What I am thinking: the engineer and architect Marc Mimram

Marc Mimram is a celebrated French engineer and architect with projects in France and around the globe. He generously shares with us his ideas on bridge design in conversation with PhD candidate Victor Charpentier.

Victor Charpentier (VC): Marc Mimram, you are both an architect and engineer. Yet you have said that when you are given a project, the greater part of the inspiration for the initial spark comes from a third field, which is study of the landscape and geography. Can you explain why this is so important to you and how this affects your designs?

Marc Mimram (MM): Each project should be specific. It has to be depending of the situation where it take place.

To become a coherent project, it has to be related to the geography, the horizon. It should express the relation to the ground, to the sky, to the landscape considered as a geography informed by history.

In that case the structural project can take roots in the reality and forget the abstract equation of strength of materials to express gravity, the movement of forces, the movement of light; being part of the situation, part of the world, belonging to the site.

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Whong Sheng Da Dao Bridge in Sino Singapour, Tainjin Eco-City (China). (Image provided by Marc Mimram)

Advanced technologies have allowed structural form finding to become an integral part of many recent design projects. How do you add your personal, creative touch to a process that can become largely computational? What are your thoughts on the role of this method for the future of engineering design?

MM: The process of computational form finding is a method of optimization and as such, it follows the development of the project. It is obviously important to develop the project with frugality but the rational process of development can be plural and the choice has to be related to the specific situation, taking into account the landscape, the topography but also the economical situation, the knowledge, the development of local craftsmanship, the local materials.

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Liu Shu footbrigde in the City of Yangzhou with a variable width of 3 to 5.7 m (Image provided by  Marc Mimram)

In the past decade, many of your larger bridge projects have been built in Asia or in North Africa in part because of more local design freedom. In your opinion, are there too many inhibitions in the field of construction in western countries? What could be improved to bring creativity and exploration back to construction while at the same time maintaining the high standards of safety?

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The refreshing tandem: the works of the engineer Laurent Ney perceived by the visual artist Toshio Shibata

What happens when an artist photographs the works of a master designer and builder? The recently published book Toshio SHIBATA / Laurent NEY shows how the photographer Shibata sees the work of Ney, not for its engineering logic but for its inherent poetry. In this book Ney generously shares with us his views on bridge design alongside the visual artistic perspective of  Shibata.  A most unexpected and refreshing tandem.  We are grateful for this blog text which is the introduction to  the book, published with author’s permission. The book  further showcases hundred photographs of the work by Laurent Ney taken by the Japanese artist Toshio Shibata and can be purchased through this link.

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From Toshio SHIBATA / Laurent NEY – (August 19, 2016). Publisher: MER. Paper Kunsthalle.

Introduction

The design of a bridge starts with the context, a context that includes more than just the physical context of the site, its natural surroundings and landscape. A context in its broadest sense takes in historical, technological, industrial, economic, ecological and procedural considerations, all of which are subject to material and procedural constraints, which the project’s author must respect or, better still, transcend.

The work itself, the creative act, is the projection of the imagined object into the future context of the site. The insertion of this object will of course change the context of the site, as the object becomes part of the place, it becomes a place in itself, it becomes context.  The context or the landscape finds itself altered by this insertion, its reading is modified. One can ask oneself if this reading has been improved or not by it, but of course there is no definitive answer to this question, it is eminently subjective. This is where an outsider’s view, such as that of artist-photographer Toshio Shibata, can reveal a denser reality that can be read on various levels.

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De Lichtenlijn Footbridge, Knokke, BE ©Toshio Shibata for Laurent Ney, Design©Laurent Ney

There are a number of different things that I hold to be especially important in the design of a bridge:

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“Postcards From …” Series: Summer 2016

Throughout the summer, friends of the Form Finding Lab have been sending postcards from the places they have visited. The postcards are also featured on our Facebook page. For this special summer post, we’ve compiled the postcards for all to enjoy! For the next 2 weeks we are on vacation. Stay tuned for more of our exciting posts in September! August 2016 Author: Victor Charpentier Continue reading “Postcards From …” Series: Summer 2016