THINK ABOUT IT CHRISTOPHER KRAMBIAS
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CONTEXT 1.0 DESIGN DEVELOPMENT 0 1.1 ASYMMETRICAL GRID 1 1.2 FREE-FORM ASYMMETRY 2 1.3 FAILED ITERATIONS 3 1.4 FORMING FLOORS 5 1.5 GRID FORMING COLUMNS 6 1.6 PARAMETRIC EXPLORATIONS 7
2.0 FINAL DRAWINGS 18 3.0 MODEL IMAGES 32 4.0 PERSPECTIVES 38
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The intention of this project is to explore the philosophic presence of architecture through comprehensive research of major pieces of architectural work and philosophical texts. The initial stages of this project focused on analysis of MICHELANGELO’S Capitoline Hill and especially Hannah Arendts “The Human Condition”. Key thoughts were brought into the formation of this project which were inspired by these two pieces of work. Some of these thoughts included Arendts mention that in music and poetry ‘the end product remains closest to the thought that inspired it.’ This philosophy fuelled many decisions through this project. If poetry was the closest to the thought, then architecture had to be the most thought about, so what tools could we use to shorten the distance between thought and its materialisation in architecture? Extending the Palazzo Nuovo posed a formidable situation. Detailed analysis of the project brought up more questions as each layer of Michelangelo’s intentions were brought to the surface. It seemed there was always more to be uncovered. Take the columns for example, they display of the grandeur of the space, towering over everything nearby, they make clear references to human bodies through their profile all the while seeming as though they were moments away from exploding upward through the building. These are just three achievements of a single element that Michelangelo had created and it is likely there were more which remained uncovered. This project materialises Michelangelo’s uncovered considerations in a contemporary way, so that we can see the result of what the old and the new look like when they have come from the same thought. It also questions the thoughts of Michelangelo’s era which have less relevance today such as whether or not the symmetry of a space is tantamount to its success, since it can only be experienced at the centre and when the sun is directly above the observer.
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DESIGN DEVELOPMENT
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1.1 ASYMMETRICAL GRID
LENGTH OF THE PALAZZO IS MEASURED
LINE OF EQUAL LENGTH DRAWN PERPENDICULAR
LINE DRAWN CUTTING CENTRE OF PALAZZO
THESE LINES ARE CONNECTED
LINES DRAWN THROUGH CENTRE OF COLUMNS
LINES OF EQUAL SPACING PROJECTED
LINES OF EQUAL SPACING PROJECTED
LINES OF EQUAL SPACING PROJECTED
FINAL GRID
EXTRUSION MADE FROM MAIN LINES
VOID CUT INTO EXTRUSION
LINES DRAWN ABOVE COLUMNS
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1.2 FREE-FORM ASYMMETRY
TENSION FORCES DISPLAYED THROUGH BENDING
LOFT THROUGH CURVES
CURVE LOWERED AT REAR TO SHOW HIERARCHY
LOFT THROUGH CURVES
NEW CURVE TO COVER PALAZZO AT REAR
LOFT THROUGH CURVES
REAR VIEW
CURVES BENT TO FOLLOW EXTRUSION FORM
LOFT THROUGH CURVES
REAR VIEW
TRIANGULATED VERSION
FINAL MASS BEFORE FREE-FORM OBJECT
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1.3 FAILED ITERATIONS
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
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FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
FAILED FREE-FORM ITERATION
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1.4 GRID FORMING FLOORS
ASYMMETRICAL GRID DICTATES SHAPE OF 1ST
1ST FLOOR
ASYMMETRICAL GRID DICTATES SHAPE OF 2ND
2ND FLOOR
ASYMMETRICAL GRID DICTATES SHAPE OF 3RD
3RD FLOOR
ASYMMETRICAL GRID DICTATES SHAPE OF 4TH
4TH FLOOR
GRID DICTATES ORIENTATION OF 4TH FLOOR PATTERN
GRID DICTATES ORIENTATION OF 3RD FLOOR PATTERN
GRID DICTATES ORIENTATION OF 2ND FLOOR PATTERN
GRID DICTATES ORIENTATION OF 1ST FLOOR PATTERN
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1.5 GRID FORMING COLUMNS
LINES DRAWN ABOVE COLUMNS
LINES DRAWN ABOVE COLUMNS
LINES DRAWN ABOVE REMAINING INTERSECTIONS
LINES TRIMMED BY FREE-FORM ROOF
REMAINING LINES
LINE DRAWN BETWEEN ENDPOINTS
REMAINING LINES
FINAL RESULT
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1.6 PARAMETRIC EXPLORATIONS AS MENTIONED EARLIER, MICHELANGELO MADE CONSISTENT REFERENCES TO THE HUMAN BODY IN HIS ARCHITECTURE. IT WAS NOT UNCOMMON TO SEE DRAWINGS OF MUSCULAR FORM AND PROFILES FOR COLUMNS OR STAIRS ON THE SAME PAGE OF ONE OF HIS SKETCHES. THE INTENTION HERE IS TO EXPLORE THE SAME IDEA AS MUCH AS POSSIBLE. 1500 ITERATIONS OF STRANDS WHICH GET DENSER AT SOME POINTS AND LOOSER AT OTHERS (LIKE MUSCLES) WERE DRAWN. THESE ARE SOME OF THE EXAMPLES.
