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Estonian Academy of the Arts (comp)
Estonian Academy of the Arts (comp)
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Estonian Academy of the Arts (comp)
Type
In the past decade architectural design has become
increasingly reliant on the limited form-making tools offered in standardized
architectural software packages. Recent
projects from Gage / Clemenceau Architects, such as this competition entry for
the EstonianAcademy of the Arts, have actively
researched the digital tools used in distant design disciplines in an attempt
to move beyond normally unchallenged design boundaries within the architectural
profession.
The facades, apertures, and large courtyard manifold
openings of this project were designed using the software package Alias Studio,
which is typically used for automotive design.
By creating an experimental alliance with the software manufacturer,
Autodesk, we misused the software with the express purpose of cross-pollinating
automotive and architectural design tactics.
Instead of relying on platonic geometries which typically guide
architectural design decisions, the facade of the Estonian Academy of the Arts
is entirely, and tautly, wrapped in what the automotive industry refers to
as “Class-A” surfaces—surfaces which
produce the maximum aesthetic effect with a minimum of mathematical
description. The building contains both
purely aesthetic fluid ripples and contours, as well as performative scoops,
tunnels and vents that funnel fresh air to all areas of the building—from the
lobby to the interior courtyard, to the 5th floor central manifold featured in
the center of the overall composition.
A large-scale prototype panel was constructed of the
centralized section of the building in order to view these surface-based
geometries at a larger, architectural scale. To be more specific, automotive
design is largely based on the placement of “break lines,”— the folds in panels
which reach along the side of a car from the front to the back. The portion of
the panel above the break line reflects the sky; the portion below it reflects
the road. Careful curation of the break
lines, therefore, allows car designers to capitalize on the relation between
the viewer, the object, the ground and the sky— which is a problem normally
specific to architecture, and generally solved through massing.
This problem was addressed more specifically in the
prototype panel, which was produced to research how a logic of break lines and
reflection might produce a new genre of relationship between the building and
its viewer. Instead of break lines
running horizontal, as in a car, the break lines run vertically, allowing facade
panels to fold and reflect various views of the sky and city around the site
depending on one’s relative location to the building.
increasingly reliant on the limited form-making tools offered in standardized
architectural software packages. Recent
projects from Gage / Clemenceau Architects, such as this competition entry for
the EstonianAcademy of the Arts, have actively
researched the digital tools used in distant design disciplines in an attempt
to move beyond normally unchallenged design boundaries within the architectural
profession.
The facades, apertures, and large courtyard manifold
openings of this project were designed using the software package Alias Studio,
which is typically used for automotive design.
By creating an experimental alliance with the software manufacturer,
Autodesk, we misused the software with the express purpose of cross-pollinating
automotive and architectural design tactics.
Instead of relying on platonic geometries which typically guide
architectural design decisions, the facade of the Estonian Academy of the Arts
is entirely, and tautly, wrapped in what the automotive industry refers to
as “Class-A” surfaces—surfaces which
produce the maximum aesthetic effect with a minimum of mathematical
description. The building contains both
purely aesthetic fluid ripples and contours, as well as performative scoops,
tunnels and vents that funnel fresh air to all areas of the building—from the
lobby to the interior courtyard, to the 5th floor central manifold featured in
the center of the overall composition.
A large-scale prototype panel was constructed of the
centralized section of the building in order to view these surface-based
geometries at a larger, architectural scale. To be more specific, automotive
design is largely based on the placement of “break lines,”— the folds in panels
which reach along the side of a car from the front to the back. The portion of
the panel above the break line reflects the sky; the portion below it reflects
the road. Careful curation of the break
lines, therefore, allows car designers to capitalize on the relation between
the viewer, the object, the ground and the sky— which is a problem normally
specific to architecture, and generally solved through massing.
This problem was addressed more specifically in the
prototype panel, which was produced to research how a logic of break lines and
reflection might produce a new genre of relationship between the building and
its viewer. Instead of break lines
running horizontal, as in a car, the break lines run vertically, allowing facade
panels to fold and reflect various views of the sky and city around the site
depending on one’s relative location to the building.
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