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DAYLIGHT &
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VELUX
EDITORIAL
RE-NEW
Cities are like living organisms. They remain alive by continually renewing themselves.
Just as the human bodys lifespan exceeds that of its individual cells, a town gener-
ally outlives its individual houses defensive walls and factories. Buildings age over
time. They become unusable or no longer meet increasing expectations about com-
fort and space. Sometimes they are simply not impressive enough for new users or
functions. These circumstances make the desire for something new only too under-
standable.
But there are good reasons for not acceding to calls for renewal invariably and
unthinkingly.
Renovating an old building uses up to two thirds less material than an equiva-
lent new building saving the equivalent amount of energy for producing and trans-
porting materials, as Thomas Lemken writes in his article for Daylight&Architecture.
Many old buildings additionally possess unrivalled construction qualities whether
a bonus in terms of room height and width or details and decorations in the work-
manship no longer found in new buildings. Often, however, these aesthetic qualities
are hidden, and it takes the work of an architect to bring them to light. In his article
More space, more light in this issue, Hubertus Adam describes how this can hap-
pen. However, existing buildings in our cities and villages also represent an unparal-
leled challenge. Badly insulated old buildings are among humanitys greatest energy
wasters. While only a percentage of buildings in Central Europe are renewed annu-
ally, regulators as David Strong demonstrates in his article primarily have new
buildings in mind when establishing energy efciency standards.
In the current issue of Daylight & Architecture we look at all these facets of ren-
ovating existing buildings: their spatial qualities and their often hidden beauty, their
equally well-hidden dormant energy and material resources, and the question of
how much renewal is economically necessary, and of how much of it is ecologically
justiable. Our authors have also looked into how the changing expectations of end
users for instance, a wish for more daylight - favour the renewal of buildings. VELUX
was actually created as a result of this desire for renewal. More than 65 years ago -
in 1941 - the Danish engineer Villum Kann Rasmussen was asked by an architect of-
ce to develop a roof window for a small school building in Denmark. He set out to
create a roof window that was as good as the best vertical window in every respect.
He succeeded - and invented the rst modern roof window - as well as he introduced
the idea of utilising the volumes under the sloping roof.
In this issue the Danish photographer Henrik Kam has followed the routes of his-
toric steam ships from Liverpool to Rotterdam via New York, documenting renewal
and decay, progress and stagnation. All three harbour cities have big plans for the
future involving converting industrial browneld sites, run-down working-class
areas and other social problem zones into desirable residential areas. Often this leads
to a dramatic coexistence of old and new, with glazed tower blocks rising over der-
elict industrial ruins, or valuable lofts next to boarded-up workers houses marked
down for demolition. This coexistence, however, is only a natural expression of a nat-
ural renewal cell for cell and house for house of our cities. In the thousands of
years in which cities have existed, this process has not lost its fascination.
Enjoy the reading!
2 3
DAYLIGHTING DETAILS 54
MORE SPACE
MORE LIGHT
Since the beginning of modernism, people want
two main things from the dwelling in which the
live: more and more space and more and more day-
light. Howthese wishes can be fullled by conver-
sions, extension buildings and the addition of new
oors and what the unusual challenges are that
they present to architects are examined by Huber-
tus Adamin his article.
VELUX PANORAMA 74
DIDDEN VILLAGE
RE-USE OR 16
NEW BEGINNING
LIVERPOOL
NEW YORK
ROTTERDAM
According to nearly all the criteria of sustainabil-
ity, themodernisationof oldbuildings is preferable
to the erection of newones: it requires less mate-
rial, less energy and, often, less space as well. It
is therefore all the more important to gain polit-
ical acceptance of programs for the modication
of old buildings to make themenergy efcient and
to make such modication economically interest-
ing. ThomasLemkenexplainswhat thecorrespond-
ing incentive systems and information campaigns
could look like.
These three cities all hada great past. Do they also
have a future? Daylight &Architecture took a look
round in Liverpool, Rotterdamand NewYork and
tried to nd out where a process of urban renewal
wasunderwayandwhat roletherenovationof old
buildings was playing in such renewal.
Critics have already described the new roof ex-
tension by MVRDV in the centre of Rotterdam as
a visual irritant. The sky-blue village on the roof
is attached to the house of the wigmaker Sjoerd
Didden and provides his two sons with newliving
space. Buildings, terrace, parapetsandfurnishingsare
covered with a uniformblue polyurethane coating.
NOW 4
Three conversions bring new light into old walls:
Pfeifer Kuhn Architekten have given St. Augustin
church in Heilbronn a new interior polycarbonate
shell, Strm Wolf Architekten have raised the
roof of the armoury of Rapperswil-Jona to cre-
ate a whales belly and, thanks to the conversion
plans of Steven Holl, the philosophical faculty of
New York University has been given a new back-
bone of light.
At the beginning of November in Venice, the win-
nersof theInternational VELUXAward2008were
announced. Daylight&Architecturetalkedtothem
and learned a lot about the innumerable facets of
daylight with which young architects are concern-
ing themselves today.
MANKIND 8
AND ARCHITECTURE
ITS THE EXISTING
STOCK, STUPID!
Around 75 %of the existing buildings that will be
needed in 2020 already exist today. Nevertheless,
legislators are focusing their attention on prestig-
ious newbuilding under the slogan CO2 neutrality.
Comprehensive modication of old buildings to
make themmore energy efcienct, however, is to
be welcomed, explains David Strong in his article.
VELUX Editorial
Contents
Now
Mankind and architecture
Building Re-Use and Sustainability
Re-Use or newbeginning
Liverpool, New York, Rotterdam
European Lights
Broken Line
Reections
Less material, less energy
Daylighting details
More space, more light
VELUX Insight
Chimney Pot Park
VELUX Dialogue
686 Lights of tomorrow
VELUX Panorama
Didden Village
Books
Reviews
1
2
4
8
16
45
48
54
60
68
74
78
WINTER 2008
ISSUE 10
CONTENTS
D&A WINTER 2008 ISSUE 10
VELUX DIALOGUE 68
686 LIGHTS
OF TOMORROW
REFLECTIONS 48
NEW GLORY
FOR OLD SITES
4 5 D&A WINTER 2008 ISSUE 10
The things that make architecture tick:
events, competitions and selected new devel-
opments from the world of daylighting.
NOW
Gentle light reections enliven
the vault of St. Augustin church
in Heilbronn. The newceiling
consists of ligree, screwed-on
steel tubes and translucent
polycarbonate connecting plates.
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The Rapperswil-Jona armoury, built
in 1904 and now redesigned by Isa
Strm Urs Wolf Architekten of Zu-
rich, is an unpretentious functional
building with Alpine elements: the
dark-paintedfaades of thetwo-sto-
reybuildingareinterruptedbypartly
cross-barred windows surrounded
by broad white trim.
14 large doors in the entrance
faade open on to the front yard,
showing the buildings previous use:
for decades it served as a store for
military equipment, then as a work-
shopforlocal craftbusinesses. Forthe
pastfewmonthsithashousedaround
4,000objects belongingtoPeter and
Elisabeth Bossards art collection.
In 2006, out of three entrants,
IsaStrmandUrs Wolf wonaclosed
competition for the contract to re-
designthe storage buildingas anart
museum. Theproject wasnamedthe
whale bytheclients. Alookat theun-
usual roofscapetells youwhy: twoti-
taniumzinc-clad wave peaks curve
upwards from the very slightly an-
gledsaddleroof. Thesearepiercedby
polycarbonateskylight bands which
arealsowave-shaped. Thesense, pur-
poseandefect ontheinterior of this
intervention are shown most clearly
onthearmorys rst oor, theexhibi-
LudwigWittgensteins Bermerkun-
gen ber die Farben (Remarks on
Colour), one of the famous philoso-
pherslateworks, wastheinspiration
for the new stairwell design at the
Department of Philosophy at New
YorkUniversity. Thenewdepartment
buildingis asix-storeybrick building
dating from1890 in the Greenwich
Village district. Its large windows
andpositiononastreet corner mean
that it was made for experimenting
withdaylight, andthis was precisely
what StephenHoll, assignedto rede-
sign it, did: a layer of prismatic lm
onthesouth-facingwindows breaks
thelight intorainbow-coloredstripes
that migratethroughthestairwell as
the sun changes position. The shad-
ows cast by the irregularly perfo-
ratedsteel banisters alsocontribute
to the varied lighting moods in this
space. The architects liken the stair-
well toabackboneof light that con-
nects the ofces, the library and the
120-person lecture theatre on the
ground oor. According to the ar-
chitects, thestairwell not onlyuses
light as a metaphor for learning, but
is also a practical space for interac-
tion, where students andprofessors
can meet freely on the broad land-
ings. In addition to the large win-
LIGHT WAVES IN
THE BEAMS
tionlevel. Here, 42woodensupports
dividetheextensivespace. Thearchi-
tects consciously avoided creating
a neutral, column-free white cube:
the artworks have to come to terms
with the existing builidng, engaging
in a dialogue with it the other con-
tents of thespace. Tolight theexhibi-
tionspaceadequately, thearchitects
raised the roof truss in the centre of
the space and extended some of the
rafters extended, so that gently
curved lines are created on vertical
and horizontal surfaces. A continu-
ous annular, thin concrete slab ab-
sorbs the additional vertical shear
forces created by this.
The reason given by Isa Strm
and Urs Wolf for the characteris-
tic wave-shaped skylights is simple
but enlightening: It creates a natu-
ral play of light and creates possibili-
tiesfor showingartworksindiferent
lighting and spatial moods and mod-
ulating the light. To showthe inter-
play between light and art to best
advantage, the architects reduced
the existing interior color and ma-
terial contrast caused by the wood:
the wood construction was painted
white and a sand-colored anhydrite
oor was applied to the old match-
board planks.
dows, the stairwell is lighted by a
skylight. While this backbone for
the building is kept almost entirely
white, down to the painted brick
walls, theofces andseminar rooms
intheupper stories inanother hom-
age to Wittgensteins book were
decorated with various shades and
textures in black and white.

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The generally expected atmosphere
within a sacred building is weighty,
substantial andsolemnnotatall like
an industrial building or a tent. The
conversion of St. Augustines church
inHeilbronnbyPfeifer KuhnArchitek-
ten resembles both, exploding estab-
lished visual expectations: a ligree
lattice shell of steel pipes, almost
makeshiftinappearance, withsimple,
screwed nodes encloses the interior
of the historic nave. Onthe outside, it
is covered with translucent polycar-
bonate web plates which gently dis-
perse the light that falls through the
church windows. At the same time,
the churchs original form is recre-
ated: St. Augustineswasbuiltin1926
byarchitectHansHerkommer asatall
natural stone building with a saddle
roof. The steel-reinforced concrete
roof constructionwas hiddenbehind
an inner, vaulted wooden framework
shell. However, this was lost in a re
during the Second World War. In the
post-war yearsthechurchwasrebuilt
without the wooden vaulting. Later,
thesouth-facingnavewindowswere
walledup, topreventthechurchfrom
becoming overheated in summer.
Since its redesign, the church
is lled with light once more. The
south windows have been reopened,
andthepolycarbonateinner shell dis-
perses the daylight evenly through
the space. At the same time, reec-
tions from the cylindrical pendant
lights hung in the nave create the
glitteringheavens. Thegapbetween
the old and newshells also serves as
a heat-insulating air cushion. While
the warmed air can be directed out
of this gapduringthesummer, inwin-
ter the air warmed by the sun can be
used to heat the church. It is sucked
in by a ventilation systemand blown
into the interior beneath the polycar-
bonate vaulting.
ARTIFICIAL
MATERIAL TENT IN
CHURCH NAVE
PHILOSOPHERS
LIGHT
Augustin church is hardly recognisable after its
conversion: Pfeifer Kuhn Architekten re-interpreted the
vaulted roof with the materials of the industrial age.
MANKIND
AND ARCHITECTURE
Mankind as the focal point of architecture:
interior views of a corresponding relationship.
By David Strong
The British government is getting serious about the
energy efciency of buildings: By 2016, all new-built
homes in the UK have to be zero-carbon, with their CO2
emissions 100 % ofset by surplus renewable energy
generated on site. While other European may take similar
steps soon, the xation on new build could easily distract
public attention (and public funding) from an even more
urgent need: vastly and quickly improving the energy
efciency of the existing housing stock.
In :cco the ux Government declared an ambitious plan to
ensure all new homes are zero carbon by :c:o. New non-domes-
tic buildings will have to be zero carbon by :c:,.
Te impact of this plan has been felt throughout the prop-
erty and construction industry, and the drive towards zero
carbon has already had a powerful eect in galvanising the
housebuilding and property development community, and in
stimulating innovation. I am not sure that would have hap-
pened without such a strong legislative and policy initiative.
Of course the huge surge in interest in sustainable build-
ing is good news. It is highly gratifying to see sustainability
nally reaching the top of the political agenda. Te empha-
sis being put by the ux Government on more energy-ecient
buildings, and greener communities, is a truly welcome and
encouraging sign.
However, those of us who are passionate about deliver-
ing a genuinely sustainable built environment currently face
a real dilemma.
Heres our problem: there is so much more to delivering
exemplary built environments than zero carbon. In fact, there
is even a danger that a xation on zero carbon may result in
highly perverse outcomes and deliver seriously damaging and
unintended consequences in terms of sustainability with the
pursuit of the best becoming the enemy of the good.
Te ux Government wants to see all new homes built to
the highest level (Level o) of the Code for Sustainable Homes
by :c:o. Allowing for the time required to design, specify
and fund a development of Code Level o new homes by :c:o
means housebuilders and designers having all the answers
to the zero carbon challenge by about :c:: just four years
from now. Housebuilders working in the social housing sec-
tor are having to move even faster, producing Code Level ,
or homes already.
Te risk that is now being recognised is that the single-
minded scramble to design and build Level o homes gives out
the message that this is the highest ambition and most worthy
outcome we should aim for. Its not. If we end up with zero
carbon Level o homes that rely on unproven or risky technol-
ogies, are uneconomic to maintain, are built on ood plains,
overheat in summer, have poor acoustic performance, poor
indoor air quality or other unintended consequences, then we
have created a generation of homes unt for people. Tis can-
not be called genuine sustainability.
ni\oxo ziio cainox: wu\ xiw nuiio isxr ivii\ruixc
When it comes to cutting carbon emissions from the building
stock, a three-pronged approach is necessary. Te rst prior-
ity is de-carbonising the electricity supply grid. Te second
is all about promoting low and zero carbon new build. And
the third requires a coordinated national strategy to radically
improve the performance of our existing buildings.
Te Renewable Energy Strategy announced by the British
Government this summer is great news for the rst priority
it takes us an exciting next step towards a truly low-carbon
ux. Initiatives such as the Code for Sustainable Homes and
targets for zero carbon new buildings are already going some
way towards addressing the second priority.
But what about the third part of the package? Sadly, we
still do not have a coherent and eective strategy to deal with
the huge energy wastage in the existing building stock.
Why does this matter so much? Well, consider that over
;c of the uxs :c,c building stock has already been built.
Te vast majority of the buildings we will still be using in :c
years time lack sucient insulation, heating controls or other
measures to save energy and that puts us among the worst
performing countries in Europe.
Tis issue has been identied time and again as the sin-
gle most important and potentially eective area where ux
carbon emissions could be slashed. All experts and informed
commentators are united improving the energy eciency of
our existing building stock is the cheapest, cleanest and safest
way to deliver CO2 savings. To paraphrase Bill Clinton, Its
the existing stock, stupid.
Te problem with existing buildings is simple; they under-
perform in relation to current building standards because they
were designed and built at a time when sustainability and energy
eciency were not the imperatives that they are today.
And while global warming is a key driver, we must also
not forget the more immediate benets of improved energy
eciency in the existing housing stock particularly the way
it can help us tackle fuel poverty, a longstanding problem for
vulnerable groups in our society, especially the elderly.
ITS THE
EXISTING
STOCK,
STUPID!
10 11
Less is often more: Where cities
are shrinking as in east Germany,
suitable uses must be found for
the outsized old buildings. The
Stefan Forster ofce achieved a
pioneering success in Leinefelde
in Thringen, winning the World
Habitat Award among others.
Fuel poverty is not easily dealt with because it can be caused
by a complex mix of economic and social factors. However,
one of the most important contributing factors to fuel pov-
erty is the energy ineciency of the housing stock. Too many
people still have to spend considerably more than 1o of their
disposable income on heat and some have to decide between
heating and eating. Following recent energy price increases it
has been estimated that up to o million people in the ux may
be in fuel poverty.
A signicant and long term programme of improvements to
the energy eciency of the existing stock (supplemented by a
programme of appropriate renewable energy installations) will,
therefore, deliver considerable social benets as well as contrib-
uting to the Governments carbon emissions reduction target.
Tere is considerable consensus on what needs to be done,
especially now, as a consequence of the iu Energy Performance
of Building Directive, we have a fully operational energy rating
and certication scheme in place that includes identication of
cost-eective energy eciency measures for all ux buildings.
sixiii xiasuiis aii oirix rui nisr
At the technical level for example, the best improvements for
energy inecient buildings are generally very simple and risk
free and are judged on their cost eectiveness and accessibil-
ity. Tese include better insulation (loft, walls, oors, tanks
and pipes), draught proong, secondary and double glazing,
A-rated boilers and appliances, improved heating systems,
enhanced control systems and ecient lighting. Some tech-
nologies such as solar hot water systems and ground source
heat pumps can also help in the right places, and community-
wide cui systems oer the opportunity for highly cost eec-
tive improvements on a larger scale.
Similarly, the favoured ways to encourage a green refur-
bishment and retrot of existing buildings are already well
known. Were talking about a package of measures, mainly
regulatory and nancial, coupled with eective information
campaigns, to act as an incentive to action.
Te options include tax changes to encourage more refur-
bishment, more capital allowances and various tax-neutral
rebates associated with stamp duty, council tax, business rates
or corporation tax to reward the implementation of improve-
ment measures recommended in an Energy Performance
Certicate (iic) or Display Energy Certicate (oic).
Its recommended that the next revision of the iu Energy
Performance of Buildings Directive should require oics to
be displayed in all commercial buildings such as large super-
markets and hotels, since this will help to stimulate energy
eciency improvements in the service sector.
