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ARCH ITECTURAL

A I R2 0 1 4

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A BIT ABOUT A U D R E Y :BORN IN MELBOURNE.

THIRD YEAR ARCHITECTURE STUDENT. TRAVELLING FROM A YOUNG AGE AND HAVING A FAMILY WITHIN THE BUILDING INDUSTRY ENABLED ME TO GROW A PROFOUND FASCINATION AND RE-SPECT FOR ARCHITECTURE FROM A YOUNG AGE.

DESIGN IS MY PASSION: IT’S THE ONE THING THAT KEEPS ME SANE AND DRIVES ME CRAZY.

STEREOTYPICAL MELBOURNIAN: I WEAR ALL BLACK AND DRINK A LOT COFFEE.

STEREOTYPICAL ARCHITECTURE STUDENT: I WEAR ALL BLACK AND DRINK A LOT OF COFFEE.

THE LITTLE MONEY I HAVE IS PREDOMI-INATELY SPENT ON FINELINERS AND CIDER.

I SPEND TOO MUCH TIME IN FRANK TATE COMPUT-ER ROOMS AND UNDERNEATH THE TSUBU TREE.

“THE MOTHER ART IS ARCHITECTURE. WITH-OUT AN ARCHITECTURE OF OUR OWN WE HAVE NO SOUL OF OUR OWN CIVILIZATION”-FRANK LLOYD WRIGHT “I REFUSE TO WORK UNLESS I GET PAID. SO I DON’T GET A LOT OF WORK SOMETIMES.” -FRANK GHERY

“I PREFER DRAWING TO TALKNG. DRAWING IS FASTER, AND LEAVES LESS ROOM FOR LIES.”-LE CORBUSIER

“WELL, UM, ACTUALLY A PRETTY NICE LITTLE SAT-URDAY, WE’RE GOING TO GO TO HOME DEPOT. YEAH, BUY SOME WALLPAPER, MAYBE GET SOME FLOORING, STUFF LIKE THAT. MAYBE BED, BATH & BEYOND, I DON’T KNOW, I DON’T KNOW IF WE’LL HAVE ENOUGH TIME.” -WILL FERRELL

LAGI SITE 2014: REFSHALEØEN COPENHAGEN DENMARK

THIE 2014 LAND ART AND GENERATOR INITIATIVE (LAGI) IS BEING HELD IN THE EUROPEAN GREEN CAPITAL OF 2014, COPENHAGEN. THE SITE , REFSHALEØEN, WAS ONCE AN INDUSTRIAL AREA, WHICH IS NOW PRE-DICTED TO BE AN AREA FOR NEW DEVELOPMENT WITHIN THE CITY, INCLUDING RESIDENTIAL PROJECTS.

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DESIGN FUTURING: SUSTAINABILITY, ETHICS & PRACTICE.HUMANITY IS NOW FACING A CRITICAL POINT IN ITS EXISTENCE ON PLANET EARTH. THROUGH OUR UNSUSTAINABLE HABITS THROUGHOUT HISTORY OUR PLACE WITHIN THIS WORLD SEEMS MORE FINITE NOW THAN EVER. THE AMOUNT OF TIME WE HAVE LEFT ON EARTH IS DETERMINED BY HOW WE CHOOSE TO GO ON EXISTING FROM THIS POINT ONWARDS. DESIGN AND TECHNOLOGY CAN BE USED AS A SOLUTION FOR THIS PROBLEMAT-IC DILEMMA. LET’S TAKE BACK THE FU-TURE WE HAVE BEEN TAKING FROM.

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E N E R G Y

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K I N E T I C

E N E R G Y

ENERGY PRODUCED BY VERTICAL OR HORIIZONTAL MOVE-MENT/MOTION IS KINETIC ENERGY. FORMS OF KINET-IC ENERGY INCLUDE VIBRATIONAL, ROTATIONAL AND TRANSITIONAL.

KINETIC ENERGY: PAVEGEN SYSTEMS PAVER(IMAGE ABOVE): KINETIC ENERGY CREATED THROUGH PEOPLE MOVE-MENT. THE IMAGE ABOVE DISPLAYS A PAVEGEN TILE, WHICH PRODUCES RENEWABLE ENERGY EVERYTIME A PERSON STEPS ONTO THE TILE SUR-FACE. THIS TECHNOLOGY CONVERTS THE KINETIC ENERGY MADE FROM A HUMAN’S FOOTSTEP INTO ELEC-TRICITY WHICH CAN BE STORED AND ALSO USED FOR VARIOUS PURPOSES.

