London’s Serpentine Galleries are going high-tech for its 2019 summer installation. Together with Google Arts & Culture and Serpentine trustee David Adjaye, the arts institution is soliciting augmented reality (AR) architecture proposals to run alongside the 2019 Serpentine Pavilion this summer. Serpentine Augmented Architecture is taking entries from all over the world until February 25. According to the brief, applicants are expected to “propose imaginary city spaces and speculations on the built environment to be developed and experienced” in AR onsite at the galleries. The jury, composed of writers, curators, designers, technologists, and architects, is evaluating proposals on three different categories: How can the city be augmented or reinvented through AR? How can AR recontextualize our spatial relationships, given that the challenges and limitations of designing in the physical world are nonexistent in digital realities? Finally, each submission needs to be at least somewhat site-specific, as the Serpentine Gallery sits within an ecologically-sensitive park and welcomes up to 12 million visitors a year. Most importantly, because AR is in a relatively nascent stage, despite the tech being readily available to anyone with a smartphone, the boundaries and rules for its use have yet to be written. Any creative uses of augmented reality, including those that evolve over time, will be accepted. Entrants who are selected for the two-stage competition’s shortlist will move ahead to the second round and will be given a stipend of $1,000 to further develop their idea. After that, one winning proposal will be realized on the gallery’s grounds in July, and the winning team will receive approximately $3,800 for travel and accommodation expenses. Interested in applying? The full guidelines can be found here. The Serpentine Galleries are leaning heavily into tech this year, and Marina Abramovic will be staging her own AR installation in the main gallery space from February 19 through 24. While the architect of the 2019 Serpentine Pavilion hasn’t been announced yet, that information should become available any day now, giving applicants a better idea of what their work will be shown alongside.
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This past fall, artist Lee Simmons unveiled a massive 50-foot intervention in London’s Marylebone neighborhood, completed over a four-year collaboration with Bath, U.K.–based Format Engineers. Titled Quadrilinear, the project is an assemblage of five layers of laser-cut steel that climb four stories through a private clinic designed by ESA Architects. Simmons worked with the architects, engineers, and fabricators to help bring the sculpture, which was commissioned by Howard de Walden Estates, to fruition. The stainless-steel column is based on deconstructed maps of historic Marylebone abstracted and collaged together. The intent, according to Simmons, was to engage with the “context and rhythm and fabric of the facade,” but in such a way that the sculpture could “have a life outside of the architectural canvas” it was built within. The hope is that Quadrilinear might be more than just an architectural accent and that it will become a “gateway” to the historical road. For Simmons, the work is partially a reference to historic cornerstones that demarcate the built environment and introduce buildings and their histories. Format Engineers realized the technical aspects of Quadrilinear with the fabricators Littlehampton Welding. The airy sculpture is made of thin filigree steel sheets just under a quarter of an inch thick clamped together by 1,200 stainless-steel rods—the minimum that Format Engineers could reasonably use while maintaining structural integrity. By compressing the lattice sheets in this manner the structure mimics a Vierendeel truss with bolt tension counteracting the rotation of the joints. The whole free-standing structure has a slight curve that allows it to seem suspended almost weightlessly within the building’s frame despite its nearly 17-ton weight. Format Engineers relied on computational scripting to evaluate the most efficient ways of distributing stress and laying out the sculpture, and the bolts are, according to the firm, “clustered in a pattern reflecting a pure mechanical logic.” This approach minimized fabrication costs and simplified construction while maintaining the visual complexity of the piece. In the end, all of this engineering resulted in a structure that, in Simmons’s terms, evinces the “symbiotic way” that art and architecture have worked together in the built environment throughout history. https://vimeo.com/290294269
