The Details of Modern Architecture: Carlos Zapata

The Details of Modern ArchitectureN.G. Carrillos

Carlos Zapata and the Reinventionof Modernism

Zapata’s work presents a continuous alternating of oppositions that end up mutually eluding each other: peacefulness answers

excessiveness, heaviness answers lightness, straightness-obliqueness, openness-closure, serenity-restlessness, stillness-movement,

freedom-necessity. This is why this piece of architecture turns out to be controlled, on the whole. Stridency is only apparent. What is

real is the quiet, sensuos taste for shapes and materials.

Aldo Castellano, The Restlessness of Architecture

The Venezuelan architect Carlos Zapata is trying to turn another page in

the book of Modernism. He is trying to redefine what is ‘modern’ today

by shedding away associations with the shortcomings of the movement.

After graduating from Columbia in the mid-80’s, Zapata was fortunate

enough to find work at the progressive offices of Ellerbe Beckett in New

York City. It was here, while working under the tutorship of Peter Pran,

that he was able to formulate a way to pursue a modernist aesthetic that

does not come at the expense of a building’s performance.

Above all things, Modernism lost favor because its high ambitions for a

universality of means and processes ultimately disregarded the specifics of

people and place. The proponents of mass production and standardization,

while noble in their cause, stalled the evolution of architecture through the

adoption of objective tenets such as generalization, repetition and regular-

ity. By extension, this de-emphasis on project specifics led to the creation

of many poorly detailed modernist buildings, fundamentally insensitive to

the needs of their inhabitants and the demands of the environment. The

architecture of Carlos Zapata, in the other hand, aims to reinvent Modern-

ism through a reversal of these priorities. In his work, it is not universals

but circumstantial particulars such as context, process, and people that

determine and ultimately enrichen the outcome of the project.

1.1

1.31.2

3 Carlos Zapata and the Reinvention of Modernism

1.1 Model. Competiton entry for Canadian National

Royal Trust Office Building Complex,

Toronto, Canada, Ellerbe Becket,1989.

1.2 Model. Competition entry for Canadian National

Labbats Headquarters, Toronto, Canada,

Ellerbe Becket, 1990.

1.3 Model. Competition entry for Consolidated Terminal

for American Airlines / Northwest Airlines,

John F. Kennedy International Airport, New York,

Ellerbe Becket, 1988.

1.4

1.51.6

Chicago Bears Stadium & Midway

Wood + Zapata

Chicagoland, Indiana, 1996

1.4 Model.

1.5 Plan and section of the stadium.

The Bridge - Cinema De Lux

University of Pennsylvania Parking Garage

Wood + Zapata

Philadelphia, Pennsylvania, 2000

1.6 View.

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1.8

Carlos Zapata’s design process is similar to that of an artist. He, is

interested in ideas of motion, balance, hierarchy, and proportion. More

specifically, he likes to consider the different ‘weights’ of surfaces in a

manner not unlike artists assess equilibrium in their compositions. Given

this predilection, it’s not surprising to discover that Zapata’s design pro-

cess is also very sculptural. He prefers foam models over digital ones.

His studio is filled with models which are constantly in the process of

development. In effect, it’s this preference for designing in-the-round that

lends his buildings their sculptural quality. However, Zapata is quick to

point out that form is only a means to a greater end:

“Form as an end unto itself leads to formalism. This is because this

tendency doesn’t go inwards, but outwards. Only a live interior can own

a live exterior. Only vital intensity is in possession of formal intensity. Ev-

ery how is supported by a what. That which is shapeless isn’t worse that

which is excessively shaped. The former is nothing, the latter is just show-

ing off. Real form implies real life. But not past or only imagined form.

This is the criterion: we don’t evaluate the result, but the beggining of the

process of creating forms and shapes. It is precisely this process which

reveals wether it was born in itself. This is the reason why the process of

the attribution of a form or shape is so important to me. For us life is the

decisive factor, in all its fullness, in its spiritual and real bounds.” 1

Similar to Mies, Zapata is also very interested in the expressive quality of

materials. Particularly, the way in which these respond when prompted

by the introduction of light. As a result, his surface pallete tends to favor

highly receptive(and complimentary) materials such as aluminum, glass,

and stone. Structurally, he prefers steel and concrete over masonry. This

last one completely absent in his body of work.

