“We’re pleased that Mr. Taha has finally admitted that the building did not benefit from planning permission. We are also pleased that the inspector has required 15 Clerkenwell Close to be modified to include more employment space, in line with Islington’s development plan. The Inspector also concluded that the building should be modified to mitigate the harm caused to local heritage assets. “We’re of course disappointed that the inspector did not agree with the council’s view that the degree of harm the building caused to the Clerkenwell Green conservation area and the setting of nearby listed buildings warranted further modifications to the building. “The council looks forward to the removal of the unauthorized and visually harmful solar chimney, changes to the roof garden, and alterations to the limestone columns and beams facing Clerkenwell Close, as set out in the Inspector’s conditions. “We’re also pleased that there will be a £420,000 payment towards badly-needed affordable housing, in line with Islington’s planning policies.” Additional notes: Par 1 of the Inspector’s Appeal Decision says: “… the appellant considered that no planning permission exists for the building as erected” Par 24 of the Inspector’s Appeal Decision says: “The appellant has been extremely critical of the failure of the Council officers to resolve apparent inconsistencies in the drawings at the appropriate time, which clearly should have been done. However, the appellant must also share a significant degree of responsibility for the errors made as it was his practice that submitted inconsistent plans in the first place.”
Posts tagged with "Limestone":
An expanse of sustainable timber just clinched the Chicago Architecture Biennial's Lakefront Kiosk Competition
After the biennial, Chicago Horizon "will find a permanent home in Spring 2016, operating as a food and beverage vendor, as well as a new public space along the lakefront.During the Biennial three other kiosks will be installed along the lakefront. Details on those are due to be announced next week, but here are the preliminary project descriptions:
The Cent Pavilion, designed by Pezo von Ellrichshausen in collaboration with the Illinois Institute of Technology, is a forty-foot tower meant to convey silent and convoluted simplicity. Rock, the kiosk designed by Kunlé Adeyemi in collaboration with the School of the Art Institute of Chicago is a pop-up pavilion a public sculpture composed from the raw and historic limestone blocks that once protected the city’s shoreline. Summer Vault, designed by Paul Andersen of Independent Architecture and Paul Preissner of Paul Preissner Architects, in collaboration with the University of Illinois, Chicago, is a lakefront kiosk that consists of basic geometric shapes combined to create a freestanding hangout within the park.
Faceted facade evokes regenerative prairie burns.For most projects, admits VernerJohnson's Jonathan Kharfen, architects steer clear of evoking a potentially destructive force like fire. But Museum at Prairiefire, the American Museum of Natural History (AMNH) outpost in Overland Park, Kansas, proved an exception to the rule. Because Prairiefire houses AMNH's traveling exhibits, its content is constantly changing, and thus provided little guidance in terms of an overarching design concept. Kharfen instead looked to the location. "What is the area about?" he asked. "For me the first thing that came to mind were the prairie burns. Coming from Boston, I'd never seen anything like it." Using dynamic materials including dichroic glass and iridescent stainless steel, VernorJohnson crafted a faceted high performance envelope that embodies the color, movement, and regenerative power of fire. Not long after landing on the fire metaphor, said Kharfen, "I knew of a couple of materials that would be perfect, because for me it's all about movement and light." He began researching dichroic glass, a composite glass that changes colors depending on the angle of view. The museum's sustainability goals—the project is targeting LEED Silver—dictated that the material would double as an insulating unit, the first such application in the United States. But that presented an additional challenge, as products with the dichroic properties embedded in the glass itself would break the budget. To lower costs, the architects collaborated with fabricator Goldray Industries to design an assembly incorporating dichroic film from 3M. The solution turned out to be an aesthetic boon as well as a cost-cutter, as the film itself carries a flame-like pattern. "It's subtly dimply, it's animated, it's beautiful," said Kharfen. Kharfen's team paired the dichroic glass with a second shape-shifting material, Light Interference Coated (LIC) stainless steel, ultimately applying panels in a variety of color and finish combinations. "With the stainless steel, I wanted to create [the appearance of] flame bursts and sparks," explained Kharfen. "I didn't want to apply it in a random way." Instead, the architects arranged the panels in a gradient, with blue (near the bottom) giving way to burgundies and reds and finally to golden yellow. For Kharfen, it was not enough that the materials themselves convey a sense of life and movement. "I wanted them to be dynamic shapes, dynamic in plan as well as in elevation," he said. His solution—a faceted curtain wall—upped the project's technical ante. To avoid cluttering up the lobby space with columns, Kharfen worked with structural engineers Structural Engineering Associates to design a custom support system of stainless steel tubes fronted by angled mullions, to which the curtain wall is attached as a veneer. To accommodate the 14 unique angles involved in the faceting, curtain wall manufacturer Kawneer developed a new adjustable mullion, a hinged plate with a 180-degree range of movement. Given the museum's ever-changing content, the architects treated the exhibit spaces as "black boxes," said Kharfen. "For the solid areas I wanted to evoke the overlapping, curved forms of the hills." The client, Fred Merrill of Merrill Companies, loved the stonework at VernorJohnson's Flint Hills Discovery Center in Manhattan, Kansas, which suggests striated rock formations. "He asked, 'Can't we just do that here?'" recalled Kharfen. "I said, 'No, we're going to do something different.' I wanted a gradient." To cut costs and simplify installation, the architects whittled a more complex scheme down to a mix of two different stones in each band, with the bands varying in width. Again, the referent is fire: the walls begin with a charcoal-colored architectural cast stone before moving through Kansas limestone in shades of red, brown, gold, and off-white. Together, the stone-clad exhibit halls and the lobby curtain wall complete the picture of a prairie burn. "I wanted the fire elements to engulf and connect the solid volumes," said Kharfen. "I did them as lines of fire, because, historically, that's how these fires were set." But while the burn metaphor extends to every level of detail, including the flicker-flame-inspired sloping at the tops of the doors and windows, for the project architect the museum design ends where it began: with the primary materials. Speaking again of the dichroic glass, he concluded, "I cannot think of a material that looks more like fire than this glass."
