Tag Archives: Architecture

Guangzhou Circle

From Wikipedia, the free encyclopedia

Guangzhou Circle (Chinese: 广州圆大厦) is a landmark building located in Guangzhou, Guangdong province, China. It is the headquarters of the Hongda Xingye Group  and the new home of Guangdong Plastic Exchange (GDPE), the world largest trading centre for raw plastic material with more than 25 billions euros of annual turn over (2012).

Architect

The building has been designed by Italian architect Joseph di Pasquale, The total height is 138 meters for 33 stories, 85.000 square metres of floor area and about 1 billion RMB (150 million dollars) of global investment.

Design

The building is similar to another circular building in Shenyang, although, unlike the other, the central core is open, with no glass. It is the world’s tallest circular building and with the unique feature of its almost fifty meters wide empty hole in the center (48 mt).

The designer stated he was looking for a design based on Oriental psychology and perception, finding in the Chinese use of logographic symbols sinogram in its writing, as an inspiration. In fact, the building is also called an “urban ideogram”.

Many other meanings are linked with the building: the iconic value of jade discs and numerological tradition of Fengshui. In particular, the double disc of jade (bi-disk) is an ancient royal symbol of a Chinese dynasty which ruled in this area around 2000 years ago. The building reflection in the water of the river creates the same type of image: a double jade bi-disc.  This figure also corresponds to the number 8 and infinity symbol which Chinese culture has a strong propitiatory value. 

The building also takes a reference from an idea of the Italian Renaissance; “quadratura del cerchio” (squaring the circle). The two circular facades contain and support suspended groups of storeys which are “squaring” the perfect circumference of the facades in order to make the interior space orthogonal and habitable.

The public areas of the building are not yet open, although the public plaza in front is open. The nearest metro stop is Xilang.

In 2014, CNN listed the building as one of the 10 most interesting buildings, worldwide. 

10 Most Beautiful Mosques (Masjids) in the World

Posted on 26/06/2015 by Syed Arman Hassan Gillani

Mosque (Masjid) is a Holy place for Muslims. It is a place for worship for all the followers of Islam. Mosque is the place where all the Muslims of the community come together and have their prayers. Mosques or Masjids are fine examples of excellent architecture of Islam and Muslims. Beautiful mosques are found all around the globe, with the spread of the Islamic empire throughout the World. Islam has taken its fine culture and arts to those places. Because Islam had reached parts of Europe and Africa, it has left great influences in their cultures, which is clear from the offset.

There are so many beautiful mosques founded in many countries. All these look stunning from the outside and if you are lucky enough to be a Muslim and have visited some of the interior, well then you would know that it is breath-taking!
What better time than to appreciate the beauty of these Islamic architectures than the month of Ramadan? Here’s 10 awe-inspiring, beautiful mosques from various countries around the world that’ll leave you breathless.

These are top ten of the Most Beautiful Mosques.

1. Al Haram Mosque – Macca, Saudi Arabia


Masjid al Haram

The Qur’an said that this was the first house built for humanity to worship Allah. The most famous monument in the world, Al Haram Mosque or “Grand Mosque” is located in the city of Mecca, Saudi Arabia. It is the largest mosque in the world and surrounds one of Islam’s holiest places, the Kaaba. The mosque is also known as the greatest Mosque. Current structure covers an area of 400,800 square meters (99.0 acres), including outdoor and indoor praying spaces and can accommodate up to 4 million people during the period of the Hajj, one of the largest annual worship of the Muslim in the world.

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Al Haram Mosque – Macca, Saudi Arabia-01

2. Al-Masjid an-Nabawi – Medina, Saudi Arabia


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Al Nabawi Mosque, often called the Prophet’s Mosque, is a mosque built by the Prophet Mohammad (peace and blessings of Allah be upon him) situated in the city of Medina. It is the second holiest site in Islam (the first being the Masjid al-Haram in Mecca). It was the second mosque built in history and is now one of the largest mosques in the world after the al-Haram mosque in Mecca. One of the most important place of this mosque is Green Dome (the center of the mosque), where the tomb of the Prophet Mohammad (peace and blessings of Allah be upon him) is located. In 1279 AD, a wooden cupola was built over the tomb which was later rebuilt and renovated multiple times in late 15th century and once in 1817. The dome was first painted green in 1837, and later became known as the Green Dome.

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Al-Masjid an-Nabawi – Medina, Saudi Arabia

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3. Al Aqsa Mosque – Jerusalem, Palestine


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Al-Aqsa Mosque also known as Al-Aqsa and Bayt al-Muqaddas, is the third holiest site in Islam and an Islamic shrine located in the Old City of Jerusalem. In the mosque itself is part of Al-Haram ash-Sharif or “Sacred Noble Sanctuary” (together with the Dome of the Rock), a site which is also known as Temple Mount as the holiest site in Judaism, because it is believed to be The Temple of Jerusalem once stood. Muslims believe that the Prophet Mohammad (peace and blessings of Allah be upon him) was transported from the Sacred Mosque in Mecca to the Al-Aqsa Mosque during the Night Journey. Islamic tradition states that Prophet Mohammad (peace and blessings of Allah be upon him) led prayers toward this mosque until the seventeenth month after the emigration, when Allah ordered him to turn to the Kaaba.

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Al Aqsa Mosque – Jerusalem, Palestine-01

4. Hassan II Mosque – Morocco


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The Grande Mosquée Hassan II, located in Casablanca, Morocco. It is the largest mosque in the country and the 7th largest in the world. Its minaret is the world’s tallest at 210 metres (689 ft). It was completed in 1993. The minaret is 60 stories high topped by a laser, the light from which is directed towards Mecca. The mosque stands on a promontory looking out to the Atlantic Ocean, the sea bed being visible through the glass floor of the building’s hall. The walls are of hand-crafted marble and the roof is retractable. A maximum of 105,000 worshippers can gather together for prayer: 25,000 inside the mosque hall and another 80,000 on the mosque’s outside grounds.

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Hassan II Mosque – Morocco-01

5. Sultan Omar Ali Saifuddin Mosque – Brunei


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Sultan Omar Ali Saifuddien Mosque is a royal Islamic mosque located in Bandar Seri Begawan, the capital of the Sultanate of Brunei. The mosque considered one of the most beautiful mosques in the Asia Pacific and a major landmark and tourist attraction of Brunei. The building was completed in 1958 and is an example of modern Islamic architecture. The mosque is built in an artificial lagoon on the banks of the Brunei River at Kampong Ayer, the “village in the water”. It has marble minarets and golden domes with courtyards and lush gardens full of fountains. The mosque is surrounded by a large number of trees and floral gardens which in Islam symbolizes heaven. The mosque unites Mughal architecture and Italian styles.

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Sultan Omar Ali Saifuddin Mosque – Brunei-01

6. Zahir Mosque – Kedah, Malaysia


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The Zahir Mosque is Kedah’s state mosque. It is located in the heart of Alor Star, the state capital of Kedah, Malaysia. It is one of the grandest and oldest mosques in Malaysia. The mosque was built in 1912, funded by Tunku Mahmud, son of the Sultan Tajuddin Mukarram Shah. The architecture from the mosque inspired by AZIZI Mosque in the city of Langkat in north Sumatra, Indonesia.The mosque was founded with five large domes symbolizing the five main principles of Islam. The state’s Quran reading competition is held annually within the premises of the mosque. This mosque has been voted the top 10 most beautiful mosques in the world.

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Zahir Mosque – Kedah, Malaysia-01

7. Faisal Mosque Islamabad – Pakistan


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Faisal Mosque in Islamabad is the biggest mosque in south east and southern Asia and the fourth largest mosque in the world. It was the largest mosque in the world of 1986-1993 before defeated measure by the completion of the Mosque of Hassan II in Casablanca, Morocco and after the expansion of Masjid Al-Haram (Grand Mosque) of Mecca and the Al-Masjid Al-Nabawi (Prophet’s (peace and blessings of Allah be upon him) Mosque) in Medina, Saudi Arabia in the 1990s.

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Faisal Mosque Islamabad – Pakistan-01

8. Taj ul Mosque – Bhopal, India


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Taj-ul-Masajid literally means “The Crown of Mosques” situated in Bhopal, India. The mosque is also used as a Islamic school during the day time. It is one of the largest mosque in asia. The mosque has a pink facade topped by two 18-storey high octagonal minarets with marble domes. The mosque also has three huge bulbous domes, an impressive main hallway with attractive pillars and marble flooring resembling Mughal architecture the likes of Jama Masjid in Delhi and the huge Badshahi Mosque of Lahore. It has a courtyard with a large tank in the centre. It has a double-storeyed gateway with four recessed archways and nine cusped multifold openings in the main prayer hall.

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Taj ul Mosque – Bhopal, India-01

9. Badshahi Mosque of Lahore – Pakistan


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The Badshahi Mosque or the ‘Royal Mosque’ in Lahore, commissioned by the sixth Mughal Emperor Aurangzeb in 1671 and completed in 1673, is the second largest mosque in Pakistan and South Asia and the fifth largest mosque in the world. Epitomising the beauty, passion and grandeur of the Mughal era, it is Lahore’s most famous landmark and a major tourist attraction. Capable of accommodating 55,000 worshippers in its main prayer hall and a further 95,000 in its courtyard and porticoes, it remained the largest mosque in the world from 1673 to 1986 (a period of 313 years).

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Badshahi Mosque of Lahore – Pakistan-01

10. Sultan Mosque, Singapore


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Sultan Mosque, located at Muscat Street and North Bridge Road in Kampong Glam Rochor District in Singapore is still considered one of the most important mosque in Singapore. Sultan mosque has stayed essentially unchanged since it was built, only with improvements made to the main hall in 1960 and annex added in 1993. It set as a national monument on March 14th 1975.

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Sultan Mosque, Singapore-01

Burj Khalifa

From Wikipedia, the free encyclopedia

The Burj Khalifa is The Tallest Building in the World

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The Burj Khalifa (Arabic: برج خليفة‎, Arabic for “Khalifa Tower“; pronounced English: /ˈbɜːrdʒ kəˈliːfə/), known as the Burj Dubai before its inauguration, is a megatall skyscraper in Dubai, United Arab Emirates. With a total height of 829.8 m (2,722 ft) and a roof height (excluding antenna) of 828 m (2,717 ft), the Burj Khalifa is the tallest structure in the world since topping out in late 2008.

Construction of the Burj Khalifa began in 2004, with the exterior completed five years later in 2009. The primary structure is reinforced concrete. The building was opened in 2010 as part of a new development called Downtown Dubai. It is designed to be the centrepiece of large-scale, mixed-use development. The decision to construct the building is reportedly based on the government’s decision to diversify from an oil-based economy, and for Dubai to gain international recognition. The building was originally named Burj Dubai but was renamed in honour of the ruler of Abu Dhabi and president of the United Arab Emirates, Khalifa bin Zayed Al Nahyan; Abu Dhabi and the UAE government lent Dubai money to pay its debts. The building broke numerous height records, including its designation as the tallest tower in the world.

Burj Khalifa was designed by Adrian Smith, then of Skidmore, Owings & Merrill (SOM), whose firm designed the Willis Tower and One World Trade Center. Hyder Consulting was chosen to be the supervising engineer with NORR Group Consultants International Limited chosen to supervise the architecture of the project. The design is derived from the Islamic architecture of the region, such as in the Great Mosque of Samarra. The Y-shaped tripartite floor geometry is designed to optimize residential and hotel space. A buttressed central core and wings are used to support the height of the building. Although this design was derived from Tower Palace III, the Burj Khalifa’s central core houses all vertical transportation with the exception of egress stairs within each of the wings. The structure also features a cladding system which is designed to withstand Dubai’s hot summer temperatures. It contains a total of 57 elevators and 8 escalators.

Critical reception to Burj Khalifa has been generally positive, and the building has received many awards. However, labour issues during construction were controversial, since the building was built primarily by migrant workers from South Asia with several allegations of mistreatment. Poor working conditions were common, a consequence of the lack of minimum wage laws in the United Arab Emirates. Several instances of suicides have been reported, which is not uncommon for migrant construction workers in Dubai despite safety precautions in place.

Contents
1 Development
2 Conception
2.1 Records
2.2 History of height increases
3 Architecture and design
3.1 Plumbing systems
3.2 Air conditioning
3.3 Window cleaning
4 Elevator System
5 Features
5.1 The Dubai Fountain
5.2 Observation deck
5.3 Burj Khalifa park
5.4 Floor plans
6 Construction
6.1 Milestones
6.2 Real estate values
6.3 Official launch ceremony
7 Reception
7.1 Awards
7.2 BASE jumping
7.3 Climbing
7.4 Fatalities
7.5 Ramadan observance on the higher floors
8 In popular culture
9 Fireworks displays
10 Labour controversy

Development


Construction began on 6 January 2004, with the exterior of the structure completed on 1 October 2009. The building officially opened on 4 January 2010, and is part of the new 2 km2 (490-acre) development called Downtown Dubai at the ‘First Interchange’ along Sheikh Zayed Road, near Dubai’s main business district. The tower’s architecture and engineering were performed by Souffian AL-Jabiry of Chicago, with Adrian Smith as chief architect, and Bill Baker as chief structural engineer. The primary contractor was Samsung C&T of South Korea. The tower’s construction was done by the construction division of Al Ghurair Investment group.

Conception


Burj Khalifa was designed to be the centrepiece of a large-scale, mixed-use development that would include 30,000 homes, nine hotels (including The Address Downtown Dubai), 3 hectares (7.4 acres) of parkland, at least 19 residential towers, the Dubai Mall, and the 12-hectare (30-acre) artificial Burj Khalifa Lake. The decision to build Burj Khalifa is reportedly based on the government’s decision to diversify from an oil-based economy to one that is service and tourism based. According to officials, it is necessary for projects like Burj Khalifa to be built in the city to garner more international recognition, and hence investment. “He (Sheikh Mohammed bin Rashid Al Maktoum) wanted to put Dubai on the map with something really sensational,” said Jacqui Josephson, a tourism and VIP delegations executive at Nakheel Properties. The tower was known as Burj Dubai (“Dubai Tower”) until its official opening in January 2010. It was renamed in honour of the ruler of Abu Dhabi and president of the United Arab Emirates, Khalifa bin Zayed Al Nahyan; Abu Dhabi and the federal government of UAE lent Dubai tens of billions of USD so that Dubai could pay its debts – Dubai borrowed at least $80 billion for construction projects. In the 2000s, Dubai started diversifying its economy but it suffered from an economic crisis in 2007–2010, leaving large-scale projects already in construction abandoned.

