DEPARTMENT OF ARCHITECTURE FACULTY OF ARCHITECTURE PLANNING & SURVEYING
DECONSTRUCTIVISM & MORPHOGENESIS AAR 552 MODERN MOVEMENT AND CONTEMPORARY ARCHITECTURE
DECONSTRUCTIVISM MORPHOGENESIS
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DECONSTRUCTIVISM THE technology of POEMS
GEHRY TSCHUMI BEHNISCH & PARTNER HIMMELBLAU HADID
This movement and style gained its recognition in1988 during an exhibition titled ‘ deconstructivist architecture’ at New york Museum of Modern Art organised by Philip Johnson
For Deconstructivist, ‘semantic – meaning’ is more important than the visual or physical of a building ‘language of form – poetic transformation of social spirits into building forms’
Deconstructivist architects feels that many current building lack the quality of meaning Elements like roof, wall, column and window are built for functional requirements only without the real purpose.
Therefore, they think one way of creating the true meaning of elements is by ‘de-architecture’ using the separation of building parts into small pieces and units. Then it is followed by transformation process into irregular or unique forms that carry local culture and social meanings.
The Idea of Deconstructivism Out-of-ordinary elements form major part of the structure Highlights on the less important elements – steps, chimney, foyer Dismembered units interconnected through axis of focal points Architectural semantics as ‘an inhabited construct’. Deconstruct the semantics. Dynamic Non conventional use of materials Non uniform, no prototype Every design fits only for the intended place and culture.
Gehry was born Frank Goldberg in Toronto, Canada, in 1929. Frank Gehry moved to Los Angeles at an early age and completed his architectural education at the University of Southern California. During the 1960s, Frank Gehry began to redirect his architecture by fusing the Japanese and vernacular elements in his early work Manipulation of perspectively distorted shapes, sculptural masses molded by light, and buildings that reveal their structures.
Frank Gehry began to explore a fascination with the process of construction and the use of massproduced and affordable materials. By exposing wood frame construction, by using plywood, corrugated metal, and chain link metal fence as sheathing or screens, and by breaking volumes into incomplete geometries and partial objects, His own house in Santa Monica (1978), in which an existing house was surrounded and cut through by an addition clad in metal and glass .
This new space was shot through with implied volumes created by skewed pieces of chain link, wood studs, and glass.
GEHRY,OWN HOUSE,SANTA MONICA,CA:1978
GEHRY,OWN HOUSE,SANTA MONICA,CA:1978
“I loved the idea of leaving the house intact… I came up with the idea of building the new house around it. We were told there were ghosts in the house… I decided they were ghosts of Cubism. The windows… I wanted to make them look like they were crawling out of this thing. At night, because this glass is tipped it mirrors the light in… So when you’re sitting at this table you see all these cars going by, you see the moon in the wrong place… the moon is over there but it reflects here… and you think it’s up there and you don’t know where the hell you are…” – Frank Gehry
GEHRY,CALIFORNIA AEROSPACE MUSEUM,LA:1983-84
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California Aerospace Museum (19821984) features a prow-shaped sheetmetal volume suspended over a dramatic entrance ramp,
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a series of collaged wall elements, and an F-104 airplane suspended over a hangar door (Fig. 3).
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Inside, the incomplete shapes and expansive volumes are animated both by an ordered set of staircases and geometrically formed skylights and by the exhibited aircraft rotating through the space.
Gehry,Guggenheim Bilbao,1993-97
Inspired by the shapes and textures of a fish, it can be considered a sculpture, a work of art in itself. The forms do not have any reason nor are governed by any geometric law. The museum is essentially a shell that evokes the past industrial life and port of Bilbao. It consists of a series of interconnected volumes, some formed of orthogonal coated stone and others from a titanium skeleton covered by an organic skin. The connection between volumes is created by the glass skin.
