Ditinitions temporary structures artical
Trends towards Temporary architecture
This article covers how their has been such vast growth in temporary structures and why?The new directions this architectural movement could take?
Flexibility and sustainability issues raised?
Is a combination of the fixed and temporary elements the best option?
Design for the future... How may it develop as technology does.
Greenwich Park - Temporary Olympic stadium.
This park in central London is a world Heritage site, if the proposal for this tennis stadium was for a fixed structure it would have almost definitely been turned down and the perfect backdrop the park would provide, would not be possible. The fact that it is a temporary structure, which can be recycled or moved to another location, has made this possible and a central London setting was made viable through the use of temporary architecture.
Shigeru Ban TED talks Emergency shelters
In this episode of TED talks is with Japanese Architect Shigeru Ban he talks about what lead him to be a pioneer in paper architecture. When Shigeru begun his paper works he was commissioned by the government and rich people, it was the fact he wasn't working for society and it was this that has pushed him to work in disaster areas housing thousands of people in his revolutionary paper shelters that can be easily manufactured on site and recycled after use. Prior to Shigeru's influence on disaster zone architecture, the government provided a waterproof sheet and the civilians had to harvest their own wood to build the structure, these were much harder to construct, not as light weight and also no where near as environmentally friendly as the paper structure Ban has created.
Why are natural disasters increasing, who's to blame?
One of the main issues that temporary structures deal with, is housing victims in natural disaster zones. In recent years, studies show that there has been an increase in natural disasters and, due to an increase in population, more people and architecture are at risk of damage. Also, the regions that seem to be at higher risk of a natural disaster have a greater level of fertility within the ground; this draws people to these dangerous areas for farming reasons.The Pop us design changing the cities landscape article (The Guardian)
These are three of the temporary structures included in the above article, the new serpentine pavilion exhibited in kensington gardens a world renowned architect is asked to design a temporary public space, this year Sou Fujimoto the youngest architect to add this great achievement to a list of many others, has created this cyber like structure using vertical and horizontal plains to create a nest like, free standing structure. The short video on the article, the user says " When stood inside this instillation it feels like your in the mainframe of a computer made up of never ending grids, and you get to explore them too." This structure has been inspired by the landscape and the architect wanted the structure to synthesise with the landscape. This years Serpentine pavilion has arguably been on of the most creative and unique instillation the Kensington gardens have seen.
Studio Weave
This is the studio of the young architects who were behind the first floating cinema project, this company is also teaching students how to build these sorts of structures as temporary instillations are often low budget projects.
Bold Tendencies
Bold tendencies are now in their 7th edition of this exciting project they have begun. This group of architects create something new and up to date in a large disused car park in Peckham, London where space is hard to find. The car park has pent house views over London and its Frank's Cafe a pop up Cafe that is currently using this space.
To what extent are temporary structures and environments becoming increasingly relevant in our ever-changing society?
Since the end of the Second World War and the need to rebuild many of the countries architecture especially in places like Southampton where only a church and a Tudor house were left standing, supposedly used as beacons by the Germans. With technology developing faster than ever before new building techniques and styles were being developed and the need for temporary structures was on the rise as they were easy to build structures and light weight. The origins of temporary architecture have been inspired by mobile or portable architecture. This method of living has been used for 1000s of years. “Architecture that camouflages, floats, flies, rolls, grows and shrinks, appears and disappears within the city, becoming part of the landscape.” (Echavarria, 10) With the Nomads travelling across the desert not knowing what could happen to them in the unforeseeable future, and the ever-changing surroundings they had to endure. With the use of ‘Portable Architecture’ they create a house that can adapt to any situation and be easily carried as they travel by horse, camel or in their house. It was not until this form of architecture was adapted and political, critical and social issues were starting to be addressed through the use of ‘temporary structures,’ it was not just a form of living anymore, but other matters were being addressed, such as the constant cycle of re-building of architecture we as a society have fallen in to. Due to a rise in the world is population over the years, when natural disaster occurs there is the potential for more peoples homes to be ruined and other forms of architecture than in the past when this form of architecture was developing. As temporary structures are easy and cheap to construct they can prove vital in the situation of an earthquake or tsunami. “Structures capable of responding, reacting, and protecting without leaving a physical trace.” (Echavarria, 16,N.A) Temporary structures make the most of any unused, absent places in cities bringing them to life, making creative alternatives that can be adopted to suit the fashion or trend at the time. “They appear and disappear, because they adopt and inspire” (Echavarria, 16,N.A) Also with a rise in population and current economic situation, there are more people jobless than ever before and there are more and more homeless people forced to live on the streets. Charities are in place to help in these situations but they have not thought how temporary architecture is a good effective method of sheltering homeless people and even teaching them skills in construction by getting them to construct these simple, light weight structures.