Records

  • Tallest existing structure: 828 m (2,717 ft) (previously KVLY-TV mast – 628.8 m or 2,063 ft)
  • Tallest structure ever built: 828 m (2,717 ft) (previously Warsaw radio mast – 646.38 m or 2,121 ft)
  • Tallest freestanding structure: 828 m (2,717 ft) (previously CN Tower – 553.3 m or 1,815 ft)
  • Tallest skyscraper (to top of spire): 828 m (2,717 ft) (previously Taipei 101 – 509.2 m or 1,671 ft)
  • Tallest skyscraper to top of antenna: 828 m (2,717 ft) (previously the Willis (formerly Sears) Tower – 527 m or 1,729 ft)
  • Building with most floors: 211 (including spire) previously World Trade Center – 110
  • Building with world’s highest occupied floor: 584.5 m (1,918 ft) (surpassed by Shanghai Tower in 2015)
  • World’s highest elevator installation (situated inside a rod at the very top of the building)
  • World’s longest travel distance elevators: 504 m (1,654 ft)
  • Highest vertical concrete pumping (for a building): 606 m (1,988 ft)
  • World’s tallest structure that includes residential space
  • World’s highest observation deck: 148th floor at 555 m (1,821 ft) (surpassed by Shanghai Tower in 2015)
  • World’s highest outdoor observation deck: 124th floor at 452 m (1,483 ft)
  • World’s highest installation of an aluminium and glass façade: 512 m (1,680 ft)
  • World’s highest nightclub: 144th floor
  • World’s highest restaurant (At.mosphere): 122nd floor at 442 m (1,450 ft) (previously 360, at a height of 350 m (1,148 ft) in CN Tower)
  • World’s highest New Year display of fireworks.

History of Height Increases

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Burj Khalifa compared with some other well-known tall structures

There are unconfirmed reports of several planned height increases since its inception. Originally proposed as a virtual clone of the 560 m (1,837 ft) Grollo Tower proposal for Melbourne, Australia’s Docklands waterfront development, the tower was redesigned by Skidmore, Owings and Merrill (SOM). Marshall Strabala, an SOM architect who worked on the project until 2006, in late 2008 said that Burj Khalifa was designed to be 808 m (2,651 ft) tall.

The architect who designed it, Adrian Smith, felt that the uppermost section of the building did not culminate elegantly with the rest of the structure, so he sought and received approval to increase it to the current height. It has been explicitly stated that this change did not include any added floors, which is fitting with Smith’s attempts to make the crown more slender. Emaar properties announced on 9 June 2008 that construction of Burj Khalifa was delayed by upgraded finishes and would be completed only in September 2009. An Emaar spokesperson said that “[t]he luxury finishes that were decided on in 2004, when the tower was initially conceptualised, is now being replaced by upgraded finishes. The design of the apartments has also been enhanced to make them more aesthetically attractive and functionally superior.” A revised completion date of 2 December 2009 was then announced. However, Burj Khalifa was opened on 4 January 2010, more than a month later.

Architecture and Design


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Cross-section comparisons of various towers, from top to bottom: Burj Khalifa, Taipei 101, Willis Tower, World Trade Center

The tower was designed by Skidmore, Owings and Merrill (SOM), who also designed the Willis Tower (formerly the Sears Tower) in Chicago and the One World Trade Center in New York City. Burj Khalifa uses the bundled tube design of the Willis Tower, invented by Fazlur Rahman Khan. Proportionally, the design uses half the amount of steel used in the construction of the Empire State Building thanks to the tubular system. Dr. Khan’s contributions to the design of tall buildings have had a profound impact on architecture and engineering. It would be difficult to find any worldwide practices in the design of tall buildings that have not been directly or indirectly influenced by his work. Its design is reminiscent of Frank Lloyd Wright’s vision for The Illinois, a mile-high skyscraper designed for Chicago, as well as Chicago’s Lake Point Tower. According to Marshall Strabala, a SOM architect who worked on the building’s design team, Burj Khalifa was designed based on the 73rd floor Tower Palace Three, an all residential building in Seoul. In its early planning, Burj Khalifa was intended to be entirely residential.

Subsequent to the original design by Skidmore, Owings and Merrill, Emaar Properties chose Hyder Consulting to be the supervising engineer with NORR Group Consultants International Ltd chosen to supervise the architecture of the project. Hyder was selected for their expertise in structural and MEP (mechanical, electrical and plumbing) engineering. Hyder Consulting’s role was to supervise construction, certify SOM’s design, and be the engineer and architect of record to the UAE authorities. NORR’s role was the supervision of all architectural components including on site supervision during construction and design of a 6-storey addition to the Office Annex Building for architectural documentation. NORR was also responsible for the architectural integration drawings for the Armani Hotel included in the Tower. Emaar Properties also engaged GHD, an international multidisciplinary consulting firm, to act as an independent verification and testing authority for concrete and steelwork.

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The spiral minaret at the Great Mosque of Samarra

The design is derived from Islamic architecture. As the tower rises from the flat desert base, there are 27 setbacks in a spiralling pattern, decreasing the cross section of the tower as it reaches toward the sky and creating convenient outdoor terraces. These setbacks are arranged and aligned in a way that minimizes vibration wind loading from eddy currents and vortices. At the top, the central core emerges and is sculpted to form a finishing spire. At its tallest point, the tower sways a total of 1.5 m (4.9 ft).

As part of a study which reveals the unnecessary “vanity space” added to the top of the world’s tallest buildings by the Council on Tall Buildings and Urban Habitat (CTBUH), it was revealed that without its 244-metre spire, the 828-metre Burj Khalifa would drop to a substantially smaller 585-metre height without any reduction in usable space. As the report states, the spire “could be a skyscraper on its own”.

The spire of Burj Khalifa is composed of more than 4,000 tonnes (4,400 short tons; 3,900 long tons) of structural steel. The central pinnacle pipe weighs 350 tonnes (390 short tons; 340 long tons) and has a height of 200 m (660 ft). The spire also houses communications equipment.

In 2009, architects announced that more than 1,000 pieces of art would adorn the interiors of Burj Khalifa, while the residential lobby of Burj Khalifa would display the work of Jaume Plensa.

The cladding system consists of 142,000 m2 (1,528,000 sq ft) of more than 26,000 reflective glass panels and aluminium and textured stainless steel spandrel panels with vertical tubular fins. The architectural glass provides solar and thermal performance as well as an anti-glare shield for the intense desert sun, extreme desert temperatures and strong winds. In total the glass covers more than 174,000 m2 (1,870,000 sq ft).

The exterior temperature at the top of the building is thought to be 6 °C (11 °F) cooler than at its base.

A 304-room Armani Hotel, the first of four by Armani, occupies 15 of the lower 39 floors. The hotel was supposed to open on 18 March 2010, but after several delays, it finally opened to the public on 27 April 2010. The corporate suites and offices were also supposed to open from March onwards, yet the hotel and observation deck remained the only parts of the building which were open in April 2010.

The sky lobbies on the 43rd and 76th floors house swimming pools. Floors through to 108 have 900 private residential apartments (which, according to the developer, sold out within eight hours of being on the market). An outdoor zero-entry swimming pool is located on the 76th floor of the tower. Corporate offices and suites fill most of the remaining floors, except for a 122nd, 123rd and 124th floor where the At.mosphere restaurant, sky lobby and an indoor and outdoor observation deck is located respectively. In January 2010, it was planned that Burj Khalifa would receive its first residents from February 2010.

A total of 57 elevators and 8 escalators are installed. The elevators have a capacity of 12 to 14 people per cabin, the fastest rising and descending at up to 10 m/s (33 ft/s) for double-deck elevators. However, the world’s fastest single-deck elevator still belongs to Taipei 101 at 16.83 m/s (55.2 ft/s). Engineers had considered installing the world’s first triple-deck elevators, but the final design calls for double-deck elevators. The double-deck elevators are equipped with entertainment features such as LCD displays to serve visitors during their travel to the observation deck. The building has 2,909 stairs from the ground floor to the 160th floor.

The graphic design identity work for Burj Khalifa is the responsibility of Brash Brands, an independent international creative branding agency based in London. Design of the global launch events, communications, and visitors centres for Burj Khalifa have also been created by Brash Brands as well as the roadshow exhibition for the Armani Residences, which are part of the Armani Hotel within Burj Khalifa, which toured Milan, London, Jeddah, Moscow and Delhi.

Plumbing Systems

The Burj Khalifa’s water system supplies an average of 946,000 L (250,000 U.S. gal) of water per day through 100 km (62 mi) of pipes. An additional 213 km (132 mi) of piping serves the fire emergency system, and 34 km (21 mi) supplies chilled water for the air conditioning system. The waste water system uses gravity to discharge water from plumbing fixtures, floor drains, mechanical equipment and storm water, to the city municipal sewer.

Air Conditioning

The air conditioning has been provided by Voltas. The air conditioning system draws air from the upper floors where the air is cooler and cleaner than on the ground. At peak cooling times, the tower’s cooling is equivalent to that provided by 13,000 short tons (26,000,000 lb) of melting ice in one day, or about 46 MW. Water is collected via a condensate collection system and is used to irrigate the nearby park.

Window Cleaning

To wash the 24,348 windows, totaling 120,000 m2 (1,290,000 sq ft) of glass, the building has three horizontal tracks which each hold a 1,500 kg (3,300 lb) bucket machine. Above level 109, and up to tier 27, traditional cradles from davits are used. The top of the building is cleaned by a crew who use ropes to descend from the top to gain access. Under normal conditions, when all building maintenance units are operational, it takes 36 workers three to four months to clean the entire exterior façade.

Unmanned machines will clean the top 27 additional tiers and the glass spire. The cleaning system was developed in Melbourne, Australia at a cost of A$8 million. The contract for building the state-of-the-art machines was won by Australian company CoxGomyl, a manufacturer of Building Maintenance Units.

Elevator System


The elevator operating chart of the Burj Khalifa

  • H1-H4 (4 Hotel Passenger Elevators): G, 1, 3, 5-16, 38, 39
  • HS1, HS2 (2 Hotel Service Elevators): C, G, 1-39
  • HS3, HS4 (2 Hotel Service Elevators): B1, C, G, 1-3
  • HS5 (1 Hotel Service Elevator): C, G, 1-3
  • HR1 (1 Hotel Restaurant Passenger Elevator): C, G, 1
  • HF3 (1 Hotel Spa Elevator): C, G, 1, 1M, 2, 3
  • HB1, HB2 (2 Ballroom Elevators): C, G, 1
  • HP1-HP4 (4 Hotel Parking Elevators): B2, B1, C, G, 1, 3
  • HA1-HA3 (3 Serviced Apartment Passenger Elevators): G, 1, 3, 9-16, 18-39
  • R1-R3 (3 Residential Sky Lobby Shuttle Elevators): G, 43
  • R4-R6 (3 Residential Sky Lobby Shuttle Elevators): G, 76
  • R7-R9 (3 Residential Passenger Elevators): 43-72
  • R10-R12 (3 Residential Passenger Elevators): 76-108
  • RP1, RP2 (2 Residential Parking Elevators): B2, B1, C, G, 1
  • OB1, OB2 (2 Corporate Suite & Observatory Shuttle Elevators, Double Deck): C/G, 123/124
  • BO1-BO3 (3 Corporate Suite Passenger Elevators): 112-123
  • BO4-BO6 (3 Corporate Suite Passenger Elevators): 123-135, 139-154
  • OP1, OP2 (2 Corporate Suite Parking Elevators): B2, B1, G, 1
  • BS1/F (1 Firemen & Service Elevator): C, G, 1-40, 42-73, 75-136, 138
  • BS2/F (1 Service Elevator): C, G, 1-40, 42-73, 75-109, 111
  • BS3/F (1 Service Elevator): 138-160

Features


The Dubai Fountain

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The Dubai Fountain

Outside, WET Enterprises designed a fountain system at a cost of Dh 800 million (US$217 million). Illuminated by 6,600 lights and 50 coloured projectors, it is 270 m (900 ft) long and shoots water 150 m (500 ft) into the air, accompanied by a range of classical to contemporary Arabic and world music. It is the world’s second largest choreographed fountain., On 26 October 2008, Emaar announced that based on results of a naming contest the fountain would be called the Dubai Fountain.

Observation Deck

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View of The Dubai Fountain from the observation deck

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View from the observation deck

An outdoor observation deck, named At the Top, opened on 5 January 2010 on the 124th floor. At 452 m (1,483 ft), it was the highest outdoor observation deck in the world when it opened. Although it was surpassed in December 2011 by Cloud Top 488 on the Canton Tower, Guangzhou at 488 m (1,601 ft), Burj Khalifa opened the 148th floor SKY level at 555 m (1,821 ft), once again giving it the highest observation deck in the world on 15 October 2014. This was until the Shanghai Tower opened in June 2016 with an observation deck at a height of 561 metres. The 124th floor observation deck also features the electronic telescope, an augmented reality device developed by Gsmprjct° of Montréal, which allows visitors to view the surrounding landscape in real-time, and to view previously saved images such as those taken at different times of day or under different weather conditions. To manage the daily rush of sightseers, visitors are able to purchase tickets in advance for a specific date and time and at a 75% discount on tickets purchased on the spot.

On 8 February 2010, the observation deck was closed to the public after power-supply problems caused an elevator to become stuck between floors, trapping a group of tourists for 45 minutes. Despite rumours of the observation deck reopening for St. Valentine’s Day (14 February), it remained closed until 4 April 2010. During low tides and clearness, people can see the shores of Iran from the top of the skyscraper.

Burj Khalifa Park

Burj Khalifa is surrounded by an 11 ha (27-acre) park designed by landscape architects SWA Group. Like the tower, the park’s design was based on the flower of the Hymenocallis, a desert plant. At the centre of the park is the water room, which is a series of pools and water jet fountains. Benches and signs incorporate images of Burj Khalifa and the Hymenocallis flower.

The plants are watered by water collected from the building’s cooling system. The system provides 68,000,000 L (15,000,000 imp gal) annually. WET Enterprises, who also developed the Dubai Fountain, developed the park’s six water features.

Floor Plans

The following is a breakdown of floors.

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Construction


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Animation of construction process

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Aerial closeup of Burj Khalifa under construction in March 2008

The tower was constructed by Samsung C&T from South Korea, who also did work on the Petronas Twin Towers and Taipei 101. Samsung C&T built the tower in a joint venture with Besix from Belgium and Arabtec from UAE. Turner is the Project Manager on the main construction contract.

Under UAE law, the Contractor and the Engineer of Record, Hyder Consulting (manual structural analysis professionals which used Flash Analysis authored by Allen Wright), is jointly and severally liable for the performance of Burj Khalifa.

