Architecture@future ii 2014

DR. P.S. CHANI
ASSOCIATE PROFESSOR
DEPARTMENT OF ARCHITECTURE & PLANNING
IIT ROORKEE
ARCHITECTURE@FUTURE
emerging paradigms
6.2.14

ARCHITECTURE@FUTURE - I
Transient and ecologically conscious Open and dynamic system
MARCOS NOVAK ‘TRANSARCHITECTURE’
Transdisciplinary Approach New TECTONICS Reality to Virtuality
MAKOTO SEI WATANABE PGA
‘Web Frame’ ‘Genetic Algorithms’
SHIGERU BAN
Flexibility
Neil Denari Paradigm Shift

 Recycling now second nature to modern communities as we strive
for environmental sustainability
 Aiming to reduce, reuse and recycle waste, we find new life in
everything from bottles and boxes to clothes, vehicles
And
 BUILDINGS
 ADAPTIVE REUSE - a process that changes a disused or ineffective
item into a new item that can be used for a different purpose
 Sometimes, nothing changes but the item’s use
ADAPTIVE RESUE

ADAPTIVE REUSE - BUILDINGS
 Old buildings often outlive their original
purpose
 Adaptive reuse, or re-use, is a process that
adapts buildings for new uses while retaining
their historic features
 Eg. - An old factory may become an apartment
building
ADAPTIVE RESUE

Adapting old structures for purposes other than those
initially intended
When original use of a structure changes
Or
 No longer required, as with older buildings from
industrial revolution
 Architects have opportunity to change primary function
of structure, while retaining some existing architectural
details that make the building unique
•http://en.wikipedia.org/wiki/File:Malthouse_richmond.jpg
ADAPTIVE RESUE

In local communities, unused schools or Post Office
buildings been adapted for reuse as retail stores or
offices
Seen as key factor in land conservation and reducing the
amount of urban sprawl
For the concept of smart growth - more efficient and
environmentally responsible to redevelop older
buildings closer to urban cores than to build new
constructions
•http://en.wikipedia.org/wiki/File:Malthouse_richmond.jpg
ADAPTIVE RESUE

REFERENCES
• Adapting Buildings for Changing Uses, Guidelines for change of use refurbishment, David Kincaid, Spon Press,
London, 2002, pp. 1-2.
• Cowan, P. (1963) Studies in the growth, change and ageing of buildings, Transactions of the Bartlett Society, 1, pp.
56–59.
ADAPTIVE RESUE
Adaptive Reuse category – Ordsall Hall
Museum, by Lloyd Evans Prichard
Peter Cowen’s study- suggests that most buildings
physically suitable for adaptation to most uses
Influenced the proposition - ‘LONG LIFE – LOOSE FIT’
David Kincaid - should be a guiding principle behind most
design briefs
This longer view of use potential has recently seen a
revival under the sustainability agenda

David Kincaid
The research supporting Kincaid’s book also
confirms this idea of general utility of buildings
Encourages adaptation as a serious alternative to
demolition and new build
But
Does not help to determine which new use is
best suited to a particular building in a particular
location at a particular time
ADAPTIVE RESUE

 Most successful built heritage adaptive reuse projects -- that
best respect and retain building’s heritage
significance……AND
 Add a contemporary layer that provides future value
 Sometimes, adaptive reuse only way that building’s fabric will
be properly cared for, revealed or interpreted……WHILE
 Making better use of the building itself
ADAPTIVE RESUE
Where a building can no longer function with its original use, a
new use through adaptation may be the only way to preserve its
heritage significance

