The LANDSCAPE Show is bringing together the Landscaping community. Unifying a diverse group of experienced industry professionals all under one roof to select, source and network! From Garden Designers, Contractors and Landscape Designers to Architects, the show features the best people in the business sourcing the latest innovations and technologies in the landscaping industry. This year LANDSCAPE is launching the ‘Future Gardeners Competition’. In conjunction with the Association of Professional Landscapers (APL), we will be showcasing the growing talent of young upcoming gardeners. An ‘against the clock’ event with UK World Skills class mentors including Keith Chapman MBE and a panel of judges including APL’s Phil Tremayne and Mark Gregory from Landform Consultants. The contestants will be creating a garden from a set of drawings created by RHS Chelsea Gold Medal Winning designer Kate Gould. For this launch event, LANDSCAPE is working together with colleges such as Moulton College, Reaseheath and Bankside Open Spaces Trust (BOST) to name a few each to compete with a four person team. The winners will receive a cash prize and the opportunity to work on a Show Garden at the Ascot Spring Garden Show 2019. LANDSCAPE has also carefully planned a CPD Accredited Seminar Programme covering current topics that are integral to the industry, featuring big names in the business such as Andrew Fisher Tomlin, Carolyn Willitts, Arit Anderson and Naomi Ferret-Cohen. With over 200 exhibitors both returning and new, LANDSCAPE 2018 is shaping up to be an unmissable event for any landscaping professional. The show is open from 10am-6pm on Tuesday 18th September and from 10am-5pm on Wednesday 19th September. Register for your free ticket at: http://www.landscapeshow.co.uk/register. Website: landscapeshow.co.uk Email: firstname.lastname@example.org Phone: +44 (0)20 7821 8221 Twitter: @LandscapeEvent Instagram: @Landscape.show
Posts tagged with "London":
London Gallery Betts Project is showcasing photographs from Denise Scott Brown, marking the architect, planner, and theorist's first solo exhibition in the U.K. Titled Denise Scott Brown: Wayward Eye, the exhibition features photos taken between 1956 and 1966 that illustrate Scott Brown's explorations into urbanism, Pop Art, and the emerging architectural language of roadside America, ideas which would later be collected in Learning from Las Vegas published in 1972. "Such a study will help to define a new type of urban form emerging in American and Europe, radically different from that we have known; one that we have been ill-equipped to deal with and that, from ignorance, we define today as urban sprawl," Scott Brown wrote in 1977 in the abridged Learning from Las Vegas. "I’m not a photographer. I shoot for architecture—if there’s art here it’s a byproduct," Scott Brown told curators Marie Coulon and Andrew Ramirez at Betts Project this year. "Yet the images stand alone. Judge what you see." The photos provide insight into how Scott Brown, Venturi Izenour, and their students dissected commercial strips. Never before had such mundane elements been looked at through an architectural lens: a nondescript shot of a Dodge Charger driving down an L.A. freeway is deliciously titled Industrial Romanticism, while another features an equally unremarkable image from a water taxi in Venice. "For Robert Venturi and me, these sequences from Venice to Venice, Los Angeles, and Las Vegas provided inspiration and they still do. And via them, architectural photography initiated a move beyond beauty shots and data. Over the last 60 years, by adding analysis, synthesis, recommendation, and design, it has gone from tool to subdiscipline in architecture. "In 1965, after ten years of urbanism, my foci were automobile cities of the American Southwest, social change, multiculturalism, action, everyday architecture, 'messy vitality,' iconography, and Pop Art. "Waywardness lay in more than my eye," Scott Brown continued. "Do I hate it or love it? ‘Don’t ask,’ said my inner voice. ‘Just shoot.’" Scott Brown's work doesn't come around to London often. She came to the city in 1952 (when her surname was Lakofski) to work for the modern architect Frederick Gibberd before studying at the Architectural Association School of Architecture. She returned with her husband Venturi to work on the Sainsbury Wing of London's National Gallery in 1991 after the infamous Carbuncle incident. Denise Scott Brown: Wayward Eye runs through July 28 and comes with a catalog, published by PLANE—SITE, featuring texts by Scott Brown and Andrés Ramirez.
