Building for Long Life: A Grammar for Flexible Use

Avr il B e nni e Arc h it e c t u re a n d t h e Cit y 20 1 4 / 1 5

STRUCTURE

ABSTRACT

page 5

RESEARCH QUESTION

page 7

INTRODUCTION

page 8

RESEARCH

page 12

CARCASS

page 26

FAÃ&#x2021;ADE

page 28

FRAME CONCEPT

page 30

PERCEPTION

page 32

CHANGE & DISTRIBUTION OF DESIGN

page 33

INVESTIGATION VERTICAL CITY

page 36 page 37

SAMENESS & STRUCTURING

page 41

CHANGE & TIME & PLACE

page 43

SOLID VERSUS MIXED-USE

page 47

CONCLUSION

page 49

APPENDIX

page 53

LIST OF FIGURES

page 56

BIBLIOGRAPHY

page 58 3

ABSTRACT

Hertzberger attempts ‘ultimate flexibility’: however, he says that we “must beware of the glove that fits all hands and therefore becomes no hands”. (Hertzerger, 2000) Hertzberger’s experiment with physically flexible systems creates a generic language which arguably results in a loss of architectural values (‘refusing responsibility’). Perhaps because of that Norman Foster, Baumschlager & Eberle and Tony Fretton approach ‘ultimate flexibility’ from a different standpoint. By studying a series of existing precedents which include forms of adaptability, it is possible to identify the common criteria to create a new typology in Dundee, thereby creating a methodology which can be integrated into a design brief.

RESEARCH QUESTION

This thesis investigates the options for achieving Hertzbeger’s notion of ‘ultimate flexibility’ in building use. In doing so, it highlights the key elements which constitute ‘a grammar’ for adaptability in architecture.

INTRODUCTION

This thesis investigates the criteria which determine adaptability, and highlights the elements which foster both longevity and sustainability within a city, as well as exploring what architectural role these play. This study will begin by analysing the work of Herman Hertzberger, which will lead to a discussion of Norman Foster, Baumschlager & Eberle, Tony Fretton, UN Studio, KPF Architects and Renzo Piano: this approach will allow an in-depth study to determine what successful adaptability is within the set context of the project. Each project deals with adaptability differently. By understanding the requirements of each scale, these needs can be extrapolated to similar proportions, allowing identification of key elements to create a new programme within Dundee. The thesis aims to revise the notion of ‘form follows function’ it proposes that, firstly, a building does not need a set function for its design, but that it should strive to suit any function, which sets out a concept of designing without function to accommodate the ever-changing needs of a city. (Jaiswal, 2015) Indeed, it has become a common sight in cities to see a building Fig 1: Appendix B - Typology Study, authors own (Avril Bennie, 2015) from (Mooij, 2013)

become unusable after a 20+ year life-span, after which it is demolished and replaced with another functional set design, as this is seemingly cheaper and more efficient. (Architectural Association School of Architecture, 2014) However, if it was possible to adapt the plan of the building without interfering with its core, would it not be more efficient to adapt the walls, façade and interiors rather than the whole building? This raises several questions about sustainability, longevity, flexibility, as well as economical, environmental and emotional issues within the city. Many factors make up the unique matrix of a city, such as architectural, social and economic

INTRODUCTION

pressures. However, fundamentally, this project is centred around the main principals which make a building ‘adaptable’ (on a micro scale), but equally over time (on a macro scale). (Gregotti, 1996) This takes into account the effect of the passage of time on the city, which includes the street and the individual buildings within the street, but also how this built environment can cope with the perpetual changes of time. This analysis also highlights how this change is subsumed into part of the city, and how the pattern of time affects the layout of a city from the perspective of the requirements placed upon buildings at any given time. This then reveals the beating heart of this investigation - the building itself – offering a deeper appreciation of how we conduct, construct and treat buildings. Therefore, to take it further, this project will study a block from the unit’s master plan, utilising the different approaches to achieve ‘a grammar’ which can be reproduced in a building block, analysing the elements to create adaptable space by identifying what makes adaptability successful in context. The site on which this will be tested is the Apex Plot (East of the Tay Bridge ramp into Dundee). This site will allow for a hybrid building (with a life span of 100+ years) to accommodate a Fig 2: Concept within Context authors own (Avril Bennie, 2015)

conference centre, an extension to the Apex Hotel which could house services, spa, retail, rentals or apartments. This site can then be re-assessed every 20-50+ years to determine whether it could be converted into something else to accommodate future demands. This will create a structure which is not designed around function but adaptability, ensuring that longevity and a permanent grammar create the required adaptable elements. In doing so this assessment will determine if long-term adaptability can be achieved in Dundee and whether such a model of designing is appropriate in this context. 11

RESEARCH

Herman Hertzberger Centraal Beheer, Apeldoorn The notion of ‘ultimate flexibility’ conjures up the image of a building which is ever-changing, without identity or reference to place. Hertzberger first highlights an issue with creating this concept, with the notion that no single solution for flexibility exists to suit all uses because the “solution is in a permanent state of flux, it is temporary”. (Hertzerger, 2000) This theory of flexibility is tested in his Centraal Beheer Head quarters plan, where he is said to be “refusing […] responsibility” in trying to achieve this. (Hertzerger, 2000) Adaptability suggests that a building has the ability to change as circumstances dictate, but Hertzberger stresses that no solution will suit all needs, and no building can have different uses without undergoing Fig 3: Study of Hertzbergers Centraal Beheer plan. authors own (Avril Bennie, 2015)

change itself. Centraal Beheer conveys a uniformed dwelling block and plans which reveal the segregation of function which is only linked by communal voids. The animation created by these voids strengthens the concept of an adaptable building, as do the introduction of multiple functions in one building. However, Hertzberger’s choice to make the walls permanent creates friction between his design and, his whole theory, and removes the ability to scale any initially-designed flexibility. This then raises the question of how adaptability can be designed into a building to create flexibility. In order to answer this, it is necessary to assess other architects who claim achieve flexibility, and analyse how they design such a building. 13

