LANDSPACE

India Mitchell

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India Mitchell / 538166Manifesto / Semester 2, 2014ABPL90117 / Twenty-First Century ArchitectureCoordinator: AnnMarie Brennan / Tutor: Robert Ventresca (2)

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CONTENTS

CONTENTS

LANDSPACE? 6ThE SEVEN FACETS OF LANDSPACE 16ABSENCE AND SIMPLICITy 18PRESERVE AND DESTROy 30ATMOSPhERE 40MATERIALITy 50SENSES 60AWARENESS 68hORIZONS 76LANDSPACE. 82REFERENCES 84

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LANDSPACE? Mindfulness towards land and space in design and life.

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Space is the void created by a built form (interior), or the void between built forms (exterior); and finally, the area created by exterior and interior space when they merge together.

Landspace aims to create this merged space, as opposed to spaces that merely sit together, but are not together.

merged spaceunmerged space

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Landspace is an approach to design that addresses an innate relationship between landscape, building and space that is often disregarded in preference to form and aesthetics. It is my philosophy, however, that an architecture that properly respects land and space results in design that achieves a functionally and aesthetically relevant architecture that also gives rise to an enhanced human understanding of the meaning of living in natural and cultured systems that they are a part of.

Right: Canoes on Billabong, Torrumbarry, Victoria / Photo credit India Mitchell

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When I moved to Melbourne from my parents farm in Torrumbarry, Victoria, I had a sudden realization that my view of the world, spaces and land was very different to that of greater Australia.

On a farm, you develop an awareness of every little thing you do and how it affects the landscape. When you sow a paddock, you’re constantly reestablishing a human control over the land. When you walk the cows down the lane everyday, you see the path that they make, almost permanently, embedded in the rock and dust. This isn’t something that you are taught, it’s something that you sense.

Town and city people miss this, they don’t ever gather this understanding, and I find this to be a fault in architecture and design. I have even felt it myself at times, after three years in the city. Sometimes, when it rains, I think about the inconvenience it will be to me, I forget that we rely on rain to survive. Something I do not forget however, is that with every piece of construction we make, something must come out of the landscape to support it.

Landspace proposes an architecture that not only brings sensuous architecture to fruition, but also brings an awareness of the landscape to its subjects.Right: Tree Planting in Summer at Le Mons’, Torrumbarry, Victoria / Photo credit India Mitchell

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Landspace follows a philosophy of design that promotes feeling in architecture that is derived from the landscape, and an awareness of the subject in space. It is an architecture where the definition of land and space are blurred, and spaces move beyond the role of protector to exposer – exposer of the consequences that architecture (and construction) has on the landscape.

This architecture responds to the human condition of being part of nature, but rarely recognizing it. Landspace makes the relationship between subject and nature an inherent understanding within space and uses a response to landscape to develop sensuous spaces for human life.

Right: Autumn Morning at Le Mons’, Torrumbarry, Victoria / Photo credit India Mitchell

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The seven facets of LANDSPACE

ABSENCE AND SIMPLICITy

PRESERVE AND DESTROy

ATMOSPhERE

MATERIALITy

SENSES

AWARENESS

hORIZONS

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ABSENCE AND SIMPLICITy

Designs should not overpower the space that they inhabit. The integrity of a space relies on a balance between the necessary function and the necessary atmosphere.

“Learn to be content with what satisfies fundamental needs, while renouncing what is superfluous.”

Epicurus; Luke Slattery “Reclaiming Epicurus”1

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The natural landscape is a result of complex life systems, and these systems develop to create spaces that are defined sensually through spaces that do not visually overcrowd the mind. Even in a cultured landscape, positive spaces do not bely the senses - they develop in the same way that a natural space develops, with response to surroundings.

A built space should follow the same atmospheric rules as an environment - a space should exist in harmony with its natural and cultural environment, through a concise physical response - through simplicity.

In this way, a built space let’s the atmosphere of the land speak for it - and bring awareness and clarity of mind.

