PERFORMATIVE DOUBLE LAYERED SYSTEMS : THE DEBIS TOWER BY RENZO PIANO

MARIO DARTISTA
PETER OH
YEHRE SUH
ANDREW VARELA
GSD 6204 BUILDING TECHNOLOGY
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The fall of the Berlin Wall has resulted in the reconstruction of the reunited
German capital. A frenzied mechanism of property development and relocation
has been set in motion, including the relocation of the government back to its
old seat.
The development of the Postdamer Platz has become the great symbol of the
unification of Berlin. Historically very significant, it was the social, cultural and
economic center during the 1920s and 30s. It was the wonder of Europe. The
destruction from World War II and the political arrangements of the Cold War
transformed the site into a deserted strip dividing East and West Berlin.
In addition to the new complex of buildings, the site also comprises the great
complex of the Kulturforum, made up of the National Gallery, the Berlin
Philharmonie, and the State Library.
Pianos master plan for the Potsdamer Platz held to the Hilmer & Sattler
scheme established a year earlier. The plan conformed to Berlins traditional
pattern of city blocks. The underlying philosophy was to bring the historic
buildings and streets of Berlin back to life. It also sought to reinterpret the old
models and to establish a bridge with the past.
The Workshop generated a series of guidelines that were made into regulations
which governed the design of the whole site. These included alignments, widths
of streets, hierarchy, construction heights and sizes as well as formal obliga-
tions and material palettes: terra-cotta and clear glass for the facades, with
copper for the roofs.
The desired variety would be generated out of the individual interpretation each
architect would give to their respective commissions. The architects included
Arata Isozaki, Hans Kolhoff, Lauber & Wohr, Rafael Moneo, Richard Rogers,
and Renzo Piano.
MASTER PLAN FOR THE POSTDAMER PLATZ
POSTDAMER PLATZ
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The Debis Tower by the Renzo Piano Workshop is situated at the corner
site, acting as a gateway into the newly developed complex. The Debis
Tower, houses the offices of the Debis company, Daimler-Benzs (now
Daimler-Chryslers) real estate division. The building asserts the identity
of the site by its height, as well as by its characteristic appearance of
terra-cotta and non-reflecting glass.
Based on the traditional typology of the New York skyscraper, the
building is formed by a base and a tower. The building was conceived
as two thin bars bordering an internal street. Refusing to design a
commercial center along the lines of an American shopping mall, Piano
was able to persuade the client to build a covered shopping street. This
typology was related to the large galleries that existed in the 19th
century, such as the Galleria in Milan.
PLANS OF THE DEBIS TOWER
DEBIS TOWER
DEBIS TOWER
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Half of all the energy in the world is used to heat, light, cool, and
ventilate buildings. As a consequence, buildings are the main
culprits in the production of carbon dioxide, which produces the
greenhouse gases that are changing the worlds climate. As a
result of this, new policies, such as new building codes, are
being implemented so that the sustainability of our planet is not
undermined. In this context, there has been a proliferation of
sytems and technologies designed by architects and engineers
to reduce the amount of energy consumption of buildings. This
new trend is a response primarily to the need for a sutainable
environment. It is also economically prudent and practical. The
cost of a degraded environment and a damaged ecosystem is
estimated to be much higher.
Piano has always been at the forefront of architectural innovation.
This is partly due to his collaborative approach, which stresses
teamwork between the various design parties, as can be seen in
the especially substantive relationship between Piano and the
engineering firm of Ove Arup. In the Debis Tower, Piano has
created an urbanistically sophisticated, environmetally progres-
sive, and technologically advanced workplace. This is achieved
through the design of performative double layered systems:
glazed/terra-cotta, glazed/glazed, and terra-cotta/terra-cotta.
Each system is designed according to various factors, such as
its location and its position relative to the sun, its assembly and
its maintenance. These performative double layered systems
together with the way they are assembled and maintained form
an energy-efficient, low pollution building. As a result, it trans-
THESIS
forms the office-building type and has [captured] the long lost
romance of the skyscraper.
In this sense, the building is designed to make the most out of
daylight and reduces heating and cooling by means of shallow
floor plates as well as a sophisticated curtain wall. The curtain
wall is formed by a system of double skin facades that contain
a layer of tempered air so that when office windows are
opened, air at extreme temperatures cannot be drawn in.
Chilled ceilings are provided in areas of unusual heat produc-
tion. The use of high thermal insulation produces a building
that is expected to run on 70kWh/m2, reducing primary energy
consumption by 50 per cent when compared to normally air-
conditioned buildings.
Other environmentally driven decisions include the use of
rainwater to irrigate landscaping and to flush lavatories, saving
20,000 cubic meters of water per year. Another innovation is
the use of construction materials which minimize pollution,
