration of the curved surfaces the arena. The deck is covered with 100 mm of concrete to prevent uplift during high winds.

> CRITIQUE: Simple yet appropriate. The roof is a bit awkward at its end connections. It almost appears as if the roof is a secondary addition to an existing stadium. 122

Sydney footbal1 stadium

Cox was seeking to create a building that would thrill and awe. He produced that building in the form of the Sydney Football Stadium. Its success lies in the exhilarating experience of the game expressed through the excitement of the place. miscellaneous information » SCOPE The stadium was designed to accommodate Australian football, seating 38,500 spectators.

* CONCEPT Cox wished to create a place appropriate to the event. His intent was to create a place that would thr iI 1 and awe.

* SITE The stadium is located in a residential area already inundated with cars, crowds, and arc lights. context

> CRITIQUE: It is unclear whether Cox addressed the residential VnH.l^''7^.V^.''^^^' ""'^ expression is, however, something that is light and tactile. Some could be other. r ,S°' '! enriching the environment while others could contend that it was not appropriate to 123

bring another 38,500 people into an already crowded area. form/structure

The canti levered roof is suppor ted on a tubular steel tr iangula ted space-frame truss, The stadium swoops up and down around the field, de fining the playing and seat ing a reas. The playing fi eld is submerged three meters be low the natural ground -level, increasing the sense of containment. From the field there is a strong centr i peta l force arising from t he circular geometry of the stadi um's perimeter which co unters the longitudinal pull of t he playing area and th e elliptical opening in the roof overhead. (see Figures 10-3, 10-4, and 10-5.)

Figure 10-3 - Site plan 124

^igure 10-4 - Longitudinal section

Figure 10-5 - View showing undulating roof

> CRITIQUE: Cox masters the structural expression. He desired the building to be thrilling, and the structure enforces the thrill. His structure speak their intent clearly. Here the intent was to produce a light yet strong structure. Cox succeeds. He is sensitive to repetitive elements, and relieves their potential monotony through the swelling roof. Each element becomes seemingly independent of the others, each deserves a closer inspection. He thus creates a visually striking series of glamorous pieces all working to paint a grand picture, a celebration. image/mood/atmosphere As the roof sweeps up and dips down it defines a space unified and continuous and never static. The brick- faced concrete seating area is solid and heavy, creating a crater under the white bonnet. Cox sees the roof as a cloud floating above the earthy base. The light form creates a powerful sense of enclosure.

CRITIQUE: Exhilarating, The images are strong. Cox stimulates the senses, If I were in this building 1 would want to touch the structure. But perhaps his strongest appeal is to the eye. The rolling structure

/' 125

warrants a long, encircling look, and another, and another... The building complements the game. It is an event in itself. seal e Concerned with scale. Cox pulled the northern rim of the roof down in salute to the residences and the major traffic route that lie to that side. The corresponding southern point was also dipped in a token gesture to the weather conditions that threaten from that d i rect ion.

> CRITIQUE: The scale is massive. It is unclear whether it 1 s appropriate to its surroundings. sight lines/spectator needs The seating at playing level is only eight meters from the sidelines and rises (at a 30 degree angle) to 30 meters above, providing virtually aerial views. The relationship of player to spectator is dramatic.

> CRITIQUE: This is a fitting response to the needs of the spectators. The steep ascents and descents may be tiresome, but entering at mid-level will alleviate some of that problem. Cox concentrates on the spectator becoming a participant. And the athlete is surely affected positively by the close affiliation with the fans. 126

darling harbour exhibition hal 1

Philip Cox is a painter of images and a maker of places. The Darling Harbour Exhibition Hall is just an expected piece of his work. Although the building is not an athletic complex, its emotional and structural expression are highly appropriate in an athletic venue. miscellaneous information » SCOPE The Exhibition Building was one of many designed for Sydney's Bicentennial celebration. The project is a government-backed transformation of a harbour -frent site into an inner city entertainment center.

» SITE The site is flat, bounded to the east by the commercial and retail core, and to the west by a visually strong wall of nineteenth century woolstores. The freeway system slashes across the site. 127 context Cox produced a building comprised of five halls. The concern arose as to their appropriateness to the surrounding city. In response. Cox's buildings help bring a coherence to the place.

see structure image/mood/atmosphere The image and atmosphere is one of festivity, heightened by the powerful forms Cox creates. by staggering the five halls, he also creates a rich and eventful building, presenting ever-changing views of the facades. This arrangement gives individual identity to each hall but still allows the total complex to operate as a unit. The building is warm and light-hearted. (see Figure 10-6.)

Figure 10-6 - View showing structural supports 128

CRITIQUE: Once again Cox produces a building with a strong image reinforced by a structural presence. He is sympathetic to the needs of the exhibition space.

see organization organization

The buiIding is d i V ided into zones. By d i Vidin g the plan longitu dinally into th ree zones , the e xhib i tors are convenien 11y 1ocated a 1o ng the we stern w all, near to the de I iver y zone, whi le the ex tens i ve g1 ass- enclosed pub 1 ic foyers Iine the east ern wa1 1 outs ide the enclose d and protec ted exh ib i t i on spaces, contr ibut ing to the V i taIi ty of the mo st pub 1i c face of the buiIding. A terraced t borough-f are en 1i vened by canti1 evers, awnings, stairs , ba1ust rades, fIagpo1es and so on is provided at mez zanine 1 eve 1 all ow ing the passer-by to look down on the act i V i ty i ns ide.

