Jerry Tate Architects has revealed the design for a dynamic treehouse called the Biodiversity Nest to be built inside the Eden Project facility in Cornwall, UK. The London-based firm's design unites architecture and nature, much like the Eden Project's massive Grimshaw-designed overlapping geodesic domes comprising the world’s largest enclosed rainforest. The Biodiversity Nest, part of the new Rainforest Canopy Walkway project, will sit between two 52-foot-tall bridges in the Eden Project’s Humid Tropics Biome. The timber enclosure will provide a shady education space perched in the tree canopy. Due to a limited selection of materials that are able to handle such a challenging rainforest setting, the walkway and treehouse will be built of a galvanized steel superstructure and heat-treated softwoods as an alternative to unsustainable, though strong, tropical hardwoods, reported BD Online. The walkway will be constructed in several phases over three years with the first phase public launch set for June of this year. The Biome will continue to be open to visitors while the Nest is under construction. Further additions will consist of areas such as the “Weather Station,” the “Research Station,” and the “Waterfall Cave.” Architect Jerry Tate told BD that building the Biodiversity Nest for an incredibly humid environment "is an interesting technical challenge as we have to provide a spectacular education space which is comfortable for visitors in the rainforest environment, with a limited choice of materials that can cope with the aggressive environment." Tate is working with treehouse-builder, Blue Forest, a company known for building structures that echo the environment in which they are built.
Posts tagged with "England":
500-cyclists and pedestrians an hour simultaneously traveling along the same route bordering the Regent's Canal in north London certainly makes for one congested—and with cyclists and pedestrians jockeying for limited space, a treacherous—commute. According to BD Online, landscape architect Anthony Nelson, director at Design International, has proposed a dramatic solution that could resolve the long-standing battle between fast-moving cyclists and slower pedestrians. The plan would elevate cyclists up to 13 feet into the air on a lightweight steel platform interspersed with cultural hubs, a sort of High Line for bikes, to completely detach the bicycle path from the pedestrian walkway. Nelson told BD challenges include raising the path to allow large boats to pass beneath and crossing other bridges where clearance won't allow the path to cross underneath. Nelson plans to gain additional feedback from waterway users this summer—during the months in which waterway congestion is at its highest—before presenting the project to politicians in the fall.
In a letter to Building Design magazine, the Architects Registration Board in London, aka ARB, has requested that BD no longer refer to Renzo Piano and Daniel Libeskind as “architects.” Apparently, neither are registered as architects with the all-knowing ARB, therefore “they are not entitled to be described as such,” states the letter. BD Editor-in-Chief Amanda Baillieu immediately called out ARB’s high-handed mandate in an online editorial, writing, “there is no other word to describe ARB’s ban on calling Renzo Piano an architect except bonkers.” The registration board's Alison Carr later apologized for the letter, "Do I think that this was a great example to bring to BD’s attention and help raise awareness? No I don’t. We should have been more cautious so that we get the right message across at the right time, and for that I apologise."
The famous clipper ship Cutty Sark was recently rehabilitated by Grimshaw Architects, who also built an exhibition hall around the vessel. The project, which opened in April, has just received the dubious distinction of winning Building Design’s 2012 Carbuncle (a.k.a. “ugliest building”) Cup award. Parked in Greenwich, England and categorized as a World Heritage site, the ship now floats on a blue glass base intended to suggest water. But the resulting effect is more bateau-en-gelée, prompting BD executive editor Ellis Woodman to write that the project had “the best of intentions and yet has tragically succeeded in defiling the very thing it set out to save.”
Having successfully covered the world (or at least all 11 outposts of the global Gagosian empire) in colorful spots, Damien Hirst is turning his attention to architectural matters. The artist is planning to build more than 500 homes on the land he owns in Devon, England as part of a broader expansion of the glam seaside resort town of Ilfracombe. Mike Rundell of London-based MRJ Rundell+Associates is putting his undergrad degree in fine art to good use and working with Hirst on the project. “He has a horror of building anonymous, lifeless buildings,” said Rundell of his artist client. Pressed for details, Rundell described the houses as modern and possibly incorporating eco-friendly touches such as photovoltaic panels and wind turbines nestled in the roofs. Pickled sharks or spin art not included.
Cambridge, England is growing, but keeping hold of its urban pattern. A shortlist including some of the biggest names in European architecture has been released for a competition to design an urban extension of northwest quarter of the city. The University of Cambridge owns the 346 acre site, which was masterplanned by AECOM and contains seven individual project sites to be designed by different firms. Each block has different mix of programming, from apartments and community space to shops, a market, and a police station. A school, excluded from the competition and to be built in the future, is also part of the plan. Among the 35 shortlisted teams whittled down from 158 applicants were heavy-hitters like Bjarke Ingels Group, Grimshaw, Wilkinson Eyre Architects, David Chipperfield, and Mecanoo. A separate competition for landscape components includes teams from West 8, Vogt Landscape, and Latz+Partner. Winners for each of the parcels will announced at the end of the summer.
