Shu-Te University College of Design Graduate School of Applied

Transcription

Shu-Te University
College of Design
Graduate School of Applied Arts and Design
Master
A FOLDING DESIGN
Base on Re-interpreting Messages from the Site
Student: My Nguyen Thanh Ha
Adviser: Wei- Ju Wang
June, 2011
A Study on A FOLDING DESIGN
Student：My Nguyen Thanh Ha
Adviser：Wei- Ju Wang
A Thesis
Submitted to the
College of Design
Shu-Te University
In Partial Fulfillment of the Requirements
For the Degree of
Master of Design in
Applied Arts and Design
June 2011
樹德科技大學應用設計研究所
縐折設計＿來自基地訊息的重新詮釋
學生：阮清河眉
指導教授：王韡儒
摘要
自從德勒茲在他重要著作“The Fold”中提出縐折＿這個哲學性思想之
後，縐折的概念，被普遍應用於許多不同的設計領域中。在此數位工具有迅速發
展的同時，許多建築師學習並實現了這個概念，也因此引領了動態形式與數位建
築的風潮，然而，這其中的設計思考仍然存在許多神秘的詮釋與轉換。
在此研究中，包含了兩個部分：第一部份是分析與學習，第二部分則是
應用與設計。在第一部份中，我們分析了一些由知名建築師所設計的案例，試圖
從中發掘在縐折設計中的設計思考，並重新詮釋了如何從基地的訊息中萃取出初
始形式與空間的力量，透過這樣的認識，我們尋求得縐折設計的生產模型以及
設計程序。於是，在第二部分的應用與設計中，為了測試上述之生產模型以及設
計程序的有效性，我們選擇了位於越南大叻市的兩個基地，並顯示以此模型與程
序所生產之設計過程，與設計成果。
關鍵字：縐折、初始形式、力量、基地訊息、生產模型、設計程序
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Shu-Te University
A FOLDING DESIGN
Student: My Nguyen Thanh Ha
Adviser: Wei- Ju Wang
ABSTRACT
Since the philosophical thinking “Folding” announced by Gilles Deleuze in the
important writing: “The Fold”, the concept folding was widely applied in several design
fields. And at the same time, digital tools developed rapidly, many architects learned
and realized the concept, and therefore the tide of animate form and digital architecture
were emerged. But the design thinking in folding concept is still a mystery.
This research covers two parts: the first part is analysis and learning, the second part
is application and design.
In the first part, we analyzed some cases designed by those famous architects; try to
explore the design thinking in folding concept, and re-interpreted how to extract the
initial shapes and forces from the messages of the site. Through the understanding, the
generative model and design process in folding concept can be found and learned. In the
second part, two sites were chosen for examining, one is bus station in Dalat City
downtown, the other one is the main station on hill. And two designs that generated
follow the model and process were shown.
Keywords: Folding, initial shapes, forces, message from the site, Generative Model, Design
Process
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Acknowledgments
I am delighted to have a chance to express my gratitude and thankfulness to those
who have supported and encouraged me to complete this research study, and generally
is my process study. First of all, my sincerely thanks and greatly appreciation to my
advisor Professor Wei- Ju Wang who have provided guidance, help and also encourage
me throughout my study and my research process. This research study can’t be
completed without her support and guidance.
Farther more, my thankfulness to Professors, lecturers of Graduate School of Applied
Art and Design, Shu-Te University, Taiwan; all my roommates and all my Vietnamese,
Taiwanese friends for support and encouragement during two years study. I will
remember all the time, all memories that become a beautiful part in my life. I would like
to express my heartfelt gratitude to my family who give me power, faith and useful
advises following my entire step in my life.
Finally, I want to say thank to everyone who make my life, step by step, become
better and better.
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Table of Contents
CHINESE ABSTRACT
------------------------------------------------------------
i
ENGLISH ABSTRACT
------------------------------------------------------------
ii
ACKNOWLEDGMENTS
------------------------------------------------------------
iii
TABLE OF CONTENTS
------------------------------------------------------------
iv
LIST OF TABLES
------------------------------------------------------------
vi
LIST OF FIGURES
------------------------------------------------------------
vii
CHAPTER 1
A NEW SPACE FORM THEORY ------------------
1
About Fold_ Gilles Deleuze -------------------------
1
1.1.
1.2.
About digital Architecture_ such as Peter Eisenman, Grey
Lynn, Frank Gehry, Zaha Hadid------------------------------------------5
1.3.
Summarize ----------------------------------------------
15
THE OBSERVATION --------------------------------
17
2.1.
Learning from nature ----------------------------------
17
2.1. 1
Force -----------------------------------------------------
17
2.1. 2
Material --------------------------------------------------
22
2.1. 3
Texture---------------------------------------------------
23
2.1. 4
Organization --------------------------------------------
25
2.2.
Learning from artificial works -----------------------
26
2.2.1
Architecture ---------------------------------------------
26
2.2.2
Paper folding --------------------------------------------
26
2.2.3
Like fold -------------------------------------------------
28
2.3.
Induction: Factors in folding/unfolding -------------
29
CHAPTER 2
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CHAPTER 3
THE GENERATIVE MODEL ----------------------
30
3.1.
Generative Model --------------------------------------
32
3.1.1
Tracing the meaning concept -------------------------
32
3.1.2
The classification of site messages ------------------
40
3.2.
Space Frame---------------------------------------------
42
3.2.1
Reinterpreting through substance --------------------
42
3.3
Force -----------------------------------------------------
54
3.4
Generative model---------------------------------------
60
A DEMONSTRATION: REINTERPRETATION
61
4.1
Design process ------------------------------------------
62
4.2
Site--------------------------------------------------------
63
4.3
Design: Bus Station in Downtown-------------------
74
4.3.1
Analysis: Messages of the Site -----------------------
74
4.3.2
Create the Space frame (Initial shape) --------------
80
4.3.3
Translate: Forces in the site---------------------------
81
4.3.4
Generate: New space form (Deform)----------------
82
4.4
Design: Main Station at south of the city -----------
86
4.4.1
Analysis: Messages of the Site -----------------------
86
4.4.2
Create the Space frame (Initial shape) --------------
91
4.4.3
Translate: Forces in the site---------------------------
92
4.4.4
Generate: New space form (Deform)----------------
93
CHAPTER 5
CONCLUSION ----------------------------------------
97
REFERENCE
------------------------------------------------------------
99
CHAPTER 4
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LIST OF TABLES
Table 3.1- Study objects ..................................................................................................47
Table 3.2- Classification of message from the site....................................................57, 58
Table 3.3- Classification of forces...................................................................................75
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LIST OF FIGURES
Figure 1.1: Ariel view looking toward the city Yokohama, view toward the departures
and arrivals terminal from the moss garden at the ocean end of the site ..........................6
Figure 1.2: Roof plan, west elevation................................................................................6
Figure 1.3: Roof plan of the project showing the three programmatic tubes in different
materials ............................................................................................................................6
Figure 1.4: Plan view of the model for the College of Design, Architecture, Art and
Planning - University of Cincinnati...................................................................................8
Figure 1.5: Satellite image of the Greater Columbus Convention Center, 1989...............9
Figure 1.6: House VI (Frank residence), Cornwall, Connecticut, Design: 1971 .............9
Figure 1.7: Wexner Center: House VI - column/beam......................................................9
Figure 1.8: House VI - column/beam intersection at red staircase, Arizona Cardinals
Stadium - Daytime, Peter Eisenman elevation ................................................................10
Figure 1.9: Guggenheim Museum, Bilbao, Spain, 1997. ................................................11
Figure 1.10: Guggenheim Museum, Bilbao, Spain, 1997. ..............................................11
Figure 1.11: Walt Disney Concert Hall, at Los Angeles, CA, 1989 to 2004. .................11
Figure 1.12: Gehry Residence, 1978 ...............................................................................12
Figure 1.13: Vitra Design Museum, Vitra premises, Weil am Rhein, Germany, 1989
.........................................................................................................................................12
Figure 1.14: Der Neue Zollhof, Düsseldorf, Germany, 1999..........................................12
Figure 1.15: DZ Bank building, Pariser Platz 3, Berlin, Germany, 2000 Düsseldorf,
Germany [12], 1999.........................................................................................................12
Figure 1.16: Fred and Ginger currently Dancing House, Prague, Czech Republic, 1995
.........................................................................................................................................13
Figure 1.17: Experience Music Project and Science Fiction Museum and Hall of Fame
.........................................................................................................................................13
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Figure 1.18: Experience Music Project and Science Fiction Museum and Hall of Fame
........................................................................................................................................14
Figure 1.19: Gehry Tower, Hanover, Germany, 2001 ....................................................14
Figure 1.20: Fish dance Restaurant, at Kobe, Japan, 1986 to 1989.................................14
Figure 1.21: Vitra Firestation, Weil am Rhein, Germany, 1991-1993............................15
Figure 2.1: Symmetrical fold...........................................................................................17
Figure 2.2: Asymmetrical fold ........................................................................................17
Figure 2.3: Asymmetrical fold ........................................................................................18
Figure 2.4: Tornado in Manitoba, Photograph by Richard Olsenius...............................18
Figure 2.5: "Mother Ship" Cloud, photograph, by Carsten Peter....................................19
Figure 2.6: Hurricane.......................................................................................................19
Figure 2.7: Hurricane.......................................................................................................20
Figure 2.8: Vocano ..........................................................................................................21
Figure 2.9: Isoclinals folds ..............................................................................................22
Figure 2.10: Flower’s petals ............................................................................................22
Figure 2.11: The veins on leaf .........................................................................................23
Figure 2.12: The veins on gecko’s wings ........................................................................23
Figure 2.13: The texture on rock’s surface......................................................................24
Figure 2.16: Footwall cutoff with development of a small drag fold, in SW Japan. ......25
Figure 2.17: Diagram of Anticline ..................................................................................25
Figure 2.18: Paper folding ...............................................................................................26
Figure 2.22: Terrace fields...............................................................................................28
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Figure 2.23: Terrace fields...............................................................................................28
Figure 2.24: Different kind of impacts on the fold..........................................................29
Figure 3.1: Perspective view ...........................................................................................32
Figure 3.2: Presentation model, aerial view ....................................................................32
Figure 3.3: Competition model with lasers .....................................................................33
Figure 3.4: Concept sketch ..............................................................................................33
Figure 3.5: Presentation model, view from the north-west .............................................33
Figure 3.6: Presentation model, view from the south-east ..............................................34
Figure 3.7: Technical site plan with building ..................................................................34
Figure 3.8: Site plan ........................................................................................................35
Figure 3.9: Model. ...........................................................................................................35
Figure 3.10: Perspective view. ........................................................................................35
Figure 3.11: Second floor plan. .......................................................................................36
Figure 3.12: Ground floor plan........................................................................................36
Figure 3.13: Perspective view of tensile surfaces............................................................36
Figure 3.14: Roof plan of the project showing the three programmatic tubes in different
materials ..........................................................................................................................37
Figure 3.15: Presentation model, aerial view ..................................................................37
Figure 3.16: Site model, view from the west...................................................................38
Figure 3.17: Section A
East elevation
Ground level plan
Second basement level plan.............................................................................................38
Figure 3.18: Site plan ......................................................................................................39
Figure 3.19: Perspective view from the West..................................................................39
Figure 3.20: Second level plan, third level plan ..............................................................42
Figure 3.21: Concept diagrams........................................................................................42
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Figure 3.22: Model view .................................................................................................42
Figure 3.23: Concept diagram, wave and interference ....................................................43
Figure 3.24: Concept diagram, vertical topographical section
Concept diagram, interference
Concept diagram, superposition of radar ........................................................................43
Figure 3.25: Concept diagram of interference field
Concept diagram, topological interference......................................................................43
Figure 3.26: Concept diagram, infolding section ............................................................44
Figure 3.27: Concept diagram, unfolding section ...........................................................44
Figure 3.28: Computer generated model .........................................................................45
Figure 3.29: Bar W study model
Computer-generated bar W study model.........................................................................45
Figure 3.31: Presentation drawing, plan of scheme for site 3 .........................................46
Figure 3.32: Exploded axonometric drawing ..................................................................46
Figure 3.33: View from the street site .............................................................................47
Figure 3.34: Sketch diagram for overall site strategy for factory complex .....................47
Figure 3.35: The site forces mapped with particles that create a single surface envelope
.........................................................................................................................................47
Figure 3.36: The same sequence viewed from above......................................................47
Figure 3.37: Perspective view of the ramp phase portrait
Perspective view of the Ninth Avenue phase portrait .....................................................48
Figure 3.38- Particle study of the Ninth Avenue motion forces......................................48
Figure 3.39- The phase portraits are threaded by curvilinear vectors. These vectors
became the center lines for the tubular beams whose quasi-catenoidal ..........................48
Figure 3.40- The two tubes were threaded through one another based on the docking
patterns of the ships .........................................................................................................49
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Figure 3.41- Three pair of tubes typologies, with the programmatic volume shown in
blue and the exterior shell in the grey..............................................................................49
Figure 3.42- The terminal tube transforms from a surface at the urban edge of the site,
making a traffic plaza, to a volume at the ocean edge of the site, creating a departures
and arrival terminal..........................................................................................................47
Figure 3.43- Embedded within the public tube is a moss garden. It transforms from a
surface at the ocean end of the site into a suspended moss garden tube that pushes
through the top of the building to become a roof garden. It forks at the end of
accommodate bus and car traffic entering the parking areas and the traffic plaza..........49
Figure 3.44- Stereo lithography model cut longitudinally through the middle of the site ..
