Zlin Urban Design Competition
- a collaboration with Architekturbuero Lichtblau - Wagner
Zlin strategy diagrams - drawn by Architekturbuero Lichtblau-Wagner
Competition Entry for Urban Design Alterations to Miru Square, in Zlin, Moravia, Czechia by Andreas Lichtblau and Susanna Wagner, Architects in Vienna – design report text translated by Greg Cowan in Perth
An Urban Design Competition Entry for Miru Square in Zlin, Czech Republic
For Miru Square, rather than proposing discrete isolated buildings, we propose spatial densification. This would not necessarily provide all the required, usable spaces, but in our view provide an impulse, a nucleation centre from which a city centre -and not just individual buildings- can develop. In this way, densification of use and context can be facilitated both within the centre, and in the greater vicinity of the centre.
To begin the process we propose the introduction of an "attractor", whose poignancy for the image of Zlin impacts beyond the immediate morphological boundaries of the figure of the square.
A fundamental theme of this work is, while observing the urban content with respect to historical, morphological and cultural content, to promote the layering and redensification, and thus redefinition of the existing urban spatial sequence, and of the buildings in their changing interrelationships.
The site identified in the competition is not alone in its potential for adjustment and improvement of the spatial and structural problems in the town centre. This is not the only site where the required functions could be set in a well considered relationship, nor the only site where a potential balance with an urban content exists between the current historical building stock and the potential for future development; that is as we currently see it.
The departure point for the concept is an infrastructural redensification of the town square, for spatially intensively perceptible situations of between, of underneath, of interior.
Strategies are formulated for spatial ordering, configuration and perception, as isolated architectonic themes.
What we have cursorily proposed as uses build a second layer, whose aesthetic and atmosphere we would define as a kind of infrastructure in the particular architectural pieces and interventions; but importantly also as an autonomous layer.
A densification of the inner part of the town centre should reaffirm the value of this while avoiding unrestrained and scaleless high rise development.
The composition of the proposed voids or open spaces of the city is in careful proportional relationship to the surrounding built context, which as such can equally be viewed as an accumulation of open space or voids.
Market oriented, sociological and socio-political developments, in other words the working out of standards, patterns and images, are not left to uncontrolled growth - they are structurally determined by the spaces left in the fabric of the city.
Buildings, as containers of functions which we have not yet determined are not idealised as romantic historical objects or reproductions, nor as architectonic clothing of construction. They are unmistakably perceptible tectonic elements, thematising pairs of opposites: above - below, inside - outside.
Defining the interior space of the sub-Miru (square) ines own critical regionalism is a play of the perception of verticality and falling gradients.
The interior spaces, climbing with the incline of the square, create an orthogonal reference system for the inhabitants. The personal sensation of verticality is a basic premise of our perception. Verticality is read through suspended lamps, tables, the surface of whisky in a glass.
We differentiate between urban strategy as a catalyst, identifying the town centre and below the surface of the town and the square.
This means establishing spaces of autonomous architectural and experiential quality with potential utility, but without prescribing any concrete functional programme.
Functional requirements - incorporating the parameters of continual change as their only constant, which we can only define for a moment or for a set duration. In the spirit of free city planning we can at best channel these.
A further aspect of this differentiation is the varying timeliness / modification rate of the two poles. Built reality brings long time intervals, where as the ephemeral layer of use - related change occurs speedily.
As
a consequence of this differentiation, it is proposed that built space
can be allocated the most varied uses. This bivalency and phase shift continually
reposition the unique identity of a place a new.
Urbanism can be defined as a sequence of recorded moments, or it can be formulated as a question;
·What does it mean, from our contemporary viewpoint, to overlay the existing content with new urban - accentuated meaning and content, and the spatial articulation of these?
OR
·How do we work with that which is already present in the city, with ideas we believe we know, whose content is however an interpretation, and which no longer has any social relevance for the present .
The satisfaction of nostalgic yearnings ought not be the aim of urban experiment, otherwise we will realise a world of false images, a world of contrivance and not a true reflection of reality.
We propose a range of spaces - caverns and cellars, without ordering or naming exact functions. At any rate not to the extent of defining functional space requirements for a concrete functional programme.
We regard this as a rejection of functionalist dogma, as rejection of determinism towards space, form and function.
We regard the proposed spaces as containers with a reasoned quality, which take content from the spatial programme and strengthen it, without such content being exclusive or one-dimensionally necessary.
To balance the spatial deficit of the town, we propose intensively experiential hollow spaces "in" - that is, above and beneath - the main square, without wishing to prescribe the exact functions of these spaces.
The substance, the aesthetic, the atmosphere we see as a mantel over the "hard" urban architecture. The interrelationship between the two will make for a more intensive experience of the place.
PLACE is not defined through hierarchical meaning or interpretation, but through openness, through pluralistic events occurring as an oscillating image which is never really tangible, and which remains ambivalent.
The three centres identified by the urban planners must retain and reinforce their individualities, however we believe that the new buildings must embody a contemporary identity so that the many layers of history, each as a record of urban life of sorts, can be continually legible.
The character of a place cannot be evolved by plagiarising existing structures, or even perpetuating forms, but rather through their interpretation.