THESE PAVEGEN TILES ARE ABLE TO SEND WIRELESS DATA WHICH CAN BE USED FOR ELECTRONIC COM-MUNICATION CHARGING OF ELEC-TRICAL RESOURCES AND LIGHTING.

THE FLOORING UNIT OF THE TILE ITSELF IS MADE FROM 100% RE-CYCLED RUBBER, AS WELL AS THE BASE OF THE SLAB CONSIST-ING OF 80% RECYCLED MATERIALS.

THIS TECHNOLOGY ENABLES PEOPLE TO BOTH ENGAGE AND CONTRIBUTE TO SUSTAINABLE ENERGY SOLUTIONS.

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WHY WOULD KINETIC HUMAN ENERGY BE AP-PROPRIATE FOR THE LAGI SITE/DESIGN:

HUMANS HAVE BEEN THE PROBLEM. NOW, WE SHOULD MAKE HU-MANS THE SOLUTION.AS THE SITE IS PREDICTED TO BECOME A ZONE FOR NEW DEVELOPMENT, POPULATION INCREASE WITHIN THE AREA IS INNEVITBALE. THE DIESIGN CAN FUNCTION/PRODUCE ENERGY IN RELATION TO PEOPLE AT THE SITE. IF THERE IS NOBODY THERE, IT DOESN’T NEED TO FUNC-TION AND IF PEOPLE ARE THERE THE DESIGN SHALL FUNC-TION/PRODUCE ENERGY THROUGH HUMAN MOTION.

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SALK INSTITUTEARCHITECT: LOUIS KAHN

P R E C E D E N T

SALK INSTITUTE IS A PLACE WHERE CURES BEGIN. JUST LIKE DESIGNING, ARCHITECTURE AND LAGI, IT IS A HUMAN’S ACT OF PROBLEM SOLVING. SALK INSTITUTE IS ESSENTIALLY A PLACE FOR BIOLOGICAL STUDIES AS WELL AS AN ARCHITECTURAL GEM. THE SALK INSTITUTE WAS COMMIS-SIONED IN 1959 BY DR. JONAS SALK, THE INVENTOR OF POLIO VACCINE. SALK WORKED WITH ARHITECT LOUIS KAHN TO CREATE A PLACE THAT IS ‘MONUMENTAL AND SPIRITUALLY INSPIRING’. LOCATED IN LA JOLLA, CALIFORNIA, SALK INSTITUTE HAS A STRONG CONNECTION WITH ITS SUR-ROUNDING ENVIRONMENT THROUGH ITS FUNCTION AS A FACILITY AND ITS ARCHITECTURAL DESIGN INTENT AND CONSTRUCTION,. KAHN CREATED A SYMMETRICAL PLAN WITH THE ONE STRUCTURE MIRRORING ITSELF ACROSS FROM AN OPEN PLAZA. BOTH STRUCTURES CONSIST OF SIX STO-RIES, WITH THE FIRST THREE FLOORS CONTAINING LABORITORIES AND THE LAST THREE CON-TAINING UTITLITIES/SERVIES.LABORATORY SPACES ARE CONNECTED TO PROTRUDING TOWERS WHICH CONTAIN SPACES FOR INDIVIUAL WORK THROUGH BRIDGES. THE SEPERATION OF SPACES WAS DESIGNED BY KAHN TO PROVIDE ‘WARM AND TRANQUIL SETTINGS FOR CONCENTRATION.’THE DESIGN EMBRACES NATURE THROUGH THE AXIS OF SYMMETRY CREATED BY THE WA-TER FOUNTAIN WHICH RUNS PERPENDICULAR TO THE PACIFIC OCEAN AND DEPOSISTS WATER INTO A LOWER BASIN AS THOUGH IT IS AOPENING UP TO THE SEA. THE STRUCTURES THEM-SELVES CREATED A TYPE OF ARHITECTURAL TYPOLOGY, SEEMING AS THOUGH THEY ARE BUILT MOUNTAINS, SHAPING THE COAST AND BECOMING ONE WITH THE NATURAL LANDSCAPE. SALK INSTITUTE HAS PROVIDED SIGNIFICANT RESEARCH, TREATMENTS AND THERAPIES FOR MANY DISEASES SUCH AS CANCER, CARDIOVASCULAR DISORDERS, AIDS, ALZYMERS DIS-EASE, CARDIOVASCULAR DISORDERS , ANAMOLIES OF TH E BRAIN AND BIRTH DEFECTS. SLAK INSTITUTE IS THE EPITOME OF HUMANS CONNECTING TO NATURE AND TAKING CARE OF OUR FINITE LIVES AND SOCIETY THROUGH DESIGN AND PROBLEM SOLVING.

