The firm had never designed a high-rise before. So while their typical approach would be to analyze program, here they were heavily informed by the views – both in and out from the site – as you move up the tower.
The 88 storey tower transitions between two footprints. The base matches the street grid of the city, but as you move up the tower it transforms into a cloverleaf – allowing panoramic views of the city.
It is a somewhat similar approach to what has been proposed by Studio Gang for One Delisle. Except for the transformation here is to a multifaceted cylindrical shape (a
We then examined the correlation between hedge-fund volatility and office location in terms of number of stories above ground. We found that as the elevation of hedge-fund managers’ offices increased, they were more willing to take risks that resulted in more volatility. This was true even when statistically controlling for factors such as total assets, fund strategy and several other variables that could have led more resourceful hedge funds to occupy expensive offices that are often found on higher levels of buildings.
Does this mean taller cities are also more volatile cities? Assuming this is all true, it once again proves that we are maybe not the rational decision makers that many us probably think we are.
The firm had never designed a high-rise before. So while their typical approach would be to analyze program, here they were heavily informed by the views – both in and out from the site – as you move up the tower.
The 88 storey tower transitions between two footprints. The base matches the street grid of the city, but as you move up the tower it transforms into a cloverleaf – allowing panoramic views of the city.
It is a somewhat similar approach to what has been proposed by Studio Gang for One Delisle. Except for the transformation here is to a multifaceted cylindrical shape (a
We then examined the correlation between hedge-fund volatility and office location in terms of number of stories above ground. We found that as the elevation of hedge-fund managers’ offices increased, they were more willing to take risks that resulted in more volatility. This was true even when statistically controlling for factors such as total assets, fund strategy and several other variables that could have led more resourceful hedge funds to occupy expensive offices that are often found on higher levels of buildings.
Does this mean taller cities are also more volatile cities? Assuming this is all true, it once again proves that we are maybe not the rational decision makers that many us probably think we are.
Brandon Donnelly
Daily insights for city builders. Published since 2013 by Toronto-based real estate developer Brandon Donnelly.
Hong Kong is known for having mysterious holes in many of its tall buildings. The Repulse Bay Hotel (pictured above) is one example. Completed in 1986, its hole is 16m wide by 24m tall.
They started because of feng shui and more specifically because of "spirit dragons." Some believe that spirit dragons live in the mountains surrounding Hong Kong and that they like to descend each day in order to bathe in the water. Legend therefore has it that if you obstruct their path of travel, bad things could happen to you. These holes are where they fly.
The other reason for these tower holes is far less superstitious and entirely practical. Hong Kong has a kind of built form known as "wall-effect buildings." These are large buildings with large floor plates that create a kind of wall in the landscape. So to break up the massing and allow more natural light and air to flow through, holes are introduced.
So maybe it's because of spirit dragons or maybe it's to encourage more light and air. Either way, these tower holes have become part of the Hong Kong landscape.
Image: Hongkong and Shanghai Hotels
hexadecagon
is what has been drawn).
From the late 19th century when Chicago began to pioneer the modern skyscraper, architects and engineers have been thinking about how you treat a tall building as you move from top to bottom.
Chicago architect Louis Sullivan responded to this challenge with his tripartite approach to design. He believed that tall buildings should be characterized by three main divisions: a base (bottom), a shaft (middle), and a cap (top).
The technological innovation that allowed this thinking to flourish was the non-load-bearing curtain wall. Once the exterior walls of a tower no longer supported the actual building, architects then had the freedom to really experiment.
This remains true to this day, but we no longer need to confine ourselves to only three parts. New technologies now allow for more.
Today we have parametric modeling and other design tools that allow us to create new geometries and transitions; forms that would have been pretty complex to draw up in the past.
In the case of Fifteen Hudson Yards, every floor plate from 20 something and up is slightly different. I wonder what Louis would think of this.
Hong Kong is known for having mysterious holes in many of its tall buildings. The Repulse Bay Hotel (pictured above) is one example. Completed in 1986, its hole is 16m wide by 24m tall.
They started because of feng shui and more specifically because of "spirit dragons." Some believe that spirit dragons live in the mountains surrounding Hong Kong and that they like to descend each day in order to bathe in the water. Legend therefore has it that if you obstruct their path of travel, bad things could happen to you. These holes are where they fly.
The other reason for these tower holes is far less superstitious and entirely practical. Hong Kong has a kind of built form known as "wall-effect buildings." These are large buildings with large floor plates that create a kind of wall in the landscape. So to break up the massing and allow more natural light and air to flow through, holes are introduced.
So maybe it's because of spirit dragons or maybe it's to encourage more light and air. Either way, these tower holes have become part of the Hong Kong landscape.
Image: Hongkong and Shanghai Hotels
hexadecagon
is what has been drawn).
From the late 19th century when Chicago began to pioneer the modern skyscraper, architects and engineers have been thinking about how you treat a tall building as you move from top to bottom.
Chicago architect Louis Sullivan responded to this challenge with his tripartite approach to design. He believed that tall buildings should be characterized by three main divisions: a base (bottom), a shaft (middle), and a cap (top).
The technological innovation that allowed this thinking to flourish was the non-load-bearing curtain wall. Once the exterior walls of a tower no longer supported the actual building, architects then had the freedom to really experiment.
This remains true to this day, but we no longer need to confine ourselves to only three parts. New technologies now allow for more.
Today we have parametric modeling and other design tools that allow us to create new geometries and transitions; forms that would have been pretty complex to draw up in the past.
In the case of Fifteen Hudson Yards, every floor plate from 20 something and up is slightly different. I wonder what Louis would think of this.