> CRITIQUE: What could have been a vast, mute spatial container has been given a highly active expression. The organization provides the visitor with choices, able to overview the environment before making a decision about his amount of involvement. The reduction in size of the inner units affords a more intimate environment, bringing a more familiar scale to the edif i ce. structure

Cox chose an expressive steel structure in response to the expectations of exhibition halls. The flamboyant, exposed, mast and cable system selected provides a festive note, and successfully links the building with the masts of the tall rigged ships by the adjacent harbour front. (see Figures 10-7 and 10-8.) 129

Figure 10-7 - West elevation

Figure 10-8 - Enlarged view of structural detail 130

BSDBQQfmQsannn , , case study tsukuba municipal gymnasium

Toki produces a building with boxey proportions. Through careful division of functions and articulation of surfaces he creates an intimate building. This building is as much a celebration as those previously examined, but achieves its success in its simple organization and aesthetic beauty. miscellaneous information

* ARCHITECT Shin Toki and Associates (supervised by Kenzo Tange) » SCOPE The Gymnasium was designed as a main gymnasium as well as a judo and kendo hall. The principal activities in the main gymnasium are volleyball and basketball, but gymnastics can also be practiced there.

SITE The site is at the base of Mount Tsukuba, against a backdrop of undulation mountains to the north, and fields and gardens to the south, The site is to be completed with tennis courts and a sw imm ing poo 1. (see Fi gure 11-1. ) 131 ^ •e

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Figure 11-1 - Site plan entry The en try is sandwiched between the main gymnasium and the j udo and kendo hall. In contrast, it is transp arent and more open. This has been done because of re 1axatio n for the citizens has been planned between the g ymnasium and the nearby grounds, as well as to prov i de spatial continuity. (see Figures 11-2 and 11- 3. ) i/

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^a j.i-M.-.J'.''- Jf...u>. v.kj.-iJ, A-'J-..--;;* Fi gure 11-2 Exterior view of entry 132

> CRITIQUE: The entry is perhaps the weakest point of the building. Upon approach the columnated, pinnacled ends speak entry. Allowing the visitor to discover the entry can be a strong element, but Toki creates a confusion of elements.

Figure 11-3 - Main hall looking out entry doors 133 1ighting

The building is top-lit by a triangular-shaped translucent panel running the length of the building. Additional daylighting is provided by punched windows along the building's perimeter. (see Figure 11-4.)

Figure 11-4 - Interior view of main gymnasium

CRITIQUE: The top-light proves to be very bright. It could be a definite hinderance to volleyball and basketball when the athlete looks skyward for a ball. In addition, the punched windows create strong bright spots and high floor glare, also potentially d i stract i ng. 134 materials The structure is reinforced concrete, expressed on the exterior, accented with inlaid tile.

> CRITIQUE: Toki uses materials well. He breaks up a potentially monotonous and rather extensive exterior by adding decorative relief and inlaid tiles in a linear form. By doing so, he has reduce the scale of the exterior to a more manageable scale. He wisely and successfully incorporates his mechanical vents and drain pipes to be congruous with grids. organization The functions are polarized and separated by a common entry. The main gymnasium lies to the north while the judo and kendo hall occupies the south. The top-light extends the length of the building, tying the two masses together. (see Figures 11-5 and 11-6.)

> CRITIQUE: The differing functions require differing physical ceiling heights, materials, etc. Toki's approach to the organization is both economical and aesthetically appropriate. 3: T

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-••••• r. rHi—rv I ' I—»—r Figures 11-5 and E11-6 - P ian, sect i on 135

Figure 11-7 - South facade 136

F i gure West facade 137 36 expression of ,,,,^^.1

spatial qualities

th9 approach The approach should not be overpowering, yet should be bold. As with the Milford Jai Alai complex the approach can set the initial mood of the activities. During daylight hours the structure and monumenta1ity can speak volumes, while at night the expression of structure is subject to the lighting, which can create dominant directional cues and accents. The lighting can have strong associationa1 values, and often be seen for several miles. The transformation of the building from daylight to nightfall offers some interesting 139 opportunities. The duality of structure and 1ighting can be emphasized over a short time span.

All the answers should not appear at once. Rather, curiosity should be maintained, sustaining interest while heightening the anticipation of event. Being able to see bits and pieces of action or hear the noise associated with event will create such interest. Thus, the approach becomes an event unto itself, a grand procession, the first step of participation. ingress/egress

The next step is the ingress to the site. Ease of ingress, not the difficulties of parking, should be a major focus of the building. It is desirable to maintain the shortest walking distances possible while insuring safety and security through proper lighting and circulation paths. The visitors should feel comfortable in moving freely about the property. entry The entrances should be markedly defined for ease of recognition. In addition, they should be easily accessible from and convenient to the parking. The entrance needs to be more than an opening or a place between two points, but instead a transition from one event to another. The entry should communicate acceptance and direction. reception/1obby

Arena

The lobby is the first interior space to be exper i enced. It should be a grand space, a hint to what is to come The building has the potential to exhibit its inner self through selected transparencies - a trophy case, to speak. By extending the interior into the exterior approach the lobby becomes familiar before entering. Visual stimulation can enhance the mood of the interior space. The flow and purpose of the interior must be well-defined. Ticket dispersal and receiving are 140 critical to the flow of the interior. The lobby can act as a great promotional tool for the athletic event, allowing sounds to penetrate to those entering the space. The imagination can elicit mental images associated with sounds.

