The Transformation From Deconstructivism to The · PDF fileThe Transformation From Deconstructivism to The Emerging Iconic Neo –Organic Architecture By: Eng. Zeinab Ahmed Abd El-Ghaffar

The Transformation From Deconstructivism to The Emerging Iconic Neo –Organic Architecture

Presented by:

Eng. Zeinab Ahmed Abd El-Ghaffar Elmoghazy

A Thesis submitted to

The Faculty of Engineering at Cairo University In Partial Fulfillment of the Requirements for the Degree of:

Doctor of Philosophy in Architecture

Faculty of Engineering, Cairo University

Giza, Arab Republic of Egypt

June 2012


By:







June 2012


By:





Supervised by

Prof. Dr. Eng. Prof. Dr. Eng.

Soheir Zaki Hawas Aly Hatem Gabr Prof. of Arch. & Urban Design Prof. of Architecture

Arch. Dept, Faculty of Engineering, Arch. Dept, Faculty of Engineering,

Cairo University Cairo University



June 2012


By:


A Thesis submitted to The Faculty of Engineering at Cairo University

In Partial Fulfillment of the Requirements for the Degree of:


Approved by the Examining Committee:

Prof. Dr. Soheir Zaki Hawas Main Advisor

Prof. of Architecture and Urban Design Department of Architecture – Faculty of engineering - Cairo University

Prof. Dr. Aly Hatem Gabr Advisor

Prof. of Architecture - Department of Architecture – Faculty of engineering - Cairo University

Prof. Dr. Mohamed Medhat Dorra Internal Examiner

Prof. of Architecture - Architecture Department – Faculty of engineering - Cairo University

Prof. Dr. Khaled Dewidar External Examiner

Prof. of Architecture –Architecture Department – Faculty of Engineering – Ain Shams University



June 2012

Acknowledgement

My most sincere thanks and gratitude to Allah Almighty, first and foremost. Then

I would like to thank my advisory committee for their contribution to my research

and their willingness to bring the best out of this dissertation.

To my advisor Dr. Soheir Hawas, Prof. of Architecture & Urban Design in Cairo

University, my deepest gratitude for her continuous support and beneficial

comments. I gratefully acknowledge the support of Dr. Aly Gabr, Prof of

Architecture in the faculty of Engineering – Cairo University, his continuous

guidance and remarks were very helpful and always kept me on the right path.

Special thanks to Dr. M. Medhat Dorra, professor of Architecture in faculty of

engineering, Cairo University, for his time and cooperation. Also special thanks to

Dr. Khaled Dewidar professor of architecture in faculty of Engineering – Ain

Shams University for his remarks and cooperation.

Most of all, I thank my family for their love and support. I am grateful to my

husband for his patience and encouragement and to my daughter and son for their

love and care. I am also thankful to my parents and sisters for their support, help

and insist on finishing what I started.

To all who taught me something….. To all those who believed in me and gave me the power to continue…. To all who cared and encouraged….

