Tag - piers taylor

Passivhaus – What Place the Particular?

Like many architects who are interested in building performance, I’m interested in the concept of Passivhaus, Like many architects, I’m also interested in ideas. Most of our buildings have aimed for the particular, and have aimed to more than just have low energy bills and use resources wisely. I mentioned to Olly Wainwright that my worry about Passivhaus was that it was a one size fits all approach, and was jumped on by a few zealots who have signed up to the cause because, well, if you’re a true believer, and this how you make your living, there’s no room for doubt is there? Passivhaus Zealots, I’m not attacking you – just wondering whether in your beliefs, there’s room for a conversation? We want the same thing, ultimately, don’t we?

What I meant is this. Architecture – the design of a building for a given brief, a given context and given client is a very particular thing, and we’ve always used each building as a mini manifesto with which to explore a particular issue and a particular way of being in one place, for one particular group of people. Glenn Murcutt used to say that a building needs to do more than just perform well, and I’m with him. My nervousness about Passivhaus is the potential distraction that the performance is the end game.

I’ll explain what I mean with three of our houses, each which has a very different design approach, and each which explores a different idea about building envelope and performance.

First up, Moonshine.  In many ways it’s a very naïve building, but the big idea, the big guiding concept, works. We wanted absolute transparency in the living spaces on the ground floor, partly to let the idea of landscape run through the building, and partly to let the building have a flexible skin, which we could adjust depending on the weather, light and wind pattern, and spill outside accordingly. Upstairs, we wanted to feel like we were camping in the treetops – to be able to slide back big boors in our bedroom at night and hear the forest noises, and see the canopy from the big ash tree almost as if it was in the room.

It’s an uber lightweight building (everything had to be carried down a track in order to construct it), and the solid bits are super insulated, but it’s a very leaky building. I was over influenced by those great antipodean shacks where everything opens up and shuts down, and where the concept of a building is a finely tuned yacht that you constantly adjust in response to weather. The best thing about is the solar gain on bright winter days that mean that we don’t need any heating until after dark. The fuel for heating is all from the woodland around the house, that we cut, stack and dry the previous year.

Could this have been a Passivhaus? No way – we enjoy opening windows too much, and we like the house being able to physically respond to the adjacent mircroclimate. Moonshine isn’t a particularly good building, but it does do some things well.

Moonshine is deficient because there’s far too much glass, and it’s far too lightweight. We tried to remedy this in Starfall – the next building we did in the same valley, for a family much like our own with a bunch of rumbustious growing children who would leave the doors and windows open. The big idea in terms of building envelope is thermal mass. I wanted – to the point of obsession – a super-insulated thermal envelope with as much exposed thermal mass as possible, and far less glass. So, we focused on placing windows were necessary to gain views or the first chinks of morning light, and, importantly (a repeated mantra of ours) to allow the landscape to run through the building and cooking area to be right between two large sliding screens that could disappear into the walls.

This family wanted, like ours, an ambiguous relationship with the outside, one where the surroundings felt like part of the house and an extension too it. And what’s great is that they can do this – they can leave the doors and screens open in chilly spring or autumn weather, and because of all the heat retained in the thermal mass, the temperature hardly drops. Of course it isn’t as efficient as a Passivhaus, but it is still uber efficient, and, critically, it reinforces the notion that a house isn’t a sealed little box that you go into or out of, but instead an intelligent envelope that allows occupants to dwell in a responsive way to one particular place.

Nowhere more true is that than the Caretaker’s House. This time, we wanted a super-insulated ultra lightweight responsive well-sealed envelope, and we wanted to make it from wood from the forest in which it sat. Pretty much every significant part of it is. We used 5 different species of timber for the house – for the frame, the cladding, the floors, the worktops etc. There’s no wet trades in the building, which sits on tiny mini steel piles.

But, in terms of Passivhaus principles, that’s as far as it goes. It’s heated entirely with waste wood from other manufacturing processes that exist on site, and, like the other houses, the occupants wanted the house to have a symbiotic connection with the surrounding woodand – one where it  could extend or retreat into the surrounding landscape, depending on weather, mood or occasion.

