Yesterday's Tomorrow

YE S T E R D A Y ’ S TO M O R R O W

EPIGRAPH

I

n making a building and thus making a life, one inevitably shapes the end of that building, the end of that life. Within the compelling idea of the first house – the house at the beginning of time – is buried the equally compelling image of its shadow: the house at the end of time. This is a place for dying in. Its fragility and hostility, its ephemeral and temporary aspects, change our delight to anxiety, our ease to disease.

- Peter Schneider: The House at the End of Time: Douglas Darden’s Oxygen House

ABSTRACT

T

he human race has been on Earth for the best part of 2.8 million years, but all good things must come to an end and, sooner or later, so must humanity’s stint on Earth.

If the ice in Earth’s polar caps melts it will cause the oceans to rise as much as 300 feet, which would be catastrophic to human civilisation.

More than 75% of the world’s population lives below this altitude, including most of the world’s major cities.

Meanwhile, with water evaporating faster, trapping in more heat and driving temperatures still higher, experts warn that Earth could end up like Venus, where the high on a typical day is 480 degrees celsius. A global temperature rise of just six per cent will be enough to wipe out just about every life form on the planet.

In correlation with the building’s allegorical programme, the newly identified problem of consuming fossil fuels to produce electricity.

This project’s initial objective was to create a Space Elevator that could transit various items to outer space.

Although because of this notion of a ruin that has procured from Peter Schneider’s epigraph, an allegorical programme will be added to the design.

This allegorical programme will be applied as if I have created a science fiction narrative for the project: the construction for this space elevator commenced several years ago, however due to economical reasons its construction had to be abandoned. After several years of enduring the conditions of Owhiro Bay, the building has been recommissioned to serve a temporary function until we are at an economical status that will allow the space elevator construction to continue.

This building will temporarily serve as a testing facility investigating and producing 3D printed lunar construction through solar collection, as it would be extremely expensive and time consuming to have to transit typical construction materials via space shuttle to outer space. As stated in Guy Marriage’s article, the ‘Solar Sinter Project’ is already developing such efforts.

PREFACE

T

he article ‘Darth Vader and the Death Star’ by Guy Marriage was what commenced my initial inspiration for pursuing an intervention that could contribute to the cosmic architectural advancements that are inevitable within the next decade. This article explained the potential of developing architecture within the expansiveness of space.

Guy questioned the restraints and opportunities that are evident through constructing something such as ‘The Death Star’; how would all that steel be hauled into space?; how many people could be residing within space?; and what time frame are we looking at for this to be executed?

Along with this is my fascination with architectural developments that have been created through the science-fiction realm. Content such as, Star Wars etc. will prove as a major contributor to the architectural canon that I will be creating. Concept art that is created for movie lore such as Star Wars will also aid in the composition and style of the images I create.

CONTENTS

01 06 INTRODUCTION

CONCEPT DESIGN

02 07 SITE ANALYSIS

YESTERDAY (Prelim)

03 08 PROGRAMME ANALYSIS

PROJECT REVIEW

04 09 LITERATURE REVIEW

TOMORROW (Developed)

05 10 CASE STUDIES

CONCLUSION & REFLECTION

01 INTRODUCTION

Armano Papageorge. 2016.

1.01.

01

INTRODUCTION

PROBLEM The human race has been on Earth for the best part of 2.8 million years, but all good things must come to an end and, sooner or later, so must humanity’s stint on Earth.

If the ice in Earth’s polar caps melts it will cause the oceans to rise as much as 300 feet, which would be catastrophic to human civilisation.

More than 75% of the world’s population lives below this altitude, including most of the world’s major cities.

Meanwhile, with water evaporating faster, trapping in more heat and driving temperatures still higher, experts warn that Earth could end up like Venus, where the high on a typical day is 480 degrees celsius. A global temperature rise of just six per cent will be enough to wipe out just about every life form on the planet.

In correlation with the building’s allegorical programme, the newly identified problem of consuming fossil fuels to produce electricity.

APPROACH This project’s initial objective was to create a Space Elevator that could transit various items to outer space.

Although because of this notion of a ruin that has been procured from Peter Schneider’s epigraph, an allegorical programme will be added to the design.

This allegorical programme will be applied as if I have created a science fiction narrative for the project: the construction for this space elevator commenced several years ago, however due to economical reasons its construction it had to be abandoned. After several years of enduring the conditions of Owhiro Bay, the building has been recommissioned to serve a temporary purpose until we are at an economical status that will allow the space elevator construction to continue.

This building will temporarily serve as a testing facility investigating and producing 3D printed lunar construction. As stated in Guy Marriage’s article, the ‘Solar Sinter Project’ is already developing such efforts.

Because this is such a large facility and there are a lot of solar panels, I would assume the building could procure an immense amount of solar energy. Hence this building has an additional role of providing the city with electricity through this absorption of solar energy. Smaller architectural interventions will act as ‘power poles’ that will be disbursed between the Owhiro Bay Quarry and the urbanscape.