After establishing his own studio in 1991 he continued to develop and

mature this unique focus upon the specifics of the project . This approah

is evident in both, his built and in his un-built projects. The U-Penn

mixed-use project (1.6), for instance, is a good example of a project that

was enriched by its programatic complexity. Here, his employment of a

perforated metal envelope not only provides good overall shading but also

unifies the multiple funtions within the program.


New Stadium at Soldier Field

Wood + Zapata

Chicago, Illinois, 2003

1.7 Aereal View.

1.8 North entrance facade.

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1.18 1.19

STRUCTURE

Zapata does not allow structure to determine the outcome of the design.

His emphasis on the contextual specifics keeps him focused upon the es-

sence of the project. However, he is not afraid to delve into unpresedented

territory; he turns to unconventional solutions if that is what the project

requires. Accordingly, his structures often tend to be unconventional.

This unconventionality, however, is not to be confused with irrationality.

The structure at Soldier Field is a good example of this. Here, in order to

achieve levitating effect of the new ‘bowl,’ a steel frame system was re-

quired. The system is actually very straightforward construction. As 1.11

illustrates, the structural framing is composed massive built-up steel gird-

ers ( the width of which determines the transversal span of the new bowl)

that take up the load of the bench seating area and distributes it down

to the columns below through plate connections. To prevent the lateral

movement of these girders, secondary steel framing (in the form of open

web steel trusses and steel I beams) and steel bracings are provided. The

angled wide flange columns, which are doing the most work in the system,

are further reinforced through the use of steel pipe braces. The steel tubu-

lar catwalks, which I will expand upon later, are here to provide access for

the maintenance of the field light strip band that hovers above the bench

seating section. These are connected to the steel girders through a welded

plate connection. In addition, steel skin wind girts are introduce to provide

a support for the stainless steel interlocking planks that clad the exterior

of the bowl. Lastly, pre-cast steel ‘seats’ were included to provide a joint

connection from which to attach onto the fan’s seats. The images 1.12 and

1.14 show the way this system looked as assembly was being carried out.

Image 1.12 shows the ‘cracks’ introduced in the latter stages of the design

phase. As previously outlined, these were introduced to maximize the

views of the urban scale at large, thereby making a contextual connection

with the city.



Wood + Zapata


1.16 Framing.

A Steel tubular catwalk supports.

B Built-up steel girder.

C Secondary steel framing.

D Secondary open-web truss framing.

E Skin wind girts.

F Precast seating steel “seat.”

G Steel bracing.

H Steel pipe brace.

I Steel pipe-enclosed wide flange columns.

1.17 Under construction.

Steel frame.


North scoreboard.


Bench seating.

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KLEIN RESIDENCE

Just like Asplund, Aalto and Neutra before him, Zapata is obsessed with

light. In contrast to these, however, his fascination does not originate

from an architectural background, but from a cultural one. In the follow-

ing passage, the architect expands upon design his life-long fascination

with light:

If we stop at pure geometry, we create a house that doesn’t take the out-

side into consideration, nor natural light or the very site of the house. I

pull volumes away from each other to create spaces that allow light in

which can control moods and create a sort of excitement: light moving

along a wall is pleasant to behold. When certain spaces are opened and

slanted, light can pass through and space starts moving. In the living room

I created an aura of light similar to that which hangs over the heads of

saints in South American religious paintings by making light filter through

the sides of the suspended ceiling. When these possibilities have been

explored, it is hard to go back to boxes.” 3

This fascination with light is a guiding principle that transcends through

his body of work. However, he does not begin with light. Instead, he al-

ways looks to context for inspiration. In the case of the Klein Residence,

it was the project’s site, a cliff’s edge overlooking the Andean mountains,

which provided the impetus for formal manipulation. The architect

sculpturally shaped the building as to formally respond to the site. He

then pushed and pulled planes apart to allow for the introduction of light

into the interior spaces. To further intensify the effect, he then followed

by introducing a curtain wall at the south face, thereby creating a stronger

connection with the site and the elements.