Maybe I’m just instinctively prejudiced against regulations and legislation. Maybe I’m an over enthusiastic hopeless romantic, but as far as I can tell, this symbiosis with context, this delight in the particular, this desire to have a flexible responsive skin that is operated intelligently by the occupants would be banished if we’d tried to go for Passivhaus conformity – and yet all of these houses have tiny running costs and very low emissions.

I may be wrong, but that’s great, tell me I’m wrong, and let’s work together to find a way that environmentally responsible buildings that perform well can also do the other stuff – in embracing the particular and the delightful, and respond directly to site, context and use.

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Moonshine, Sunset

When we designed Moonshine, the key thing we wanted was transparency on the ground floor. It’s great at sunset.

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Architecture, Cycling and Transgression

It’s struck me recently just how alike architecture and cycling are, in the manner that they are practised. They each have a categorical method of practice that is absolutely clear – but only to those that are familiar with their unspoken, unwritten code of conducts (and I don’t mean all that RIBA guff). Step millimetrically across the invisible line on to the other side, and howls of derision will meet you. It takes a while to become accustomed – but once you’re there, oh, the delicious security of the conventions of a small group.

I remember when I started cycling years ago, I thought I’d mastered the art of belonging. Custom fillet brazed steel frame? Check. Period Italian gruppo? Check. Valves aligned with tyre logos? Check.

Oh, how we loved being so right. Oh, the smugness of those (us!) in the know. Oh, the derision when someone transgressed our mean little codes. Gosh, how we sniggered when someone turned up on a bike that they – wait for it – had bought from a shop. A SHOP! Not just a massed produced bike, but one with Japanese gears, and a frame made from plastic somewhere in the Far East! (Well, he called it carbon fibre, but we all sneered that it was plastic, and didn’t he know that bikes were supposed to be made from metal?).

I remember too when someone turned up with a saddle bag, someone else with a pump attached to their frame, and someone, once, with a mountain bike visor attached to their helmet.  My God, how we laughed.  Even though many of us have become a little more accommodating over the years – or if not accommodating, maybe a little more understanding – we still size up every other cyclist from several hundred yards away, and work out whether to acknowledge them with our knowing little half nod.

And you know what? Architecture is just like this. Gosh, how we all embraced those codes and conventions in every aspect of our lives when we were students. I remember when one of our Tutors turned up in a Japanese car – a fucking Daihatsu Charade! We never, ever, took him seriously again. How stupid could he be? How unknowing? Wasn’t this in part what architectural education was? Teaching us how to belong – and if a tutor couldn’t teach us this, what on earth else was there? Everyone knew there were only a few cars you could have. An early DS19 (with the right lights, and preferably the right bike on the roof) was the one to have if you could afford it. An old Mercedes W123 if you couldn’t. And a Peugeot 404 if you couldn’t afford that. Or, last stop, a 504. Almost nothing else, even if you didn’t give a shit about cars. But you couldn’t not give a shit, because, well, you were an architect, no?

Back to buildings though. I’m so pleased I’ve been reminded us that there’s property, and there’s architecture, and fuck me, they must never, ever, meet.  I’m so glad he reminded us, because I slipped up. I’d imagined that maybe this thing we called architecture could be opened up a little bit, in much the same way that the transgressions I’ve been making recently as a cyclist have been making me a little happier. You know what? I went for a ride recently with someone who had a mass produced, shop bought bike, and guess what? I wasn’t tainted by his gaucheness. Au contraire, I had a great time, and discovered that even someone who transgressed our codes could be a human being.

I’ve made a few similar transgressions in architecture, recently, and bloody hell, it’s fun. I’d almost go as far as saying it is life affirming. Usually, we can only make these transgressions if we can somehow aestheticise them – think the poverty-porn images of Rural Studio’s inhabited buildings (yup, I love ‘em too) which show us that it’s fine to open up architecture, as long we can get a cool image.

But generally, if we open our door a chink and attempt to have a wider conversation about whether or not architecture can go beyond the pages of the journals, if we dare to speak of it in terms that people (yes, people!) can understand – ooh, the howls of protest! That’s the wrong type of transgression. That’s the type of transgression that our once great profession needs protecting from. And maybe that’s right. Maybe we need to keep it as a little group of self-serving practitioners, speaking in code, acknowledging each other with our knowing little half nod, preaching to the converted. Maybe. I’m not convinced. But I’m going to try and find out.

 

P.S. Alison Smithson? Yup she got it. Wrong lights though.

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