Because of their mathematical complexity, the sinuous curves were designed using a three dimensional design software called Catia, ď‚ž The building is built with load-bearing walls and ceilings, which have an internal structure of metal rods that form grids with triangles. ď‚ž The walls and ceilings have several insulating layers and an outer coating of titanium. Each piece is unique and exclusive to the place, determined by Catia. ď‚ž
Gehry & Facebook Campus
Gehry & Facebook Campus
Gehry & Facebook Campus
Gehry & Facebook Campus
GEHRY,Team Disneyland Administration Building,Anaheim,CA
GEHRY, Nationale Nederlanden Building,Prague,Czech Republic:1995
GEHRY, Nationale Nederlanden Building,Prague,Czech Republic:1995
TSCHUMI, PARC DE LA VILLETTE, PARIS:1982-1990
TSCHUMI,PARC DE LA VILLETTE,PARIS:19 82-1990
‘a discontinued building, a whole which is split into a number of landmarks distributed over the entire site’ Tschumi’s strategy of the Park of The 21th. Century
Frenchmen Jacques Derrida formulated his thought on Tschumi’s Parc de la Villette:
‘no madness at all – maintaining architecture’
‘point of madness – now architecture’
‘transformation of architecture within self created reference system of points, lines and planes’
‘structure as open to combinatorial substitutions or permutations, which relate it as much to other frivolities as to its own part’
‘deconstruct the semantics belonging to architecture’
Parc de la Villette
Parc de la Villette
Parc de La Villette, Paris (1982-90)
This park consist of the combination of various layers that include planes (structure), points(folies) and lines(circulation network) Each layer has its own organisation system that overlaps with other layers Generally, this park looks like a building is disintegrated into small meaningful landmarks that are connected by several enclosed walking galleries. The empty spaces between the building pieces are also considered as part of the design scheme.
HIMMELBLAU,ROOF CONVERSION FOR A LAWYER’S OFFICE,VIENNA: 1983-88
BEHNISCH & PARTNER,HYSOLAR RESEARCH BUILDING,UNIVERSITY OF STUTTGART:1987
BEHNISCH & PARTNER,HYSOLAR RESEARCH BUILDING,UNIVERSITY OF STUTTGART:1987
elevation
section BEHNISCH & PARTNER,HYSOLAR RESEARCH BUILDING,UNIVERSITY OF STUTTGART:1987
Gasometer B, Vienna, 2002, Coop Himmelblau.
Gasometer B, Vienna, 2002, Coop Himmelblau.
The Gasometer in Vienna – Simmering a former gas tank from the year 1896.
They were revitalized in an extensive renovation from 1999 to 2001
Now they have an entertainment center, several apartments, a dormitory and a convention hall on.
The Gasometer were part of the gas plant in Simmering , to compensate for supply fluctuations in the Vienna gas network
Gasometer B, Vienna, 2002, Coop Himmelblau.
"Gasometer B" by the Viennese architects " Coop Himmelblau planned ".
He is easily recognizable from the outside because he adduced a shield-like annex - a 18-storey residential building. The former gas tank plus additional construction include a total of 254 apartments.
HADID,VITRA FIRE STATION,WEIL AM REIHN:1993
Guggenheim Hermitage Museum (2008), by Zaha Hadid
Competing against Daniel Libeskind and Massimiliano Fuksas, Zaha Hadid Architects have won the competition held by Guggenheim Hermitage Museum in Vilnius, Lithuania.
Zaha Hadid’s futuristic designs match the cultural aims of the Hermitage Guggenheim Vilnius Project.
The characteristic of Zaha Hadid architectural design always takes the conceptual terms of fluidity, velocity and lightness.
www.oursurprisingworld.com
The building appears like a mystical object
floating above the extensive artificial landscape strip, seemingly defying gravity
by exposing dramatic undercuts towards the surrounding entrance plazas.
Large activated green fields flow around the museums sculptural mass, underlining its enigmatic presence with curvilinear lines echoing the elongated contours of the building.
Contrasting with the vertical business district skyline it is a manifestation of Vilnius’ new cultural significance.
“ This museum will be a place where you can experiment with the idea of galleries, spatial complexity and movement.� (Zaha Hadid)
Guggenheim Hermitage Museum (2008), by Zaha Hadid
The exhibition would have been a collection of works by Lithuanian avant-garde film maker Jonas Mekas.
Also collections from Saint Petersburg's Hermitage Museum and New York City's Guggenheim Museum would have been display as well.
It is estimated that the museum would have cost up to 170 million litas (75 million USD). Completion was initially scheduled for 2011.
However. due to corruption allegations, the entire project ended. It maybe moved to Helsinski, Finland
Hermitage design by Libeskind
Hermitage design by Massimiliano
Zaha Hadid, Peak Leisure Club, Hong Kong 1983
Proposal for architectural landmark to stand apart above the congestion of Hong Kong
Distinctive horizontal layers, floating voids that contain the various club activities within a unique geology.