To my parents, husband, my precious Amal and my dear Omar

TABLE OF CONTENTS

A-1

TTAABBLLEE OOFF CCOONNTTEENNTTSS

TABLE OF CONTENTS A

LIST OF FIGURES B

LIST OF TABLES C

ABSTRACT D

0-INTRODUCTION i-xvii

0-1 Tracing Contemporary Architectural Reality ii

0-2 Scope of Work v

0-3 Research Problem x

0-4 Research Aims xi

0-5 Research Objectives xii

0-6 Research Hypothesis xii

0-7 Research Methodology xiii

TABLE OF CONTENTS

A-2

0-8 Structure Of Research xiv

Part One: NEO-ORGANIC ARCHITECTURE 1-138

Chapter 1: NATURE NOSTALGIA 2-23

1-1 It Is A Connection To Nature! 2

1-2 Nature-Architecture; A Historical Relationship 4

1-3 Domination of Science Theories 12

1-4 Sustainable, Green, Organic or Environmental! 18

1-5 In Brief 23

Chapter 2:BACK TO ORGANICISM PARADIGM SHIFT 24-86

2-1What is Neo-Organic Architecture? 26

2-2 The Design Principles Of Frank Lloyd Wright’s Organic Architecture 32

2-2-1 Inspiration from Nature 32

2-2-2 Design Characteristics and Physical Aspects of Organic Architecture 33

TABLE OF CONTENTS

A-3

2-3 Aspects of Neo-Organic Architecture 33

2-3-1 Form and appearance Aspect 34

2-3-1-1 Smooth and curvilinear lines Architecture 36

2-3-1-2 Natural Metaphorical Resemblance 40

2-3-1-3 Biomimicry 50

2-3-1-3–a Cellular Aggregations 53

2-3-1-3-b Self-Organization 59

2-3-1-4 Morpho-ecological Designs 62

2-3-2 Philosophical and Conceptual Aspect 67

2-3-2-1 Neo Organic Architecture and Deconstruction

68

2-3-2-2 A New Interpretation of Deconstructive Work

69

2-3-2-2-a Forms and masses 72

2-3-2-2-b Design Ideas 73

2-3-2-2-c Design concepts 73

TABLE OF CONTENTS

A-4

2-3-3 Technological Aspect 74

2-3-3-1 Technical Advances 74

2-3-3-2 Materials 77

2-4 In Brief 85

Chapter 3:PAVING THE WAY TOWARDS NEO-ORGANIC ARCHITECTURE (formulating neo-organic architecture) 87-138