An analysis of the Foster + Partners–designed “Tulip,” the 1,000-foot-tall observation tower first proposed for Central London in November of last year, has revealed that the as-is scheme would clash with the London Plan. In its 15-page report, the Greater London Authority (GLA) had “significant concerns with the design approach” and the potential impact on the public’s ability to see the Tower of London. The London Plan, a strategic planning resource for development across the metropolis, lays out economically and environmentally sustainable development criteria that preserve the city’s heritage. The plan is also a framework for the mayor to consider when considering strategic planning applications submitted to the mayor's office. As the plan notes, responsibility for reaching the goals therein is shared between the Mayor’s Office, London’s 32 boroughs, and the Corporation of the City of London—with the GLA set up to administer the plan. In their January 14 review of the Tulip’s strategic planning application, the GLA voiced its concern that the tower failed to comply with the London Plan. The authority pointed out that the scheme conflicts with London Plan Policy 7.7, which mandates that tall buildings set aside a free-to-enter public space (it’s presumed that the Tulip will charge for entry to its bulb-like observation area). As for the design, which would balance the solid concrete shaft and glass observation topper above a two-story retail podium, the GLA wrote that: “officers have significant concerns with the design approach. The height appears unjustified and the introduction of significant expanse of solid and inactive building frontage would appear incongruous in the existing faceted context of the Eastern Cluster, drawing significant attention in this heritage sensitive location.” The report goes on to note that the planning application made use of pedestrian numbers from 2015 as opposed to a 2025 forecast, and that as such, “The proposals are considered to result in a poor quality, unwelcoming, unnecessarily confined pedestrian environment contrary to Policy 6.10 of the London Plan and Policy to D1 of the draft London Plan. The proposals would not reflect the Healthy Streets approach detailed within Policies T2 and T4 of the draft London Plan. The level of cycle parking would not accord with draft London Plan Policy T5.” The Tulip’s impact on the sightlines for historic buildings was also called into question. This isn’t the first time official concerns have been raised over the building, as the London City Airport requested that construction be postponed until it could study how the gondola pods on the observation bulb’s exterior would impact its radar systems. In response to the GLA report, Foster + Partners released the following statement to the Architects’ Journal: “We are pleased to see that the mayor of london considers the use of a visitor attraction as complementing the City. “We welcome the detailed technical comments by GLA officers and, as part of the ongoing planning process, we will continue to work closely with the City of London Corporation and the GLA to resolve those matters raised and to improve the package of public benefits associated with the Tulip.” If construction proceeds as scheduled, the Tulip is expected to break ground in 2020 and open to the public in 2025.
After winning a competition in 2017, Diller Scofidio + Renfro (DS+R) has released new renderings of its conceptual design for a London Centre for Music. The new building is backed by a group of local institutions, including the London Symphony Orchestra and the Barbican. The £288 million structure will rise like a twisted block on the site where the Museum of London now stands. The new building reinterprets the idea of a vertical campus that DS+R used in the Vagelos Education Center for Columbia University in New York City. Performance and rehearsal spaces are stacked with lobbies and other public areas mixed in between, and a staircase with seating will wrap around the building to tie it all together. Many spaces are swathed in uniform wood paneling, as in the firm's design for New York's Alice Tully Hall, and many rooms are oriented toward a window wall displaying a view over the city, similar to the computer space in Boston's ICA, also by the firm. The exterior finishes are abstracted in the renderings, giving the building a largely transparent appearance, but there are apparent hints at slatted wood siding and a twisted glass facade. Work on the new building can only begin after the Museum of London vacates the site in 2023, and construction is expected to take a further four years after that.