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Zaha Hadid, Galaxy Soho (2012), Beijing, China
Zaha Hadid, Galaxy Soho (2012), Beijing, China
Five continuous volume coalesce to create internal world of continuous open spaces (office, retail entertainment outlet)
Re-inventing of the classical chinese courtyard which generates an immersive, enveloping experience at the heart of Beijing.
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Zaha Hadid, Galaxy Soho (2012), Beijing, China
LIBESKIND,JEWISH MUSEUM,BERLIN:1989-98
LIBESKIND,JEWISH MUSEUM,BERLIN:
1989-98
MORPHOGENESIS ARCHITECTURE AND BIOLOGY
new
insights into ecological and generative design in architecture, as new ways of seeing and measuring dynamic living systems.
MORPHOGENESIS ď‚ž
The Water Cube, a swimming pool in Beijing constructed for the 2008 Olympics
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It is considered as a variety of arrangements from living cells to mineral crystals before implementing a structure resembling that of soap bubbles.
MORPHOGENESIS
Complex, non-uniform structures will become increasingly common in architecture in response to the growing utilization of parametric modelling, fabrication and mass-customisation.
New challenges and opportunities that the designing of such structures brings are without direct precedents in architecture.
Such precedents do exist in nature where structurally complex living organisms have been adapting to their environments for millions of years.
MORPHOGENESIS ď‚ž
Comparing the formation of cellular structures in biology and in architecture, is one of the futuristic approaches to architectural designing that can extend architects’ creative repertoire while retaining the automation that made The Water Cube possible.
WATERCUBE, BEIJING (2008)
WATERCUBE, BEIJING (2008)
MORPHOGENESIS - LABSTUDIO ď‚ž
LabStudio is a hybrid architectural-biological design unit founded by architect Jenny Sabin and molecular biologist Peter Lloyd Jones at the University of Pennsylvania.
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Questions for the future, "Can architects help create next-generation treatments for cancer and lung disease? Will the buildings of tomorrow have intelligent skins?"
MORPHOGENESIS - LABSTUDIO ď‚ž
In this unusual partnership, architects, mathematicians, materials scientists, and cell biologists collaborate to develop, analyze, and abstract dynamic, biological systems through the generation and design of new tools.
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These new approaches for modeling complexity and visualizing large datasets are applied to both architectural and biomedical research and design.
MORPHOGENESIS - LABSTUDIO
Architect , Jenny Sabin and Molecular biologist , Peter Lloyd Jones
MORPHOGENESIS - LABSTUDIO
Penn's Institute for Medicine & Engineering and School of Design in 2007
MORPHOGENESIS - LABSTUDIO
OTHER EXAMPLES
OTHER EXAMPLES
BIOMIMICRY ARCHITECTURE AND NATURE “Life has had millions of years to finely-tune mechanisms and structures (such as photosynthesis, or spider’s silk) that work better than current technologies, require less energy and produce no life-unfriendly waste. The emulation of this technology is the goal of biomimicry, the art of innovation inspired by nature.”
https://marialorenalehman.com/post/biomimicry architecture-inspired-by-nature
BIOMIMICRY ARCHITECTURE AND NATURE
Nature can teach us about systems, materials, processes, structures and aesthetics (just to name a few). By delving more deeply into how nature solves problems that we experience today, we can extract timely solutions and find new directions for our built environments. https://marialorenalehman.com/post/biomimicry architecture-inspired-by-nature
BIOMIMICRY ARCHITECTURE AND NATURE As architects, we can benefit from biomimicry to make buildings better by pushing for more natural, integrated, efficient and healthy solutions. We also need to take a look at the role aesthetics plays in nature – with the way function and form so synergistically merge. Perhaps this is a way for buildings to harmonize with nature in renewed ways – making built environments more environmentally sound and healthy for occupants. https://marialorenalehman.com/post/biomimicry architecture-inspired-by-nature
BIOMIMICRY- EASTGATE CENTRE Eastgate Centre, Mick Pearce Harare, Zimbabwe 1996
BIOMIMICRY- EASTGATE CENTRE
A shopping centre and office block in central Harare, Zimbabwe Designed to be ventilated and cooled by entirely natural means, it was probably the first building in the world to use natural cooling to this level of sophistication.
