Masters Thesis Supervised by
Prof. Silja Tillner, Prof. Stefano Guidarini
Architecture Freedom
Future Flexible Spaces in Architecture
SANAD AYED WIR
896347
Abstract
Methodology
Introduction
Changes In Society
Ecological Approach
Economical Benefits
Chapter 1: Adaptable Reuse
Typologies
Chapter 2: The Metabolists
.
Nagakin Capsule Tower
.
Sendai Mediateq
.
Rolex Center
.
KAIT Workshop
Chapter 3: The Palaces
.
The Fun Palace
.
Centre Pompidou
.
Pavilion Humanidade
Chapter 4: The Project
CONTENTS
ABSTRACT
As the field of architecture continues to grow and evolve, we need to acknowledge and consider the future of our built environment. Having a more sensible approach when it comes to addressing the changing needs of a society. Buildings constructed with an average life span of 50 years often get abandoned and defunct due to these problems, adaptive reuse has often been the most common method to deal with such problems. How can a building cater for these changes within a society? Can the flexibility and polyvalencity of our designs address these issues?
F O R M F O L L O W S F U N C T I O N (
S
)
METHODOLOGY
This thesis project deals with the future of our built environment. When architects start upon constructing buildings these days they seldom seem to think about the future of the built environment that they’re proposing.
Several architects in the past have struggled with finding solutions that dealt with such problems. They proposed theories and concepts to improve the built environment in their time and the life span of the building. At the heart of their work flexibility always seemed to be the key to answering their questions.
The thesis is divided into four different chapters:
.
Chapter I (Adaptable Reuse): looking at different typologies of adaptive reuse and precedents (around Milan) of spaces that are successful in accommodating new functions within an already built environment..
Chapter II (The Metabolists) Comparing different case studies from the Eastern world (Japanese architects) and showing the evolution of flexibility as a reoccurring theme from different time periods..
Chapter III (The Palaces) Comparing different case studies from the Western world and their interpretation of flexibility as a main theme..
Chapter IV (The Project) Applying the ideas learned from the case studies by creating a project in City Life.“To maintain a valid role in a constantly changing society, continuous anticipatory design is required of architects. Instantaneous response to a single isolated architectural demand is too slow. Architecture is too long in gestation to be a serious problem solver… Its full value will become increasingly apparent as architecture moves from the curative to the preventive in its relationship to social ills.”
INTRODUCTION
We are living in the past of the upcoming future, adaptable reuse of older buildings is an important topic which already deals with our existing built environment, but what about the future of the buildings we are proposing to build for the future? By looking at what architects are looking for when working with adaptive reuse projects, looking at design solutions and studies where such themes as flexibility/adaptability have already been implemented, and by researching different types of construction materials and methods we can learn a lot and design better buildings that will serve longer than their intended life span. Technological advancement and the constant changes within our lifestyles need to be addressed in the next years to build more efficiently. How should society cope with such changes?
Does the answer to the longevity of buildings lie in the flexibility of the design?
Cities that are being built nowadays do not and will not permit any fundamental changes at all, this problem leads to issues such as urban sprawl and buildings becoming abandoned, leaving empty spaces and buildings with no value to the community or the clients who proposed them in the first place. We need to address the economic and ecological benefits of such design solutions, diversifying spaces to have different functions. For us to have a better understanding of this problem, we must also look at the opposite; inflexibility.
In order for us to have a better understanding of this topic, we must look at the work of Herman Hertzberger when he introduced the term ‘polyvalence’ to the architectural debate in 1991. According to Hertzberger the term polyvalence means that a building can be used in multiple ways without having to go changes in the way it was built.
Hertzberger argues that the direct application of functionalism into a space results in the fragmentation of the space rather than the integration of it and emphasized the ‘polyvalence’ of a space as an archetypical form. Hertzberger then continues to argue against flexibility and the neutrality of the space stating that the problem with changeability is not a matter of having to adapt and modify distinctive features, but of having those distinctive features in the first place. His argument against the flexibile plan is that it starts out that the correct solution does not exist
, because the problem requiring solution is in a permanent state of constant change.
The perfect analogy to explain the phenomena such spaces is that of a stage, where the same stage can be used and reused overtime for different plays. The stage is viewed as a constant element that never changes with time, what does change however is the set that is built onto that stage, and with a different stage set comes different actors and a different scenario. The audience might view several plays that take place on the same stage but without ever noticing that they’re in the same place that the previous play took place in. What the audience does not see however is the backstage, the areas where all the preparation goes before presenting it to audience, the served and the service, the front stage and the backstage.