What is also needed are Building Regulations which ensure
that whenever a building is being extended, or undergoing major
refurbishment, the developer should have a mandatory obliga-
tion to upgrade the energy eciency of the existing building.
In the meantime, at Inbuilt we work together with our
clients to nd natural solutions to reduce our dependence
on energy-intensive systems. Tere are so many opportuni-
ties oered by nature to ventilate, heat, cool and illuminate
our buildings, and cost savings to be made by designing out
unnecessary technical complexity in both newbuild and refur-
bishment projects.
We focus on keeping the specication of energy plant
and equipment as simple as possible. Designing-out techni-
cal complexity is a real challenge, but in our experience avoid-
ing unmanageable complexity is often the key to achieving
comfort conditions, coupled with economic operating costs
and low carbon emissions.
Similarly, we nd that the real world performance of
buildings often diers greatly to modelled predications due
to the way people act. Clear and conspicuous real-time infor-
mation within the building on both carbon emissions and
running costs is crucial to make people take action to reduce
their consumption.
Whatever the challenges, we must not be distracted from
the urgency of reducing carbon emissions from the existing
building stock, and of securing investment and planning con-
sents for large scale renewable energy systems. In terms of
money invested per tonne of carbon saved, both of these objec-
tives will provide a much greater and faster return than mak-
ing all new buildings zero carbon.
Our Government has shown strong leadership in its devel-
opment of policies for new homes, schools and commercial
buildings. Now is the time to get moving on implementing a
bold strategy for the existing stock.
Reduction of a residential block in Leinefelde, Germany
Architects: Stefan Forster Architekten, Frankfurt/Main
Location: Goethestrae 25-31, Leinefelde
Floor space: 1580 m
Completion date: 2003
Client: LWG, Leinefelde
Fewer (and larger) apartments but more private space outdoors; Stefan For-
ster Architektenalsoappliedthis principletocreatetheeye-catchingHaus 4
in Leinefelde. The height of the building was reduced fromve to three and a
half storeys, the entrances were moved to the courtyard side and the ground
plans were completely revised. The apartments at the top were given large
roof terraces while the others received balconies.
City villas in Leinefelde-Worbis, Germany
Architects: Stefan Forster Architekten, Frankfurt/Main
Location: Einsteinstrae 1125, Leinefelde
Floor space: 4200 m
Client: WVL Wohnungsbau-Verwaltungs-GmbH, Leinefelde
The 180metre-long residential block in Leinefelde could no longer be used to
good purpose. Stefan Forster Architekten therefore broke it down into eight
individual city villas, each with four oors. 90 apartments were the victims
of this cosmetic surgery. The remaining ones, however, are not only of a much
higher quality but are also more spacious than before. They are therefore in
line with the motto of the architects: Quality through shrinking.
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Fort Dunlop, Birmingham, Great Britain
Architects: shedkmarchitects, Liverpool
Location: Fort Parkway, Birmingham
Useful area: 31,000 m
Client: Urban Splash, Manchester
The former tyre warehouse of the manufacturer Dunlop was part of a building
complex which was also called Tyre Town. It stood empty for 20years before
the investor Urban Splash created the largest ofce building outside London
ever nanced by an investor. Ahotel with 100rooms is accommodated in a nar-
row, quadratic extension building.
Lister Mills, Bradford/Yorkshire, Great Britain
Architects: David Morley Architects, London
Location: Lilycroft Road, Bradford
Useful area: 13,500 m
Completion date: 2013 (planned)
Client: Urban Splash, Manchester
Whentheworlds oncelargest silkweavingmill inBradfordwas completed, the
Britishnewspaper, theTimes, describedit withthewords as breathtakingas
Versailles. Coveringanareaof almost 10hectares andbuilt in1873, thebuild-
ingcomplexis currentlybeingconvertedintoapartments, ofces andshops by
Urban Splash. The roof-mounted structures with 24 maisonette apartments
were inspired by spools of thread such as those used in silk weaving.
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OF STARS ANDCOLOURS
The Code for Sustainable Homes measures the sustainability of a newhome against
nine categories of sustainable design: Energy and CO2 Emissions, Pollution, Water,
Heath and Wellbeing, Materials, Management, Surface Water Run-of, Ecology and
Waste. The Code uses a 1 to 6 star rating systemto communicate both the rating in
each category and the overall sustainability performance of the entire home. One
star () is the entry level above the level of the Building Regulations; and six stars
() is the highest level reectingexemplar development in sustainability
terms. Minimumstandards exist for a number of categories these must be achieved
togainaonestar () sustainabilityrating. Energyefciencyandwater efciencycat-
egories alsohaveminimumstandards that must beachievedat everylevel of theCode,
recognising their importance to the sustainability of any home. All newsocial hous-
ing receiving public funding is requested to achieve a 3 star rating (this will change to
4 in2010). Private housebuilders are requiredtohave dwellings assessedagainst the
code but there is no minimumrequirement.
Energy Performance Certicates (EPCs) have become mandatory for all build-
ings in Great Britain in October 2008. They must be issued whenever a build-
ing is bought, sold or rented. The certicate records how energy efcient a
property is as a building and provides A-G ratings (usually shown also in col-
oured bars ranging from red to green). These are similar to the labels now pro-
vided with domestic appliances such as refrigerators and washing machines.
An EPC is always accompanied by a recommendation report that lists cost efective
andother measures (suchas lowandzerocarbongeneratingsystems) toimprove the
energy rating. A second rating in the Energy Performance Certicate shows what
could be achieved if all the recommendations were implemented.
Display Energy Certicates (DECs) are energy certicates for public buildings,
which must be displayed to the public. They showthe actual energy usage of a build-
ing, the Operational Rating, andhelpthe public see the energy efciency of a building.
This is based on the energy consumption of the building as recorded by gas, electric-
ity and other meters. ADEC is always accompanied by an Advisory Report that lists
cost efective measures to improve the energy rating of the building. Currently, Dis-
play Energy Certicates are required for buildings with a total useful oor area over
1,000m that are occupied by public authorities and institutions providing a public
service to a large number of persons.
Renewable Energy Strategy: In 2007 the Member States of the EU agreed to a EU-
wide target of 20%renewable energy by 2020 including a binding 10%target for
the transport sector. The UK share of this target will be to achieve 15%of its energy
fromrenewables by 2020(whichis equivalent toalmost aten-foldincrease fromcur-
rent levels). To implement this ambitious goal, the British government has announced
it will publish a newRenewable Energy Strategy in spring 2009.
Dr David Strong is Chief Executive of Inbuilt, the UKs rst major consultancy spe-
cialising exclusively in sustainable buildings, communities and construction. He was
awardedthe2007SustainabilityLeadershipAwardandis thefounder of theUKGreen
Building Council. www.inbuilt.co.uk
1o riis ioi ixisrixc srocx ixiiovixixrs
Te perfect package of improvements to any building, residen-
tial or commercial, clearly depends on its age, design, use etc.
But Inbuilt has the following advice for anyone who wants
simple and cost eective ways to tackle wasted emissions:
1. Inclusion is mightier than innovation Existing stock means
there are tenants and occupants who must be consulted from
the outset. No amount of imposed techno wizardry will cre-
ate a sustainable future if the users feel it is imposed.
:. Look around you and join the carbon dots Tere are great
ways to link existing stock with local low and zero car-
bon new build developments, which can help make tech-
nologies like cui viable. Local Strategic Partnerships and
Regional Development Agencies must play a pivotal role
to maximize co-ordination and blending of complemen-
tary energy requirements.
. Keep your eyes on the horizon Focusing too much on imme-
diate measures and targets can result in short-term xes
that actually reduce the viability of greater improvements
later on. For example, a campaign to install gas condens-
ing boilers during :oo8 when a waste heat main is due to
be available in :o1o could make later upgrades unlikely
for the next 1o1 years.
. Together we stand, divided we fall True low carbon refur-
bishment will require both advanced fabric improvements
and low/zero carbon technologies. Te installation and
commissioning of these systems can be disruptive so care-
ful programming of works at street and estate level is key
to reduce capital costs and foster a community spirit of
short term pain for long term gain.
. Minimise to maximize While bolt-on renewable technolo-
gies may be a public statement of eco credentials they should
be seen as the nal stage in any carbon reduction project.
Improving the building fabric to reduce heat loss and air
leakage is of primary importance to minimize any fossil
fuels used and maximize the nancial case for renewables.
o. Teres more to life than walls and boilers Te way in which
a buildings immediate environment is treated can have
signicant energy implications. For example, returning
parking areas back to greenery with permeable surfaces
and generous cycle stores can provide the incentive for
people to reduce car usage. Combine this with building
energy monitoring systems that also relay real-time local
public transport information and peoples carbon literacy
will be increased.
;. Tink beyond the immediate solution Treating improve-
ment techniques in isolation increases the danger of
unwanted side eects. An example of this is using insu-
lated dry lining in solid brick walled dwellings to reduce
heat loss. Te insulation will unfortunately also isolate the
thermal mass of the wall, reducing its potential to help min-
imize summertime overheating if combined with eective
shading and night time ventilation.
8. Remember older buildings are very dierent animals Tradi-
tional construction techniques and materials rely on vapour
permeability to absorb and control humidity levels. Insen-
sitive positioning of modern high performance materials
can inadvertently accelerate structural damage.
,. Money makes the world go round Whether we like it or not,
money drives our society. Without clear nancial incen-
tives such as tax rebates, zero interest loans and guaran-
teed future energy prices, improvement of the existing
stock will be perceived by many as Government targeting
the hard-pressed individual rather than the more wealthy
industrial giants.
1o. Who turned out the light? Ultimately real world perform-
ance of buildings often diers greatly to modelled predi-
cations due to the way people act. Clear and unavoidable
real-time information within the building on both car-
bon emissions and running costs is crucial to make peo-
ple take action to reduce their consumption.

Bio-towers in Lauchhammer, Germany
Client: Biotrme Lauchhammer gGmbH, Lauchhammer
Architects: Zimmermann und Partner, Cottbus
Location: Lauchhammer
In the so-called bio-towers in Lauchhammer, Thringen, the wastewater of
a coking plant used to be puried. When the factory was shut down in 1991,
the towers were the only part of the industrial installation that escaped dem-
olition. The 22 metre-high stacks, combined to form six groups of four, have
been restored in line with the requirements for protected historic buildings
and a glass viewing cubicle has been added. In future, they are to be used as a
venue for events.
P
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O
T
O
S
: S
T
E
F
F
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(1), S
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/B
IL
D
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IV
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IM
(2
)
17
LIVERPOOL
16 D&A WINTER 2008 ISSUE 10
DAYLIGHTING The natural gift of daylight put to
practice in architecture
RE-USE
OR NEW
BEGIN
NING
18 19
LIVERPOOL
NEW YORK
R
20 21
ROTTERDAM
The time of the urban sprawl is not completely over
but the interesting construction projects involving
residential buildings have long been taking place in
the inner cities again. Urban wasteland, deserted port
areas, former factories, schools and administration
buildings contain great potential for new residential
space. But the question as to who will actually move
into the old-new dwellings is lost sight of all too
easily: Only a healthy mixture of dwelling sizes, age
groups and social layers can really contribute to a
sustained revival of the cities.
What mechanisms is urban renewal subject to
and what forces afect it? Daylight & Architecture
went into these questions in Liverpool, Rotterdam
and New York. It became apparent that there were
parallels to the current situation in the global econ-
omy: cities that place value on careful development
and on cultural and social diversication are less able
to shine with spectacular projects in boom times.
But, in bad times, they are more resistant to crises.
Photography by Henrik Kam
Introduction by Jens Kvorning
Liverpool: Joseph Sharples
New York: Thrse Balduzzi
Rotterdam: Anneke Bokern
etythat organises itself insuchaway
that once the resources in a given lo-
cation have been depleted be they
natural or experiential thenthat so-
ciety moves elsewhere and contin-
ues in the same way. With this, we
areaddressinganother aspect of the
current agenda. Certainly, adapta-
tion and capacity for change are im-
portant when it comes to cities, but
stewardship of our natural and cul-
tural resources is crucial for our abil-
ity to survive.
And what approach to steward-
ship of our cities and edices would
meet the two-fold requirements
of globalisation and resource scar-
city and is it even possible to sat-
isfy the requirement for adaptation
andresourceawareness at thesame
time?
We can start by asking the ques-
tion: what kind of urban structures
can most readily adopt changes?
Modernism invoked an emanci-
patory principle where the concern
wasnot onlytoliberatemankind, but
alsothearchitectureandthecity. The
zonedcitywithhome, work, recrea-
tionineachitsdesignatedareawas
seen as the answer to this require-
ment, since each of the various func-
tions could then evolve freely and
thus optimally according to their re-
spective logic. What we nd today
is that these specialisedurbanzones
are intensely static and nd it dif-
cult toabsorbchangesandespecially
newcombinationsof activities. They
determine and retain certain ways
and rhythms of everyday life.
If we look at some of the built-up
districts, we see a picture in which
residential and various commercial
and cultural functions are closely in-
terwoven, and where shifts occur
continually while new interactions
arise between changing resident
mixes andchangingcommercial and
cultural functions. This gives these
neighbourhoods great cultural and
social dynamismandahighdegreeof
adaptability to newconditions.
On the other hand, if we go else-
where in the built-up city and look
at the major residential redevelop-
ment projects, we ndthat once the
redevelopment site achieves critical
mass, it begins toact just as homoge-
nisinglyandstaticallyas theresiden-
tial districts of the outer city areas.
If wethenaddresstheother main
question, thatis, howtodeal withthe
necessity of a far greater resource
awareness and reduced energy con-
sumption, then an array of diferent
answerswill cropup, but behindtheir
myriad diferences, there will still be
some agreement and main positions.
Many will agree that urban den-
sity is a decisive parameter. This
density means that we can reduce
private vehicle trafc and support
modes of public transport, cycling
and pedestrian trafc.
But the energy performance of
buildings also means a great deal.
This is why we are witnessing so
many projects proposing to build
brand new, high-density cities with
energy-efcient buildings in re-
sponse to the challenges we face.
Does this then point to a new-
wave newbeginning or a neworien-
tation of re-use?
In fact a generalisedresponse to
that questionis not meaningful. If we
look at the rapidlygrowingAsiancit-
ies, we nd that newcities are actu-
ally being built all the time, in which
case re-use is again not meaningful
except inthesenseof preservingcer-
tain cultural heritage assets during
the intense remodelling process.
But if we concentrate on the Eu-
ropeancities, thesituationlooksquite
diferent. Here new urban develop-
mentissolimitedrelativetothesizeof
the cities, that the pragmatic answer
to our two-fold challenge the dy-
namics of globalisation and resource
andclimateissues must necessarily
involve re-use that is, getting what
arealreadythedevelopedpartsofthe
citiestofunctionmoreefcientlyinre-
lation to the challenges we face.
Newmodels:
Mixed functions and density
Wealsohavetobear inmindthat the
city should also be a home to many
diferent groups withdiferent social
and cultural practices. This is what
fosters the creative city, the city
that can live up to the demands of
globalisation. When we look at the
challenge in this way, this is where
re-useandthecitys manylayers and
spaces come to the fore as the po-
tential capable of supporting difer-
ent ways of life and diferent group
identities. When it comes to these
requirements, the new, rapidly built
city has great difculty meeting
them. Whichis whyre-useof densely
built-upurbanareas is of vital impor-
tance for European cities in the glo-
bal urbanisation competition.
But re-use is not about conserva-
tion. Itisaboutconstantreinterpreta-
tion of howurban structures, spaces
andbuildings maybe utilisedfor new
purposes that create new overlaps,
new synergies and new cultural ex-
changes. It is about continually de-
velopingmodels for howurbanareas
andbuildings that nolonger function
as originally intendedcan be incorpo-
ratedinnewways inurbanpractices.
It is about workingonbothrapidand
slow remodelling; about accommo-
dating both mainstream and alter-
native cultures; about being able to
understand how diferent cultural
forms are linked to diferent urban
and architectural structures, and
about both controlling and refrain-
ing fromcontrolling.
Re-use of the densied city so
that it preserves andincreases its di-
versity and is capable of supporting
manydiferent ways of lifeis intrinsi-
callyadifcult process, sincethebig
operators on the market more often
than not have quite other ambitions.
Nevertheless, there are many exam-
ples and models of how this can be
achieved.
The problemof the outskirts
Howwedeal withtheoutercityareas
sothat they canlive uptothe current
two-fold challenge is a far more dif-
cult and less debated issue. Many
schemes have beenproposedfor den-
sicationof openneighbourhoods, es-
pecially detached house estates. But
both the impact and feasibility of
these projects is negligible. The com-
moneststrategyistoattempttobuild
up new densied districts around
well-servedstations inorder tomake
theoutercityareaslessdependenton
private cars. But the scope of these
projects is also limited.
The great barrier to overcom-
ing the two-fold challenge exists in
our ways of life, our attitudes and
the way in which they feature in the
market and the media. The persist-
ent preoccupation in the world of
architecture is more with the spec-
tacular stand-alone building, and
with the avant gardist break with
convention, than with a holistic ap-
proach that would manage and co-
ordinate many diferent initiatives
to develop cities through re-use and
small-scale renewal of its complex
structures.
And in public debate and in the
political arena, owing to the prac-
tices, roles and power of the media,
attentionis devotedtothespectacu-
lar andeasilycommunicableproject,
together with a corresponding hes-
itation to engage in complex expla-
nations and development of what
will take 10 or 20 years to make an
impact.
and dysfunctional markets
The way in which the property and
construction markets are structured
and function tends in the same direc-
tion. There is far more to be gained
fromquick conversionof alarge area
to cater for what happens to be the
mostlucrativefunctionhereandnow,
thanincommittingtolong-termstep-
by-step transformation of the exist-
ing structures.
Thereisthereforealsoatendency
for re-use to end up being a foil for a
rather ignoble practice. Instead of it
beinga question of howthe complex
potentials of existing urban struc-
tures can be developed to deal with
theprevailingchallenges, it becomes
oneof howthemost popular building
typescanberestoredtomaximisere-
turn on investment.
We should perhaps accordingly
substitute the contrastive opposi-
tion in the title between re-use and
newbeginning with a juxtaposition.
We need to develop an approach
and a practice that promote radical
urban change by creating newfunc-
tionalities, withless useof resources,
in the already developed cities.
