One Central Park

“Landscape is architecture…here we have created a continuity so the facades extend the park into the sky.” Jean Nouvel

Central Park is a $2 billion, mixed use urban renewal project in the previous industrial focused inner Sydney suburb of Chippendale. The first stage of redevelopment begins with One Central Park, designed by Ateliers Jean Nouvel and PTW Architects, one of the ten residential and commercial buildings that will structure the Central Park development.

The heart of the design, a 6400 square meter public park located in the centre of the development, is influenced primarily by Sydney’s vision to increase green urban space by 20 percent by 2020. A luscious canopy is created from 250 species of Australian flowers and plants which flow seamlessly from the public park up the side of the floor to ceiling glass towers. The leafy foliage visible between each floor is a tangible expression of the hidden infrastructure and Central Park’s commitment made to sustainable urban living. In an old industrial setting, the vertical gardens depict an amalgamation between the urban and natural world, providing an integrated experience of both.

One Central Park has received a 5 Star Green rating for both design and building through a strict maintenance of high standards of environmental sustainability. All the thermal energy needs of retail, commercial and residential buildings in Central Park are covered by a central thermal and electrical plant. Furthermore, on site water recycling and black water treatment plant and solar energy allow it to meet the green energy initiatives associated with the development. The design also includes a cantilever section with a heliostat to capture and reflect sunlight to the park below.

References and Image Credits 

1. The Urban Developer. “Sydney’s $2 billion Central Park development welcomes its first residents“ Last modified June 25, 2013. http://www.theurbandeveloper.com/developments/residential/sydneys-2-billion-central-park-development-welcomes-its-first-residents/

2. Financial Review. “Sydney Central Park project shows sustainable living“ Last modified November  28, 2013.  http://www.afr.com/p/202020_vision/sydney_central_park_project_shows_IFwlwOc7VqwlXPkqUD85GN

3. CentralPark. “The Birth of One Central Park” Last modified 2013. http://www.centralparksydney.com/live/one-central-park/architecture-and-design

Universal Technology and Local Customs

Critical Regionalism seeks to incorporate an opposing approach to design which mediates between universal technology and local customs of architecture. The problematic nature of the relationship between industrialization and traditional cultures and techniques arises when the economy seeks to commercialize our connection to nature.¹ Sacrificed in a dense urban and suburban fabric, Tadao Ando seeks to revitalise the connection between nature and building characteristic of Japanese architecture through the sensory experience.

Ando incorporates this through adopting the open vocabulary of Modernism in the enclosed area of regional differentiation, attempting to conserve and express the culture’s customs, sensibilities and social traditions.² Emphasis is placed upon tectonic form and tactile sensations of illumination, topography, ambience and climate instead of scenography and focusing just upon visuals.³

In his small courtyard houses, Ando uses concrete for its homogeneous surface and how light affects the surface rather than focusing upon the material’s weight. This spatial limpidity is created through the sense of walls becoming abstract and negated as these surfaces become comprehensible through the sunlight.⁴ The tactile and ambient nature of the architecture thus succeeds in transcending the initial perception of its solid geometry. In Koshino House (1980-1984), whilst the exterior is a blank concrete walled façade, the interior corridor is punctuated by narrow openings exposing and expressing the play of light and shadow.

Material selections and fundamental details, enforced by local economies, are geographically diversified through the regional variation of the economic-technological tide.⁵ Recognising the disjointed way of life of Japan in the post war period, Ando’s interplay of light, material, space and detail is reminiscent of traditional Japanese farmhouses (minka) where distinct contrasts are made between light and shadow through the strategically placed clerestories.⁶ Critical regionalism initiates a return to sensory experience and perception in a century dominated by media and information.⁷

^Footnotes

1. Alan Colquhoun “Critique of Regionalism,” in Vincent Canizaro, ed., Architectural Regionalism: Collected Writings on Place, Identity, Modernity and Tradition (New York: Princeton Architectural Press, 2007), 145.

2. Tadao Ando, “From Self Enclosed Modern Architecture Towards Universality,” Japan Architect, 301

May 1962, 8-12.