RESEARCH

Tony Fretton Solid 11, Amsterdam Bringing this study into the current day, the new Dutch term, ‘solids’, refers to these buildings’ character. With their long life-spans, the longevity of their fabric stands in contrast to the fluidity of the programme. A solid, like Tony Fretton’s Solid 11, offers a highly generalised internal environment. The space is leased on an e-Bay-style auction. A percentage is dedicated to retail, commercial and residential. However, these percentages can change as required (ranging from affordable to luxury, depending on market and societal requirement). What is interesting here is that one developer oversees the changes and cost of this flexibility after the auction, and partitions up the floor plates. The fit-out is the responsibility of the individual Fig 4: Study of Fretton’s Solid 11 plan. authors own (Avril Bennie, 2015)

tenants, allowing for ownership, which is key to its success. (Tony Fretton Architects, 2000) Because solids represent an investment over time, start-up costs are more than a conventional building. However, the return is ordinarily recouped within the first 50 years, or two use cycles within its 200 year life-span. This makes it a long-term investment within the city, both for identity and financial reasons.

RESEARCH

Baumschlager & Eberle Solids 1 & 2, Amsterdam This is another solid: however it is seen to be unsuccessful in context due to the economic climate and proximity to the city. I Jburg reveal the solid to be seen as a collective rather than just an object (as seen with Frettonâ&#x20AC;&#x2122;s Solid 11). In this proposal, the emotional value is still held in high regard. This is expressed in the permanent faĂ§ade, which reflects the new language of the district. The building increases accommodation capacity to achieve overall sustainability, therefore becoming more valuable over time. However, I Jburg has been unable to animate its streets and connect with Fig 5: Study of Baumschlager Eberleâ&#x20AC;&#x2122;s Solid 1&2 plan. authors own (Avril Bennie, 2015)

neighboring buildings because of lack of demand for its predominant residential configuration. This highlights that the brief for the solid must be expanded beyond commercial, retail and residential considerations - context is everything. Careful thought (especially when reestablishing an area) must go into assessing what additional building uses will be needed, and these must be implemented to achieve successful activity. The expectation of creating such a build to provide only offices, shops and housing will not necessarily generate sustainability within the plan and city. These building were designed to create shared access and communal areas, but there is no programme to facilitate the volume required to naturally generate. (Baumschiager Eberle, 2014) 17

RESEARCH

Norman Foster Riverside One, London Riverside is a mixed-use building. Foster and Partners’ studio occupies the lower levels, while residential functions are located on the upper floors. The public are free to enter and use the space, thereby creating street animation and pedestrian routes which run along the river’s edge. A key success here is to allow the water to help activate the movement around the building and city. Again, the current climate demands a work/live relationship from its buildings within a set distance, which can be easily changed. No zones are designated for different functions: each is integrated, making adaptation easily. The transport routes, particularly pedestrian, aids the redevelopment of this area in generating a new street culture. Fig 6: Study of Foster’s Riverside One plan. authors own (Avril Bennie, 2015)

The only division in the plan is the addition of access routes to give privacy and security to the residents. (Foster & Partners, 2015)

RESEARCH

Renzo Piano The Shard, London The Shard is a mixed-use tower, a vertical city. The project is positioned in the centre of an intersection of different transportation. The key move here is “providing life in a city without increasing the traffic – by using public transportation”. (Dezeen Magazine, 2015)The building reuses the heat from the offices into the residential, aided by the glass which controlling the heat gain from the sun. Again, the façade appears moveable when it is not: it too is a fixed permanency in the design. Many of the floors offer open-plan or a simple layout which links into its core. However, an interesting feature is Fig 7: Study of Piano’s Shard plan. authors own (Avril Bennie, 2015)

the core’s ability to shift service to the building as the floor plates change, so even though many aspects of the Shard are permanent, the core is what is flexible here. It also suggests that density is not necessarily added to a city from a tower: rather the form just suited the site. Infrastructure aided the design, and its function fitted a form.

RESEARCH

KPF Architects The Heron Tower, London The alternative to a solid is the mixed-use building, which provides hybrid functions. The Heron Tower provides a highly flexible, luxurious working space to support diverse tenants, and is deemed to be successful. The building organises itself around a series of office ‘villages’ within a triple height atrium at the centre of the building. Locating a vertical axis which signifies communal space is a common theme. The north of the building is a marker within the city, and activates public and private circulation. This is animated by greenery and cafes to enhance the surrounding area. (KPF Architects, 2015)

Fig 8: Study of KPF’s Heron Tower plan. authors own (Avril Bennie, 2015)

The proposal uses the façade as a visual incentive to position the organisation of ‘villages’ within the elevation. This is replicated within the lift cores and animated by the movement of glazed lift cars. The East and West façades are highly translucent and ventilated, thereby creating a bio-climatic, energy-efficient zone. This mix of movement and greenery, start to signal a movable façade suggesting a language of flexibility.

