Sutherland Hussey Harris
Between Infinite and Definite
After the first talk from Mr Hatta, we were invited again to join the talk, which the present speaker is Charlie Sutherland at Publika. Throughout his talk, he has showed us his incredible works. My friend and I was impressed by his work, and the works succesfully attracted audiences focus on the screen, and his talk.
Introduction of Speaker
~ Charlie Sutherland
~ Born in United Kingdom
~ Studied Architecture at the Mackintosh School in Glasgow
~ Associate with Michael Wilford and Partners and was responsible for the competition design for the New British Embassy Berlin and the Sto K in Weizen Germany both of which were short listed for the Stirling prize.
~ was awarded an Honorary professorship at Glasgow University in 2013.
Today, his work has been found throughout worldwide especially UK and China.
PUM LECTURE TALK
Upon his talk, he describe his works with the definition of INFINITE and DEFINITE .Infinite in architecture mean imaginary. Something that you propose and think before it be come real, it is intangible. The idea that come through your mind for design means Infinite. After the soaring the skies, architect will consider about the restrictions and back to the reality to design something that able to build and tangible, which named definite. Currently, I will introduce some of his work that he presented to us.
AN TURAS -UK
Funded by the Scottish Arts Council, this project was a collaboration between Architect, Artist and Engineer to make a structure located next to the pier that would act as a shelter whilst waiting for the ferry. The design was based on reflecting some of the qualities of the island - the big sky and horizon, the white beaches, the monochromatic black-houses dotted over the land - all distilled as a line in the landscape.
As an experiential sequence it was conceived in three parts.
The white-walled corridor creates a linear cut in the landscape formed by two retaining walls that provide shelter from the wind while allowing travelers to focus on the sky and consider its beauty. In strong sunlight the walls become a surface for shadows and the reflection of light and colour, continually changing according to the weather and time of day.
The black bridge is a direct contrast that moves the visitors from light space to dark space, white to black, outside to inside, exposed to protected. A black felted timber structure with an open-slatted floor
reveals the exposed rock below in reference to the traditional building crafts of roof structures, house interiors or boat building of the island.
The glass belvedere at the end allows for a visual experience of the landscape. From a distance a view of the landscape and Gott Bay is framed beyond the black timber box enclosure, providing an introduction to Tiree for arriving visitors or a memory for those departing. The slightly elevated floor provides a three-dimensional landscape experience with a view of the ferry terminal and the old dry-stone dyke snaking
down to the shoreline. By crossing the stone dyke, travelers become removed from the pier-head activity and are transferred back to the island.
LOVESHAKE
Though the house was not originally conceived as a ‘green’ building we have worked hard to use sustainable materials and build with its carbon footprint (and those of its future owners) in mind.
(One of the problems with lengthy planning processes is that by the time one has started to build the house, green technologies have leapt onwards from those you’ve had approved!)
The house is compact and very well-insulated, clad with local timber grown and processed on the neighbouring Graythwaite Estate, meaning an extremely small carbon footprint from source to use.
This timber is also used in outdoor landscaping. Interior timber is mainly reclaimed local cedar.
Finally the project began in late 2007, with construction on site throughout 2008 and early 2009. Like all building projects, the adventure had its ups and downs, but in the end a beautiful and unique house emerged from its chrysalis.
LAWSON PARK
Lawson Park is an historic Cumbrian hill farm, which was established in 1338 by Furness Abbey to supply wool as part of the abbey’s production chain. Since its decline as a working sheep farm in the
early 20th Century it has been used for a variety of purposes including a holiday home and a hostel for Liverpool University.
In addition, an area of approximately 15 acres of surrounding farmland is being developed as a site for experimental land use and arts projects in collaboration with artists, curators, invited groups and local stakeholders.
Artists are invited to work on projects, the PRINCIPLE AIM being to generate and disseminate new ideas and approaches to how the land may be used, developing a constructive role for art and artists in a time of immense cultural change, both locally and internationally.
MAKING SPACE FOR MAKING ART
Location ~ 25 Hawthornvale, Edinburgh, Edinburgh EH6 4JT, United Kingdom
Construction year -2015
From the architect. Edinburgh Sculpture Workshop (ESW) are an organisation that offers a base for artists, providing studios, exhibition spaces, workshops and accommodation.
Over the past 15 years they have been working closely with ESW to assist in their campaign to raise funds to move out of their draughty old railway shed and into a new, purpose built facility. They have done this in two distinct phases, representing two separate funding sources; one through publicly accessible sources such as the Lottery Fund and the second through the Arts Prize - an anonymous donation of £3m for an arts building in Edinburgh.