.........................................................................................................................................49
Figure 3.45- (Opposite site) Stereo lithography models of the terminal tube (left), the
parking tube (center), and the moss garden tube (second from the right) ......................49
Figure 3.46: Concept diagrams, curved line....................................................................50
Figure 3.47: Concept diagrams, tiled curve
Concept diagram, tiled curved trace ................................................................................50
Figure 3.48: Concept diagrams, chevron trace and imprint ............................................50
Figure 3.49: Concept diagrams, composite curve and chevron.......................................51
Figure 3.50- Concept diagrams:
First revolution, attaching panels- transparent diagram, splitting of panels
Second revolution, Panel separation- Transparent diagram, splitting of panels
Third revolution, Cubic volume- attached cubic volumes ..............................................51
Figure 3.51: Concept diagrams:
Volumetric recreation Panel surfaces- Form of first revolution, almost crystallized
Separation of the surface along panel edges- Phantom impression on the almost
crystallized form
Misfolding of plates on the cube- Almost realized with crystallized deformation .........52
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Figure 3.52: Wireframe diagrams....................................................................................52
Figure 3.53: Concept diagram: superposition of net, transportation of net, folded net,
typological fabric, building typology, folded typology...................................................53
Figure 3.54: Concept diagram, folded wire frame
Diagrammatic building model .........................................................................................53
Figure 3.55: Concept diagram, wave formation
Concept diagram, isometric of interference
Concept diagram, overlap of wave and interference .......................................................54
Figure 3.57: Concept diagram, envelope plan.................................................................55
Figure 3.58- The site was modeled with forces of attraction based on movement of
pedestrians, automobiles and buses. The gradients of speed were visualized with the
addition of a particleemitting surface at the entry of the bus ramps into the façade of
the Port Authority Bus Terminal. These images illustrate the densities of particles as
they are attracted by motion forces on the site ................................................................56
Figure 3.59- A similar, more discrete, particle cloud massing........................................56
Figure 3.60- Three pair of tubes typologies, with the programmatic volume shown in
blue and the exterior shell in the grey..............................................................................56
Figure 3.61- The two tubes were threaded through one another based on the docking
patterns of the ships .........................................................................................................56
Figure 3.62: Moebius strip ..............................................................................................57
Figure 3.63- Concept diagram: superposition of net, transportation of net, folded net,
typological fabric, building typology, folded typology...................................................57
Figure 3.64: Concept diagrams, study models ................................................................58
Figure 3.65: Generative model ........................................................................................60
Figure 4.1: Design process ..............................................................................................62
Figure 4.2: Dalat city .......................................................................................................63
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Figure 4.3: Boundary of Dalat city..................................................................................64
Figure 4.4: Location of the bus station and main station.................................................65
Figure 4.5: Dalat Cathedral: built in 1931- 1942, this is the main church of Dalat ........66
igure 4.6: Domain de Marie Church: built in 1940- 1943 ...............................................66
Figure 4.7: Protestant Church: built in 1940 ...................................................................66
Figure 4.8: Du Sinh Church: built in 1956, inaugurated in Christmas 1957, bell tower
finished in 1962. This is the only chruch has ASEAN architecture style .......................66
Figure 4.9: Cam Ly Church, the Rong house ..................................................................67
Figure 4.10: Institute of Biology of Highland: built in 1950...........................................67
Figure 4.11: Dalat University: set up 1939, in the past that is “École d’Enfants de
Troupe de Dalat” ............................................................................................................67
Figure 4.12: Boarding School of ethnic Groups: built in 1953. The first school taught
French for girls, in the past is Couvent des Oiseaux or Notre Dame du
Langbian( Counvent or Nunnery)....................................................................................67
Figure 4.13: Dalat Bishop’s Palace: built 01/08/1961 1963........................................68
Figure 4.14: Institute of Nuclear Research: built from 4/1961  12/1962, 21 ha,
designed by professor – architect To Cong Van..............................................................68
Figure 4.15: Dalat Teachers College: formed of two colleges: Petit Lycée ( set up 1927),
Grand Lycée- Lycée Yersin ( set up 1929-1941) ...........................................................68
Figure 4.16: First Palace: built in 1940, on a hill altitude is 1550 meter, in the west of
the city, Bao Dai King( from 1926 to 1945, he was a king( or emperor) of Annam under
French ‘protection’), made it renewed in 1949 ...............................................................69
Figure 4.17: Second Palace: built in 1933- 1937, can see the view of Xuanhuong Lake,
on a hill altitude is 1539,5 meter; in the south-west of the city.......................................69
Figure 4.18: Hotel Du Lac: built in 1907, is the first hotel in Dalat , there is a new hotel
on this site at the present: Airlines hotel..........................................................................69
Figure 4.19: Third Palace: 1933- 1938, on a hill altitude is 1539, in the south-east of the
city ...................................................................................................................................69
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Figure 4.20: Sofitel Dalat Palace: built in 1916- 1922, this is a five stars hotel, in the
past it is Langbian Palace, area: 40320 m2 ......................................................................69
Figure 4.21: Novel Hotel: Before this is Hotel Du Parc, built in 1932, with European
modernism style...............................................................................................................70
Figure 4.22: National Storage Center: 1958- 1960, this is the palace of Tran le Xuan in
the past, the wife of Ngo Dinh Nhu who is a brother, and a Prime Minister of Ngo Dinh
Diem). It has 3 separate buildings ...................................................................................70
Figure 4.23: Union hotel: 1936, in the past this is the palace of Doctor Lemoine
(Bretagne style) ...............................................................................................................70
Figure 4.24: Lam Dong Museum: in the past this is the palace that Mr. Nguyen Huu hao
made it built for his daughter (Nam Phuong Queen) in 1930 .........................................70
Figure 4.25: Nguyen Huu Hao Royal Temple: Nam Phuong Queen made this temple
built in 1939, on the hill altitude is 1532 meter...............................................................70
Figure 4.26: Linh Son Pagoda: built in 1938...................................................................71
Figure 4.27: Linh Phuoc Pagoda: built in 1949- 1952, with the 36 meter high tower,
1990 was renewed all ......................................................................................................71
Figure 4.28: Chinese Pagoda: built in 1958 ....................................................................71
Figure 4.29: Linh Quang Pagoda: first built in 1921, renewed in 1958; 1972; this is the
first pagoda of Lam Dong province.................................................................................71
Figure 4.30: Da Phuoc Hollyland; built in 1938 .............................................................71
Figure 4.31: Dalat Train Station: built in 1938, designed by French architects: Mocet
and Reveron( the style is same as the style of train station of the south of France .........72
Figure 4.32: Hoa Binh Market( Dalat circa the ‘40s, 50s) .............................................72
Figure 4.33: Dalat Market( new) ....................................................................................72
Figure 4.34: Thuy Ta Restaturant....................................................................................74
Figure 4.35: Diagram of cutting lines........................................................................75, 76
Figure 4.36: Cutting lines on site plan of bus station
Scale 1/250 ......................................................................................................................77
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Figure 4.37: Diagram of wind .........................................................................................78
Figure 4.38: Diagram of traffic and movement ...............................................................78
Figure 4.39: Diagram of land form..................................................................................79
Figure 4.40: Layer 1 ........................................................................................................80
Figure 4.41: Resident area 1950 ......................................................................................80
Figure 4.42: Specific tiled roof of Hue house .................................................................80
Figure 4.43: Layer 2 with texture ....................................................................................80
Figure 4.44: Small market ...............................................................................................80
Figure 4.45: Layer 3 and texture .....................................................................................80
Figure 4.46: Three layers (Space frame) ........................................................................81
Figure 4.47: Design process ............................................................................................82
Figure 4.48: Cutting plan on 1500 m high ......................................................................83
Figure 4.51: Perspective view and elevation of layer 3...................................................83
Figure 4.52: First floor plan
Scale 1/250 ......................................................................................................................84
Figure 4.53: Second floor plan.
Scale 1/250 ......................................................................................................................85
Figure 4.54: Diagram of linking lines .......................................................................86, 87
Figure 4.55: Cutting lines on the site plan of coach station
Scale 1/1000 ....................................................................................................................88
Figure 4.56: Diagram of wind .........................................................................................89
Figure 4.57: Diagram of movement ................................................................................89
Figure 4.58: Diagram of land form and movement .........................................................90
Figure 4.59: Top view .....................................................................................................91
Figure 4.60: Perspective view .........................................................................................91
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Figure 4.61: Two layers (Space frame) ..........................................................................91
Figure 4.62: The old station.............................................................................................91
Figure 4.63: Layer 2( Initial shape) ................................................................................91
Figure 4.64: Design process ............................................................................................93
Figure 4.65: Elevation of two layers (New space form) .................................................94
Figure 4.66: Cutting first floor plan: on 4500mm high ...................................................94
Figure 4.67: Cutting first floor plan: on 1500mm high ...................................................94
Figure 4.68: Cutting first floor plan: on 6000m high ......................................................94
Figure 4.69: First floor plan
Scale 1/1000 ....................................................................................................................95
Figure 4.70: Perspective views of the main station .........................................................96
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CHAPTER 1
A NEW SPACE FORM THEORY
1.1. About Fold, Gilles Deleuze
Gilles Deleuze (French pronunciation: [ [ʒil dəløz]), (18 January 1925 – 4 November
1995) was a French philosopher who, from the early 1960s until his death, wrote
influentially on philosophy, literature, film, and fine art. His most popular works were
the two volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A
Thousand Plateaus (1980), both co-written with Félix Guattari. He is also the
architecture of Fold and space. [1]
Deleuze is the first great philosopher and mathematician of pleat, curves and twisting
surfaces. He rethinks the phenomenon of the “point of view”, perspective, of conic
sections, and of city planning. The fold is related to a category of things: from drapery,
tresses, tessellated fabrics, ornate costumes, or even the dermal surfaces of the body that
unfolded in the embryo and crease them to death; styles and iconographies of painting
that hide shapely figures in ruffles and billows of graphic, or that lead eyes to confuse
different orders of space and surface. They are so diversified.