In the wake of the Great Fire of Lon-
donin1666, theeducatedeliteof the
day was quick to propose how Lon-
don might be recreated as a quite
diferent city, based on Late Renais-
sance and Early Baroque principles
of bold hierarchisation, grand axes
and focal points.
But the citizens of London
ercely rejected Wrens and Eve-
lyns proposals for remodelling the
city, and instead demanded permis-
sion to rebuild their homes on their
original, familiar plots. Certainly, this
was a newLondon, in the sense that
it was acityof newhouses built after
the re, but the citys fundamental
structure was re-used.
The same happened after the
Second World War. Through the
1920s and 1930s, architects and
town planners of the modernist era
hadbeencallingfor anewbeginning
that would do away with the tradi-
tional city of streets and squares.
The heavy bombing of many of Eu-
ropes major cities had created a sit-
uation that held potential for a new
beginning. But once again, resist-
ance was intense from the citizens
of the bombed cities, who called for
the rebuilding of the city they knew.
The city centres were so crucial as
symbol andsignicancebearers that
in only a few places was it possible
toreplacethemwithnewstructures.
Inthe 1920s, Le Corbusier notedsar-
castically on one of his sketches for
the full renovation of central Paris:
Lacadmiedit nonbywhichhecon-
veyed his opinion that it was only a
far too inuential, conservative, ac-
ademic group that failed to appreci-
atehis visions. Theforces that would
actually carry the new era forward
did appreciate his ideas they just
did not have a voice.
Le Corbusier versus
traditionalism
But after the Second World War,
Corbusier had to concede that his
urban visions actually faced much
wider rejection. During the project
to rebuild St-Die, Corbusier notes
that the plan was rejected by all
groups: grand bourgeois, petit bour-
geois, ouvrier, C.G.T, Socialistes, com-
muniste etc.
In the 1960s, history repeated it-
self once again in the major redevel-
opment projects that werelaunched
in almost all of Europes major cit-
ies. These projects were based ex-
tensively on a pragmatic version
of the Modernist urban vision, and
met with the same resistance and
thesamedemands toregeneratethe
existing districts instead.
There is thus a long-standing
tradition for re-using urban struc-
tures. Houses are replaced and built-
up areas renewed, while changes
in the overall urban structure pro-
ceed slowly. Yet this observation
holds true only for European cit-
ies and their central districts at
that. American cities, and especially
Asian counterparts, are a diferent
matter altogether. In the most rad-
ical instances there is a new begin-
ning in the sense of a fundamental
remodelling of central urban areas
every generation. The Americanand
Asian cities are regardedby some as
theultimateandessential expression
of theglobalisationdynamic, andthe
European cities as expressing a cul-
ture that nowlags behind.
If we are agreed that globalisa-
tion and the transition from the in-
dustrial society to the information
society require great adaptability
and mobility, it is then interesting to
examine how this necessary adapt-
ability is bound up with urban struc-
tures.
Howcities can stay mobile
Wendaremarkablepictureof how
this issue was explored in the past
in Archigrams Moving Cities. Draw-
ing on the notion of a set of power-
ful societal dynamics commanding
perpetual changes, Archigrams so-
lution was that the city would then
havetobemovableinorder toadapt
to those changes.
But for Archigramit is aconstant
bodythat relocates. Asomewhat un-
favourableinterpretationof this, and
one that would not have been appro-
priate in the 1960s, would be to say
that here we have a vision of a soci-
Jens Kvorning is an associate pro-
fessor at the Royal Danish Academy
of Fine Arts, School of Architecture,
whereheteaches urbanplanningand
urban architecture.
Demolition and building from scratch or careful
renovation of the existing structures? These are
alternatives architects and urban planners have
been faced with for as long as cities have existed.
The Modernist dream of a radical new beginning
has failed. Planning across Europe must now
adopt new models which preserve the advantages
of a traditional city rst and foremost its density
and combination of functions while making
continual urban rejuvenation possible.
LIVERPOOL:
THE NEW RISE OF
A FALLEN GIANT
When Britain was an industrial su-
perpower, Liverpool was its interna-
tional transport hub. Situated near
the mouth of the River Mersey in
northwest England, its port was the
gateway though which raw materi-
als owed into the countrys facto-
ries and textile mills. Fromits 11 km
of docks, manufactured goods were
exported all over the world.
Prosperity, whichreachedapeak
around 1900, created a cityscape of
remarkable richness. Banks and of-
ce blocks by some of the leading ar-
chitects of the day spoke eloquently
of the citys economic might. The
docks were among the great tri-
umphs of Victorian engineering,
and the magnicent St. Georges
Hall an immense civic temple com-
bining concert hall and law courts
expressed the citys cultural aspi-
rations.
But dizzyingprogress inthenine-
teenthcenturywas followedbycata-
strophicdeclineinthetwentieth. The
collapse of British manufacturing,
the loss of Empire and the rise of Eu-
rope as Britains main trading part-
ner instead of America, all spelled
disaster for Liverpool and the wider
Merseyside region. From a peak of
856,000 in 1931, the citys popula-
tion had fallen to 510,000 by 1981.
It had become a byword for poverty
and unemployment, while its stun-
ningarchitectural inheritancelooked
increasingly like the ruins of a van-
ished civilisation.
Over the last twenty-ve years,
however, the city centre has been
gradually transformed. Revival
began in 1981, when central gov-
ernment set up the Merseyside De-
velopment Corporation to fund
regeneration. Further massive injec-
tions of public money followed from
1994, when Merseyside was identi-
ed as one of the European Unions
poorest regions and was granted
Objective One status, making it eli-
gible for assistance from the Euro-
pean Regional Development Fund.
By the time Objective One came
to an end in 2006, it had received
over 1.5 billion in EU aid. Now it is
hoped there will be sufcient con-
dence for development to continue
without public funding; and indeed
the latest and largest project in
the city, the Liverpool One shopping
area, has been funded by private in-
vestor Grosvenor.
An oversupply of building stock?
Adaptivereuseof older buildings has
played a key part in this transforma-
tion. Thereisstronglocal enthusiasm
for Liverpools historic architecture,
but long years of economic decline
havetakentheir toll onthecitys fab-
ric. This, and the sheer number of
listed (statutorily protected) build-
ings of which Liverpool is said to
have more than any other provin-
cial English city makes conser-
vation and refurbishment a severe
challenge. A number of exception-
ally important buildings including
the neoclassical Wellington Rooms
and the Stanley Dock warehouses
continue to decay after years of dis-
use; but muchhasbeenachieved, and
the broader picture is a lot brighter
than it was.
Themainregenerationproject of
the1980s was therestorationof the
derelict Albert Dock, the countrys
largest group of Grade I listed build-
ings, to house a maritime museum
and a branch of the Tate Gallery.
Today, cultural provision continues
tohaveanimportant roleinthecitys
renaissance. The early eighteenth-
century Bluecoat Chambers home
to a thriving arts centre has just
received a handsome extension by
Dutch architects BIQ, while on the
waterfront, a new arena and con-
ference venue by Wilkinson Eyre
will shortlybejoinedbyamuseumof
local history, to a competition-win-
ning design by Danish practice 3XN.
As well as cultural provision, the
last fteen years have also seen a
signicant increaseincity-centreliv-
ing. An important focus for this has
been the area known as Ropewalks,
a dense grid of narrow eighteenth-
century streets, crowded with de-
caying Georgian terraces, Victorian
warehouses and assorted industrial
buildings. Pioneers in transform-
ing this run-down quarter were the
developers Urban Splash, who con-
verted an 1890s chemical factory
here into Liverpools rst loft apart-
ments, completed in 1994. A cru-
cial feature of the project was the
creation of Concert Square, a land-
scaped space that gives the scheme
its name and serves as a focus for
popular bars and restaurants.
UrbanSplashhavegoneontode-
velop further residential, ofce and
leisure buildings in the same area,
their crisp modernism mixing well
with the tough, industrial charac-
ter of neighbouring older buildings.
Other developers have followed
in their footsteps with more vari-
able results, occasionally lapsing
into historical pastiche. There have
been successful residential ware-
house conversions, but a distress-
ing number of eighteenth-century
houses remain derelict, and several
have collapsed after lying empty for
decades. Grants fromLiverpool City
Council are now helping owners to
rescue vulnerable buildings in this
fascinating area.
Liverpools newskyline
New-buildats haveproliferatednot
just in Ropewalks but right across
the city. On the northern edge of
the business district, and close to
the waterfront, a cluster of high
residential towers has transformed
Liverpools famous skyline in the
last ve years. The two tallest, in-
cluding the 40-storey West Tower,
were built by the Beetham organi-
sation, another pioneer developer of
city-centre ats. Numerous smaller
projects have been slottedinto sites
all over the central area, where the
population rose from2,340 in 1991
to 15,000 in 2007.
With some notable exceptions,
such as Allford Hall Monaghan Mor-
riss mixed-use Unity building, the
design quality of these schemes
is mostly unremarkable, failing to
matchthepowerful individualityand
robust materials that have histori-
cally characterised the citys archi-
tecture. The emphasis has generally
been on providing smaller one- and
two-bedroom apartments rather
than more spacious accommoda-
tion. Occupancy rates are difcult
to determine, but it seems Liverpool
is currently oversupplied with small
city-centre ats, and the present
economic downturn casts doubt on
the future of this building boom.
Refurbishment and conversion
of historic buildings has often pro-
duced more attractive results. The
Collegiate Institution, a large school
dating from the 1840s, 1 km from
thecentreinthedepressedinner dis-
trict of Everton, was a re damaged
shell whenUrbanSplashtookit onin
thelate1990s. Their architects Shed
KM created 96 apartments behind
its preserved facade, dealing with
the enormous ceiling heights by in-
troducingmezzanines, set backfrom
the oor-to-ceiling Gothic windows.
Meanwhile, in the city centre, many
nineteenth-century ofce buildings
have been adapted for residential
use. The Albany Building in Old Hall
Street, an exceptionally impressive
polychrome brick and stone palazzo
dating fromthe 1850s, nowhouses
123 apartments. The original broad
corridors andstaircases, whichonce
saw the comings and goings of Liv-
erpools cotton merchants, make
ideal circulation spaces. Regretta-
bly, a lightweight penthouse oor
has been added, damaging both the
balustraded skyline and the over-
Liverpool, the harbour city of early Capitalism, experi-
enced unprecedented wealth during the 19th century
and an equally unprecedented decline in the 20th. In
recent years, the city has started extensive urban
renewal projects. While many derelict houses are still
scheduled for demolition, there is a growing aware-
ness that re-used existing buildings often meet the
citys demand for living spaces better than new ones.
all proportions of the block. Such
rooftop extensions are too often
seen as a way of squeezing in more
income-generating accommoda-
tion, but their visual impact can be
destructive.
Revival and demolition,
side by side
On the fringe of the commercial and
retail core is one of Liverpools most
precious assets, an elegant residen-
tial district of streets and squares
laid out in the early nineteenth-cen-
tury, nowhome to the Anglican and
Roman Catholic cathedrals and two
of the citys universities. Its hand-
some terraced houses were saved
fromdecline in the 1980s through a
conservation programme operated
by English Heritage and the City
Council. Theresult: greatlyincreased
propertyvalues, andanareamuchin
demandbyTVcompanies lminghis-
torical dramas. Many large houses
herehavebeendividedintoats, but
in recent years a few have been re-
converted for single occupancy. The
area retains a healthy diversity of
population, and has avoided the ste-
rility of gentrication.
The biggest changes of the past
twenty-ve years have taken place
in and around the centre, but now
traditional housing in the wider city
is facing transformation on a huge
scale. Large areas of suburban Liv-
erpool consist of uniform streets of
late nineteenth-century, two-sto-
rey terraced houses, some of which
haveexperienceddecadesof neglect.
Under the national Housing Market
Renewal Initiative, anumber of these
areashavebeenearmarkedfor demo-
litionandrebuilding. Another areaof
Victorian housing facing wholesale
clearance borders Edge Lane, the
main road into the city centre from
themotorway. Thesedemolitionpro-
posals have aroused erce and emo-
tive controversy, with supporters
defending the plans and opponents
campaigning for retention and refur-
bishment of existing properties.
Ascheme which shows the viabil-
ityofrefurbishmenthasrecentlybeen
completed in Tancred Road, close to
Liverpool Football Clubs Aneld sta-
dium. Carried out by the Afordable
Homes Development Company and
designed by Ken Martin Architects,
it powerfully demonstrates howthe
sensitive adaptation of older build-
ings need not be conned to the
showpiecearchitectureof Liverpools
centre, but can breathe newlife into
humbler areas too. With luck, it will
serve as a model for the economic,
social and environmental benets of
adaptive reuse elsewhere in the city.
Joseph Sharples studied Fine Art
at the University of Edinburgh, and
worked for several years as a cura-
tor at the Walker Art Gallery, Liver-
pool. Among his publications is the
Pevsner Architectural Guide to Liv-
erpool (YaleUniversityPress, 2004).
He is nowan architectural historian
at theUniversityof Liverpool, where
heis investigatingthearchiveof one
of the citys leading Victorian prac-
tices, Culshaw&Sumners.
NEW YORK:
UPGRADE FOR THE
GLOBAL METROPOLIS
Despite the high price of real estate
andthedecades inwhichlivingspace
was in short supply, up until the late
1990s most of NewYorks shoreline
consisted of industrial wastelands
and derelict warehouses. This was
not only the case in Brooklyn and
Queens but even in the prime lo-
cation of Manhattan, for example
along the shore of the Hudson River,
right next to the highly sought-after
Greenwich Village.
The reasons for this are both his-
torical and political: up until the mid-
dle of the 20th century there were
quite practical reasons for turning
ones back on NewYorks waterside.
Theareaalongtheshorewasusedfor
industrial purposes, whichresultedin
fairly heavy shipping trafc. The at-
mospherewaspermeatedwithnoise
anddirt. ThereasonthatFifthAvenue
becameManhattansmost exclusive
address was because it lies exactly
in the middle between Hudson River
and East River. Later, bypass roads
were built along the shores, which
continued to make them unattrac-
tive as residential areas.
Brooklyn: from Maa graveyard
to boutique neighbourhood
But political reasons also stood in
the way of redeveloping the shore
areas. Any discussion of a possible
change of use was met by protests
of the unions objecting to any mi-
gration of industries because of the
associated loss of jobs. Neverthe-
less, this did not halt the exodus of
manyfactories. Theupshot was that
neighbourhoods began to deterio-
rate because theywere neither fully
used as industrial areas nor as res-
idential areas. For several decades
the now trendy neighbourhood of
Dumbo in Brooklyn was also locked
in this impasse.
Its nameis anacronymfor Down-
under-the-Manhattan-Bridge-Over-
pass. Theneighbourhoodliesdirectly
between the bridge piers of Brook-
lyn Bridge and Manhattan Bridge,
which pass directly overhead, lead-
ing to the higher and more exclusive
neighbourhood of Brooklyn Heights.
For many years this industrial area
was considered inhospitable and
dangerous: it was rumouredthat the
Maa used it to dump its corpses. A
few brave artists moved into some
of the empty lofts at the beginning
of the 1980s, precipitating the well-
known cycle according to which art-
ists discover a neighbourhood for
themselves, make it liveable and are
subsequentlydrivenout againbythe
increase in prices.
David Walentas, the developer
of the project, now aged sixty-nine,
also had his eye on the area when
he visited River Caf at the foot of
Brooklyn Bridge, a caf well known
for its view of the Manhattan sky-
line. The guests visiting the restau-
rant only passed through the area
by taxi as it was otherwise consid-
ered too dangerous. Walentas, who
was involved at the time in the re-
vitalisation of Soho, recognized the
potential of theoldfactorybuildings
betweenthebridgepiers andbought
about one dozen buildings for next
to nothing.
At the end of the 1990s he sold
various premises that had been
converted into residential lofts at
prices fty times the original price
per squaremeter! But theroadthere
had been long and rocky. After buy-
ingthebuildings, almost nothinghap-
penedfor 17years. Thefault laywith
the city administration that, for po-
litical reasons, didnot wishtochange
areas land use designation and that
was not on good terms with Walen-
tas. In addition, the 1980s sawa cri-
sis in the real estate market and a
recession. It was only in 1997 that
the rst amendments to the areas
zoning plan were made, which per-
mittedtheconversionof buildings to
luxuriousloftsandlater evenallowed
a fewnewbuildings to be put up.
TodayDumbois anelegant neigh-
bourhoodwithfantasticrestaurants
and boutiques selling designer furni-
ture. And Walentas is nowfar from
beingtheonlydeveloper intheneigh-
bourhood. But he can still claimthat
he was more or less personally re-
sponsible for promoting Dumbo.
Chelsea: the revitalisation of the
High Line
The revitalisation of the more west-
ern neighbourhood of Chelsea has
taken a particularly ambitious
course: within only a few years the
meatpacking district in south Chel-
sea has turned into the ultimate
trendy address for newfashion and
designer boutiques, restaurants run
by celebrity chefs, andhipboutique
hotels. Together with the adjacent
galleryneighbourhood, whichhas be-
comehometomorethan300art gal-
leries, nothing could be more hip.
The reason for this is due not
least to an old and rusty railway
line, formerly used for rail freight,
which meanders ten meters above
thegroundfrom13thto34thStreet,
right through the street blocks be-
tween 10th and 11th Avenue. Only
eight years beforeunder Mayor Ru-
dolph Giuliani it was scheduled for
demolition because the railway was
considered an obstacle to the con-
struction of future housing. How-
ever tworesidents, theartist Robert
Hammond and the travel journalist
JoshuaDavid, begancampaigningto
conserve it and founded the associ-
ation Friends of the Highline. Their
idea of transforming the High Line
into a public park soon found prom-
inent supporters such as pop star
David Bowie and fashion designer
Diane von Furstenberg. They were
able to win over the newcity govern-
ment under Mayor Michael Bloomb-
erg. Redesigning the shore areas of
NewYorkwas oneof Mayor Bloomb-
ergs objectives right fromthe start.
After the City of New York be-
cametheHighLines ofcial owner, it
changed the land use designation of
thesurroundingareasothat amixed
use which would include residential
andofcebuildings becamepossible.
