Now that the building has been in active use for five years, the paper will also critically consider how the design of the building has impacted the design methodology and curriculum of the Abedian School of Architecture. This paper investigates the visions and ideas that underpin the design of the building, the origins of these intentions, how they were developed through Peter Cook’s unique storyboard sketches and articulated in words, and then how they were translated into built form. The inspiring spatial quality of the building is heightened by the tectonic integrity of the sculptural concrete forms, at the same time moderated and humanised, by the use of timber panelling and vibrant colours. This resulted in a dramatically expressive building, comprising distinct, though highly interconnected spaces, that range from the grandeur of the “Forum” to the smaller “Scoop” exhibition spaces, defined by sculptural structural elements, connected by the central “Street” that bisects the building, between the open Atelier-like studio spaces and the equally open staff areas and seminar rooms, which interrelates all activities within the building. Drawing upon their outstanding international experience of architectural education, the architects sought to create a rich learning environment. With its four gable-roofed structures, covered with light-toned fiber cement panels, it seeks to be an abstraction of New England vernacular architecture.The award-winning Abedian School of Architecture building at Bond University, Queensland, Australia was designed by Peter Cook and Gavin Robotham of CRAB Studio, in collaboration with Brit Andresen, as a concrete expression of architectural pedagogy in built form. This settlement is located on the shore of Long Island Sound, which divides Connecticut from Long Island, New York. One example is the Beachside House, which is a contemporary project documented in Swisspearl Architecture Magazine. Speaking specifically of gable roofs, they are the feature most associated with the traditional aesthetic of dwellings developed between the 17th and 19th centuries, as well as later ones. These elements constitute an integral part of the vernacular expression of the houses from that time. This architectural style is characterized by its rectangular floor plan, two-story structures, gable roofs, and wooden cladding on the facade. Moreover, the large distances between major cities in many areas of the country had a significant impact on the configuration of domestic architecture, resulting in the inclusion of barns and other structures that served various functions in addition to housing. In this context, dwellings emerged that adopted a distinctive architectural language. An illustrative example is the region of the United States, which was strongly influenced by the period of British colonization in the Americas (17th-18th centuries). Beyond statistics and projections, the approach of architecture in relation to climate action brings to light numerous concepts, among them, the need for a historical review for the creation of this future.Įach architectural style intrinsically relates to a specific context, period, or place. Architecture, along with other disciplines, has begun to channel efforts toward reexamining, reconceptualizing, and reformulating its practices toward the future we need to achieve. In this moment of climate change, resulting from centuries of irresponsible practices, the idea of the future has been invaded by fear, an alert that would determine the survival of our existence. This familiarity with envisioning the future carries a responsibility for us to create guidelines and regulations that can either support or obstruct the direction our planet takes. Before we can create policies that bring about a desirable future, we must first envision what that future looks like, which is particularly significant in Architecture because we see the future as an integral part of the design process. Imagination and policy development go hand in hand. Image © Martin von Hildebrand, via Gaia Amazonas
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