problem
exp
space volume
exp
2
spatial programming
exp
3
evolution diagram
1
problem
exp
space volume
skin
exp
2
spatial programming
exp
3
evolution diagram
1
problem
precedent
space
exp
1
volume Gesamtkunstwerk
structure
exp
enclosure
2
spatial programming craft
exp
3
evolution diagram
Experiment three Using the free, exploratory nature of 3D Studio Max, we will investigate the manifestation of skin, to clad these bodies Craft – expression-Gesamtkunstwerk enclosure
Skin = Juhani Pallasma’s haptic understanding of skin Enclosure = container, resolution, gesamtkunstwerk
Insert characteristics
REOW
User - Tourist
(November, 2009, http://corporate.tourism.nsw.gov.au/Sydney_Tourism_Statistics_p924.aspx)
Travel to Sydney Total Visitors Total nights -domestic nights -international nights Total expenditure
25.5 million 71.3 million 26.8% 73.2% $11.5 billion
Digital Architecture is perceived by many to have removed the element of craft.
“Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object.” “The ocular bias has never been more apparent in the art of architecture than in the past 30 years…architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products detached from existential depth and sincerity.” Juhani Pallasma Eyes of the Skin
“In the context of architecture, the notion of craft has connotations of a regressive utopia, and is often regarded as an opposing force against latest technologies.� Elif Kendir, Promoting Craft in the Practice of Architecture, 2009
Craft; make by hand with great skill
How can the notion of craft be reinstalled in Digital Architecture?
Giovanni Piranesi was born and trained in Venice as an engineer and architect. Concentrating his efforts in archaeology and architecture ideals, he was famous for his poetic views of Rome and also his fantastic imaginative interiors.
Giovanni Battista Piranesi Palace interior: two flying Fames crowning a figure Before 1750
Piranesi's romanticized views and imaginary interiors had a profound effect on architectural imagination providing stimulus for conceptual architectural spaces throughout history.
The Prisons (Carceri d'invenzione or 'Imaginary Prisons'), is a series of 16 prints, an architectural visualisation that shows enormous subterranean vaults, stairs and mighty machines. In the 21st century these works have influenced Romanticism and Surrealism.
Giovanni Battista Piranesi The Gothic Arch, published 1749/1750 W.G. Russell Allen, Ailsa Mellon Bruce, Lessing J. Rosenwald, and Pepita Milmore Funds 1976.35.12
In popular culture Piranesi has influenced the imagination of digital designers, his sketches were the inspiration of the PlayStation 2 game ICO set entirely within a vast castle. The developers used digital camera angles to recreate the perspectives in Piranesi’s work to create a high level of immersion. Subsequently, ICO is listed on several overall top game lists, and is often considered a form of art, even as a video game.
Surrealist images evoking the imagination
Archigram ideas of the future
Accounts of digital architecture need to move beyond the promotion of a nostalgia for the future
Our experiment aims to provide an idea of the future but based on the abstraction of precedent building and the introduction of craft.
Vitruvius’ principles provide an anchor for our digital experimentation;
Precedent – Meaning – spatial programming diagram Structure – System – volume evolution Precedent
Craft – Gesamtkunstwerk enclosure
The frame structure is influenced by the composition of the masses, yet independent. The grid truss system becomes more abstract and triangulated as it reaches higher.
The slender quality of the members creates a more dynamic articulation, suggesting a more haunting fragility, as the structure moves and reaches higher there is a perception of struggle and contortion.
Negative space the solidification of the individual structure competes with the box structure; the dynamic focal point is the space in between.
Static dynamic The abstraction of the grid form adds to the dynamic quality of the structure. Like limbs of a spider the linear members are strong yet simultaneously fragile and calculative.
The perimeter of the shape is articulated but there is a sense of void. The irregular openings deconstruct the grid, allowing the masses to escape.
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The form carries a real sense of height and a spire peak. The masses become the foundation work and the linear members extend from the structure. The coupled structures are interrelated, possessing individual characteristics of which each other require.
Like the dorsal fin of a predator there is a sense of movement and flow as the mass slices between the rippling truss structure.
The dynamic but regulated grid becomes unsystematic and unbalanced suggestive of force and brutality; like the open flesh of an animal being eaten by a hunter it becomes the focal point.
the perception of an original shape is apparent however, there is no sense of symmetry, the masses are escaping the grip of the linear members distinguishable yet engulfed. The dent has a directional pull and interaction with the masses.
Create a sense of entry The engulfing linear members part in a way to suggest an opening as the mass is revealed. The mass has an endearing quality like a harmless creature seeking refuge from an aggressive force.
The exterior is savagely beaten in a psychotic rage. The entrails spill outwards, crudely displayed.
The form is destructed beyond recognition, the predator has won.
The oversized structure supports the hanging boxes suspending them in the air. Multiplicity suggests the building should be a collection of uniquely sized, asymmetrical colourful forms that create an exclusive dialogue amongst themselves.
Framing the sky – The lightweight deformed lattice cantilevers across the landscape as if defying gravity, while the supports are rigid mass blocks cast into the ground, strengthening the contrast between structure and skin, reality (order) and the surreal (chaos). The grand framing of the sky between the blocks suggests a formal public plaza.
The building is avante-garde architecture; like haute couture it is not able to be imitated or reproduced, rather it floats across the landscape as an exclusive, crafted sky object. Its sharp, jagged elements highlight horizontality and suggest connections; circulation ramps or stairs might be concealed in their interiors, the highest alluding to a spire that might be an accessible vantage point for the tourist.
The skin is stretching away from its constraints, igniting a tension between the surface and the body and a focus on the space inbetween the two; this is the ‘dangerous’ unclaimed space.
The form is so heavily abstracted through colour, light and shape as if to be imaginary; an artist’s impression. The building warps reality and transcends our expectation of what is a tower. Instead of a singular form, it is fragmented horizontally.
This shot emphasises entry and opening, through the piercing of the skin. The skin is wrenched inward and under, creating a Mysterious and anticipated ingress, that contrasts with the otherwise stagnant surface.
This shot emphasises entry and opening, through the piercing of the skin. The skin is wrenched inward and under, creating a Mysterious and anticipated ingress, that contrasts with the otherwise stagnant surface.
The predator encloses its prey; a sense of confinement occurs from the forceful weaving of the skin. The experience beneath the skin evokes the supremacy of the building as one’s eyes are drawn upward to the dynamically crossed members.
The predator encloses its prey; a sense of confinement occurs from the forceful weaving of the skin. The experience beneath the skin evokes the supremacy of the building as one’s eyes are drawn upward to the dynamically crossed members.
This model represents balance or equilibrium, achieved through the circular, continuous symmetry. It is the contrast of external and internal. The external continuous form shields the internal open space, and suggests an ethereal quality, a focal point.
The regular grid surface launches into the space, challenging the orthogonal while articulating a fragmentation of the larger space
Object and shadow are interchangeable and what is real and what is imagination are undefined in this image.
Similarly, object and shadow are interchangeable. The perception of two dimensional and three dimensional are unclear
Bringing an idea from each of these form studies, to inspire the final innovate digital form
conclusion Our experiments together form a digital design instrument anchored in a theoretical and metaphorical context
structure
prey
precedent craft predator
problem
precedent
space
exp
1
volume Gesamtkunstwerk
structure
exp
enclosure
2
spatial programming craft
exp
3
evolution diagram