Kinetic architecture

Kinetic architecture is a concept through which buildings are designed to allow parts of the structure to move, without reducing overall structural integrity.

A building’s capability for motion can be used just to: enhance its aesthetic qualities; respond to environmental conditions; and/or, perform functions that would be impossible for a static structure.

The possibilities for practical implementations of kinetic architecture increased sharply in the late-20th century due to advances in mechanics, electronics, and robotics.

History
Rudimentary forms of kinetic architecture such as the drawbridge can be traced back to the Middle Ages or earlier. Yet it was only in the early 20th century that architects began to widely discuss the possibility for movement to be enabled for a significant portion of a buildings’ superstructure. In the first third of the 20th century, interest in kinetic architect was one of the stands of thought emerging from the Futurism movement. Various papers and books included plans and drawings for moving buildings, a notable example being Chernikhov’s 101 Architectural Fantasies (1933). For the first few decades of the 20th century kinetic architecture was almost entirely theoretical, but by the 1940s innovators such as Buckminster Fuller began experimenting with concrete implementations, though his early efforts in this direction are not regarded as totally successful.

In 1970 engineer/architect William Zuk published the book Kinetic architecture which helped inspire a new generation of architects to design an increasingly wide range of actual working kinetic buildings. Assisted by new concepts such as Fuller’s Tensegrity and by developments in robotics, kinetic buildings have become increasingly common worldwide since the 1980s. Architect Jose Leonidas Mejia, created the concept in its region in 1989 with a deepen application on transforming structures. That is why Architect Mejia started his experimental project denominated ” The Arkinetic House”, which is a structure that transforms its elements by the use of different cycle paths to transform it.

Themes
By the early 21st century three interrelated themes had emerged. The first is for functional buildings such as bridges which can elevate their midsections to allow tall ships to pass, or stadiums with retractable roofs such as the Veltins-Arena, Millennium Stadium in Cardiff, or Wembley Stadium.

A second theme is for fantastic structures that can perform Transformer style changes of shape or which have a visually stunning appearance. The bird-like Burke Brise soleil at the Milwaukee Art Museum is a well regarded example of this, though it also has a functional aspect in that its movement allows it to shade the crowds from the sun or protect them from storms.

The third theme is for movement to occur on the surface of the building, creating what Buckminster Fuller called a “skin-like articulation” effect. A classic example of this is the Institut du Monde Arabe.

Types of kinetic architecture
By the beginning of the 21st century several types of kinetic architecture were formed.

The first type includes functional structures, for example bridges, in which the central part rises so that large ships can swim. Other examples of this type are the Millennium Stadium in Wales and the Wembley Stadium in England with a retractable roof, as well as the Feltins-Arena stadium in the German city of Gelsenkirchen, also with a retractable field.

The second type is the building-transformers, which have a beautiful appearance and can change their shape. A striking example is the construction of the “Burke Brise soleil” in the Milwaukee Art Museum, the Milwaukee Art Museum, which is made like a bird. In addition to the aesthetic value of this design, there is also a functional aspect: this construction shelters people from the scorching sun and from inclement weather.

The next type of kinetic architecture is characterized by the fact that movement occurs on the surface of the building. A classic example is the Institute of the Arab World in Paris, in the building of which there are metal blinds, operating on the principle of the diaphragm: the slits widen or narrow, depending on the sunlight.

In the latter type, modern technologies are combined with environmental protection. The kinetic buildings of this group are capable of producing energy for autonomous feeding, thanks to wind power. David Fischer’s skyscraper demonstrates this combination: thanks to the rotation of the building floors around its axis, the turbines located between the floors must catch the wind, transforming its energy into electricity.

Other meanings of the term “Kinetic Architecture”
Architects Sarah Bonnemeyson and Christine Masi have suggested that the movement in architecture can be without any moving parts of the building, it is enough that it was laid as an idea in the building itself, as was the case with Gaudi. The term “Kinetic Architecture” also applies to static buildings that are compared with the human movement, as, for example, in performing arts (music, dance). Also, as a title, this term has been repeatedly chosen by creative groups, including dance ensembles.

Other uses of the term
Architects Sarah Bonnemaison and Christine Macy have suggested that movement can be an inspiring idea for architecture without the designs having to allow for actual movement – they can merely suggest it as was the case for some of the constructions of Gaudi or their own recent work. The term Kinetic architecture can also refer to static buildings designed to accentuate human movement, such as the performing arts. The phrase has been chosen as a title for performing groups including a dance company.

Kinetic Architecture in Russia

Kinetic architecture in Russia at the moment is not very developed, but strangely enough it was Russian architects who were among the first to try themselves in the “architecture of the future.” In 1920, architect Vladimir Evtrafovich Tatlin created a model of the Tower of the Third International, which was to become a symbol of the future thanks to its materials (iron, glass, metal, steel), forms and functions.

The Tatlin Tower was conceived in the form of a double helix, which would curl up to 400 meters in height. A feature of the Tower was to be three huge rotating geometric structures. The first structure is a cube that had to complete a complete revolution around its axis within one year. The central part would be occupied by a cone (with a revolution around its axis for a month). And on top – a cylinder (turning around for a day). But the Tower was never built.

Another Russian architect, who worked in the field of kinetic architecture, is Konstantin Melnikov. In 1924 he took part in the competition of projects for the construction of the Moscow branch of the newspaper “Leningradskaya Pravda”. The site for the construction stood out very small, so all the participants designed the building up. The Melnikov project was a five-story building, four floors of which rotate around its axis (around a motionless core with a staircase, elevator and communications) clockwise or counterclockwise. The architect himself called it “living architecture”. Konstantin Melnikov did not win the contest, but after 5 years he creates a draft of the monument to Christopher Columbus. The monument was to consist of two cones, the upper one of which would have a water collecting cavity, a turbine for generating electricity, and also wings on the sides that would have been painted in different colors, and when moving the monument would change color. Melnikov also used the real movement in his project for the Moscow theater, where the scenes could rotate horizontally.

Now in Russia only the first type of kinetic architecture is developed – functional structures. For example, drawbridges or stadium projects with a sliding field and roof. The remaining areas of kinetic architecture in Russia are not currently available.

Source From Wikipedia