SCOPE What I aim to achieve is, eventually, a functioning space elevator that will enable the transit of construction goods and people. However as stated in my fictional narrative, we aren’t at an economic status that can enable to continuation of it’s construction. Therefore until this time the building will serve as a testing facility for 3D printed lunar construction.

Limitations to this being achieved are numbered: as stated cost is an obvious issue; structural analysis that would need to be undertaken to ensure the building can withstand the tether between the Earth and Moon; if the site is actually suitable to withhold such structural requirements; and if the proposed programme is suitable for a realistic developed design outcome.

In regards to the building’s underlying theory, many technological advancements still need to procure in order for the tether itself to even become fathomable. At current, the most prominent candidate is that of carbon nanotubes, of which would evidently need to be made with a large tensile strength/density ratio.

It is scientific achievements such as this that are, in a non-fiction setting, hindering the construction of a space elevator.

Thankfully, 3D printed lunar construction is an entirely comprehensible advancement that relates to the science fiction theme I am attempting to convey.

03

02 SITE ANALYSIS

Armano Papageorge. 2016.

2.01.

05

CHOSEN SITE REGIONS

N

NW

NE

W

E

SW

SE

S

Armano Papageorge. 2016.

2.02.

DYNAMICS

07

ORDERING SYSTEM

The axis of the urbanscape also being evident in the natural evolution of the valley presents a dynamic shift from the valley moving through the quarry.

Armano Papageorge. 2016.

2.03.

The original ordering system of the urbanscape matches the constraints of the terrain, thus angling it toward the South Island.

09

Passive

Profusive Enormity.

N

NW

Protecting and Preserving

NE

W

E

SW

SE

S

Single Solitudinous Entity

Armano Papageorge. 2016.

2.04.

Impuissant Vulnerability

N

Rock formations typically layer horizontally upon each other, however a forced shift has moved these into a diagonal state over time. From certain perspectives of the rock faces, a collection of these diagonal lines appear vertical because of the rock’s composition.

These diagonal / vertical lines creates a contrast to the orientation of the tiered hillscapes.

The combination of these features conveys a narrative that could suggest two contrasting architectural orientations. One form could derive its form from the diagonal / vertical axis created by the land shifts, and another component could be derivative of the horizontal tiered hillscapes.

Three compositional geometries are visible in perceiving the physical qualities of the valley. They layer upon each other as your perception furthers through the valleys.

E

The vulnerable status of this valley conveys a narrative that would suggest water has eroded away this land mass over a period of time. This could imply architecture that compliments this vulnerability by moving in tandem with these delicate land compositions. Or it might attempt to contrast it by introducing a sort of ‘sentinel’ like structure to create some symmetry along side the already evident enormity of the tiered hillscapes that lies to the West.

The ocean is represented by one single entity, the horizon line. However, there are underlying elements within this perception - the waves. When the water crashes upon the rocks, a dynamic effect is created.

The water would spray into the air, and if the wind dictated it, it would spray back towards itself.

S

W

In acknowledging the motionless, solitudinous entity that is the horizon line in the background, a contrast is created with the chaotic nature of the waves that crash into the rocks in the foreground. It is as if there are two beings, male and female, one calm and the other chaotic, dancing with one another.

This provides opportunity to engage architecturally wit the ocean. A wharf may become appropriate to represent these underlying themes.

This protruding hillside was the most dominating element of this side when approaching the beach. It was only when I reached the beach itself that the tiered hillscapes become the most interesting and dominating aspect of the landscape.

Because this hillside is one of the first components of the landscape to be noticed, opportunity is created to utilise this narrative of enormity. This could prove as a viable location for some sort of ‘sentinel’ piece, such as a watch

11

03 PROGRAMME ANALYSIS

Armano Papageorge. 2016.

3.01.

13

DA VINCI TOWER JMSchivo & Partners Architects “The Da Vinci Tower takes its shape as an organically structured system in which various integrated and complemented functions interact with each other.”

“Photovoltaic system for energy production on the external skin of the building.”

“In fact the tower, beyond producing the quantity of energy needed for its own requirements, generates a 30% more of energy that can be supplied to the local energy network.”

REFLECTION The most evident precedent in this study is the verticality of the building.

This is an aspect that will have to be evident within the space elevator deign of this project. The Da Vinci Tower utilises solar collection through a series of three external facades.

Given that the solar collection is 30% more that is required to power the buildings various functions, the building is able to distribute this excess power to the surrounding context. This gives me a scope of how much solar panel surface area would be required to supply an efficient amount of solar energy to power a building of this size. Because this building will be of a similar scale to the space elevator design I will create, I will need to establish a similar surface area on my building if I am to justify a solar collection facility.

JM Schivo & Partners. 2007.

Da Vinci Building. 3.05.

15

SUN DIAL BUILDING Dezhou, China “The fan-like roof of the 800,000 square-foot facility located in Dezhou in Shangdong Province was cleverly designed to resemble an ancient sun dial, though rather than ticking off the passing hours, the building houses exhibition centers, research facilities, meeting and convention spaces and a hotel, all of which are powered by the hundreds of solar panels adorning its roof.”

