OMA’s entry for the Southbank by Beulah tower competition has been revealed to the public by lead designer David Gianotten at the Future Cities symposium in Melbourne. At a height of 345m and total GFA of 255,000 m2, the project would be the largest building that OMA designed after CCTV.
The city of Melbourne is renowned for its livability –  a moderate climate, beautiful surroundings, and a thriving cultural life – but it is marked by a curious paradox: people hardly live in the city. Melbourne is one the most sprawling cities in the world; it covers three times the area of London with just a third of the population. The Southbank is perhaps the area in Melbourne in most need of an injection of life. Shortsighted developments spawned a desolate landscape of high-rises that stand empty waiting for the next real estate transaction. OMA’s proposal for Southbank by Beulah addresses these complex factors and stretches the boundaries to benefit public life in the center of Melbourne –  the tower as an urban experiment, a living lab, and a vibrant vertical city.
 
OMA’s design proposes a tower stemming from a base that acts as a 24/7 mixed-use vertical city with cultural, commercial, educational, and social program elements bound together with the more generic programs of retail, food, and beverage. In this vertical city, there are highways of movement through large express escalators, shortcuts by elevators, and laneways to wander on through normal escalators, stairs, and voids. The Base follows the outline of the site and then tapers back to a slab 100m above the city. In this volume, different programs are distributed strategically to create dynamic vertical movement and are rendered distinguishable from both inside and outside through façade elements of dichroic, polarized, and see-through colored metal mesh laminated glass. Open arches at street level, inspired by the Italianate arcades of Melbourne, invite the public into a vertical wonderland of discovery: a sheltered extension of both the street life surrounding the building, and of Melbourne itself. The Base includes the BMW Experience Centre, positioned on the corner of Southbank and City Road.
 
The tower is divided into three sections: office, hotel, and residential. The office block sits right above the Base so that a significant number of lift banks is no longer necessary for vertical transport in the hotel and blocks. The flexible floor plates offer grand views of Southbank and City Road and include green areas on each floor on the corners facing the east and west ends. The hotel block consists of 17 floors including two amenity levels at the top and bottom of the block. The residential part of the tower is deliberately situated at the top to capitalize on views and daylight. The gentle twist at the top of the residential component not only provides the tower with an iconic and elegant silhouette but also enhances the quality of the residences with views toward Port Philip Bay and the Royal Botanic Gardens.
 

Statement by David Ganotten, OMA

Melbourne is renowned for its liveability, overlaying a geographically perfect location with beautiful surroundings and a moderate climate. The city itself is set up on Hoddle’s grid, similar to American cities but, it also has small-scale laneways and parks similar to some of the most well-known European cities. At first glance – it has the best of all worlds. However, there are also downsides to its planning. Melbourne is very car dependent; there are comparatively few people that live in the city and thus bears some of the most extended urban sprawl in the world. It is a city of contrast.

The main questions for Melbourne to compete towards the future: is the urban model innovative and sustainable enough? Is the city prepared for a new, more individual society in which mobility and human contact is changing rapidly? Is the city ready for the 24/7 economy and activity demanded by its mixed population, demanding constant flexibility and change? Is Melbourne ready for the demands of the 21st century city?

These questions are part of the lively discussion about Melbourne’s future, both in its rich local design community and the international planning discussion of model cities. It is certain that one project cannot answer those questions, but it can help lead the way to new models and can experiment with many important topics as 24/7 commercial and cultural programming; living in the heart of the city; technical, social and economic sustainability and new mobility. ‘Southbank by Beulah’ is ideally positioned to be such an example.

The Base of the building is a 24/7 mixed-use vertical city in which many cultural, commercial, educational and social program elements have their unique spot bound together by the more generic program of retail and food & beverage. In this vertical city, there are highways of movement through the large express escalators, shortcuts by elevators, and laneways to wander on through the normal escalators, stairs, and voids. The planning of the Base builds on the principle of large scale public invitation and open arcades after which a vertical wonderland of discovery awaits. It is a vertical sheltered extension of both the streetscape surrounding the building, and Melbourne itself.

The Base is the foundation of the project, giving it its 24/7 livelihood. It represents the urban experiment Melbourne is looking for – an urban living lab. We have deployed a strategy to stretch the boundaries of current policies in the Base for the benefit of the public good. The Base starts as the site and tapers back to a slab 100m above the city. In this tapered volume, the different program elements, clearly readable behind the façade, are distributed strategically to create large vertical movement.

