DOCSLIB.ORG

Glass Entrance Van Gogh Museum Amsterdam

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Glass Entrance Van Gogh Museum Amsterdam Glass Struct. Eng. DOI 10.1007/s40940-016-0022-5 CHALLENGING GLASS PAPER Glass Entrance Van Gogh Museum Amsterdam Joeri Bijster · Chris Noteboom · Mick Eekhout Received: 24 December 2015 / Accepted: 21 April 2016 © Springer International Publishing Switzerland 2016 Abstract In September 2015 the Van Gogh Museum with SentryGlas (SG) interlayers. All glass fins are in Amsterdam has opened its new Glass Entrance to optimised and unique in length and height, the largest accommodate a growing number of visitors more com- fin being 12 m long and 700 mm in height. The glass fortably. The architectural design is drawn by Kisho beams are supported by steel shoes connected to the Kurokawa Architect & Associates and the detailed main steel structure consisting of 400 mm circular hol- design by Hans van Heeswijk Architects and Octatube, low sections. This detail allows the glass fins to act like complementing the curved and elliptical shape of the beams while stiffening the steel structure and support- Kurokawa wing. The project fits in a trend of under- ing and stabilising the double glass units in the roof. ground museum extensions enhanced by prominent Due to the complex geometry, the many glass fin con- structural glass geometries, such as the Louvre Pyra- nections and extremely tight tolerances, the entire steel mids in Paris, the Mauritshuis in The Hague and the structure of 60 m × 15 m × 10 m was pre-assembled, Joanneum Quarter in Graz. The Van Gogh Museum surveyed and checked in the factory scale 1:1. The Glass Entrance is featured by a spheroidal glass roof IGU’s in the roof’s outer 1.3 m wide perimeter are cold- with glass fins stabilising the steel structure, a cold bent twisted to fit in between the roof surface and façade glass facade and a 1.5 m cantilevering glass canopy. perimeter. The curved outer facade consists of cold- Inside there are glass balustrades and a glass stair- bent insulated glass units fixed to 20 unique triple lam- case supported by structural glass arches which are inated glass fins with SG, the longest being 9.4 m. The site-bonded to the stringers. All glass in the project smallest bending radius of the elliptical curvature is is composed of low iron glass to create a high degree 11.5 m. of transparency without discolouring. The shape of the glass roof is defined by mirroring the spheroidal sur- Keywords Museum · Structural glass stabilisation · face of the existing wing. The so created roof consists Glass fins · Cold-twisted glass · Cold-bent glass · of insulated and laminated glass units all different in Glass staircase width and supported by 30 triple laminated glass fins J. Bijster (B) · C. Noteboom · M. Eekhout 1 Introduction Octatube, Delft, The Netherlands e-mail: [email protected] At the opening of the Van Gogh Museum’s Glass Entrance in September 2015, director Axel Rüger C. Noteboom (B) Arup, Amsterdam, The Netherlands recalled how he circumspectly took the plane to Japan e-mail: [email protected] to visit the architectural office of the late Kisho 123 J. Bijster et al. Kurokawa (1934–2007). He wanted to discuss a lit- 2 European precedents tle ‘problem’ with the architects who had designed the museum’s granite-clad exhibition wing in the Europe is home to many old cities which are popu- nineties. Bluntly and without beating around the bush, lar tourist destinations. Over the centuries, these cities the Japanese architects said: “It is the pond, isn’t have preserved a fair amount of their cultural heritage it?”. Apparently, they were very well informed about and compact city centres. Nowadays many buildings the dysfunction of the sunken pool, once conceptu- are labelled as monuments, assuring their future con- alised as a contemplative intermediate space between servation. Apart from churches, it is probably museums Kurokawa’s new wing and the existing museum build- attracting the highest number of tourists. Massive visi- ing of Rietveld. But the pool didn’t quite fit in the tor numbers and the phenomenon of special art exhibi- Dutch climate and often suffered from defects such tions with queues stretching around the block, is known as the broken water flow. A more compelling matter since the Enlightenment (Haskell 2000). In 1851 six for the museum was the notorious length of the ticket million people poured into London to visit the Great queue, causing daily troubles at the small sized pedes- Exhibition in Crystal Palace, and in 1857 1.3 million trian walkway at the Paulus Potterstraat, which was not visitors were attracted to an exhibition of the Old Mas- welcoming for the 90 % foreign visitors. ters held in Manchester (Saumarez Smith 2015). But With the completion of the new wing of the Stedelijk the visitor streams were occurring more and more