“The design of the new building is based on the sun dial and underlines the urgency of seeking renewable energy sources to replace fossil fuels.”

REFLECTION As the title would suggest it adopts the form evident in a sun dial.

This building poses a completely different design to the previous study and the intended design I will be proposing. This design would however prove much more efficient in terms of obtaining solar energy, as it is orientated due north, thus it was always be in the scope of the suns daily path.. A series of solar panels completely cover the dominant face to maximise solar gain. Because this building does not have the verticality of the previous study, it becomes extremely necessary for the solar panels to face upward, otherwise it would immensely decrease its solar absorption capabilities.

This is not a form that I will be adopting for my design, however there a aspects at which I could implement into my design on a much smaller scale; the upward facing solar panels. Despite my building adopting the verticality of the previous study, I feel it would only enhance the buildings solar efficiency by tilting the panels upward.

Clay Dillow. 2009.

Chinese Sun Dial Building. 3.05.

17

ODEILLO SOLAR FURNACE Felix Thrombe “On the opposite side of the hill where the structure is, there are installed hundreds of flat mirrors that reflect sunlight to curved mirror to focus the light into a focal point.

The parabolic mirror has almost 2000 square metres. The solar energy can produce temperatures in excess of 3200 degrees Centigrade. This type of solar furnaces are used for melting the steel, electricity generation and even transform carbon dioxide into fuel.”

“Furnace in France, inaugurated in 1970, is the largest of its kind in the world. The operating principle of the solar furnace is used to obtain economic solar ovens, solarpowered grills, as well as solar water purification.”

REFLECTION This building’s design is contrasts both my first and second study, in that it reflects solar energy from the evidently large building face into a small focal point that it located in the smaller building form in front of the solar panel facade. This is an element I could most definitely implement into my design if it proves applicable to my design. This is a solar collection method that is only applicable given that the deign of the building compliments it’s functionality. For example, the primary form might be the entity that collects and reflects the solar energy, and a smaller secondary form might be what collects the reflected energy. The only downfall for this design is that the primary form would have to surround the secondary form in such a way that is evident in the study. If I didn’t implement this key element, it would immensely decrease the buildings solar collective efficiency.

Andrew Blanche. 20013.

Odeillo Solar Furnace. 3.05.

19

PRELIMINARY PROGRAMME APPLICATION

Quaternary

Void Primary

Secondary

Cut

Void Tertiary

The visible architectural interventions on the site act are aligned with primary, secondary and tertiary functions. The significance of these functions act in tandem with the scale of each intervention, ie. the primary form will act as the foremost means of vertical circulation, hence it will be the ‘core’.

Armano Papageorge. 2016.

3.05.

Tether Lookout

Elevator Exchange Solar Collection

Research Labs Solar Collection

South Facade Main Entrance

Port Entrance Relic/Artifact

Each of the three architectural interventions hosts the physical remains of what used to be a space elevator, however now being a ruin, it hosts new allegorical programming

21

04 LITERATURE REVIEW

Armano Papageorge. 2016.

4.01.

23

UNDER TOMORROW’S SKY Liam Young

“Technology and nature are not in opposition to one another; and he invites us to rethink default conservationist positions and to explore design strategies for a new kind of technological wilderness.”

“Prediction of the future is only one side effect of science fiction, since it’s really a mode of exploring the present. Young imagines future worlds as a means to understand the present anew. The future is constantly being created. It’s a verb, not a noun.”

“It is a city of extraordinary technology but at first glance appears indistinguishable from nature. It is an artificial reef that grows and decays and grows again as the city becomes a cyclic ecosystem. A city as a geological formation of caves and grottos covered by a thick layer of soil and slime, a biological soup of human and non-human inhabitants. The city and us are one, a symbiotic life form.

The city grows and we grow with it.

Together we form a giant complex organism of which ecology and technology are inseparable parts.”

REFLECTION ‘Under Tomorrow’s Sky’ by Liam Young. “It is a city of extraordinary technology but at first glance appears indistinguishable from nature. It is an artificial reef that grows and decays and grows again as the city becomes a cyclic ecosystem.

A city as a geological formation of caves and grottos covered by a thick layer of soil and slime.”

This notion of growth vs. decay correlates with Peter Schneider’s conceptualisation.

Although, it introduces biophilic ecosystems that are the primary driver for this growth vs decay ideal. Whereas, my intent is directed towards how growth vs. decay correlates to the architectural dynamics of my design.

For example, instead of layering a facade of ‘soil and slime’ upon my building to convey growth vs. decay, I intend to portray through implying a sense of dynamic deconstruction, hence the aesthetic of a decayed ruin will. Parts of the building will be separated from it’s assumed position in relation to the dynamic features of the site. However these elements will not stray far from their origin, thus implying the possibility for reconnection of these components when the space elevator continues construction.

Liam Young. 2012.

Under Tomorrow’s Sky. 4.06.

25

THE HIVES Factory Fifteen

“The Hives is a giant spiky ghetto clustered next to the moon, a “site of assorted space stations, housing projects, assembly lines and factories, mining works and refining plants, chemical platforms and hangars.”

