D0wn the bvnny’s (w)hole: w3t-fing3ring of poetry

have a fabric membrane, serving simultaneously as roof structure and as weather shield. The mem-brane is stabilized against flutter by the permanent air pressure being about 20 per cent higher than the atmospheric pressure outside. These find lim-ited application due only to their energy require-ments. Another category of air-inflated structures are those where the enclosure of the building is fully or partly assembled from air-inflated closed structures (structural ribs, sausages). The pressure differential in this case is considerably higher than 20 per cent (Vandenberg, 1998). Air-supported structures are mainly applied to buildings with one single main hall, such as covered tennis halls, swimming pools, or exhibition halls.

One of the realized buildings in the first category was also mentioned above. This is the ‘Airtecture’

Hall in Esslingen-Berkheim, Germany, completed in 1996. This consists of approximately 330 individual air-inflated elements in six categories (wall compo-nents, windows, etc.) The elements have different volumes and internal pressures (Schock, 1997).

3.3.5 Morphology

Morphology has extremely wide fields of applica-tion in architectural and structural design. First of all, it is the general study of forms in nature and human life including arts and architecture. A new discovery in this respect is the theory of fractals and chaos (Mandelbrot, 1977, Gleick, 1987). In spite of novelties in morphology and their broad potentials for applications, the direct relevance for architectural design remains to be investigated in the future. Then, morphology comprises a descrip-tion and characterizadescrip-tion of forms in various archi-tectural styles and archiarchi-tectural realizations. This in fact has been practised for a long time and is a key part of the contents of this book. It also could be considered as the discipline for the study of the Figure 3.34 Palau Sant Jordi, Pantadome, Barcelona,

Spain, design: Mamoru Kawaguchi and Arata Isozaki. The space frame was built in the arena floor bowl, then raised with jacks and temporary support towers; in total 12 000 parts, specified with only 40 Formex expressions.

aesthetics of forms. Next, morphology is the col-lection of methods for devising optimal forms for design. This is practised in particular for finding forms of thin curved surfaces, such as domes, shells, vaults, membranes, but also for space grids.

In this section we concentrate on form finding.

Structural morphology is the discipline for studying the requirements for a structure in order to decide upon the characteristics and the form of the struc-tural system. It is partly architecstruc-tural and engineer-ing design, which, however may be preceded by and founded upon a special branch of mathemat-ics, geometry and topology (Motro and Wester, 1992). Morphology finds applications in chemistry, biology, astrophysics and other disciplines quite remote from construction but analogies between morphological properties in such different branches have proved to be useful in catalysing fur-ther progress.

In structural morphology the material, system, form and other characteristics of masts and other main load-bearing and load-transmitting compo-nents (cables, rods, tubes, trusses) have to be decided upon. For form finding, physical modelling, geometric (morphology) calculation and equilibrum calculation may assist the designer (Nooshin et al., 1993). The Formex algebra processes configuration with particular emphasis on the generation of pat-terns, surfaces and curved shapes, configurations modelled on polyhedra and various geodesic forms, and Formian is the structural morphology method comprising structural analysis require-ments and applying Formex (Nooshin, 1984). In China a more sophisticated application of Formex (called SFCAD) was worked out and applied in the design of space frames (Robbin, 1996). Many other methodologies have been developed for general or specific form-finding purposes (Kneen, 1992).

Another program for generating polyhedra by rota-tion of polygons and other acrota-tion is CORELLI, worked out in the Netherlands (Huybers and van der Ende, 1994). In this and other methods ‘the goal is to enrich architecture and engineering with modern geometries’ (Robbin, 1996).

Whilst most of the early form-shaping programs are based on some kind of regular geometric prop-erties, some new methods can cope with

arbitrar-ily chosen forms. This was the case for the Guggenheim Museum in Bilbao designed by F.O.

Gehry. The computer program for the design of the museum’s façades was adapted from space

Figure 3.35 Sakata gym, Japan. The beam-and-string systems were prestressed at ground level and then hoisted into place.

Figure 3.36 King Abdul Aziz University, Sports Hall, Jeddah, Saudi Arabia, design: Buro Happold. Cable net roof; new types of structures enhance the range of architectural design. © Courtesy of Buro Happold.

technology. Its titanium cladding envelope was modelled by using the CATIA program developed by the French Dassault firm for the design of fighter planes (Jodidio, 1998).

The progress in morphology, fabrication methods and new ambitions by architects induce many researchers to seek for new types of form and, specifically, new types of curve. Such complicated curves have been defined as hyperstructures, and design with them, as hypersurface architecture (Perrella, 1998 and 1999).

Meta-architecture is the name given by architect-morphologist Haresh Lalvani to a technique to modulate sheet metal into a wide range of new configurations that can be easily manufactured using a patent fabrication process developed by Lalvani with Milgo-Bufkin (Lalvani, 1999).

The large long-spanned space enclosures (cover-ings) are characteristic new structures of

architec-ture. Due to the diverse structural schemes they offer many new design possibilities for architects and structural designers.

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The impact of technological change on new archi-tecture is discussed in this book in three chapters:

Chapter 2 on building materials, Chapter 3 on build-ings and structures and this one, Chapter 4, on services. Chapter 5 discusses the impact of ‘invisi-ble technologies’, e.g. research, use of computers.

The contents of what follows on in Chapter 6 will deal with factors that are not primarily technologi-cal: urban planning, the economy, the environ-ment, and sustainability. However, in the present chapter we include matters relating to climate and energy: whilst these are in the category of ‘global values’, or ‘global commons’ (meaning in our case resources, which are threatened by human activity and on which we all depend in various ways), they do have a direct impact on technology and, as a consequence, on architecture.

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