J Changing building typologies forum bservations from practice Creating adaptable architecture Tim Mason United Units Architects, Beijing Pages: 221-226 orum forum forum forum forum forum forum forum forum forum forum forum m forum forum forum forum forum forum foru um forum forum forum forum orum forum foru um forum forum forum forum forum forum for rum forum forum forum forum forum forum forum forum forum forum forum forum forum forum rum forum forum forum foru m forum forum forum forum forum forum forum forum fo um forum forum forum forum for orum forum forum forum forum forum forum forum forum forum forum forum The Journal of pace yntax IN: 2044-7507 Year: 2014 volume: 5 issue: 2 nline Publication Date: 29 December 2014 http://joss.bartlett.ucl.ac.uk
J Changing building typologies forum bservations from practice Creating adaptable architecture Tim Mason United Units Architects, Beijing For over 30 years, Rogers tirk Harbour and Partners (formerly Richard Rogers Architects) have designed and contributed work to the built environment that has invited a myriad of interpretations, from architectural critics who look to judge its merit, to individuals who occupy and use the spaces defined within. This contribution to J provides a brief overview of a select number of projects from the practice s portfolio of work. Where the concepts of adaptability and flexibility have remained at the core of its approach to design, and within the constraints of ever evolving design criteria and client demands, the practice has responded with an architectural style that embodies the notion of permanence and transformation (Rogers, 1988). The article asks therefore how these buildings may begin to act as mechanisms for continuity and change to occur simultaneously, offering a reinterpretation of the traditional classification of building types as they look to accommodate long-term transition, whether this be technological, political, educational, or market driven. Improvisation within a coherent totality (Rogers, 1988) In discussing ideas of permanence and transformation, Rogers highlights the architect s role as aiming to create continuation of the Modern Movement by trying to expand its approach to meet constantly changing needs. In addition, he suggests that in creating a building framework where the programme, ideology and form can play an integrated and legible part, an architectural balance between permanence and change (ibid.) can be established. This defining philosophy therefore not only facilitates the possibility for different building types within the practice s portfolio of early work to adhere to the founding principles of flexibility and adaptability, but also remains an ongoing filter for future ideas to pass through. tability and permanence are established not only within structural and configurational frameworks, with reference to Louis Kahn s notion of the served and servant space, but also within a more subtle framework of conceptual, ideological and historical references. It is therefore within this generic spatial and ideological domain that possibilities for an adaptable space are facilitated. Furthermore, the separation of the service cores (servant space) from spaces of occupation and interaction (served space) creates a complex layering of both form and surface, beginning to define what is recognisable as an architectural style associated with the practice. Rogers describes this dichotomy between the complete and the open nature of the building as a determinant of the aesthetics of the building (Rogers, 1988). Completed in 1977, the Centre Pompidou is perhaps the defining example that embodies this philosophy, as Rogers and his team set out these key principles within the initial competition submission (Figure 1). The final design sees a building that through its structural framework and spatial configuration looks to respond not only to its contextual setting, but more importantly to the constraints and demands of the organisation and users it seeks to serve. With cores and serviceable elements located towards the periphery of the building envelope, coupled with a truss spanning 15 metres, an open 221
J The Journal of pace yntax Volume 5 Issue 2 Figure 1: ection drawing of the Centre Pompidou, Paris. (Image courtesy of RH-P) plan space is created that acts as a blank canvas in its historical reference to the steel pioneers who for internal space planning to be continually preceded the scheme by 180 years, with the design redefined. The traditional idea of a boundary echoing Paxton s innovative use of steel truces becomes blurred, as the whole of the west elevation in 1851 to create an exhibition centre that was acts as an interface between stranger, visitor and both flexible and adaptable (Figures 2a and 2b). inhabitant, allowing physical and visual connectivity Although separated by generations of change, this between the interior of the building and the public example of postmodern architecture remains partly realm of the adjacent plaza. anchored to its architectural heritage, suggesting a The more permanent aspect is not only to be design solution that is not only about innovation and found in the modular structural framework but also evolution but also a reinterpretation of building type. Figure 2a: The Centre Pompidou s single span truss. (Image courtesy of RH-P) Figure 2b: Joseph Paxton s The Crystal Palace (1851), with illustration showing the construction of the central hall. (Image scanned by Phillip.V. Allingham www. victorianweb.org) 222
