ARCHITECTURE CIVIL ENGINEERING E NVIRONMENT The Silesian University of Technology No. 1/2019
doi : 10.21307/ACEE-2019-004
STRUCTURE OF ARCHITECTURE – TENSEGRITIES IN THE CONSTRUCTION OF ARCHITECTURAL SPACE
Piotr POLINCEUSZ * *MSc Eng. Arch., PhD Student; Division of Geometry and Engineering Graphics, The Department of Building Engineering and Building Physics, Faculty of Civil Engineering, Silesian University of Technology, Krzywoustego 7, 44-100 Gliwice, Poland E-mail address: [email protected]
Received: 14.03.2018; Revised: 16.11.2018; Accepted: 9.03.2019
Abstract Computer techniques allow the digital recording of any spatial form, which significantly changes designing methods. The possibility of the use of computer animation in the analysis of the designed shape allows the digital recording of the chang - ing structure. The paper focuses on the future use of the structures and their development and presents ways of applying tensegrity structures and of space extraction characterizing the architecture. The classification of structural variations is presented as well.
Keywords: Architecture; Space; Structure; Tensegrity; Grasshopper.
The problem of space in architecture raises the need to was defined by the concept of divisibility. Point address the questions: what is space ? what is architec - objects, which do not have any extent, and simple ture? (…) [1]. Architecture is a part of space, and objects that do not have an internal structure, could space is a part of architecture. In some simplification not be qualified as material beings [4]. In this context it can be assumed that an architectural object extracts disputes about the divisibility of matter are also reject - a “quantity” of a larger space, of an infinite whole [1]. ed atomism, the opinion that there is an end to the Nineteenth-century art historians formulated the def - divisibility of matter, and the thesis about the exis - inition of architecture, innovative at that time, as tence of a vacuum. Modern mathematical concepts of being “the art of shaping space” [2]. Architecture con - space electrons are modifying the concept of structing an architectural object can limit and close Euclidean geometry. In the nineteenth century, a new space, and at the same time, through the closure, cre - approach to geometry was the work of Carl Friedrich ate a new kind of space. Gauss, so-called non-Euclidean geometry can provide suggestions for solving geometric problems of any degree of complexity [5]. Logical precision is, one of 1. ARCHITECTURAL SPACE the means to detect interconnected relationships Democritus defined space as a combination of two between geometry. In mathematics, the concept of elements – void and atoms. According to Plato, space space is defined as a set of arbitrary objects that are consists of ideal forms, because these prevail in the called points by analogy with geometry, but most often universe. Aristotle saw it as a place where objects they are functions. As part of this scheme, the features (bodies) were located [3]. Materiality in antiquities of these objects are referred to as relations occurring
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a b c d
Figure 1. Architectural space by Enrique Yáñez consisting of internal space, construction space, and external space: a) closed; b) open; c) dependent d) dispersed – own elaboration between such “points”, these relations define the and form.” All must work together. According to the “geometry” of a given space. This approach allows author’s assumptions, function means adapting to the you to study the individuality of hypothetical objects purpose which the building serves and to the role it using specialized terminology. This type of method should fulfill. Construction refers to all material generates a number of different types of “spaces”, the parts, closely related to the function and shape of the most important categories of which are: a) topologi - building. Form is the type of material and the tech - cal space; b) metric space; c) affine space. Different nology that can be applied to the material [9]. versions of these spaces are used by modern architec - The twentieth-century discourse of architectural the - ture. The space is more complex, and at the same orists assumed as an axiom that architecture is a spa - time better adapted to the needs of users and appli - tial/ spacetime type of abstract art: cations in research practice. Existential space, formu - • “architecture is a game of solids in space” [Eugène lated by Christian Norberg-Schulz on the ground of Baudouin], psychology, is the area of satisfying the basic existen - tial needs of man, which is closely related to social • “architecture is the masterly, correct, and magnifi - space or rather social spaces [6]. In each of these cent play of masses brought together in light” [Le areas there is a boundary between the sacrum and the Corbusier], profane. The most direct, human social space, desig - • “architecture provides us with space of three nated by birth and death, family life and relationships dimensions” [Geoffrey Scott]. with friendship, work and rest, includes private terri - This, along with the modernist statement that “form tory (house, flat, own room) and numerous common follows function” [Louis Sullivan], has significantly areas: places of worship (church and cemetery), shaped the modern way of thinking about architec - places of work (school, university, factory), places of ture, as well as ways of defining it. Dariusz Kozłowski social services of all kinds (shop, laundry, hospital, says: “There are still architects who believe that but also town hall), and finally fun places (cafes, bars, architecture is the art of shaping space. (…) The restaurants) [7]. They form both existential space and claim that form follows function was never a certain - social space closely related to architecture. ty; today, at the time of the overarching need for architectural originality, it seems to have completely 2. ARCHITECTURE outdated” [2]. Therefore, in relation to the twenty- first century architecture, it is reasonable to assume What is architecture? According to the basic dictio - that “a modern architectural object is a complex nary definition, architecture is a discipline that orga - interdisciplinary mechanism, whose structure consists nizes and shapes space in real forms necessary to sat - of technical engineering solutions in various fields, isfy the material and spiritual needs of people [8]. sociological reflections, philosophical trends” [1]. Tadeusz Broniewski stated in 1948: “There are three Swarabowicz, in the dissertation “External space as a factors in the work of architecture: function, design, material of architecture", refers to the definition for -
