dulux study tour 2013 report - australian institute of...
TRANSCRIPT
DULUX STUDY TOUR 2013 REPORT
ADAM PUSTOLA
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In preparation (and anticipation) for the Tour, I considered the themes that I intended to explore through
the practice and project visits. The Tour offers a rare 'window' into a diverse and leading group of practices,
were the discussion of how they think, create and achieve their ideas is as important as the places that we
experience. I was also keen to learn from the perspectives of Amy, Melissa, Luke and Sean. As a group, we
formed a spectrum of experience and interests.
The main 'agenda' that I was pursuing was how architectural practices innovate and become design leaders
within in their cultural, urban and technical contexts. My experience with Lyons has shaped these interests,
as well as a broader interest how architectural ideas are developed and how practices build these ideas. To
approach this 'big question' I focused on a series of issues, which this report speculates upon;
"CITY AS CREATIVE CONTEXT" Beyond the simple fact that 'each place is different', there are specific political, economic and historic factors
in each city that markedly shape architectural practice. These compel architects to innovate and form the
'cultural ground' of ideas and meaning. This seems especially important when practice can be easily
globalised.
"PRACTICE TRAJECTORY" Understanding how practices started and how they developed clients, design expertise and eventually their
exemplar projects. How the practice leaders see their formative ideas and projects in the context of their
current and future practice?
"DISTINGUISHING IDEAS" Leading design offices, are distinguished by an 'agenda of ideas' which were set by the practice founders and
that now form the 'practice culture'. These are both design strategies, polemical and cultural positions.
These motivate practices in how they are able turn projects into vehicles for these ideas.
"DESIGN TRANSLATION" Ensuring that the design intent realised requires different tactics in each place and under different ideas. Are
the practice leaders closely involved at all stages or are the design ideas 'carried' by a wider group of
designers? Then on‐site, how is the context of construction negotiated?
"THE PUBLIC REALM" The quality of civic public spaces and buildings are the most important for the amenity, vitality and identity
of a city. Many Australian cities have enjoyed a renewal of their central business districts. The cities that we
visited offered examples of a vivid public realm as well as similar challenges that we can 'design through'.
The 'public realm' is also a domain of ideas and conversation about architecture and the city. Leading
practices engage in this discussion and enrich local culture, to build upon the understanding of their city and
to offer their propositions for the future. Architecture is always public.
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Shanghai, home to 22 million, is one of the most important examples of urbanisation in the late 20th
century. Its transformation, along with the Pearl River Delta, is the most vivid demonstration of China's new
society and economy. Shanghai developed from a fishing village into a trading port that was later one of the
gateways into China.
In the 19th century the city was infiltrated by three foreign 'concessions', districts of the city that were
separately under the control of the British, US and French. These spaces served as 'states within a state' for
purposes of trade and cultural interface, creating urbanism that developed in parallel isolation to others. This
is an early tension with the 'local' while also deeply connecting the city to international trade and ideas. The
first Congress of the Chinese Communist party was held here.
Our first full day was a walking tour that began in the former
French Concession. This area demonstrated the ambivalent
relationship of new development to historic building fabric.
Some historic areas were renewed, such as the former
Tobacco Merchant's Mansion, while other nearby areas were
radically transformed. The social context to the 'patchwork' of
development is land ownership by different state authorities
and the significance of some places to events of the Cultural
Revolution. This small gated quarter, with its focal historic
mansion displayed the scale and social connections of
residential architecture of a former, parallel, Shanghai. The
house is an eclectic blend of European influences and Chinese
materials.
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The Urban Planning Exhibition Centre, charting
the city's growth and promoted the next wave
of infrastructure. The gallery featured a model
that represented an area of over 50km2 of the
continuous city, advertising the existing and
projected urban form was advertised in a
spectacular miniature. It was unclear if this
urban form was an ambition or an inevitability,
and if this model was adapted or rethought.
What was clear was the centrality of state‐
controlled planning that organised the urban
political‐economy.
