MARC5001 GRADUATION STUDIO
FIFTY/50 - The Post-Pandemic CBD University of Sydney, Semester 2, 2020
LEWIS DOSTINE
WELCOME
This portfolio is the collection of work and critical thought leading through to the final presented project for MARC5001 Graduation Studio, following the brief Fifty/50: Post-Pandemic Sydney CBD set and facilitated by Dr. Paolo Stracci.
Lewis S.M. Dostine
430088430
M.Arch Candidate.
27th November 2020
Top Left: Figure 1: Berger House formerly permitted as Morley Building as illustrated in Cross-Section 3 Top Right: Figure 2: Berger House as completed 4 Bottom Right: Figure 3: Completed Berger House Colorized, highlighting curtain wall spandrels, mullion & glass components.
1. “Cross-Section”. 1954. University Of Melbourne Department Of Architecture, no. 17.
2. Cross-Section. 1954
3. Cross-Section. 1954
4. Taylor, Jennifer. 2001. Tall Buildings Australian Business Going Up: 1945-1970. Sydney: Fine Art Publishing Pty Ltd.
INTRODUCTION
Off the (Curtain) Wall is the result of a critical dialogue on the “modernist” curtain wall; its history, significance in Australia and the environmental failures of deracination. This project suggests a possible prototype to preserve and retell the story of historically significance curtain wall buildings within the context of a post pandemic Sydney.
These discussions and eventual proposal conclude around the protagonist of the story, “Berger House” a commercial building within the Sydney CBD. Berger House, located at 82-88 Elizabeth Street, a city block north of Hyde Park, was originally permitted in 1951 as a residential tower titled the “Morley Building” complete with “smart open batten sunshades above all windows and a highstyle multiple arch entrance canopy” 1 designed by C. A. Gaskin (Figure 1), although due to financial constraints, was put on hold until 1954 when it was altered and redesigned as a commercial office building by Stephenson and, as described in the march 1954 edition of the University of Melbourne’s Architectural Magazine “Cross Section” “stripped for an austerity finish, it has a graph-paper simplicity unknown on the front elevations of Australian bldgs”. 2
This stripping of climate specific features serve as a metaphor to the treatment of the modernist curtain wall at the hands of developers and manufacturers.
The following sections will briefly discuss the history of the curtain wall, the part they play in the history of the Australian urban landscape and environmental failures. These points build the criteria in which this project was grounded and are evident throughout the design process and proposal.
VISIONS OF A TRANSPARENT FUTURE
Post war technological advancements in American steel and Glass production, the Chicago Frame, and a desire for efficiency combined with the modernist fascination with glass, inspired engineers, architects and manufacturers to explore and push toward a transparent future, devoid of the existing brick and mortar facades of the urban landscape.
Paul Scheerbart writes in his book Glass Architecture (1914) “The face of the earth would be much altered if brick architecture were outed everywhere by glass architecture. It would be as if the earth was adorned with sparkling jewels and enamels. Such glory is unimaginable... We should then have a paradise on earth, and no need to watch in longing expectation for the paradise in heaven.” 1
The efficiency and symbol of innovation found in the curtain wall system embodied the values and ideals theorized by modernist icons such as Bruno Taut, Phillip Johnson and Le Corbusier, because of this it was quickly adopted as a symbol of the post war international style. Sweeping the nations cities, the curtain wall quickly transformed American masonry-lined urban corridors and became synonymous with the Americanization of modern architecture.
Right: Figure 3: Park Avenue, New York City, 1954-57, illustrating the contrast between the traditional historic Park Avenue buildings and the modernist curtain wall tall office buildings of the era. 2
1. Paul Scheerbart and Bruno Taut, Glass Architecture and Alpine Architecture. Ed. Dennis Sharp, trans. James Palmes and Shirley Palmer (New York: Praeger, 1972),46. This volume contains English Translations of Scheedbart’s Glasarchitektur (1914) and Taut’s Alpine Architektur (1919).
2.Kahn & Jacobs, 425 Park Avenue, New York City, 1954–57, at left. The Seagram Building (1954–58) is under construction in the distance.
Left: Figure 4: Illustration of the developing New York City by prominent cartoonist for the New Yorker Saul Steinberg. 3
1. Rohan, Timothy. 2007. “Challenging The Curtain Wall: Paul Rudolph’s Blue Cross And Blue Shield Building”. Journal Of The Society Of Architectural Historians 66 (1): 84-109.
2. “The Monotonous Curtain Wall,” Architectural Forum 111 (Oct. 1959), 143.