RESEARCH

UN Studio Canaletto Tower, London The Canaletto Tower is primarily a residential building. Residential buildings hold the highest demand of servicing, thus if a building can accommodate a residential function, it can accommodate any other function with ease- (such as the residents’ indoor pool, spa, cinema, car parking, etc.) The remodelling of the façade is a direct effort to minimise the building’s mass and detail. The building façade deliberately distinct, and as a result the building becomes an object form. Sustainability benefits are achieved by the surface modelling which create opportunities for shading - balancing internal daylight and views of the water (with reduced heat gains). (UN Studio, 2015)

Fig 9: Study of UN Studio’s Canaletto Tower plan. authors own (Avril Bennie, 2015) Fig 9: Study of UN Studio’s Canaletto Tower plan. authors own (Avril Bennie, 2015)

CARCASS The idea of a free plan in which partitions can just be put up on demand reflects societyâ&#x20AC;&#x2122;s current climate (which Hertzberger had not anticipated in designing for his time), where diverse needs to work/live in close proximity to the city is required to offer security and flexibility. (Alexander C., Ishikawa S., & Silvertein M. , 1977) The carcass often refers to an empty space with no divisions or fittings. The solid aids this concept by allowing its fittings to be reversible. (Leupen, 2005) Fosterâ&#x20AC;&#x2122;s Riverside One takes this notion one step further to a space said to create no divisions. The essence of this concept is often a support structure containing separate compartments providing the insulation required between different dwellings. This is seen within the solid and mixed-use examples: they present themselves with strong fixed faĂ§ades, floors and cores. The only difference is the assessment of functional requirement when a change occurs: a solid is general and can cover all whereas the mixed-use is always tailored to its brief, and therefore certain areas in design are created for a specific use. The carcass is the shell within which any programme works: it facilitates the rebuilding of dwelling or units within its structure. In all the examples, the buildings communicate with the urban garden, courtyard or external environment. (Gehl, 2010) This activity animates the surrounding city, and aids the longevity of the plan over a 20-40 year life-cycle. It also defines 26

RESEARCH

the relationship with the user during their daily commute to work from home, or for recreation. The question is where the role of the service has taken over from the use or vice versa, and how this can facilitate sustainability (and also flexibility within the plan and section). Here, the façade is entirely disengaged from the space-defining aspects of the design: it relates more to place and the city, seeming to be part of the urban scenery. In the same way that every layer can have its own secondary supporting structure, some layers can have their own scenery. Therefore, the servicing which runs through either the walls or floors is free to be subdivided to suit the given requirements of plan construction (this can be known as ‘as active layer’). (Leupen, 2014) Therefore no plan is stronger for achieving flexibility. The life cycle and routine establishes the building’s emotional identity, and careful thought about whether to follow a solid or mixed-use approach is crucial. That the plan creates flexibility but the context dictates the requirement of sustainability. Only this allows the designer freedom to achieve the strongest configuration. Since context is key, this raises the point that the façade and the street are said to be united. But must the façades and the street be the same? And if so does the façade to load-bearing structure require the same consideration? 27

FAÇADE Within the examples, the façade is a permanent element, either to provide structural strength or the servicing purposes. The façade plays another role: it is part of the city’s language, strengthening identity with its rules on height and material. It also becomes familiar to the individual, both internally and externally, as increased importance is placed on the permanent framework around which day-to-day use occurs. In this way, new environments without historical precedent become the norm. However buildings can also shed their skin (like The Hague) and not be permanent, thereby prolonging their lifecycle. This can rejuvenate the urban fabric in times of change. After all a “contemporary building will, eventually, establish its own hierarchy of changeable subsystems.” (LeupenB., Heijne K. & Van Zwol J., 2005)This calls into question the permanency of such designs since ‘union’ with the street is dependent on the overall development of an area. Perhaps façades should have equally short-lived life spans to accommodate the flux in habitat of 100+ years. Elements of a façade could be kept permanent, but this would be the designer’s decision. Interior flexibility is just as important as the exterior, as it must respond to a diverse population. The examples show a mix of concrete and steel to support the structuring of the design. Consequently, the interiors are not cluttered by columns, and retain an open plan for partition 28

RESEARCH

so a simple demountable wall can be used. This can also be applied to the exterior, turning the building into an “extension […] of the urban fabric”. (Whyte, 2003) Modernist ideology did not recognise levels in architecture, neither upwards in urban design nor downwards in interior organisation. (Vidler, 1992) Indeed, the modernist environment, for all its novelty, can be understood to a large extent as the reduction of complex urban fabric to a coarse single-level product (hence its inability to create large structures without imposing uniform repetition on inhabitation). In this respect, the avant-garde movement was a regressive movement. Within our climate, which calls itself dynamic, it has created architecture more adamant in its articulation and less able of managing with the dimension of time than any period before in mankind’s past. (Leupen, 2005)

FRAME CONCEPT This concept is predicated on the notion that for flexibility to occur, the space must be based on a permanent element: the frame. The underlying assumption is that the building’s use cycle is 20-40 years (changing rapidly, slowly or repeatedly): however, a building’s life cycle is 100 years. Attempts to resolve this issue focus on flexible structures which can be easily changed. The frame concept, however, the emphasis is not on what is flexible, but what is permanent, to allow for such changes to be made to a building’s fabric. By determining what can be permanent now, opportunities can be created to deal with the unpredictability of its future uses. (Till J. & Schneider T., 2005) This means that a building can be divided into a number of layers, and in principal, each layer or combination of layers can be seen as the frame: the permanent part of the building. From this perspective, each layer or combination of layers can generate freedom from the other layer, and so on. The most significant effect makes load-bearing walls unnecessary, and walls which are not load-bearing can be placed anywhere. According to this principle, the permanent part of a building can be thought of as the frame which creates freedom and enables various adjustments which can be precisely determined in advance. The frame is not just a permanent part of the building: it additionally illustrates the building’s most critical architectural and social qualities, which implies that the building can respond to changes to 30