A definitive but ephemeral element of Miru Square is the view to the line of hills in the south. This remains intact with the proposed new structure and indeed becomes an important theme in the work. The character can be further described through the heterogeneity of the buildings defining the square; consist of old rural buildings, of parcels of land built out in the 1930s, and of strings of pavilions developed in the 1970's.
We don't want to deny the incompatibility of these elements which define the square, but we would take this as a point of departure and as a prompt for structural interventions.
Out of respect for the proportions which we find in Miru Square, we propose a translucent, filigree, 'open' building above the square which accommodates conventional official and commercial functions.
In these transparent two storey pavilions the majority of shops would provide great variety:
·video store / videothek
·lawyer (s)
·Hair stylist
as a complement to the reflection of shops at the edges of the square.
At upper levels, for the most part would be found
·Offices
·medical practices
·private radio
·environmental advisor - relating to experimental solar technology on facade and rooves.
·perhaps a few apartments
These conventional functions would be densified and extended through the SUB- SQUARE - INES, the voids submerged below the surface of the town square. These will provide accommodation for the various NIGHT function of the urban square, as well as for shops and various leisure activities.
Activities which require little or no daylight such as;
·casino with restaurants
·fitness centre
·bar and disco
·experimental theatre and performance space - music for youth culture
The central town square as a focus of urban activity must be attractive in its denser form. The planning of large - scale super - markets as replacement for historical markets seems out of proportion to content.
The increasing importance of entertainment and leisure functions alongside traditional services and commercial enterprise is reflected in the proposal.
Voids or vacant sites in the square can absorb this type of pleasure and allow the square to develop into a pulsating centre.
In place of the underground parking garage in the square as suggested by the city planners, we propose a number of parking facilities in a ring around the centre. In the interest of consistent traffic calming of the centre we would favour an attractive / active use of parking distributed in a way which would have a longer term effect. At change over points: vehicle to foot, a range of shopping functions would be strategically placed, for example, those which would require access to transport by car.
The almost unused parking area adjoining the Bata factory could be intensively developed as a commercial proposition with an underground garage and both town administration and commerce might profit.
Walking distances from these parking facilities into the city centre would be a couple of hundred metres, or a couple of minutes.
Above - ground delivery traffic although restricted should have a right to access the square, as an undeniable factor of daily trading.
The configuration of the Miru - Square as it exists can be read from four sides in silhouette. It ties into the "Thomas Bata" Street and captures it in rectilinear and trapezoidal form.
This perception comes from the planning of a very quiet section of street, reinforcing the project so that existing pavilions can create an island in their area. If new building are to be considered, the (provisional) present morphological realities must influence the conception of new structures.
Our concept responds on many ways to peace in a contemporary as much as in a historical presence: a readable new structure captures ephemeral aspects of view through the buildings of the town to the hills, identifies a block, and structurally relates to strip - form rural buildings and sites.
The
scale of pavilions defining the square is reflected also in the free -
standing shops.
Solar Concept
The work rooms and activity rooms of the UP SQUARE INES (Super - Miru - Ines) are in the core of the proposed built forms, which have minimal heat join and loss and the facade zone acts as a buffer. As a result of maintaining a normal temperature curve a certain energy saving is possible.
Facade Concept
West and East facades are conceived of as low - tech systems for intensive capture of incident sunlight.
The window arrangement facilitates the differentiated application of sunlight according to season and time of day: the low morning / winter sun penetrates deeply into the room, and through horizontal reflectors in the highlight strip reflects onto the ceiling.
The steep midday / summer sum is reflected without glare through the facade onto the ceiling, providing homogenous light intensity in the interior, equally with strip highlights in the circulation areas.
Shading of the windows through storey heights, externally installed blinds, controlled from inside, protect the windows against overheating.
By the aforementioned application of daylight a noticeable energy reduction in energy from outside for artificial illumination can be achieved.
All spaces can be naturally ventilated be means of openable windows. Strip windows are based on a system of elements, much of them fixed glazing lights. The necessary ventilation would be produced by ventilation windows of a standard size.
Facades
The structure of facade surfaces is composed of a series of individually sliding shelf elements as view - and sun protection.
Interior qualities of the space would be influenced by this play is use, as simultaneously would be the external experience and appearance of the building, from the rhythm of individual elements.
The four buildings are treated with different materials, which gives each building its individual poetry and atmosphere.
This materiality should not and must not, be considered in correlation to any functional determination of plan area - it is purely an exclusive theme of the surface.
Each of the materials of the blinds (schiebeladen) - wood, steel, glass, cloth, has different impacts on the environment: Untreated wood forms a protective layer in silver grey with a malt finish, steel develops a rusty layer, glass reflects and splits seasonal and time day changes with varying solar position. The fabric covered panels, apart from their light translucency can play with the wind.
North facades of the above ground inner spaces are designed as screens, and can carry artwork of the area. With constant change of this side of the square, the wall becomes a temporary exhibition space.
The warm air extraction from the rear - ventilated roofs contributes to water heating via heat exchanges. The south facades of the office buildings and the roofs are to be covered in photo voltaic panels.
The town administrators could collaborate with local energy suppliers in experimental energy harvesting from facades and rooves, and surplus electricity can be stored. end
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Greg Cowan
Architect