AD Readers Debate: Preserving Breuer’s Brutalist Library in Atlanta Problems with Coliving and More

Marcel Breuer’s Central Library in Atlanta. Image via Docomomo

The past two weeks have seen an interesting mixture of comments on ArchDaily. Topics of conversation have ranged from Brutalist preservation to the future of living, and from neoliberal planning systems to restrictive copyright laws, raising insightful questions, interesting ideas and impressive arguments. Read on to find out what has been occupying our readers’ minds these past two weeks.

Brutalist Woes for Marcel Breuer

via Docomomo

The news that Marcel Breuer’s Central Library in Atlanta may soon face demolition upset many of our readers, as is often the case when a fine example of Brutalism is in trouble:

Why would they demolish this? It’s a fantastic building, and I’m sure that restoration of it would not cost anywhere near $275 million dollars. I doubt it would be replaced with anything as impactful and interesting, probably just some generic glass and steel yawn. – jessie6693

I had the opportunity to visit this building a few years ago. Even in somewhat shabby condition, this building is still spectacular and an important part of Atlanta and Georgia’s architectural legacy. Hopefully, if the involved governmental bodies believe it should be replaced, they will seek out a new owner that can use it, restore it, and keep it open to the public. – John in Georgia

However, others had a more measured view of what needs to happen with the building:

Strictly from a design standpoint, I’m a fan of Breuer and this seems like a good opportunity to save an example of Brutalist architecture since it’s not a housing project. Preservation of Brutalist housing always seems to involve rationalizing the typically poor apartment units somehow. However, I don’t think the public should have to foot the bill for an underperforming building. Restoration and re-use should get privatized. – HeywoodFloyd

This seems an interesting point, and privatization certainly would bypass the issues that some members of the public take with brutalist preservation. Somewhat ironically, this technique has already been a strong force for the preservation of brutalist housing in places like London, where the Balfron Tower, for example, is now a highly desirable place to live. However, I wonder how this system would work in the case of Atlanta’s Library; is there an alternative use for the building that would be profitable enough for a private company to take on its restoration?

The Problem with Co-Living

Living space in a Crown Heights, New York coliving space owned by Common. Image © Common

After an article about the trend toward “space as a service” which discussed coworking spaces and the newer concept of coliving spaces, one commenter was less than convinced:

I love the growing concept of worksharing, as flex hours and working remotely become more popular, a temporary office space system makes a lot of sense. The co-living concept gives me a lot of concern, however. With the exception of professionals who travel often for work, this seems to take advantage of many of the dismal affordable living options most young professionals face.

Trends like “living with roommates” and tending towards smaller and smaller spaces isn’t indicative of what the market truly wants. More likely it is a symptom of wage stagnation and being grossly outpaced by the cost of living, or the proliferation of “luxury” developments in lieu of affordable housing.

I’m glad that more options are becoming available, but the result seems to be profiting off of a symptom instead of finding a solution. – Daniel James

I think this is an interesting point – certainly, coliving is not for everybody. But I believe the idea is to tap into not only “professionals who often travel for work” but also the new breed of workers who are not tied to a location by their job: freelancers and remote workers who might choose to travel and work from a new location intermittently. The phenomenon is also very closely tied to economic trends as Daniel James discusses here; the best explanation of this that I’ve encountered is this article by TechCrunch, which takes a positive stance on the situation, but your own interpretation of these economic trends is sure to be very personal.

More Questions about Freedom of Panorama

© Samuel Ludwig

Our article detailing the mess that is freedom of panorama laws around the world – the laws that determine whether you can or can’t take a photograph of a copyrighted building – led to just more questions:

What does this mean for resources like Google Earth and Google Street View? In Sweden or other panorama-controlled jurisdictions, are they now infringements of copyright? – Lawrence Bird

A good question – and the answer to this, as with most issues surrounding freedom of panorama, is “nobody really knows, and it’s complicated.” There is no publicly available information discussing how Google bypasses such laws, however this Wikimedia discussion about Street View in Belgium (another non-freedom of panorama country) comes up with a number of possible explanations:

As streetview images are 360 degrees, it is possible to argue that any building or artwork is not the “subject” of the photograph, therefore granting more leniency under most legal systems.

Most of Google’s servers are located in the United States, so they can make a reasonable case that they only have to comply with the United States’ freedom of panorama laws.

Google is a large company with a lot of money for impressive lawyers, and therefore copyright owners would prefer not to risk a lawsuit over Street View images.