A design for the High Line commis-
sioned by the city a collaboration
between landscape architects Field
Operations and the architects Diller
Scodio + Renfro envisions a pub-
licparkwithvarious means of access
andentrances. Therst stage, which
will extendfrom13thStreet to20th
Street, should open in the winter of
2008/2009. Theestimatedcosts for
the remodelling of the entire High
Line are expected to total 170 mil-
lion dollars and will be largely paid
for by private individuals.
The change in the zoning plans
land use designation immediately
spawned a number of ambitious
projects, some by well known archi-
tects such as Jean Nouvel and Frank
O. Gehry but also buildings by new-
comers such as Annabelle Selldorf
and Lindy Roy. As only a few indus-
trial buildingshaveremainedalongthe
HighLine, almost all projects arenew
buildingsintendedasluxuriouscondo-
miniums. The20-storeyChelseaArts
Tower, completed one year ago, and
the ofce building by Frank Gehry for
InterActiveCorp(IAC), whichhasalso
been completed, are some of the few
exceptions. IAC is a media conglom-
erate headed by CEOBarry Diller, the
husband of Diane von Furstenberg.
A further ofce and trade centre is
planned for the High Line Building,
theonlybuildingwhichwill beliterally
standing on the High Line itself. The
WhitneyMuseumof AmericanArt in-
tends to build an edice designed by
RenzoPianotoserveasananchor for
theparkproject. Immediatelynext to
ittheStandardHotel ofboutique-ho-
tel owner Andr Balazs already rises
daringlyabovetheHighLine. Balazsis
mainlyknownfor hisluxurioushotels:
MercerinNewYorkandChateauMar-
mont andStandardin Los Angeles.
Located next to Chelsea Mar-
ket, anunusual shoppingcentrethat
was dug like a tunnel through an old
rowof houses some13years ago, the
26-storey Caledonia by the archi-
tect GaryHandel, has alsobeencom-
pletedandits tenants havemovedin.
Further north, Jean Nouvels Vision
Machine as well as twoluxurious res-
idential buildings bythearchitecture
companyDellaValleBernheimer are
currently under construction. And a
house by Neil M. Denari has been
additionally squeezed into a narrow
space between the High Line and a
high-rise building by Lindy Roy.
Bowery: luxury apartments next
to shelters for the homeless
Sometimes the reasons standing in
the way of a development are to be
found in a places history, even if to
all intentsandpurposesthehistoryis
longathingof thepast. Until themid-
1950s the Third Avenue El an ele-
vatedrailwaybuiltin1878ranalong
Third Avenue and the Bowery at sec-
ond storey level. (Apart fromBroad-
way the Bowery is the only street in
New York which is neither a Street
nor anAvenue). Thestreetbelowthe
railwayviaductwasasadstretchpop-
ulated by alcoholics, prostitutes and
socalledophouses, cheaphotelsfor
the homeless. After the railway was
dismantled in 1955, the Bowerys ap-
pearance changedbut not its reputa-
tion. Onlyartistswerehappytomove
into the lofts, which were suddenly
ooded with daylight now that the
street had been opened up. Up until
a short time ago it was also the ad-
dressof themusicclubCBGBs, where
Americanpunk music originated, the
JeanCocteauRepertoryTheater and
the Bouwerie Lane Theater.
Around the millennium the real
estate boomalso began to make its
mark on the Bowery; the rst new
buildings began appearing, taking
theplaceof parkinglots, gas stations
and dilapidated houses. A few indi-
vidual older houses have been con-
verted and remodelled. The shelters
for alcoholics and the ophouses
have remained. The building of the
NewMuseumof Contemporary Art
by the Japanese architectural team
of Ryue Nishizawa and Kazuyo Se-
jima/ SANAA(SejimaandNishizawa
and Associates), which opened its
doors one year ago, stands directly
next to the ea-pit hotel Sunshine.
Going north, at the intersection
with Houston Street, a nine-storey
and a 14-storey house have been
built containing some 500 luxury
rentedapartments at monthlyrents
of between 3,000 and 7,500 dol-
lars. And the chic 16-storey Bowery
Hotel with 146 rooms (prices: from
500dollars) stands next toashelter
for homeless people. Another hotel,
this onewith22storeys, is currently
still under construction. What makes
these projects soparadoxical is that
theywereattractedbythelocations
seedyatmosphere, but it is that very
atmosphere they help eliminate.
Mayor Bloomberghas supported
the construction boomin NewYork
with all means at his disposal. For
larger developments or estates, al-
though not for individual buildings,
he has additionally stipulated that
some of the apartments must be
available at so-called afordable
prices, the greatest social contri-
bution NewYork currently ofers in
terms of social housing. The prob-
lemis that rents consideredaforda-
ble whencomparedtotheexorbitant
rents demanded for apartments in
Manhattans newbuildings areoften
still far beyond the monthly income
levels of the lower middle classes.
Even before the nancial collapse it
was becomingclear that bus drivers,
policemen and teachers were being
pushed to their limits because the
distances they commute to work
are continually increasing.
Thrse Balduzzi lives in New York,
whereshecontributes tovarious Ger-
man-language media. The author,
originally fromZurich, writes mainly
on culture, popular culture, design
and architecture.
ROTTERDAM:
INDUSTRIAL TOWN
SEEKS LODGERS
I dont drive to the other side very
often. It isnt Rotterdam. Rotter-
damis on our side of the Meuse, ex-
plainedthetaxi driver beforeleaving
the city centre over the Erasmus
Bridge. That a new showcase dis-
trict in the form of Kop van Zuid is
being developed immediately over
the bridge was of little interest to
him. As adie-hardRotterdaminhab-
itant he considers everything south
of the Meuse to be little more than
derelict periphery. The area was
knownas thepeasant district inthe
nineteenthcenturyas poor vagrants
fromthecountrysettledtherewhile
looking for work in the docks on the
south bank of the Meuse. In the
1960s, the port moved further out
towards the Meuse estuary and, in
so doing, deserted the unemployed
andmigrants in the housingestates
of Rotterdam-Zuid.
Only in the late 1980s, when
dockland re-development became
internationally fashionable, were
plans made to convert the Kop van
Zuidport peninsula intoa functional
multi-faceted new city-centre area.
Since then, numerous newhigh-rise
buildings andapartment blocks have
been constructed between the old
port buildings, some of which were
converted to lofts and commercial
premises. Mecanoo, RenzoPianoand
Lord Norman Foster are among the
architects to have built here; Rem
Koolhaas and Alvaro Siza are ru-
moured to follow. When the project
is nished in 2010, 18,000 peo-
ple should be working and 15,000
living, half of them in owner-occu-
pied apartments, in Kop van Zuid.
Hopefully, a little of its economical
strength will radiate onto the more
southerly located regions whose so-
cial realitycurrentlycollides withthe
newly erected illustrious world.
City of workers and architects
Thanks to prestigious projects such
as Kop van Zuid, Rotterdam has for
some years nowhappily identied it-
self as the architectural capital of
Holland. If you count the architec-
turermsthat havesettledinthecity,
andthe percentage of newbuildings
forming the city infrastructure, and
also consider that the Netherlands
Architecture Institute has its head-
quarters in Rotterdam, then this is
certainlythecase. Ironically, however,
this label arose froman image prob-
lem, since Rotterdamis not a beauti-
ful city in the classical sense and has
never been regarded as such. Still
small and insignicant In the Golden
Age, it rst blossomed during the in-
dustrialisation of the 19th century,
when the Nieuwe Waterweg (New
Waterway) createdadirect shipping
canal to the North Sea. The port rap-
idly developed to become Europes
largest, and new residential areas
were built around the centre. Since
then Rotterdam has been known
as Amsterdams ugly but industri-
ous sister. Aproverb says that every
shirt sold in the port already has its
sleeves rolled up.
Rotterdam has remained an in-
dustrial city. The income of 54%of
the inhabitants is under the Dutch
national average, 46% are immi-
grants and 9% are unemployed.
However, since the 1990s an in-
creasing number of architects, art-
ists and designers who appreciate
the citys ruggedness, its urban dis-
ruption, the creative space and low
rents havealsosettledinRotterdam.
Manyfoster alove-haterelationship
withtheir homes. I rotterdam is the
sloganof theyoungarchitecturerm
Powerhouse Company, publishedas
parody of the marketing campaign
I amsterdam and in which Rotter-
damis describedas urban compost
heap, waiting to ower from its lin-
gering fertility.
Wanted: nancially sound
apartment buyers
Meanwhile, the local authority, hous-
ing associations and project develop-
ers are making an efort to attract
well-to-do residents to Rotterdam
with development projects like Kop
vanZuid. Thereareluxuryapartments
inmanynewbuildings; BradPitteven
bought the penthouse in the Monte-
video skyscraper that was empty for
a long time as there are virtually no
potential customers for expensive
owner-occupied apartments. Last
year a local authority initiative let 45
apartments in newbuilding projects
includingMontevideofor athirdof
their market price to university grad-
Rotterdam had to rediscover itself once after the
Second World War and is now in the process of doing
so again. Abandoned docklands, social problem areas
and post war buildings in need of redevelopment form
the fertile ground from which new housing is to rise.
The conceptual approaches so far range from city
centre re-densication luxury apartments overlook-
ing the harbour to apartments literally given away in
working-class areas.
For more than a decade New York has been systemat-
ically cleaning up its former no-go areas. Lofts and
luxury apartments are being created in areas where
rundown industrial sheds formerly stood and home-
less persons sheltered. But in ridding itself of its old
social problems the metropolis has created new ones:
it is not merely societys vulnerable people but also
people from the lower middle-classes who have
difculty in nding afordable housing.
uates to prevent their migration and
to have the buildings occupied.
Higher income groups are at-
tracted by dockland developments
as they are permeated with a mix
of charming old buildings and mod-
ern new constructions and, in the
best case, exude genuine big city
air. After Kop van Zuid, Mller and
Lloyd piers on the northern bank of
the Meuse are the latest to be trans-
formedintoanewcitydistrict. Since
the port slides inexorably towards
theNorthSea, anincreasingnumber
of such areas are free for city expan-
sion. Thelatest is calledStadshavens
and is being developed by both the
port and local authorities. By 2025,
5,000 apartments, some of them
oating, will be built on a 1,600hec-
tare site west of the city centre.
It raises the question of whether
such city expansion projects in Rot-
terdam are worthwhile if taxi driv-
ers and potential property buyers
already regard Kop van Zuid as pe-
riphery. More recently, the post-war
period city centre has also fallen
under the planners gaze. It arose as
a result of the bombardment of Rot-
terdaminMay1940duringwhichal-
most everyoldbuildinginthecentre
was destroyed. Because Rotterdam
hadnever beenregardedas beautiful,
there was no talk of reconstruction
at that time, but the attened area
was seen as tabula rasa on which
a new, modernist centre could be
planned. Eventoday, thescars of the
res that raged during the nights of
bombing are still clearly visible.
Acity centre renaissance?
Since the ideal of modern town plan-
ning was the strict demarcation of
functions, there is a huge number of
ofces and businesses in the centre
but very little residential accommo-
dation. Re-densicationwouldmake
it possible to kill two birds with one
stone: on the one hand attractive,
centrally located accommodation
would appear, and on the other, the
city centre would not be so hope-
lesslydesertedafter closingtime, as
it is now. It is exactlythis lifelessness
inthecitycentrethat contributes to
Rotterdams image problem.
In some cities, the wrecking ball
is brought out to create space for
new buildings. Happily, this is sel-
dom the case in Rotterdam even if
some reconstruction projects ap-
pear somewhat dubious from the
listed building point of view. How-
ever, with the exception of the city
hall, the main post ofce anda small
church, the oldest buildings in the
inner city originate from the post
modernismperiod and are ofcially
not worthy of listed building status.
On this note we can be pleased that
a previously shabby looking 1950s
department storeontheBinnenweg-
plein has been extended by the ad-
dition of two residential towers and
the base building restored by Van
Tilburg, Ibelings, Von Behr Archi-
tects. In contrast, the planned hous-
ing-complexBijkorama, designedby
Wiel Arets, which is to be built onto
theBijenkorf department store, with
its facade created by Marcel Breuer
in 1951, appears more dubious.
Themost controversial, however,
is anewmaster planfor theLijnbaan
courtyards. These greencourtyards,
surroundedbytower blocks fromthe
1960s belong to the district of the
legendary Lijnbaan shopping street,
designed immediately after the war
by Van den Broek en Bakema. Last
year, at the owners request, the
local authority commissioned the
architecture rm Claus en Kaan to
develop a master plan that envis-
aged the courtyards being annexed
of with single-storey commercial
premises under a green roof and ad-
ditional residential towers erected
inthecourtyards. After loudprotest,
this plan was dropped but a new
one is already in the pipeline.
Apartments to give away:
the Wallisblok experiment
If it was left to the owners of the
tower blocks, they would be pulled
down without further ado and re-
placed by more protable newbuild-
ings, as they have already paid for
themselves. For the same reason,
the tendency throughout the Neth-
erlands is towards demolishing less
sought-after residential areasinstead
of costly renovation or conversion.
This is also valid for the Rotterdam
post-war dormitory town of Hoogv-
liet, inwhich5,000of 17,000houses
are currently being demolished and
replaced by new buildings. That it
is also possible on a small scale, and
more elegantly, is shown by a conver-
sion project in Rotterdams problem
district of Spangen that was only n-
ishedattheendof 2007andisalready
setting a precedent. Spangen is a dis-
trict inwestRotterdamthat consists
mainlyof brick-built apartment build-
ings from the period between 1910
and1920. 85%of theinhabitantsare
foreigners, and 80%of the available
housing is rented council ats. Span-
genhittheheadlinesduringthe1990s
whenresidentsprotestedagainstthe
ourishingdrugtradeinthedistrictby
barricading the streets. Things have
been calmer since, but Spangen, one
of the poorest districts in the Nether-
lands, can certainly not be described
as a good residential area.
In 2005, the local authority
therefore decided to experiment.
All 75 apartments in a block, the so-
called Wallisblok, were to be given
away with the provision that their
newowners formed a housing asso-
ciation, renovatedtheblocktogether
within six months and lived there
themselves for at least two years.
Thirty-threeinterestedparties were
quickly found, almost all of whom
came fromcreative professions al-
most to be expected in Rotterdam.
By merging existing ats, the ma-
jority of the apartments now have
around 200 square metres of living
space, all have either a roof terrace
or garden, and there is large shared
atriuminthecentreof theblock. The
owners invested between 70,000
and 200,000 in their newhomes.
With the success of Wallisblok,
similar projects in the Charlois and
Feijenoord districts, far away from
Kop van Zuid, are now also being
planned. Gentripuncture is the
catchword- thehopeis that thecom-
munities of well-educatedhighearn-
ers will have a positive efect on the
environment. Whether theydoor not
remainstobeseen. However, theyare
certainly cheaper, subtler and meet
the needs of the Rotterdamhousing
market better thansomelarge-scale
newbuildingprojects. Tobebrazen,
modern, radical, and city-like is un-
questionably Rotterdams desired
image, renownedarchitecturecritic
Angelika Schnell once said. The re-
ality is, however, both more modest
and more complex.
Anneke Bokern was born in Frank-
furt/Main in 1971 and studied His-
tory of Art in Berlin. Since 2000,
she has been living and working as
an architecture, design and art free-
lance journalist in Amsterdam. An-
nekeBokernorganises architectural
tours in the Netherlands under the
name of architour.
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44 45
HenrikKam(www.henrikkam.com) is a SanFrancisco
photographer concernedwiththeimpact of humanac-
tivity on the urban and natural environment. Originally
fromDenmark, he has spent his entire professional life
inthe USworkingfor avarietyof clients. Currentlyhes
in the middle of a year-long project for the San Fran-
cisco Museumof Modern Art.
N
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Broken Line
Photographer Olaf Otto Becker
www.olafottobecker.de
Photography is made with light. It needs light, and
the initial subject for any photographer is the source
of all photographic form light. Olaf Otto Becker
has spoken of his obsession with nding the right
light, and the ultimate subject of his photographs
their rst and last subject is not rocks or ice oes
or isolated timber houses, but light. In his introduc-
tion to The NewWest (1974), his pioneering book
of photographs of the man-altered landscape and
an inspiration for much contemporary landscape
photo graphy, Robert Adams wrote the follow-
ing, an aphorismone might remember when look-
ing at the Greenland landscapes of Olaf Otto Becker:
all land, no matter what has happened to it, has
over it a grace, an absolutely persistent beauty.
Fromthe essay Take me to the frozen
North The Greenland Photographs of
Olaf Otto Becker by Gerry Badger
691158 N
510708W
llulissat Icefjord, 06.07.2003
By Thomas Lemken
A Central European uses around 17 tonnes of material
every year for construction and housing and a
corresponding amount of energy to produce, trans-
port and process it. Converting an old building
generally takes only a third as much material as
constructing a new building. However, exploiting the
ecological potential of existing buildings to the full is
going to take more than just lip service.
1
How to manage the declining and increasingly expensive
resources of energy, raw materials and surface area is a key
::st century question essential to long-term environmentally
sustainable development. Today we live in a globalised world,
with human consumption driving energy and resource con-
sumption. Te level of global consumption is set primarily by
the leading industrial nations, who relative to their popula-
tion make a vastly disproportionate contribution to global
economic performance. Developing and newly industrialised
nations aspire to the resources intensive lifestyles of western
industrialised nations and copy them. Per capita resource
consumption is very unevenly distributed globally. If the peo-
ple of the developing countries continue to grow in number
and their consumption approaches that of industrial coun-
tries, then in :c,c we will need seven times more resources
than at present. To safeguard the services provided by them
that are essential to us, we must reduce the material ows,
i.e. dematerialise the economy
2
.
coxsriucriox axo uousixc as ax aiia oi xiio
Ever since humanity became settled, housing has been an indis-
pensable part of our culture. Our type of housing shows how
our environmental inuences and lifestyles, social structures
and needs, working and consuming habits interact. Cities,
buildings, open spaces and the shape of the landscape occu-
pied and cultivated by human beings form the spatial shell for
everyday life, for the society and culture of the human beings
that live there. Tis shell is changed by building activity.
Te construction and housing area of need includes all
activities that satisfy individual construction and housing
needs, e. g. the creation and use of housing, working and stor-
age space and all upstream and downstream processes. Over
the past decade, building investment and internal construc-
tion material production in Germany have declined sharply
(from :,c billion in a year in :,,o to :cc billion in a year
in :cc,
3
). Approximately ;, of the buildings needed in the
year :c:c have already been built
4
. Europe-wide, the amount
of building stock has risen rapidly in recent years. More than
;c of buildings there were erected in the last :c years
5
.