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Figure 2. Ingber’s cell model – own elaboration mulated by the Mexican architectural theorist the internal space of different volumes extracted in Enrique Yáñez, who distinguishes the following with - the void between the structural elements. in the architecture/ architectural space: internal [Fig. 1. c, d]. Moving parts of an object such as sliding space, external space, and construction space. inner walls give the possibility of modifying the inter - Enrique Yáñez says that “architecture is located at nal space. Movable roofs and exterior walls opening the junction of the internal space and external space” the architectural structure make it penetrate with citing the Bruno Zevi’s postulate that “space is the external space main character of the architecture” [10]. The ideogram illustrating the concept of architecture by Enrique Yáñez in the first part shows the spatial divi - 4. ARCHITECTONICS OF STRUCTURE sions within the architectural object, distinguishing The concept of “tensegrit y” (tensional integrity) was between the following: patented by Richard Buckminster Fuller in 1962. • external space, Initially, structural studies were performed on physi - • internal space, cal models. Tensegrity structures are spatial struc - tures composed of simple rods and strings, in which • construction space. mutual stabilization of the stretched and compressed The internal space is the opposite of the external, is an elements occurs. They are characterized by durabili - artificial space, separated from the external space, ty comparable to lattice systems. The concept of the understood as the natural space. The illustration of the cytoskeleton described by Donald Ingber is signifi - expansion of Yáñez’s spatial divisions – the internal cant also in the context of Architecture [12]. The space may be an extension of the external space, archi - cytoskeleton is a network of protein fibers and tecture may open up to the natural space [Fig. 1a, b]. tubules that form the cell scaffold. Observations made on live cells showed that the cells attached to 3. STRUCTURE the hard substrate are flattened, while on the flexible substrate their shape is approaching a spherical form Following the ideas of Enrique Yáñez, architecture – the cell model whose construction is based on the can be defined as a system for dividing space into spatial structure formed of rods and strands also external and internal. This division does not include allows deformations of the model, similar to those temporary situations, when they are divided and pen - found in nature [Fig. 2]. The structure of human body etrate each other. The postulate of transformability can also be described by the spatial rod-tension struc - and variability of architectural space characteristic of ture in which the skeleton plays the role of the rods, Second Modernity [11] enforces the extension of while the function of the tensions is fulfilled by the understanding of architectural structure. It is under - muscles, sinews, and ligaments [13]. stood as a complex interdisciplinary mechanism char - In 1921, Karl Loganson presented “self-stretching acterized by variability. For an architectural object, it constructions”, which are considered as prototypes of may be related to the fluidity and plasticity of shaping tensegrity structures. In 1948, Kenneth Snelson, an the internal or external space. The classification American sculptor, presented, independently of extended to the internal space with partitions, and
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Figure 3. Self-Stretching Design by Karl Loganson and Needle Tower by Kenneth Snelson, Kröller-Müller Museum, The Netherlands – own elaboration
Figure 4. Assignment of objects to types of architectural space – own elaboration
Loganson’s work, a self-supporting rod-tension struc - For example, one of the simplest elements of tenseg - ture [Fig. 3]. The first realizations of spatial struc - rity, the equilateral triangle prism, can be described tures – tensegrity – are sculptural installations and as N6, S3, C9, I. design projects. Richard Buckminster Fuller’s patent Examples of tensegrity structures correspond to the application is dated November 13, 1962, that is why types of architectural spaces [Fig. 4]. he was honored as the first researcher of tensegrity Existing objects with a tensegrity structure can be structures, however, it should be remembered that subdivided into the following types: almost simultaneously with Fuller, the issues of tensegrity were also dealt with by David Georges Roof covering – roofing: Emmerich and Kenneth D. Snelson. The patent • The roof of the SuperSam commercial pavilion, application for David Emmerich’s tensegrity struc - architects: Jerzy Hryniewiecki, Maciej Krasiński, ture (Simplex) dates back to September 28, 1964, and Ewa Krasińska, constructors: Wacław Zalewski, Kenneth D. Snelson’s to February 16, 1965 [14]. Stanisław Kuś, Andrzej Żórawski, realization With the development of computer technology sup - 1962, Warsaw, Poland, porting design, it became possible to simulate the • The roof of the Spodek sports and entertainment structure’s work as a structural element object, and hall in Katowice, architects: Maciej Gintowt, with the advent of this possibility, spatial structures of Maciej Krasiński, constructor: Andrzej Żórawski, this type began to be used in the realization of archi - realization 1971, Katowice, Poland, tectural objects. It is difficult to divide tensegrity • The roof of the Olympic Gymnastics Arena, archi - structures into clear-cut categories, but they can be tect: Kim Swoo-geun, constructor: Dawid Geiger, described by the following parameters: realization 1984, Seoul, South Korea (bicycle • number of nodes (N), wheel construction – outer ring, inner ring, tension • number of compression components (S), cables connecting both wheels), • number of tendons (C), • The roof of Ciudad de La Plata Stadium, architect: • system type: regular (R), irregular (I), depending Roberto Ferreira, constructor; realization on the length of the components, 1993–2009, La Plata, Argentina (construction of a • spheric (SS) homeomorphic to the surface of the spatial bicycle wheel – outer ring and two inner sphere.