Clear paths of circulation must be provided in the same manner as the parking lots. As participants, t hose entering the facility must feel a certain sens e of control over, or at least, symbiosis with, t hei r environment. They should be afforded the luxur y of choi ce, a 11owi ng them to interact on their own initiative and not be forced. The lighting shoul d be distinct, an accent to those areas of interest. A s in the Exeter gymnasium, the lighting can enhance the ci reu1 at ion core. The lobby space should be. as defined by the entrance, an event

Stadium

The reception area of the stadium will probably be an outdoor space. The sky can act as a roof, an echo of the competition space. As in the arena, much of the same principles of circulation and interaction apply. concess ions

The concessions are often overlooked in spor t s complexes, but are one of the most widely used s paces. The concessions should be easily accessible, u sed as pass-by spaces available to the participants as they walk to their seats (much the same way the Milfo rd Jai Alai spectators were routed through the b ett ing venues). Concession areas should be brigh t and informative, easily recognizable from a mo derate distance. They are a service to the arena, and shou1d be given prominence. Large, periodic crowds she u I d be expected and accommodated. Getting a Coke and p opcorn should be a celebration. restrooms

?WLJ ^''^i''^^ "'°"^'^ ^°'^ ^ mundane space can be natural li^ht J H'''" -genuity. By introducing shun tL H \ ^^ restroom areas, the restrooms can If^oin^ to'.'n' ^"^^^^^^i°"^l feel they tend to harbor. If going to the restroom is an event, (and for some it 141 is! ) then the day 1i ghting approach is appropriate. The space should al so convey cleanliness and sterility. Careful selection of materials and equipment is important in this respect. The restroom is also a place of privacy, e ven with large traffic flow. This consideration shoul d be respected. The space should be designed to handle the same traffic flow as would be typical of concess ions, able to accept and impart a crowd effectively, The principles of the circulation flow of the corrid ors hold here only on a more micro scale. The restroo ms should provide choice and clear direction of traffi c. mechanicals Another oft-overlooked area is mechanica 1 space. Maintainence and installation of mechanical equi pment should be considered. Also, consideration should be given as their placement in regard to noise and ai r- flow output. Kemper Arena is a fine example of we 1 1 - placed mechanicals that serve in close proxi m i t y the area they support as well as provide a secondary purpose of sheltering the entrances. In this way, the mechanical systems don't become boxes on roofs that are unsightly to observers. For my project at Ang eIo State University the two 10-story dormitories will over Iook the main arena, citing an appropriate respons e to the placement of the maechanicaIs.

If exposed ductwork is utilized, it should be consistent in its function, materials, orientation, and appearance (i.e. the shape of the duct itself). Air should be vented away from direct contact with the spectators and players. the arena The arena space should be magnificent. A certain tension and expectation are carried in the minds of the spectators and athletes. They should not be disappointed. The vastness of the space provides the initial awe. The focus is obviously the court. The initial view should be commanding, looking down on the players who seem to be so small, yet larger than life. They are the spectacle. For the players, the anticipation and emotion come from entering the bright lights, feeling that they are the focus. They are 142 encouraged to perform or pressured into failure the essence of competition.

The main lighting should encompass the floor, either naturally (Carver-Hawkeye Arena) or be the central spotlight of the show. The spectator lighting should accommodate reading of programs and recognition of faces so as to facilitate free movement.

Seating should be comfortable. Aisles should be passable even with both hands occupied with refreshments. Room should be adequate for standing and cheer ing. the stadium

Walking into a stadium can be awe-inspir ing. Chi 1d r en want to run on the track or the footbal 1 f ield . For many spectators, it is a place of fanta sy o r memo r i es past. Natural curiosity should be heig hten ed by the noise bleeding into the circulation co r r idors . The curiosity should be provided with an aven ue to the answer. Discovery! The discovery is th e c uI mi na t i on of the progression. The discovery s hou Id not be antic1imactic. The brightness of the car pet- like g r ass is given a formal, rigid order by the str i pes. The stripes, goal posts, and end zones a re d i rect ion a 1 tools and should be utilized as such. Ea ch s eat sh o'u 1 d be felt as unique, a distinct place among the who I e

The space should be as invigorating as the game. The opportunities afforded by the outdoor space are immense. The sky, with its limitless boundaries, becomes a great dome for the game. It seemingly appears as a ceiling, but is never threatened by the action underneath it. In addition, the open-air stadium allows the essence of the creation of sport to be expressed, that of an outdoor game with its results sometimes dictated by the weather. press box(es)

The press box can be an overpowering element of an athletic complex. My desire is to see it integrated into the environment of the stadium and arena. Press box" should become an obsolete term; 1 see the space as Press Accomodations. These accomodations shouldbe 143 welcoming and straightforward. They are not luxury sky boxes, but they demand similar privacy and visibility. Too many press boxes are, as their name suggests, boxes, enclosed in glass. Open-air involvement should be encouraged and provided.

The press box has always taken its place at the apex of the stadium. I will explore the possibility of relocating the space. Obviously, it is desirable to film the action from the highest place, so some consideration must be afforded to those groups. locker rooms Passageway spaces leading from the play space to the dressing rooms, showers, and lavatories are often unpleasant in gymnasium building s, but they provide an essential interval before and a fter playing and should therefore be psychologically refreshing. Koichi Nagashima, a Japanese architec t provided a courtyard between the gymnasium and showe r and dressing rooms of a small public gymnasium. Whet her or not that is the appropriate solution for my bu ilding is unclear, but the implications of opportun ities is encouraging, Locker rooms and their connect ion to the main space should provide stimulation ins tead of a cold, damp aura. The locker room should p rovide both excitement and solitude. Interaction should be a choice, Privacy, associated with some sense of ownership is important. The space is the preparatory space for games, so distractions should b e few. A common space should be provided for meetings. offices The offices will be the most widely used spaces. Therefore, the needs of their inhabitants should be addressed sensitively. Windows allowing light and natural ventilation are desirable. If windows cannot be supplied, some form of natural lighting should be introduced into the space (as in the Carver-Hawkeye Arena). 144 summary The buildings should be imaginative works of arresting configuration fashioned for visual potency and delight. The act of creativity can make the resulting spaces familiar yet original, understandable yet full of discrepancy, simple yet complex.