Challenging Patrick Schumacher’s Planning Vision

Courtesy of Monocle 24

In Patrick Schumacher’s article Coup De Grâce, he argues for a new form of neoliberal urban planning, describing a system which frees governments of their responsibility to plan cities and allowing the emergence of what he believes would be a more effective, democratic planning system. However, commenter Daniel Carrapa took issue with Schumacher’s argument, posting a response which is so thorough it needs to be appreciated in full:

This article presents a very questionable “thesis.”

The issue of “negative planning” is decades old and has nothing to do with the process of urban deceleration we’re experiencing today. We have witnessed the effects of the downfall of the CDO market and its worldwide ramifications, striking at the heart of the construction industry that was being used as a vehicle for a massive financial model of debt-based growth. This is what happens when architecture and urbanism becomes the outcome of financial products – the city as a tool of finance.

And the article gets worse: “We are witnessing a sustained drive towards urban concentration in global hub cities like London.” No, no we’re not. We’re witnessing the effects of the monetary expansion policy (quantitative easing) followed by the Bank of England and now the European Central Bank. Without an economy functioning properly, the liquidity of the banks is being channeled to purchasing assets, particularly in the real-estate sector, instead of being used for productive investment.

There is a secondary (but likewise important) factor operating as well: the instability that is being felt in the financial markets and the risk of a worldwide deflationary crisis – which has motivated serious warnings by major financial institutions earlier this year.

So what you have is an inflationary bubble in the real estate sector, visible in many major European cities, the result of massive funds looking for safer haven by purchasing real estate assets. London is at the core of the interest by such investment funds, and the effects of that are hardly benign: inflated prices that push the middle-class away from the city center all over again. The city not for people, but as a tool for allocating money.

This transfer of funds, by the way, often has no repercussion in the construction market, which remains at an all time low in many European countries – meaning that the “real” economy might not be benefiting much from this phenomenon either.

To interpret these side effects as the dawn of a new “market-based” urbanism is quite pathetic. These are the results of deregulation in the financial sector, shattering all through the economy and most particularly in the field of construction and urbanism.

The impact of the crisis of 2007/2008 is still unfolding. We face economic paralysis, unemployment, growing inequality, poverty, massive migrations. Are we expected to believe “neoliberal post-fordism” and the invisible hand of the market will provide an answer for the issue of dwelling for massive waves of migrants? – just to give one example?

Planning models of the past may not suit the requirements of today, but to believe that our contemporary problems can be resolved without a serious consideration of the role of the state is, quite frankly, ludicrous – and, unfortunately, dangerous as well. – Daniel Carrapa

Keep the debate flowing! Please post any responses to these topics in the comments below.

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In Celebration of Earth Day 5 Overviews of Our Planet

Earth “Overview”. Image Courtesy of NASA

In celebration of Earth Day, we invited Benjamin Grant—founder of the Daily Overview—to select the five “overviews” which he considers to be among the most inspiring that his platform has shared. The image above, taken on Christmas Eve in 1968 by astronauts of NASA’s Apollo 8 mission is, according to Grant, “believed by many to be the first “overview” of our planet, captured by astronaut Bill Anders.” This photograph dramatically pulled into focus the simultaneous magnificence, intricacy, and terrifying fragility of the planet we inhabit. Since that moment the advent, acceleration, and accessibility of satellite imagery has made one thing abundantly clear: that humankind has had a considerable effect on Earth, for better or for worse.

Edson, Kansas (USA)

Edson, Kansas (USA). Image © Satellite images 2016, DigitalGlobe, Inc

​Center pivot irrigation fields cover the landscape surrounding Edson, Kansas, USA. The circles that you see here are created when lines of sprinklers, powered by electric motors, rotate 360 degrees to evenly irrigate crops.

This Overview is one of my favorites and has special meaning to me because it was this pattern of perfect circles that first caught my attention and helped me realize that this project was possible. I also love the vast scale of this image, covering hundreds of square kilometers, yet it still feels like a cohesive frame of satisfying geometry.

Hagadera, Dadaab Refugee Camp (Kenya)

Dadaab Refugee Camp (Northern Kenya). Image © Satellite images 2016, DigitalGlobe, Inc

Hagadera, seen here on the right, is the largest section of the Dadaab Refugee Camp in Northern Kenya – home to 100,000 refugees. To cope with the growing number of displaced Somalis arriving at Dadaab, the UN has started to move people into a new area called the LFO extension, seen here on the left. Dadaab is the largest refugee camp in the world with an estimated total population of 400,000.

