The exhibit shows a proposed residential development in South Korea by Dutch architects MVRDV. The architects call it The Cloud because they want to create a sense of buildings rising through “the clouds”.
Critics however reckon they look like the twin towers exploding. I see what they mean, but I’m not certain that would’ve been my first thought. Had I not had the WTC meme inserted in my brain from the outset, I might’ve interpreted it first as some form of cancerous growth – a sarcoma – growing out of the façade of an otherwise benign host.
This guy calls it “Safde/Habitat on uppers”. It certainly reminds me of Moshe Safde’s famous Habitat 67 housing project in Montreal. It’s like an enthusiastic gardener grafted Safde’s DNA on to Mies van der Rohe’s and this is the result. Maybe it should be interpreted as the architectural equivalent of sampling in music!
Still, it’s hard to believe the architects didn’t see the twin towers connection themselves (this observer reckons they did but aren’t owning up to it). The way observers have reacted isn’t surprising really: there’s a picture in MVRDV’s PR material of two cloud-wrapped, generic looking towers – the inspiration for the idea – that look remarkably reminiscent of the WTC.
I’m not convinced emulating clouds is a compelling way to go about designing buildings that are literally tall enough to be in the clouds. Seems a bit like double counting. Still, clouds is a less pretentious explanation than the ludicrous guff offered by the architects of this similar-looking building.
Nor do I think the design does well on its own terms. As an expression of cloud-wreathed towers, MVRDV’s design is an unmitigated flop. There’s nothing in that heavy, concrete “growth” that comes even close to evoking the wispy, ethereal sense of clouds. They’re delicate, light, insubstantial and wraithlike – this proposal isn’t. It’s no wonder many people think of the twin towers.
But unlike some others, I don’t accept the design is in any way immoral, insulting to the USA, or a free ride for Al Qaeda. The human mind seems to have a special talent for projecting associations onto the slightest suggestion or stimulus. I accept the architect’s explanation that the 9/11 interpretation wasn’t intended – it’s something we’re projecting from our experience. It wouldn’t get past first base in the US, but I suspect the vast bulk of the world’s population wouldn’t see it in terms of 9/11, or care.
Book giveaway: follow this link to be in the running for one of two copies of Jarrett’s Walker’s new book, Human Transit
The Premier gave the Flinders St Station International Design Competition another nudge this week, announcing entries will be formally invited from architects mid next year, with the winner to be announced mid 2013.
Mr Baillieu indicated the project for the 4.7 ha site has two basic components. One involves “restoring and renovating the building” and the other is about “releasing any opportunities for further development”. According to The Age:
Mr Baillieu said renovation of the heritage-listed station would be very expensive, and the government was looking for ways to ”release some value” to help bankroll the development, including the possibility of a public-private partnership. A property developer will sit on the competition judging panel, as well as Victoria’s government architect, Geoffrey London.
I’ve previously questioned the sense of running this project as a design competition, but there are a couple of other aspects that also worry me.
One is that this isn’t really first and foremost an “architectural design competition”. That’s a convenient way to market the project because it sounds innocuous – everyone knows architects are sensitive characters who care about design, heritage and place.
But all the signs suggests this is really a search for commercial uses that will generate revenue for the Government – at least enough to pay for the restoration and renovation, but hopefully more. The key players will be organisations with the wherewithal to “release some value” – i.e. to identify, develop and finance new uses that generate profits.
These sorts of players are traditionally called property developers or merchant bankers, not design professionals. Architects will still have a key role in the physical expression of the new Flinders St Station precinct but they won’t be the motive force determining what sort of activities take place there.
So-called competition entries will primarily be commercial bids, rather than primarily design submissions. The novelty is the bid consortia will presumably all have to be led by architects, at least nominally.
The project is likely to be as much about the redevelopment, as the restoration, of the precinct. Redevelopment can be positive provided it is handled in a way that’re sympathetic to the transport, heritage and civic importance of this precinct. And there’s certainly plenty that needs to be done – addressing that horrible concourse-cum-food court for a start.