The two phases represent an exploration into the opposite sides of the ‘arts building’ coin. One, the hermetic, practical, messy side of the making of art and the open, accessible and extrovert of the gallery. They are The Bill Scott Sculpture Centre (Phase 1) and The Creative Laboratories (Phase 2) respectively.
Phase 1 is a compact building containing metal, stone, wood and mixed media workshops with 30 ‘garret’ studios sitting on top and a series of public facing services at street level as well as two autonomous artists lodgings.
This represents the internal needs of the organisation, and of the artist with the thinking and making spaces accounted for, as well as educational facilities which maintain ESW’s focussed creative programmes for the public to engage with sculpture and the arts.
Building this first allowed ESW to decant from their dilapidated shed on the adjacent site, freeing up the land for Phase 2 which is an altogether different building.Twelve external sculpture bays divided by elegant concrete piers flank two sides of a sunken courtyard inspired by the Ryoan-ji Temple in Kyoto, with a public cafe and the laboratories themselves forming the remaining two sides. This adjoins a new public route from street level down into the previously abandoned railway cutting - now a forming a key component in Edinburgh’s green link cycle network.
The main elevation to the cycle path is clad in brick and metal screens, a reference to the sites industrial past that allows glimpses into the courtyard, revealing the process of making to the public and encouraging passersby to explore within.
The sequence is completed with a 28m tall campanile, left for interpretation by future visiting artists, acting as both a gateway and as a beacon visible to the wider city beyond.
EDGE HILL
AWARDS WON : RIBA NORTH EAST AWARD 2016, RIBA NORTH EAST BUILDING OF THE YEAR 2016 - SPONSORED MARLEY ETERNIT, RIBA NORTH EAST CLIENT OF THE YEAR 2016
With a rectilinear concrete base, a timber slatted screen wraps around as a lid, unifying the form as a single volume. This creates the most uplifting triple height space below along the entire length of the house, which is brought to life with light, shadows and beautiful materials.
Looking into the void is an animated backdrop of rooms. On the ground floor the entrance lobby first leads to a snug. On moving through the generous hallway the space opens out to breathtaking views of the garden and beyond, framed by large expanses of glazing. To the upper levels a complex series of bedrooms, bathrooms, terraces and an office are combined. The spaces are carefully located to allow the volume of the external skin to be legible. The result is an uncluttered, spacious and serene home.
This is a daring design for the area where the land is managed and protected by the Darras Hall Committee. The architect has managed to combine the ambitions of the client with the strict objectives of the committee as well as the local planning authority.
CHENG DU MUSEUM
Location : Chengdu, Sichuan, China
PROJECT YEAR:2016
AWARDS: first prize in the international competition for the design of the new City Museum for Chengdu in Sichuan, China.
The Existing Science museum forms the entire Northern edge with a giant statue of Chairman Mao saluting the main North South city axis, and on the East side a new concert hall is planned. The NEW building further enjoys and celebrates this relationship to this monumental public space by extending an internal promenade of public foyers and circulation behind the entirety of the veiled façade addressing Tian-Fu Square.
The form envelopes a new undercover outdoor public space - a monumental gateway through the building, offering a large outdoor public space where people can gather, cultural events can take place, even the local street market extends through to the square.A rigid diagrid steel lattice forms the structural shell enclosing the enormous interior volumes of large climatically controlled halls, The building further extends 24m into the ground to accommodate the conservation stores, theatre and plant rooms and is structurally isolated from the effects of any earthquake via a protective box structure into which the whole construction sits.
Unusually for China, Sutherland Hussey Harris with Pansoloution design, Beijing, were retained beyond the conceptual design phase and contracted to deliver the detailed and production information stages for all the public areas of the building, the detailed design of the skin and its integration with the structure and the landscape and subsequently all site supervision related to this work.
CONCLUSION
Today lecture is totally worth for spending my time into it. Although he did not talk much about the content ( Infinite and Definite ) ,But we can see it from his work. In my observation , every works before he started, he did a lot of research about the site, and bring it into the design. I think this action has done by many architect, and all of them make sure that the building they designed will create a same laguage with site. Beside, this action also build a communication between people and building. I think this ACTION should be consider as DEFINITE IN ARCHITECTURE.( to make sure the suitable design at the site )
What did I understand about INfINITE from architecture and his talk?
The good design should be endless and unlimited. Nothing is imposibble , design will be good if you put effort to understanding the nature and the story of the site.Infinite commonly will be understood as great in amount. But in architecture , quality is more important than quantity. So, the great amount of quality in design should be present in every work that architect has ever done.