I think this is one of the most important and powerful Overviews I’ve ever created for the project. I believe Overviews such as this have the ability to catch one’s attention with vibrant colors and mesmerizing patterns, but then they can also take you to a more meaningful level where you get a better understand what is going on in different areas of our planet.

Eixample District, Barcelona (Spain)

Eixample District, Barcelona (Spain). Image © Satellite images 2016, DigitalGlobe, Inc

The Eixample District in Barcelona is characterised by a strict grid pattern and apartments with communal courtyards. This thoughtful and visionary design was the work of Ildefons Cerdà (1815–1876). His plan features broad streets that widen at octagonal intersections to create greater visibility with increased sunlight, better ventilation, and more space for short-term parking.

From an architectural stand point, I love that the Overview vantage point allows us to better understand how the urban plan of a city truly shapes it and how it impacts both human movement through it as well as social interaction. With this particular example of Barcelona, you definitely get an entirely new appreciation for Cerda’s plan once you see it from above.

Port of Rotterdam (The Netherlands)

Port of Rotterdam (The Netherlands). Image © Satellite images 2016, DigitalGlobe, Inc

The Port of Rotterdam was the world’s busiest port between 1962 and 2002, but has since been surpassed by the Ports of Singapore and Shanghai. The massive docked container ships seen here can weigh up to 300,000 tonnes and extend up to 366 metres (1,200 feet).

Port complexes are always some of my favorite Overviews. I love the beauty and coloration that results from the complexity of these systems that our species has developed. There is also something magical about finding beauty in this scene as its not a place one would typically seek out for a beautiful landscape. However, when we look at it this way, it’s quite stunning.

Jacksonville, Florida (USA)

Jacksonville, Florida (USA). Image © Satellite images 2016, DigitalGlobe, Inc

A turbine interchange connects two highways in Jacksonville, Florida, USA. This structure consists of left-turning ramps sweeping around a centre interchange, thereby creating a spiral pattern of right-hand traffic.

Put simply, this Overview also reinforces this idea that we can find beauty in the most unexpected of places. Our infrastructure, designed for incredibly practical reasons, can also be beautiful and something that we can view with wonder.

Daily Overview’s satellite imagery is courtesy of DigitalGlobe.

Civilization in Perspective: Capturing the World From Above

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Two Beams House / Yuri Vital

© Nelson Kon

Architects: Yuri Vital

Location: Tibau do Sul, Tibau do Sul – RN, Brazil

Ambience: S + N Architecture and Interiors

Area: 220.0 sqm

Project Year: 2016

Photographs: Nelson Kon

© Nelson Kon

Through the different levels and the opposing elements, we got a very rich spatiality, I think we reach the goal. Any place in the house has three essential items: view, ventilation and natural lighting.

© Nelson Kon

The idea was to create a home with a new concept, I think that the breaking of paradigms was important to design something innovative.

© Nelson Kon

Supported only by two beams and four pillars, the house projected by the architect Yuri Vital in Tibau do Sul beach, Natal, Rio Grande do Norte, Brazil stands out for its design and innovation, allied at an affordable cost.

Plan

Section

The one(1) floor residence is disposed in two pavilions with 1.5m in height between them, connected by a set of stairs, allowing the ocean and nature view from any space. A void at the bottom, which is formed due to the difference of levels, works as a space of recreation, parties and meetings or simply as a room to rest .

© Nelson Kon

Over the front pavilion and through stairs there is a solarium, where the sea view is even more privileged, by the observer, being above the level of the tree; tree, that generates a shade in the lower pavilion, using the nature in favor of the house. 

© Nelson Kon

Built with resistant materials in order to reduce the maintenance, this house will be perpetuated during its lifetime, without major investments, cause we barely used concrete, glass, treated wood and anticorrosive metal, that compound the spatiality and volume of the Two beam house.

© Nelson Kon

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Knitknot Architecture Seeks Funds for Nicaraguan School

Knitknot Architecture, in collaboration with nonprofit group Seeds of Learning, has designed — and is raising funds to build — the El Jicarito School. Located in El Jicarito, a tiny village in Nicaragua, the school will serve 27 children who currently do not have a school to attend.

The low-cost school design aims to bring the community together through collaborative construction methods, the use of local materials, and the creation of a new educational landscape that will enhance creativity.