However redevelopment can also mean some of the values that define the precinct might be put at risk. Mr Baillieu recognises there could be new buildings but says they will have a “common sense” height limit. Hmmm……I doubt we all have the same number in mind!
Another key issue is the “competition” shouldn’t be conceived as a fishing expedition. A potential danger with competitions is officials, politicians and the public could be seduced by a spectacular proposal – a one trick pony – that fails in other important respects. The brief is thus supremely important. Read the rest of this entry »
It now seems clear the Government’s Flinders Street Station Design Competition is about much more than merely restoring the station to its former glory. This could be a redevelopment project, albeit one that respects heritage values. According to this statement from Major Projects Victoria, the Government will be looking for:
The best ideas from around the world to re-energise the station and its surrounds while making sure critical heritage values are maintained. Designs will be expected to address the station’s transport function, heritage requirements, urban design and integration with its surrounds as well as providing a value for money construction proposal.
At first glance a design competition seems like a good idea, but on further reflection I’m not so sure.
Architectural competitions have several advantages. If they’re open to all comers they allow for a range of interpretations of the brief and are more likely to draw in unusual, spectacular and ‘left field’ entries. It is unarguable that a radical conception like Utzon’s vision for Sydney’s Opera House would not have been selected in the absence of an international competition.
Competitions are a useful way to excite public interest in a project. They can also give up and coming architectural practices the chance to enter an otherwise exclusive club. Some of our most applauded buildings – like the Opera House and Federation Square – were the result of international competitions.
But they also have their risks. Designing a building to win a competition is not quite the same task as designing one strictly on the basis of fulfilling the brief. Competitions favour ideas that stand out from the crowd – they favour high impact visions. Sometimes the basic function, practicality and financial viability of the building can be compromised – the Sydney Opera House is one of the better known examples of this phenomenon.
There’s also a risk that entries will not be prepared with an appropriate level of diligence. Entrants don’t know they’re going to win, so rationally they’re going to make compromises to limit costs. That might not be so bad if the winner can correct the shortcomings, but once a proposal is selected the major parameters are often locked in, immediately limiting the scope for adaptation (I know short-listed entrants are often paid, but it’s usually not enough).
Some functional compromise might possibly be a price worth paying if the new Flinders Street Station were to became as iconic as the Opera House, Bilbao or the Guggenheim, but the odds on that are astronomical. No one really understands why a handful of buildings become international symbols, but the fact is millions don’t.
The key thing about this project is it will be extremely complex. Any use of the site is constrained by four key factors. First, there’s the need to protect perhaps the most iconic building in Melbourne, with high historic values. Second, it’s Melbourne’s busiest rail station – functional efficiency really, really matters and transit operations can’t be disturbed during construction. Three, if it proceeds, the proposed Melbourne Metro rail line also has to be incorporated within the complex. Four, the setting is a limiting factor – it includes the river, Princes Bridge, Fed Square, St Pauls, the view of the station across the river from Southbank, and more. Whatever’s built at the station has to take account and give due respect to the neighbours.
When it comes down to it, I doubt there’d be many projects more unsuitable for a design competition. There’s much more at stake here than a potentially functionally compromised opera house. This is the sort of extraordinarily complex project where a solution needs to be developed very, very carefully. There must be considerable research, testing and consultation with all the parties and interests involved. Theoretically this might be sorted out during the development of the brief but I think a much better outcome would be achieved if all parties, including the architects, were intimately involved from the outset.
In fact this just highlights that the key issue here isn’t “design” but “use”. What really matters is what sort of activities, commercial and public, could possibly work at Flinders Street Station without compromising the existing building, the entire metropolitan rail system and the integrity and value of the surrounding uses. A huge effort is needed to get the brief right. My expectation is that what will work here – given all the constraints – won’t be the kind of potentially spectacular stuff that in design terms would traditionally be put out to a competition. Read the rest of this entry »
About a month ago I was asked by a reporter for The Age, Susy Freeman-Green, why architects are so tentative with colour on the exteriors of buildings.
She’d observed many small apartment buildings going up in the inner city were made of grey slabs of concrete. On an overcast day, Melbourne could seem awfully leaden. “What is it with the colour grey?” she asked,”and why is it so popular with architects?”