Projects do not progress without Communist Party approval. Despite the 'top down' control, an almost
unrestrained 'exceptional' architecture proliferates. Controls typically exist for the siting and density of the
project. Architectural expression and does not fall within authority review in the same manner as other
countries. This shapes Shanghai's urban identity as an eclectic urbanism. The rules of both capitalism and city
design are being rewritten.
Another example of the interface between the State and design was the 'Creative Parks' that we visited with
the practice Logon. These are conversions of former State‐run factories into office space, enabled by
planning regulations that permit a change of use with minimal modification. This can also mean minimal
design proposition.
In Pudong, Shanghai's business core, we saw close‐up the three skyscrapers that mark the city skyline and
aspirational identity. Not since New York in the early 20th century has the skyscraper represented so much
in the transformation of a city. These three buildings were envisioned in a 1990s urban masterplan as 'city
defining' buildings, deliberately exaggerated above the general skyline. But at ground level, they were
fortresses to the street, and set upon islands between arterial roads.
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Travelling back across the Yangtze by ferry, we
walked along the Bund. This waterfront was the
focus of Shanghai's mercantile and maritime
prosperity in the early twentieth century.
The promenade was crowded as it is the prime
vantage point for admiring the new skyline. Locals
and visitors alike get their photo taken here, and
beam with pride and wonder at the city's
transformation.
BAU - BREARLEY ARCHITECTURE & URBANISM
Our first practice visit was to BAU, a practice founded in Melbourne now operates with 60 staff in Shanghai.
They work across architecture, urban design and landscape and are organised as two 'studios' to provide
design leadership in these disciplines. I worked with the practice when it was establishing in China and I was
curious and excited to see how they have developed. At that stage all work was undertaken in Melbourne
through many speculative competition projects.
The discussion highlighted the challenges of local projects ‐
the vast scale of urban design, uncertain client briefs, the
potential for projects to change at any point. The office's
'distinguishing ideas' are of designing for urban complexity,
encouraging a mixture of programmes and an urbanism of
walkability and active neighbourhoods. These principles
being further developed through research into two books
that are framed as 'design manuals'. The frenetic pace of
work has not stopped BAU from reflecting on the practice
and defining their design tactics and expertise.
NERI & HU
The practice was founded by US expatriates while working in Shanghai. They are now beginning to work in
London, and are considered by locals there as 'Chinese Architects'. This irony will become more common.
Neri & Hu design hotels, shops, galleries and residences and have expanded their business model to include
furniture, lighting and homewares. The possibilities of local manufacture allow for design branding at many
scales.
Their projects are carefully placed interventions into the urban fabric. As a set of ideas, they use typology
and local materials as a starting point for meaning and innovation. In particular, brickwork, with its local
blend of textures and colours is used as an 'signifying' material, in some instances in traditional ways, in
others as a component of a highly technical screen. These material choices play upon the expectations of
tradition and craft that is an alternative to the 'international commercial' style of Chinese cities.
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The next day we drove the length and breadth of Shanghai. Our road trip showed the real city, the city of the
other 21 million. Rapid urbanisation and population migration has being responded to by estates of
residential blocks that are cloned 15 ‐ 30 times, in a pattern repeated across the horizon.
A rollercoaster built metres from the freeway broke the monotony. Whether it was unfinished or partially
demolished was unclear, but its precarious form seemed strangely and aptly symbolic.
GIANT CAMPUS - MORPHOSIS
The Giant Campus is an office park and dormitory for an internet gaming company, the "Google‐plex" of
China. It's 'exceptional architecture', made in the almost foreign space of a walled garden compound, utterly
separate to the surrounding urban periphery of industry and commerce.
The building is an 'assertive form', a deliberate design technique were the form is exaggerated so that
imprecision and irregular assembly does not diminish the overall gesture. The building also has a second,
simpler, facade behind the 'outer layer', ensuring that the design intention is not limited by technical
constraints. Internally, a similar tactic applies ‐ the complex sculptural ceilings are a steel mesh which
conceal the building engineering services. The openness of the mesh allows the services to operate, but and
them imprecisely from the internal envelope.