The building should display a sequence of scenes, as in the Fujisawa complex, with elements and details appearing one by one. As a result, the building becomes an event(s) much in the same way a sporting event does. Each has a beginning; each has a series of strategical occurrences; each is governed by some stringent rules; each has emotional expression; each maintains a certain sense of chaos that is associated with an underlying strict order.

Buildings of this scale and magnitude can be oppressive and repelling. The secret of success of all these spaces can be explained as follows. The individual human being can understand them easily and can grasp thei r i mage.

The building should respond to the response of the enthusiasm of sports. It will be a symbol for much more than just sports, though. It will be a icon for Angelo State University. 145 46 list of endnotes foreword 1. Webster's New Collegiate Dictionary Springfield, Massachusetts: G. & C. Merriam Company, 1979). introduction

1. Morton, D., "Physical Education Building: The Fifth Facade in Abington (Ogontz Campus of Penn State University)," Progressive Architecture. v. 55 (May 1974):64-69.

2. Ibid.

3. "The Stadium: All-American Monument," Progressive Architecture, v. 52 (November 1971):78-57.

4. Ibid.

5. Rick Hayes, KAMC television sportscast, February 18, 1989.

6. Rick Hayes, KAMC television sportscast, March 12, 1989.

7. Norman, Donald A., The Psychology of Everdav "^^^"^^ ^f^ew York: Basic Books, Inc., 1988) :188.

rA®; °^'5^o; "i^^^^^l' "Sports and Space," Landscape. (Autumn 1976):37.

9. Ibid.

10. Ibid.

(48/^9): 32°*"^^^°"^^ Gymnasium," Lotus I nt . r n. . ^ o.. i 147 statement of philosophy

1. John Steinbeck, quote from Sports I 1 lustrated, Oriard, 37.

2. Jahn, Helmut, "New Directions and New Designs at C. F. Murphy Associates: La Lumiere Athletic Facility, La Porte, Indiana," Architectural Record, v. 166 (July 1979):99.

3. "Octagonal Gymnasium," p. 32. statement of intent

1. Flynn, Richard, Planning Facilities for Athletics Physical Education and Recreation (North Palm Beach, Fla., The Athlete Institute, 1985):24. 2. Ibid.

3. Ibid.

4. Ibid., 31.

5. Ibid., 38.

6. Ibid., 72.

7. John, Geraint, "Technical Study Sports Halls," Architects' Journal, (June 14, 1976)

8. Flynn, 1.

9. Ibid., 25.

10. Ibid.

11 bid.

12. Ibid.

13. Ibid., 25.

14. Hodgkiss, Ray, "Technical Study: Envi ronment," Architects' Journal, (June 14, 1976). 15. Flynn, 38.

16. Ibid.

17. Ibid. 148

18. Ibid.

19. John, Geraint, "Indoor Dry Sports Study 10," Architects' Journal,

20. Flynn, 32.

21. John, Geraint, "Stadiums," Architects' Journal. (January 17, 1979):

22. Ibid.

23. Ibid.

24. Flynn, 124

25. "Stad iums,

26. Ibid.

27. Ibid.

28. Ibid.

29. Ibid.

30. Ibid.

31. Flynn, 39.

32, John, Geraint, "Technical Stud' Briefing Guide," Architects' Journal. (July 22, 1976)

33. Flynn, 39.

34. Ibid.

35. Ibid, 40.

36. "The Stadium: All-American Monument, examination of climatic data

1. 149 introduction to angelo state university

1. "A Bulletin of Angelo State University. 1987-88 General Information Issue." University News and Information Office, Angelo State University, 27. 2. Ibid., 28.

3. Ibid., 17.

4. Ibid., 30. background information

1. Oriard, 37.

2. Ibid.

3. Ibid.

4. Ibid.

5. Ibid.

6. "Stadiums,"

7. Ibid.,

8. Ibid., case study - kemper arena

information compiled from:

"Crosby Kemper Arena, Kansas City, Mo.," AIA Journa1. V. 65 (April 1976):48-49.

"R. Crosby Kemper, Jr., Memorial Arena," Architectural Record, v. 159 (March 1976):109-114.

"R. Crosby Kemper Memorial Arena," L'Architettura. v. 23 (December 1977):440-441. tokyo Olympic complex

information compiled from:

Boyd, Robin, "Olympic Buildings in Tokyo; K. Tange. Architect," Architectural Review. v. 139 (April 1966):262-270. 150 "Clean Sweep in Olympics: Kenzo Tange's National Gymnasium and Annex in Tokyo," Architectural Forum, v. 121 (October 1969):xxv-xxvii. exeter gymnasium

infromation compiled from:

"Athletics Centre, Exeter, New Hampshire," Architectural Review, v. 159 (February 1976):116-120. milford jai alai sports complex

information compiled from:

"Milford Jai Alai: Festive Building for 'The Merry Festival'," Architectural Record, v. 163 (April 1978):119-124.

"Structure and Lighting Give Excellent Performance at a Fronton," Architectural Record. v. 163 (April 1978):141-144. carver-hawkeye arena

information compiled from:

Crosbie, M. J., "Carver-Hawkeye Sports Arena: Iowa City, Iowa," Architecture, v. 73 (May 1984):194-199.