often, Museum (2012) and the major refurbishment of the queuing in the densely built and already crowded city Rijksmuseum (2013), the time seemed right for the centres. Although these visitors are boosting the local Van Gogh Museum—being the third major museum economy, they impose a logistical headache. In terms of the Amsterdam Museum Square—to embark on of visitor numbers, the leading European museums are its own construction project. By enclosing the empty currently the Louvre in Paris (9.3 million visitors in ‘sunken pond’, and creating a new main entrance, the 2014) and the British Museum in London (6.7 million museum was able to solve two problems at the same visitors in 2014). But even the relatively small-sized time. Without expanding the actual footprint on the Van Gogh Museum had welcomed 1.6 million visitors Museum Square, a new transparent entrance was cre- in the same year. The allurement of museums and the ated on top of the former pool, being a ‘state of the art’ ‘democratisation of art’ is accompanied by a paradox, and innovative glass structure; the primary object of this referred to by van Heeswijk (2015) as ‘the down side paper. of success’: museums are becoming a victim of their In the first section, the role of glass at underground own successfulness. museum extensions is illustrated with three European If one would make a categorisation, there are two precedents. The study of references is followed by types of museum refurbishment projects in which glass an historical and architectural description of the Van plays a major role. The first one is the covered court- Gogh Museum, after which the Glass Entrance is por- yard: an enclosed space for logistics, orientation and trayed in detail, from the preliminary design for the natural light. Regularly courtyards have been the play- glass wing of Kisho Kurokawa Architect & Associates ground for architects and engineers. Whether it is a grid (KKAA) to the detailed design by Hans van Heeswijk shell, a transparent glass fin roof or a bespoke steel- Architects in close collaboration with the designers and glass structure, glass roofs seem to fit well in monu- engineers of Octatube. Hereafter, the structure and its mental museum architecture (Fig. 1). challenges are explained in detail from Sects. 5 to 9: The second category is the underground entrance. the roof structure and its parametrically designed glass With their already heavy footprint in historic city cen- fins, the cold-bent glass façade with its varying bend- tres museums are frequently forced to go below ground. ing radius, the ingenious interface details and the glass In these projects, architects often decide to hide away staircase which could literally and figuratively be con- the most congested area, being the entrance. Interest- sidered as a project within a project. In the conclusion, ingly, this choice conflicts with the purpose of the the Van Gogh Museum’s Glass Entrance is placed in museum entrance to be a visible welcome and identifi- perspective, and it is described why glass structures cation point for tourists who may be first-time visitors. seem to be so appropriate when it comes to museum Whereas the entrance used to be easily recognisable extensions. in a symmetrical classicist facade or renaissance style 123 Glass Entrance Van Gogh Museum Amsterdam Fig. 1 a–d Examples of glass roofs covering monumental museum courtyards. From left to right the British Museum in London, the Maritime Museum in Amsterdam, the German Historic Museum in Berlin and the Municipal Museum in The Hague museum building, it suddenly becomes a hidden archi- volume to ingest 15,000 visitors an hour in theory. In tectural space, deprived from natural light. It is the task addition, there are three baby pyramids, one inverted for architects to solve these two problems at once, and pyramid and triangular reflecting pools with fountains, glass has proven to be a very suitable material. Impelled contributing to the quality of the urban space, open- by new structural possibilities and technologies, this ing up the Louvre and making an inviting gesture to has led to a number of museums in which glass struc- the crowds. Another advantage was that the pyramid tures illuminate the underground spaces, mark the new encloses the largest possible floor area within the small- entrance, and facilitate a larger welcome area. est possible volume, so that the building volume would Three projects are described hereafter, all with a very provide plenty of space for the large visitor numbers different architectural and technical use of glass in com- while standing as unobtrusively as possible (Chipley bination with an underground museum entrance. Slavicek 2009). The footprint of the main pyramid is only 1/30 of the courtyard (1000 m2), which provided Pei with a strong argument of architectural modesty 2.1 The pyramids of the Louvre, Paris (Fig.