BMW is a flagship function in the Base of the tower and sits strategically positioned on the corner of Southbank and City Road. Although elevated above the ground to fit within the Base concept of providing a permeable and public street level, the BMW Experience Centre boasts an iconic feature – a cylindrical glass car lift – piercing through the ground and connecting the 1400m² basement storage and the mezzanine experience space clad in a distinguished blue dichroic glass façade. The cylindrical lift is meant to be a maximum impact feature with minimum footprint – it serves as a kinetic vitrine exhibiting prototype cars, creating a folly at the ground and inviting visitors to look up through the openings in the experience center’s hanging floor. The concept of moving cars vertically is consistent with the idea of exhibiting a robotic parking facility on the other end of the Base in the mechanical carpark block. Both are a commentary on the need for an avantgarde approach to the presence of cars in a dense urban environment and on implementing technology to meet this sustainable goal. Our space planning concept for BMW is namely this – the future of the car in the city cannot be related to a low density sprawling lot taking up from the active pedestrian public realm. Rather, it lays in technologies geared towards sharing, compact storage, and optimized user experience. Situated in one of the last remaining open plots of Southbank, our BMW flagship yields the ground to the pedestrian while it remains well-embedded in the commercially viable retail and public space ecosystem of the Base.

As one of the “special volumes” in our concept, the experience center is clad in a special façade – a dichroic glazing in the iconic BMW blue shade. The BMW logo appears in the moving lift platform that shuttles between basement and mezzanine levels. The underbelly of the mezzanine is clad throughout in a light fixture designed as a giant headlight, visible from a wide radius outside the building. Glazed circular openings are embedded in it and reveal to visitors cars parked on them and the activities taking place in the hi tech experience center above.

The Office portion comprises of a variety of plates that range between 1800m² and 2200m² – the minimum and maximum plates given by the Brief. The block sits right above the Base and is a straight extrusion that, unlike the hotel and residential components, always sits parallel to its core. As required by brief, the core is always on one side of the floor plates – positioned along the north edge of the building. This layout provides open and flexible floor plates with grand views of Southbank and City Road and opens the corners of each level to two green break areas on the East and West ends. These interior gardens can be fully open with the foldable façade system on the slim sides of the tower, serving as urban terraces that either overlook the Southbank and City Road intersection or act as buffers between the workspaces and the adjacent Hanover House.

The Office core footprint is larger than the core footprints of the hotel and residential components. Positioning the Office block right above the Base ensures optimal efficiency for the upper part of the tower due to a significant number of lift banks no longer necessary for the vertical transport capacities in the Residential and Hotel components.

Another strategic reason for positioning the Office just above the Base is that this frees up valuable height for functions that are more dependent on 24 hours views and daylight requirements. The hotel and residential segments are elevated above the densely extruded plots directly to the North and the office plates are shielded from the neighbors by the longitudinally distributed side core.

The Hotel Segment sits just above the office block and is the first upper tower programmatic segment twisting around the core. It consists of 6 typical residence levels and 7 typical suite plates. All suites and residences are compliant with the Melbourne Design Guide in terms of daylight and layout requirements. The plates are simple, efficient and spacious. Two amenity levels at the top and bottom of the hotel block offer a variety of wellness, food and beverage, and recreational facilities, and the lower one also houses the check-in. Hotel guests can arrive at the drop off at ground level, be quickly escorted to the hotel lift bank in the central core in order to get to the calm and spacious atmosphere of the lower amenities/sky lobby for checking in. The check in area is deliberately placed in the midst of wellness amenities, so that upon arrival guests can be immersed in a soothing, relaxed environment.

Smaller auxiliary facilities are distributed throughout the hotel for efficient servicing of the rooms per level, while larger service areas, such as linen laundry, kitchen, staff facilities, etc. are also provided in the basement where they can be reached via the provided goods lifts and easily accessed by delivery vehicles.

The residential part of the tower is deliberately situated at the top to capitalize on views and daylight. All layouts are compliant with the Melbourne Design Guide, and the straightforward shape of the building allows for generous yet efficient space planning. While the architecture of the tower above the Base is quite rational, it is not rigid. The gentle twist at the top of the residential component not only provides the tower with an iconic and elegant silhouette, but also increases views East-West, bringing extra quality to the residences with views towards the Port Philip Bay and the Botanic Gardens.

The residential segment of the tower boasts particularly efficient floorplates due to the compact core layout – the efficiency of this part of the tower is 81%. The unit type ratio is optimal. Smaller units are fitted with winter gardens as extra amenity and daylight.

In response to the ambitious brief, the residential component is generously supplied with amenities ranging from fine dining, private party rooms, VIP movie theater, fitness, recreation, a wellness centre, creche, gardens, and a pool at the base of the residential block. An iconic feature for the entire tower, the side cuts in the residential block reveal their spectacular double curved facades through the two glazed triangular skylights above the swimming pool and the gardens in the bottom amenity level. Residents of corner apartments on the East and West sides of the tower would enjoy sweeping views down to these skylights and the luxury spaces they cover.