The London Zoo's Penguin Pool, an international symbol of modernist architecture, should be destroyed, claims the architect’s daughter. The pool, designed by architect Berthold Lubetkin and structural engineer Ove Arup in 1934, is a world-renowned monument to modernism for its ground-breaking use of curvilinear, self-supporting concrete slabs. The crisp, white, interlocking ramps hover over an elliptical pool, transforming the penguin sanctuary into a dramatic, entertaining, and aesthetically pleasing display for visitors. While the design is undoubtedly eye-catching, the penguins left the pool in 2004 after the birds contracted a dangerous bacterial infection called “bumblefoot," as the enclosure’s concrete ramps formed scrapes and abrasions on the penguin’s feet. Lubetkin had worked with biologist Julian Huxley on the installment to ensure that the design suited the Antarctic penguins' needs, but his efforts were rendered useless when the zoo swapped the species out for South American Humboldt penguins that prefer to burrow and could not do so given the structure and layout of the sleek, modernist structure. When the zoo announced that it had no future plans to utilize the now derelict space, Lubetkin’s daughter, Sasha, told local paper the Camden New Journal that the pool should be demolished to preserve her father’s integrity. “It was designed as a showcase and playground of captive penguins, and I can’t see that it would be suited to anything else,” she told local reporters. “Perhaps it’s time to blow it to smithereens.” The penguins now reside on Penguin Beach, the largest penguin pool on the European continent, fully equipped with a rocky, sandy beach, cozy nesting areas, a 4,000-square-foot diving pool, and a penguin nursery where baby chicks can learn how to swim. Since the penguins moved to the more accommodating enclosure some 15 years ago, the original Penguin Pool has been withering in a run-down section of the zoo. While the fate of the crumbling Penguin Pool is unknown, other modernist Lubetkin buildings still stand in north London, including the Finsbury Health Centre and the Highpoint housing blocks.
A fuller picture of Patrik Schumacher’s battle with the three other executors of the late Zaha Hadid’s estate has come to light courtesy of a series of legal documents obtained by BDonline. In the 20-page document, Schumacher lays out a series of allegations against his co-trustees, including claims that he was “forced” to drop Hadid’s name from her practice and that he was barred from speaking at her 2016 memorial service. The divisions between Schumacher and the other trustees of Hadid’s $90 million estate—her niece Rana Hadid, friend Brian Clarke, and developer Lord Peter Palumbo—first emerged on November 14 of last year. Schumacher, a principal at Zaha Hadid Architects (ZHA), had gone before London’s High Court and issued a claim asking that he be authorized as the estate’s sole trustee. His fellow executors and colleagues penned an open letter in response, claiming that Schumacher was operating in his own interest, not that of the estate. In a follow-up, Schumacher took to AN’s comment section to defend himself, claiming that his detractors weren’t aware of the full story. Now more of his claims have come to light. Schumacher claims that the other three trustees “forced” him to remove Hadid’s name from her eponymous practice. He also alleges that the studio, referred to in the documents as Zaha Hadid Limited (ZHL), was forced to move $9.8 million to a holding company owned by the other executors. Schumacher writes that he was coerced into going along with the will of the executors under the threat of being removed from ZHA. His continued participation in the firm’s business was included in a “letter of wishes” written by Hadid at the same time as her will in April of 2015, although Rana Hadid claims that Schumacher received that concession by barging into a meeting between Zaha Hadid and her lawyers (a claim he denies). In an excerpt from the documents held by BDonline, Schumacher wrote: “ZHL is a major asset of the estate. It is evident from the ‘letter of wishes’ that Dame Zaha intended it to be transferred to Mr Schumacher and its employees as a going concern. Rather than honouring that wish, the defendants have delayed the transfer and have acted and continue to act in a manner detrimental to ZHL. They have transferred cash and other assets to ZHH [ZHL's parent company] and the foundation despite reducing ZHL’s capacity to carry out business. “Further, they have sought to undermine Mr Schumacher’s ability to lead and control ZHL as envisaged by the ‘letter of wishes,’ and have taken steps to control ZHL directly by means of taking control of its sole shareholder ZHH. “Given Mr Schumacher’s role in ZHL, the defendants’ personal animosity towards him has coloured their decision-making with regard to ZHL and has resulted in their taking decisions that have been manifestly to ZHL’s detriment.” For their part, the other executors have claimed that they’re only acting in good faith, writing in November that they were personally chosen by Hadid to represent and further her best interests. A statement from Zaha Hadid Architects on the matter was provided as follows: "We hope this matter can be settled quickly and amicably, to the satisfaction of all parties. After another successful year, the practice goes from strength to strength and our business is unaffected by the subject matter of the dispute. We remain focused on serving our clients and building on the achievements of Dame Zaha."