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The landscaped roof was planted with enough species to allow it to bloom for much of the year. An artificial
lake completed the 'arcadian ideal'. There are also indoor recreation spaces ‐ we were keen to see how the
staff used the building during the breaks, but they remained busy during our visit.
ARCHI-UNION
The final highlight of Shanghai was the workshop‐office of
Archi‐Union, located in a former factory now 'Creative
Park' at the periphery of the city. At the park's entrance
there was a stainless steel monument to 'patriotic
workers'.
The shell of one warehouse is reclad in computer‐
generated, but hand‐laid concrete block screen. The
screen is the defining image of the practice and
demonstrates their design approach of combining raw
materials with contemporary composition techniques.
The final highlight of Shanghai was the workshop‐office of Archi‐Union, located in a former factory now
'Creative Park'. The shell of one warehouse is reclad in computer‐generated, but hand‐laid concrete block
screen. The screen is the defining image of the practice and demonstrates their design approach of
combining raw materials with contemporary composition techniques. Throughout the adjacent courtyards,
there are other prototypes and the practice director's won house was a study in concrete construction. The
issue of craft, as understood in western architecture, has a different resonance here. Manufacture achieves
innovation through 'brute force' labour. It is a measure of what is currently possible in China. From this
context, ArchiUnion was crafting a unique design language.
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The issue of the 'architectural detail' was not
significant in projects we visited. The limitations of
budget and skills negated the opportunity for the
designer to control the project at the smaller scale.
Where errors occurred, they are erased and rebuilt.
Details take time, not precision.
The patina of the imperfect and textured is the
counter‐aesthetic. But, is it an authentic cultural
expression? Or another approximation of a ruin?
With a sole exception, all practices that we visited are foreign‐owned entities that must partner with local
'Urban Design Institutes' who undertake the detailed design, contract documentation and on‐site
supervision of projects. This creates scenarios where 'off‐shore' design ideas are used to brand projects as
'Western designs' or are sought as 'reassuring' expertise. The later motivation is increasingly redundant
however as the local industry gains sophistication. Projects can be a fraught negotiation between off‐shore
attitudes and local 'defaults'.
We enjoyed our final evening overlooking the Bund and the Yangtze, where barge after barge plied the river
with raw materials to the world's largest container port. The city lights switched off at precisely 11pm, but
the barges maintained their trade. This was a small reminder of the relentless pace of development and its
synchronised control.
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With barely time to change after arriving in London, we launched into a walking tour. It was the perfect
'shock' acclimatisation. Ken Allison was an incredible guide ‐ generous and deeply knowledgeable. London is
undergoing continual expansion of its infrastructure. A new 'Cross Rail' public transport tunnel is under
construction, amidst and under an already interconnected city.
The investment in public transport is in marked
contrast to recent decisions in Melbourne. The ideas
of the now redundant Melbourne 2030 Planning
Scheme, which proposed developing 'activity
centres' around train stations is default here.
Renewal was also occurring in areas and
developments that had fallen 'out of favour'. The
Barbican, initially heroic, then maligned, is now
occupied by new residents (including of course,
architects) and holds an new relevance as a model of
medium‐rise around a semi‐public 'commons'.
Also in terms of city design and planning governance, we viewed a model of Greater London, which is
incredibly useful for discussion. It's a discussion device that is much needed in Melbourne for consideration
of urban planning and for articulating a future vision.
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We visited several areas, and the Tea Building was a
highlight. This refurbishment (by AHMM Architects) of a
large former warehouse into small commercial tenancies is
located in one of the city's creative hubs. The
refurbishment is significant but not invasive to the building
fabric, which itself is almost entirely preserved. There are
shared amenities and meeting places on the ground floor
and an innovative heating and cooling system is able to be
expanded as new tenancies 'sign on'. It's an example of
refurbishment as an investment in adaptive reuse, as
contrasted to the 'light touch' of Shanghai's 'Creative Parks'
The city' low‐rise skyline, is now punctuated by
'exceptional' buildings ‐ only architects with a Pritzker Prize
need apply. This is a deliberate tactic to curate the urban
design quality as the city extends beyond its historical
constraints.