Load more

Recommended publications
  • The Architecture of Metabolism. Inventing a Culture of Resilience
    Arts 2014, 3, 279-297; doi:10.3390/arts3020279 OPEN ACCESS arts ISSN 2076-0752 www.mdpi.com/journal/arts Article The Architecture of Metabolism. Inventing a Culture of Resilience Meike Schalk Meike Schalk, Assistant Professor, KTH Royal Institute of Technology, School of Architecture and the Built Environment, Östermalmsgatan 26, 100 44 Stockholm, Sweden; E-Mail: [email protected]; Tel.: +46-73-6000906 Received: 10 May 2014; in revised form: 6 June 2014 / Accepted: 10 June 2014 / Published: 13 June 2014 Abstract: The Metabolist movement, with its radical and visionary urban and architectural schemes, drew the attention of an international architecture community to Japan in the 1960s and 1970s. Seen from a contemporary perspective, the movement’s foremost concern was cultural resilience as a notion of national identity. Metabolism responded to the human and environmental catastrophe that followed the atomic bombing of Japan and vulnerability to natural disasters such as earthquakes, with architecture envisioning the complete transformation of Japan as a system of political, social, and physical structures into resilient spatial and organizational patterns adaptable to change. Projecting a utopia of resilience, Metabolism employed biological metaphors and recalled technoscientific images which, together with the vernacular, evoked the notion of a genetic architecture able to be recreated again and again. A specific concern was to mediate between an urbanism of large, technical and institutional infrastructures and the freedom of the individual. My aim is to critically examine the notion of sustainable architecture by rereading Metabolist theories and products, such as terms, models, projects, and buildings. For a better understanding of the present discourse, this text searches for a possible history of sustainable architecture, a subject mostly presented ahistorically.
    [Show full text]
  • Introducing Tokyo Page 10 Panorama Views
    Introducing Tokyo page 10 Panorama views: Tokyo from above 10 A Wonderful Catastrophe Ulf Meyer 34 The Informational World City Botond Bognar 42 Bunkyo-ku page 50 001 Saint Mary's Cathedral Kenzo Tange 002 Memorial Park for the Tokyo War Dead Takefumi Aida 003 Century Tower Norman Foster 004 Tokyo Dome Nikken Sekkei/Takenaka Corporation 005 Headquarters Building of the University of Tokyo Kenzo Tange 006 Technica House Takenaka Corporation 007 Tokyo Dome Hotel Kenzo Tange Chiyoda-ku page 56 008 DN Tower 21 Kevin Roche/John Dinkebo 009 Grand Prince Hotel Akasaka Kenzo Tange 010 Metro Tour/Edoken Office Building Atsushi Kitagawara 011 Athénée Français Takamasa Yoshizaka 012 National Theatre Hiroyuki Iwamoto 013 Imperial Theatre Yoshiro Taniguchi/Mitsubishi Architectural Office 014 National Showa Memorial Museum/Showa-kan Kiyonori Kikutake 015 Tokyo Marine and Fire Insurance Company Building Kunio Maekawa 016 Wacoal Building Kisho Kurokawa 017 Pacific Century Place Nikken Sekkei 018 National Museum for Modern Art Yoshiro Taniguchi 019 National Diet Library and Annex Kunio Maekawa 020 Mizuho Corporate Bank Building Togo Murano 021 AKS Building Takenaka Corporation 022 Nippon Budokan Mamoru Yamada 023 Nikken Sekkei Tokyo Building Nikken Sekkei 024 Koizumi Building Peter Eisenman/Kojiro Kitayama 025 Supreme Court Shinichi Okada 026 Iidabashi Subway Station Makoto Sei Watanabe 027 Mizuho Bank Head Office Building Yoshinobu Ashihara 028 Tokyo Sankei Building Takenaka Corporation 029 Palace Side Building Nikken Sekkei 030 Nissei Theatre and Administration Building for the Nihon Seimei-Insurance Co. Murano & Mori 031 55 Building, Hosei University Hiroshi Oe 032 Kasumigaseki Building Yamashita Sekkei 033 Mitsui Marine and Fire Insurance Building Nikken Sekkei 034 Tajima Building Michael Graves Bibliografische Informationen digitalisiert durch http://d-nb.info/1010431374 Chuo-ku page 74 035 Louis Vuitton Ginza Namiki Store Jun Aoki 036 Gucci Ginza James Carpenter 037 Daigaku Megane Building Atsushi Kitagawara 038 Yaesu Bookshop Kajima Design 039 The Japan P.E.N.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 171 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017) The Culture of Japan: Pushing the Limits of Duality Nina Konovalova Scientific Research Institute of the Theory and History of Architecture and Urban Planning Central Scientific-Research and Project Institute of the Construction Ministry of the Russian Federation Moscow, Russia [email protected] Abstract—The article expresses the hypothesis that the dual existence of a central link and its dominant role in the artistic scheme is not applicable for describing a particular area of culture, architecture, and Japanese worldview. Japanese culture. The author proposes to introduce a third (central) link to the structure of dual representation. The resulting triad describes the specificities of the Japanese II. THE CATEGORY OF “BETWEENNESS” IN worldview more accurately, as the central link performs the ARCHITECTURE role of the intermediate zone, which demarcates but at the The “betweenness” principle in architecture was not only same time absorbs, the polar categories. In the view of widespread but is endowed with great significance. The Japanese, this is not merely important, but fundamental for blending with the natural environment that creates an effect understanding any phenomenon. To justify the existence of a of openness of edifices is one of the most significant features central link and its dominant role in the culture of Japan, of Japanese architecture. Although the Japanese house is examples are given from the fields of art culture, architecture, open to nature, it is absolutely closed to outsiders. Lush and, of course, the Japanese worldview.
