Guy van der Wilt from Te Herenga Waka—Victoria University of Wellington School of Architecture is a finalist for his project 'Urban Mining: Drawing from the Depot'.
Project description
The Kilbirnie bus depot is slated for demolition. A centenarian building composed primarily of 540 steel trusses, 10,630 square metres of corrugated iron and 339,334 bricks. All destined for landfill at worst, or carbon-intense metal recycling at best.
This project highlights the potential of reusing these old materials, which are full of aged, time-worn character. The building is a resource-rich 'urban mine' and the design reuses, relocates and reinterprets the disassembled components in Newtown, two kilometres away. The scheme pulls a roof of housing across to create a covered public space on Riddiford Street. An existing chapel is displayed as an artefact under this canopy. Three new lanes cut back across the currently impermeable block.
I have used analogue drawing to articulate and design with the texture, character and idiosyncrasies found in these old materials. This is a qualitative investigation into the architectural and experiential agency of material reuse.
Jury citation
‘Scrap that’, protests the protagonist in this rescue mission of materials from a bus depot slated for demolition. Through a series of outstanding analogue drawings, Guy articulates a design that utilises this resource-rich urban mine – a centenarian building comprising 540 steel trusses, 339,334 bricks and more than 10,600 square metres of corrugated iron.
The qualitative investigation explores the architectural and experiential agency of material reuse. Spared from the scrap heap, the materials and their characterful patina find new meaning in a public space that displays an existing chapel as an artefact and creates permeability where there is none.
In this successful exploration of reuse, relocation and reinterpretation of materials, Guy creates an evocative expression of volume. His drawings offer a pragmatic and practical response to the challenges presented by creating a low-carbon built environment, and demonstrate a valid way to practice by reinterpreting what already exists.
Recognition of the inherent qualities – or essence – of materials and their marks of life contrast to the sanitised view of a catalogue of products. There is value in and valuing of these weathered materials that embody the natural processes of their life.