Murphy, Jim, "Assured Understatement," Progressive Architecture. (August 1984):94-99. fujisawa municipal gymnasium

information compiled from:

Feldmeyer, Gerhard, "Fresh Frontiers," Architecture •>• Urbanism. (February 1986):12-13.

"Fujisawa Municipal Gymnasium," Japan Architect. (March 1983):55-59.

"Fujisawa Municipal Gymnasium," Ja£an__Archite c t (March 1987):18-21.

"Japan: Destruction or New synthesis?," L'Architecture d Auiourd'hui. v. 250 (April 1987):54-55. 151

Miyake, . Riichi, "Adventure in Forms," Japan Architect, (March 1987):22.

Trieb, Marc, "Sports Cathedral, Progressive Archi tecture. (June 1988):

Watanabe, Hiroshi, "Spiral, Sports Arenas, and Spirit of Place: Recent Works by Fumihiko Maki," Japan Architect. (March 1987): 57. works by phi lip cox

Farrelly, E. M., "Out of the Swing of the Sea, Darling," Architectural Review, (April 1988):63-67.

"In Australia Ombra Su1 Ie Tribune: Light structure Hovering Over the Landscape," Domus, no. 600 (November 1979):10-11.

"National Athletics Stadium, Bruce," Architectural Review, (December 1985):152.

Taylor, Jennifer, "Philip Cox's Bicentennial Buildings," Architectural Review, (October 1988):67-72. tsukuba municipal gymnasium

information compiled fromi

"Tsukuba Municipal Gymnasium," Japan Architect, (March 1985):17-22.

mjinr'-aammmmmmmmt 152 conclus ion

During the concept exploration phase of my tnesis project I attempted to identify those physical characteristics that lended themselves 1) to the functional nature of an athletic complex, and 2) to the aesthetic and theoretical nature of sport.

Two concepts arose: 1) compactness and 2) Fluidity within a rigid set of boundaries. The compactness concept incorporated the idea of sharing lounges, dressing rooms, administration, training rooms, weight rooms, etc. The fluidity concept arose out of direct analysis of the sports involved, namely football and basketball. These sports are defined two-dimensiona1 Iy by boundaries. The boundaries are rigid and static - all the play occurs within these defined parameters. Adding the dynamics to the sports are the players themselves, the third dimension. The fluidity concept allowed the components of the sports complex to be separated, each having a distinct identity associated with the sport they represented. As the concept became more defined the idea of fluidity within a rigid set of boundaries was superimposed onto the physical elemen':s of the building, its perimeter being ri?id while containing the contrasting dynamics of the sculptural forms of the seats. In addition, the site was bounded on three side by major roadways, read as being another set of rigid boundaries holding the dynamics of my buildings as they played on the site itself. The ideas of sharing amenities was still held as important in the fluidity concept. It is unreasonable to think that the two buildings would have duplicated services in such close proximity to each other. By placing the shared space underground, each building can have ready access to administration, dressing, training, weight. and storage spaces, yet each can still have its distinct i dent i ty.

I first concentrated on the stadium. Immediately, many issues needed to be addressed. Sight lines and sight distances became important factors. Also, autonomy and identity became relevant issues in relation to my thesis. How was I going to provide some sense of autonomy in a 25,000 seat stadium? My first approach involved the idea of using multi-level seating. I 153 raised the seating in those areas of poorer viewing. What began to ari se were intriguing shapes. The traditional upper -ti er/lower-1ier relationship was disappearing. Wha t did arise was a certain dynamic quality with sculp tur al forms. Yet some of the raised seating sections bl ock ed the views of other sections, In response to this 1 "shaved" portions of the blocking sect ions to a I Iow fo r full views. Concept and the thesis began overla ppi ng. As I incorporated the idea of the celebration of sport and its fluidity within a rigid set of bounda r i es , the "shaved" seating sections took on a curvalin ear nature, flowing gracefully and smoothly, much Iik e a running receiver or a gliding basketball player, Now the ideas of autonomy and identity became use ful

At this stage of design the sta dium seating became a sculptural composition. I conce rned myself with how the curves originated and ended a s wel1 as how one side of the stadium complimented th e other. 1 was not searching for symmetry, for that would not enhance the autonomy of the seating sections, Instead I wished to enhance the integrity of the s eating sections, each becoming an exciting element, I pictured even the worst seats as exciting places to be, the corner seats distinctly sharp and individu alized, each section flowing into each other - dyin g into the ground or other curves. The traditional st adium incorporates the idea of section numbers, aisl e numbers, and seat numbers. My stadium utilizes sh apes and colors, much more easily recognized and muc h more aesthetically interesting. The idea of colore d seating sections is not new, nor the idea of ma rking off particular sections, but the idea that one certain color can be associated with a natural seati ng area is unique to this stadium.

The curvalinear forms invaded not only the horizontal plane but the vertical plane as well. For better viewing, more seating was placed high and to the middle of the stadium. (Refer to Philip Cox's Sydney stadium.) The perimeter of the stadium swells in the middle and falls at the ends to reinforce the dynamics of the game itself. As the stadium swoops up and down it defines a unified and continuous space, never static. The stadium became round in nature to contrast the longitudinal playing field. 154 I strived to make the building an event itself, a place where people want to go regardless of the activities associated within.

As the building was taking its form I was confronted with the obvious issues associated with a stadium, those of structure, ingress/egress, entry, circulation, lighting, concession placement, press box accommodations, and security.

