In 2015 I received a phone call from Khalid Addi, professor at the University of Reunion, one of the islands in the Indian Ocean. This french island in the Indian Ocean, attracts surfers from all over the world to test their “surf”. In 2011 the first shark attacks started, officials closed beaches and the island’s tourism-based economy largely suffered. In the wave break zones of … Continue reading NETS AND DANCE: What do you know about nets?
Yesterday our PhD Candidate Tim Michiels was awarded the Hangai prize for his “Outstanding paper by a young talented researcher under 30” at the annual symposium of the International Association of Shell and Spatial Structures (IASS) in Hamburg. Tim presented his research titled “Parametric study of masonry shells form found for seismic loading” during the plenary session on Tuesday. Tim’s award marks the 3rd consecutive … Continue reading How to form find shells that withstand earthquakes? We asked Tim Michiels who was just awarded the prestigious Hangai Prize.
Maria Blaisse is a Dutch visual artist and designer. She authored the book “The Emergence of Form”, in which she discusses her in-depth research into form in various materials and the numerous application possibilities, both autonomous and product-oriented.
Sigrid Adriaenssens: Why and how do you generate curved forms?
Maria Blaisse: discovering the curved lines .. while experimenting with incisions in a rubber inner tube ( for a party of my children) and while putting the forms on my head something amazing happened. Then I realized I touched an energy field. I am still working with it.
I found the potential of the inner and outer curve of a torus. The inner curve generates energy and form, while spiraling centripetal. It was the most powerful thing to discover, the outer curve spiraling centrifugal loses form and energy. In my book the emergence of form you can see this research based on one form and one structure from here one can design any form or structure without any waste.
Variations on rubber inner tube – Copyright of Maria Blaisse
In your book “The emergence of form”, you state “form is ‘frozen’ movement”. Please explain and illustrate that idea?
A form is always part of a movement. I found out while editing film that the stills have the most impact: the form is energized.
Systematic variations in gauze structures based on one form – Copyright of Maria Blaisse
In your design approach, you emphasize beauty (wanting to ‘move’ people) but also material and energy efficiency. Why is that important to you and to society?
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.
From Toshio SHIBATA / Laurent NEY – (August 19, 2016). Publisher: MER. Paper Kunsthalle.
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.
There are a number of different things that I hold to be especially important in the design of a bridge:
The curved shapes of hand-made figurines are widespread in the Bethlehem’s tourism industry. What is intriguing about all these crafts is the precision of the forms given the basic tools used for their fabrication. An established hierarchy and apprentice curriculum maintains the artisans’ skills to a certain standard. Becoming an olive-wood master carver is, among other skills, being able to reproduce a complex-geometry shaped figurine while only looking at it.
Olive wood artisan – Credits: AAU ANASTAS
The process of fabrication of olive-wood objects in Bethlehem calls high-tech mass customization into question. Mass imperfections is a project that experiments the potential of artisanal fabrication for the construction of large-scale structures.
The project experiments the ability of craftsmanship of stepping back into the forefront of the fabrication processes. Mass imperfections challenges high tech fabrication processes by monitoring and anticipating imperfections of highly skilled artisans.
Jane Wernick is a British Engineer who has distinguished herself in the field of structural engineering. She has taught at Harvard University and has been the Chair of the Diversity Task Force of the Construction Industry Council, in addition to managing Ove Arup and Partner’s Los Angeles office from 1986 to 1988. In 1998 she founded Jane Werwick Associates Ltd., a superb engineering design consultancy which has worked on countless projects across the United States and Europe. I talked to Jane at the occasion of the Structured Lineages: Learning from Japanese Structural Design event, held earlier this year at MOMA.
Sigrid Adriaenssens: You have worked with world-renowned architects, what is the value for you of working in a design team versus solo engineering?
Jane Wernick: I have only ever worked as part of a team. I very much enjoy the process of trying to work out and understand the aspirations of the client, architect and other consultants, and then trying to find structural solutions that support or even enhance those aspirations.
What objectives do you set for yourself when designing a structure? How would a trained audience recognize a structure designed by you?
I am keen to propose solutions that give delight, that are buildable and that give good value. As well as designing structures that are strong enough, stiff enough, durable etc. it is also important that, as engineers we appreciate what the structural elements will look like. For example, I think that a circular hollow section is likely to look much larger and heavier than a fabricated section with sharp corners. The triangular cross section is one of my favourites. This is what we used for the pylons of the Xstrata Treetop Walkway at Kew Gardens. Because we used weathering steel (because it didn’t need to be painted with an ‘un-natural’ colour) we couldn’t use rolled sections. And a tapered triangular cross-section was the most efficient we could use. It also looked more slender than the equivalent circular section would have appeared.
You once said “structural analysis is not a precise science, but difficult statistically; it is chaotic, and it is part craft” in the context of your work with the Fiat Team. This statement might seem upsetting to engineering students. Could you elaborate on this?
Looking ahead, the next Olympic Games will be hosted by Tokyo in 2020. The initial Zaha Hadid design for the Tokyo National Stadium helped secure the city’s bid, but was quickly ditched due to its exorbitant cost. After two international design competitions, Japan settled on the latticed green clad stadium by the Japanese architect Kengo Kuma. This new stadium is far more subdued than Zaha … Continue reading A New Design for the Tokyo 2020 Olympic Stadium
How can we algorithmically approximate the form of the mathematically defined Costa surface? This question is at the center of this second blog post of the “physical Costa surface”series. The form finding approach introduces a physical dimension to the equation generating the minimal surface. Finding the shape can be done in several ways. However, whether it is physical form finding or numerical form finding, the … Continue reading A Physical Costa Surface 2/3: Form Finding Process
It is said that “an engineer is a (wo)man who can do for a dime what any fool can do for a dollar.” While it is customary for an engineer to be responsible for achieving a specific technological need for the lowest economic cost, this saying is crippling to both the engineer’s creativity and the design’s potential. With the available new digital and numerical tools, … Continue reading The structural designer’s new toolbox
Can you improve the resistance of a shell structure by smashing, and subsequently repairing it? To do so you would require a very controlled environment, and thus Form-Finding Lab researchers resorted to Princeton’s School of Architecture robot.
In the context of the course ARC 596 “Embodied Computation”, a project was developed to explore novel forms for gypsum shell by repeatedly breaking and repairing these types of shells using digitally controlled tools.
The School of Architecture’s ABB 7600 robot is used to repetitively break, scan and repair gypsum shells. The broken shells are repaired by selectively gluing weak areas in order to create a bond that is stronger than the initial unreinforced gypsum. The investigated hypothesis is that after every iteration the newly repaired shell has the potential of a greater load bearing capacity than its predecessor. The reinforcement pattern is directly determined by the shell’s crack pattern and does not arise from an analytical approach typical to common reinforcement strategies. Indeed, the process is not dependent on a preconceived design, but much rather evolves from the intrinsic material properties and the initial form and imperfections of the shell. The process can still be steered by the designer in real-time through a set of interactive overlays in a custom control software.