The aesthetic of this Byzantine structure took inspiration from both manmade buildings and nature: bee hives, nests, ant farms and centipedes They also referenced the totalitarian force of Brutalist architecture.”

“Factory Fifteen are not architects in the traditional sense, instead they are filmmakers who use architecture to explore ideas surrounding technology and its social and political impact.”

“The worlds are thick with industrial landscapes where buildings remained unfinished, crumbling and reforming in perpetuity—yet these images are not seen as depressing and restrictive, but rather uplifting, sublime even.”

REFLECTION ‘The Hives’ by Factory Fifteen. This is a giant spiky ghetto cluster next to the moon, a site of assorted space stations, housing projects, assembly lines and factories, mining works and refining plants, chemical platforms and hangars. The aesthetic of this Byzantine structure adopted a biomimic methodology through: bee hives, nests, ant farms and centipedes; and man-made movements which is evident through referencing the totalitarian force of Brutalist architecture.” for my building is a facility for 3D printed lunar construction that requires solar energy, the notion of adopting biomimic functions lead me to investigate creatures that harness solar collective abilities.

The Oriental Hornet is an insect that converts solar energy into electricity.

Scientists are lead to believe it increases their productivity. The brown areas of the exoskeleton contain grooves that split incoming sunlight into diverging beams. The yellow areas are covered by oval protrusions which each have a tiny depression that resembles a pinhole.

The grooves and holes are thought to reduce the amount of sunlight that bounces off the exoskeleton.

The key aspects I have adopted from this are as following: the solar collective abilities which are applied to the several circular forms that produces from the building skeleton; and the form of the Hornet’s abdomen, which consists of a primary form (at the bottom), a secondary form (the middle), and a tertiary form (at the top). All of these forms get smaller as they reach the top of the Hornet. This has been applied to my building, in that, it has a primary form at the base where the solar collection occurs, a secondary form above this, and a tertiary form at the top which ‘was’ the elevator connection.

Factory Fifteen. 2013.

The Hives. 4.07.

27

STALKER: ARCHIVE OF DECAY Mitchell Jones

“The rise and fall of nations’ industries have played a significant role in the formation and evolution of significant cultures around the world.

However as a by-product often these sites inhabited for industrial use become heavily scarred once the industry has gathered the needed resources and abandoned the site to a presumption of decay. On some occasions these sites are listed as world heritage sites acknowledging their historical significance. Organisations such as UNESCO then have the opportunity to rejuvenate such sites by introducing contemporary architectural programmes such as tourism that provide the economic ability to foster a new era of heritage and conservation. But often the introduction of a contemporary programme such as tourism can run the risk of destroying the fragile pieces of a site’s history, which it originally sought to protect.

This thesis argues that traditional architectural conventional programme approaches to interventions can often destroy the heritage they advocate preserving. The thesis proposes testing guerrilla architecture as a viable new approach for contemporary design interventions on historic industrial sites; guerrilla architecture interventions can both challenge and strengthen the notion of place. The thesis argues that the guerrilla architecture interventions can become active participants in the on-going evolution of the site’s history.“

REFLECTION ‘Stalker: Archive of Decay’ by Mitchell Jones. The investigation into the theory of this thesis is intended to develop my understanding of the concept of decay in architecture beyond what I learnt from Under Tomorrow’s Sky. The rise and fall of nations’ industries have played a significant role in the formation and evolution of significant cultures around the world. However as a byproduct often these sites inhabited for industrial use become heavily scarred once the industry has gathered the needed resources and abandoned the site to a presumption of decay.

This theory led me to question the scope of my design. Although it isn’t directly scarring the site, like that of the quarry that used to reside there, there is still potential for the damage to be caused due to the building’s colossal size.

Hence instead of defaulting to my initial instinct of building beneath ground as well as above, of which would produce immense scarring to the site, I decided to leave the landscape untarnished. Instead I have created an illusion about my building that would imply there is building mass underground, when in fact there isn’t. With this I have essentially hit two birds with one stone, as I have maintained the original stature of the site whilst creating the illusion that my building is much more monstrous than it initially appears.

Cameron Hurrell. 2013.

Stalker: Archive of Decay. 4.08.

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05 CASE STUDIES

Armano Papageorge. 2016.

5.01.

31

Jessica Luscher. 2014.

Stillness and Motion. 5.09.

EACD

L S OY O Y NN REFLECTION

N M TA

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M A

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This project presents a number of elements that I strongly intend to incorporate into my preliminary and developed design. The asymmetrical form that appears to pivot along this large circular region will prove as a dominant aspect when considering how I might initiate site dynamics.

The chosen are for my primary form at the bottom of the tiered hillside will function as the primary pivot point.

Secondary and tertiary building forms will thus pivot off this primary form in order to convey that these forms have had and potentially still do possess dynamic capabilities.

The aesthetic composition of the image presents a compelling representation that I intend to also utilise. The texturised elements in the hillside convey a truth about the behaviour of the land that is extremely important. the grunge materiality and textures utilised will correlate effectively with the concept art aesthetic I wish to create.