Step 1: Set the stage
Step 2: Introduce the actors
Step 3: Let the play commence
THE STAGE (BUILDING) - CONSTANT
THE SET (FUNCTION) - CHANGES
CHAPTER
I
The historical value of buildings is an important part that plays a major role in how societies perceive objects and buildings that are worthy of their cultural heritage and the identity of the place. Events that occur during the history of a place and the effect that they impacted the current situation and lifestyle of the society. Our city’s life is in the vitality and in the fact that it does come from multiple periods throughout history and that we are merely one tiny portion of this era. At the heart of the adaptive reuse, is the change of use, giving a new purpose to an unused or underutilized structure. Architects are constantly looking for potentials within existing structures and fabric of their cities, in order to give them a new life and purpose.
We as a society are continuously involved in redefining things, old churches are transformed into libraries, abandoned old factories are transformed into museums. The advancement in technological innovation has excelled us into new frontiers within our cities, and as a result, older remnants are constantly being reimplemented and reintroduced to us in new mediums that accustom to current trends that are happening around us now.
1. Shell: Interior Conversion 2. The Semi Ruin Host 3. Fragmented Host 4. Relic Host 5. Group Hosts 1 3 5 2 4
Adaptive Reuse spaces can be categorized into five different host structures. However each structure falls into an entity of its own, a complete picture of what is trying to being accomplished either by addition, subtraction, or renovation of architectural elements.
In this case, adaptive reuse comprises an intervention into a host building that engages with every part of the building except the building envelope. The host building simply acts as a shell to contain new and different activities. Its spatial limits are both the footprint of the compartment and the exterior structural system itself.
Primary design interventions include spatial manipulation through non-load bearing means and the selection of furniture, finishes, and equipment.
These are host buildings that are not entirely intact and are missing elements of either the structure, the infrastructure or both, as in the case with the Baths of Diocletian. Design interventions in the framework of this type include not only interior insertions but also additions. The purpose of such additions is twofold: first, to bring the existing ruined structure back to whole state and, second, to extend, if desired, the extent and the capacity of the host building in its new use. How much or how little does one acknowledge the passage of time when engaging in adaptive reuse? Conversely, how far should adaptive reuse go in terms of expressing its presence in the language of materials and construction?
INCOMPLETE HOST BUILDINGS:
THE SEMI-RUIN HOST
Such hosts vary in range from a fragment of a building to its infrastructure, facade or structure. Adding to such fragments to achieve a new state of completion is charged. The addition must be justified by the importance of the fragment itself and such justification includes historic significance but also economy.
The recognition and acknowledgment of history in the manifestation of a building’s new design are fundamental to a successful reuse of fragments.
The host structure is simply a relic of the past. It is not transformed but rather serves as the catalyst for new construction. Its significance is in the recall of a memory: an event, history, a period of time. (the memory of the site and location) These hosts serve to inspire the design process.
A host structure is not necessarily bound to a single building. The reuse of more than one building as host engenders a grand scale of adaptive reuse. Group hosts are differentiated by whether these buildings are elements that comprise part of one single complex or individual elements in an overall urban environment. Utilizing more than one building as a host structure has many challenges: the condition of the individual structures, the physical relationship between them, their individual place in history and their collective relationships.
CHAPTER
II
The Metabolist Movement started due to the post-war conditions of Japan, in an urgency to reconstruct the built environment in the most sufficient way possible, it was first introduced to the world in 1960 in a manifesto published by Kiyonori Kikutake entitled Metabolism, the aim of the manifesto had plasticity of space and flexibility as its corner stone. Thinking of buildings as living, breathing cells, and adapting to stimulus. The idea that buildings can operate as a tree, having the core structure “trunk” and the interchangeable units “the branches” working independently, were the units are freed from the constraint of the grid, and the authority of the structure. As Kikutake writes as an introduction his manifesto “Metabolism is the name of the group, in which each member proposes further designs of our coming world through his concrete designs and illustrations. […] The reason why we
use such a biological word, metabolism, is that we believe design and technology should be a denotation of human society. We are not going to accept metabolism as a natural process but try to encourage active metabolic development of our society through our proposals.” The intent of the movement is clear in Kikutake’s words, 1. Belief in Regeneration: the constant rebirth of the built environment. 2. Society as the cause of the built environment’s metabolism: The changes of cities should adapt to society’s needs, rather than constrain it. However, the movement later started to decline as the its initial goals of making flexibility an actual functional principle and the lack of technical conception turned into a style.
One of the most notable examples from this period is Kisho Kurokawa’s Nagakin Capsule Tower built-in 1972 in Tokyo, Japan.
“
The tower was erected in 30 days where prefabricated units are attached to two square concrete stem cores that would host the circulation. Each prefabricated unit was cantilevered from the core structures allowing for mass production and each unit can be individually replaced in the future. The concept of the tower encouraged flexibility as units can be combined in different arrangements to form even larger units that would allow hosting different activities. But technical problems later started to arise as the structure that was supposed to act independently from the units needed to be altered to change the units attached to it.