My initial conjecture was it had a lot to do with the capital and maintenance costs of buildings. The common use of concrete is the obvious example. It’s a relatively economical material and maintenance costs are lower if it’s left unfinished (“off-form”) or with a stone aggregate finish.
However I added that this was likely to be only a partial explanation. If architects as a group were minded to dress their buildings in bigger, brighter and bolder colours, then over time they’d have convinced their clients accordingly. My best guess is they don’t for one or more of the following reasons:
Most architects see form, space and texture as the key elements of design; they think in 3D – strong colour could distract from the visual message (of course if used judiciously it could also reinforce the message!)
Strong colour used creatively can be dangerous – it can date easily and go out of fashion; clients might find it too confronting; and local government authorities and neighbours might find it too dominating
The modernist ideology stresses truth in materials – show them as they are. The contemporary stress on sustainability as a driving force of design reinforces this view
Many architects aren’t confident with colour – it seems to be a specialist talent (could that be why so many architects wear black?)
Strong and bold colours might be seen as too crass for the refined sensibilities of architects. The over-use of colour by advertisers and popular media has made it distinctly unfashionable.
I don’t know if there’s any objective data to support this contention, but it seems to me strong colour is used more extensively in warm climates where the light is brighter. Colour may look more vibrant on Mediterranean islands, but it surprises me there isn’t a greater demand for it in colder, overcast places like Melbourne where it might have a psychological bonus.
I also have a hypothesis (again, untested) that strong colours are more likely to be used in Melbourne if the building is cost-constrained to a simple form like a plain rectangular solid. Examples that spring to mind are the Macleod Netball Centre and the A’Beckett Tower. Even the NAB building in Docklands is a relatively simple form. This would be an interesting project for a student to test – if the hypothesis is true it suggests architects, on average, see colour as a residual medium.
While I think there’s room for architects to use colour more boldly than they seem to want to, I also think excessive colour is the last thing most of us want to see in our streetscapes. There could be visual cacophony if the great bulk of the urban landscape isn’t coloured in a relatively neutral way. There’s a straightforward analogy here with the look of the natural landscape, most of which tends to be in a limited, often muted, palette (I think it’s plausible we’ve evolved to prefer a subdued background).
So maybe architects are instinctively reflecting a human preference for what the outside world should look like. If so, good exterior colour design doesn’t have to be confined to the ubiquitous grey, but it needs to be relatively neutral – to form a background. Read the rest of this entry »
Victoria’s architects had their annual awards ceremony last Friday, handing out gongs in a range of categories. Curiously, the official AIA site shows the happy faces of the winning architects, but no pictures of the winning buildings. It should have both! Nevertheless, I finally succeeded in locating a file showing pictures of all the winning buildings in all categories – see Award Winners 2011.
Given the pressing housing issues facing our cities – like declining affordability and the need for higher densities in established suburbs – I was curious to see what the best architects in the State were doing in housing design, so I took a look at the winners in the New Residential Architecture category.
The premier honour for residential architecture in Victoria – The Harold Desbrowe-Annear Award – was won by NMBW Architecture Studio for a house in Sorrento. This is a detached house on a relatively large lot. In fact it
could be is an up-market beach house.
There were three other winners in the New Residential category. Two of them – Beached House, by BKK Architects, and Westernport House, by Sally Draper Architects – are also detached houses in relatively remote (from Melbourne) locations, seemingly on even larger lots.
The only winner located in a metropolitan setting is the Law Street house, built for their own use by husband and wife architects, Amy Muir and Bruno Mendes. I like it, but architect’s own houses don’t generally provide a template for addressing the wider task of housing the population at large.
