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<a1nming Instructor (ARCH 4395)

Design Critic (ARCH 4631):
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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 ronmental 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 sensory percept ion and
d i seernment. Ob V ious1y, a buiId ing cannot be tailored
to mee t such specific demands imp Ii ed through 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 n.
o The neg at i ve aspects of c ol le g i a t e
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 w e 1 I
as coaches and participan ts. Th ese and re 1 ated mora 1
issues w i1 I not be addresse d in this res earch
speci f ica1 Iy. Thi s d i scussion w i I 1 attempt 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 1ut 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 1at i ve equi 1i br i um.
But the recent trend to ward do m i nance by
techno 1o gy signa I s a fundamenta 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 n a t u r e of the game
and the role of the participant in that game. Whether
or not his concerns are those of every participant is
uncertain. N e v e r t h e l e s s , his views are not to be taken
1ightly.

Yes, the game is becoming more show and theatrics and

the a r c h i t e c t u r e is reflecting such. What follows is
an a r c h i t e c t ' s view on sport and a r c h i t e c t u r e .

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 activity, 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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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
adding
diuuing players
piayers within
wi^nin these
tnese parameters
par^me >-wi a creates
"-ic^tos) a
a
fluidity within the rigid boundaries. The players add
the third dimension to the plane of the playing
surface.
. * Ba11s
B_ii_ in
.• _ 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 u n r e a s o n a b l e 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 b a s k e t b a l l , volleyball, tennis, and limited
use by track and football.
 T | ~ — — > • • . . - • - ••
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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 a d j a c e n c y

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 w h i l e
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 s u p e r v i s i o n
and separation of mov ement; and providing for future
building expansion.'

On the interior of the building the c i r c u l a t i o n spaces

must be of ample width and allow safe p a s s a g e even in
emergency situations. Poor circulation can have
adverse effects on both comfort and sense of personal
space.

Corridors which are continuous and straight, p r o v i d i n g

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 q u a l i t i e s of safety
and security, providing a commanding view of the
doorway from the corridor and of the corridor from the
entrance door. Avoid angular c o r r i d o r s , and e l i m i n a t e
niches or cubbyholes.*

Consider the building's functions in relation to its

normal patterns of use. Circulation can help
management. Avoid long c o r r i d o r s and blind areas. It
is desirable for public to pass by refreshment areas.*

Circulation can be enhanced and sometimes controlled by

encouraging favorable, e n j o y a b l e routes.

Are there problems of vertical movement? i.e. for the

disabled, storage, service.

How wilI the handicapped be served?

Toilets, refreshments?
 23

c l i m a t e 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 c o n s t a n t l y

changing. College students graduate only to be
replaced by others. T h e only thing that remains
constant is the age range of the s t u d e n t s . Conversely,
the demographic composure of the city s u r r o u n d i n g the
college is relatively constant. Both groups a r e
important for the support of athletic e v e n t s .

Are there any symbols that for the e v e r - c h a n g i n g

population of the college campus? How does this relate
the city base of people to the c h a n g i n g 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 d e v e l o p i n g
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 c o l l e g e campus be a

stimulus for creativity and e m o t i o n s ?

entry/exit
Admission gates should be located near the parking lots
and other main approaches to the s t r u c t u r e . T h e number
and size will depend on projected and potential
attendance. Exits should permit the crowd to vacate
the enclosure within 10 m i n u t e s . T w e n t y - t w o inches of
linear exit space should be permitted for each 5 0 0
spectators or as specified by local code. At least o n e
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 p r o v i d e
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 b r i g h t n e s s and

give off considerable heat (not good for high levels of
i I Iuminat i o n ) .

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 e x p e n s i v e in terms of
initial installation, but the overall cost is cheaper
than incandescent. The primary o b j e c t i o n is that
mercury-vapor give off a bluish color. However, when
combined with proper incandescent light m e r c u r y - v a p o r
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 a i r - c o n d i t i o n i n g costs can
be cut up to one-half and lighting costs up to one-
Is
third

The lighting of sports halls is one of the most

important factors in their design. The d e c i s i o n 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 r e q u i r e m e n t s is

uniformity of illuminance. Playing areas should be as
free as possible from areas of high and low i l l u m i n a n c e
which give the interior a 'peaky' a p p e a r a n c e .

