解读盖里的设计--托莱多大学视觉艺术中心

通过对盖里设计的托莱多大学视觉艺术中心的调查，探索了盖里作品在纷乱的外表后面所隐藏的理性精神和具体的设计手法。     

Continuity and Rupture

There is currently a disjoint between the enthusiasm that is expressed for geometry in architecture and the disparate manner in which it is applied spatially. Dennis R Shelden and Andrew J Witt of Gehry Technologies here seek to address this by reconnecting theory and practice with developments in modern mathematics. Copyright © 2011 John Wiley & Sons, Ltd.     

Tectonics,economics and the reconfiguration of practice: the case for process change by digital means

The current programming culture in architecture could all too easily be written off as a youthful, geeky obsession with the algorithmic and the parametric among nascent practitioners, who have had little if any opportunity to build. The activities of Gehry Technologies run counter to this stereotype. Building on 15 years of experience at Gehry and Partners, Gehry Technologies was founded in 2002 as an independent organisation dedicated to the business of technological innovation and the development of architectural software tools. Dennis R Shelden, chief technology officer, discusses the wider implications of a concentrated focus on technological tools and organisational processes for designers and the business of building. Copyright © 2006 John Wiley & Sons, Ltd.     

Information,Complexity and the Detail

The proliferation of affordable computing has transformed the capability of architecture to deal with complex forms and details. As Dennis R Shelden , Chief Technology Officer of Gehry Technologies, explains, this has resulted in the production of an abundance of digital information or data. The intersection of two curved surfaces, for instance, is now much more complex than the surfaces themselves. Complexity requires more information and thus more processing, making details like this ultimately more expensive to produce. The jury is still out on what the future might hold, as architecture undergoes a period of fundamental transition in which, for the time being at least, there remains an essential mismatch between the surfeit of digital information and the tight economic limits on physical production.     

Das freie Spiel der Flächen und Stäbe

Auf dem Konzerngelände eines weltweit tätigen Pharmakonzerns in Basel wurde ein vom Architekten Frank O. Gehry entworfenes skulpturales Bürogebäude geplant und fertiggestellt. Besonderes Augenmerk ist die transparente Stahl‐Glas‐Hülle, die aus verschieden zusammengesetzten Fassadenflächen besteht. Um die freie Geometrie dieses Gebäudes möglichst nahe an der Entwurfsidee in die Realität umzusetzen, wurde für alle Planungsbeteiligten verbindlich das CAD‐Programm CATIA in den Planungsprozess integriert. Das Ingenieurbüro schlaich bergermann und partner hat die komplette Tragwerksplanung (Entwurf, Ausführung, Bauüberwachung) erstellt. Dieser Beitrag beschreibt die Besonderheiten bei Entwurf, Konstruktion sowie Herstellung und Montage der ungewöhnlichen Stahl‐Glas‐Hülle. The free operation of surfaces and steel bars. On the premises of a worldwide operating pharmaceutical company in Basle, Suisse a sculptural office building designed by Frank O. Gehry has been planned and completed. An outstanding charm is given by the transparent steel‐glass‐envelope covering the relatively shifted and rotated slabs as a free formed folded structure consisting of steel bars. To realize the free building geometry very close to the design idea for all project members the CAD‐software CATIA was integrated into the planning process. schlaich bergermann und partner has covered the full scope of structural engineering from schematic design to execution phase. This paper describes the specialties during design, engineering, fabrication and erection of the unusual envelope made of steel and glass.     

盖里与迈耶作品的比较研究——建筑空间的塑造

以两位来自美国的当代建筑师弗兰克·盖里(FrankGehry)和理查德·迈耶(RichardMeier)的主要作品为研究对象,从理论分析和具体实例两方面来认识和理解盖里和迈耶在建筑构成、建筑空间方面的探索与发展。     

Information Modelling as a Paradigm Shift

Building information modelling (BIM) is not just a change in software or skills sets, it requires a paradigm shift. Dennis Shelden , Chief Technology Officer of Gehry Technologies, outlines the more ‘fundamental, subtle and profound decisions’ on the road to BIM. It is necessary to fully consider not only the impacts both ‘upstream’ and ‘downstream’ from the conventional design phase, but also the possible creative restrictions as there is a potential trade-off that comes with the emphasis on collaborative processes. Copyright © 2009 John Wiley & Sons, Ltd.     