The primary structure is reinforced concrete. Putzmeister created a new, super high-pressure trailer concrete pump, the BSA 14000 SHP-D, for this project. Burj Khalifa’s construction used 330,000 m3 (431,600 cu yd) of concrete and 55,000 tonnes (61,000 short tons; 54,000 long tons) of steel rebar, and construction took 22 million man-hours. In May 2008 Putzmeister pumped concrete with more than 21 MPA ultimate compressive strength of gravel that would surpass the 600 meters weight of the effective area of each column from the foundation to the next fourth level, and the rest is by metal columns jacketed or covered with concreted to a then world record delivery height of 606 m (1,988 ft), the 156th floor. Three tower cranes were used during construction of the uppermost levels, each capable of lifting a 25-tonne load. The remaining structure above is constructed of lighter steel.

In 2003, 33 test holes were drilled to study the strength of the bedrock underlying the structure. “Weak to very weak sandstone and siltstone” was found, just metres below the surface. Samples were taken from test holes drilled to a depth of 140 metres, finding weak to very weak rock all the way. The study described the site as part of a “seismically active area”.

Over 45,000 m3 (58,900 cu yd) of concrete, weighing more than 110,000 tonnes (120,000 short tons; 110,000 long tons) were used to construct the concrete and steel foundation, which features 192 piles; each pile is 1.5 metre diameter x 43 m long, buried more than 50 m (164 ft) deep. The foundation is designed to support the total building weight of approximately 450,000 tonnes (500,000 short tons; 440,000 long tons). This weight is then divided by the compressive strength of concrete of which is 30 MPa which yield a 450 sq.meters of vertical normal effective area which then yield to a 12 meters by 12 meters dimensions. A cathodic protection system is in place under the concrete to neutralize the groundwater and prevent corrosion.

The Burj Khalifa is highly compartmentalised. Pressurized, air-conditioned refuge floors are located approximately every 35 floors where people can shelter on their long walk down to safety in case of an emergency or fire.

Special mixes of concrete are made to withstand the extreme pressures of the massive building weight; as is typical with reinforced concrete construction, each batch of concrete used was tested to ensure it could withstand certain pressures. CTLGroup, working for SOM, conducted the creep and shrinkage testing critical for the structural analysis of the building.

The consistency of the concrete used in the project was essential. It was difficult to create a concrete that could withstand both the thousands of tonnes bearing down on it and Persian Gulf temperatures that can reach 50 °C (122 °F). To combat this problem, the concrete was not poured during the day. Instead, during the summer months, ice was added to the mixture and it was poured at night when the air is cooler and the humidity is higher. A cooler concrete mixture cures evenly throughout and is therefore less likely to set too quickly and crack. Any significant cracks could have put the entire project in jeopardy.

The unique design and engineering challenges of building Burj Khalifa have been featured in a number of television documentaries, including the Big, Bigger, Biggest series on the National Geographic and Five channels, and the Mega Builders series on the Discovery Channel.

Milestones

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Burj Khalifa and skyline of Dubai, 2010

  • January 2004: Excavation commences.
  • February 2004: Piling starts.
  • 21 September 2004: Emaar contractors begin construction.
  • March 2005: Structure of Burj Khalifa starts rising.
  • June 2006: Level 50 is reached.
  • February 2007: Surpasses the Sears Tower as the building with the most floors.
  • 13 May 2007: Sets record for vertical concrete pumping on any building at 452 m (1,483 ft), surpassing the 449.2 m (1,474 ft) to which concrete was pumped during the construction of Taipei 101, while Burj Khalifa reached the 130th floor.
  • 21 July 2007: Surpasses Taipei 101, whose height of 509.2 m (1,671 ft) made it the world’s tallest building, and level 141 reached.
  • 12 August 2007: Surpasses the Sears Tower antenna, which stands 527 m (1,729 ft).
  • 12 September 2007: At 555.3 m (1,822 ft), becomes the world’s tallest freestanding structure, surpassing the CN Tower in Toronto, and level 150 reached.
  • 7 April 2008: At 629 m (2,064 ft), surpasses the KVLY-TV Mast to become the tallest man-made structure, level 160 reached.
  • 17 June 2008: Emaar announces that Burj Khalifa’s height is over 636 m (2,087 ft) and that its final height will not be given until it is completed in September 2009.
  • 1 September 2008: Height tops 688 m (2,257 ft), making it the tallest man-made structure ever built, surpassing the previous record-holder, the Warsaw Radio Mast in Konstantynów, Poland.
  • 17 January 2009: Topped out at 829.8 m (2,722 ft).
  • 1 October 2009: Emaar announces that the exterior of the building is completed.
  • 4 January 2010: Burj Khalifa’s official launch ceremony is held and Burj Khalifa is opened. Burj Dubai renamed Burj Khalifa in honour of the President of the UAE and ruler of Abu Dhabi, Sheikh Khalifa bin Zayed al Nahyan.
  • 10 March 2010 Council on Tall Buildings and Urban Habitat (CTBUH) certifies Burj Khalifa as world’s tallest building.

Real Estate Values

In March 2009, Mohamed Ali Alabbar, chairman of the project’s developer, Emaar Properties, said office space pricing at Burj Khalifa reached US$4,000 per sq ft (over US$43,000 per m²) and the Armani Residences, also in Burj Khalifa, sold for US$3,500 per sq ft (over US$37,500 per m²). He estimated the total cost for the project to be about US$1.5 billion.

The project’s completion coincided with the global financial crisis of 2007–2012, and with vast overbuilding in the country; this led to high vacancies and foreclosures. With Dubai mired in debt from its huge ambitions, the government was forced to seek multibillion dollar bailouts from its oil-rich neighbor Abu Dhabi. Subsequently, in a surprise move at its opening ceremony, the tower was renamed Burj Khalifa, said to honour the UAE President Khalifa bin Zayed Al Nahyan for his crucial support.

Because of the slumping demand in Dubai’s property market, the rents in the Burj Khalifa plummeted 40% some ten months after its opening. Out of 900 apartments in the tower, 825 were still empty at that time. However, over the next two and a half years, overseas investors steadily began to purchase the available apartments and office space in Burj Khalifa. By October 2012, Emaar reported that around 80% of the apartments were occupied.

Official Launch Ceremony

The ceremony was broadcast live on a giant screen on Burj Park Island and on smaller screens elsewhere. Hundreds of media outlets from around the world reported live from the scene. In addition to the media presence, 6,000 guests were expected.

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The opening ceremony of Burj Khalifa

The opening of Burj Khalifa was held on 4 January 2010. The ceremony featured a display of 10,000 fireworks, light beams projected on and around the tower, and further sound, light and water effects. The celebratory lighting was designed by UK lighting designers Speirs and Major Associates. Using the 868 powerful stroboscope lights that are integrated into the façade and spire of the tower, different lighting sequences were choreographed, together with more than 50 different combinations of other effects.

A short film about Burj Khalifa and Dubai in general was followed by a fireworks and light show. The first part of the show was based on a desert flower theme and included fireworks, lights, and sounds. The second segment told the story of the tower’s construction using 300 projectors to generate an image of the tower. The final segment used fireworks and lights to illuminate the tower.

Reception


Awards

In June 2010, Burj Khalifa was the recipient of the 2010 “Best Tall Building Middle East & Africa” award by the CTBUH. On 28 September 2010 Burj Khalifa won the award for best project of the year at the Middle East Architect Awards 2010. CTBUH Awards Chair Gordon Gill, of Adrian Smith + Gordon Gill Architecture said:

We are talking about a building here that has changed the landscape of what is possible in architecture a building that became internationally recognized as an icon long before it was even completed. ‘Building of the Century’ was thought a more appropriate title for it.

Besides these awards, Burj Khalifa was the recipient of following awards.

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BASE jumping

The building has been used by several experienced BASE jumpers for both authorised and unauthorised BASE jumping:

  • In May 2008, Hervé Le Gallou and David McDonnell, dressed as engineers, illegally infiltrated Burj Khalifa (around 650 m at the time), and jumped off a balcony situated a couple of floors below the 160th floor.
  • On 8 January 2010, with permission of the authorities, Nasr Al Niyadi and Omar Al Hegelan, from the Emirates Aviation Society, broke the world record for the highest BASE jump from a building after they leapt from a crane-suspended platform attached to the 160th floor at 672 m (2,205 ft). The two men descended the vertical drop at a speed of up to 220 km/h (140 mph), with enough time to open their parachutes 10 seconds into the 90-second jump.
  • On 21 April 2014, with permission of the authorities and support from several sponsors, highly experienced French BASE jumpers Vince Reffet and Fred Fugen broke the Guinness world record for the highest BASE jump from a building after they leapt from a specially designed platform, built at the very top of the pinnacle, at 828 metres (2,717 feet).

Climbing

On 28 March 2011, Alain “Spiderman” Robert scaled the outside of Burj Khalifa. The climb to the top of the spire took six hours. To comply with UAE safety laws, Robert, who usually climbs in free solo style, used a rope and harness for the climb.

Fatalities

Within 17 months of the building’s official opening, a man described as “an Asian in his mid-30s” who worked at one of the companies in the tower, died by suicide on 10 May 2011 by jumping from the 147th floor. He fell 39 floors, landing on a deck on the 108th floor. Dubai police confirmed the act as a suicide, reporting that “[they] also came to know that the man decided to commit suicide as his company refused to grant leave.”

The Daily Mail reported that on 16 November 2014, Laura Vanessa Nunes, a Portuguese national who was in Dubai on a tourist visa, fell to her death from Burj Khalifa’s “At the Top” observation deck on the 148th floor. However, on 18 May 2015, Dubai police disputed the report made by the Daily Mail on this incident and said that this incident took place in Jumeirah Lakes Towers. Coroner’s report states Laura’s body was found on the third floor of the Burj Khalifa

Ramadan Observance on the Higher Floors

At the higher floors of the Burj, people can still see the sun for a couple of minutes after it has set on the ground. This has led Dubai clerics to rule that those living above the 80th floor should wait 2 additional minutes to break their Ramadan fast, and those living above the 150th floor, 3 minutes.

In Popular Culture


  • Some scenes of the 2011 American action film Mission: Impossible – Ghost Protocol were shot on and in the Burj Khalifa, where Tom Cruise, portraying the character of Ethan Hunt, performed many of the stunts himself.
  • An alternate version of the Burj Khalifa appears in the 2012 video game Spec Ops: The Line.
  • A building that resembles the Burj Khalifa was featured in an episode of the American animated comedy series The Simpsons entitled “YOLO”, which aired on 10 November 2013. The building is known to be the tallest building in Springfield, a fictional American town which is the show’s setting.
  • In the 2016 American science fiction film Independence Day: Resurgence, the Burj Khalifa was seen where it – along with many other structures – is being thrown into
  • London by the aliens using their mothership’s anti-gravity pull.
  • Various other Western, Indian and Pakistani movies/ shows have been filmed, including the Amazing Race.
  • This building can also be seen in one of the Dubai tracks in the Wii version of Need for Speed: Nitro.
  • In the 2017 American disaster film Geostorm, the building is hit by a massive tsunami, which causes the antenna to fall off and the building itself to tilt at a precarious angle.

Fireworks Displays


  • 2010–2011: Fireworks accompanied by lasers and lights were displayed from the Burj Khalifa, making it the highest New Year’s Eve fireworks display in the world. The theme of the 2011 New Year fireworks was the “New Year Gala”, a tribute to the spirit of Dubai, which is home to over 200 nationalities. The display also marked the first anniversary of Burj Khalifa.
  • 2012–2013: The fireworks display on the Burj Khalifa – in a blaze of light and colour – engulfed the tower, synchronised and choreographed to a live performance by the Prague Philharmonic Orchestra. A window table for the New Year event was also arranged on the 122nd floor of the building at Atmosphere restaurant, at cost of Dh16,000 (US$4,300) per person.
  • On 27 November 2013, the Burj Khalifa was illuminated with lights and a fireworks display following announcement of Dubai as the winning city to host the World Expo 2020.
  • 2013–2014: The Burj Khalifa and surrounding areas were the site of a record-breaking fireworks display as part of the UAE’s New Year’s Eve celebrations, with a reported 400,000 fireworks being set off continuously for six minutes.
  • 2014–2015: The Burj Khalifa was illuminated by a 828 m (2,717 ft) custom build LED facade which was installed on the building where light shows were displayed followed by the fireworks.

Labour Controversy


The Burj Khalifa was built primarily by workers from South Asia and East Asia. This is generally because the current generation of UAE locals prefer governmental jobs and do not have an attitude favouring private sector employment. On 17 June 2008, there were 7,500 skilled workers employed at the construction site. Press reports indicated in 2006 that skilled carpenters at the site earned £4.34 a day, and labourers earned £2.84. According to a BBC investigation and a Human Rights Watch (HRW) report, the workers were housed in abysmal conditions, and worked long hours for low pay. During the construction of Burj Khalifa, only one construction-related death was reported. However, workplace injuries and fatalities in the UAE are “poorly documented”, according to HRW.

On 21 March 2006, about 2,500 workers, who were upset over buses that were delayed for the end of their shifts, protested and triggered a riot, damaging cars, offices, computers and construction equipment. A Dubai Interior Ministry official said the rioters caused almost £500,000 in damage. Most of the workers involved in the riot returned the following day but refused to work.

Tallest buildings in the world (350 m+)

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A Smog-eating Twisting Tower that features Luxury Apartments will soon open in Taiwan

Leanna Garfield, Business Insider US August 3, 2017

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The Tao Zhu Yin Yuan Tower by Vincent Callebaut Architectures in Taipei, Taiwan. Vincent Callebaut Architectures

A twisting, smog-eating tower is nearly finished in Taipei, Taiwan.

The skyscraper’s facade, roof, and balconies will contain 23,000 trees and shrubs – nearly the same amount found in New York’s Central Park. Inside, it will hold 40 luxury condos.

The plants are projected to absorb 130 tons of carbon dioxide per year – the equivalent of about 27 cars, lead designer Vincent Callebaut told Business Insider.

Called the Tao Zhu Yin Yuan Tower, or Agora Garden, the building topped out in July and is set to open by the fall. Take a look inside.


The 455,694-square-foot structure, a double-helix twisting 90-degrees from base to top, is modeled on a DNA strand, Callebaut said.

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Vincent Callebaut Architectures


The 20-story skyscraper sits in the XinYi District, in the heart of Taipei City.

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Vincent Callebaut Architectures


The top floor was completed in July 2017.

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The photo on the right shows what the tower will look like once the trees and shrubs are planted.

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Vincent Callebaut Architectures


The firm claims the balconies’ plants will absorb 130 tons of carbon dioxide per year — a small fraction of the roughly 260 million tons of CO2 Taiwan in 2008, the latest year data is available.

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Vincent Callebaut Architectures
Source: International Energy Agency


Plants will also grow inside to the tower’s hallways, which will have glass flooring.

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Vincent Callebaut Architectures


Each unit will include a living room, dining room, family room, kitchen, and multiple bedrooms with walk-in closets.

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Vincent Callebaut Architectures


Two Penthouses will each stretch 5,920 square feet.