The sweeping views that we shared at the ' Gherkin'
Members Bar, a prized vantage point of the new London, is
a defining memory of the Tour. And the following evening
we presented at a Pecha Kucha night at the RIBA, which
was a generous occasion to share our work and meet local
architects. These types of events were the 'opening of
doors' that made the Tour more significant.
TATE MUSEUM OF MODERN ART - STAGE 2 - HERZOG DE MEURON
Our construction site tour of the second stage of the Tate Modern
was led by the project architect from Herzog de Meuron. The design
is a twisting tower, in counterpoint to the turbine hall, clad in screens
of brickwork. This material was a change from the initially proposed
glass, at the insistence of the Tate Trustees as a more 'contextual'
response.
To achieve this warped form a prefabricated concrete frame is
employed. This technique is uncommon in Australia but was
preferred here as it allowed precise description of the 'skeleton' that
will bear the multiple layers of cladding and be exposed to the
interior .
The new building is constructed over the former Oil Tanks. These have been remediated and will become
spaces for video art. The intervention is barely apparent. The air‐conditioning is via a low velocity underfloor
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displacement system, leaving the ceilings and walls as 'found objects'. We were privileged to receive a
preview of these darkly atmospheric spaces, two years before their opening.
IDEA STORE - DAVID ADJAYE ARCHITECTS
While unplanned, the visit to this hybrid library and
community centre was personally relevant due to
recently working on a library project and local
community architecture.
The Idea Store is a great example of a small public
building that engages with street life, provides
flexible public spaces and has a memorable identity
that acts as its 'signposting' in a culturally diverse
district. At its upper level, a community cafe is a focal
meeting place. Throughout each level, community
activities, information research and learning are
overlapped to create a 'social building'.
ZHA
Zaha Hadid Architects is a global practice of over 350 staff. It's
housed in a former school campus, and is dispersed as its
projects are geographically scattered. The practice is opening a
gallery of its models, paintings and artefacts from 25 years of
practice. The body of occasional built and unbuilt projects is a
significant creative enterprise. While what was displayed as an
impressive array, these artefacts seemed scaleless and
placeless.
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It was difficult to discern the motivations for their form
explorations beyond the iterations of a parametric process that is
now eminently able to be replicated by many new practices.
When placed alongside earlier projects and artworks, there is a
divergence from the 'distinguishing ideas' of combining
architecture, landscape and radical aesthetics. A replacement
with another polemic wasn't apparent ‐ but this hasn't curtailed
success. The discussion of implementing these projects was more
revealing of the technical and organisational means demanded by
the design intent. We tried our best to see beyond the beguiling
public image of the brand.
dRMM
I have followed drMM since their early works and publications. Now a medium sized office, they specialise in
housing and public realm projects. These are highly inventive and exaggerate aspects of the programme and
site as 'creative contradictions'. They are also highly relevant for their experience in medium‐density
housing. The market for apartments is deeper in London, both in terms of its locations throughout the city
and the occupant profile.
Through these projects dRMM innovated with of
glue‐laminated timber structures for high‐rise ‐
research that directly informed the recent 'Forte'
project built at Melbourne Docklands (without their
involvement).
We visited one of their "social housing" projects ‐
which is funded through partnership between local
council and developers. The design and construction
quality was outstanding, and is based upon the
expectation that apartments long‐term dwellings. A
high design quality was expected through a different
type of procurement.
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CRAB (Gavin Robotham and Peter Cook)
Peter Cook is an architect and visionary that I've long admired
and this visit was a personal highlight. The office was "alive"
with drawings, models and bespoke furniture that expressed
an 'excess of ideas'. It felt like a studio where everything
pinned‐up was ready for presentation, indulgent scrutiny and
inspiration.
Our discussion with the project architect for the School of
Architecture at Bond University was a thoughtful analysis of
building an innovative building in Queensland. The pursuit of
design quality on‐site was driven by the highly‐justified design
response and their rendering as 'key ideas' in the building of
the School's pedagogy. Their elevation to an "artistic status"
allows the architect leverage in the negotiations on their
construction.
