ARCH5025 - Masters Urban Studio

Sustainability The adaptation to reuse buildings

How the space should be or the spatial representation

Con ceiv ed

Perceived

Lina Bo

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Henri Lefebvre The production of the space

Instinct

Recycling buildings to bring new life into old projects

Collect more information of the social world

Spatial practice

Prioritise mixed-uses

ing Landscap Luxury

Bardi

Cognitive level

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Representation of space

THE SOCIAL SPACE

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Dwelling to increase density and avoid segregated spaces Daytime and nighttime activities

Urban learning machine

Reinforce the identity of the place and urban landscapes

Own and controlled by capitalist

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ed nt e y m eri ryda p ex eve Experience

sp a

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It is in constant change because of the interaction between the city and residents

SPACE

thought and produced rationally

Social relatio nships

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Combination of the perceived and conceived space

Produced by people

ic Men al tal

Representational space

lation Trans n atio n i d r g Coo lin l e w D

Consume by people

-use

ed Mix

Steffen

Lina Bo Bardi recycled abandoned buildings to give them new liveability, transforming them into sustainable projects (Condello and Lehmann 2016). Parliament House and its precinct is not an abandoned area. However, it is only visited for sightseeing or where the community needs to protest for a belief. Parliament House is an architectural civic gem in the city. "It represents the fundamental freedoms and rights of Western Australians" (Australia N/D). Thus, it is essential to propose an urban change to secure its value.

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By Stephanie Alama Chavez The dictionary describes the word enjoy as to get pleasure from something (Press 2021).

So, Luxury as urban enjoyment might be defined as obtaining pleasure from urban spaces. Henri Lefebvre explained that space could not be created because it already exists, but people could produce it, so space is thought and shaped rationally. A social space is not passive, and it has three components: the conceived space, which is the representation of it. For instance, architects are strongly linked with this; it is a spatial representation created in their minds and could be shown through sketch. The second component is the spatial space; this is the space perceived unconsciously when we are immersing in the space, and the last component is the combination of the other two; this is the lived space, and it is which individuals experiment every day. He defined that space of enjoyment is where individuals could find pleasure from sensorial stimulation; this space is opposite to traditional spaces characterised by its monumentality and its connection with work activities and their demands. The space of leisure is the link to overcome the division between sensory and intellectual. Leisure spaces are where individuals transgress the system, seeking a way to move forward (Lefebvre 1991). Lefebvre thought that space is produced; also, Patrick Geddes believed that the city is an "urban learning machine" since the city is, not only inhabited; the city is produced and in constant change because of its interaction with residents (Amati, Freestone and Robertson 2017). In Perth centre is challenging to find leisure spaces. Another way to describe these spaces is people's feeling when they are there; those spaces share an opportunity to experience a sensation of freedom. So, this is a crucial idea for this urban proposal. These zones permit people to be together, but they can also be away from others (Maciocco 2009)

Geddes

the challenge of transforming a low-density city into a compact city A more compact city is more sustainable

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LUXURY AS URBAN ENJOYMENT

Patrick

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Urban rules: Luxury as urban enjoyment

Rest areas and weather shelter Creation of landmarks

Recycling buildings to encourage the polyfunctionality of the place

Additionally, this area is the connection between West Perth and the city centre. Residents do not appropriate this part of the city because this does not offer activities to produce the space. Attracting people to the area is an urban challenge that needs to be solved. A notorious difference between those residential areas is the scale, while West Perth has a human scale; in the city centre, the predominance is the monumental scale and narrow streets. That difference is highlighted by the existence of the freeway, which divided the city. This urban project aims to give a suitable proposal to decrease this contrast.

Parliament House has the privilege to have a great view over the Swan river because there cannot be buildings that blocked its view. Nowadays, in Perth, the primary source of contact with nature is the Swan River, but there were many lakes inside the city.

These lakes gradually disappear, and their areas were filled with urban lots. (Bolleter 2015). In luxurious spaces of joy permit, individuals experiment pleasure from sensorial stimulations. Thus, to the project is essential the connection with the river because we could find life around the river, senses like texture and shadows, sounds, odours, and movement (Reid 2015).

The character of the city of Perth is similar to a big shopping complex, energetic during the day because of the commercial activities, but inactive and unattractive during the rest of the day (Gehl et al. 2009). To understand why this inactivity happens in the city, Lefebvre said that the government tents give the space to capitalists and use this, prioritising rentable activities, such as offices or retails, and the lack of mixed-use fragments the city, generating dead spaces (Villaverde 2012).

The design proposed a new location to the Parliament house next to King’s park on the Swan River and changed the existing Parliament house’s use to a cultural centre. The former Parliament building is a space of transition between a housing project and an underground city, with leisure spaces and commerce. This subterranean building is connected with the Parliament precinct, which is an interactive open public square. This part of the project is on the freeway’s space, which was relocated underground.

The project is not a static urban design; parts of the structure could move around the city to interact with residents according to their necessities. A mobile building is a futuristic idea proposed before in architecture and media. The walking city is an Archigram’s well-known images; Ron Herron proposed it in 1964 (Sadler 2005). The animated film “Howl’s moving castle”, created by Ghibli studio, shows a mobile mechanical structure (Steenman 2019).

Luxurious spaces of enjoyment are produced by people, to themselves. In those spaces, they might change the architecture according to their necessities. Deleuze and Guattari explain this process as Rhizomatic urbanism; they give an example, which explains that orchids developed characteristics to attract wasps to be pollinated. The same is possible in urban architecture by creating luxurious spaces and buildings that change because of the people (Leach 2009). Mobile buildings could be moved from one place to another depending on the community and they might use social media technology to request them and give different uses. For instance, one day, a structure is at Yagan square as a concert hall, and the following week it is a playground in Hyde Park.

This urban proposal is a vision of the future city of Perth, re-manufacturing luxury to give people urban enjoyment.

Leisure spaces as a system, where mobile structure could be located: Parliament House Water fountains Green areas Water fountains + green areas Swimming pools

FOR LEASE VACANT SPACES WATER FOUNTAINS