BIOMIMICRY- EASTGATE CENTRE
Mike Pearce was inspired by models of internal temperature regulation in termite mounds.
Researchers had proposed that termite mounds maintained stable internal climates by having a physical structure that enables passive internal airflow.
Eastgate Centre achieves a controlled internal climate with the help of cost-effective and energy-efficient mechanisms originally inspired by termite mounds.
https://asknature.org/idea/eastgate-centre/#.XAVAWYszZdg
BIOMIMICRY- EASTGATE CENTRE
https://asknature.org/idea/eastgate-centre/#.XAVAWYszZdg
BIOMIMICRY- EASTGATE CENTRE
Creates a self-regulating ventilation system that would keep the building at temperatures that are comfortable for workers and residents. https://asknature.org/idea/eastgate-centre/#.XAVAWYszZdg
BIOMIMICRY-THE FISH HOUSE
The Fish House, Eugene Tssui Berkeley, California, USA, 1994-1995
BIOMIMICRY-THE FISH HOUSE The Fish House, Eugene Tssui Berkeley, California, USA 1994-1995
Ojo del Sol, also called The Fish House by local residents, is a home designed in 1993 by architect Eugene Tssui. The building was constructed between 1994 and 1995 in a residential neighborhood of Berkeley California. The home’s name "Ojo Del Sol", Spanish for "Eye of the Sun", originates from the fifteen foot diameter eye-like window that faces south.[1] According to the architect, the structure is based upon the world's most indestructible living creature, the tardigrade.[2]
The overall draws from the tardigrade, the fourbedroom, two-story Tsui House is elliptical in shape and has parabolic arches. The concrete forms create a concrete lattice structure which mimics the skeleton of the Cholla cactus. The solar-heating system is based on the bone and vein structure of two dinosaurs, the Dimetrodon and the Stegosaurus. The dimpled exterior surface enhances the aerodynamic efficiency by relieving wind friction like fish scales.
ARCHITECTURE AND WORLD EXPO/FAIR
What is world expo?
A world's fair, world fair, world exposition or universal exposition (sometimes spelled expo for short) is a large public exhibition.
These exhibitions vary in character and are held in varying parts of the world.
It is a venue where a nation or country exhibit their technology and ideological progress
Architecture is one dominant way to illustrate those progress
What is world expo? The best-known 'first World Expo' was held in The Crystal Palace in Hyde Park, London, United Kingdom, in 1851, under the title "Great Exhibition of the Works of Industry of All Nations It influenced the development of several aspects of society, including art-and-design education, international trade and relations, and tourism.
3 Eras of World Expo Industrialization (1851–1938) The first era could be called the era of "industrialization" and covered, roughly, the period from 1800 to 1938. In these days, world expositions were especially focused on trade, and were famous for the display of technological inventions and advancements. Cultural exchange (1939–1987) The fairs encouraged effective intercultural communication for the exchange of innovation. The theme of the 1939 fair was "Building the World of Tomorrow"; at the 1964–65 New York World's Fair, it was "Peace Through Understanding"; Nation branding (1988–present) From Expo '88 in Brisbane onwards, countries started to use world expositions more widely and more strongly as a platform to improve their national images through their pavilions.
Examples of world expo Expo 67, Montreal, Canada featured 90 pavilions representing Man and His World themes, nations, corporations, and industries including ď ą
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the U.S. pavilion, a geodesic dome designed by Buckminster Fuller. the Habitat 67 modular housing complex designed by architect Moshe Safdie
Examples of world expo Expo '70. The theme of the Expo was "Progress and Harmony for Mankind.“ The master plan for the Expo was designed by the Japanese architect Kenzo Tange helped by 12 other Japanese architects who designed elements within it.
Festival Pavillion, Kenzo Tange
Planned on three levels it was primarily a social space which had a unifying space frame roof.
Kodak & Ricoh Pavillion, Kisho Kurokawa
Examples of world expo Expo 2008 was an international exposition held in Zaragoza, Spain, with the theme of "Water and Sustainable Development". The exhibition’s most emblematic buildings were the Water Tower, an 80metre-high transparent building designed by Enrique de Teresa to evoke a drop of water, Zaha Hadid's Bridge Pavilion, and the river aquarium.
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