“The Baroque refers not to an essence but rather to an operative function, to a trait. It
endless produces folds. It does not invent things: there are all kinds of folds coming
from the East, Greek, Roma, Romanesque, Gothic, Classical folds… Yet the Baroque
traits twists and turn it folds, pushing them into infinity. First, the Baroque differentiates
its folds in two ways, by moving along two infinities, as if infinity were composed of
two stages or floors: the pleats of matter, and the folds in the soul.” [2]
1
The theory of the fold has appeared from the Baroque which refered to an operative
function, to trait, and endless produces folds. The characters of the Baroque fold is
being twisted, turned and pushed into infinity. It goes abreast with infinities as “stages
or floors”. The Baroque mentioned two kinds of folds: the pleats of matter and the folds
in the soul.
Philosophy of Gilles Deleuze emerges within the context of architecture: the fold and
space. The theory of the fold opens a new definition, and plays an important role in
architecture discourse: “The fold, not as a technique device, but ontology becoming, of
multiplicity, of a differentiation while it maintains the continuity.”
“The outside is not a fixed limit but a moving matter animated by peristaltic
movements, folds and folding that together make up an inside: they are not something
other than the outside, but precisely the inside of the outside.” [3]
There are no limit between the inside and the outside because the fold itself is a
moving matter. “Peristaltic movement, folds and folding” altogether intermingle and
make up “the inside of the outside”, so that we cannot separate clearly their boundary.
The inside is not different from the outside, they are all overall. This definition opens
new design thinking not only in art but also in architecture, interior design and even in
another fields.
“Thus a continuous labyrinth is not a line dissolving into independent points, as
flowing sand might dissolve into grains, but resembles a sheet of paper divided into
infinite folds or separated into bending movements, each one determined by the
consistent or conspiring surrounding… A fold is always folded within a fold, like a
cavern in a cavern. The unit of matter, the smallest element of the labyrinth, is the fold,
not the point which is never a part, but a simple extremity of the line. That is why parts
of matter are masses or aggregates, as a correlative to elastic compressive force.
Unfolding is thus not always contrary to folding, but follows up to the following fold.
Particles are “turned into folds”, that a “contrary effort changes over and again.” [4]
The fold is not a singular element but it exists in a group of many folds. They are
infinite parts of a body which are not separated into parts of parts but are divided into
smaller and smaller folds, the fold is followed by a fold, and one is covered by another
2
to make a new fold. So we can realize that what is folded is only virtually and currently
exists only in an envelope, in something that envelops it. The fold itself is its multiple.
“The multiple is not only what have many parts but as fold in many way”. They cohere
together by elastic compressive force. Deleuze also defines the fold not as a metric or
dimensional change but can operate as a degree of development and differences.
With the part fold in nature:
Fold in leafs: Two leafs of a tree never being exactly alike because of the veins or
folds.
Fold of winds, of waters, of fire and earth, subterranean folds of veins, of ore in a
mine. They all make a system of complex interaction, the solid pleats of “natural
geography” refer to the effect first of fire, of waters and winds on the earth. Vein of
metal in mines resemble the curves of conical forms, sometimes ending in circle or an
ellipse, sometimes stretching into a hyperbola or a parabola.
The model for sciences of matter is the “origami”, as the Japanese philosopher might
say, or the art of folding paper.
“Folding-unfolding no longer simply means tension-release, contraction-dilation, but
enveloping-developing, involution-evolution… The simplest way of stating the point is
by saying that to unfold is to increase, to grow; whereas to fold is to diminish, to reduce,
to withdraw into the recesses of a world. Yet a simple metric change would not account
for the difference between the organic and the inorganic, the machine and its motive
force. It would fail to show that movement does not simply go from one greater or
smaller part to another, but from fold to fold. When a part of a machine is still a
machine, the smaller unit is not the same as the whole.” [5]
The principle of individuation is applied to the case of organic body confers an
interior on matter that make its figures, two never being exactly alike.
Movement does not simply go from one greater or smaller part to another, but from
fold to fold. When a part of a machine stills a machine, the smaller unit is not the same
as the whole. Like the example that Leibniz invokes the layers of clothing are not the
same. And that is why metamorphosis or”metaschematism” pertains to more than mere
change of dimension: every animal is double – but as a heterogeneous or heteromorphic
3
creature, just as the butterfly is folded into the caterpillar that will soon unfold… The
inorganic fold happens to be simple and direct, while the organic fold is always
composite; alternating; indirect.
When mention about architecture, the folding theory of Gilles Deleuze has given a
new way of thinking that is different and is not based on traditional architecture but that
is based on the relationships of uncertainties and differences. Folding, as means of
another concept of space and time, it helps develop new ways of seeing the relationship
of architecture to environment, the building to site. It creates the uncertainties when
across the lines. “The fold is the general topology of thought… ‘Inside’ space is
topologically in contact with the ‘outside’ space… and brings the two into confrontation
at the limit of the living present...[6] The fold always occurs independent of scales and
distance as it flows from the outside to the inside, where it is neither fixed but rather in
constant exchange. Thus, the building or even the space is not one space but many
spaces folded into many sites. Architecture conceived where there is a folding space
into other spaces. A multiplicity where everything is read and reread but we can’t see
itself in its entity. “It is not the line that is between two points, but the point that is at the
intersection of several lines.” [7] Several folds creating a blurring of inside/outside,
solid/void and space to space threshold; reconceptualizing traditional architectural
notions of spatial connections and separations.
4
1.2. About digital Architecture: such as Grey Lynn, Peter Eisenman,
Frank Gehry, Zaha Hadid
About folding concept we can mention three typical architectures such as: Peter
Eisenman, Frank Gehry and Greg Lynn. Grey Lynn graduated cum laude from Miami
University (OH) with degrees in Architecture and Philosophy, and Princeton University
with a Master of Architecture. He is distinguished for his use of computer-aided design
to produce irregular, biomorphic architectural forms, as he proposes that with the use of
computers, calculus can be implemented into the generation of architectural expression.
Lynn has written extensively on these ideas, first publishing the book "Animate Form"
in 1999, funded in part by the Graham Foundation. The projects present in “Animate
form” apply the movement, animation in design process, that mean the fold is not only
fixed or stable but also animate in space. Those thinking lead his designs to the new
open horizon. Besides that, Lynn's New York Presbyterian Church in Queens, New
York, with Douglas Garofalo and Michael McInturf was an early project which used
vector-based animation software in its design conception. He was credited with coining
the term 'blob architecture'. He was profiled by Time Magazine in their projection of
21st century innovators in the field of architecture and design. [8]
Because of its dedication to permanence, architecture is one of the last modes of
thought based on the inert. More than even its traditional role of providing shelter,
architects are expected to provide culture with stasis. The desire for timelessness is
intimately linked with the interests in formal purity and autonomy. Challenging these
assumptions by introducing architecture to models of organization that are not inert will
not threaten the essence of the discipline, but will advance it. Just as the development of
calculus drew historical developments that preceded it, so too will an animate approach
to architecture subsume traditional models of statics into a more advanced system of
dynamic organizations. Traditionally, in architecture, abstract space of design is
conceived as an ideal space of Cartesian coordinates. In naval design, for example the
abstract space design is imbued with the properties of flow, turbulence, viscosity, and
drag so that the form of the hull can be conceived in motion through water. [10]
5
Figure 1.1- Ariel view looking toward the city Yokohama
View toward the departures and arrivals terminal from the moss garden at the ocean end of the site
Source: [10]
Figure 1.2- Roof plan, west elevation
Source: [10]
Figure 1.3- Roof plan of the project showing the three programmatic tubes in different materials
Source: [10]
The Yokohama port terminal is location of complex movement and interchange
between passengers and citizens, between land and sea, between city and garden,
between vehicles and cargo. This project sees in these dynamic exchanges an
opportunity to celebrate the experience of fluid and uninterrupted streams of movement.
Emphasis on smooth and continuous movement organizes the project programmatically,
contextually and spatially. While the port terminal extends the full length of the site, it
addresses its context by building up gradually at the land end and tapering down
smoothly toward the sea. These transformations are defined spatially and topologically
6
as transformation of city’s surface into the interior volume of the departure and arrival
hall (and ultimately to the boat). The surface of the garden transforms from the sea into
the passage into the civic spaces for events or congregation in the city. The transitions
from flat surface to rolled volume pass through each other in opposite and
complementary directions. The garden and the port terminal are each conceived as a
continuous transformation from interior volumes into outdoor surfaces. The two
passages complement one another along the length of the site as they move through
each other in opposite direction. As they pass through one another, their interiors and
exterior intermingle. [10]
Peter Eisenman (born: 1932, born in: New Jersey, lives in: New York) was the leader
of a loosely knit group of New York architects, called the New York Five (John Hejduk,
Michael Graves, Charles Gwathmey, and Richard Meier rounded out the five), who
made an effort to introduce a theory and artistry of architecture as rigorous as that of the
European avant-garde. They were committed to the idea of an autonomous architecture
removed from reductive functionalism. The theories behind Eisenman's work are pretty
heady, having to do mainly with his attempt to extricate architecture from any sense of
context. But when we look at his work, his theories become clear. His buildings exist in
their own spaces. The Wexner Center for the Visual Arts slashes diagonally through the
campus grid. It disregards what already exists and sets up its own coordinates in the
space. Similarly, his renowned Cannaregio proposal for Venice ignored the city itself
and was instead based upon an unbuilt Le Corbusier hospital project. Oddly, instead of
aligning his proposal with the city's grid, Eisenman arbitrarily linked it to the imaginary
hospital, subverting any sense of connection to the real Venice and liberating the
architecture from simplistic interpretations based on use or context. Eisenman is truly
anti-humanist; his buildings are pure pursuits of form that, in their arbitrary overlay of
different grids, gesture towards the arbitrariness of all regimented, predetermined
contexts. [11]
His designs are the intersection of folds, some spaces that overlap on eachother like
the definition of Gilles Deleuze “Fold are always folded within a fold”. The curve in the
corner of the Great Columbus Convention Center (Figure 1.6) is constituted from the
7
nearby highway ribbons and the past of the railyards is also partly a design concept
overlay of delicate fiber optic cables that present the information age. It reflects High
Street’s traditionally narrow structures with articulated facades that have been extrude
away from the street. The design also solves one of the most persistent problems in
convention center design – diagrammatic clarity. Differences in forms clearly
distinguish the various exhibition spaces and parts of the concourse. The strengths of the
scheme are accomplished without relying on unsatisfying quotations from Columbus’s
past, or images typically find in “generic” convention halls.
Figure 1.4- Plan view of the model for the College of Design, Architecture, Art and Planning - University
of Cincinnati.
Source: http://wn.com/eisenman?orderby=viewCount
8
Figure 1.5- Satellite image of the
Greater Columbus Convention
Center, 1989.
Source:
http://wn.com/eisenman?orderby
=viewCount
Figure 1.6- House VI (Frank residence), Cornwall,
Connecticut, Design: 1971.
These are some buildings which designed by
Peter Eisenman. The Great Columbus Convention
Center the form of those buildings have been
deforms follow the highway street beside them
and someway like many parts folded, overlap
each others.
We can see the difference between two ways
of design method. The one is derived from the
message on the site, the connection of building
and the site, the building is folded and mixed with
the site. The other one House VI develops the
conceptual structure to give it primacy over the
perceptual
or
traditional
structure
understanding architecture.
9
of
Figure 1.7- Wexner Center Image :
House VI - column/beam
Source:
http://wn.com/eisenman?orderby=view
Count
Figure 1.8- House VI - column/beam intersection at red staircase
Arizona Cardinals Stadium - Daytime, Peter Eisenman
The new Guggenheim Museum Bilbao in Spain by Frank Gehry was probably the most
often mentioned new building of 1998 and 1999 in architecture circles. The composition
continues a curvaceous, free-form sculptural style that has become a Gehry’s signature.
The abstract, free-form components of this style were presented in the early Gehry
House, and a similarly sleek curvaceous cladding was displayed in the sculptural fish of
the Fish dance Restaurant. He designs the soft and free random curves by folding forms,
fold by fold; pile on each other that arrange to catch the light. His buildings is used the
form that have been shifted, rotated or even twisted to create a new effect of forms.