    [Show full text]
  • Tokyo's Next Metabolism
    TOKYO’S NEXT METABOLISM Lai, ho fung [email protected] Oxford Brookes University CORE METABLOSIM of 1960s’ VOID METABOLISM of 2000s’ Metabolism Architecture was first appeared in the World Yet, Tokyo was developed in a totally different way in which there were Table 1. Population trend of Japan between 1950 and 2094 Design Conference 1960 in Tokyo (Fig 1) as part of the no replaceable components. It related greatly to the mitigation of manifesto proposed by a group of Japanese architects, population expansion. Because of the great improvement of medical known as the Metabolists. Young architects Kiyonori conditions throughout Japan after the war, the life expectancy of Kikutake, Kisho Kurokawa, Fumihiko Maki, Masato Japanese has being increased since the pre-war period. With the Otaka and the architectural critic Noboru Kawazoe, combined effect of low birth rate, the pressure on dwelling demand led by Kenzo Tange, had similar beliefs to suggest a and thus the need of megastructure actually has not ever existed new urbanism proposal which promoted a cityscape over the last half-century. The government refined the policy that Fig 1. The World Design Conference 1960 in Tokyo composed of replaceable components adapting to the encouraged individuals towards landownership, which turned to changing environment. create a drive to construct their own private homes. Detached houses formed the city as a result after the war. An inheritance tax is imposed when the head of a household The world influenceing concept particularly reponded to changes in Japan. With the mitigating population growth the post war situation of Japan. As being Japan’s capital city, in the 2000s, an only child would have to afford the whole Tokyo was targeted to be attacked during the war.
    [Show full text]
  • INTERVIEW with KISHO KUROKAWA Interviewed by Betty J
    INTERVIEW WITH KISHO KUROKAWA Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 2002 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of the manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 54 Appendix: Curriculum Vitae 56 Index of Names and Buildings 59 PREFACE As a youngster, Kisho Kurokawa's defining moment was viewing the ruins of his birth city, Nagoya, Japan, during World War II. He is convinced that on that fateful day long ago, while looking at the total devastation caused by bombs, he first understood the powerful potential of an architect—to rebuild a city. Today, with outstanding credentials, he is one of the leading architects in Japan. Kurokawa has had a multi-faceted career as an innovative award-winning designer and builder, respected philosopher, prolific author and translator, talented printmaker, lecturer, and educator. Although most of his work can be found in Asia, he has left his mark on another city rebuilt from ashes—Chicago. His especially close relationship to the Department of Architecture at The Art Institute of Chicago is evidenced in the naming of the Kisho Kurokawa Gallery of Architecture here.
    [Show full text]
  • What If…? Then… Urban-Scaled Architectural Speculation in Tokyo
    GSAPP Spring 2018 | Advanced Studio VI Studio Critic: Sarah Dunn | [email protected], [email protected] and Martin Felsen | [email protected] TA: George Louras | [email protected] What if…? Then… Urban-scaled Architectural Speculation in Tokyo Minli Wang, Spring 2016 Can we invent an urban-scaled architecture that is both formally compelling and ecologically sound? The studio will engage and explore the formal and programmatic possibilities of invented large-scale architecture in the city. In a back-and-forth process with key historic projects we will develop a series of design-based scenarios that leverage specific qualities of the city, and will seek to mine these scenarios for their formal possibilities. Formal and spatial invention will be our goal. Sites will be chosen for their latent possibilities. Ecological, economic, and political justifications will be employed as necessary. Programs will be pushed beyond their logical extremes. First we will speculate on what might have been. To look back at projects of the past and interrogate them for what they might have been. Through a process of collage and montage (old fashioned, but dependable), we will speculate on how the introduction of difference might have changed these projects. The studio will operate in a “slack space” to allow us freedom from the historical and theoretical significance of the key historic projects. For example, we will ask questions such as: What if Superstudio’s Continuous Monument had an interior? And, what if Yona Friedman lived in Tokyo (instead of Paris)? Our speculations will not supported by any hard evidence, nor will they be able to be proven.
