Contents

1. An Introduction to Architecture and Geometry 2

2. The Basics Forms and the Methods of Application 3

3. The Early Years 13

4. La Belle Époque and Sacred Mathematics 15

5. Art Deco and Geometry Galore 21

6. A Call to Disorder and Giant Geometry 27

7. The Geodesic Dome 34

8. Bibliography 36

1

1. Introduction

Architecture and geometry are symbiotic in nature, virtually an inseparable pair.

Understanding the principles of lines, planes, solids, patterns and surfaces are integral to

the architect’s design concept. Regardless of the magnitude of the project, be it the

construction of the St. Peter’s Basilica or a nondescript factory plant, the architect’s

understanding of geometry is crucial. On the other hand, if geometry is not employed by

architects, the understanding of the subject would merely be a scholarly exercise. The

knowledge of geometric principles by the architect empowers him to use geometry as an

instrument to realize his creativity. A balance of the science and the artistic would result

in the erection of many structures of great beauty that would enhance our quality of life.

The amalgamation of geometry and architectural design is evident throughout

history. The angles of inclination of the walls of the Egyptian pyramids were determined

4600 years ago by a geometric construction. Even today, geometry is used to great effect

with modern and abstract constructions such as the Guggenheim New York, consisting of

a symphony of triangles, circles and arcs.

This project is not one that charts the development of Singapore architecture.

Rather, it is a project that explores the different relationships between geometry and

architecture in Singapore since 1819. Through the course of this project, we have also

discovered an interesting trend towards an increase in the amount of geometry being

incorporated into modern buildings, resulting in an interesting blend of the traditional and

the avant-garde.

It is hoped that this project will help make readers be more alert of their

surroundings and not merely see buildings as blocks of steel, glass or concrete but think

of them as machines that have been put together by many simple elements.

2

2. The Basics Forms and the Methods of Application

“Cubes, cones, spheres, cylinders or pyramids are the great primary forms that

light revels to advantage, the image of these are distinct and without ambiguity. It is

for this reason that these are beautiful forms.” Le Corbusier1

2.1 An introduction to the Primary Solids 2

Any building, no many how sophisticated the design, is made up of primary shapes that

have been cleverly put together. Primary solids are the building blocks of the world. The

primary shapes can be extended or rotated to generate volumetric forms or solids which

are distinct, regular and easily recognizable. Circles generate spheres and cylinders;

triangles generate cones and pyramids,; squares generate cubes. In this context, the term

solid does not refer to firmness of substance but rather to a three-dimensional geometric

figure.

The Cube A prismatic solid bounded by 6 equal square sides, the angle between any 2 adjacent faces being a right angle. Because of the equality of its dimensions, the cube is a static form that lacks apparent movement or direction. It is a stable form unless it stands on one of its corners or edges. Even though its angular profile is affected by out point of view, the cube remains a highly recognizable form.

1 Frank D.K. Ching, Architecture, form, space & order, (New York : Van Nostrand Reinhold) , 1996, p 42 2 Ibid, pp 42-43.

3

The Pryamid A polyhedron having a polygonal base and triangle faces meeting at a common point called a vertex. The pyramid has properties similar to those of a cone. Since all of its surfaces are flat planes, the pyramid can rest in a stable manner on any of its faces. While the cone is considered a soft form, the pyramid is relatively hard and angular.

The Sphere A solid generated whose surface is at all points equidistant from the centre. A sphere retains its circular shape when viewed from any angle. It is generally stable in its environment unless a force has been applied to it or when it is placed on an incline plane.

The Cylinder A solid generated by the revolution of a rectangle about one of its sides. A cylinder is centralized about the axis that passes through the centres of its 2 circular faces. Along this axis, it can be easily extended. The cylinder is stable only when it rests on its circular ends and becomes unstable when its central axis is parallel to the horizontal plane.

The Cone A solid generated by the revolution of a right angle triangle about one of its sides, like the cylinder, the cone is highly stable when resting on its circular base and unstable when its vertical axis is not perpendicular to the horizontal.

4

2.2 Transformation of Form

All other forms can be understood to be transformation of primary solids, variations

which are generated by the manipulation of one or more dimensions or by

adding/subtracting elements.

i. Dimensional transformation

A form can be transformed by altering one or more of its dimensions and still retain its

identity as a member or a family of forms. A cube, for example, can be transformed into

similar prismatic forms through discreet changes in length, width or height. It can be

compressed into a planer form or be stretched out to a linear one (refer to sketch below).