10
Figure 1.9- Guggenheim Museum, Bilbao, Spain, 1997.
Source: http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
Figure 1.10- Guggenheim Museum, Bilbao, Spain, 1997.
Source: http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
Figure 1.11- Walt Disney Concert Hall, at Los Angeles, CA, 1989 to 2004.
Source: http://www.historiasztuki.com.pl/72_ARCHWSP_4-eng.html
11
Figure 1.12- Gehry Residence, 1978
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP
_4-eng.html
Figure 1.13- Vitra Design Museum, Vitra premises,
Weil am Rhein, Germany, 1989
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP_4
-eng.html
DZ Bank building: the force that folds it is
nearly like twisting and also its materials give
its appearance more reflection.
Figure 1.14- Der Neue Zollhof, Düsseldorf, Germany, 1999
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP_4eng.html
12
Figure 1.15- DZ Bank building, Pariser
Platz 3, Berlin, Germany, 2000 Düsseldorf,
Germany [12], 1999
Source:
http://www.historiasztuki.com.pl/72_ARC
HWSP_4-eng.html
Fred and Ginger currently Dancing
House: the form of this building was also
different from the traditional building, it
has been deformed, distorted, made
senses and also gave us the feeling it
nearly moved in space.
With the Experience Music Project
and Science Fiction and Hall of Fame, It
looks like a group of many objects that
are folded by different kind of forces and
be covered by sheets of aluminum.
Figure 1.16- Fred and Ginger currently Dancing
House, Prague, Czech Republic, 1995
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP_
4-eng.html
Figure 1.17- Experience Music Project and Science Fiction Museum and
Hall of Fame
13
Figure 1.18- Experience Music Project and Science
Fiction Museum and Hall of Fame
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP_
4-eng.html
Figure 1.19- Gehry Tower, Hanover,
Germany, 2001
Source:
http://www.historiasztuki.com.pl/72_A
RCHWSP_4-eng.html
The design for the Vila Olympica in Barcelona is a bump in the oeuvre of
Gehry. The fish sculpture is abstracted, but not inhabitable. The design is a step
backwards to that of the inflated billboard. The fish-figure is used in his project
with a simple shape that folds in some ways.
Figure 1.20- Fish dance Restaurant, at Kobe, Japan, 1986 to 1989
14
The Vitra Fire Station in Weil am
Rhein was Zaha Hadid's first built
project:
with
sculptural
expressiveness
and
ambitious
long spans
with
structurally
and
cantilevers. We paid much attention
to the sharpness of alls edges. The
concept of this project is from the
prismatic form, the abstract quality of
the architectural concept.
Figure 1.21- Vitra Firestation, Weil am Rhein, Germany,
1991-1993
Source:
http://www.historiasztuki.com.pl/72_ARCHWSP_4eng.html
1.3. Summarize
The fold itself exists in all materials, from physical world to the soul, from nature to
artificial works, in some cases it can be easily recognized but in some cases it is
invisible and we must image. Begin in the Baroque; the folds go to infinity, and till here.
Forces are the act of fold that creates different kinds of folds. And two folds are not
exactly alike. All those things make the folds more and more diversified and give an
open direction for architecture, interior design, and other fields. We can see it in the
theory of fold and also in typical works in architecture above.
Within the fold space conceived, developed and executed with an experience of
variations as opposed to traditional architectural style of an ‘experience of identity’. It is
important when considering the fold in an architectural context, that it encompasses a
continuously differentiating entirety. It is not a matter of separate folded ‘parts’ within
the ‘whole’ but the ‘whole’ has also been complicated with the many ‘parts’. A 3dimensional folding beyond pattern and instead, considered as a fabric where the pattern
is imprinted and folded along. An architectural process of spatial conception, where new
and unanticipated possibilities (between folded, enfolding and yet to be unfolded) occur
without predetermined outcomes. The computer/animated space that various architects
15
have discussed such possibilities (such as Peter Eisenman, Greg Lynn and John
Rajchman to name only a few) but for now, it remains primarily in theory, diagram or in
a formal static variation. Bringing a theoretical (Deleuzian) diagram of space to a built
construction, a new type of construction and material is needed.
The many suggestive philosophies of Gilles Deleuze give us many dynamic
buildings and spaces where infinite “outcome” possibilities, processes and virtuality
could unfold across a diversed architectural landscape with no definable beginning or
end; rather that is an evolving continuum.
16
CHAPTER 2
OBSERVATION
2.1. Learning from nature
2.1.1. Force
1. Strength:
Case in mountain
Symmetrical fold: A fold,
whether anticline or syncline, is
described as symmetrical when
its axial plane is vertical and
Figure 2.1- Symmetrical fold
Source: http://www.wiziq.com/tutorial/9182-FoldStructure
thus both the limbs have same
amount of dip. This results
from
equal
compressional
amount
forces
of
acting
from both sides. [12]

An
example
of
symmetrical folding in layered
rocks
of
Perry
mountain
formation (USA).
Figure 2.2- Asymmetrical fold
Source: http://www.wiziq.com/tutorial/9182-FoldStructure
Asymmetrical folds: However,
if the forces are unequal
Asymmetrical folds developed.
The limbs of the anticline or
syncline generally slope away
17
from or towards each other,
having dipped in opposite
direction. [12]
 An example of
asymmetrical fold in
sedimentary strata along the
Figure 2.3- Asymmetrical fold
Source: http://www.wiziq.com/tutorial/9182Fold-Structure
main road from Jerusalem to
the Dead Sea.
Fold developed on
horizontal beds due to internal
pressure.
2. Direction
Fold
developed
on
horizontal beds due to
internal pressure.
Tornado in Manitoba
A
tightly
tornado
funnel
wound
twists
through open prairie in
Manitoba,
Canada.
Tornadoes are pillars of
rapidly rotating air that
develop in tall, dense
cumuliform clouds that
are
associated
with
Figure 2.4- Tornado in Manitoba, Photograph by Richard
Olsenius
Source:
http://environment.nationalgeographic.com/environme
nt/photos/tornado-general/manitobatornado.html
thunderstorms and bad
weather. [13]
18
"Mother Ship" Cloud
A rare mother ship
cloud formation hovers
over Childress, Texas.
Tornado
chasers
there
covered seven hours and
150
miles
(240
kilometers) tracking the
supercell
thunderstorm
that produced this cloud
formation.
Figure 2.5-"Mother Ship" Cloud, photograph
by Carsten Peter
Supercell
thunderstorms are known
to spawn tornadoes with
winds
exceeding
miles
an
Source:http://environment.nationalgeographic.com/enviro
nment/photos/tornado-general/manitobatornado.html
200
hour
(322
kilometers an hour). [13]
Tornado and Storm Clouds
A
slender
twister
spins
under
storm-
streaked skies in the
U.S.
typical
In
addition
land
tornadoes
over
twisters,
may
desert
to
form
(dust
devils), forest fires or
volcanoes
Figure 2.6- Hurricane
Source:
http://environment.nationalgeographic.com/environment/
photos/tornado-general/manitobatornado.html
(firewhirls),
or oceans (waterspouts).
[13]
19
Hurricanes are giant, spiraling tropical storms that can pack wind speeds of
over 160 miles (257 kilometers) an hour and unleash more than 2.4 trillion
gallons (9 trillion liters) of rain a day. [13]
These same tropical storms are known as cyclones in the northern Indian
Ocean and Bay of Bengal, and as typhoons in the western Pacific Ocean.
Hurricanes begin as tropical disturbances in warm ocean water with surface
temperatures of at least 80 degrees Fahrenheit (26.5 degrees Celsius). These
low pressure systems are fed by energy from the warm seas. If a storm
achieves wind speeds of 38 miles (61 kilometers) an hour, it becomes known
as a tropical depression. A tropical depression becomes a tropical storm, and is
given a name, when its sustained wind speeds top 39 miles (63 kilometers) an
hour. When a storm’s sustained wind speeds reach 74 miles (119 kilometers)
an hour it becomes a hurricane and earns a category rating of 1 to 5 on the
Saffir-Simpson scale. Hurricanes spin around a low-pressure center known as
the “eye.”
[13]
A hurricane’s high winds are also destructive and may spawn tornadoes.
Torrential rains cause further damage by spawning floods and landslides,
which may occur many miles inland. [13]
Figure 2.7- Hurricane
Source: http://environment.nationalgeographic.com/environment/photos/tornadogeneral/manitobatornado.html
20
Volcanoes are awesome manifestations of the fiery power contained deeply
within the Earth. These formations are essentially vents on the Earth's surface
where molten rock, debris, and gases from the planet's interior are emitted.
When thick magma and large amounts of gas build up under the surface,
eruptions can be explosive, expelling lava, rocks and ash into the air. Less gas
and more viscous magma usually mean a less dramatic eruption, often causing
streams of lava to ooze from the vents. [13]
The mountain-like mounds that we associate with volcanoes are what
remain after the material spewed during eruptions has collected and hardened
around the vent. This can happen over a period of weeks or many millions of
years.
Volcanoes tend to exist
along the edges between
tectonic
plates,
massive
rock slabs that make up
Earth's surface. About 90
percent of all volcanoes
exist within the Ring of
Fire along the edges of the
Pacific Ocean. [13]
About 1,900 volcanoes
on Earth are considered
active, meaning they show
some level of activity and
Figure 2.8- Volcano
Source:http://environment.nationalgeographic.com/environ
ment/photos/tornado-general/manitobatornado.html
are likely to explode again.
[13]
21
2.1.2. Material
1. Thick- hard:
Figure 2.9- Isoclinals folds
Source: http://www.wiziq.com/tutorial/9182-Fold-Structure
Isoclinals folds and bondage of Caledonian age in a marble-gneiss
succession, General-fjella Formation (Mesoprotero-zoic). [12]
2. Thin- weak:
Figure 2.10- Flower’s petals
http://www.flickr.com/
22
We can compare the petals’ folds those are so thin, soft, delicate than the
mountain’s folds those are strong, hard and their curvature is larger than petals’
ones.
2.1.3. Texture
Different materials have different textures, and also different appearance of
the fold.
Figure 2.11- The veins on leaf
Source: http://www.flickr.com/
Figure 2.12- The veins on gecko’s wings
23
Figure 2.13- The texture on rock’s surface
Source: http://en.wikipedia.org/wiki/Fold_(geology)
The texture on rock’s surface is composed of various substances.
24
2.1.4. Organization
This is the structural geology of the mountain stages, the fold in the
organization of geology.
Figure 2.16- Footwall cutoff with development of a small drag fold, in SW Japan
Figure 2.17 – Diagram of Anticline
25
2.2. Learning from artificial works
2.2.1. Architecture:
This part has been presented in chapter 1.
2.2.2. Paper folding:
Paper folding (disambiguation)
Paper folding most frequently refers to Origami, the art developed in Japan. It
may also refer to as: Chinese paper folding- the art developed in China, paper
model- the craft of making models using cut, folded or glued card, Paper toys- for
example paper planes, mathematics of paper folding, pop-up book- also known as
paper engineering, regular paper folding sequence for example the dragon curve,
book folding- how paper is folded industrially. [14](From Wikipedia, the free
encyclopedia)
In Origami, they always use one piece of paper and then fold it to make it
become a work. We can see in Origami and now there are many kinds of papers to
fold that make paper folding is more and more diversified and common all over
the world.
Figure 2.18 – Paper folding.
Figure 2.19 – Paper folding
26
Figure 2.20- Paper folding
Figure 2.21- Paper folding
27
2.2.3. “Like” fold
These pictures presents a different kind of landscape that have the apearance
like fold, this is an artificial work. The beautiful fields is formed follow the
mountain form (geology).