    [Show full text]
  • East Asian Art Department Records EAA Finding Aid Prepared by Bertha Adams, Leslie O'neill and Susan Anderson
    East Asian Art Department Records EAA Finding aid prepared by Bertha Adams, Leslie O'Neill and Susan Anderson. Last updated on January 31, 2017. 03/31/2011 Philadelphia Museum of Art Archives East Asian Art Department Records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................3 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 4 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 - Page 2 - East Asian Art Department Records Summary Information Repository
    [Show full text]
  • Van Gogh Museum Journal 1999
    Van Gogh Museum Journal 1999 bron Van Gogh Museum Journal 1999. Waanders, Zwolle 1999 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199901_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword On 23 June 1999 the new exhibition wing and renovated existing building of the Van Gogh Museum were opened in the presence of Her Majesty Queen Beatrix. This was a momentous occasion, marking the beginning of a new phase in our history. From its origins as a showcase for the collections that had been cared for by the artist's family, the Van Gogh Museum has developed into one of the most popular museums in Europe. Over the years, the museum's ambitions have expanded in numerous ways: the collection has been broadened to encompass a wide range of paintings, sculptures, drawings and prints from the period c. 1840-1920, forming a crucial link between the collections of our neighbours the Rijksmuseum and the Stedelijk Museum; changing exhibitions have become an essential complement to the permanent displays; new activities have been added and more emphasis is now placed on education and making the collection accessible to a broad public. Throughout the 1980s and 1990s these ambitions placed increasing pressures on the original building designed by Gerrit Rietveld and his partners, and the need for extra space was urgent. This need was met by an extraordinarily generous donation from the private sector. The Yasuda Fire and Marine Insurance Company Ltd. provided, via The Japan Foundation, the funds which enabled the museum to create a new building to house its temporary exhibitions.
    [Show full text]
  • Rationalization of Combinatorial Design in Architecture for Microhousing
    Rationalization of Combinatorial Design in Architecture for Microhousing A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Architecture in the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning by Paul Kim B.S. of Architectural Studies in the University of Illinois, Urbana-Champaign June 2011 Committee Chairs: Christoph Klemmt, AA Dipl. Udo Greinacher, M.Arch Abstract By taking a combinatorial design approach, this thesis explores spatial and programmatic arrangements of residential units to design microhousing for temporary residents living in urban settings. In order to explore spaces, it was critical to itemize a building’s spatial components. By distinguishing the essential and non-essential components of each space, necessary spaces are defined by the activities of daily living. Then I created boundaries around the essential components considering anthropometry and circulation suitable for microhousing. These essential action spaces became templates throughout the thesis. A growth of architectural form is one of the most critical factors in this exploration. Spatial combinations from the smallest to largest scale have facilitated this study in generating an ideal microhousing community. Rules and constraints are implemented to keep layouts organized and forms intact. The initial goal to preserve spatial efficiency was carried throughout the exploration. As scales grew, the primary focus was shifted from maintaining spatial efficiency to preserving modularity of combinatorics. The premise of this thesis was to analyze necessary spaces and to generate an architectural form by combining modular components. This thesis concerns with process of spatial combinations and analysis of their spatial efficiency followed by the analysis of generated forms.