Brought to you with support fromLocated on a corner site within London’s historic Soho district, a neighborhood long associated with the arts, 40 Beak Street is an animated four-story structure clad in iridescent glazed brick with cast aluminum window surrounds and soffits. The nearly 28,000-square-foot project was designed by London-based firm Stiff + Trevillion and is currently undergoing interior work by artist Damien Hirst who recently purchased the building.
Victorian architecture of low to medium-height, laid out over a narrow network of streets. After setting the basic pattern of fenestration—nearly full height, double-fixed windows spaced evenly—the team dived into certain facade details such as the inclusion of projecting piers approximately every ten feet to conceal movement joints and further the verticality of the overall mass. According to Stiff + Trevillion, the design team “initially anticipated that the facade would be constructed using precast modules clad with glazed brick slips” due to the degree of repetition found in their facade pattern. Ultimately, the inability of the precast units to be fabricated within the predetermined cost constraints led the firm to incorporate hand laid bricks into their design. For the fabrication of the facade, the firm looked across the North Sea to St. Joris, a glazing specialist based out of Beesel in the southeastern corner of the Netherlands. The bricks, all roughly measuring 8.5 inches by 4 inches by 2.5 inches, were harvested in the centuries-old clay pits of the nearby Westerwald mountain range. The clay deposits found in this region are noted for their density of minerals, including quartz, illite, and kaolinite, providing a high threshold for firing stability, a useful trait when baked at temperatures bordering 1200 degrees Celsius. In total, St. Joris produced 100 special brick formats, a result of differing shapes and variations on which face the brick was hand glazed. Glazing for the project consists of two colors: a dark blue at the base of the building (handy for concealing grime associated with street level commotion) which brightens to a lighter blue-green moving upward. The bricks are arranged according to a stretcher bond layout, exposing the longer face of each brick on both the facade and interior spaces. "The facade was constructed with the brickwork acting as a rainscreen, and using secondary steel framing provided by Ancon Building Products as the inner leaf, faced in cementitious board," said Stiff + Trevillion Director Lance Routh. "The bricks are fastened to the frame by a course of stainless steel shelf angles that run continuously at every floor level." Between every brick course the contractor applied an approximately 1/4-inch application of black mortar to blend with the darker hue of the glazing. Where the design breaks away from its brick-and-mortar context is with unique corner window surrounds and soffits designed by British artist Lee Simmons. Composed of cast aluminum, the lustrous asymmetrical detail shifts away from the relative formality of the brick-faced construction, while falling in line with the more exuberant Victorian architectural details found throughout Soho. This secondary facade element is fitted to the "inner leaf" via armatures extending through the brick curtain, and sealed with a breather membrane and EPDM. The fit-out of the interior, which features a double-height space with a mezzanine deck, is expected to be complete at the beginning of 2019.At the inception of the design strategy, Stiff + Trevillion determined that a heavyweight building with a brick facade was the clear choice for integrating into the surrounding context. Soho, like much of London’s West End, is composed of Georgian and
The sprawling Gingerbread City is back in London for another year, bringing the biggest names in European architecture together for an exercise in edible design. Over 60 studios have contributed gingerbread buildings to the Museum of Architecture’s annual holiday exhibition, bringing an abundance of sugar glass to the Victoria & Albert Museum (V&A) until January 6, 2019. The 1:100 scale city was again master planned and sponsored by Tibbalds Planning and Urban Design, and like last year’s installation, champions progressive urbanist ideas such as sustainability and accessible mass transit. Rooftop (candy) farming, a stadium, high rises, shorter multifamily housing, a botanical garden, college campus, opera house, and more are all present. Foster + Partners went high-tech for their contribution this year, using a robot arm to construct a serpentine, open-air pavilion reminiscent of BIG’s Unzipped. London-based Apt created the SugarLoop, a walkable green corridor through the city that references the High Line but also includes several literal loop-the-loops. Zaha Hadid Architects stacked sheets of rounded gingerbread to create a ribbed concert hall that wouldn’t look out of place in their real-world portfolio. Hopkins Architects contributed the Bakewell Bridge, which features a variety of different gingerbread people meant to bolster the city’s diversity. The professionally-designed buildings aren’t available to eat, but the Museum of Architecture is offering workshops on 10 different days for families who want to construct their own gingerbread masterpieces. Not in London? New Yorkers can check a more staid, but equally impressive, scale recreation of NYC’s landmarks rendered in cookies at the Columbus Circle Williams Sonoma.