Right: Ludwig Mies van der Rohe, Farnsworth house, Illionois, 1951, Photo sourced form http://www.ncmodernist.org/vanderrohe.htm2

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Image 1. Farnsworth house, SummerImage 2. Farnsworth house, AutumnImage 3. Farnsworth house, WinterImage 4. Farnsworth house, Spring

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In terms of being environmentally positive, rather than simply spatially positive, Mies van der Rohe’s concept of “less is more” becomes applicable in another way - the unnecessary use of materials, particularly when this use of excess does not bring anything pleasing to life, is unsustainable and wasteful - why not use materials sparingly when we can see that their use can be very harmful to our world?

Right: Tezuka Architects, Atelier in Ushimada, Ushimado, Japan, 2007 / Photo sourced from http://www.tezuka-arch.com/english/3

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A direct alternative to absence and simplicity is the work of Robert Venturi and Denise Scott Brown who strive towards unnecessary complexity. This complexity draws within it space (exterior and interior) that conflicts with the landscape - there is no memory of the space outside of the space you are in. Best Products Catalog Showroom, VSBA, Oxford Valley, PA, 1978 is an ideal example of this.

These spaces allow and encourage the subject to forget their relationship with outside space, they also address only the visual senses. The design of this building is a shallow representation of the possibilities of the potential of human relationships with space and land.

Right: VSBA, Best Products Catalog Showroom, Oxford Valley, PA, 1978 / Photo sourced from http://www.vsba.com4

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PRESERVE AND DESTROy

There is a need to design with reference to the intentions of the material cycle. With reference to the place and the materials used, architectural materials should have a predefined life-span and a plan for the recycling or waste of materials.

“Here’s where redesign begins in earnest, where we stop trying to be less bad and we start figuring out how to be good.”

William McDonough, “Cradle to Cradle: Remaking the Way We Make Things”5

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Right: Pharaohs of Egypt, Pyramids of Giza, Giza, Egypt, 2560 BC / Photo sourced from http://www.picpicx.com/the-pyramids-of-giza/6

When considering the design of a building, one must ask, “how long do we want this building to stand for, and what do I want to happen to the materials when the life-span of the building is complete?” In this way, there is an ability to positively affect the sustainable use of materials, as well as to design with an intent.

The Pyramids of Giza have stood for thousands of years, the oldest (The Great Pyramid of Giza( is believed to have been completed in approximately 2560 BC, meaning it has stood for 3800 years.

The possibilities of using this type of longevity in built spaces whose program can be altered as the needs of society change are significant. Spaces could remain in harmony with the landscape, with very little negative impact, while continuing to address a constantly developing humanity.

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Right: Kenzo Tange, Early Metabolist Project, 1961 / Image sourced from http://millenniumppl.blogspot.com.au/2009/09.html8

The Metabolists, in the 1950’s, introduced an architecture that allowed for skeletal structures with replaceable capsules that allowed for buildings that evolved with the changes in human needs7. Whatever the failures of this architecture may be, this group recognises the potential for the development of space that is designed to be disposed of after a given amount of time.

With the knowledge of when a space will “expire”, the correct use of materials in the correct spaces, will allow for disposal or recycling of materials in the most environmentally positive way,

The land is sustained, the space is sustained, and life is sustained.

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Right: Unknown, Ise Great Shrine Outer (Geku), Ise, Japan, 4 BC / Photo sourced from: http://www.norbertwoehnl.com10

So, there exists the concept of disposable architecture. The Ise Great Shrines of Ise, Japan are made from local timbers and are ceremonially rebuilt every 20 years. After 20 years, the shrines are dismantled, the timber is used in local wood fires, and the new Shrines are built on alternating sites.9

Using this method, the use and disposal of materials can be planned and made as environmentally sustainable as possible. Landfill is reduced to potentially zero. Spaces make use of materials that are local, easily accessible and often “natural” - derived directly from the environment - and in this way, they will most often link space to land.

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In 2006 and 2007, 42% of construction and demolition waste went into landfill in Australia. Construction and demolition made up 38% of landfill in 2009, that being 16.644 million tonnes of waste11.

The waste of limited resources and dumping of landfill is not only unsustainable, but results in a heavily violated landscape - preserve and destroy aims to counteract this destruction of the land through forward and conscious thinking.