NATURAL LIGHT AND SURFACE

At Soldier Field, just as in the Klein Residence, light once again resur-

faces as a primary guiding principles in Zapata’s work. Here also the

means from which this is achieved is through the employment of a curtain

wall. The versatility of this system proved ideal for the fulfillment of the

designer’s intentions. Through its inclusion they were able to accomplish

three complementary objectives with only one system: first, the maximum

introduction of natural light; second, the employment of one continuous

skin; and finally, the introduction of surface texture. This last objective

was achieved through a dynamic interplay between mullions and glazed

surfaces.


Klein Residence

Carlos Zapata Design Studio

Miravalle, Ecuador, 2002

1.20 West facade.

1.21 Curtain wall at south.

1.22 Curtain wall at bedroom.

1.23 Curtain wall at bedroom.

1.24 Model.

1.24

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Wood + Zapata


1.25 Primary and secondary structure at curtain wall.

A Steel column.

B Primary girder.

C Cross girder.

D Edge beam.

E Vertical aluminum mullion. The mullion is continuous throughout.

F Horizontal aluminum mullion.

G Steel shelf angle. Continuous structural support.

H Galvanized steel angle support. The angles support the

mullions from the edge of the slab.

I Vertical structural steel support.

J Vertical sag rod.

K Horizontal structural tubing.

1.26 Curtain wall at Promenade.

1.25

PRIMARY AND SECONDARY STRUCTURE

The structural clarity at Soldier Field is pervasive throughout. At the

building’s perimeter, the clear dictinction between primary and secondary

structure is yet another example of this principle. At each level, primary

girders run transversally, supported by columns that span continuously

from foundation to ceiling. Cross girders and edge beams pick up the

live and dead loads in their respective levels and transfer them on to the

columns. These beams are fastened onto the primary girders through

the use of bolted steel plates and angles. The entire curtain wall system

is bolted onto galvanized steel angles imbeded into the slab’s edge. The

system is additionally supported at ground level through the employment

of vertical steel rods anchored upon a horizontal steel tube that runs paral-

lel to the wall. This rectangular tube, in turn, is connected to the primary

structure through another tubular steel member. The vertical mullions of

the system run “continuously” throughout the entire height of the wall. At

the louver section, however, they are substantiated by a vertical structural

steel support. From top to bottom, the sequence goes as follows: the

upper vertical mullions sit upon shelf angles, the shelf angles are attached

onto vertical supports,which, in turn span behind the louvers and the sha-

dox box before finally reconnecting back to vertical mullions at the lower

end. The attention given to these structural connections is very throrough.

This, however, is not surprising given Zapata’s adherence to sound detail-

ing principles.

THERMAL MOVEMENT

Another characteristic of the curtain wall that deserves further consider-

ation is the precautions taken to prevent thermal movement. The curtain

wall at Soldier Field addresses this issue in two ways: through the use of

interlocking split aluminum mullions and the introduction of expansion

joints. As employed in some of the masterpieces of High Tech architec-

ture, such as the Lloyd’s of London (Richard Rogers), the Hong Kong and

Shanghai Bank (Norman Foster), and the Institut du Monde Arabe (Jean

Nouvel), the split mullion is a means to prevent the movement created

by the expansion and contraction that materials undergo as changes in

temperature occur. As noted in Jean Nouvel’s Institute du Monde Arab,

another good reason to use this type of mullions is the added flexibility

they provide in the assembly process.4 At Soldier Field, where the curtain

wall curves continuously, this type of system was not only advantageous

but essential. The reason for this is because the assembly of the curtain

wall required the employment of a mullions system that could


1.26

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1.27 1.28

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Wood + Zapata


1.27 Roof section.

A Primary girder.

B Galvanized steel angle support.

C Edge beam.

D 1/2” dense glass substrate.

E 3” metal roof deck.

F Vapor barrier.

G 3” rigid insulation.

H Single ply TPO membrane.

I 5/8” cement board with metal stud support.

J Setting wood block.

K 1/8” thick aluminum coping, PVDF coated.

L Galvanized sheet metal closure.

M Cant strip.

N GL-5: 1/4” thick shadow box glass.

O Snap-on aluminum cap, PVDF coated.

P 3” thick semi-rigid insulation with galvanized

sheet metal back pan.

Q Painted sheet metal shadow box. This system

is used to add depth to the wall.

R GL-4: 1” thick insulated vision glass with frits.