As seem in the picture above, the Raffles City Tower, designed by I M Pei in 1985, is in

fact essentially an elongated cube when we disregard the chamfered edges.

ii. Subtractive transformation (Truncation)

A form can be transformed by subtracting a portion of its volume. Depending on the

extent of the subtractive process, the form can retain its initial identity or be transformed

into a form of another family. For example, a cube can retain its original identity as a

5

cube even though a portion of it is removed, or be transformed into a series of regular

polyhedrons that begin to approximate a sphere (refer to sketch below).

n example of this process of truncation that alters the original form of a shape is

iii. Additive transformation

form can be transformed by the addition of elements to its volume. The nature of the

A

displayed by the Republic Plaza which is found at Raffles Place. While it has been built

on a relatively square base, the edges of this square base have been pared off to give the

tower an octagonal look.

A

additive process and the number and relative sizes of the elements being attached

determine whether the identity of the initial form is altered or retained (refer to sketch

below)

6

The Supreme Court at City Hall3 Front Elevation

he Supreme Court that was completed at the edge of the Padang in 1939 is an excellent

he main building is capped off by another classical element, that of a geodesic dome.

he axis of symmetry in this case would then by the apex of the tympanum, through the

iv. Subtraction form

e search for regularity and continuity in the forms we see within our field of vision. If

any of the primary solids is partially hidden from our view, we tend to complete its form

T

example of addictive transformation. The main building, a rectangular block/ prism, has

been added with the various primary shapes such as the square and the semi-circle (refer

to sketch above). The main building achieves harmonious balance and symmetry with the

the portico capped by a tympanum, which in this case is a isosceles triangle.

T

Modelled after the St. Paul’s Cathedral in London, the dome is perched above 2 levels in

what seems like a pavilion. The use of the pavilion to elevate the dome, is perhaps to

prevent the tympanum from obscuring the view of the dome, the crowning glory of

Victorian architecture.4

T

building. When we see it as the axis of symmetry, we can see then, that each “dissected”

side of the building would then map onto the other perfectly.

W

3 Photo taken from the Online Photo Archives of the National Heritage Board, http://picas.nhb.gov.sg 4 Gretchen, Liu, In Granite and Chunam, (Singapore, Landmark Books), 1995, pp. 70 -80.

7

and visualize it as if it were a whole because the mind fills in what the eyes do not see. In

a similar manner, when regular forms have fragments missing from volumes, they retain

their former identities if we perceive them as incomplete wholes if we refer to these

mutilated forms as subjective forms.

Because they are easily recognizable, simple geometric forms such as primary solids,

dapt readily to subtractive treatment. These forms will retain their former identities if

only thing that can make land pay.” Louis Sullivan

ala Corporation

t Fullerton Square (completed in 1998)

View a Rearview of Maybank

icture

n the right), the architect has designed the building to resemble the spinnaker of a sail

a

portions of their volumes are removed without deteriorating their edges, corners and

overall profiles.

“A building is the

Maybank Building, Singapore headquarters of the M ysian Banking

a

of Maybank Tower as viewed from the se

As the office tower of Maybank is located on a very narrow plot of land (refer to p

o

8

boat so as to create an optical illusion that makes the building look visually larger/wider

than it really is when viewed from a specific angle (refer to picture on the left).

The building is built on a relatively broad base but gradually tapers inwards to meet the

apex. This creates a visual effect that makes the building appear to be an octagon like

n that the number of surfaces that can be viewed from a

articular angle can actually give the false impression of a building’s actual size.

The office block of Raffles City on the right (designed by I M Pei in 1988) is shaped like

truncated and elongated cube unlike Maybank Building whose shape skillfully hides its

when one views the office block in front of the Fullerton Hotel as seen in the picture on

the left. The alternating narrow bands of blue glass and beige granite also help

emphasize the horizontal.

Maybank Tower has show

p

An interesting comparison with the Maybank Building:

a

inadequate dimensions.

9

Shaw House at Scotts Rd Winsland House at Killiney Rd

Spatial volumes may be subtracted from a form to create recessed entrances positive

courtyard spaces (Shaw House), window openings shaded by the vertical and horizontal

surfaces of the recess. For example, a large square recessed area has been made on the

curved corner of the façade of Winsland House, however, this has no effect in altering

our overall perception when recognizing the façade in fact curved.

