From an Applied Studies Course at SCI-Arc by Marcelo Spina
Credits on all design and production are shared with Oscar Abrahamsson, Anhuar Farah, Colin Jacobs, & Joseph Lock
Supported by advance digital and manufacturing technology. Monolithic architecture became the predominant form of the avant-garde, but also of its resistance in the last two decades. Rodolfo Machado and Rudolph El-Khoury argued in 1995, that in its allegorical mode, monolithic architecture has more to do with representational strategies than pure material qualities or construction systems.
Substantiating and at the same time challenging this assumption, this project aims to investigate the inheret relation between monolithic form and the expression of material solidity in architecture, Specifically, the project concentrate into both intricate [tectonic] and composite [concrete and other advanced contemporary building technologies] forms of construction and material assembly.
Beginning with Jean Nouvel’s Tokyo Opera House [the monolithic] competition entry as a foundation, tectonics of the Co-op Himmelb(l)au’s Dalian Convention Center [the tectonic] were applied to the Tokyo Opera House’s exterior and interior. Jean Nouvel’s proposal can be described as a monolithic that refuses to sacrafice its idealogy with the feasability of tectonics. However this proposal solves the problem Jean Nouvel was avoiding to approach. Viewed as if the team was brought onto the project during the design development phase, the team used the tectonic analysis of the Dalian Convention Center to bring Jean Nouvel’s proposal to a tectonic reality while still maintaining its original monolithic qualities.