Associative Practices in the Management of Complexity

Tom Verebes, a co-director of the Architectural Association's Design Research Laboratory (DRL), writes about the programme's recent research in generative and parametric-based software, as well as the actualisation of these innovations through automated fabrication technologies. One example is the DRL's recent initiative to collaborate with Gehry Technologies as a means of using an experimental academic environment to test professional design software applications currently in development. As Verebes shows, this integration extends into his own collaborative design office, ocean D, one of the surviving branches of the original OCEAN network that emerged in the early 1990s (discussed elsewhere in the issue by Michael Hensel). For Verebes, as for Brett Steele (also featured in this publication), academic research serves as a laboratory for the production of new practices. Copyright © 2006 John Wiley & Sons, Ltd.     

Networked Space

Dennis Shelden , Chief Technology Officer at Gehry Technologies, asserts ‘a networked spatial approach to design informatics’ that brings together a spatial understanding with a current knowledge of geometry, the digital and modern communications. This emphasises the connections between not only forms and objects in space, but also among disciplines in a collaborative practice context and of the Web itself. It is a connectedness that has been further facilitated by the adoption of 3-D building information modelling (BIM) that helps to streamline processes and facilitate better communication among disparate members of the design team.     

圣莫尼卡学派与建筑艺术包装

C．詹克斯于20世纪80年代曾把F．0．盖里在内的一批洛杉矶建筑师称为“洛杉机学派”,J．M狄克逊著文建议把这些建筑师称做“圣幕尼卡学派”,因为他们相对集中在圣幕尼卡地区,本文提出了不同的看法,并进一步对盖里和莫斯的作品,特别是其“建筑艺术包装”特征进行了分析。     

鱼的故事:1981～1995年间弗兰克·盖里作品中的形态研究简

自1981年史密斯住宅改造开始,盖里对鱼形地探索不断呈现在建筑、灯具、首饰、雕塑、构筑物等各类设计作品中。梳理这些作品所隐含的发展脉络,可以发现他在探究这一母题的过程中,不仅包含了复杂形态建筑化时形态、材料、结构的分别演进,还蕴含着三维再现、结构分级、先进制造等技术的融合,也为其后期诸多作品的形式处理和技术实现提供了必要的支撑。     

毕堡效应--一个建筑带动一个城市的复兴

毕堡①是曾一度衰落的西班牙北部海岸的工业城市,如今却因为一座由美国解构主义建筑大师弗兰克·盖里(Frank·O·Gehry)设计的古根汉姆艺术博物馆(Guggenheim MuSeum Bilbao)而知名,并带动了当地的旅游经济,更重要的是整个城市也由此而复兴,即"毕堡效应".本文将对这一现象进行解析,并探究这些文化建筑在城市复兴中所扮演的角色及其潜在的危险."毕堡效应"对于现今在中国城市大量涌现文化建筑的现象有着同样的启示作用.     

游走于文化之间——先锋建筑师弗兰克·盖里建筑作品的文化解读

优秀的建筑作品应是时代文化的载体,它能体现建筑师对时代文化构成信息的敏锐触觉。该文从当代文化的重要组成部分——精英文化和大众文化入手,通过对美国建筑大师弗兰克·盖里部分作品的深入分析,解读出其建筑作品所蕴含的丰富文化语言和独特的文化魅力。     

Springfield Concert Hall

This essay focuses on The Simpsons as a means of illustrating the peculiar problems of the current practice of architecture. The show offers a cartoon version of current practice of architecture marked by spectacle and commodification. As the first architect to appear in a Simpsons' episode, Frank Gehry builds a concert hall in Springfield. The Concert Hall provides a vivid and absurdly tragic example of the problematic consequences of Gehry's architecture. Exemplified by the scenes in the episode, this paper discusses some of the conditions driving the language of contemporary architecture.     