such as the bio-degradable plant oil required for the lubrication
of all shuttering.
Based on the system used in the Cite International
in Lyons (another Piano project), the added layer
consists of a glass membrane with pivoting shut-
ters placed 27 inches in front of a simple facade
skin. Fabricated by the German manufacturer Gotz,
the outer glass panels pivot up to 70 degress. The
membrane has the ability to be fully closed in the
winter to help heat the interior. At the same time, it
ensures better sound proofing. During the sum-
mer, the electrically operated louvers can be opened
to allow for cooling. At night it can evacuate the hot
air accumulated in the building.
Occupants are protected from glare by external
blinds, which can be operated from the inside.
The maintenance catwalks set between the glass
layers act as a sunshading device and are topped
with laminated safety glass to stop the spread of
fire and smoke in the event of an emergency.
Climatic Double Skin
like an extra coat
PIVOTING SHUTTERS OF THE DOUBLE SKIN
PLAN DETAIL AT SPANDREL
laminated glass
maintenance grating
pivot motor
external blind
operable window
tilt mechanism
laminated glass blades
SECTION THROUGH CURTAIN WALL
CITE INTERNATIONAL IN LYON
heat-strengthened glass
maintenance grating
track for
maintenance cradle
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The lower parts of the building and the parts most
exposed to the sun are clad in the terra-cotta/
terra-cotta system. Following the logic of the
double skin system, the outer terra-cotta is an
added layer which insulates and waterproofs the
inner terra-cotta wall. The outer wall also
provides shading from the sun
As is typical for the Piano Workshop, much
energy was employed in the design of the terra-
cotta module. The terra-cotta is a mix of care-
fully selected clays which yields higher density
and greater strength when compared to tradi-
tional clay material. This makes glazing of the
terra-cotta unnecessary.
Intended to provide functional flexibility, the terra-
cotta can be assembled in several modes: single
or double skin, solid, or open work. This allows
the solidity of the wall to be calibrated according
to the opacity desired while at the same time
providing an overall unity to the building.
TERRA-COTTA
baguettes
terra-cotta panel
external blind
operable window
terra-cotta rod
SECTION THROUGH TERRA-COTTA WALL
CITE INTERNATIONAL IN LYON
SECTION THROUGH TERRA-COTTA WALL
horizontal
terra-cotta rod
terra-cotta fitting
terra-cotta mullion
operable window
terra-cotta mullion
PLAN DETAIL
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The interior facade which faces the atrium and
the interior street also follows the layered
approach. A double glazed system is used, in
which a frame carrying screen-printed glass
blades is superimposed on the glazed panel of
the window. The blades are tilted and screen-
printed in white to insure privacy as well as to
deflect the sightlines of the occupants up-
wards. In addition, they intensify daylight in
the interior street.
Internal Facade
INTERIOR WALL SECTION
INTERIOR ATRIUM
glaze control curtain
smoke control curtain
fixed glass fins
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The surface of the roof has been designed as a
landscape. Following German law which requires
large greenery areas, the roof structure uses two
innovative systems for the different conditions within
the project:
Derived from the DeMenil Foundation in Houston, the
glazed part of the building is constituted by screen-
printed glass shutters which are hung obliquely under
the glazing. Such a system allows solar protection
as well as natural ventilation.
The terrace parts consist of a double roof which
enables all technical ducts to be hidden. The upper
parts act as a sort of false floor. Its steel trays are
covered with a thin layer of earth planted with a highly
resistant moss, which requires very little upkeeping.
This sytem is used as an insulation mechanism as
well as a water recycling system.
ROOF STRUCTURE
ROOF SECTION DE MENIL FOUNDATION
GLASS SHUTTERS ON ATRIUM ROOF
DETAIL SKETCH
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Much energy was devoted to the design of the
components of the building and their assembly. As
part of the overall Potsdamer Platz master plan, the
Workshop designed a prototype panel that can be
assembled in several models: single, double skin,
solid or openwork.
As is typical of the office, they worked in close
collaboration with other design fields for the develop-
ment of such prototypes. In the case of the terra-
cotta panel the Workshop collaborated with two
German building firms: Janinhoff-NBK and Wendker.
The panel was developed to meet tight specifications
such as the possibility of extrusion to considerable
lengths, uniformity of kiln-firing and drying to ensure
minimum assembly tolerance, and thermic quality.
The terra-cotta panels have two types of components:
1. moulded mullion pieces obtained by pressing,
which are modules 113 mm wide whose shape varies
slightly according to whether they are attached to the
bars.
2. the bars themselves, which are square in section
with 48 mm sides. They are extruded to a maximum
length of 1.35 m, and are fixed to the profile that
carries the plates by aluminum reinforcement set in
their hollow section. Each panel is factory-
assembled.
ASSEMBLY
PREFABRICATED
PANEL ELEMENTS
PANEL ASSEMBLY
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The glazing for the various facade systems also
required exacting procedures and development. It is
likely that the installation of the glazing panels was
very labor intensive. Prefabricated single bays were