AI I

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SC OR

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Maria Lardi. 2011.

RIBA PART II. 5.10.

I TCE NRO N TN A C ES N R EL S SR PO EV A C AS R T T U

REFLECTION In developing from my previous study, I acknowledged the elongated form that was evident.

This project conveys a means of advancing this into 3D form. Lardi has established what would appear as four forms weaving thourghout one another in a faceted manner.

The structure that holds these forms acts as an exo-skeleton that encases them. The building mass itself and the structural exo-skeleton present contrasting massing. Where the building forms are smooth and faceted, the structure is geometric and purely functional.

This method of exposing the structural qualities of the building is very enticing, as it provides me with an opportunity to invert the core structure and the building mass, as if the building were ripping open it’s chest to expose it’s inner workings.

There is also a large tower structure at one end of this elongated form, of which is also evident in my previous study; a long form pivoting from a large, dominant structure.

E I I R ONO NTNE

35

John Fechtel. 2013.

Tower \ D4 @ UF. 5.11.

AI ID

N I DL

TM AL EE PU RN TS L S I I

REFLECTION This study presents opportunity for how I might develop this large tower structure that is the ‘elevator’. It consists of numerous geometric forms parallel and perpendicular from one another. There appear to be a series of mirrors within the white geometries to create the illusion that there is more mass than there actually is. The incorporation of shiny materiality might prove as an effective means of enhancing the assumed implication of enormity about my building.

This collection of stacking geometric forms also proves as a very efficient means of verticalising programme.

Whereas in my previous study there is a lot of angular forms, of which would prove very difficult to utilise vertically as it would prompt the risk of dead space.

And as shown in my sketches, it is an effect means of conveying deconstructive qualities of a form.

For example, the overall form of a cube can remain implied if fragments strategically removed.

A I VO CO

EENN

37

Jonathan Gales. 2010.

Fanciful Megalomania. 5.12.

SOE I

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I T E

E E V E NR A T I R T AC A

REFLECTION This study develops this tower concept even further from the last. It evolves it from 2D drawing and small scale physical model into a realistic 3D depiction. Again, the design representation resembles that of concept art for a potential sci-fi film or video game.

This study also resembles my second study my Lardi, of which utilises smooth faceted concrete forms surrounded by a geometric scaffolding structure.

This scaffolding enhances the notion of deconstructivism that I am attempting to convey in my design.

It also creates an element of separation between spaces, which presents opportunity to better create asymmetric geometry through site dynamics.

The connections between each separated space creates opportunity for a more lively experience, as if they were travelling by elevator they would catch glimpses of the surrounding context when transitioning through transparent and solid spaces.

I TA T

IOT

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Paddy Fernandez. 2013.

An Archive Of A Dying City. 5.13.

SPVR EU E K N L S E E N L

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RL ER A I T

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REFLECTION This study develops from the notion of occupiable space within it’s structural counterpart. Although here the designer has introduced the notion of decay to reinforce its deconstructive canon. In my previous study the relationship between solid and transparent form was consistent throughout the entirety of the design. Whereas here, there is a fine line that distinguishes the transparency that follows the geometric structural grid, and solidity that follows the habitable forms.

The exposed structural entities create an interesting set of asymmetric values. The solid form itself is symmetrical as it sits as a rectangle, however the ‘skeletal bones’ protrude this form in such a way that is curved and angular. This creates a direct sense of contrast between the two evident identities.

The colour palette also creates a sense of contrast, as the solid form is shiny and light, whilst the decayed elements within this solid form are dark and ominous.

E B I A

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LNET

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Isaie Bloch. 2011.

Concert Hall. 5.14.

PDBM EA AR T

N RU E

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AT R P SIA U O I L L R T I A

REFLECTION This design evolves the concept of of decay that was evident in my previous study, however opposed to a small scale physical model it has now been applied to a realistic context.

In the previous study the transition from solid form to to decayed aesthetic of structural elements was much more evident. This design appears to deter from this method as it’s more derivative of my fourth case study by Jonathan Gales.

This decay aesthetic is much more consistent throughout the entirety of the building, just as in Gales’ design.

It would also appear that where the decay occurs in the building, a much more chaotic aesthetic is achieved , opposed to the more pragmatic massing on the opposing side of the building. Where this decay, opportunity once again arises for the structural components to protrude through the building. However in this case, these structural elements are used as the structural beams/ columns and thus the foundations.

A

I ST T CET E

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06 CONCEPT DESIGN

Armano Papageorge. 2016.

6.01.

45

REFLECTION The three secondary forms that connect to the central primary mass creates an interesting sense of hierarchy. However they do not interact with the sight as efficiently as they could. They appear to simply be randomly placed upon these three key areas. The architecture of these masses needs to compliment each of the areas.

The design should interact more with the beach and thus the water too.

Armano Papageorge. 2016.

Concept 1. 6.15.