Parking was removed from immediate proximit y of the stadium to give prominence to the stadium tha t is not imposed upon by an asphalt sea. (Refer to the site plan.) I encouraged the spectators to wa 1k on the grass, to flow as freely as the building it sel f does (again the dynamics within a rigid set of bou ndar ies ) . Around the stadium I let the grass flow up into the perimeter of the building. (Refer to plan s. ) The approach from the campus provides a gradual r ise w h i ch reaches a plaza and culminates in the discove ry of the field itself, opening grandly, the openness fur ther enhancing the character of the game, expre ssing the idea of sport occurring in open space, nature be i ng an integral part of the game.

The plaza serves as a transition and tie between the stadium and the arena and between the sports complex and the campus. (Refer to plans.) In maintaining the idea of the open field extending into the campus, grass is allowed to grow between the concrete blocks. In addition, glass pavers are incorporated to allow light to reach the spaces below.

The so ale o f the buiI d i ng IS obv 1 ous ly d omi n ant. To relate the inner nature of the sea ting se ct i on s I brough t the wa 1 1 s separa ting the sea ting sec t i ons to the g round pIane. Thes e be came s tru ctur al , prov iding suppor t f or each sec t ion Th e s true ture i s supp 1 ement e d with trusse s to supp or t the sea ting I chose cone rete fo r the mat er ia 1 of th e s true tura 1 waI Is, stee I tubing for the truss es, and stee 1 cable s to tie the secondar y cone ours es t o th e un der s true ture. Exposu re of thes e ma ter ia 1 5 prod uces a 1 iv e ly, hardwo rking charac ter , ent i re 1 y app ropr i ate to the nature of t he acti vi ty. The CO 1 or t hat I us ed i s in marked con trast t o the au ster i ty of the cone r e t e , fur the r en banc i ng the bri ghtne ss of the CO lor' s intent i ons. 155

The stadium itself is somewhat imposing in its massiveness and monumenta1ity. The monumenta1ity of any stadium provides the awesome impact on those participating in the sporting experience. Yet, I think that what is lost is the sensitivity to the individual and the stimulus of that monumenta1ity. I wished to preserve this sense of monumenta1ity by reducing the building to a more manageable scale then re-introducing the monumental, re-sensitizing the spectator to the richness of the vast scale of the stadium. 1 created a building that is monumentally awe-inspiring upon the approach. I desired for that awe-inspiring feeling to occur again and again, each time being as rich as the t ime before. The structural walls create natural entries at roughly the four corners of the football field. The approaches are very defined and straightforward, leading to the entry, which I envisioned as transition points and not just openings or places between two points. On the northern corners 1 let the walls penetrate beyond the boundaries that I had created much like a receiver might extend his body beyond the boundaries of a football field or a basketball player might leap over a boundary line to save an errant pass. Thus, the entries began to "reach" out to the incoming spectators. Upon entry the walls began coming closer together, "funneling" the spectators to the actual point of entry into the stadium. The southern entries are definedly different. The structural walls formed distinct points of entry. In addition, I began introducing additive elements at the entry points to address the scale of the stadium as well as provide directional cues.

I int reduced modular grid walls allowing spectators to becom e familiar with the scale of the building. Each serve s a different function, some utilitarian, some for trans ition only. The first wall (16 foot openings with 4 foo t members) relates to the scale of the structural wa 1 I s It can be seen readily upon the approach to the bui Id ing itself. It is placed perpendicular to the entry approaches, providing the initial gateway for the spect ators to pass through as they proceed into the bui Id ing. The next grid wall (12 openings with 3 foot rs) the spectators encounter is slightly smaller membe cale. Whereas the first wall deals with first in s 156 recognition and entry, the second wa1 1 begins to r educe the scale of the complex to one o f more manag eab 1 e scale to the spectator. This wall contains the box offices, and lies parallel to the main ticket- t ak i ng entries, providing a straight passag e from the t i cket buying to the ticket taking. Passing through this wal 1 the spectator is confronted with a t bird wal1 (8 foot openings with 2 foot members), still sma1 Ier in s cale, yet the spectator can still pass thr ough its open ings . The fourth wall (4 foot openings wit h 1 foot mem taers ) houses the main concourse and is th e sma1 1es t o f the grid walls, its total height being 1 4 feet. The sea 1 e of this wall is one that is more eas i1y grasped a t the human scale. The wall itself becom es entry and exit points, with the members pivoting to prov ide turns tiles for ticket taking, and additional m embers turni ng to provide mass exits. This elimina ted the unsi ght ly rails normally associated with ticket t ak ing turnstiles. The openings of this wa 11 are f i1 1ed with a panel of wire mesh, still transpar ent enough to view the inner activities, but tight e nough to pr ov ide security for the stadium, eliminat ing the unsi ghtly chain link fences normally surrou nding the ty pi ca I stadium. The security system is sub 11 e and integ ra ted into the stadium, not intimidating spectators. but instead encouraging them to interact with the bui Iding comfor tab 1y.

The main concourse encircles the stadium with no level changes in respons e to the issue of handicapped entry and access. The handicapped can enter upon the same level as everyone else and have the opportunity to engage in the sam e visual and tactile stimuli as the other spectators, Upon entering the main concourse the spectator is prov ided the opportunity to venture into the stadium, if only to view the entire field. By encouraging this v iew I have provided the spectator the chance to be in co mmand of the space, becoming familiar with his surroundi ngs in a non-threatening way. He can experience the ope n field before him, perhaps the most exhilarating expe rience upon entering a football s tadi um. It is t his experience that I also wished to preserve and rein troduce several times, providing a sequence of scenes , each time with a distinct emotional expression. There occur openings at the middle of the stadium on each si de as well as opening on each end. 157

As the spectator r eenters the CO ncour se he is i ntreduced to the stad ium ameni t ies , nam e1y the restrooms and conce ss ions. It wa s impor tant to i ntroduce these e1emen ts devoid of any d i stract i ons of the game, therefore t hey are centra 1 1y locate d under the stands , eas i1y reeogn i zab1e as one passes down the concour se. They do no t compet e for at t e n t i o n with the game, but each is fr ee from the dist ract i ons of the ot her, ma king each m ore meani ngful. The CO ncess ion areas are broken into sma11 boo ths join ed by a symbo1i c pennant. TypicaI I y, cone ess ions become long, insens i t i ve spaces, no t address ing the ind i vidua 1i ty of the spect ator. By b reak ing up the concess i on areas into three parts, ther e is, in essence , 12 CO ncess i on stands thr oughout the stadium.

