Biomorphic Architectural Forms by Greg Lynn, posted By Leena Deshpande
Greg Lynn (born 1964) is an American architect , philosopher, and science-fiction writer who advocates increased used of computer-aided design to produce irregular,organic Architectural forms.Greg Lynn has a unique approach towards his design like combining the realities of design and construction with supposition. He has written six books with a blend of architectural history and cultures. Greg Lynn has used new technology i.e. computer and graphics in his design development as a very influential medium of expression. His designing firm is very well known for creative and innovative projects. His design language is not only popular in American design society but also in the world.Greg Lynn works on a variety of projects series of interior retails to cultural institutional, planning of public housing to coffee sets. In 1999 he was awarded the AIA honor award Cincinati OH, and design excellence award, Chamber of commerce, Queens NY. Followed by American Academy of Arts and Letters Architecture award in the 2003. Apart from his position as Davenport professor in Yale University, he has been involved in intellectual and professional architecture in Europe.He has been awarded with a number of prestigious awards and always attended by everybody.
inspired by Costa Rican’s Frogs, butterflies & Jelley Fish.
Lynn‘s newest architecture project is created like a mutant flower and ornamented in lime green and ruby red. With his curly hair and handlebar moustache, He looks like he’s on his way to a Village People convention, but he’s trying to decide where to buy a batch of Costa Rican tree frogs, some striking butterflies and a jellyfish. Needless to say that
Lynn is not your average architect. The mutant flower is called the Ark of the World Museum and it’s an eco-tourism and cultural heritage centre in Costa Rica, the moustache is very distracting and the animals will be part of a show of Lynn‘s work at the MAK Gallery in Vienna
Architecture is a profession in which the cube and sphere are still the literal building blocks.
Lynn reminds you of amoebas and bundled foam. In the most flexible forms of nature, in very irregular geometry. The blobs that hypnotize him are any “isomorphic polysurfaces,” meaning shapes that are, well, blobs.
There are architects who love the Parthenon. Greg Lynn has a craze for the blob. This would not only be the ’50s sci-fi thriller about a belligerent wad of jelly.Greg Lynn has a architectural firm in
Los Angeles know as “At Form”, he believes in his principles and implements the same. But if you’ve heard of
Lynn before, then it is most likely to be because he’s the guy who’s into computers and blobs.
Finally, in the Port Authority competition, the most recent project,
Lynn models forces on the site, using the advanced inverse kinematics capabilities of Alias Power animator. This charting of forces on the site then inflects the design.Architecture has been nostalgic forever for a past era,” he says.
Lynn isn’t. At 35, he’s already a much discussed theorist who teaches at both ucla and the Eidgenössische Technische Hochschule in
Zurich, Switzerland, where he is nothing less than professor of spatial conception and exploration.
Use of computer controlled Manufacturing process.
The conception for a need of variable identity in a variety of context through out the world. The same broad design technique, high degree of variation can be produced for the showrooms of various size and shape in different locales.The interiors are modified and mass-produced using highly developed computer controlled manufacturing processes and design variations. There are 2 types of construction in the showroom. The first is a liner for the existing spaces. This is designed with gently bulging plaster walls, gradually sloping poured epoxy floor, aluminum metal trim and frosted glass luminescent ceilings.Encased within this cleanly defined shell a second construction that provides for the display of objects of various shapes and sizes.The object is like a large piece of furniture as it is built of stained and painted wood walls and cork floors.The shape of the display is curvilinear and has interior with in which glass shelves nestle. These elements are created using (computer numerically controlled) cutting robots to achieve the variety and intricacy. Rather than the smooth surface the texture of these panels is designed as a rippling surface that exploits the artifacting of the manufacturing robot. The inner surface of this display is painted with a subtle colourshift paint that refracts the light accentuating the visual rippling effect of the surface. As the objects displayed in the showroom range in size from table ware to couches. The shelving system has to be extremely flexible. A system of stainless steel display pegs can be inserted across a network of receptables embedded in the carved wooden blocks of the display wall. The reversible glass shelves have two different curved profiles so that they can be aligned to at least two different positions of the wall. In this way design achieves flexiblibity as well as a unique functional scheme with in each showroom as well as a variety of shape and size.
Information technology has generated new organizational structure and a new kind of interior scenario based on the needs and the requirements. The space is a combination of work and relaxation with modes of communication, interaction as well as nodes administration and supervision.The interior layout is away from the typical square uniform pattern of office cubicles and incorporates organic forms. The place is capable of resembling cultures, passion and different life styles if the universe. The environment is formal, informal yet maintains its Spatial diversity. The curvaceous interior partitions allow for spatial flow that encourages, communication, creativity within the work place. The use of specific materials supports the atmosphere of fluidity and translucency.
Organic bundle of office cubicles.
Cardiff Bay Opera House
Historically, Cardiff‘s coastline has not been the mere edge of the city, but has been the generator of urban growth and development. The coastline is not a simple singular line in
Cardiff but is rather a highly particularized and negotiated edge that occurs at several scales. At the scale of the site and its surroundings, the graving docks are an urban system that proliferates across the coastline, blurring the edge between land and water. Analogous to the branching bays, harbors and graving docks, the Opera House is an urban threshold between land and sea. By borrowing the pattern of the graving docks and their ability to slope the land into the sea the Opera House is connected to the water through the invention of a new public reservoir space that flows under and through the site. The section of the project is achieved through the use of three spatial and structural systems: portalized wall fins, branching volumes and a lightweight tensile membrane. The use of three systems allows for the structural and acoustical isolation of various spaces. The performance, support and rehearsal spaces of the Opera House are isolated from external vibration and noise as they are independently structured as discrete volumes.
The translucency of the building would transform at dusk when the skin would become a glowing surface during the evening and night. The inter-space that emerges between the support walls, the hull like volumes, the lightweight tensile skin and the reservoir below the site becomes the dynamic and multiply programmed space of a new civic institution and an urban space and image that does not mimic the historic context in its relationship to the Oval Basin.
Triple Bridge Gateway to 9th Avenue,
This project is a preliminary proposal for a new type of public infrastructure and amenity. Through the use of a lightweight roof membrane that would incorporate projection screen fabrics the project acts as both a roof and a display screen.
It operates at two scales–that of the elevated bus and of the street level pedestrian–and with two uses–as a sign and as a multi-purpose tent structure. Both the events that would take place below it and the information displayed on it are associated with the infrastructure of transportation systems in the city. A lightweight roof provides a sheltered multi-use space for vendors and pedestrians that is a kind of wide street flowing out of the terminal at the ground level, as the ramps flow out of the terminal above. At night, this tent would be illuminated from below so that it would provide a glowing canopy below and beside the ramps. Because of the lightweight flexible materials used in the project, it can combine these two programs on a continuous supple surface that transforms from being a roof, to a canopy of light, to a projection screen. The project combines a display surface where information regarding the transportation systems of the city would be projected, with a canopy that supports informal and temporary programs requiring shelter from the rain and sun. On this tent structure, videos, text and images would be projected at various scales at various times of the day providing information to visitors, commuters and residents
This architect has discarded traditional cube and sphere building blocks for more amorphous forms. Over the past three years his office has produced projects that challenge traditional ideas about architectural design methods. The work has incorporated the computer in its design process in an progressively more innovative manner. He used as a instrument to explore design decisions enthusiastically through animations and the moving section, and to symbolize the project both in 2D and 3D, the computer then plays a part in the creation of forms in response to programmatic exigencies in his project.