Deconstructivism, Biomimicry, Blobitecture, Parametric Design, Mobius Curve, Examples of each style...

1. ADVANCE THEORIES IN
CONTEMPORARY ARCHITECTURE
Presented By :-
Ar. Smita Sunil Burrewar
Roll No - 205AR003
PhD – 1st Semester
NIT PATNA
Submitted to :-
Dr. Kamini Sinha
Associate Professor
NIT PATNA
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2. CONTENTS :-
1) Introduction
2) Deconstructivism
3) Biomimicry
4) Blobitecture
5) Parametric Design
6) Mobius Strip
7) References
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3. INTRODUCTION
 Contemporary architecture is the movement where modern styles blend, sharing
various features and these styles rely on fewer classicized building ideas.
 Contemporary architecture cuts away from the modern architecture of the late twentieth
century by including eco-friendly features and embracing all kinds of creativity.
Aside from employing the different styles and influences, the contemporary
architecture uses the latest technology and materials.
 One distinctive element of contemporary architecture is the expressiveness of form
and design. The buildings incorporate innovative and creative designs which are meant
to be noticed and appreciated. The aesthetic sense is very much emphasized in the
design of structures. There is also a wide range of material combinations to bring out
contrast or uniformity.
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4. DECONSTRUCTIVISM
Experience Music Project Museum
 Deconstructivism can be defined as a
movement that breaks the traditional
need for architectures to follow a
coherent form.
 It came to picture as a part of the
Postmodernist Architecture that emerged
during late 1980‟s.
 It is said that deconstructivism was born
from the influence of „Cubism‟ and
„Minimalism‟. Though officially it lasted
only for two to three decades, it had
given the world the most modernistic
values and the opportunity to imagine and
execute out-of-the-way thoughts.
 It is the unleashing of infinite possibilities
of playing around with forms and
volumes.
 Deconstructivist philosophy: it was
influenced by the formal experimentation
and geometric imbalances of Russian
constructivism.
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5. What the Architecture of Deconstructivism
Has?
 The architectures of deconstructivism, though look complicated or strange, they are surely a
distinctive piece of architecture.
 They may easily qualify for a landmark in the city, as they just can‟t escape anyone‟s eyes.
 But, how are they built? What do they have? i. Abstract forms with no visual logic
ii. Unpredictable designs that may bring in
distortion, disruption, shock or uncertian
iii. A non-rectilinear approach to design
iv. Fresh irregular shapes that dislocates
architectural conventions
v. Curvilinear shapes that disturbs the
skeleton
vi. An assembly of elements, like placing
completely contradicting shapes next to
each other, so that the design contradicts
principles like harmony and continuity
vii. Very less or no way for extra
ornamentation
viii. Disjointed buildingsLou Ruvo Center for Brain Health
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6. FRANK GEHRY
 Frank Owen Gehry ( born Frank Owen Goldberg; February 28, 1929) is a canadian American
prize winning architect based in Los Angeles California.
 Frank Gehry did very unique and challenging work in his life.
 Mainly work in deconstructivism and hi-tech architecture.
 He is legendry architect because of his style of design and different philosophies.
 Most of his project base on deconstructivism for eg. Walt Disney concert hall, dancing house in
Prague.
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7.  In a cost-saving move the originally
designed stone exterior was replaced
with a less costly metal skin.
 Most of the building‟s exterior was
designed with stainless steel given a
matte finish.
 The founders room and children's
amphitheater were designed with highly
polished mirror-like panels
 The reflective qualities of the surface
were amplified by the concave sections
of the founders room walls.
 There was also the increased risk of
traffic accidents due to building
sunlight reflected from the polished
surfaces
Walt Disney Concert Hall, Los Angeles
WALT DISNEY CONCERT HALL
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8.  The style is known as deconstructivism (“new baroque” to the designers) architecture due to its
unusual shape.
 The “dancing‟” shape is supported by 99 concrete panels, each a different shape and dimension.
On the top of the building is a large twisted structure of metal nicknamed medusa. Also the
winding moldings on the façade make it more confusing perspective diminishing the contrast
with the buildings that surround it.
DANCING HOUSE, PRAGUE
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9. BIOMIMICRY
 Biomimetic architecture is a contemporary philosophy of architecture that seeks solutions for
sustainability in nature, not by replicating the natural forms, but by understanding the rules
governing those forms. It is a multi-disciplinary approach to sustainable design that follows a set
of principles rather than stylistic codes.
 Biomimicry is one such ideology that has helped mold and contribute structures, principles,
and forms to the built environment. It is a method of solving human challenges by learning and
imitating the strategies in nature. It views nature as a measure, a mentor, and a model.