3. Kenneth Frampton, Modern Architecture (London: Thames & Hudson Ltd, 2007), 327.

4. Ibid, 324.

5. Richard J. Neutra, “Regionalism in Architecture”in Vincent Canizaro, ed., Architectural Regionalism: Collected Writings on Place, Identity, Modernity and Tradition (New York: Princeton Architectural Press, 2007), 278.

6. Xianghua Wu, Concrete Resistance: Ando in the context of critical regionalism,48-341: History of Architectural Theory, May 10 2006, pg 7

7. Frampton, Modern Architecture, 327. 

Image Credits

1. General View (Koshino House), Gonzalo Perez. 2011, photograph. Available: Archdaily, http://www.archdaily.com/161522/ad-classics-koshinohouse-tadao-ando/ (accessed October 11, 2013).

2. Corridor (Koshino House), Gonzalo Perez. 2011, photograph. Available: Archdaily, http://www.archdaily.com/161522/ad-classics-koshino-housetadao-ando/ (accessed October 11, 2013).

3. Row House, Unknown. 2013, photograph. Available: ArchiTravel, http://www.architravel.com/architravel/building/row-house-azuma-house/ (accessed October 11, 2013).

Technology and Architecture

Technology is the cultural expression of the modern man, succeeding far beyond being just a method, transcending into the realm of architecture in itself.¹ Architecture and technology are closely interwoven and complimentary as each becomes the expression of the other.² This realisation is present in Mies’ work as he abstains from decorative elements, focusing upon precision and clarity of the functional form which delineates its aesthetic appeal.

Mies provides an expression of our technological age through a structural concept in the simplest forms, highlighting that architecture must be true to its time and nature. In Mies’ Lake Shore Drive (1951), the structural frame has been fused together with the glazing and glass infill which is defined by the dimensions of the mullions and columns. This modulated façade where architecture and technology are merged depicts the visual interpretation of a new architectural identity which embodies a culture suited to its time. One which acknowledges and articulates both form and construction, individual articulation and the demands of the epoch.³ A subtle richness is present in the integration of the steel structure with fenestrations of alternating opacity, simultaneously displaying transparency and materiality.⁴ The penetrations of the mullions reflect the interior structure of the building, and as a result provide rationale to its aesthetic appeal.

An extension of Mies’ theory is the Metabolist movement which focused upon modern technology to create organic architecture, flexible to the day and age. Minimizing materials and detailing, the Metabolists developed a concept of form and function which maximised efficiency through individual modules which attached to a larger adaptable super structure. ⁵ Metabolists relied heavily upon advanced transformable technologies which utilised prefabricated components and the mechanical replacement of outdated parts. ⁶ They sought to address issues of housing large populations while preserving the personal autonomy of the individual in a modern world. The disadvantage of this complete confidence in the possibilities of modern technology however has lead to a degree of artificiality where utility has become synonymous with profitability.⁷

Footnotes

1. Kenneth Frampton, Modern Architecture (London: Thames & Hudson Ltd, 2007), 231
2. Mies van der Rohe, “Architecture and Technology” (Speech presented at Illinois Institute of Technology, Chicago, Illinois, April 17, 1950)
3. Detlef Mertins, The Presence of Mies (United States: Princeton Architectural Press, 1994), 71
4. Frampton, Modern Architecture, 234
5. Frampton, Modern Architecture, 282
6. Zhongjie Lin, “Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan” (United States: Routledge, 2010) 2
7. Frampton, Modern Architecture, 287

Image Credits

1. Lake Shore Drive, Hagen Stier. 2010, photograph. Available: Archdaily, http://www.archdaily.com/59487/ad-classics-860-880-lake-shore-drive-mies-van-der-rohe/mainpic/ (accessed September 19, 2013).

2. Nakagin Capsule Tower, Corbis. 2007, photograph. Available: Architectural Record, http://archrecord.construction.com/news/daily/archives/070430kurokawa.asp (accessed September 19, 2013).