Pass ing down the CO neourse t he spec tator is in trod uced to t he t hi rd grid wa11 as it pie roes t he c onco urse per i od i ca 1 ly. The wa I 1 stand s 30 fe et in he ight alio wing it to be eas i1y recogn i zed f rom a g r eat dist ance, rea di1y se en above the hea ds whi 1 e waIki n g in a or owd o f pe op 1 e. Thi s waI 1 i s an ident i f ier wi th a par t i cu 1 ar s eat ing sect i on, CO 1 or coded to mate h a par t i cu I ar se at ing s ect ion. By usin g CO I or and sea le I e I imi nate the need for si gna ge, de creas i ng CO nf us ion. The wa 1 1 s s ignif y a nd physic ally su ppor t ramps i eadin g to s econd ar y concour se 1 eve 1s Each conco ur se 1 eve1 is prov ided at 1 east two entry /exit points to the mai n cone curse

The secondary concourse levels are low sloping ramps that conform to the shape of the structural wall associated with that particular seating level allowing the structural walls to partially support the concourse ramps. Additional support is gained by hanging the ramps to the understructure of the stadium seating.

At various points along the secondary concourse stairs protrude to reach vomitories and thus enter the stadium seating. These stair elements are bound by a small wall which reinforces the space surrounding the particular areas of exit from the concourse. Each area becomes a space within itself. Flooring patterns on the concourse reinforce the recognition of the exit. At the same place occurs the signage that relates a number section, aisle, and seat. This becomes the 158 first introduction of signage Here the signage is of paramount importance, and it is only here that the signage occurs, reducing information to its most essential location. The spectator enters the stands and experiences the open field again. He ascends to the main aisle steps and proceeds to his seat.

In reviewing the lighting needs I found a great distaste for the traditional large banks of lights supported by a single pole. 1 viewed these light banks as an aesthetic distraction, used as solely utilitarian. I saw the elements literally as large lamps. I used the light poles, but I used many of them, breaking the banks of light into smaller clusters. The poles also served the function of becoming structural elements supporting the stands on the outer perimeter.

Two distinct areas of activity are evident, one occurring on the field of play, and one occurring in the seating sections. I emphasized these spaces by bringing the lighting arms to the perimeter of the field. The "covered" area of the seating sections becomes distinct from the field which has the sV:y as its "dome".

The lights are fully rotatable, allowing for flexibility of uses (i.e., for use with football, track, commencements, concerts, etc.). They can also slide down the arms to have them serviced at the poles. I viewed the game of football as a theatrical performance. As such, the lights can be focussed on the field during the game, with only reflected light filtering into the stands. And, as the game ends, the lights can rotate to focus on the seating area, which becomes the area of interest, as the field becomes dark.

The arena took on many forms in the search for its ident i ty. The final solution was derived from the idea that the two buildings are related an in close proximity to each other. San Angelo is a small commun ity. and Angelo State University is a small school, so the crowds attending both the football games 159 and basketball contests will be comprised of basically the same spectators. This allowed me to give a similar vocabulary to both structures, showing hints of each in the details of the other.

By extend ing the st ruct ura1 wa1 Is of t he stad ium as scu1ptura1 e1emen ts the arena came to 1 ife a s the result o f one wa I 1 dying i nto th e g roun d and resur facin g tow rap arou nd the arena s true tur e The arena was or i g i na1 ly cont r i ved as express ing the nature of the bui 1di ngs that occ ur on t he campu s, r ect i 1 i near and fIat-r oofed. I took the box form an d de pr es sed it into the g round p 1 ane , 1 eaving h i nts of the box at the corners a nd in the pav i ng patt ern of the p I aza . 1 ma i ntai ned the f lat- roof nature in the expr ess io n of the arena itself This 1 ended i tse 1 f to the i nne r s tructure of the are na as we 1 1 as cont ras t ing itsel f with the wal 1 that en circles its pe r imete r . The per imeter wal I und u I ate s as a scu Iptu ral form representa t i ve of the cha racter o f the V er t ic a 1 nature of the gam e of ba sket bal 1

The arena is e ntered by a gradual series of steps. The facade is of the same grid size as the ma in concourse of the stadiu m, echoing the nature of th e encIosure. G1 ass pane 1s infill the voids to expose the inner nature of the arena. The second grid wal I is pu11ed away and exten ds into the plaza in homage t o the nature of their funct ion in the stadium, becoming an e1ement that marks the entry into the arena. The third grid wa11 enc1oses the arena on the western sid e, appearing as the struct ural wall is "peeled" away. Upon entry the spectator is confronted by a large wa II that does not a 1 1ow for visual contact with the court , but a 1 1ows the noise of the inner activity to filter through. In this way, I have stimulated the imagina t i on of the spectator, im posing on him the need to use his i mag i nat i on toconnec t a mental image to t he sounds he hears. As in the stadium, the spectator i s all owed to view the spac e and have a command of the act i V i t i es before he reac hes his seat.