Ambiguity regarding the original identity of a form will only result if the portion

removed from its volume erodes it edges and drastically alters its profile.

10

2.3 Symmetry

Symmetry is the balanced distribution and arrangement of equivalent forms and spaces

on opposite sides of a dividing line or plane, or about a centre of axis.

There are two fundamental types of symmetry:

1. Bilateral Symmetry

Refers to the balanced arrangement of similar or equivalent elements on opposite

sides of an axis so that only one plane can divide the whole into essentially identical

halves.

A common feature of classical architecture is the vertical symmetry possessed by

the structure. The Fullerton Hotel constructed in 1929 at the mouth of the Singapore

River, has vertical symmetry. The red line bisects the building into 2 identical halves.

This symmetry is further emphasized by the use of roman columns. The use of

columns gives the illusion of a “perfect balance” to the building.

5

5 Picture taken from the official Fullerton Hotel website at www.fullertonhotel.com

11

2. Radial Symmetry

Refers to the balanced arrangement of similar, radiating elements such as the

composition can be divided into similar halves. By passing a plane at more than one

angle around a centre point or along a central axis.

6

Above is a photo of the Telok Ayer Market at Shenton Way which was constructed in

1894. The market is in the shape of an octagon with the central clock tower as the

centre point of the structure. When one draws any straight line from any corner of the

octagon and pass through the clock tower, this line will divide the structure into 2

similar halves.

6 Photo taken from Helmer Aslaksen’s “ Mathematics in Art and Architecture” website at http://www.math.nus.edu.sg/aslaksen/teaching/maa/Symmetry_in_Art_and_Architecture.ppt

12

3. The Early Years

Singapore in the 19th century was characterized by mainly low-rise buildings no higher

than 2 storeys as Singapore. The island had a relatively small population and spraling

gardens that surrounded the house was not considered a luxury. Buildings were kept

simple in design low due to the low level of engineering technology as well as the lack of

building materials.

Colonial Bungalows

House at No 2 Cable Rd (circa 1870s)

Early “Black and White” colonial bungalows shown above are classic examples of the

use of additive transformation. The main building is essentially a cube. The porch has

been added perpendicularly to the northern corner of the main building. The jack roof

(turret) is also another square which is placed parallel to the porch. This extension of the

building alters the façade of the building, but the original form of the main structure (the

square) can still be discerned.

Also note the vertical symmetry of the building. The located of window on both sides of

the house is almost symmetrical.

13

House at Jervois Rd ( circa 1870s)

The bungalow at Jervois Road is similar to the bungalow at Cable Road. With a cube as

the a main portion, the intended front of the house has been extended through the use of

additive transformation. The introduction of a rectangular block, produces a porch area.

As with most traditional architecture, this building too, possesses vertical symmetry.

14

4. La Belle Époque and Sacred Mathematics

By the end of the 19th century, Singapore became the capital of British Malaya. The

increase in the level of prosperity is reflected in the construction of numerous elaborate

and ornate buildings from 1890 to the outbreak of WWII. While these buildings may only

seem well designed to the layman, they are also rich in sacred numerology and many

mathematical references may be observed.

4.1 East Meets West

Bungalow along Mountbatten Road built in the early 20th century

The bungalow is essentially made up of a square main block with an octagonal prism

added to the front as the porch. However only five sides of the octagonal prism are

exposed. The main part of the house has been capped with a square pyramid.

The front elevation of the bungalow shows 3 arches which have sacred connotations in

both Western and Chinese societies. Arches have been around since the Roman era where

an arch would be erected to mark a victory of empire. The 3 arches also represent the

15

trinity in Christianity and the character 3 in Chinese is pronounced the same was as the

character for “life”. this is also the reason why tim sum pieces are always served in 3s.

Buildings with Octagonal Pavilions

Chinese Temple along Upp Serangoon Rd Former factory at Neil Rd

The number 8 is the considered the most auspicious number by the Chinese as its

pronunciation sounds similar to the Chinese character for “prosperity”. Hence octagons

have also found among the Chinese because they resemble a ba kwa mirror, a octagonal

piece of wood inlayed with a mirror in the mirror. A ba kwa mirror is hung above the

entrance of a Chinese home to ward off evil. The use of octagonal pavilions in Chinese

owned premises as seem above is most appropriate.7

Why Tiger Balm Oil is sold in a bottle with an octagonal cap?