TAKE A PROBLEM AND USE IT TO FUEL A DESIGN.BEWILLING TO EXPRESS THE FLAWS OF SOCIETY THROUGH YOUR DESIGN AND EDUCATE PEOPLE THROUGH NOT ONLY YOUR SPACE BY KEEPING IN MIND THE SPACE IN WHICH IT LIES WITHIN-THE SPACE OF THE EARTH. THE SKY OFFERS INFI-NITE POSSIBILITIES FOR A FINITE SOCIETY. STOP TAKING FROM THE EARTH WHILST ALSO TAK-ING BACK OUR FUTURE. BE IN-NOVATIVE. BE SUSTAINABLE.TIME TO CREATE.

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F R E S H K I L L ’ S P A R K ’ S N E W ( Y O R K ) S K Y : 2012 LAGI COMPETITION ENTRY

PAUL ADAIR AND JOHN YURCHYLK WANTED TO ADDRESS THE CURRENT GLOBAL PROBLEMAT-IC SITUATION THAT IS THE DECAY OF EARTH’S ENVIRONMENT. THE PAIR ESSENTIALLY EXPRESSED THE IR CONCERNS OF URBAN SOCIETY AND DECIEVED PERCEPTION OF NATURE AND THE PLANET THAT CAN OCCUR WITHIN DENSLY POPULATED AREAS. THEREFORE, IN ORDER FOR THIS TO BE CHANGED, AND FOR A GROWTH IN KNOWELDGE AND UNDERSTANIDING IN THE DEFUTURING OF CURRENT SOCIETY DESIGN AND TECHNOLOGY CAN ACT AS A PROBLEM SOLVER. FOCUSING ON THE POLLUTED NEW YORK SKY, ADAIR AND YURCHYK CREATED THEIR OWN ARTIFICIAL SKY TO REFLECT TO VISITORS OF THE PARK THE BEAUTY AND AWE OF THE SPACE THEY ARE WITHIN AS WELL AS THE SPACES BEYOND THEIR REACH. IN ORDER TO DO THIS, NREW (YORK) SKY TAKES A MAP OF THE STARS OVER FRESHKILL’S LANDFILL THE NIGHT AFTER THE LANDFILL WAS OFFI-CIALLY CLOSED AND SUSPENDS THIS IMAGE OVER THE SITE AT A MASS SCALE. THIS SUSPENDED FALSE SKY CREATES A PARK SPACE THAT IS OPEN TWENTY-FOUR HOURS IN ORDER TO EXPERIENCE THE LIGHTING AT ALL TIMES OF THE DAY/NIGHT TO CREATE A WHIMSICAL AND RARE EXPERIENCE.