Now more than ever, temporary architecture is more relevant and popular than we have known. This is due to our ever-changing trends, economic issues and natural disasters that face today’s society on a day-to-day basis. The need to house people in disaster zones is often resolved through the use of temporary structures. Shigeru Ban’s temporary housing in Japan is constructed using paper tubes and shipping containers, both easily accessible and unusual building materials, and created a temporary housing complex; overall they created 189 residential units and three story apartment buildings.(See fig 1,2) It is not just disaster zones where this technique of temporary housing has the potential to succeed but also in temporary accommodation at festivals and holiday resorts. The benefits of these structures being temporary, especially with festivals, is trends are ever changing, so new styles and experiences enhance the feeling of the changing environment you are creating.
This form of architecture challenges the architect or designer to use materials innovatively and we are finding that materials, which we have used for centuries, have architectural characteristics we never could have imagined. It’s not just the need for temporary architecture and environments but also the want for them; they’re easy to set up, cheap and can be moved from location to location seamlessly.
It is not just disaster zones, such as Japan and New Zealand, which Shigeru Ban’s architects work with. Ban’s firm have also created a temporary cardboard tube pavilion for the garage centre for contemporary culture in Moscow. This oval shaped temporary structure has been constructed on such a large scale, the building fills an area of 2,4000 square meters.” the construction of the temporary pavilion is both efficient to construct and affordable by using local materials produced in St. Petersburg.” (Ban, Designboom) The structures function is to house other temporary structures and for this to be the main exhibition
The walls reach a height of 7.5 meters, and the building excels itself using the principles of temporary architecture. The materials are bought from local sources; they are both recycled and recyclable, which in todays ‘green’ economy is vital for a successful project.(Fig 3) The building is also fitting with its environment of Gorky Park, reflecting the shape of the space it is being exhibited it. This is so vital for a successful project as, once you place a temporary structure in its environment, it is instantly connected with the function, shape and history of the site. The use of paper and cardboard to create a structure and shelter is one key aspect of a good temporary project but the environment in which its placed in has to be considered in todays culture for the project to prosper. (Fig 4)
DUS architects have created what has been branded as “the worlds most temporary structure” (Jordido, 2011,164). At first this seems like they have just created large hexagonal bubble machines but in actual fact these 16 spaces can be transformed in to the users own individual secluded space. This temporary instillation addresses more serious issues within the concept of this design, such as environmental, fiscal and social problems. The natural instinct of the human to rebuild the bubble after it pops is meant to relate to the re-building of architecture, which we now seem to have entered a never ending cycle of, but temporary structures and building methods could change the implications this would have on society and the environment, as these structures are often zero carbon, easy to construct, take down and leave the site in the condition it was originally in before housing the temporary structure.
http://www.dusarchitects.com/projects.php?categorieid=publicbuildings&projectid=bubblebuilding
Buckminster Fuller was a ‘practical philosopher’, he was creating practical “artefacts” through part of the 20th century, as Fuller described them. Fuller mastered many aspects of design and it was the development of some of his more well known projects such as the geodesic dome that have lead to the forming of the sector of design known as ‘temporary.’ “Buckminster Fuller spent his life working across multiple fields, such as architecture, design, geometry, engineering, science, cartography and education, in his pursuit to make the world work for 100% of humanity.” (Buckminster Fuller Institute)The main aspects of shelter that Fuller wanted to improve was to create a more efficient, comfortable shelter, for it to be more economically available to a greater number of people and to apply modern technology to the construction of the shelters. Fuller achieved these design constraints by decreasing the surface area reduces building materials also it uses and stores heat efficiently. The domes concept was to “doing more with less” (www.bfi.org, Bucky’s big ideas) he was to create a dome with the largest amount of interior space possible with the least amount of material possible. In having this as his concept Fuller discovered that if a spherical structure were constructed from triangles it would have an incomparable strength to his previous designs.“After the war, Fuller's efforts focused on the problem of how to build a shelter that is so lightweight, it can be delivered by air. Shelter should be mobile which would require great breakthroughs in the weight-reduction of the materials.” (www.bfi.org, Bucky’s big ideas)
DUS architects have adapted Fullers geodesic dome and created a contemporary, temporary structure that evokes Fullers design and concept. Temporary structures can be exciting and change with the trend at the time, keeping people interested in these structures that can pop up over night. One great example of this is from DUS architects again; the Bucky bar is part of a series of 5 proposals for the city of Rotterdam, this is a collaboration project with Unsolicited Architecture. (see fig 6) The Bucky Bar, as many other temporary structures, uses everyday materials in a new way. In this case the structure is constructed with umbrellas. The guests were also asked to bring umbrellas to add to the spontaneous building. “The title refers to the great American inventor, Buckminster Fuller, who demonstrated how minimal energy geodesic domes could open a way to a more environmentally sustainable future.”(http://www.dusarchitects.com/) The shelter demonstrates Fullers theories, as the architects have created a dome like structure where people can convercate, debate and party in an improvised shelter. (See fig 5)