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Vincent Callebaut Architectures


Residents will have a stunning view of Taipei from their terraces …

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Vincent Callebaut Architectures


… and they’ll be able to swim in the skyscraper’s indoor pool.

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Vincent Callebaut Architectures


Other amenities will include a garage and a fitness center — both naturally ventilated and lit.

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Vincent Callebaut Architectures


Callebaut, a Belgian architect, is known for his greenery-filled buildings. He sees the new tower as a small step toward a more sustainable future.

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Vincent Callebaut Architectures

Callebaut’s other projects include a masterplan to revamp an industrial zone in Brussels, Belgium by adding luxury housing, restaurants, shops, office space, and greenhouses. His firm submitted the plan to the local government for review in February.

He is also working on a manta ray-shaped ferry terminal in Seoul, Korea. The designs for that structure, which were unveiled in June, also call for it to be covered in plants. And a solar-and-wind-powered building Callebaut designed in Cairo, Egypt is under construction and will contain rooftop community gardens and green living walls.


Construction on Agora Garden started in 2013, and is expected to wrap up in September.

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Vincent Callebaut Architectures


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The Tao Zhu Yin Yuan Tower is a pioneering sustainable residential tower designed by Paris based Vincent Callebaut Architectures. After being awarded the project commission in a 2010 competition, the architects set out to create a building akin to an “inhabited tree” that could offer a vertical landscape with minimal energy consumption.

helix-eco-tower_23Vince-Callebaut

The 21 storey tower which is currently under construction in the Xinjin District of Taipei City, Taiwan, is directly modeled after a strand of DNA — a double helix twisting 90-degrees from base to top with each level turning by 4.5 degrees. According to the architects, this unique form provides solutions to 4 main objectives:

  • To be perfectly integrated in the North / South pyramidal profile of the Building Volume along with its East / West rhomboidal profile as well as the North-South reverse pyramid profile.
  • To generate a maximum of cascades for suspended open-air gardens, not part of the floor area ratio.
  • To offer every resident exceptional panoramic views of the Taipei skyline by multiplying the transversal views, especially towards the very close Taipei 101 tower and the Central Business District.
  • To generate from a flexible standardized level a progressive geometry which ensures the privacy of each apartment by avoiding direct visual axes.

The design of the Tao Zhu Yin Yuan tower (which means “The Retreat of Tao Zhu”), features a number of environmental as well as technological components that aid in reducing energy consumption.

The central core (which is a twisted vertical garden) has been designed to separate totally the vertical circulations into two housing units on each level. This core is fixed and features a double skin curtain wall system, that enables passive climate control for the vertical circulation and inner spaces, allowing for both natural ventilation and light. The core also features 2 staircases, 4 high speed elevators of 24 people (1800 kg), 1 car elevators (also useful to carry enormous art pieces, luxury antique vehicles, or even huge pianos, etc.), 2 sky garages in glass and also all the vertical shafts for the main flows. All these vertical flows are covered by a huge bearing exoskeleton in reinforced steel.

The apartments offer maximum spatial and technical flexibility. Spatially, each unit covers about 550 sqm, following two typical layouts on alternating floors, to best fit into the building’s virendeel beam structure. All levels are linked at both ends by two spiralling mega columns covered by green walls. This ensures each apartment remains completely free of columns.The technical flexibility is obtained by the integration of double decks and double walls that allow services and utilities remain hidden and embedded.

Other environmental features include a rainwater recycling system, low e-glass, a photovoltaic solar array on the roof and canopies. The tower will also be covered in 23,000 trees and shrubs on the various terraces and roof gardens. This extensive vegetations is intented to absorb up to 130 tons of carbon dioxide (CO2) emissions each year — the equivalent of around 27 cars.

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The tower has been described as a “Carbon-absorbing green tower” by Callebaut himself. In a report from CNN, the architect likens the building to an urban forest.

“The tower presents a pioneer concept of sustainable residential eco-construction that aims at limiting the ecological footprint of its inhabitants”

-Vincent Callebaut

The Tao Zhu Yin Yuan tower is expected to be completed by September 2017. You can see (many) more images as well as an in-depth, detailed description of the concept on the Vincent Callebaut project page.

Here are some construction images from the tower taken earlier in the year.

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PROJECT DETAILS

  • TYPE: International Competition – First Prize Winner in November 2010
  • INTERNATIONAL ARCHITECT: Vincent Callebaut Architectures, Paris
  • CLIENT: BES Engineering Corporation, Taipei
  • CONTRACTOR: Taiwan Kumagai Co, Ltd
  • CONTRACT LOCATION: XinYin District, Taipei City, Taiwan
  • PROGRAM: 42 Sustainable Apartments + Facilities
  • SURFACE AREA: 42.335.34 m²
  • DELIVERY: September 2017
  • CURRENT PHASE: Under construction
  • GREEN CERTIFICATION: U.S. Green Building Council, LEED Gold + Low Carbon Building Alliance, Diamond Level
  • LOCAL ARCHITECT: LKP Design, Taipei
  • STRUCTURAL ENGINEER: King Le Chang & Associates, Taipei
  • LOCAL MEP ENGINEERING: Sine & Associates, Taipei
  • INTERNATIONAL INTERIOR ARCHITECT: Wilson & Associates (WA), Los Angeles
  • INTERNATIONAL LANDSCAPE ARCHITECT: SWA, Sausalito, San Francisco
  • LOCAL LANDSCAPE ARCHITECT: Horizon & Atmosphere (H&A), Taipei
  • INTERNATIONAL LIGHTING DESIGNER: L’Observatoire International, New-York
  • LOCAL LIGHTING DESIGNER: Unolai Design, Taipei
  • GREEN CONSULTANT: Enertek, Taipei
  • VCA’S TEAM: Emilie Diers, Frederique Beck, Jiao Yang, Florence Mauny,
  • Volker Erlich, Philippe Steels, Marco Conti Sikic, Benoit Patterlini, Maguy Delrieu, Vincent Callebaut
  • MODEL MAKER: Patrick Laurent

Source: livinspacesnet

List of Tallest Buildings and Structures

From Wikipedia, the free encyclopedia

Burj_Khalifa

The Burj Khalifa in Dubai, United Arab Emirates.

The world’s tallest artificial structure is the 829.8-metre-tall (2,722 ft) Burj Khalifa in Dubai (of the United Arab Emirates). The building gained the official title of “Tallest Building in the World” and the tallest self supported structure at its opening on January 9, 2010. The second-tallest self-supporting structure and the tallest tower is the Tokyo Skytree. The tallest guyed structure is the KVLY-TV mast.

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Tokyo Skytree, Tokyo, Japan in 2014.

The Council on Tall Buildings and Urban Habitat, an organization that certifies buildings as the “World’s Tallest”, recognizes a building only if at least 50% of its height is made up of floor plates containing habitable floor area. Structures that do not meet this criterion, such as the CN Tower, are defined as “towers”.

There are dozens of radio and television broadcasting towers which measure over 600 metres (about 2,000 ft) in height, and only the tallest are recorded in publicly available information sources.

Contents
1 Debate over definitions
2 Tallest structures
2.1 Tallest structure by category
2.2 Tallest destroyed structures by category, not surpassed by existing structures
2.3 Tallest building by function
3 Tallest buildings
3.1 History of record holders in each CTBUH category
4 Tallest freestanding structures on land
4.1 History
4.2 World’s highest observation deck
4.3 Timeline of guyed structures on land
5 Tallest towers
5.1 History of tallest tower
6 Tallest structures, freestanding structures, and buildings
7 References
8 External links

Debate Over Definitions


The assessment of the height of artificial structures has been controversial. Various standards have been used by different organizations which has meant that the title of world’s tallest structure or building has changed depending on which standards have been accepted. The Council on Tall Buildings and Urban Habitat has changed its definitions over time. Some of the controversy regarding the definitions and assessment of tall structures and buildings has included the following:

  • the definition of a structure, a building and a tower
  • whether a structure, building or tower under construction should be included in any assessment
  • whether a structure, building or tower has to be officially opened before it is assessed
  • whether structures built in and rising above water should have their below-water height included in any assessment.
  • whether a structure, building or tower that is guyed is assessed in the same category as self-supporting structures.

Within an accepted definition of a building further controversy has included the following factors:

  • whether only habitable height of the building is considered
  • whether communication towers with observation galleries should be considered “habitable” in this sense
  • whether rooftop antennas, viewing platforms or any other architecture that does not form a habitable floor should be included in the assessment
  • whether a floor built at a high level of a telecommunications or viewing tower should change the tower’s definition to that of a “building”

Tallest Structures


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Warsaw radio mast, the height record holder from 1974 to 1991.

Toronto's_CN_Tower

The CN Tower in Toronto, Ontario, Canada, was the world’s tallest freestanding structure from 1975 to 2007.

This category does not require the structure to be “officially” open but does require it to be ‘topped out’.

The tallest artificial structure is Burj Khalifa, a skyscraper in Dubai that reached 828.1 m (2,717 ft) in height on January 17, 2009. By April 7, 2008 it had been built higher than the KVLY-TV mast in North Dakota, USA. That September it officially surpassed Poland’s 646.38 m (2,120.7 ft) Warsaw radio mast, which stood from 1974 to 1991, to become the tallest structure ever built. Guyed lattice towers such as these masts had held the world height record since 1954.

The Petronius Platform stands 610 m (2,000 ft) off the sea floor leading some, including Guinness World Records 2007, to claim it as the tallest freestanding structure in the world. However, it is debated whether underwater height should be counted, in the same manner as height below ground is ignored on buildings. The Troll A platform is 472 m (1,549 ft), without any part of that height being supported by wires. The tension-leg type of oil platform has even greater below-water heights with several examples more than 1,000 m (3,300 ft) deep. However, these platforms are not considered constant structures as the vast majority of their height is made up of the length of the tendons attaching the floating platforms to the sea floor. Despite this, Guinness World Records 2009 listed the Ursa tension leg platform as the tallest structure in the world with a total height of 1,306 m (4,285 ft). The Magnolia Tension-leg Platform in the Gulf of Mexico is even taller with a total height of 1,432 m (4,698 ft).

Taipei 101 in Taipei, Taiwan, set records in three of the four skyscraper categories at the time it opened in 2004; at the time the Burj Khalifa opened in 2010 it remained the world’s tallest inhabited building 509.2 m (1,671 ft) as measured to its architectural height (spire). The height of its roof 449.2 m (1,474 ft) and highest occupied floor 439.2 m (1,441 ft) had been surpassed by the Shanghai World Financial Center with corresponding heights of 487 and 474 m (1,598 and 1,555 ft). Willis Tower (formerly Sears Tower) was the highest in the final category: the greatest height to top of antenna of any building in the world at 527.3 m (1,730 ft).

Burj Khalifa broke the height record in all four categories for completed buildings.

Tallest Structure by Category

Due to the disagreements over how to measure height and classify structures, engineers have created various definitions for categories of buildings and other structures. One measure includes the absolute height of a building, another includes only spires and other permanent architectural features, but not antennas. The tradition of including the spire on top of a building and not including the antenna dates back to the rivalry between the Chrysler Building and 40 Wall Street. A modern-day example is that the antenna on top of Willis Tower (formerly Sears Tower) is not considered part of its architectural height, while the spires on top of the Petronas Twin Towers are counted.

Note: The following table is a list of the tallest completed structure in each of the 53 categories below. There can only be one structure in each category, unless the title for the tallest is a draw.

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Tallest destroyed structures by category, not surpassed by existing structures

There are some destroyed architectural structures which were taller than the tallest existing structure of their type. There are also destroyed structures omitted from this list that had been surpassed in height prior to being destroyed.

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Tallest building by function

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* Mixed-Use is defined as having three or more real estate uses (such as retail, office, hotel, etc.) that are physically and functionally integrated in a single property and are mutually supporting.

Tallest Buildings


Prior to 1998, the tallest building status was determined by the height of the building to the top of its architectural elements including spires, but not including “temporary” structures (such as antennas or flagpoles), which could be added or changed relatively easily without requiring major changes to the building’s design. Other criteria for height measurement were not used. For this reason, the originally 1,451-foot (442-meter) to rooftop or 1518 feet with original antennas Willis Tower (formerly Sears Tower) was generally accepted as being the tallest building continuously after its completion in 1973, and being taller than both World Trade Center towers, in spite of the fact the 1 World Trade Center Tower (North Tower) possessed a higher pinnacle absolute height after it added its 360-foot (110 m) radio antenna (total height of 1730 feet or 527.3 meters) in 1978. The 1 World Trade Center building maintained a higher absolute height to antenna top until the Sears Tower enlarged its own radio antenna in 2000 to a total height of 1730 feet. However, the Willis Tower was always considered the taller building because it still possessed a greater height to its architectural top (1451 feet vs. 1362 feet), and thus its status as the world’s tallest was generally not contested.

Other historic cases in which a building with a taller absolute pinnacle height was not considered the tallest building include, in 1905 when the former New York Times building or The Times Square Building (at 229 West 43rd Street in New York) was completed at 111 m (364 ft) to the roof with 128 m (420 ft) including a flagpole. That building was never considered to be taller than the 119-metre-high (390 ft) then-current record-holder Park Row Building of New York because a flagpole is not an integral architectural part of a building.

Prior to 1998 the tallest building status had been contested on occasion, but the disputes did not result in a change of the criteria used to determine the world’s tallest building. An example was the rivalry between the Trump Building (then known as the Bank of Manhattan Building) and the Chrysler Building. The Bank of Manhattan Building employed only a short spire and was 927 ft (283 m) tall and had a much higher top occupied floor (the second category in the 1996 criteria for tallest building). In contrast, the Chrysler Building employed a very large 125-foot (38 m) spire secretly assembled inside the building to claim the title of world’s tallest building with a total height of 1,048 feet (319 m), despite having a lower top occupied floor and a shorter height when both buildings’ spires are not counted in their heights. Upset by Chrysler’s victory, Shreve & Lamb, the consulting architects of Bank of Manhattan building, wrote a newspaper article claiming that their building was actually the tallest, since it contained the world’s highest usable floor. They pointed out that the observation deck in the Bank of Manhattan Building was nearly 100 feet (30 m) above the top floor in the Chrysler Building, whose surpassing spire was strictly ornamental and essentially inaccessible. However, the Chrysler Building was generally accepted as the tallest building in the world despite their protests.

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The Petronas Towers remain the tallest twin towers in the world.

