Studio Libeskind’s long-awaited vision has finally been revealed for the new Maggie’s Centre at the Royal Free Hospital in north London. Set to replace its existing Cancerkin Centre facility—with which Maggie’s merged in 2016—the sculptural structure is the product a 16-year planned collaboration with the charity and will be the 21st of its kind in the United Kingdom. While a slew of other high-profile architects including Zaha Hadid, Frank Gehry, Norman Foster, and most recently Steven Holl have completed individual Maggie’s Centres, Daniel Libeskind’s will be drastically different and more personal to his design style. He described it as a “modest building” that’s soft and intimate, according to the Architect’s Journal. Like Holl’s Maggie Centre in west London, Libeskin's center will have a minimal footprint, but will be much more subdued and will put the emphasis on a series of more natural materials, such as wood. Slated to be constructed on an underused southwest corner of the hospital’s parking lot, the Maggie’s Centre at the Royal Free will feature an undulating, prefabricated facade made of timber louvers designed to shade the exterior, maximize privacy inside, and evoke a sense of serenity for the cancer patients stopping by for drop-in support. Though it will be a small building with 26 total rooms, Studio Libeskind designed the structure to expand in form as it rises. Diffused natural light will come in through the window slats and provide patients with views of the outside gardens in the front and back of the building, as well as on the roof. To Libeskind, the upcoming Maggie’s Centre and its architecture complement the Royal Free and its role as a place of healing. He told the AJ that unlike the hospital, “this is a home,” and, “It’s not like entering an institution, it is a place where people can come and find comfort.” The Maggie’s Centre will be completed as part of a wider masterplan going on at the hospital, which includes the construction of a new emergency department and on-site research building by Hopkins Architects. A date for completion has not yet been made public, but the planning application for Libeskind’s Maggie Centre is expected to be filed in the fall, according to AJ.
Posts tagged with "London":
London mayor Sadiq Khan has today dismissed plans for the so-called "Tulip Tower" designed by Foster + Partners, describing the building as "unwelcoming" and "poorly designed." The news signals a U-turn by authorities who had so far given the project the green light through planning, with the full go-ahead having been granted on April 2. Chris Hayward, chairman of the City of London planning committee had then called the tower a "truly unique visitor attraction." “One of my key objectives ... has been to enable the continued transformation of the City of London into a place which welcomes members of the public on weekends as during the week,” he added. Despite this, the Tulip had come up against ardent opposition. “This building, a lift shaft with a bulge on top, would damage the very thing its developers claim they will deliver – tourism and views of London’s extraordinary heritage," Duncan Wilson, chief executive of Historic England told The Guardian in April. “The setting of the Tower of London, a symbol of the city not just to millions of Londoners but to the whole world and one of our most visited places, will be harmed. It has already been damaged by the Walkie Talkie and it would be a great shame if that mistake was repeated.” Furthermore, criticism was also aimed at Foster + Partners for the tower in the wake of the firm officially declaring a climate emergency (along with more than 500 practices.) "What better statement of action could there be than if Foster + Partners withdrew its involvement from that most grotesque fuck-you to a sustainable future, The Tulip?" argued Will Jennings in the Architects' Journal. Mayor Khan appears to have headed these warnings, and today a mayoral spokesperson issued the following statement: “The Mayor has a number of serious concerns with this application and having studied it in detail has refused permission for a scheme that he believes would result in very limited public benefit. In particular, he believes that the design is of insufficient quality for such a prominent location, and that the tower would result in harm to London’s skyline and impact views of the nearby Tower of London World Heritage Site. The proposals would also result in an unwelcoming, poorly-designed public space at street level.” If built as designed, the Tulip was set to be 984 feet tall and boast an observation deck offering visitors 360-degree views of London. Its steel-framed bubble-like tip would have also comprised a gondola system, with patrons riding glass pods across the facade akin to a Ferris wheel. In response to this article's original publication, a representative for the Tulip's project team reached out with the following comment: “The Tulip Project team are disappointed by The Mayor of London’s decision to direct refusal of planning permission, particularly as The Tulip will generate immediate and longer-term socio-economic benefits to London and the UK as a whole. We will now take time to consider potential next steps for The Tulip Project.”