Figure 2.22- Terrace fields
Source: http://www.flickr.com/photos/banggia03k4/4011751502/
Figure 2.23- Terrace fields
Source: http://www.rfi.fr/actuvi/articles/115/article_4088.asp
28
2.3. Induction: Factors in folding/unfolding
From studying about the fold I have presented above, especially in nature; material,
texture, direction and force are the important factors that act much on the development
of the fold.
These pictures present four kinds of forces that produce folds: shear, pull, push and
twist. The force can proceed from the things in itself, for example the structure of the
mountain formed because of tectonics of the earth’s crust; forces also come from
external matter maybe environment or another objects. The multiple and infinite folds
appear when a force acts on matter with different materials.
Shear
Pull
Figure 2.24- Different kind of impacts on the fold
29
CHAPTER 3
THE GENERATIVE MODEL
In the mid and late twentieth century in architecture context Deconstruction appeared
and contrasted with Construction. Animate form is also an important concept in this
trend. “Animation is a term that differs from, but is often confused with, motion. While
motion implies the movement and action, animation implies the evolution of a form and
its shaping forces; it suggests animalism, animism, growth, actuation, vitality and
virtuality. In its manifold implications, animation touches on many architecture’s most
deeply assumption about it structure” [15].
Folding form is also a kind of animate form, that form is not only a static matter, it
also develops perpetual. We can mention about some typical architects of this trend as:
Peter Eisenman, Frank Gery, Daniel Libeskind, Zaha Hadid, Grey Lynn and so on.
There are some introductions about those famous architects in the first chapter. Their
design is started the new trend_ “animation form”, and their concepts implied the deep
influence _“folding”. In this chapter, we will trace the design development by cases, and
try to establish the “Generative model” of the folding theory on spatial design.
30
For exploring the logic and procedure behind those designs that under the influence
of “folding”, in this chapter, we searched 14 cases as study objects, those cases designed
by 5 architects that mentioned above individually.
Table 3.1- Study objects
No.
Architect
Name of The Case
Location
Completion
Case 1
Daniel Libeskind
The Jewish Museum
Berlin
1999
Case 2
Peter Eisenman
Nordliches Derendorf
Master Plan
Dusseldorff,
Germany
1992
Case 3
Peter Eisenman
Great Columbus
Convention Center
Columbus,
Ohio
1989/1993
Case 4
Peter Eisenman
Emory Center for the
Arts
Atlanta,
Georgia
1991
Case 5
Peter Eisenman
Alteka Office Building
Tokyo, Japan
1991
Case 6
Peter Eisenman
La Villette
Paris, France
1986
Case 7
Frank Gehry
The new Guggenheim
Museum
Bilbao, Spain
1980
Case 8
Zaha M. Hadid
Vitra Firestation
Weil Aim
Rein
1991-1993
Case 9
Grey Lynn
Port Authority Gateway
Competition
New York,
U.S.A
Competition
1995
Case 10
Grey Lynn
The Yokohama
International Port
Terminal
Yokohama,
Japan
Competition
1995
Case 11
Peter Eisenman
Aronoff Center of
Design and Art
Cincinnati,
Ohio
1988/present
Case 12
Peter Eisenman
Maxx Reinhardt Haus
Berlin,
German
1992
Case 13
Peter Eisenman
The Rebstockpark
Master Plan
Frankfurt,
Germany
1990
Case 14
Peter Eisenman
Haus Immendorff
Dusseldorff,
Germany
1993
31
3.1. Message from the site:
Analyzing message from the site 14 cases that have been listed above:
3.1.1. Tracing the meaning concept:
Case 1:
Message in the site:
The site is the center of Berlin
on Lindenstrasse next to the
distinguished Kollegienhaus, the
former
Baroque
Prussian
courthouse. Message of the site
was taken from history; there was
a
connection
of
Figure 3.1- Perspective view
Source: http://www.daniel-
relationships
libeskind.com/projects/show-all/jewishmuseum-berlin/
between figures of Germans and
Jews. [16]
Case 2:
Message from the site:
This proposal recognizes the fact that we
are living in the era of information, electronic
information systems become one of the new
limitations to urban growth. In Dusseldorf, one
of the new limits is the system of the radar and
radio. The proximity of the airport’s flight path
causes certain height restrictions to be mapped
on to this project. [17]
Figure 3.2- Presentation model, aerial view
Source: [17]
32
Case 3:
Message from the site of this
case is derived firstly from history
and
secondly
is
concept
of
information
age,
name
it
“perception”
and
traffic:
the
railyards that once occupied the
site nearby highway ribbons, the
High Street’s traditionally narrow
Figure 3.3- Competition model with lasers
Source: [18]
structures and overlays of delicate
fiber optic cables that present the
information age. [18]
Figure 3.4 - Concept sketch
Source: [18]
Case 4:
The main concept from the site
is: the fourth performance halls are
linked by an expansive, multi-level
lobby traversing the length of the
building and functioning as a link
to the campus boundary and a new
open-air amphitheater:
“Perception”. [19]
Figure 3.5- Presentation model, view from the
north-west
Source: [19]
33
Case 5:
Message from the site is the
fluctuation - another relationship
of the city, caught between the
traditional city fabric and Jigama.
[20]
This case can be arranged into
“Perception” message.
Figure 3.6- Presentation model, view from the
south-east
Source: [20]
Case 6:
The message of the site of Parc
de La Villette is a study of timepast, present and future, replaces
the actual conditions of time, place,
and scale with the analogies of
these conditions. While the site
exists in the present, it is also made
to contain allusions to the present,
the past, and the future. [21]
Figure 3.7- Technical site plan with building
Source: [21]
Message from the site of this case
is derived from history.
34
Case 7:
The
architect
quoted as
randomness
saying
of
the
has
been
that
"the
curves
is
designed to catch the light". It was
hailed as one of the world's most
spectacular buildings in the style
of Deconstructivism. [22]
Message of the site conclude the
traffic outside of the museum, the
curve of the street, the lake next to
Figure 3.8- Site plan
Source: http://rosemariestillarch13902010.blogspot.com/2010/10/case-study-guggenheimmuseum-bilbao.html
the site and the light reflects on the
surface of the lake.
Figure 3.9- Model
Source: http://rosemariestillarch13902010.blogspot.com/2010/10/case-study-guggenheimmuseum-bilbao.html
Case 8:
The building is located where
the street made an abrupt parallel
shift, the collision of directions
(the direction of the surrounding
agricultural
fields
and
factory
complex, a second directional
movement
- direction
of the
railways passing by Weil aim
Figure 3.10- Perspective view
Source: [23]
Rhein)– formerly absorbed within
35
the rectilinear system of the site by
means of orthogonal shift and
steps. [23]
The main message from the site
is traffic.
Figure 3.11- Second floor plan
Source: [23]
Figure 3.12- Ground floor plan
Source: [23]
Case 9:
Message of the site is the movement and flow of pedestrians, cars, and buses
across the site, each with differing speeds and intensities. So its main message is
movement. [9]
Figure 3.13- Perspective view of tensile surfaces
Source: [9]
36
Case 10:
Message of the site is derived from the fluid and uninterrupted streams of
movement of passengers, citizens, vehicles, cargo between the land and the sea.
Two movements pass through each other in opposite directions. So we find that
the main concept of this case is: movement. [10]
Figure 3.14- Roof plan of the project showing the three programmatic tubes in different materials
Source: [10]
Case 11:
The vocabulary of this building derived from the curved of the land forms and
the existing building; the dynamic relationship between the two forms created the
spaces between them. This case can be classified into land form and history. [24]
Figure 3.15- Presentation model, aerial view
Source: [24]
37
Case 12:
The concept of Max Reinhardt Haus is forward rather than back-looking,
combining the best of what is German with the symbolic vision of the future. It
can be arranged into “perception”. [25]
Figure 3.16- Site model, view from the west
Source: [25]
Figure 3.17- Section A
East elevation
Ground level plan
Second basement level plan
Source: [25]
38
Case 13:
In this case, message of the site is derrived from the idea of a static urbanism,
the temporal dimension of the present become an important aspect of the past and
future. This case can be classified into “perception”. [26]
Figure 3.18- Site plan
Source: [26]
Case 14:
Message of the site is
derrived
from the analysis of soliton waves
which
form
interactions.
This
the
case
non-linear
can
be
classified into land form and history.
[27]
Figure 3.19- Perspective, view from the West.
Source: [27]
39
Figure 3.28- Second level plan, third level plan.
Source: [26]
3.1.2. The classification of site messages
After studying those cases the fact was found that: those design concepts all
based on some messages from the site. Those messages include land, traffic,
movement, culture, ext. can be separated into two kinds: the visibility and
invisibility.
Such as in case 1_ the Jewish Museum the main message of the site is started
from history of the site. Such as in case 2_ the Nordliches Derendorf Master Plan
the main message of the site is started from the pattern of radar and radio wave.
From analyzing those cases, we found that those messages included two kinds:
the visibility and invisibility. And they can be classified into history, land form,
traffic, movement, and culture as we show in table 3-2:
Land: that can be geography, aerial view of the site.
“Perception”: can be “symbolic”, fluctuation or radar, radio pattern, etc.
Movement: are the properties (direction, strength, intensity, etc) of movement
in the site.
Traffic: are the properties (direction, strength, etc.) of movement outside of
the site.
History: or other factors that are close to culture.
40
The below table presented the classification of message from the site that help
image generally every cases.
Table 3.2- Classification of message from the site.
No.
Message from the site
Classification
Case 1
Relations between Germans and Jews
History
Case 2
The system of the radar and radio
“Perception”
Case 3
The railyards that once occupied the site,
the High Street’s traditionally narrow
structures and overlays of delicate fiber
optic cables.
History, traffic and
“Perception”
Case 4
Case 5
Case 6
Case 7
Case 8
The multi-level lobby traverses the length
of the building and functions as a link to
the campus boundary and a new open-air
amphitheater.
The fluctuation - another relationship of
the city, caught between the traditional
city fabric and Jigama.
Study of timepast, present and future,
replaces the actual conditions of time,
place, and scale with the analogies of
these conditions.
The traffic outside of the museum, the
lake next to the site.
The collision of directions: the direction
of the surrounding agricultural fields and
factory complex, the directional
movement of the railways passing by
Weil aim Rhein.
“Perception”
“Perception”
History
Traffic
Traffic and movement
Case 9
The movement and flow of pedestrians,
cars, and buses across the site, each with
differing speeds and intensities
Movement
Case 10
Two uninterrupted streams of movement
of passengers, citizens, vehicles, cargo
between land and sea.
Movement
Case 11
The curves of the land forms and the
chevron forms of the existing building
Land form and history
41
Case 12
The symbolic vision of the future, the
technique assume “prismatic”
“Perception”
Case 13
The idea of a static urbanism; the
temporal dimension of the present
become an important aspect of the past
and future. [25]
History
Case 14
The solution waves
“Perception”
3.2. Space Frame
After extracting messages from site, those architects created unique “space
frame” procedurally to reinterpretation those message.
3.2.1. Reinterpreting through substance
Case 1:
The connection of the relationship between figures of German and Jews
creates the space frame, linking lines of some historical places that cut the site
plan and also have historical significance for the site plan.
Figure 3.21- Concept diagrams
Source: [16]
Figure 3.22- Model view
Source: [16]
Daniel Libeskind
Daniel Libeskind
Berlin Museum,
1992, Berlin
Berlin Museum,
1992, Berlin
42
Case 2:
The space frame of this project
derived from the interference of radar
and radio pattern because the systems of
radar and radio become the new limits in
Dusseldorfone. Peter Eisenman makes
the interference of the two patterns and
overlay the site as a topological structure.