At a material level, concrete walls that warped and spanned in two directions are a significant technical
innovation, requiring form‐work techniques from shipbuilding. A future visit to the project will be much
richer with these insights to the practice's ideas and methods.
The practice's work in the Gold Coast also includes teaching and exhibitions. The drawings for a proposition
for the Gold Coast Cultural Precinct maintain the lineage to the ideas of Archigram and are immediately
evocative of play and shared activities that make great public places. This exhibition 'foray' undoubtedly
strengthened the practice's pitch for the real project when an international competition was conducted in
early 2013. CRAB were subsequently shortlisted, and I look forward to comparing their proposal to these
ideas.
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STUDIO OCTOPI
The visit to Studio Octopi was another opportunity
for an open and collegial discussion with an 'up and
coming' smaller practice.
The were one of a number of architects who
benefited from winning competitions for small
projects related to the London Olympics, albeit
theirs was not realised. The practice now works
across a range of types ‐ schools, residential and
commercial and the discussion focused on how (or
if) practices can decide to maintain a certain size to
allow projects to receive the design attention that
they warrant. There's no easy answers, especially if
a practice's focus is contextual and layered in ideas.
Our visit to the site of their Delfina Foundation
showed the early stages of the significant
refurbishment of two four‐level townhouses.
FOSTER + PARTNERS
Foster+Partners is a practice of 1300 people, operating globally across many sectors with its HQ in London.
Its trajectory doesn't require recollection, however, it's more recent transformation is driven in part by its
affiliation with an investment fund. Due to its size, the office is organised into 5 semi‐autonomous 'Groups'.
To provide consistency and review across all Groups, a Design Board which includes Norman Foster, is tasked
with reviewing all projects. Consideration of limitations on growth versus design quality haven't restricted
the practice, which is guided by a design ethos that is synonymous with a dominant functionalist approach to
contemporary architecture.
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The resolution of projects as 'problems' that are framed
through the practice's discourse of the 'High Tech', is often
through bespoke facade components their assemblies.
These were displayed throughout the office as key
artefacts. An architect can be summed‐up by their model
workshop or sample library ‐ and the F+P facilities and
'Material's Resource' were outstanding. They also displayed
their research into lightweight materials and industrial
design capability.
The practice also offers its in‐house engineering services on
their projects, a reversal of the business model of
engineering offices who offer architectural services. F+P is
an intensive model example of a corporate model of
architectural service and global practice, and its affiliations
allow it have a significant role in major infrastructure
projects in developing economies. Accordingly, the design
language has broadened.
STANTON WILLIAMS
This was another practice that specialised in the public sector and the discussions were open and
informative. Their 'Sainsbury Laboratory' was of particular interest due to my recent experience on similar
projects, with their approach of a more neutral architecture being a counterpoint. Their innovations such as
indirect natural lighting and informal meeting spaces are worth noting in a typology that is technically
demanding, but also being rethought to create collaborative spaces to attract leading researchers.
CARMODY + GROARKE
And finally in London, we met with Carmody + Groarke, founded by two former staff from David Chipperfield
Architects. Even as a relatively new practice, their projects range from prominent public sculptures, multi‐
residential and urban masterplans. These projects respond to a cultural audience and public conversations ‐
an example being their competition winning design for the memorial to victims of the attacks on the London
Underground. The work was didactic about a particular 'explanation' or sentimental, but instead allowed a
personal connection with the memorial to be experienced.
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Our earlier visit to the construction of De Vere
Gardens, by their former employer, was frustrating.
Despite its incredible budget, the lack of design
innovation was disappointing. In contrast, the
inventiveness, delight and breadth of ideas that G+C
engaged with was much more attuned to my own
expectations. There was a strong sense of material
and craft, expressed both in the models and the built
projects. A connection to the visual arts, especially
sculpture and painting, has informed their
'distinguishing ideas' and allowed them to rapidly
develop their trajectory as an 'emerging practice'.
