Winter - Australian Institute of Architects

Winter - Australian Institute of Architects Winter - Australian Institute of Architects

architecture.com.au
from architecture.com.au More from this publisher
11.07.2015 Views

used as a registration or marking on thisterritory.How is the approach to an urban TAFE,different to suburban/rural sites?We approached this TAFE in a reasonablyurban setting as a challenge of activatingas many street frontages as possiblegiven the scale of the building and natureof the teaching programs. In previouswork on suburban or rural sites thesebuildings tend to be a little more in theround and consequently their shape cantend to conform more to the naturalconditions (trees or hills or cul-de-sacentries) rather than pushed hard upagainst the street boundaries. Oneinteresting constraint we battled withon this site in particular was the factthat the underground road tunnel runs tothe north of the site requiring us to curband set back the North façade striationsto limit the structural loading over thetunnel lid.26THE ARCHITECT 2012 ISSUE 002culture as a tension worth exploring inthe project, both aspects of which arerepresented in the functions within thebuilding (engineering technicians forthe mining industry and the indigenouscentre). In terms of the immediatecontext we found again the idea of thelocal indigenous population inhabitingNorthbridge and the way that the TAFEis supporting their culture througheducation as being something worththinking about when we explored anarrative for the building. It is thistension of the two cultures meeting inthe building that informed our design.We thought of such things as stratifiedopen cut mines, precious metals, turtleshells, black sticks, metal mining bridges,black and white striped shadows inthe atria, termite mounds in the reddesert as a rich visual and programmaticnarrative to inform the aesthetics of thebuilding.Can you elaborate on the indigenouscentre, and how it relates to the rest ofB2?The indigenous centre is an embeddedprogram within the B2 Social Heartspace. It provides a focal/gathering pointfor indigenous members of the TAFEpopulation as a stepping stone to thebroader TAFE environment. The centreis located in the Social Heart in a waythat gives it a degree of autonomy whilstalso providing high levels of integration.The project team consulted withstudents and teachers at Central TAFEto better understand their requirements.For instance, within the centre is anoutdoor recreation space contiguouswith the broader meeting environment.Importantly the indigenous centre hasa quasi reception point as a welcomingaddress for anyone who wishes to usethe facility. Again, the turtle icon isThe grand staircase hard up on thestreet, individual shop fronts alongWilliam Street and the awnings alongAberdeen are all very ‘civic’ moves. Wasthis the intention?We conceived of the building in theearly design stages as very much acivic project, connecting to the existingbuildings to the south across AberdeenStreet, down past the State Library andfinally past the new Cultural Centre tothe City. The massive ‘excavated’ entryporch and the grand stairs attempt tocreate a large urban forecourt acrossto the existing TAFE buildings. Thecanopies connect from this large civicentry along Aberdeen Street mimicking,and in line with, the prominent shopfrontcanopy culture prevalent in Northbridgeparticularly along William Street. Thesignificant entry also on the corner ofWilliam and Aberdeen Streets providesa highly articulated gesture to signal

its ‘civic-ness’ in contrast to the moreprosaic single-storey shopfronts on theother three corners.In many of Lyons’ projects, the interiorprogram is directly manifest on theexterior, for example the AutomotiveCentre for Excellence, and the ANUJohn Curtin School of Medical Research.Did the program for this building,Architecture, Engineering and Beauty,inform the end result?In various ways the program of thebuilding did manifest itself externallybut more in a loose, associative wayrather than any particular reference. Theindented canopies along William Streetfor instance that provide an awning tothe beauty technician areas are renderedin red rebate picking up on the ‘highlight’nature of beauty technician work. Theengineering technician cultures areloosely represented in the preciousmetal panelled striations of the façadecladding material joining togetherwith the psycho-industrial black pipestructural devices and culminatingin a kind of excavated public spaceat the social heart. The architecturaltechnicians’ design studios are evidencedmost strongly on the upper levels. Atthe highest point an architectural houseframe is rendered as a massive scalewindow, its mullions offset by noggingsbracing at cross studs. Throughout thebuilding a range of exposed finishesand ‘arty’ junctions are contrived tocontinually demonstrate the constructivenature of the building as a kind ofliving, heuristic tool for the architecturaltechnicians. Again, loose visualassociations rather than rigid, processoutcomes.‘Architecture is a thin veneer of fiction’is something Lyons explored in earlierworks. Does this apply here, and is thedevelopment of the idea a continuingconcern with the office?Certainly our office continues to beinterested in architecture having thepossibility of creating fantastic fictionsand thought-provoking stories that are‘thin’ and ‘thick’ - it’s not really a theoryanymore. In the early days when workingon extremely tightly budgeted buildingsthe veneer of fiction tended to be thinnerthan thicker whereas in our more recentwork we are tending to find that thefictions are less of a veneer and more aply – built up layers of veneer to create adeeper fiction on which to reflect, ponderand hopefully engage.Have the ideas explored in previousTAFEs informed or evolved into thecurrent TAFE work of the practice?On reflection these previous projectshave evolved and informed our currentwork, although it’s hard to necessarilydraw the lines between the work. Wecontinue to be fascinated with ‘makingover finding’, poor materials overexpensive, literal over abstract, seeking‘beautiful ugliness’ rather than ‘beautifulbeautifulness’ and generally runningagainst anything that has elegance andminimalism as its core idea.Could you expand on the idea of ‘makingover finding’?When attending the AIA conferencein Sydney in 2008 directed by RichardFrancis Jones we perceived a moralisticstance posited many times throughoutthe conference by various speakers,that in some ways ‘finding’ architecture(whatever that means) was somehowmore morally conscionable than thewilful act of ‘making’ architecture. Thiswas all couched in terms of sustainabilityand the environmental crisis of theplanet. Our (in some ways reactionary)position is one where we reject thenotion that ‘finding’ architecture (again,whatever that means) over ‘making’architecture is somehow a better ormore valid strategy. Essentially webelieve all architecture is ‘making’, wejust have the courage to admit this andenjoy the wilful creative aspects of this‘making’. We celebrate the idea that‘making’ something, as an architect,can be a valuable, ‘long lasting’ gift to abroader community and that this is oneimportant tenet of ‘sustainability’.There are a lot of interesting materialsthroughout the project: the ceilingtreatments, the black pipework and theamazing patterned concrete near theentrance. Can you explain some of thematerial choices and their application?Our approach to materials is to mix uprawness, pattern and decoration. Thelibrary/learning centre ceiling is flatoff form concrete decorated in splitcircular acoustic panels, thought of as amassive dot painting on a bare surface,both functional and sublime. Scharoun’sLibrary in Berlin resonated here! Theblack pipework is a mash-up of a kind ofDali-esque propping structure, a curiousindustrial (read mining industry) dreammeeting a notion about a burnt country,blackened trees, dark sticks, not elegantin any way - at least not intentionally.The patterned concrete which is theexternal wall of the small lecture theatreunder the stairs is an idea about a turtleshell which is an enduring symbol of thelocal indigenous culture, their talisman,their grounding animé. This turtle shellpattern is also repeated above thelibrary one-stop-shop reception desk – afloating shell adjacent to the dot-paintedceiling. The reception desk is also a miniscaledoutback Wave-wall, the bridge linkacross the atrium is a brightly paintedyellow metal cage extracted from themine shaft and turned around and laidhorizontal across the gap. The atriumwalls are clad predominantly in whitecontoured metal sheet folding acrossthe internal stairs and staff offices,27THE ARCHITECT 2012 ISSUE 002