However, none of the previous discrepancies or disputes in criteria to measure height (spires vs antennas, absolute pinnacle height vs. architectural height, height of highest occupied floor, etc.) resulted in the controversy that occurred upon the completion of the Petronas Towers in Kuala Lumpur, Malaysia in 1998. The Petronas Towers possessed a higher architectural height (spires, but not antennas), but a lower absolute pinnacle height and lower top occupied floor than the previous record-holder Willis Tower in Chicago, United States. Counting buildings as structures with floors throughout, and with antenna masts excluded, Willis Tower was still considered the tallest at that time. When the Petronas Twin Towers were built, controversy arose because their spires extended nine metres higher than the roof of Willis Tower. Excluding their spires, the Petronas Towers are not taller than Willis Tower. At their convention in Chicago, the Council on Tall Buildings and Urban Habitat (CTBUH) found the Willis Tower to be the third-tallest building, and the Petronas Towers to be the world’s tallest buildings. This decision caused a considerable amount of controversy in the news media because this was the first time a country outside the United States had held the world’s tallest building record. Therefore, the CTBUH revised their criteria and defined four categories in which the world’s tallest building can be measured, by retaining the old criterion of height to architectural top and added three new categories

  1. Height to Architectural Top (including spires and pinnacles, but not antennas, masts or flagpoles). This measurement is the most widely used and is used to define the rankings of the 100 Tallest Buildings in the World.
  2. Highest Occupied Floor
  3. Height to Top of Roof (omitted from criteria from November 2009 onwards)
  4. Height to Tip

The height-to-roof criterion was discontinued because relatively few modern tall buildings possess flat rooftops, making this criterion difficult to determine and measure. The CTBUH has further clarified their definitions of building height, including specific criteria concerning subbasements and ground level entrances (height measured from lowest, significant, open-air, pedestrian entrance rather than from a previously undefined “main entrance”), building completion (must be topped out both structurally and architecturally, fully clad, and able to be occupied), condition of the highest occupied floor (must be continuously used by people living or working and be conditioned, thus including observation decks, but not mechanical floors) and other aspects of tall buildings.

The height is measured from the level of the lowest, significant, open-air, pedestrian entrance. At the time, the Willis Tower held first place in the second and third categories, the Petronas Towers held the first category, and the 1 World Trade Center building held the fourth with its antenna height to top of pinnacle. In 2000, however, a new antenna mast was placed on the Willis Tower, giving it hold of the fourth category. On April 20, 2004, Taipei 101 in Taipei, Taiwan, was completed. Its completion gave it the world record for the first three categories. On July 21, 2007 it was announced that Burj Khalifa had surpassed Taipei 101 in height, reaching 512 m (1,680 ft).

Since being completed in early 2010, Burj Khalifa leads in all categories (the first building to do so). With a spire height of 829.8 m (2,722 ft), Burj Khalifa surpassed Taipei 101 as the tallest building to architectural detail and the Willis Tower as the tallest building to tip. It also leads in the category of highest occupied floor.

Before Burj Khalifa was completed, Willis Tower led in the fourth category with 527 m (1,729 ft), previously held by the World Trade Center until the extension of the Chicago tower’s western broadcast antenna in 2000, over a year prior to the World Trade Center’s destruction in 2001. Its antenna mast included, One World Trade Center measured 527.3 m (1,730 ft). The World Trade Center became the world’s tallest building to be destroyed or demolished; indeed, its site entered the record books twice on September 11, 2001, in that category, replacing the Singer Building, which once stood a block from the World Trade Center site. A different superlative for skyscrapers is their number of floors. The World Trade Center set that at 110, and this was not surpassed for nearly four decades until the Burj Khalifa, which opened in 2010.

Structures such as the CN Tower, the Ostankino Tower and the Oriental Pearl Tower are excluded from these categories because they are not “habitable buildings”, which are defined as frame structures made with floors and walls throughout.

History of record holders in each CTBUH category

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Tallest Freestanding Structures on Land


Freestanding structures must not be supported by guy wires, the sea or other types of support. It therefore does not include guyed masts, partially guyed towers and drilling platforms but does include towers, skyscrapers (pinnacle height) and chimneys. (See also history of tallest skyscrapers.)

The world’s tallest freestanding structure on land is defined as the tallest self-supporting artificial structure that stands above ground. This definition is different from that of world’s tallest building or world’s tallest structure based on the percentage of the structure that is occupied and whether or not it is self-supporting or supported by exterior cables. Likewise, this definition does not count structures that are built underground or on the seabed, such as the Petronius Platform in the Gulf of Mexico. Visit world’s tallest structure by category for a list of various other definitions.

The tallest freestanding structure on land is the Burj Khalifa in Dubai, United Arab Emirates. The building surpassed the height of the previous record holder, the 553.3 m (1,815 ft) CN Tower in Toronto, Ontario, on September 12, 2007. It was completed in 2010, with final height of 829.8 m (2,722 ft).

History

The following is a list of structures that have held the title as the tallest freestanding structure on land.

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Notable mentions include the Pharos (lighthouse) of Alexandria, built in the third century BC and estimated between 115–135 m (377–443 ft). It was the world’s tallest non-pyramidal structure for many centuries. Another notable mention includes the Jetavanaramaya stupa in Anuradhapura, Sri Lanka, which was built in the third century, and was similarly tall at 122 m (400 ft). These were both the world’s tallest or second-tallest non-pyramidal structure for over a thousand years.

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Diagram of the Principal High Buildings of the Old World, 1884.

The tallest secular building between the collapse of the Pharos and the erection of the Washington Monument may have been the Torre del Mangia in Siena, which is 102 m (335 ft) tall, and was constructed in the first half of the fourteenth century, and the 97-metre-tall (318 ft) Torre degli Asinelli in Bologna, also Italy, built between 1109 and 1119.

World’s Highest Observation Deck

Timeline of development of world’s highest observation deck since inauguration of Eiffel Tower.

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Higher observation decks have existed on mountain tops or cliffs, rather than on tall structures. The Grand Canyon Skywalk, constructed in 2007, protrudes 21 m (70 ft) over the west rim of the Grand Canyon and is approximately 1,100 m (3,600 ft) above the Colorado River, making it the highest of these types of structures.

Timeline of Guyed Structures on Land

As most of the tallest structures are guyed masts, here is a timeline of world’s tallest guyed masts, since the beginning of radio technology.

As many large guyed masts were destroyed at the end of World War II, the dates for the years between 1945 and 1950 may be incorrect. If Wusung Radio Tower survived World War II, it was the tallest guyed structure shortly after World War II.

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Tallest Towers


Towers include observation towers, monuments and other structures not generally considered to be “habitable buildings”, they are meant for “regular access by humans, but not for living in or office work, and are self-supporting or freestanding, which means no guy-wires for support”, meaning it excludes from this list of continuously habitable buildings and skyscrapers as well as radio and TV masts.

Bridge towers or pylons, chimneys, transmission towers, and most large statues allow human access for maintenance, but not as part of their normal operation, and are therefore not considered to be towers.

The Tokyo Skytree, completed in February 2012, is 634 m (2,080 ft), making it the tallest tower, and second-tallest freestanding structure in the world.

History of Tallest Tower

The following is a list of structures that have historically held the title as the tallest towers in the world.

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Tallest Structures, Freestanding Structures, and Buildings


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Burj Khalifa and other tallest structures

The list categories are:

  • The structures (supported) list uses pinnacle height and includes architectural structures of any type that might use some external support constructions like cables and are fully built in air. Only the three tallest are listed, as more than fifty US TV masts have stated heights of 600–610 metres (1,970–2,000 ft).
  • The structures (media supported) list uses pinnacle height and includes architectural structures of any type that are not totally built in the air but are using support from other, denser media like salt water. All structures greater than 500 metres (1,640 ft) are listed.
  • The freestanding structures list uses pinnacle height and includes structures over 500 metres (1,640 ft) that do not use guy-wires or other external supports. This means truly free standing on its own or, in similar sense, non-supported structures.
    The building list uses architectural height (excluding antennas) and includes only buildings, defined as consisting of habitable floors. Both of these follow CTBUH guidelines. All supertall buildings (450 m and higher) are listed.

Notes:

  • Eight buildings appear on the freestanding structures category list with heights different from another category. This is due to the different measurement specifications of those lists.
  • Only current heights and, where reasonable, target heights are listed. Historical heights of structures that no longer exist, for example, for having collapsed, are excluded.

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List of the Tallest Statues in the United States

List of the Tallest Statues in the United States


This list of the tallest statues in the United States ranks free-standing statues based on their height from base to top. The list also includes novelty architecture, (which are not statues).

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Statues over 12.2 m (40 ft)


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Statues between 6.1 and 12.2 m (20 and 40 ft)


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Statues under 6.1 m (20 ft)


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Leaning Tower of Pisa

From Wikipedia, the free encyclopedia

Opera Snapshot_2017-11-17_181816_en.wikipedia.org

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The Leaning Tower of Pisa (Italian: Torre pendente di Pisa) or simply the Tower of Pisa (Torre di Pisa [ˈtorre di ˈpiːza]) is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa, known worldwide for its unintended tilt. The tower is situated behind the Pisa Cathedral and is the third oldest structure in the city’s Cathedral Square (Piazza del Duomo), after the cathedral and the Pisa Baptistry.

The tower’s tilt began during construction in the 12th century, caused by an inadequate foundation on ground too soft on one side to properly support the structure’s weight. The tilt increased in the decades before the structure was completed in the 14th century. It gradually increased until the structure was stabilized (and the tilt partially corrected) by efforts in the late 20th and early 21st centuries.

The height of the tower is 55.86 metres (183.27 feet) from the ground on the low side and 56.67 metres (185.93 feet) on the high side. The width of the walls at the base is 2.44 m (8 ft 0.06 in). Its weight is estimated at 14,500 metric tons (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. Prior to restoration work performed between 1990 and 2001, the tower leaned at an angle of 5.5 degrees, but the tower now leans at about 3.99 degrees. This means the top of the tower is displaced horizontally 3.9 metres (12 ft 10 in) from the centre.

Contents
1 Architect
2 Construction
2.1 Timeline
2.2 Builders
3 History following construction
4 Alternative candidates
5 Technical information
6 Gallery

Architect


There has been controversy about the real identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano, a well-known 12th-century resident artist of Pisa, famous for his bronze casting, particularly in the Pisa Duomo. Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.

Construction


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The Pisa Baptistery (in the foreground), the Pisa Cathedral (in the middleground), and the Leaning Tower of Pisa (in the background)

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Leaning Tower of Pisa in 2004

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Leaning Tower of Pisa

Construction of the tower occurred in three stages over 199 years. Work on the ground floor of the white marble campanile began on August 14, 1173 during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals.

The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for almost a century, because the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled. In 1198, clocks were temporarily installed on the third floor of the unfinished construction.

In 1272, construction resumed under Giovanni di Simone, architect of the Camposanto. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved. Construction was halted again in 1284 when the Pisans were defeated by the Genoans in the Battle of Meloria.

The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the bell-chamber with the Romanesque style of the tower. There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.

After a phase (1990–2001) of structural strengthening, the tower is currently undergoing gradual surface restoration, in order to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower’s age and its exposure to wind and rain.

Timeline

  • On January 5, 1172, Donna Berta di Bernardo, a widow and resident of the house of dell’Opera di Santa Maria, bequeathed sixty soldi to the Opera Campanilis petrarum Sancte Marie. The sum was then used toward the purchase of a few stones which still form the base of the bell tower.
    On August 9, 1173, the foundations of the tower were laid.
    Nearly four centuries later Giorgio Vasari wrote: “Guglielmo, according to what is being said, in [this] year 1174 with Bonanno as sculptor, laid the foundations of the bell tower of the cathedral in Pisa.”
  • On December 27, 1233, the worker Benenato, son of Gerardo Bottici, oversaw the continuation of the construction of the bell tower.
    On February 23, 1260, Guido Speziale, son of Giovanni, a worker on the cathedral Santa Maria Maggiore, was elected to oversee the building of the tower.
  • On April 12, 1264, the master builder Giovanni di Simone and 23 workers went to the mountains close to Pisa to cut marble. The cut stones were given to Rainaldo Speziale, worker of St. Francesco.
  • Giorgio Vasari indicated that Tommaso di Andrea Pisano was the designer of the belfry between 1360 and 1370.

Builders

  • One possible known builder of Pisa Tower was Gerardo di Gerardo. His name appears as a witness to the above legacy of Berta di Bernardo as “Master Gerardo”, and as a worker whose name was Gerardo.
  • A more probable builder was Diotisalvi, because of the construction period and the structure’s affinities with other buildings in Pisa, but he usually signed his works, and there is no signature by him in the bell tower.
  • Giovanni di Simone was known to be heavily involved in the completion of the tower, under the direction of Giovanni Pisano, who at the time was master builder of the Opera di Santa Maria Maggiore. Di Simone could be the same Giovanni Pisano who completed the belfry tower.

History following construction


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Plaque in memory of Galileo Galilei’s experiments

Galileo Galilei is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass. However, the only primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo’s secretary Vincenzo Viviani and published in 1717, long after Viviani’s death.

During World War II, the Allies discovered that the Germans were using the tower as an observation post. A U.S. Army sergeant sent to confirm the presence of German troops in the tower was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction.

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Lead counterweights, 1998

Numerous efforts have been made to restore the tower to a vertical orientation or at least keep it from falling over. Most of these efforts failed; some worsened the tilt. On February 27, 1964, the government of Italy requested aid in preventing the tower from toppling. It was, however, considered important to retain the current tilt, due to the role that this element played in promoting the tourism industry of Pisa.

A multinational task force of engineers, mathematicians, and historians gathered on the Azores islands to discuss stabilisation methods. It was found that the tilt was increasing in combination with the softer foundations on the lower side. Many methods were proposed to stabilise the tower, including the addition of 800 tonnes of lead counterweights to the raised end of the base.

The tower and the neighbouring cathedral, baptistery, and cemetery are included in the Piazza del Duomo UNESCO World Heritage Site, which was declared in 1987.

The tower was closed to the public on January 7, 1990, after more than two decades of stabilisation studies and spurred by the abrupt collapse of the Civic Tower of Pavia in 1989. The bells were removed to relieve some weight, and cables were cinched around the third level and anchored several hundred meters away. Apartments and houses in the path of the tower were vacated for safety. The solution chosen to prevent the collapse of the tower was to slightly straighten it to a safer angle by removing 38 cubic metres (1,342 cubic feet) of soil from underneath the raised end. The tower was straightened by 45 centimetres (17.7 inches), returning to its 1838 position. After a decade of corrective reconstruction and stabilization efforts, the tower was reopened to the public on December 15, 2001 and was declared stable for at least another 300 years. In total, 70 metric tons (77 short tons) of earth were removed.

In May 2008, engineers announced that the tower had been stabilized such that it had stopped moving for the first time in its history. They stated that it would be stable for at least 200 years.