Right: Waste Dumping, Alabama, 2011 / Photo sourced from http://blog.al.com/spotnews/2011/06/html12

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ATMOSPhERE

While architecture exists as an escape from the outside world in some ways, we should not forget it when we leave it. Spaces should have an inherent atmosphere that bring them back to the outside context, and do not forget their landscape.

“It’s about creating emotional space, if I can do that, if I can create a space which is just right for its purpose and for its place, I think that is the greatest achievement.”

Peter Zumthor, “Architecture is not About Form”, de zeen magazine13

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Built space should respond to the space it inhabits. The exterior and interior space should embody the nature of the external environment - both cultured and natural - the land and the space can exist as complimentary of one another.

An atmosphere that respects the origins of the landscape it inhabits forms a harmony of space and land in and around which the subjects can exist.

Right: Fender Katsalidis, St Andrew’s house, St Andrews, Australia, 1992 / Photo sourced from http://www.fkaustralia.com14

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Internal space becomes particularly important in the role of developing atmosphere. In spaces where there is little to no visual connection between the interior space and the landscape, the significant role of the design becomes apparent, an atmospheric connection must be made. An interior space should be comforting and engaging to the subject - that does not mean that it should forget its role as exposer, nor should it distance itself from the history of the space it occupies.

Atmospheres encourage the users to keep the landscape in mind at all times, in order to create sensuous space, as well as to give rise to the innate relationship between human, building, and landscape.

Right: Peter Zumthor, Thermal Baths Vals, Graubünden, Switzerland, 1996 / Photo sourced from http://www.veluxstiftung.15

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When space moves away from its contextual origins, the result is a built environment that does not engage the subject sensuously. The building is not in harmony with itself, nor with its landscape.

Landspace does not disregard the relevance of urbanity and the need for high rise construction in contemporary society - it does however, believe in a need to make reference to natural and cultured landscape connections within design and practice of a new built environment. In this sense, regionalism becomes a very relevant architectural movement with links to landspace.

Right: Lyons Architects, SAB, RMIT, Melbourne, Australia, 2013 / Photo sourced from http://www.lyonsarch.com.au/16

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It is also necessary to recognise that some built forms do not necessarily fit into their environments immediately. It can take time for a form to merge with its landscape. Within Landspace, this is understandable and acceptable, given that the internal spaces are reflective of the external space, and that the two spaces do slowly become one, as their atmospheres age and blend together.

Right: Makar, Duntrodden house, Scotland / Sourced from http://makar.co.uk/design-build/place-and-environment17

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MATERIALITy

Material should appear as if it belongs in the landscape, and the material should reflect the sensuous nature of the landscape.

“And when I build something in the landscape, it is important to me to make sure my building materials match the historically grown substance of the landscape.”

Peter Zumthor, “Thinking Architecture”18

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Right: Peter Zumthor, Bruder Klaus Field Chapel, Mechernich, Germany, 2007 / Photo by Samuel Ludwig19

Materials are often disregarded in architecture in a way that is quite alarming, for they define much of what has already been discussed. The materiality of a space is the starting point of the feeling within internal and external environments, yet I have often seen my peers in study and practice, leaving the decision of material to last minute decisions.

Landspace is entirely opposed to this, material decisions become the basis of design and in many cases, they enable the initial definition of spaces as related to landscape, through senses, atmosphere, awareness, and preserve and destroy.

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Material also has a very significant role in awareness and environmental sustainability. Many materials used in contemporary construction have negative consequences for the landscape through excavation, carbon dioxide outputs and embodied energy.

Design should take into account materiality not only as a means of creating spaces that are comfortable and embody a relationship to landscape, but also strive towards eliminating negative environmental affects. This is easily achieved through the use of materials that are locally sourced, renewable or recycled, and manufactured in a way that minimises embodied energy.

Studio Gang’s Arcus Center for Social Justice Leadership achieves this through the timber masonry facade. The building also reflects the ideals of landspace through the historical connection to site that exists, as the method is traditional to the surrounding region.

