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Casa Del Sol stands relatively alone amongst Yeang's bioclimatic projects, in that it is essentially a tall slab, and not a point-block skyscraper in the generic sense Conceived as a semi-circular form, the building is a pure product of the sun-path The project includes 160 residential units of accommodation together with a communal clubhouse and swimming pool

The overall design is dominated by two key issues - the protection of the residential accommodation by a western band of circulation galleries that are separated by an air-gap from the main structure, and the provision of eastern facing views from the apartments to the valley setting.

Hence, the naturally ventilated, single-loaded circulation acts as a massive buffer to the hot west afternoon sun, and assists the cross-ventilation of the apartments themselves. The building includes planted and terraced skycourts that are spatially interconnected, stepping outwards from the centre of the building in a diagonal formation Where they occur, these external spaces not only provide natural light and ventilation opportunities for specific apartments, but also contribute to the comfort conditions of adjoining residential spaces.

In addition, the major lift-lobby and staircase is located centrally in the semi-circular form, and again is a naturally lit and ventilated open assembly.

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Plaza Atrium (1986) and Menara Mesiniaga (1992) are both sigra projects that mark key points of development and change in Yeang's bioclimatic series.

Similarly, the Hitechniaga Tower signals a further development which ¡ndudes both the Shanghai Armoury Tower (1997) and the EDJTT Exposition Tower (1998) - a new generation of highly expressive and innovative forms, which both further the evolution of ar ecological aesthetic and architecture and exemplify Yeang's proposition for a vertical urbanism

Essentially, the Hitechniaga project reflects Yeang's progress on beyond a strict interpretation of the volumetric brief, to a point where he begins to expand the narrative of the form into an expressive dimension. This tendency is to continue with greater elaboration, into his subsequent works.

At first sight, the vertical clustering of the tower form, set aga^st a rising backbone of vertical circulation and service space, recalls in passing the Japanese metabolist works of architects such as Kurokawa from the 1960s. But, this formal analogy is superficial and belies the more serious intention of Yeang's fluid manipulation of vertical spatiality. The overall form is composed in two distinct parts: a seven-storey base of car-parking floor-planes and a sub-tower of training rooms and auditorium. Above this rises a series of occupied levels for the activities of the computer and software company that the tower houses. These upper levels are dramatically sliced open by major skycourts at levels 10 and 13, with extensive landscaping Above this, the presentation and convention floor at level 16 is joined to the Hitechniaga Management at levels 17, 18 and 19 by an eastern fia"* of circulatory ramps, that are additional to elevators and stairs on the vertical western face. This is one of the first instances of Yeang's incorporation of high-level pedestrian ramps, into the spatial movement pattern of the tower itself.

Both the eastward flank of ramps and the service core towers on the westward face provide part of the natural bioclimatic shielding the hot solar sides - signal features of Yeang's low-energy architect^ At the same time, the skycourts and linked terraces provide 'ven«WWF zones' and external release for occupants throughout the higher lev 5 In addition, a series of perforated-metal 'shields' are included. * outriggers to the main form, to sun-shade the building. But. in th« case, both the scale and curvilinear scallop-shaping of these elefl*n* extends far beyond mere function and mark a point in Yeang's fo articulation of the bioclimatic tower aesthetic. At one and the same t-me, these mechanisms are both solar-defensive and demonstrative

Taken together with the highly articulated form, the architecture assumes a 'warrior-like stance'.' crowned at the tower's summit by

See footnote 46 of Introductory essay < '"^connectedness. Sustainatwlity and Skyscrapers')

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