FREE FORMS Structural System

1. FREE FORMSStructural System Submitted by: Shailesh Kumar Pathak- 060133 B.Arch viii sem, SPA - JNAFAU

2. Free forms • Free forms that were unrelated to the structure, mere expressions of designer whim, would of course be a cross contradiction of the form advanced in this discussion. • Forms bound by structure sounds almost like a paradox. Yet the forms to be discussed are in every respect structurally determined. • The law governing structural are far more subtle. The amount of pressure, to which we have so often reffered is not really a parabola. It resembles a parabola, it is true but the two curves are rarely identical. The line of pressure varies with the load it is were alive. • The elementary geometry of circle, cylinder and come is important from the point of view facillating construction mathematical analysis, but it is not intrinsically baring capacity of the shell. SHAILESH KUMAR PATHAK - 060133

3. Market In Royan France • The roof of the market is shaped like a sea shell with undulating edges. We consider it a free form, since the general conception is free invention, guided only by laws of mechanics. • Here the geometry has an auxilllary, rather than a dominating function. • The plan is circular; it might equally well have been oval or eliptical. • The engineer has made the peripheral sections through the corrugations a combination of parabolic and sine curves. • Conceptually, the form is perfectly “free”. • It is bound only by corrugations as such, by its curvature , by its undulation subordinate to a concentric arrangement and by its vaulted form, which, in a cross section throught the dome suggest a line of pressure. • The form is “free” of the shackless of geometry, yet firmly bound to a prectise structural order. • There is no trace of freedom in the sense of caprice or jugling with the forms. SHAILESH KUMAR PATHAK - 060133

4. The TWA Terminal: • The TWA Terminal building at Idlewild designed and produced in collaboration by Saarinen with engineers Ammann and Whitney, stands as a structure that has grown out of very nature of shell construction. • Nature of the forms is crippled by a harsh geometry. There is not a correct, right angle or parabola in sight. • New forms and novel proportion unfolds before us in inhibited patterns, and yet every curve and every details suggest a general sense of direction and order. • The roof consist of sweeping doubly curved surfaces. • The ribs that sprout its edges broaden out in the directions of the support to meet the increasing load, while simultaneously stiffening the shells against formations. • These ribs, however are not mere appendages added to the edges to the roof, but develop originally out of totality in the structural function. They form the transition between the roof and the structure and thus round off the great, closed forms that soars from foundation right up to its lofty peak. • The four shells are distinctly separated from each other by strips of glazing. Nevertheless, they constitute an organic unit that bears compression with the work of structure. SHAILESH KUMAR PATHAK - 060133

5. The ronchampchappel: • The ronchampchappel , lee corbusier’s most important work , to put up bluntly is not a structural form,. Neither the heavy wall with its tiny restoration nor the suspended roofs, nor the details have the least structural logic. • Ronchamp is inspired sculpture, full of charm and poetry, and no richer or more beautiful solution of the problem is unimaginable. • It appeal however resides entirely in the form, not in the structure and in this case the significance of the form is not differentiated from structural laws. • It would therefore be pointless, To criticize its wall for not being really massive or the roof being not really interesting. • In fact it would be just as pointless as making a structural analysis of one of those splendid Baroque churches , whose dressing, stucco marble and gold we know to be one of their most important forms of expression. Good theatre can also be good art. SHAILESH KUMAR PATHAK - 060133

6. Structural application of space frame: Project: Singapore Arts Centre Architects: Michael Willford and partners (London, UK), DP Architects (Singapore) Parent features: Curve > Straight Force> Vector action Content: In the two free form building envelopes of the Singapore Arts Centre , nodes and members were customised in prefabrication according to the system degree of freedom. To facilitate logistics during the design and engineering phases all members were colour coded, while for on site logistics all nodes had a part member on them, and when needed also a mark indicating their orientation of North-direction.the space trusses were pre assembeled in parts of 4, 5 by 9 meters maximum, which were stabled once erected. During assembly the positions of the nodes were intentionally fabricated with minus tolerences could be elongated. SHAILESH KUMAR PATHAK - 060133

7. Box – section ribs from developable sites Project: China National Stadium, Benjing Architect : Herzog and de Meuron Engineering: arup and ghery technologies Steel manufacturers: BCC ( China) Year: 2007 Parent features: Geometry > Surface > Single curved Material > 2D-fabrication Material > Formative > Direct Control Content: The stadium’s primary structure consist of trusses in vertical planes running from the ground level until the edge of the cantilevering roof. The chords follow the outer contour of the building. In addition, secondary beams randomly run on the exterior envelope. All beams are square box section of 1,2 m wide, constructed from steel sheets. One rib side is tangent to the building envelope. As the global building shape is curved, the box section, as well as their sides- have to twist in order to maintain their tendency to the building shape. The beams are constructed through four single curved surface of non constant curvature. These beams are generated between the square extremities of the nodes. SHAILESH KUMAR PATHAK - 060133