The factory at Neil Rd (right picture) once belonged to the Haw Par brothers who made

their fortune by selling their famous Tiger Balm Oil. As traditional businessmen who

wanted good business, they had a octagonal turret added to the roof of the factory to ward

of bad luck. This is the reason why Tiger Balm oil is still sold in a bottle with an

octagonal cap.

7 A. T. Mann , Sacred Architecture, (Dorset: Element Books) , 1993, pp. 77 - 85.

16

4.2 A Retreat to the Past?

Traditionally, local architects used to look to their counterparts in the West for inspiration.

However, in the past 15 years, there seems to be a revival of buildings that have been

inspired by Chinese tradition and beliefs.

Modern Octagon to Ward off Evil

Façade of office block simply called No 79 Anson Rd

Here on the façade of this office block, we see a repeated pattern based on the motif of an

ancient Chinese coin. The ba kwa motif is also displayed prominently above the row of

Chinese coins. Clearly the architect had the concepts of fung shui in mind when he

decided to put such a designs on the façade of the office block in the hope that these

auspicious symbols will indeed bring prosperity to the building’s occupants.

17

4.3 Tradition and Geometry: UOB Plaza at Raffles Place

Close up of Tower I Close up of Tower II

The UOB headquarters at Raffles Place consists of 2 office towers joined by a glass

atrium. The shorter tower (Tower I) was the original UOB office block that was built in

the mid 1980s and the taller tower (Tower II) was completed in 1993. The older tower

was renovated to the same style as the new tower.

The Chinese believe that a “ba kwa” mirror (an octagonal gilded mirror) is believed to

ward off bad luck and protect the inhabitants of a house when it is hung above the main

entrance. Here instead of a “ba kwa” mirror, Tower I of UOB Plaza is shaped like an

octagon prism but the rational behind the shape remains grounded on fung shui principles.

fter the completion of Tower II in 1993, Tower I was made taller after a new “crown”

s star effect has 8 points which also

kes Chinese numerology into account as the digit 8 also sounds like “to prosper” in

Chinese.

A

was placed on its top. On closer examination of Tower II, it is observed that the base of

Tower II is in effect a rectangular tower block with 3 “cubes” of decreasing sizes placed

one on top of another , with each “cube” turned at an angle. This gives rise to the

interesting star effect of the building. Lastly, thi

ta

18

4.4 Islam’s Sacred Geometry

8Hajjah Fatimah Mosque at Beach Rd

he mosque was paid for buy funds donated by a wealthy Bugis businesswoman in 1846.

She had commissioned a French architect to build the mosque for her which explains why

the minaret resembles the steeple of a Christian church.

The spire, which is leaning slightly, consists of four levels. A square base rises out of the

boundary wall and is decorated with classical elements such as pilasters with Tuscan

capitals and an arched recess panel. This is surmounted by octagonal second and third

levels of diminishing size, and an elongated steeple like structure9.

Islam has a tradition of a symbolic and sacred geography which is an attempt to correlate

the spiritual world wit physical world through

eographic coordinates. The transition from rectangular to spherical geometries occupied

T

h mathematical dimension of the

g

a primary position in the minds of the Islamic builders due to the paramount importance

of Mecca, and the requirement of daily worship in its direction, which meant that

sophisticated geographic science is required.10

8 All photos of the Hajjah Fatimah Mosque have been taken from the Online Photo Archives of the National Heritage Board, http://picas.nhb.gov.sg 9 Liu, In Granite and Chuna,pp. 92 – 98. 10 Mann, Sacred Architecture, pp. 121- 127

19

The geometries in Islamic architecture are symbolic. The six squares faces of the cube are

earthy, the twenty equilateral triangles of the octahedron are airy, and the four equilateral

triangles of the dodecahedron are symbolic of the universe as a whole. These shapes can

be observed everywhere in the architecture.

The main prayer hall is surrounded on three sides by spacious verandahs. These are

enclosed with repetitive lancet-shaped arched openings framed by patterned screens.

Between each of the arched openings is a minaret: a column rising out of a pedestal base,

with an octagonal shaft and a miniature calling tower rising above roof level.

The dome has 12 lancet-shaped windows, three at each cardinal point, with yellow and

green stained glass. The sphere of the dome with its 16 ribbed divisions (representing the

-divisions) is the focal point of the interior.

