FeedIndex

Filter: architecture  view all

DOWNLOAD: RMIT Design Hub Drawings (PDF)This resource has been removed by request.


Tweet

So the building isn't open yet but that gives us the opportunity to ignore architecture for a minute and talk about the building in the city.

Melbourne is a grid city. This means quite a lot. It doesn't have axes, in the École des Beaux-Arts sense.
The grid is meant to be unyielding but permissive, democratic, pragmatic, mute.
Despite this, much has been made of the Swanston Street Axis, from the point that it nudges around the Shrine of Remembrance, to it's kink at the former CUB site. It's hard to resist drawing that line through the site, continuing Swanston Street into eternity.

Sean Godsell resisted that temptation.

His RMIT Design Hub is just another building in the city. Apparently.

So let's look at it.


The Building holds the corner. The 'front door' is off the corner on Victoria Street. Retail Voodoo (which seems to infect everything) would insist on a diagonal corner entry, denying the street as address and implying that people are incapable of finding an entry that is around the corner. So Godsell's entry affirms the streetfront as proper for addressing the street.



Swanston Street, however, is a different matter.



The mass of the building runs into the street, providing neither street front, nor formal relief. This is a wall (a nice climbable one, but a sheer wall nonetheless). This is a rejection of the city and a profoundly anti-urban gesture.
The finished floor level (FFL) at the Victoria Street entry is FFL 23.50, internally a ramp follows the natural incline of Swanston Street as it heads north. I only raise the ramp because it brings us to the northern 'servicemen's entry' to the building at FFL 25.10. Past this entry, a stair descends rapidly to the sunken forecourt.



Back on Victoria Street, to the immediate west of the building is the primary approach to the forecourt which bottoms out at SSL 19.70. The building privileges this forecourt. It has art in it.



Adjacent to the forecourt is a low shed housing offices and archives and beyond that a vehicle ramp to carparking below. This gives us a total of 31metres of negative street front on Victoria Street, which, if your a Melburnian, you will recall isn't 5th Avenue.
Beyond the RMIT design hub is a wasteland where the brewery once stood. Grocon have been developing their interests for site over several years, NH Architecture prepared a masterplan which formed the DNA of the current development plans. Planning permits have been issued. Which is why it's a strange site to see a 5metre south facing concrete wall (it will apparently have greenery) at the northern end of Design Hub site. This wall frustrates potential connection through the site as does the archival building, sunken court, and vehicle ramp. This is articulate urban isolation, deliberate and composed.



The attitude that this might be a building in the city is a good one, and has strong arguments in favour of it over the will to axial urban design. However, this building is not one seeking to engage the street and by extension the city. It negates the messy convulsions of the city but fails to offer fresh conditions.

One can't help but wonder if Godsell wasn't hoping for something a little more...

/ (1 of 1)




Tweet
DOWNLOAD | Transition Vol.1,No.4, Oct. 1980

/ (1 of 1)
Fullscreen

Editorial
The Pleasures Of Architecture Conference 1980: The Interviews
First Past The Post•Modernism: An Exercise In Metaphor | Neville Quarry
The State Of The Art | C. Elwyn Dennis
Glenn Murcutt's Houses | Ian Mcdougall
The Romance And Illusion Of The Architecture Of High Technology | Michael Keniger
Book Review: 'Delirious New York" | Richard Munday