SOLAR SALT WATER POND A HIGHLY SALINE BODY OF WATER DIVIDES ITSELF INTO THREE LAYERS OF SALINITY. THE TOP LAYER IS OF LOW SALINITY WHILST THE BOTTOM LAYER IS OF HIGH SALINITY, WHILST THE MID-DLE LAYER IS NATURALLY AN INTERMEDIATE INSULATING LAYER THAT PREVENTS THE FORMATION OF A HEAT EXCHANGE CONVECTION CYCLE.HOWEVER, WHEN EXPOSED TO SOLAR RADIATION, HEAT IS TRAPPED WITHIN THE BOTTOM LAYER OF THE POND WHERE TEMPERATURES CAN REACH CLOSE TO 100 DEGREES CELSIUS WHILE WATER AT THE TOP SURFACE IS THIRTY DEGREES.HEAT TRAPPED AT THE BOTTOM OF A SOLAR SALT WATER POND ARE GENERALLY HARNESSED TO POW-ER AN ORGANIC RANKINE CYCLE TURBINE OR A STIRLING ENGINE. BOTH THE CYCLE TURBINE AND THE STIRLING ENGINE MAY BE USED TO CONVERT HEAT INTO ELECTRICITY ELIMINATING THE NEED FOR STEAM. WATER IS PIPED TO AN EVAPORATOR COIL VIA THE ORGANIC RANKINE CYCLE. THIS HEATS A LOW-BOILING-POINT FLUIID TO PRESSURISED VAPOR, THUS FUELING THE TURBINE. THE VAPOUR IS THEN PASSED THROUGH TO A CONDERSOR FROM WHICH WATER FROM THE TOP LAYER OF THE SALTWATER POND IS USED TO COOL TH FLUID BACK INTO A LIQUID FORM. THE LIQUID IS THEN PUMPED BACK TO THE EVAPORATPOR WITH ENERGY FROM A PV-PANEL LOCATED ON-SITE.

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SOLAR SALT WATER POND WHY A SOLAR SALT WATER POND?

SEEING THAT THE CURRENT LAGI COMPETITION SITE IS SURROUNDED BY WATER IT SEEMS ALMOST NEC-ESSARY TO USE IT AS AN EFFICIENT AND SUSTAINABLE ENERGY SOURCE.

A SLOAR POND OF SOME SORT MAY BE CREATED TO NOT ONLY PRODUCE ENERGY BUT TO ALSO STIMULATE AND CREATE AN EXCITING AND TECH-NOLOGIC CONTEMPORARY DESIGN.

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SOLAR BATHS LAGI 2012 P R O J E C T :“STEW IN THE HEAT OF YOUR OWN TRASH”

LOCTATED AT FRESHKILLS LANDFILL/PARK, THESE SOLAR PATHS MAKE BOTH AN EN-VIORNMENTAL AND DESIGN STATEMENT THROUGH THEIR FUNCTION AND EXECUTUION. THE SALT WATER PONDS LOCATED AT THE SOUTHERN END OF THE SITE CAPTURE AND STORAGE HEAT RADIATED DIRECTLY FROM THE SUN AND THE SURROUND-ING LANDFILL AREA ITSELF. EACH SOLAR POND IS LINKED TO A SOLAR CHIM-NEY THAT EXTRACTS THE HEAT FROM THE PONDS CONVERTING IT INTO ELEC-TRICITY. THIS THEREFORE CONTROLS THE TEMPERATURE OF THE SOLAR BATHS.

THIS PROJECT MAKES A STRONG ENVIRONMENTAL STATEMENT BY INVITING NEWY-ORKERS TO COME AND BATH IN THE STEW OF THEIR OWN TRASH. THIS IS SUS-TAINABLE, INNOVATIVE AND ALSO SOMEWHAT A MOCKERY OF URBAN SOCIETY. THE DESIGN ITSELF HAS A STRONG CONNECTION TO THE LAND-SCAPE THROUGH ITS FORM CREATING A NEW KIND OF TOPOGRA-PHY WITHIN THE SITE, OPENING UP TO THE LANDSCAPE THROUGH THE USE OF WATER BATHS CONNECTED TO THE SALTWATER POND.

