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| STUDIO.EU.
Living spaces |
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This
open space development for residential housing is alien and artificial
in this type of location. For the development to be able to make a pivotal
contribution to forging an exceptional and new identity it should muster
elements from the past and project into a viable future, coupled to
new exceptional standards in open space development. A potential advantage
arises out of a situation that seems physically and functionally diverse;
histories, overlays, as well as expectations need to be reconciled to
forge out a conceptual principle based on contrast rather than homogeneity. |
[30jan2003] | |||
| [in italiano] |
Hence,
the proposal is based on the idea of pairs of contrasts: - the positioning of sharp, and clearly defined delineations surviving from former harbour usages against new, soft-edged, green structures; - precisely laid-out broad avenues and streets are offset by organically abundant extensions of plots of trees that are intended to form a link between various strips of hitherto undeveloped empty spaces; - the linear lay-out of new sculptural green spaces is set against the plane expanse of meadows and private garden plots. |
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 Superimpositions will illustrate the contrast. The strict geometrical lay-out of edges, patios, squares etc. speaks a different aesthetic language than loose plantings of trees and reed. The proposal constitutes an initial structural intervention to transform disused areas of the former port into a lively space. Incorporating the tidal movement of the river Elbe is an integral part of the concept. Several topographical features are introduced in close range of the river bank which should completely change character several times a day, depending on the tides ("flooded banks"). This would introduce a light, almost ephemeral element in the open spaces to offset the monumental, solid impact of the industrial-type architecture of the former historic port buildings. |
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| STUDIO.EU.
Living spaces |
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| Restricted
competition, Hafencity Hamburg. Hamburg, Germany, 2002. |
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