3. Untitled, 1950. Ink and graph paper, 12 x 9 in. Published in Steinberg, The Passport, 1954
By the end of the 1950’s the term “Curtain Wall” has quickly evolved to encapsulate all lightweight independent cladding systems made up of piers, mullions, and spandrels, designed to keep up with the postwar commercial construction boom. 1
The widespread success, ahistoric nature, lack of individualism and machine-like repetition that accompanied the curtain wall, the growing archetype became target for criticism and question.
“The standard curtain wall - perhaps America’s single, most important innovation in the past decade or so - is fast becoming, in the hands of less-than sensitive architects and manufacturers, one of the most irritating eyesores on the U.S. scene”. 2
The eradication of traditional, historic structures throughout American cities, replaced by modernist glass houses designed without appropriate thought on their affect on the streetscape and individual became akin to graph paper cities, with no appreciation for site or the environment. The Illustration in Figure 4 by New York cartoonist Saul Steinberg highlights this in his 1950 drawing, using a sheet of grid paper to represent the new modernist archetype.
Technological advancements and a drive for efficiency in not only post war construction, but also architectural discourse resulted in a building method which embodied prosperity and the values of the international style, providing developers and manufacturers with a tool to create commercial buildings which can be built efficiently and cheaply separated from history and the environmental context, hiding under the guise of modernism and innovation.
THE QUESTION OF AUSTRALIAN SIGNIFICANCE
Regardless of the success of curtain wall buildings, and especially Berger House’ performance and function, architectural significance is grounded in a buildings ability to reflect the social, political and economic climate of a specific moment in time. This criteria provides a framework in which architects, historians and critics can assess building in order to not only determine overall significance, but also specific components of the building.
From the mid 1950’s Australia entered into its own post-war construction boom, marking the end of the depression and continued for a decade.
Inspired by the success of tall office buildings throughout the United States, the curtain wall as a model for commercial construction was quickly accepted and utilized throughout Australia. The adoption of this model was a direct result of the social, political and economic climate of the time. 1 Jennifer Taylor discusses this in detail in her book titled “Tall Buildings, Australian Business Going Up: 1945-1970. Taylor highlights that “the glazed buildings had particular appeal (in Australia) as it symbolized American prosperity, and through association, the companies sought to represent a parallel economic recovery in Australia” 2
The financial boom saw a rise in financial institutions and commercial buildings moving to Sydney CBD, quickly making Sydney the financial capital of Australia. The rise of commercial architecture and increase in property prices pushed all residential projects out of the city.
Berger house, completed in 1955 is cited as the first post war steel framed tall building with an independent curtain wall.
1. Taylor, Jennifer. 2001. Tall Buildings Australian Business Going Up: 1945-1970. Sydney: Fine Art Publishing Pty Ltd. 2. Taylor, Jennifer. 2001.
Lend Lease House, 1962, Harry Seidler
Unilever House, 1955, Stephenson & Turner
ICI Circular Quay, 1956, Bates Smart & McCutcheon
AMP Building, 1962, Commonweath Department of Works
Sun Alliance Building, 1965, Peddle Thorp & Walker
Caltex House, 1957, E.M. Nichols
Liner House, 1960, Bunning & Madden
Swire House, 1964, McConnel Smith & Johnson
Kindersley House, 1960, McConnel Smith & Johnson
Kindersley House, 1960, McConnel Smith & Johnson
Qantas House, 1957, Rudder Littlemore & Rudder
Reserve Bank of Australia, 1964, Commonwealth Department of Works
Berger House, 1955, Stephenson & Turner
Commonwealth Bank, 1965, Commonwealth Department of Works
REMAINING DEMOLISHED
Right: Figure 5: Map of Sydney CBD, highlighting remaining & demolished key Curtain Wall office towers from 1955-1965.
1. Paul Scheerbart and Bruno Taut, Glass Architecture and Alpine Architecture. Ed. Dennis Sharp, trans. James Palmes and Shirley Palmer (New York: Praeger, 1972),46. This volume contains English Translations of Scheedbart’s Glasarchitektur (1914) and Taut’s Alpine Architektur (1919).