Editorial
Ian Mcdougall & Richard Munday

For many of the delegates at the "Pleasures of Architecture" conference, the most lasting impression was gained where they found that the less than smooth course of events inadvertently turned the spotlight on them, It was disturbing to realise that. in comparison with the Mid-Atlantic architects. Graves, Baird, and Koolhaas, they had not more than the barest notion of their own bailiwick. Also disturbing were the "Completion of Engehurst" entries from Australia's creme de la creme, trying hard but often vapid and sycophantic. And so it was perhaps that the event appeared to be not much more than an inaugural cultural ritual, staged to meet a vague national architectural obligation, rather than signifying the full-blooded emergence of architectural endeavour worthy of debate. Nevertheless it was a success in a salutary way. It tested the water and may have brought to the fore issues which are well enough appreciated but too uncomfortable to live with. Architecture in this country cannot be said to give cause for great pride, nor does the attitude of society to architecture give much cause for gratitude. This is grim, but architects cannot blame society if its expectations are low or if it is unreceptive. In this country the institution of architecture has been worn complacently and deceitfully by architects to conceal mass torpor and lack of substance. Those few who have made some contribution to architecture have eventually been feted with unbelievably uncomprehending relief, At the conference there did seem to be a softening in this attitude, a realisation that the responsibility for architecture lies with architects, that is, with themselves, and that the solution to a lack of substance could not be imported. Acceptance by architects of that responsibility is an important step, but architecture will not issue once or because it is taken. Architecture is not the fulfilment of an obligation: it contains a fortuitous element. It is a fallacy to say that if there hadn't been Bernini there would have been someone else. Architecture will not come about just because it is needed as a national totem . However, obstacles are in themselves no incentive, and while opportunities are best utilised by those who Create them ad hoc to suit their requirements, architecture would be a more realistic proposition than it is now if architects did something to create opportunities for each other, The schools of architecture in Australia could in general playa far more constructive role in architecture than is now evident. The significant contributions now being made to architecture are being made by architects such as Graves, Baird , and Koolhaas, all of whom have spent more time in universities than in drawing offices. It is of course ludicrous to regard academic involvement as some essential precondition for architecture; nevertheless it is important to realise that, because very few academics in Australia have evidenced much interest in theoretical speculations or in a serious commitment to practice, and because even fewer practising architects teach or have undertaken research , the possibility of a movement in architecture, of a type com• parable in any way to that which emerged in Europe and the United States over the past twenty years, occurring in Australia would be virtually inconceivable, There is some evidence of architects taking time off from the office to catch up on what is happening, or to do some lecturing, and this is fine, but it is hardly what is called for. Practising architects should be given access to architecture schools for the purposes of study and research , and under• take teaching as a means of reviewing their work and concerns, and extending them under these rigorous but sheltered circumstances, Many academics nurse presentiments of uselessness and would benefit from direct involvement in architectural practice, an arena which offers its own rigours. Others should be more assiduous in their demands for research time. And it is time for some permanently tenured academics to show cause. These suggestions are basically gratuitous when the problem could well be a matter of the wrong people or a sense of despair, but at the "Pleasures of Architecture" conference, highlighted by the sybaritic insinuations of that title, many Australian architects were shocked and embarrassed by their sudden awareness of their own emptiness. After such a revelation it is to be hoped that there will be some changes.



Tweet
DOWNLOAD | Transition, Volume 1 No. 3, March 1980

/ (1 of 1)


Editors | Ian McDougall, Richard Munday

Editorial

Post Modern | The Renewal of Style in Architecture | Philip Drew

3345 : A Project | Michael Trudgeon

An Interview With William Turnbull Jnr

Ars Sine Scientia Nihil | Peter Kollar

Parliament House, Canberra | Two Designs

In Search of a National Symbol | John Rockey



Tweet
DOWNLOAD | Transition Vol. 1, No. 2

/ (1 of 1)

Fullscreen

Editors Ian McDougall & Richard Munday

Editorial

Looking at the Sydney School | Jennifer Taylor
Four Melbourne Architects | an exhibition
Parliament House Canberra | 9 Designs
Architectural Style in Brisbane | Dr. G. de Gruchy

Book Review
Supermannerism by C. Ray Smith Richard Munday

Letters, etc. replies to Vol 1 No.1

Made in Australia



Tweet
Cox | South Morang Train Station

/ (1 of 1)

Fullscreen



Tweet
DOWNLOAD: Architecture & Arts, October 1958 (abridged)

/ (1 of 1)

Fullscreen

Architecture and Arts, October, 1958

Contents

What is Architecture, Frank Lloyd Wright

Design, Leo Lionni

Recent & Current Works of Grounds, Romberg & Boyd


Tweet
DOWNLOAD Architecture and Arts, September, 1957

/ (1 of 1)
Fullscreen

Architecture and Arts, September, 1957

Contents

New Products

News

People

Science and the Architect

Virginia Park, East Bentleigh, Vic.

House in Kew, Victoria

From Burke Street Warehouse to Modern Offices

Church of the Transfiguration - Anglesea, Victoria

Chermside District Municipal Library

Brummel's Gallery, South Yarra, Victoria

Art and Science



Tweet