Dwelling with Architecture
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High-rise living in Asian cities. Living the high life or just skyscraping by?. The Age: Victoria. Reinventing the skyscraper: A Vertical theory of Urban design. Great Britain: Wiley-Academy, It should be a tower with strong connections to the ground, like an urban landscape on height. It is pointed out that the top floor of the tower could be used by everyone.
Variation, edges, sustainability and the human scale are principles in the programme The tower allows the main trail to actually go up through the building, creating different spatial units and a diversity in the city life. The building is an urban street where you can consider part of it as neighbourhoods.
The design must therefore seek to recreate the ideal neighbourhood residential unity that we find effective at ground level. The ability to divide the building into neighbourhoods will make the building anchor better in the area. We should see the skyscraper more organically, more like a built form that requires a greater level of spatial articulation and reassembling.
It could be design as though its built space had been flattened out on the ground plan and then reassembled in the sky into a high-rise built form, with critical attention paid to all aspects of its urbanity and denseness. If we use this way of thinking the high-rise building could approach the qualities in an urban and social life It offers a great diversity and public spaces on each floor.
It can be seen as an horizontal urban street planned in a three-dimensional way. The balance, mixture and integration of various user groups and activities are key to make the city attractive.
Dwelling with Architecture
The different materials creates a transition in scale and breaks down the tall building into smaller units. The diversity in materials also prevents the 16repetitive, monotonous expression often seen in tall buildings, and makes the building more integrated in the urban tissue. Arkitektur, no 2 : The towers have a height of meters and 87 meters and hosts more than trees which sway in the slight breeze on the many terraces.
The foliage will bring shadow during summers, and during winter the leaves fall and let more light in. The towers helps to build a micro-climate and to filter dust particles, which is a major problem in the city of Milan The Vertical Forest offers a new way of seeing and working with sustainability, a biological architecture which refuses to adopt a strictly technological and mechanical approach to environmental sustainability.
Parnian House / White Cube Atelier
It is supposed to house inhabitants in apartments with different sizes, between 60m2 - m2, and prevent the urban sprawl The idea of connections between insides and outsides should be applied when designing high-rise buildings to integrate them in the urban fabric. The trees on the balconies breaks down the scale of the tall building effectively - even if you are on a higher level you still have something that is connected to the ground to relate to. We know trees well and are familiar with its scale. Vertical landscaping can serve to produce ecologically, socially and aesthetically — a fusion of rural and urban existence, as well as the fusion of outdoor and indoor space.
Landscaping and green spaces are vital to the city and therefor it is crucial to incorporate these as vertical landscaping an as parks-in-the-sky. Arkitekten no 5 : Vertical Forest. Stefano Boeri Architetti, Trees On Top Of Skyscrapers? Yes, Say I. No, Says Tim. Krulwich Wonders: Robert Krulwich on science. The Vertical Forest, Milan When designing a high-rise building it is vital to look at the connection between distance, intensity, closeness 13 and warmth in various contact settings. In small spaces, we can see buildings, details and experience them with great intensity.
In urban complexes where distances, urban space and buildings are huge, built up areas are sprawled out, details are lacking12 and we perceive them as impersonal, formal and cold. The importance of creating a great diversity and offer different functions within the same building might prevent cold and impersonal situations.
It is the compartmentalisation and confinement of spaces that make the skyscraper such an unsatisfactory built form and unpleasant environment for its user It is necessary to create a complexity within the building and in the expression, the same complexity that we expect to experience when we 8 visit a city.
The biggest challenge is the transition in scale between a high-rise building with multiple dwellings, the public space and the city.
The challenge may be to attract people to move from the ground floor, up in the building. The many public areas can create a lack of privacy for the 6 private has to inhabitants, so the boundaries between public and be very clear. The Vertical Forest might be a convulsively way of making a tall 5 building sustainable. It is maybe easier to focus on preserving and restoring places that already have trees, instead of spending money on an artificial forest.
The challenge is to place-make in the sky. The skyscraper therefore needs a system of continuous spaces and relationships from the ground to the sky, integrating buildings and linking spaces into a new vertical equivalent of an urban fabric. When designing high rises it is important to avoid repetition. The design has to be made in a delicate way so it can become a building with a strong identity.