Pimp Our Ruins Formula for architectural mischief: Start with a fabulous ruin. Then add a public entity with oversight of fabulous ruins, which, in turn, summons a quirky arts organization to devise a competition to do something useful with said ruin in peril. Governors Island? Nope. Think England: The fabulous ruin is Sutton Scarsdale Hall, a dilapidated wreck of a structure in the countryside of Derbyshire. The public entity is English Heritage, which watches over Stonehenge among other oddities, and the arts organization is something called the Centre of Attention. The 1724 Georgian hall was stripped to its foundation in 1919, and some of the interior paneling ended up in the Hearst Castle and at the Philadelphia Museum of Art, although apparently there are still “traces of sumptuous plasterwork.” (Don’t miss the ha-ha ditch on the picturesquely wrecked grounds.) The Centre of Attention has called for proposals to transform the stone shell into “a pavilion of post-contemporary curating.” If that’s your cup of tea, dive right in. Saarinen’s Punch List In the exhibition Eero Saarinen: Shaping the Future at the Museum of the City of New York, there is a peculiar document among the Finnish architect’s personal ephemera on display. It’s a marriage proposal to his second wife, Aline, in the form of a checklist in which he rates her and several other women on categories including beauty, sex, and support of her husband’s career. It’s not unlike the way some architects weigh the pros and cons of a number of possible building schemes. We assume that Aline—an accomplished art critic, author, and television reporter—was amused. The exhibition closes January 31. Color Me Opaque Color authority Pantone has selected 15-5519 Turquoise as the 2010 color of the year. Thank god that’s sorted out. But apparently, no decision has been made on which media company will be awarded the contract to be the AIA’s official publication. Will Architectural Record renew, or will it go to one of the other two competitors who made the shortlist? Now we hear that we won’t hear until the board meets again in February. Frankly, we’re feeling rather teal about the whole business. [Ed.: This was published in print prior to the decision in, uh, January. So much for those sources, Sarah.] Send paint chips and tea leaves to firstname.lastname@example.org.
As suspected, Will Alsop wasn't out of the game for long. The foul-mouthed StirlingPrize winner announced less than two months ago that he was leaving Archial, né SMC, the British architectural conglomerate that had bought up his smallish practice but three years earlier. Now BD reports that Alsop has teamed up with RMJM, and he will launch an atelier within the international powerhouse based in Battersea called Will Alsop at RMJM. “I like the overall vision they have for the future and the fact that it’s really global,” Allsp told BD. “In Archial, the only international bit was me.” Indeed, RMJM has been on a bit of a tear lately, including a big push stateside when it acquired Princeton-based Hillier in 2007. As BD notes, they have been teaming up with renowned architects of late, including a project with Frank Gehry for Glasgow Metropolitan College—that job was won by Atkins, though Archial was also bidding—and "a number of undisclosed projects" with Jean Nouvel. The strategy could backfire, however, as it might subordinate RMJM's generally successful work. Says a BD source: “I know they’ve been talking about working with a number of big names but it seems rather strange in that they have been pushing this notion that they are a number one design practice in their own right… a firm that can already compete with the Fosters of this world.”
Our compatriots across the Pond report today that Will Alsop, "British architecture’s most colourful personality," is leaving his eponymous firm.
Following 30 years of running a private practice, the 61-year-old has told BD that he will shortly hand over day-to-day management of Battersea-based Alsop to others, in order to devote more time to painting and teaching.The paper goes on to say that it's an amicable departure, with Alsop staying on as a consultant to the Archial-overseen firm (for an American referent, think WSP or Aedes), though there are also hints of a falling out, and even the suggestion the fanciful designer could start up his own independent firm should he so desire. “I’m delighted that Will has finally cut the knot with his slavemasters,” an architect from Rogers Stirk Harbour told BD. "I also can’t imagine a world without Will Alsop running a practice in some form or another." Alsop, however, defended himself, and rather colorfully--befitting his work?--we might add: “I started the fucking thing and it’s got my name on it. I want to make sure the work is still as challenging and exciting as it should be.” The Stirling Prize-winning architect sold ownership of the firm to SMC in 2006 (SMC changed its name to Archial last year) a move seen to give influence and resources to the heady architect's work but also fraught with the potential to undermine its inherent creativity. Known at home for work such as the Peckham Library, Palestra, and his North Greenwich Undeground station, the closest he has ever gotten to the states was the Sharp Centre for Design in Toronto, a stalled complex in Yonkers, and his work on the MAS' Coney Island counter-proposal. Here's hoping that's not the last we'll hear from him. Besides all the cussing, that is.
There's a feeling of drastic change this year at the All England Lawn Tennis Club, home to the Wimbledon tennis tournament. Don't worry, the players are still wearing all white and bowing and curtsying to the Queen. But when one looks upward from Centre Court they'll see a new translucent, retractable roof, meant to keep away the rain that inevitably delays the matches every year. Designed to close in about ten minutes, the new roof , designed by Populous (formerly HOK Sport; they switched names a few months ago) is constructed of tensile Tenara fabric, which unfolds, accordion-style, across the ceiling. Held up by roof trusses, the fabric has a 40% translucency that lets light penetrate and—vitally— reach the grass below. Working with a system that immediately removes humidity when the roof closes, it seems to be working well. But some wonder if it's really the same tournament without all the sogginess and with all the high-tech gimmickry. Especially at a place best known for its resistance to change. We don't know, but we'll be happy to check it out! Anyone? Anyone?