According to demographic change prognoses, the specic
need for housing space in future in Germany for instance
REFLECTIONS Diferent points of view: ideas beyond
those of everyday architecture.
will be very dierent for each locality. Te population is
declining, and the increasing percentage of senior citizens
among the overall population will mean a particularly high
need for suitable accommodation for the elderly
6
. Some com-
munities can expect shrinkages, others can expect inuxes.
Te per capita need for living space will also grow due to the
increase in one-person households
7
.
Of all economic sectors, construction has the highest
mass ows and material turnovers. Tis is true of building
from scratch as well as renovating and expanding existing
structures. Te way we build and live today requires about
,c % of our natural resource consumption (measured in kg
of extracted material) per capita and per year
8
. In Germany,
existing buildings and surrounding infrastructure (e. g. streets
and squares) take up a large amount of resources (space, energy
and raw materials)
9
. With a global material consumption rate
of approx ,: t per person per year, around :; t of materials
is used annually for construction and housing alone
10
. Tis
makes construction and housing easily the most material-
intensive area of need
11
.
coxviirixc ixisrixc nuiioixcs
a iaru ro iisouici iiiiciixc\
Te supply chains point of greatest material input is the con-
struction of a new building. Continued use or reuse of exist-
ing buildings saves most of this expenditure, making it one
of the best potential resource-saving prospects. In the case of
buildings constructed using massive procedures, additional
material equal to about ,c of resources expended on the
building shell is expended over a use phase of approx. c:cc
years due to heating and periodical renovation and repairs
12
.
Compared to a new building, approx :/, of the material used
during the construction and use phases can be saved by using
an existing building. Tis does not include further potential
saving methods involving material-saving construction meth-
ods and suitable construction materials.
Today the main focus of housing construction activity is
already on internal construction, i.e. in using existing build-
ings (,c of added value
13
). Existing non-residential build-
ings and infrastructures are also very important for resource
productivity.
NEW GLORY
FOR OLD SITES
Left Huge amounts of building
materials and energy are rest-
ing unused in Europes old build-
ings and infrastructure. Normally,
they do not become visible until a
buildingis torndownor converted
as in the case of this cellulose
factory built in Tallinn in 1926.
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Te priority accorded to building renovation varies across
Europe. During the last years of the :cth century, the old iu
member states signicantly reduced existing residential build-
ings energy consumption. Development in new member states
lags behind this trend. In these states, the energy coecients
for residential houses are generally at least twice as high. In
particular, the slab-construction apartment blocks from the
:,oc:,,c period have very high energy consumption rates.
According to the report Regular National Report on Hous-
ing Developments in European Countries (:cc) little data is
available on the extent of accommodation renovations in Euro-
pean states. However, a Europe-wide increase in contracts for
renovation of existing buildings and in demand for the corre-
sponding (construction) prociencies is on the horizon
14
.
uxraiiio iorixriai
In its sustainability scenario, the study Nachhaltiges Bauen
und Wohnen in Deutschland
15
forecasts savings of up to a
third of annual raw material demand in the construction and
housing area of need by :c:,. Tis is to be made possible by,
among other things, more ecient use of existing residen-
tial buildings, energy-optimised retrotting, district heating,
increased development of inner cities and housing estates, and
increased use of renewable raw materials and recycled construc-
tion materials
16
. Tis would create a possible annual raw mate-
rials saving of approx. , million tonnes, primarily in the area
of residential buildings. Tis does not include potential savings
in infrastructure facilities. A study by Artur D. Little GmbH/
Wuppertal Institut/Fraunhofer Institut fr System und Inno-
vationsforschung
17
produced similar results. Tis study esti-
mates the nancial saving achieved by saving on materials at
approx. ,. bn (based on a total material value of ::., bn in
the structural engineering and interior construction sectors
combined). Te study assumes that approximately ,c of this
theoretical potential saving can be realised within the next ten
years (this would be equal to :.: m)
18
.
iisouici-iiiiciixc\ axo oirixisixc a nuiioixc
ruioucuour irs iiii c\cii
Extensive overall analysis of residential buildings in Germany
divided by building type and building age classes
19
makes it
Right For a long time, the empty
cellulose factory, with its lime-
stone walls, towered grimly into
the sky. From 2004 to 2006, it
was converted by KOKO archi-
tects into ofces and apart-
ments, whereby six oors were
added in the process.
clear that few advances have been made in Germany in the
last century in the use of resources. One reason for this is
the increased requirements on building quality and comfort;
another is, not surprisingly, the eect of the increased economic
scope of those who commission buildings. Te high numbers
and rapid development of construction materials, products
and systems on the market creates an appetite that shortens
the period between renovations and increases the use of mate-
rials throughout a buildings lifespan. Te study mentioned
above also shows that the buildings analysed consume around
o tonnes of resources per m
2
of main oor space. Although a
building has a comparatively long useful life, consumption on
this scale will eventually lead to construction material supply
problems. Without signicantly increasing resource eciency,
sustainable building and habitation will prove dicult to imple-
ment. Optimised building with minimised use of resources
(material, energy, space) across the whole life cycle of a build-
ing, therefore, also means meeting the occupants requirements
for high-quality and comfortable accommodation.
For buildings built or converted in the future, costs will
continue to play a central role beyond the actual building stage.
It can be assumed that, in the future, technologies leading to
signicant cost reductions during erection, operation, pres-
ervation and also disposal of a building will become estab-
lished still more quickly. A change of perspective from being
purely oriented on investment costs (erection) to calculating
the overall cost taking account of investment, operation and
preservation is already taking place. A comprehensive cost
calculation evaluates costs over a buildings whole life cycle,
including disposal costs (utilisation of construction waste,
waste disposal). In this context, the aim of material and energy
eciency measures is to reduce natural resource consump-
tion in the long run by decreasing resource input. Ideally, a
building or renovation plan includes all the dierent phases
of a buildings lifespan and is aimed at selecting the best solu-
tion in terms of material and energy eciency from a vari-
ety of construction methods in building from scratch and in
renovation. Tis avoids natural resource (material or energy)
consumption saved in one life cycle phase being shifted to
another life cycle phase, or increased materials being used
in order to save energy.
wuar xusr ni ooxi:
Specic measures are required to realise the resource potential
of existing buildings. Tere is a particular need for action in
targeted support for existing building renovation, increased
housing density and browneld activation. Tis includes:

promoting increased inner-city development
revitalising inner-city areas, particularly city centres
(reducing exodus from towns)
promoting increased mixed use, using new forms of
compact construction for residential and commercial use
extra taxation on use of new sites
20
It is also important to create structures that encourage
investment in maintenance of existing buildings and enable
resource-eciency to be taken into account during building
and renovation planning. Among other things, adjustment of
tenancy and taxation laws should be mentioned in this con-
text, as well as the ability of building owners to levy an eco-
surcharge on newly renovated accommodation in order to
pass on at least some of the investment costs to the tenants
at the same level of all-inclusive rent.
Te rst step towards supporting integrated construction
planning would be making available inexpensive planning
tools with standardised building element catalogues (with
ecological and economic parameters). Further training for
planners and architects would eectively complement this.
Integrating a separate service, Gebudeerfassung (gathering
data on buildings) into the Honorarordnung fr Architek-
ten und Ingenieure (uoai), or ocial scale of fees, would
create a eld for planning in an extended sense. Admittedly
requirements and test criteria would have to be developed for
a higher evaluation system for existing buildings. Aspects of
resource conservation/eciency and recycling should also
be incorporated.
However, the further development of existing instruments
is also an important step towards resource productivity. Tis
includes, for instance, fully transferring the iu Construc-
tion Directive in individual iu states as well as introducing
a building energy passport, which could then be expanded
to become a resource passport for buildings.
Due to the already high regulation density, imposing addi-
tional conditions would be less successful than strengthened
compliance control (for instance regarding energy eciency
regulations) and targeted support for integral planning. A
general framework must be agreed by all parties that helps to
avoid construction defects while promoting individual rms
competitiveness. Stakeholder dialogues and supporting meas-
ures (programmes supporting preventative maintenance, bro-
chures for end-users on resource-ecient living and home
improvement etc.) would directly contribute to this. Targeted
further training programmes in schools, vocational schools
and higher education, for those involved in home-improve-
ment stores and dealing in construction materials are also
important. Marketing campaigns for building and living in
existing buildings (e. g. with young families as a target group)
could be used to make construction using existing buildings
more attractive and at the same time increase the knowledge
of users (for instance about the needed change in ventilation
practices after energy-optimised retrots).
ThomasLemkenis ascienticcoordinator andproject director at theWupper-
tal Institut fr Klima, Umwelt, Energie GmbH. The main focus of his work is on
environmental and resource management, the instruments of environmental
politics, energyandcommunal environmental politics. Since2005hehas been
Managing Director of the sustainability education initiative KURS 21 e.V.
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<1919 19191945 19461970 19711980 1980>
Notes
1. This article is based on the leading
dialogueprocess Verbesserungder
Rohstofproduktivitt undRessour-
censchonung, initiatedbytheWup-
pertal Institut andcommissionedby
the Umweltbundesamt. More infor-
mation can be found at ressourcen-
produktivitaet.de.
2. Schmidt-Bleek (2007): Nutzen wir
die Erde richtig?, S. Fischer Verlag,
Frankfurt amMain.
3. Bundesamt fr Bauwesen und
Raumordnung(BBR) (Hrsg.) ( 2006):
Bericht zur Lage und Perspektive
der Bauwirtschaft 2006. From:
www.bbr.bund.de. Publications
found here.
4. See Fachinformationszentrum
Karlsruhe[Ed.] (2002) et al: Altbau.
Fit fr dieZukunft. Basis Energie11.
BINE Informationsdienst. In: www.
bine.info/pdf/publikation/BILD1102.
pdf; accessed on14.10.2008.
5. www.epa-ed.org
6. Schader-Stiftung (2005): Pro-
gnosen der Wohnraumnachfrage
bis 2030 in Ost und West; from:
www.schader-stiftung.de/wohn_
wandel/851.php; accessed on
14.10.2008.
7. Bundesverband deutscher Woh-
nungs- undImmobilienunternehmen
e. V. (GdW) [Ed.] (2006): Bauen
und Wohnen im Lebenszyklus Do-
cumentation of symposium on 17.
January 2006 in Essen. GdWInfor-
mation 116.
8. Bringezu, S. (2004): Erdlandung.
Navigation zu den Ressourcen der
Zukunft. Stuttgart /Leipzig.
9. Final report of theEnqutecommis-
sion Schutz des Menschen und der
Umwelt, loc. cit.
10. Bringezu, S. (2004): Erdlandung,
loc. cit.
11. Bringezu, S.; R. Behrensmeier et al.
(1998): Material Flow accounts
indicating environmental pressure
from economic sectors. Environ-
mental Accounting in Theory and
Practice. Uno, K.; Bartelmus, P.;
Dodrecht, P. Kluwer Academic Pu-
blishers: Boston, London.
12. Wallbaum, H.; Herzog, C. (2001):
Am Anfang war der Mensch. In:
Politische kologie 19 (71), 33-36.
13. Jrissen, J., Coenen, R., Stelzer, V.
(2005): Zukunftsfhiges Wohnen
und Bauen. Herausforderungen.
Dezite, Strategien. Edition sigma,
Berlin.
14. Russig, V. (2006): Bauwirtschaft
auf moderatem Wachstumskurs.
Selected results of Euroconstruct
winter conference 2005, in: ifo
Schnelldienst 3/2006.
15. See http://www.umweltdaten.de/
publikationen/fpdf-k/k2600.pdf
16. Umweltbundesamt (UBA) (2004):
Nachhaltiges Bauen und Wohnen
inDeutschland. Stofussbezogene
Bausteinefr einnationales Konzept
der nachhaltigenEntwicklungVer-
knpfung des Bereiches Bauen und
Wohnen mit dem komplementren
BereichfentlicheInfrastruktur.
UBAtexts 1/2004.
17. Arthur D. Little GmbH (ADL), Wup-
pertal Institut, Fraunhofer Institut
fr System und Innovationsfor-
schung (ISI) (2005): Studie zur
Konzeption eines Programms fr
die Steigerung der Materialefzi-
enz in Mittelstndischen Unterneh-
men. Final report.
18. ibid.
19. mipsHAUS-Institut. As yet unpublis-
hed. See www.mipshaus.de
20. Arthur D. Little GmbH (ADL), Wup-
pertal Institut, Fraunhofer Institut
fr System und Innovationsfor-
schung (ISI) (2005), loc. cit.
Developing countries Industrialised nations
Fig. 1: Access to global material ows
2007

2050:
same access to
resources with
same popula-
tion gures
2050:
same access to
resources with
doubled popu-
lation in develo-
ping countries
2050:
same access to
resources hal-
ving current ma-
terial owand
doubling the popu-
lation of the deve-
loping countries
40
35
30
25
20
15
10
5
0
Extensive modernising Partial retention and improvement Selective renovation
of built infrastructure
Percentage Trend Percentage Trend Percentage Trend
Germany 20 30 50
Finland 1015 3540 4550
France 1015 3540 50
United Kingdom 4050 3040 1525
Italy 20 30 50
Netherlands 15 35 50
Portugal 10 25 65
Sweden <15 3040 4060
Slovakia 1015 1525 5060
Spain 1520 2535 5060
Czech Republic 15 30 55
Hungary 1520 5575 1520
Fig. 3: Structure and development of old building renovation in Europe 2005 divided into performance categories
S
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M
ID
T
-B
L
E
E
K
2
0
0
7
1
4
18
36
4 4
2.25
0.25
Per capitaaccess toglobal material ows, abasis for material prosperity, is at present
unequally distributed between south and north. If the population of the developing
countries doubles and consumption is equalised, then based on the present material-
intensity of Western economies, seven times the amount of resources will be needed
by the year 2050. To contribute to stabilising the ecosphere, on the other hand, calls
for present global consumption to be halved. This would require dematerialising We-
stern economies by an approximate factor of 16.
Left In the area of renovations,
increasing energy efciency
is not the sole objective; living
quality is also important for a
projects acceptance and durabil-
ity. Attractive architecture, even
in apparently inhospitable loca-
tions as here in Tallinn, can make
an important contribution to this.
Fig.2: European building stock divided into building periods
Ireland 45.60
Portugal 44.40
Finland 34.50
Spain 32.50
Holland 29.80
Austria 29.20
Luxembourg 28.70
France 23.00
Belgium 22.20
UK 18.50
Greece 17.00
Denmark 16.40
Sweden 16.10
Germany 14.30
Italy 10.10
0% 20% 40% 60% 80% 100%
SOURCE: EUROCONSTRUCT/IFO INSTITUT FR WIRTSCHAFTSFORSCHUNG (BARCELONA CONFERENCE, 2005), IN: IFO SCHNELLDIENST 3/2006
SOURCE: NATIONAL AGENCY FOR ENTERPRISES AND HOUSING: HOUSING STATISTICS IN THE EUROPEAN UNION 2003. DENMARK 2003
54 55 54 D&A WINTER 2008 ISSUE 10
By Hubertus Adam
Modern architectural trends since the early 20th
century have seen the desire for light and well-lit
accommodation become widely established. In the
case of conversions, this often involves increasing
the residences quality by using incident light to
best advantage rather than simply expanding the
living space.
Light, air and sun, that battle-cry of Modernist architecture,
has made lasting changes to housing. From the earliest civili-
sations until well into the modern era, a dwellings main func-
tion was to protect the occupants: from wind and weather,
from intruders and enemies. In such a solid shell, the necessary
openings were the weak spots. Tey were therefore minimised.
Tat sheet glass was expensive and could only be produced
in limited size was all the more reason for this. Larger-scale
expanses of glass would be used only where functionality was
less important than an imposing appearance, for instance in
Gothic cathedrals and baroque castles. Simple homes, on the
other hand, had few windows.
Modernism responded to the call to open up homes from
reformist ideology of the period around 1,oo. Faced with over-
populated and polluted cities with squalid tenements, the reform
movement agitated for a natural way of life. Architects of the
twenties translated hygiene discourse theories into construction
terms with light, white apartments creating an extremely con-
sistent look for modern housing. Tis new attitude towards life
was a rejection not only of the atrocious standards of housing
for workers, but also of the turn-of-the-century upper middle
class drawing room, kept in perpetual twilight by heavy cur-
tains and dark furniture, and now frowned on as stuy.
Befreites Wohnen (Liberated Living) was the title given
in 1,:, by Sigfried Giedion, one of the most inuential propa-
gandists of the Neues Bauen, to a manifesto in pamphlet form.
According to this manifesto, a beautiful house was one that
is in harmony with our sense of living. Tis requires light, air,
movement, openness.
Te horizontal window and the continuous bands of win-
dows which were not least a reaction to lower room heights
as well as exterior spaces are among the most important char-
acteristics of Neues Bauen. Balconies, which up until the early
18;os were largely intended for display, now became open-air
rooms for the purpose of recreation and revitalisation.
nuiioixcs oi rui iicoxsriucriox ix xiio oi
iixovariox: iaici iosr-wai uousixc coxiiixis
Tis new living environment was represented in its ideal form
by the villas of Mies van der Rohe or Le Corbusier. Tey rmly
etched the Neues Bauen aesthetic into the consciousness of pos-
terity. However, the theories were only of limited relevance to
the real modern architectural challenge creating subsistence-
level accommodation. After the Second World War, the func-
tional construction sector followed on from the plain apartments
of the pre-war years. Today, the large housing estates of the f-
ties, sixties and seventies often represent a problem whether
in the West or in the former Communist East. Tey are not
suited to todays energy standards or to the requirements gener-
ally expected of ats today. Demolition is often considered as a
possible solution, but there are alternatives. Four years ago, the
architects Anne Lacaton and Jean Philippe compiled a study
commissioned by the French Ministry for Culture on how to
deal with large housing estates. Tis study claimed that their low
density and unobstructed view of the surrounding landscape
has a potential that makes transformation a better prospect that
demolition. Lacaton and Vassal currently use a 1;-storey tower
block near the Boulevard Priphrique on the outskirts of Paris
to demonstrate what a modern renovation might look like.