47

REFLECTION This design has improved upon the previous interventation in a number of ways. Several small masses have been placed throughout the hillscape to create a much more subtle interaction with the tiered hillscape. The tether itself being the largest entity and it demands respect. It has two phases to it’s architecture: the base which consists of solid rooms and spaces; the structural steel truss that extends above this base form; and most importantly, the elongated form that extends through the beach and interacts with the water.

Armano Papageorge. 2016.

Concept 2. 6.16.

49

Armano Papageorge. 2016.

Concept 3. 6.17.

REFLECTION This is a site plan of the previously designed concept. Here you can see the three identities of the design: the small interlacing forms that reside upon the tiered hillscape; the central mass that is the tether; and the more dissipated range of elongated forms that extend through the beach.

Note that there is a pivot point on the beach front where a form has moved away from the original ordering system and now faces the South Island. This with a number of other architectural elements creates an aesthetically pleasing sense of asymmetry throughout the design.

51

REFLECTION This acts as an extension to the previous design. A sort of walkway/series of rooms has been implemented across the entirely of the front of the hillside, where it then meets at a final form within the valley. Compositionally, this creates two anchoring points either side of the side with the connection in between. It almost appears as a horizontal version of the notion of a space elevator. The initially deigned architecture acts as the anchor point, the walkway/series of rooms acts as the tether, and the final form to the right acts as the final connection point of the tether.

Armano Papageorge. 2016.

Concept 4. 6.18.

53

Armano Papageorge. 2016.

Concept 5. 6.19.

REFLECTION This is a collaborative aerial view of the two previously designed interventions. Here one can clearly establish the relationship that is created between this newly deigned iteration and the previous one.

What interests me about this is that this walkway implies that there could be much more that meets the eye within the hill itself. That this only teases what could lay within.

Again, because this rock is almost impossible to effectively penetrate, these forms would in fact need to simply cantilever from the hillside, or perhaps imbed within it in a minor way.

55

Armano Papageorge. 2016.

Concept 6. 6.20.

REFLECTION This section illustrates all of the previously designed interventions in one collaborative design. There is an evident contrast between the organic fluidity of the landscape with the geometric rigidity of the architecture. It comfortably resides within the confinements of the site without tarnishing it. This will be an important aspect to further develop within my preliminary and developed design as I will need to create an equal balance between the foundation requirements for a space elevator, and the compositional aesthetic presented by images such as this. Although I must continue to acknowledge the difficulties that are evident with digging below ground.

57

REFLECTION After being content with the previous concept, it felt prudent to develop an entirely new design to gain a different perspective on how I may approach this project. Hence I utilised an entirely fresh set of images to collage, of which presented an array of different architectural opportunities. The materiality in particular as this rustic, decayed aesthetic directly correlates to the ruin theme I am attempting to convey.

It also correlates to the mythology of the site, as this rust aesthetic conveys the sense of bleeding. Being a quarry, this site has been victim to an immense amount of ‘bleeding’, thus it is now being represented through this image.

Armano Papageorge. 2016.

Concept 7. 6.21.

59

CONCEPT SKETCHES Primary Tiered Hillside

Flat Hillside Secondary Tiered Hillside South Island

Armano Papageorge. 2016.

Concept Sketches 1. 6.22.

61

Armano Papageorge. 2016.

Concept Sketches 2. 6.23.

63

07 YESTERDAY (Prelim)

Armano Papageorge. 2016.

7.01.

65

Armano Papageorge. 2016.

Site Plan. 7.24.

67

Armano Papageorge. 2016.

Atmospheric Section. 7.25.

69

Armano Papageorge. 2016.

Architectural Section. 7.26.

71

Armano Papageorge. 2016.

Perspective Section. 7.27.

Armano Papageorge. 2016.

Full Perspective. 7.28.

73

Armano Papageorge. 2016.

Interior Perspective. 7.29.

Armano Papageorge. 2016.

External Perspective. 7.30.

75

08 PROJECT REVIEW

Armano Papageorge. 2016.

8.01.

77

COMMENTS - For constructing the objective and aims begin with a problem statement and then aims. ‘Narrative’ and ‘ruins’ and ‘space elevator’ are three of your ‘objectives’.

- Why it is relevant?; articulate why creating a sense of ‘ruins’ helps you address a research problem; explain how the space elevator is an allegory relating to the research problem.

- The programme drawings do not represent the entire building, and the programme does not make much sense for this isolated site.

- The ravine element to the right is f too unresolved. Does the main intervention make the most sense visually in the gravel bed, or would it read more strongly on access with the terrace shelves?

- The image on page 11 would benefit from the machinery looking more recognisable in relation to what it might be able to do for the building (sustainable energy?).

- The plan needs context, especially since the relationship of an intervention to its context is the premise of this studio.

- Pages 7 and 8 would advance further if the seabed were more realistic and articulated, as well as the hillside. Don’t make the landscape cut line simply a generic curved line, when in fact the landscape is more sharp and rugged.

- The section ignores the incline of the hillside in these drawings, whereas on page 3 it completely acknowledged it. If you simply cut a straight vertical line down into hard solid rock, the building becomes a diagram, not architecture. Conceive the section as stepping down in tandem with the hillside.