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THE HEYDAR ALIYEV CENTER

ARCHITECT: ZAHA HADID

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HEYDAR ALIYEV CULTURAL CENTRE, LOCATED IN BAKU, AZERBAIJAN IS A MULTI-PURPOSE VENUE CON-TAINING A CONFERENCE HALL, LIBRARY AND MUSEUM. THE STRUCTURE IS SYMBOLIC OF A CULTURAL SHIFT AWAY FROM THE COUNTRY'S SOVIET-DOMINATED PAST AND GROWING ITS OWN NATIONAL IDENTITY. ZAHA HADID'S BUILDINGS EXEMPLIFY HOW TECHNOLOGY INFLUENCES CONTEMPORARY DESIGN AND ITS PROCESSES. THIS DYNAMIC, SINGLE-CURVE PARAMETRIC FORM REPRESENTS THE INFI-NITE GEOMETRIC AND LINEAR POSSIBILITIES COMPUTATIONAL DESIGN ALLOWS, AND EVEN MORE IMPORTANTLY HOW SUCH A COMPLEX CURVATURE FORM MAY BE CONSTRUCTED. THIS BUILDING CREATES A WAVE-LIKE OR TOPOGRAPHIC EFFECT RISING AND LOWERING TO CREATE A RANGE OF VOLUMES AND MASS WITHIN THE A SMOOTH, UNCOMPROMISING STRUCTURE. EXPRESSIVE FREE-DOM IN DESIGN TRIGGERS A CONTEMPORARY CULTURAL ARCHITECTURAL ‘TYPE’-THAT IS FREE-DOM OF FORM ENABLES STRUCTURES TO FLOW AND ALMOST FLOAT WITHIN THEIR ENVIRONMENT.

MATHEMATICAL, ALGORITHMIC, PARAMETRIC AND LOGICAL DESIGN.

WITH THE RAPID PROGRESSION OF TECHNOLOGIC INFLUENCE ON CONTEMPORARY SOCIETY AND THE WAY IN WHICH THE WORLD IS PERCEIVED, INTERACTED WITH AND DESIGNED IS EVER TRANS-FORMING. ACCOMPANYING THIS ADVANCEMENT OF TECHNOLOGY WE AS BEINGS ARE SIMULTANE-OUSLY CREATING AND SOLVING DYNAMIC AND PROBLEMATIC OCCURRENCES WITHIN OUR ENVIRON-MENTAL SPHERE. AS A CONSEQUENCE OF ANY CHANGE, IT IS NATURAL TO QUESTION WHETHER IT BE OF GREATER BENEFIT OR OF GREATER DETRIMENT TO OURSELVES AND THE WORLD AS WE KNOW IT. THUS, WITH THE FURTHERANCE OF TECHNOLOGY AND ITS IMPACT ON DESIGN AND THE GLOBAL DESIGNING COMMUNITY, IT'S NATURAL AND ESSENTIAL TO DELVE DEEPER INTO ITS IMPACT ON CREATIVE MINDS AND PROCESS, THE RESULTS OF SUCH AND IT'S INFLUENCE ON ALL CREA-TURES AND MOTHER NATURE. THESE INQUISITIONS INCLUDE: HOW DOES COMPUTING AFFECT THE DESIGN PROCESS? WHAT ARE THE ONGOING AND INCOMING CHANGES WITHIN DESIGN AND CON-STRUCTION INDUSTRIES? HOW DOES COMPUTATION IMPACT ON THE RANGE OF CONCEIVABLE AND ACHIEVABLE GEOMETRIES? WHAT DOES COMPUTATION CONTRIBUTE TO EVIDENCE AND PERFOR-MANCE ORIENTED DESIGN? WHAT UNIQUE OPPORTUNITIES AND INNOVATIONS DOES COMPUTATION REPRESENT AND HOW DO THESE CONCEPTS RELATE TO PRECEDING ARCHITECTURAL THEORY?