RESEARCH

the requirements imposed on it over time without harming its fundamental character. A frame can be defined for each distinct layer or combination thereof: this could be a frame with a combination of supporting structures or a building skin/elevation frame with the plan left free. (Alexander, 1979)

PERCEPTION Many buildings are thought to be flexible because certain aspects within their construction allow for them to be demountable (for example, office buildings). (Caruso St John, 2015) On average, office buildings last no longer than 20 years before requiring a large-scale rebuild, or even demolition. By then, the interior will frequently have been subject to complete renovation, necessitated by internal removals and changes to its user requirements. Although the technical quality may be sufficient to allow the building to remain standing, companies would rather have a new property, since the old property will have already been written off. The result is miserable-looking office parks and mountains of rubbish created by repeated building and demolition. (Branel, 1994) If life-cycles are matched with the use cycles building parts or materials can simply be dismantled and reused, recycled or dumped without harm to the environment. The implementation of demountable connections ensures that this can be done quickly and easily. (a+t research group, 2013) This shows the fundamental difference between the frame and the demountable concept: the frame concept assumes that a building will have a permanent part which will last at least 100 years rather than altering ever 20 years or so. Yet this raises the question of whether this is sustainable for the city, and what life-span a master-plan holds if there is not permanency for familiarity build into the facade? 32

RESEARCH

CHANGE & DISTRIBUTION OF DESIGN When one designer provides the spatial frame-work, other designers can subsequently ‘do their own thing’. (Conejos S., Langston C. & Smith J., 2014)This is very straight forward representation of “time-based architecture” (Leupen, 2005)which can create a longevity to serve many. This creates a platform for future change/use cycles serving individual clients. This kind of distinction is normally seen as the expression of one particular building. Therefore, for a building to become part of the urban level and not just an object which stands alone, it must resonate with the boulevards, streets and squares. For example, the façade and the load bearing structure do not need to be united: they just need to be demountable to prevent damage to the environment; and over time, will create their own variety of sameness within the street. (a+t research group, 2013) This is particularly visible in: the designs of Amsterdam architects H.P Berlage, who created façades which made those spaces become real, and gave a sense of scale and familiarity by determining the height of the buildings surrounding these public spaces. The control of the façade has been visible throughout history: for example, consider The Place Vendome, early 17th century. This element helps keep a city grammar, which is seen as a front, continuous and not disjointed. It also allows for individuality in distribution of ownership, by creating rules for lower levels, such as domestic, and hierarchy is achieved. (Eiseman, 33

RESEARCH

2006)Therefore the rules successfully achieve sustainability for the buildings and its city. The control required to adhere to a coherent palette, height restriction or to generate apparent consistency makes the urban designer reach across the level distinction to constrain lower level design. It introduces certain coherence in the lower level where normally variety is the inevitable result of different designers â&#x20AC;&#x2DC;doing their own thingâ&#x20AC;&#x2122;. Historically, such coherence in variety came about in a less formal manner: the 17th century faĂ§ades along the canals of Amsterdam are all the same, but no two are alike. This did not occur because of a higher level designer had laid down rules, but because the house as a type was familiar to both inhabitants Fig 10: Visual of street level. (a+t research group, 2013)

and builders. (Fawcett W. & Ellingham I., 2013) Thus having this type of knowledge of a building area aids the design(er) and builder, making adaptability more successful. Therefore building with a longer life-cycle is crucial to this process to allow (slow) singular variety to occur. This concept can also be implemented into the grain of a city and its buildings. The solid can manipulate itself to a set boundary within the city: it could increase or decrease in scale and location to suit current or future requirements demanded from it.

INVESTIGATION

VERTICAL CITY The vertical city is the notion of a programme for a city within a huge building. Therefore this brings into question the idea of density and use within a building, because a ‘no plan’ within a city, verges on being the city itself? The fabric of urban city is changing, driven by tall buildings and sprawl. A response to the dilemma of building densely while retaining live-ability is that the building form must become accommodating. (However taller is not always better). Mainly land availability in the case of Chicago and New York became expensive demanding buildings to extend vertically. Economic demands reflected on designer’s responses. Fig 11: Visual of a vertical city authors own (Avril Bennie, 2015)