Color Palace by British designers Pricegore and Yinka Ilori wins the Dulwich Pavilion 2019 competition
Emerging British architecture office Pricegore and British artist Yinka Ilori were announced as winners of the annual Dulwich Pavilion for their design named Color Palace. The eye-catching and colorful pavilion will come to life next summer. The pavilion will feature a Nigerian-inspired artwork by Ilori, who is influenced by the African aesthetics of his childhood. The 2019 Pavilion will house “new ticketing facilities, a pop-up catering offer and a range of events over the summer,” according to a statement from Dulwich Picture Gallery. The project is co-hosted by the London Festival of Architecture, which is an annual event that celebrates London as a global design hub. The pavilion was chosen by a jury, along with a “combined public vote,” which garnered more than 2,000 votes from visitors on-site. Pricegore and Ilori's design won over other entries from young practices including Casswell Bank Architects, e10 Studio, Flea Folly Architects, Projects Office, and PUP Architects, which won the most public votes. The pavilion's screen is composed of slats painted with circular and triangular patterns in contrasting colors supported by massive, bright red columns on the corners. The space beneath is meant for informal gathering. Dulwich Pavilion is an annual competition that will be "at the heart of the gallery's bicentenary celebrations." Last year, the inaugural pavilion was won by IF_DO, a 2014-founded British practice.
A new exhibition devoted to postmodern British architecture is designed to spark a revival of interest in the movement. The exhibition titled The Return of the Past: Postmodernism in British Architecture is now showing at Sir John Soane’s Museum in London through August 26. The exhibition will display a selection of important works by some of the country’s most prominent architects such as Terry Farrell, CZWG, Sir Jeremy and Fenella Dixon, John Outram, and James Stirling. Their works emerged as part of the postmodern movement, which was a reaction against the confining modernist style used in designing many British towns and cities at the time. Postmodernist architecture generally emphasized the reconnection of architecture to the past through “ornament, materials, form or typology,” according to a statement from the Soane Museum. The SIS building designed by Terry Farrell houses the headquarters of Britain’s foreign intelligence agency Secret Intelligence Service MI6. Located on the bank of the River Thames in central London, the cascading building looks like a fortress, finished with a cream-colored facade and green-tinted windows. Another highlight is a project for 200 Queen Victoria Street for Rosehaugh-Stanhope Developers by John Outram. Although unbuilt, its signature image, featuring oversized Greco-Roman columns, chinoiserie posts, mosaic patterns, turbine flourishes, and fantastical additions make it a shining example of the movement's style. CZWG’s work is also celebrated in the exhibition. Cascades is a twenty-story apartment building located on the Isle of Dogs in London. Its design offered an alternative appearance to the high rise typology. According to CWZG, the “Pharaonic references” signify the high-reaching ambition of the construction, making it a postmodernist centerpiece. China Wharf is also a significant piece by the same firm. The building combines functionalism and aesthetics. The scalloped wall “is used to twist windows, both towards the rising sun and away from the neighbors directly across the courtyard,” according to the designers. As part of a regeneration scheme for the London Docklands, the building includes a pastiche of stylistic references such as naval and pagoda motifs. “Postmodern architecture in Britain is frequently written-off as an expression of 1980s Thatcherism and still little understood. We conceived this exhibition to set the record straight and reveal this period as one of such amazing creativity and innovation that can hold its own with any moment in British architecture history,” said Owen Hopkins, Senior Curator at Soane. “Full of color, ingenuity, and exuberance, the exhibition will also show the serious intellectual basis that underlay a movement whose legacy still shapes how we create and understand architecture today.” The organizers of the exhibition hope to renew attention to postmodern buildings in the U.K. Later this year, Historic England, the public body that looks after England’s historic environment, will launch a project to assess postmodern buildings for listing.