THROUGH COMPUTING DESIGNING HAS EVOLVED DRAMATICALLY AND CONTINUES TO DO SO ON SOMEWHAT OF AN INFINITE SCALE. ARCHITECTURAL DESIGN IS A FORM OF PROBLEM SOLVING. THAT IS, DESIGNERS USE A PROBLEM TO CREATE A DESIGN SOLUTION THROUGH FRAMING RESTRICTIONS AND RESTRAINTS IN AN APPROACHABLE AND UNRAVELING MANNER. COMPUTERS ARE THEREFORE AN INDISPENSABLE RESOURCE TO HAVE AS THEY ARE A MEANS OF LOGICAL RESOURCES AND ENDLESS POSSIBILITIES. CREATIVE PROCESSING HAS BECOME LARGELY DRIVEN BY DIGITAL MEANS CHARACTERISED BY DYNAMIC, OPEN ENDED, RELIANT YET UNPREDICTABLE POSSIBILITIES. THREE-DIMENSIONAL EXPLORATION WITHIN COMPUTATIONAL DESIGN HAS OPENED PERPETUAL OPPOR-TUNITIES THROUGH THE ABILITY TO NOW, MORE THAN EVER, EXPERIMENT WITH GEOMETRY WITHIN ARCHITECTURAL DESIGN. THEREFORE THERE HAS BEEN A SIGNIFICANT SHIFT FROM TRADITIONAL MONOLITHIC OBJECTS TO NEW ENDLESS SCALED COMPONENTS AS WELL AS FROM COMPOSITION-AL AND REPRESENTATIONAL THEORIES, MEANING NEW GENERATIONS OF LEARNING ARCHITECTS ARE RELYING UPON ALGORITHMIC AND RESEARCH BASED EXPERIMENTAL DESIGNS AND PROCESS-ES. PARAMETRIC CURVES AND SURFACES HAVE INTRODUCED A NEW WORLD OF FORM AND FORM COMPLEXITY THROUGH PROGRAMMING SUCH AS CAD. WITH COMPUTATIONAL DESIGN CONSTANT-LY CHANGING AND DEVELOPING SO RAPIDLY ARCHITECTS ARE CONSTANTLY PUSHED TO INDEFINITE LIMITS CAUSING AN ONGOING PROCESS OF TRIAL AND ERROR. THEREFORE, NOW MORE THAN EVER, ARCHITECTS ARE CONTINUALLY LEARNING AND RE-LEARNING NEW DESIGN APPROACHES.

R E F L E C T I O N :TECHNOLGY & DESIGN.

E X P L O R E

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TECHNOLOGY HAS MERGED A MULTIDISCIPLINARY APPROACH TO DESIGN MORE SO THAN EVER BEFORE. THERE IS NOW A PROFOUND OVERLAP OF DESIGN, SCIENCE, MATHS, TECHNOL-OGY AND ARCHITECTURAL CULTURE. THIS HAS PUSHED A MORE LOGICAL APPROACH TO DE-SIGN PRACTISE AND ARCHITECTURAL FORM, BASED ON INTUITIVE RESEARCH OF DATA. A MUL-TIDISCIPLINARY AND COMPUTATIONAL APPROACH TOWARDS ARCHITECTURAL PROCESSING AND DESIGN HAS INEVITABLY CHANGED CONSTRUCTION METHODOLOGY, CAPABILITIES AND ITS INDUSTRY OVERALL. TECHNOLOGY IS ACCOMPANIED BY AN INCREASE IN SPEED IN WHATEVER IT IS USED FOR, MAKING THE DESIGN AND CONSTRUCTION OF ARCHITECTURE A FASTER PRO-CESS. IN MANY WAYS COMPUTATIONAL DESIGN HAS CREATED A RENEWAL OF THE HISTORI-CAL ROLE OF THE ARCHITECT AS THE “MASTER BUILDER” THROUGH KNOWLEDGE GAINED WITH THE ABILITY TO DESIGN WITHIN A DIGITAL AND MATERIAL DOMAIN. BY DOING SO A STRENGTH-ENING OF MULTIDISCIPLINARY RELATIONSHIPS AND COLLABORATIVE DESIGN IS EVIDENT, SUCH AS THE INTERCONNECTION BETWEEN THE STRUCTURAL ENGINEER AND THE ARCHITECT.