Their work for event pavilions at the Olympic Games was opportunistic in a highly creative sense. A tightly
limited commission was turned into project that extended the possibilities of architecture and a banal
building system into an iconic 'event‐architecture'.
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After the non‐stop Tour through Shanghai and London, we
enjoyed a 'day‐off'. We still defaulted to visiting architecture
beginning with Antoni Gaudi's Parc Guell and then walking to his
Casa Mila apartment building. From the vantage of Parc Guell,the
city was a panorama of Cerda's grid, punctuated by the spires of
Sagrada Familia and bound by the mass of Montjuic on the south.
The city is easily walkable, active and dense at ground level. The
city is 5 stories for most part within Cerdà's plan and denser in
Barri Gotic. Located there the spectacular Santa Catarina Markets,
designed by EMBT, was a local landmark. The gentle of the incline
of the city toward the Mediterranean was the other means of
navigation.
BASÍLICA I TEMPLE EXPIATORI DE LA SAGRADA FAMÍLIA -
WORKSHOP & CONSTRUCTION SITE
The next day, we visited the design workshop and construction site of Sagrada Familia. While the church was
consecrated in 2010, the remainder of the project requires another 15 years for the completion of two
facades and five towers.
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Due to Gaudi's slow progress and untimely death, the project is the construction of an idea that exists in
fragments. It is still being designed from archived drawings and from the knowledge passed from Gaudi to
his apprentices and subsequent bearers of his legacy. Fragments of models made by Gaudi's tradespeople
are interspersed with recent 3D‐printed prototypes. Here, the architects work with 3D modelling programs
such as Catia to derive the new forms and visualise their manufacture and assembly. Some of these forms
will be realised through traditional craft techniques, others by means of CAD‐CAM sculpting of stone.
It is one of the world's most sophisticated building sites, due in part to the precision and irregularity of its
form, the coordination of fabrication, and to the extreme nature of the construction site itself being above
and within a historic monument. While off‐site prefabrication is employed, there is still significant on‐site
overlap between form‐working, reinforcement, concrete and decorative trades. The project will generate
skills and innovations applicable far beyond itself.
EMBT (ENRIC MIRALLES - BENEDETTA TAGLIABUE)
The office of EMBT was another type of workshop. The rooms of the former apartment abounded with
collages and models ‐ made by an eager cohort of architectural interns. Their design approach combines
many of my interests and the practice is one of my most admired. The visit furthered my understanding. The
models and drawings are core to their design technique and are a vehicle for their 'distinguishing ideas'.
EMBT is also working globally, including in China, and I expect their approach of 'assertive form' to be
similarly effective to that of the Giant Campus for pursuing design integrity.
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The projects are designed through the form of skeletal
frames, boat hulls with skins of scales and tiles. The
legacy of Gaudi is present in their work through the
complex geometry, references to animal and plant
forms, and decorative materials. An adjacent
warehouse contains the output and artefacts of 25
years, while an exhibition space holds events about
the future of the city. The investment and dedication
required to create architectural archive is significant.
The combination of public and professional events,
teaching and exhibitions makes the foundation more
viable.
After the Tour I visited one of Enric Miralles's most
significant project, the Cemeteria Nou in Igualada,
designed with Carme Pinos. The experience exceed my
expectations and the project is conceived through
many of the concerns that underpin the practice even
now ‐ affiliation with topography, in‐situ materiality
and partially sheltered spaces. I also visited their Gas
Natural HQ Tower and Diagonal Mar Park. These visits
were more valuable for having visited the office
beforehand.
MEDIA ICT BUILDING
The Media ICT Building is located in "22@", a district built for new technology enterprises in the formerly
industrial area of Poblenou. Designed by Cloud 9 Architects, it received the 2011 WAF Building of the Year
Award was. Their office is closely aligned with engineers and researchers and featured a 'shop window' of
prototypical building materials. Collaboration, research and institutional patronage helped realise this
exemplar project.