Boom! Sam Jacob Studio has unveiled a punchy new home for London’s Cartoon Museum that takes design cues from comics’ bold graphic tropes and often-cheeky humor. A 3-D explosion graphic marks the entrance, while the exhibition spaces are arranged in boxes like cartoon comic strips. The two main galleries, an education room, and a gift shop (cha-ching!) are encased in a graphic wall of cheery trees, clouds, and drip marks that suggest the museum has leaped off a drawing board. Loony Tunes–esque features abound: The education room is accessed via a hidden door in a fake bookcase, and comically over- and under-sized doors channel visitors into the galleries. A red stairwell is decorated with semi-solemn portraits of famous cartoon characters in a display that’s part comic strip, part Victorian mansion. Read the full story on our interiors and design site, aninteriormag.com.
The first phase of The Tide, London’s version of the High Line, officially opened to the public on Friday. Designed by Diller Scofidio + Renfro (DS+R) in collaboration with London-based firm Neiheiser Argyros, the inaugural section of the linear park marks one-fifth of the overall three-mile-long landscape coming to the banks of the River Thames. As an outdoor cultural destination set in the city’s burgeoning creative district, Greenwich Peninsula, The Tide features what Kerri Sibson, director of the local development office, calls a “bold 3D landscape” that’s perfect for enjoying nature and absorbing art. “The Tide brings to London an unrivaled outdoor experience in the city,” Sibson said in a statement. “Most importantly, it’s a place for everyone.” When fully finished, the elevated and at-grade park will weave through and connect the seven different neighborhoods being constructed as part of the 150-acre Greenwich Peninsula district. This new urban enclave will boast architecture by Santiago Calatrava, C.F. Moeller, SOM, and SelgasCano, among others, and is currently being marketed as London’s emerging art and design community. The Tide is just one element that’s slated to attract future residents to the Peninsula over the next two decades as it is built. The mega-plan includes adding 15,000 new homes, nearly 4,000 affordable housing units, 13,000 new jobs, two new schools, and 48 acres of public green space to the formerly industrial zone—a move prompted by the area’s recent regeneration sparked by enhanced transit connections to downtown London. Though this level of development is substantially larger than what DS+R’s High Line has inspired in New York’s Chelsea, The Tide is actually a project that’s been envisioned ahead of future growth in the district, and of course, it’s being done from scratch. Unlike DS+R's seminal urban park project, the British iteration will be built in tandem with the buildings that will rise above and around it, while still making nature, art, and city views the focal point of the landscape. And it won’t necessarily be a tourist destination either, according to the architects, who have envisioned it as a source of respite for locals with ample programming for meditation, running, and waking. The first section of The Tide features curvaceous walkways that mirror the ebb and flow of the river, as well as terraces, and overlooks, all which are supported by 28 angular steel stems. Some parts of the park’s initial viewpoints feature support structures as tall as 29 feet high. The paths themselves also stand out with a striped pattern that doubles as a wayfinding tool, guiding visitors from one section to the next. Giant sculptures by Damien Hirst and Allen Jones already populate the introductory segment The Tide’s above-ground routes act as canopies covering the plazas below, which DS+R used asphalt and granite Portuguese paving stones to surface. Edinburgh-based landscape studio GROSS.MAX designed a textured vision for the park’s many elevated and sunken gardens, of which phase one includes native birch and pine, waterside trees, seasonable bulbs, ornamental grasses, and sections of groundcover. All of the open spaces above, below, and within the park, including the jetty garden and a picnic area that boasts an 88-foot-long communal table, were intended to invite incoming locals to experience the city from the waterfront and create community through it. These activation areas make up a network for recreation, culture, and wellness. Benjamin Gilmartin, partner-in-charge of the project at DS+R, said The Tide aims to “embed a new public realm into the daily rhythms of Greenwich Peninsula” as it grows. “Diverse programming along the way will act as islands that welcome the surges of commuters, visitors, cyclists, and runners,” Gilmartin said in a statement, “while also providing intimate places for pause contemplation, conversation, and people watching.”