Miles Van Der Rohe’s Barcelona pavilion was questionably one of the greatest temporary structures to be designed and constructed of its time period. It was built in 1929, it was a modernist style temporary structure, and its function was to host King Alphonso XIII of Spain, and was a place of tranquillity and to escape from the exposition. In 1930 the pavilion was taken down and the materials were shipped back to Germany to be re-used or recycled. The controversy arose around this project in 1980, when Barcelona council re-constructed the building due to the influence it had on the city and its surroundings. This has meant people have started to question the buildings authenticity, identity and aura, as it is a recreation. “ Goodman’s notions are unique criteria to deal with issues of identity and authenticity in architecture.” (Werning, 2007,p88) Goodman’s architectural notions identify two categories of architecture as, autographic and allographic. They are contrasting qualities but the recreation of the Barcelona Pavilion somehow holds both of these qualities, creating this lack of identity surrounding the recreated pavilion, as its changed over time from a temporary structure to a fixed structure. Autographic structures cannot be replicated where as allographic structures can be re-created and is irrelevant to its identity. “ By examining the pavilion through the lens of these notions, this thesis shows that Mile’s building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.” (Werning, 2007, 91) Due to the original popularity and love for the temporary structure has meant it has been a successful re-creation, but in doing it the history of the building is muddled as it was built as one structure with a temporary function and is know a exact replica but with a fixed function. This created some confusion around the project and makes people ask “ If Miles Van De Roth designed it as a temporary structure why was it not known as that in history.” As the new Barcelona pavilion was such a good replica down to the sourcing the marble and stone from the same quarries as the original, it gives people a change to visit such a iconic building that was originally designed by a pioneering master he called “skin and bones” which related to the simplicity of his designs that forwarded the modernist architectural movement. “ This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work, and at the same time allow us to reconsider Goodman’s statements regarding architecture.” (Wearning, 2007, p92)
Another pavilion or pavilions that is existence as a temporary structure has raised queries about the identity of the pavilions are the Serpentine galleries. The galleries exhibit works, or create a new environment for around three months of the year, then the site is unused for eight to nine months later another temporary gallery is exhibited in the Kensington gardens each year. Creating a different pavilion each year does not create confusion within the identity and history of the structures but adds to it, as it was always built with the purpose of changing each year and being a three-month temporary pavilion, unlike the Barcelona pavilion which was intended to be a single one year temporary structure, but is known in history as a permanent pavilion.
Having a strategy such as the ever changing one of the Serpentine pavilions keeps with the characteristics of temporary architecture as it can change with the trends and highlight current situations the economy is facing in that period and is remembered for that. So in fact creating a series of temporary structures in the same location can add to the identity of the site and inform the users of the events, issues, designers and also exhibit our development in architectural technology through the years. Temporary structures such as the Serpentine galleries exhibit many of any temporary structures main characteristics, and that is that they leave no footprint and can adapt to the change in trends and technology.
Another aspect of temporary architecture that is becoming ever popular in todays culture is festivals for music and arts. Usually the festivals are over a couple of days and are made of many temporary structures creating a temporary environment often with an underlying theme that is relevant to the target audience of the festival or the function of the structure. In some cases, a full town is created to give the users a complete experience of a new environment, which is there for a week of the year and changes each year. A great example of this would be Boom Town Fair in Bristol. Each year the set designers create a unique village that can tailor the users needs; they construct temporary environments from the town hall, to the boutique village, to the hood where they let the people who choose to stay in the ‘hood’ let their imagination run wild and come up with a name, theme, decorations, games or workshop ideas for the hood. It is characteristics like this that make temporary architecture an ever growing trend, the way it can adapt to its environment and tailor its function to its users and leave room for adaptation by the end users just for that extra bit of creativity. One of the largest music festivals in the world that has 250,000 festival goers experiencing the environment they know as ‘Tomorrowland’ for the four days this temporary environment becomes these end users homes and environment. Inspired by Alice in wonderland the environment created is meant to be ‘make belief’ giving the users a sense that they are dreaming, even down to the names of stages and campsite ‘DreamVille’ “During the event, the 15 different stages are constantly being converted into some mind blowing designs.”(http://thechive.com/) The structures change through the day and night to add to visual aesthetics the festival is aiming for each year. Due to music trends and even location changing the festival has to be able to adapt to the situation as it did 1000s of years ago when the nomads were using transportable architecture to live and travel across the desert, and had to adapt to change in environment and economy, it is the same today. This is why to create a effective festival environment a temporary environment is key to a popular festival in todays ever-changing culture. With lots of people in dead end jobs, even jobless and struggling to pay bills, the need to go to a festival for a few days to forget about all of the negatives their fixed environment reminds them of. A quote from the guardian states “Others talked about freedom and being able to totally forget about your rubbish job in a call centre. Many started talking about the pressure they felt under ... and about seeing festivals as havens." This is why we have seen such a rise in number of music festivals in the UK and Europe and.