2. “The Secretariat: A Campanile, a Cliff of Glass, a Great Debate,” Architectural Forum , November 1950, 108
3. Al-Kodmany, Kheir. “Green Retrofitting Skyscrapers: A Review.” Buildings 4, no. 4 (2014): 683-710.
4. Al-Kodmany, Kheir. 2014
DERACINATION & THE ENVIRONMENT
Paul Scheerbars book, Glass Architecture recognizes and highlights that glass architecture is only appropriate in specific climates, namely temperate zones. Due to the lack of insulation and reliance on mechanical systems, glass architecture is not suitable for climates with extreme heat or cold. 1 Even with the advancements in heating and cooling systems, without appropriate shading devices, the interior spaces of glass buildings are prone to discomfort. With this known, building a curtain wall building without acknowledging the climactic requirement shows a lack of environmental responsibility. Le Corbusier, a proponent for glass facades and ribbon windows, wrote to the chair of UN headquarters during the design process of the Secretariat (1950) exclaiming that “my strong belief is that it is senseless to building in New York, where the climate is terrible in summer, large areas of glass which are not equipped with a ‘brisesoleil’ is dangerous, very seriously dangerous” .2
Berger House falls in this category of Curtain Walls built under the guise of modernism without any appropriate regard to daylighting, climate or heat gain.
A building with no regard to its context is alien to the urban fabric which it exists, in order to preserve the story of the Curtain Wall, it must be done in a manner which rectifies this error. In terms of sustainability, it is much greener to undertake this preservation and retrofit than start from scratch. 3
“There are long lists of inefficient all-glass curtain walls, initially promoted by the modernist movement, that are due to retrofit. The all-glass curtain wall buildings rely on artificial ventilation, cooling and heating, and suffer from poor insulation... As such, renovating older buildings could be greener than destroying them and rebuilding new ones.” 4
OFF THE (CURTAIN) WALL: PRESERVA-
TION
OF AN ADULTERATED INNOVATION
The critical discussion on the curtain wall as a modernist tool, its significance in Australia (symbolizing post-war prosperity) and its environmental downfalls produce a criteria in which can be referenced when discussing the preservation and retelling of these historic buildings.
In implementing the criteria on Berger House key objectives were identified and constantly considered throughout the design process.
1. Preserve the story of the Curtain Wall as an independent glass and steel system.
2. Provide amenities to the urban fabric as well as consider the Environmental context in which the site sits.
3. Relate to the evolved and newly relevant social, economic and Political context of post pandemic Sydney.
4. Return to innovation, reinstate the excitement which was historical -ly synonymous with the Curtain Wall, reconsider the possibilities of an independent light-weight glass facade system.
The following set of drawings/diagrams and descriptions outline this process undertaken from schematic through to final proposal of a revitalized Berger House, taking into consideration the objectives outlined above.
Figure 7: Proposed Front Elevation
Figure 6: Existing Front Elevation
Preserving the Curtain Wall
The significance and history of Berger House is tied to the innovation of the Curtain Wall. Isolating the Curtain Wall as an independent system which will remain, the existing site is free for exploration.
Maintaining the dimensions and aesthetic of the existing facade becomes an integral part of preservation.
Figure 8: Curtain Wall isolated as the significant story of Berger House
Non-Actinic Glazing
Panels
Aluminum Framed
Curtain Wall
Steel Deck
Flooring & Grano
Screed
Spandrel Lining
3” Gypsum plaster
Fire-Proof Spandrel
Aluminum Spandrel Panel
Fire Barrier
Ceiling Assembly
is to retain the overall layout of glazing panel & spandrels
Figure 9: Existing Curtain Wall Assembly & Dimensions. The objective
Heat Gain Expansion & Molecules
In order to maintain the existing curtain wall, the project focuses on expansion from the interior of the building outward. This form finding exercise is grounded in the history of Berger House, which, due to a heavy strain on the HVAC system would commonly overheat in the summer sun.
The models produced on the right imagine the heat causing an expansion of air molecules, popping the existing curtain wall and blowing out at the seams.
Figure 10: Conceptual Form-finding Models, expanding and bursting the existing curtain wall from the inside out. Acrylic & Expansion Foam.
11: Parametric conceptual diagrams exploring expansion of molecules within the 3d space using Rhino & Grasshopper.
Figure
Adding sophistication to the concept of expansion, a parametric system was developed to push and warp the curtain wall system. Using a voronoi point system to generate points within 3d space, as well as radius controls you are able to identify not only the amount of expansion but also where there distortion occurs.
This system allows for fully controllable form finding, whilst maintaining the overall layout of the existing facade.
Figure 12: Conceptual diagram exploring the Curtain Wall offset and warped using the expansion of molecules within the space.
KING STREET
13: Early sun-path diagram & overlayed wind rose in order to form an understanding of the environmental context.
Environmental Context & Fabric
Daylight analysis of the existing building was undertaken to get an understanding of how the light works on the site. It was found that although the site gets extreme heat from above, the glass only receives high levels of heat in the afternoons coming from the north west.
