Architecture@future 09.01.12

DR. P.S. CHANI
ASSOCIATE PROFESSOR
DEPARTMENT OF ARCHITECTURE & PLANNING
IIT ROORKEE
ARCHITECTURE@FUTURE
emerging paradigms
18.02.13

ARCHITECTURE@FUTURE - I
 Form and Function are one – F.l. Wright (The Future of
Architecture)
 A Paradigm Shift taking place in architecture
 Building Design becoming transient (short lived) and
ecologically conscious
 Neil Denari – Architecture of the future to be an open and
dynamic system
Instead of
 A Closed and Static System
 Frank O’Gehry’s free forms 1st step in this direction
 Turn of the 21st century – Quest for a new architecture

Closed and static system vs
open and dynamic system

Neil Denari
 Born Texas Sept. 3 1957
 University of Houston (B Arch 1980)
 Harvard University (M Arch 1982)
 After graduate school, technical intern in Paris for
Aerospatiale Helicoptres (now Airbus)
 In 1983, Denari moved to New York where his work
explored the technical and formal impact of technology
on architecture
ARCHITECTURE@FUTURE - I

 Senior designer at James Stewart Polshek and Partners.
 Shifted practice to LA in 1988 and began Cor-Tex Architecture -
later became Neil M. Denari Architects (NMDA), Inc. in 1998
 Late 1980’s his work got
international
recognition, esp.
through his
3rd place finish in Tokyo
International
Forum Competition
 His first project built in Japan (1996), the Interrupted
Projections exhibition space
ARCHITECTURE@FUTURE - I Neil Denari

 Since 1986, distinguished career as a teacher
 Has also taught at Columbia University, the Bartlett, and UT
Arlington
 Visiting Professor at both UC Berkeley and Princeton University
 Has focused on a diverse range of design endeavors that look at
manifold issues pertaining to architectural
speculation
 Studied philosophy of science and also art theory
with the expatriate Austrian artist Paul Rotterdam, whom Denari
has cited as his most influential teacher

A leader in his generation’s use of advanced technology to
propose architecture that shifts, bends, folds and
unfolds always challenging conventional geometry ……
Current motivation:
To make architecture that works with other
media, not against it, because I don’t (think) we should
simply use architecture as a guardian …of “space”. Whereas
digital media is actually ….. far more influential in defining
our daily lives, architecture is lagging behind a bit in the ways
it can become more useful or operative in this realm

The digital revolution has created an infinite
palette to express ideas. What technology do
you see as lagging behind your vision?
The scale of architecture and its essentially
handmade processes makes problematic its
relationship to technology, especially those
technologies that we would like to transfer
from other industries.

To move beyond the site-based construction
of buildings to a much more integrated
system of information sharing and machine
based off-site material production is the goal
in our field.
In order to get to this level of prefabrication,
much larger machines are needed to
contend with the scale of building.

Most of these machines exist
in the automotive and
aerospace worlds but they
are scaled to the parts and
pieces of those products….

Super-large machines for glass
laminating, metal stamping,
injection molding (recycled
polymers), etc. are just now being
developed in China and elsewhere
as architects ambitions have risen
with the tide of global markets.

Prefabrication in China
Hl 23, New York, Neil
Denari

Huge glass openings
– 11.5’X6’
Denari

Metal stamping machines
Glass laminating machines
Injection molding machines

Stamping
Includes a variety of sheet-metal forming
manufacturing processes, such as punching using
a machine press or stamping press, blanking,
embossing, bending, flanging, and coining.
This could be a single stage operation where every
stroke of the press produces the desired form on the
sheet metal part, or could occur through a series of
stages.
The process is usually carried out on sheet metal,
but can also be used on other materials, such
as polystyrene

Injection molding
Manufacturing process for producing parts by
injecting material into a mold. Injection molding
can be performed with a host of materials,
including metals, glasses, …., and most
commonly thermoplastic and thermosetting
polymers
Injection molding widely used for manufacturing a
variety of parts, from the smallest component to
entire body panels of cars.

Glass Laminating –
lets watch the
video!!

Despite the economic conditions we
face today and likely for the next couple
of years, there has been no decline in
our ambition, just fewer opportunities
to explore a greater level of
technological integration.

