36 STYLE | architecture Can a building be an object of desire? Photograph Richard Dalman
STYLE | architecture 37 Architect Richard Dalman highlights a Christchurch building that transcends its commercial purpose. Building design can divide opinions. Take the ChristChurch Cathedral for instance. For one person this is a colonial neo-gothic masterpiece, a Christchurch landmark that must be repaired and conserved at all cost. For another, it is a dull pile of old stones that hasn’t functioned as a modern worship space for decades. Buildings act as functional structures that can house people undertaking many different aspects of their lives – working, playing, sleeping, worshipping, or just plain living. But because they are three-dimensional objects, buildings can also be seen as large-scale sculptural objects. And when they are quite beautiful, they can even become desirable objects. One such building constructed after the earthquakes that I have admired is the Deloitte building at 151 Cambridge Terrace. Not only does this building serve a functional purpose, it is also a beautiful object. Designed by architects Jasmax, it addresses Roman architect Vitruvius’s three architectural mantras of utilitas (function), firmitas (structure) and venustas (beauty or delight). From a functional point of view, the floor plan is simple and clear and provides logically laid out hospitality venues with offices above. It even allows more shop frontage – with the internal laneway ‘cutting the corner’ – than a traditionally designed building would. Structurally, the building is base isolated with pendulum bearings, providing excellent resilience for future earthquakes. And as far as beauty and delight are concerned, well, this is where the building excels. I could talk about how the building positively addresses the acutely angled corner in a way that many of the old and now demolished Christchurch buildings did. The strict rectangular grid in central Christchurch is broken only by the two diagonal lines of High and Victoria streets, and the meandering river. These are the places in the central city where the drama takes place. This building does not let us down and performs with aplomb. But it is really the sensually curvaceous façade that lifts the building into the realm of sculptural excellence and desire. There is a direct relationship here with the curving Avon River across Cambridge Terrace, which is obviously where the concept for the wavy form originated. The architect says, “The building’s distinctive rippling façade has taken design cues from the Avon’s watercourse. Linking this building to its local context, floor-to-ceiling glazing strengthens this connection by providing occupants with unrestricted views out to the river and its embankments.” The exterior louvres follow the curves, accentuating them, as well as providing solar control to the interior. The louvres help to soften the glazed façade even more and provide colour variation. Principal at Jasmax, Alasdair Hood said he “wanted people to engage with the interior of the building even if they were not actually inside it, and by curving the corner people could easily ‘float’ around and under the building”. At the ground level the building opens up to the street with bars and restaurants providing seating areas looking out across to the river and activating the streetscape. The wavy façades create interesting internal spaces, whether adjacent to a corridor or office space. Because the curtain glass wall is hung both beside and beyond the columns, sometimes it is hard to distinguish whether you are actually inside or outside the building. The Deloitte building, for me, is an object of desire for two reasons. The first is because, as a three-dimensional object on a large scale, it is quite beautiful – like a piece of sculpture it sits on a city corner by the river in a very elegant manner. I believe it could also sit comfortably on the Canterbury Plains, in a big landscape, as a piece of sculptural artwork. The second reason is… I wish I had designed it!