Thomas Heatherwick’s studio has released renderings of their plan to overhaul Olympia, an events center in west London. The design would transform the Victorian exhibition hall into a high-profile mixed-use space. Heatherwick Studio, along with London-based architecture firm SPPARC, will transform the 130-year-old exhibition hall into a mixed-use district that will hold a hotel, theatre, museums, co-working spaces, restaurants, and entertainment spaces. The $920 million project will completely overhaul the space to make way for almost 600,000-square-feet of office and studio space, and 70,000-square-feet of co-working space. Another 2.5 acres will be dedicated towards public areas. The renderings also reveal plans to pedestrianize Olympia Way and add new public and community spaces while preserving the historic facade, as well as a new, modern building for a theater and performing arts space. The redevelopment of Olympia is set to position it as a global destination for creative industries, as well as having a significant impact on its surrounding area, like the regenerations of Covent Garden and King’s Cross. The owners of Olympia, Deutsche Finance and Yoo Capital, first announced that they were planning to develop the site in 2017. Olympia was completed in 1886 and designed by architect Henry Edward Coe. It’s key features, a massive domed window and an arched roof supported by ironwork, will not be affected by the redevelopment. The 15-acre site hosts exhibitions and events annually, such as 100% Design, part of the London Design Festival, and welcomes 1.6 million visitors every year. “As caretakers of Olympia London, we are investing to protect this iconic site and promote it on the global stage as a world-leading destination for the creative industries," John Hitchcox, chairman of Yoo Capital, said. The current designs were developed with feedback from event organizers, exhibitors, and visitors. There will be a period of public consultation before a planning application is submitted in September of this year. Meanwhile, Heatherwick Studio is working on Google’s headquarters in King’s Cross with Bjarke Ingels Group (BIG).
The Frida Escobedo-designed 2018 Serpentine Pavilion in Kensington Gardens, London, may have already opened earlier this month, but the excitement is far from over. The Serpentine Gallery has launched Park Nights 2018, a nighttime series of imaginative and interdisciplinary events that feature eight international artists interacting with the pavilion. The performances will run between July and September, and the pavilion is open through October 7. The series kicks off with Victoria Sin, an interdisciplinary artist who uses “speculative fiction” in her performances that incorporate movies and writing. Her Serpentine project will feature poetry, drag, science fiction, and a Shy One-produced soundtrack. Her performance will take participants through a discovery of “the often unsettling experience of the physical within the social body.” Kamasi Washington will perform next. Washington is a music producer and composer who works with saxophone and other instruments. Together with his band, he will improvise a music experience that engages the crowd and the environment. Unisex fashion line TELFAR is the next presenter. The Telfar Clemens-founded, gender-non-conforming clothing line will develop experiments that blend style and music. They will collaborate with South African band FAKA and a choir on vocal music to accompany the display of their latest S/S19 collection. Yaeji, a Korean-American artist who works with hip-hop and avant-garde pop, follows with her dance and electronic-music-inspired sound performance. During her show, the audience will be blindfolded and submerged in an echoing environment of experimental music. Enigmatic storyteller Megan Rooney will occupy the pavilion with “movement, words and sound.” The performance titled SUN DOWN MOON UP presents female magpies “invading” Mount Athos, bringing up topics of human invention in nature. Sculptor Pedro Reyes’s “science-fiction-comedy” puppet play will conclude the series. The show will interpret real-life characters such as American linguist Noam Chomsky, Russian-American writer Ayn Rand, SpaceX CEO Elon Musk, and Apple co-founder Steve Jobs. The drama will touch on the hidden dangers of technological advancements. Check out this link for tickets.
