STUDIO AIRS E M E S T E R O N E 2 0 15

N I C O L E T A N

JOURNAL

table of contents

INTRODUCTION

PART A: CONCEPTUALISATION

A.0 DESIGN FUTURING

A.1 DESIGN COMPUTATION

A.2 COMPOSITION AND GENERATION

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

A.5 APPENDIX - ALGORITHMIC SKETCHES

introduction

N I C O L E T A N

PART AC O N C E P T U A L I S A T I O N

design futuring

BLUR PAVILION

Through the Blur Pavilion, Diller and Scofidio push boundaries in the very creation and nature of architectural spaces. The pavilion is a suspended platform constantly encased in a cloud of fog created through the high pressure spraying of tiny droplets of water. Computers adjust the dynamics of the spray based on climatic conditions which result in the ‘cloud’ becoming a constantly changing mass.

The pavilion demonstrates the success of marrying architecture with structural and computational technologies to create an unprecedented architectural space. Its experience engages with social and psychological aspects of human behaviour, exploring notions of suspension and isolation, curiosity and fear. The successful construction of this pavilion is important in developing future possibilities for creating man-made ‘natural’ phenomenons and integrating these into our architectural and urban spaces. It becomes a testiment to design futuring as it truly demonstrates that design can be a world shaping force which alters both the physical and psycholgical reality of its users.

Fig.1 (BELOW): THE BLUR PAViLiON SEEN FROM ABOVE., ENCASED iN MYSTERY.

design futuring

LIGHT OF LIFE CHURCH

The Light of Life Church by korean studio shinslab iisac is truly a revolutionary (and radical) architectural space. The project was instigated by the protestant community in the area to create an every day space for prayer. Similar to the Blur Pavilion, this church succeeds in creating a unique, context specific experience, seperating the space from typical every day encounters. It offers an alternative to traditional typologies of ecclestical architecture and transforms it into another form which is just as ethereal and awe-inspiring. This contributes to architectural discourse by generating yet another approach to a desired design outcome.

The central circular chapel space sits under a dome consisting of 834 vertically positioned cedar trunks fixed onto a tensegrity steel structure (Figure 2). These were donated to the local pastor and utilised in such a manner to seem as if

the trees, or their legacy, is still alive. This delineated dome of tree trunks shows the ability of architecture to consistently improve and expand the pool of ideas in material and structural knowledge and use.

The circular seating arrangement also contrasts with traditional hierarchial church settings as it aims to emphasise the equality of men and women in the sacred space. This demonstrates architecture’s ability to shape socio-cultural norms through the use of subliminal motifs and symbols.

Thus, radical design stems not only from dreams but also from pluralism in design ideologies and values. Architects must work alongside members of other disciplines to build a new ‘design intelligence’. This will bring about positive changes and improvements in both architectural discourse and in the societal realm.

Fig.2 (OPPOSiTE TOP): HEMiSPHERiCAL DOME OF CEDAR TREE TRUNKS iLLUMiNATED BY LigHTFig. 3 (OPPOSiTE BOTTOM): CiRCULAR LAYOUT OF THE CHURCH