Adaptive reuse of heritage building Australia
Benefits Of Adaptive Reuse in Heritage Buildings – the Australian Example
Adaptive reuse of buildings - major role in sustainable
development
When it involves historic buildings, environmental
benefits more significant
As
Historic buildings offer so much to the landscape,
identity and amenity of the communities they belong to
Adaptive Reuse: Preserving Our Past, Building Our Future, Royal Institute of Australian Architects,
Commonwealth of Australia, 2004.
Environmental

 ````````
 One of the main environmental benefits of reusing buildings - retention of
original building’s “embodied energy”
 By reusing buildings, their embodied energy retained, making the project much
more environmentally sustainable
Than
 An entirely new construction
 New buildings have much higher embodied energy costs than buildings that are
adaptively reused
 Australian Greenhouse Office - reuse of building materials usually
involves a saving of approximately 95 % of embodied energy over new
materials
 `
````````````````````````````````````````````````````````````````````````
Environmental

Environmental
In 2001, new building accounted for about:
40 % of annual energy & raw materials
consumption
25 % of wood harvest
16 % of fresh water supplies
44 % of landfill
45 % of CO2 production and
up to 50% total greenhouse emissions
Industrialised
countries

Industrial Dining Room
Social
 Keeping and reusing historic buildings - long-term benefits for
communities that value them
 Adaptive reuse can restore and maintain heritage significance of
a building and help to ensure its survival
Rather than
 Falling into disrepair through neglect or being rendered
unrecognisable
 Heritage buildings that are sympathetically recycled can continue to
be used
Reuse of heritage buildings makes good sense
ADAPTIVE RESUE

Social
 Increasingly, communities, governments and developers are seeking ways
to reduce the environmental, social and economic costs of
continued urban development and expansion
 Realisation - Quality and design of built environment vital to our standard of
living and our impact upon natural resources.
 Lifestyle enhancement through retention of heritage buildings and their
adaptation into accessible and useable places
 Reuse of heritage buildings in established residential areas can provide
community with new housing and commercial property opportunities
Reuse of heritage buildings makes good sense
ADAPTIVE RESUE

APPROACH
 Adaptive reuse of a historic building should have
minimal impact on its heritage significance and its
setting
 Developers should gain understanding of why
building has heritage status, and then pursue
development that is sympathetic to the building to
give it a new purpose
 Adaptive reuse is self-defeating if it fails to protect
the building’s heritage values
ADAPTIVE RESUE

Tate Gallery of Modern Art, London, Herzog and De Meuron, 1995-99
ADAPTIVE RESUE

Tate Gallery of Modern Art, London,
Herzog and De Meuron, 1995-99
The Tate Modern
in London is
Britain's national
museum of
international
modern art
ADAPTIVE RESUE

BATTERSEA POWER STATION, GILBERT SCOTT, 1943-1963
 Galleries housed in former Bankside Power Station,….
 Originally designed by Sir Giles Gilbert Scott, architect of
Battersea Power Station, and …..
 Built in two stages between 1947 and 1963

BATTERSEA POWER
STATION, GILBERT
SCOTT, 1943-1963
BATTERSEA POWER
STATION GILBERT
SCOTT, 1943-1963,
A.K.A., TATE MODERN

BATTERSEA POWER STATION, GILBERT SCOTT, 1943-1963
Power station closed in 1981

 Building itself still resembles 20th century
 Outside – factory style
 Inside - taupe walls, steel girders and concrete floors

 Building façade made of 4.2 million bricks
 Separated by groups of thin vertical windows …….. create a
dramatic light inside

ADAPTIVE RESUE
 1992 - Tate Gallery at British National Art Museum proposed
competition to build a new building for modern art
 1995 - announced that Herzog & de Meuron had won the
competition with their simple design.