S Aluminum trim, finish to match enclosure system.

T Hung gypsum panel ceiling.

U Spring isolation hangers.

1.28 Wall section.

A Primary girder.

B Edge beam.

C 6” concrete slab on 3” metal deck.

D 4” vinyl base.

E Cant strip.

F 5/8” gypsum board with metal stud support.

G Aluminum sill finish with back support,

H Vertical aluminum mullion, PVDF coated.

I GL-4: 1” thick insulated vision glass with frits.

J Snap-on aluminum cap, PVDF coated.

K Steel shelf angle. Continuous structural support.

L Vertical structural steel support.

M 3” thick semi-rigid insulation with galvanized

sheet metal back pan.

N Aluminum panel, PVDF coated.

O Galvanized steel angle support.

P Steel bracket attached to edge of slab.

Q Custom extruded aluminum louvers with insulated

sheet metal blank off between ducts, PVDF coated.

R GL-3: 1 1/4” thick laminated-insulated glass with frit.

S Aluminum trim, finish to match enclosure system.

T Vertical sag rod.

U Wood ceiling planks supported by 16” stud framing.

be adjusted, or tilted, to account for the curvature of the wall. In addition

to this system, Zapata also employs expansion joints at intermittent inter-

vals with the mullions. Expansion joints act to prevent thermal movement

in the same manner that split mullions do. At Soldier Field, given the

mass quantities of concrete employed, this type of system was essential to

the safety and overall success of the project.

INSULATION

The inappropriate insulation of surfaces in one of the harshest criticisms

lashed against the modernist. Some, like Frank Lloyd Wright, ardently

believed that it was not necessary to insulate walls or floors at all. Ac-

cording to Wright, only roofs and the building’s edge (at grade) required

insulation.5 Rudolph Schindler, having worked for some time at Wright’s

office, carried on with these mystical practices.6 A crowd favorite

amongst architects, Le Corbusier, also contributed his part to the damage.

According to Ford, the Swiss-born architect had no concern, or perhaps no

interest, for the implications of environmental impact upon architecture.7

Last, but not least, we could not talk about bad detailers without mention-

ing Eero Saarinen. This ‘talented’ architect further cemented the public’s

distaste for modernism by making an enfilade of poorly insulated steel

buildings throughout America.8 Carlos Zapata breaks away from these ex-

amples by providing for the proper insulation of surfaces in line with the

conventions of current practice. In particular, the insulated glass system

employed at Soldier Field deserves further consideration. Zapata uses

three types of glass for the curtain wall. In accordance with his emphasis

on design specifics, each of these serves a specific purpose. The roof sec-

tion on 1.27 illustrates how two of these are applied. GL-5 is a single pane

glass of 1/4” thickness. Its application is similar to that of spandrel glass

on conventional office buildings. The only difference here is that it also

acts, in conjunction with the recessed aluminum shadow box behind it, as

a means to activate the wall by giving it an added sense of depth. Below

the shadow box glass is the GL-4. This is a 1” thick insulated vision glass

with ceramic frits. This type of glass is very convenient to use in applica-

tions where the reduction of sun glare is of particular importance. Last

but not least is the GL-3. This is a 1 1/4”

thick laminated-insulated glass with ceramic frits used particularly for cur-

tain wall applications. The only difference between the GL-3 and the GL-

4is that the GL-3 comes with a thicker glass pane that has been laminated

in order to protect against impacts and to account for the added angle of

incidence the sun creates at ground level.

1.29

1.30

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1.29 Alternate roof section.

A 1/2” dense glass substrate.

B 3” rigid insulation.

C Single ply TPO membrane.

D 5/8” cement board with metal stud support.

E 1/8” thick aluminum coping, PVDF coated.

F Setting wood block.

G Insulated aluminum panel system, PVDF coated.

H Galvanized sheet metal closure.

I 3” metal roof deck.

J Galvanized steel angle support.

K 4” X 4” galvanized steel tube.

L Panel clip and fastener.

M Primary girder.

N Edge beam.

1.30 Alternate wall section.

A 6” concrete slab on 3” metal deck.

B 4” vinyl base.

C Cant strip.

D 5/8” gypsum board with metal stud support.

E Aluminum sill finish with back upport, PVDF coated.

F GL-4: 1” thick insulated vision glass with frits.