The seating arrangement is similar in nature to the stadium, with curvalinear forms defining the seating sections. 160

Proceed i ng to his sea t he is a 1s o encou ntered by the restrooms and cone ess ion s , becomi ng fami 1ia r with their 1ocat i ons Th is b eing a c i reu1ar bui1d in g I wished to preserve the natu re o f ea ch sid e of th e bui1d ing to avoid the con f us io n o f ten assoc iated w it h a bui1 ding with no shar p ed ges or corner s. In response, the rest rooms are ci rc u 1 ar on one s ide and square on the other. Their roo fs beco me usab le spac e. ut i1i zed as over Iooks for the peop le on the upper CO ncour se level V iewing the 1 ower CO ncou r se leve l . St airs occur a t mu1t i pIe po int s t o a I 1 ow entry and exit for those on the upper cone ours e I ev e 1 .

Whereas the light poles became structural in the stadium, 1 utilized the air vents as the structural supports in the arena. They are similar in their appearance and structural function.

The lights in the arena are drawn directly from those used in the Milford Jai Alai building. The court is lined above by two-way structural triangular trusses. Over the court, much like the sky over the footbal 1 field, 1 throw light onto a reflective panel to bounce indirect light onto the arena floor. The light that appears is shadowless and relieves the hot-spot lights so often a hinderance to the basketball players. Over the stands. deep secondary trusses are exposed. I visualize these as a very real part of the sport, hardworking and expressive.

The need arose to provide the athletes and administration separate entries from the spectators. These occur on the north and west sides of the plaza leading to the office and dressing areas directly under the plaza. Dressing rooms are placed in proximity to their respective sport, and they are centered around the training room. Other spaces include classrooms, small meeting rooms and storage rooms. The administrative offices are located above the football dressing rooms on the northern rim of the stadium overlooking the football field. 161 final analysis

My programming summary stated, "The buildings should be imaginative works of arresting configuration fashioned for visual potency and delight. The act of creativity can make the resulting spaces familiar yet original, understandable yet full of discrepancy, simple yet complex." I feel that 1 have confidently fulfilled my goaIs. I .11 I'l • " H I IBC^^WWW

162 slide sheets 1 and 2

1) and 2) The first production of the stadium seating layout showing multi-tiered seating sections.

3) Aerial view of stadium showing the first light production. Note the original cables that were extended to define walks and site boundaries.

4) Stadium lights showing light arms extending over the seating sections.

5) and 6) The first production of the arena. The building eluded to the flat-roofed buildings of the campus, here the "roof" being a space frame truss supporting a hung roof over the round arena. The undulating wall penetrates the truss to represent the verticality of the game of basketball.

7) The original placement of the two buildings. Determined to be awkward and not unified. The two buildings needed to be further separated, or re­ positioned to give them a stronger unity.

8) and 9) Alternative placement of the arena, moving it to the opposite side. Still not unified.

10) - 13) Stadium with a full compliment of lights.

14) - 17) Next generation of the arena. Note the original flat roof suppressed to the ground plane. Also, the first production of the extension of the stadium walls. One appears as a solid wall, another as a series of square columns. The third dies into the plaza then reappears to form the undulating wall of the arena. The square columns were determined to be awkward in their scale and purpose.

18) - 21) The first study of the structural walls, the secondary concourse ramps, and the modular grid walls.

22) and 23) Large scale study model showing the structural walls, the modular grid walls supporting the secondary concourse entry ramps, and the secondary 163 concourse

24) First production of the vomitory entry stairs bordered by an enclosing wall.

25) Alternative to the secondary concourse solution. Here the concourse becomes a stair system and the vomitory entries are ramped. Determined to be aesthetically displeasing and non-functional.

26) The final solution to the secondary concourse ramps and the vomitory entry stairs.

27) - 30) Further evolution of the arena. Note that the columns are eliminated and replaced with another solid wall. The arena form itself is in its final form, with the facade wall extending into the plaza. The entry is beginning to take form.

31) 34) The final evolution of the structural wall extens ions . The massive wall is pierced with a large openi ng that originated as another curvalinear element prot rud ing out of the ground plane. Note how it frames the ar ena entry upon a southerly approach to the comp1 ex 35) and 36) Light poles and supporting cables. In respons e to the need of lateral and vertical support of the Ion g light arms, cables were utilized to tie the po1es t ogether and back to the light poles. The final product ion appeared in much the same form except the cab 1es were extended only halfway out the arms, leaving the can tilevered effect of the original design. 164 s1ide sheet 3

1) - 5) Aerial views of the stadium and arena.

6) Aerial view that would be seen from the campus high-rise dormitories.

7) Aerial view of stadium's south end.

8) East side stadium seating sections.

9) West side stadium seating sections.

10) and 11) Aerial views of the arena showing the grid walls, one extending into the plaza.

12) Understructure of the west side seating sections showing the grid walls, the secondary concourse entry ramps, the secondary concourse, and the vomitory entry stairs.

13) Under structure of the east side seating sections showing the grid walls, the secondary concourse entry ramps, the secondary concourse, and the vomitory entry stairs.

14) Ground-level view of southeast entry showing the first grid wall.

15) Aerial view of southeast entry showing the first. second, and third grid walls.

16) and 17) Ground-level view of southwest entry showing the first and second grid walls.

18) Aerial view of northwest entry showing the first grid wall between the extending structural walls.

19) Ground-level view of the northwest entry showing the first grid wall between the extending structural wa1 Is. 20) Northeast entry showing the first, second, and third grid walls beneath the arch of the extending structural wall. ^ ^^^^-c-^^^'^ ^^^,

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