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a b E R U T C E T I H C R A
c d
Figure 5. a) The roof of Georgia Dome, 1992, Atlanta, Georgia, USA – based om photos http://bit.ly/2FQPNn1; b) “The Cloud” EXPO, 2002, Yverdon-les-Bains, Switzerland – based on photos http://bit.ly/2DzVmUp; c) Forthside Pedestrian Bridge, 2009, Stirling, Scotland – based on photos http://bit.ly/2WjRGxk; d) “The Thing”, 2010, Endchede, Netherlands Jasper Latte, Jaap Hos – based on photos http://bit.ly/2B8coY9
rings, each of them at a different height, tension realization 2010, London, England, cables connecting the wheels), • MOOM pavilion, architects: C + A Coelacanth, • The roof of Suncoast Dome St. Petersburg, archi - realization 2012, Noda, Japan, tect: Criswell, Blizzard & Blouin Architects, real - • Santiago Antenna Tower, architects: Smiljan ization 1990, St. Petersburg, Florida, USA (con - Radic, Gabriela Medrano, and Ricardo Serpell, struction of a spatial bicycle wheel – outer ring and realization 2014, Santiago, Chile, three inner rings, each of them at a different • Tension pavilion exposition at Olympia London, height, tension cables connecting the wheels), 2016, London, England. • The roof of Georgia Dome, architect: Heery Bridges: International, Rosser FABRAP International, realization 1992, Atlanta, Georgia, USA (the ellip - • Kurilpa Bridge, architects: Cox Rayner Architects, tical ring construction – the outer ring and the two realization 2009, Brisbane, Australia inner rings, each of them at a different height, the • Forthside Pedestrian Bridge, architect: Keith tension cables connecting the rings), [Fig. 5a] Brownl, realization 2009, Stirling, Scotland, • The roof of the World Cycling Centre in Aigle, [Fig. 5c] Velodrome, architects: Pierre and Pascal Grand, • The concept for the footbridge over the S7 road in realization 2002, Aigle, Switzerland (the elliptical Magdalenka near Warsaw, designers: Bogusław ring construction – the outer ring and the three Markocki , Radosław Oleszek, 2011, Magdalenka, inner rings, each of them at a different height, the Poland. tension cables connecting the rings). • The concept for the footbridge over the Oder Buildings: River in the vicinity of the Wrocław University of • “The Cloud” EXPO 2002, architects: Pierre and Science and Technology campus, designer: Józef Pascal Grand, realization 2002, Yverdon-les- Szybiński, 2012, Wrocław, Poland. Bains, Switzerland, [Fig. 5b] Artistic installations: • Para-tension pavilion architects: Guangyuan Li, • Skylon Tower, architects: Hidalgo Moya, Philip Merate Barakat, Sebastian Nau, Sevinj Keyaniyan, Powell, Feliz Samuely, realization 1951 London,
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Tabele 1. Study of the nature of the space of tensegrity structures
Figure 6. Cover of Seoul Olympic Stadium, 1984 – based on the photo http://www.ajc.com
Figure 7. Kurilpa bridge, Brisbane, Queensland, Australia, 2009, the largest spatial structure in the world – based on Paul Garda’s photo https://bit.ly/2RP1FMB
England Based on such assumptions, the existing objects were • Needle Tower, architect: Kenneth Snelson, real - studied for the character of the space they represent. ization 1968, Washington, D.C., USA, Four samples from each of the above types were selected for the study [Tab. 1]. • Rainbow Arch, architect: Kenneth Snelson, real - ization 2001, Currently, the most common type of roofing is a spa - tial layout similar to that of a bicycle wheel. [Fig. 6]. • Maxim’s Arch, architect: Maxim Schrogin, realiza - It is most commonly used as a cover for sports facili - tion 2002, Berkeley, California, USA, ties, employed both for the ease of design and con - • “The Thing”, architect: Jasper Latté and Jaap Hos struction [21]. realization 2010, Enschede, Netherlands [Fig. 5d].