The capsule stands from the emancipation of a building in relation to the ground, and heralds the era of moving architecture
- Kisho Kurokawa
01. NAGAKIN CAPSULE TOWER
“
Architect: Kisho Kurokawa Project Location: Tokyo, Japan Date Completed: 1972
The Sendai Mediateque by the Japanese architect Toyo Ito proposes a space that has fluidity as its core concept. The building is a reinterpretation of Le Corbusier’s didactic project with a contemporary take. The starting point for Ito to achieve this form of fluidity was by starting with a Cartesian grid and then begins to manipulate it.
The structural columns of the building serve more than their mere function, the fluid organic tubes represent an artificial expressing of growth from within the building, the tubes have different sizes and are all based on the type of content they house. From air conditioning ducts, stairways, lifts, etc. This form as space with no obstacles, interconnected where visitors receive different perceptive stimulus.
02. SENDAI MEDIATEQUE
Architect: Toyo Ito
Office: Toyo Ito & Associates Project Location: Sendai, Japan Date Completed: 1997
One can still notice the influence that the metabolism movement and Kikutake’s manifesto has on contemporary architecture today. In the works of Kazuyo Sejima and Ryue Nishizawa in their office SANAA, this revival of free elements in space is still present. Moving away from the verticality that the Metabolists’ advocated for, the plans of SANAA stretch the notion of the horizontality of the floor plan in which individual units are laid out on. The focus is now shifted to the spaces “in-between” the units within the floor plans, rather than the units themselves. Since the works of SANAA are enclosed with a permanent glass facade, some of the principles of flexibility such as growth that were encouraged by the Metabolists’ are now replaced with the users’ appreciation of the space and how it is being used. A notable example that demonstrates this principle is the Rolex Learning Center.
03. ROLEX LEARNING CENTER
Architect: Kazuyo Sejima, Ryue Nishizawa Office: SANAA
Project Location: Lausanne, Switzerland Date Completed: 2010
Another example showing how this form of flexibility works is the Kanagawa Institute of Technology Workshop by Junya Ishigami.
Ishigami creates an artificial forest-like situation
composed of 350 metallic columns varying in proportions were no column is similar to another. Establishing different spatial conditions, dense in some areas and more open in others. The users are not restricted to the confines of the space and are free to rearrange the furniture according to their needs.
04. KAIT WORKSHOP
“
Until now flexibility was defined as a
multipurpose building. With KAIT I wanted the system that architects had come up with (the structure) to disappear, conceal it from the users so that they could discover new modes of usage.
- Junya Ishigami
“
Architect: Junya Ishigami
Office: Junya Ishigami + Associates Project Location: Atsgui, Japan Date Completed: 2010
CHAPTER
III
The Metabolist Movement started due to the post-war conditions of Japan, in an urgency to reconstruct the built environment in the most sufficient way possible, it was first introduced to the world in 1960 in a manifesto published by Kiyonori Kikutake entitled Metabolism, the aim of the manifesto had plasticity of space and flexibility as its corner stone. Thinking of buildings as living, breathing cells, and adapting to stimulus. The idea that buildings can operate as a tree, having the core structure “trunk” and the interchangeable units “the branches” working independently, were the units are freed from the constraint of the grid, and the authority of the structure. As Kikutake writes as an introduction his manifesto “Metabolism is the name of the group, in which each member proposes further designs of our coming world through his concrete designs and illustrations. […] The reason why we
use such a biological word, metabolism, is that we believe design and technology should be a denotation of human society. We are not going to accept metabolism as a natural process but try to encourage active metabolic development of our society through our proposals.” The intent of the movement is clear in Kikutake’s words, 1. Belief in Regeneration: the constant rebirth of the built environment. 2. Society as the cause of the built environment’s metabolism: The changes of cities should adapt to society’s needs, rather than constrain it. However, the movement later started to decline as the its initial goals of making flexibility an actual functional principle and the lack of technical conception turned into a style.
Cedric Price belonged to a generation of British architects and educators who used architecture both to address the future and as the ultimate social art.
“
Price’s personal vision of the city was inventive and playful and expressed his sense of architecture’s moral obligations toward its users. Price was fascinated by new technology and believed that it should both serve the public and further human freedom. He was determined that his work would not impose physical or psychological constraints upon its occupants nor reduce them to a standard form—unlike typical modern architecture.
Architecture must actually create new appetites, new hungers - not solve problems; architecture is too slow to solve problems.