When a fire rages through a forest, it carves the opportunity for a fresh start. There was no fire at the Sarah Myerscough Gallery, but the inaugural exhibition, Scorched, signals a new life for the former Boathouse in Barnes, West London. The exhibition showcases an array of artists, designers, and makers who all work with wood—in this case, scorched wood. The exhibition was originally commissioned by the London Craft Week 2019 for the Fitzrovia Chapel (Central London) but has now moved to the Western banks of the River Thames, where gallerist Sarah Myerscough’s new permanent space can be found. “We want to show people the relevance of contemporary, craft, art, and design in the UK,” Myerscough told AN. “Putting on curated shows like this, it’s quite fitting to bring [Scorched] here to show how it's possible to curate something which allows us to look at individual artists, their unique skills, their innovative approaches, processes involved in making like lathe work, carving and CNC cutting. Designers David Gates and Helen Carnac have produced the most architectural piece, of which there are 17. Using elm, ash, quilted maple, cedar wood from Lebanon, and vitreous enamel on mild steel, the Gates and Carnac have created a cabinet that riffs on the industrial landscapes they draw inspiration from; particularly the former, now-derelict Tate & Lyle factory in East London’s docks. Rust has been used to form decorative patterns while the structural elements, the joints and drawer mechanism, of the cabinet are celebrated and made very apparent. If Lebbeus Woods were to design a cabinet, this is what it would look like. With a background in fine art, Myerscough founded her own gallery in 1998, setting up shop in Mayfair on London’s West End. “All the rents went astronomical,” she explained. “We had to decide to do exhibitions of fares. We chose fares so we could go out and reach our audience.” Then came the opportunity to do both, in Barnes. Supported by the landlord, Myerscough has renovated a former boathouse. Timber beams have been exposed, wood flooring has been put in, and the brick walls were painted white. On the Friday before the gallery opened on June 10, the smell of fresh paint still lingered in the air. “When we first got it, it was like a 1960s office space,” said Myerscough. “It's changed completely.” Where the opening for boats to come and go once was, is now a window which looks out onto the street. Today it advertises the contents of the gallery, offering a view into the relatively small, linear space. “We wanted to bring back its character and the original state of the place. Everything you are shown is full of character, narrative.” Despite being outside of Central London, Myerscough isn’t worried about a drop in visitor numbers. “It's probably more modest in the West End, but I don’t think that really matters, it's more what you do in the space,” she said. “I think we were slightly shackled by place. People say, 'Oh you're a West End gallery' and you immediately have this kind of profile. I don't think it should be like that; what you do in the space should determine how successful you are as a gallerist.” "In the art world, you need to have a specialization to be noticed. But it won't just be timber on display here. There are so much more exciting things going on — with organic materials, sustainability." Scorched runs through August 18, 2019. Other artists featured include Max Bainbridge, Alison Crowther, Christopher Kurtz, Eleanor Lakelin, Malcolm Martin and Gaynor Dowling, Gareth Neal, Jim Partridge & Liz Walmsley, Benjamin Planitzer, Marc Ricourt, Wycliffe Stutchbury and Nic Webb.
Junya Ishigami’s sinuous stone 2019 Serpentine Pavilion is now complete and will open to the public this Friday, June 21, on the grounds of the Serpentine Gallery in east London. Ishigami worked closely with AECOM to design a lightweight, open-ended structure that floats a canopy of slate tiles above an occupiable void. Ishigami, the fourth Japanese architect to be tapped for a Serpentine commission since 2000, has designed a structure meant to evoke the feeling of wandering into a cave or forest as an extension of the natural landscape that complements the traditional architecture of the Serpentine Galleries. Sixty-seven tons of slate were used to create a swooping shingle roof that references a traditional building material found worldwide as well as natural rock formations. The triangular pavilion curves downwards at the corners and visitors can enter through the uplifted middle sections, imbuing the roof with a “billowing” motion. Inside, a forest of white columns has been randomly distributed and once open, the pavilion will be filled with simple tables and chairs designed by Ishigami. This year’s Serpentine Pavilion will be open to the public from June 21 through October 6 from 10:00 a.m. to 6:00 p.m. The Serpentine Gallery will be staging its usual site-specific movie screenings, dances, written work, art, and dance as part of its Summer at the Serpentine series. Of course, if you’ve been following the news, this year’s pavilion hasn’t been without its share of drama. The discovery that Ishigami + Associates was requiring its interns to work 13-hour days, six a week for free (on top of having to supply their own equipment) set off a fervor online, and the Serpentine Gallery ordered the studio to pay anyone who was working on the pavilion. The controversy doesn’t end there. Just this morning, the head of the Serpentine Galleries, Yana Peel, resigned, one week after the Guardian revealed that Peel co-owns the Israeli tech firm NSO Group, which licenses out spyware used to crack down on protestors and dissidents around the world. The Serpentine Galleries released the following statement this morning, lauding Peel’s tenure: “Yana leaves the Serpentine Galleries deeply grounded in its mission to provide both established and emerging artists with a dynamic platform to showcase their work, and well-positioned to thrive. While we have every confidence in the Serpentine’s ability to continue to serve artists, visitors, and supporters in the future, she will be sorely missed. The arts sector will be poorer without her immeasurable contributions to our cultural lives.”