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Architects
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OMA. Partner in Charge.- David Gianotten. Director in Charge.- Paul Jones
Project Architect.- Roza Matveeva
OMA. Socio encargado.- David Gianotten. Director encargado.- Paul Jones
Arquitecto de proyecto.- Roza Matveeva
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Team
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Samuel Biroscak, Jack Davies, Roman Kekel, Andrew Keung, Davide Masserini, Justin Ng, Xiaotang Tang, Elizabeth White
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Client
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Beulah International
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Area
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Total GFA.- 255,00 m²
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Total height
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345m
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Collaborators
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Local Executive Architect.- Conrad Gargett Engineering Consultant: ARUP
Site Photographer.- TomRoss.xyz. Model Photographer.- Frans Parthesius Quantity Surveyor.- Rider Levett Bucknall Visualizations: MR.P. Traffic Engineer.- AECOM
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Office for Metropolitan Architecture (OMA) is an international practice operating within the traditional boundaries of architecture and urbanism. AMO, a research and design studio, applies architectural thinking to domains beyond. OMA is led by eight partners – Rem Koolhaas, Reinier de Graaf, Ellen van Loon, Shohei Shigematsu, Iyad Alsaka, Chris van Duijn, Jason Long, and Managing Partner-Architect David Gianotten – and maintains offices in Rotterdam, New York, Hong Kong, Doha, and Australia. OMA-designed buildings currently under construction are the renovation of Kaufhaus des Westens (KaDeWe) in Berlin, The Factory in Manchester, Hangzhou Prism, the CMG Times Center in Shenzhen and the Simone Veil Bridge in Bordeaux.

OMA’s completed projects include Taipei Performing Arts Centre (2022), Audrey Irmas Pavilion in Los Angeles (2020), Norra Tornen in Stockholm (2020), Axel Springer Campus in Berlin (2020), MEETT Toulouse Exhibition and Convention Centre (2020), Galleria in Gwanggyo (2020), WA Museum Boola Bardip (2020), nhow RAI Hotel in Amsterdam (2020), a new building for Brighton College (2020), and Potato Head Studios in Bali (2020). Earlier buildings include Fondazione Prada in Milan (2018), Garage Museum of Contemporary Art in Moscow (2015), De Rotterdam (2013), CCTV Headquarters in Beijing (2012), Casa da Música in Porto (2005), and the Seattle Central Library (2004).

AMO often works in parallel with OMA's clients to fertilize architecture with intelligence from this array of disciplines. This is the case with Prada: AMO's research into identity, in-store technology, and new possibilities of content-production in fashion helped generate OMA's architectural designs for new Prada epicenter stores in New York and Los Angeles. In 2004, AMO was commissioned by the European Union to study its visual communication, and designed a colored "barcode" flag, combining the flags of all member states, which was used during the Austrian presidency of the EU. AMO has worked with Universal Studios, Amsterdam's Schiphol airport, Heineken, Ikea, Condé Nast, Harvard University and the Hermitage. It has produced Countryside: The Future, a research exhibited at Solomon R. Guggenheim Museum in New York; exhibitions at the Venice Architecture Biennale, including Public Works (2012), Cronocaos (2010), and The Gulf (2006); and for Fondazione Prada, including When Attitudes Become Form (2012) and Serial and Portable Classics (2015). AMO, with Harvard University, was responsible for the research and curation of the 14th Venice Architecture Biennale and its publication Elements. Other notable projects are Roadmap 2050, a plan for a Europe-wide renewable energy grid; Project Japan, a 720-page book on the Metabolism architecture movement (Taschen, 2010); and the educational program of Strelka Institute in Moscow.

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David Gianotten is the Managing Partner – Architect of OMA globally, responsible for the overall organizational and financial management, business strategy, and growth of the company in all markets, in addition to his own architectural portfolio.

As Partner-in-Charge, David currently oversees the design and construction of various projects including the Taipei Performing Arts Centre; the Prince Plaza Building in Shenzhen; the KataOMA resort in Bali; the New Museum for Western Australia in Perth; the masterplan of Rotterdam’s Feyenoord City and the design of the new 63,000 seat Stadium Feijenoord; and Amsterdam’s Bajes Kwartier, a conversion of a large 1960s prison complex into a new neighborhood with 1,350 apartments.

David led the design and realization of the MPavilion 2017 in Melbourne and the Shenzhen Stock Exchange headquarters. He was also responsible for the end stages of the CCTV headquarters in Beijing. David’s work has been published worldwide and several of his projects have received international awards, including the 2017 Melbourne Design Awards and the CTBUH Awards in 2013. David gives lectures around the world mainly related to his projects and on topics such as the future development of the architectural profession, the role of context within projects, and speed and risk in architecture.

David joined OMA in 2008, launched OMA's Hong Kong office in 2009, and became partner in 2010. He became OMA’s global Managing Partner – Architect in 2015 upon his return to the Netherlands after having led OMA’s portfolio in Asia for seven years. Before joining OMA, he was Principal Architect at SeARCH in the Netherlands.

David studied Architecture and Architectural Engineering at the Eindhoven University of Technology, where he has also served as a professor in the Architectural Urban Design and Engineering department since 2016. Additionally, he serves on the board of the Netherlands Asia Honors Summer School.

 
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Published on: July 27, 2018
Cite: "OMA / David Gianotten present competition entry for Southbank by Beulah Tower " METALOCUS. Accessed
<http://www.metalocus.es/en/news/oma-david-gianotten-present-competition-entry-southbank-beulah-tower> ISSN 1139-6415
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