With traditional fixed architecture, there is not much change for adaptation, especially with old grade one and two listed properties. This is because they are protected to sustain heritage and aesthetics of the architecture. This is how the National Trust has formed and developed, they look after and exhibit the countries coasts, gardens, halls, and houses. Change to the exterior of listed buildings has to use the same building material, for example a Yorkshire stone building such as the Grade 2 listed lifting tower, on Wellington Street, when they had structural stone work done due to decay over the years the had to go back to the original quarry in Guiesley and acquire the same stone so it fits with the original build, also the same building methods have to be used. If any insertion is applied to a grade one or two listed building then the extension or insertion will have to be easily removed if need be and to be its own independent structure. None of these implications are in place with temporary architecture. The designer is much more free and can push the boundaries of design and the materials used, finding new qualities they hold.
It is more apparent to use temporary structures now more than ever before mainly as we have the technology and resources to produce and reproduce many structures, this is creating more jobs in the high unemployable economy we are faced with at the moment. Also as a result of having a greater population now than ever before when natural disasters occur more people and house are affected and also the amount of homeless people in the UK had been on the rise through the recession the country is struggling through, through the use of temporary structures people can be housed quickly and efficiently using recycled materials that don’t harm the environment when resourcing them but also do not leave a footprint behind after the structure had finished being exhibited. Also temporary structures can excite the user and create an aura that no fixed architecture can poses due to temporary structures being able to adapt to a situation keeping the user interested in what could come next as seen in the Serpentine pavilions and any festival. It is due to a combination of these economic and environmental issues that have create a culture that seems to thrive from the use of temporary structures in their every day lives, be it to create their own unique environment in Rotterdam while also addressing environmental issues about the constant cycle of re-building architecture we have fallen in to. Or if you attend a music festival, temporary structures are part of people’s lives and they are only going to become more significant as technology progresses even more, fashion trends change and architecture develops.
Bibliography
Books
Echavarria, P M, N.A, Portable Architecture, Barcelona, Arian Mostaedi
Jodidio, P, 2011, Temporary Architecture Now, Cologne, Taschen
Birkeland, J, 2002 Design for Sustainability, UK, USA, Earthscan
Werning, R C, 2007, Constructing reconstructing: the Barcelona Pavillion and Nelson Goodman’s aesthetic philosophy, Massachusetts, Massachusetts Institute of Technology
Vasna V, 2002, Introduction to Buckminster Fuller, Buckminster Fuller Institute,
Internet
Fredrico Villa, 2012, Shigeru Ban's Temporary Onagawa Housing is Made from Paper Tubes and Shipping Containers, http://inhabitat.com/shigeru-bans-temporary-onagawa-housing-is-made-from-paper-tubes-and-shipping-containers/, (accessed 08.03.13)
Lauren DB, 2012, shigeru ban: onagawa temporary container housing + community center, September 27, http://www.designboom.com/architecture/shigeru-ban-onagawa-temporary-container-housing-community-center/, (accessed 09.03.13)
Lauren DB, 2012, shigeru ban: onagawa temporary container housing + community center, September 27, http://www.designboom.com/architecture/shigeru-ban-onagawa-temporary-container-housing-community-center/, (accessed 09.03.13)
DUS Architects, 2012, DIY Bubble Building Pavilion, http://www.dusarchitects.com/projects.php?categorieid=publicbuildings&projectid=bubblebuilding, (accessed 09.03.13)
DUS Architects, 2010, Bucky Bar Spontaneously built Bucky Bar leads to large public street party, http://www.dusarchitects.com/projects.php?categorieid=publicbuildings&projectid=buckybar, (accessed 03.03.13)
Buckminster Fuller, 2007, Geodesic Domes Institute, http://www.bfi.org/about-bucky/buckys-big-ideas. (accessed 14.03.13)
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