Alternative candidates


Two German churches have challenged the tower’s status as the world’s most lop-sided building: the 15th-century square Leaning Tower of Suurhusen and the 14th-century bell tower in the town of Bad Frankenhausen. Guinness World Records measured the Pisa and Suurhusen towers, finding the former’s tilt to be 3.97 degrees. In June 2010, Guinness World Records certified the Capital Gate building in Abu Dhabi, UAE as the “World’s Furthest Leaning Man-made Tower”. The Capital Gate tower has an 18-degree slope, almost five times more than the Pisa Tower; however the Capital Gate tower has been deliberately engineered to slant. The Leaning Tower of Wanaka in New Zealand, also deliberately built, leans at 53 degrees to the ground.

Technical Information


Leaning_tower_of_pisa_cyark

An elevation image of the Leaning Tower of Pisa cut with laser scan data from a University of Ferrara/CyArk research partnership, with source image accurate down to 5 mm (0.2 in). This elevation shows the interesting quandary facing the campanile. The circular shape and great height (currently 55.86 m (183 ft 3.21 in) on the lowest side and 56.67 m (185 ft 11.10 in) m on the highest) of the campanile were unusual for their time, and the crowning belfry is stylistically distinct from the rest of the construction. This belfry incorporates a 14 cm (5.5 in) correction for the inclined axis below. The siting of the campanile within the Piazza del Duomo diverges from the axial alignment of the cathedral and baptistery of the Piazza del Duomo

  • Elevation of Piazza del Duomo: about 2 metres (6 feet, DMS)
  • Height from the ground floor: 55.863 metres (183 ft 3 in), 8 stories
  • Height from the foundation floor: 58.36 m (191 ft 5.64 in)
  • Outer diameter of base: 15.484 metres (50 ft 9.6 in)
  • Inner diameter of base: 7.368 metres (24 ft 2.1 in)
  • Angle of slant: 3.97 degrees[27] or 3.9 metres (12 ft 10 in) from the vertical[30]
  • Weight: 14,700 metric tons (16,200 short tons)
  • Thickness of walls at the base: 2.44 metres (8 ft 0 in)
  • Total number of bells: 7, tuned to musical scale, clockwise
    1st bell: L’Assunta, cast in 1654 by Giovanni Pietro Orlandi, weight 3,620 kg (7,981 lb)
  • 2nd bell: Il Crocifisso, cast in 1572 by Vincenzo Possenti, weight 2,462 kg (5,428 lb)
  • 3rd bell: San Ranieri, cast in 1719–1721 by Giovanni Andrea Moreni, weight 1,448 kg (3,192 lb)
  • 4th bell: La Terza (1st small one), cast in 1473, weight 300 kg (661 lb)
    5th bell: La Pasquereccia or La Giustizia, cast in 1262 by Lotteringo, weight 1,014 kg (2,235 lb)
  • 6th bell: Il Vespruccio (2nd small one), cast in the 14th century and again in 1501 by Nicola di Jacopo, weight 1,000 kg (2,205 lb)
  • 7th bell: Dal Pozzo, cast in 1606 and again in 2004, weight 652 kg (1,437 lb)[31]
    Number of steps to the top: 296[32]

About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289.[33] A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.

About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289. A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.

Gallery


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View looking up

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Entrance door to the bell tower

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External loggia

 

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Inner staircase from sixth to seventh floor

 

 

 

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Inner staircase from seventh to eighth (the top) floor

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View from the top

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Assunta bell

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Pasquareccia bell

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View, looking down from the top

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A popular photo opportunity with tourists is to pose as if one was either holding up or pushing over the tower

Eiffel Tower

From Wikipedia, the free encyclopedia

Opera Snapshot_2017-11-17_181645_en.wikipedia.org

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The Eiffel Tower (/ˈaɪfəl ˈtaʊ.ər/ EYE-fəl TOW-ər; French: tour Eiffel, pronounced [tuʁ‿ɛfɛl] About this sound listen) is a wrought iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

Constructed from 1887–89 as the entrance to the 1889 World’s Fair, it was initially criticized by some of France’s leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world. The Eiffel Tower is the most-visited paid monument in the world; 6.91 million people ascended it in 2015.

The tower is 324 metres (1,063 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second-tallest structure in France after the Millau Viaduct.

The tower has three levels for visitors, with restaurants on the first and second levels. The top level’s upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift (elevator) to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second. Although there is a staircase to the top level, it is usually accessible only by lift.

Contents
1 History
1.1 Origin
1.2 Artists’ protest
1.3 Construction
1.3.1 Lifts
1.4 Inauguration and the 1889 exposition
1.5 Subsequent events
2 Design
2.1 Material
2.2 Wind considerations
2.3 Accommodation
2.4 Passenger lifts
2.5 Engraved names
2.6 Aesthetics
2.7 Maintenance
3 Tourism
3.1 Transport
3.2 Popularity
3.3 Restaurants
4 Replicas
5 Communications
5.1 FM radio
5.2 Digital television
6 Illumination copyright
7 Taller structures
7.1 Lattice towers taller than the Eiffel Tower
7.2 Structures in France taller than the Eiffel Tower
8 See also
9 References
10 Bibliography
11 External links

History


Origin

The design of the Eiffel Tower was the product of Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel, after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world’s fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853. In May 1884, working at home, Koechlin made a sketch of their idea, described by him as “a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals”. Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of company’s architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

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First drawing of the Eiffel Tower by Maurice Koechlin including size comparison with other Parisian landmarks such as Notre Dame de Paris, the Statue of Liberty and the Vendôme Column

The new version gained Eiffel’s support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise,

Not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France’s gratitude.

Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel’s design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. (A 300-meter tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel’s scheme and its rivals, which, a month later, decided that all the proposals except Eiffel’s were either impractical or lacking in details.

After some debate about the exact location of the tower, a contract was signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.

Artists’ protest

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Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids

The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a “Committee of Three Hundred” (one member for each metre of the tower’s height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet. A petition called “Artists against the Eiffel Tower” was sent to the Minister of Works and Commissioner for the Exposition, Charles Alphand, and it was published by Le Temps on 14 February 1887:

We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection … of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.

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A calligram by Guillaume Apollinaire

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: “My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?” These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying, “Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time”, and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.

Indeed, Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: “Do not the laws of natural forces always conform to the secret laws of harmony?”

Some of the protesters changed their minds when the tower was built; others remained unconvinced. Guy de Maupassant supposedly ate lunch in the tower’s restaurant every day because it was the one place in Paris where the tower was not visible.

By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany. Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.

Construction

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Foundations of the Eiffel Tower

Work on the foundations started on 28 January 1887. Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft) to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed. The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.0039 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.

At first the legs were constructed as cantilevers, but about halfway to the first level, construction was paused in order to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as “Eiffel Suicide!” and “Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum” appeared in the tabloid press. At this stage, a small “creeper” crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888. Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments in order to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees, only one person died thanks to Eiffel’s stringent safety precautions and the use of movable gangways, guardrails and screens.

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The start of the erection of the metalwork.

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7 December 1887: Construction of the legs with scaffolding.

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20 March 1888: Completion of the first level.

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15 May 1888: Start of construction on the second stage.

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21 August 1888: Completion of the second level.

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26 December 1888: Construction of the upper stage.

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15 March 1889: Construction of the cupola.

Lifts

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The Roux, Combaluzier & Lepape lifts during construction. Note the drive sprockets and chain in the foreground

Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.

Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs. Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car’s weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.

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The Otis lifts originally fitted in the north and south legs

Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair’s charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887. Otis were confident they would eventually be given the contract and had already started creating designs.

The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.

The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.

Inauguration and the 1889 exposition

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General view of the Exposition Universelle

The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower. Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.

There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May. Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays, and by the end of the exhibition there had been 1,896,987 visitors.

After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.

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Illumination of the tower at night during the exposition

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.

At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse (“truly curious”).

Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, “Buffalo Bill” Cody (his Wild West show was an attraction at the exposition) and Thomas Edison. Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition. Edison signed the guestbook with this message:

To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for communication purposes, it was allowed to remain after the expiry of the permit.

Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.

Subsequent Events

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Panoramic view during ascent of the Eiffel Tower by the Lumière brothers, 1898

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Franz Reichelt’s preparations and jump from the Eiffel Tower

For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism to the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism. At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.

On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.

Many innovations took place at the Eiffel Tower in the early 20th century. In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays. Just two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 metres) to demonstrate his parachute design. In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne. From 1925 to 1934, illuminated signs for Citroën adorned three of the tower’s sides, making it the tallest advertising space in the world at the time. In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.

On two separate but related occasions in 1925, the con artist Victor Lustig “sold” the tower for scrap metal. A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station. A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929. In 1930, the tower lost the title of the world’s tallest structure when the Chrysler Building in New York City was completed. In 1938, the decorative arcade around the first level was removed.

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American soldiers watch the French flag flying on the Eiffel Tower, c. 25 August 1944

Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946. In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge, but the flag was so large it blew away just a few hours later, and was replaced by a smaller one. When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order. On 25 June, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.

A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top. In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux. A year later, an additional lift system was installed in the north pillar.

According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.

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Base of the Eiffel Tower

In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant. The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system. A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.

Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984. In 1987, A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police. On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.

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The tower is the focal point of New Year’s Eve and Bastille Day (14 July) celebrations in Paris.

For its “Countdown to the Year 2000” celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. Fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris’s night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.

The lights sparkled blue for several nights to herald the new millennium On 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.

The tower received its 200,000,000th guest on 28 November 2002. The tower has operated at its maximum capacity of about 7 million visitors since 2003. In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level. A glass floor was installed on the first level during the 2014 refurbishment.

Design


Material

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The Eiffel Tower from below

The puddled iron (wrought iron) of the Eiffel Tower weighs 7,300 tons, and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tons. As a demonstration of the economy of design, if the 7,300 tons of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tons per cubic metre. Additionally, a cubic box surrounding the tower (324 m x 125 m x 125 m) would contain 6,200 tons of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.

Wind Considerations

When it was built, many were shocked by the tower’s daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:

Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? … Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument’s four outer edges, which is as mathematical calculation dictated it should be … will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.

He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape. All parts of the tower were over-designed to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework. In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.

The Eiffel Tower sways by up to 9 centimetres (3.5 in) in the wind.

Accommodation

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Gustave Eiffel’s apartment

When originally built, the first level contained three restaurants—one French, one Russian and one Flemish—and an “Anglo-American Bar”. After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. A promenade 2.6-metre (8 ft 6 in) wide ran around the outside of the first level. At the top, there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.

In May 2016, an apartment was created on the first level to accommodate four competition winners during the UEFA Euro 2016 football tournament in Paris in June. The apartment has a kitchen, two bedrooms, a lounge, and views of Paris landmarks including the Seine, the Sacre Coeur, and the Arc de Triomphe.

Passenger Lifts

The arrangement of the lifts has been changed several times during the tower’s history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.

Engraved Names

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Names engraved on the tower

Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this “invocation of science” because of his concern over the artists’ protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d’exploitation de la Tour Eiffel, a company operating the tower.

Aesthetics

The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to perfectly complement the Parisian sky. It was originally reddish brown; this changed in 1968 to a bronze colour known as “Eiffel Tower Brown”.

The only non-structural elements are the four decorative grill-work arches, added in Sauvestre’s sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.

One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.

Maintenance

Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.

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Panorama of Paris and its suburbs from the top of the Eiffel Tower

Tourism


Transport

The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel. The tower itself is located at the intersection of the quai Branly and the Pont d’Iéna.

Popularity

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Number of visitors per year between 1889 and 2004

More than 250 million people have visited the tower since it was completed in 1889. In 2015, there were 6.91 million visitors. The tower is the most-visited paid monument in the world. An average of 25,000 people ascend the tower every day which can result in long queues. Tickets can be purchased online to avoid the long queues.

Restaurants

The tower has two restaurants: Le 58 Tour Eiffel on the first level, and Le Jules Verne, a gourmet restaurant with its own lift on the second level. This restaurant has one star in the Michelin Red Guide. It is run by the multi-Michelin star chef Alain Ducasse and owes its name to the famous science-fiction writer Jules Verne. Additionally, there is a champagne bar at the top of the Eiffel Tower.

Replicas

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Replica at the Paris Las Vegas Hotel, Nevada, United States

As one of the most iconic landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 metres (518 ft) tall. Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.

There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.

In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.

Communications


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Top of the Eiffel Tower

The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C. Today, radio and digital television signals are transmitted from the Eiffel Tower.

FM Radio

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Digital Television

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A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61.4 ft). Work carried out in 2000 added a further 5.3 m (17.4 ft), giving the current height of 324 m (1,063 ft). Analogue television signals from the Eiffel Tower ceased on 8 March 2011.

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The Eiffel Tower illuminated in 2015

The tower and its image have long been in the public domain. In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower’s 100th anniversary was an “original visual creation” protected by copyright. The Court of Cassation, France’s judicial court of last resort, upheld the ruling in March 1992. The Société d’Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright. As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.

The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d’exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: “It is really just a way to manage commercial use of the image, so that it isn’t used in ways [of which] we don’t approve”. SNTE made over €1 million from copyright fees in 2002. However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.

French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented, a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.

Taller Structures


The Eiffel Tower was the world’s tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out. The tower has lost its standing both as the world’s tallest structure and the world’s tallest lattice tower but retains its status as the tallest freestanding (non-guyed) structure in France.

Lattice Towers taller than the Eiffel Tower

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Structures in France taller than the Eiffel Tower

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Statue of Liberty

From Wikipedia, the free encyclopedia

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The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty Island in New York Harbor in New York City, in the United States. The copper statue, a gift from the people of France to the people of the United States, was designed by French sculptor Frédéric Auguste Bartholdi and built by Gustave Eiffel. The statue was dedicated on October 28, 1886.

The Statue of Liberty is a figure of a robed woman representing Libertas, a Roman goddess. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed in Roman numerals with “JULY IV MDCCLXXVI” (July 4, 1776), the date of the U.S. Declaration of Independence. A broken chain lies at her feet. The statue became an icon of freedom and of the United States, and was a welcoming sight to immigrants arriving from abroad.

Bartholdi was inspired by a French law professor and politician, Édouard René de Laboulaye, who is said to have commented in 1865 that any monument raised to U.S. independence would properly be a joint project of the French and American peoples. Because of the post-war instability in France, work on the statue did not commence until the early 1870s. In 1875, Laboulaye proposed that the French finance the statue and the U.S. provide the site and build the pedestal. Bartholdi completed the head and the torch-bearing arm before the statue was fully designed, and these pieces were exhibited for publicity at international expositions.

The torch-bearing arm was displayed at the Centennial Exposition in Philadelphia in 1876, and in Madison Square Park in Manhattan from 1876 to 1882. Fundraising proved difficult, especially for the Americans, and by 1885 work on the pedestal was threatened by lack of funds. Publisher Joseph Pulitzer, of the New York World, started a drive for donations to finish the project and attracted more than 120,000 contributors, most of whom gave less than a dollar. The statue was built in France, shipped overseas in crates, and assembled on the completed pedestal on what was then called Bedloe’s Island. The statue’s completion was marked by New York’s first ticker-tape parade and a dedication ceremony presided over by President Grover Cleveland.

