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cultural buildings project report
SFMOMA viewed from Yerba Buena Gardens; photo © Henrik Kam, courtesy SFMOMA
the two therefore had to be maintained to prevent damage to one another during a quake – wide enough to allow horizontal movement of 1 per cent of the building’s height above the ground. Specialist joint covers were installed where the buildings
connect to enable continuity of floor and wall surfaces. For example, special interior floor panels are designed to kick up during an earthquake, like a hinge on a door, enabling the concrete slabs underneath to move closer together. The same panels fall down onto the slab edges when the buildings move apart. “It is very unusual to have a system like this installed in a
building as tall as ours,” says McNeal. “The Botta building is over 100 ft tall, the surface geometry has lots of ins and outs, and different massing, and we had to develop a system to cover all those different conditions. There are about 50 different types of connections between the two.” It’s another example of how the two buildings come
together but simultaneously maintain a distinct separation. It’s an architectural marriage for certain, but is it a match made in
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‘The combination of flat panels and transition panels made it possible to wrap the building with a seemingly continuous skin of fibre-reinforced polyester’
heaven or the equivalent a bad blind date? Mario Botta's last statement was that he would reserve judgement until he sees the new building in person. In some ways it is understandable that he would have
concerns, says McNeal: “The original was his first and only building in the US and it is not a particularly old building, so he was sensitive to any modifications. What should not be lost in the media chatter is that we were able to build an extension because of the success of the original building and not in spite of it. Some people look at an addition as a knock to the original, but I always saw it as the opposite,” he concludes.
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