- What is the contour beneath the gravel? If you had to build ON that contour, rather then dynamiting through it first, how might it inform the architecture and its section?

- The machine-like elements in the tower would become more convincing if they were drawn in ways that suggest a real application, such as solar energy gathering or other means of sustaining the building.

Daniel K. Brown. 2016.

REFLECTION Listed on the previous page are key comments that were made about my preliminary design, and will be heavily integrated with my developed design.

Firstly, I need to more firmly establish the problem and aims of my project that correlate with the theme of a space elevator, along with it’s allegorical program of solar collection. Why am I creating a ruin? how can the architecture further articulate these underlying themes?

Secondly, I need to create a more coherent relationship between the central architectural form and the ravine. Because I simply cut straight down within the hillside, whereas there is quite possible impossible to do. Perhaps if I left a minor building footprint to illustrate that this building has scarred the landscape,thus creating a much more subtle relationship between building and typography.

Thirdly, I need to further develop my programming and planning of the building. I do intend for this solar collection to be for the most part, automated, however it is important to consider the implication of each spatial arrangement for where people are able to inhabit.

Also, the machine like qualities of the central piece need to demand a more thought out definition. I need to establish what does what and how everything comes together.

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09

TOMORROW (Developed)

Armano Papageorge. 2016.

9.01.

81

Armano Papageorge. 2016.

Site Plan. 9.30.

83

GROUND FLOOR 1:500

Armano Papageorge. 2016.

Ground & Second Floor Plan. 9.31.

SECOND FLOOR 1:500

85

SIXTH FLOOR 1:500

Armano Papageorge. 2016.

Sixth & Ninth Floor Plan. 9.32.

NINTH FLOOR 1:500

87

Armano Papageorge. 2016.

Full Perspective. 9.33.

89

Armano Papageorge. 2016.

Section. 9.34.

91

Armano Papageorge. 2016.

Perspective Section. 9.35.

93

Armano Papageorge. 2016.

Submerged Approach. 9.36.

Armano Papageorge. 2016.

Emerged Departure. 9.37.

95

Armano Papageorge. 2016.

Circulation. 9.38.

Armano Papageorge. 2016.

Coupled Guardians. 9.39.

97

Armano Papageorge. 2016.

The Hillscape. 9.40.

Armano Papageorge. 2016.

The Plain. 9.41.

99

10 CONCLUSION & REFLECTION

Armano Papageorge. 2016.

10.01.

101

Developed Review Personally, I have found that my design has adequately solved that problems and objectives that I initially set. An architectural intervention was developed to respond to the global issue being currently faced by mankind. It has been composed through the science fiction narrative I procured, of which was to evoke a sense of ruin. The building was previously commissioned as a space elevator, it had to be abandoned due to economical issues, as of current it has been temporarily recommissioned as a solar collection facility, however there is the lingering notion of it having to once again continue as a space elevator. This current allegorical programme of a solar collection facility is automated, however the floors are occupiable but most commonly for maintenance purposes.

The building has responded within the dynamics presented by the site, in that certain aspects of the building acts as pivot points for the elongated masses to orientate to the South Island and across the hillscape.

Few comments were risen about the foundationing of the building. It was agreed upon that the ground would prove too difficult to dig into in order to supply the appropriate foundationing for a space elevator.

Hence I providing what would be a scarred footprint upon the land where. In doing this an interesting relationship formed from a sectioned perspective. There is a definitive contrast between the organic fluidity of the typography against the geometric rigidity of the architecture.

Overall Review This project has immense potential for further development. A specific area that I would be most inclined to develop would be the technological workings of the solar collection system. How would I have applied these solar panels to this half built space elevator? and how would I have architecturally represented the process of this solar collection from the solar panels, down through the main building, through the two masses acting as ‘power poles’, and finally to the urbanscape?

Although, the most important criteria to advance upon is the inevitable recommissioning of the space elevator, as Earth will not last forever and developing liveable environments within space is imperative to the survival of the human race.

How would this design look upon completion? How would the building be adequately anchored within the ground to enable a tether between the Earth and the Moon? What are the literal dimensional requirements for a real space elevator’s programming? And how and what will define a sound tether that can stretch the distance between the Earth and the Moon?

These are some of the questions that I would like to develop upon if I would further my research into this topic, as it is quite possibly the most logical option for surviving the Earth’s impending apocalypse.

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REFERENCES 01 Peter Schneider: The House at the End of Time: Douglas Darden’s Oxygen House. 26 May 2016.

02 JM SChivo & Partners. Da Vinci Tower. 12 June 2016, <http://divisare.com/projects/6830-jm-schivo-partners-da-vinci-tower> 03 Dillow, Clay. Chinese “Sun Dial”: World’s Biggest Solar Powered Building. 12 June 2016, < http://www.popsci.com/science/ article/2009-12/chinese-sun-dial-worlds-largest-solar-powered-office-building> 04

Blanche, Andrew. The Biggest Solar Furnace in the World. 12 June 2016. < http://www.techandfacts.com/the-biggest-solarfurnace-in-the-world/>.