used as a registration or marking on thisterritory.How is the approach to an urban TAFE,different to suburban/rural sites?We approached this TAFE in a reasonablyurban setting as a challenge <strong>of</strong> activatingas many street frontages as possiblegiven the scale <strong>of</strong> the building and nature<strong>of</strong> the teaching programs. In previouswork on suburban or rural sites thesebuildings tend to be a little more in theround and consequently their shape cantend to conform more to the naturalconditions (trees or hills or cul-de-sacentries) rather than pushed hard upagainst the street boundaries. Oneinteresting constraint we battled withon this site in particular was the factthat the underground road tunnel runs tothe north <strong>of</strong> the site requiring us to curband set back the North façade striationsto limit the structural loading over thetunnel lid.26THE ARCHITECT 2012 ISSUE 002culture as a tension worth exploring inthe project, both aspects <strong>of</strong> which arerepresented in the functions within thebuilding (engineering technicians forthe mining industry and the indigenouscentre). In terms <strong>of</strong> the immediatecontext we found again the idea <strong>of</strong> thelocal indigenous population inhabitingNorthbridge and the way that the TAFEis supporting their culture througheducation as being something worththinking about when we explored anarrative for the building. It is thistension <strong>of</strong> the two cultures meeting inthe building that informed our design.We thought <strong>of</strong> such things as stratifiedopen cut mines, precious metals, turtleshells, black sticks, metal mining bridges,black and white striped shadows inthe atria, termite mounds in the reddesert as a rich visual and programmaticnarrative to inform the aesthetics <strong>of</strong> thebuilding.Can you elaborate on the indigenouscentre, and how it relates to the rest <strong>of</strong>B2?The indigenous centre is an embeddedprogram within the B2 Social Heartspace. It provides a focal/gathering pointfor indigenous members <strong>of</strong> the TAFEpopulation as a stepping stone to thebroader TAFE environment. The centreis located in the Social Heart in a waythat gives it a degree <strong>of</strong> autonomy whilstalso providing high levels <strong>of</strong> integration.The project team consulted withstudents and teachers at Central TAFEto better understand their requirements.For instance, within the centre is anoutdoor recreation space contiguouswith the broader meeting environment.Importantly the indigenous centre hasa quasi reception point as a welcomingaddress for anyone who wishes to usethe facility. Again, the turtle icon isThe grand staircase hard up on thestreet, individual shop fronts alongWilliam Street and the awnings alongAberdeen are all very ‘civic’ moves. Wasthis the intention?We conceived <strong>of</strong> the building in theearly design stages as very much acivic project, connecting to the existingbuildings to the south across AberdeenStreet, down past the State Library andfinally past the new Cultural Centre tothe City. The massive ‘excavated’ entryporch and the grand stairs attempt tocreate a large urban forecourt acrossto the existing TAFE buildings. Thecanopies connect from this large civicentry along Aberdeen Street mimicking,and in line with, the prominent shopfrontcanopy culture prevalent in Northbridgeparticularly along William Street. Thesignificant entry also on the corner <strong>of</strong>William and Aberdeen Streets providesa highly articulated gesture to signal

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!