Artist Christo, famous for his large-scale landscape interventions, has completed work on The London Mastaba, a massive trapezoid made of multi-colored barrels and set afloat in London’s Serpentine Lake. The installation sits adjacent to the Serpentine Gallery and will run concurrently with the gallery’s retrospective of Christo and late wife Jeanne-Claude work. The London Mastaba is Christo’s first large-scale installation in the UK, and the trapezoidal form and the use of barrels is a return to both a shape and a material that Christo and Jeanne-Claude have consistently explored throughout their long career. The temporary sculpture, floating in the middle of the historic Hyde Park on top of an interlocking platform, was designed to be extremely visible without damaging the ecologically sensitive lake. The 7,506 barrels, arranged to create a colorful face on either side of the trapezoid, are stacked 65 feet high, 130 feet long, and 90 feet wide. When reflected in the surrounding lake, The London Mastaba’s split-face creates an ever-changing reflection. Much like the Serpentine Pavilion nearby, the sun’s movement over the course of the summer and resultant shadows will alter the work’s appearance every day. In name, form, and color, The London Mastaba references Islamic art. The red-and-white stripes on the round side of the barrels creates a visually homogenous “outer coating,” while the mauve, blue, and red outer walls are abstractions of the pointillist-styled artworks found in Islamic architecture. Even the word Mastaba references similarly-shaped Egyptian tombs. “For three months, The London Mastaba will be a part of Hyde Park's environment in the centre of London," said Christo in a statement. “The colours will transform with the changes in the light and its reflection on the Serpentine Lake will be like an abstract painting. It has been a pleasure to work with The Royal Parks to realize The London Mastaba and with our friends at the Serpentine Galleries to create an exhibition showing Jeanne-Claude’s and my 60-year history of using barrels in our work.” The London Mastaba and accompanying show Christo and Jeanne-Claude: Barrels and The Mastaba 1958-2018 are free to the public. As with his other pieces, Christo has entirely self-financed the sculpture’s construction through sales of original works of art. The London Mastaba is currently open to the public and viewable through September 23, 2018, while the exhibition will run from June 19 through September 9, 2018. Christo is also well known for his fabric installations; the Lake Iseo-spanning The Modular Pier in Italy drew major crowds to the region in 2015, while the series of gates installed throughout Central Park in 2005 were met with widespread media attention (for better or for worse).
When one hears of a piece of architecture by Alison and Peter Smithson being altered, the worst comes to mind, particularly when developer Tishman Speyer promises a "wholesale re-imagining." With demolition photographs of the architects' Robin Hood Gardens splayed across every design publication and blog, this protective instinct is more than justified. Now, London firm Deborah Saunt David Hills Architects (DSDHA) has completed Phase One of such a "re-imagining" of the Smithsons' Economist Plaza. And if evidence of this first phase is a precedent for the rest, then we can breathe a momentary sigh of relief, for the project is in safe hands. Comprising a trio of buildings, all varying in height, the Economist Plaza off St James's Street is a quiet enclave in the city, a welcome respite a stone's throw away from the tourist throbbing bustle of Piccadilly Circus. It was designed by Peter and Alison Smithson for the Economist magazine and finished in 1964, a decade after the Smithsons first took to the architectural stage with the Hunstanton Secondary Modern School. Tishman Speyer's decision to employ DSDHA reflects a sensitivity to the project, something it is well-versed in through its management of other 20th century icons like New York's Chrysler Building and Rockefeller Center. Its decision to rename the complex to "Smithson Plaza" in the original architects' honor embodies this ethos. The Smithsons' contribution to architecture is enormous. As teachers, writers and academics, they were prolific. But as architects? Not so, and today, their eponymous plaza is their last remaining work in London. DSDHA has refurbished the tallest tower, renamed "Smithson Tower," which rises to 15 stories and was once owned and fully occupied by The Economist. Here, the lobby has had a facelift and the tower has new elevators, double-glazed windows, insulation and services, replacing the Smithsons' unorthodox and outdated ventilation system. A new, 1,500-square-foot public cafe (yet to be finished) has been installed on the tower's ground floor. However, this, combined with a reinstated public art program on for the