Octaviano tristan journal 1 by TristanO

STUDIO AIR

2017, SEMESTER 1, TUTOR: MATTHEW TRISTAN OCTAVIANO

Table of Contents 4

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INTRODUCTION

I am Tristan Octaviano, a third year Bachelor of Environments (Architecture Major) student in the University of Melbourne. I took an interest in design and architecture mostly because of the freedom one has over the process and the outcome. There is no need to be afraid to make mistakes because I believe that there are no mistakes when it comes to designing. I am fascinated by the way architecture allows, and sometimes even forces us to be imaginative - even more exciting is the process of translating the ideas we come up with into paper and eventually into a physical, tangible form. Architects are creators, something which was once thought of as only the divine can achieve. Architecture allows me to create a significant impact on the world around us, not only visually but also in a way that would change how we think about design.

CONCEPTUALISATION

With technology becoming an integral part of architectural design, architects are becoming less limited with what they can achieve. This significant advancement should not only allow us to create more complex and extraordinary forms but also help us find ways to become more efficient - enabling us to make the most positive impact with the least amount of resources

Part A1: DESIGN FUTURING CONCEPTUALISATION

PRECEDENT PROJECT 1: The Burj Khalifa

Currently the world’s tallest building, the Burj Khalifa’s glass enclosed, steel structure stands at 828 metres (with the second tallest building in the world, The Shanghai Tower standing only at 632 metres). Designed by the firm Skidmore, Owings and Merrell, the skyscraper and its incredible height pushed the limits on what can be achieved with architecture, raising the bar and the standard for skyscraper design, engineering and construction. Its conception was a consequence of a combination of the rising trend of extravagancy and vanity in the UAE and its luxurious city of Dubai, being already filled with several modern skyscrapers and a manmade island and a drive to increase the amount of residential buildings within the city. The impressive scale of the building and the grandeur it adds to the city skyline came at the cost of an incredible amount of resources, using over 110,000 tonnes of concrete, 39,000 tonnes of steel rebar and over 26,000 glass panels with the overall cost going over 1.5 billion dollars1. The Burj Khalifa was seen as excessive, wasteful and unsustainable, driving the push towards more sustainable and environmentally cautious design, while on the other hand inspiring other clients to ask for even bigger and better.

The sheer scale and cost of the project drives “design futuring” in the opposite direction it should be heading in. Although the advancement in the integration of engineering and architectural design is quite significant (with the design being organically inspired by the Hymenocallis flower) designers should be looking towards making advancements in the sustain-ability of buildings and the construction of structures that have low demand from the environment. With its existence, the building physically embodies Fry’s idea of “destructive economic expansionism”1. Considering the amount of resources used to construct the Burj Khalifa, it serves as an example of what we should be mobilizing against, representing “design’s complicity in adding to the rapidly increasing impetus of the forces of unsustainability”2. For now, the Burj Khalifa stands both as a symbol of vanity and excessiveness (that quite hopefully forces architects to rethink design as a process), but also serves as a benchmark to be surpassed by even grander projects, with another skyscraper in the process of being constructed within Dubai, looking to exceed the height of the Burj Khalifa by another 100 metres.

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PRECEDENT PROJECT 2: CCTV Headquarters

CONCEPTUALISATION

The CCTV Building in Beijing, designed by Rem Koolhaas and Ole Scheeren of OMA, is a unique take on skyscraper design - essentially being two connected towers, both leaning at an angle from top to bottom, forming a Mobius loop. The building itself adds to another striking piece to the Beijing skyline but is also another example of how architects and engineers are pushing the boundaries with what is possible with the built form. The building’s cantilevered section requires the entire structure to be able to withstand a great amount of gravitational and other lateral forces, which brought about the need for the utilization of an external diagrid that distributes loads evenly across its surface. This also allows the building to withstand earthquakes up to a magnitude of 8.