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 t r o u b l e s o m e 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 p l a y / p e r f o r m a n c e .

» CEILING - Consider acoustic absorbency. Consider

color - reasonable contrast against the b a l l .

» FLOORS - Consider different types of floor a v a i l a b l e

for purpose and level of p e r f o r m a n c e . C o n s i d e r color.
Consider markings - temporary or p e r m a n e n t . 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 a r e n a . "

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':

s i t e 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

c l i m a t i c 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 ^ H o

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
throughout the are a • temperatures of zero or below
 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
i n t r o d u c t i o n 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

<Ml(.i.ii_ !|T»»» UOC: .•2!'i,'"Sv Axcai.ii • / n i l j ) l » i

Bilk !r--nrt
49
50

t h e campus
Angelo State is located on 268-acre tract of land which
supports its $110 million physical plant. The campus
is relatively new, beginning its strong expansion in
the late 1960's\and early 1970's. The buildings are
focussed linearly about a central circulation core
which runs the length of the campus. All the buildings
are strongly "boxey" in nature and are composed of tan
brick with white accenting details. No major focus
exists on the campus, save the circulation core. The
east end of the campus is anchored by two 10-story
dormitories, while the west end terminates with the
Student University Center, a misnomer at best.
51
52

t h e community
San Angelo is an attractive and progressive city of
approximately 80,000 people located in the heart of
West Texas ranch country. The city and the surrounding
area provide a readily accessible social and physical
environment for cultural and recreational activities,
essential to the University community.

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 kemper
studyarena
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 ereate 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
t o k y o 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
e x e t e r 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 ibi1i 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 I D 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 s t e e l s t r u c t u r a l framework

85
86
OMPLEX, Milford,
m. , ,

study
mi 1 f o r d j a i a l a i
s p o r t s 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 tw o entrances is the "galleria". This
grand space is t he 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^

Piigure 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, a v o i d i n g 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 i a l s
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.)

L 0 N 6 I T U D I N A L 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' t i 12* WIDE
,(TOP a BOTTOMI BOTTOM CHORD OF TRUSS
, ^1f. . . % % . N V s V S - ^ . - J 1

3-I»MFL(.

;*T^'T^^•^-•T-^-T"'^•^x•

TYPREINF BAR TO C. WELDS

3-«llF.L 11
M*' fc STIFTR
C i- "' - '• ley ^^''• . • ^——J-- j/« nurr

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
( s e e F i g u r e s 8-1 and 8-2.)

:r.t L T::::i
"• ,..».••''••>

PLAZA LEVEL-
LEVEL THREE

LEVEL ONE N -• I >

LEV EL TWO

£ii ure 8-1 - Floor plans

h
100
«r
?^- •'^ -^^.*.Z-^'^.,^//^J

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 ? % h r h ' M S ' ' ''''°"^ '° ^"^ 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
• - i B O n O M CHORD
-m^

'^l
,1 l^^UPPER CHORD ;

" PART PLAN BOTTOM CHOflO

-joi^OMJ

TRUSS PLAN

FORCE DIAGRAM

Figure 8-6 - Structural diagra ms

 105

- O6N0T' -
CUMTV

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. f t . ) ;
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.

Figure 9-6 Interior view of the m ain arena showing

structural trusses/skylight
112

mater i a l s
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.)

•!^m!^^fm

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 l i p 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
P a r / o ? ' t h i ° % ^ 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 a r e a ,
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 a c k - stay ed to
ground anchors. Th e masts i n jointe
are p d 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 ixed 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 f o o t b a l 1 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 petal 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 1s
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

d a r l i n g harbour
e x h i b i t i o n 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 p r e s e n c e . He is
sympathetic to the needs of the e x h i b i t i o n space.

see organization

organization
The buiIding is d i V ided into z o n e s . By d i Viding the
plan longitu dinally into th ree zones , the exhib i tors
are convenien 11y 1ocated a 1o ng the we stern w a l l , near
to the de I ivery zone, whi le the ex tens i ve g1 a s s -
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, a w n i n g s , stairs , ba1ust rades, fIagpo1es
and so on is provided at m e z 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 c h o i c e s , able
to overview the environment before making a decision
about his amount of involvement. T h e 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 h a l l s . The f l a m b o y a n t ,
exposed, mast and cable system selected p r o v i d e s 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
t s u k u b a m u n i c i p a l 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
- ^ -

• t

•;k....