LA Eyeworks Store, Los Angeles, California, USA,
2001-02, Neil Denari

La Eyeworks Store, Los Angeles,
California, Usa, 2001-02, Neil
Denari
• 1st built work in LA
• Store/showroom for L.A.
Eyeworks,
• Furthers his exploration of
surface and form
• Main idea of continuous
surfaces utilizing multiple
functions starts at front door of
the 1,250 sft store, as a low
bench rises up to an LED display
and further wraps to become
the stores primary signagehttp://www.archidose.org/Feb03/021703c.html

LA Eyeworks Store, Los Angeles, California, Usa, 2001-02, Neil Denari

La Eyeworks Store, Los
Angeles, California, Usa,
2001-02, Neil Denari
 Inside – assemblage of
continuous surfaces
defining spaces and
leading the eye through
the store
 Low bench of facade
brought inside as a
bench that leads up
towards the skylight

Pieces of furniture move on casters and nest inside each
other to become a single, sculptural unit during non-
business hours
La Eyeworks Store, Los Angeles, California,
Usa, 2001-02, Neil Denari

LA EYEWORKS STORE,
LOS ANGELES,
CALIFORNIA, USA,
2001-02, NEIL DENARI
Rear of store - multiple-height countertop wraps up to
become a continuation of the ceiling plane that also rises to
the rear of the store, together acting as a procession towards
the purchase of the owner-designed frames.

Sun Microsystems Concept Projects,
2001, Neil Denari
Embossed fibre
glass panels
Aluminium columns

2001, Neil Denari

2001, Neil Denari
 ..concepts for individual and group work
areas with a new workstation prototype
and large graphical interface surfaces
 In these modules 4 people can work
together or separately in an interconnected
arrangement of identical work stations
 Curved surfaces and furniture on wheels to
emphasize the mobility and flexibility of
the installation

CARLOW ART CENTER, IRELAND, 2002, NEIL DENARI, COMPETITION

Denari
 7 separate one-time
exceptions to zoning law
by the City of New York’s
Department of Planning
 Built to LEED Gold
Certification
environmental standards
Neil Denari’s first
freestanding
building

Denari
Structural system

860-880 LAKE SHORE DRIVE APARTMENTS, CHICAGO, 1948, MIES VAN DER ROHE

Ningbo International, Shanghai, Neil Denari,

2007, NMDA selected to design
small commercial buildings - part of
larger master plan of Shanghai.
This office known in China for its
new approach to design - leads
the way for the entire country.
 585 sqm. 4 story mini-tower, with
new pedestrian canal - winds its
way through a variety of public and
commercial buildings.
G. Flr. commercial + roof terrace +
one single 3 story bar/restaurant.
Ningbo International, Shanghai, Neil Denari,

 Simple steel frame building with
aluminum and glass storefront
system that sits on floor slabs
 Screen system of special
aluminum panels attached to a
simple back up frame in front of
the exposed slab edges.
 Plan shaped in such a way as to
form a series of ascending stairs
along the canal side of the
building
Ningbo International, Shanghai,
Neil Denari,

Taipei Performing Arts Center Competition, Taipei City, Taiwan

•Brief: “….the project consists of three theaters,
including a 1,500-seat Grand theater and 2 800-seat
theaters. This performance venue shall provide
interactive facilities for ..fans of .. performing arts
coupled with .. appropriate educational functions to
enhance the artistic cultural quality…”
•"Given the near schizophrenia of the site (lush green vs
beige postmodernism), surely a powerful reason to
choose this location, we have proposed a scheme that
rises to a height of 57 meters as a way to challenge the
vertical dominance of the perimeter blocks. This
decision has other positive benefits, yet it is the
anticipation of an even taller city that inspires such
logic."

Taipei Performing Arts Center Competition, Taipei City, Taiwan
 Slope away from the
site footprint has been
mirrored in the East
facing perforated
façade
 Setting up a corridor of
space between the rail
station, the green
mountain, and the
Shilin Night Market to
the North

ARCHITECTURE@FUTURE - II
MARCOS NOVAK
Pioneer of the architecture of
Virtuality (virtual + reality)
Concept – ‘LIQUID ARCHITECTURE’
OR ‘TRANSARCHITECTURE’
Existing solely on computer screens

Evolution (as Novak states it):
Multidisciplinary (many)
Interdisciplinary (Between, among)
Transdisciplinary (across, beyond)

New TECTONICS (The science of
construction)
Involving algorithmic conception, rapid
prototyping, robotic prefabrication
Novak apparently wants to blur the
boundary dividing the real world from
the virtual world (reality to virtuality)

Marcos Novak
 Materially, an architecture that is
conceived algorithmically, prototyped
rapidly and fabricated robotically.
 Informationally, an architecture that is
conceived algorithmically,executed
computationally and inhabited
interactively.