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INDEED SUCH TECHNOLOGIC ADVANCES ARE EVER EXPANDING OUR KNOWLEDGE OF DESIGN AND OUR SOCIETY IN GENERAL. HOWEVER, IT'S IMPORTANT TO NOTE THAT, IN MY OPINION, THERE IS A CERTAIN QUALITY, OR SOUL THAT CAN ONLY BE PRODUCED BY HAND. AS REALISTIC AND CLEAR, A COMPUTATIONAL APPROACH, IN TERMS OF PROCESSING, DESIGN AND COMMUNICATION IS, IT CAN LACK A CERTAIN WARMTH. YES IT WOULD OF COURSE BE FOOLISH TO NOT CONTINUE TO EXPAND AND DEVELOP TECHNOLOGY AND THE OPPORTUNITIES IT PROVIDES, HOWEVER, IT WOULD BE EVEN MORE FOOLISH TO FORGET HOW TO USE OUR OWN HANDS TO CREATE. FOR ME PERSONALLY, AS PHENOMENAL AND USEFUL IT IS TO USE COMPUTATIONAL DESIGN IT LACKS THE SAME CONNEC-TION I GET FROM PEN TO PAPER, FOR ME THERE IS A GAP BETWEEN MY THOUGHTS AND THE COM-PUTER SCREEN. THIS CONNECTION WILL INDEED DEVELOP FURTHER THROUGH MORE PRACTICE WITH CAD PROGRAMMING, BUT THERE IS A CERTAIN GIFT THAT COMES WITH DRAWING, AND IT'S A SHAME IN A SENSE THAT THIS TALENT IS BEING LOST, OR NOT AS ESSENTIAL WITHIN THE TECHNO-LOGIC WORLD. COMPUTERS THEMSELVES AS A DEVICE, JUST AS ANY TECHNOLOGIC DEVICE, LACK CREATIVITY AND INTUITION WITHOUT THE INPUT OF A NATURAL SOURCE, WHETHER IT BE HUMANS OR NATURE ITSELF. THERE IS ALSO A SENSE OF IRONY IN THE CONTEMPORARY ATTEMPT TO DEFU-TURISE SOCIETY, AND INVEST IN A SUSTAINABLE APPROACH TO HUMAN LIFE AND DESIGN THROUGH TECHNOLOGY, AS HISTORICALLY SPEAKING, IT'S THROUGH HUMANS TECHNOLOGIC ADVANCEMENT THAT WE HAVE DISCONNECTED OURSELVES FROM THE ENVIRONMENT AND CAUSED HARM TO THE NATURAL WORLD. ON THE OTHER HAND, I FIND IT QUITE INNOVATIVE AND CLEVER TO PUT A SPIN ON WHAT IS DAMAGING THE ENVIRONMENT TO HELP MEND IT: THE PROBLEM BECOMES THE SOLUTION. COMPUTATIONAL DESIGN AND THE TECHNOLOGIC WORLD PROVIDE INFINITE POSSIBILITIES AND ARE CONTINUALLY ENABLING DESIGNERS TO EXPLORE AND EXPAND THEIR KNOWLEDGE AND APPROACH TO PROCESSING AND FINAL FORM AND CONSTRUCTED BUILDINGS. THE GROWING MULTIDISCI-PLINARY APPROACH TO DESIGN IS KEY TO A PROGRESSIVE AND EFFICIENT WAY OF PRODUCING AR-CHITECTURE AND ALSO TO SUSTAIN THE WORLD ITSELF. I JUST HOPE THAT WITH THIS ADVANCEMENT WE CAN SIMULTANEOUSLY TREASURE AND MAKE USE OF OLD METHODS, ESPECIALLY DRAWING.

“ J Ü R G E N MAYER H.'S SCULPTURE IN AN UN-BUILT CITY”

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30 METRE SCULPTURE COMPLETED IN 2012 BY JÜRGEN MAYER H. IN LAZIKA, THE SITE OF A PROPOSED CITY WITHIN THE REPUBLIC OF GEORGIA. LOCATED AT THE END OF A PIER, AND VISIBLE FROM A DISTANCE ALONG THE COAST OF THE BLACK SEA THIS SCULPTURE STANDS TALL AND PROUD OF CONTEMPORARY VOLUMETRIC & CURVATURE DESIGN. MADE FROM IN-TERLACING STEEL SHEETS, THIS PIECE REPRESENTS THE INFINITE AND INTRICATE POSSIBILITIES OF FORM THROUGH COMPUTATIONAL DESIGN. THE CURVES OF THIS SCULPTURE ARE FUR-THER ACCENTUATED AT NIGHT THROUGH THE USE OF SPOTLIGHTS, WHICH ALSO WOULD CRE-ATE A CONNECTION TO THE STARS IN THE NIGHT SKY. DESPITE ITS BOLD AND DISTINCT FORM, THIS SCULPTURE, BY DAY AND BY NIGHT, IS INTERTWINNED IN A HOMOGENEOUS RELATIONSHIP WITH THE INFINITE AND DYNAMIC LINES, CURVES AND FORMS OF NATURE, THIS ESPECIALLY BE-ING THE SEA, SKY AND COAST. CONTEMPORARY DESIGN IN HARMONY WITH AGELESS NATURE .