University of Arkansas addition celebrates the future with a contemporary rewrite of Neoclassicism.As head of the architecture department and distinguished professor at the University of Arkansas Fay Jones School of Architecture, Marlon Blackwell was uniquely qualified to oversee the renovation and expansion of the school's home, Vol Walker Hall. To unite the school's landscape architecture, architecture, and interior design departments under one roof for the first time, Blackwell's eponymous firm designed a contemporary west wing to mirror the east bar on the existing Beaux-Arts style building, constructed in the 1930s as the university library. But the Steven L. Anderson Design Center—which tied for Building of the Year in AN's 2014 Best of Design Awards—is more than a container for 37,000 square feet of new studio, seminar, and office space. It is also a teaching tool, a lesson in the evolution of architectural technology writ in concrete, limestone, glass, steel, and zinc. "Our strategy was to create a counterweight to the existing building," explained Blackwell. Rather than a layered steel-frame construction, Marlon Blackwell Architect opted for a post-tensioned concrete structure to convey a sense of mass and volume. "We also wanted to demonstrate what you can do with new technology like post-tensioned concrete, such as introducing a cantilever and introducing a profile that has minimal columns in the spaces," he said. "All of that is a didactic tool for our students to contrast and compare with the load-bearing technology of the existing structure." The exterior of the Steven L. Anderson Design Center also reflects on changes to architectural practice during the last 80 years. "We really wanted to develop a strong profile of the building, in contrast to Vol Walker Hall," said Blackwell. He describes the effect as a figure-ground reversal: where in the older structure the mass of the building is the ground and the windows and ornament act as figure, in the new wing the mass is the figure and the fenestration the ground. To create what Blackwell terms a "condition of resonance" between the Design Center and Vol Walker Hall, the architects engaged Clarkson Consulting to develop an architectural concrete to match the color of a local Arkansas limestone no longer available. They echoed the Indiana limestone on the older wing with panels sourced from a quarry only 50 miles from the original. But instead of grouting the limestone cladding on the new wing, Blackwell chose a limestone rain screen system from Stone Panels. "That allows us to go much thinner but much larger," he said. "Again, we're using the same materials but showing how the advancement of technology allows for a different expression of architecture." The defining feature of the Design Center is the more than 200-foot-long glass and steel curtain wall on the western facade. Knowing that the western exposure would provide the only source of natural light for the new wing, the architects worked to balance the need for light against the threat of solar gain. To complement the existing building, they chose a fascia steel curtain wall custom-fabricated by local company L&L Metal Fabrication. With curtain wall consultants Heitmann & Associates, Blackwell developed a brise soleil comprising 3/4-inch by 18-inch frit glass fins, angled to filter sunlight into the Design Center's 43-foot-deep studios. "What we like about it, too, is that it's one big window," said Blackwell. "It allows it to feel as if we've cut a section right through the building. At night the entire facade becomes a beacon, allowing for a nice interface between the school of architecture and the rest of the community." Other details, including the monolithic concrete pours designed to lighten the Design Center's connection to the ground, and zinc cladding used on the top floor to sharpen the profile of the main body, continue the dialogue between the new structure and its Neoclassical neighbor. "There are a lot of little things that give a tautness to the expression of the new addition, and give it its own identity," said Blackwell. "But at the same time, one of the things we were faithful to was trying to analyze and uncover units of measure and proportion on the old building, and apply that to ours." Perhaps more importantly, the building works as a design school—and Blackwell would know. "There's certainly contrast on the outside," he said. "But there's an almost resonant seamlessness on the inside."