Echinoderm
AlloBioiA-transAura

The world encountered
The Real World
The Virtual World
The Dream World

Programme Generated Architecture
 Futuristic – Architectural design generated by
computer programmes
 Entirely probable that future design studios
would comprise of computer programs that
accomplish most of the logical, calculative and
repetitive tasks replacing manpower
 Already seeing the major shift from the drafting
board to the computer monitor

• Architect only to intervene when
subjective decision to be made which
can be conceived only by the human mind,
such as aesthetics (and more?)
• These ideas finally lead us to Programme
Generated Architecture ( PGA ) by
Japanese Architect Makoto Sei Watanabe

Watanabe uses PGA in his Induction Cities
projects in variety of ways including
programmes to:
 Place building blocks based on sunlight
exposure
 Plan the streets in a city
 Create towns according to relationships
between different necessities
 Structural optimization etc.

Induction cities

Kashiwanoha-Campus Station, Watanabe

PGA – Programme of Flow
 Watanabe used Programme of Flow to design the facade
of Kashiwanoha-Campus station
 The design process involved two parts- human part +
programme part
 Human part feeds a graded design input into programme
which
 Programme then analyses and produces an output
which it believes to be a better design
 Designer grades output and feeds it back
 This process iterated till desired “best design” produced
 http://neoarchbeta.wordpress.com

Genetic Algorithm
 Basically represents the algorithm in which
a living organism propagates
 Steps in genetic algorithm represent
steps in biological evolution such as
natural selection, cross breeding, survival of
the fittest etc
 In the beginning, the design produced is a
primitive one

Genetic Algorithm
• After each iteration, the program
develops AI and becomes able to
differentiate a good design from a poor one
• A new generation of design is developed
after each iteration which consists of best
qualities of previous generation
• In this way the design evolves, like a living
organism

Makoto Sei Watanabe - Lidabashi Subway
Station
A Tubular Mesh literally invades the station
Designed by a system called ‘Web Frame’
Approach similar to that of ‘Genetic Algorithms’
The Web Frame inherits the ‘DNA’ of the engg.
Framework
Selectively transforming and enhancing features
Growth of Web Frame facilitated by computer
programme for automated generation of code

Exposed structure of station one issue of design that
Watanabe wanted to hold strong to, as it was part of
making the invisible visible

Lidabashi Subway Station, Tokyo, 1999-2000, Makato Sei Watanabe

Lidabashi Subway Station
Intention of making visible that which is invisible – the
subway tubes

 Tunnel-ways of the station composed of three cylindrical
tubes, joined together
 2 outer ones are for railways and center for station and
access ways of passengers

Exterior of metro stations

Well designed hand rails
provided and
instructions also written
in brail, tactile materials
provided to guide
visually impaired
passengers thus making
the station disable
friendly
To reduce the running
cost maintenance free
materials used. Steel
cladding employed in
areas like toilets
Interior design of metro stations:

Computer Driven Architecture
• Computer is beginning to make possible the
kind of TRUE FLEXIBILITY that escaped the
construction technique of earlier time…
• The ‘data driven pneumatic’ structure
presented by Kas Oosterius (Trans-ports)
• Might be one of the 1st proofs of the viability
of total computer design

Computer Driven Architecture
• Oosterius says ‘The most important feature of the
Transports pavilion is that architecture for the
1st time in its history is no longer fixed
and static.
• Due to its programmability of both form and
information content the construct becomes a
lean and flexible vehicle for a variety of
usage’ ------ Philip Jodidio, Architecture Now

Trans-ports
Data driven pneumatic
structure

Trans-ports, 1999-2001,
Oosterhuis.Nl

Shigeru Ban:
Curtain Wall House
 Challenges the precepts of residential design
Naked House
 Shed like interior with interior bedroom units moving on wheels
into variable configurations
 Homes no longer correspond to set stereotypes
with living rooms, bedrooms etc
 Flexibility is the key