Overall, the school will feature two classrooms, a multipurpose space, and a public square/playground area. Both of the classrooms are conceived as flexible spaces, in an effort to “stimulate and promote interactive teaching and classes with different formats.”

© knitknot architecture

The floors will be made of poured colored concrete, the walls will be earth-bags, and the columns and beams will be made out of reinforced concrete with steel framing, all as a part of an experimental and learning-based building process that will help the community come together.

Part of the land needed to build the school will be donated by the municipal government.

Planta. Image © knitknot architecture

© knitknot architecture

In addition to use as a school, the space will be available for community meetings, adult education classes, and traveling medical brigades.

Learn more about the project, or donate to the indiegogo fund, here.

News via indiegogo.

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Centre of Water and Ice Sports / Restudio

© Restudio

Architects: Restudio

Location: Lake Ukiel, Olsztyn, Poland

Design Team: arch. Maciej Jacaszek, arch. Rafał Jacaszek, arch. Grzegorz Porębski

Area: 3100.0 sqm

Project Year: 2015

Photographs: Restudio , Marcin Kierul

Site Area: 11490 m2

Cost: 7000000 €

© Restudio

From the architect. In 2006 the municipal council of Olsztyn, Poland, launched an open competition regarding public investments around the Ukiel Lake as a call for directions to formulate future plans of urban development of the area surrounding its waters.

© Restudio

The winning project of the Centre of Water and Ice Sports by the architectural agency Restudio lead by Rafał and Maciej Jacaszek was successfully completed in 2015.

© Restudio

The project introduces a natural opportunity of accessing watersport activities, which now become more open as the marina tends to be a public space not an enclosed harbour, integrated with cycling and pedestrian lanes network. It is one of the first steps in agglomeration’s development that turns its face towards the water, while before, the lake was defining rather a limit of the urban space.

Floor Plan

The spatial programme includes marina and watersports facilities, gastronomy, wellness, conference and training spaces around a central axis of 100 m long pier. Two buildings’ wings were set to become a fluent part of the shore, so the design integrates the built and the landscape through a green roof, set of terraces, steps and boulders. Public activities can occure with use of the amphitheatrically arranged place and multiple viewpoints accessible from terrasses. It becomes then not only a fullfillment of functional needs but a free access leisure destination for locals and tourists.

© Restudio

Structure of space provides transparency in between the in and out through glazed enclosure of inner room offering an iteraction of views. As the design was kept in the limits of natural scape, the use of uncovered concrete, glass, wood and stone reinforces the continuity of materiality of the site. The fact of being partially an underground volume affects energetical economies by ground insulation.

Section C

The realisation confronts elements of the landscape, its surfaces and uses while offering to people an opportunity to experience the terrain and opens a vision to the town to become one of the most important sailing centres in Poland

© Restudio

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AD Classics: Dutch Parliament Extension / OMA

© OMA

Designed shortly before Zaha Hadid left the Office of Metropolitan Architecture (OMA) to found her practice, Zaha Hadid Architects, the proposed extension for the Dutch Parliament firmly rejects the notion that imitation is the sincerest form of flattery. Rather than mimic the style of the existing historic buildings, OMA elected to pay tribute to the complex’s accretive construction by inserting a collection of visibly postmodern, geometric elements. These new buildings, unapologetic products of the late 1970s, would have served as unmistakable indicators of the passage of time, creating a graphic reminder of the Parliament’s long history.

Model. Image © OMA

The complex that houses the Dutch Parliament, known as the Binnenhof, is situated in the heart of The Hague – The Netherland’s governmental capital. The oldest structures in the Binnenhof were built in the 13th century, with several additions made as the complex adapted to serve a variety of programs – from a royal palace to the headquarters of the fledgling Dutch Republic. The center of the complex was dominated by the Ridderzaal (or Hall of Knights), a Gothic structure that received a Romantic restoration in the 19th century. By then, the Binnenhof had finally settled into its current role as the meeting place of the Dutch Parliament, and had become an agglomeration of buildings representing six hundred years of shifting architectural styles.[1]

When a competition for a new extension of the Binnenhof was announced in 1978, there was more at stake than the creation of new office space. The competition brief called for a deeper reinterpretation of the complex, one which would physically—and symbolically—separate the gathering spaces of the Parliament from the office spaces of the government proper.[2] The new Parliament buildings were to stand on a roughly triangular site just beyond the rectangle formed by the original medieval fortress.[3]