G Snap-on aluminum cap, PVDF coated.

H Galvanized steel angle support.

I Steel bracket attached to edge of slab.

J Insulated aluminum panel system, PVDF coated.

K Primary girder.

L Edge beam.

ALTERNATE WALL SYSTEM

The alternate details I propose are a modification of Zapata’s details at

the Soldier Field curtain wall. In my analysis of his details, three themes

stand out with consistency: light, form and materials. Light is the source

of inspiration, form is the means to introduce light, and materials cor-

respond through performance and expression. In the alternate sections

(1.29 and 1.30), I substituted Zapata’s glazed curtain wall system with a

perforated aluminum panel system (also known as a rain screen). Light is

addressed by replacing the stadium’s floor-to-ceiling glazed wall with an

insulated/fritted window encased in an aluminum frame. The triangular

mullion caps in Zapata’s wall system have been substituted with flat alu-

minum caps. In Zapata’s wall, these caps contributed by giving volume

and adding texture to an otherwise homogenic surface. In this version,

however, since the aluminum panels are already providing the needed

texture, the inclusion of triangular protrusions is of little assistance. Form

remains loyal to Zapata’s version. Zapata’s diagonals are not unsound.

They are formal responses to contextual and programmatic needs. In

here, as in Soldier Field, the intent behind the diagonal tilt of the wall is

to maximize the amount of light that enters the interior spaces. Finally, I

believe that the introduction of a textured, pressure-differentiating, anti-

corrosive system such as the aluminum rain screen would be very much

in keeping with Zapata’s criteria for material selection.

FIRE PROTECTION AND MATERIAL DETERIORATION

At Soldier Field the argument of whether to use a monolithic or a layered

system of construction did not exist. Due to the fire hazard it represents,

building codes in the United States do not allow the use of exposed steel

in buildings that are taller than three stories.9 During the 50’ and 60’s,

both, Mies and Saarinen built a large number of monolithic exposed steel

buildings in America. These buildings, in addition to posing a fire threat,

required a lot of maintenance and performed very poorly in aspects of

thermal efficiency.10 Zapata, by contrast, confronts these issues head on

at Soldier Field. To prevent fire hazards, all structural steel has been

insulated: spray-on foam insulation has been used for the beams and steel

deck and gypsum boards have been used for the columns. This practice

also eliminates the thermal bridges that are created when steel is left ex-

posed. As an additional precaution, safing, a fire and smoke retardant, has

been inserted into the gaps between slab and curtain wall. Aluminum is

one of Zapata’s favorite materials to use. As we can see from the sections

on 1.27 and 1.28, he employs it heavily throughout the entire


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Wood + Zapata


1.31 Section at Promenade/Concourse level.

A Vertical sag rod.

B Vertical aluminum mullion, PVDF coated.

C GL-3: 1 1/4” thick laminated-insulated glass with frit.

D Horizontal aluminum mullion, PVDF coated.

E Snap-on aluminum cap, PVDF coated.

F Fin tube radiation, coated to match curtain wall.

G Expansion joint.

H Aluminum sill starter coping, PVDF coated, continuous at

curb.

I New concrete slab with 5” higher ADA detection curb.

J Secondary steel concourse framing.

K Primary girder.

L Steel column.

1.32 Section at Promenade/Concourse level.

A New concrete slab with 5” higher ADA detection curb.

B Snap-on aluminum cap, PVDF coated.

C GL-3: 1 1/4” thick laminated-insulated glass with frit.

D Aluminum sill starter coping, PVDF coated, continuous at

curb.

E Expansion joint.

H Fin tube radiation, coated to match curtain wall.

G Primary girder.

H Secondary steel concourse framing.

I Cross beam.

J Steel column.

K Slide connection for expansion joint.

1.33 Interior at Concourse level.

1.34 Detail of curtain wall structural support.

A Steel column.

B Vertical sag rod.

C Galvanized steel angle support.

D Snap-on aluminum cap, PVDF coated.

curtain wall; the mullions and their caps, the ‘shadow box’ panels,

the trim, the sill, the parapet’s coping, the expansion joint coping, and

even the diffuser are all made of aluminum. It is important to note that

all of these examples have been PVDF coated to prevent their corro-

sion. The advantages that aluminum has over exposed steel are many.