Buildings must suit their boundary and context. (Kolhass R. & Mau B., 1995) This highlights the perception people have for the management of an image for living – objectifying. Therefore scale is a rule. The building must be huge and respectful unlike Centraal Beheer. The amenities of the horizontal city block are place vertically to create a vertical city. One-third of the programme (within Dundee) is for leisure and garden space. (Gehl, 1987-2011) This will make the proposal more subtle, but enhance the programme within (not just housing, retail and offices but stadiums, theatres, galleries etc). This will put a demand on the services to achieve this on all levels. The building its self will animate the interior to exterior. This will aid the development of public space but also the level in which it can interact, thus furthering the 37

infrastructure (for example the replicating of the ground floor in the air) as seen in the Shard. With too many uses (Le Corbusier) suggests “you’ll never have to leave it,” (Nicola Davision, 2014) which is the negative, if you do not use the city, it will deteriorate, therefore the collective assembly of this type of building, must demand that the public interact with all buildings to activate the city. Urbanisation is a “huge engine”(The Guardian, 2015) for growth. Governments are restructuring their economy from exports and investing into a domestic spending. Within Dundee this is the tourism sector. Dundee has seen a decline in labour intensive work on site into a society which commutes for work. Therefore getting cities wrong would create poverty, climate change and encourage social instability. It is stated “that by 2050, 66% of the population will be urban [...] 2.5 billion more people living in cities” (The Guardian, 2015) Therefore it is concluded that urban sprawl is not a sustainable solution to density. The key solution here is achieving more density but keep the human scale. That the move away from the tower typology and embed it within the hybrid extracted from the solid.

Fig 12: Visual of a vertical city with reduced density in context authors own (Avril Bennie, 2015)

INVESTIGATION

SAMENESS & STRUCTURING Architecture is often both subject and object but it may also embody continuity and a reaffirmation of place. Within the solid configuration, the surface appears to come before the structure. However, this does not mean a reduced appreciation of the structure. The structuring must be strong and durable, but what is crucial in design is that (all) the surface can adapt, altering itself to requirement. As a result, the surface becomes critically important in the success of such a project: it becomes the object, the tool used to configure. Throughout the research the testing of the facade and what requirements it needed for it to achieve adaptability were examined. The rule is that the facade is an object; ideally to be adaptable Fig 13: Detail of facade stidy authors own (Avril Bennie, 2015)

itself however can change to a permanent element if demanded from its climate. Adolf Loos made clear the relationship that follows between programmes: those surfaces have an effect in portraying an atmosphere that underlines their use. (Loos, 1998) not unlike Soilds 1& 2. Take highlighting how the wall (or object in a building) can be constructed. Semper suggests the importance of â&#x20AC;&#x153;(s)tyle in the technical and tectonic artsâ&#x20AC;?, (Semper, 2004) which might be said to be the theory of cladding and dressing. Therefore, the question is raised concerning the maintenance of such a building, and how factors of time, climate and economics affect the necessary choices of material and construction for its adaptation. This will be dependent on material and financial resources which are available. 41

It is important to highlight the writing of Sergison Bates in this matter, whose essential research into wickerwork and the relationship between material and effect is particularly relevant here: ‘the wall effects the spatial enclosure and, therefore, the tension of the wall cannot be thought of as independent of the operation of the material.’ The whole notion of the solid is dependent on the capacity for personal manipulation and control as seen in Tony Frettons Solid 11. However, it is worth adding that in Sergison Bates’ model, the craft lies in repairing the wickerwork which allows for alteration and new material to be added in when wear and tear cause damage. It also suggests the replication is just another form of variety. This practical solution is seen as inherent in nature, as any material can be alter and fixed. Indeed, the principles for creating architecture – structure, spatial planning, ventilation, daylight – remain relatively unchanged: only the expression of the architecture is different and its scale for allowing certain types of adaptability. (Sergison Bates, 2007)

Fig 14: S. Bates wickerwork visual (Sergison Bates, 2007)

INVESTIGATION

CHANGE & TIME & PLACE “An observation is that the reality of cities and buildings with value (with a long past, and a long future) have the outward appearance, the facade; the exterior scarcely changes at all. Isn’t this in contradiction to the foregoing over all flexibility? Therefore form does not follow function evidently. The valuable buildings are the ones constantly changing. Change is normal, the city is alive, and it has a metabolism. Function that remains the same across time is abnormal.” (The Guardian, 2015) Here we see the true issues that face a designer when considering what is known and what is wished for. (Holl, 1998) The issue with both mixed-use and a solid evidently come down to how it is perceived. Both concepts offer a reflection to the past with their facades, but express to be flexible. However to be completely flexible does offer up that form follows function, even thought the function is all and nothing. Then how does one reflect the no plan? By incorporating the possibility of both, the façade should offer a sense of permanency on its street levels (this does not necessarily need to be the ground floor) but have the ability on additional levels to be altered. If a building is going to achieve ‘ultimate flexibility’ is must do so. I have concluded that this can be achieved if all but the core is flexible, even too the core in reflection, (like in Pianos’ Shard) can be flexible and shift on the plan to suit accommodation. The cost incurred will be justified for updating being projected every 20-40 years. This also 43

reduces the time-delay for buildings needing a re-fit. Therefore people will take delight and pride in up keeping their cities. By shifting the plans flexibility vertically, the sustainability is increased. â&#x20AC;&#x153;it prevents the loss of farmland and natural greenbelts, it reduces air pollution (since all commuting is vertical where the distances are much shorter and the transport mechanism much more efficient) and reduces the need for all the roads that service horizontal cities, so people can just walk out into parkland.â&#x20AC;? (treehugger.com, 2014) like in the Heron and Canaletto Towers. It gives users a community (society is already at a stage were live/work situations occur within the city, this is the next step) and is easier, cheaper to maintain and operate. It will address environmental, formal, and socioeconomic/political issues. The resources the climate has available are declining, and this type of living is to be considered.

