Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan - Dec 2014
how a visible structure can work aesthetically on the water.
Figure 4: The Irradiation Illusion: Which square appears larger?
As many superyachts are white, and therefore mostly viewed against darker backgrounds, our perception of their size may be inflated in comparison with local architecture or landmarks. Of course users may want their yachts to appear larger than life, but once again this must be balanced – this time with their desire for sophistication.
3. This
SURFACE TREATMENT IN CONTEMPORARY ARCHITECTURE
section comprehensively (but not exhaustively)
reviews surfaces in contemporary architecture, categorising methodologies for surface design. Case studies will be used for illustrative purposes. Where possible (and appropriate), examples have been chosen that stand by the waterside.
New materials and processes are allowing architects to realise building surfaces
with both increased
functionality and radically new aesthetics. The advent of nanotechnology, computer controlled production, energy generating surfaces, renewables, honeycombs, foams, sandwiches, and ambient intelligence etc. is opening up a whole new world of possibilities.
3.1 STRUCTURAL SURFACES 3.1(a) Visibility
‘As designers, we need to ask ourselves how structure might assist us to add aesthetic and functional value to our design work, thus enriching it.’ Andrew Charleson [9]
Arguably architecture is at its purest, or most honest (or most beautiful?) when its structure is visible. In a world of ‘high-tech architecture’ (as pioneered by architects such as Norman Foster and Richard Rogers), where structural elements define the architecture both inside and outside, the typical superyacht keeps its internal structure secret.
At 310m long, Norman Foster’s new Crossrail development at Canary Wharf (Figure 5) demonstrates ©2014: The Royal Institution of Naval Architects
Figure 6: 4x4 House (2003) by Tadao Ando [11] 3.1(c) Membranes
Perhaps one of the purest architectural surfaces is the membrane surface. Koch tells us that ‘Perhaps more so than any other type of construction, the architectural solution derives directly from the structural performance and the use of the material itself. Membrane roofs are a
Figure 5: Canary Wharf Crossrail (expected 2018) by Foster Associates [10]
3.1.(b) Manufacture
As discussed earlier, the superyacht covers all traces of its manufacture in filler and paint. Despite improvements in welding technologies, thermal warping of steel panels is inevitable and must be disguised. Before they were welded together, large vessels couldn’t (or didn’t need to?) hide their method of manufacture. Lines of rivets or timbers break up the hulls and superstructures of historic craft. Because we can see how these vessels have been built, we understand any undulations/imperfections in their surfaces, and see no need to cover them.
Even when using amorphous materials such as concrete, architects such as Tadao Ando often leave casting marks visible on the surfaces of their buildings for aesthetic effect (see Figure 6). This is just one example of visible manufacturing marks in the world of architecture.
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