ADAPTIVE RESUE
Architects decided – reinvent current building instead of demolishing
Tate modern an example of adaptive reuse

Tate Gallery of Modern Art,
London, Herzog and De Meuron,
1995-99

Adaptive Reuse:
Conversion of
Musee d’Orsay

MUSEE D’ORSAY, PARIS, FRANCE, GAE AULENTI,1986
 Musée d'Orsay - museum in Paris on left bank of R. Seine
 Housed in former railway station
 Holds mainly French art dating from 1848 to 1915

 The suggestion to turn the station into a museum came
from the Directorate of the Museums of France
 Idea - to build a museum that would bridge gap
between Louvre and National Museum of Modern Art at
Pompidou Centre

 ACT Architecture awarded contract
 Involved creating 20,000 sq. m. of new floor space on 4
floors
 In 1981, the Italian architect, Gae Aulenti chosen to design
interior including the internal arrangement, decoration,
furniture and fittings of the museum.
 Officially opened in December 1986

Basement level Plan
Ground level Plan
Upper level Plan
•Presented in chronological
order on three floors
• Extensive collections - include all
the fine, decorative and applied
arts (painting, sculpture,
architecture, artefacts, furnishing,
cinema, photography, music,
scenaries)
• Orsay museum bridged gap
between collections Louvre
museum collections and that at
museum of modern art at
Pompidou Centre

Installation
MOMA PS1 Gallery, New York

ZKM Centre for Art and Media Technology, Germany,
Schweger + Partner, 19993-97

ZKM CENTER FOR ART AND
MEDIA TECHNOLOGY,
KARLSHRUE, GERMANY,
1993-97, SCHWEGER +
PARTNER

ZKM CENTER FOR ART AND MEDIA TECHNOLOGY, KARLSHRUE,
GERMANY, 1993-97, SCHWEGER + PARTNER
Housed in a former munitions factory

ZKM CENTER FOR ART AND MEDIA TECHNOLOGY, KARLSHRUE,
GERMANY, 1993-97, SCHWEGER + PARTNER

ZKM Centre for Art and Media Technology, Germany, Schweger +
Partner, 1993-97

RENAULT CONFERENCE CENTER, BOULOUGNE-BILLANCOURT,
FRANCE, 2002-05, JAKOB + MACFARLANE

RENAULT CONFERENCE
CENTER, BOULOUGNE-
BILLANCOURT, FRANCE, 2002-
05, JAKOB + MACFARLANE
 Using computer assisted
design, architects
decompose the vast
volume of the Renault’s
57 Metal Building
To
 Turn it into a conference
center

Umbra World HQ, Toronto, Canada, Kohn Schnier Architects, 1998-99
 Dressing up structures to appear in today’s style
 Taken an ‘ugly and dull’ concrete factory – wrapped in identical vacuum-
formed models of green copolyster
 Plastic shaped by a resin mould & converted into a contemporary feel HQ
 With so many usable but ‘ugly’ buildings available for refit, renovation-
ADAPTIVE REUSE- will long be a mainstay of 21st century architecture

Umbra World HQ, Toronto, Canada, Kohn Schnier Architects, 1998-99

Institute Of Forestry And Nature Research, The Netherlands, 1994-98, Behnisch,
Behnisch & Partners
Green
Building

INSTITUTE OF FORESTRY AND NATURE RESEARCH, THE NETHERLANDS, 1994-98,
BEHNISCH, BEHNISCH & PARTNERS

ARCHITECTURE@FUTURE - II
INSTITUTE OF FORESTRY AND NATURE
RESEARCH, THE NETHERLANDS, 1994-98,
 Client Brief: Harmony with nature
and environment, versatile and
ecologically sound
 Ecological constraints to
be met within the
budget
 Built on a former cornfield –
earth depleted by intensive
farming
Using depleted agricultural areas rather than productive ones

Standard glazing system as
used in Dutch green houses
– for internal green areas
Office and lab spaces as
normal buildings within
overall glazed structure –
APPROPRIATE
TECHNOLOGY
Concrete slab ceilings in
offices + other devices used
to avoid A.C. except in labs -
APPROPRIATE
TECHNOLOGY
INSTITUTE OF FORESTRY AND NATURE
RESEARCH, THE NETHERLANDS, 1994-98,

Institute Of Forestry And Nature
Research, The Netherlands, 1994-98,
Behnisch, Behnisch & Partners
Local wood for doors,
windows, office floors –
SUSTAINABILITY