 It applies to several aspects of the architectural and engineering field in terms of materials,
structural systems, design, and much more. The mimicry can be seen at three levels i.e. at that
of the organism, its behavior, and the ecosystem.
 Biomimicry in architecture not only produces creative systems but also induces creative
thinking in Architects.
The Esplanade, Singapore Office building project in Paris
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10. DESIGN SPIRAL
 Carl Hastrick developed a biomimicry spiral demonstrating a step-by-step process to turn natural
strategies into creative design solutions:
 Identify – make a list of the functions your
building will perform.
 Translate – translate it to biological terms; i.e.
think how nature does this function.
 Discover – discover the natural heroes who solve
your challenges.
 Abstract – reinterpret the discovered strategies in
architectural terms.
 Emulate – devise a design solution from the
strategies.
 Evaluate – evaluate your design solution against
your old brief from step 1 and against the natural
rules you discovered in step 3.
 Thereupon, you can evolve your own laps to reach
your final design conclusion.
 Biomimicry spiral provides an opportunity to learn about natural elements and bring
new strategies to the table. It disrupts traditional thinking and creates a new level of
curiosity. That is, how nature solves your challenges? With this method of thinking, you can
brainstorm design solutions in fresh unconventional ways.
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11. BEIJING NATIONAL STADIUM
 The Beijing National Stadium, popularly known as the bird‟s nest, was designed by Swiss
Architects Herzog & de Meuron in 2008 for the Olympics.
 As the name implies, the structure rises from its surroundings like an upturned nest.
 The stadium comprises two structures, the concrete seating bowl, and the outer steel frame,
that represents the twigs of the nest from the stadium.
 Similar to how a nest is insulated by stuffing material between the twigs, the façade is
filled with ETFE (Ethyl tetrafluoroethylene) panels to protect spectators, provide acoustic
insulation, reduce the dead load on the roof and optimize the entry of sunlight.
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12. THE GHERKIN, LONDON
 Norman Foster‟s iconic
skyscraper, the 30 St Mary
Axe, commonly known as
Gherkin mimics the shape
and lattice structure of the
Venus Flower Basket Sponge.
 The lattice exoskeleton and
shape of the sponge provides
strength and stability. The
hollow basket formed by the
skeleton filters water for
nutrients as well.
 The structural elements of
the building are connected
at different angles on each
floor due to its shape. This
allows for an open floor plan,
vertical support without
interior columns, resistance to
winds, and ventilation
throughout all floors.
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13. BLOBITECTURE
 Blobitecture also known as 'blobism', is a term given to a post-modern architectural style of buildings designed with
totally unique, organic forms, often resembling a blob or amoeba shape.
 Blobitecture buildings appear to have an organic form that is soft and free-flowing, yet comes together to produce
a complex whole.
 A building that simply features an unusual shape does not qualify as blobitecture architecture. Rather, it is the design
process that determines whether it falls under this style of architecture.
 The plans for blob buildings are created through computer modeling software instead of physical models. In fact,
the creation of blob architecture is impossible without the use of computer software, digital modeling platforms.
 The first blobitecture building was the Fresh Water Pavilion, which was designed by Lars Spuybroek of Nox
Architects and built by Kas Oosterhuis in the Netherlands in 1993. It stood until 1997 and was the first building
completely designed through computer generation. However, the idea of blob architecture was not introduced to the
masses until 1995.
The Fresh Water Pavilion, Vrouwenpolder
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14. PHILOLOGY LIBRARY, BERLIN
 One of the most iconic blobitecture buildings is the Philological Library for the Free
University of Berlin in Berlin, Germany.
 Nicknamed “The Berlin Brain,” this library was designed by Norman Foster and looks
just like a brain both on the outside and inside.
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15. KUNSTHAUS GRAZ, AUSTRIA
 Located in the historical center of Graz and overlooking the river Mur, the Kunsthaus Graz Museum
is an iconic building, designed by the British architects Peter Cook and Colin Fournier.
 It is famous for its biomorph shape, imposing appearance, and for its peculiar blue-colored
external skin – the BIX media facade – which can be used as a gigantic multimedia device.
 The futuristic architecture of the building has earned it the nickname “Friendly Alien”.
 Along with an urban landmark, the Kunsthaus Graz is also one of the most lively art centers in
Austria and regularly accommodates major exhibitions presenting works by international and
Austrian contemporary artists, architects and designers.
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16. PARAMETRIC DESIGN
 „Parameter‟ as stated in the Oxford dictionary is “A numerical or other measurable factor forming one of
a set that defines a system or sets the conditions of its operation.”
