Journal Week 2

STUDIO AIR

JOURNAL JOSH BLASHKI_697827 SEMESTER 1_ 2016

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STUDIO AIR : JOURNAL Table of Contents 3 Introduction 4 A.1_Design_Futuring 4 CCTV_HEADQUATERS 6 SPANISH_PAVILION 8 A.2_Design_Computation 8 ICD | ITKE Research Pavilions

TUTOR_CAITLYN PARRY 2

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Josh Blashki - 2D MODELING AUTO-CAD - 3D MODELLING RHINO, SKETCH-UP - ADOBE SUITE PHOTOSHOP, ILLUSTRATOR, IN-DESIGN - 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 contributes 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 continuous ‘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 skyscrapers 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 load-bearing structure to the public.

FIG. 1 - SOURCE: ARCH DAILY - EXPLODED 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 arches, vaults, lattices and traceries, this pavilion 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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A.2_Design_Computation ICD | ITKE Research Pavilions ARCHITECTS: ICD/ ITKE University of Stuttgart Location: Universität Stuttgart, Keplerstraße 11, 70174 Stuttgart, Germany Years: 2010 + 2011 The advent of computing as a method of design has had a multi-faceted effect on architecture. Taking the 2010 and 2011 ICD/ITKE Research Paviliuons as micro examples, we may project methods used in these projects to consider the broader impact of computing on structural innovation, pushing geometric boundaries , material and fabrication efficiency.

The 2010 ICD/ITKE Pavilion demonstrates the way in which parametric design in conjuction with digital stress modelling can push structural boundaries. Using FEM simulation, the team were able to build a structure with a twelve meter span out of 6.5 millimetre thin birch plywood sheets.1

FIG. 1 - SOURCE : ICD - ICD/ITKE RESEARCH PAVILION 2010 - AERIAL VIEW

From a fabrication perspective, The 2011 Pavilion demonstrates full use of computing as a tool for efficient construction. Using ‘programmed routines’ a seven axis robot was used to cut ‘850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space.’ What this process enables is the reduction of manual labour hours and therefore enables an economic fabrication process. The University staff and students were able to put together the modular elements of the Pavilion themselves to complete the project.2 Furthermore, this pavilion is able to explore geometries and concepts of biology which previously may not have been possible without parametric design. 3 Perhaps a key aspect of computation design is therefore the expidited design and fabrication processes, as well as improved efficiency of material usage and a faster assembly.

1 “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

2 “ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=6553> [accessed 13 March 2016].

3 “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, ArchDaily, 2012 <http://www.archdaily.com/200685/icditke-researchpavilion-icd-itke-university-of-stuttgart> [accessed 13 March 2016].

FIG. 2 - SOURCE : ICD - INTERNAL PERSPECTIVE

FIG. 3 - SOURCE : ICD - PLYWOOD SHEETS DIAGRAM

FIG. 4 - SOURCE : ARCH DAILY - SEVEN AXIS ROBOT

FIG. 5 - SOURCE : ARCH DAILY - FINGER JOINTS

FIG. 6 - SOURCE : ARCH DAILY - ICD/ITKE RESEARCH PAVILION 2011 - INTERNAL VIEW

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