plaza, heralds the danger of the plaza losing its tranquillity as it becomes both visually and programmatically busier. "We found that many people didn't even know this was a public space," Deborah Saunt, co-founder of DSDHA, told The Architect's Newspaper. Inside the upper six floors of the tower, renovation work has created 21,500 square feet of office space. Who will inhabit that remains to be seen. To its previous tenants, the vistas were a source of empowerment. "Perhaps our height also gives us greater confidence in handing down Olympian judgments on world affairs," the Economist wrote in a 2016 farewell letter after it had sold the premises for $170 million. The tower's facade has also been cleaned to reveal its pitted Portland Stone and Roach Bed stone. On the ground, the plaza has been resurfaced with granite, a material which has been allowed to flow into the new lobby where it replaces what was once concrete flooring. If you ignore the impending planters, the plaza has since become a much lighter space in a show of pure materiality. And when washed in sunlight, the tower's almost gleaning beveled edges are as tactile as any imported verdure. Only now do Skidmore, Owings & Merrill's (SOM's) 1990s interventions, adding a canopy and extending the lobby into the colonnade with glass and travertine cladding, seem horribly hamfisted. DSDHA has done well to undo some of this work, replacing the travertine with Portland Stone, for example. With the lobby gaining a new concrete bench, akin to an original external seat and now sharing materiality with the plaza, the colonnade feels primed to realize its potential as the threshold it was originally intended to be. For the time being, however, the canopy and glass frontage, spaced awkwardly close to the colonnade, remain. More changes had been planned by SOM as well, with two further stories proposed for the plaza's tallest tower. On the 13th of June in 1988, though, the plaza and its buildings were hurriedly awarded Grade II listing (the equivalent of landmarking)—a move which makes you wonder, particularly in the aftermath of the Robin Hood Gardens demolition, where the spirit to preserve architecture has gone. The Smithsons, of course, were aware of change being around the corner. In 1965, they remarked that in 200 years' time, their work "may seem an error." "But in our situation," they continued, "there is no other course but to build and to demonstrate." Even DSDHA's proposals did not come without backlash when they were unveiled in 2016. "The Smithsons’ best and last remaining London building deserves better," wrote critic Ellis Woodman in February 2017, as other architects voiced their concern. Some of DSDHA's plans have been curtailed. A proposed spiral staircase will now be a much simpler slip stair, which will lead to a new gallery space—a conversion of the former car park. These changes are due to be made in later phases as part of the addition of 4,600 square feet of retail space.
The 2018 Serpentine Pavilion in Kensington Gardens, London, is now complete, and Mexico City-based Frida Escobedo’s open-air installation wears its references to residential Mexican architecture on its lattice. Escobedo, the youngest architect to take on the project and the first woman to do so since 2000, took cues from London’s historical materiality to reinterpret features more commonly found in Mexico’s domestic architecture. The pavilion uses a modern reinterpretation of the celosia (a perforated wall that lets in light and air) built from cement roofing tiles, to enclose a concrete courtyard. From the final photos, it appears that stacking the roof tiles have also given the walls a rolling, knit-like quality. The interplay between light and shadow and its use in denoting the passage of time, such as sunlight filtering through the darkly-tiled walls, had a major influence on Escobedo’s design. “The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms,” said Escodebo in a statement. “For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day.” Inside, a curved canopy decked out in mirror panels hangs over the structure to both shade and reflect visitors, while a slice of shallow water on the ground reflects the scene overhead. Guests are invited to wade into the pool and cool off while their movements are echoed on the canopy above. Visitors can experience a “new” pavilion every day, as the sun’s daily movement should theoretically create a new lighting condition every day of the summer. The Serpentine Pavilion is located on the grounds of the Serpentine Gallery and will open to the public on June 15, then run through October 7, 2018. The pavilion will host a café for the duration, and will be used to stage Park Nights, the gallery's experimental and interdisciplinary art and architecture lectures and performances on certain Friday evenings. AN will follow this announcement with a review of the installation.