J CBT forum bservations from practice: Creating adaptable architecture Mason, T. A hierarchy of legible parts from fixed to changeable (Rogers, 1988) Completed in 1986, Khan s idea of served and servant spaces is again revisited within the design of the Lloyd s building, as Figure 3 illustrates how the principle of moving the service elements to the perimeter of the building creates a large open plan space. This enables a high level of visual connectivity, as a series of large convex spaces are established that maximise social interaction and the exchange of information that is paramount to the act of trading. It not only allows for flexibility of function and possible future transition, but also provides historical points of reference to the great market halls of an earlier era. Here is a scheme where, hypothetically, sustainability and adaptability become intertwined. Rogers highlights the idea that as normally the life of a building is longer lasting than an institution it is designed to house, adaptability will allow the life of the building to be extended as the user will be less constrained by an unchangeable form (ibid.). However, the Lloyd s building, although guided by the same design principles and philosophical approach as the Centre Pompidou, is arguably more limited in its ability to adapt. It would seem that although over its 30- year history the building has undergone both refurbishment and transition as it has looked to accommodate advances in technology, the practice of underwriting has also experienced its own transformation. This fact, coupled with both its recent listed building status and sale, will test how true to its sustainable and adaptable origins the building will remain. In being so intrinsically defined by the nature and legacy of the organisation that occupies it, any future change in either user or typology may be problematic. Figure 3: Axonometric of the Lloyd s building illustrating the open plan space of the trading floor, London. (Image Courtesy of RH-P) 223
The Journal of pace yntax J Volume 5 Issue 2 As a mechanism for change against the constraints of socio-political relations Following the election of the Welsh National Assembly in 1999, a scheme was proposed to house the recently formed political administration. Completed in 2005, the new building (the enedd) looked to introduce a series of well-defined public spaces within the realm of a civic building, creating an easily accessible viewing gallery surrounding the debating chamber. With the intent to make the political process more visible, and to offer a reinterpretation of civic space, the proposed design incorporated a 360-degree glazed envelope as both a metaphor for the transparency of the process of o p e n d e m o c r a c y, a n d a s y m b o l o f n a t i o n a l i d e n t i t y. Although the design of the building seeks to reflect changing political intent by bringing politicians and the public together, in this instance the nature of political process itself could be argued as the more restrictive factor to change. The success of the spatial layout in facilitating new types of engagement by establishing alternative possibilities of co-presence and separation is limited by the strong programme and long model of the organisational structure, with a snapshot revealing a relatively strict separation between these different user types (Figure 4). Additional step-depth analysis (Figure 5) suggests a configuration that remains physically deep in its spatial properties, with particular inhabitants (the Assembly Members) located far within the building and separated from the visitors by numerous control spaces. However, further interpretation reveals an affordance of high visual permeability via the creation of numerous visual links throughout the building (Figures 6 and 7), suggesting it is this aspect that begins to readdress the asymmetry and distribution of power between inhabitants and visitors (Figure 8), thus allowing the building to Figure 4: napshot of total activity for a day when the Assembly is in attendance. (ource: Mason 2011) 224
J CBT forum bservations from practice: Creating adaptable architecture Mason, T. Figure 5: Justified graph representation (j-graph) of step-depth. The public viewing gallery (pink) and the Assembly Members debating chamber (blue) are circled. Figure 6: ection through the enedd building with visual links highlighted as view fields. 225
The Journal of pace yntax J Volume 5 Issue 2 Figure 7: Visual links between visitor spaces (red and pink) and inhabitant spaces (blue). continue to act as mechanism for change against the constraints of socio-political relations rather than becoming just a symbol of transparency. To conclude, this article has highlighted how the idea of permanence and transition is manifested within Rogers tirk Harbour and Partners approach to design, suggesting this may facilitate the creation of a built form that could be described as adaptive architecture. The challenge is perhaps not only how to measure the possible effectiveness of these buildings to adapt to ongoing transition, as they look to accommodate evolving social, cultural and technological trends, but more importantly to continue to address the fundamental question as to whether, and if so, how adaptive architecture is possible in the first place. References Mason, T. (2011), The National Assembly for Wales - The enedd Building: A symbol of democracy or a paradox of symbolism and democracy (unpublished report as part of Mc Advanced Architectural tudies), London: University College London. Roger, R. (1988), Belief in the future is rooted in the memory of the past. peech delivered to the RA, London, UK. Figure 8: Graph of visual stepdepth with viewing gallery and debating chamber circled. About the author: Tim P. W. Mason (1503163428@qq.com) Following 17 years at the architectural practice of Rogers tirk Harbour and Partners, and being a past student of the Mc AA course, Tim has more recently looked to consolidate his knowledge and experience by redirecting his focus towards China. With 2014 bringing a move to Changsha in Hunan Province, Tim has joined the team at UUA as Design Director, looking to implement a more evidence based approach to creating architectural design that not only responds to the complexities of local client requirements and user demands, but remains sustainable within the constraints of the rapid transformation of the urban realm. 226