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It is not simple to design a high-rise building in a human scale, since it obviously has to be high, vertical and apart from the rest of the city. But the two examples raised in the text shows that with human-centred design, tall buildings with high density can be built in a humane manner.
This invisible force prohibits us from moving freely and limits us to a horizontal way of living. Our body and senses are configured to work in a horizontal world, take the human eyes for an example; our field of sight is close to degrees horizontally but only around degrees vertically. But as in many other cases, humans have found ways to adapt to new conditions and ways of living.
One of the major issues with vertical constructions was accessibility, not only for disable people but for everyone. Up until the last decades of the 19th century the only way to connect vertical spaces were staircases, or in some cases sloping platforms or ramps. However, with the invention of the gravity defying device called the elevator, humans could now connect vertical spaces in a very efficient way.
If a regular door can be seen as a horizontal mediator of spaces, then the elevator could be seen as the vertical version of a door. Not that this is an issue since the floor plans of a lot of high rises looks the same and the elevator simply moves you from one space to the exact same space just a few meters up or down in the same building. With elevators, we could have the opportunity to create extraordinary spatial sequences and really take advantage of the fact that most floors in high rises are completely solitary.
From the outside the building looks like any other early 20th century high rise, but the program inside the building and the way it is distributed, is unlike many others. Usually a high rise is just a series of close-to-identical floors, stacked upon each other, where efficiency is valued higher than spatial experience. In DAC however, the story is a bit different. Though unlike the traditional clubs that spread these functions out in different facilities, the DAC puts it all to use in a single high rise building.
On almost all of the bottom 15 floors, there are superimposed programs that put the visitors in a close to uncharted territory. Take the 9th floor as an example, here the visitor will exit the elevator and find himself standing in a locker room. He will undress and put his boxing gloves on, then move to the eastern side of room where he will find a multitude of boxing bags. After finishing his session, he will then move to the southern part of the room where there is an oyster bar.
These kinds of superimposed programs appear all over the place, making the building highly unpredictable. This unpredictability gets boosted by the randomness the elevators can provide in this kind of building.
These random situations are located up until the 19th floor, from there and up towards the top floor you can find the bedrooms. So this building can be recognized as highly random and unpredicatable building by all rights, however, it is in contrast quite well planned albeit in a quite unorthodox way.
The purpose of the building is truly exposed when viewing the section, as one can see the true meaning of the spaces unfolding, when reading the section from bottom up. The bottom floors are dedicated to the refinement and rehabilitation of the male body, with all the functions, spaces and machines one can imagine necessary for such a purpose. This insane patriarchal story continues with almost 20 floors of bedrooms, where the men could either rest or use their newly refined bodies and minds for indulgence. The DAC is definately an interesting specimen in terms of looking at the way separation and connections can work in a vertical way.
A project that deals with vertical connections in a totally different way is House NA by japanese architect Sou Fujimoto.
BIG | Bjarke Ingels Group
Fujimoto abstracts the ways of modern living into two conceptualized notions, the nest and the cave. The nest describes the functionalistic way of housing, where every space is made or adapted for a specific purpose or function.
Even though one of the very first concept projects of the modern movement the domino house by Le Corbusier was designed with flexibility as one of the key words2, the concept of flexibility in these houses can be discussed, since the flexibility is more about the ways which they can be constructed rather than the ways they can be inhabited. On the other side of the spectrum you have the cave.
At first the cave will probably be something that people will feel uncomfortable and alienated by, but after some time, people will start to find spots in this landscape which they will adapt to and start occupying. However, one must understand that this is just a concept that relates more to the human relation to landscape rather than an actual cave. This becomes much clearer when viewing his project House NA which is strongly constructed based on his ideas of the cave but in a vertical, or rather a 3-dimensional way.
Fujimoto translated the notion of a cave, or inhabitable landscape, into the concept of living in a tree. A large broad-leaved tree provides a series of miniature levels among its branches, the connection with this concept is quite evident in the House NA project. The Domino House concept by Le Corbusier2 1. Primitive Future.