CURTAIN WALL HOUSE, ITABASHI-KU, TOKYO, SHIGERU BAN, 1995
Curtain wall - any facade- commonly glass- that provides
no structural or load-bearing capacity for the building.
Shigeru Ban interprets this term literally, poetically
employing an actual curtain as facade wall

New interpretations of trad. Japanese
styles
Curtain as architectural element refers to
trad. Japanese design elements - shoji
screens, fusuma doors in a trad. Japanese
house
Read more: SHIGERU BAN CURTAIN WALL HOUSE Shigeru Ban, Shigeru Ban
Curtain wall house, curtain wall house, passive cooling 2 – Inhabitat - Green
Design Will Save the World
CURTAIN WALL HOUSE, ITABASHI-KU, TOKYO,
SHIGERU BAN, 1995

Curtain hangs length of 2
stories, framing indoor
loggia-type space when
drawn, and revealing a
picturesque outdoor patio
when the curtain is pulled
back.
Behind curtain, a set of
sliding glass wall panels
works with the curtain to
create a completely insulated
and private interior.
CURTAIN WALL HOUSE, ITABASHI-
KU, TOKYO, SHIGERU BAN, 1995

WALL-LESS HOUSE, KARUIZAWA, NAGANO, JAPAN, 1997, SHIGERU
BAN
Concept of the universal floor

 Column-free open plan of
Crown Hall -Mies'
innovative concept of
creating universal space -
can be infinitely adapted to
changing use
 Allows individual classes to
be held simultaneously
while maintaining creative
interaction between
faculty and students

WALL-LESS HOUSE, KARUIZAWA, NAGANO, JAPAN, 1997, SHIGERU
BAN

WALL-LESS HOUSE, KARUIZAWA, NAGANO, JAPAN, 1997, SHIGERU BAN

Paper House, Yamanashi Prefecture, Shigeru Ban, 1995

Paper House,
Yamanashi
Prefecture, Shigeru
Ban, 1995
A radically simple
plan defines
flexible interior
space adapted to
the Japanese life-
style
Only the
bathroom is
separated from
the free- plan
open interior
space

Paper House, Yamanashi
Prefecture, Shigeru Ban,
1995

Again attempts to redefine the limits of architecture
Inspired by local materials and agricultural architecture, employs
extruded polyethylene – a packing material for fruits – in the skin of
the shed
House ‘shed’ resembles a green house to some extent
NAKED HOUSE, SITAMA, JAPAN, 1999-2000, SHIGERU BAN
Questioning the very identity of what a house should be in the 21st
century

NAKED HOUSE, SITAMA, JAPAN,
1999-2000, SHIGERU BAN
34 arched trusses
form the essential
shape of the building
One unique large space of two-story
high in which four personal rooms on
casters can be moved freely

Shed-like design with
moveable bedroom units
Actual bedrooms made of
brown paper honeycomb
panels set in wooden
frames
Bathrooms, kitchen and
laundry areas in fixed
locations separated from
the rest of the house by
high white curtains

 Can be rolled into
any location, even
outside limits of
house itself
 Whole on wheels,
each unit measuring
6 sqm.

 External walls made of two sheets of corrugated fiber-reinforced plastics and
inner walls made of a nylon fabric are both mounted on wooden stud frames
and sit in parallel. In between are attached clear plastic bags, carefully stuffed
with strings of foamed polyethylene for insulation purpose. Through these
bags a soft diffused light fills in the interior of the house.
They can be moved accordingly to the needs of their use.
 Placed against the walls of the house, in front of the heating or air-
conditioning units, warm air or a cooling breeze can flow into it.
 They can also be put side by side and create a larger room, when their sliding
doors are removed.
 They can be taken outside, on the terrace, for the full use of the space inside.
They can also work as a supplementary floor for the children to play on top.
Shigeru Ban - This house is, indeed, a result of my vision of enjoyable and
flexible living, which evolved from the client’s own vision toward a living and a
family life.