Using the ‘bubbles’ as program, and the existing independent curtain wall as shading, the challenge was to ensure that each programmable space received daylight throughout the day. Analysis within grasshopper & Ladybug provided opportunity to refine the location and size of the programmable spaces.
Figure 14: Analysis of the heat gain and daylighting on the existing building.
Figure
ELIZABETH STREET
15: Diagram illustrating the refinement of the interior programmable spaces in order to ensure each space has daylight throughout the day.
Figure
While the ground floor of the site becomes a public space, the private spaces above intertwine throughout the landscape.
The curtain wall becomes a screen, creating a safe private screen from the urban landscape while the ground floor remains open.
Figure 16: Diagrammatic Site plan illustrating proximity to Hyde Park and lack of green space as the city moves north.
Figure 17: Diagrammatic Program Axonometric including interior greenspace
Figure 17: Conceptual Render of Exterior Paths Leading to Apartments
Post Pandemic Sydney CBD
Australia, and specifically the Sydney CBD has been through a crisis which has put the economy on a temporary life support. With a majority of people working from home, job loss and spending at a low, the CBD is deserted. Not only are the streets empty, but the cafes/restaurants and shops are closed for business, with futures of workers returning to the office full time to their original numbers seeming low.
With Australia slipping into a recession, in order to keep the city activated a change needs to occur. Bringing life into the city by proposing a change away from the commercial tall office building and re-introducing residential towers into the urban fabric.
During the harshest of COVID lockdowns, people were only able to walk within 5km of their home address to shop for essentials and walk their pets.
Introducing residential programming into the existing Berger House site (and the city as a whole), even in the toughest of lockdowns allows access to the entire CBD area.
Off the (curtain) wall provides residential apartments, activates the local economy without relying on the return of office workers, provides the opportunity for residents to isolate and provides access to fresh air, green space and daylight.
Proposed Preservation of Berger House
This proposal provides a solution to preserving the modernist curtain wall while providing amenities to the urban fabric, considering the environment, relating to social, economic and political context of post-pandemic Sydney and pushes the idea of the curtain wall to new bounds.
Re-imagining the curtain wall as a system and using it as a tool that provides green possibilities rather than relying solely on mechanical systems.
Figure 18: Conceptual Render of Exterior of Building
18: Whole Building Section illustrating the storage/mechanical zones at the rear of the site as well as apartments above
Figure
Figure 19: Front Elevation from Elizabeth street highlighting the preserved curtain wall, including the existing spandrel/glazing layout.
Figure 20: Rendered Detail Section through Apartment & Access Ramps highlighting soil & concrete basin
ELIZABETH STREET
Landscaped Ramp to Circulation Core
Circulation Core/ Mechanical Room & Store Below
ADA Hardscape
Circulation Ramps
Public Landscaped Park Area
Figure 20: Ground Floor Plan illustrating Green Space, connection from sidewalk to circulation core at rear of site.
20: 1:200 example floor plans illustrating the modular floor plan layouts, based around a central axis circulation stair.
Figure
WORKS CITED
1. Al-Kodmany, Kheir. “Green Retrofitting Skyscrapers: A Review.” Buildings 4, no. 4 (2014): 683-710.
2. “Cross-Section”. 1954. University Of Melbourne Department Of Architecture, no. 17.
3. Kahn & Jacobs, 425 Park Avenue, New York City, 1954–57, at left. The Seagram Building
4. Taylor, Jennifer. 2001. Tall Buildings Australian Business Going Up: 19451970. Sydney: Fine Art Publishing Pty Ltd.
5. Paul Scheerbart and Bruno Taut, Glass Architecture and Alpine Architecture. Ed. Dennis Sharp, trans. James Palmes and Shirley Palmer (New York: Praeger, 1972),46. This volume contains English Translations of Scheedbart’s Glasarchitektur (1914) and Taut’s Alpine Architektur (1919). (1954–58) is under construction in the distance.
6. Rohan, Timothy. 2007. “Challenging The Curtain Wall: Paul Rudolph’s Blue Cross And Blue Shield Building”. Journal Of The Society Of Architectural Historians 66 (1): 84-109.
7. “The Monotonous Curtain Wall,” Architectural Forum 111 (Oct. 1959), 143.
8. “The Secretariat: A Campanile, a Cliff of Glass, a Great Debate,” Architectural Forum , November 1950, 108
9. Untitled, 1950. Ink and graph paper, 12 x 9 in. Published in Steinberg, The Passport, 1954