The unique design of the building (which, along with other buildings constructed in the country’s construction boom) has prompted the president of China to address the “odd” shape of the structure and request an end to “weird architecture” in Chinese cities.1 The CCTV building exists today as another example of an advancement in architecture and engineering and as a reminder (even though it may not be welcomed by everyone) that we as designers are encouraged to think creatively, not only through aesthetic and structure but also on how can minimize our impact on the environment

CONCEPTUALISATION

Part A2: DESIGN COMPUTATION

CONCEPTUALISATION

â&#x20AC;&#x153; hat, then, is the use of computers for the process of design, which requires both rational and creative abilities, if they lack one of the two key ingredients needed to solve design problems?â&#x20AC;?1 1

CONCEPTUALISATION

PRECEDENT PROJECT 3: Beijing National Aquatics Center

CONCEPTUALISATION

Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent. Epeci imihilicae acchuctem medo, Catus fuit. Si siliae nocta, qua esiment ifecientem iu veric retorsulint nit vignaturitum Rompoteat re fecons C. La nercepost? Iferrioste, facepse es se essolud eressultuam dessi ia sa et venihicae ellarisus in Ita potanda ctoruntem strunt? Sedienemoves arium pulem inclute menatia equitiam nostruderum pliam mant quam terentil temei fortum in haliciemus ia? Abem, pra? Valarta ditus am imus nu que derevivere, Ti. Ubliae tus con dem is firmihina, verors apere ta, essena, furbes a tessesest? Cum iae publiis. Essilici estrist duciam ut const plibuntrum is audemus cre, consulv ivilnem P. con vere ate que etiur acri concupiortus hori proraec rentes clus, iam inpractumus, etius bon vilicaed clatiam tam. Bis, no. Quam res et aurem nuntilicae, nocum in ac te tem sen sente o culviris, qua remus oculica verrips, patifertes C. Fultodi ursulesimod mum paturis, numurnum omplicone confernihica nondem prit videt qui popublius escres constio nculium pulus escrit. Halaris opublicion Etrat. Maes vast niumed feridemque es? Nam quam inclus Ad pultus, demquem sen hoculinaris, oculto vit, egerten testam dis med confero niam Romnem vessena, elutur utem ordi silintea dienteme nem ducient fuidi, nos consum nium parissil huit nestis mere est vernicaesta ius la clarbit, consunt am, us, dum etortare

CONCEPTUALISATION

PRECEDENT PROJECT 4: Heydar-Aliyev Center

CONCEPTUALISATION

Part A3: COMPOSITION/GENERATION 16

CONCEPTUALISATION

PRECEDENT PROJECT 5: Guggenheim Museum

CONCEPTUALISATION

Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent.

Epeci imihilicae acchuctem medo, Catus fuit. Si siliae nocta, qua esiment ifecientem iu veric retorsulint nit vignaturitum Rompoteat re fecons C. La nercepost? Iferrioste, facepse es se essolud eressultuam dessi ia sa et venihicae ellarisus in Ita potanda ctoruntem strunt? Sedienemoves arium pulem inclute menatia equitiam nostruderum pliam mant quam terentil temei fortum in haliciemus ia? Abem, pra? Valarta ditus am imus nu que derevivere, Ti. Ubliae tus con dem is firmihina, verors apere ta, essena, furbes a tessesest? Cum iae publiis. Essilici estrist duciam ut const plibuntrum is audemus cre, consulv ivilnem P. con vere ate que etiur acri concupiortus hori proraec rentes clus, iam inpractumus, etius bon vilicaed clatiam tam.

Bis, no. Quam res et aurem nuntilicae, nocum in ac te tem sen sente o culviris, qua remus oculica verrips, patifertes C. Fultodi ursulesimod mum paturis, numurnum omplicone confernihica nondem prit videt qui popublius escres constio nculium pulus escrit. Halaris opublicion Etrat. Maes vast niumed feridemque es? Nam quam inclus Ad pultus, demquem sen hoculinaris, oculto vit, egerten testam dis med confero niam Romnem vessena, elutur utem ordi silintea dienteme nem ducient fuidi, nos consum nium parissil huit nestis mere est

CONCEPTUALISATION

PRECEDENT PROJECT 6: Lotus Temple

CONCEPTUALISATION

Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent.

CONCEPTUALISATION

PART A4: CONCLUSION

CONCEPTUALISATION

PART A5: LEARNING OUTCOMES

CONCEPTUALISATION

Part A6: APPENDIX

CONCEPTUALISATION