4 main cardinal points and their sub

20

5. Art Deco and Geometry Galore

The Western world emerged totally different after the Great War (WWI). A new

social order had been forged and European architects began to reject classical architecture

which was linked to decadent monarchies which represented social inequality.

As a result, a new style popularized by German architect, Walter Gropius’s

Bauhaus, became fashionable. Bauhaus buildings have flat roofs, smooth façades, curved

balconies, horizontal windows and a white-washed cubist look. This modern movement

spawned the art-deco style which replaced old decorative practices with new geometric

atterns which classical details on an essentially classical façade were simplified.

d social

advancement a it em eference to modern ships

nd airliners and fast travel.

i. M

p

Art Deco exemplified the zeitgeist of the 1920s which was filled with hope and

excitement. This new aesthetic movement was seen as the style of the future an

s braced the new machine age and made r

a

5.1 What Makes up an Art-Deco Building?

From the 1920s to just before the outbreak of WWII, the Empire State Building

and the Chrysler Building found in New York inspired and fired up the imagination of

many architects who sought to recreate the decorative elements of these buildings into

their own creations. Therefore, to list the main features of an Art-deco building, it is

necessary to first study the Empire State and Chrysler Buildings11.

ost Art-deco buildings have a flag pole in the middle of the building, sometimes

resting on a “star burst” effect (Chrysler Building).

ii. Decorative elements consisting of geometric shapes are often concentrated at the

top of the building.

Photos of these 2 buildings have been taken from www.greatbuildings.com 11

21

iii. The building gets narrower towards the top and is often crowned with a ziggurat

(s ).

iv. Architects also got inspiration from ships which were the most common and

ad

quare pyramid) (e.g. Empire State Building

vanced means of travel after WWI.

Chrysler Building Empire State Building

5.2 Examples in Singapore:

a) Highly stylized pyramids which have been pared down

Entrance to Chinese Temple at Beatty Lane Shophouse at Tyrwhitt Rd

22

b) The flag pole and the “starburst” effect.

Clifford Pier at Shenton Way, opened in 1933

c) Building with balconies resembling the decks of ocean liners. Notice how the pole

remains.

Apartment block at Hamilton Rd House along Upp East Coast Rd

23

5.3 Amalgamation of Prisms

Art-Deco bungalows along Bukit Timah Rd

his unique bungalow on the left is located along Bukit Timah Road, just off Sixth

venue. The focus of interest is undoubtedly in the use of a cylindrical tower which has

een attached to the end of the rectangular main block. Although the location of the

rret departs from the general trend of vertical symmetry that all buildings should have,

proportioned.

As with both buildings, the clean linear lines of the building that are reminisce of a ocean

liner are brought about by the cantilevered edges of the building. These ledges also

emphasize the horizontal effect of the house which is in turn balanced out by the

placement of full-height windows on the façade.

T

A

b

tu

the building remains elegantly well

24

Art-deco office building at Circular Rd (behind Boat Quay, circa late 1920s)

This is Singapore’s very own version of New York city’s Flatiron building (refer to

picture on the right). This is the only example of an Art-deco era building in Singapore

that has been built in the shape of a wedge (or a triangular prism). The shape of this

building was necessitated by the fact that like the New York Flatiron12, it is located at a

road junction.

When a person stands in the front of the building and looks up, the rectangles (formed by

the window frames) accentuate the height of the building and the horizontal cantilevered

ledges emphasize the horizontal effect of the building. Hence we see that even with

mere geometric shapes, it is possible to achieve a level of architectural sophistication that

can match complicated classical architectural styles of the past.

12 Picture taken from www.greatbuildings.com

25

Modern Interpretation of Art-Deco

The façade of the Singapore Institute of Management at Clementi Rd built in 1995 is

clearly art deco with generously proportioned rectangular turrets flanking the main

entrance. Here, it is interesting to observe how the entire façade has been ornamented by

manipulating the size of rectangles.

26

6. A Call to Disorder and Giant Geometry

An Introduction to Post-Modernism

Postmodern architecture has its roots in the late 1960s after architects found that the

modern movement first started by the Bauhaus in the 1920s was beginning to get stale.