Board games like chess and Monopoly have some of the most creative game piece design on the market—but rather than another punny Monopoly for millennials, Skyline Chess, a London-based design brand founded by architects Chris Prosser and Ian Flood, creates bespoke chess sets with pieces inspired by iconic architecture around the world. Their latest edition? Brutalist London. The hand-cast resin set has a line up of built concrete celebrities, from the Barbican’s Cromwell Tower reigning as king to the stepped terracing of the Alexandra Road Estate forming a formidable wall of pawns. The board itself follows the concrete aesthetic, drawing inspiration from the fenestration of both Centre Point and One Kemble Street, designed by George Marsh. But this set is made for much more than casual gameplay—the set celebrates the extraordinarily rich, and controversial, tradition of brutalism in the city. Such late-20th-century architecture is threatened all over the world. Many of the great '60s concrete buildings in London have been deemed varying degrees of “ugly” in public polls, and some have been destroyed by the wrecking ball. Owen Luder has had three of his major works demolished in the 21st century already, notably the Tricorn Centre in Portsmouth in 2004. But he is far from alone. Even the iconic buildings of London’s Southbank Centre have faced threats—the Hayward Gallery faced demolition before a multi-million-pound renovation was approved. While the icons represented by the London Brutalist Skyline Chess set are constantly critiqued—and often rightfully so—they occupy a significant place in architecture history that is worth remembering. The sculptural forms of these brutalist buildings become approachable at a miniaturized scale. Seeing the entire form shiny from above, rather than looming at street level on a gray London day, makes them accessible pieces of art. Maybe this set is a case for saving brutalist London and keeping the next cheque-mated car park from the wrecking ball.
The actor Bob Hoskins was the star of the 1980 film, The Long Good Friday, a London gangster movie that reflected on major anxieties, opportunities, and economic changes taking place in the U.K. In 1982 Hoskins led Barry Norman and the BBC on a riverside walk along the South Bank, and while pointing to new concrete office blocks he calls “Mars Bars” he confronts change in the guise of urban development along the Thames.
David Adjaye and Ron Arad’s design for the UK Holocaust Memorial and Learning Centre planned for London looks distinctly more understated in the most recent set of renderings released by the duo. Crafted in collaboration with landscape architecture firm Gustafson Porter + Bowman, the updated version of the memorial project was created in response to concerns from neighbors and the local Westminster City Council. Planned for a site next to the Houses of Parliament in Victoria Tower Gardens, part of a UNESCO World Heritage Site, the project has been highly contentious. For years, Britain’s government has been seeking a way to honor Holocaust survivors and the lives lost under Nazi persecution, but a cross-party group of Jewish leadership, as well as local residents, have been against the memorial, saying it would present an inaccurate attitude of national guilt. Still, in 2016 the UK Holocaust Memorial Foundation launched an international design competition, which attracted high-profile firms and artists like Zaha Hadid Architects, Anish Kapoor, MASS Design Group, Studio Libeskind, and Allied Works. Though the jury unanimously selected Adjaye and Arad’s proposal in October 2017, the winning design was criticized from the start by the public, and even UNESCO, for its size and location. Concerns were raised over the Foundation’s plans to put the Learning Centre underground, which would disrupt the site during construction, and people feared the memorial wouldn’t be built in dialogue with the existing monuments on site or with the nearby Imperial War Museum, which has planned its own Holocaust tribute. Adjaye and Arad’s revised design features a new, single-story entrance pavilion that’s lighter, more transparent, and more in sync with the existing landscape, according to Adjaye Associates and the planning application submitted to the city this January. Its roofline has been changed to allow for better views across the entire site, which was a major change to appease critics who argued the memorial blocked sights towards Parliament. The bronze fins that signal the memorial’s presence, arguably the most striking part of the exterior design, have been subdued and pulled away from the old plane trees that surround the structure. Visitors will still be able to walk through the rows of fins and into the subterranean Learning Centre below. Overall, Adjaye and Arad’s new plan for the memorial, which is now under a public commentary period, is better integrated into the landscape of Victoria Gardens and doesn’t pose as serious a threat to the surrounding historic views or the existing native plantings. Walking from the Houses of Parliament, the grass sweeps in an upward motion towards the memorial, becoming a part of its roof. From the other side, the stark fins still seem to stand out, but maybe in the summers, when the site’s flora is in full bloom, the structure will surprise visitors who stumble upon it amongst the luscious greenery.