Het Binnenhof, Den Haag (Nederland). Image Courtesy of Flickr user Abdulsalam Haykal

OMA’s proposal consisted of three main elements, the products of three different designers: Zaha Hadid, Elias Zenghelis, and Rem Koolhaas. Hadid proposed a long, tall, and narrow rectangular office block, parallel to a lower, wider block designed by Zenghelis. The two orthogonal elements stood in contrast to Koolhaas’ contribution, an extrusion of an irregular plan sitting atop pilotis. Though connected by bridges, the three structures were otherwise spatially independent of one another.[4]

The main point of incorporating public access in the proposed addition was in the horizontal block designed by Zenghelis. Facing directly onto an open plaza, this structure—built of glass bricks—was to be the main forum for political activity; accordingly, it would house a number of meeting rooms of various sizes for varying purposes. Toward the northern end of the block was an elliptical tower whose ovoid rooms were connected by a spiraling ramp. The tower’s mezzanine would serve as a space for the press – those who would serve as representatives for the Dutch public.[5] Going beyond the specified distinction between government and Parliament, this added layer of separation between government and the public increased the number of factions to be represented in the Binnenhof to three.

Courtesy of A.D.A. EDITA Tokyo Co., Ltd.

Running parallel to Zenghelis’ public forum was the tall, narrow volume of Hadid’s Parliament block. Whereas the lower structure was to be open to the public, its loftier neighbor was reserved for the business of politicians.[6] The upper levels of the building provided space for political parties to gather and discuss their positions, while the lower levels were to accommodate the professional managers of parliamentary procedure. The two groups could then move toward the center of the building, where an ambulatory led them into the assembly room itself.[7] Office space for the members of Parliament and their staff were to remain in the existing structures in the complex, where proposed arcades would lead from three courtyards to the assembly hall.[8]

The assembly room was not fully contained within either Zenghelis’ or Hadid’s building elements. Instead, it rose straight up from the roof of the public block, then bent to a horizontal thrust that pierced through the Parliament block. This connectivity carried clear symbolic intention: in essence, the assembly room was intended as a bridge between the amateur and the professional, the civilian and the government. The overhang of the assembly also served as a new gateway to the interior of the Binnenhof, framing a view of the Ridderzaal within.[9]

“The Podium: Accommodation for Orgies of Speech”. Image Courtesy of A.D.A. EDITA Tokyo Co., Ltd.

Almost entirely detached from the other two additions, Koolhaas’ contribution literally towered over both. Its form was an extrusion of an irregular polygonal plan.[10] Though seven stories tall, the tower only contained five habitable levels which sat upon a number of two-story high pilotis.[11] It was from beneath this tower, between the small forest of pilotis, that the long, trussed ramp led from the Parliamentary offices to the assembly hall itself.[12]

© OMA

The end result of the collaboration between Hadid, Zenghelis, and Koolhaas did more than simply address the programmatic and symbolic directives laid out in the brief. The trio of late 20th century buildings, while visually quite distinct from their older neighbors, were by no means out of place. In fact, their stark modernity was meant to respect what OMA deemed the “slow-motion process of transformation” that had led to the Binnenhof’s eclectic representation of Dutch architectural epochs.[13] Though it was ultimately never realised, OMA’s proposal remains a fascinating glimpse of what could have been, and raises the question of how the Binnenhof will continue to transform in the future.

© OMA

References

[1] “Dutch Parliament Extension.” OMA. Accessed April 18, 2016. http://ift.tt/1VoZNoK.%5B2%5D Fabrizi, Mariabruna. “Applying the Cadavre Exquis: The Competition for the Dutch Parliament Extension, OMA (Koolhaas, Zenghelis, Zaha Hadid) – 1978.” Socks. November 22, 2013. http://ift.tt/1SxTo75.%5B3%5D Futagawa, Yukio, ed. GA Architect: Zaha M. Hadid. Tokyo: A.D.A. EDITA Tokyo, 1986. p38.[4] Fabrizi.[5] Futagawa, p39.[6] “Dutch Parliament Extension.”[7] Futagawa, p39.[8] “Dutch Parliament Extension.”[9] Futagawa, p39.[10] Fabrizi.[11] Futagawa, p38.[12] “Dutch Parliament Extension.”[13] Fabrizi.