New ideas are combined with familiar forms to make statement or just serve as a visual

delight. Previously geometrical patterns or shapes were used as ornamentation on a

building, but now the building has become the geometric shape. The whole new range of

provocative buildings may surprise, startle or even amuse the beholder.

tructure

a

odernist building as it has chosen to

from the conventional box shape. Here the façade is nothing more than a

6.1 Where Shapes are the S

Wheelock Place at Orchard Road, completed in 1996 Interior view of the glass cone

Wheelock Place is an excellent example of a postm

break away

27

huge glass cone. While geometric shapes have always played a role in decorating the

cades of buildings, this is the first time in local architecture that a cone actually is part fa

of the structure and houses the atrium of the office block.

The “greenhouse” which is the Fish & Co restau

geometric shapes grouped together to form

building are cubes (as the main dining ha

rant at Park Mall is also a case of

a structure. The rough components of the

ll) and square pyramids (as the roof).

Singapore Telecoms Communication Tower at Buena Vista

The Singapore Telecoms Communication Tower is a building with an extremely

interesting design. It is in the shape of an inverted “L” that had gone through several

28

transformation. The overhanging parts of the building have gone through four fold

rotational symmetry and then translation is carried out to achieve the interesting effect

at the building has.

Modern Obelisk

th

Centennial Tower at Millennia Walk is made of a rectangular central shaft capped with

a square pyramid with the apex removed. In dition the “flattened pyramid” is supported

by 4 octagonal prisms which are encased with a highly reflective metal. Each of 4

octagons has 3 faces exposed and reflects the sunlight, making the tower sparkle in the

day. From afar, Centennial Tower resembles a modern obelisk and its unique shape

makes it stand out prominently from its neighbors.

ad

29

“The Colonnade” at Grange Rd

Instead of the usual glass paneled façade, the “Colonnade” goes against convention and is

best described as a series of cubes stacked in a confused order. The projections and

recesses of the cubes are organized in such a way that each apartment has a balcony on

the roof of the apartment immediately below and also allows for maximum light to enter

into most areas of each apartment. It is very interesting to see how mere cubes can give

rise to such an interesting texture on the façade.

30

6.2 The Effects of the Works of Piet Mondrian

Examples of Paintings created by Mondrian13

Piet Mondrian , Born March 7 1872, Netherlands. Died Feb 1 1944, New York, USA.

14

The subdivision of a rectangular space (of a building) has always been the primary

oncern and challenge of any architect. The rectilinear lines of Mondrian’s paintings are

ick and often filled in with primary colours (red, yellow, blue). Although this results in

e painting being nonsymmetrical, it remains visually proportional and balanced to the

iewer. This is also something that architects wish to emulate. Therefore, Mondrian’s

aintings have been widely attributed to the development of post modernist buildings in

hich one finds regularity on an irregular façade.

ith the departure from classical architecture, function did not have to follow form, i.e.

uildings did not follow a standard boxed shape of old buildings that were discussed in

c

th

th

v

p

w

W

b

Pictures taken from the online store “All Posters.com” which specialise in reproductions of famous aintings. http://www.allposters.com/gallery.asp?aid=85097&item=323522

o http://www.the-artists.org/ArtistView.cfm?id=8A01FA1A-BBCF-11D4-A93500D0B7069B40

13

p14 Phot of Mondrian taken from “The Artist” website at

31

the earlier chapters, but rather the layout and appearance of a building (the form) would

follow its use (function) as mooted by Louis Sullivan in the late 19th century.

No shape plays as important a role in architecture as the humble rectangle. It is the most

adaptable shape for Man’s constructive needs in geometry. Streets, land parcels,

buildings, rooms, doors, windows, furniture are usually rectangular. Unlike other shapes

such as the square or cone, there is no fixed proportion of rectangle which satisfies our

daily needs. The application of the rectangle as a building factor is governed by its

proportion and aesth a balance can always

e achieved like the random rectangles on a Mondrian painting.

The Gallery Hotel at Robertson Quay: A modern interpretation of Piet Mondrian

etic purpose, i.e. the with to length ratio. Yet 15

b

16

Mondrian painting. The big windows enclose the suites of the hotel which require a

larger window for maxium illumaintion of the room in the day as well as a better view

The façade of the Gallery Hotel is a veritable explosion of coloured rectangles of

different proportions in both the horizontal and vertical planes exactly like a gigantic

15 William, Blackwell, Geometry in Architecture, (New York: John Wiley & Sons) , 1984, pp. 70 -75. 16 ww.galleryhotel.co Photo taken from the official Gallery Hotel website at w m.sg

32

out of the room that would have otherwise been restricted by standard small windows.

