KAOHSIUNG PORT TERMINAL
by BIOTHING 2010 _ competition proposal
principal designers: Alisa Andrasek + Jose Sanchez
design team: Knut Brunier – Gabriel Morales – Denis Lacej
suckerPUNCH: describe your project.
alisa ANDRASEK: Cliff formations found along many coastlines (including Kaohsiung outer coastline) are resonated through strong vertical fissures of the building. Fractals are frequently used to calculate coastline behavior, given the different degree of “roughness” and multiple orders of scale found in natural coastlines. ||Fissures Port Terminal proposal reflects the idea of such complex articulation within the tectonics of the building.
Fabric of architecture is highly heterogeneous, structured through rapid changes in textures and experiences, unfolding multiplicity of parallel environments within a single building. Instead of creating seamless topological continuum typical for the passenger terminal typology, traveler is exposed to a series of different experiences carried through the strong vertical fissures.
In order to accommodate large volume of requested program needed to be organized within a site, internal fissures _ a blade-like tectonic elements shredding through the length of the site, are introducing internal landscape elements with various organizational and sustainable properties. These tall narrow “canyons” are simultaneously light wells for the building as well as strong shading elements, providing abundance of light throughout the building yet preventing overheating.
Waterside arrival sequence is accentuated by the strong “fissure” facade with deeper folds as receptacles for jetways for arriving and departing passengers. Tidal fluctuations and arrival of larger boats creates water movements and wave crushing against the seaside facade of the building. Passengers are transferred into the building through the first fissure sequence which is also a cooling water garden for the terminal. The proportions of extremely long and tall space with “canyon-like” glazed surfacing produces very rich poly-dimensional experience _ a crystalline fabric.
The nature and quality of different fissures as they progress from the street to the sea side changes from the very opaque (perforated metal mesh or glass-fiber reinforced concrete), through semi-opaque office fissure facades (combination of glazing and perforated metal mesh), to the very light glazed double sequence towards seaside, opening wide vistas to the sea through its wrinkled glass fabric.
High Resolution Infrastructure: Intricacy of tectonic elements allows for embedding distributive and redundant signaling through lighting systems that can coordinate faster and more legible distribution of passengers. LED light systems embedded into floors/ceilings could be programmed to respond to increased crowd movement or time base sequences corresponding to arrivals and departures. At the same time they constitute material qualities of environments _ a slowed down lighting storms embodied into fabric of architecture or artificial weathers captured within a building.
sP: what or who influenced this project?
aA: complexity of natural formations such as canyons and coastlines / Mandelbrot on roughness… attempting to generate unnatural “roughness” / large data sets / concept of “undead” in film and philosophy / speculative realism
sP: what were you reading/listening to/watching while developing this project?
aA: Reza Negarestani, China Mieville (the City and The City), David Deutsch, Ochre (music) ++
sP: whose work is currently on your radar?
aA: Karsten Schmidt, Reza Negarestani, Tokujin, Elena Manferdini’s Synthetic studies, Dshape, Yoshiharu Tsukamoto’s work on Tokyo urbanism ++