Institute Of Forestry And Nature
Research, The Netherlands, 1994-98,
Behnisch, Behnisch & Partners

SHIGERU BAN
Flexibility
Adaptive Reuse
Ecological Concerns Green design mandatory

House with wall made out of cardboard scraps
Masons Bend Community Center, Alabama, USA,1999-2000, Samuel
Mockbee And Rural Studio
 Studio took architecture students into poor parts of Hale county,
Alabama
 Created homes for the needy
 Developed an entire community
 Basic housing using donated and found materials (car windshields…)

Masons Bend Community Center, Alabama, USA,1999-2000,
Samuel Mockbee And Rural Studio
THEN
NOW
 Low profile building with rammed
earth base
 Extremely low budget
 Roof – 80 Chevy Caprice
windshields -$120
 Structural steel donated
 Total cost - $20,000/-
 Maintaining the original footprint

MASONS BEND COMMUNITY CENTER, ALABAMA, USA,
1999-2000, SAMUEL MOCKBEE AND RURAL STUDIO
 Reputation in
contemporary
interpretation of local
architecture
 Extend the study of
architecture into a socially
responsible context
 Vocabulary of simple
materials and regional
inspiration

Masons Bend Community Center, Alabama, USA, 1999-2000, Samuel
 Windshields from 1989 GM cars bought from a salvage
lot
 Used to form the scaled effect of the glass facade

Masons Bend Community Center,
Masons Bend, Alabama, USA,
1999-2000, Samuel Mockbee

Masons Bend Community Center, Alabama, Usa,1999-2000, Samuel

Masons Bend Community
Center, Alabama, USA
1999-2000, Samuel Mockbee
And Rural Studio

Kahere Eila Poultry Farming School,guinea, 1998-99, Heikkinen-komonen
 350 sqm; low cost $104,000/-
 Winner 2001 AgaKhan Award for architecture
 Classroom for 12 students
 Student dormitory
 Teachers house
 Construction with stabilised earth blocks
 Blocks dispense with the need for firing, helping to conserve resources

 Weight-bearing walls - double layer
of earth-blocks
 Double layer for thermodynamic
insulation
 Architects introduced wood-frame
technology
In combination with
 Walls also acting as heat
collectors, moderating room
temperature,
And
 Their hard, smooth finish - do not
need rendering
 Wider span of classroom covered
with aid of simple metal trusses
combined with wooden beams
Kahere Eila Poultry Farming
School,guinea,

 Tallest columns, those of the classroom porch, are made of four posts
fastened by intermediate wooden blocks and steel bolts
 Economical way of overcoming shortage of long pieces of hardwood
 All primary materials were sourced locally
KAHERE EILA POULTRY FARMING SCHOOL,GUINEA, 9, HEIKKINEN-
KOMONEN

Grouped around a square courtyard with a tree
Plan grid 1.2m
Good airflow thru complex
KAHERE EILA POULTRY FARMING SCHOOL,1998-99, HEIKKINEN-KOMONEN
Simple vernacular concepts with
passive design techniques

Shed like structure takes into
account local materials and
traditions
Shed like structure takes into
account local materials
and traditions
KAHERE EILA POULTRY FARMING SCHOOL,GUINEA,
1998-99, HEIKKINEN-KOMONEN

 Significance of introducing new building techniques best illustrated by
example of school's head mason
 After training in stabilized earth-block technique, gone on to use
blocks in private houses, small industrial installations
 Helped boost the area's production of the blocks
 The Kahere Eila Poultry Farming School rare example of architecture
that bridges distinct cultures and building methods
While
 Maintaining local characteristics of its context
 Design combines timber structures typical of Finland's native
architecture with local materials, improved by simple technological
advances
GLOBAL + LOCAL = GLOCAL

LUMA MEDIA CENTER, HELSINKI,
FINLAND, 1995-2000,
HEIKKINEN-KOMONEN

LUMA MEDIA CENTER, HELSINKI, FINLAND,
1995-2000, HEIKKINEN-KOMONEN
Corridor is the bridge between new and old
Curtain wall next to wide corridor
Minimalist with no columns

The gallery has spaces for exhibiting student projects and serves
as the lobby for four-hundred-seat auditorium and the experimental
theater.