Londoners will see the Thames in a whole new light beginning this summer. In a collaboration between British architecture firm Lifschutz Davidson Sandilands (LDS) and U.S. artist Leo Villareal, up to 15 London bridges—including UNESCO World Heritage sites—will be outfitted with an array of new lighting for at least the next decade. The project, called Illuminated River, will highlight the bridges' unique sculptural and environmental qualities, breathe new life into urban spaces, and connect communities all along the waterway. This summer, Illuminated River will begin with four bridges—Southwark, Cannon Street, London and Millennium bridges—getting lit up. The massive installation will continue to be built over the next few years, with a further section to be completed in 2020, and an aimed completion date of 2022. The collaboration between artist and architect was natural, said LDS’s Alex Lifschutz in a statement. “Architects collaborate with many different species of being. Indeed, architects are many species of being,” he said. Villareal, who has previously illuminated bridges like San Francisco’s Bay Bridge, felt similarly. “We rely on each other’s views to achieve this great ambition," Villareal said. "The collaboration is so far a success because it is based on trust and the respect of one another’s expertise and unique vision.” The architects and artist worked together to use the latest in LED technology, along with custom software, to outfit the bridges to produce an effect that is, according to Villarreal, “gently kinetic.” While, Lifschutz pointed out, there's been a “huge revolution” in LED technology—in terms of efficiency, scalability, cost, color, control, and other attributes—in the wrong hands LED fittings are “a very potent destructive mechanism.” Lifschutz explained: “LED fittings are maybe five times more efficient than standard fittings. People have thought, ‘Well, that's fantastic. We'll save a lot of energy and the world will be all the better for it. And climate change will be that much further away.’ The unintended consequence of this high efficiency is that people use more of them. And the world has become brighter and jazzier as a result, which is a great shame." LDS and Villareal's answer is to use light “very judicially.” The architects and artist did a huge number of studies using the latest laser techniques. While the top surfaces of bridges are “straightforward,” the undersides—with all their supports and trusses—are “incredibly interesting and abstract,” said Lifschutz. “Each bridge has its own character,” he said. "It's like having 15 children—not that I do—but each one has a different character and each one deserve a different way of talking about it, of dealing with it.” They considered how to light the bridge as both a piece of art and architecture, working where the two intersected to manage the relationship between structure, form, and function in order find the best places to provide light and fix fittings, all while not affecting the structure, especially on the “very precious bridges.” “Both [Villareal and I] have a technical background in the color of light, the spread of light, the way in which light falls on surfaces, and the kinds of fittings or kinds of technical fittings that are available to make the magic happen,” explained Lifschutz. “And light is very magical, obviously.” Additionally, the river is not only a site of architectural life and preservation, but also of ecological vibrancy and conservation. The team had to do a number of ecological studies, some reportedly more thorough and substantive than those that had been done before, and research the effect of light on the creatures living in the Thames. “If you have a line of light that lies across the water, fish generally don't like to cross that,” explained Lifschutz. “It may affect spawning patterns in the shoreline and so on.” In their research, they discovered much of the existing lighting on London’s bridges was already detrimental to wildlife. “[The lighting] is spraying light everywhere; it’s the wrong color.” Many naturally uncommon colors and color temperatures—many of which are currently in use before the team’s intervention—negatively affect the wildlife swimming below. The competition to develop the river project was supported by the office of Mayor Sadiq Khan, received over 105 entries, and was done in collaboration with over 100 local organizations on and around the river. It required numerous approvals to work with listed structures. The local groups have "mostly been hugely enthusiastic,” reported Lifschutz. And it is apt that the project is titled Illuminated River—working at a scale Lifschutz calls “epic,” there will be integration across all 15 bridges to create a cohesive, unified effect and artwork “painting with light,” as Villareal put it, across the whole of London’s main waterway. “We hope Illuminated River will open up the riverside public realm spaces for people to linger, appreciate the enhanced architecture of the bridges, cultivate new opportunities, and encourage tourists to come to London and enjoy nightlife activities,” said Villareal. “It will celebrate the unique character and the amazing landmarks of the city through art.”
