2012

BSL_PUB_004_T

Dragon Skin Pavilion

, , , , ,

BSL_PUB_004_01
BSL_PUB_004_02
BSL_PUB_004_03
BSL_PUB_004_04
BSL_PUB_004_05
BSL_PUB_004_06
BSL_PUB_004_07

Conference Paper: Peer Reviewed

Dragon Skin Pavilion

by Crolla K., Delagrange S., Keskisarja E. and Tynkkynen P.

ABSTRACT | The Dragon Skin Pavilion is an architectural art installation that challenges and explores the spatial, tactile, and material possibilities architecture is offered today by revolutions in digital fabrication and manufacturing technology. The pavilion, built in the winter of 2012, is a study on how architects can reassert control over parts of the construction process previously surrendered to manufacturers and contractors, and how this enables them to materialise discoveries from the digital into the built environment.

The Pavilion is a non-ruled, double curved, freeform structure which uses gravity as a driver for its shape and combines its geometric considerations with mechanical aspects of its fabrication and assembly. The structure starts from an equilibrium surface derived from two catenary lines that form the intersection with the ground plane. Within the constrained working space of this surface wooden shells are distributed. Their location and orientation is iteratively fine-tuned to allow for a rigid interlocking with a simple sliding joint. The shells are made from a new environmentally friendly “post-formable” plywood, which incorporates layers of adhesive film to allow easy single-curved bending without the need for steam or extreme heat. The dimensions of the shells are selected to avoid material loss: a CNC mill divides twenty-one 8x4ft plywood sheets into eight identical square panels, and accurately cuts the unique connection slots that are programmed into the pavilion geometry. Using one single mould, all panels are bent into the same single-curved shape. Within six hours these numbered shells are assembled by slotting them into place without using any plan drawings, glue or screws. The underlying equilibrium surface geometry removes all internal forces and deformations from the pavilion, which becomes a self-supporting, free-standing, light-weight skin.
By radically disintegrating the enclosing shell, the feature one counts on for structural stability dissolves, making the whole pleasantly risky. The simplicity of the components and the familiarity of the single material contradict with the scale and visual complexity of the project which is absent of any additional support. The resulting exhilarating confusion is complimented with caution, caused by the aggressive, animal-like exterior skin full of spikes, a design feature that followed gratis from the fabrication concept. Upon entering the space one feels a thrill from the discomfort of needing to solve the structural puzzle before feeling safe enough to absorb the twisting perspectives and the light bouncing off the rich, natural textures.
By actively working with plywood’s high structural performance, and by connecting geometry with mechanics into one single integrated system, the unlimited design freedom we experience digitally can be grounded and materialised in a sustainable way. By combining fully controllable, scripted environments, engineering-driven geometries and real-time performance evaluation tools with developments in digital fabrication, the door is opened for architects to incorporate the efficiencies, low cost and sustainability from conventional mass–production into their formally liberated digital world. In addition, the inherent aesthetic values and effects of informed computational processes open the door for a challenging new architectural design language.

KEYWORDS |Dragon Skin Pavilion; Hong Kong Shenzhen Biennale; CNC; Building Simplexity; Post-formable Plywood; Affect

DOWNLOAD |

Dragon Skin Pavilion.pdf

CITATION | Crolla, Kristof, Delagrange Sebastien, Keskisarja Emmi, and Tynkkynen Pekka. “Dragon Skin Pavilion”. In N. Gattegno, B. Price (eds.), ACADIA 2012: Synthetic Digital Ecologies: Project Catalogue of the 32nd annual conference of the Association for Computer Aided Design in Architecture (ACADIA), San Francisco, USA, The Printing House Inc, WI, 2012

BSL_PUB_003_T

Shells Matter

, , ,

BSL_PUB_003_01
BSL_PUB_003_02

Journal Paper

Shells Matter

by Crolla K.