Architects: OMA

Location: Binnenhof, The Netherlands

Design Team: Rem Koolhaas, Zaha Hadid, Richard Perlemutter, Ron Steiner, Elias Veneris, Elia Zenghelis

Client: Dutch Government

Project Year: 1978

Photographs: OMA, Courtesy of A.D.A. EDITA Tokyo Co., Ltd., Courtesy of Flickr user Abdulsalam Haykal

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Primary School in Gando / Kéré Architecture

© Siméon Duchoud

Architects: Kéré Architecture

Location: Gando, Burkina Faso

Architect In Charge: Diébédo Francis Kéré

Client: Schulbausteine fuer Gando / Gando Village Community

Area: 310.0 sqm

Project Year: 2001

Photographs: Siméon Duchoud, Erik-Jan Ouwerkerk

© Erik-Jan Ouwerkerk

From the architect. As a native of Burkina Faso, Francis Kere grew up with many challenges and few resources. When he was a child, he travelled nearly 40 kilometers to the next village in order to attend a school with poor lighting and ventilation. The experience of trying to learn in this oppressive environment affected him so much that when he began to study architecture in Europe, he decided to reinvest his knowledge towards building a new school in his home village. With the support of his community and funds raised through his foundation, Schulbausteine fuer Gando (Bricks for Gando,) Francis began construction of the Primary School, his very first building.

© Erik-Jan Ouwerkerk

Plan

© Erik-Jan Ouwerkerk

The design for the Primary School evolved from a lengthy list of parameters including cost, climate, resource availability, and construction feasibility. The success of the project relied on both embracing and negating these constraints. In order to maximize results with the minimal resources available, a clay/mud hybrid construction was primarily used. Clay is abundantly available in the region, and is traditionally used in the construction of housing. These traditional clay-building techniques were modified and modernized in order to create a more structurally robust construction in the form of bricks. The clay bricks have the added advantage of being cheap, easy to produce, and also providing thermal protection against the hot climate. Despite their durability, however, the walls must still be protected from damaging rains with a large overhanging tin roof. Many houses in Burkina Faso have corrugated metal roofs which absorb the heat from the sun, making the interior living space intolerably hot.

© Erik-Jan Ouwerkerk

The roof of the Primary School was pulled away from the learning space of the interior though, and a perforated clay ceiling with ample ventilation was introduced. This dry-stacked brick ceiling allows for maximum ventilation, pulling cool air in from the interior windows and releasing hot air out through the perforated ceiling. In turn, the ecological footprint of the school is vastly reduced by alleviating the need for air-conditioning.

Section

Although the plans for the Primary School were drawn by Francis Kere, the success of the project can be attributed to the close involvement of the local villagers. Traditionally, members of a whole village community work together to build and repair homes in rural Burkina Faso. In keeping with this cultural practice, low-tech and sustainable techniques were developed and improved so that the Gando villagers could participate in the process. Children gathered stones for the school foundation and women brought water for the brick manufacturing. In this way, traditional building techniques were utilized alongside modern engineering methods in order to produce the best quality building solution while simplifying construction and maintenance for the workers.

© Erik-Jan Ouwerkerk

The Primary School was completed in 2001 and received the Aga Khan Award for Architecture in 2004. More importantly, however, the Primary School became a landmark of community pride and collectivity. As the collective knowledge of construction began to spread and inspire Gando, new cultural and educational projects have since been introduced to further support sustainable development in the village.

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The Edge / PLP Architecture

© Ronald Tilleman

Architects: PLP Architecture

Location: The Zuidas, Amsterdam, The Netherlands

Area: 40000.0 sqm

Project Year: 2015

Photographs: Ronald Tilleman, Raimond Wouda

Client: OVG Real Estate

Structural Engineer: Van Rossum Consulting Engineers

Mep Consultant: Deerns

Local Architect: Oever,Zaaijer

Sustainability Consultant: C2N Bouwmanagement

Building Physics: LBP Sight

Landscape Design: Delta Vorm Groep

Contractor: G&S Bouw

Glass Façade: Rollecate

Glass Roof: Brakel Atmos

Interior Design: Fokkema & Partners

© Ronald Tilleman

From the architect. Situated in the centre of Amsterdam’s Zuidas business district, The Edge is an office building which opens itself up to the city with its 15-storey atrium. The atrium acts as a window between the world of work and the outside, as well as providing a social heart for the building, and serving as an environmental buffer to reduce energy use. The client, a Dutch developer devoted to architectural innovation, asked for an ambitious building which would set new standards for office design in multiple areas, including sustainability, technology, workplace design, structural and façade engineering . Above all, the brief was to create an inspirational business environment.