The Madison Square Garden Company (MSG) has revealed renderings and details of its Populous-designed MSG Sphere London, a massive, well, sphere set to sprout up in London. Similar to the forthcoming MSG sphere planned for Las Vegas, the London Sphere, if approved, would be covered in high-tech LED screens both inside and out, so that the event inside can be seen up to 500 feet away. The developer has selected a 4.7-acre site in Stratford, east London, according to The Guardian, close to the site of the 2012 Olympics Park. The 300-foot-tall, 400-foot-wide dome will hold around 17,500 seated guests and 21,500 seated and standing visitors, which would make it, if built as planned, the largest concert space in the entire United Kingdom. Inside, stadium seating will face a central stage, and a massive LED screen will clad the Sphere’s interior to augment the performance. Other than concerts, MSG has suggested that the venue might be used to host everything from award shows to esport competitions—all events that would benefit from an arena-spanning digital backdrop. The Sphere will also hold retail, a café, a 450-person restaurant and club, and a 1,500-person-capacity black box-type venue for local and emerging artists to perform in. Plans for the MSG Sphere London were submitted to the City of London on March 26, though London Mayor Sadiq Khan had already voiced his approval for the project when it was first revealed last February. If the scheme is approved, construction would take three years, and MSG expects that the entertainment dome could be completed by 2022. However, Khan's approval doesn't mean the project will face smooth sailing, as local residents have argued that up to 1,400 new housing units could be built on the site instead. Across the pond, construction on the Las Vegas Sphere is well underway, and the venue is expected to open in 2021. The 18,000-seat arena will feature high-tech perks such as speedy internet at every seat, and “planar audio waves”—concentrated, targeted sound—bounced directly to each guest courtesy the German company Holoplot.
London’s 1,000-foot-tall Tulip tower looks like it might have an easier time receiving approval than first thought. Plans for the Foster + Partners–designed observation tower will go before London’s Planning and Transportation Committee on April 2, but before that, planning officials have released a 152-page document expressing their support for approving the project. The tower was controversial from the beginning. The Tulip would loom over the neighboring Gherkin in Central London, both developed by Jacob J. Safra, and its distinct “concrete-stem-and-glass-bulb” design drew ridicule online. The tower’s siting would also, according to a report released by the Greater London Authority (GLA) in January, impede views of the historic Tower of London. Questions over whether the building would contain an area open and free to the public, as required by the London Plan, were also raised. The GLA’s report came on the heels of concerns submitted to the City of London shortly after the tower’s reveal, wherein the London City Airport questioned whether the rotating, Ferris wheel-esque pods on the tower’s exterior would interfere with their radar systems. The report released today acknowledged these issues, but on the whole, recommended the planning and transportation committee approve the scheme. “Virtually no major development proposal is in complete compliance with all policies,” the report reads, according to BD Online, “and in arriving at a decision it is necessary to assess all the policies and proposals in the plan and to come to a view as to whether in the light of the whole plan the proposal does or does not accord with it.” Additionally, planning officials praised the design, stating that it was “highly unusual and unique within the UK context” and had “the potential to become an architectural icon for the City, London, and the U.K.” However, that doesn’t ensure that the scheme will sail through to approval, as a number of preservation groups, London mayor Sadiq Khan, and the Tulip’s prospective neighbors have spoken out against the plan. Additionally, the city’s built environment team, which is responsible for overseeing London’s public spaces, has expressed doubt that the street-level entrance would be able to handle the tens of thousands of expected annual visitors. Twelve stories of restaurants, observation decks, educational spaces, and rides would greet guests in the Tulip’s glass “bulb.” AN will follow up on this story following the committee’s vote on April 2.