协作与个性─—维特拉家具公司建筑评述

维特拉是一家著名的家具公司，企业主与建筑师密切配合，共同发展并塑造了多样与整体的企业形象，著名建筑师格雷姆肖、盖里、安藤忠雄、哈迪特、西扎等，在这里共同塑造了既各具风采又整体协作的厂区建筑，并充分体现工业建筑的文化内涵。     

Frank Gehry: roofing, wrapping, and wrapping the roof

Frank Gehry's work has taken the architectural stage worldwide. Without theorising his work, Gehry has produced a sensible architecture that deserves serious examination. In many ways, his work speaks for the present problematic state of architecture; the long standing relation of architecture to sculpture and other forms of artistic creativity; architecture's relation to its own history; the impact of telecommunication technologies on architecture; and the aesthetic implications of the commodity fetishism for architecture. Reflecting on these issues, the main intention of this essay is to demonstrate the perme ation of the 'culture of building' in Gehry's architecture, in particular the Semperian discus sion of the tectonic relationship between the elements of roof and enclosure. The paper also invokes Gottfried Semper's discourse on theatricality to demonstrate the way Gehry's architecture appropriates the present culture of spectacle. This much is clear from Gehry's shift from regionalism for the montage of fragmentary forms, and the theatricalisation of architecture where the element of wrapping defies the tectonic but also reminds us of the essentiality of the rapport between a constructed form and the clothing.     

Anticipating the “Bilbao effect”: Transformations of the city of Arles before the opening of the Luma Foundation

By analyzing data from the 2006/07 and 2013 French census as well as data extracted from the Yellow Pages, this paper seeks to understand how the French city of Arles is preparing for the arrival of Frank O. Gehry’s Luma Foundation landmark building in 2019, and how a big-scale construction site, still devoid of its future aesthetics and cultural function, impacts the urban core. To do this, we consider three hypotheses: (1) The Rise of New Audiences: a landmark building attracts the new populations to the pre-existing urban cultural core, (2) Residential Pattern: a landmark building induces social transformation of surrounding neighborhoods, (3) Mobility: a landmark building induces the arrival of the “most talented and educated” people. After testing these hypotheses with cartographical and statistical methods, our findings demonstrate strong support for Mobility, and mixed support for The Rise of New Audiences and Residential Pattern. Even though the causal links between the landmark building and new urban dynamics are difficult to prove, our results reveal that Arles is “customizing” itself to the forthcoming cultural and aesthetic dimensions of the Luma Foundation.     

The Ecological Facades of Patrick Blanc

The urban geographer Matthew Gandy explores the work of French botanist Patrick Blanc, who applies his scientific knowledge and preoccupations to urban design. After his invention of the mur végetal (green wall), a botanical and structural system for greening buildings, in 1988, Blanc's work has gone on to transcend the creation of merely living walls. Through his landscape schemes Blanc has recognised the city's rich potential for verdant metamorphosis, transforming fern- and moss-covered streets and buildings into unlikely ravines or rainforests. Copyright © 2010 John Wiley & Sons, Ltd.     

Innovative construction and the role of boundary objects: a Gehry case study

Physical objects have long been used in addressing the challenges involved in constructing innovative buildings, yet their significance for collaborative problem solving in inter-organizational projects is rarely acknowledged. The aim of this research is to investigate what happens when a project team has to collaboratively innovate to address radical design challenges in a construction setting. We focus on the role of a full-scale mock-up of a façade in transforming the design intent for a building by Frank Gehry into design realization. The concept of boundary objects is used as an analytical lens via a case study methodology utilizing non-participant observation of weekly meetings and workshops over a period of 10 months covering client, consultant and contractor involvement. The research shows the role of mock-ups in radical construction settings is in tension along three delivery dimensions: performance, aesthetic and technical construction. Task completion competed with the requirements for experimentation around innovative problem solving with the how to construct it problem left unresolved. The findings suggest that co-location and synchronicity are critical conditions for collaborative and innovative problem solving in radical construction contexts. Project teams need to create open-ended ‘moments’ for iterating critical objects and the interactions that take place around them.     

Stabwerke auf Freiformflächen

Reticulated Structures on Free‐Form Surfaces. Promoted by buildings like the DG‐Bank in Berlin (Architect: Frank Gehry), the Arts Center in Singapore (Architect: Vikas Gore), the British Museum in London (Architect: Norman Foster) and recently the New Fair in Milan (Architect: Massimiliano Fuksas) with its roofs above the Central Axis and the Service Center, free‐form envelopes have become more and more popular in recent years. The paper is a brief review of the geometrical and the corresponding structural problems related to the design of those structures. In particular, a number of node connector types are described, which are essential for the realization of reticulated structures on free‐form surfaces.