Right: Studio Gang Architects, Arcus Center for Social Justice Leadership, Michigan, 2014 / Photo sourced from http://studiogang.net/20

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Regionalism as an architectural philosophy speaks to Landspace in two significant ways; through a relationship with locality and material, and a connection to the cultural and natural history of the land. These are two very significant aspects of landspace that can be addressed, in all facets, but most significantly within the facet of materiality.

Vo Trong Nghia has developed an architectural practice based on these ideals. Through the use of bamboo which grows abundantly in Vietnam, he has produced a style that encapsulates materiality in the essence of space and context.

Landspace resonates with this intentional use of materiality, that is renewable, drawing from the roots of natural and cultured space, and assisting the social, urban and natural environment locally and globally.

Right: Vo Trong Nghia Architects, Kontum Indochine Cafe, Kontum City, Middle Vietnam, 2013 / Photo credit hiroyuki Oki21

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Architecture that makes uses of material without a deep consideration of context, environment and atmosphere is not beneficial to the inhabits or the surrounding landscape.

This type of building detracts from the harmony of spaces, and not only allows, but forces, the inhabitants to disregard the significance of the contextual space that surrounds the envelope of their space.

Materiality that is not chosen with specific and well thought out intentions often leads to buildings that are also poor in terms of sustainability and socially positive space.

Right: ARM, Ambient Carlton, Carlton, Australia, 2012 / Photo sourced from http://www.a-r-m.com.au/22

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SENSES

Spaces should make one aware of the senses not only through the visual but through all senses, with reference to the sensuous aspects of the landscape. The expression of the land in a space should enhance the sensuous experience of design.

“Space is not for our eyes alone; it is not an image; it is for living”

El Lissitzky, “G”23

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Alvar Aalto had a distinct belief that architecture should not only engage occupants with the visual, but also with the senses in their entirety. In this way, the inhabitant of a space is immersed within a space completely - they feel the space, and become part of the space.24

Architecture should always keep this intention, for we cannot truly connect to a space, if we do not experience it in every way that we can. This is a moment where architecture can be defined as good or bad, when a subject feels connected to, or disconnected from a space.

Right: Alvar Aalto, Villa Kokkonen (interior), Finland, 1969 / Photo sourced from Alvar Aalto houses, Jetsonen and Jetsonen25

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Engaging the senses does not mean that a space needs to become overcrowded with items that will take the attention of an occupant, sensuous architecture does not call for clutter. In many cases, it is a call for quite the opposite.

In landspace, there is a distinct need for the occupant to experience a space sensually, and with reference to the context of the built space. With a sensuous architecture that derives itself from the landscape, the opposite is often required - many landscapes, especially those we are drawn to build in, are absent of overcrowding themselves.

Right: Lucio Serpagli, Rifugio Monte Penna, Monte Penna, Italy, 2012 / Photo credit Olinto Malpeli26

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Spaces that do not consider all of the senses are not only lacking in atmosphere, but also do not allow the subject to exist in a space with comfort.

Frank Gehry’s Guggenheim is renowned as a space that is designed to display art, but draws attention to itself so powerfully through visual overcrowding that it becomes almost unsuitable for its designed purpose. The building also begs of the subject to forget the landscape abounding it. It overpowers the context, and claims the space, disregarding landscape.

This method, while perhaps superficially pleasing to some, disregards the senses in their entirety for a visually dominating building that achieves no harmonious feelings within the subject, nor the landscape.

Right: Gehry Partners, Guggenheim Museum (interior), Bilbao, Spain, 1997 / Photo sourced from http://www.guggenheim-bilbao.es/27

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AWARENESS

Contemporary society understands, perhaps more than ever before, a need to be aware of the consequences of actions on the environment, it often seems though, that we are not aware enough. This proposal asks that we consider awareness of the landscape and environment in our design decisions.

“The physical substance of what is built has to resonate with the physical substance of the area.”

Peter Zumthor, “Thinking Architecture”28

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Design should take the role of exposer – exposer of the consequences that architecture has on the landscape. Construction requires destruction, and society needs to develop an understanding of this.

When referring to landspace in design, one must be aware that natural and cultured landscapes are both relevant to design. Urban spaces are impacted just as strongly by the introduction of new architecture as remote spaces.

“Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.”

Edward Burtynsky, “Exploring the Residual Landscape, Statement”29

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Right: Earthship, Brighton, England, 2004 / Photo sourced from http://www.buildingopinions.com/legacyimages/earthshipb01.jpeg30

Earthship architecture, perhaps more than any other sustainable movement, embraces the need for awareness in design and life. Each facet of space is heavily designed in order to develop a building that is reliant only on itself and the environment to sustain it and its occupants.

The architecture, through its innate relationship with sustainability, also generates a distinct relationship with the landscape - it becomes a part of its context, and relies on the specific qualities of its environment to remain functional.

Within this setting, one cannot help but be aware of their landscape and space.

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Landspace as a proposal is also a criticism of architecture with what can be seen as a false context.

The works of Zaha hadid, for example, claim to have a metaphorical meaning that connects with the context of their landscapes31. While these metaphors may have inspired the design, they are not inherent within the building, or understood in experiencing the spaces. Specifically the Guangzhou Opera House, Zaha hadid Architects, Guangzhou, 2003 - 2010 is based upon a twin boulder design that can only be read once explained (and even then, only through the exterior).

Landspace proposes a relationship to landscape and context that can be intuitively realised.

Right: ZhA, Guangzhou Opera house, Guangzhou, China, 2003-2010 / Render by ZhA32

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hORIZONS

The built form should be seen from the exterior as an addition to the landscape. When viewed from a distance, we see a building on the horizon - it should not protrude from the natural or cultured space in a way that allows it to create its own separate mark in our minds, it should blend with the space surrounding it, and speak to us of the atmosphere that comes from its spatial origins.

“The plain requires vertical architectural elements, the mountains horizontal ones.”

Adolf Loos33

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Right: Unknown, Keldur Turf houses, Keldur, Iceland, Rebuilt 1896 / Photo sourced from http://www.panoramio.com/34

Though landspace does not disregard the need for high rise buildings, the conext of these buildings should be considered. Over time, will this building become integrated with its cultural and natural landscape, or will it always exist as an out-of-place structure apart from its context?

If the answer is the latter, then it is not an appropriate architectural response.

A building should express a sense of belonging within its surroundings, as the Keldur Turf houses do.

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Right: MAD Architects, Fake hills, Proposed Project, Beihai, China, 2012 / Render by MAD Architects35

A proposal that is designed to sit apart from its context, even if making an abstract reference to a contextual landmark (local mountain range), destroys the surrounding landscape through inhibiting an understang of it, and establishing a context of its own that does not make reference to natural or cultural origins.

This type of building blocks awareness and harmony, and arrogantly boasts an ownership over space that it should not have.

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LANDSPACE.

A designed space should come from a constant reference to the landscape, and in its built form resonate with an atmosphere that speaks of its contextual origins.

Landspace asks that architects consider a need to respond to the landscape; sustainably, functionally and with feeling, in order to bring understanding to themselves, and to the occupants of the space.

The seven facets of Landspace come together to create a a single built form that acts as an extension of the landscape. The built form and the natural or cultured context are not seperate, they compliment each other and can no longer be seen apart. They become one space.

In Landspace, the architecture becomes the landscape.