There is a matrix, which is produced by
stretching of the interference pattern in
Figure 3.23- Concept diagram, wave and
interference
Source: [17]
the section over the site. [17]
Figure 3.24- Concept diagram, vertical
topographical section
Concept diagram, interference
Concept diagram, superposition of radar
Source: [17]
Figure 3.25- Concept diagram of interference field
Concept diagram, topological interference
Source: [17]
Case 5:
43
Case 5:
The project suggests another relationship to the city - fluctuation caught
between the traditional city fabric and Jigama. These figures present the space
frames (concept diagrams) of folding and unfolding help us imaging a continual
variation of the matter and a perpetual development of the form. [20]
Figure 3.26- Concept diagram, infolding section
Source: [20]
Figure 3.27- Concept diagram, unfolding section
Source: [20]
44
Case 4:
The space frame of this project
is the quadrangle that is based on a
grid system which, when extended
to
the
center’s
site,
is
hypothetically deformed by the
topography of the ravine that
Figure 3.28- Computer generated model
Source: [18]
separates them. This initial space
frame approximates the five lines
of a fundamental sine wave in the
musical harmonics; the wave is
similar in amplitude and frequency
to the ravine topography. These
harmonic
waves
compress
and
are
used
extend
to
the
continuous surfaces of the center’s
four main building bars, folding
them
in
a
multiplicity
Figure 3.29- Bar W study model
Computer-generated bar W study model
Source: [19]
of
configurations. [19]
Source: [19]
45
Case 6:
The space frame is derived from
the conditions that existed at the site
in 1867, when an abattoir occupied
the site; in 1848, when the site was
covered by the city walls; and at the
present,
the
time
of
Bernard
Tschumi’s La Villete project. [21]
Figure 3.32- Exploded axonometric drawing
Source: [21]
Figure 3.31- Presentation drawing, plan of
scheme for site 3
Source: [21]
Case 8:
The space frame of the building derived from and expressed the crossing of
two main organizing geometrics of this area. The direction of the surrounding
agriculture fields and factory complex is cut by a second directional movement
that slices off the corner of the otherwise rectilinear site, in itself the repercussion
of the large field of the railways passing by Weil aim Rhein, following the
direction of the Rhein. This collision of directions – formerly absorbed within the
rectilinear system of the site by means of orthogonal shift and steps. [23]
46
Figure 3.33 – View from street side
Source: [23]
Figure 3.34 – Sketch diagram for overall site strategy
for factory complex.
Source: [23]
Case 9:
The space frames was derived from the movement and flow of pedestrians,
cars and buses across the site, each with differing speeds and intensities of
movement along Ninth Avenue, 42nd and 43rd streets, and the four elevated bus
ramps emerging from below the Hudson river. These various forces of movement
established a gradient field of attraction across the site. [9]
Figure 3.35- The site forces mapped with particles that create a single surface envelope
Source: [9]
Figure 3.36 - The same sequence viewed from above
Source: [9]
47
Figure 3.37- Perspective view of the ramp phase portrait
Perspective view of the Ninth Avenue phase portrait
Source: [9]
Figure 3.38- Particle study of the Ninth Avenue motion forces
Source: [9]
Figure 3.39- The phase portraits are threaded by curvilinear vectors. These vectors became the center
lines for the tubular beams whose quasi-catenoidal
Source: [9]
Case 10:
From the message on the site: the fluid and the uninterrupted streams of
movement: Movement. The space frame of this project is created from these dynamic
exchanges of fluid and uninterrupted stream movement that emphasizes on smooth
and continuous. When the port terminal extends the full length of the site, it
addresses its context by building up gradually at the land end and tapering down
48
smoothly toward the sea. These two passages complement one another along the
length of the site as they move through each other in opposite directions, and their
interiors and exteriors intermingle with each other. [10]
Figure 3.40- The two tubes were threaded through one another based on the docking patterns of the
ships.
Source: [10]
Figure 3.41- Three pair of tubes typologies, with the programmatic volume shown in blue and the
exterior shell in the grey.
Source: [10]
Figure 3.42- The terminal tube transforms from a surface at the urban edge of the site, making a traffic
plaza, to a volume at the ocean edge of the site, creating a departures and arrival terminal.
Source: [10]
Figure 3.43- Embedded within the public tube is a moss garden. It transforms from a surface at the
ocean end of the site into a suspended moss garden tube that pushes through the top of the building to
become a roof garden. It forks at the end of accommodate bus and car traffic entering the parking
areas and the traffic plaza.
Source: [10]
Figure 3.44- Stereo lithography model cut longitudinally through the middle of the site
Source: [10]
Figure 3.45- (Opposite site) Stereo lithography models of the terminal tube (left), the parking tube
(center), and the moss garden tube (second from the right).
Source: [10]
49
Case 11:
The space form of the building
derives from the curves of the land forms
and the chevron forms of the existing
building;
the
dynamic
relationship
between the two forms organizes the
space between them. [24]
Figure 3.46- Concept diagrams, curved line
Source: [24]
Figure 3.48- Concept diagrams,
chevron trace and imprint
Source: [24]
Figure 3.47- Concept diagram, tiled curve
Concept diagram, tiled curved trace
Source: [24]
50
Figure 3.49- Concept diagrams, composite curves
and chevron
Source: [24]
Case 12:
The message on the site is: symbolic vision of the future with assuming a
“prismatic” as the technique. The space frame is created from many fragments
that are fold into itself out to – infinite, constantly changing array of the
metropolitan references and relationships. [25]
First revolution, attaching panels- transparent diagram, splitting of panels
Second revolution, Panel separation- Transparent diagram, splitting of panels
Third revolution, Cubic volume- attached cubic volumes
Source: [25]
51
Volumetric recreation Panel surfaces- Form of first revolution, almost crystallized
Separation of the surface along panel edges- Phantom impression on the almost crystallized form
Misfolding of plates on the cube- Almost realized with crystallized deformation
Source: [25]
Figure 3.52- Wireframe diagrams
Source: [25]
52
Case 13:
The space frame is a segment of the Mercator grid. By compressing the large
grid segment onto the site perimeter and similarly compressing the small-scale
onto the close site figures fold and unfold, each relative to its expanded position.
[26]
Figure 3.53- Concept diagram: superposition of net, transportation of
net, folded net, typological fabric, building typology, folded typology
Source: [26]
Figure 3.54- Concept diagram, folded wire frame
Diagrammatic building model
Source: [26]
53
3.3. “Force”
The space frame will be affected by the force that will deform it to create a new
space form.
Case 2:
Force: The proximity of the airport’s
flight
path
causes
certain
height
restrictions to be mapped on to this
project. This interference overlays the
site as a topological structure, produces
the
matrix
by
stretching
of
the
interference pattern in the section over
the site. [17]
.
Figure 3.55- Concept diagram, wave formation
Concept diagram, isometric of interference
Concept diagram, overlap of wave and interference
Source: [17]
Case 4:
The force that separates the quadrangle is hypothetically the topography of the
ravine. The initial deformation approximates the five lines of a fundamental sine
wave in the musical harmonics; the wave is similar in amplitude and frequency to
the ravine topography. These harmonic waves are used to compress and extend
the continuous surfaces of the center’s four main building bars, folding them in a
multiplicity of configurations. [19]
54
Source: [19]
Case 5:
The force of fluctuation deformed the space form in this case. It implies a
continual variation of matter and a perpetual development of form. [20]
Figure 3.57- Concept diagram, envelope plan
Source: [20]
Case 9:
The forces in this project originate( simulate) from the movement and flow of
pedestrians, cars, and buses across the site, each with differing speeds and
intensities => that means the forces here have different strength.
55
Figure 3.58- The site was modeled with forces of attraction based on movement of pedestrians,
automobiles and buses. The gradients of speed were visualized with the addition of a particleemitting surface at the entry of the bus ramps into the façade of the Port Authority Bus Terminal.
These image illustrate the densities of particles as they are attracted by motion forces on the site.
Source: [9]
Figure 3.59- A similar, more discrete, particle cloud massing
Source: [9]
Case 10:
The force that appears in this case is nearly the same as the Port Authority
Gateway Competition but it just has two directions, once moves from the land to
the sea and another once moves in the opposite direction. They move through
each other and intermingle. [10]
Figure 3.60- Three pair of tubes typologies, with the programmatic volume shown in blue and the
exterior shell in the grey.
Source: [10]
Figure 3.61- The two tubes were threaded through one another based on the docking patterns of the
ships.
Source: [10]
56
Case 12:
The force affected on the initial
shape of this case made it fold into
itself - but also open itself out to - an
infinite (like moebius strip), always
fragmentary, and constantly changing
array. [25]
Figure 3.62- Moebius strip
Source:
http://en.wikipedia.org/wiki/M%C3%B
6bius_strip
Case 13:
The force is the compression of the large grid segment onto the site perimeter
and the compression a small-scale grid onto the closed site. It helps figuring fold
and unfold, each relative to its expanded position. [26]
Figure 3.63- Concept diagram: superposition of net, transportation of
net, folded net, typological fabric, building typology, folded typology
Source: [26]
57
Case 14:
The force is used here is the twist
to create the new space form is
twisting form. It derives from the
analysis of soliton waves which is
formed
non-linear
interactions.
Solitions undergo constant change
and generate singular aqueous forms
that
alternately
dissipate
and
regenerate as they move through the
water. [27]
Study models
Source: [27]
58
This table presented the forces that affect the space frame in 14 cases. They are
different directions, strength and on different scale. These forces made the initial
shapes deformed and create a new space form.
Table 3.3- Classification of forces
No.
Forces (direction)
Case 1
Cut
Break
Case 2
Interference
(Vertically,
3-dimensional)
Superpose
Case 3
Bend
Cut
Case 4
Expanse
Traverse (cut)
Case 5
Shake
Compress
Case 6
Overlap
Cut
Case 7
Bend
Pull
Case 8
Orthogonal shift
Cut
Case 9
Attract - Pull
Case 10
Attract - Pull
Case 11
Bend
Case 12
Shift
Case 13
Compress
Scale
Shift
Twist
(vertically)
Case 14
Shift
Twist
(3-dimensional)
59
Cut (horizontally)
Break
Cut
Rotate
(3-dimensional)
3.4. Generative model
After studying those cases what we regard as animate form, we can find that
architects or designers always search some messages from the site first, and create
unique “space frame” procedurally to reinterpretation those message, at the same time,
they transform the messages into some kinds of forces. Through the dynamic
mechanism to generate a new space form, that is what we call generative model.
Therefore, there are three important terms in this generative model: “message from
site”, “space frame”, and “force”.
And we also can adjust the space frame and force to make sure it is a suitable answer
for function and other conditions.
Adjust
Message on Site
Space Frame
New space Form
Land
Mass
History (Culture)
Organization
Force
Movement
Zoning
Direction
Traffic
Interior
Measure
“Perception”
Furniture
Vision
…
….
Adjust
Figure 3.65 - Generative Model
60
CHAPTER 4
A DEMONSTRATION: REINTERPRETATION
To examine the generative model that mentioned above, in this chapter, we will
choose two sites in Dalat City- my hometown: the main station on hill and the bus
station in downtown, and generate two new building forms as demonstrations. In these
two demonstrations, we will analysis and translate the messages from sites, show a new
folding form generated in process.
61
4.1. Design Process
Analyzing two sites: bus station and main station we have message of the site
conclude these characters: wind, traffic, land form, history. With these messages we can
translate them into:
 Different kinds of force have different direction and strength.
 Initial shape can be called space frame.
These forces act on the initial shape of the site, deform it to create new folding form.
Site Analysis
Extract
Message of Site
Bus Station
Main Station
Wind
Traffic
Land Form
History
Translate
Force
Act on
Kind
Direction
Strength
Create
Space Frame
Initial shape
New Folding Form
Figure 4.1- Design process.
62
4.2.
Site
Dalat city is known as the City of pine-tree
forests or the City of Eternal Spring, has long
been popular with Vietnamese and foreign
tourists
because
of
its
cool
climate,
the
temperature is 15- 24 degree. The annual average
rainfall is 1,755 millimeter. Locates on Liangbian
highlands, north of Lam Dong province ( this is
one of the highest mountain on Lam Vien
plateau), is surrounded by hills and mountains of
pine-trees, the city is 1500 meter above sea level
and is 305 kilometer from Ho Chi Minh city. The
Dalat originates from the hill tribe people in this
region. It literally means Stream of the Lat people.