Flinders Street Station

“The weatherproof, articulated filigree vaulted roof-scape is a respectful yet dynamic interpretation and contextual response to the history, function and location of this very special place in the heart of Melbourne.” Ascan Mergenthaler, Herzog & de Meuron

HASSAL + Herzog de Meuron’s winning design for the $1 million redevelopment of the historic Flinders Street Station in Melbourne, transforms the station into a modern 21^st century transport hub with new cultural and public functions. Emphasising the site’s predominant civic nature, their design incorporates a major public art gallery, a public plaza, an amphitheatre, marketplace and exhibition space for arts and cultural festivals. The design seeks to strengthen and build connections throughout the station precinct, providing dynamic and engaging pedestrian laneways which encourage audience interaction and attract people to the site. Rather than only focusing on its commercial use, an emphasis is placed on making the station a destination in its own right, interweaving public orientated attractions into the existing historic fabric. The built form pays tribute to the original19th century design seeking to provide distinct spatial environments for each passenger whilst maintaining the elegant grandeur of its main street frontages. The distinct vaulted canopy displays beauty in a modern expression which can be experienced both in scale and volume, but also maintaining a humble warm ambience, dispersing dappled natural light.

References and Image Credits

1. Hassel. “HASSELL + Herzog & de Meuron win Flinders Street Station competition” Last modified August 8, 2013. http://www.hassellstudio.com/en/cms-news/hassell-herzog-de-meuron-win-flinders-street-station-competition

2. Major Projects Victoria. “Flinders Street Station Design Competition Winner” Last modified 2013. http://vote.majorprojects.vic.gov.au/entrant/hassell-herzog-de-meuron

The High Line

“Our proposal is designed to remain perpetually unfinished, sustaining emergent growth and change over time.”

The High Line by James Corner Field Operation and Diller Scofidio + Renfro is the inspiring redevelopment of an abandoned elevated freight railway, 1.45miles long in length, spanning 22 city blocks through the west side of Manhattan. This seamless amalgamation of nature and urban infrastructure create a unique public space bursting with life, growth and activity. Nature has reclaimed this post-industrial structure without destroying the rustic character of the railway. In the bustle and hustle of city life, a place where one can pause and linger, where distraction is appreciated. With the pathway often splitting and converging, weaving through the lush vegetation and leading to nondescript semi-private areas, it allows the public to meander to their will. This linear pedestrian walkway is a mass of contrasts, movement and stillness, organic and built, which succeed at providing a reinterpretation of what city spaces are capable of.  

References and Image Credits

1. Dezeen. “The High Line.” Last modified June 15, 2009. http://www.dezeen.com/2009/06/15/the-high-line-by-james-corner-field-operations-and-diller-scofidio-renfro/
2. Dezeen. “The High Line Section 2 opens.” Last modified June 13, 2011. http://www.dezeen.com/2011/06/13/the-high-line-section-2-by-diller-scofidio-renfro-and-james-corner-field-operations/
3. High Line. “James Corner Field Operations and Diller Scofidio + Renfro.” Last modified 2013. http://www.thehighline.org/james-corner-field-operations-and-diller-scofidio-renfro

Herbert Jacobs House #1- Situ Studio- Suspended Exploded Model

This three dimensional exploded basswood model suspended from the gallery ceilings of Frank Lloyd Wright’s Herbert Jacobs House #1, created by Situ Studio, is on display in “Frank Lloyd Wright: From Within Outward” exhibition. This house was one of the first of Wright’s open plan, economic, energy efficient Usonian houses. The simple yet precise nature of the model makes the presentation of each of the house’s components, from its window frames to copper piped radiant heating system, clearly defined and distinguishable yet still viewable in connection with one another. “The three-scale models illuminate the internal mechanics of functional space in relation to exterior form.” Situ Studio

References

1. New York Times. “Frank Lloyd Wright. The Re-model.” Last modified May 29, 2009. http://tmagazine.blogs.nytimes.com/2009/05/29/frank-lloyd-wright-the-re-model/?_r=0
2. Situ Studio. “Frank Lloyd Wright: From Within Outward.” Last modified 2009. http://www.situstudio.com/works/projects/frank-lloyd-wrightbrfrom-within-outward#

Image Credits

1. David Heald, Model of Frank Lloyd Wright’s Herbert Jacobs House #1, New York Times, viewed 31 July, 2013, <http://tmagazine.blogs.nytimes.com/2009/05/29/frank-lloyd-wright-the-re-model/?_r=0>

2. Keith Sirchic, Herbert Jacobs House, Situ Studio, viewed 31 July, 2013, <http://www.situstudio.com/works/projects/frank-lloyd-wrightbrfrom-within-outward#>

1315 Peachtree Street

1315 Peachtree Street, a 1986 office structure transformed by Perkins+Will into their new high performance civic focused Atlantic office, has been able to achieve an excellence in sustainable design practices upholding their values in both work and practice. Utilising modern technology it has achieved both the highest LEED Platinum certification in the Northern hemisphere and met the 2030 Challenge for reduced greenhouse gas emissions and elimination of toxic and hazardous substances, becoming an educational tool and example for sustainable design.