- Cedric Price
“
Fun Palace for Joan Littlewood was conceived for the East End of London as a “laboratory of fun” and “a university of the streets.” Although it was never realized, unlike other visionary projects of the 1960s it was fully intended to be built. Designed as a flexible framework into which programmable spaces can be plugged, the structure has as its ultimate goal the possibility of change at the behest of its users. Rather than a static object, the Fun Palace is a temporary event, Because for Price architecture can only exist as a sequence of events, not as an entity immersed in space. For that reason, the building is an interchangeable model, constitued by a kit for assembling and replacing pieces and function. In a way it’s a never-ending process, open to multiple possibilities. Interior and exterior form part of a holistic representation, a mega-structure in which the banality of materials and the complexity of the devices utilized for the functioning of architecture provoke an unstable sensation; user is trapped into a multiplicity of information they will have to manage personally.
05. THE FUN PALACE
Architect: Cedric Price
Project Location: London, United Kingdom Date: 1960-64
With the Pompidou Center, immateriality, multimediality and sensoriality enter into the linguistic vocabulary of architecture. Even if, from a certain viewpoint, it was still a Modernist machine, which shows and freely displays its internal organs, for the first time a building favored the hybridiztion of different activities, different media and communication systems. The Pompidou Center appeared like a transparent infrastructure, a kind of data-scape open and dedicated to new media; far from any formal preoccupation, interior and exterior become a spatial unicum, with no thresholds or limits, in which different flows can interact.
06. CENTRE GEORGES POMPIDOU
Architect: Renzo Piano, Richard Rogers Office: Studio Piano & Rogers
Project Location: Paris, France Date Completed: 1977
With the Pompidou Center, immateriality, multimediality and sensoriality enter into the linguistic vocabulary of architecture. Even if, from a certain viewpoint, it was still a Modernist machine, which shows and freely displays its internal organs, for the first time a building favored the hybridiztion of different activities, different media and communication systems. The Pompidou Center appeared like a transparent infrastructure, a kind of data-scape open and dedicated to new media; far from any formal preoccupation, interior and exterior become a spatial unicum, with no thresholds or limits, in which different flows can interact.
07. PAVILION HUMANIDADE
Architect: Carla Juaçaba Office: Carla Juaçaba Studio
Project Location: Rio de Janeiro, Brazil Date Completed: 2012
CHAPTER
IV
The aim of this concept is to test out the limitations of the flexibility and polyvalence by creating a scenery in an underground location, leaving the ground floor intact as a public park . The goal was to create a grotto like situation were architectural and natural elements blend together and form a heterogeneous space that allows users to reinterpret the space in whatever way they see fit to best suit their needs. The space does not include any walls or doors, but rather aims to make a continues flow between exterior and interior spaces (vice versa) this does not disrupt the fluidity of the movement and interaction between the users.
Trees and columns compose the overall environment, by using these two elements to create areas that are more dense (private) or less dense (public) users feel free to explore the space as they wish, venturing into this man made cave/
forest like environment. Furniture can be places anywhere and users can choose to setup their workshops wherever they like.
A strong connection is formed between the upper level of the park and the workshop below through the canopy. The structure used serves as a water gathering system that funnels surface runoff water and stores it below the building. Working with the original masterplan for City Life, the plot was chosen because of its strategic location for current site conditions and future proposals.
The site is located on a plot of land on the North side of City Life, between the City Life Shopping District and Fieramilanocity. T Before proposing to construct the building underground, studies of the underground metro line was conducted. One can notice how M5 metro line does not interfere with the location of the site as it passed around it (going from stations Domodossola to Portello through Tre Torri) , leaving the site intact from any existing infrastructure of the metro line. The metro line is also located on a much deeper level than the proposed building, as only 6 meters needed to be excavated to accommodate it.
SITE ANALYSIS
Domodossola M5 Tre Torri M5 Amendola M1 Portello M530
145 72
12
6
Accessibility to the site from both existing areas and future proposals such as BIG Architects Gateway Project for City Life
Excavating 6 meters below the ground in order to accommodated the new building.
Addition of new elements that would circulate around the main space.
REINSERTION
Addition of the dome which spans over the entire building and can be accessed from the park above.
The freestanding concrete shell, casted on site upon earthen mounds. Perforations in the shell provide natural daylight/ ventilation with trees protruding through it working as a vertical element connection
A mezzanine that circulates around the main space with ramps on each sides. Users would stop and glance over the vast space before going down to the main space
The public park around the site connects to both existing and future proposals around City Life, the paths slowly start to slope as users approach the building
DOME
CIRCULATION
Working with the original Master Plan for City Life proposed by Studio Libeskind in conjunction with Zaha Hadid Architects and Arata Isozaki & Associates, the new paths work on building upon the exiting paths while forming a better connection between the new building and the surrounding areas such as the City Life Shopping District, Fieramilanocity, existing parks around City Life, street accessibility from the North, and the future proposals such as by Bjarke Ingels new Gateway project.
MASTER PLAN
10.00 60.00 10.00
A
A
B
B
SECTION A-A GROUNDFLOOR PLANThe new building also is connected to the parking garage of the City Life Shopping District with a tunnel (section B-B) that would help facilitate services for the space during different events.
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