On the exterior, all ats are given a conservatory and a bal-
cony zone, increasing depth by more than three metres. Te
new spatial zones surround the building like scaolding. Te
existing exterior walls are replaced with glass frontages with
sliding doors. Tis creates extremely generous outdoor spaces
with a graduated system of sun protection and shade.
A lack of outdoor living space is also a key failing of exist-
ing slab-construction buildings in the former coi. A few years
ago, the architect, who lives in Frankfurt/Main, implemented a
daring project utilising the slabs assembly and disassembly sys-
tem in an original way in Leinefeld in Turingia. By eliminat-
ing every other stairwell and demolishing the topmost storey, a
row of slab-construction blocks was converted into eight four-
storey town villas. Balconies and large windows gave the ats
an entirely dierent character: the original uniform sequence
of single windows gave way to a series of rooms with dier-
ent sized windows.
iiuc-ixs axo iooi ixrixsioxs:
uow xiw iivixc siaci is ciiario
Te principle of adapting existing buildings to todays require-
ments rather than demolishing them is steadily growing in
importance in the age of sustainable construction. Architects
MORE SPACE,
MORE LIGHT
DAYLIGHTING
DETAILS
Taking a closer look: how daylighting
is brought into buildings
Left Dealing with old build-
ings often requires a great deal
of stamina. Over a period of 20
years, Swiss architect Boa Bau-
mann converted a semi-dilapi-
dated country house in Piemont
into a place to live and work for
the drummer Fritz Hauser.
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have long been dismissive of such construction projects, as
they were considered to have low prestige. Tis time is past.
Today there are numerous examples of very diverse ways of
combining old and new.
One topic which will be signicant in the future is the con-
version of business premises into residential buildings. A pio-
neer project was recently implemented by the Holzer Kobler
Architekturen rm in the Giesshbel district in Zurich. Te
architects, who oated and found an investor for the con-
version project for an administrative building of the retail
chain Globus themselves, favoured a hybrid mixed use with
business premises on the ground oor, oces on the rst
oor and apartments in the two full storeys above and in
the roof space.
Te facade, dating from 1,o, remained largely unchanged.
Te showcase-like frames, each with three vertical rectangu-
lar windows, staggered between storeys, create a new level in
front of the facade, interrupting the already present window
bands. Living in the apartments is like living in a loft. Anyone
wishing for a traditionally structured room will encounter
lighting problems due to the buildings depth. Te absence
of outdoor space is compensated for using the roof. Occu-
pants on the lower storeys can also rent a roof garden.
Te blauraum architecture group adopted a dierent strat-
egy in Hamburg-Harvestehude. In :oo, a four-storey oce
block was converted to accommodate 1 owner-occupied
apartments. Te outer skin, made of synthetic resin tiles
with natural wood laminate, looks homely and almost totally
conceals the architecturally banal commercial building. But
the buildings real speciality is the cubes suspended from the
external facade. Measuring eight square metres each, they
accommodate the functions that could not be contained in
the existing ground plans, such as a vestibule, a sauna, a log-
gia or a bath. With their windows sideways on to the facade,
these outward extensions also help to make the apartments
more airy in terms of natural light occurrence.
It should be said that sometimes architectural interven-
tions in existing buildings are restricted to the roof areas.
For residential buildings as well as others, there is often the
potential to increase the density, to add additional storeys or
extensions. Te roof extension in the Falkestrasse (1,888)
in Vienna by Coop Himmelb(l)au, a key work for decon-
structivism, has become iconic. In the last few years, two
younger Viennese rms have taken on the same assignment.
In :oo:/:oo Delugan Meissl installed a owing spatial land-
scape with Alucobond cladding on a 1,oos oce building
in the Austrian capitals fourth district.
Tis aluminium-glass creation, oscillating between futur-
ism and minimalism, houses a owing residential landscape
which interacts with its environment on several levels thanks
to the glass frontages and terraces. Almost all articles of fur-
niture are xtures, making the whole object appear to be
an enormous piece of furniture. In the Klostergasse, the
rm lakonis architekten, also based in Vienna, succeeded
in integrating several apartments into the roof space. Two
tiers of terraces and a herb garden serve as outdoor space for
these roomy new living areas, which can only be seen from
street level due to two aluminium points projecting over
the roof edge.
A spectacular roof extension has recently been built on a
bunker north of the Friedrichstrasse station in Berlin. Tis
relic from the Second World War, which served as a loca-
tion for techno parties after reunication, was converted by
the architecture rm Realarchitektur for the art collection
of Christian Boros. Te residential structure for the collec-
tor and his family, which is glazed all round and sits on the
roof like a penthouse, creates the strongest contrast imagi-
nable with the articially lit gallery rooms behind the metre-
thick concrete walls. Having traversed the cleft sawn into
the three metre thick roof of the bunker, visitors nds them-
selves in a light-ooded apartment.
Te roof extension for the family of the wigmaker Didden
in Rotterdam, the rst project to be carried out by xviov
in its home city, has a markedly less conventional appear-
ance. Te parents and two childrens bedrooms appear to
be primitive huts archetypal buildings and are reached
via steps from the habitable loft space in the storey below.
As well as the miniature houses, benches, showers and trees
can be found on the roof level. Gaps in the parapet reveal
a view of the city. All elements are coated with blue poly-
urethane. Te Didden Village is a big play area, an arti-
cial heaven.
blauraumarchiteken fromHam-
burg converted an unprepossess-
ing commercial building fromthe
year 1974into a block of 15 apart-
ments. The building was tted out
with newbuilding technology and
was given a newwood-panelled
facade with protruding boxes
that can be individually used by
the occupants in diferent ways.
In 2003, Delugan_Meissl from
Vienna placed their residential
building Ray 1 on the roof of
an inconspicuous ofce building
from the 1960s. The sculpture-
like building is made of glass and
aluminium and rests on a steel
skeleton mounted on the exte-
rior walls of the old building.
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L
58 59
Above The old re-interpreted:
The windowopenings of the
country house belonging to Fritz
Hauser in Piemont were sealed on
the outside with lter masonry
made of old bricks that keeps the
light difuse and the interior cli-
mate constant in summer.
Left Meixner Schlter Wendt
Architekten created a house in a
showcase in Oberursel. The res-
idential building fromthe 1930s
was actually supposed to make
way for a newlarger building but,
instead, the architects decided
in favour of a literally all-round
conversion. An accompany-
ing efect was that the building
was adapted to modern energy
requirements as a result.
Hubertus Adamstudied art history
andarchaeology andworks as anar-
chitecturecriticandpublicist. Hehas
beeneditor of theZurich-basedmag-
azine archithese since 1998. Nu-
merous books, articles in books and
magazines andarchitecturereviews
for the Neue Zrcher Zeitung.
ixcasio axo iur ix a suowcasi:
rui oxiox xiruoo oi ixiaxsiox
Stacking, layering and compacting are recurring strategies
for the Dutch avant-gardists xviov. For instance, there is
the conversion of two huge seed silos in Copenhagen Har-
bour into apartments. Te huge concrete cylinders serve as
a support structure for the radially oriented, glazed apart-
ments depending from their exterior. Tey are accessed via
passages and lifts in the interior. Te most impressive ele-
ments are the huge atrium spaces within the former silos,
which are now roofed over with glass domes.
Te Danish architect Dorte Mandrup took on a similar
assignment. She transformed a water tower dating from 1,
outside Copenhagen into a youth hostel. Te individual room
cells, connected to the centre, were inserted between the exist-
ing struts supporting the tank in plug-in fashion. Large win-
dows on the exterior, some angled or projecting like display
cases, allow light to penetrate into the depths of the space.
However, conversion and expansion are after all also rel-
evant for smaller residential buildings. In Oberursel in Tau-
nus, a holiday home dating from the beginning of the :oth
century was encased in a cube by the Frankfurt architect
Meixner Schlter Wendt. Part of the space between the old
and new walls is used to enlarge existing rooms as if on
the model of an extrusion and part of it remains as enclos-
ing space. In any case, a bright intermediate layer is created
which is fully glazed at the front, eectively drawing atten-
tion to the radical coming together of old and new.
For his house for the drummer Fritz Hauser at Costig-
liole dAsti in Piemont, the Bern architect Boa Baumann
adopted a more discreet strategy. Hauser had acquired an
unprepossessing, semi-dilapidated house and stable building
among the vineyards, which Bauman converted and gave a
brick skin with cross-shaped holes. Tis is a traditional ele-
ment of barns in the region. Tis open lter masonry gives
a diuse light. In summer it acts as sun protection. Te liv-
ing room has a view of the landscape via a large panoramic
window. Te house, whose rst oor has features of a stage,
is both a living and working place. According to Fritz Hauser,
drummers are usually banished to the cellar. At last he can
work in the light.
P
H
O
T
O
S
: C
H
R
IS
T
O
P
H
K
R
A
N
E
B
U
R
G
P
H
O
T
O
: A
N
D
R
E
A
S
F
A
H
R
N
I
61
VELUX INSIGHT Architecture for people building with VELUX.
LIGHT FOR CHIMNEYS
Chimney Pot Place in Salford
By Oliver Lowenstein
Photography: Torben Eskerod
One element of earlier times has almost
completely disappeared from modern,
energy-efcient residential buildings: the
chimney, formerly a symbol of sheltering
domesticity. In the remodeled terraced
houses in the north English Chimney Pot
Park they have been replaced by distinctive
light wells designed to bring daylight deep
into the interior of the buildings.
The last twenty years have been a period of
massive change across the swathe of north-
ern English cities that were once the heart
of Britains Industrial Revolution the port
city of Liverpool (this year Europes City of
Culture), its immediate neighbouring com-
petitor, Manchester, the various Yorkshire
mill-towns such as Leeds and Bradford and
Englands Rurhrgebiet steel-town, Shefeld.
By the 1980s, all these cities were experi-
encing serious economic decline. The indus-
tries that were the source of their nineteenth
century economic success and social suste-
nance, and that continued to sustain them
through the rst half of the twentieth cen-
tury, had gone. As early victims of globali-
sations these cities like many comparable
industrial regions across Europe saw
core industries relocate to more competi-
tive parts of the globe. The downturn in for-
tunes not only brought unemployment to
hundreds of thousands but also led to thou-
sands of hectares of industrial buildings fall-
ing empty and the beginning of a downward
spiral of gradual disrepair and decay.
Throughout the 80s, most professionals
in the building sector from Government and
city authorities, to planners and developers
appeared to have no clear strategies of what
to do with these symbols of modern urban
wasteland. In the last fteen years, how-
ever, and particularly since Tony Blairs new
Labour project came to power, large sums
of money have been poured into these cities,
much in the form of public-private partner-
ships aimed at renewing the building fab-
ric of these once proud metropolises. Some
have proclaimed this as an urban renaissance,
while others are more sceptical. What is evi-
dent is the amount of new building that has
been going on over the last decade.
The renaissance of industrial cities
One of the companies most associated with
spearheading these changes has been the
Liverpool development and regeneration
specialists, Urban Splash. In the last fteen
years, they have become one of the high-
est prole developers in Britain, specialis-
ing in revitalising older industrial buildings
across the run-down urban fabric of Brit-
ains cities. It is a palpable over-exaggera-
tion to say, as a few articles have claimed,
that Urban Splashs founder, Tom Bloxham,
uitous red marking them out as being built
from English industrial revolutions most
archetypal material brick. This is where
much of the work-forces of the cities indus-
tries lived, and despite the coming and going
of sixties brutalist high-rise, the prolifera-
tion of estates and suburbs spilling over the
edges of many towns, the nineteenth cen-
tury brick terrace remains a mainstay of the
Norths urban fabric. Again, with these ter-
raced buildings often at the limits of their
normal lifetimes, the question of what to
do with such building stock has been repeat-
edly on the lips of many. Now in a sideways
move, Urban Splash, working with shedkm,
has attempted to provide an answer to that
question just a short distance from the city
that Bloxham began his career in.
A redevelopment model for Englands
terraced housing
Salford, part of Greater Manchester and just
a mile or so from its city centre, is one of the
best-known xtures on the Norths regen-
eration map. With high unemployment and
some of the poorest city districts in the coun-
try, the 37 sq mile authority has been the
a politics and history graduate from the
University of Manchester, single-hand-
edly kick-started the regeneration of these
Northern cities by re-imagining the defunct
industrial sheds, warehouses and factories
recast as trendy venues for loft living. But
Bloxhams company has been very success-
ful in demonstrating how to breathe new life
into such previously moribund urban fab-
ric. Where other developers only saw unus-
able bricks and mortar, with no hope for new
commercial rejuvenation, the Urban Splash
team were instrumental in re-inventing old
inner-city warehouses as design-led and
fashionable loft conversion spaces for pro-
fessionals and then selling these as hip and
happening life-style choices. Working with
well-regarded architects, including one of
their original Liverpool partners shedkm, in
recent years the company has expanded into
London, the Midlands and the South West.
While cities in the north-west have been
full of empty industrial buildings, if you take
a journey north it is hard not to notice that
the cities, towns and outlying villages are
also full of small terraced housing, tightly
packed in row upon row formation, the ubiq-
recipient of ongoing regeneration for sev-
eral decades. This has resulted in some land-
marks, including Salfords Manchester Docks
boasting Liebeskinds Imperial War Museum,
the Lowry Arts Centre and various other
high prole attractions. A short journey on
Manchesters tramway another regenera-
tion sign over the Manchester Ship Canal,
through the new high-rise and warehouse
loft living, and after crossing one of those
invisible building-type boundaries you nd
yourself in a distinctly low-rise part of Sal-
ford, the Langworthy district. It is here that
Urban Splash and shedkm have joined forces
again to try their hand at a rebuild experi-
ment in the dense low-rise of an interlock-
ing set of terraced streets. Chimney Pot
Park consists of a 400-house terraced grid,
and with its proximity to the tramway it pro-
vides a thought-provoking and alternative
exemplar of compact, high-density city liv-
ing to the high-rises that dot the inner-city
skyline. Originally slated for replacement
with a conventional estate in 2000, local
petitioned both Salford local authority and
their local MP and Government minister,
Hazel Blears, to see if there could be another
way to develop the disused housing. Initially,
Blears eforts were unsuccessful. However,
she happened to speak with James Weston,
one of shedkms directors. Intrigued, he went
to see the site and apparently began imagin-
ing the possibilities of a terrace-build for the
twenty rst century. The architectural chal-
lenge appealed to him and Weston began
talking with Urban Splash and persuaded
them that a contemporary terrace makeo-
ver could work. With Salford City Council,
English Partnerships, and the North West
Regional Authority, 26 million was raised,
and work began on site in December 2004.
Since that time, it has been Westons dogged
commitment that, according to project archi-
tect Martyn Thomas, has seen Chimney Pot
Park through to completion.
Four years on and Chimney Pot Park
feels self-contained and separate from the
housing it abuts onto. The streets are clean
and electronically controlled bollards allow
those with the right smart code to drive in
and out. Where before grafti and wildlife
edged through the cracks in the concrete,
a sense of the designers having visited is
keenly apparent. The terrace facades red
Page 6061 Only the cubature
and the restored brickwork
facade of Chimney Pot Park
were retained when the
buildings were renovated. The
light chimneys on the roofs and
the oor plan inside are new.
Right Between the rows of
houses where there used to be
sheds and vegetable gardens, a
planted communal terrace
serves as an extension to the
dwellings.
64 65
chimney pot park
langworthy, salford
typical section + first floor plan 1:200
shedkm
chimney pot park
langworthy, salford
typical section + first floor plan 1:200
shedkm
chimney pot park
langworthy, salford
typical section + ground floor plan 1:200
shedkm
been shaved of wherever possible such
as sunken baths in each bathroom. The
larger strategy, however, has been to turn
the room use upside-down, with kitchen
and living room dropped into the rst oor
upstairs volume, while the bedrooms are on
the ground oor. This is a variation of what
is known in Britain as two-up, two-down
four-room terraced houses, the dominant
industrial housing for inner city districts
prior to the arrival of estates, suburbs and
high-rise. Here the two ground oor bed-
rooms are compact, and as Martyn Thomas
says, are meant for sleeping, rather than
living, in. shedkm designed two unit types;
those with rst oor kitchen and dining area,
with an extra mezzanine space hung across
the opened garret/loft space, in efect add-
ing an extra room. And secondly, a larger
open living and work space, with a smaller
kitchen built into the mezzanine. Thomas
agrees that opening up the attic space has
been the key to providing both the real and
perceived extra space the units have. From
here, rst oor glass windows open onto
the shared communal deck/garden, another
exercise in space optimisation. Historically,
terraced housing included a back yard, pro-
viding for any number of uses. shedkm have
done away with the yards, roong them over
and joining them to the opposite terrace. This
has allowed for the communal rst oor gar-
den of herbs, plants and wooden slats deck-
ing. On a hot summers day, this looks as if
it could well be an attractive public-private
space to relax in, although whether it com-
pletely substitutes for a garden remains an
open question. Underneath, in place of the
yards, are garage spaces.
Chimneys into light wells
The chimney pots are no longer chimneys
at all, but have been ingeniously put to a
more contemporary use, what in Britain is
called the right to light with lightwells t-
ted, letting in natural light to otherwise dark
ground oor bedrooms. Thomas describes
these as of-the-shelf light wells that have
been used in a way thats a little bit more
exciting than usual. Outside, the faux chim-
ney-stacks are one of the most distinctive
features of the whole terraced site they
are head-turning in their oddity, adding to
the twenty-rst century hybrid Victoriana
1. Cross-section
2. Ground plan of 1st oor
3. Ground plan of ground oor
Right The same perspective
on the rst oor and on the
ground oor. Above, plant tubs
divide up the wood-covered
communal terrace to provide the
occupants with a minimumof
privacy. Below, car ports
protected against the weather
were placed.
brick has been freshly scrubbed, the brick-
work is framed amidst a contemporary col-
our psychology that of modernist grey,
white and black. New tiles make up the grey
roong while the rear walls have been ren-
dered, again in white. There is a feel of the
modern, but also of the neighbourhoods Vic-
torian past, providing another gloss on the
retro-Victoriana that has become increas-
ingly evident in diferent guises across Brit-
ain in recent years.