ABSTRACT | No innovation has prompted greater expectations within the architectural profession than the digital design revolution. Only recently, with virtually every single architectural practice accommodating personal computing one way or another, have firms started to use computers beyond a mere replacement or automation tool for old drawing traditions. Although not developed for that particular purpose, procedural design tools like Bentley’s Generative Components or Grasshopper, a plug-in for McNeel’s 3D NURBS modelling software Rhinoceros, allow for an easy production of highly graphical output. The ease by which these instant graphics can be playfully manipulated makes the tools popular weapons of choice for designers looking to creatively tackle problems presented by a primarily image-driven commercial development market. With no clear remaining architecture style or all-encompassing design paradigm to answer today’s building challenge, and with little or no convincingly remaining motivation for form, the general focus of architectural design thus shifts more and more towards pure graphics and form. Consequently, a wide, yet extremely shallow proliferation of parametric modelling techniques is currently taken place. As problematic as this uncritical tool implementation may be, it succeeded in pushing many across the first hurdles of computer programming based design methodologies, which has now widely permeated the scene.

KEYWORDS | Performance Integrated Design; Shells; Integrated Tectonics; BESO

DOWNLOAD | http://d.wanfangdata.com.cn/periodical/zhuq201205016

CITATION | Crolla, Kristof. “Shells Matter”, Community Design, Tsinghua University Magazine, Oct. 2012

BSL_PUB_002_T

Shine Fashion Store – Building Simplexity

, ,

BSL_PUB_002_01
BSL_PUB_002_02
BSL_PUB_002_03
BSL_PUB_002_04

Journal Paper

Shine Fashion Store – Building Simplexity

by Crolla K.

ABSTRACT | Hong Kong Retail Design, with its extremely competitive property market and a popular culture built around image and shopping, presents unique challenges for architects and interior designers. The city’s retail market is saturated with exclusive high-end brands pushing for an optimal spot in one of countless generic shopping malls, which are all individually vying to be the latest, the newest, the hippest, the fanciest. With visual appearance the primary definer of value and identity, landlords attempt to redefine their properties by demanding extreme make-overs every few years. Generic building frames thus undergo facelift after facelift in a massive waste-producing cycle which reduces interior design’s required life-expectancy to often little more than the grand opening party. Construction budgets frequently equal but a couple of months’ rent, making project installation timelines gruesomely short. In spite having the Pearl River Delta, also known as “the factory of the world”, on our doorstep and thus having any material easily accessible, time restrictions have rendered a culture of craftsmanship virtually impossible. Refined construction and meticulous, long-lasting detailing seem more the exception than the rule. And yet, with many brave and open-minded clients continuously yearning for novelty, for architects who manage to twist these market challenges into opportunities a virtually insatiable playground for experimentation awaits! In Hong Kong, the traditional role of Interior Architecture is potentially taking a fascinating twist.

KEYWORDS | Shine Fashion Store; Building Simplexity; Interior Design; Elastics; Affect

DOWNLOAD |

Shine Fashion Store – Building Simplexity.pdf

CITATION | Crolla, Kristof. “Shine Fashion Store – Building Simplexity”, HKIA Journal 2012 – Issue 64, Hong Kong, July 2012

BSL_PUB_001_T

Building Simplexity – The Dragon Skin…

, ,

BSL_PUB_001_01
BSL_PUB_001_02
BSL_PUB_001_03
BSL_PUB_001_04
BSL_PUB_001_05
BSL_PUB_001_06
BSL_PUB_001_07

Journal Paper

Building Simplexity – The Dragon Skin Pavilion

by Crolla K.

ABSTRACT | Hong Kong and Shenzhen are cities in evolution. Many of their elements are in a state of constant flux: their industries, built environment, and how we design and work with both. As an architectural art installation, the Dragon Skin Pavilion challenges and explores these changes, and looks at what digital fabrication and manufacturing technologies can offer architecture in its spatial, tactile and material conception. The pavilion is a study on how architects can reassert control over parts of the construction process previously surrendered to contractors and manufacturers, and on how this enables us to materialise discoveries from the digital world.

KEYWORDS |Dragon Skin Pavilion; Hong Kong Shenzhen Biennale; CNC; Building Simplexity; Plywood; Affect

DOWNLOAD |

Building Simplexity – The Dragon Skin Pavilion.pdf

CITATION | Crolla, Kristof. “Building Simplexity – The Dragon Skin Pavilion”, HKIA Journal 2012 – Issue 63, Hong Kong, April 2012