made off-site and transported to the construction site.
In addition to normal building construction crews, the
operable panels required additional mechanical and
electrical labor in order to install the motorized
rotation units on site. This probably meant that sub-
contractors were brought into the construction
process to insure acceptable finish quality. Finally,
the installation of the electrically operated exterior
blinds also required delicate and specialized labor.
The overall cost for the assembly of the glazing
panels was probably costly.
ELEVATION MOCK-UP
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Since the glazing is a clear surface, the issue of accessability and
cleaning had to be addressed by Piano. In the roof of the atrium, the
double-layered facade has a cavity with maintenance platforms
which act as a sunshade and as surface deflectors.
The added costs of the mechanical equipment and the energy
necessary to operate and to maintain the various building systems
was considered. The louvers were considered to be a high mainte-
nance item, as well as the affiliated mechanized glazing panels. By
contrast, the terra-cotta was deemed to be easily maintainable, due
to the rigidity and impermeability of the high density clay used in its
manufacture. The moss-roof was deemed to require low mainte-
nance as well.
In the line of energy efficiency and economy of means the buildings
initial cost as well as the maintenance cost even out though they
seem to be large at first glance. The increased share of design and
construction was argued to be actually neglectable compared to the
overall cost of the building through its entire life cycle.
MAINTENANCE
Double glazed facade and glazed atrium
MAINTENANCE OF ATRIUM
CURTAIN WALL MAINTENANCE PLATFORM
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In the context of a German political and social atmosphere in
which energy conservation and environmentally non-harmful
buildings are encouraged and promoted, the Debis Tower follows
a lineage of recent buildings built in Germany, such as the
extension to the Reichstag in Berlin, RWE in Essen, and the
Commerzbank in Frankfurt. The Debis Tower is innovative and
provides enormous advantages in the areas of energy conserva-
tion, lighting, and building ventilation. This results in an environ-
ment which is extremely favorable for office workers since it
allows them to work in comfortable areas which can be con-
trolled individually according to heat, light, and humidity. This, in
turn, is beneficial for the company since it offers workers better
protection and promotes productivity.
However, the Debis Tower demands a high level of maintenance
and initial cost. The articulation of the different facade systems
is very delicate and although Piano designed them to be as
rugged and reliable as possible, it is feasible to think that the
building will require extensive maintenance and repair. This is
similar to the situation of an earlier Piano building, the Centre
Pompidou, which only after twenty-five years, required an
overhaul and reconstruction of all major building systems. The
cost is palatable because the building generates a high interna-
tional profile and has, indeed, become an icon of Paris. The
Debis company probably harbors similar hopes for their tower
and is willing to invest in the cost of the building.
CONCLUSION
The unique societal circumstances surrounding the Debis Tower
probably means that such environmentally-friendly buildings will
probably be feasible only in Europe for the forseeable future. In the
U.S., for example, such buildings would be very advantageous due to
the generally warmer and sunnier climate. A building such as the
Debis Tower would conserve a large amount of energy and create
glare-free work environments for workers. However, much of the U.S.
exists in high-humidity regions, and this would render the natural
ventilation systems almost useless, especially in the summer.
Historically, the prevalence of air-conditioning in the U.S. also would
be a major hindrance for the Debis Tower. Many companies and
potential clients would probably weigh the price of constructing such
a high-maintenance building such as the Debis Tower as being
simply too high and unjustifiable.
Such buildings can be built in the U.S.; in general, the cost of
building skyscrapers in the U.S. is much less than in Europe.
However, the specialized technology and knowledge of customized
curtain wall systems is heavily based in Europe, which means that
the cost of importing the required technology and labor would add too
much onto the overall cost of materials and construction.
BIBLIOGRAPHY
Architektur in Berlin: Jahrbuch / herausgegeben von der Architektenkammer Berlin. Hamburg:
Junis, 1998.

Arnaboldi, Mario Antonio, Cognitivo e Conoscitivo: Debis Haus, Berlin, Arca, n.136, April 1999,
pp. 4-11.

Fromoonot, Francoise, Piano: Berlin, Vertus du Compromis, Architecture daujourdhui, n.308,
December 1996, pp. 58-81.

Piano at Potsdamer Platz, Architectural Review, v.205, n.1223, January 1999, pp. 35-42.

Piano, Renzo, Renzo Piano Building Workshop: Debis Building Potsdamer Platz
Reconstruction, Berlin, Germany 1992," A+U: Architecture and Urbanism, v.329, n.2, February
1998, pp. 104-125.

Russell, James S., A Striking Presence on the Berlin Skyline, the Debis Tower, by the Renzo
Piano Building Workshop, Revises the Skyscraper, Architectural Record, v.186, n.10, October
1998, pp. 125-135.

Wefing, Heinrich. Der Neue Potsdamer Platz. Verlag Gmbh, Berlin, 1998.

Yeang, Ken. Designing with Nature: The Ecological Basis for Architectural Design. New York:
McGraw-Hill, 1995, p. 130-136.