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REFERENCES

1 Slattery, Luke. Reclaiming Epicurus. Camberwell, Vic.: Penguin Books, 2013.2 ”Mies Van Der Rohe.” Mies Van Der Rohe. http://www.ncmodernist.org/vanderrohe.htm. Accessed October 2, 2014.3 ”TEZUKA ARCHITECTS.” TEZUKA ARCHITECTS. http://www.tezuka-arch.com/english/. Accessed October 1, 2014.4 ”BEST Showrooms.” Venturi Scott Brown Architects. http://www.vsba.com. Accessed November 20, 2014.5 McDonough, William, and Michael Braungart. Cradle to Cradle: Remaking the Way We Make Things. New york: North Point Press, 2002.6 ”Pyramids of Giza.” Pic Picx. http://www.picpicx.com/the-pyramids-of-giza/. Accessed October 1, 2014.7 Kurokawa, Kisho. Metabolism in Architecture. Boulder, Colo.: Westview Press, 1977.8 ”Icons without Form.” Millenium People. http://millenniumppl.blogspot.com.au/2009/09.html. Accessed November 2, 2014.9 Kurokawa, Kisho. Metabolism in Architecture. Boulder, Colo.: Westview Press, 1977.10 “Great Ise Shrines.” Norbert Woehnl Photography. http://www.norbertwoehnl.com. Accessed November 29, 2014.11 “Australia’s Environment: Issues and Trends 02/05/2010.” Australian Bureau of Statistics. http://www.abs.gov.au/ausstats/abs@.nsf/lookup/4613.0chapter40jan+2010. Accessed October 3, 2014.12 “Alabama Demolition Waste.” Spot News. http://blog.al.com/spotnews/2011/06/html. Accessed November 30, 2014.13 “Architecture is not About Form.” de zeen. http://www.dezeen.com/2013/02/06/peter-zumthor-at-the-royal-gold-medal-lecture-2013/. Accessed October 3, 2014.14 “St Andrews.” Fender Katsalidis Architects. http://www.fkaustralia.com/project/s/name/st-andrews/. Accessed October 2, 2014.15 “Thermal Baths Vals.” Velux Stiftung. http://www.veluxstiftung. Accessed October 7, 2014.16 “SAB.” Lyons Architects. http://www.lyonsarch.com.au/. Accessed October 4, 2014.17

Right: Makar, Duntrodden house, Scotland / Sourced from http://makar.co.uk/design-build/place-and-environment18 Zumthor, Peter. Thinking Architecture. 3rd Edition. Birkhauser, Basel, 1998 (2010).

19 “Bruder Klaus Field Chapel / Peter Zumthor.” ArchDaily. http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor/. Accessed September 28, 2014.20“Arcus Center for Social Justice.” Studio Gang Architects. http://studiogang.net/work/2010/arcuscenter. Accessed October 5, 2014.21 “Kontum Indochine Cafe.” Vo Trong Nghia Architects. http://votrongnghia.com/projects/kontum-indochine-cafe/. Accessed September 30, 2014.22 “Ambient Carlton.” ARM. http://www.a-r-m.com.au/. Accessed October 1, 2014.23 Pelkonen, Eeeva-Liis. “What about SPACE?”, 306090, no. 15, 2013.24 “Alvar Aalto, Villa Kokkonen.” Mid Century Home. http://www.midcenturyhome.com/alvar-aalto-the-mid-century-villa-kokkonen/. Accessed October 3, 2014.25 Jetsonen, Jari, and Sirkkaliisa Jetsonen. Alvar Aalto houses. New york: Princeton Architectural Press, 2011.26 “Rifugio Monte Penna / Lucio Serpagli.” Archdaily. http://www.archdaily.com/222983/rifugio-monte-penna-lucio-serpagli/ Accessed September 23, 2014.27 “Inside the Building.” The Guggenheim Museum, Bilbao. http://www.guggenheim-bilbao.es/. Accessed September 29, 2014. 28 Zumthor, Peter. Thinking Architecture. 3rd Edition. Birkhauser, Basel, 1998 (2010).29 “ABOUT.” Edward Burtynsky. http://www.edwardburtynsky.com/site_contents/About/introAbout.html. Accessed September 3, 2014.30 “Earthship Brighton.” Building Opinions. http://www.buildingopinions.com/legacyimages/earthshipb01.jpeg. Accessed September 30, 2014.31 “Guangzhou Opera House.” Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/guangzhou-opera-house/. Accessed September 2, 2014.32 “Guangzhou Opera House.” Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/guangzhou-opera-house/. Accessed September 2, 2014.33 “Rifugio Monte Penna / Lucio Serpagli.” Archdaily. http://www.archdaily.com/222983/rifugio-monte-penna-lucio-serpagli/ Accessed September 23, 2014.34 “Keldur Turf Houses.” Panoramio. http://www.panoramio.com/. Accessed October 5, 2014.35 “Fake Hills by MAD Architects.” Archiscene. http://www.archiscene.net/residential/fake-hills-mad-