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 1axation 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/

...

rtf p»»i« >«iwyjtu>jWJIgU.>WBfPH;pil!

^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

^ T l CZ3 r— I-=•]

4
r.
Figures
-•••••
11-5 and
E
11-6 - P ian,
rHi—rv
s e c t i on
I ' I—»—r
 135

Figure 11-7 - South facade

136

F i gure West facade

137
36 e x p r e s s i o n 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
? W L J ^''^i''^^ "'°"^'^ ^°'^ ^ mundane space can be
natural li^ht J H ' ' ' " -genuity. By introducing
shun t L H \ ^ ^ restroom areas, the restrooms can
I f ^ o i n ^ 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 1dr 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 c i r c u l a t i o n co r r ido r s . 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 I d not be
antic1imactic. The brightness of the car p e t - like g r ass
is given a formal, rigid order by the str i p e s . The
stripes, goal posts, and end zones a re d i rect iona 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 a d d i t i o n , 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 a c c o m o d a t i o n s 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

c o n c l u s 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 b e t w e e n the

stadium and the arena and between the sports complex
and the campus. (Refer to p l a n s . ) In m a i n t a i n i n g the
idea of the open field extending into the c a m p u s , grass
is allowed to grow between the concrete b l o c k s . In
addition, glass pavers are incorporated to allow light
to reach the spaces below.

The so ale o f the buiId i ng IS obv 1 ous ly d omi n ant. To

relate the inner nature of the sea ting se ct i ons I
brough t the wa 1 1 ssepara ting the sea ting sec t i ons to
the g round pIane. Thes e be came s tructur al , prov iding
suppor t f or each sec t ion Th e s true ture is
supp 1 emente 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 cables
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 ive 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 used i s in
marked con trast to the au ster i ty of the cone r e t e,
fur the r en banc i ng the ghtne of
bri ss 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 b e g i n s to r educe

the scale of the complex to one o f more manag eab 1 e
scale to the spectator. This wall c o n t a i n s 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 m e m b e r s ) , still sma1 Ier in s c a l e ,
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 o p p o r t u n i t y to
engage in the sam e visual and tactile stimuli as the
other spectators, Upon entering the main c o n c o u r s e the
spectator is prov ided the opportunity to v e n t u r e 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 n o n - t h r e a t e n i n g 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 t i m e s , 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 reeogni 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 s p a c e s , no t address ing the ind i vidua 1i ty of
the spect ator. By b reak ing up the concess ion areas
into three p a r t s , ther e is, in essence , 12 COncess 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 stands 30 fe et in he ight
alio wing it to be eas i1y recogn i zed f rom a g r eat
dist a n c e , rea di1y se en above the hea ds whi 1 e waIkin g in
a or owd o f peop 1 e. Thi s waI 1 i s an ident i f ier wi th a
par t i cu 1 a r s eat ing sect i on, CO 1 or coded to mate h a
par t i cu I ar seat 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 ignify a nd physic ally su ppor t ramps i eading
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 c o n c o u r s e 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 as the
result of one wa I 1 dying i nto th e g roun d and
resur facin g t o w 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 ion 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 imeter . The
per imeter wal I und u I ates as a scu Iptu ral form
representa t i ve of the cha racter o f the V er t ica 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 toconnect 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
b e f o r e 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 1so encou ntered by the

restrooms and cone ess ions , becomi ng fami 1 iar with their
1ocat i ons Th is b eing a c i reu1ar bui1d ing I wished to
preserve the natu re o f ea ch sid e of th e bui1d ing to
avoid the con f us i on o f ten assoc iated w i th a bui1 ding
with no shar p ed ges or corner s. In response, the
rest rooms are ci rcu 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 level . St airs occur at
mu1t i pIe po int s t o a I 1 ow entry and exit for those on
the upper cone ours e I eve 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 I B C ^ ^ W W W

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.
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