The Serpentine Pavilion just went international after opening its first destination outside the U.K. in Beijing, China. The inaugural Serpentine Pavilion Beijing is open to the public from May 30 through October 31, on Wangfujing in the Dongcheng District. Cantilevering metal ribs span the WF CENTRAL public square, and are anchored by cables onto the ground’s steel slab. As architecture in Beijing regularly deals with strong winds and earthquakes, the form of the rib resembles the profile of a bow, which is a design symbolizing how a Tai Chi Master has the ability “to conquer the harshness of those forces [resistances to architecture] with softness.” The design of the renowned Chinese practice JIAKUN Architects, led by architect and educator Liu Jiakun, was chosen because it responds well to Beijing’s unique historic and social context. It also references the past 18 designs of Serpentine Pavilions in London’s Royal Park of Kensington Gardens, including works by Zaha Hadid, Rem Koolhaas and other key figures. JIAKUN Architects was inspired by Confucius’s invention of the traditional concept of Junzi, or the Exemplary Man. The pavilion presents a space for people to be enlightened and to contemplate on the Confucian philosophy. The design is reminiscent of the Liu’s previous works, which combines contemporary architecture issues with an approach influenced by Chinese folk wisdom. West Village – Basis Yard and Chengdu MOCA are among his other famous projects. The Serpentine Pavilion Beijing will be the venue for five “Pavilion Weekends” over the summer and will host a series of art, cultural and lifestyle programs. It will also include lectures by celebrated artists and architects, well-being workshops, lawn parties, children’s disco classes and outdoor art-cinemas. The Serpentine Galleries in London has commissioned a leading architect to design a temporary summer pavilion every year since 2000. This year they commissioned Mexican architect Frida Escobedo.
Plans for the $1.3 billion gothic revamp of British soccer team Chelsea Football Club’s Stamford Bridge stadium in London have been shelved, according to a cryptic message posted on the club’s website citing “the current unfavourable investment climate.” First revealed in 2015, the Herzog & de Meuron-designed stadium would have replaced Chelsea’s current field along with the surrounding buildings, and put up a 60,000-seat replacement in its stead. Initially pegged as a $664 million project, costs rose as delays and lawsuits from homeowners and businesses who would be in the new stadium’s shadow mounted. The stadium’s defining feature (aside from the 20,000 new seats, all of which were promised unobstructed views) would have been the 264 brick buttresses ringing the field. The arches would form a covered loggia around the stadium’s central pitch, and supported a steel ring above the field, providing the structural supports for the additional seats, shops, a museum, and a restaurant. Both the brickwork as well as the black, wrought-iron detailing are less-than-subtle references to vernacular British architecture; Herzog & de Meuron described the vaulting design as a “cathedral of football.” The Guardian paints a more comprehensive picture of why the project was put on hold. Chelsea club owner Roman Abramovich, a Russian-Israeli businessman, has found himself caught in the crossfire of the worsening relationship between the United Kingdom and Russia. Abramovich has found himself unable to renew his investor visa, and as the delays mounted, the billionaire expressed frustration at the idea of investing in a country that was delaying his ability to do business. While Abramovich would still be allowed to stay in Britain, he technically wouldn’t be able to do any work there. AN will update this story as more information becomes available.