 Hence, parametric design is a generative process that employs basic parameters in a specific formula. The
formula contains mathematical functions of algorithms that are generated digitally through scripting and
coding to accomplish successful design, or to find a suitable solution for architectural design problem.
Parametric Design and Tropophobia Stimuli in Architecture
 Design software's and
application developed to make
the parametric modeling
accessible are Rhinoceros,
Grasshopper, Monkey, and
Dynamo.
 This process can be carried
out manually by
mathematicians and
designers, but on a
smaller, limited scale. With
computer technology‟s
revolution, the process
became easier and wider and
can be applied on large-scale
designs in seconds. Basically,
parametric design was
confined only on the use of
scripting by programmers.
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17. PARAMETRIC DESIGN
 Parametric design is a process based on algorithmic thinking that enables the expression
of parameters and rules that, together, define, encode and clarify the relationship between design intent
and design response.
 Parametric design lets you specify the key parameters of your project and make changes interactively,
with the model updating automatically. It can be used for architectural showmanship as well.
 By finding the right input parameters and geometrical logic we can achieve simultaneously a challenging
aesthetic shape and an efficient design.
 Parametric design also offers a good way to have a stronger influence on key design decisions, by
analyzing more options and giving quantitative feedback.
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18. MUSEO SOUMAYA, MEXICO
 Museo Soumaya, a representation of
parametric power in all its glory.
 The exterior design of the building
resembles an extra-terrestrial monument. Its
asymmetrical construction defies all
traditional architectural principles. It‟s
devoid of any windows or openings on the
sides, which adds a mysterious touch.
However, the flat roof at the top of the
building absorbs plenty of natural daylight.
So much so that the sun illuminates the
interior during the day.
 Inside the building are six completely
different levels. All these were made
possible through the marriage of complex
systems and natural laws.
 The aluminium facade covers the building‟s
curvy skeleton, which consists of 28 steel
columns of distinctive shapes and diameters.
All of these add stability and convenience to
60,000 square feet of exhibition space.
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19. WALT DISNEY CONCERT HALL,
LOS ANGELES
 Frank Gehry designed the building using a variety of techniques.
 He combined sketches and paper models to imagine the exterior. He further imagined different
variations of asymmetrical forms blending into a compact shape. Also, it represents musical
movement and the dynamism of the City of Angels.
 However, he also had to use a parametric technique to make the structure a reality. Thanks to
computer modelling, he found balance in the lopsided entropy of his angles.
 The technique was especially invaluable in the design of the interior.
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20.  Generation and Development of Möbius Concepts
1. Digital Sketches of a Möbius Band. A simple Möbius Band is digitally
generated, by joining together a set of lines or axes, twisting uniformly
as they travel in a circular or elliptical path. The computer plays the role
of a sketchbook, with which the initial sketches and design ideas are
developed.
2. The Möbius Surface. The Möbius Band, in its most pure form, when
applied in a built architectural form, would be impossible to walk on
due to the twist. The natural Möbius band includes a very small flat
area, unless the twist is not applying in a constant manner. In order to
walk along the band, let us consider splitting the band thickness into
two parts. One part goes on as a Möbius while the other continues as a
flat surface,known as the Flat Band.
As one walks along this Flat Band, the Möbius Band is experienced
without falling down. At certain intervals of travel, one encounters the
Mobius floor that would rise to become the Mobius wall and eventually
the Möbius ceiling or go back to the Mobius floor.
Möbius Band split into two to get a combined Möbius FloorMöbius Bands with various degrees of twist
 The Möbius Band is an example of
one-sided surface in the form of a
single closed continuous curve with
a twist. A simple Möbius Band can be
created by joining the ends of a long,
narrow strip of paper after giving it a
half, 180°and twist.
 An example of a non-orientable
surface, this unique band is named
after August Ferdinand Möbius, a
German mathematician and
astronomer who discovered it in the
process of studying polyhedra in
September 1858.
MOBIUS BAND
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21.  The Möbius Enclosure. According to Charles Joseph Matthews , the Möbius Band could be considered
as a three-dimensional surface without any thickness. When thickness is applied to the Möbius, it
becomes a twisted prism. Let us call this twisted prism as the Möbius Enclosure.
 The cross section of this Enclosure could be a triangle, square or polygon of any number of sides, even or
odd. The number of twists could also be more than one. The combination of these two parameters could
lead to interesting Möbius forms.
 Inside The Möbius Enclosure. Once an empty enclosure is generated in the form of the Möbius, let us
consider the concept of a floor in this twisted enclosure. Here, the horizontal axis (in case of a square, the
horizontal diagonal) of the frame with maximum vertical height is considered to be the floor level. The
height of the floor remains constant as it travels through the desired circular or elliptical path. The floor
surface width would also increase or decrease as it progresses through the Möbius.
