Translating Movement into Architectural Form

Tim Ingleby,Stephen Orlando

doi:10.1007/s00004-021-00567-8

Abstract

This work seeks to define original ways of creating architectonic forms using kinesiology studies. A series of methodologies are devised to record subjects in motion, with analogue and digital modelling techniques rigorously used independently and in combination to transpose these into sculptural figures with differing levels of formal fidelity and dimensional precision. Surface structures, and in particular thin shells, are found to have great potential for moving from abstract figures to structural forms. Such structures are traditionally problematic in terms of ‘constructional energy’, which has limited their usefulness and application. In response, the ‘hanging cloth reversed’ modelling technique devised by Heinz Isler is investigated to capitalise on the ambiguity between large-scale models and small structures. A construction method is devised that accords with the principles of structural art which, significantly, suggests that (small-span) shell structures could be liberated from the strictures of formwork to create economic, efficient and elegant minimal structures.

Highlights

The representation of movement has long proven to be an influential artistic and technological provocation
Using different photographic techniques in combination with analogue and digital modelling, three processes were devised as ways of generating three-dimensional sculptural forms based on these starting points
Modelling may be considered a means to an end and frequently this is so

Summary

Introduction

The representation of movement has long proven to be an influential artistic and technological provocation. Using LED lights with custom colour patterns and long-exposure photography, this technique reveals beautiful light trails created by the paths of dynamic subject matter, such as kayakers and canoeists. These light trails have not been artificially created in post-production and the photos are not composite images. Using different photographic techniques in combination with analogue and digital modelling, three processes were devised as ways of generating three-dimensional sculptural forms based on these starting points. The methods underpinning these processes have differing levels of dimensional and spatial precision (Table 1). Translating Movement into Architectural Form Fig. 1 Algonquin Park–Hambone Lake Canoe I, 2015 (Stephen Orlando) Fig. 2 Gros Morne–Kayak I, 2015 (Stephen Orlando)

Interpretation

Interpolation

Extraction

Discussion