Every square centimeter has
been put to use
Stepping into the remaining showroom you
are immediately confronted with further
psychological tricks mixed with technical
gamesmanship. How is it the architects have
re-proportioned the space to provide the
sense that this small terraced house can feel
so much, or at least signicantly, larger than
you anticipate? They are, after all, working
with exactly the same volumes of the orig-
inal terraces, even if today sq metreage of
the diferent units ranges from 62 to 100
sq metres. To an extent, this is down to
the psychology of space; centimetres have
1
2
3
Left All the houses have a new
mezzanine area directly under
the roof. In some apartments,
it is used as a living roomand,
in others, as the kitchen.
Right The light chimneys
endow the houses with their
striking silhouette and make
formal reference to the chimney
stacks of the fossil age. The roof
windows are inclined towards
the other roof surfaces.
Facts
Type of buildings: 349 terraced houses
Client: Urban Splash,
Manchester, UK
Architects: shedkmArchitects,
Liverpool, UK
Location: Chimney Pot Park,
Langworthy, Salford, UK
of the estate. Who knows, perhaps one day
the terraces will be called Lightwell Park.
So far, those who have moved in appear
to have speak only praise of this contem-
porary version of terrace living. It seems
Urban Splash has successfully transferred
its brand of loft living to the terraces. Apart
from that, Chimney Pot Parks grid of ter-
races sit on exactly the same footprint as
the original houses, providing a new exam-
ple of high-density urban living. Thomas is in
agreement that the estate, if that is what it
is to be called, has much potential in terms
of English compact city issues. Chimney Pot
Park provides densication, as well as low-
rise and signicant eco-footprint reduc-
tions through being rebuild rather new
build. This, in spite of the fact that only the
terraces retaining walls remain from the
original buildings, and that these have been
steel framed, Along with a number of archi-
tectural and housing awards, Chimney Pot
Park received an excellent rating in its Eco-
homes assessment, partly because of its pal-
ette of materials. And certainly the project
brings brick, so central a part of North Eng-
lands industrial tradition, back into its ele-
ment. Even if it is more of a starting point
than a last word in high density eco-living,
Chimney Pot Park provides the north of Eng-
land with a new model of re-build to work
with, develop further and, literally, build on.

Oliver Lowenstein runs the cultural review
Fourth Door Review, www.fourthdoor.co.uk
68 69 68 D&A AUTUMN2006 ISSUE 04 D&A WINTER 2008 ISSUE 10
686 LIGHTS
OF TOMORROW
VELUX DIALOGUE Architects in a dialogue with VELUX.
Is there a growing interest in daylight among young
architects? It seems so at least if you consider the
results of this years International VELUX Award for
Students of Architecture. More projects than ever
686 in total were submitted for the award, which the
chairman of the jury, Hani Rashid, called an incredible
outpouring of ideas. Before the prizes were awarded
on 7 November in Venice, Daylight&Architecture spoke
to the three prizewinners about their projects.
FACTS
Award:
International VELUXAward
for Students of Architecture
Theme:
Lights of Tomorrow
Number of submittedprojects:
686 all projects are available at
www.velux.com/iva
Jury members:
Hani Rashid (chairman; Asymptote
Architecture, NewYork, USA)
Enrique Browne (Enrique Browne &
Associates, Santiago de Chile, Chile)
Eva Jiricna (Eva Jiricna Architects,
London, UK) Huat Lim (ZlgDesign,
Kuala Lumpur, Malaysia) Francis
Nordemann(Ecole dArchitecture de
Paris Belleville, Paris, France) Michel
Langrand, General Manager, VELUX
France (France)
Jury session:
25/26 June 2008 in Turin
Award ceremony:
7 November 2008 in Venice
Total prize sum:
30,000
1st prize:
ReillyONeil Hogan
Cornell University(USA):
EmbodiedEphemerality:
Light-FormArchitecture
2nd prize:
Ruan Hao and Xiong Xing
Tsinghua University (China)
Interface-Repairing Light Festival
3rd prize:
Dean MacGregor
Universidade Lusada de Lisboa
(Portugal)
Light Has a Body
1ST PRIZE
Reilly ONeil Hogan
Cornell University (USA):
Embodied Ephemerality:
Light-FormArchitecture
In his project, Reilly ONeil Hogan ex-
plores howtochallengethedailycity
routines bygettingofthesubwayat
thewrongstation: Themoment you
miss your usual stop and are forced
to drift from your routine, you per-
ceive the city with neweyes. The in-
tent of the project is to invert this
phenomenon, so one has the joy of
experiencingaplaceof dailypassage
that unexpectedly transforms itself
through time.
A specic location the PATH Sta-
tion in Lower Manhattan is chosen
toexplorethis ideathroughthecare-
ful projectionof sunlight intothe un-
derground space of the commuter
duringthepeakhours of 8amto9am
and from5pmto 6pm.
The jury stated the project pro-
motes the idea of bringing daylight
and sunlight into peoples daily rou-
tines in the subway, where daylight
experiences usuallyarenon-existent.
The conceptual idea is very articu-
latedandtheproject is accomplished
and very efcient in scale.
2NDPRIZE
Ruan Hao / Xiong Xing
Tsinghua University (China)
Interface-Repairing Light Festival
Theformationof acitywithits dis-
tribution of buildings, their height
and the distances between them
has a considerable impact on the
available sunlight. Many spaces in
densely-built cities are literally left
in the dark for most of the day.
Ruan Hao and Xiong Xing challenge
this problem by suggesting a one-
day sunlight festival for the city of
New York. Their project consists
of mirror installations on selected
daylit facades that variably redi-
rect sunlight to the shaded parts of
the adjacent streets and buildings.
With the project, the authors want
to raise the awareness of the impor-
tance of sunlight, both in design and
in daily life, to architects and people
in the cities.
The two architects describe their
project: As a result of urbanisation,
wehavewitnessedthedecades-long
transformation of high-density cit-
ies, in which more than half of the
city surface is building facades. The
transformation of a citys sunlight
interface has always generatedneg-
ative dark areas. We created an in-
stallationdesignedtodecreasethese
areas of shadowby means of reec-
tion through an opposite facade.
Accordingtothejury, thisisaproject
full of poetry and the approach
pushes the traditional metropolis
asanti-advertisingandwithafocus
on democratic light, where the city
shares lightness and darkness.
3RDPRIZE
Dean MacGregor
Universidade Lusada de Lisboa
(Portugal)
Light Has a Body
Large undergroundspaces be they
subway stations, exhibition areas or
concert halls are often conceived
as places without daylight, relying
solely on articial lighting to make
theminhabitable. Inhis project, Dean
CarloMacGregor conceives aplayful
means of naturally lightening these
spaces up. Theonlylinkbetweenthe
inside and the outside world above
in this case, a city square is large
masses of water intransparent glass
tanks that capture daylight from
above and emit it to the interior.
DeanMacGregor says of his project:
I wanted to showthat light can be
seen as a physical dimension. You
canseeandfeel light. But contempo-
rary architecture is about how you
opena windowandhowlight enters
in a certain way. I wanted to trans-
formthis invisible thing that every-
one recognises into a mass of light.
To do that, I used the water. This
stops the light for an instant and re-
fracts it totheinterior of thespace
and creates a body of light.
The jury was intrigued by the frag-
ile, straightforward and playful idea
probably inspired by looking at
the play of light in a wine glass; here
transformed into the larger scale of
a museum. On this scale, the vessels
used as condensers of light will
have a powerful inuence on the
space due to liquid movement and
colour variation, and the sunlight is
transmitted to the oor by the glass
columns. Theproject is acelebration
of light and it has its merits in vision
and in sublime poetry by marking
light phenomena and mystery.
PATH STATION, SHADOW ANALYSIS OF PLATFORM AREA 7 SEP 8:30 AM
PATH STATION, SHADOW ANALYSIS OF PLATFORM AREA 21 SEP 5:30 PM PATH STATION, SHADOW ANALYSIS OF PLATFORM AREA 21 JUNE 5:30 PM
PATH STATION, SHADOW ANALYSIS OF PLATFORM AREA 21 JUNE 8:30 AM
70 71
09-21 5:30 pm
09-21 5:30 pm
06-21 5:30 pm
06-21 5:30 pm
LEAVING MANHATTAN - EVENING ARRIVING IN MANHATTAN - MORNING
SHADOW ANALYSIS OF COMMUTE TIMES
08:30 AM -- & 09-07 06-21
5:30 PM - 09-21 & 06-21
09-07 8:30 am
06-21 8:30 am
09-21 5:30 pm
06-21 5:30 pm
09-07 8:30 am
06-21 8:30 am
09-21 5:30 pm
06-21 5:30 pm
PLATFORM / WAITING AREA (WALL) PLATFORM COLUMN MAIN CONCOURSE STUDY MAIN CONCOURSE
ARRIVING IN MANHATTAN - MORNING
LEAVING MANHATTAN - TOWARD PLATFORMS
OH1883
ReillyONeal Hogan: I want toun-
derstand the importance of light
in dening the quality of space
D&A: Your project for the Interna-
tional VELUXAwardwas theconver-
sionof asubwaystationindowntown
Manhattan. What raised your inter-
est in this specic place and what is
the situation there at the moment?
ROH: Directlyadjacent totheformer
site of the World Trade Center and
the future site of the World Trade
Center Memorial, the PATH station
will becomeaplacethat over 35,000
commuters will pass through each
day. These commuters, be they bak-
ers or sandwich shop clerks, will ex-
perience this station twice daily for
many years. Although not the 911
Memorial, the design for the station
presents an opportunity to honour
the memory of those lost that day
by elevating the everyday experi-
ence of the place. I saw the station
as an opportunity to use the ephem-
eral power of light tobringmoments
of joytopeoples dailylives. Whereas
thememorial is adestination, aplace
to visit, the train station is the oppo-
site: it is a transitional space hon-
ouring the hallowed nature of the
site by heightening the experience
of the commuter who lives or works
in Lower Manhattan.
Currently there is a temporary sta-
tion that allows people to reach the
lower tracks of the PATH train and
connect to the subway. It lies at the
edgeof groundzero, afencedofgap-
ing hole in Lower Manhattan, await-
ingtheconstructionof thememorial
and surrounding towers. In reality, a
new transit hub designed by San-
tiago Calatrava will replace the ex-
isting temporary station.
D&A: Using daylight, you have given
a former non-place (or Junkspace,
as Rem Koolhaas would have called
it) a sense of place. What were the
principal architectural means of this
transformation?
ROH: The goal of the project was to
suggest anarchitecture that contin-
ues to engage the audience, i.e. the
commuter, time and time again as
the place becomes more and more
familiar. Through a heightened sen-
sitivitytomoments of light, shadow,
andthechangesof theseasons, could
onedesignaninterior placethat rep-
resents itself through time?
The principal concept of this ar-
chitecture was a reconsideration
of the relationship between light
and the interior. Moments of light
are captured and amplied by re-
fraction, a transformative relation-
ship between light, a device, and
the surface of the interior. The con-
cept of an opening, rather than op-
erating as a bracket as in the Sky
Spaces of James Turell, becomes
a refraction between light from
the exterior and its projection on
the interior. Through this concept
of refraction, I worked to dema-
terialise traditional boundaries of
space (wall, ceiling, column) by al-
lowing them to become conductors
of reected light from above. Re-
fraction introduces an intentional
distortion between the exterior en-
vironment and the viewer light is
shaped and redirected via a reec-
tor and projected onto a translu-
cent surface, wrapping the interior
with embodied light. A potentially
monotonous daily experience of the
subway where the commuter is dis-
engaged with no relationship to the
station now becomes a highly aes-
thetic experience that changes with
the weather, the daily path of the
sun and the seasons.
D&A: What methods and tools did
you use to simulate and assess day-
lighting during the design process?
ROH: Computer simulations proved
to be highly cumbersome when
dealing with caustic light (light re-
ected or refracted by a metallic or
glass surface onto another surface),
and rapid experimentation was dif-
cult. So I worked almost entirely
through physical models. The phys-
ical model has the added benet of
engaging actual materials and their
properties, albeit onlyanapproxima-
tion of their full scale counterparts,
to achieve efects of reected light
on the interior, which could be easily
documented through video or pho-
tography.
Usingapowerful direct stagelight to
simulate the sun angles and a small
videocameraembeddedinthe mod-
els with a live feedto a laptop, it was
possibletocarefullyangleandshape
thereectors tooptimisetheinterior
efect for each design time. The col-
umn, wall, andinitial concoursestud-
ieswereconductedwiththismethod.
The models were then tested and
photographedinactual sunlight. The
nal concoursestudywas rst mod-
elled digitally, using the four sun an-
gles to designthe ceilings reectors
and glass, and then modelled physi-
cally to test and photograph.
Changes in sun angles could be
quickly simulated and documented
by adjusting the light in relation to a
sundial on the surface of the model.
This was documented through a se-
ries of photographs. This was an in-
valuable method for working with
these efects, allowing for rapid ex-
perimentationandtheabilitytojudge
how efects would be perceived on
the interior.
D&A: What role does lighting de-
sign, especially daylighting design
play in the teaching agenda at your
university?
ROH: In my experience, designing
with light does not play a central
The winning design of Reilly
ONeal Hogan makes it possi-
ble for commuters in New Yorks
subway system to experience
the variations in daylight. At
peak hours every day, sunlight
is deected downwards by a
reector, where it is projected
onto translucent surfaces.
MAIN CONCOURSE 21 JUNE 5:30 PM
MAIN CONCOURSE 21 SEP 5:30 PM
MAIN CONCOURSE 21 JUNE 5:30 PM
SHADOW ANALYSIS OF MAIN CONCOURSE
73 72
D&A: Your project brings to mind
thehealing qualities of light, bothin
terms of physical healthandpsycho-
logical well-being. Werethesequali-
ties part of your teachingcurriculum
at all, and do you feel that there is a
sufcient awareness of themamong
young architects?
RH/XX: Despite the particular
courses on (electric) architectural
lighting, sunlight has remained one
of the crucial parts of our archi-
tectural education throughout the
years. However, personally we feel
that the aesthetic value of lighting
outweighs a little too much its en-
vironmental value in our curriculum.
Lookingbackat howweweretaught
to utilise sunlight to make dramatic
shadows and sculpting architecture
spaces, wecouldnt helpbut wonder,
do we design a design, or do we de-
sign for better life?
In general, many young architects in
Chinadesignfor urbanisation. Under
an inevitable situation of massive
constructionandrapiddevelopment,
quality of life in our country has lost
some of its priority. However, we are
happy to notice that more and more
students have joined us in the aspi-
ration of expanding the function of
light and search for more creative
and efective use of sunlight as an
indispensable natural gift.
D&A: Have youlearnt anythingfrom
your project about how dense cit-
ies should be designed in order to
allow more light into the streets? If
so, what?
RH/XX: The complex and intri-
cate issue of lighting in urban scale
is far beyond a facade installation.
Rather, it penetrates into all levels,
from primary urban planning to the
specic architectural design and
even to our lifestyle in urban envi-
ronments. Lighting is not the sole
role at the school. When it does, it is
primarily a technical, performance-
based pursuit. My interest in light is
more of a qualitative pursuit, under-
standing the importance of light in
dening the quality of space and the
experience of the occupant. Design-
ing through light has been my per-
sonal interest, rather thanonetaught
throughtheschools curriculum, and
I have carriedit through a number of
studio projects at Cornell. Nowthat
I have the opportunity to help teach
rst-year designstudioas aTeaching
Associate, I have often raised light
as acentral designconsideration. By
emphasisingthe importance of light
to the quality of space, it is my hope
that thestudents will continuetode-
velopasensibility tolight intheir de-
sign work in the future.
Ruan Hao and Xiong Xing: Do we
design a design, or do we design
for better life?
D&A: In your project for the Inter-
national VELUX Award you suggest
a temporary daylight festival to
lighten up street spaces in densely
built city areas like Manhattan by
large mirror surfaces on building fa-
cades. Was this idea based on your
personal experience with hyper-
dense metropolises?
RH/XX: Fromour livingexperiencein
several metropolises worldwide, we
noticed the impact sunlight has on
theurbanform. Wehaveexperienced
the negative aspects in the shadow
areas, especially in areas like Man-
hattan. Alsoaccidentally, wenoticed
some areas in which a building fa-
cade lightens those negative shaded
areas by means of reecting mate-
rials, even if these were not speci-
cally applied to the facades for this
purpose.
Thus we decided to study those un-
conscious areas betweenbuildings,
factor in planning a city, though an
important one. A city whose sur-
faces receive sufcient light might
not be comfortable in terms of the
street scale, let alone beingefcient
for urban infrastructure. Thus the
installation serves as a compensa-
tion, rather than an essential strat-
egy in urban planning. One thing we
did learn when it comes to light in
the city is that architectural design
is almost never restrainedtoabuild-
ingitself. Architects shouldtake the
lighting conditions in the surround-
ing environment into consideration
when designing buildings. We be-
lieve our streets will have better
lightingconditions wheninteraction
between buildings takes place.
DeanMacGregor: Myproject has
to be perceived as a living sculp-
turethat isguidedbywhat theex-
terior provides.
D&A: In your project, you suggest
lighting up underground spaces via
huge water tanks that capture day-
light from the outside and disperse
it within the otherwise dark interior
space. Are there any observations
from real life that inspired you to
carry out this project?
DM: There is a real life experience
that I could relate to my project,
in that it confronts our senses and
reaches out to the other side of ar-
chitecture. It was projected by a
Hungarianarchitect, Carlos Mardel,
and built during the 18th century in
the centre of Lisbon as a building
usedtocontainanddistribute water
throughthe aqueduct for the city. In
this building, known as Me dgua
das Amoreiras, 5,500m of water
are kept inside a stone construc-
tion, and the water reveals itself as
a living element inside the building.
In this space, light has the capacity
tocast shadows andlenda meaning
to what Peter Zumthor refers to as
atmosphere, and its importance in
architecture.
D&A: What experiments and simu-
lations didyoudotoassess howday-
light is actually transmittedby glass
and water?
DM: None, besides thenal concept.
I could, though, relate to some real
life examples, for example of glass
brick walls or ice structures and the
brightness that theyemit whenthey
arepenetratedbylight. Fromthebe-
ginningI knewthat renderingwasnt
an option for this project. Therefore
photographysoontookover fromthe
supercial attempt torepresent light
through the computer. It had to es-
tablish a connection between what
hadbeenreal themodel andwhat
it couldstandfor inasnapshot. Inthis
case, there was a great deal of mys-
tery as to what the result would be.
