AIR_CLINTON_561297

Introduction

Studio AIR 2014/SM1 Land Art Generator Initiative

Who am I? I am Clinton Oh, a third year architecture major of University of Melbourne as of 2014.

My interest in designing and solving problems is what lead to me to engage with architecture. I am interested to see how the urban environment fit into the natural environment and how it is able to extend the quality of the environment as well as lifestyle of the users.

In my opinion architecture is about creating experience and express emotion in term of construction. In a way, architecture can be compared with a way of essay writing.

What I hope to learn from this subject? i had some experience in handling Rhino 3D in my first year subject, Virtual Communication which introduced me to the exploration of 3D modelling.

From the beginning of the subject, I was certain that I had limited knowledge and skill in Rhino 3D even though I had some experience in handling the software. Yet, it did not stop me from feeling excited and anticipated to learn Grasshopper.

In conclusion, I look forward to explore what computational tool can provide.

Part A Conceptualisation A.1 Design Futuring

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PART A: CONCEPTUALISATION A.1 DESIGN FUTURING

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Studio AIR 2014/SM1 Land Art Generator Initiative

A.1 Design Futuring

As finite being in a finite world, we are currently confronting defuturing of the unsustainability. There is significant damage inflicted towards nature by inconsiderate human activity generally for the past few decades. Environmental issues thus start to gain awareness as the effects become obvious and catastrophic. In our current situation, it is known that the relation between creation and destruction coexist in every joules of energy we harvest and consume and different field tend to focus on different aspect of the problem and fail to set a primary objective in order to resolve it.

However, what can we do as designers to rectify or improve the current situation? ‘we all design’ suggests that design is an act defined as a humanly ability that is able to prefigure our creation before realizing it .

But, this definition has been used literally to designers today and is considered very narrow. Fry suggest that we should put down our practices and understand the problems through communication not only within field but beyond to broaden our vision and further understand the complexity of the current situation.

In conjunction to the design industry, designers have failed to recognize and take responsibility for their quality of work (1). In other words, the ethics of design is underdeveloped and is even overlooked within design education. By recognizing the context of our work, we can ensure the future of our design as well as the sustainability of our finite beings.

Part A Conceptualisation A.1 Design Futuring

The lack of urgency also contributes to high uncertainty issues in complexity which result in the negligence of designers in the impact of their work.

However, the assurance of increasingly obvious symptoms of defuturing is definite and should be address seriously. Without information, it will be too late to rectify as massive loss will be definite.

Take for example, the rise of sea level caused by global warming due to greenhouse gas emission will increasingly take away Bangladesh bit by bit.

By 2100, there will be an estimated 500-750 million environmental refugees. This is just a small scale of the problem we are encountering. Therefore, urgency to resolve this problem should be addressed at utmost importance.

Therefore, design practices should be redefined and rearranged to make a difference to a far more sustainable planetary habitation. Architecture is commercialised in recent years as computational software is able to produce hundreds or even thousands of selection in short amount of time so user can just simply pick and incorporate into their work. This suggests that designers are too involved in styles and appearance which neglected the responsibility of the consequences of their design.

This can only be rectify through the prioritization of sustainability into the market.

It is important that we achieve a sustainable future as finite beings and should be constantly reminded and reinforced in design studies. Yet, the methodology behind it is still unclear and should be looked into and require more research.

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Studio AIR 2014/SM1 Land Art Generator Initiative

“I have two responsibilities as an ar to myself and be an artist of the utm responsibility is to be a really vigila society — by doing so we remain re

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Part A Conceptualisation A.1 Design Futuring

Studio AIR 2014/SM1 Land Art Generator Initiative

RMIT DESIGN HUB Architect: Location: Year:

Sean Godsell RMIT University, Melbourne 2012

The purpose of the design hub is to accommodate provide a comfortable working environment to researchers and facilitate high level exchange among users of different field.

The main attraction of the building is its large number of ecological sustainable development (ESD), primarily the automated photovoltaic cells which are incorporated in the facade.

This future possibilities is also extended through the allowance of an upgrade of technology in the future. In other words, the photovoltaic cells can be changed to improve the energy production and achieve sustainability.

Exteriorly, I don’t find it as appealing.

However, the very idea of photovoltaic panelling on the facade invoke curiosity of users as well as passersby. The interior open plan design contribute to the coincidental meeting of people from different field. occasional exhibition is worth mentioning as well as it also invite the public to participate which result in the exchange of idea.

rchitect: one is to be true most integrity ... The other ant and analytical observer of elevant to society.�

Sean Godsell

Part A Conceptualisation A.1 Design Futuring

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Studio AIR 2014/SM1 Land Art Generator Initiative

SOLARIS, SINGAPORE Architect: Location: Year:

T.R. Hamzah & Yeang International Singapore 2011

Main features of Solaris are the use of spiral ramps which extends from ground floor to the tallest tip of the building and the incorporation of roof gardens, corner sky terraces, solar shaft, naturally ventilated atrium, ground level public plaza and wide horizontal sun shading. This building has in corporated different methods to achieve sustainability.

The design of the facade is conceptualised through the understanding of the tropical climate of Singapore. Using this idea, sunlight is drawn into the building with the architect;s intent. Even though it does not incorporate any energy generating potential.

However, the existing elements on the building increases the overall performance.Starting with the roof gardens, it provide natural cooling to the building to reduce energy cost for cooling.

Rainwater harvesting is also a very important component due to the high quantity of rain in the tropical region and Hamzah & Yeang have achieve through large scale rainwater irrigation.

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Part A Conceptualisation A.1 Design Futuring

Studio AIR 2014/SM1 Land Art Generator Initiative

Fusionopolis, Singapore

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Part A Conceptualisation A.1 Design Futuring

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