In contrast, there were only two awards for higher density housing. The premier Best Overend Award for Multiple Residential went to architects Elenberg Fraser for the A’Beckett Tower (see exhibits) and the other to Hayball architects for a three storey development in John Street, Doncaster. Read the rest of this entry »
Many Australians admire old buildings like the Windsor and Parliament House, so I’m a little surprised there’re so few new commercial and public buildings with the elaborate decoration and classical references common in nineteenth century buildings. I was schooled in the modernist tradition so I don’t personally regret this absence all that much, but that doesn’t mean I’m not intrigued why there’s so little of it. Here are a couple of conjectures:
The first and probably obvious reason is that high labour costs mean highly wrought decoration simply isn’t affordable anymore. Modernism had to be invented after WW1 because historical styles were simply getting too expensive to emulate. Nowadays, workers with the requisite skills and artistic talent can get better pay and/or status in other areas. Artisans have been crowded out of the building industry by “new” industries like film, theatre, commercial design, media, advertising and, more lately, the web.
But with contemporary technology like CNC machines and the ability to import prefabricated components from low labour cost countries, this isn’t such a convincing explanation anymore. If there’s demand for greater visual complexity, a country like China – which has plenty of flamboyant modernist buildings – could be using its low cost base to construct buildings rich in decoration. These wouldn’t necessarily need to hark back to earlier periods, they might simply celebrate ornamentation and embellishment.
Another reason could be that large organisations are simply not as prepared to invest in the public domain – provide a positive externality – as they were a century ago. Expectations of proper civic behaviour might be much lower now than they were then. As mentioned here by Ajay Shah, companies and governments now have many other ways of signalling their wealth, power and prestige and accordingly don’t have to rely so much on buildings as a key form of communication.
Yet that argument isn’t entirely convincing either. Major buildings are more spectacular in form and scale than they’ve probably ever been (not least in China) – there seem to be an infinite supply of new architectural feats that apparently defy the laws of physics and mechanics (‘feat-urism’?). There still seems to be plenty of demand for buildings that put a lot of effort into how they look to outside observers — it seems like every city in the world wants a gleaming new art musuem designed by Frank Gehry. Read the rest of this entry »
In The Land Boomers, Michael Cannon reports how the ‘era of extravagance’ was climaxed in 1890 by the construction of a brand new edifice for railway officials in Spencer Street at a cost of £130,000. Writing in 1966, Cannon says this “remarkably ugly building….still houses civil servants…..within its dun-coloured walls”.
There’s little doubting the historical value of the building (now a hotel), but it’s surprising to hear any building more than a hundred years old described as ugly or lacking in architectural merit. People are quick to criticise new buildings but seem far more forgiving of old ones.
Even architects are soft on old buildings. For example, The Age conducted a survey last month of 140 architects to find Melbourne’s “best” buildings and its “ugliest” ones (not available online). You might think architects would be loath to criticise their colleagues, but in fact all of the ten “ugliest” buildings were constructed post 1990 and five were built in the noughties.
I don’t think the reason we find old buildings attractive is because only the very best have survived. While some buildings of great historical importance are still around, unfortunately demolition was driven primarily by development potential, not lack of architectural merit. Like Cannon, I think some of what we now value so highly was probably ordinary in its day.
One of the reasons old buildings are attractive to us might simply be that they’re old and irreplaceable. We like old things – hence ‘antiques’ – and buildings are probably no exception. They’re also historical. They speak to us of another time, of particular events, of old crafts, and even of particular historical characters. Perhaps they’re the product of a nostalgia for an idealised past.
People will often say they admire the ornate detail of old buildings, particularly pre modern ones. They like decoration, especially if it’s elaborate and complex. Perhaps we value it more because so many modern buildings have largely abandoned any designed surface intricacy and elaboration.
Older buildings are visually distinctive, not so much because they shout out but rather because they’re different, often in a way that’s restrained and formal by contemporary standards. Few new buildings look anything like, for example, the former Melbourne Town Hall Chambers (pictured), Treasury Place or Parliament House. There’re very few buildings if any being built today in (say) the renaissance or gothic styles.
There’s also a romantic dimension to old buildings. Some traditional architectural styles evoke literary and emotional associations, probably based on what we’ve read or seen. Some also have decoration and relief sculpture based on, or drawn from, life. Figurative and non-abstract imagery isn’t common in modern buildings but resonates with us more easily and in more complex ways than abstract images. Read the rest of this entry »