Author(s): Shawn Protz
Dark ecology, posited by philosopher Timothy Morton, goes beyond other forms of ecology in that it recognizes the inter- connectedness of all living and nonliving things, concedes the irreversible planetary impact of humans, assumes an inherent aesthetic dimension to all entities, and seeks to project hope instead of doom. Germane to the contemporary practice of architecture, dark ecology provides a frame- work for recalibrating the perceived relationships between nature, culture, and technology. In correlation, the tools of drone scanning, real-time reconstruction (photogrammetry (using RealityCapture) and radiance field rendering (using 3D Gaussian Splatting)), real-time creation (using Unreal Engine 5 (UE5)), and generative AI open new portals between the digital realm and the built environment. Further, these tools allow users to narrate experiences integrating temporal changes— seasons, diurnal cycles, weather(ing), (bodily) motion and interaction—not fully accessible through the conventional media of architectural design and representation. This paper will describe an ongoing pedagogical exploration of practice that alchemizes digital technology with environment. A recent advanced architecture studio at NC State that took on Iceland as the site of investigation will be the case study.Renowned for its sublime geological features, Iceland is in fact a hybrid technological landscape adjusting to a rapidly changing climate. Networks of pipes crawl over the topography as part of a robust geothermal energy infrastructure. Beautiful fields of blue Nootka lupine that were deliberately introduced in the 1970s to control erosion and regenerate depleted soil are nevertheless invasive and now rapidly colonizing native terrain. Efforts to reforest lands decimated by settlers hundreds of years ago are struggling to take hold. Meanwhile, heritage structures have mostly been abandoned and/or demolished as the country has urbanized (primarily around the ReykjavÃk Capital Region). International tourism is a key economic driver with visitors and accompanying development substantially increasing since the 2008 financial crisis. As of May 2022, Icelandair began offering direct flights from Raleigh-Durham (RDU) to KeflavÃk International Airport (KEF). The studio was situated in this dynamic—students iterated two projects following from in-depth study of place and texts, and mitigated by digital technology.The first project combined digital archaeology with world- building. Students forged digital twins of a select few extant Icelandic turf house complexes in order to become proficient with UE5 and acquainted with Icelandic history, context, and biogenic building methods. Following from limited information, students used generative AI to match and create textures in order to interpret and model each complex and surrounding landscape in detail.The second project reconstructed and then reimagined land- scape. Students crafted atmospheric digital environments for the Patterson Airstrip, a ruin formerly part of the US Naval Air Station KeflavÃk (NASKEF) on the Reykjanes Peninsula. From drone footage the site was digitally reconstructed into a textured 3D model using photogrammetry and radiance field rendering. Following from this, and adhering to the K64 KeflavÃk Airport Area Strategic Masterplan and local plans, students proposed new arts and recreation programming for residents as well as accommodations for visiting artists. The decommissioned ammo bunkers on site—slated for adaptive reuse—became a stage for new stories.
Volume Editors
ISBN
978-1-944214-49-4