Inside the Möbius Enclosure:(a) constant floor level (b) floor becomes ramp(c) section of ramp
Möbius Enclosure:(a) twisted frame (b) sides of frame is even (c) sides of frame is odd.
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22.  The concept of the Möbius Band also appears to be
used in the “Möbius House Het Gooi”, by UN
Studio.
 According to UN Studio‟s Ben Van Berkel, the
mathematical model of the Möbius is not literally
transferred to the building, but is conceptualized
and can be found in architectural ingredients, such
as the light, the staircases and the way in which
people move through the house.
 In terms of architecture, Peter Eisenman
pioneered the Möbius form by roughly
translating it into the “Max Reinhardt
Haus” building.
 He slices the form at the ground, thus
failing to achieve the visual continuity of
the Möbius as a whole.
 Architects inspired by the Möbius
Band include Zaha Hadid, Stephen
Perrella and Gonzalo Valez Jahn.
(a) Peter Eisenman‟s ” Max Reinhardt Haus” (b) Plan of UN Studio‟s “ Möbius House Het Gooi‟‟
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23. Applications of Möbius Concepts
 Scale. The translation of various Möbius concepts developed throughout the digital sketching
process is performed through computer renderings that help visualize how twisted spaces and
levels act in terms of architecture and human scale. A series of buildings that vary in scale are
considered as apt models of experimentation.
 Playgrounds and Elements of Landscape. The Möbius concept would be used as a play element
such as a climber or a skating trail in a playground.
 The Nursery School. The Möbius Band would be an important play element in a nursery school,
which when housed within a Möbius structure would make it look like a playhouse. The inner
open space would act as a courtyard for the kids to play. The continuity of the Möbius will be an
added advantage for the curious kids to keep wondering and come across new experiences
throughout the building.
Möbius SchoolMöbius Seating
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24. Applications of Möbius Concepts
 The Museum. A Möbius Museum would be the best option where both the Band and Enclosure could
be applied as a structure that would also act as a piece of art or a part of the building.
 The Hotel. The Möbius Enclosure would be incorporated into a hotel, with rooms that would be unique
in their own way (in terms of spatial experience and views) based on their location within the Möbius.
The internal space could be another Enclosure that would act as circulation and interaction space. Some
of the rooms (which lack good external views) would be used as service spaces including kitchen,
laundry and reception area.
 The Urban Connector. In an urban context, the Möbius Enclosure would act as an in-between space,
i.e. it would be a space that would link a specific number of buildings (houses, in the case of a housing
complex.)
Möbius Museum.
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25. References :-
• [1] Peterson, Ivars, Fragments of Infinity: A Kaleidoscope of Math and Art, John Wiley & Sons, pp. 138- 141, 2001.
• [2] M. Bill, “The Mathematical Way of Thinking in the Visual Art of Our Time” in The Visual Mind: Art and
Mathematics, edited by M. Emmer, MIT Press, pp. 5-9, 1993.
• [3] M. C. Escher, J. L. Locher and W. F. Veldhuysen, The Magic of M.C.Escher, Harry N. Abrams Inc., pp. 339-342,
2000.
• [4] Collins, Brent and George K. Francis, “On Knot Spanning Surfaces: An Illustrated Essay on Topological art” in
The Visual Mind: Art and Mathematics, edited by M. Emmer, MIT Press, pp. 59-61, 1993.
• [5] Ferguson, Helaman, The Umbilic Torus, USA, http://www.helasculpt.com
• [6] Peterson, ibid., pp. 143-144.
• [7] Perry, Charles, “In The Edge of Science: The Role of the Artist‟s Intution in Science" in The Visual Mind: Art and
Mathematics, edited by M. Emmer, MIT Press, pp. 59-61, 1993, http://www.charlesperry.com.
• [8] Robinson, John, Dependent Beings, Spain and Eternity, Australia, http://www.johnrobinson.com.
• [9] Ushido, Keizo, Aji, Japan Mure, Japan and Stone Möbius, New Zealand, http://www2.memenet.or.jp/~keizo.
• [10] Peterson, ibid., pp. 148-149.
• [11] Longtin, Tom, Moebius Helix, http://www.sover.net/~tlongtin.
• [12] Eisenman, Peter, Diagram Diaries, Universe Publishing, pp. 142-143, 1999.
• [13] B.V. Berkel, http://www.unstudio.com.
• [14] Hadid, Zaha, The Complete Buildings and Projects, Thames and Hudson, pp. 110-115, 1998. [15] Imperiale,
Alicia, New Flatness: Surface Tension in Digital Architecture, Birkhauser, 2000.
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26. THANK-YOU
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