ARCHITECTURAL JOURNAL

ZHEN TONG

502944

I would like to mention about Guggenheim Museum by Frank Gehry as it is new monument of ab-stract expressionism. It is one of the most significant initiatives undertaken in the city to meet the challenges of the European Union and the year 2000.The museum has succeeded in creating an iconic identity for Bilbao. The singular economic and cultural has sparked an increased awareness of the pow-erful force that architecture can wield.Gehry created unexpected, twisted forms that break conventions of building design. His work has been called radical, playful, organic, and sensual. His building has been conceived as a sculptural object, space with light and air, a response to context and appropriateness of feeling and spirit. Here are the two aspects of his design approaches which are advancing architectural discourse with integration into expression.

1. Material approach What I have understand about his advancing architectural discourse is through the material that he used really reflect the uniqueness of his form.What’s more, titanium material is also in corporation with the form which he created.It is responsive to changing light conditions through the use of tita-nium’s reflective qualities. The titanium panels—applied using a traditional locked seam—provide a softening pillow-like effect. A shimmering pile of sharply twisting, curving shapes surfaced in titanium also showcase that the espression of his design actually turns to be a witness of the technology rising up at that period of time.

http://www.bm30.es/homegug_uk.htmlhttp://rosemariestillarch1390-2010.blogspot.com.au/2010/10/case-study-guggenheim-museum-bilbao.htmlhttp://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbaohttp://www.archidose.org/Jul99/071299.html

2. Form and design approach The other part of his expression his design is the huge sculpture-like form is fashioned from a surpris-ing array of materials and also the overlaying blocks.Under the apparent chaos caused by the juxtaposi-tion of fragmented volumes with regular forms finished in stone, curved forms covered with titanium and huge glass walls, the building revolves around a central axis, the atrium, a monumentally empty space crowned by a metal dome. The wealth and variety of spaces makes the museum exceptionally versatile under the fancy sculpture-like form which has been a monument influencing architecture histroy tremendously.

Photo, exterior, close view Photo, exterior, eye view Photo, exterior, main entry

GUGGENHEIM MUSEUM BILBAOBilbao, Spain 1991–97

Reference:

Barcelona PavilionMies van der RoheI would like to mention about Barcelona Pavilion building as It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials. It is pure poetry, simple honest planes of stone with slim, graceful polished steel cruciform columns. The integration of water through two shallow pools brings calmness and reflection.

According to what Mies van der Ro-he’s developing for this project is that the free flowing space which using walls as planes in isolation, joined by sliding elements or glass and wall ex-pressed as a single element with space flowing around it which has been regarded as an aesthetic feature of his work. The majority of the building is constructed out of cream-coloured travertine which gives the building a luxurious feel and aids the perception of spaciousness.

Material approachGlass, steel and four different kinds of marble (Roman traver-tine, green Alpine marble, ancient green marble from Greece and golden onyx from the Atlas Mountains) were used for the reconstruction, all of the same characteristics and provenance as the ones originally employed by Mies. Reference photos:

The eight-column grid is perceivable as peristyle, despite the asymmetrical freestanding planes.It also reiterated highlights on the profiles of the cas-ings effect a reference to classical flut-ing modernity, thus while the essential quality of the form that it assumes in this instance also evokes a subtle traditional resonance. Architectural expression summerize

Mies’ bacelona pavilion had created an influential twentieth century architectural style, stated with extreme clarity and simplicity. made use of modern materials such as industrial steel and plate glass to define interior spaces. An architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. From which we can feel the rational approach that guide us through his creative process of architectural design.

Reference:http://en.wikipedia.org/wiki/Barcelona_Pavilionhttp://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/

Sustainabe design The museum’s envelope is composed of double-curved Fiber Reinforced Polymer [FRP] skin typi-cally used at such a scale in the construction of boats and yachts. The vertical sides of each petal are sheathed in bead-blasted stainless steel panels. The unprecedented use of FRP has made possible the joint-less, continuous skin for each of the sail-like surfaces achieving a sense of lightness with their gleaming petals. As elsewhere in Marina Bay Sands, the building aims and achieves the highest levels of sustainability.The roof of ArtScience Museum allows rainwater to be harvested and channeled down a 35-meter water drop through the center of the structure to the reflecting pond at the lowest level of the build-ing. Rainwater is recycled and redirected through the water feature to create a continuous cylindrical waterfall. The rainwater is also recycled for use in the Museum’s bathrooms as part of Singapore’s Green Mark program.

ArtScience Museum is one of the latetest iconic architecture in singapore with a form reminiscent of the lotus flower, de-signed by renowned architect Moshe Safdie has been called “The Welcoming Hand of Singapore” by Mr. Sheldon Adelson, the visionary chairman of Las Vegas Sands Corp. I choose this building as my personal project which advanced architectural discourse.Not only because of its unique form which attract visitors and also the technology that has integrated with sus-tainability in architecture.