50 ARCHITECTURE CIVIL ENGINEERING ENVIRONMENT 1/2019 STRUCTURE OF ARCHITECTURE – TENSEGRITIES IN THE CONSTRUCTION OF ARCHITECTURAL SPACE a E R U T C E T I H C R A Figure 8. Presentation of the simulation of the tensegrity model in Grasshopper – own elaboration
The sculptural spatial structure was used in the con - 5. CONCLUSIONS struction of a footbridge over the Brisbane River in Australia [Fig. 7]. The small number of implementa - The use of the spatial rod-tension structure in the tions is caused by the difficulties arising at the design construction of an object will allow: stage. Complex calculations and displacement simu - • free shaping of the internal space and opening of lations for structural nodes are required then. the object to the outside, Current design tools do not facilitate the rapid appli - • changing the shape of an architectural object, dur - cation of structure at the concept stage. ing operation, The programs for parametric and generative design • regulation of sun exposure and ventilation of the which are more and more often used simplify the building, during usage. approximation of structures to architects. The types of existing objects correspond to the nature Applications such as Grasshopper enable simulations of space: of simple elements, while preventing the formation of complex structures, which has been shown in previ - • Stadium roofs – closed ous studies by the author [Fig. 8]. • Bridges – open Currently, algorithms are created to simulate the • Buildings – dependent behavior of structures, based on the mapping of nat - • Artistic installations – dispersed ural forms found in nature. [20] A similar tendency Due to the difficulties arising at the design stage, the exists in architectural design. In the case of rod-ten - possibilities of separating space by means of tenseg - sion spatial structures, we are dealing with some sort ritic structures have not been studied yet. of research synergy – a model of spatial layout Systematizing and determining the suitability of types derived from technical sciences, empirically tested, is a further field of study. and then implemented in biology to analyze the structure of living organisms. The analysis of the behavior of living structures provides the chance to REFERENCES introduce modifications of parameters of spatial structures used in technology. The development of [1] Niezabitowska E. (2006). Wybrane aspekty prob - rod-tension spatial structures in the last decade lematyki przestrzeni w architekturze (Selected (2007–2017) has been mainly related to the possibili - aspects of the issues of space in architecture) architektura, 44, Gliwice. ty of tension regulation of tendons, to make the ten - dons behave in a spatial structure just like muscles [2] Kozłowski D. (2008). Dzieło architektoniczne w prze- and tendons in human body [21]. Similarly, it is pos - strzeni miasta – o formie, kontekście użyteczności (Architectural work in the city space – about form, sible to modify the entire spatial structure. In the case context, utility), Kraków. of architecture, this gives the opportunity of free [3] Leśniakowska M. (2012) Przestrzeń w architekturze shaping of the internal and external space of the (Space in architecture), Warszawa. object. Horizontal and vertical partitions, undergoing [4] Roskal Z. E. (2004). Miejsce, próżnia i przestrzeń a change of position in space and their own dimen - w przednewtonowskiej filozofii przyrody (Place, vacu - sions’ deformation allow the shaping of the internal um and space in Newton’s before philosophy of space object. nature), Lublin. [5] Juszkiewicz A. P. (1977). Historia matematyki (History of mathematics), t. 3, PWN, Warszawa.
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Photos: [Fig. 5a] https://bit.ly/2FQPNn1, author: Wheremyfc, cc logo Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) This is a human-readable summary of (and not a substitute for) the license. Disclaimer. You are free to: Share — copy and redistribute the material in any medium or format Adapt — remix, transform, and build upon the material for any purpose, even com - mercially. This license is acceptable for Free Cultural Works. The licensor cannot revoke these freedoms as long as you follow the license terms. [Fig. 5b] hhttps://bit.ly/2DzVmUp, author: Norbert Aepli, Switzerland This file is licensed under the Creative Commons Attribution 2.5 Generic license. You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work [Fig. 5c] https://bit.ly/2WjRGxk, author: Steve Collis from Melbourne, Australia , CC0 Public Domain Free for commercial use Link referral required [Fig5d] https://bit.ly/2B8coY9, author: Handige Harrie; I, the copyright holder of this work, release this work into the public domain. This applies worldwide. In some countries this may not be legally possible; if so: I grant anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law.
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