Fig 15: S. Study of variety of activity in unit scales. authors own (Avril Bennie, 2015)

INVESTIGATION

TONY FRETTON - SOLID 11 CORE TO FLOOR =

RENZO PIANIO - THE SHARD

6.6%

CORE TO FLOOR =

12.7%

BAUMSCHLAGER EBERLE - SOLIDS I-JBURG

16%

UN STUDIO - CANALETTO BUILDING

NORMAN FOSTER - RIVERSIDE 1

CORE TO FLOOR =

13.2%

CORE TO FLOOR =

21%

KPF ARCHITETS - HERON TOWER CORE TO FLOOR =

32%

INVESTIGATION

SOLID VERSUS MIXED-USE The solid is a unique typology, it has the ability to achieve flexibility (and sustainability only after a comprehensive plan is implemented within it, not unlike the mixed-used). However what is the difference between a solid and a mixed-use building? As previously researched, the solid configuration is caused by an e-Bay bidding system and has one developer and a mixed-used building is programmed all at once and sold off by its functions. The mixed-use building throughout its consideration of brief and plan is primarily a set design. (ARCHI NED, 2015) The mixed-use concept has the ability (like Centraal Beheer) to contain the functions but not essentially designed to change as freely as a solid. It is Fig 16: S. Study of examples core to floor ratio. authors own (Avril Bennie, 2015)

noted however that the quality of the plan in which a mixed-use building is constructed will determine the ease in re-adapting it. The result which is now tested within this thesis is a new typology, which is based on a solid and mixed-use building, to form a hybrid programme. The building fabric will take on qualities from the solid however the planning and brief is considered from a mixed-use perspective. As by bring both together a stronger proposal for flexibility and sustainability can be formed by eliminating each concepts weaknesses. These criteria can be rearranged to suit a set place or scale, and give a particular grammar to a city for adaptability in architecture. It will have no set form, but rules of a grammar which can be interrogated. 47

THESIS PROJECT One common theme throughout the study is the importance of the current climate in which one wishes to place such a proposal, and the identification of these criteria for successful design. The thesis project take on certain permanent elements (which would be the designer’s choice) which will be built from the outset, and materials, details will be added later on when available or suitable. Even whole extensions could be added as objects. These objects can then be fitted out for affordable housing requirements or luxury hotels. The list is endless. This type of proposal fits into Dundee’s because of the major re-development occurring at the waterfront. Many developers will want to create their own style for how they perceive Dundee. However the city its self needs to establish its own style/governing hierarchy to deal with the need and not sprawl development but create density, and this is achieved through design rules. The thesis project investigates this. The rules are broken down into four criteria’s: Context & Infrastructure, Structuring & Servicing, Building & Brief, and User & Access with accompanying guidelines for design (Appendix C). The developer and user are key within this idea for the over successfulness of an adaptability as this individual will control the variety of change, the speed and frequency. Therefore developments should be built as one block rather than many individuals. That characteristic will come later when the proposal natural evolves. Therefore I suggest that to achieve adaptability the control must be in the designer to develop a whole block with rules on heights and accommodation. Therefore I purpose that the permanent elements within the thesis design, within Dundee will be the current climate and the cores, the rest will be add on which can plug in to alter the outcome. This highlights the key element, choice and ownership (being the user/designer). Familiarity is the tool used for adjusting, and when this is removed the form is the current by applying practical solutions to the context. Like what Renzo Piano states “the city inhabitants should implode within the city not explode”. (BBC, 2015) The new way to build is a reflection on what the city needs, rather than a perception of what it wants. (Heritage vision). Therefore the Dundee project fits into Dundee by offering a new grammar for the city, both in the façade (taking from the master plan) and the plan (within its density and programming of routes – technical and physical). 48

CONCLUSION

This study began on the words of Hertzberger, and discussed other architects who built in similar ways but achieved different outcomes. (Hertzerger, 2000) It has been demonstrated that a variety of outcomes is possible: once again, the control lies within the designer to user. (Replication is ever the same). However this thesis has underlined the importance of familiarity as a tool for design, as without familiarity, the relevance of time, city, place and use to user is lessened. (Arch Daily, 2008) See Appendix C for Rules for designing. The criteria discussed herein consider flexibility, sustainability and adaptability. This calls to mind a proposal which was interchangeable and fluid with no permanency. However, this thesis has demonstrated that to gain flexibility, permanency must first be achieved, whether this is established within the core, faรงade, frame or even over time itself. (Leupen, 2005) By establishing the common elements which have made previous projects successful, this study has extrapolated these tested criteria to determine what would suit Dundee. By adding this knowledge, a richer explanation of adaptability can be formed, one which responds to a current need in society. To this end, the suburb can move to the city, and a new typology emerges. The close proximity to the city offers the user home/work space and 49

recreation, which in turn animates the city. (Alexander C., Ishikawa S., & Silvertein M. , 1977) Inhabitants are able to adapt their city to suit their needs, not just the unit or room, as was the case in previous studies. By having this scale of building proposal located, within Dundee, the adjacent streets can link both the centre and old parts of the city, offering a mix of cultural experiences. The project will only manipulate itself to incorporate an advanced or altered programme by its user for a time when the city requires it.