06 Young, Liam. Under Tomorrow’s Sky. 2012. Web. 28 May 2016. <http://undertomorrowssky.liamyoung.org/>.

07

Fifteen, Factory. The Hives. 2013. Web. 10 June 2016. <http://thecreatorsproject.vice.com/blog/be-wowed-by-factoryfifteens-stunning-concept-art-for-upcoming-sci-fi-film>.

08 Jones, Mitchell. Stalker: Archive of Decay. 2012. Web. 2 June 2016. <http://cargocollective.com/danielkbrown/StalkerArchive-of-Decay>.

09

Daniel K. Brown. Preliminary Design Feedback. 2016. Web. 2 June 2016.

FIGURES 01

Papageorge, Armano. Site View. 22 April 2016. 12 May 2016.

02

Papageorge, Armano. Site 1. 24 April 2016. 12 May 2016.

03 Papageorge, Armano. Site 2. 24 April 2016. 12 May 2016.

04

Papageorge, Armano. Site 3. 21 April 2016. 12 May 2016.

05

Papageorge, Armano. Programme Analysis. 28 April 2016. 12 May 2016.

06 Young, Liam. Under Tomorrowâ&#x20AC;&#x2122;s Sky. 2012. Web. 28 May 2016. <http://undertomorrowssky.liamyoung.org/>.

07

Fifteen, Factory. The Hives. 2013. Web. 10 June 2016. <http://thecreatorsproject.vice.com/blog/be-wowed-by-factoryfifteens-stunning-concept-art-for-upcoming-sci-fi-film>.

08 Jones, Mitchell. Stalker: Archive of Decay. 2012. Web. 2 June 2016. <http://cargocollective.com/danielkbrown/StalkerArchive-of-Decay>.

09 Luscher, Jessica. Stillness and Motion. n.d. Web. 5 June 2016. <http://drawingarchitecture.tumblr.com/post/81783208855/ jessica-luscher-stillness-and-motion-wind>.

10 Lardi, Maria. Visiting the Science of Natural Oil. n.d. Web. 2 June 2016. <https://marialardi.com/2012/05/27/visiting-thescience-of-natural-oil-final-model/>.

11

Fetchell, John. n.d. Web. 28 May 2016. <http://johnfechtel.tumblr.com/>.

12 Gales, Jonathan. Megalomania. 7 March 2012. Web. 2 June 2016. <http://www.dezeen.com/2012/03/07/megalomaniaby-jonathan-gales/>.

13

Fernandez, Paddy. Saraben Academia. n.d. Web. 1 June 2016. < http://www.saraben-academia.com/2013/05/unit-jspaddy-fernandez-nominated-for.html>.

14 Bloch, Isae. Eragatory: Additive Manufacturing. n.d. Web. 30 May 2016. <http://eragatory.blogspot.co.nz/2011/11/additivemanufacturing-3d-printed.html>.

15

Papageorge, Armano. Concept 1. 20 April 2016. 12 May 2016.

16

Papageorge, Armano. Concept 2. 21 April 2016. 12 May 2016.

17 Papageorge, Armano. Concept 3. 22 April 2016. 12 May 2016.

18

Papageorge, Armano. Concept 4. 23 April 2016. 12 May 2016.

19

Papageorge, Armano. Concept 5. 24 April 2016. 12 May 2016.

20 Papageorge, Armano. Concept 6. 25 April 2016. 12 May 2016.

21 Papageorge, Armano. Concept 7. 26 April 2016. 12 May 2016.

22

Papageorge, Armano. Concept Sketches 1. 26 April 2016.

23

Papageorge, Armano. Concept Sketches 2. 27 April 2016.

24 Papageorge, Armano. Site Plan. 15 May 2016.

25

Papageorge, Armano. Atmospheric Section. 16 May 2016.

26

Papageorge, Armano. Architectural Section. 16 May 2016.

105

27 Papageorge, Armano. Full Perspective. 17 May 2016.

28

Papageorge, Armano. Interior Perspective . 18 May 2016.

29 Papageorge, Armano. External Perspective. 18 May 2016.

30

Papageorge, Armano. Site Plan. 15 June 2016.

31

Papageorge, Armano. Ground & Second Floor Plan. 15 June 2016.

32 Papageorge, Armano. Sixth & Ninth Floor. 16 June 2016.

33 Papageorge, Armano. Full Perspective. 16 June 2016.

34

Papageorge, Armano. Section . 16 June 2016.

35 Papageorge, Armano. Perspective Section. 16 June 2016.

36

Papageorge, Armano. Submerged Approach. 16 June 2016.

37

Papageorge, Armano. Emerged Departure. 16 June 2016.

38 Papageorge, Armano. Circulation. 16 June 2016.

39 Papageorge, Armano. Coupled Guardians. 16 June 2016.

40

Papageorge, Armano. The Hillscape. 16 June 2016.

41 Papageorge, Armano. The Plain. 16 June 2016.