Digital design meets traditional Chinese craftsmanship in a pavilion constructed like a paper lantern
Hong Kong-based architects Kristof Crolla (LEAD) and Adam Fingrut (Zaha Hadid) married traditional Chinese craftsmanship and digital design technology in their temporary pavilion, Golden Moon, which won the Gold Award in the Mid-Autumn Festival Lantern Wonderland last month. The 60-foot-tall structure was built in just 11 days atop a reflection pool in Hong Kong’s Victoria Park, proof that “complex geometry can be built at high speed and low cost with the simplest of means,” said Crolla and Fingrut, who sought to rethink digital design by “anchoring the paradigm in a strong materiality.”
LEAD’s “Golden Moon”
To create the “fiery flames,” a reference to the Chinese legend of Moon Goddess Chang, Crolla and Fingrut began with a geodesic dome structure made from steel and wrapped it with a bamboo grid made using traditional scaffolding techniques. In this case, however, that “highly intuitive and imprecise craft” was based on an incredibly precise computer generated grid designed to install and bend the bamboo rods into a specialized structure around the steel dome. The dome was then clad with metal wire and a translucent, flexible fabric, two typical paper lantern-making materials, which were then lit up by 10,000 LEDs.LEAD’s “Golden Moon”
The flame pattern and bamboo structure is “based on an algorithm for sphere panelization that produces purity and repetition around the equator and imperfection and approximation at the poles.” The dome is wrapped with a diagrid according to a Fibonacci sequence that produces order along the equator and randomness at the poles. Simple drawings of this code were made for the construction team so they could easily mark the intersections between the steel and bamboo structures.
Golden Moon is the result of research into what Crolla and Fingrut call “building simplexity,” or constructing complex geometries from the simplest means. For example, optimization scripts were used to reduce the amount of fabric “flames” from 470 different units to ten that could stretch and adapt to the curve of the dome. “Preconceptions of building methods and familiar construction techniques had to be abandoned by all parties as both the digital and the material world demanded a new design and building set-up to be devised.”