By Juan Maria Songel
One of many 20th century's most vital layout visionaries, German architect and structural engineer Frei Otto(b. 1925) made his mark with a chain of super-light tensile structures—such because the West German Pavilion for Montreal's Expo sixty seven and the Olympic Stadium in Munich (1972)—that are celebrated for his or her technical ingenuity and fabric potency. but regardless of Otto's achievements, particularly little has been released on his paintings. A dialog with Frei Otto encompasses a entire interview with Otto in addition to his severe textual content Fundamentals of a destiny Architecture in its entirety. In his dialog with Juan María Songel, Otto talks freely approximately every little thing from his early connections to the Bauhaus to his recommendations at the present kingdom of engineering and structure. the most recent in our Conversations sequence, this ebook additionally contains pictures of Otto's most crucial and famous works.
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Additional info for A Conversation with Frei Otto
A Conversation with Frei Otto Because it makes sense to find out what happens with a hexagonal mesh. The majority of the grid shells occurring in animate nature are hexagonal, although the quadrilateral ones are easier to build. With this project, which was never built, I learned to avoid hexagonal meshes: they are very dangerous and expensive because the knots require extraordinary care. They lack safe points, because no element crosses them continuously, other than in the Mannheim pavilion. In hexagonal meshes, bars bump into each other, loosing the continuity after the knot; in triangular meshes, the bars can cross the knots continuously, Model of the project for a governmental center (KOCOMMAS) in Riyadh, Saudi Arabia 57 58 Model of the project for a governmental center (KOCOMMAS) in Riyadh, Saudi Arabia Running Head Title 59 60 but the meshes have different sizes, and a grid shell made of a triangular mesh can’t be developed on a plane.
Classification of forms according to Otto A Conversation with Frei Otto forms of animate nature, which I have also studied, are much more complex, almost impenetrable and opaque. Now I would like to address the start of your experimental methodology, the origins of your permanent principles: the principles of lightweight construction, of antifunicular inversion, of form generation starting from autonomous processes. Your experience as a glider pilot, the construction of models, and your apprenticeship as a stonemason appear as important initial experiences.
The previous question was directed more towards the origins of your criteria for systematization. For example, I wonder if the categories “positive form,” “negative form,” “cavities,” and “hollow bodies” proceed perhaps from experiments with pneumatic structures; or if the criteria “peaks and depressions,” “borders,” or “corners” have their origin perhaps in your experience with networks or tents. No, they were merely logical considerations, and I don’t believe any type of theory has been able to influence me there.
A Conversation with Frei Otto by Juan Maria Songel