The spectacular demolition of the high-rise Pruitt-Igoe public housing project in 1972 has been described as "the day Modernism died," but a very different dynamic played out across the Atlantic. As documented in a beautiful new book by architect and historian Mark Swenarton, in the mid-1960s and early 1970s, London saw the creation of a wide variety of low-rise, high-density public housing projects by young architects who adapted Modernist design idioms to the era's intense need for low-cost housing. Focusing on the architectural output of single north London borough, the richly detailed and lushly produced new book, called Cook's Camden: The Making of Modern Housing, documents in vivid detail the design and construction of thousands of affordable homes in Camden, one of London's wealthiest and most historic neighborhoods. Created between 1965 and 1980 under the direction of Camden's visionary chief architect Sydney Cook, the projects described in Mark Swenarton's magisterial book constitute what he describes as "not just the last great output of social housing... but also arguably the most concentrated architectural investigation into urban housing undertaken in the last 50 years." In the foreword to the book, Columbia University historian Kenneth Frampton concurs, describing Cook's Camden as "an exceptionally thorough documentation and analysis of British achievements in the field of low-rise, high-density housing.... part and parcel of this international movement towards achieving denser, anti-suburban, proto-ecological patterns of land settlement." At the heart of Cook's Camden is the work of New York-born architect Neave Brown, whose social housing projects range in scale and ambition, starting with a small terrace of five raw concrete row houses and ending with Alexandra Road, perhaps the most celebrated architectural scheme in England. Alexandra Road turns its back on the adjacent train tracks to form a protected interior street, with front doors facing out onto a pedestrian-friendly, car-free environment from a ziggurat of stepped apartments, each with its own balcony garden. All of the projects Neave Brown designed for Camden have been protected as national landmarks, and last year, his work earned him even greater honor: a much-belated RIBA Gold Medal, bestowed just before his death at age 88, in large part, thanks to the appreciative attention garnered for him by the author Mark Swenarton, who has been conducting the research for Cook's Camden for more than 12 years. Another designer featured in Cook's Camden is Peter Tabori, whose Highgate New Town complex, located between a large hospital and a Victorian-era cemetery, took inspiration from the dense urbanism of a Tuscan hill town. Like many of the housing schemes described in Cook's Camden, Highgate New Town was first celebrated, then allowed to decline, and in recent years has been revived as one of London's most valuable public-private council estates. A final project described in Cook's Camden, Branch Hill became known as "the country's most expensive council houses." Built on a difficult hillside site in the heart of Hampstead, one of London's most exclusive and expensive residential districts, Branch Hill was designed by architects Gordon Benson and Alan Forsyth, who went on to design the acclaimed Museum of Scotland. In keeping with the goal of maximizing green space, the architects took full advantage of the sloping site to create extensive private roof gardens. For present-day architects or developers looking to "solve" the affordable housing crisis, perhaps the most valuable chapter covers the smaller-scale infill schemes that Swenarton calls "urban dentistry." The projects described and illustrated in this section include Neave Brown's first small-scale effort, on which he joined with fellow early 1960s student architects Michael and Patty Hopkins, to develop, design and build a five-unit terrace of supremely detailed modern homes on a tight urban site. Another commission went to Edward "Ted" Cullinan, who designed a five-story mix of family duplexes and smaller one-bedroom apartments, composed with contextualist flourishes that put it among London's first postmodern buildings. Along with lush production quality, hundreds of vintage and contemporary photographs and carefully catalogued references, one of the many valuable features of Cook's Camden is a gazetteer and map of all the properties and projects studied in the book, which may well inspire readers to take a trip to London to see these fine designs and inspiring examples of municipal success. In a final section of Cook's Camden, the author digests the era's seismic changes and draws three important lessons for today's designers, planners and builders: one, recognize that the street is the basis for urban housing; two, understand that designing urban housing demands attention not only to physical form but also to the social relationships these forms may engender; finally, and perhaps most importantly, that designers must use all their abilities–"analytical and visionary, rational and imaginative, practical and poetic, to provide something better than what is currently being built around us." Based in London and New York, Jamie Jensen is a writer and advocate for public space and urban sustainability. Cook's Camden: The Making of Modern Housing Lund Humphries $69.51 (hardcover)