1315 Peachtree Street highlights the increased energy savings made through adaptive reuse and recycling an existing building rather than demolition and more energy efficient new construction, opting to retain 91 percent of the original structure as well as donating 80 percent of the furnishings to non for profit organizations. Located in the heart of Midtown Atlanta, at the time suffering a vacancy rate of over 20%, the new office sought to improve the streetscape of the surrounding urban environment. Through the introduction of a new civic plaza, the elimination of one third of the building’s parking space, and easy access from neighbouring towns and The Arts Center Transit Station, 33 percent of the building’s occupants commute by walking, bicycling, carpooling and using mass transit.

Perkins+Will sought to have a greenhouse gas reduction of 60 percent, as the original building used power generated by burning coal, extremely carbon intensive and harmful to the environment. Through natural gas-fired microturbines to generate power, and utilising water rather than air to heat and cool the building, efficiently extracting the maximum amount of energy from the natural gas sources, and using water rather than CFCs or any other hazardous substances allowed for a 67 percent decrease in CO2 emissions and reduced toxic building materials. Due to previous encounters with drought in the city of Atlanta, efforts were made to maximise use of non-potable water resulting in 77 percent reduction of regulated potable water. Rainwater is harvested into a 10,000 gallon cistern which is then filtered and treated with ultraviolet light onsite and used entirely on all flush fixtures and landscape irrigation. Excess rainwater is sent to the bioswales to naturally recharge the aquifers.

Perkins+Will designed open work spaces on the third, fourth, fifth, and sixth floors supporting collaboration and creative work environment for office-wide meetings and events. By incorporating a high performance curtain wall and glazing system, Perkins+Will were able to minimise solar heat gain and glare from the west, create two-storey heights and include an exterior terrace. A steel trellis and motorised shade system allows daylight but also prevents an excess of sunlight penetrating the space, the overall effect through natural daylight and useable outdoor space, reducing lighting energy by 67% Furthermore, a focus upon the key concept of long life loose fit has been demonstrated in 60% of the structure being entirely demountable and designed to be deconstructed and reused. A flexible modular workspace strategy is shown in moveable diving partitions allowing customisation, multi function display walls and flexible team furniture.

1315 Peachtree Street has received multiple awards and continues to receive high praise from the community for its innovative use of modern technology to create an inspiring building which upholds the highest principles of sustainable design.

References

1. GreenSource. “1315 Peachtree Street.” Last modified January, 2013. http://greensource.construction.com/green_building_projects/2013/1301-1315-peachtree-street.asp2. The American Institute of Architects. “1315 Peachtree Street.” Last modified 2013. http://www.aiatopten.org/node/84
3. Arch Daily. “Exemplar of Sustainable Architecture: 1315 Peachtree / Perkins+Will” Last modified 8th March, 2012. http://www.archdaily.com/215002/exemplar-of-sustainable-architecture-1315-peachtree-perkinswill/

Image credits

1. Eduard Hueber, 1315 Peachtree Street, GreenSource, viewed 29 July, 2013, <http://greensource.construction.com/green_building_projects/2013/1301-1315-peachtree-street.asp>

Introduction

I am an architecture student, halfway through second year of university. Meaning... halfway to my degree, and that scares me more than anything. Whilst I can't see myself in any other career path and do enjoy aspects of it, I have yet to truly love architecture as a whole. I have yet to become motivated and energized to undertake research and read about architects and their works. 

See, hopefully this is where this blog will come into use. It will track my architecture journey, as well as my endeavour to grow to love architecture. For now, I'll attempt a fortnightly post and though it might start off as a chore, I hope to look forward to these weekly sessions in the future.

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