It can be extruded in a variety of shapes, it can be easily insulated, it

can be painted to match any finish and it can, as formerly mentioned,

also be left exposed to the elements.11 With all these considerations in

mind, it is easy to see why Zapata likes it so much.

VENTILATION

In a building the size of Soldier Field, issues of ventilation are of

great concern. It is imperative that this type of buildings is allowed

to ‘breathe’ and distribute air properly in order to prevent condensa-

tion and moisture buildup in its surfaces. At the curtain wall, Zapata

addresses these concerns in two ways: through the use of louvers

and diffusers. The introduction of natural ventilation through the

employment of aluminum louvers allows the building to minimize the

moisture content and the mildew build up that can occur when sur-

faces are not provided with a means from which to ‘breathe’ property.

The choice of aluminum, as previously outlined, is a very sound one

when you take into consideration the fact that these components will

have constant exposure to the elements. In 1.28 we can witness the

manner in which this system is supported through the employment of

a vertical structural member. At the base of the curtain wall, Zapata

prevents the buildup of condensation and heat loss through the use

of a fin tube radiator. This type of ventilation system is a form of

radiant heater/cooler that essentially operates by forcing the flow of

hot/cold water through a copper pipe and allowing it to radiate over

to the desired spaces/surfaces. Frank Lloyd Wright pioneered its use

very early on and influenced others such as Richard Neutra to follow

in the same footsteps.12 More recently, the High Tech architects have

adopted similar systems for inclusion in their curtain wall applications. 13 Among some of the seminal buildings of the twentieth century

that include some variation of this systems are Frank Lloyd Wright’s

Imperial Hotel 1922, Eero Saarinen’s TWA Terminal at JFK, Richard

Roger’s Lloyd’s of London and Norman Foster’s Hong Kong and

Shanghai building.


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MATERIAL SELECTION

Throughout the 20th century, architects and artists have been preoccupied

with the search for the appropriate means to express motion. The Futur-

ist and the Russian Constructivist were not so much concerned with the

mechanics of the objects they studied as much as they fascinated with

their surface appearance.14 Similarly, Le Corbusier, in his study of the

machinery of the new age, only did so at surface value. Perhaps it was

not until Eero Saarinen’s office conducted its research of industrial objects

that the real value of these objects came to be applied in architecture. In

spite of his shortcomings elsewhere as an architect, it is in this area where

Saarinen redeems himself as a true innovator. Saarinen’s adaptation of

industrial components such as gaskets and Cor-ten, taken from the auto-

mobile and rail industries respectively, set a precedent for future material

exploration.15 The British architect Norman Foster followed suit by con-

ducting substantial research into the aircraft industry. From these studies,

principles such as the ‘tolerance’ of materials (and craftsmanship) have

been adapted into the design of his buildings. However, Foster does not

deny that his appeal for aerodynamic design is both, intellectual and aes-

thetic. Neither does designer Carlos Zapata. As an architect fascinated

with motion in architecture, he has also sought to find the appropriate

means of expression. Just like Foster, he looks to find materials that can

marry aesthetics and functionality. A good case sample can be found in

his employment of tubular steel. The drawings on 1.35 and 1.36 illustrate

the application of tubular steel at the Soldier Field ‘light band.’ As we

can see from these drawings, the material is employed for more than just

one use: it is employed for the members of the truss, the handrails of the

catwalk, and as the supports for the field lights. Its appeal to Zapata is

understandable. The curvilinear nature of the material is very much in

keeping with his will to streamline. In addition, as Frampton has noted,

the form provides ‘greater strength with economy,’ since it ‘concentrates

the cross sectional area away from the center of gravity.’16 In short, it

marries strength and beauty, which, as noted before, is exactly the type of

all-inclusive quality that Zapata looks for in materials.

ENCLOSURE AND SUPPORT

It is amazing to see the multiplicity of applications that light gauge steel

is used for in layered architecture. Prior to interning at Wood + Zapata, I

imagined that a lot of these structural elements were custom made works

of art. I now realize that nothing could be further from the truth.



Wood + Zapata


1.35 Section at grandstand.

A Lightband and support truss.

B Corrugated stainless steel panel enclosure.

C Stainless steel interlock grating plank.