After a fire ravaged the Grenfell tower block in Western London last June, killing 72 and leaving hundreds homeless, an in-depth investigation was launched into the cause of the fire and why it spread so rapidly. After fire specialists BRE Global pointed the finger at the combustible cladding used in the tower’s most recent renovation, England acted to implement a ban on combustible cladding in new structures—a ban that includes timber. The original Clifford Wearden and Associates–designed tower was built in 1974 with passive fire prevention in mind. However, a 2016 renovation (reportedly to beautify the housing block to improve the views from the wealthier neighborhoods to the south and east) clad the concrete building in combustible polyethylene-cored aluminum panels. Alleged incompetence on the part of the contractors also created a “chimney effect” wherein flames were able to travel upwards through the gap between the structure and flammable panels. These revelations led the UK’s Ministry of Housing, Communities and Local Government to declare a ban on combustible external cladding for new buildings over 59 feet tall and those that contain housing. Hospitals, dorms, schools, and residential towers would all be affected. The ban goes into effect on December 21, a full 17 months after the fire. The ban, which would also affect retrofits, effectively limits the materials that can be used as exterior cladding to steel, stone, glass, and others with a European fire rating of Class A1 or A2. After the final terms of the ban were revealed, the Architects’ Journal reported that London’s Waugh Thistleton Architects, of cross-laminated timber (CLT) proponents, spoke out against the restriction of timber in high rises. Other than slowing the research and development of engineered timber, the ban would disallow the use of a low-carbon cladding alternative. On the other hand, the Royal Institute of British Architects (RIBA), has seemingly embraced the ban. Adrian Dobson, RIBA director of professional services, released the following statement shortly after the ban was first announced: “It is good news that the Government has acted on the RIBA’s recommendations to ban combustible cladding on high-rise residential buildings over 18m. The ban needs to be accompanied by clear guidance and effective enforcement to promote fire safety and leave no room for cutting corners. “However, toxic smoke inhalation from the burning cladding very likely contributed to the disproportionately high loss of life at the Grenfell Tower disaster. Permitting all products classified as A2 does not place any limits on toxic smoke production and flaming particles/droplets. In our view, this is not an adequate response to the tragic loss of life and might still put the public and the Fire and Rescue authorities at unnecessary risk.”
The internet was aflame last week after Foster + Partners and the development company J. Safra Group revealed plans for the tallest building in Central London, a skyline-busting observation tower with a suggestive shape that would overshadow the Gherkin. Although planning documents for the Tulip have already been submitted, the London City Airport has requested that construction not move ahead until an assessment of the tower’s impact on the airport’s radar systems was conducted. The 1,000-foot-tall observation tower would resemble a sprouted version of the adjacent Gherkin, with a bulbous glass pod balanced atop a solid concrete core. At 984 feet up, visitors would be able to take in London (and much further beyond) in 360-degree views from a series of internal observation decks, as well as glass gondola pods that would rotate on an exterior track. Those sky-high Ferris wheels are cause for concern, according to the London City Airport (LCY). In a letter submitted to the City of London yesterday, Jack Berends, technical operations coordinator for the airport asked that: “Construction shall not commence until an assessment has been carried out on the impact of this development on the radar coverage.” Skyscrapers can impact radar results, either hiding real objects or creating the impressions of aircraft where there aren’t any. Modern radar systems are generally capable of differentiating buildings from actual moving objects, but the airport fears the moving gondolas will throw off the safeguards such systems have in place. A fly-through of London's Tulip from The Architect's Newspaper on Vimeo. "No part of the proposed development or associated construction activities shall commence until LCY is satisfied that there will be no reduction of the integrity of the current instrument landing system in use at London City Airport," said Berend in the letter. The airport maintained that it would be closely coordinating with the U.K. Civil Aviation Authority to resolve the issue. Construction of the Tulip was expected to begin in 2020, with a 2025 opening date. When reached for comment, a spokesperson for the J. Safra Group told AN that: “As part of the planning process, interested parties have the opportunity to respond to the proposals and raise any questions or seek clarification. We look forward to working collaboratively with London City Airport, and other stakeholders, to work through planning matters during the current consultation period.”