• Direct Daylight through the glazing
• Space separated by Curtains
• Modernism
• Glazed East facade helps in heating the interiors in winter
through direct daylight
•Causes excessive heating in summers

• Multiple utility of the same space
• Lighting provides illuminated night view of the facade

Luma MEDIA CENTER, HELSINKI, Finland
1200000, HEIKKINEN-KOMONEN

PULITZER FOUNDATION FOR THE ARTS, MISSOURI, USA, 1997-2000,
TADAO ANDO
Far from extravagant forms of
Marcos Novak
Resolute euclidean geometry

CHURCH OF LIGHT, OSAKA, JAPAN (1989)
Behind the altar
in the east
facade exists a
cruciform
opening that
creates a cross
of light that
energizes and
illuminates the
interior space,
reinforcing the
feeling of
sacredness as it
etches itself into
the darkness

Mhatre Bhuvan Bharat, B.Arch.IV
Church of Light,
Osaka, Japan (1989)

PULITZER FOUNDATION
FOR THE ARTS,
MISSOURI, USA, 1997-
2000, TADAO ANDO
Neue National
Galerie, Mies Van
der Rohe, 1965-68
GERMAN PAVILION,
INTERNATIONAL EXPOSITION,
BARCELONA, SPAIN, 1929,
MIES VAN DER ROHE

PULITZER FOUNDATION FOR THE ARTS, MISSOURI,
USA, 1997-2000, TADAO ANDO
THE SALK INSTITUTE, LOUIS KAHN

PULITZER FOUNDATION
FOR THE ARTS,
MISSOURI, USA, 1997-
2000, TADAO ANDO
Neue National
Galerie, Mies Van
der Rohe, 1965-68

GERMAN PAVILION, INTERNATIONAL EXPOSITION
BARCELONA, SPAIN, 1929

PULITZER FOUNDATION FOR
THE ARTS, MISSOURI, USA,
1997-2000, TADAO ANDO
GERMAN PAVILION,
INTERNATIONAL EXPOSITION,
BARCELONA, SPAIN, 1929, MIES
VAN DER ROHE
UNITY TEMPLE, OAK
PARK, ILLINOIS, 1904; F.L.
WRIGHT

PULITZER FOUNDATION FOR THE ARTS,
MISSOURI, USA, 1997-2000, TADAO ANDO
PULITZER FOUNDATION FOR THE ARTS, MISSOURI, USA, 1997-
2000, TADAO ANDO

PULITZER FOUNDATION FOR THE ARTS, MISSOURI USA, 1997-
2000, TADAO ANDO

FLOOR PLANS
PULITZER FOUNDATION FOR THE
ARTS, MISSOURI,

North elevation
West elevation
PULITZER FOUNDATION FOR THE ARTS, MISSOURI,

East section
North section
PULITZER FOUNDATION FOR THE ARTS, MISSOURI USA, 1997-
2000, TADAO ANDO

PULITZER FOUNDATION FOR
THE , MISSOURI,

KOMOYO-JI TEMPLE, SAIJO, JAPAN, TADAO ANDO, 1999-2000

KOMOYO-JI TEMPLE, SAIJO,
JAPAN, TADAO ANDO,
1999-2000
 3,222 sqm. Site; total floor
area = 1,287 sqm.
 Intended reconstruction of
existing temple
 Design doesnot strictly
adhere to religious tradition
BUT
 Wooden forms not alien to
Japanese temple architecture
THUS
 Link between traditional
Japanese wooden temple
architecture and architect’s
contemporary design
concepts