D Galvanized steel handrails.

E Bench seating.

F Precast concrete.

G Secondary open-web truss framing.

H Built-up girder.

1.36

1.37

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In actuality, in steel construction, just about anything that needs to be

braced or supported is done with nothing more than steel studs, plates,

and angles. At Soldier Field we see light gauge employed just about

anywhere: at the knee wall, supporting the mullions, bracing the ceilings,

and even used to make the formwork of sculptural elements such as the

curved rim at the top of the cantilevered bleachers. In the section on 1.37

we can truthfully attest for the versatility of light gauge steel. Essen-

tially, the rim’s formwork is composed entirely of light gauge construc-

tion. Initially, studs extend from the uppermost trusses (whose job at this

point is to brace the steel tubular arms) and connect unto a curved light

gauge member that has been extruded to take the shape of the rim. Steel

channels, in turn brace these curved members and, in conjunction, all of

these provide the necessary support for the corrugated steel envelope to

anchor on to. On the bleacher side, the same method it is employed once

again. The only difference on this side is that only straight members are

applied to create the sidding’s support. Here again, as in the curtain wall,

we see how Zapata employs different materials at the point where forms

shift on to another direction. In the same manner that aluminum channels

provide a transition for the glass at the curtain walls, corrugated steel is

hereby employed to provide the transition from the grating planks on to

the tubular steel arms. The decision to employ corrugated steel at these

transitional points, it must be added, is not one solely based upon aesthet-

ics, but also upon the appropriateness of the material’s inherent qualities.

Buckminster Fuller was one of the first to pioneer the use of this material

in his Dymaxion Deployment Units (D.D.U).17 The material’s supple-

mentary strength (created by the ridges), and its ease of fabrication were

the ideal qualities Fuller sought for in a material well suited for housing

mass production. In addition to these qualities, the gauge thinness of

corrugated steel lends itself for ease of formal manipulation. More so, at

least in the economic sense, than it would be to do with other materials

such as glass or masonry.

CONCLUSIONS

The architecture of Carlos Zapata is redeeming the name of Modern-

ism through a critical re-evaluation of its values. This mission has to be

thorough in conception in order to acquire true significane. As we have

witnessed from an analysis of his work, he does not dissapoint. On the

contrary, he appears to be doing a pretty good job so far.



Wood + Zapata


1.36 Section at lightband.

A Perforated steel tubular arm.

B Tubular steel truss.

C Field light, spaced continuously 24” o.c.

D Transformer.

E Steel catwalk grating.

F Handrail.

1.37 Section at enclosure.

A Perforated steel tubular arm.

B Corrugated stainless steel panel enclosure.

C Open-web truss.

D Light-gauge steel framing.

E Steel channel.

F Stainless steel interlock grating plank.

1 Castellano, Aldo. “The Restlessness of Architecture.” Carlos Zapata. The Restlessness of Architecture.

(Milan: l’Arca Edizioni, 1996), p.26.

2 Ibid. p.12.

3 Giovannini, Joseph. “Wood + Zapata: Soldier Field.” Architectural Record. May 2004, p.120.

4 Ford, Edward R. The Details of Modern Architecture, Volume 2:1928-1988. Cambridge: The MIT Press, 1996, p. 397.

5 Ford, Edward R. The Details of Modern Architecture, Volume 1. Cambridge: The MIT Press, 1989, p.337.

6 Ibid. p.293.

7 Ibid. p.247.


9 Allen, Edward. Fundamentals of Building Construction: Materials and Methods, 3rd edition. New York,

John Wiley & Sons, 1999. p.389.


11 Allen, Edward. Fundamentals of Building Construction: Materials and Methods, 3rd edition. New York,

John Wiley & Sons, 1999. p.718.

12 Ford, Edward R. The Details of Modern Architecture, Volume 1. Cambridge: The MIT Press, 1989, p.247.


14 Ibid. p. 16.

15 Ibid. p. 271.

16 Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century

Architecture, ed. John Cava. Cambridge: The MIT Press, 1995, p. 211

17 Ford, Edward R. The Details of Modern Architecture, Volume 2:1928-1988. Cambridge: The MIT Press, 1996, p. 387-.

Bibliography

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The Details of Modern Architecture: Carlos Zapata

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