| Type | work | bureau |
|---|
| Year / years | 2017 | 1932 |
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| Place | Hamburg, Hamburg, Germany | Rome, Lazio, Italy |
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| Place context | Hamburg, Hamburg, Germany | Representative site: Turin, Turin, Italy |
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| Climate | 6°C · 14.5h daylight · 4 km/h wind | 13°C · 13.9h daylight · 13 km/h wind · via Torino Esposizioni |
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| Focus | Concert hall | 5 works in corpus |
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| Architects | - Jacques Herzog
- Pierre de Meuron
| |
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| Linked context | Bureaus | Notable works - Torino Esposizioni
- Cathedral of Saint Mary of the Assumption (San Francisco)
- Norfolk Scope
- Paul VI Audience Hall
|
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| Typologies | - concert hall
- adaptive reuse
- cultural building
| - building
- church
- sacred space
- cathedral
- education
- campus building
- performance venue
- landscape
|
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| Materials | | |
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| Carbon signals | Steel, Brick, and Glass look like the main embodied-carbon drivers in the current palette. | Concrete look like the main embodied-carbon drivers in the current palette. |
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| Lower-carbon levers | - Prioritize recycled content, efficient sections, and procurement-specific EPD comparisons.
- Review masonry extent, reuse opportunities, and alternate assemblies where the design language allows it.
- Compare system-level facade options, reduce overspecification, and pair glass choices with structural reductions.
| - Look for lower-clinker mixes, reused structure, and scope reductions before fine-grained product swaps.
|
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| Accessibility | Publicly accessible | 3 of 3 recorded works are publicly accessible |
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| Related books | No linked books yet. | No linked books yet. |
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