© Ronald Tilleman

Designing a cutting edge office building that would be futureproof required PLP to anticipate new patterns of work: people in the knowledge economy have the flexibility to work from wherever they want, at any time, and with whatever degree of social interaction they want. In this context, the utilitarian approach to office design developed in the last century has become obsolete, and technological innovation has enhance the toolbox available to architects significantly. The claims towards ‘efficiency’ that have long been used by architects to justify their workplace designs are no longer relevant. For the Edge, PLP devised spaces that produce a multiplicity of moods and atmospheres within the workplace, leveraging a wide variety of technologies and intensifying social interaction through spatially specific design strategies.

© Ronald Tilleman

To create an exceptional contemporary working environment, PLP focused on the building’s atrium as the key to its success. More than just a grand statement, the atrium became an integral part of how the building reimagined the workplace. We infused this massive space with vertical layers of activity and transformed it into an essential spatial component, the social nucleus of the building. The bright, expansive space forms an architectural response to highly specific occupier demands on the building. The Edge offers numerous different types of working, meeting, and breakout environments, and sets a new benchmark for the built environment by prioritising the comfort, health and productivity of its users.

© Raimond Wouda

That atrium is also the place where new working patterns meet digital systems. Rather than thinking of the technological systems in the building as autonomous and discrete layers, PLP used them to devise new types of workspace. People have the flexibility to work anywhere in the building; and with the help of a dedicated mobile app, people can find each other, look for a quiet empty desk and adjust the temperature and lights levels to their preferences. The technology is also designed to manage energy use by making users aware of how much energy they use, wherever they work in the building.

Section

The Edge demonstrates that the pursuit of a vibrant and collaborative work environment can come together successfully with achieving the highest level of sustainability possible for a building. It is officially considered to be the world’s most sustainable office building, having been awarded the highest rating ever recorded by the Building Research Establishment (BRE), the global assessor of sustainable buildings. The project achieved Building Research Establishment Environmental Assessment Methodology (BREEAM) certification for new construction of ‘Outstanding’ and a score of 98.36 % by employing both innovative smart technologies as well as a holistic attitude to sustainability. While sustainability as a purely technological narrative has been exhausted by its overuse, the Edge creates a radically new working environment which is enabled by sustainable technologies. 

© Ronald Tilleman

Fine tuning the shape and orientation of the Edge was the initial step in achieving the exceptional climatic and energy performance of the headquarters. The arrangement of large floor plates organised around a grand 15-storey north-facing atrium allows natural daylight to reach the vast majority of the office spaces, while the load-bearing structure and smaller glazed openings of the south facing facades provide thermal mass and shade. The atrium is the lung of the building, ventilating the office space while providing a buffer with the exterior in a way which reduces energy use in both summer and winter. As well as its energy-neutral temperature control, energy efficient design and green energy-generating technology, the Edge captures rainwater and stores it underground for use flushing toilets and watering plants in the interior and exterior gardens.

Diagram

Diagram

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Marine Base Amsterdam Building 27E / bureau SLA

© Milad Pallesh

Architects: bureau SLA

Location: Amsterdam, The Netherlands

Area: 2500.0 sqm

Project Year: 2016

Photographs: Milad Pallesh, Siebe Swart

© Milad Pallesh

From the architect. The Marine Base in Amsterdam has been a restricted military area for centuries, located in the heart of the city. In January 2015, the compound has begun a gradual transition towards a more public program. The departure of the designated marine units will be completed in 2018. Building 27E, a former education facility, is the first building on the site to be renovated for a public program. It had recently been dismantled and stripped down to a bare concrete skeleton. In June 2014 The Central Government Real Estate Agency commissioned bureau SLA to present a design accommodating new uses within the building. To host the Dutch Presidency of the European Union, taking place during the first half of 2016, the building was completed in January 2016.

© Milad Pallesh

The building is situated on the waterfront, next to the Maritime Museum and the Nemo Science Centre (a design of Renzo Piano). It was part of an ensemble of two identical elevated volumes, connected by a single storey base. Since 1962 the building served as a technical education facility for soldiers. True to the “Five Points of a New Architecture” of Le Corbusier, the two buildings were elevated above ground. In these days, the columns on which the building rests, the ‘pilotis,’ were pleasing elements for sculptural expression. The upper floors consist of a grid of columns, floor beams and floors with solid brick ends. A set of concrete emergency stairs faces the water. All the concrete has been poured in situ: the grain of the shuttering planks is still nicely detailed in the visible concrete. Access is provided under the colossus in a subtle embedded entrance area.