This city never has storm, just have big wind
(gale), influenced by sea storm, because it don’t
have mountain shielding on the eastern slope).
[27]
63
Figure 4.2- Dalat city
Source:
http://www.vietscape.com/travel/
dalat/yersin.html
Figure 4.3- Boundary of Dalat city
Source: http://bandonhadat.vn/?lat=11.9243045&lng=108.461693&lvdf=10&plg=sb_369
The first person explored this region is Mr. Nguyen Thong. Approximated 25 years
later, in 1893, Dr. A. Yersin, a immunologist discovered Dankia highlands while on an
expedition to the Langbian highlands had the explorer Lang Biang. Dankia is 10km
from the city of Dalat. [28]
In 1906, Da Lat is defined as holiday resorts. In 1907, the first hotel was built. Urban
planning was carried out by Ernest Hébrard. [28]
64
In the design, we will choose two sites to demonstrate the Generative Model of
folding concept. As show in figure 4.4, one is the bus station in downtown, and the
other is the main station on the hill at south of city.
Market
Theatre
Bus Station
Main Station
Dalat city, Vietnam
Figure 4.4- Location of the bus station and main station
Source: http://maps.google.com/
The two green points - market and theatre are the important points that help defining the
city centre.
65
There are many beautiful sights and historic buildings (architecture) in Dalat city.
These characters play an important role in the development of this city. This design
choose historic buildings as a message of the design concept.
Besides that, most Dalat architecture is dominated by the style of the French colonial
period but there are also some structures of Asean and Vietnamese style simultaneously
exist.
This part presents almost historic buildings in Dalat city that are divided into 5 kinds:
Church, Palace, Institute, Pagoda, Others public buildings.
Church:
.
Figure 4.5- Dalat Cathedral: built in 1931- 1942,
this is the main church of Dalat
Source:
http://thuyngakhanhhoa.wordpress.com/200
9/06/26/nha-thờ-chanh-toa-da-lạt/
Figure 4.6- Domain de Marie Church: built in
1940- 1943.
Source:
http://www.dalat.gov.vn/web/tabid/655/Add/
yes/ItemID/6589/categories/74/Default.aspx
Figure 4.8 – Du Sinh
Church: built in
1956, inaugurated in
Christmas 1957, bell
tower finished in
1962. This is the
only chruch has
ASEAN architecture
style.
Source:
http://www.simon
hoadalat.com/diap
han/Ditich/dusinh.
html
Figure 4.7- Protestant Church: built in 1940.
Source:
http://wikimapia.org/8305192/Nh%C3%A0
-th%E1%BB%9D-Tin-L%C3%A0nh
66
Figure 4.9– Cam Ly Church, the Rong house.
Source: http://www.lamdong.gov.vn/vi-VN/dukhach/danh-lam-thang-canh/Pages/nha-tho-cam-
ly.aspx
http://www.cinet.vn/upLoadFile/HTML/9_48_24_2172008/nharong.htm
Cam Ly Church: began building at the end of 1959, finished in 1967, has the Rong
house of Vietnamese Highland style.
Institute
Figure 4.11 - Dalat University: set up 1939, in the
past that is “École d’Enfants de Troupe de Dalat”
Source:
Figure 4.10– Institute of Biology of
Highland: built in 1950.
Source:
http://www.panoramio.com/photo/35846073
http://vi.wikipedia.org/wiki/Viện_Sinh_
học_Tây_Nguyên
Figure 4.12– Boarding School of ethnic
Groups: built in 1953. The first school taught
French for girls, in the past is Couvent des
Oiseaux or Notre Dame du Langbian(
Counvent or Nunnery).
Source:
http://vi.docgate.com/wiki/Kiến_trúc_Đà
_LạtBA%A1t
67
Figure 4.13 – Dalat Bishop’s Palace: built
01/08/1961 1963.
Source:
Figure 4.14– Institute of Nuclear Research:
built from 4/1961  12/1962, 21 ha, designed
by professor – architect To Cong Van.
Source:
http://vi.wikipedia.org/wiki/Viện_Nghiên_cứu
_Hạt_nhân_Đà_Lạt
http://commons.wikimedia.org/wiki/File:Bis
hop%27s_Palace,_Da_Lat_03.JPG
Figure 4.15– Dalat Teachers College: formed of
two colleges: Petit Lycée ( set up 1927), Grand
Lycée- Lycée Yersin ( set up 1929-1941)
Source: http://www.lamdong.gov.vn/vi-
VN/chinhquyen/dvsn/Pages/cdsp-dalat.aspx
68
Palace
Figure 4.16– First Palace: built in 1940,
on a hill altitude is 1550 meter, in the
west of the city, Bao Dai King( from
1926 to 1945, he was a king( or
emperor) of Annam under French
‘protection’), made it renewed in 1949.
Source:
Figure 4.17– Second Palace: built in 1933- 1937, can see
the view of Xuanhuong Lake, on a hill altitude is 1539,5
meter; in the south-west of the city.
VN/dukhach/danh-lam-thang-canh/Pages/dinh-1-23.aspx
http://www.lamdong.gov.vn/viVN/dukhach/danh-lam-thangcanh/Pages/dinh-1-2-3.aspx
Figure 4.18– Hotel Du Lac: built in 1907, is the
first hotel in Dalat , there is a new hotel on this
site at the present: Airlines hotel.
Source:
http://vietravel247.com/index.php?topic=689
5.0
Figure 4.19- Third Palace: 1933- 1938, on a
hill altitude is 1539, in the south-east of the
city.
VN/dukhach/danh-lam-thangcanh/Pages/dinh-1-2-3.aspx
Figure 4.20– Sofitel Dalat Palace: built in 19161922, this is a five stars hotel, in the past it is
Langbian Palace, area: 40320 m2.
http://www.dalat.gov.vn/web/tabid/655/Add/ye
s/ItemID/6591/categories/74/Default.aspx
69
Figure 4.21 – Novel Hotel: Before this is Hotel Du Parc, built in 1932, with European modernism style.
Source: http://vietnamtravelview.com/hotel/view/id/231
Figure 4.22 – National Storage Center: 19581960, this is the palace of Tran le Xuan in the
past, the wife of Ngo Dinh Nhu who is a brother,
and a Prime Minister of Ngo Dinh Diem). It has
3 separate buildings.
Source:
http://www.lamdong.gov.vn/vi-
Figure 4.23- Union hotel: 1936, in the past
this is the palace of Doctor Lemoine
(Bretagne style).
Source:
Figure 4.24– Lam Dong Museum: in the past this is
the palace that Mr. Nguyen Huu hao made it built
for his daughter (Nam Phuong Queen) in 1930.
Source:
http://www.lamdong.gov.vn/vi-
Figure 4.25- Nguyen Huu Hao Royal Temple:
Nam Phuong Queen made this temple built in
1939, on the hill altitude is 1532 meter.
Source: http://mangdulichvietnam.vn/
VN/dukhach/danh-thang-khac/Pages/Bietdien-Tran-Le-Xuan.aspx
VN/dukhach/danh-thang-khac/Pages/bao-tanglam-dong.aspx
70
http://www.panoramio.com/photo/108
63669
Pagoda
Figure 4.26-Linh Son Pagoda: built in 1938.
Source:
http://vietravel247.com/news/southdestinations/221/430.html
Figure 4.27– Linh Phuoc Pagoda: built in 1949- 1952,
with the 36 meter high tower, 1990 was renewed all.
Source:
http://www.dalattaxi.com.vn/tourpic.aspx?id=109
&board=tourdalat
Figure 4.28– Chinese Pagoda: built in 1958.
Source:
http://www.flickr.com/photos/ngbinhle/30768207
57/
Figure 4.29– Linh Quang Pagoda: first built in
1921, renewed in 1958; 1972; this is the first
pagoda of Lam Dong province.
Source:
Figure 4.30 – Da Phuoc Hollyland; built in 1938.
Source: http://vi.wikipedia.org/wiki/
Tôn_giáo_tại_Đà_Lạt
http://nhadatld.com/duan/dalat/dalat.htm
71
Others public buildings: there are some others architecture such as: Dalat train
station, market, theatre, and restaurant. They are also important point of Dalat city.
Figure 4.31– Dalat Train Station: built in 1938, designed by French architects: Mocet and Reveron( the
style is same as the style of train station of the south of France.
Source: http://vietravel247.com/index.php?topic=6895.0
Figure 4.32– Hoa Binh Market( Dalat circa the ‘40s, 50s)
Source: http://www.flickr.com/photos/13476480@N07/5263238530/
Dalat market: first built by trees
and corrugated iron roof in 1929;
burned down in 1931; in 1943 rebuilt
in the site of April 3rd Theatre now,
1958- 1960: built a new one, 1993:
renewed, built the upper market(
group B).
Figure 4.33– Dalat Market( new)
Source:
rd:
April 3 built in 1943.
http://nguyenquanghuy.wordpress.com/2009/03/12
/ thanh-phố-da-lạt-dược-dề-xuất-la-do-thị-loại-1/
72
Thuy Ta Restaurant:
1919: first was a wood house on
stilts, like the end point is the axial
path that begin from Dalat Sofitel
Palace to approach the Xuanhuong
Lake’s surface; is formed from 1919
when architecture Hebrad designed
sight for Grand Lac (another name of
Xuanhuong Lake. This site is an oval
island (d= 64 - 68m)
Figure 4.34– Thuy Ta Restaturant.
Source: http://socola.vn/print/86355.aspx
1930: Aquatic sport club.
1975 till now: Restaurant.
73
4.3. Design: Bus station in downtown
4.3.1. Analysis: Message from the site
Historic Link
From analyzing and linking important historic architectures of Dalat city, some
lines cut the bus station site. These linking points in this figure have the
relationship with another like: style, history. For example: The two orange circles
with the orange circle outlines in the left of the figure are the Lam Dong Museum
(before this is a palace) and Royal Tomb Temple of Mr. Nguyen Huu Hao - a
great landlord in Go Cong, Tien Giang province. This two places are belongs to
Mr. Nguyen Huu Hao, the one he built for his daughter- Nam Phuong Queen, the
other one is the temple that Nam Phuong Queen built to commemorate him in
1939.
Other points have been presented above with French style, Vietnamese style,
Asian style; they are separated into different kinds such as: Church, Palace,
Institute, Pagoda, and Others public buildings and are noted in figure 4.35.
74
Figure 4.35- Diagram of cutting lines
: Palace.
: Pagoda.
: Institute.
: Restaurant, market, theatre, train station.
: Church.
: Main station.
Note: The orange circle with the orange circle outline in the left of the picture is the Royal Tomb
Temple of Mr. Nguyen Huu Hao.
These figures 4.35; 4.36 also show the cutting lines on the site plan.
75
Figure 4.35- Diagram of cutting lines.
76
Figure 4.36 – Cutting lines on site plan of bus station.
Scale 1/250
77
Wind
Dalat city has two seasons: dry
season and rainy season.
Two directions of wind prevail much
on the site:
The tropical disturbance: actives in
June, July, August from the East
Vietnamese Sea, not annually, wind
speed: max = 23 m/s.
The North-East monsoon floods in
the North of Vietnam that makes the
second strong wind. They prevail in
many provinces in the south. Because
Dalat altitude is 1500 meter above the
Figure 4.37- Diagram of wind.
sea level, it affects much clearer in
November and December. Wind speed:
3-3, 5 m/s; max = 20m/s.
Traffic
In front of the bus station site is a
roundabout so the force here is nearly
same as the force of tornado or
hurricane. Many objects near there
are twisted, and flow up. The density
of the traffic is so crowded make this
force seems to be the strongest one.
Figure 4.38- Diagram of traffic and
movement.
78
Land form
Bus station locates at a hill base in
downtown. The hill slopes down a
little. So the force of land form will
make the site bent a little in
comparison with the initial shape.