 Steeply sloping plot
 Obstructed view-R.
Seine and city
 Separate living
spaces for parents and
daughter
 Solution – 2 pavilions
linked by a pool on
the roof
 Concept from
Corbusier – roof
garden, ‘pilotis’, cubical
masses
VILLA DALL’AVA ST. CLOUD,
PARIS, REM KOOLHAAS, 1991

Main floor
plans
Upper floor plan

VILLA DALL’AVA ST. CLOUD, PARIS, REM KOOLHAAS, 1991

VILLA DALL’AVA
ST. CLOUD,
PARIS, REM
KOOLHAAS,
1991

VILLA DALL’AVA ST. CLOUD, PARIS, REM KOOLHAAS, 1991
Open living area in an elongated glazed space – tugendhat,
villa savoye, robie…..

Maison De Bordeaux, Paris, Rem Koolhaas

Top floor rests on three legs
One of these legs, a cylinder that includes the circular staircase of the
house, is located off-centre. Although this displacement brings an
instability to the house, it gains equilibrium by placing a steel beam
over the house which pulls a cable in tension.

Middle level with an uninterrupted view over the surrounding
landscape
Effect intensified with the highly polished finish of the stainless steel
cylinder which incorporates the stairs, and makes it disappear into the
landscape

Hill with a panoramic
view over the city
The husband – to
architect : "Contrary
to what you might
expect, I do not want
a simple house. I
want a complicated
house because it will
determine my
world."
Maison De Bordeaux, Paris, Rem Koolhaas

House on three levels, one on top of each other.
Ground floor, half-carved into the hill, accommodates kitchen and
television room, and leads to a courtyard
Bedrooms of family on top floor, built as a dark concrete box.
In middle of these two levels - living room made of glass where one
contemplates the valley of the river Garonne and Bordeaux's clear
outline

 Wheelchair access to levels by an elevator platform - size of a room, is well-
equipped office
 Part of kitchen on ground floor
 Links with aluminium floor on middle level
 Creates relaxed working space in master bedroom on top floor.
 Indispensable part of the handicapped client
 Offers him more possibilities of mobility than to any other family member-
only he has access to spaces like wine cellar or bookshelves - span from
ground floor to top of the house
THEPLATFORM

Middle level a balcony where the top floor floats above
Glazed space which allows the wheelchair to confuse the nature outside
with the interior of the house
In contrast, the same landscape receives another treatment from the top
floor. The view appears restricted and predetermined, framed by circular
windows placed according to whether one stands, sits or lays down

4X4 HOUSE, KOBE, JAPAN, TADAO ANDO ARCHITECT & ASSOCIATES

4X4 HOUSE, KOBE, JAPAN, TADAO
ANDO ARCHITECT & ASSOCIATES
Set on beachfront site 65
sqm
Building covers only 23 sqm-
total floor area 118 sqm
Four
story
tower
grid
4X4m

GF -Entrance space and
bathroom
2nd lvl. – bedroom
3rd floor – study
Top floor – living room and
kitchen
Top floor has same grid but
volume shifted 1m in
direction of sea vis-à-vis lower
lvls.
4X4 HOUSE, KOBE, JAPAN,
TADAO ANDO ARCHITECT &
ASSOCIATES

4X4 HOUSE, KOBE, JAPAN, TADAO
ANDO ARCHITECT & ASSOCIATES

 Recycling now second nature to modern communities as we strive
for environmental sustainability
 Aiming to reduce, reuse and recycle waste, we find new life in
everything from bottles and boxes to clothes, vehicles
And
 BUILDINGS
 ADAPTIVE REUSE - a process that changes a disused or
ineffective item into a new item that can be used for a different
purpose
 Sometimes, nothing changes but the item’s use
ADAPTIVE RESUE

ADAPTIVE REUSE - BUILDINGS
 Old buildings often outlive their original purpose
 Adaptive reuse, or re-use, is a process that adapts
buildings for new uses while retaining their historic
features
 Eg. - An old factory may become an apartment
building
ADAPTIVE RESUE

Adaptive reuse - process of adapting old structures for
purposes other than those initially intended
When original use of a structure changes
Or
 No longer required, as with older buildings from industrial
revolution
 Architects have opportunity to change primary function of
structure, while retaining some existing architectural details
that make the building unique
•http://en.wikipedia.org/wiki/File:Malthouse_richmond.jpg
ADAPTIVE RESUE