    [Show full text]
  • Metabolism Revisited: Prefabrication and Modu- Larity in 21St Century Ur- Banism
    246 WITHOUT A HITCH: NEW DIRECTIONS IN PREFABRICATED ARCHITECTURE Metabolism Revisited: Prefabrication and Modu- larity in 21st Century Ur- banism Stanley Russell University of South Florida Fig. 1. Hawaii floating city METABOLISM REVISITED 247 Introduction derlying concept. Rather than a movement in- volving the simultaneous participation of vari- In 1960 Kisho Kurokawa, Fumihiko Maki and ous segments of society, metabolism was lim- Kiyonori Kikutake published a manifesto titled ited to a few isolated buildings by individual “Metabolism 1960: Proposals for a New Urban- architects acting independently. These failures ism” to coincide with the Tokyo World Design were due not to a lack of vision of the founding Conference of the same year. The conference members but to a lack of social, economic, or program was conceived by Kenzo Tange to ad- political support in an era when technological dress problems of industrialized growth and advancement could not yet facilitate the im- featured his own “Structuralist” plan for the plementation of such an ambitious movement. reorganization of Tokyo. The metabolism group took Tange’s Structuralism as a point of depar- Metabolism ture to elaborate on their own approach to ur- banization in reaction to the official demise of The current environmental crisis is bringing the modern movement just one year earlier. professionals and communities together in an unprecedented fashion to address the formida- In opposition to the rational western roots of ble problems facing the world. The call for the modern movement, Metabolism was based more efficient, environmentally friendly build- on Buddhist concepts of changeability and re- ings and construction processes has brought newal and the aesthetic of an unfinished im- prefabrication and modularity to the forefront age.
    [Show full text]
  • The Self-Organizing City and the Architecture of Metabolism: an Architectural Critique on Urban Growth and Reorganization
    sustainability Article The Self-Organizing City and the Architecture of Metabolism: An Architectural Critique on Urban Growth and Reorganization Cemaliye Eken * and Resmiye Alpar Atun Department of Architecture, Faculty of Architecture, Eastern Mediterranean University, Famagusta 99450, Turkey; [email protected] * Correspondence: [email protected] Received: 19 July 2019; Accepted: 24 September 2019; Published: 26 September 2019 Abstract: Over decades, cities have undergone rapid urbanization and uncontrolled urban growth. The need for future cities to operate as adaptable complex systems has generated an interest in the self-organizing resilient city. The main aim of the study is to find ways of conceptualizing self-organizing the resilient city as an emerging field of research for urban design and architectural theory. Based on these assumptions, an integrated relationship between architecture and urban design are seen as potential catalysts for absorbing the uncertainty and disturbances of urban growth and preparing the structure, function, and identity of a city as a self-organizing system that can continuously and freely adapt to changes. The paper seeks to determine the role of architecture in urban design as a main key for facilitating a self-organizing system. A systematic theoretical research method was used to describe resilience theory and self-organizing systems within an adaptive cycle and hierarchical thinking across scales. The study then sought to identify the earliest point that architectural theory conceptualized future cities from the perspective of self-organizing systems. The Metabolism movement was chosen to provide a basis for the discussion of the study. Cities as self-organizing systems need to be considered through cross-scale interactions.
    [Show full text]
  • The Notion of Multivalence by Charles Jencks and Kisho Kurokawa – Comparison Through Methods of ‘Abstract Representation’ and ‘Abstract Symbolism’
    Vol. 17, No.2, (2020), 51-68. ISSN: 1823-884x THE NOTION OF MULTIVALENCE BY CHARLES JENCKS AND KISHO KUROKAWA – COMPARISON THROUGH METHODS OF ‘ABSTRACT REPRESENTATION’ AND ‘ABSTRACT SYMBOLISM’ Gibert Michael, Naziaty Mohd Yaacob & Zuraini Md Ali ABSTRACT One of the solutions presented in response to the various limitations of the Modernist dogma was the notion of ‘Multivalence’. In the 1960’s various methods related to this were debated and suggested with the underlying motives for architecture to counter Modernist’s puritanism and express the plurality and diversity of society. This paper aims to compare different themes discussed on this topic by two of its representative protagonists, Charles Jencks in the West and Kisho Kurokawa in the Far-East. Through a review in particular of their respective methods of ‘Abstract Representation’ and ‘Abstract Symbolism’, it will be argued that despite sharing similar conclusions, both their approach simultaneously illustrate contrasting world views. Keywords: Multivalence, Abstract Representation, Abstract Symbolism, Post-modern architecture, Charles Jencks, Kisho Kurokawa INTRODUCTION Both Charles Jencks and Kisho Kurokawa have been forceful polemicists and creative artists who have embraced their works in wide perspectives. Driven by theory, the written words and buildings, they both met at a Team X gathering in 1966, and became good friends who would work together at numerous occasions ever since (Jencks, 2007). Consequently we read mutual traces in their respective approach, and more specifically the notion of Multivalence that came to be central to the architectural debate alongside the growing rejection of Modernism in the 60’s (Kelly, 1998). It will be argued that Jencks’ own perspective articulates around his obsessions to apply the values of semiotic and rhetoric to architecture.
    [Show full text]