Although we sometimes tend to be-
lieve that we can control the result
of a design process, it often leads to
great disappointment, and in other
situations to surprising satisfaction,
exceeding our expectations.
D&A: What kinds of uses canyouim-
agine for your concept, what kinds
of spaces would you suggest to light
up with it?
DM: The concept creates an ambi-
ence with a great deal of intensity, a
well-known depth that architecture
has in its purest state of matter and
light. One has to explore the poten-
tial of a building for various types of
uses by means of diferent lighting
conditions. Otherwise architecture
fails and becomes solely a matter of
formality and function.
My project has to be perceived as
a living sculpture that is guided by
what theexterior provides. Frommy
perspective, these types of spaces
should be periodically used for dif-
ferent purposes. A concert hall, for
example, would be a pleasant expe-
rience because the lightingsituation
would vary dramatically because of
the sound vibration inside the tanks.
This could even be experienced on
the city square, through the difer-
ent water movements during the
performance. The underground
space could also serve for artists to
create a diverse number of installa-
tions, or it could be the ideal place
for a city spa. Basically, any newuse
should be moulded on the character
of the project, and use its potential
to overwhelmthe spectator.
in the hope of turning the reection
of daylight into a positive and ap-
plicable method that could benet
the entire city.
This study would have never been
possible without the experience we
gainedfromdigitally calculatingpo-
tential solar radiation hours in each
academic and professional project,
duetothezoningcodeinBeijing. This
experience eventually turned into a
method for the modelling and esti-
mationof thesolar situation. As are-
sult, we expanded our focus to the
urban scope and its density.
D&A: What madeyousuggest atem-
porary daylight event, rather than a
permanent installation?
RH/XX: When considering how to
maximisethevalueof this design, we
kept the balance between its archi-
tectural andsocial value. Rather than
making a permanent installation,
which is a second step as we see it,
it is more important initially to make
a rst attempt to raise the aware-
ness of sunlight as the indispensable
liferesource. Thetemporaryinstalla-
tioninsuchdistinct forms will trans-
gure the city image and articulate
sunlights impact vividly.
As mentioned, whether the in-
stallation should be permanent or
temporary is not mutually exclu-
sive. Changing existing conditions
permanently to improve the solar
situation is only possible if the pre-
requisites are solved through tem-
porary experiments in advance.
Then there are obstacles like the
concomitant heat radiation, and
particular conditions in sultry days,
that make designingapermanent in-
stallation more complex. None the
less we would like to consider the
opportunity of researching a per-
manent installation if we are -
nancially permitted with a great
number of experiments.
Below New York in an unusual
light: In their design, Ruan Hao
ind Xiong Xing propose a one-
day daylight festival for the
metropolis on the Hudson river.
Large reectors mounted on the
facades of high-rise buildings are
intended to divert daylight into
the normally shadowed ravine-
like streets.
Right Water tanks that capture
light This was the concept for-
mulated by Dean MacGregor in
his submission to the compe-
tition. The tanks stand in an
open square and disperse day-
light downwards below ground
where there is an exhibition or
concert hall.

75 75 74
Most topping up on roofs is done for
two reasons: a need for additional
space and the desire to live or work
highabovethecityrooftops, closer to
heaven than to other people. Didden
Village in Rotterdam, which inciden-
tally was the rst project carried out
bytheMVRDVarchitecturepracticein
its owncity, was noexceptiontothis.
Beatrijsstraat is a fairly quiet res-
idential street not far from Rotter-
dams central station. It is lined with
early 20th century, two or three-sto-
rey residential houses with brick fa-
cades. The bombardment of May
1940, whichdestroyedlarge parts of
Rotterdams inner city, left this area
more or less unscathed.
DiddenVillageis not far fromthe
end of the street. Fromthere, it can
hardly be missed. The attic storey
of the house belowis extended by a
sky-blue parapet. Behind it two ga-
bles of the same colour can be seen.
Theclient is thetheatrical wigmaker
Sjoerd Didden, who occupies the
three-storey brick building with his
familyof four. Thetwolower storeys
house the studio used by the owner
and his colleagues. The family previ-
ously lived on the second oor in an
open loft-type space. This gradually
became too small. This led to Winy
Maas of MVRDV, an acquaintance
of the Diddens, fullling their long-
heldwishfor aroof extension. Unlike
manysimilar projects, theDiddenVil-
lagedoes not simplyofer its owners
additional living and sleeping space.
It actually functions like a real small
village, with alleys and courtyards
equipped with benches, tables and
a pool. Shoulder-high parapets cre-
ate the necessary air of privacy. The
architects gave all surfaces except
the windows and skylights a light
blue polyurethane coating, which
made the place show up from a dis-
tance. It is already seen in the town
as a symbol of the Didden wig mak-
ing business.
According to the architects, the ad-
dition can be seen as a prototype for
a further densication of the old and
existing city. It adds a roof life to the
city.Thepotential oferedbyexisting
atroofsinRotterdamhaspreviously
beenpointedoutbyothersnotleast
Korteknie Stuhlmacher Architekten
with their Parasite Las Palmas on
topof anoldwarehouse. For thetime
being, it is unclear howsoon such in-
tentionallyprovocativepilot projects
will leadtoawider useof fallowland
resources with a view. In any case,
this intervention has proved worth-
while for Sjoerd Didden and for Rot-
terdam: the wig maker did not have
to pay for an additional piece of land,
andthecitywassavedfromhavingto
build on more inner-city land.
VELUX PANORAMA Architecture with VELUX from
all over the world.
MY PRIVATE SKY
DIDDEN VILLAGE
IN ROTTERDAM
P
H
O
T
O
S
(P
. 74
7
7
): R
O
B
T
H
A
R
T
F
O
T
O
G
R
A
F
IE
76
6
Right Agreater colour contrast
between the building on the roof
and the surrounding brickwork
architecture would have been
absolutely inconceivable. Even
the frames of the roof windows
were painted sky-blue.
Right page Large windows let
daylight into the apartment and
the studio of wig maker Didden.
Matching these, there are
horizontal slots in the wall
surrounding Didden Village which
make the roof building look less
massive and allowthe occupants
to look down onto the street.
Page 75 Benches and plant
tubs supplement the sunny roof
landscape which has privacy
walls and presents itself
completely in blue. The sons of
the clients live in the three
little houses.
Below Explosion axonometry.
Two newcylindrical staircases
connect the roof building with
the living areas one oor below.
Facts
Type of building
Client
Architect
Location
Completion
Rooftop extension
Didden family, Rotterdam, Holland
MVRDV, Rotterdam, Holland
Beatrijsstraat 71, Rotterdam, Holland
2006
ARCHITECTURE
OF CHANGE
Editors: Kristin and Lukas Feireiss
Verlag Die Gestalten
ISBN978-3-89955-211-9
Intheir book Architecture of Change,
Kristin and Lukas Feireiss attempt
to take stock of everything that can
be called sustainable architecture
today. This is interesting because
sustainability is as multi-faceted
as it is elastic as a concept. So the
book contains a varied medley of
about 40 projects and social initia-
tives that havealreadybeenrealised
or are at the planning stage. The se-
lectionranges fromnewbuildings by
well-knownarchitects inthis eldvia
theso-called1 %Solution, wherear-
chitects commit themselves to de-
vote one per cent of their working
time to public welfare purposes, or
to infrastructural projects such as a
cablerailwayintendedfor futureac-
cess to the San Agustn Favela quar-
ter in Caracas.
The book was triggered by last
years Zumtobel Group Award for
Sustainability and Humanity in the
Built Environment, a prize nanced
by the lighting manufacturer for
which these same 40 projects were
submitted. How jurors were able to
compare projects as diferent as
the above-mentioned 1 % Solution
and Morphosis San Francisco Fed-
eral Building (which nally won the
prize) will probably ultimately re-
main their secret. The editors were
not able to structure the contents
really convincingly in the book ei-
ther. Star architecture and eco-
projects that were as well-known
as they were well-meant alternate
with visions of the future that have
hardly been published hitherto,
projects withasocial andessentially
ecological focus are all mixed up to-
gether. And yet the attentive reader
will keep coming across details and
ideas that have real potential for the
futureandexplodeinexibleintellec-
tual schemes.
Unfortunately the same cannot
be said of the textual contributions
tothebook. Theeditorshavebrought
together texts by some of the most
eminent guidingintellectual forcesin
the elds of economics and ecology:
Klaus Tpfer, SaskiaSassen, William
McDonoughandKenYeang, toname
only a few. But there is a lot of old
and familiar material in their contri-
butions: the future of sustainability
lies in the cities, sustainability must
move frombeing a niche-based to a
mass phenomenon, ethics and aes-
thetics are converging increasingly.
All this is as correct as it is lacking in
concreteness. Ultimately Architec-
ture of Change reects one quality
of architecturethat isalsoadilemma:
architecture does not depend on
measurablefactorsalone, but alsoon
emotions, subjective perception and
a large number of unwritten rules.
And on top of all that, it is becoming
increasingly complex. So who would
be prepared to judge whether the
projects presented here actually are
as sustainable as their creators say
they are? Is someone measuring the
actual energyrequirementsor asking
users about their experiences? You
will look invainfor empirical insights
of thiskindinArchitectureof Change,
as youwouldinmost similar publica-
tions. But anyone not expecting any
such answers here will still nd that
this book provides a representative
survey of all the elds inwhicharchi-
tects are working on a better future.

BLHENDE
LANDSCHAFTEN
Authors: Christian Wolter,
Ulrich Schneider
Kehrer Verlag
ISBN978-3-939583-90-5
ChristianWolter, bornin1968andthe
2007winner of theEuropeanPrizefor
Architectural Photography, presents
an unusual photographic project in
this book. The volume owes its title
to a quotation that has become leg-
endary(inGermany) fromtheformer
chancellor Helmut Kohl, who prom-
isedhis fellow-countrymenon1 July
1991 that he intended to transform
East Germanyintoblossomingland-
scapes. As is well known, mass un-
employment followed, rather than a
jobmiracle; the short-livedgold-dig-
ger mood soon gave way to an eco-
nomic standstill.
But Christian Wolter was not in-
terested in recording the decline of
East Germany. The places he found
could be in any other European
country. His pictures, distanced and
sometimes strangely uninvolved, tell
stories of what happens when major
projectsliterallyrunoutofsteam: spoil
heapstower upagainst abackdropof
untouched nature, tree stumps are a
reminder of a regional airport that
was never realised and the remains
of pavilions quietly rusting away are
left over fromExpo2000inHanover.
Wolter photographedthemheadon,
without people, usually in landscape
format and often under grey skies
his pictures, even though they are
photographedincolour, continuethe
BerndandHillaBecher tradition. The
failures depictedherearenot always
total and nal; often Wolter simply
shows intermediate stages in a long
process of change. Occasionally he
also records the remarkable U-turns
that development projects canmake:
a chip factory costing 275 million in
Frankfurt an der Oder stood empty
for years, until a solar cell manufac-
turer took it over instead. And it is
well knownthat airships arenot serv-
iced in the largest column-free hall
structure in the world, but day and
weekend trippers enjoy the delights
of a tropical water park.
Andpublicprojects donot get of
lightly either: Wolter shows a future
high-speed rail track that will prob-
ably not be nished until the second
half of thecenturyat thecurrent rate
of construction, and an abandoned
open-cast ligniteminethat was rst
plantedwithtrees andthenooded.
But despiteits themeof failure, Wol-
ters Blossoming Landscapes does
not only deal in sadness: in retro-
spect, the megalomania manifested
in large numbers of projects seems
almost amusing. Of course this only
works for as long as the idea of their
consequent economicandecological
costs is ignored.
Perhaps the most important in-
sight fromWolters book is that the
projects could probably be photo-
graphed again in 50 years time
in other places, but with the same
results. The fact is that ultimately
BlossomingLandscapes are nothing
more then the sometimes inevitable
andsometimes wilfully inducedfric-
tional losses that all our striving for
growth and progress brings with it.

ROOFTOP
ARCHITECTURE
Authors: Ed Melet,
Eric Vreedenburgh
NAi Publishers
ISBN90-5662-362-1
Man, especially European man, is an
expansive creature. As this is the
case, hehas kept exploringnewways
in recent decades of creating new
space to live and work in: estates on
theoutskirts of town, satellitetowns
and new uses for industrial waste
land. It is presumablynocoincidence
that two architects from Holland
Europes most denselypopulatedand
indubitably most pragmatic territo-
rial state in terms of architecture
have written a book about building
on existing roofs. Ed Melet and Eric
Vreedenburghhavenot goneabout it
very systematically. They developed
their book around a four-part essay,
which they have garnished with pic-
tures, often with no further com-
ment, andshort satellitetexts inthe
manner of encyclopaedia topics.
Theintroductoryessay, however,
is both structured and meaningful in
content, as well as conveying a clear
message: buildingontheroof isseen
as agreat opportunity inthis book. It
isalwaysevaluatedwithaneyeonthe
aimstheauthorsdeneasopentore-
alizationfor theEuropeancity: agood
social and functional mix, environ-
ment-friendly compactness and the
possibility of spontaneous interac-
tion whatever thereader might im-
agine this to be. So in places the text
comes close to being dogmatic for
example when it suggests that mere
toppingup(topic: moreof thesame)
is less worthwhile than genuine new
rooftop construction. According to
the authors, the latter could always
addat least onenewfunctionor other
totheexistingcity. But theyscarcely
ask whether it does so in reality.
Even so, Rooftop Architecture is
anattempt that deserves tobetaken
seriously to showthe potential that
the roofs of our cities ofer for new
construction. Admittedly the idea is
not entirely new: in their research
into ideas for city topping up the
authors come across El Lissitzkys
Cloud Iron, the Hundertwasserhaus
inVienna(whyactually?), penthouses
inManhattanandmanyother less fa-
miliar examples, some even as a re-
sult of anonymous owners urge to
make things. And the legal and con-
structional aspects of toppingupand
rooftopconstructionarenot left out
either. This still does not make the
book a practical manual, but that is
not what the authors were trying
to write anyway. Their stated aim
was to draw attention to a kind of
architecture that is already prac-
tised intensively in some places in
Rotterdam and Vienna, for example
but is still a long way frommaking
a real breakthrough. But one thing
theyhavedonesuccessfully: Rooftop
Architecture contains precisely the
right mixture of pragmatic and uto-
pian but always unique projects,
and also subtle texts that are short
enough to be easy to enjoy and all
this makes the reader want to keep
picking the book up again.
OLAF OTTO BECKER:
BROKEN LINE
Hatje Cantz Verlag
ISBN978-3-7757-1972-8
The German photographer Olaf
Otto Becker spent three summers
in 2003, 2004 and 2005 tour-
ing Greenlands west coast. He trav-
elled 4000 kilometres in a rubber
dinghy, usually at walking pace be-
cause, as we learn from his book,
this was the only way to displace
the drift ice safely. The book Bro-
ken Line shows the outcome of this
photographicjourney. Thetitlerefers
to the Greenland coast, a section of
which is printed on the books ice-
blueclothcover. Thiscoast isboththe
jaggededgewhereicebergs breakof
prior totheir southwardjourney, and
due not least to the power of the
ice it is furrowed by countless val-
leys andfjords. Becker usedhis cam-
era to record the breaks in this line:
scree elds, rounded weatherworn
skerries, granite-grey and rust-red
clifs with a thin growth of lichen
and moss, and, above all, icebergs of
upto60kilometres inlength, manya
gleaminglight blue, others smudged
withgreyfromcontact withtherock
below, or white and jagged. Becker
uses a plate camera a slow, almost
meditative working method vastly
diferent from todays quick digital
snaps, but which produces impres-
sively sharp images.
Beckers pictures appear time-
less. In reality, of course, they are
anything but. Greenlands icebound
wilderness, as we are continually
reminded by climate campaign-
ers alarming pictures, is one of the
most rapidlychanginglandscapes on
earth. And yet Becker wisely avoids
clichs of the nature on one side,
evil humanity on the other type.
His pictures in this book reect the
statistical distribution of Green-
lands landscape: large amounts of
ice and rock and few traces of hu-
manity. Here and there, weather-
beaten wooden huts, and still more
their occupants possessions ranged
aroundthem, give aninsight intothe
inhabitants way of life. Here, some-
one has left a drum kit complete
with amplier and loudspeakers
out on his rickety wooden terrace;
there, a slaughtered sled dog hangs
on a balcony waiting to be skinned.
Snowmobiles, but also three-wheel-
ers andmountain bikes suggest that
Greenlanders are used to travelling
long distances. In this book, Becker
shows us a single interior of a Green-
land house. In the midst of the ice
desert, this housewithits stereoand
computer, but also all kinds of bric-
a-brac, from a porcelain polar bear
toaplastic bouquet of tropical ow-
ers, appears remarkably bourgeois
and also shows howsimilar the in-
sides of our homes are worldwide in
comparison with natural habitats.
Above the dresser hangs an almost
garishlykitschpaintingof alakewith
pine trees and pointed mountains
peaks. As Olaf Otto Becker discov-
ered during his travels, it shows the
Knigssee in Upper Bavaria.
BOOKS
REVIEWS
For further reading:
recent books
presented by D&A.
108
DAYLIGHT & ARCHITECTURE
MAGAZINE BY VELUX
WINTER 2008 ISSUE 10
Publisher
Michael K. Rasmussen
VELUX Editorial team
Per Arnold Andersen
Christine Bjrnager
Lone Feifer
Lotte Kragelund
Torben Thyregod
Gesellschaft fr Knowhow-
Transfer Editor
Jakob Schoof
Translation and re-write
Tony Wedgwood
Photo editors
Torben Eskerod
AdamMrk
Art direction &design
StockholmDesign Lab
Per Carlsson
Nina Granath
Bjrn Kusofsky
www.stockholmdesignlab.se
Cover and inside
cover photography
Henrik Kam
Website
www.velux.com/da
E-mail
[email protected]
Print run
65,000 copies
ISSN1901-0982
The views expressed in articles
appearing in Daylight &Architecture
are those of the authors and not
necessarily shared by the publisher.
2008 VELUX Group.
VELUX and VELUX logo are
registered trademarks used under
licence by the VELUX Group.

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