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Contemporary Architecture in the Historic Environment

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68<br />

Case Studies<br />

Property Council of Australia. 1999. The Design Dividend. Sydney: Property<br />

Council of Australia.<br />

This publication explores <strong>the</strong> idea that good urban design translates <strong>in</strong>to higher<br />

economic return <strong>in</strong> development projects. The Property Council of Australia<br />

def<strong>in</strong>es “good urban design” as be<strong>in</strong>g well connected to its surround<strong>in</strong>gs, treats<br />

sett<strong>in</strong>g as an asset, and makes a positive contribution to its context. The publication<br />

<strong>in</strong>cludes Australian case studies selected based on “responsiveness to<br />

important qualities <strong>in</strong> <strong>the</strong> urban and landscape context as well as valuable historical<br />

characteristics” (p. 3). Projects that were realized <strong>in</strong> historic areas<br />

<strong>in</strong>clude Tyne Street Development, Carlton (p. 6); Park Hyatt Hotel, Sydney (p.<br />

10); KPMG House, Melbourne (p. 12); East Perth Redevelopment (p. 16);<br />

Australian Technology Park, Sydney (p. 18); RMIT University, Melbourne (p.<br />

20); and East Rundle Street, Adelaide (p. 21). (A.P.A.G.)<br />

Quantrill, Malcolm. 1999. The Norman Foster Studio: Consistency through<br />

Diversity. London: E & FN Spon.<br />

This publication discusses <strong>the</strong> philosophy and design approach of <strong>the</strong> Norman<br />

Foster studio. Quantrill provides a biography of Norman Foster highlight<strong>in</strong>g<br />

likely <strong>in</strong>fluences that shaped him as an architect. Also <strong>in</strong>cluded are transcripts<br />

of <strong>the</strong> author’s conversations with Foster about his work, <strong>the</strong> history of his studio,<br />

and his design approach. The author also discusses roles, values, and design<br />

philosophies with Foster’s five architecture partners.<br />

The author critiques more than a dozen works (rang<strong>in</strong>g from build<strong>in</strong>gs to urban<br />

design projects) by <strong>the</strong> Norman Foster studio <strong>in</strong> <strong>the</strong> sections “Construct, Context<br />

and Subtext” and “The Body of <strong>Architecture</strong>.” Case studies <strong>in</strong>clude additions to<br />

historic build<strong>in</strong>gs (<strong>the</strong> Great Court, British Museum, London; Sackler Galleries,<br />

Royal Academy of Arts, London; <strong>the</strong> Reichstag, Berl<strong>in</strong>) and new architectural<br />

<strong>in</strong>sertions <strong>in</strong> historic environments (Carré d’Art, Nîmes, France; Master Plan<br />

for <strong>the</strong> K<strong>in</strong>g’s Cross Area of London; Commerzbank Headquarters, Frankfurt;<br />

Millennium Bridge, London). The design philosophy of <strong>the</strong>se projects is<br />

described and illustrated with photographs, sketches, and architectural plans,<br />

and often demonstrates a thoughtful understand<strong>in</strong>g of <strong>the</strong> values of place and<br />

context. (L.M.)<br />

Scott, Keith. 1990. Design<strong>in</strong>g <strong>in</strong> historic cities. Planner 76 (7): 23–24.<br />

In this article, <strong>the</strong> author describes a mixed-use redevelopment project <strong>in</strong> <strong>the</strong><br />

central area of Carlisle, UK. After an <strong>in</strong>itial phase of studies and public consultation,<br />

<strong>the</strong> development team recommended that <strong>the</strong> area should be completely<br />

redeveloped to house modern commercial facilities and make it economically<br />

viable. It was also determ<strong>in</strong>ed that <strong>the</strong> design of <strong>the</strong> new build<strong>in</strong>gs would be <strong>in</strong><br />

<strong>the</strong> character and scale of <strong>the</strong> traditional streetscape of Carlisle. In <strong>the</strong> implemented<br />

scheme, <strong>the</strong> elevations fac<strong>in</strong>g <strong>the</strong> city were designed <strong>in</strong> <strong>the</strong> style of <strong>the</strong><br />

build<strong>in</strong>gs that existed previously, while <strong>the</strong> elevations fac<strong>in</strong>g <strong>in</strong>ward were<br />

designed with more freedom. The designers made use of artifices, such as broken<br />

planes on <strong>the</strong> roof and facades, to disguise <strong>the</strong> size of <strong>the</strong> build<strong>in</strong>gs and<br />

ma<strong>in</strong>ta<strong>in</strong> <strong>the</strong> small scale of <strong>the</strong> streets. (A.P.A.G.)<br />

<strong>Contemporary</strong> <strong>Architecture</strong> <strong>in</strong> <strong>the</strong> <strong>Historic</strong> <strong>Environment</strong>: An Annotated Bibliography - Getty Conservation Institute - 2015

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