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The project has several innovative aspects. It's overall organisation is based upon the suspension of each
floor from a perimeter portal. Similar to its antecedent, the Pompidou Centre, the truss structural system is
expressed and expressive. The interior is almost a clear span, save for some minor tensile columns. At
ground level, the structural system 'liberates the ground plane' for an expansive exhibition space fronting the
street.
The facade is also highly innovative, being in part clad with ETFE panels printed with a perforated pattern.
These have an internal 'diaphragm', whose position is controlled by the injection of nitrogen, which either
allows this surface to control the amount of light passing through the perforations. It is a kinetic system, but
with minimal moving components.
The project is highly relevant to my practice due to the presence of 'deeply embedded' ESD principles. The
project also expresses its innovative nature at multiple scales and through the shared circulation spaces. The
technology and ideas are presented as a public gesture.
Media ICT Building ‐ Entry Facade with ETFE Panels Cloud 9 Office ‐ Glass Prototype
Media ICT Building ‐ Bracing System New markets under construction Torre Agbar /Jean Nouvel
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A contemporary project, such as Jean Nouvel's 'Torre Agbar', that we visited later, can be better understood
in the context of Gaudi's work. Its form is based upon the tapered and domes cylinders that Gaudi initially
proposed for the spires of Sagrada Familia.
CADAVAL MORALES - CASA X
We travelled to the outskirts of the city with the architect to visit Casa X, a house in concrete, for a
manufacturer of concrete finishes. Visiting their office beforehand showed how they design through an
iterative process, where multiple design options are tested through models. This house challenged the local
practice of constructing houses on two‐storey tall masonry plinths, which creates a suburban identity that is
more retaining wall than architecture.
Casa X both rests within and launches from the hillside. It is all about 'the view', either from the Ferris
Bueller‐inspired garage, to the expansive roof‐deck and finally the interior. Here the 'X‐form' frames the
views and makes each wing of the house look back toward the other. It's a deceptively simple premise, but
executed adroitly on a challenging site.
PARC NOU BARIS - ARRIOLA & FIOL
On our final afternoon together, we enjoyed a wonderful
guided tour with the architect of this grand urban park. In a
city without backyards, there is a responsibility for high
quality urban space. While at the perimeter of the city and
in a working‐class neighbourhood, this project was the
most significant example of the design of the 'Public
Realm'. The park is designed to serve multiple urban roles ‐
a circulation network, a 'commons', local amenity and a
significant system of hydrological infrastructure.
The project is highly relevant as it's a "constructed nature"
of an urban park, rather than the more "naturalistic"
approach often adopted in Melbourne for similar reservoir
parks. Through this approach, the types of public amenity,
memorability and experience is increased.
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The design language draws from the topography
and is expressed as a series of brightly coloured
tiled embankments. Those sufficiently nimble can
climb or slide down these inclines. The park looks
radically different from its peak than from the
vantage at its low‐point. The spaces between the
embankments are gently sloping terraces, each
connected to the other and to the surrounding
urban fabric. Every retaining wall is deliberately
splayed, opening views and reforming the terrain
for exploration.
The visit to their office reinforced their 'distinguishing principles' of a highly creative and humanist design
approach. This project has shaped the 'practice trajectory' toward other public parks and infrastructure such
as freeways.
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SUMMARY...?
ARCHITECTURAL DISCOURSE
The distinguishing aspect that bound the most memorable and enriching practices was the quality of the
discussion that we shared. These practices had a spirit of collegiality, openness about their experiences,
intellectual generosity and the ability to critically reflect upon their practice. My experience of Melbourne's
architectural culture is one where architects are challenged to justify their 'design position' and argue
assertively for the merits of their projects.
This is the same spirit that we all brought on the tour and we each engaged the practices from different
perspectives, but with similar ambitions and motivations. It was most often the smaller practices that were
most innovative and most open to a discourse amongst peers. These are also the practices that most
confidently present their work in architectural forums and elucidate their 'distinguishing ideas'. I believe that
this mode of sharing the ideas 'below the surface' that drive a practice or project, leads to better projects. It
is a model of discourse, beyond the mentality of marketing, that is most beneficial to sharing our
professional knowledge and advocating through design for the built environment.