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COMPARISON OF THE FIRST FAMILY AND THE COLUMNS OF THE CAMPIDOGLIO
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THE WAY THIS MANY ITERATIONS WERE CREATED WAS BY USING ALGORITHMIC TOOLS. 150 MINOR CHANGES, SUCH AS THE DEGREE OF ATTRACTION, OR THE LENGTH OF THE STRANDS WERE PRE SET AS PARAMETERS IN AN ALGORITHM WHICH PRODUCED THESE DRAWINGS. EACH TIME THE LOCATION OF THE POINTS OF ATTRACTION WAS CHANGED, 150 ITERATIONS OF THIS REACTION WERE CREATED. THIS ALLOWED FOR A SHORTENED DISTANCE BETWEEN THOUGHT AND THE MATERIALISATION OF THAT THOUGHT (ARENDT) SINCE MANY POSSIBILITIES OF THIS KIND OF DRAWING WERE TESTED.
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COMPARISON OF THE SECOND FAMILY AND THE COLUMNS OF THE CAMPIDOGLIO
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THIS RESEARCH PROVIDED A WIDE ARRAY OF POSSIBILITIES OF REPRESENTING MUSCULAR FORM THROUGH TIGHT AND LOOSE STRANDS. IT WAS CONCLUDED THAT THESE THREE FAMILIES PROVIDED THE BEST RESULTS, BECAUSE THEY WERE INTERESTING/ BEAUTIFUL, INTENSELY COMPLEX (SOME OF THE DETAIL IN THESE DRAWINGS WENT BEYOND WHAT WE CAN SEE WITH THE NAKED EYE) AND STILL REFLECTED THE HUMANISTIC PROPERTIES OF THE PALAZZO NUOVO COLUMNS.
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COMPARISON OF THE THIRD FAMILY AND THE COLUMNS OF THE CAMPIDOGLIO
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LINES DRAWN FROM THE CENTRE OF THE PALAZZO NUOVOS COLUMNS
THE RESULT WHEN ATTRACTOR POINTS ARE PLACED IN LINE WITH PALAZZO NUOVOS COLUMNS
THE SAME CENTRAL CURVE OF THE FREE FORM ROOF OF THE EXTENSION IS USED FOR THE LOCATION OF A NEW SERIES OF ATTRACTOR POINTS
THIS IS THE RESULT
ATTRACTOR POINTS RANDOMLY PLACED FROM HERE ONWARD
THIS IS THE RESULT
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SERIES 1: • 300 LINES • .1 ATTRACTOR
FIRST SERIES
FIRST SERIES OVERLAY
SECOND SERIES
SECOND SERIES OVERLAY
THIRD SERIES
THIRD SERIES OVERLAY
FORTH SERIES
FORTH SERIES OVERLAY
• .25 THICK
SERIES 2: • 200 LINES • .2 ATTRACTOR • .5 THICK
SERIES 3: • 100 LINES • .5 ATTRACTOR • .75 THICK
SERIES 1: • 50 LINES • 1 ATTRACTOR • 1 THICK
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FINAL PATTERN
PATTERN CUTOUT
COMPARISON WITH COLUMNS
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FINAL DRAWINGS
PALAZZO NUOVO
CURTAIN WINDOW SYSTEM
SPACEFRAME AT BOTTOM HUNG FROM STEEL BARS
ALUMINIUM TRIANGULATED PANELS ATTACHED TO SPACE-FRAME
STEEL SPACEFRAME FACADE PANELS MEMBERS OF SPACEFRAME WELDED TOGETHER SPACEFRAME WELDED TO STEEL COLUMNS
AXO 1 19
UP
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A125
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A126
A127
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GROUND FLOOR 1 1 : 500
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DN
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A125
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A126
LEVEL 1 1 1 : 500
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A125
1
A125
1
A125
1
A126
LEVEL 2 1 1 : 500
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A126
LEVEL 3 2 1 : 500
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LEVEL 4
A126
3 1 : 500
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LEVEL 4 32000 LEVEL 3 28000 LEVEL 2 24000 LEVEL 1 20000
GROUND FLOOR 0 Section 1 1 1 : 250
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LEVEL 3 28000 LEVEL 2 24000 LEVEL 1 20000
GROUND FLOOR 0
Section 2 1
Section 3 2
1 : 250
1 : 250
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LEVEL 4 32000 LEVEL 3 28000 LEVEL 2 24000 LEVEL 1 20000
GROUND FLOOR 0
EAST ELEVATION 1 1 : 250
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LEVEL 4 32000 LEVEL 3 28000 LEVEL 2 24000 LEVEL 1 20000
GROUND FLOOR 0
NORTH ELEVATION 1 1 : 250
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LEVEL 4 32000 LEVEL 3 28000 LEVEL 2 24000 LEVEL 1 20000
GROUND FLOOR 0
WEST ELEVATION 1 1 : 250
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COLUMNS WELDED INTO SPACEFRAME
COLUMN CONNECTIONS 1
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COLUMNS BOLTED INTO PLATE ABOVE PALAZZO COLUMNS
COLUMN PLATE 1
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COLUMNS RESTING ON DIVIDER BEAMS
COLUMNS UNDERSIDE 1
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MODEL IMAGES
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PERSPECTIVES
THANKYOU CHRISTOPHER KRAMBIAS