KOMOYO-JI TEMPLE, SAIJO, JAPAN, TADAO ANDO, 1999-2000
Though permission given to demolish existing main gate and bell tower,
architect chose to conserve both - CONSERVATION

KOMOYO-JI TEMPLE, SAIJO,
JAPAN, TADAO ANDO,
1999-2000

QUADRACCI PAVILION, MILWAUKEE ART MUSEUM, WISCONSIN, USA,
1994-2001, SANTIAGO CALATRAVA

QUADRACCI PAVILION,
MILWAUKEE ART MUSEUM,
WISCONSIN, USA, 1994-2001,
SANTIAGO CALATRAVA
Museum's main
entrance leads into
a parabolic-shaped,
glass enclosed
reception hall with a
90 foot ceiling

Mast
Brise Soliel
Bridge
Lower Gallery
Structure
QUADRACCI PAVILION, MILWAUKEE
ART MUSEUM, WISCONSIN, USA, 1994-
2001, SANTIAGO CALATRAVA

BUILDING FOR DANCE AND THEATRE – GENT
FORUM, TOYO ITO & ASSOC. AND ANDREA BRANZI

B
 Design made of a continuous vertical and
horizontal system – as in caves -
CONTINUITY
 An acoustic labyrinth (intricate structure of
interconnecting passages) with a never
before seen spatial atmosphere
 Design has a rhythmic, harmonious
character

B
 Opening or closing several acoustical walls
- diversity of spaces created allowing the
configuration of different sound caves
 Thus, building able to transform itself for the
specific needs of a concert
 Concept - building and its geometry might
have such an impact on the music that it
might be the cause of something new
 Inner mechanism exposed through a
transparent façade
 Glass skin emphasises verticality as the
strings of a warp (lengthwise strings in a
loom)

A BUILDING FOR DANCE AND THEATRE - GENT FORUM,
TOYO ITO & ASSOCIATES AND ANDREA BRANZI
Plasticity and Continuity

A BUILDING FOR DANCE AND THEATRE - GENT FORUM,
TOYO ITO & ASSOCIATES AND ANDREA BRANZI
Design playful, rhythmic, harmonious

Librairie Florence Loewy,
Paris, France, 2001, Jakob +
Macfarlane
 Unexpected curving wooden
shelves through computer
software
 Small project – highlights the
breadth of movement towards
new models
That are
 Approaching the flexibility
of nature rather than the
rigidity of Euclidean
geometry

LIBRAIRIE FLORENCE LOEWY, PARIS, FRANCE,
2001, JAKOB + MACFARLANE

LIBRAIRIE FLORENCE LOEWY, PARIS, FRANCE, 2001, JAKOB + MACFARLANE

LIBRAIRIE FLORENCE LOEWY,
PARIS, FRANCE, 2001, JAKOB
+ MACFARLANE

ARCHITECTURE@FUTURE - I
SHIGERU BAN
Flexibility
Adaptive Reuse
Reuse Recycle Renovate Revive
Renovation Revitalisation

SAMUEL MOCKBEE AND RURAL STUDIO, HEIKKINEN-KOMONEN
Affordable, innovative designs for poorer regions with better technology
GLOBAL + LOCAL = GLOCAL
SANTIAGO CALATRAVA AND TOYO ITO
Creation of new and innovative FORMS
TADAO ANDO
Architecture and Art + continuity of euclidean geometry and Modernism
Approaching the flexibility of nature rather than the rigidity of Euclidean
geometry
JAKOB + MACFARLANE

Architecture@future ii 2014

Empfohlen

Empfohlen

Weitere ähnliche Inhalte

Was ist angesagt?

Was ist angesagt? (20)

Andere mochten auch

Andere mochten auch (11)

Ähnlich wie Architecture@future ii 2014

Ähnlich wie Architecture@future ii 2014 (20)

Mehr von Kumar Snehansu

Mehr von Kumar Snehansu (18)

Kürzlich hochgeladen

Kürzlich hochgeladen (20)

Architecture@future ii 2014