In local communities, unused schools or Post Office buildings
been adapted for reuse as retail stores or offices
Seen as key factor in land conservation and reducing the
amount of urban sprawl
For the concept of smart growth - more efficient and
environmentally responsible to redevelop older buildings closer
to urban cores than to build new constructions
•http://en.wikipedia.org/wiki/File:Malthouse_richmond.jpg
ADAPTIVE RESUE

 Peter Cowen’s study- suggests that most buildings physically suitable for
adaptation to most uses
 Influenced the proposition - ‘LONG LIFE – LOOSE FIT’
 David Kincaid - should be a guiding principle behind most design briefs
 This longer view of use potential has recently seen a revival under the
sustainability agenda
 The research supporting Kincaid’s book also confirms this idea of general utility
of buildings
 Encourages adaptation as a serious alternative to demolition and new build
But
 Does not help to determine which new use is best suited to a particular building
in a particular location at a particular time
REFERENCES
• Adapting Buildings for Changing Uses, Guidelines for change of use refurbishment, David Kincaid, Spon Press,
London, 2002, pp. 1-2.
• Cowan, P. (1963) Studies in the growth, change and ageing of buildings, Transactions of the Bartlett Society, 1, pp. 56–
59.

• The most successful built heritage adaptive reuse projects are those
that best respect and retain the building’s heritage significance
And
• Add a contemporary layer that provides value for the future
• Sometimes, adaptive reuse is the only way that the building’s fabric
will be properly cared for, revealed or interpreted
While
• Making better use of the building itself
ADAPTIVE RESUE
Where a building can no longer function with its original use, a new use
through adaptation may be the only way to preserve its heritage
significance

Benefits Of Adaptive Reuse in Heritage Buildings – the Australian Example
Environmental
 Adaptive reuse of buildings - major role in sustainable development
 When it involves historic buildings, environmental benefits more significant
As
 Historic buildings offer so much to the landscape, identity and amenity of the
communities they belong to
 One of the main environmental benefits of reusing buildings - retention of
original building’s “embodied energy”
 By reusing buildings, their embodied energy retained, making the project
much more environmentally sustainable
Than
 An entirely new construction
 New buildings have much higher embodied energy costs than buildings that
are adaptively reused
Adaptive Reuse: Preserving Our Past, Building Our Future, Royal Institute
of Australian Architects, Commonwealth of Australia, 2004.

Benefits Of Adaptive Reuse in Heritage Buildings – the Australian Example
Environmental
In 2001, new building accounted for about:
 40 % of annual energy & raw materials consumption
 25 % of wood harvest
 16 % of fresh water supplies
 44 % of landfill
 45 % of CO2 production and
 up to 50% total greenhouse emissions
 Australian Greenhouse Office notes that reuse of building materials
usually involves a saving of approximately 95 % of embodied energy that
would otherwise be wasted
Adaptive Reuse: Preserving Our Past, Building Our Future, Royal Institute
of Australian Architects, Commonwealth of Australia, 2004.
Industrialised
countries

Social
 Keeping and reusing historic buildings - long-term benefits for
communities that value them
 Adaptive reuse can restore and maintain heritage significance
of a building and help to ensure its survival
Rather than
 Falling into disrepair through neglect or being rendered
unrecognisable
 Heritage buildings that are sympathetically recycled can
continue to be used
Reuse of heritage buildings makes good sense
ADAPTIVE RESUE

Social
 Increasingly, communities, governments and developers are seeking
ways to reduce the environmental, social and economic costs of
continued urban development and expansion
 Realisation - Quality and design of built environment vital to our
standard of living and our impact upon natural resources.
 Lifestyle enhancement through retention of heritage buildings and
their adaptation into accessible and useable places
 The reuse of heritage buildings in established residential areas can
provide the community with new housing and commercial property
opportunities
Reuse of heritage buildings makes good sense
ADAPTIVE RESUE

APPROACH
• Adaptive reuse of a historic building should have minimal
impact on its heritage significance and its setting
• Developers should gain an understanding of why building has
heritage status, and then pursue development that is
sympathetic to the building to give it a new purpose
• Adaptive reuse is self-defeating if it fails to protect the
building’s heritage values
ADAPTIVE RESUE