The statue was administered by the United States Lighthouse Board until 1901 and then by the Department of War; since 1933 it has been maintained by the National Park Service. Public access to the balcony around the torch has been barred for safety since 1916.

Contents
1 Design and construction process
1.1 Origin
1.2 Design, style, and symbolism
1.3 Announcement and early work
1.4 Construction in France
1.4.1 Design
1.4.2 Fundraising
1.4.3 Construction
1.5 Dedication
2 After dedication
2.1 Lighthouse Board and War Department (1886–1933)
2.2 Early National Park Service years (1933–1982)
2.3 Renovation and rededication (1982–2000)
2.4 Closures and reopenings (2001–present)
3 Access and attributes
3.1 Location and tourism
3.2 Inscriptions, plaques, and dedications
4 UNESCO World Heritage Site
4.1 Physical characteristics
5 Depictions
6 List of the tallest statues in the United States

Design and Construction Process


Origin

According to the National Park Service, the idea for the Statue of Liberty was first proposed by Édouard René de Laboulaye the president of the French Anti-Slavery Society and a prominent and important political thinker of his time. The project is traced to a mid-1865 conversation between de Laboulaye, a staunch abolitionist and Frédéric Bartholdi, a sculptor. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, is supposed to have said: “If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations.” The National Park Service, in a 2000 report, however, deemed this a legend traced to an 1885 fundraising pamphlet, and that the statue was most likely conceived in 1870. In another essay on their website, the Park Service suggested that Laboulaye was minded to honor the Union victory and its consequences, “With the abolition of slavery and the Union’s victory in the Civil War in 1865, Laboulaye’s wishes of freedom and democracy were turning into a reality in the United States. In order to honor these achievements, Laboulaye proposed that a gift be built for the United States on behalf of France. Laboulaye hoped that by calling attention to the recent achievements of the United States, the French people would be inspired to call for their own democracy in the face of a repressive monarchy.”

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Bartholdi’s Design Patent

According to sculptor Frédéric Auguste Bartholdi, who later recounted the story, Laboulaye’s comment was not intended as a proposal, but it inspired Bartholdi. Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Bartholdi was in any event busy with other possible projects; in the late 1860s, he approached Isma’il Pasha, Khedive of Egypt, a plan to build Progress or Egypt Carrying the Light to Asia, a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.

Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi’s home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France. As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans. In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.

Arriving at New York Harbor, Bartholdi focused on Bedloe’s Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: “land common to all the states.” As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue. Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project. But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.

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Bartholdi’s Lion of Belfort

Bartholdi had made a first model of his concept in 1870. The son of a friend of Bartholdi’s, American artist John LaFarge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge’s Rhode Island studio. Bartholdi continued to develop the concept following his return to France. He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.

Design, Style, and Symbolism

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Detail from a fresco by Constantino Brumidi in the U.S. Capitol in Washington, D.C., showing two early symbols of America: Columbia (left) and the Indian princess

Bartholdi and Laboulaye considered how best to express the idea of American liberty. In early American history, two female figures were frequently used as cultural symbols of the nation. One of these symbols, the personified Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Marianne came to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans. The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time, and representations of Liberty appeared in popular and civic art, including Thomas Crawford’s Statue of Freedom (1863) atop the dome of the United States Capitol Building.

Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol. A figure of Liberty was also depicted on the Great Seal of France. However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix’s famed Liberty Leading the People (1830). In this painting, which commemorates France’s Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen. Laboulaye had no sympathy for revolution, and so Bartholdi’s figure would be fully dressed in flowing robes. Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.

Crawford’s statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet. Delacroix’s figure wears a pileus, and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head. In so doing, he avoided a reference to Marianne, who invariably wears a pileus. The seven rays form a halo or aureole. They evoke the sun, the seven seas, and the seven continents, and represent another means, besides the torch, whereby Liberty enlightens the world.

Bartholdi’s early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor’s mother,] but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact. He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose. Bartholdi wrote of his technique:

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Thomas Crawford’s Statue of Freedom

The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.

Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does rise over a broken chain, half-hidden by her robes and difficult to see from the ground. Bartholdi was initially uncertain of what to place in Liberty’s left hand; he settled on a tabula ansata, used to evoke the concept of law. Though Bartholdi greatly admired the United States Constitution, he chose to inscribe “JULY IV MDCCLXXVI” on the tablet, thus associating the date of the country’s Declaration of Independence with the concept of liberty.

Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project. As chief engineer, Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored. After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers. An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy’s Sancarlone and the German statue of Arminius, both made with the same method.

Announcement and Early Work

By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition in Philadelphia led Laboulaye to decide it was time to seek public support. In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World. The French would finance the statue; Americans would be expected to pay for the pedestal. The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia. French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life. Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue’s announced name.

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Stereoscopic image of right arm and torch of the Statue of Liberty, 1876 Centennial Exposition

Despite its initial focus on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye’s political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway, though this has not been conclusively determined after testing samples. According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 90,800 kilos (200,000 pounds) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 58,100 kilos (128,000 pounds) of copper.

Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop. In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition, and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities. The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the “Colossal Arm” or “Bartholdi Electric Light”. The exhibition grounds contained a number of monumental artworks to compete for fairgoers’ interest, including an outsized fountain designed by Bartholdi. Nevertheless, the arm proved popular in the exhibition’s waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds. After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.

During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union. Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia. The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the “American Committee”. One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States. On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe’s Island site that Bartholdi had proposed.

Construction in France

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The statue’s head on exhibit at the Paris World’s Fair, 1878

On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World’s Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered. The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.

The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier. The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel. Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars which culminated in a mesh of metal straps, known as “saddles”, that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually. To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.

Eiffel’s design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown. Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long. As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure. The components of the pylon tower were built in the Eiffel factory in the nearby Parisian suburb of Levallois-Perret.

The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue’s assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe’s Island.

In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue’s big toe, was driven by United States Ambassador to France Levi P. Morton. The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors. Some work was performed by contractors—one of the fingers was made to Bartholdi’s exacting specifications by a coppersmith in the southern French town of Montauban. By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue. Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York. The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.

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Richard Morris Hunt’s pedestal under construction in June 1885

The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete. There was criticism both of Bartholdi’s statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation’s history, rather than allegorical works like the Liberty statue. There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen. Harper’s Weekly declared its wish that “M. Bartholdi and our French cousins had ‘gone the whole figure’ while they were about it, and given us statue and pedestal at once.” The New York Times stated that “no true patriot can countenance any such expenditures for bronze females in the present state of our finances.” Faced with these criticisms, the American committees took little action for several years.

Design

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Frank Leslie’s Illustrated Newspaper, June 1885, showing (clockwise from left) woodcuts of the completed statue in Paris, Bartholdi, and the statue’s interior structure

The foundation of Bartholdi’s statue was to be laid inside Fort Wood, a disused army base on Bedloe’s Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station. The fortifications of the structure were in the shape of an eleven-point star. The statue’s foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean. In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months. He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).

Hunt’s pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture. The large mass is fragmented with architectural detail, in order to focus attention on the statue. In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 U.S. states), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises. According to author Louis Auchincloss, the pedestal “craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty”. The committee hired former army General Charles Pomeroy Stone to oversee the construction work. Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal’s cornerstone was laid in 1884. In Hunt’s original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks. This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut. The concrete mass was the largest poured to that time.

Norwegian immigrant civil engineer Joachim Goschen Giæver designed the structural framework for the Statue of Liberty. His work involved design computations, detailed fabrication and construction drawings, and oversight of construction. In completing his engineering for the statue’s frame, Giæver worked from drawings and sketches produced by Gustave Eiffel.

Fundraising

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Unpacking of the face of the Statue of Liberty, which was delivered on June 17, 1885

Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events. As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled anti-Semitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue. The resulting sonnet, “The New Colossus”, including the iconic lines “Give me your tired, your poor/Your huddled masses yearning to breathe free”, is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in its base.

Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.

Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000—the equivalent of $2.3 million today. Pulitzer pledged to print the name of every contributor, no matter how small the amount given. The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. “A young girl alone in the world” donated “60 cents, the result of self denial.” One donor gave “five cents as a poor office boy’s mite toward the Pedestal Fund.” A group of children sent a dollar as “the money we saved to go to the circus with.” Another dollar was given by a “lonely and very aged woman.” Residents of a home for alcoholics in New York’s rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons. A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35. As the donations flooded in, the committee resumed work on the pedestal.

Construction

On June 17, 1885, the French steamer Isère, laden with the Statue of Liberty, reached the New York port safely. New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère. After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar.

Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel’s iron framework was anchored to steel I-beams within the concrete pedestal and assembled. Once this was done, the sections of skin were carefully attached. Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from ropes while installing the skin sections. Nevertheless, no one died during the construction. Bartholdi had planned to put floodlights on the torch’s balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships’ pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch—which was covered with gold leaf—and placed the lights inside them. A power plant was installed on the island to light the torch and for other electrical needs. After the skin was completed, renowned landscape architect Frederick Law Olmsted, co-designer of New York’s Central Park and Brooklyn’s Prospect Park, supervised a cleanup of Bedloe’s Island in anticipation of the dedication.

Dedication

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Unveiling of the Statue of Liberty Enlightening the World (1886) by Edward Moran. Oil on canvas. The J. Clarence Davies Collection, Museum of the City of New York.

A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event. On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to the Battery at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.

A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe’s Island for the dedication. De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. A French flag draped across the statue’s face was to be lowered to unveil the statue at the close of Evarts’s speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts’s address. President Cleveland spoke next, stating that the statue’s “stream of light shall pierce the darkness of ignorance and man’s oppression until Liberty enlightens the world”. Bartholdi, observed near the dais, was called upon to speak, but he declined. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.

No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi’s wife and de Lesseps’s granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group’s leaders made speeches applauding the embodiment of Liberty as a woman and advocating women’s right to vote. A scheduled fireworks display was postponed until November 1 because of poor weather.

Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue’s torch not be lit until the United States became a free nation “in reality”:

“Liberty enlightening the world,” indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the “liberty” of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the “liberty” of this country “enlightening the world,” or even Patagonia, is ridiculous in the extreme.

After Dedication


Lighthouse Board and War Department (1886–1933)

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Statue of Liberty ca. 1900

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Government poster using the Statue of Liberty to promote the sale of Liberty Bonds

When the torch was illuminated on the evening of the statue’s dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as “more like a glowworm than a beacon.” Bartholdi suggested gilding the statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch’s effect; in spite of its efforts, the statue remained virtually invisible at night. When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel’s design. In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue’s transfer to the War Department, as it had proved useless as a lighthouse. A unit of the Army Signal Corps was stationed on Bedloe’s Island until 1923, after which military police remained there while the island was under military jurisdiction.

The statue rapidly became a landmark. Many immigrants who entered through New York saw it as a welcoming sight. Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled,

I saw the Statue of Liberty. And I said to myself, “Lady, you’re such a beautiful! You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America.” And always that statue was on my mind.

Originally, the statue was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue. Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $1,673,969 in 2016) for various repairs, and to paint the statue both inside and out. There was considerable public protest against the proposed exterior painting. The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, “softened the outlines of the Statue and made it beautiful.” The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.

On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe’s Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated, and seven people were killed. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about US$100,000 (equivalent to $2,200,917 in 2016). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.

That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise US$30,000 (equivalent to $660,275 in 2016) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.

After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty Bond drives that urged American citizens to support the war financially. This impressed upon the public the war’s stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.

In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a National Monument. The only successful suicide in the statue’s history occurred five years later, when a man climbed out of one of the windows in the crown and jumped to his death, glancing off the statue’s breast and landing on the base.

Early National Park Service years (1933–1982)

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Bedloe’s Island in 1927, showing the statue and army buildings. The eleven-pointed walls of Fort Wood, which still form the statue’s base, are visible.

In 1933, President Franklin Roosevelt ordered the statue to be transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe’s Island. With the Army’s departure, the NPS began to transform the island into a park. The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue’s halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete; the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal. The statue was closed to the public from May until December 1938.

During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed “dot-dot-dot-dash”, the Morse code for V, for victory. New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night. In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.

In 1956, an Act of Congress officially renamed Bedloe’s Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it. Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965. In 1972, the immigration museum, in the statue’s base, was finally opened in a ceremony led by President Richard Nixon. The museum’s backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.

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September 26, 1972: President Richard Nixon visits the statue to open the American Museum of Immigration. The statue’s raised right foot is visible, showing that it is depicted moving forward.

In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women’s New York chapter draped an enormous banner over a railing which read “WOMEN OF THE WORLD UNITE!”

Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a Federal Court order. The statue was also several times taken over briefly by demonstrators publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada. Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.

A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island. The day concluded with a spectacular display of fireworks near the statue.

Renovation and rededication (1982–2000)

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July 4, 1986: First Lady Nancy Reagan (in red) reopens the statue to the public.

The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986. In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure. In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced. Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.

In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work. Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations. The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign. A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.

In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world’s largest free-standing scaffold, which obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. Blasting with baking soda powder removed the tar without further damaging the copper. The restorers’ work was hampered by the asbestos-based substance that Bartholdi had used—ineffectively, as inspections showed—to prevent galvanic corrosion. Workers within the statue had to wear protective gear, dubbed “moon suits”, with self-contained breathing circuits. Larger holes in the copper skin were repaired, and new copper was added where necessary. The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue’s; in exchange, the laboratory was provided some of the old copper skin for testing. The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi’s unaltered torch. Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead. The original torch was removed and replaced in 1986 with the current one, whose flame is covered in 24-carat gold. The torch reflects the sun’s rays in daytime and is lighted by floodlights at night.

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Liberty Enlightening the World

The entire puddled iron armature designed by Gustave Eiffel was replaced. Low-carbon corrosion-resistant stainless steel bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves. To prevent the ray and arm making contact, the ray was realigned by several degrees. The lighting was again replaced—night-time illumination subsequently came from metal-halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details. Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation. A modern elevator was installed, allowing handicapped access to the observation area of the pedestal. An emergency elevator was installed within the statue, reaching up to the level of the shoulder.

July 3–6, 1986, was designated “Liberty Weekend”, marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail, and the statue was reopened to the public on July 5. In Reagan’s dedication speech, he stated, “We are the keepers of the flame of liberty; we hold it high for the world to see.”

Closures and Reopenings (2001–Present)

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The Statue of Liberty on September 11, 2001 as the Twin Towers of the World Trade Center burn in the background

Following the September 11 attacks, the statue and Liberty Island were immediately closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004, but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of the Bush administration. New York Congressman Anthony Weiner made the statue’s reopening a personal crusade. On May 17, 2009, President Barack Obama’s Secretary of the Interior, Ken Salazar, announced that as a “special gift” to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.