Normal rooms of the hotel have been smaller square windows which are also

roportional to their size. p

Orchard Cineleisure Multiplex at Orchard Rd

While the colour scheme has clearly been influenced by Mondrian, it is a shame that the

architect of this building did not continue to follow the other principles of having form

follow function as we can see that the colourful features only serve a decorative function.

8. Geodesic Domes

33

Many cultures of the world have been fascinated with the dome as it is one of the

ost sophisticated regular solids known to Man. The dome is the most compact of the

lids and is the structure with the highest ratio of enclosed area to external surface area,

nd in which all structural members are equal contributors to the whole. While the

aditional dome that adorns churches and grand manors has remained largely similar in

esign for the past 600 years, a major break through in the application of the usage of the

ome was made in the late 1940s by Richard Buckminster Fuller. Fuller had developed

e Geodesic Dome in the late 1940s as a possibly solution to solve the acute housing

roblem in the post WWII years. A geodesic dome is a type of structure shaped like a

iece of a sphere or a ball. This structure is comprised of a complex network of triangles

complex the network of triangles, the

ore closely the dome approximates the shape of a true sphere.17

Fuller had developed his Geodesic Dome

adding triangles to comprised of a comp

spherical surface. The more complex the network of triangles,

approximates the shape of a true sphere (please refer to diag

m

so

a

tr

d

d

th

p

p

that form a roughly spherical surface. The more

m

by altering an icosahedron by

lex network of triangles that form a roughly

the more closely the dome

ram below18).

17 Blackwell, Geometry in Architecture, pp. 173 -182. 18Diagram taken from website of John W Rich at http://homepages.ihug.co.nz/~jw.rich/about.htm

34

Real Life Application of Fuller’s Geodesic Dome

The unconventional shape of Fuller’s invention made it very difficult for the public to

accept it socially as a viable means of housing. The basic shape of the dome made the

placement of furniture quite problematic since most furniture pieces were either square or

rectangle and could never be put against the interior of a dome which was curved.

However, some uses did eventually arise for the geodesic dome because of their inherent

properties.

) Geo esic d

ic and

remains very stable even in strong wings up to 210mph. In fact, the geodesic dome is

commonly used as permanent dwellings for scientists who have set up their bases in

the artic circle.

b) The geodesic dome and most efficient means of enclosing

space yet devised by man19.

The frame of a geodesic dome is made up of steel joints and the structure of the dome

allows equal distribution of the total weight on all joints. lts in greater

stability of the entire structure. Scientist who wish to create a secure environment for

their experiments often use the geodesic dome as a biosphere.

a d omes can withstand hurricanes and earthquakes better than conventional

buildings.

Because of its spherical shape, the geodesic dome becomes more aerodynam

is the strongest, lightest,

This resu

troduction, 19 William Lauritzen, Geodesic Dome Education: An In

http://www.earth360.com/math-dome-ed.html

35

c) Famous geodesic domes include Disney’s Epcot Centre in Florida.

Singapore’s very own Geodesic Dome … the Orchard MRT Station

The

the arrow metal rods that

have been assembled like isosceles triangles have sufficient strength to support the dome,

ight and airy feel to it.

Interior of the Dome

dome has a huge span as it covers the entire hall of Orchard MRT station, however,

entire structure is being held up without any beams or pillars. N

giving the MRT station a very br

36

Bibliography

Aslaksen, Helmer, “Mathematics in Art and Architecture”, http://www.math.nus.edu.sg/aslaksen/teaching/maa/Symmetry_in_Art_and_Architecture.ppt

Blackwell, William, Geometry in Architecture, (New York: John Wiley & Sons) , 1984,

Ching, Frank, Architecture, Form, Space & Order, (New York : Van Nostrand Reinhold) ,

1996

Fullerton Hotel, The, www.fullertonhotel.com

Gallery Hotel, The, www.galleryhotel.com.sg

Great Buildings Online, http://www.greatbuildings.com

Lauritzen, William, Geodesic Dome Education: An Introduction, http://www.earth360.com/math-dome-ed.html

National Heritage Board, Online Photo Archives, http://picas.nhb.gov.sg

Rich, John, Geodesic Domes, http://homepages.ihug.co.nz/~jw.rich/about.htm

Stevens, Gary, The Reasoning Architect: Mathematics and Science in Design, (New

York : McGraw-Hill), 1990

Please note that all photos found in this project have been painstaking taken by the group members of this project unless stated otherwise.

37

38