The new skyscraper by Norman Foster, which spots a new landmark in Calgary, has opened this week. Its curved responds to climate and organisation issues, offering a new public plaza to the city.

Special events have been held in Calgary this week to mark the official opening of The Bow, a 237-metre-high headquarters tower – the city’s tallest building and Canada’s tallest tower outside Toronto. A bold new landmark on the skyline, the project is equally significant in urban, social and environmental terms: the public base of the tower is filled with shops, restaurants and cafes and extends into a generous landscaped plaza, while the office floors are punctuated by three six-storey sky gardens, which encourage natural ventilation and help to significantly reduce energy use.

The building’s form was shaped by analysis of the climate and organisations. The tower faces south, curving towards the sun to take advantage of daylight and heat, while maximising the perimeter for cellular offices with views of the Rocky Mountains. By turning the convex facade into the prevailing wind, the structural loading is minimised, thus reducing the amount of steel required for the inherently efficient diagrid system. Each triangulated section of the structure spans six storeys, helping to visually break down the scale of the building.

Where the building curves inwards, the glazed facade is pulled forward to create a series of atria that run the full height of the tower. These spaces act as climatic buffer zones, insulating the building and helping to significantly reduce energy consumption. In order to promote collaboration across the companies and bring a social dimension to the office spaces, vertical access to the office floors is directed through three spectacular sky gardens, which project into the atria and incorporate mature trees, seating, meeting rooms, catering facilities and local lift cores. Staff facilities in these atria are complemented by an auditorium at the very top of the building.

The Bow also establishes lateral connections with surrounding buildings. The tower is fused at two points to Calgary’s system of enclosed walkways. The second floor is open to the public and integrates shops and cafes, and with the only public connection over Centre Street, the scheme completes a vital pedestrian link in the downtown network. Externally, the building’s arc defines a large landscaped public plaza, at the heart of which is a landmark sculpture by Spanish artist, Jaume Plensa.

CREDITS.

Architects.- Foster + Partners. Collaborating Architect.- Zeidler Partnership
Structural Engineer.- Halcrow Yolles
Quantity Surveyor.- Altus Helier (Partial)
M+E Engineer.- Cosentini
Landscape Architect.- Gustafson Guthrie Nichol (Carson McCulloch - Local)
Lighting Engineer.- Claude Engle Lighting Design
Additional Consultants.- Sturgess Architecture, DA Watt, KJA, Kellam Berg, Cerami, Gensler, Cygnus, leber Rubes, Transolar, RWDI, Brook Van Dalen, Leber Rubes, Hayes Davidson.

Appointment.- 2005
Construction start.- 2007
Completion.- 2013

Area.- 199 781 m²
Height.- 239 m

Client.- Matthews Southwest Developments Limited

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Norman Foster is considered by many to be the most prominent architect in Britain. He won the 1999 Pritzker Architecture Prize and the 2009 Príncipe de Asturias de las Artes Prize.

Lord Foster rebuilt the Reichstag as a new German Parliament in Berlin and designed a contemporary Great Court for the British Museum. He linked St. Paul's Cathedral to the Tate Modern with the Millennium Bridge, a steel footbridge across the Thames. He designed the Hearst Corporation Building in Manhattan, at 57th Street and Eighth Avenue.

He was born in Manchester, England, in 1935. Among his firm’s many other projects are London’s City Hall, the Bilbao Metro in Spain, the Canary Wharf Underground Station in London and the renovated courtyard of the Smithsonian American Art Museum and National Portrait Gallery in Washington.

In the 1970s, Lord Foster was one of the most visible practitioners of high-tech architecture that fetishized machine culture. His triumphant 1986 Hong Kong and Shanghai bank building, conceived as a kit-of-parts plugged into a towering steel frame, was capitalism's answer to the populist Pompidou Center in Paris.

Nicolai Ouroussoff, The Times’s architecture critic, has written that although Lord Foster’s work has become sleeker and more predictable in recent years, his forms are always driven by an internal structural logic, and they treat their surroundings with a refreshing bluntness.

Awarded the Prince of Asturias of the Arts 2009.

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Published on: June 8, 2013
Cite: "Official opening of The Bow, last Foster+Partners tower" METALOCUS. Accessed
<http://www.metalocus.es/en/news/official-opening-bow-last-fosterpartners-tower> ISSN 1139-6415
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