THE ARCHITECTURE OF THREE CITIES
From Shanghai, the role of the architect in an rapidly emerging economy, was shown to be highly dynamic
and requiring great flexibility in terms of design principles and in the clarity of their 'distinguishing ideas' in a
competitive market. The built realisation of projects required the suspension of assumptions of control and
detail that we take for granted, or at least demand, in our local projects.
Designs need to adapt to potentially changing client briefs and construction skills that are still evolving. The
best practices responding to these challenges my having open and diverse sets of ideas (BAU) and engaging
with local materials and techniques (Neri & Hu, ArchiUnion) to create an aesthetic that is an alternative to
the 'international luxury' and 'global modernism' on display in the commercial centres.
London is most closely affiliated culturally and historically to my home city of Melbourne. Its model of
architectural practice is also the basis of the Australian system.
The role of transformative urban events such as the Olympics benefited smaller practices (Studio Octopi and
Carmody Groarke) to undertake small‐scale but publicly significant projects. These projects changed their
'practice trajectory' and provided a broader platform for their innovative design approach. These admittedly
large‐scale events, but also independent organisations such as the Architecture Foundation, show the
importance of patronage and the 'championing' of emerging practices.
London is also an deeply established city, where the majority of projects are renovations, extensions or the
renewal of the urban fabric. The absence of 'greenfield' sites means that even new projects are in effect
refurbishments of the city. Our visits to the Tea Building and the district around Kings Cross‐St Pancras
Station showed how a catalyst project can trigger a series of other developments. These projects occur in the
midst of a 'non‐stop city' and the later especially shows the importance of renewal and the interconnection
between public transport and city development.
While London was the city that Melbourne emerged from, and Shanghai may the city that we will tend
toward, Barcelona is the city that we could aspire toward. The city has a heightened sense of its own unique
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identity and urban culture, which Melbourne also holds. The gridded urban form, a waterfront adjacent to
the city centre and the climate are other shared attributes.
The most significant lessons for my practice in Melbourne is the example of the scale and density of
Barcelona. The qualities of walkability, vital public spaces and a diversity of activities are possible within a
constrained urban form, and one which has clear parameters for development. There is also a sense where
the buildings are often the 'background' to the network of streets, alleys and plazas that are vital in a city
where few residents have 'private open space'. While it is a historic urban form, its ongoing viability shows its
relevance for other cities.
Within this city, the projects of Arriolla+Fiol and EMBT enhance the city's amenity, add layers of new ideas to
its identity and create memorable spaces for public life. They are offices with 'big ideas' that add to the
identity of a parochial city. I spent two more days in Barcelona after the Study Tour, allowing me to explore
as its waterfront, cultural institutions and a university. This provided more references for discussing the
potential links between this city's trajectory and my own.
THE STUDY TOUR AND BEYOND
Following our visit to Barcelona, I took the opportunity to visit Granada, Seville, Cordoba, Madrid, Warsaw,
Paris, Lens and London once more. While not part of the Tour, many of the buildings and urban spaces that I
visited I was able to view afresh and more critically following the experience of the Tour.
As I also teach design studios at the University of Melbourne, so I sought examples of new projects,
particularly in the public realm, as well as an understanding of the scenarios which drive their architectural
design as impetus for future studios. An immediate outcome of the Tour was a Design Thesis Studio focusing
on a cultural and performance centre, informed by many projects that I visited.
The Dulux Study Tour provided me with an incredible diversity of experiences and encounters that have
already benefitted my practice as an architect. This Report is one reflection of some of the ideas and
discussions, and then there are the many insights that spring to mind throughout the 'everyday' of work and
reflection. The Tour and the people that I met along the way and travelled with, will keep providing me with
ideas, inspiration, motivation and support for many years. I am deeply grateful for the opportunity.
Thank you to Dulux and the Australian Institute of Architects.
©Adam Pustola 2013
The opinions expressed in this report are solely those of the author.