STUDIO AIR
JOURNAL JOSH BLASHKI_697827 SEMESTER 1_ 2016
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STUDIO AIR : JOURNAL Table of Contents 3窶オntroduction 4窶ア.1_Design_Futuring 4窶イCTV_HEADQUATERS 6窶ゴPANISH_PAVILION
TUTOR_CAITLYN PARRY 2
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Josh Blashki - 2D MODELING AUTOCAD - 3D MODELING RHINO, SKETCHUP - ADOBE SUITE PHOTOSHOP, ILLUSTRATOR, INDESIGN - DESIGN STUDIOS DESIGNING ENVIRONMENTS, STUDIO: EARTH
PHOTO: DAVID ZWIER
STUDIO: EARTH - HERRING ISLAND - ‘THE WOMB STUDIO AIR: JOURNAL
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A.1_Design_Futuring CCTV_HEADQUATERS ARCHITECT: OMA Location: Beijing, China Client: China Central Television (CCTV) Year: 2002 - 2012 The CCTV headquaters contributres to contemporary architectural discourse with both technical innovation and by challenging typical ideas of the skyscraper.1 According to OMA’s own website the ‘CCTV headquarters aims at an alternative to the exhausted typology of the skyscraper’. 2 Comprising of two L-shaped 50 storey towers connected by a 13-storey bridge, the building loops to create a continous ‘loop of interconnected activities’ 3 Thus, while OMA disengages with a skyscraper typology of ‘ultimate height’, they have reinvigorated an architectural discourse surrounding the possibilites around skyscrapers of the future.
FIG. 2 - SOURCE: ARCH DAILY - SECTION 01
On a more conceptual level, some have argued that the building has diverged from the common phallic typology of skyscrappers that permeate city skylines. Arguably, instead the building represents a more vaginal form, because it appears as an ‘O’ rather than an ‘I’.4 From an innovation and engineering perspective the building challenges standard contstruction techniques. ‘The building’s primary support is achieved through the irregular grid on its surface, a visible expression of the forces travelling through the tube structure; the smaller the diagonal pattern, the stronger the load and the greater the support.’5 This can be seen in Figure 4. Thus, an aesthetic statement is also made by exposing the building’s loadbearing structure to the public. FIG. 1 - SOURCE: ARCH DAILY - EXLODED STRUCTURAL DIAGRAM
1 “The Most Scandalous Skyscraper In Modern History”, Colorcoat-online.com, 2016 2 “CCTV – Headquarters”, OMA, 2016 <http://oma.eu/projects/ cctv-headquarters> [accessed 7 March 2016]` 3 “CCTV Headquarters / OMA”, ArchDaily, 2012 <http://www. archdaily.com/236175/cctv-headquarters-oma> [accessed 7 March 2016].
4 http://www.gizmodo.com.au/2013/11/a-briefhistory-of-buildings-that-look-like-vaginas/ 5 “China Central Television (CCTV) Headquarters | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.com, 2016W
FIG. 3 - SOURCE: WORDPRESS - CCTV RENDERING
FIG. 4 - SOURCE: ARCH DAILY - COLOUR CODED STRUCTURAL DIAGRAM
SPANISH_PAVILION ARCHITECT: Foreign Office Architects (FOA) Location: Haiki, Aichi, Japan Client: Spanish Society of International Exhibitions (SEEI) Year: 2005 Behind this geometric tessalating facade is the spanish social ideal of ‘cultural hybridisation’. Referencing arcches, vaults, lattices and traceries, this pavillion pays homage to a spanish lineage of Christian and Islamic architecture. 1 Tessalating hexagonal ceramic tiles form the exterior of this pavilion. Seemingly non-repetitive, these colour coded tiles therefore represent this ideal of ‘cultural hybridisation’.2 In this pavilion we see architectural language being used to engage in a social, cultural or even religious discourse. As well as this, there is a nationalistic overtone using variations of red and yellow for the ceramic tiles (the spanish flag). The key material, ceramic is also widespread in Spain.
FIG. 2 - PHOTO: SATORU MISHIMA - SHADDOWS
We also see this building engage in a discourse regarding the internal vs. external or inside vs. outside. The facade almost like a membrane which signifies a transitioning between spaces. This references Japanese ideas and therefore responds to it’s setting at the Expo AICHI. So not only does a transitioning between inside and outside occur, but also a transitioning between the east and the west.3 Ultimately, the Spanish Pavilion uses digital modeling and pattern generation to project political, nationalistic and religious ideas. Thus, we see algorithmic design becoming a tool of expression and facilitating architectural and broader discourses globally.
FIG. 1 - SOURCE : FOA - DETAIL: TESSELATING HEXAGONAL TILES 1 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016]. 2 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].
FIG. 3 - SOURCE : FOA - WEST ELEVATION 3 Invisible Architect, “Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan.”, Slideshare.net, 2014 <http://www.slideshare.net/kappa2007/spanishpavilion-expo-2005-haiki-aichi-japan> [accessed 7 March 2016].
FIG. 4 - SOURCE : FOA - SITE PLAN
FIG. 5 - PHOTO: SATORU MISHIMA - SPANISH PAVILION
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