Plan

© Milad Pallesh

Plan

The building is located in the heart of the city. The design consists of a new layout, new services and new facades. The building can now be used as working space, but also facilitates meetings with a large number of people. To make this possible a number of changes have been implemented, of which the large lobby, spacious restrooms, the elevator, extra emergency stairs as well as fixed sunscreens are the most prominent. Each floor measures 500 m2 of net floor space. The first tenant is Makerversity, a London based pioneering community that brings together the best and most exciting makers, providing them with the space, tools and collaborative environment necessary to grow their business.

© Milad Pallesh

The facades consist of large 3.5 x 3.5 meter triple glazed windows set into deep window bays. The structural grid is clad in dark, pre-moulded fiberglass reinforced concrete panels. Operable windows are designed as triangular “dog-ears” as not to (optically) subdivide the glass panes. These triangular windows are made of etched frosted glass. The main windows are fronted with solid timber screens of Accoya wood, an acetylated wood with excellent sustainable properties. The pattern of the blinds may look random at first sight, but is in fact an interpretation of all the national flags of the countries of the European Community – with an eye to the Dutch presidency of the EU in 2016. The etching on the windows in the staircases is based on a drawing of the famous Dutch minimalist artist Jan Schoonhoven (1914 – 1994).

© Milad Pallesh

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Saint John Paul II Building / Conrad Gargett

Courtesy of Conrad Gargett

Architects: Conrad Gargett

Location: Nudgee Rd, Banyo QLD 4014, Australia

Architect In Charge: Conrad Gargett

Area: 5400.0 sqm

Project Year: 2016

Photographs: Courtesy of Conrad Gargett

Courtesy of Conrad Gargett

From the architect. The Saint John Paul II Building is a landmark project for the Australian Catholic University Banyo campus. The siting and planning of the building and associated landscape was the key element within the campus masterplan to define the campus heart and for the enhancement of campus identity.

Courtesy of Conrad Gargett

The conceptual framework adopted resonated with a strong sense of continuity and constancy, enriched by the heritage and history of the previous Pius XII Provincial Seminary. The image of the heritage building reflected in the glass facade of JPII building heightens the community’s awareness of the significance of the heritage of the site.

Courtesy of Conrad Gargett

The building, designed in a cruciform plan, is defined by three axes: central, longitudinal and vertical. The central axis sets the symmetry of the building to pay homage to the existing heritage building. The longitudinal axis provides the organisational discipline for the building. The vertical axis symbolically connects man with the sky.

Courtesy of Conrad Gargett

The inclusive approach the design team and client lead to the creation of a community court, an ode to its historical past. The community court creates and evokes the ambience of the ‘Cloister’ and the formality of the ‘Great Court’.  The permeability of the design facilitates activities and contributes to the vitality of the place. A series of spaces were designed for learning innovation, research and student engagement. The themes of journey and interest are interwoven through these spaces and the planting selection of biblical plants in the chapel surrounds drives this messaging.

Level A

The existing ‘forecourt’ area of St Paul’s Theological College became the Saint Francis Garden to provide a connection to the Saint John Paul II Building. It also visually encloses the SW edge of the Community Court. The concept adopts the discipline of the Sacred Garden, a locus for meditation and reflection. Saint Francis Garden is square in form, divided into four parts by paths that form a cross at their point of intersection. The existing Poinciana tree, in one of the four quarters is used to symbolise the tree of knowledge and the wood of the cross. The other three squares have a circular bed of the Francis rose (white), to commemorate each of the three Franciscan Sisters who came to the Pius XII Seminary in 1941. Other plants also bear allegorical meanings to symbolise an inclusive sanctuary for all.

Courtesy of Conrad Gargett

The building, with its contrasting contemporary vocabulary, is a centrepiece on campus for learning innovation, research and student engagement. The permeability of the base facilitates student support activities and contributes to the vitality of the place.

Courtesy of Conrad Gargett

The community court and Saint Francis garden have become a locus for learning, meditation, inspiration and reflection. The landscape has created a community hub, allowing students and staff to experience the spirituality and history of the site. Overall the landscape demonstrates the importance of place and refined connectivity.

Courtesy of Conrad Gargett

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