Tate Gallery of Modern Art, London, Herzog and De Meuron, 1995-99
ADAPTIVE RESUE

BATTERSEA POWER
STATION, GILBERT
SCOTT, 1943-1963
BATTERSEA POWER
STATION GILBERT
SCOTT, 1943-1963,
A.K.A., TATE MODERN

BATTERSEA POWER STATION, GILBERT SCOTT, 1943-1963

The Tate Modern in
London is Britain's
national museum of
international modern art
ADAPTIVE RESUE

Adaptive Reuse: Conversion of Musee d’Orsay
MUSEE D’ORSAY, PARIS, FRANCE, GAE AULENTI,1986
 The Musée d'Orsay is a museum in Paris, France, on the
left bank of the Seine
 Housed in the former railway station
 Holds mainly French art dating from 1848 to 1915

Basement level Plan
Ground level Plan
Upper level Plan
Theinteriorofthemuseum.

• Presented in chronological order on three floors
• Extensive collections - include all the fine,
decorative and applied arts (painting, sculpture,
architecture, artefacts, furnishing, cinema,
photography, music, scenaries)
• Orsay museum bridged gap between
collections Louvre museum collections and that
at museum of modern art at Pompidou Centre
Building Perspectives

ZKM Centre for Art and Media Technology, Germany,
Schweger + Partner, 19993-97

ZKM CENTER FOR ART AND
MEDIA TECHNOLOGY,
KARLSHRUE, GERMANY,
1993-97, SCHWEGER +
PARTNER

ZKM CENTER FOR ART AND MEDIA TECHNOLOGY, KARLSHRUE,
GERMANY, 1993-97, SCHWEGER + PARTNER

RENAULT CONFERENCE CENTER, BOULOUGNE-BILLANCOURT,
FRANCE, 2002-05, JAKOB + MACFARLANE

RENAULT CONFERENCE
CENTER, BOULOUGNE-
BILLANCOURT, FRANCE, 2002-
05, JAKOB + MACFARLANE
 Using computer assisted
design, architects
decompose the vast
volume of the Renault’s
57 Metal Building
To
 Turn it into a conference
center

Umbra World HQ, Toronto, Canada, Kohn Schnier Architects, 1998-99
 Dressing up structures to appear in today’s style
 Taken an ‘ugly and dull’ concrete factory – wrapped in identical vacuum-
formed models of green copolyster
 Plastic shaped by a resin mould & converted into a contemporary feel HQ
 With so many usable but ‘ugly’ buildings available for refit, renovation-
ADAPTIVE REUSE- will long be a mainstay of 21st century architecture

Umbra World HQ, Toronto, Canada, Kohn Schnier Architects, 1998-99

INSTITUTE OF FORESTRY AND NATURE
RESEARCH, THE NETHERLANDS, 1994-98,
BEHNISCH, BEHNISCH & PARTNERS
 Client Brief: Harmony with nature
and environment, versatile and
ecologically sound
 Ecological constraints to
be met within the
budget
 Built on a former cornfield – earth
depleted by intensive farming

 Standard glazing system as
used in Dutch green houses –
for internal green areas
 Office and lab spaces as normal
buildings within overall glazed
structure – Appropriate
Technology
 Concrete slab ceilings in offices
+ other devices used to avoid
A.C. except in labs -
Appropriate Technology
RESEARCH, THE NETHERLANDS, 1994-98,
BEHNISCH, BEHNISCH & PARTNERS

RESEARCH, THE NETHERLANDS, 1994-
98, BEHNISCH, BEHNISCH & PARTNERS
Local wood for doors,
windows, office floors –
Sustainability

RESEARCH, THE NETHERLANDS, 1994-
98, BEHNISCH, BEHNISCH & PARTNERS

ARCHITECTURE@FUTURE
Transient and ecologically conscious Open and dynamic system
MARCOS NOVAK ‘TRANSARCHITECTURE’
Transdisciplinary Approach New TECTONICS Reality to Virtuality
MAKOTO SEI WATANABE PGA
‘Web Frame’ ‘Genetic Algorithms’
SHIGERU BAN
Flexibility
Adaptive Reuse
Neil Denari Paradigm Shift
Ecological Concerns Green design mandatory

Architecture@future 09.01.12

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Architecture@future 09.01.12