The Gherkin may be getting a much taller sibling, as Foster + Partners and billionaire Jacob J. Safra have revealed renderings of a 1,000-foot-tall observation tower for a Gherkin-adjacent site in Central London. If the planning application for “The Tulip” is successful, the rod-shaped building would become the tallest tower on the northern side of the Thames (directly across the Thames, Renzo Piano’s Shard is three feet taller). Tulip is an appropriate name for the project, as the renderings show a glass “bulb” supported by a slender, windowless, high-strength concrete stem. A two-story entrance atrium at the 31,100-square-foot building’s base will feature an occupiable public roof deck and retail to create a street-level presence for the tower. A new pocket park around the entrance that would include two green walls, and 284 bicycle parking spaces are also planned for The Tulip’s ground floor pavilion. At the 984-foot-high observation deck, visitors would be able to take in 360-degree views of London and beyond. The steel-framed observation “bubble” would be fully wrapped in high-efficiency glass, and feature sky bridges, glass slides, a restaurant and bar, and multiple floors worth of programming. The most impressive part is likely to be the gondola system Foster + Partners have envisioned for the bud’s exterior. Guests would be able to ride in glass pods along the tower’s facade on what amount to three sky-high Ferris wheels. Although The Tulip was envisioned as a destination attraction, the J. Safra Group has also included an educational facility. The tower would give free entry to 20,000 London public school students a year and offer classes on London’s history inside of what Safra described as a “state-of-the-art classroom.” A planning application for The Tulip was submitted on November 13, and if everything moves along smoothly, construction is expected to begin in 2020 and wrap up in 2025.
This past week, University College London’s (UCL) Bartlett Faculty of the Built Environment announced its search for a new dean to replace Professor Alan Penn, the current Dean who will resign after two five-year terms in the role. The new dean will head the 13 schools and organizations that compose The Bartlett, one of the most prestigious centers for architecture and urban planning in the world. During his ten-year reign as head of The Bartlett, Penn has contributed to major organizational changes within the program. Under Penn’s lengthy tenure, the maximum allowed by UCL, The Bartlett’s curriculum has doubled in size, from 36 to 77 programs offered to over 3,000 students. To facilitate this rapid development, faculty income and staff numbers have increased five-fold. The physical estate of The Bartlett has expanded as well, developing from 18,000 square feet to nearly 46,000 square feet in only ten years. This includes the renovation of 22 Gordon Street and the unveiling of the Here East facility along London's Queen Elizabeth Olympic Park, which added valuable housing, teaching, research, and commercial space to The Bartlett community. “Accelerate,” the ground-breaking program designed to increase diversity in the architectural field, was also founded during this time. “I have been lucky to have been dean at a time when the central importance of the built environment to the future of society and the planet has started to be understood,” said Professor Alan Penn in a statement. “UCL has invested heavily and The Bartlett is now a research and educational powerhouse. We attract some of the best staff and students from around the world and working with them is truly inspiring.” The new dean, who will assume the position in September 2019, will have the opportunity to build on the success of Penn and continue to establish The Bartlett as a world leader in architecture and urban planning. Some of the key tasks that will be assigned to the new dean include launching a UCL Energy Impact Accelerator program, expanding opportunities for cross-disciplinary work at business and tech outlet Here East, and engendering diversity, equality, and inclusion among the students and faculty of The Bartlett. Penn will return to The Bartlett after a year’s sabbatical in order to resume his job as Professor in Architectural and Urban Computing in the school’s Space Syntax Laboratory, where he will explore the built environment’s impact on the patterns of socioeconomic behavior of communities and organizations. Details regarding the Dean recruitment process can be found on UCL’s career website.