The city is evolving, and it was argued that, the ‘no plan is the new plan’ as anything can be subsequently added as required. Equally, the vertical must be considered rather than just the horizontal. (INABA, 2015) Furthermore, use span should meet the life-span: this was discussed through contrasting theories behind the façade (as flexible element to respond completely to use and adaptability, or a permanent element reflecting the identity of the city). However, it was concluded that rules would establish a coherent expectation for the façade which, in time, would become so familiar that limited variety would occur. (Sergison Bates, 2007) 50

CONCLUSION

Again this reveals the predominance required by the city and users for ownership. This would allow control, and, the proposal matrix would not over stretch its boundary or relationship with the city, but could manipulate itself within the city. (Kolhass R. & Mau B., 1995) Therefore, by changing scale, this building can change from a matrix building to an object building (and back again, if desired). By changing the nature and animation of an area, this will allow the building to be embedded into society as needed. (Holl, 1998) This also means that finding new ways for the city to reuse old buildings still available or empty or repurpose other dying hybrids within the city can use this concept. While this might be seen as an additional cost, but the proposal is tested within (Dundee) an environment where the demand is present, the activity required and opportunity guaranteed. This thesis questioned how such a proposal would survive if requirements changed: the answer is that it would simply adapt, just as it was designed to. Further research might test this idea of permanency and flexibility on multiple sites to assess whether a generic plan of set criteria would be equally as flexible?

APPENDIX A Louis Sullivan - Form Follows Function

(page 5 & 7 )

Form follows function is a principle associated with modernist architecture and industrial design in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose. (Jaiswal, 2015)

APPENDIX

APPENDIX B Typology Study

(page 8 )

This manual sheds light on every aspect of designing housing. The organization of the living space and the residential building is dealt with systematically, from breadth, depth, stacking, access to dwelling and the urban ensemble.

Activity, Place & Space Spatial Organisation of the Dwelling Scenery & Servicing (Mooij, 2012)

APPENDIX C Rules

(page 49 )

Context & Infrastructure Context verses density of function for achieving sustainability Street activity to be seamless with greenery â&#x20AC;&#x201C; creating a pleasant gesture and heightened access to building(s) Increase transport links (pedestrian) will aid familiarly and use Structuring & Servicing Vertical & horizontal animation for achieving sustainability Demountable walls, floors, interiors, exteriors and facade to give ownership and adaptability on a small to large scale At least one element within building to be a permanent feature (core, floor, walls, facade, time, context, user) to create greater flexibility Rules for coherent facade or grid (facilitating natural daylight and ventilation) which responds to current climate of context â&#x20AC;&#x201C; changeable over time to suit economical flux 54

APPENDIX

Servicing must be achieved within minimum travel distances to services any unit of accommodation that will be inserted into the building for sustainability. Building & Brief Ability to be an object or collective assembly to achieve adaptability Ability to increase or decrease in scale and connect to neighbouring buildings for greater flexibility Upon change of function, a carefully thought out brief must be considered. Which responds to context will aid the activity and animation of the building, surrounding area and the city prolonging life expectancy. User & Access Must create communal private and public space to achieve an urban village to create ownership Heighten access by generating street route (ground and upper levels) for prolonged familiarity and animation

(Avril Bennie, 2015) 55

Fig 1: Appendix B - Typology Study, authors own (Avril Bennie, 2015) from (Mooij, 2013) Fig 2: Conept within Context authors own (Avril Bennie, 2015) Fig 3: Study of Hertzbergers Centraal Beheer plan. authors own (Avril Bennie, 2015) Fig 4: Study of Fretton’s Solid 11 plan. authors own (Avril Bennie, 2015) Fig 5: Study of Baumschlager Eberle’s Solid 1&2 plan. authors own (Avril Bennie, 2015) Fig 6: Study of Foster’s Riverside One plan. authors own (Avril Bennie, 2015) Fig 7: Study of Piano’s Shard plan. authors own (Avril Bennie, 2015) Fig 8: Study of KPF’s Heron Tower plan. authors own (Avril Bennie, 2015) Fig 9: Study of UN Studio’s Canaletto Tower plan. authors own (Avril Bennie, 2015) Fig 10: Visual of street level. (a+t research group, 2013) Fig 11: Visual of a vertical city authors own (Avril Bennie, 2015) Fig 12: Visual of a vertical city with reduced density in context authors own (Avril Bennie, 2015) Fig 13: Detail of facade stidy authors own (Avril Bennie, 2015) Fig 14: S. Bates wickerwork visual (Sergison Bates, 2007) Fig 15: S. Study of variety of activity in unit scales. authors own (Avril Bennie, 2015) Fig 16: S. Study of examples core to floor ratio. authors own (Avril Bennie, 2015)

FIGURES

.........................................................................................................................................

page 8

.........................................................................................................................................

page 10

.........................................................................................................................................

page 12

.........................................................................................................................................

page 14

.........................................................................................................................................

page 16

.........................................................................................................................................

page 18

.........................................................................................................................................

page 20

.........................................................................................................................................

page 22

.........................................................................................................................................

page 24

.........................................................................................................................................

page 34

.........................................................................................................................................

page 36

.........................................................................................................................................

page 39

.........................................................................................................................................

page 40

.........................................................................................................................................

page 42

.........................................................................................................................................

page 45

.........................................................................................................................................