The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code. The statue was reopened on October 28, 2012, only to close again a day later due to Hurricane Sandy. Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty Island and Ellis Island, severely damaging the dock used by the ferries bearing visitors to the statue. On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done. Due to lack of electricity on Liberty Island, a generator was installed to power temporary floodlights to illuminate the statue at night. The superintendent of Statue of Liberty National Monument, David Luchsinger, whose home on the island was severely damaged, stated that it would be “optimistically … months” before the island was reopened to the public. The statue and Liberty Island reopened to the public on July 4, 2013. Ellis Island remained closed for repairs for several more months but reopened in late October 2013. For part of October 2013, Liberty Island was closed to the public due to the United States federal government shutdown of 2013, along with other federally funded museums, parks, monuments, construction projects and buildings.

On October 7, 2016, construction started on a new Statue of Liberty museum on Liberty Island. The new $70 million, 26,000-square-foot (2,400 m2) museum will be able to accommodate all of the island’s visitors when it opens in 2019, as opposed to the current museum, which only 20% of the island’s visitors can visit. The original torch will be relocated here, and in addition to exhibits relating to the statue’s construction and history, there will be a theater where visitors can watch an aerial view of the statue. The museum, designed by FXFOWLE Architects, will integrate with the parkland around it. It is being funded privately by Diane von Fürstenberg, Michael Bloomberg, Jeff Bezos, Coca-Cola, NBCUniversal, the family of Laurence Tisch and Preston Robert Tisch, Mellody Hobson, and George Lucas. Von Fürstenberg heads the fundraising for the museum, and the project had garnered more than $40 million in fundraising as of groundbreaking.

Access and Attributes


Location and Tourism

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Tourists aboard a Circle Line ferry arriving at Liberty Island, June 1973

The statue is situated in Upper New York Bay on Liberty Island south of Ellis Island, which together comprise the Statue of Liberty National Monument. Both islands were ceded by New York to the federal government in 1800. As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay’s midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Liberty Island is one of the islands that are part of the borough of Manhattan in New York. Land created by reclamation added to the 2.3 acres (0.93 ha) original island at Ellis Island is New Jersey territory.

No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953. The ferries, which depart from Liberty State Park in Jersey City and Battery Park in Lower Manhattan, also stop at Ellis Island when it is open to the public, making a combined trip possible. All ferry riders are subject to security screening, similar to airport procedures, prior to boarding. Visitors intending to enter the statue’s base and pedestal must obtain a complimentary museum/pedestal ticket along with their ferry ticket. Those wishing to climb the staircase within the statue to the crown purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day are permitted to ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.

Inscriptions, Plaques, and Dedications

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The Statue of Liberty stands on Liberty Island.

There are several plaques and dedicatory tablets on or near the Statue of Liberty.

  • A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.).
  • A presentation tablet, also bearing Bartholdi’s name, declares the statue is a gift from the people of the Republic of France that honors “the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship.”
  • A tablet placed by the New York committee commemorates the fundraising done to build the pedestal.
  • The cornerstone bears a plaque placed by the Freemasons.
  • In 1903, a bronze tablet that bears the text of Emma Lazarus’s sonnet, “The New Colossus” (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; today it resides in the Statue of Liberty Museum, in the base.
  • “The New Colossus” tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet’s life.

A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.

UNESCO World Heritage Site


In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site. The UNESCO “Statement of Significance” describes the statue as a “masterpiece of the human spirit” that “endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity.”

Physical Characteristics

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As viewed from the ground on Liberty Island

Depictions


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A replica of the Statue of Liberty forms part of the exterior decor at the New York-New York Hotel and Casino on the Las Vegas Strip

Hundreds of replicas of the Statue of Liberty are displayed worldwide. A smaller version of the statue, one-fourth the height of the original, was given by the American community in Paris to that city. It now stands on the Île aux Cygnes, facing west toward her larger sister. A replica 30 feet (9.1 m) tall stood atop the Liberty Warehouse on West 64th Street in Manhattan for many years; it now resides at the Brooklyn Museum. In a patriotic tribute, the Boy Scouts of America, as part of their Strengthen the Arm of Liberty campaign in 1949–1952, donated about two hundred replicas of the statue, made of stamped copper and 100 inches (2,500 mm) in height, to states and municipalities across the United States. Though not a true replica, the statue known as the Goddess of Democracy temporarily erected during the Tiananmen Square protests of 1989 was similarly inspired by French democratic traditions—the sculptors took care to avoid a direct imitation of the Statue of Liberty. Among other recreations of New York City structures, a replica of the statue is part of the exterior of the New York-New York Hotel and Casino in Las Vegas.

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Head of Liberty, U.S. airmail stamp, 1971 issue

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Reverse side of a Presidential Dollar coin

As an American icon, the Statue of Liberty has been depicted on the country’s coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York’s 2001 entry in the state quarters series. An image of the statue was chosen for the American Eagle platinum bullion coins in 1997, and it was placed on the reverse, or tails, side of the Presidential Dollar series of circulating coins. Two images of the statue’s torch appear on the current ten-dollar bill. The statue’s intended photographic depiction on a 2010 forever stamp proved instead to be of the replica at the Las Vegas casino.

Depictions of the statue have been used by many regional institutions. Between 1986 and 2000, New York State issued license plates with an outline of the statue to either the front or the side of the serial number. The Women’s National Basketball Association’s New York Liberty use both the statue’s name and its image in their logo, in which the torch’s flame doubles as a basketball. The New York Rangers of the National Hockey League depicted the statue’s head on their third jersey, beginning in 1997. The National Collegiate Athletic Association’s 1996 Men’s Basketball Final Four, played at New Jersey’s Meadowlands Sports Complex, featured the statue in its logo. The Libertarian Party of the United States uses the statue in its emblem.

The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith’s song “Courtesy of the Red, White and Blue (The Angry American)”, and in opposition, appearing on the cover of the Dead Kennedys’ album Bedtime for Democracy, which protested the Reagan administration. In film, the torch is the setting for the climax of director Alfred Hitchcock’s 1942 movie Saboteur. The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand. It is knocked over in the science-fiction film Independence Day and in Cloverfield the head is ripped off. In Jack Finney’s time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role. Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979,

Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted arth—giants have uprooted it, aliens have found it curious … the symbol of Liberty, of optimism, has become a symbol of science fiction’s pessimistic view of the future.

List of the Tallest Statues in the United States


This list of the tallest statues in the United States ranks free-standing statues based on their height from base to top. The list also includes novelty architecture, (which are not statues).

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Statues over 12.2 m (40 ft)


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Statues between 6.1 and 12.2 m (20 and 40 ft)


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Statues under 6.1 m (20 ft)


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Dumbarton Bridge

From Wikipedia, the free encyclopedia

Dumbarton Bridge (California)

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The Dumbarton Bridge is the southernmost of the highway bridges across San Francisco Bay in California. Carrying over 81,000 vehicles daily, it is the shortest bridge across San Francisco Bay at 1.63 miles (8,600 ft; 2,620 m). Its eastern end is in Fremont, near Newark in the San Francisco Bay National Wildlife Refuge, and its western end is in Menlo Park. Bridging State Route 84 across the bay, it has three lanes each way and a separated bike/pedestrian lane along its south side. Like the San Mateo Bridge to the north, power lines parallel the bridge.

Contents
1 Tolls
2 Environmental factors
3 History and engineering features
4 Roadway Connections
5 Dumbarton Rail Bridge
6 Hetch Hetchy Aqueduct

Tolls


Tolls are only collected from westbound traffic at the toll plaza on the east side of the bay. Since July 2010, the toll rate for passenger cars is $5. For vehicles with more than two axles, the toll rate is $5 per axle. Drivers may either pay by cash or use the FasTrak electronic toll collection device. There are seven toll lanes at the plaza. During peak traffic hours, the leftmost lane is designated a FasTrak-only HOV lane, allowing carpool vehicles carrying two or more people or motorcycles to pass for a toll of $2.50. The next two leftmost lanes are FasTrak-only lanes for all vehicles, and all other lanes accept both cash and FasTrak. During non-peak hours the HOV lane is open to vehicles carrying only one person, but remains FasTrak-only.

Environmental Factors


When the current bridge was planned in the 1970s, Caltrans conducted extensive environmental research on the aquatic and terrestrial environment. Principal concerns of the public were air pollution and noise pollution impacts, particularly in some residential areas of Menlo Park and East Palo Alto. Studies were conducted to produce contour maps of projected sound levels and carbon monoxide concentrations throughout the western approaches, for each alternative connection scheme.

The area around the bridge is an important ecological area, hosting many species of birds, fish and mammals. The endangered species California clapper rail is known to be present in the western bridge terminus area.

Near the bridge on the Peninsula are Menlo Park’s Bayfront Park, East Palo Alto’s Ravenswood Open Space Preserve, and the Palo Alto Baylands Nature Preserve. An accessible portion of the San Francisco Bay National Wildlife Refuge lies immediately north of the western bridge terminus, where the Ravenswood trail runs.

On both sides of the east end of the bridge are large salt ponds and levee trails belonging to the Don Edwards San Francisco Bay National Wildlife Refuge. The headquarters and visitor center for the refuge is on a hill south of the bridge approach. North of the east end of the bridge is Coyote Hills Regional Park, with its network of trails running over tall hills. North of that is the Alameda Creek Regional Trail from the Bay to Niles Canyon. East of Coyote Hills is Ardenwood Historic Farm, a restored working farm that preserves and displays turn-of-the-century farming methods

History and Engineering Features


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The original vertical-lift span of the Dumbarton Bridge, shown in 1984 shortly before it was demolished

The bridge has never been officially named, but its commonly used name comes from Dumbarton Point, named in 1876 after Dumbarton, Scotland. Built originally to provide a shortcut for traffic originating in San Mateo and Santa Clara counties, the bridge served industrial and residential areas on both sides. The earlier bridge opened on January 17, 1927 and was the first vehicular bridge to cross San Francisco Bay. A portion of this old drawbridge remains as a fishing pier on the east side of the Bay. The original bridge was built with private capital and then purchased by the state for $2.5 million in 1951.

Its age and the two-lane undivided roadway and lift-span led to a replacement bridge, built to the north. This bridge opened in October 1982 as a four-lane, high-level structure. The structure was re-striped to accommodate six lanes on October 18, 1989 in response to the temporary closing of the San Francisco–Oakland Bay Bridge due to the Loma Prieta earthquake, and the permanent widening of the approaches was completed by July 2003. The cost of the complete replacement project was $200 million. The current bridge includes a two-way bicycle and separate pedestrian path on the south-facing side. A 340 ft (104 m) center span provides 85 ft (26 m) of vertical clearance for shipping. The approach spans on both sides of the Bay are of pre-stressed lightweight concrete girders supporting a lightweight concrete deck. The center spans are twin steel trapezoidal girders which also support a lightweight concrete deck. In 1970 the movie Harold and Maude was filmed at the toll plaza and showed Maude speeding and disobeying a police officer.

The center span of the original bridge was demolished in a controlled explosion in September 1984.

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A view from the air, above Palo Alto, looking towards Fremont

Roadway Connections


The bridge is part of State Route 84, and is directly connected to Interstate 880 by a freeway segment north of the Fremont end. There is no freeway connection between U.S. 101 and the southwest end of the Dumbarton Bridge. Motorists must traverse one of three at-grade routes to connect from the Bayshore Freeway to the bridge. These are (from northwest to southeast):

  1. the Bayfront Expressway, a limited-access road linking to U.S. 101 at Marsh Road, Atherton (the official routing of SR 84)
  2. Willow Road (SR 114), an approximately one-mile expressway through east Menlo Park to U.S. 101
  3. University Avenue (SR 109), an arterial road and the main commercial street of East Palo Alto.

The Willow Road and University Avenue junctions with Bayfront Expressway are at-grade intersections controlled by traffic lights; there are two additional controlled intersections at Chilco Road and Marsh Road, and the Marsh Road interchange on U.S. 101 is a parclo. The result is that Bayfront Expressway is frequently congested, and when not congested is often the site of high-speed car crashes. In 2007, prominent author David Halberstam was killed in one such crash at the Willow Road intersection.

Access to I-280 is available via State Route 84 to Woodside Road (as signed) or other arterial routes. There are no cross-Peninsula freeway connections between State Routes 92 and 85 (which is so far south that it technically lies in Silicon Valley and not on the Peninsula). In addition, there are no direct cross-Peninsula arterial routes between State Route 84 and Page Mill Road, a five-mile gap.

Although the present situation has resulted in severe traffic problems on the bridge itself and in Menlo Park and East Palo Alto, Caltrans has been unable to upgrade the relevant portion of Highway 84 to freeway standards for several decades, due to opposition from the cities of Menlo Park, Atherton and Palo Alto. Freeway opponents fear that upgrading Highway 84 will encourage more people to live in southern Alameda County (where housing is more affordable) and commute to jobs in the mid-Peninsula area (where businesses wish to be located in order to be close to Silicon Valley), thus increasing traffic in their neighborhoods to the south and west of U.S. 101.

Bus service across the bridge is provided by the Dumbarton Express, run by a consortium of local transit agencies (SamTrans, AC Transit, VTA and others) which connects to BART at Union City and Caltrain at Palo Alto and California Avenue. AC Transit also runs Transbay buses U (Fremont BART and Amtrak to Stanford) and DA (Ardenwood to Oracle and Facebook headquarters) across the bridge. The free Stanford Marguerite Shuttle also runs buses AE-F and EB across the bridge.

Dumbarton Rail Bridge


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Dumbarton Rail Bridge 2007 (seen from a kayak)

Just to the south of the car bridge lies the Dumbarton Rail Bridge. Built in 1910, the rail bridge has been unused since 1982 and its western approach collapsed in a fire in 1998. When the bridge was in use, boaters would signal the operator, who would start a diesel engine and rotate the bridge to the open position on a large gear. The bridge is now left in the open position as shown. There are plans for a new rail bridge and rehabilitation of the rail line to serve a commuter rail service to connect Union City, Fremont, and Newark to various Peninsula destinations. A successful March 2004 regional transportation ballot measure included funding to rehabilitate the rail bridge for the commuter rail service, but in October 2008 the Metropolitan Transportation Commission transferred $91 million from this project to the BART Warm Springs Extension Project in Fremont.

Hetch Hetchy Aqueduct


Between the Dumbarton Bridge and the Dumbarton Rail Bridge is the Bay crossing of the Hetch Hetchy Aqueduct. The aqueduct rises above ground in Newark at the east side of the Bay, falls below the water’s surface at a pump station in Fremont, re-emerges in the middle of the Bay and then continues above water until it reaches the west side of the Bay at Menlo Park.

Opera Snapshot_2017-11-05_234936_en.wikipedia.org