Category Archives: context-sensitive design

Clean, green and responsive: the future of architecture?

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Lumenhaus inspired by Mies Van der Rohe’s Fansworth House is described by Virginia Tech students as responsive architecture. Responsive architecture according to Nicholas Negroponte’s definition is “a class of architecture or building that demonstrates an ability to alter its form, to continually reflect the environmental conditions which surround it.”

The aim of Lumenhaus designers was to “maximise user comfort with environmental protection” to make the user’s life “simpler, more energy efficient and less expensive.” They say the goal was to balance design quality, resource conservation and energy efficiency to produce architecture which achieves “beautiful enduring sustainability.”

One of the most significant benefits of the Lumenhaus construction concept is that it is off-grid (with options for feeding energy to the grid where appropriate), prefabricated and transportable making it an ideal solution for remote housing (increasing production standards, optimizing costs and providing improved accessibility to remote locations), temporary housing (mining and student communities) and emergency housing (after natural disasters).

Landscape architects could contribute significantly to the concept by, among other strategies, incorporating green wall technology on the wall cladding and designing a compatible site responsive green roof space beneath a solar panel shaded umbrella roof.

Much ado about zero energy buildings

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With the European Parliament mandating under the amended ‘Energy Performance of Buildings Directive’ that all new buildings are to be ‘zero energy’ by 2019 the heat is on to produce architecture and environments that contribute to more sustainable energy equations with a zero or positive bottom line.

According to 2006 figures from the US Department of Energy, energy use in the building sector in the US continues to increase “primarily because new buildings are constructed faster than old buildings are retired.” Essentially the net building stock in the US is increasing. The government is not predicting any reduction in demand for new buildings and so is pursuing a Zero Energy agenda. The authors of the report ‘Zero Energy Buildings: A Critical Look at the Definition’ say “because design goals are so important to achieving high performance buildings, the way a ZEB goal is defined is crucial to understanding the combination of applicable efficiency measures and renewable energy supply options.”

Under the (Zero Energy Building) ZEB definition four aspects of energy are considered: 1) net-zero site energy 2) net-zero source energy 3) net-zero energy costs and 4) net-zero energy emissions.

Chicago architect Zoka Zola has designed a zero energy urban home with a green roof for passionate gardeners. The green roof is designated as the zone for the home to extend in the future and for the installation of renewable energy infrastructure. The accessible green roofs encourage “bio-diversity and absorb water runoff, while insulating the interior and protecting the roof from thermal shock and ultra violet deterioration.” The tree in the south facing garden provides both beauty and summer shade. The garden also provides the outlook from the rooms with large south facing windows.

With designers giving functional, structural and aesthetic consideration to the zero energy buildings the green future is looking bright.

Clean: but is it green?

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Vermont’s thirty eight year old Yankee Nuclear Reaction is scheduled to be shut down in 2012. The main cause of concern is the leaking of tritium which is linked to cancer.

The life expectancy of nuclear power plants is forty years. Seventy five percent of all current nuclear power plants are in the second half of their expected life span.

After a plant is decommissioned there are a series of steps that must be taken including “removal and disposal of all radioactive components and materials, and cleanups of any radioactivity that may remain in the buildings and on the site.”

Machinery breakdown in the differing reactor designs is the major cause of nuclear insurance losses. Loses due to fire most frequently occur around six years of age.

The Convention on Nuclear Safety was adopted in 1994. “Its aim is to legally commit participating States operating land-based nuclear power plants to maintain a high level of safety by setting international benchmarks to which States would subscribe.”

Beyond the design of nuclear power plants and their landscape surrounds is the question of the disposal of nuclear waste.
How confident are designers, engineers and geologists of the long term safety of nuclear waste storage strategies?

From the ground up, the sky is the limit…

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Turned upside down land-scape becomes sky-scape. So what happens when the city meets the sky? 56 Leonard Street by Swiss architects Herzog & de Meuron disrupts the orderly rhythm of both the street-scape and of the skyline of New York with its jagged form from base to crown.

The base of 56 Leonard Street is firmly part of the city, while the crown of the building challenges the city limits: the blue space. Another blue space on the edge of cities is the coastal edge. The NSW government have included guidelines for protecting coastal edges near settlements.

At the limits of the green space of southern Californian cities according to biologist Paul Beier is cougar territory. While in Lincoln County efforts have been made to have developers include tree plans in their development applications (with fines for non-compliance).

In Germany there has been a conversation since the end of last millennium about ‘quality growth’ and ‘optimal growth’ at the edge of cities. In this paradigm according to Bruns and Schmidt in their paper ‘City Edges in Germany: Quality Growth and Urban Design’ “Land is valued for its own right, as landscape, as having character, contours, and limits. ‘Green walls’ instead of built walls are to be designed to border the city.”

The Royal Yacht Britannia deserves a fine landscape setting – not a trashy mooring

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Britain’s last Royal Yacht, the Britannia, is now ‘permanently moored as a five-star visitor attraction in the historic Port of Leith, Edinburgh’ and the setting is a total disgrace. The ghastly building which dwarfs the yacht is Ocean Terminal ‘an urban shopping centre & entertainment complex designed by Conran & Partners in London and handed over to Keppie Design’. Though I am pleased Scotland has regained a parliament, I am very disappointed by its lack of design and planning vision. The nearest they have to a design policy is ‘Hey Jock, what the hell, let’s get it built asap’. That ugly slab of a building is as ugly inside as it is outside and one can imagine that the planning officers were promised a lifetime’s supply of haggis in return for mooring the poor yacht here. I would like to see a competition for finding a better landscape setting for the old lady. Where can one find the best examples of historic ships moored in beautiful and romantic settings?

Rule Britannia!
Britannia rule the waves.
Britons never, never, never shall be slaves.
The nations, not so blest as thee, (eg Scotland)
Must in their turn, to tyrants fall,
Must in ,must in, must in their turn, to tyrants fall,
While thou shalt flourish, shalt flourish great and free,
The dread and envy of them all.
Rule Britannia!
Britannia rule the waves.
Britons never, never, never shall be slaves.

Theme Parks

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A design without a concept is usually not worth much. Where is the boundary where a concept becomes a theme? Where is the boundary where a theme becomes kitsch? And where is the boundary where a concept becomes art? Is there a context in which we can compare Disneyland with the Garden of Cosmic Speculation? Or with Little Sparta? Is Rousham merely an Augustan Theme Park? And where does Portmeirion fit in? Many clients – particularly in young, brash economies – confuse themes and concepts, how can we advise them? Does the West still have noble, Augustan-type concepts to offer the world, or do we only do cartoons these days?

The images show the Qasr Al Sarab Hotel on the fringe of Abu Dhabi’s Liwa Desert, based on an image engineer’s imagination of Arabia and very Disneyesque in its dreamweaving – but ultimately inauthentic – attention to detail.