JOURNAL 2012
HAMZAH MANSOOR
1
THE ESPLANADE -THEATRES ON THE BAY, SINGAPORE
A new paradigm Influence from the esplanade has flourished more “organic” and “parametric” architecture along the bay.
This week’s topic is heavily regarded with the discourse in architecture, and how we define architecture in today’s society. On a personal note coming from Singapore, I would say that the “The Esplanade -- Theaters on the Bay”, has caused quite a cultural shift for Singapore as a society towards the arts scene. On Oct. 12 2002, government leaders hope their “$343 million performance complex” will provide a concrete visual backing for Singapore’s vision for the arts. Located along the bay of Singapore’s prominent cityscape, the Esplanade (one of the first built projects to boast complexity in its form as parametric architecture) serves to showcase the government’s commitment in promoting the arts. What I can say is that this has definitely “ease the disciplinary strictness” of Singapore as a society to allow flexibility and freedom not only in the built-environment, but culturally in the lives of Singaporeans as well.
Figure 2: Arts Science Museum – completion 2011 (Source: WilliamCho)
We have had a reputation for being “too strict”- zoning restrictions, censorship etc. These restrictions have caused an effect on the cultural scene, as what Arnold (2002) mentions “No Bohemia here: Singapore canes graffiti artists, housing rules keep most Singaporeans at home with their parents until they get married, and censorship rules have silenced any would-be-avantgarde”. I find that people play it too safe in Singapore, until the construction of the Esplanade in 2002. We start to see a change in Singapore’s cityscape in progression with time since then, allowing more interesting and complex structures to surface with greater flexibility Williams (2005) discusses ‘Architecture as Art’, Singapore’s new direction towards the arts could lead its society to think of buildings now as ‘individual works of art’ , challenging existing views about architecture and the possibilities of more aesthetically brilliant buildings to flourish. Source: Williams, Richard. 2005. Architecture and Visual Culture.
Figure 3: Gardens by the bay completion 2012 (Source: Kenny Teo)
Figure 1: Esplanade - Theatres on the Bay – completion 2002 (Source: Eugin Goh)
CAPITAL GATE, ABU DHABI Another building that have caused quite a discourse in the architectural perspective through society (on a global scale) would be the Capital Gate in Abu Dhabi (RMJM). The Sheikh of Abu Dhabi has demanded the architects RMJM to build a structure so spectacular; it will instantly become an international symbol for Abu Dhabi. The 160-meter high tower leans at an angle of 18 degrees, more than 4 times the angle of the Italy’s Leaning Tower of Pisa. The idea was to not go bigger or taller but rather ‘challenge the rules of architecture’. I believe this has greatly influenced Abu Dhabi or rather the world in terms of building a gravity-defying megastructure that goes against the rules of physics and engineering bringing about a discourse on the possibilities of such complex structures to exist at such a big scale. This idea that parametric/digital architecture can now be made possible for skyscrapers (with the advancement of science and technology) nudges current architects what can they do with future megastructures. In Williams (2005) Architecture and Visual Culture, he mentions how ‘architecture as art’ exists because a client allows it to exist. For this case the client, the Sheikh, was the one who determined the function of the project, its specification, its location and above all, its cost. What we can learn from here is that for such structures to exist, the architect needs to work within all its parameters within a budget in order to have it built.
Figure 4: Capital Gate Tower, RMJM architects (Source: Sean Fallon)
2
PARAMETRIC DESIGN AS AN ICON
THE EDEN PROJECT, UNITED KINGDOM Biology has been perfecting its systems for billions of years. Designers today would do well with the aid of parametric generators to mimic nature and its components. That is one of many interesting aspects of such complex software like grasshopper that will benefit architecture in this generation. Times are changing, a lot of design professions are a notch higher than a lot of architects today distorting the ways of the past and bringing about more complex and exciting innovations to the table. We as architects need to do the same to keep in par in this age of technology.
The most difficult challenges often hold the potential for the most inventive solutions. The Eden Project designed by Grimshaw architects is one of the world’s largest greenhouses and is greatly inspired by the form and nature of soap bubbles dealing with the project’s main obstacle; to construct a huge structure spanning across uneven land. To resolve the challenges of the irregularity on site, the team proposed an idea to create a string of bubbles, the diameter of which could be varied to provide the right growing heights in the different parts of the building. The team explored a variety of different iterations of this bubble string and set them into 3D terrain models of the site. By overlaying the desired parametric modelling of the string of bubbles onto the 3D site terrain, adjustments to its design can be easily done through grasshopper perhaps to achieve the appropriate outlook in regards to terrain. The next challenge was to strive for the lightest possible structure. Studying a whole series of natural examples like carbon molecules and pollen grain, an analytical data is revealed that the most efficient way of structuring a spherical form is through geodesic arrangements of pentagons, hexagons or triangles. This method of superimposing geometry into surface intrigues me to think more about the panelling system in curved surfaces using triangles/ hexagons – Geodesic.