Figure 4.39- Diagram of land form
79
4.3.2. Create the space frame (initial shape):
From history of the site 3 layers will be created:
Texture:
Layer 1: Before 1893: this site was still a pine-tree forest, and now it has been
disappeared. Transparent material: uPVC (Polyvinyl chloride) is used in this layer
to remind us about the exits of the pine-tree forest here.
Figure 4.43– Layer 2 with texture
Layer 3: After 1955…: this site was
a small market with a corrugated iron
roof. So material is chosen for this layer
Figure 4.40 - Layer 1
is corrugated iron sheet.
Texture
Layer 2: From 1946- 1955: this site was a residental area of many people in Thua
Thien- Hue (a province in the Middle of Vietnam), they move here to avoid the war.
The original houses had tiled roof and wooden wall with a simple style. So material
for this layer is special tile of Hue province that is usually used to build traditional
Figure 4.44– Small market.
: Market site.
houses.
Source: http://vietbao.vn/Kinh-te/Nhat-Ban-
quan-tam-du-an-du-lich-tong-the-DaLat/20420061/87/
Figure 4.41– Residental area 1950.
Residental area
Source:
http://laigiang.blogspot.com/2010/12/nguoialat-goc-thua-thien-hue.html
Figure 4.42– Specific tiled roof of Hue house.
Source: http://dulichhue.com.vn/du-lich-
hue.html
Figure 4.45– Layer 3 and texture
80
Figure 4.46– Three layers (Space frame).
4.3.3. Translate: Forces in the Site
From the analysis, there are some forces can be found in the site: tension by
historic linking, blow by wind, disturb by traffic, and undulate by land form.
These forces are arranged in strong order. Rule of force in this design:
 Cutting lines is used to divide layers into different parts.
 Traffic and movement make layer pushed, twisted and finally folded like the
studying cases in chapter 2: with layer 2, piece by piece tile, tiles overlap on one
another.
 Wind: flow and push something on it way upper and farther than the original
position.
 Land form: just rotates the layer in three-dimensional space.
81
4.3.4. Generate: New space form (Deform)
Layer 1
Layer 2
Layer 3
Cutting lines
Traffic
Cutting lines
1B + 2D + 3D
2A
Traffic
1B
Land form
2B
3A
Traffic
3B
1A
Wind
Wind
2C
3C
Land form
Land form
2D
3D
First floor plan
New space form
Second floor plan
Traffic
Land form
1A
Layer 1( Initial shape)
Cutting lines
Layer 2 (Initial shape)
1B
Land form
Wind
Traffic
2A
2B
2C
2D
E2
Cutting lines
Layer 3 (Initial shape)
Traffic
3B
Land form
Wind
3C
3A
E1
82
3D
Cutting plan:
3B - Perspective view
Elevation E2
Figure 4.51- Perspective view and elevation of layer 3.
Figure 4.48 – Cutting plan on 1500 m high.
83
Elevation E1
First floor plan:
Figure 4.52- First floor plan.
Scale 1/250
84
Second floor plan:
Figure 4.53- Second floor plan.
Scale 1/250
85
4.4. Main station
4.4.1. Analysis: Messages of the site
Historic Link
From the important historical architecture of Dalat city, some places have a
same relationship will be linked together, and some linking lines that cut the main
station site will be used to divide the site into smaller parts.
Figure 4.54- Diagram of linking lines.
: Palace.
: Pagoda.
: Institute.
: Restaurant, market, theatre, train station.
: Church.
: Main station.
86
Figure 4.54- Diagram of linking lines.
87
Figure 4.55 – Cutting lines on site plan of coach station.
Scale 1/1000
88
Wind
Dalat city has two seasons: dry
season
and
rainy
season.
Two
directions of wind prevail much on the
site:
The tropical disturbance: actives in
June, July, August from the East
Vietnamese Sea, not annually, wind
speed: max = 23 m/s.
The North-East monsoon floods in
the North of Vietnam that makes the
second strong wind. This kind of wind
Figure 4.56– Diagram of wind
prevails in many provinces in the
south. Because Dalat altitude is 1500
meter above the sea level, it affects
much
clearer
in
November
and
December. Wind speed: 3-3, 5 m/s;
max = 20m/s.
Movement
The movement directs to outside of
Dalat city. It makes us feel that every
objects exist in the site will be pulled
toward one side.
Figure 4.57- Diagram of movement
89
Land form
The movement of vehicle (especially coaches) from the main station to outside
of Dalat city is nearly like the pull that attracts all the objects in the site down the
mountain passes.
Figure 4.58– Diagram of land form and movement.
90
4.4.2. Create the Space frame (Initial shape):
From history of the site we have:
Layer 2: When this site was a station, the buildings inside the station were built by
Layer 1: before 1893: this site was still a pine-tree forest, nowadays it has
brick, and corrugated iron roof.
been disappeared, and it belongs to history.
Material, texture:
Transparent material is used to present the exits of the pine-tree forest in the
Wall of brick.
Corrugated iron roof.
past: uPVC (Polyvinyl chloride).
Texture: transparent.
Figure 4.62 – The old station
Source: http://www.skydoor.net/photo/Ben_xe_Da_Lat/2983
Figure 4.59 – Top view.
Figure 4.60– Perspective view.
Figure 4.63– Layer 2( Initial shape).
Figure 4.61 – Two layers (Space frame).
91
4.4.3. Translate: Forces in the site
With layer 1: Cutting lines divide the site into different parts and these parts are
impacted by different direction of wind.
With layer 2: Roof and wall are two separate characters that are impacted by
every force: cutting lines, wind, land form, movement. Land form makes every
character bent and rotated in three-dimensional space. After that, movement
(circulation) of vehicles creates the attraction that pulls those characters. The
roof’s material is corrugated iron sheet so it is easy being stretched by the
attraction. Meanwhile, the wall’s material is brick, a flat wall, they are bent and
rotated, and some disappear that depend on function of the space.
Layer 1 Cutting lines 1A
Layer 2 Cutting lines 2A
1B + 2C
Wind
Land form
New space form
92
1B
2B
Movement
2C
First floor plan
4.4.4. Generate: New space form (Deform)
Cutting lines
Wind
1A, 1B
Layer 1
2B
Cutting lines
Land form
Layer 2( Initial shape)
Top view and
perspective view
of layer 2 after
be impacted by
force of land
form.
2A
Traffic
2C
Top
Top view
viewof
oflayer
layer 22 after
after be
be impacted
impacted by
by movement.
movement.
93
Figure 4.65 – Elevation of two layers (New space form).
Figure 4.67- Cutting first floor plan: on 1500mm high
Figure 4.66- Cutting first floor plan: on 4500mm high
Figure 4.68- Cutting first floor plan: on 6000m high
94
First floor plan: basing on the function of the coach station, new space form will be adjusted.
Figure 4.69 – First floor plan
Scale 1/1000
1/
95
Figure 4.70 – Perspective views of the main station.
96
CHAPTER 5
CONCLUSION
5.1. Contribution:
After studying those cases that were regarded as animate form, there is a clear
methodology, architects or designers always search some messages from the site first
then create a unique “space frame” procedurally to reinterpretation those messages, at
the same time, they transform the messages into appropriate forces. Through the
dynamic mechanism to generate a new space form, known as generative model.
Therefore, there are three important concepts in this generative model: “message
from site”, “space frame”, and “force”.
And we also can adjust the space frame and force to make sure it is a suitable answer
for function and other conditions.
Open direction of the project: we can go into the other details of the thesis: zoning,
interior design, furniture design, etc. From these concepts we can be easily start and
develop a design.
The defense is the presentation of methodology in the logical order; that is not the
end of methodology but it opens a new thinking process.
5.2. Self-criticism:
The limits of the projects: the limited time and non-specialized knowledge the final
result may not be the best but it is the most logical and potential outcome that have been
provided by methodology. Methodology allows us to solve many different problems in
the process of finding a solution for each individual project.
Methodology is sufficient for general concepts; it could further explore the recursive
fold concept in “A fold is always folded within a fold” [4]. Studying what will happen
97
when existing many folds on the site; what the interactions between each others:
material, texture, deformation.
More study could be made on the rule of the deformation of the space frame, the
impact of force.
The generative model can be used to solve most the problems through the design
process but not all of them.
5.3. Following research:
From this study about the fold, we can see that the field of the fold is so extensive,
therefore following topics can be explored further especially in the properties of the fold
such as: animation, combination, impact; in folding time, in recursive characteristic: “A
fold is always folded within a fold”. [4]
98
REFERENCE
[1] http://www.freebase.com/view/en/gilles_deleuze
[2] Deleuze, Gilles. The Fold - Leibniz and The Baroque, The Pleat of matter, Tom
Conley, The University of Minnesota, Minneapolis, 1993, page 3.
[3] Krissel, Matthew. Philosophy of Materials and Structures, World Press, 01/2011
Deleuze, Gilles, Hand Seán, Foucault, University of Minnesota Press, 2000, pp.96-97
Conley, The University of Minnesota, Minneapolis, 1993, page 6.
Conley, The University of Minnesota, Minneapolis, 1993, pp. 8-9.
[6] Deleuze, Gilles. Foucault, University of Minnesota Press, 2000 pp. 118-19
[7] Deleuze, Gilles. Pourparlers Paris: Minuit, 1990 p. 219 – (as referenced by John
Rajchman in Constructions)
[8] http://en.wikipedia.org/wiki/Greg_Lynn
[9] Lynn, Grey. Animate form, Port Authority Gateway Competition, Port Authority
Gateway, Princeton Architectural Press, 1999, pp. 102-119.
[10] Lynn, Grey. Animate form, Yokohama Port Terminal Competition, Yokohama
Pork Terminal Competition, Princeton Architectural Press, 1999, pp. 120-141.
[11] http://www.artandculture.com/users/19-peter-eisenman
[12] http://www.wiziq.com/tutorial/9182-Fold-Structure
[13] http://environment.nationalgeographic.com/environment/photos/tornadogeneral/manitobatornado.html
99
[14] http://en.wikipedia.org/wiki/Paper_folding_(disambiguation)
[15] Lynn, Grey. Animate form, Animate Form, Princeton Architectural Press, 1999,
page 9.
[16] http://www.daniel-libeskind.com/projects/show-all/jewish-museum-berlin/
[17] Eisenman, Peter. The Master Architect Series – Eisenman Architects - Selected and
Current Works, Nordliches Derendorf Master Plan, Images Publishing Group Pty Ltd,
1995, pp. 218-221.
Current Works, Great Columbus Convention Center, Images Publishing Group Pty Ltd,
1995, pp. 156-163.
Current Works, Emory Center for the Arts, Images Publishing Group Pty Ltd, 1995, pp.
202-209.
Current Works, Alteka Office Building, Images Publishing Group Pty Ltd, 1995, pp.
198-201.
Current Works, La Villette, Images Publishing Group Pty Ltd, 1995, pp. 100-103.
[22] http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
http://ejournal.mlcsyd.nsw.edu.au/uploads/documents/Tour%202010/guggenheim.pdf
[23] Yoshida, Yoshio. A+U, Vitra Firestation - Zaha Hadid, Nakamura, Toshio. A+U
Publishing Co., Ltd, August 1993: 10, No.277, pp 4-53.
100
Current Works, Aronoff Center of Design and Art, Images Publishing Group Pty Ltd,
1995, pp. 136-143.
Current Works, Maxx Reinhardt Haus, Images Publishing Group Pty Ltd, 1995, pp.
210-217.
Current Works, Rebstockpark Master Plan, Images Publishing Group Pty Ltd, 1995, pp.
192-197.
Current Works, Haus Immendorf, Images Publishing Group Pty Ltd, 1995, pp. 222-227.
[28] http://www.vietscape.com/travel/dalat/index.html
[29] http://en.wikipedia.org/wiki/Da_Lat
101

Shu-Te University College of Design Graduate School of Applied

Transcription

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