The welcoming hand of Singapore

singapore art-science museum

Impact on the cityThis iconic building has huge impact on the city, with the concept of Regeneration which emphasizing importance of sustainablily in architecture revolution. City of Singapore functioned as magnets for in-vestments, talent and capital, also harness all the resources to tackle the global challenges. Sustainablity in design and development has turned to be the critical accessment into architecture innovation.

Referencehttp://www.archdaily.com/119076/artscience-museum-in-singapore-safdie-architects/http://www.marinabaysands.com/Singapore-Museum/Architecture/http://inhabitat.com/lotus-shaped-singapore-artmuseum-collects-rain-and-light/

General description

The museum is entered through a free-standing glass pavilion. Large elevators and escalators con-vey the public to the lower and upper galleries. In total, there are three levels of galleries with a total

Digital architecture It is now searching for deeper resonances, trajectories and outcomes, with a need for infusion of productive thinking and conse-quential outcomes.

Potentials in this area are already visible in the areas of engineering, innovative hybrid materials, digital fabrication and non – standard customization, as well as innovative strategies for environmentally sus-tainable responsive and intelligent buildings.

This new phase of production still embraces the desire for the speculative and the unpredictable while emphasizing greater control over the symbiotic relationship between technique, process, an outcome. fab*hab operates at a scale between industrial object, furniture and building, where the exterior and interior, form and content, are explicitly and inextricably linked. This prototype is a vehicle to un-leash outmoded preconceptions as well as conduct research and radical experimentation within this new dimension with a measured balance of rigor and speculation.

-Prototypes most common formalism used to capture and apply architectural cases.

Cross-Fabricated Scaled (CFS) is an investigative prototype of experimental cross-fabrications between geometry and materials research, serving as a cross-over between architecture and art. with a high concentration on the developmental nature of experimentation and details, relating to the scalability of a singular, yet repeated, patterning unit.

Unique innovation - presented by contemporary computational design techniques Reflection from the book - Architecture regarded as a process of problem solving it is a dialogue between goals and solutions which - bring out the convergence of both. design is a process of discovery generates insights

New Technology - Key to CreationCase study: Watercube by PTW architects Three years ago, standard desk top computer power would not have been able to cope with Bei-jing’s Aquatics Centre and the analysis, 3D modeling and final documentation which was necessary for its creation.CSCEC proved the Arup geometry worked mathematically with a script using the Weaire and Phelan solution. This was then exported as a wire frame model into a structural analysis package. This collaboration continued throughout the entire design phase with the architect, engi-neer and design partner frequently exchanging 3D information models in multiple software formats, reducing all future coordination and design issues.

Rapid Prototyping Rapid prototyping was used to physically model the complex structure, both to convey the idea to the judges of the design competition, and to better understand it ourselves.Rapid prototyping is usually used by the manufacturing industry to mock up machine parts prior to manufacture. We saw it as an ideal way to create a model of the Water Cube. Arup used two separate types: sintered nylon powder and solidified epoxy resin. The process is also called stereo lithography. To create the rapid prototype model, Arup exported the Microstation 3D model to an STL file (stereolithography).which is considered a new creation in computational architectural design technique nowadays.

Understanding of Scripting program-ming/culture -What I see scripting culture is a productiv-ity tool as it could produce different pat-terning for the design by changing the input setting, it’s really an efficient way to achieve as many as we need to get the best of the design suit to architect’s need. -Scripting culture is a way to combine geom-etry and mathmetics. scripting can be seen as offering an alternative view of creativity. with a set of knowledge of mathmetics. thus, we need to think in a algorithmical way instead.

the interior of the space will include a commer-cial zone with restaurants and cinemas known as the agora. the interior spaces refer-ence the basis of three systems of crystalization characteristic of calcite.

Relation to digital architectural discourseThough digital movement, Guallart has acheived the rhombohedra calcite crystal form. He use digi-tal scripting tool to create modular object and geometric patterning to form a skin covering the whole mountain with crystalized spaces inside( can refer to the interior perspective and the section)Without scripting tool, its really hard to achieve such a large scale crystallized form in an efficient way.

A choosen project I have choosen this project done by Guallart which is denia castle cultural park . we can see that its continusion the theme of mountainous architectural landforms. The project is meant to act as a means of reor-dering the castle in denia, spain by developing cultural, civic and social amentities which will make it a territorial reference point to promote urban recycling and compact development for the town. Gullart’s design intention is to blur the exterior and interior through the fluid design connecting the landscape into architecture form with consideration of the site context and geographic factors.

Interior perspective

Guallart’s goal was to “ create an artificial topography understood not as a skin, but as a genetic expression of the structure of the original stone of the quarry. “Inspired by the angular forms of the lime-stone and the rhombohedra calcite crystals that make up the structural system for the hill.

Reference:http://www.designboom.com/weblog/cat/9/view/8183/artificial-mountain-design.htmlaAntoine picon,2010, digital culture in architecture an introduction for the design professions