page 46

a+t research group, 2013. 10 Stories of collective housing. Vitoria-Gasteiz, Spain: a+t architecture publishers. Alexander C., Ishikawa S., & Silvertein M. , 1977. A pattern language. New York: Oxford Univeristy Press. Alexander, C., 1979. The Timeless Way of Building. In: Vol 1 (of 3). London: Oxford University Press. Arch Daily, 2008. Tony Fretton Architects. [Online] Available at: http://www.archdaily.com/tag/tony-fretton-architects/ [Accessed October 2014]. ARCHI NED, 2015. Solids: radical innovation. [Online] Available at: http://translate.google.co.uk/translate?hl=en&sl=nl&u=http://www.archined.nl/recensies/2013/september/solids-radicaleinnovatie/&prev=search [Accessed Febuary 2015]. Architectural Association School of Architecture, 2014. The Dom-ino Effect. [Online] Available at: http://www.aaschool.ac.uk/VIDEO/lecture.php?ID=2395 [Accessed Decemeber 2014]. Baumschiager Eberle, 2014. Baumschiager Eberle. [Online] Available at: http://www.baumschlager-eberle.com/aktuelles.html [Accessed September 2014]. BBC, 2015. Silvertown’s £3.5bn redevelopment given the go-ahead. [Online] Available at: http://www.bbc.co.uk/news/uk-england-london-32409950?post_id=736400878_10153286984840879#_=_ [Accessed April 2015]. Branel, S., 1994. What happens after they’re built?. In: How buildings learn. London: Penguin Books. Caruso St John, 2015. The Structurlist Office. [Online] Available at: http://www.carusostjohn.com/media/artscouncil/history/structuralist/index_02.html [Accessed January 2015]. Conejos S., Langston C. & Smith J., 2014. Design for better building adaptability. In Habitat International, 85. CTBUH, 2014. Gobal Interchanges. [Online] Available at: http://www.ctbuh2015.com/whos-attending/last-years-conference/ [Accessed April 2015]. Dezeen Magazine, 2015. Dezeen. [Online] Available at: http://www.dezeen.com/2012/05/18/interview-renzo-piano-on-the-shard/ [Accessed March 2015]. Eiseman, P., 2006. The formal basis on modern architecture. In: Baden Swizterland: Lars Muller Publisher. Fawcett W. & Ellingham I., 2013. Whole life sustainability. In: London: RIBA Publishing. Foster & Partners, 2015. Foster & Partners. [Online] Available at: http://www.fosterandpartners.com/projects/riverside-apartments-and-studio/ [Accessed March 2015]. Gehl, J., 1987-2011. Using Public Space. In: Life Between Building. London: Island Press. Gehl, J., 2010. Cities for people. In: London: Island Press. Gregotti, V., 1996. Inside Architecture. Cambridge, Massachusetts: Graham Foundation/MIT Press. Hertzerger, H., 2000. Lessons in Architecture 2 . In: Space and the Architect. Rotterdam: 010 Publishers, pp. 90-93. Holl, S., 1998. 1-10 Pamphlet Architecture. New York: Princeton Architectural Press. INABA, 2015. Adaptation Architecture Technology and City. [Online] 58

BIBLIOGRAPHY

Available at: http://inaba.us/project/adaptation-architecture-technology-and-city [Accessed March 2015]. Jaiswal, V., 2015. Loius Henry Sullivan â&#x20AC;&#x201C; Why form follows function. [Online] Available at: http://www.vatjaiswal.com/loius-henry-sullivan/ [Accessed April 2015]. Kolhass R. & Mau B., 1995. S/M/L/XL: Bigness or the problem of the large. Rotterdam: Monacelli Press. KPF Architects, 2015. Kohn Pedersen Fox. [Online] Available at: http://www.kpf.co.uk/project.asp?ID=56 [Accessed March 2015]. LeupenB., Heijne K. & Van Zwol J., 2005. Timebased architecture. Rotterdam: 010 Publishing. Leupen, B., 2005. Timebased Architecture. Rotterdam: 010 Publishers. Leupen, B., 2014. Frame and Generic Space. [Online] Available at: file:///C:/Users/Avril/Desktop/5th%20year/Thesis/Research/Frame%20and%20Generic%20Space%20-%20Bernard%20 Leupen%20-%20Google%20Books.htm [Accessed Sepemeber 2014]. Loos, A., 1998. Ornament and Crime. Ariadne Press. Mooij, B. L. H., 2012. Housing Design: A Manual. Rotterdam: NAi Publishers. Nicola Davision, T. G., 2014. Chinaâ&#x20AC;&#x2122;s Obsession with vertical cities. [Online] Available at: http://www.theguardian.com/cities/2014/oct/30/china-obsession-vertical-cities-skyscrapers-urbanisation-megacity [Accessed April 2015]. Semper, G., 2004. Style in the Technical and Tectonic Arts, Or, Practical Aesthetics. Los Angeles: Getty Publications . Sergison Bates, 2007. Papers 2 Sergison Bates architecture. Barcelona: GG Publishing . Till J. & Schneider T., 2005. Flexible housing: a means to an end. Shffield: Univeristy of Sheffield. Tony Fretton Architects, 2000. Tony Fretton Architects. [Online] Available at: http://www.tonyfretton.com/blockc.htm [Accessed November 2014]. treehugger.com, 2014. Is the vertical city a viable solution for sustainable living?. [Online] Available at: http://www.treehugger.com/urban-design/vertical-city-viable-solution-sustainable-living.html [Accessed April 2015]. UN Studio, 2015. Canaletto. [Online] Available at: http://www.unstudio.com/projects/canaletto [Accessed Febuary 2015]. UN Studio, 2015. UN Studio. [Online] Available at: http://www.unstudio.com/projects/canaletto [Accessed March 2015]. Vidler, A., 1992. Art,Architecture, and Anxiety in Modern Culture. In: Warped Space. MIT Press. Whyte, I. B., 2003. Modernism and the Spirit of the City. New York: Routledge.

Avr il Ben n ie Architectu re a n d t h e C it y 2 0 1 4 /1 5