Figure 5: – Eden Project, Grimshaw Architects
BIOMIMICRY
3
Another significant move in this process came in trying to maximise the size of the hexagons so that light penetration could be increased. Glass would have been a constraint because of it weight and size, so an alternative material was used an that is ETFE; a high-strength polymer that can be formed into an ultra-lightweight cladding element by welding the edges of three layers together and then inflating it for its stiffness. Source: Pawlyn, Michael. 2011. Biomimicry in Architecture, London.
“BETWEEN NOW AND 2050 I THINK BIOMIMCRY IS GOING TO BE ONE OF THE MAIN TOOLS THAT WILL FACILITATE THE TRANSITION FROM THE INDUSTRIAL AGE TO THE ECOLOGICAL AGE OF MANKIND.” -PETER HEAD, CHAIR OF GLOBAL CONSULTING PLANNING, ARUP
4
Figure 6: – Bubble latice structre
SHI LING BRIDGE, LONDON Biomimicry has definitely changed the definition of beauty; a parametric computation of data from the natural world. It is the yin and yang of beauty where organism meets technology. Architect Tonkin Liu together with structural engineer Ed Clark, designed the Shi Ling bridge which was inspired by the forms of various seashells and techniques from tailoring to develop a new form of construction derived from planar surfaces, which they refer to as a ‘shell-lace structure’. Just like the shells, the structure derives its strength from a combination of curves, folds and ribs so that large forms can be created using extremely thin sheet material. Software programmes like grasshopper allows a high degree of refinement, and identifies low-stress locations where perforations can be made to further reduce the amount of material. The end product is an extremely elegant structure, constructed with a minimum of materials that derives its strength from its form rather than mass. Figure 7: – Shi Ling Bridge, Tonkin Liu Architects (Sourche: www.tonkinliu.co.uk)
5
Diagrams by Tonkin Liu Architects showing how structural principles from shells were analysed. The Shi Ling bridge is an example of a ‘Shell-lace structure’, that achieves efficiency of materials by exploiting folded and twisted forms from shells. I believe this can be achieved through algorethmic computation in architecture, by lofting the outline of the shell strcutre to match the site’s constraints, and superimposing geometric patterns to further sttimulate the structural concept of shells. Source: Pawlyn, Michael. 2011. Biomimicry in Architecture, London. Liu, Tonkin. 2012. www.tonkinliu.co.uk, viewed on Feb 25th 2012
Figure 7: – Shi Ling Bridge, Tonkin Liu Architects (Sourche: www.tonkinliu.co.uk)
Figure 8: – Shi Ling Bridge, Tonkin Liu Architects (Sourche: www.tonkinliu.co.uk)
SPANISH PAVILION, SHANGHAI EXPO, SHANGHAI Figure 9: – School of fish - (Source: mindpopsicles.blogspot.com.au)
Figure 10: – Spanish Pavilion, Miralles Tagliabue EMBT - (Source: www.architecturenewsplus.com)
INSPIRED BY THE KINETICS OF NATURE; THE NATURAL BEAUTY OF MOVEMENT, SPEED AND SERENITY.
CULTURE + KINETICS + TECHNOLOGY Figure 11: – Spanish Pavilion interior, Miralles Tagliabue EMBT - (Source: http://www.aittam.com/wp/expo2010/)
The Spanish Pavilion for the 2010 World Expo of Shanghai is a reflection of Spanish culture and tradition, specifically pertaining to the recovery of wickerwork art (weaving baskets) into its design through the use of paramatric modelling and scripting. What I love about this building is that it incorporates traditional craftwork into its complex geometrical form, that is said to be only achievable through “Algorithmic Thinking” (where computers do most of the design inputs). I believe this inclusion of craftwork from the locals gives the building sentimental values and evicts emotion to its architecture. Furthermore, this concept of using basketry as a facade is rather sustainable in nature and provides excellent sunshading device to the interiors. The play of texture and colors in its material also creates a sense of “dynamism” and “movement” in the buildings potrayal of weaving art.
6
7
Figure 12 & 13: – Spanish Pavilion Elevation and Details, Miralles Tagliabue EMBT - (Source: http://www.aittam.com/wp/expo2010/)
SCRIPTING IN
FASHION
“Like the skin, the essence of time is recorded, a second skin is generated as a representation of one self, both physical and emotional inscribed into material.” - KARL KJELSTRUP-JOHNSON, AA, LONDON Scripting in fashion through the use of Grasshopper has allowed the individual to take control in creating their own contourrs, through articulation and expression of their desired body movements. The movement of our bodies are articulated through both space and time, the body becomes a landscape in which each contour defines our physicality. With the use of scripting, the designer is able to utilise multiple disciplines; architectural design, 3D digital design and laser cutting to incorporate with the human form; allowing the individual to form his/her ideal garment that responds to its skin.
Source: Johnson, Karl-Kjelstrup. 2012. http://krkj. wordpress.com/, viwed on 27 March 2012.
“THROUGH THE USE OF PARAMETRIC MODELLING AND SCRIPTING, THE TOPOGRAPHY DISPLACEMENT MAP IS READ, THE BODY CONTOUR LINES CREATED AND THE SKIN RELIEF EXEMPLIFIED THEN LASER CUT TO FORM THE SECOND SKIN.”- KARL KJELSTRUPJOHNSON, AA, LONDON.
8