3-1 Shift Creator Pioneers 87

3-1-1 Frank Gehry Introduces The Curve 88

3-1-2 Santiago Calatrava Inspires From Natural World 90

3-2 Zaha Hadid, Creating New Architectural Language 92

3-2-1 Architectural Design Development 93

3-2-1-1 Stage One: Experimental Stage 93

3-2-1-2 Stage Two: Realistic Mature Stage 98

3-2-1-3 Stage Three: Neo-Organic Stage 100

3-2-2 Features of Contemporary Work 110

TABLE OF CONTENTS

A-5

3-2-2-1 Adopting The curvelinear 112

3-2-2-2 Dynamic Fluidity 117

3-2-2-3 Coherent Integration 125

3-2-2-4 Theories of Elegance and Parametricism 128

3-3 In Brief 136

Part Two: ICONIC BUILDINGS 139-249

Chapter 4: INTRODUCING ICONISM IN ARCHITECTURE 140-194

4-1 A Phenomenon Prevailing 140

4-1-1 New Terminologies On The Surface 141

4-1-2 The Bilbao Effect 144

4-1-3 Guggenheim Museum by Frank Gehry 148

4-2 Iconism in Action 161

4-2-1 Iconism in Architecture 161

4-2-2 Levels Of Iconism 165

TABLE OF CONTENTS

A-6

4-2-2-1 Domestic Architectural Icon 165

4-2-2-2 Local Architectural Icon 165

4-2-2-3 National Architectural Icon 166

4-2-2-4 International Architectural Icon 166

4-2-3 A Tour Through Iconic Architecture 167

4-3 Different Aspects Of Iconic Buildings 175

4-3-1 Characteristics of Iconic Buildings 176

4-3-2 Reasons of Icons Failure 178

4-3-3 Factors Of Success Of Iconic Buildings 188

4-3-4 Advantages Of Iconic Buildings 191

4-3-5 Disadvantages of Iconic Buildings 192

4-4 In Brief 193

Chapter 5: CREATING CITIES THROUGH ICONISM 195-249

5-1 Iconic Experiments In China 198

TABLE OF CONTENTS

A-7

5-2 Identifying Taiwan Through Iconism 207

5-3 The Iconic City, Dubai As A Case Study 211

5-3-1 New Frontier In Architecture 212

5-3-2 Urban Mirage 216

5-3-3 A Key Player In Waterfront Development 229

5-3-4 From Sudden Cities To Global Cities 239

5-3-5 Media And Management to Continue Iconicity 242

5-3-6 Creating Cites or Displacing People And Omitting Identity 244

5-4 In Brief 247

Part Three: REALIZING NEO-ORGANIC ICONIC ARCHITECTURE

250-309

Chapter 6 : NEO-ORGANIC ARCHITECTURE CALLS FOR ICONISM

251-309

6-1 A Display Of Innovations and Creativity 252

6-1-1 The UK Pavilion By Thomas Heatherwick 253

TABLE OF CONTENTS

A-8

6-1-2 The UAE Pavilion By Norman Foster 254

6-1-3 The Danish Pavilion By Big 256

6-1-4 Saudi Arabia Pavilion By Saudi And Chinese Architects 257

6-1-5 The German Pavilion By Schmidhuber + Kaindl Of Munich 260

6-2 Beauty Of Neo-Organic Architecture 262

6-3 Features of Neo-Organic Iconic Buildings 273

6-3-1 Complex Curvelinearity 274

6-3-2 Parametricism (Differentiation Through Integrity) 277

6-3-3 Pattern Articulation 281

6-4 Unexpected Traps 286

6-5 Searches For Identity 290

6-5-1 Museums In Qatar by I.M.Pie And Jean Nouvel 292

6-5-2 King Abdul Aziz Cultural Center in Saudi Arabia by Snøhetta

295

TABLE OF CONTENTS

A-9

6-5-3 The Louvre in Abu Dhabi In U.A.E by Jean Nouvelle

300

6-5-4 Masdar City in Abu Dhabi In U.A.E by Norman Foster 302

6-5-5 Wadi Rum in Jordan by Oppenheim Architecture + Design

306

6-6 Criteria of Successful Neo-Organic Iconic Building 308

6-7 In Breif 309

Chapter 7:: NEO-ORGANIC ICONIC ARCHITECTURE IN PRACTICE

311-366

7-1 Worldwide Estimated Icons 312

7-1-1 The Milwaukee Art Museum, USA, Santiago Calatrava

312

7-1-2 Busan Cinema Complex, South Korea, Coop Himmelblau 314

7-1-3 Sheikh Zayed National Museum, UAE, Snøhetta 316

7-1-4 Olympic Velopark, UK, Heatherwick Studio 319

7-1-5 Batumi Aquarium, Georgia, Henning Larsen Architects 322

7-1-6 FC Bate Borisov Stadium in Belarus, OFIS architects 324

7-1-7 Marine Research Center, Indonesia, Solus-4 Design Company 326

TABLE OF CONTENTS

A-10

7-1-8 National Library of Austria Extension, Austria, Prechteck Architects

329

7-1-9 Massar Children Discovery Centre, Syria, Henning Larsen Architects 331

7-1-10 Izmir Opera House, Turkey, Nuvist Architecture 335

7-1-11 New Contemporary Art Museum, Bahrain, Zaha Hadid

337

7-1-12 One Ocean, Thematic Pavilion For The 2012 Yeosu Expo, Soma’s Architects 341

7-1-13 Great Blue Whale Pavilion, Thematic Pavilion For The 2012 Yeosu Expo, Studio Nicoletti Associati's Design 344

7-1-14 Central Embassy, Thailand, Amanda Levete Architects 347

4-1-15 Busan Opera House, Busan, South Korea, OODA 350

7-2 Iconism In Egypt 352

7-2-1 The Bibliotheca Alexandrina 358

7-2-2 Grand Museum Of Egypt (Gem) 362

7-3 In Brief 366

Chapter 8: CONCLUSIONS AND RECOMMENDATIONS 368-385

8-1 Relating Neo-Organic to Organic Style 369

TABLE OF CONTENTS

A-11

8-2 The Union of Opposing Forces 374

8-2-1 Arts Versus Science and Technology 374

8-2-2 Appearance Versus Performance 376

8-2-3 Deconstruction Versus Sustainability 378

8-3 Application Of Neo-Organic Iconic Architecture 380

8-3-1 Main Features of The Neo-Organic Iconic Style 381

8-3-2 Expectations From Neo-Organic Iconic Architecture 382

8-4 Recommendations 383

APPENDIXES 386-398

Appendix (1) 386

REFERENCES 399-408

ARABIC ABSTRACT 409

INTRODUCTION

i

IINNTTRROODDUUCCTTIIOONN

It is no secret that the world is changing. It is passing through a revolutionary

turning point in all fields whether economic, scientific, technological or even

political. These changing circumstances have changed people’s views and

perspectives and have had its direct impact on political, social and cultural visions.

Revolutionary transformation in ideologies and methodologies is witnessed in all

fields. Technology has made all the impossible within reach, and everybody is

making advantage of that. Boundaries between communities are practically

eliminated and collaboration between them has passed the stage of being an option

or necessity to be a must. Economic interests have benefitted from all the provided

tools to create an atmosphere which is recognized as Globalization. Media has

played a major role in branding and marketing through highly advanced digital

information transferring process. Transportation and commercial exchange have

made everything available in any place at little time, provided that financial issues

are solved. “The salient feature of globalization is that it allows financial capital to

move around freely”1. Money availability is the password towards accomplishing

all what used to be considered dreams or unrealizable. Paulina Bozek defines the

phenomenon of Globalization as the epoch after Modernity:

“By associating the term globalization with the notion of a phenomenon, globalization is considered to be a combination of forces affecting the political, economic, cultural and social spheres of life, which collectively describe an age or era of altered social relations. It is considered here historically as “the next epoch after Modernity.” 2

1 Taylor, Mark C., Coevolutionary Disequilibrium, The State of Architecture at the Beginning of the 21st Century, The Monacelli Press, 2003, p. 80 2 Bozek, Paulina, Architecture and Globalization: the relation of space to place, 2002 from http:://www.vitamin-free.blogspot,com/globalization.html

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The Transformation From Deconstructivism to The · PDF fileThe Transformation From Deconstructivism to The Emerging Iconic Neo –Organic Architecture By: Eng. Zeinab Ahmed Abd El-Ghaffar